Emily Grace Righter

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EMILY GRACE RIGHTER, Mezzo Soprano Opera: Carmen Carmen Music Hall, Belgium 2018 Le Nozze di Figaro Cherubino Opera Tampa 2018 Carmen Carmen Prelude to Performance 2017 La Cenerentola Angelina Opera Tampa 2017 La Clemenza di Tito Annio Salzburg Landestheater 2014 Eugene Onegin Olga Salzburg Landestheater 2014 Pilgrims from Mecca Dardané Salzburg Landestheater 2014 La Cage aux Folles Jacqueline Salzburg Landestheater 2014 La Cage aux Folles (in german) Jacqueline Salzburg Landestheater 2014 Sound of Music (in german) Sophia Salzburg Landestheater 2014 Mosè in Egitto Amenofi New York City Opera 2013 Eliogabalo Alessandro Gotham Chamber Opera 2013 Il Trovatore Ines Tyroler Festspielhaus 2013 La Traviata Flora Tyroler Festspielhaus 2013 Rigoletto Maddalena Tyroler Festspielhaus 2013 Le Nozze di Figaro Cherubino Tyroler Festspielhaus 2012 Turn of the Screw Ms. Jessel Festival dei Due Mondi 2012 Imeneo Clomiri Salzburg Landestheater 2012 La Cenerentola Tisbe/Angelina Salzburg Landestheater 2012 La Traviata Flora Salzburg Landestheater 2012 Wozzeck Margret Salzburg Landestheater 2012 Romeo et Juliette Stephano Bel Cantanti Opera 2011 Mosè in Egitto Amenofi Chicago Opera Theater 2010 Romeo et Juliette Stephano (cover) Salzburger Festspielhaus 2010 Cendrillon (Apprentice Scenes) Prince Charmant Santa Fe Opera 2009 The Magic Flute Second Lady Yale Opera 2009 The Bear Yelena Yale Opera 2009 I Capuleti e i Montecchi Romeo Glimmerglass Opera 2008 Otello Emilia Vero Beach Opera 2008 Die Fledermaus Prince Orlofsky Yale Opera 2008 L'heure espagnole Concepcion Yale Opera 2008 Alcina Ruggiero Carnegie Mellon Univ. 2007 Concerts: Visions of the Modern Muse Guest Soloist Carnegie Hall 2016 Verdi's Requiem Mezzo Soprano Amici Opera 2016 Stabat Mater (Rossini) Mezzo Soprano St. Mary's Episcopal Church 2016 Beethoven 9 & Bach b-flat Mass Mezzo Soprano Tyroler Festspielhaus 2013 Stabat Mater (Pergolesi) Mezzo Soprano Handel and Haydn Society 2011 Mozart Solemn Vespers Mezzo Soprano Carnegie Hall 2008 Education: Yale University / M.M. / Opera Performance -- Carnegie Mellon Univ. / B.F.A. / Voice .

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Choral/Orchestral Concert
MUSIC CHORAL/ORCHESTRAL CONCERT Gaillard Municipal Auditorium June 5 at 7:30pm SPONSORED BY SOUTH CAROLINA BANK AND TRUST Joseph Flummerfelt, conductor Katharine Goeldner, mezzo-soprano Tyler Duncan, baritone Westminster Choir Joe Miller, director Charleston Symphony Orchestra Chorus Robert Taylor, director Spoleto Festival USA Orchestra PROGRAM Ave verum corpus, K 618 Wolfgang Amadeus Mozart (1756–91) From Quattro pezzi sacri (Four Sacred Pieces) Giuseppe Verdi (1813–1901) I. Ave Maria II. Stabat mater INTERMISSION Requiem, Op. 9 Maurice Duruflé (1902–86) I. Introit (Requiem aeternam) II. Kyrie eleison III. Offertory (Domine Jesu Christe) IV. Sanctus – Benedictus V. Pie Jesu VI. Agnus Dei VII. Communion (Lux aeterna) VIII. Libera me IX. In Paradisum PROGRAM NOTES Ave Maria and Stabat mater (Verdi) What are we to make of Verdi’s final works? All are sacred pieces, Ave verum corpus (Mozart) though Verdi was an ardent atheist. All have unstable harmonies The first half of this concert presents final works by two of the sometimes bordering on atonality, though Verdi was a supreme greatest composers of the 18th and 19th centuries. The exquisite lyricist. All are strikingly non-operatic, offering only a single, brief Mozart miniature Ave verum corpus was written only six months vocal solo (in the Te Deum, heard at the 2010 Festival), though before the composer’s death at age 35. A mere 46 bars, it is a Verdi was Italy’s greatest opera composer. Yet they premiered at summation of Mozart’s ability to say something profound in the the Paris Opera in 1898, and Toscanini conducted the first Italian simplest possible way.
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Chapter 27 40; Dozens Romantic Opera and Musical Theater to Midcentury 12
18 11. How many new operas were produced each year in Italy early in the 19th century. How many composers? Chapter 27 40; dozens Romantic Opera and Musical Theater to Midcentury 12. (657) What composers dominated Italian opera to 1850? 1. [653] Most opera theatres were operated by _________, Rossini, Donizetti, Bellini backed by ________ or ________. Impresarios; government subsidies; private support 13. Make a list of Rossini operas here. Separate comic from serious. 2. (664) Figure 27.1. How good is your French? When was Comic the premiere? Is Prevot a man or a woman? Can I use a L'Italiana in Algeri (Italian Woman in Algiers, Venice, 1813) "movie pass"? What time does it start? When and where Il Barbiere di Siviglia (Barber of Seville, Rome, 1816) can I get a ticket for a friend? Serious Today, Monday, February 29, 1836 (leap year!); a man; no, [Tancredi, Venice, 1813]; Otello, Naples, 1816; because it says so; 7 p.m.; at the box office, everyday, 11 Mosè in Egitto, Naples, 1818 am until 4 pm. Guillaume Tell, Paris, 1829 [Semiramide, 1823; La Cenerentola] 3. Opera was a form of ____________ status. Social 14. How did he achieve variety in his operas (and, thus, everlasting glory)? 4. How popular was opera outside the theatre? Blended serious and comic in his seria and buffa operas TQ: Published scores? When did that begin? Why? Very; arranged in various combinations; the first part of the 15. (666) What is bel canto and it's characteristics? century; operas were popular Beautiful singing; elegant style, effortless technique, beautiful tone, agility, flexibility, florid embellishment 5.
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EJ Full Draft**
Reading at the Opera: Music and Literary Culture in Early Nineteenth-Century Italy By Edward Lee Jacobson A dissertation submitted in partial satisfacation of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Mary Ann Smart, Chair Professor James Q. Davies Professor Ian Duncan Professor Nicholas Mathew Summer 2020 Abstract Reading at the Opera: Music and Literary Culture in Early Nineteenth-Century Italy by Edward Lee Jacobson Doctor of Philosophy in Music University of California, Berkeley Professor Mary Ann Smart, Chair This dissertation emerged out of an archival study of Italian opera libretti published between 1800 and 1835. Many of these libretti, in contrast to their eighteenth- century counterparts, contain lengthy historical introductions, extended scenic descriptions, anthropological footnotes, and even bibliographies, all of which suggest that many operas depended on the absorption of a printed text to inflect or supplement the spectacle onstage. This dissertation thus explores how literature— and, specifically, the act of reading—shaped the composition and early reception of works by Gioachino Rossini, Vincenzo Bellini, Gaetano Donizetti, and their contemporaries. Rather than offering a straightforward comparative study between literary and musical texts, the various chapters track the often elusive ways that literature and music commingle in the consumption of opera by exploring a series of modes through which Italians engaged with their national past. In doing so, the dissertation follows recent, anthropologically inspired studies that have focused on spectatorship, embodiment, and attention. But while these chapters attempt to reconstruct the perceptive filters that educated classes would have brought to the opera, they also reject the historicist fantasy that spectator experience can ever be recovered, arguing instead that great rewards can be found in a sympathetic hearing of music as it appears to us today.
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GREAT OPERATIC ARIAS GREAT OPERATIC ARIAS CHAN 3112 CHANDOS O PERA in ENGLISH BARRY BANKS Tenor Sings BEL CANTO ARIAS
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Stabat Mater 1831/32 Original Version with Sections by Giovanni Tadolini Giovanna D’Arco – Cantata
Gioachino ROSSINI Stabat Mater 1831/32 Original version with sections by Giovanni Tadolini Giovanna d’Arco – Cantata Majella Cullagh • Marianna Pizzolato José Luis Sola • Mirco Palazzi Camerata Bach Choir, Poznań • Württemberg Philharmonic Orchestra Antonino Fogliani Gioachino Rossini (1792-1868) * and Giovanni Tadolini (1789-1872) ** Gioachino Rossini Stabat Mater Giovanna d’Arco (°) 1831/32 original version, **orchestrated by Antonino Fogliani (b. 1976) ............................ 56:07 Solo cantata (1832) with piano accompaniment orchestrated by Marco Taralli (b. 1967) .....15:13 $ 1 I. Introduction: Stabat Mater dolorosa * ........................................................... 8:35 I. Recitativo: È notte, e tutto addormentato è il mondo ................................. 4:44 (Soloists and Chorus) (Andantino) % 2 II. Aria: Cujus animam gementem ** .................................................................. 2:40 II. Aria: O mia madre, e tu frattanto la tua figlia cercherai .............................. 3:29 (Tenor) (Andantino grazioso) ^ 3 III. Duettino: O quam tristis et afflicta ** ............................................................. 3:34 III. Recitativo: Eppur piange. Ah! repente qual luce balenò ............................ 1:14 (Soprano and Mezzo-soprano) (Allegro vivace – Allegretto) & 4 IV. Aria: Quae moerebat et dolebat ** ................................................................. 2:51 IV. Aria: Ah, la fiamma che t’esce dal guardo già m’ha tocca ......................... 5:46 (Bass) (Allegro vivace
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Scarica Il Programma Del ROF 2020
Prezzo dei biglietti Ticket prices VITRIFRIGO ARENA Moïse et Pharaon Elisabetta Rarità rossiniane Settore A / Category A E 180 Settore B / Category B E 120 Galleria (non prenotabile) / Circle (unreserved seats)* E 60 Stabat Mater Rossini Opera Festival Settore A / Category A E 150 Via Rossini, 24 Settore B / Category B E 100 I-61121 Pesaro Galleria (non prenotabile) / Circle (unreserved seats)* E 50 Tel. +39.0721.38001 TEATRO ROSSINI INFORMAZIONI • ENQUIRIES La cambiale di matrimonio Tel. +39.0721.3800294 Platea / Stalls E 180 Fax +39.0721.3800220 Posto in palco A / Seat in box A E 120 [email protected] Posto in palco B / Seat in box B E 75 Posto in palco C / Seat in box C E 30 Posto in palco 4° ordine / Seat in box 4th floor E 60 PRENOTAZIONI • BOOKING Loggione (non prenotabile) / Upper circle (unreserved seats)* E 25 Per agenzie e associazioni dall’8 gennaio For travel agencies and groups from January 8 Festival giovane (Accademia Rossiniana) Posto unico numerato / Numbered seats E 10 Per Amici e Friends dal 25 marzo For Amici and Friends from March 25 Festival giovane (Il viaggio a Reims) Per il pubblico dal 23 aprile Posto unico numerato / Numbered seats E 50 Spettatori sotto i 26 e sopra i 65 anni / Under 26 and over 65* E 20 For the public from April 23 Concerti di Belcanto UFFICIO STAMPA • PRESS OFFICE Posto unico numerato / Numbered seats E 30 , olio su tela di Ludovico Lipparini (Collezione Sergio Ragni, Napoli) , olio su tela di Ludovico Lipparini (Collezione Sergio Tel. +39.0721.3800203 L’ABC del Buffo [email protected]
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WHITEHALL CHOIR SCHUBERT Stabat Mater MOZART Mass in C
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34 Sabato 13 Ore 21 Regio.Indd
Settembre Torino Milano 04_21 settembre 2014 Musica Festival Internazionale Ottava edizione della Musica Torino Orchestra e Coro del Teatro Regio Teatro Regio Gianandrea Noseda direttore Claudio Fenoglio maestro del coro Erika Grimaldi soprano Daniela Barcellona contralto Piero Pretti tenore Mirco Palazzi basso Sabato 13.IX.2014 Rossini ore 21 Respighi 334_sabato4_sabato 1313 oreore 2121 Regio.inddRegio.indd 1 008/09/148/09/14 114.094.09 Un progetto di Realizzato da Con il sostegno di I Partner del Festival Sponsor Media partner Partner Istituzionale Partner Istituzionale Sponsor tecnici 334_sabato4_sabato 1313 oreore 2121 Regio.inddRegio.indd 2 008/09/148/09/14 114.094.09 Gioachino Rossini (1792-1868) Ouverture da Guglielmo Tell Ottorino Respighi (1879-1936) Rossiniana, suite per orchestra Capri e Taormina (Barcarola e Siciliana) Lamento Intermezzo Tarantella “puro sangue” (con passaggio della Processione) Gioachino Rossini Stabat Mater per soli, coro e orchestra Stabat Mater dolorosa (soli e coro) Cujus animam gementem (tenore) Quis est homo qui non fleret (soprano e contralto) Pro peccatis suae gentis (basso) Eja Mater, fons amoris (basso e coro) Sancta Mater, istud agas (soli) Fac ut portem Christi mortem (contralto) Inflammatus et accensus (soprano e coro) Quando corpus morietur (coro) Amen (coro) Orchestra e Coro del Teatro Regio Gianandrea Noseda, direttore Claudio Fenoglio, maestro del coro Erika Grimaldi, soprano Daniela Barcellona, contralto Piero Pretti, tenore Mirco Palazzi, basso In collaborazione con Teatro Regio 3 334_sabato4_sabato 1313 oreore 2121 Regio.inddRegio.indd 3 008/09/148/09/14 114.094.09 Stabat Mater Stabat Mater dolorosa juxta crucem lacrimosa, dum pendebat Filius. Cujus animam gementem, contristatam et dolentem, pertransivit gladius.
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Rossini Stabat Mater
Rossini Stabat Mater Joyce El-Khoury Karine Deshayes Edgardo Rocha Sergey Artamonov Les Éléments Orchestre de Chambre de Paris Daniele Rustioni mardi 13 juin • 20h30 Basilique de Saint-Denis Erwin Schrott ne pourra finalement être présent ce soir pour le Stabat Mater de Rossini dirigé par Daniele Rustioni. C’est le chanteur Sergey Artamonov qui assurera la partie de basse solo. Nous le remercions. Le reste de la distribution est inchangé. Joyce El-Khoury, soprano Karine Deshayes, mezzo-soprano Edgardo Rocha, ténor Sergey Artamonov, basse Les Éléments JOËL SUHUBIETTE, DIRECTEUR MUSICAL Orchestre de Chambre de Paris DOUGLAS BOYD, DIRECTEUR MUSICAL Daniele Rustioni, direction Coproduction Festival de Saint-Denis / Orchestre de Chambre de Paris Gioacchino Rossini (1792-1868) Stabat Mater (1831-1842) Introduzione | tutti Quartetto | soli Stabat Mater Sancta mater Aria | ténor Cavatina | mezzo-soprano Cujus Animam Fac, ut portem Duetto | soprano et mezzo-soprano Aria e coro | soprano et chœur Quis est homo Inflammatus et accensus Aria | basse Quartetto Pro peccatis suae gentis Quando corpus morietur Coro e recitativo | chœur et basse Finale | chœur Eja, mater, fons amoris Amen Concert parrainé par Concert parrainé par Concert soutenu par Durée du concert : environ 1h10 sans entracte Gioacchino Rossini (1792-1868) Stabat Mater (1831-1842) Introduzione | tutti Stabat Mater Aria | ténor Cujus Animam Duetto | soprano et mezzo-soprano Quis est homo Aria | basse Pro peccatis suae gentis Coro e recitativo | chœur et basse Eja, mater, fons amoris Quartetto | soli Sancta mater Cavatina | mezzo-soprano Fac, ut portem Aria e coro | soprano et chœur Inflammatus et accensus Quartetto | chœur a cappella Quando corpus morietur Finale | chœur Amen Introduzione | tutti Introduction | tutti Stabat Mater dolorosa Debout, la mère des douleurs Juxta Crucem lacrimosa Se dresse, le visage en pleurs, Dum pendebat Filius.
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Rossini: Stabat Mater Sinfónico Coral 8 1 0 2
Rossini: Stabat Mater Sinfónico Coral 8 1 0 2 ORQUESTA ESTABLE DEL TEATRO COLÓN CONCIERTOS CORO ESTABLE DEL TEATRO COLÓN JEFE DE GOBIERNO Horacio Rodríguez Larreta VICEJEFE DE GOBIERNO Diego Santilli JEFE DE GABINETE Felipe Miguel MINISTRO DE CULTURA Enrique Avogadro DIRECTORA GENERAL María Victoria Alcaraz Rossini: Stabat Mater 6 7 ORQUESTA ESTABLE DEL TEATRO COLÓN GIOACHINO ROSSINI Silvio Viegas | DIRECTOR MUSICAL INVITADO (1792 - 1868) STABAT MATER Himno litúrgico para cuatro Sinfónico Coral voces solistas, coro y orquesta Sinfónico Coral CORO ESTABLE DEL TEATRO COLÓN Miguel Martínez | DIRECTOR 1. Stabat Mater dolorosa SOPRANO (Introducción para solistas y coro) Montserrat Maldonado 2. Cujus animam (Aria para tenor) GIOACHINO ROSSINI. 150 AÑOS 3. Quis est homo (Dúo para soprano MEZZOSOPRANO y mezzosoprano) Adriana Mastrángelo 4. Pro peccatis (Aria para bajo) 5. Eja, Mater TENOR (Recitativo para bajo y coro) Santiago Martínez 6. Sancta Mater (Cuarteto para solistas) BAJO 7. Fac ut portem Riccardo Zanellato (Cavatina para contralto) 8. Inflammatus (Aria para soprano y coro) 9. Quando corpus morietur (Cuarteto de solistas) 10. In sempiterna saecula. Amen (Final para coro y estilo fugado) MARZO MIÉRCOLES 28 20 H Silvio Viegas DIRECTOR MUSICAL INVITADO 8 9 Director brasileño de destacada carrera latinoamericana, es actualmente Director Titular de la Orquesta Sinfónica de Minas Gerais, del Palácio das Artes en Belo Horizonte y titular Sinfónico Coral de la cátedra de Dirección Orquestal en la Universidad Federal Sinfónico Coral de Río de Janeiro. Hasta 2016, fue Director Musical del Teatro Municipal de Río de Janeiro y Profesor de la de Dirección en la Escuela de Música de la Universidad Federal de Minas Gerais.
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Program Notes | Music of Faith
23 Season 2018-2019 Thursday, January 24, at 7:30 The Philadelphia Orchestra Friday, January 25, at 2:00 Yannick Nézet-Séguin Conductor Charlotte Blake Alston Speaker Nadine Sierra Soprano Elizabeth DeShong Mezzo-soprano John Osborn Tenor Krzysztof Bączyk Bass Philadelphia Symphonic Choir Joe Miller Director Philadelphia Boys Choir Jeffrey R. Smith Artistic Director Bernstein Symphony No. 3 (“Kaddish”) I. Invocation: Adagio— Kaddish 1: L’istesso tempo—Allegro molto II. Din-Torah: Di nuovo adagio— Kaddish 2: Andante con tenerezza— III. Scherzo: Presto scherzando, sempre pianissimo— Kaddish 3— Finale: Adagio, come nel Din-Torah— Allegro vivo, con gioia Intermission 24 Rossini Stabat Mater I. Chorus and Quartet: Stabat Mater II. Tenor Aria: Cujus animam III. Soprano and Mezzo-soprano Duet: Quis est homo IV. Bass Aria: Pro peccatis V. Chorus and Bass Recitative: Eia Mater VI. Quartet: Sancta Mater VII. Mezzo-soprano Cavatina: Fac ut portem VIII. Soprano Air and Chorus: Inflammatus et accensus IX. Quartet: Quando corpus X. Chorus: Amen This program runs approximately 2 hours, 10 minutes. These concerts are sponsored by Gretchen and M. Roy Jackson and an anonymous donor. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM, and are repeated on Monday evenings at 7 PM on WRTI HD 2. Visit www.wrti.org to listen live or for more details. 25 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra Philadelphia is home and orchestra, and maximizes is one of the preeminent the Orchestra continues
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Stabat Mater
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