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2013/2014 Season Guide NEW NATIONAL THEATRE,TOKYO September 2013 - July 2014 Opera Ballet Dance Play MESSAGE FROM THE PRESIDENT Welcome to New National Theatre, Tokyo The New National Theatre, Tokyo, is Japan’s only national theatre dedicated to the performing arts of opera, ballet, dance and plays. Since its opening in October 1997 this theatre has planned and produced works of a consistently high caliber, earning critical acclaim in both Japan and worldwide. I would like to express my deep respect for the efforts of all those involved to date, and my heartfelt thanks to the patrons for their support. The New National Theatre, Tokyo has two major missions. The first is to con- tinue to create world-class performances to present in Japan and abroad, while the second is to become a theatre that is widely enjoyed and loved by the people of Japan. We will strive to fulfill these missions and become a theatre that the Japanese people will refer to with pride and affection, and that those abroad will regard with respect and admiration. In the 2013/2014 season, we have prepared a widely varied selection of produc- tions which is a distinctive feature of the New National Theatre, Tokyo. This is the last seasons for Mr. Tadaaki Otaka, an artistic director of Opera, and for Mr. David Bintley, an artistic director of Ballet and Dance, so I believe that this season will be the culmination of their four-year term. In the play section, the ambitious projects of Ms. Keiko Miyata, an artistic director of Play, are lined up. We look forward to seeing you in the theatre. Fukuchi Shigeo President, New National Theatre Foundation Contents OPERA Rigoletto (New Production) 6 Le Nozze di Figaro 7 Les Contes d’Hoffmann 8 Carmen 9 As I look back on the seasons I’ve spent at New National Theatre Tokyo thus far, Madama Butterfly 10 let me takeOPERA this opportunity to express my deep gratitude to one and all. And now, Die tote Stadt (New Production) 11 Wozzeck 12 a few words about our line-up for the upcoming season, which will be my fourth Cavalleria Rusticana/I Pagliacci (New Production) 13 and final one. Arabella 14 Rokumeikan 15 2013 marks the 200th anniversary of the birth of Giuseppe Verdi. At NNTT, the 2013-2014 season opens with a new production of Verdi’s “Rigoletto”. The production is directed by Andreas Kriegenburg and will be conducted by Pietro BALLET Rizzo. I look forward to these performances of the new production. “Rigoletto” Ballets Russes Stravinsky Evening 17 is followed by four productions that we as a theatre must cherish, just as we The Nutcracker 18 cherish all of you. The first of these is “Le Nozze di Figaro”, then “Les contes Swan Lake 19 Symphony in Three Movements/Grosse Fuge/ 20 d’Hoffmann” . Heading into the new year, we present “Carmen” and “Madama New work by Jessica Lang Butterfly”. I do hope you will thoroughly enjoy these repertory productions. Our Faster/Carmina Burana 21 second new production of the season will be “Die tote Stadt” by Erich Wolfgang The Prince of the Pagodas 22 Korngold. This opera is not frequently performed, and is one I knew I wanted to do. I am confident that all involved, from the two leads, who have been cast in challenging roles, to the entire production crew, will bring out the true merit of DANCE this work. Next up, an opera from a composer from the same era, which created a Nakamura Megumix Shuto Yasuyuki 23 buzz during its previous run here: “Wozzeck” by Alban Berg. This is followed by DANCE to the Future ~ Second Steps ~ 24 a new production of Cavalleria Rusticana and I Pagliacci”. These are two operas A Women’s House 25 DANCE ARCHIVES in Japan 26 that reward repeat viewings, and for them we have secured the services of two fine tenors. Next, we present “Arabella”, an opera that always brings laughter to audi- ences. It is also one that holds special meaning for me, as it was the first produc- PLAY tion I oversaw as Artistic Director at NNTT, and I had really hoped to stage it OPUS/Edward II 29 again in my last season here. Pygmalion 30 Les Séquestrés d’Altona/History of Mizuho in Manila 31 Rounding off my four-year term, NNTT presents a Japanese opera. The selection The Tempest 32 for the season finale embodies our hope for the continued growth of Japanese Nineteen-year-old Jacob/Time Stands Still 33 opera, as we bring you “Rokumeikan”, based on the play by Mishima Yukio. THE THEATRE Buying Tickets 33 Opera Palace 34 Playhouse 36 The Pit 38 Otaka Tadaaki Education Programmes 39 Artistic Director, Opera Facility Information 40 Access 42 6 7 The Sponsored Performance at the Arts Festival, Agency for Cultural Affairs The Cooperative Performance at the Arts Festival, Agency for Cultural Affairs From 2010 performance, Photo: Saegusa Chikashi Photo: 2010 performance, From Giuseppe Verdi Giuseppe AnRIG exciting newO productionLE by KriegenburgTTO shows of the sparkling LE NOZZE DI Figaro New Production An immortal masterpiece of Mozart that keeps shining for eternity. Music by Wolfgang Amadeus Mozart competence of the world’s top class singers. Music by Giuseppe Verdi The 2013/2014 season opener will be our new production of “Rigoletto”, which forms the This opera is indeed an enduring masterpiece that has been loved for over 200 years. The Opera in 4 Acts Opera in 3 Acts highlight of our celebrations of the 200th anniversary of Verdi’s birth. Love stories, curses well-known overture is overflowing with the musical charms of the genius Mozart. This and the tragedy of revenge evolve around Rigoletto, an ugly jester, Gilda, an innocent girl, opera comes complete with popular arias such as “Voi che sapete/ You know what love Sung in Italian Sung in Italian and the prodigal duke of Mantova. This work is filled with singing and famous arias such as is”, and “Non più andrai farfallone amoroso/ You won’t go any more, amorous butterfly”. with Japanese Subtitles with Japanese Subtitles “La donna è mobile/ The Woman is fickle”, “Caro nome/ Dearest name”, and “Cortigiani! The sophisticated production of Andreas Homoki fully depicts the humanity of dramatis vil razza dannata/ Courtiers, you vile, damned race”. This is highly popular among all of personae to highlight the universality of this work that persists even today. Ulf Schirmer, Verdi’s operas. The production is directed by Andreas Kriegenburg, the genius of German a German maestro, will conduct the adorable young cast, including young Hungarian bari- theatre. We also invite fascinating singers such as Marco Vratogna, an Italian baritone who is tone Levente Molnár, who is playing outstandingly in Vienna, Munich and London. playing an active role in La Scala and Vienna State Opera; Elena Gorshunova, who combines beauty and a magical voice; and Woo-Kyung Kim, whose fine voice graced the 2011 NNTT 2013/2014 Season Opera Sponsor 2013/2014 Season Opera Sponsor performances of “La Traviata”. Special sponsor Sponsor STAFF: STAFF: CONDUCTOR: ULF SCHIRMER 1 CONDUCTOR: PIETRO RIZZO 1 PRODUCTION: ANDREAS HOMOKI 2 PRODUCTION: ANDREAS KRIEGENBURG 2 SCENERY DESIGN: FRANK PHILIPP SCHLÖSSMANN SCENERY DESIGN: HARALD THOR COSTUME DESIGN: MECHTHILD SEIPEL COSTUME DESIGN: TaNJA HOFMANN LIGHTING DESIGN: FRANCK EVIN LIGHTING DESIGN: STEFAN BOLLIGER 1 2 3 4 5 CAST: CAST: 1 2 3 4 IL CONTE ALMavIva: LEVENTE MOLNÁR 3 RIGOLETTO: MARCO VRATOGNA 3 LA CONTESSA: MANDY FREDRICH 4 GILDA: ELENA GORSHUNOva 4 FIGARO: ARIS ARGIRIS 5 IL DUCA DI MANTOva: WOO-KYUNG KIM 5 SUSANNA: KUSHIMA KANAE 6 SpaRAFUCILE: TSUMAYA HIDEKAZU 6 CHERUBINO: LENA BELKINA 7 MADDALENA: YaMASHITA MAKIKO 7 6 7 8 9 10 MARCELLINA: TakEMOTO SETSUKO 8 IL CONTE DI MONTERONE: TaNI TOMOHIRO 8 BARTOLO: MATSUI HIROSHI 9 5 6 7 8 GIOvaNNA: YODA ASAKO BASILIO: ONO MITSUHIKO 10 MARULLO: NARITA HIROYUKI DON CURZIO: ITOGA SHUHEI BORSA: KAMOSHITA MINORU ANTONIO: SHIMURA FUMIHIKO October 2013 OPERA PALACE IL CONTE DI CEPRANO: KOBAYASHI YOSHIKI October 2013 OPERA PALACE BARBARINA: YOSHIHARA KEIKO 3 6 9 12 16 19 22* Tickets on sale now 20 23 26 29 Tickets on sale now TH SU W SA W SA TU S ¥26,250 A ¥21,000 B ¥14,700 CHORUS: NEW NATIONAL THEATRE CHORUS SU W SA TU S ¥21,000 A ¥15,750 B ¥10,500 CHORUS: NEW NATIONAL THEATRE CHORUS 7:00 2:00 2:00 2:00 7:00 2:00 2:00 C ¥8,400 D ¥5,250 ORCHESTRA: TOKYO PHILHARMONIC ORCHESTRA 2:00 6:30 2:00 2:00 C ¥6,300 D ¥3,150 ORCHESTRA: TOKYO PHILHARMONIC ORCHESTRA Private showing* 8 9 The Coorperative Performance at the Arts, Festival, Agency for Cultural Affairs From 2003 performance, Photo: Saegusa Chikashi Photo: 2003 performance, From Saegusa Chikashi Photo: 2010 performance, From Les Contes D’HOFFMANN Carmen Three tragic love stories of the poet Hoffmann invite audiences to a Music by Jacques Offenbach Set in Spain, the fatal love of Carmen the femme fatale, and Don José, flares up Music by Georges Bizet dreamlike world. with enthusiasm and passion. Opera in 5 Acts Opera in 3 Acts Offenbach’s only opera, which depicts an enigmatic journey of the poet Hoffmann’s Together with the well-known arias such as “Habanera” and “Votre toast, je peux vous romance, will return to the NNTT for the first time in eight years. It is an absolute gem Sung in French le rendre/Toreador song”, Carmen, a free-spirited woman, and Don José, an honest and Sung in French of French opera, featuring chic and beautiful music such as “Les oiseaux dans la charmille with Japanese Subtitles trusting man, unfurls a drama of love and death.
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    MŰSORKALENDÁRIUM KIS MAGYAR A 137. operai szezon elé „BÁRMIT MONDASZ A FRANCIÁKNAK, OPERA-TÖRTÉNET LEFORDÍTJÁK SAJÁT NYELVÜKRE, 2020 ÉS VOILÀ: AZ MÁR TELJESEN MÁS!” Johann Wolfgang von Goethe 200 esztendeje múlt annak, hogy az első fennmaradt magyar nyelvű dalmű librettójaként szolgáló dráma Bonsoir! Jó estét! nyom ta tás ban megjelent. S bár előtte is létezett egyfajta magyarországi operajátszás főurak, hercegérsekek Intézményünk ugyan 136 éves, a jogelőddel együtt pedig már elhagytuk a 183. esztendőt is, soha ennyi francia vagy ud va rai ban – elég itt az Eszterházán szolgáló Haydnra gon dolni –, az állami szintre emelt intézményi forma francia inspirációjú mű nem volt játékrendjében, mint idén, mert bár a Carmen fontos, közel sem minden, ahogy a első alakja az 1837-ben Pesti Magyar Színházként nyitott, de 1840-ben Nemzeti Színházra átkeresztelt épület- Gounod-féle Faust vagy a Hoffmann meséi sem az. ként jelent meg. Az Erkel Ferenc vezette operatagozat és a Frederico Campilli irányította tánckar végül csak 1884-ben, relatíve későn kapott saját épületet és önrendelkezést: akkor viszont az Ybl Miklós által terve- 2011 őszén, az intézményhez visszakerülve azzal a felismeréssel fogtam munkához, hogy miként az olasz és német zett és építésvezetett Sugár úti épületben, s egyből a legnagyobb magyar kulturális intézménnyé válva. irodalom dominál Operánk életében, úgy – például a magyar repertoár szűkössége, az Erkel-kultusz hiánya mellett – a harmadik jelentős operatermés, a francia úgyszólván nincs reprezentálva (persze a szláv sem, róluk sem feled- kezünk el, ám egyszerre mindent nem lehet). Évente egy francia mű bemutatásával 2020-ra kiszínesedett a paletta, TEMATIKUS SZEZONOK 2011–2021 amelyet a tematikus évad premierjeivel felütve már nemhogy szégyenkeznünk nem kell, de – és vagyunk még pár ÁTMENETI ÉVAD dologgal így – egyből világattrakció a mi Operánk francia repertoárja.
  • Singing for Two: Experiencing Pregnancy As a Classical Singer

    Singing for Two: Experiencing Pregnancy As a Classical Singer

    Singing For Two: Experiencing Pregnancy as a Classical Singer by Catherine Marie Gardner A thesis submitted in conformity with the requirements for the degree of Doctor of Musical Arts Faculty of Music University of Toronto © Copyright by Catherine Marie Gardner 2017 Singing for Two: The Experience of Pregnancy for the Classical Singer Catherine Gardner Doctor of Musical Arts Faculty of Music University of Toronto 2017 Abstract The purpose of this study was to understand more fully the experience of pregnancy for the classical singer. Though research has uncovered the physical implications of pregnancy for the non-singer, aspects which can impact the classical singer, such as breath mechanics, hormonal fluctuations, and the many other physical changes brought on by pregnancy, have not been fully investigated. My first objective was to find out how the physical aspects of pregnancy impact singers as they continue to perform through these changes. My second objective was to discover what the emotional implications of pregnancy are for the classical singer. Did emotional changes instigated by pregnancy occur that influenced the singer’s performance anxiety, routine and sense of self as a performer? My final objective was to investigate the social implications of pregnancy for the classical singer. How are pregnant classical singers viewed and treated within the performance realm? Is there support for singers who become pregnant? What are the implications for career trajectory and timing? !ii This study uses mixed methods to enhance and expand the range of information gathered. In- depth interviews were conducted on two pregnant and one recently pregnant classical singers.