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Dmitri Hvorostovsky has withdrawn from his upcoming opera engagements, including this spring’s Met performances as the title character in Tchaikovsky’s Eugene Onegin, due to illness. In June 2015, he was diagnosed with a brain tumor and began treatment. However, balance issues resulting from the illness have made the performance of staged opera difficult, though he plans to continue performing in concerts, recitals, and the recording studio. A statement from Mr. Hvorostovsky is available below.
Mariusz Kwiecien and Peter Mattei will step into the role of Onegin at the Met for this spring’s performances, with Kwiecien singing on March 30, April 3 and 7 and Mattei singing on April 12, 15, 18, and 22 matinee.
Eugene Onegin will be conducted by Robin Ticciati and will also star Anna Netrebko as Tatiana, Elena Maximova as Olga, Alexey Dolgov as Lenski, and Štefan Kocán as Gremin. The April 22 matinee performance will be transmitted worldwide as part of the Met’s Live in HD series, which now reaches more than 2,000 theaters in 70 countries around the globe.[Given the cast, I had planned to attend the HD broadcast which, to make this explicit, will now have the great Peter Mattei in the title role.]
To all my friends, fans and colleagues:
It is with great sadness that I must withdraw from opera performances for the foreseeable future.
I have been experiencing balance issues associated with my illness, making it extremely difficult for me to perform in staged productions.
I will continue to give concerts and recitals as well as make recordings. Singing is my life, and I want to continue bringing joy to people worldwide.
With this pause in my operatic career and more rest in between each engagement, I hope to have more time to focus on my health and treatment.
Thank you for all your love, messages and well wishes. Your support is felt and means the world to me.
It is with incredible sadness that I write to inform you that a beloved member of our staff, Griffin Madden, perished in the fire in Oakland on Friday night. Griffin had been missing since last being seen there, and his death was confirmed yesterday evening.Griffin was Cal Performances’ Audience Services Associate, recently winning that full-time position after having worked as a student usher throughout his undergraduate career. He graduated from UC Berkeley in 2015 with a double major in Philosophy and Slavic Languages and Literature. He was devoted to Cal Performances and had been an integral member of our staff for five years, starting as a freshman at age 18. Griffin was 23 years old.Yesterday, at Cal Performances’ long scheduled staff holiday gathering, Griffin’s father, Mike, and Griffin's girlfriend, Saya, joined us in a spirit of comfort and connection with the people whom Griffin touched every day.Their extraordinary example of grace and optimism was truly inspiring to all of us who knew Griffin.Cal Performances plans to hold a memorial event in the spring. If people would like to send remembrances or condolences to Griffin's family, they may send them to me at the address below and we will forward them.Our community is heartbroken at this news. We extend our deep condolences to Griffin's family and to his friends.
Huizenga: On a practical level, I suppose it could send more commissions your way.
Norman: If I get more commissions, great, but maybe I can use this moment to talk about things that are important to me. Like to call attention to the fact that there are problems. For instance, this award has been given to three women out of its 30-year history. And to me that's kind of an issue.
And in all honesty, I'm a white man and I get lots of commissions and there are systemic reasons for that, reasons we should all be talking about. There are so many talented composers out there. Rather than giving me another commission, why aren't we giving those people a commission?
The canon is so overwhelmingly white and male, but we can use new music to fix that problem. There are so many voices who should be heard in the concert hall today, of people whose music reflects a wide variety of experiences. That, to me, is the most important issue right now for contemporary classical music and classical music generally — how to get what happens in the concert hall to reflect the diverse society that we are.
I think that orchestras have such an opportunity, especially now in this really conflicted, contentious moment, to say something powerful and meaningful about our own time, with the all of the voices of our own time.Media:
The opera house and the composer were circumspect about why the project, which was more than a decade in the making, had been called off. The Met said in a statement this week that it had parted ways with Mr. Golijov because of “conflicting schedules” but would not elaborate. Mr. Golijov declined a request for an interview; his publisher, Boosey & Hawkes, cited an unspecified “difference in artistic vision” for the demise of the project.Let me hazard a guess that Golijov's ongoing creative block is what's responsible; he has been having problems following through on commissions for years now.