Boston Symphony Orchestra Concert Programs, Season 128, 2008-2009
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In Santa Cruz This Summer for Special Summer Encore Productions
Contact: Peter Koht (831) 420-5154 [email protected] Release Date: Immediate “THE MET: LIVE IN HD” IN SANTA CRUZ THIS SUMMER FOR SPECIAL SUMMER ENCORE PRODUCTIONS New York and Centennial, Colo. – July 1, 2010 – The Metropolitan Opera and NCM Fathom present a series of four encore performances from the historic archives of the Peabody Award- winning The Met: Live in HD series in select movie theaters nationwide, including the Cinema 9 in Downtown Santa Cruz. Since 2006, NCM Fathom and The Metropolitan Opera have partnered to bring classic operatic performances to movie screens across America live with The Met: Live in HD series. The first Live in HD event was seen in 56 theaters in December 2006. Fathom has since expanded its participating theater footprint which now reaches more than 500 movie theaters in the United States. We’re thrilled to see these world class performances offered right here in downtown Santa Cruz,” said councilmember Cynthia Mathews. “We know there’s a dedicated base of local opera fans and a strong regional audience for these broadcasts. Now, thanks to contemporary technology and a creative partnership, the Metropolitan Opera performances will become a valuable addition to our already stellar lineup of visual and performing arts.” Tickets for The Met: Live in HD 2010 Summer Encores, shown in theaters on Wednesday evenings at 6:30 p.m. in all time zones and select Thursday matinees, are available at www.FathomEvents.com or by visiting the Regal Cinema’s box office. This summer’s series will feature: . Eugene Onegin – Wednesday, July 7 and Thursday, July 8– Soprano Renée Fleming and baritone Dmitri Hvorostovsky star in Tchaikovsky’s lushly romantic masterpiece about mistimed love. -
Verdi Week on Operavore Program Details
Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr. -
The Met: Live in HD Returns to Theaters This Summer for Encore Screenings
April 19, 2012 The Met: Live in HD Returns to Theaters This Summer for Encore Screenings NCM Fathom Events and the Metropolitan Opera Bring Back Six Magnificent Operas Beginning June 13 NEW YORK & CENTENNIAL, Colo.--(BUSINESS WIRE)-- The Metropolitan Opera and NCM Fathom Events team up once again to present six magnificent operas from the Emmy® and Peabody award-winning series, The Met: Live in HD. Fans of the popular series will enjoy select encore performances from the series, including Anna Bolena (June 13), Le Comte Ory (June 20), Don Giovanni (June 27), Les Contes d'Hoffmann (July 11), Lucia di Lammermoor (July 18), and Der Rosenkavalier (July 25) during Summer HD Encores. Tickets for The Met: Live in HD Summer 2012 Encores, shown in theaters Wednesday evenings at 6:30 p.m. in all time zones, are available at www.FathomEvents.com or at participating theater box offices. This will be the fourth series of Summer HD Encores, following a successful sixth season of The Met: Live in HD series and a presentation of Wagner's complete Ring Cycle this May. "Through the Summer Encores series, fans are able to catch great operas they may have missed during the regular season of the Met: Live in HD series, or simply see their favorites again," said Shelly Maxwell, executive vice president of NCM Fathom Events. The Met: Live in HD 2012 Summer Encores Schedule: Anna Bolena — Wednesday, June 13 Marco Armiliato conducts this David McVicar production which tells the story of an ill-fated queen (Anna Netrebko) driven insane by her unfaithful king. -
Ugo Guagliardo Bass
Ugo Guagliardo Bass Recent and future engagements of Italian bass Ugo Guagliardo include NOURABAD Pêcheurs de perles Teatro Regio Torino, FENICIO Ermione Teatro San Carlo in Naples (Alessandro De Marchi), BARTOLO Le Nozze di Figaro Nancy Opera, and NORTON Cambiale di matrimonio Tourcoing Opera and concerts of Mozart’s Missa in C minor with Fabio Biondi at the Bari Teatro Petruzzelli. His debut as Alidoro La Cenerentola Salzburg Festival in 2014, (with Cecilia Bartoli), was highly acclaimed by both the audience and the critics. Ugo has sung at many of the most renowned opera houses and festivals worldwide: Théâtre des Champs- Elysées, Opéra Royal du Château de Versailles, La Monnaie Brussels, Opéra Royal de Wallonie-Liège, Teatro dell’Opera Rome, Arena of Verona, Teatro Massimo Palermo, Grand Théâtre de Genève, Opernhaus Zürich, Salzburg Festival, National Centre for the Performing Arts Beijing, Bunkamura Theatre Tokyo, Rossini Opera Festival Pesaro. Ugo has worked with Europe’s most renowned Early Music specialists and period instrument ensembles. He has appeared in operas by Handel, Vivaldi, Scarlatti, Veracini, Cavalli and Monteverdi, collaborating with conductors Ottavio Dantone, Emmanuelle Haïm, Jean-Christophe Spinosi, Marc Minkowski, Fabio Biondi and the late Jean-Claude Malgoire. He has appeared with Gianandrea Noseda, Alberto Zedda, Gianluigi Gelmetti, Michele Mariotti, Enrique Mazzola and Antonino Fogliani. Equally at home in both opera seria and buffa, Ugo Guagliardo has performed numerous Rossini opera roles including Alidoro La Cenerentola, Lord Sidney Il Viaggio a Reims, Basilio Il Barbiere di Siviglia, Le Gouverneur Le Comte Ory, Walter Guillaume Tell, Assur Semiramide, Blansac La Scala di seta, Orbazzano Tancredi, Fernando La Gazza ladra. -
Gianni Schicchi Puccini Il Trittico 2000-2001
3 COMUNE DI LUCCA TEATRO DEL GIGLIO CENTRO STUDI G. PUCCINI Teatro di Tradizione in coproduzione con FONDAZIONE ORCHESTRA REGIONALE TOSCANA PUCCINI IL TRITTICO 2000-2001 GIANNI SCHICCHI PUCCINI IL TRITTICO 2000-2001 direttore DONATO RENZETTI ORT - ORCHESTRA DELLA TOSCANA Progetto Puccini nel Novecento 1999-2002 Progetto Puccini nel Novecento 1999-2002 COMUNE DI LUCCA TEATRO DEL GIGLIO CENTRO STUDI G. PUCCINI in coproduzione con FONDAZIONE ORCHESTRA REGIONALE TOSCANA Teatro Verdi, Firenze - giovedì 3 maggio 2001 - ore 21.00 TEATRO DEL GIGLIO, LUCCA - venerdì 4 maggio 2001 - ore 21.00 GIANNI SCHICCHI in forma di concerto direttore DONATO RENZETTI ORT - ORCHESTRA DELLA TOSCANA IL TRITTICO 2000-2001 Teatro Verdi, Firenze - giovedì 3 maggio 2001 - ore 21.00 TEATRO DEL GIGLIO, LUCCA - venerdì 4 maggio 2001 - ore 21.00 GIANNI SCHICCHI in forma di concerto opera in un atto di Giovacchino Forzano musica di GIACOMO PUCCINI Edizioni Casa Ricordi, Milano personaggi e interpreti Gianni Schicchi Bruno De Simone Lauretta Anna Carnovali Zita Adele Cossi Rinuccio Roberto Iuliano Gherardo Carlo Bosi Nella Daniela Schillaci Gherardino Matteo Ciccone Betto di Signa Giovanni Mele Simone Marco Spotti Marco Arturo Cauli La Ciesca Dionisia Di Vico Maestro Spinelloccio Armando Gabba Ser Amantio di Nicolao Fabio Bonavita Pinellino Marco Pauluzzo Guccio Daniele Tonini Direttore DONATO RENZETTI ORT - ORCHESTRA DELLA TOSCANA Mise en space di GILBERTO TOFANO in collaborazione con ROSANNA MONTI - luci UGO BENEDETTI Fin dalla mia elezione a Sindaco della città di Lucca, ho manifestato il mio impegno personale e quello dell’Amministrazione a porre al centro del programma culturale la figura e l’opera di Giacomo Puccini. -
Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected]
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-15-2018 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Bourne, Thaddaeus, "Male Zwischenfächer Voices and the Baritenor Conundrum" (2018). Doctoral Dissertations. 1779. https://opencommons.uconn.edu/dissertations/1779 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus James Bourne, DMA University of Connecticut, 2018 This study will examine the Zwischenfach colloquially referred to as the baritenor. A large body of published research exists regarding the physiology of breathing, the acoustics of singing, and solutions for specific vocal faults. There is similarly a growing body of research into the system of voice classification and repertoire assignment. This paper shall reexamine this research in light of baritenor voices. After establishing the general parameters of healthy vocal technique through appoggio, the various tenor, baritone, and bass Fächer will be studied to establish norms of vocal criteria such as range, timbre, tessitura, and registration for each Fach. The study of these Fächer includes examinations of the historical singers for whom the repertoire was created and how those roles are cast by opera companies in modern times. The specific examination of baritenors follows the same format by examining current and -
Bertelsmann Brings Treasures from the Archivio Storico Ricordi to Spain for the First Time
PRESS RELEASE Bertelsmann Brings Treasures from the Archivio Storico Ricordi to Spain for the First Time • The exhibition “The Making of Verdi’s Otello – A Glimpse into the Archivio Storico Ricordi” will take place at Madrid’s Teatro Real from September 15th to October 3rd on the occasion of the theater’s bicentennial • Unique pieces of Italian opera history are fundamental to understanding the opera’s genesis and creative process • Their Majesties King Felipe VI and Queen Letizia, members of the Spanish government, CEOs of the biggest Spanish companies, and personages from the cultural world are expected at Teatro Real • Thomas Rabe: “Bertelsmann is taking responsibility for the restoration and digitization of important testimonies to opera history” Madrid, September 12, 2016 – For the first time, unique pieces of Italian opera history from the Bertelsmann-owned Archivio Storico Ricordi in Milan will be on display at an exhibition in Spain. The international media group is opening the archive, which houses one of the world's most valuable music collections in private hands, to provide one of the highlights of the Teatro Real of Madrid’s bicentennial celebrations. “The making of Verdi’s Otello – A Glimpse into the Archivio Storico Ricordi” exhibition features original scores, librettos, selected correspondence, sets, and costume designs for Otello, and illustrates the creative collaboration between the music publisher Giulio Ricordi, and the celebrated composer Giuseppe Verdi. Otello is widely represented in the Archivio Storico Ricordi, which contains the most relevant and richest series of historical documents related to the masterpiece, including the autograph in Verdi’s own hand. -
Michaels Moore Biografie Deutsch 2013
Anthony Michaels-Moore Bariton Anthony Michaels-Moore war der erste Brite, der den Luciano Pavarotti-Wettbewerb gewann, und er konnte sich in weiterer Folge als gern gesehener Gast an den bedeutendsten Opernhäusern dieser Welt etablieren. Der Verdi- und Puccini-Spezialist ist bekannt für seine Interpretationen von Rigoletto, Scarpia, Falstaff, Jago in Otello, Simon Boccanegra und von Germont in La traviata. In jüngster Zeit sorgten seine Debüts als Falstaff am Théâtre des Champs-Elysees und als Rigoletto an der English National Opera für hervorragende Kritiken. Seit seinem Debüt im Jahre 1987 konnte Anthony Michaels-Moore eine lange und fruchtbare Beziehung zum Royal Opera House, Covent Garden aufbauen, wo er in L’elisir d’amore, La Bohème, I Pagliacci, Die Fledermaus, Der Barbier von Sevilla, Das schlaue Füchslein, Manon (Massenet), Stiffelio, Tosca, Simon Boccanegra (konzertant), Macbeth, Le nozze di Figaro, Andrea Chénier, La battaglia di Legnano, Il trovatore, Falstaff, Attila, Lucia di Lammermoor und La traviata zu sehen war. Ebenso trat der Bariton an den meisten anderen großen britischen Bühnen, wie etwa der Welsh National Opera, der Opera North, der Scottish Opera sowie beim Glyndebourne-Festival in Erscheinung. Am europäischen Festland kann Anthony Michaels-Moore auf Engagements an der Wiener Staatsoper (Don Carlos, Rigoletto, Tosca, Nabucco, Manon Lescaut, L’elisir d’amore, Stiffelio, Der Barbier von Sevilla, I vespri siciliani und La forza del destino), der Scala (La vestale und Linda di Chamounix), der Opéra National de Paris (Madama Butterfly, Iphigénie en Tauride, Le nozze di Figaro, Eugene Onegin, La traviata, Les vêspres siciliennes und Falstaff), der Staatsoper Berlin (La forza del destino), am Gran Teatre del Liceu (Il Trovatore, Il babiere di Siviglia, Andrea Chenier, Lucia di Lammermoor und Simon Boccanegra) am Théâtre du Châtelet (Otello und Falstaff), am Grand Théâtre de Genève (Don Carlos), am Brüsseler Opernhaus La Monnaie (I due Foscari und Rigoletto) und am Teatro Real in Madrid (Rigoletto) verweisen. -
A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher Diana Carol Amos University of South Carolina
University of South Carolina Scholar Commons Theses and Dissertations 2015 A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher Diana Carol Amos University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Amos, D. C.(2015). A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/3642 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. A SURVEY OF THE CAREER OF BARITONE, JOSEF METTERNICH: ARTIST AND TEACHER by Diana Carol Amos Bachelor of Music Oberlin Conservatory of Music, 1982 Master of Music University of South Carolina, 2011 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Performance School of Music University of South Carolina 2015 Accepted by: Walter Cuttino, Major Professor Donald Gray, Committee Member Sarah Williams, Committee Member Janet E. Hopkins, Committee Member Lacy Ford, Senior Vice Provost and Dean of Graduate Studies ©Copyright by Diana Carol Amos, 2015 All Rights Reserved. ii ACKNOWLEDGEMENTS I gratefully acknowledge the help of my professor, Walter Cuttino, for his direction and encouragement throughout this project. His support has been tremendous. My sincere gratitude goes to my entire committee, Professor Walter Cuttino, Dr. Donald Gray, Professor Janet E. Hopkins, and Dr. Sarah Williams for their perseverance and dedication in assisting me. -
Grand Finals Concert
NATIONAL COUNCIL AUDITIONS grand finals concert conductor Metropolitan Opera Carlo Rizzi National Council Auditions host Grand Finals Concert Anthony Roth Costanzo Sunday, March 31, 2019 3:00 PM guest artist Christian Van Horn Metropolitan Opera Orchestra The Metropolitan Opera National Council is grateful to the Charles H. Dyson Endowment Fund for underwriting the Council’s Auditions Program. general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2018–19 SEASON NATIONAL COUNCIL AUDITIONS grand finals concert conductor Carlo Rizzi host Anthony Roth Costanzo guest artist Christian Van Horn “Dich, teure Halle” from Tannhäuser (Wagner) Meghan Kasanders, Soprano “Fra poco a me ricovero … Tu che a Dio spiegasti l’ali” from Lucia di Lammermoor (Donizetti) Dashuai Chen, Tenor “Oh! quante volte, oh! quante” from I Capuleti e i Montecchi (Bellini) Elena Villalón, Soprano “Kuda, kuda, kuda vy udalilis” (Lenski’s Aria) from Today’s concert is Eugene Onegin (Tchaikovsky) being recorded for Miles Mykkanen, Tenor future broadcast “Addio, addio, o miei sospiri” from Orfeo ed Euridice (Gluck) over many public Michaela Wolz, Mezzo-Soprano radio stations. Please check “Seul sur la terre” from Dom Sébastien (Donizetti) local listings. Piotr Buszewski, Tenor Sunday, March 31, 2019, 3:00PM “Captain Ahab? I must speak with you” from Moby Dick (Jake Heggie) Thomas Glass, Baritone “Don Ottavio, son morta! ... Or sai chi l’onore” from Don Giovanni (Mozart) Alaysha Fox, Soprano “Sorge infausta una procella” from Orlando (Handel) -
Wagner March 06.Indd
Wagner Society in NSW Inc. Newsletter No. 103, March 2006 IN NEW SOUTH WALES INC. President’s Report In Memoriam While on the subject of recordings, we are still waiting for the first opera of the promised set from the Neidhardt Birgit Nilsson, the Wagner Soprano Legend, Ring in Adelaide in 2004, and regretting that last year’s Dies at 87 and Tenor James King at 80 triumphal Tristan in Brisbane with Lisa Gasteen and John Birgit Nilsson, the Swedish soprano, died on 25 December Treleaven went unrecorded. 2005 at the age of 87 in Vastra Karup, the village where Functions she was born. Max Grubb has specially written for the Newsletter an extensive appraisal and appreciation of the On 19 February, we held our first function of 2006, at which voice, career and character of Nilsson (page 10). Nilsson’s Professor Kim Walker, Dean of the Sydney Conservatorium regular co-singer, Tenor James King has also died at eighty: of Music, spoke about the role of the Conservatorium, Florida, 20 November 2005 (see report page 14). the work of the Opera Studies Unit in particular, and the need to find private funding to replace government grants A LETTER TO MEMBERS which have been severely cut. Sharolyn Kimmorley then Dear Members conducted a voice coaching class with Catherine Bouchier, a voice student at the Con. From feedback received at and Welcome to this, our first Newsletter for 2006, in which since the function, members attending found this “master we mourn the passing of arguably the greatest Wagnerian class” a fascinating and rewarding window onto the work soprano of the second half of the 20th century, Birgit of the Conservatorium, and I’d like on your behalf to once Nilsson. -
Antonio Guarnieri Avevo Sette Anni Quando Andai Per La Prima Volta Al
Antonio Guarnieri Avevo sette anni quando andai per la prima volta al Teatro alla Scala di Milano. Quando mi sono affacciato al parapetto del loggione, che è la fila di posti più vicina al soffitto, ho visto dall'alto, piccolissimi e lontani, tanti musicisti e un uomo che, agitando il suo ditino, scatenava suoni meravigliosi. Si trattava dei Notturni di Debussy […]; in particolare mi colpì la musica del secondo notturno, Feste, con un suono di trombe che arriva in crescendo da molto lontano, come una magia. Arrivato a casa, ho chiesto chi era quel piccolo omino che stava su una pedana rossa e sembrava onnipotente: era un grande direttore d'orchestra, Antonio Guarnieri. Claudio Abbado, La casa dei suoni, Babalibri, 2007 (ridotto da Wikipedia) Antonio Guarnieri è nato a Venezia il 1º febbraio 1880. Direttore d’orchestra, violoncellista e compositore. Conseguito il diploma di violoncello proseguì gli studi in composizione ed organo sotto la guida di Marco Enrico Bossi. A Monaco di Baviera durante un periodo di perfezionamento ebbe modo di conoscere e penetrare quel mondo mitteleuropeo che avrebbe poi frequentato nel corso della sua carriera. Tornato in Italia conobbe il pianista e compositore Giuseppe Martucci ed entrò a far parte come violoncellista del Quartetto che di Martucci portava il nome. Nel 1903 Guarnieri mosse i primi passi come direttore d’orchestra durante una tournée in Italia condotta da Amilcare Zanella. L’insegnamento di Zanella insieme a quello di Bossi e Martucci formò in maniera definitiva il gusto e l’attenzione del Guarnieri per la musica strumentale italiana che continuò ad eseguire per tutta la vita.