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A theater company that presented operas in German. (Allegedly Rossini is more concerned about the performers getting the notes right as any true blue bel canto era composer had been) Then Calixto Bieito came to Komische Oper. Except that nudity is not an element in any Rossini opera. Sex, lies and murder just like in Bieito’s interpretation of Lulu. Much of the nudity that Bieito presented in his version of Armida was transfused in how Armida saw the men around her. Having him fully-clothed in one of the Calixto Bieito Naked Operas is a visual commentary on how “honorable men” are viewed. But she would still go for the fully-clothed Rinaldo. He shows Armida as a liberated and headstrong woman surrounded by naked men. He then moves forward with a criticism of how an empowered woman is viewed. He ditches the fantasy element in the opera. Nudity as commentary is also evident in his version of Gioachino Rossini’s Armida. That Lulu’s charm has worn off even when she has taken all of her clothes off. Showing Lulu at the end of the opera totally nude served as Bieito’s commentary to the character. Who in his right mind would take the side of a woman that murdered his father? Only Lulu. So why hold back on the nudity then? As one of the Calixto Bieito Naked Operas, having Lulu topless in most scenes reveals the only power she possessed after all.

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As a full opera, it is basically about sex, lies and murder. A seductress with manipulative skills of demonic levels. The titular character in the tragic opera is an amoral woman.

It was one of the more popular productions he has done for Theater Basel Switzerland. The nudity in his version of Alban Berg’s Lulu is somewhat expected. Disturbing your audiences through the Calixto Bieito Naked Operas meant forcing them to think. But the bold moves to make people see operas in a way he saw them would force them to think.

It caused him to see operas like Lulu and Armida in a way that meant to shock the audience. The skills to shock and scare were from his experience of being taught by the Jesuits. Thanks to watching films with distorted values from Luis Bunuel. His warped visions were translated on stage. Bieito would attribute his dark humor to Spanish literary great Cervantes. Please note the additional recording requirements: Video recording to be submitted via email/cloud storage to also accept submissions as video links on Youtube, Vimeo, Google Drive, Dropbox, WeTransfer etc Senior Category (Aged 21 and below, at Feb 2022) Junior Category (Aged 16 and below, at Feb 2022) There will be 3 rounds of selection, culminating with a live Prize-winners Concert in 2022 pending the current global situation. 1 set piece (a choice of either Excerpt 1 or 2 with flexibility to transpose key as suitable for your voice type and range) SGD 20 pianist fee will be refunded if not needed Youth Opera Comique - International Youth Vocal Competition 2022 Singapore-registered IPC Charity (UEN number: 201114824K, IPC reg. New Opera Singapore Ltd is supported by the National Arts Council under the Major Company Scheme for the period 1 April 2019 to 31 March 2020. We aim to reshape and revolutionize opera in the most modern and innovative of ways, presenting the art not only as a form of entertainment but also as an educational and inspirational experience for people from all walks of life. With local flair and world-class talent, New Opera Singapore is 'Always Something New'. New Opera Singapore’s efforts are slowly but surely demystifying opera as an old-fashioned and elitist art form. Through our bite-sized opera programme Who's Afraid of Opera?, local communities, many of whom have never before stepped into an opera house, are treated to arias and art songs, and will even sing along in Italian to 'O Sole Mio'. New Opera Singapore also actively seeks to educate the wider public through a variety of community outreach programmes at schools, libraries, and even business centres.

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One notable example is the release of Stravinsky's 'The Rake’s Progress' as a feature-length opera movie casted entirely by puppets during the pandemic. We have staged modern operas through the innovative reinterpretation of works by 20th century composers such as Benjamin Britten and Francis Poulenc and are also continuously pushing the boundaries of opera presentation. New Opera Singapore (NOS) was established in 2011 by Soprano Jeong Ae-Ree to promote award-winning Singaporean opera singers and to provide a platform for them to perform and pass down their skills.

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