DOCSLIB.ORG

Cours De Maître Masterclass Avec / with Maestro Richard Bonynge

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Cours De Maître Masterclass Avec / with Maestro Richard Bonynge DU 25 MAI AU 5 JUIN CONCOURSMONTREAL.CA COURS DE MAÎTRE MASTERCLASS AVEC / WITH MAESTRO RICHARD BONYNGE SALLE DE CONCERT BOURGIE DU MUSÉE DES BEAUX-ARTS DE MONTRÉAL 28 MAI 2015 MAY 28, 2015 19 H 30 7:30 P.M. PROGRAMME 19 H 30 7:30 P.M. PASCALE SPINNEY Mezzo-soprano École de musique Schulich / Schulich School of Music, McGill University Classe de / Class of Thérèse Sévadjian Pianiste / Pianist: Louise Pelletier GIOACHINO ROSSINI (1792-1868) « Tu che accendi... Di tanti palpiti » - Tancredi « Una voce poco fa » - Il barbiere di Siviglia GAETANO DONIZETTI (1797-1848) « È sgombro il loco... Ah! Parea » - Anna Bolena ———— PA USE / BREAK ———— 20 H 50 8:50 P.M. MYRIAM LEBLANC Soprano Études privées avec / Private studies with Yolande Parent Pianiste / Pianist: Martin Dubé GAETANO DONIZETTI (1797-1848) « O Luce di quest’anima » - Linda di Chamounix « Chacun le sait » - La fille du régiment GIUSEPPE VERDI (1813-1901) « Caro Nome » - Rigoletto DU 25 MAI AU 5 JUIN CONCOURSMONTREAL.CA MAESTRO RICHARD BONYNGE ORIGINAIRE DE SYDNEY, Richard Bonynge a d’abord étudié le piano au New South Wales Conservatorium of Music puis auprès de Herbert Fryer, à Londres. Il a fait ses débuts à titre de chef d’orchestre à Rome, en 1962, avec l’Orchestra dell’Accademia Nazionale di Santa Cecilia. Depuis, il a été invité par les plus grandes maisons d’opéra du monde. Richard Bonynge a été directeur artistique du Vancouver Opera et directeur musical d’Opera Australia. Il a été fait Commandeur de l’Ordre de l’Empire britannique en 1977, Officier de l’Ordre de l’Australie en 1983 puis promu Compagnon en 2012, Commandeur de l’Ordre national des arts et des lettres en 1989 et « Socio d’onore » de la R. Accademia Filarmonica di Bologna en 2007. PAUL GOSNEY Il fut l’époux de la regrettée soprano Joan Sutherland. Maestro Bonynge a endisqué plus de 50 opéras et contribué à de nombreux enre gistrements vidéo d’opéras et de ballets. Il a aussi fait revivre bon nombre d’opéras qui ne faisaient pas partie du répertoire courant à l’époque : Les Huguenots (Meyerbeer), Semiramide, Sigismondo (Rossini), La Fille du Régiment, Maria Stuarda, Anna Bolena, Lucrezia Borgia (Donizetti), Esclarmonde, Le Roi de Lahore, Thérèse (Massenet), Medea (Puccini), Orfeo (Haydn), I Masnadieri (Verdi). En tant que chef, il est connu qu’il soit extrêmement attentif aux chanteurs; son instinct du chant et ses connaissances de la voix sont notoires. Il est reconnnu comme étant un grand spécialiste du bel canto, ainsi que de l’opéra français et du ballet des 18e et 19e siècles. BORN IN SYDNEY, Richard Bonynge studied piano at the New South Wales Conservatorium of Music and later with Herbert Fryer in London. He made his conducting début in Rome in 1962 with the Orchestra dell’Accademia Nazionale di Santa Cecilia and has since conducted at most of the world’s opera houses. Richard Bonynge was Artistic Director of Vancouver Opera and Musical Director of Opera Australia. He was named Commander of the Order of the British Empire in 1977, Officer of the Order of Australia in 1983, and promoted Companion in 2012, Commandeur de l’Ordre national des arts et des lettres in 1989 and made “Socio d’onore” of the R. Accademia Filarmonica di Bologna in 2007. He was married to the late soprano Joan Sutherland. Maestro Bonynge has recorded over fifty operas, as well as videos of various operas and numerous ballets. He has also revived many operas which were not at the time included in the repertoire: Les Huguenots (Meyerbeer), Semiramide, Sigismondo (Rossini), La Fille du Régiment, Maria Stuarda, Anna Bolena, Lucrezia Borgia (Donizetti), Esclarmonde, Le Roi de Lahore, Thérèse (Massenet), Medea (Puccini), Orfeo (Haydn), I Masnadieri (Verdi). As a conductor, he is widely regarded as being extraordinarily sympathetic to singers on the stage and his instinct, knowledge and feel for voices have become legendary. He is acknowledged as a scholar of bel canto opera, and in 18th and 19th centuries opera and ballet music..
Load more

Recommended publications
  • The Italian Girl in Algiers
    Opera Box Teacher’s Guide table of contents Welcome Letter . .1 Lesson Plan Unit Overview and Academic Standards . .2 Opera Box Content Checklist . .8 Reference/Tracking Guide . .9 Lesson Plans . .11 Synopsis and Musical Excerpts . .32 Flow Charts . .38 Gioachino Rossini – a biography .............................45 Catalogue of Rossini’s Operas . .47 2 0 0 7 – 2 0 0 8 S E A S O N Background Notes . .50 World Events in 1813 ....................................55 History of Opera ........................................56 History of Minnesota Opera, Repertoire . .67 GIUSEPPE VERDI SEPTEMBER 22 – 30, 2007 The Standard Repertory ...................................71 Elements of Opera .......................................72 Glossary of Opera Terms ..................................76 GIOACHINO ROSSINI Glossary of Musical Terms .................................82 NOVEMBER 10 – 18, 2007 Bibliography, Discography, Videography . .85 Word Search, Crossword Puzzle . .88 Evaluation . .91 Acknowledgements . .92 CHARLES GOUNOD JANUARY 26 –FEBRUARY 2, 2008 REINHARD KEISER MARCH 1 – 9, 2008 mnopera.org ANTONÍN DVOˇRÁK APRIL 12 – 20, 2008 FOR SEASON TICKETS, CALL 612.333.6669 The Italian Girl in Algiers Opera Box Lesson Plan Title Page with Related Academic Standards lesson title minnesota academic national standards standards: arts k–12 for music education 1 – Rossini – “I was born for opera buffa.” Music 9.1.1.3.1 8, 9 Music 9.1.1.3.2 Theater 9.1.1.4.2 Music 9.4.1.3.1 Music 9.4.1.3.2 Theater 9.4.1.4.1 Theater 9.4.1.4.2 2 – Rossini Opera Terms Music
    [Show full text]
  • 572032 Bk Penderecki
    ROSSINI Complete Overtures • 4 Il barbiere di Siviglia Il Turco in Italia • Armida Prague Sinfonia Orchestra • Christian Benda Complete Overtures • 4 Gioachino Rossini (1792-1868): matrimonio, for which it was adapted, to be used again, poem. Coming to his senses, he leaves Armida, who is Gioachino Antonio Rossini, one of the most successful Useless Precaution), to avoid confusion with Paisiello’s after further revision, as an overture for Adelaide di now torn between love and desire for revenge. The and popular operatic composers of his time, was born in work, Rossini’s opera deals with the plan by Count Borgogna in 1817. opening Sinfonia contrasts two elements, the steady Pesaro in 1792. His father, a brass-player, had a modest Almaviva to woo Rosina and win her hand in marriage. Ricciardo e Zoraide was first staged at the Teatro march of the crusaders and a rapid Vivace, the march career, disturbed by the political changes of the period as With the help of the barber and general factotum Figaro, San Carlo in Naples in 1818. Agorante, angry at the unexpectedly returning to interrupt the livelier section. the French replaced the Austrians in Northern Italy. he carries out his plan to outwit her guardian, Dr Bartolo, refusal of Ircano to give him his daughter Zoraide in Le Comte Ory, Rossini’s fourth opera for Paris, was Rossini’s mother was a singer and as a boy Rossini who has his eye on his ward’s fortune. The overture was marriage, ousts Ircano from his kingdom of Nubia and first staged at the Paris Opéra in August 1828.
    [Show full text]
  • Beach Party Ci Nd Erella Study Guide
    BEACH PARTY CI ND ERELLA STUDY GUIDE NASHVILLE OPERA CINDERELLA by Gioachino Rossini JUNE 12, 2021 The Ann & Frank Bumstead Production Special 90-minute Adaptation Ascend Amphitheater Directed by John Hoomes Conducted by Dean Williamson Featuring the Nashville Opera Orchestra CAST & CHARACTERS Cinderella (Angelina) Emily Fons* The Prince Matthew Grills* Dandini Jonathan Beyer* Don Magnifico Stefano de Peppo* Alidoro Christopher Curcuruto*† Tisbe Emilyl Cottam*† Clorinda Bryn Holdsworth* Brian Russell Jonas Grumby * Nashville Opera debut † 2021 Mary Ragland Emerging Artist TICKETS & INFORMATION Contact Nashville Opera at 615.832.5242 or visit nashvilleopera.org/cinderella SPONSORED BY ANN MARIE AND MARTIN M cNAMARA III NASHVILLE WITH SUPPORT FROM THE JUDY & NOAH SUE & EARL OPERA LIFF FOUNDATION SWENSSON THE STORY Rossini composed his version of the CINDERELLA folk tale in a staggering three weeks during 1817. He was only twenty-four years old at the time. Based on Charles Perrault’s CENDRILLON of 1697, La Cenerentola follows a common girl who dreams of a happier life and a prince who seeks to marry the most beautiful girl he can find. Rossini’s plot diverges from the fairy-tale tradition and takes a more realistic approach, with an endearing and sensible central character. Director John Hoomes brings some of the magic spirit back by setting the farcical tale by the sea in his BEACH BLANKET BINGO -inspired staging. THIS SYNOPSIS HAS BEEN UPDATED TO REFLECT JOHN HOOMES’S BEACH-PARTY STAGING It’s morning in the broken-down surf shop owned by Don and tells him to search for the young woman wearing the Magnifico.
    [Show full text]
  • Mauro GIULIANI Le Rossiniane Goran Krivokapić, Guitar Mauro Giuliani (1781–1829) Giuliani’S Six Rossiniane for Solo Guitar Are Fantasias Rossiniana No
    Mauro GIULIANI Le Rossiniane Goran Krivokapić, Guitar Mauro Giuliani (1781–1829) Giuliani’s six Rossiniane for solo guitar are fantasias Rossiniana No. 1, Op. 119 (c. 1820 –23) Le Rossiniane or potpourris (i.e. medleys) on themes taken from (Le Rossiniane, Part 1, Op. 119) Rossini’s operas. The first five are dated around 1820–23 Introduction (Andantino) – Otello , Act III. Scene e Mauro Giuliani, one of the great masters of the early 19th Seville , was written within three weeks. Nearly 40 stage during Giuliani’s time in Rome, and the last was published Romanza: Assisa a piè d’un salice (Desdemona) century, wrote a vast quantity of guitar music including works constitute his ultimate output, as well as sacred in 1827/28. At the time of composition the public would Andante grazioso – L’Italiana in Algeri , Act I, Scene 3. variations, sonatas, concertos, duets and studies. An music, cantatas, incidental music, hymns, choruses, have been well aware of the themes of Rossini’s music Cavatina: Languir per una bella (Lindoro) important part of his career was spent in Vienna where he miscellaneous vocal pieces and instrumental works, but nowadays only the more popular may be immediately Maestoso – L’Italiana in Algeri , Act I, Scene 5. Duetto: was well acquainted with Beethoven, Moscheles, among others. recognisable to an audience. However, the tunes are so Ai capricci della sorte (Isabella, Taddeo) Hummel, Mayseder, Spohr and other leading musicians Giuliani’s music was largely neglected by the leading strong and vivid that a first acquaintance with such Moderato – L’Italiana in Algeri , Act II.
    [Show full text]
  • 03-10-2018 Semiramide Mat.Indd
    GIOACHINO ROSSINI semiramide conductor Opera in two acts Maurizio Benini Libretto by Gaetano Rossi, based on production John Copley the play Sémiramis by Voltaire set designer Saturday, March 10, 2018 John Conklin 1:00–4:40 PM costume designer Michael Stennett lighting designer John Froelich revival stage director The production of Semiramide was Roy Rallo made possible by a generous gift from the Lila Acheson and DeWitt Wallace Fund for Lincoln Center, established by the founders of The Reader’s Digest Association, Inc. The revival of this production is made possible by a gift from Ekkehart Hassels-Weiler general manager Peter Gelb music director designate Yannick Nézet-Séguin 2017–18 SEASON The 34th Metropolitan Opera performance of GIOACHINO ROSSINI’S This performance semiramide is being broadcast live over The Toll Brothers– Metropolitan Opera conductor International Radio Maurizio Benini Network, sponsored in order of vocal appearance by Toll Brothers, America’s luxury oroe, high priest of the magi ® homebuilder , with Ryan Speedo Green* generous long-term support from idreno, an indian prince The Annenberg Javier Camarena Foundation, The Neubauer Family assur, a prince Foundation, the Ildar Abdrazakov Vincent A. Stabile Endowment for semir amide, queen of babylon Broadcast Media, Angela Meade and contributions from listeners arsace, commander of the assyrian army worldwide. Elizabeth DeShong There is no Toll Brothers– a zema, a princess Metropolitan Sarah Shafer Opera Quiz in List Hall today. mitr ane, captain of the guard Kang Wang** This performance is also being broadcast ghost of king nino live on Metropolitan Jeremy Galyon Opera Radio on SiriusXM channel 75.
    [Show full text]
  • La Perfección De La Última Opera Seria De Rossini
    La perfección de la última opera seria de Rossini «Las bóvedas de nuestro teatro resonarán con nuevas Rossini había hecho su presentación pública como armonías del soberano musical del mundo: de Rossini»: son compositor de ópera en 1810 con La cambiale di matrimonio, palabras de los empresarios del Teatro La Fenice de Venecia una ópera cómica en un acto basada asimismo en un libreto en un documento interno de octubre de 1822. En el verano de Gaetano Rossi (que más tarde escribiría con un orgullo de ese mismo año habían firmado un contrato con el músico comprensible sobre su relación profesional con su renombrado que incluía la composición de una nueva ópera: habría de amigo). En 1813, la época de Tancredi, ya habían cristalizado estar escrita en el elevado género de la opera seria, una ópera las formas musico-dramáticas básicas del aria, el gran dúo y el heroica digna del más grande de los teatros venecianos y en final de acto rossinianos: constituirían los modelos de los que la temporada más importante del calendario operístico (la habrían de valerse durante mucho tiempo no sólo Rossini, sino temporada de carnaval, que habría de inaugurarse el 26 de también los compositores de ópera italiana de las generaciones diciembre de 1822). Y lo cierto es que la ópera resultante de posteriores. (Philip Gossett, el gran estudioso rossiniano, ha aquel contrato, Semiramide, aparece definida en la portada dejado constancia de la persistencia de estos modelos hasta del libreto impreso para su primera producción, estrenada el la Aida de Verdi de 1871, un fenómeno comparable a la larga 3 de febrero de 1823, como un «melo-dramma tragico».
    [Show full text]
  • Baltimore Concert Opera Presents: Rossini’S Semiramide
    Baltimore Concert Opera presents: Rossini’s Semiramide Who was Semiramis? The Gist of the Story: The historical woman.. Records show that Setting: about 2000 BCE, in ancient Babylon, after the reign of the Assyrian King Shamshi- based on Voltaire's tragedy Semiramis (1848). Adad V, 823-811 B.C.E., his widow WHO? Shammuramat (a.k.a Sammu –Ramat) served 15 years earlier, Queen Semiramide and her Composer: as regent from 811 - 808 B.C.E. before their son (then lover) Assur conspired to kill King Nino. Adad-Nirari III took the throne. Not much is Gioachino Rossini Now is it time to name a new successor and known for sure about Queen Sammu-Ramat, (1792 – 1868) Assur expects the title. Semiramide, however, but was extraordinarily powerful for a woman in is now enamored of a handsome young Librettist: Gaetano Rossi ancient times, even having an obelisk erected commander, Arsace, (who is supposedly a for herself in the middle of a major city that read: (1774 – 1855) Scythian) but in reality is her own lost son, “Stele of Sammuramat, queen of Shamshi- Ninia. Arsace and Semiramide are unaware of Adad, King of the Universe, King of Assyria, this, and only the chief priest Oroe knows the Mother of Adad Nirari, King of the Universe, WHAT? truth. Meanwhile, Arsace is in love with the King of Assyria, Daughter-in-Law of Tragic opera seria Babylonian princess Azema, not the Queen. Shalmaneser, King of the Four Regions of the Toward the end of the story - after a tale of World.” She sounds like a pretty powerful lady! (noble subject matter, clear misunderstandings, unrequited lovers, and The legend… According to legend, Semiramis structure, ornamental vocal surprise filial revelations - the Ghost of King was a semi-divine warrior queen: “The Greeks Nino arrives to encourage Arsace to avenge his lines), the last major remembered her, giving her the Greek name murderous death.
    [Show full text]
  • For Immediate Release April 17, 2009
    PITTBURGHOPERA page 1 For Immediate Release April 17, 2009 Contact: Kesha M. Pate, Public Relations Manager [email protected] or (412) 281-0912 ext 248 Photos: Allison M. Ruppert, Marketing and Community Relations Manager [email protected] or (412) 281-0912 ext 262 Pittsburgh Opera presents The Italian Girl in Algiers May 2-10 What: Gioachino Rossini’s opera The Italian Girl in Algiers (L'italiana in Algeri) Where: Benedum Center for the Performing Arts Experience is Everything 7th Street and Penn Avenue, Downtown Pittsburgh 2008-2009 Season When: Saturday, May 2, 8:00 PM Tuesday, May 5, 7:00 PM Friday, May 8, 8:00 PM Sunday, May 10, 2:00 PM Run Time: Two hours, 45 minutes, including one intermission Language: Sung in Italian with English titles projected above the stage Tickets: Start at $16. Call 412-456-6666 for more information or visit www.pittsburghopera.org Pittsburgh, PA… Pittsburgh Opera presents Gioachino Rossini’s opera The Italian Girl in Algiers (L’italiana in Algeri) at the Benedum Center May 2 – 10. This effervescent comedy gets a 1930s-style makeover and takes us behind the beaded curtain of a sultan’s harem. Hilarity ensues when the Amelia Earhart-style heroine Isabella crash-lands on the Algerian coast while attempting to rescue her beloved Lindoro from the Bey of Algiers, Mustafà. Pittsburgh Opera’s updated production includes an elaborate storybook set, bold costumes and a hot air balloon that provides the heroine’s dramatic departure in the finale. Music Director Antony Walker conducts. Vivica Genaux returns to Pittsburgh Opera in one of her signature roles as the feisty heroine Isabella.
    [Show full text]
  • Gioachino Rossini (1792–1868) Italian, Ingenious, Inspired
    Gioachino Rossini (1792–1868) Italian, ingenious, inspired. Gioachino Rossini occupied an unrivalled position in the Italian musical world of his time, winning considerable success relatively early in his career. He was the first of the great 19th century Italian opera composers and brought opera into the public consciousness and even today his music still rings true. Rossini had already written ten operas before he was 21, and eventually composed 39 major stage works, though in his last thirty years he wrotcve nothing new. He did try to become a composer of serious operas, but it will always be his comic operas, The Barber of Seville (8.553436) and Cinderella (8.660191-92) that his fame will rest. Label Cat. No. Composer Title Feartured Artists UPC Ekaterina Sadovnikova, Miriam Zubieta, Soprano / Margarita Gritskova, Mezzo-soprano / Gheorghe Vlad, Yasushi Watanabe, Tenor / ROSSINI, Gioachino 1 Naxos 8.660401-02 Adelaide di Borgogna [2 CDs] Cornelius Lewenberg, Baritone / 0730099040174 (1792–1868) Baurzhan Anderzhanov, Bass-baritone / Camerata Bach Choir, Poznań / Virtuosi Brunensis / Luciano Acocella Digital Exclusive Arias for Contralto Ewa Podles, Contralto / ROSSINI, Gioachino The Barber of Seville • The Lady of the Lake • Hungarian State Opera Chorus / 2 Naxos 8.553543 0730099454322 (1792–1868) Tancredi • Semiramide • The Italian Girl in Algiers Hungarian State Opera Orchestra / • Cinderella • Maometto II Pier Giorgio Marandi Silvia Dalla Benetta, Soprano / Ana Victória Pitts, Marina Viotti, Mezzo-soprano / ROSSINI, Gioachino 3 Naxos
    [Show full text]
  • La Donna Del Lago
    GIOACHINO ROSSINI la donna del lago conductor Opera in two acts Michele Mariotti Libretto by Andrea Leone Tottola, production Paul Curran based on the poem The Lady of the Lake by Sir Walter Scott set and costume designer Kevin Knight Saturday, March 14, 2015 lighting designer 1:00–4:10 PM Duane Schuler projection designer New Production Driscoll Otto Last time this season The production of La Donna del Lago was made possible by a generous gift from the Betsy and Edward Cohen/Areté Foundation Fund for New Productions and Revivals, and Dominique and Frédéric Laffont Additional funding was received from Mr. and Mrs. William R. Miller, and general manager Peter Gelb William and Helen Little music director James Levine Co-production of the Metropolitan Opera and principal conductor Fabio Luisi the Santa Fe Opera The 8th Metropolitan Opera performance of GIOACHINO ROSSINI’S This performance la donna is being broadcast live over The del lago Toll Brothers– Metropolitan Opera International Radio Network, sponsored conductor by Toll Brothers, Michele Mariotti America’s luxury in order of vocal appearance homebuilder®, with generous long-term elena, daughter of dugl as d’angus support from Joyce DiDonato The Annenberg giacomo v, king james of scotl and, disguised as uberto Foundation, The Juan Diego Flórez Neubauer Family Foundation, the malcolm groeme, in love with elena Vincent A. Stabile Daniela Barcellona Endowment for ser ano, servant to dugl as Broadcast Media, and contributions Eduardo Valdes from listeners dugl as d’angus, scot tish nobleman, worldwide. former tutor of king james Oren Gradus There is no Toll Brothers– rodrigo di dhu, chief of the highlanders Metropolitan Opera John Osborn* Quiz in List Hall today.
    [Show full text]
  • Barratt Park Vocal Repertory and Performance April 4, 2007
    Barratt Park Vocal Repertory and Performance April 4, 2007 The Trials and Triumphs of Isabella Colbran Although public criticism, disease, and the stresses of courtesan life plagued Isabella Colbran throughout her life, she had a substantial influence on music composition in the nineteenth century. Heralded as one of the greatest European sopranos during her prime, Colbran’s voice declined early in her career, and she became an object of ridicule from her audiences. Colbran’s courtesan lifestyle also took a heavy toll; her vocal afflictions and failed marriage to Gioacchino Rossini may have arisen partly as a result of sexually transmitted diseases and poor vocal hygiene. However, through her influences on Rossini’s music as well as her own works, she made important contributions to composition. Colbran was born in 1784 to a musical family in Madrid, Spain. Her father was a trumpeter for the royal court of king Charles IV of Spain, and she had her first voice lessons from the Neapolitan composer Marinelli. She later studied with the castrato Girolamo Crescentini (Servadio, 23). Colbran made her concert debut in Paris in 1801 and her opera debut in Spain in 1806. Audiences praised her dramatic coloratura soprano voice for its remarkable flexibility and range, which spanned almost three octaves from g to e’’’ (Celletti). She also became famous for her brilliant delivery and commanding stage presence (Servadio, 23). In 1811, Colbran became the prima donna and mistress of the Neapolitan impresario Domenico Barbaja. Although Barbaja became extremely wealthy as a result of his successful theaters and gambling casinos, he started his career as a kitchen helper in cafes and bars, and he was known for his rough manners and poor education.
    [Show full text]
  • Opera Today : Three Rossini Operas Serias
    Opera Today : Three Rossini Operas Serias HOME COMMENTARY FEATURED OPERAS NEWS Three Rossini Operas Serias Rossini’s serious operas once dominated opera REPERTOIRE houses across the Western world. In their librettos, REVIEWS the great French author Stendahl—then a diplomat ABOUT in Italy and the composer’s first biographer—saw a CONTACT post-Napoleonic “martial vigor” that could spark a LINKS liberal revolution. In their vocal and instrumental SEARCH SITE innovations, he discerned a similar revolution in music. Tosca: Stark Drama at the Chandler Pavilion On Thursday evening April 27, 2017, Los Angeles Opera presented a revival of Giacomo Puccini’s Tosca at the Dorothy Chandler Pavilion. In 2013, director John Caird had given Angelinos a production that made Tosca a full-blooded, intense drama as well as a most popular aria-studded Subscribe to opera. His Floria was a dove among hawks. Opera Today Receive articles and San Jose’s Bohemian Rhapsody news via RSS feeds or Opera San Jose has capped a wholly winning season email subscription. with an emotionally engaging, thrillingly sung, Feature Articles enticingly fresh rendition of Puccini’s immortal masterpiece La bohème. Fine Traviata Completes SDO Season On Saturday evening April 22, 2017, San Diego Opera presented Giuseppe Verdi’s La traviata at the Civic Theater. Director Marta Domingo updated the 06 May 2017 production from the constrictions of the nineteenth century to the freedom of the nineteen twenties. Violetta’s fellow courtesans and their dates wore Three Rossini Opere Serie fascinating outfits and, at one point, danced the Charleston to what looked like a jazz combo playing Verdi’s score.
    [Show full text]