Great Musical Cities Prague, Vienna & Budapest
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A Trubadúr Rigoletto Otello Tannhäuser Iphigénie Auf Tauris Az Árnyék
OPERA REPERTOÁR OPERA REPERTOÁR OPERA REPERTOÁR BALETT REPERTOÁR BALETT REPERTOÁR BALETT REPERTOÁR G. Verdi G. Verdi Ch. W. Gluck – R. Strauss R. North – B. Downes / A. Bournonville – H. S. Løvenskiold: Harangozó Gyula – L. Delibes J. Cranko – P. I. Csajkovszkij A TRUBADÚR OTELLO IPHIGÉNIE AUF TaURIS TRÓJAI JÁTÉKOK / A SZILFID COPPÉLIA ANYEGIN Opera két részben Opera három részben Opera két részben Táncjáték három felvonásban Balett három felvonásban TRÓJAI JÁTÉKOK Karmester u Kovács János Karmester u Marco Comin Karmester u Vashegyi György Férfi balettparódia egy felvonásban Karmester u Kovács László Karmester u Silló István | Szennai Károly Rendező u Vámos László Rendező u Vámos László Rendező u Alföldi Róbert Koreográfus u Harangozó Gyula Koreográfus u John Cranko Koreográfus u Robert North Színpadra állította u ifj. Harangozó Gyula A főbb szerepekben u Fokanov Anatolij | Létay Kiss Gabriella | Sümegi Eszter A főbb szerepekben u José Cura | Marco Berti | Pasztircsák Polina A főbb szerepekben u Wierdl Eszter | Gál Gabi | Megyesi Zoltán | Haja Zsolt Cranko klasszikus balettje nagyszerűen bizonyítja, hogy Puskin költeménye a Walter Fraccaro | Hector Lopez Mendoza | Ulbrich Andrea | Wiedemann Bernadett Fokanov Anatolij | Dobi – Kiss Veronika | Nyári Zoltán Johannes von Duisburg | Zavaros Eszter Robert North angol koreográfus azért készítette balettjét, hogy sajátosan ironikus látás- Tanulságos párkapcsolati tréning, melynek közepén egy harangavatás áll. Címszereplő világirodalomnak olyan gyöngyszeme, amely örök érvényű emberi viszonyokat -
Szcenárium Art Journal of the National Theatre MITEM English, April 2019
szcenárium Art Journal of the National Theatre MITEM English, April 2019 Zsolt Szász: In the Workshop of Director Attila Vidnyánszky Madách Redivivus – Articles on The Tragedy of Man by Géza Balogh, Ildikó Sirató, Nina Király, Miklós Hubay, Ágnes Pálfi Eszter Katona: Federico García Lorca’s Reception in Hungary Márton P. Gulyás: New Mediality in Woyzeck at the National Theatre in Budapest Valdas Vasiliauskas about Eimuntas Nekrošius and Lithuania’s Youth Theatre “We Understand Our Culture Better Through the Other’s” – Interview with Nina Király AUTHORS Aurylaitė, Kristina (1970) translator, Vytautas Magnus University Balogh, Géza (1936) stage director, theatre historian, board member of UNIMA Durkóné Varga, Nóra (1965) translator, English teacher Hubay, Miklós (1918–2011) playwright, translator, dramaturg Katona, Eszter (1976) reader at Department of Hispanic Studies, University of Szeged Király, Nina (1940–2018) theatre historian, co-worker at the National Theatre in Budapest P. Gulyás, Márton (1980) film aesthete Pálfi, Ágnes (1952) poet, editor of Szcenárium Pinczés, István (1953) stage director, translator Sirató, Ildikó (1966) head of Theatre History Collection at National Széchényi Library, reader at Pannon University Szász, Zsolt (1959) puppeteer, dramaturg, stage director, managing editor of Szcenárium Vasiliauskas, Valdas (1951) theatre critic, editor, politician Vértes, László (1966) translator, interpreter Vidnyánszky, Attila (1964) stage director, general manager of the National Theatre in Budapest Támogatók PUBLISHER -
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BIOGRAFÍAS ANGELA TEODOR CIPRIAN GHEORGHIU ILINCĂI TEODORAŞCU TEMPORADA 2017-2018 Es una de las sopranos más Tras estudiar oboe y filología, Nació en Galati, Rumanía, y es destacadas de las últimas este tenor rumano se graduó en director en la Ópera Nacional décadas. Nació en Adjud, la Universidad de Música de de Rumanía en Bucarest desde Rumanía, y se graduó en la Bucarest. Inició su carrera 2003. Graduado de la Universidad Nacional de profesional en la Ópera Universidad Nacional de Música de Bucarest. Debutó Nacional de Rumanía en 2008. Música, estudió en Francia en la Royal Opera House de Fue premiado en importantes con el director Alain Paris, Londres en 1992 como Mimì concursos de canto, como el de especialista en repertorio (La bohème) y ese mismo año en Szczecin (2008) y el Viñas francés. Ha trabajado con casi la Metropolitan Opera House (2010). Su debut internacional, todas las instituciones de Nueva York y la Staatsoper en 2009, tuvo lugar en la Ópera musicales de su país, como las de Viena. En 1994 interpretó de Hamburgo con Macduff óperas de Brasov y Timisoara, por primera vez a Violetta (Macbeth), y ese mismo año el Teatro Nacional de Opereta (La traviata) con gran éxito debutó en la Staatsoper de de Bucarest, así como con la de público y crítica. Desde Viena como Ismaele (Nabucco). Radio Televisión Rumana. Ha entonces ha cantado en los más Ha cantado en algunos de los dirigido en la Ópera de Sarajevo reputados escenarios de París teatros más prestigiosos del y en el Teatro Malibran de Breguet La Classique a Buenos Aires, pasando por mundo, como la Royal Opera Venecia, y ha colaborado con Classique Extra-Plate Guillochée 7147 Ámsterdam, Kuala Lumpur, House de Londres, la Opéra destacados artistas rumanos (el Los Ángeles, Milán, Moscú national de Paris, el Liceu de bajo Eduard Tumagian, los y Zúrich. -
La Clemenza Di Tito
La clemenza di Tito La clemenza di Tito (English: The Clemency of Titus), K. 621, is an opera seria in La clemenza di T ito two acts composed by Wolfgang Amadeus Mozart to an Italian libretto by Caterino Mazzolà, after Pietro Metastasio. It was started after the bulk of Die Zauberflöte Opera by W. A. Mozart (The Magic Flute), the last opera that Mozart worked on, was already written. The work premiered on 6 September 1791 at theEstates Theatre in Prague. Contents Background Performance history Roles Instrumentation Synopsis Act 1 The composer, drawing by Doris Act 2 Stock, 1789 Recordings Translation The Clemency of Titus See also References Librettist Caterino Mazzolà External links Language Italian Based on libretto by Pietro Metastasio Background Premiere 6 September 1791 In 1791, the last year of his life, Mozart was already well advanced in writing Die Estates Theatre, Zauberflöte by July when he was asked to compose an opera seria. The commission Prague came from the impresario Domenico Guardasoni, who lived in Prague and who had been charged by the Estates of Bohemia with providing a new work to celebrate the coronation of Leopold II, Holy Roman Emperor, as King of Bohemia. The coronation had been planned by the Estates in order to ratify a political agreement between Leopold and the nobility of Bohemia (it had rescinded efforts of Leopold's brother Joseph II to initiate a program to free the serfs of Bohemia and increase the tax burden of aristocratic landholders). Leopold desired to pacify the Bohemian nobility in order to forestall revolt and strengthen his empire in the face of political challenges engendered by the French Revolution. -
Budapest Guide English.Pdf
Contents 5 Handy information 5 City transport 11 Museums, Churches 14 14 Cultural Avenue 22 Sights, Sightseeing 26 11 Antiques road show 36 42 26 Music, Theatres, Events 38 Beyond Budapest 40 Medicinal baths, Caves 42 40 Leisure 44 Shopping 47 38 Restaurants, Entertainment 49 44 Maps 6, 24–25, 51, 55 Legend « Tram ó Opening hours 6, 24–25, 51, 55 « Suburban railway % Admission ç Bus é Budapest Card è Castle bus accepted 49 ë Publisher: Tourism Office of Budapest Trolleybus A1 Map coordinate the official tourism marketing organization of Budapest Publication manager: László Paszternák 1 Metro 1 1 Site of museum © All rights reserved G Edited by Turizmus Kft. · Editor: Brigitta Vajk · Design: András Nász 2 Metro 2 on map 3 Metro 3 G1 Site of bath, Translation: CHFI Bt. Cover: Future Card Stúdió · Maps: TOPOGRÁF Photos: Tourist Office of Budapest photo archives ≥ Phone number cave on map The publisher does not accept responsibility for damages arising from any changes in information contained in this publication. ¥ Fax [1] Photo Publication closed: November 2005 Printing: PAUKER Printing House Co. www.budapestinfo.hu 3 Dear Readers I would like to welcome you to Budapest, a city which not only greets its guests with a rich history and unique cultural heritage, but also where we, the residents, can witness day by day its resurgence. That tourism is one of the most important economic branches of Budapest is evident in the rise in the number of tourists visiting the capital, and the growth of the quantity and quality of tourism services. Year on year several new hotels spring up in Budapest, numerous old buildings are reconstructed, and new cultural and tourism establishments are born. -
Shakespeare Theatre Association Conference in Prague, Czech Republic
PRAGUE COMPANY INVITES YOU TO THE CITY OF A HUNDRED SPIRES PRAGUE, CZECH REPUBLIC JANUARY 2019 PRECONFERENCE January 6-8, 2019 . 2019 STA CONFERENCE January 9-12, 2019 STA 2019 SPECS & WELCOME PACKET (more info coming later in 2018) STA Prague Conference 2019 Celebrate Shakespeare's global impact with the January 2019 Shakespeare Theatre Association Conference in Prague, Czech Republic. Prague Shakespeare Company is honored to host the STA 2019 Conference with a special focus on Shakespeare performance and production practices from around the world. Featuring exciting exchanges of artistic, managerial and educational methodologies between native and non-native English- speaking Shakespeare theatres and opportunites to attend performances in the evenings, STA 2019 Prague will offer valuable insights into new ways of thinking about and producing Shakespeare while allowing STA members to share their own proven practices with fellow Shakespeare artists from around the world. Highlights include a day of workshop sessions, panels and a performance at the National Theatre's historic Estates Theater (where Mozart premiered Don Giovanni in 1787) and a final banquet at the Lobkowicz Palace at Prague Castle. General Conference Itinerary: Pre-Conference - daily from 10am-4pm on 6, 7, 8 January 2019 Conference - daily from 10am-4pm on 9, 10, 11, 12 January 2019 Optional Evening performances (with purchase of ticket package) - 6, 7, 8, 9, 10, 11 January 2019 Conference Day & Evening performance at the National Theatre's historic Estates Theater - 11 -
Mozart's Operas, Musical Plays & Dramatic Cantatas
Mozart’s Operas, Musical Plays & Dramatic Cantatas Die Schuldigkeit des ersten Gebotes (The Obligation of the First and Foremost Commandment) Premiere: March 12, 1767, Archbishop’s Palace, Salzburg Apollo et Hyacinthus (Apollo and Hyacinth) Premiere: May 13, 1767, Great Hall, University of Salzburg Bastien und Bastienne (Bastien and Bastienne) Unconfirmed premiere: Oct. 1768, Vienna (in garden of Dr Franz Mesmer) First confirmed performance: Oct. 2, 1890, Architektenhaus, Berlin La finta semplice (The Feigned Simpleton) Premiere: May 1, 1769, Archbishop’s Palace, Salzburg Mitridate, rè di Ponto (Mithridates, King of Pontus) Premiere: Dec. 26, 1770, Teatro Regio Ducal, Milan Ascanio in Alba (Ascanius in Alba) Premiere: Oct. 17, 1771, Teatro Regio Ducal, Milan Il sogno di Scipione (Scipio's Dream) Premiere: May 1, 1772, Archbishop’s Residence, Salzburg Lucio Silla (Lucius Sillus) Premiere: Dec. 26, 1772, Teatro Regio Ducal, Milan La finta giardiniera (The Pretend Garden-Maid) Premiere: Jan. 13, 1775, Redoutensaal, Munich Il rè pastore (The Shepherd King) Premiere: April 23, 1775, Archbishop’s Palace, Salzburg Thamos, König in Ägypten (Thamos, King of Egypt) Premiere (with 2 choruses): Apr. 4, 1774, Kärntnertor Theatre, Vienna First complete performance: 1779-1780, Salzburg Idomeneo, rè di Creta (Idomeneo, King of Crete) Premiere: Jan. 29, 1781, Court Theatre (now Cuvilliés Theatre), Munich Die Entführung aus dem Serail (The Abduction from the Seraglio) Premiere: July 16, 1782, Burgtheater, Vienna Lo sposo deluso (The Deluded Bridegroom) Composed: 1784, but the opera was never completed *Not performed during Mozart’s lifetime Der Schauspieldirektor (The Impresario) Premiere: Feb. 7, 1786, Palace of Schönbrunn, Vienna Le nozze di Figaro (The Marriage of Figaro) Premiere: May 1, 1786, Burgtheater, Vienna Don Giovanni (Don Juan) Premiere: Oct. -
Mozart's La Clemenza Di Tito
6 Stage Directions and Set Design in Mozart’s La clemenza di Tito Sergio Durante In this essay I will examine the mise-en-scène of the 1791 Prague pro- duction of La clemenza di Tito. Beginning with an examination of the sets and their importance for understanding Mozart’s score and his use of the stage, I will then apply the results to a broader discussion of aesthetic dimensions within the opera.1 The Stage Sets and their Importance in Prague 1791 It has long been known that the main set designer for the Prague production of La clemenza di Tito was the Milanese Pietro Travaglia, a pupil of the famous Galliari brothers, Bernardino and Fabrizio (see Chapter 1, II Document 7). The most important source documenting Travaglia’s work is the so-called ‘Travaglia sketchbook’, preserved today in the National Széchényi Library in Budapest. The book, which had been in private possession before it arrived at the Budapest How to cite this book chapter: library in the 1950s, includes a number of scenographic sketches at Durante, S. 2018. Stage Directions and Set different stages of completion and many miscellaneous notes.2 It was Design in Mozart’s La clemenza di Tito. In: Tessing Schneider, M. and Tatlow, R. a main source for Horányi Mátyás in his book devoted to the theat- (eds.) Mozart’s La clemenza di Tito: A rical productions of the court of Esterháza.3 Travaglia, like Joseph Reappraisal. Pp. 134–158. Stockholm: Haydn, spent most of his professional life at Esterháza, until the death Stockholm University Press. -
CURRICULUM VITAE NIKITA STOROJEV, Bass
CURRICULUM VITAE NIKITA STOROJEV, Bass http://www.nikitastorojev.com Education 1970-72 State University at Sverdlovsk; Philosophy Major 1972-75 Mussorgsky Conservatory of Yekaterinburg Mastered bel canto technique under the direction of professor Ian Voutiras 1975-78 Moscow Tchaikovsky Conservatory of Music Diplomas received: Opera Singer ( оперный певец ) Chamber Music Singer ( камерный певец ) Professor of Voice ( педагог оперного пения ) 1977-80 Studied stage directing under professor/stage director Joseph Tumanov Studied and specialized in stage interpretation under Professor Eugene Nesterenko Private lessons with Tonini (coach of Pavarotti), Nicolai Ghiaurov, Jerome Hines and Giulio Fioravanti Professional Qualifications (Opera/Concert Performance) 1976-81 Principal soloist at the Bolshoi Opera 1978 Winner of International Tchaikovsky Competition, Moscow 1976-81 Principal soloist, Philharmonic Society of Moscow, gaining experience from working with the best Russian orchestras and conductors; Eugene Svetlanov, Gennady Rozhdestvenski, Boris Hikin, Yuri Fedosseyev, Valéry Gergiev 1983-85 Principal soloist with the Deutsche Oper am Rhein, Düsseldorf. Italian repertoire prepared and performed with Alberto Erede. German repertoire prepared and performed with Peter Schneider (conductor) and Yuri Kout (conductor). 1983-2007 Principal guest soloist at the opera houses, concert halls and international festivals: Milan, New York, Paris, London, Vienna, Berlin, Madrid, München, Moscow, St. Petersburg, Amsterdam, Rome, Tokyo, San Francisco….. Languages: Russian, English, Spanish, Italian, German, French Academic Employment 2007-2001 Assistant Professor of Voice and Opera, University of Texas at Austin 1997-1996 Professor of Voice and Opera, Schola Cantorum, Paris: 1982-1981 Professor, Escuela Superior de Música, Monterrey 1977-1978: Assistant to Eugene Nesterenko in Moscow Conservatory Teaching Experience 2001-2007 Assistant Professor, Voice/Opera Division, University of Texas at Austin 1978-2007 Master classes in: Moscow Conservatory, St. -
Tenor Richard Leech
Tenor Richard Leech Discography Solo from the heart Telarc International CD-80432 (1 CD) Italian Arias and Neapolitan Songs Works by Cilea, Donizetti, Puccini, Verdi, De Curtis, Di Capua, Leoncavallo, Tosti London Symphony Orchestra John Fiore, cond. Berlioz La Damnation de Faust London/Decca 444 812-2 (2 CDs) with Françoise Pollet, Gilles Cachemaille Orchestre Symphonique de Montréal Charles Dutoit, cond. Hymne des Marseillaises Telarc International 80164 (1 CD) with Silvia McNair Baltimore Symphony Orchestra David Zinman, cond. Donizetti Dom Sébastien Legato Classics LCD 190-2 (2 CDs) with Klara Takacs, Lajos Miller, Sergej Koptchak Opera Orchestra of New York Eve Queler, cond. 2 Gounod Faust EMI Classics CDCC 54228 (3 CDs) CDCC 54358 (1 CD Highlights) with Cheryl Studer, Thomas Hampson, José van Dam Orchestre du Capitole de Toulouse Michel Plasson, cond. Mahler Symphony No. 8 in E-flat (Symphony of a Thousand) SONY Classical S2K 45754 (2 CDs) with Sharon Sweet, Pamela Coburn, Florence Quivar, Brigitte Fassbänder, Siegmund Nimsgern, Simon Estes, Vienna Philharmonic Orchestra Lorin Maazel, cond. Meyerbeer Les Huguenots Erato 2292-45027-2 (4 CDs) with Françoise Pollet, Ghylaine Raphanel, Danielle Borst, Gilles Cachemaille, Boris Martinovic, Nicola Ghiuselev Orchestre Philharmonique de Montpellier Cyril Diedrich, cond. Puccini La Bohème Erato 0630-10699-2 (2 CDs) with Kiri Te Kanawa, Nancy Gustafson, Alan Titus, Gino Quilico, Roberto Scandiuzzi London Symphony Orchestra Kent Nagano, cond. 3 J. Strauss Die Fledermaus (Alfred) Philips 432 157-2 (2 CDs) 438 503-2 (1 CD - Highlights) with Te Kanawa, Gruberova, Fassbänder, Brendel, Bär, Krause Vienna Philharmonic Orchestra André Previn, cond. R.Strauss Der Rosenkavalier (Italian Tenor) EMI Classics CDCC 54259 (3 CDs) with Kiri Te Kanawa, Barbara Hendricks, Anne Sofie von Otter, Kurt Rydl Staatskapelle Dresden Bernard Haitink, cond. -
PROGRAMME CALENDAR a BRIEF HISTORY Beginning the 135Th Opera Season of OPERA in HUNGARY 2018
PROGRAMME CALENDAR A BRIEF HISTORY Beginning the 135th opera season OF OPERA IN HUNGARY 2018 Two years ago, we celebrated the 200th anniversary of the publication of the play that was later to be “THE PLEASURES OF CIVILISED used as the libretto of the first surviving Hungarian musical drama. And even though some form of op- era performance had already existed in Hungary in the courts of the aristocrats and primates – for an PEOPLE ARE ALWAYS COMPLEX” example, one need look no further than Haydn, who worked at Eszterháza (today’s Fertőd) – the first institution at the national level was the one which opened as the Hungarian Theatre of Pest in 1837 and was renamed the National Theatre in 1840. The opera company led by Ferenc Erkel and the dance en- semble led by Frigyes Campilli were given their own building and independence only at a relatively late stage, in 1884. But then they moved into the new building designed and built by Miklós Ybl on the “radial” avenue, and in doing so became the greatest of all of Hungary’s cultural institutions. We can really put our faith in Géza Csáth, since, as an early “So what do they do? They curse and insult those who, with follower of Freud, he studied the subconscious and believed their youthful tendons, climbed the walls and out into open that the mysterious world within us gives us pleasure. space. They see Puccini’s weaknesses, but are incapable of Opera and ballet, too, are complex experiences, as are all the noticing his youthfullness, his strength. -
Szerzoi Jogi Agazatok 5 Angol WIPO Ebook.Indd
The Economic Contribution of Copyright Industries in Hungary5 THE ECONOMIC CONTRIBUTION OF COPYRIGHT INDUSTRIES IN HUNGARY 5 HUNGARIAN INTELLECTUAL PROPERTY OFFICE 2017 Author: Dorottya Simon Linguistic reviser: Gábor Somogyi Graphic design: Péter Plette Hungarian Intellectual Property Office The manuscript of the Hungarian version was submitted on: 15 April 2016 The English language version was submitted on: 30 June 2017 THE ECONOMIC CONTRIBUTION OF COPYRIGHT INDUSTRIES IN HUNGARY 5 CONTENTS EXECUTIVE SUMMARY . 7. 1. BACKGROUND . 9. 2. METHODOLOGY . 1. 6 2 .1 . WIPO methodology . 1. 6 2 .2 . Definition of copyright industries . 1. 6 2 .3 . Statistical data . 1. 8 3. THE ECONOMIC CONTRIBUTION OF COPYRIGHT INDUSTRIES IN HUNGARY . 2. 1 3 .1 . Contribution of copyright industries . 2. 1 3 .2 . Contribution of core copyright industries . 2. 6 3 .3 . Contribution of interdependent copyright industries . 2. 9 3 .4 . Contribution of partial copyright industries . 3. 2 3 .5 . Contribution of non-dedicated support industries . 3. 3 3 .6 . Foreign trade of copyright industries . 3. 4 3 .7 . Comparison with other economic sectors . 3. 7 4. DeVELOPMENT TRENDS IN THE CORE COPYRIGHT INDUSTRIES . 40 4 .1 . Press and literature . 4. 1 4 .2 . Music, theatres, festivals . 4. 7 4 .3 . Museums . 5. 6 4 .4 . Motion picture and video . 5. 9 4 .5 . Radio and television . 6. 4 4 .6 . Advertising, commercials . 6. 8 4 .7 . Information and communication technology . 7. 1 BIBLIOGRAPHY . 7. 5 ANNEXES . 78 6 EXECUTIVE SUmmarY In 2003, the World Intellectual Property Organization (WIPO) published a methodological guide which created a standardized basis for the international comparison of copyright industries 1.