Un Ballo in Maschera a Masked Ball Page 1 of 2 Opera Assn

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San Francisco War Memorial 1944 Un Ballo in Maschera A Masked Ball Page 1 of 2 Opera Assn. Opera House Un Ballo in Maschera (in Italian) Opera in three acts by Giuseppe Verdi Libretto by Antonio Somma Conductor CAST William Steinberg Riccardo, Count of Warwick and Governor of Boston Jan Peerce Stage director Renato, his secretary and friend Leonard Warren Armando Agnini Amelia, wife of Renato Stella Roman Chorus Director Ulrica, a fortuneteller Margaret Harshaw Kurt Herbert Adler Oscar, a page Virginia MacWatters Sam, enemy of the Count Lorenzo Alvary Tom, enemy of the Count Charles Goodwin A Judge George Tallone Silvano George Cehanovsky A Servant Max Lorenzini *Role debut †U.S. opera debut PLACE AND TIME: End of Seventeenth Century; Colonial Boston Friday, October 20 1944, at 8:00 PM Act I, Scene 1 -- A Hall in the Governor's Mansion Scene 2 -- The Hut of Ulrica Act II -- A Lonely Spot near Boston Act III, Scene 1 -- A Room in Renato's Dwelling Scene 2 -- The Governor's Private Office Scene 3 -- Terrace of the Governor's Mansion San Francisco War Memorial 1944 Un Ballo in Maschera A Masked Ball Page 2 of 2 Opera Assn. Opera House Sponsors: Notes: Corps de Ballet Part of the opera was broadcast live on October 20 between 10 p.m. and 11:15 p.m. over the Mutual Broadcasting System, sponsored by Safeway Stores. AIR RAID PRECAUTIONS The Opera House in "blacked out" and all facilities have been inspected and approved by Civilian Defense authorities. As an additional factor for your safety, trained air raid wardens are on duty during performances. PLEASE OBEY ALL INSTRUCTIONS OF THE AIR RAID WARDENS.

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PACO154 Front.Std
. ,, ~01~ Pristine PACO 154 Fausto Cleva XR conducts Verdi - Otello R1 verdi PACO 154 Verdi's penultimate opera, as Milton Cross notes in his introductory comments, requires three principals of the highest calibre. Drawn from Shakespeare's play, and with the playwright's complex characterisation underpinn ing otello the opera, Otello needs a tenor who is both heroic yet capable of tenderness, a soprano who is a paragon of virtue yet also strong when confronted with false accusations level led against her, and a baritone whose inn er monologue stands in complete contrast to his public face. On the stage the singers convey th ese emotions visually and vocally, but, as we can judge from this radio broadcast, the very best singers can do it by voice alone. Mario Del Monaco was pre-eminent Otello in the world's leading opera houses between the mid 1950s and the otello maria del monac~ early 1960s. His bright and virile tone possesses just the right amount of heroism for the dramatic parts of the desdemona victoria de los r,i , . les score, and the listener is quickly confident that he w ill deliver all the role's show-stopping high notes with ease. Yet iago leonard warren for a tenor with something of a reputation for a 'stand and deliver' style, he is evidently capable of scaling back his emilia rosalind elias voice to suit the various moods of the role. The Act 1 love duet contains some very restrained singing as he blends cassia paul franke , .. -/.. his voice with our Desdemona, Victoria de los Angeles, and the anguish of t he final moments of Act 4 are beautifully conveyed.
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Otello Program
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Frances Greer COLLECTION: 4700.0902
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Leonard Warren Sings in Fourth Civic Music Concert
THE TWIG January 18, 1952 four Pat Roberts Presents Leonard Warren Sings in Senior Organ Recital Fourth Civic Music Concert Miss Martha Patricia Roberts, daughter of Mr. and Mrs. “A Masterpiece which has long D. W.M. Roberts of Lenoir, will been caviar to the general pub present her senior organ recital lic came into its own,” said Olin Saturday, January 2b, at 8; 00 Downes of the New York Times, p.m., in Meredith's recital hall, when “Falstaff ’ was revived last i. here will be no reception. year to coincide with the tenth Before coming to Meredith, anniversary season of the Metro Miss Roberts majored in organ politan’s Leonard Warren, who under Miss Luceille Sawyer at will be heard here on January 21 Mars Hill College. At Meredith By ALYCE EPLEY at the Memorial Auditorium in she has studied under Dr. Harry the fourth concert in the civic E. Cooper. Included on her pro If any of you were lucky enough music series. gram will be: “Prelude in c Pinch-hitting for a columnist Until he was 27, Leonard War minor,” by Bach; “Grand Choeur isn’t too easy. First of all, there to see the current movie “Street ren, leading baritone of the Dialogue, ’ by Gigant; “Comes is an established reputation to car Named Desire,” you saw one of the newest versions of the Metropolitan Opera Association, Autumn Time,” by Sowerby; live up to, and secondly, an ama morality plays. This type of play had never studied an opera role. “Sicilienne,” by Weitz; and teur usually doesn’t know much A graduate of Columbia Uni “Finale in B*^ Major,” by Franck.
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Index 6-30-2015 Xlsx
(Scroll to the end of this document for an Index to all items. Please note that this Archive contains Live Links: The Blake Collection click on item titles or pictures to go to the In Memory of Nancy M. Blake Library’s catalog, and click on citations to see full articles.) BELLINI’S NORMA featuring CECILIA BARTOLI This tragic opera is set in Roman-occupied, first-century Gaul, features a title character, who although a Druid priestess, is in many ways a modern woman. Norma has secretly taken the Roman proconsul Pollione as her lover and had two children with him. Political and personal crises arise when the locals turn against the occupiers and Pollione turns to a new paramour. Norma “is a role with emotions ranging from haughty and demanding, to desperately passionate, to vengeful and defiant. And the singer must convey all of this while confronting some of the most vocally challenging music ever composed. And if that weren't intimidating enough for any singer, Norma and its composer have become almost synonymous with the specific and notoriously torturous style of opera known as bel canto — literally, ‘beautiful singing’” (“Love Among the Druids: Bellini's Norma,” NPR World of Opera, May 16, 2008). And Bartoli, one of the greatest living opera divas, is up to the challenges the role brings. (New York Public Radio’s WQXR’s “OperaVore” declared that “Bartoli is Fierce and Mercurial in Bellini's Norma,” Marion Lignana Rosenberg, June 09, 2013.) If you’re already a fan of this opera, you’ve no doubt heard a recording spotlighting the great soprano Maria Callas (and we have such a recording, too), but as the notes with the Bartoli recording point out, “The role of Norma was written for Giuditta Pasta, who sang what today’s listeners would consider to be mezzo-soprano roles,” making Bartoli more appropriate than Callas as Norma.
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Verdi's La Forza Del Destino
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Leonard Warren
ANIVERSARIO Recordando a Leonard Warren por José Octavio Sosa eonard Warenoff, mejor conocido en el ámbito operístico como Leonard Warren, nació hace 100 años, el 21 de abril en Nueva York y murió en la misma ciudad el 4 de Lmarzo de 1960. Estudió en Nueva York y en Milán con Sidney Dietsch, Riccardo Picozzi y Giuseppe De Luca. Debutó en 1939 en el Metropolitan Opera con Simon Boccanegra (Paolo) y en 1943 se convirtió en primer barítono de ese escenario, sustituyendo a Lawrence Tibbett en Rigoletto. Su carrera se extendió a escenarios tan importantes como La Scala, Covent Garden, San Francisco, Chicago, Moscú, Buenos Aires y el Palacio de Bellas Artes. Gran intérprete de Verdi, cantó los papeles de Falstaff, Simon Boccanegra, Macbeth, Rigoletto, Germont, Iago, Don Carlos y Amonasro, además de roles del repertorio verista, como Scarpia y Tonio. Murió en el escenario del Metropolitan Opera durante una representación de La forza del destino, en 1960. Su debut en nuestro país ocurrió en el Palacio de Bellas Artes el 25 de mayo de 1948 cantando El Conde de Luna en Il trovatore, con Astrid Varnay, Kurt Baum y Winifred Heidt, dirigidos musicalmente por Guido Picco. “Warren en su Conde de Luna se adueñó de la atención del auditorio apenas apreció en la escena, llevando su interpretación siempre a más durante los cuatro actos de la obra. Voz redonda, pastosa, pareja en sus registros y de un gran volumen, encaja maravillosamente dentro de los tres papeles que habrá de cantar en la presente temporada. La preciosa aria ‘Il ballen del suo sorriso’ le Leonard Warren como Rigoletto fue celebrada con largueza de aplausos y bravos...” (Don Franco.
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