Pier Luigi Pizzi
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TUTTO VERDI 2013 TV P Rogram
TV P ROGRAM 2013 CELebrating VERDI'S 200TH birthday ctober O O ctober 2013 ROGRAM TUTTO VERDI TV P Tutto Verdi – one of the most ambitious opera projects ever – is UNITEL CLASSICA’s exclusive highlight this October, celebrating Verdi’s 200th birthday on October 10. Enjoy as a world TV premiere Giuseppe Verdi‘s complete operatic works and his Requiem in High Definition and with Surround Sound. All 26 operas, which were produced in coproduction with the Verdi Festival, the Teatro Regio di Parma and the Teatro Verdi di Busseto are presented in chronological order, giving the viewer the unique chance to discover the grand composers musical development as well as the musical and historical influences he was under. On the birthday itself the great composer is honored with the broadcast of his Requiem in a special open air concert starring D’Arcangelo, Grigolo, De Young and Di Giacomo. The L.A. Philharmonic are conducted by no less than Gustavo Dudamel. Richard Wagner is born Giuseppe Verdi is born as Giuseppe Fortunino Francesco on 10 October 1813 in Le Roncole, a village near Busseto on 23 May in Leipzig 1813 (Parma), as son of the merchant Carlo Giuseppe Verdi and his wife Luigia Uttini. Congress of Vienna 1815 Premiere of Beethoven’s First engagement as organist in Le Roncole at the age of nine 1824 1822 Symphony No.9 Verdi moves to Busseto to Antonio Barezzi, a local merchant and president of the Philharmonic Society and supporter Wagner composes 1831 of Verdi’s musical ambitions. He gets engaged with Barezzi’s daughter Margherita. -
Ernani Program
VERDI PATRON-IN-CHIEF DR HARUHISA HANDA Celebrating the return of World Class Opera HSBC, as proud partner of Opera Australia, supports the many returns of 2021. Together we thrive Issued by HSBC Bank Australia Limited ABN 48 006 434 162 AFSL No. 232595. Ernani Composer Ernani State Theatre, Giuseppe Verdi (1813-1901) Diego Torre Arts Centre Melbourne Librettist Don Carlo, King of Spain Performance dates Francesco Maria Piave Vladimir Stoyanov 13, 15, 18, 22 May 2021 (1810-1876) Don Ruy Gomez de Silva Alexander Vinogradov Running time: approximately 2 hours and 30 Conductor Elvira minutes, including one interval. Carlo Montanaro Natalie Aroyan Director Giovanna Co-production by Teatro alla Scala Sven-Eric Bechtolf Jennifer Black and Opera Australia Rehearsal Director Don Riccardo Liesel Badorrek Simon Kim Scenic Designer Jago Thank you to our Donors Julian Crouch Luke Gabbedy Natalie Aroyan is supported by Costume Designer Roy and Gay Woodward Kevin Pollard Opera Australia Chorus Lighting Designer Chorus Master Diego Torre is supported by Marco Filibeck Paul Fitzsimon Christine Yip and Paul Brady Video Designer Assistant Chorus Master Paul Fitzsimon is supported by Filippo Marta Michael Curtain Ina Bornkessel-Schlesewsky and Matthias Schlesewsky Opera Australia Actors The costumes for the role of Ernani in this production have been Orchestra Victoria supported by the Concertmaster Mostyn Family Foundation Sulki Yu You are welcome to take photos of yourself in the theatre at interval, but you may not photograph, film or record the performance. -
Die Adaption Des Orlando Furioso Für Das Italienische Fernsehen Von Edoardo Sanguineti Und Luca Ronconi
https://doi.org/10.20378/irbo-51613 lucA FormiAni(Bamberg) Die Adaption des Orlando Furioso für das italienische Fernsehen von Edoardo Sanguineti und Luca Ronconi ErstEndeder60erJahrekamenderRegisseurundTheaterschauspieler LucaRonconiundderDramatiker,PoetundIntellektuelleEdoardoSangui- netiaufdieIdee,AriostsOrlando Furioso (aufDeutschDer rasende Roland) fürdasTheaterzuadaptieren.ÜberdiesesProjektverrietderRegisseurLuca RonconiderMailänderZeitungIl Corriere della sera1einigeTagevorder Premiere: L´Orlandosaràrappresentatoperinteroattraversounasommadiazionisimultaneecheavver- rannoinluoghilontanitraloro:ilpubblicodivisoingruppi,seguiràtrai„filoni“chenoipropo- niamoquellochepreferirà,quellogrottescooquelloerotico,quelloepicooquellofantastico. Ipercorsideglispettatorisarannodeterminatidaunascenografiamoltoarticolata,affidatanon aunsoloscenografo,maagliartisticheriteniamopiùadattiadesprimereciascunodeitemi rappresentati2. AndieserAussagekannmanbereitsdieneoavantgardistischenCharak- teristikadesTheaterserkennen,dievonEdoardoSanguinetischonimRah- mendesGruppo63formuliertwurden3:dasTheateralsneueForm,inderdas PublikummitdemSchauspielerinteragierenkannundgleichzeitigRegeln wiederfindet,dieesnichtalsTheaterregelnerkennt,sondernalsTeilseines eigenenLebens.DasechteTheateristnämlichjenes,welcheseineÜberwin- dungdeselitärenwiedespopulärenTheatersermöglicht4. DerVerfasserdesArtikelsimCorriere,GiulianoZingone,sahschonvo- raus,dassdieAufführungdesOrlando Furioso(=OF)derAuslöserfüreine ReihevonPolemikensowohlseitensderLiteratenalsauchderTheaterkriti- kerwerdenwürde. -
Curriculum Inglese
CURRICULUM Under the tutelage of Maestro Silvio Maggioni, he received his diploma in clarinet at the Conservatorio di Brescia. After several musical experiences in chamber music as well as symphonie repertoire, he began his vocal studies and finalized his technique under Maestro Alfredo Pinardi. He made his debut as Fiesco in Verdi’s Simon Boccanegra, and from that moment he established himself in various theaters in Italy and abroad, including L’Opera di Roma, La Scala di Milano, Lirico di Cagliari, Massimo di Palermo, Regio di Parma, Regio di Torino, Pavarotti di Modena, Sferisterio di Macerata, Comunale di Piacenza, Donizetti di Bergamo, Opera di Nizza, Opera di Montecarlo, Real di Madrid, Royal de Wallonie di Liegi, Capitole di Toulouse, SNG di Maribor and Cankarjev Dom di Lubiana interpreting principale roles in operas such as Macbeth, Il Trovatore, Rigoletto, Aida, Simon Boccanergra, Nabucco, Luisa Miller, I Vespri Siciliani, Otello, Attila, La forza del Destino, Falstaff, I Capuleti e Montecchi, Don Giovanni, Norma, La Gioconda, Samson et Dalila, Turandot, La Boheme, La Sonnambula, Salomè, Lucia di Lammermoor, Fanciulla del West and Anna Bolena. He has interpreted the bass role in Verdi’s Requiem and Mozart’s Requiem, as well as in Rossini’s Petite Messe Solennelle and Stabat Mater. He has collaborated with important orchestral directors such as Renato Palumbo, Marc Foster, Fabrizio Maria Carminati, Michele Mariotti, Paolo Arrivabeni, Luciano Acocella, Giuliano Carella, Bruno Bartoletti, Roberto Abbado, Massimo Zanetti, Daniele Gatti, Placido Domingo, Fabio Luisi, Marco Guidarini, Philippe Auguin, Bruno Campanella, Lorin Maazel, Giampaolo Bisanti and Daniel Oren and important stage directors such as Lorenzo Mariani, Luca Ronconi, Edoardo Siravo, Pier Luigi Pizzi, Stefano Mazzonis di Palafrera, Pierfrancesco Maestrini, Paul Emile Fourny, Franco Zeffirelli, Stefano Vizioli, Stephan Braunshweig, Damiano Michieletto, Nicolas Joel, Daniele Abbado and Jean Louis Grinda. -
She Graduates in Singing at the Conservatory of Her City
Nana Miriani Born in Tbilisi (Georgia), she graduates in singing at the Conservatory of her city. In Italy she attended the Chigiana Academy and the Course of Training and Improvement of the Academy of Singing "Arturo Toscanini" in Parma, under the guidance of Maestro Tenor Carlo Bergonzi, obtaining certificates of merit and scholarships. In 2000-2001 she attended the Specialization Course of Vocal Interpretation "Verdi Opera Studio", "Foundation Verdi Festival" at the Theatre Regio in Parma, under the guidance of Soprano Renata Scotto. She made her debut in 1998 inBusseto, playing the role of Abigaille in Nabucco by G. Verdi, conducted by Maestro Romano Gandolfi, with the Symphony Orchestra of Emilia Romagna "Arturo Toscanini" and Chorus of the Theatre Regio of Parma, in the presence of the President of the French Republic. In 2001, she sang in the Festival "Radio France", for the Opera Berlioz in Montpellier, in Cavalleria Rusticana by D. Monleone and in Resurrezione by F. Alfano, conducted by Maestro Friedemann Layer, with CD recording. During her career she played the roles of: Tosca in Tosca by G. Puccini, engaged at the Teatro alla Scala in Milan, conducted by Maestro Lorin Maazel and directed by Luca Ronconi (2006), and at the National Theatre in Bratislava (2002, 2003, 2004) Abigaille in Nabucco by G. Verdi, at the Teatro Lirico in Cagliari, conducted by Maestro Antonello Allemandi and directed by Daniele Abbado, at Theatre Bielefeld, Germany (2006), at the Wielki Theatre in Poznan, Poland (2006), at the State Opera Z. Paliashvili of Tbilisi, alongside bass Paata Burchuladze and baritone Lado Ataneli (2009), at the Festival Steinbruch Rohrdorf of Munich, Germany (2009), at the National State Opera A. -
Don Carlo Cambió Mi Vida” Por Ingrid Haas
www.proopera.org.mx • año XXV • número 2 • marzo – abril 2017 • sesenta pesos CONCIERTOS Elīna Garanča en México ENTREVISTAS Dhyana Arom Jorge Cózatl Ricardo López Constantine Orbelian Arturo Rodríguez Torres Carlos Serrano Diego Silva Ramón Vargas ENTREVISTAS EN LÍNEA Markus Hinterhäuser Grigory Soloviev FerruccioFerruccio FurlanettoFurlanetto “Don Carlo “Don Carlo cambiócambió mimi vida”vida”pro opera¾ EN BREVE por Charles H. Oppenheim La Orquesta Filarmónica del Desierto en Bellas Artes Por vez primera desde su formación en 2014, la Orquesta Filarmónica del Desierto, con sede en Saltillo, Coahuila, ofreció un concierto el pasado 28 de enero en la sala principal del Palacio de Bellas Artes, dirigida por su titular, el maestro Natanael Espinoza. La orquesta interpretó la obertura de la ópera Rienzi de Richard Wagner, Tangata de agosto de Máximo Diego Pujol y la Sinfonía número 5 en Mi menor, op. 64 de Piotr Ilich Chaikovski. La tercera generación del Estudio de Ópera de Bellas Artes Foto: Ana Lourdes Herrera Concierto del EOBA en memoria de Rafael Tovar y de Teresa El último recital de la tercera generación del Estudio de Ópera de Bellas Artes (EOBA) se dedicó a la memoria del recién fallecido titular de la Secretaría de Cultura, Rafael Tovar y de Teresa, quien le dio un fuerte impulso a la agrupación creada apenas en 2014. En el recital participaron las sopranos Rosario Aguilar, María Caballero y Lorena Flores, las mezzosopranos Vanessa Jara e Isabel Stüber, los tenores Enrique Guzmán y Ángel Macías, el barítono Carlos López, el bajo-barítono Rodrigo Urrutia y el bajo Carlos Santos, acompañados por los pianistas Edgar Ibarra y Alain del Real. -
Home Is Behind Them, Forever Unattainable, and in Some Sense They Know It. the Backward Pull Begins to Blend with Other Concepts
50 Milton and His Epic Tradition The Tradition 51 Home is behind them, forever unattainable, and in some the race, the lost homes of the heroes, and the transcen sense they know it. dent goals that all seek. The garden may be longed for as The backward pull begins to blend with other concepts ideal, yet knowledge that he is still in mid-journey of escape, of which the most frequently imagined in epic makes the hero look upon any apparent oasis with mixed poetry are gardens or garden-worlds, suicide, and mad feelings, as a shelter from reality. Occasional pastoral ness. Distinct enough in definition, and in some of their idylls do exist, fragile, doomed, and, for the hero, es manifestations, nevertheless, because they all represent capist, like Phaeacia and the country of Meliboe. As for inaction, passivity, and at times oblivion, they do some the future and transcendent world, the unattainable city times overlap one another in the poetry."'The most fre of Jerusalem is viewed by St. George from afar. Only quent and obvious device by which the hero is tempted to Dante is allowed to enter its gardens, and he must leave forget his mortality is some variation on the enchanted them behind, half forgetting the reality, in order to use garden.~ Whether pre-Christian or Christian, this garden language to describe it. It is good that there is at least is almost always a reminder that you cannot go home once in epic story a record of that process, the near again, whether "home" is taken to be as historical as speechlessness of the attainment set across from the in Vergil's Troy, or as psychological as the retreat to a pre articulate formlessness of the original cave. -
Ouverture D'opera E Commento Registico: Un (In)Felice Abuso?
Venezia Arti [online] ISSN 2385-2720 Vol. 25 – Dicembre 2016 [print] ISSN 0394-4298 Ouverture d’opera e commento registico: un (in)felice abuso? Appunti in margine a un quesito di Osthoff Fabio Dal Corobbo (Istituto Don Mazza, Verona, Italia) Abstract The seventh and last question proposed by Wolfgang Osthoff in his essay on the art work and its performing process can be reformulated in this way: is it right to comment on stage instrumental opera pieces like the ouverture which originally did not involve a stage direction? Osthoff reasserted the clear distinction among sections that were entirely musical and sections that were dramatic- musical, being the opera proportions at risk. Nowadays, pondering about the whole opera theoretical structure, Osthoff seems to adopt a generalization that may be hard to support. Examining a few performances as a pattern of a reviewed interpretation on the basis of Alberto Bentivoglio’s devoted studies upon Giorgio Strehler’s work as a director, this paper suggests four kinds of solutions. For example, it shows that a priori prohibition to create either a stage commentary related to the mere musical sections such as the ouverture or for the others considered as not strictly musical parts does not actually exist. Sommario 1. Opera d’arte, interpretazione e innovazione. – 2 Le sezioni strumentali ‘impure’ e la loro gestione registica ‘obbligata’. – 3 L’ouverture: musica ‘assoluta’ o ‘legata’ al resto dell’opera?. – 3.1 Nabucco (1842). – 3.2 La forza del destino (1869). – 3.3 Alzira (1845). – 4 Le interpretazioni registiche dell’ouverture nel teatro musicale contemporaneo. – 5 Conclusioni. -
The Theatre of Dionysus
29 NOVEMBER 2018 The Theatre of Dionysus PROFESSOR EDITH HALL On the south slope of the Athenian Acropolis, you can visit the ancient Athenian theatre of Dionysus today. It is here that some of the first dramas as we know them were ever produced. The first excavators to explore the site were the Greek Archaeological Society in 1838. The site contains not only the theatre but the remains of two temples of the god Dionysus, one which was probably built in the 6th century BCE, when Athenian state theatre began to be performed, and the other rather later, after most of our surviving plays premiered. The introduction of theatre began under the tyrant of Athens, Peisistratus, who ruled for most of the mid-6th century BCE. He was responsible for a major expansion of Athenian festivals, including those for Dionysus, an ancient Greek god whose worship goes back to Mycenaean times and is intimately connected with wine cultivation, colonisation, poetry and theatre. But the theatre in which plays were performed in Dionysus’ honour was not originally built of stone. It probably had permanent wooden benches from around 498 BCE, that is, not long after the Athens expelled the tyrant family and inaugurated their first democracy in 507 BCE. The stone theatre we can see today was not to be built until the fourth century, well after the premieres of the great dramas which we can see performed on our 21st- century stages. The theatre consisted of a central dancing floor, circular in the case of Athens but rectangular in some other early theatres. -
Depliant Cinema ING Prova Depliant.Qxd 15/07/2010 16.54 Pagina 1
depliant cinema ING_prova depliant.qxd 15/07/2010 16.54 Pagina 1 DYNAMIC WHO WE ARE Dynamic, a leading recording company in the sector of classical music and opera, has been working for over thirty years with prestigious opera companies and international festivals – the Teatro Real of Madrid, the Liceu of Barcelona, the Opéra Royal de Wallonie of Liège, the Fenice of Venice, the Verona Arena, the Rossini Opera Festival of Pesaro, to name but a few – with which it stipulates specific contracts for pur- chasing audiovisual rights. Its technical team handles high-definition audio and visual recordings of opera performances in opera hous- es and works with important national and foreign television companies. As a recording label Dynamic produces CDs and DVDs which are exported to over thirty countries in the world. Today the company offers its substantial collection of contents to cinemas. OPERA ON THE BIG SCREEN Opera represents cinematographic contents which stand as an alternative to traditional proposals. The most famous opera houses in the world have understood for some years now just how important it is to reach out to an ever wider audience, and have promoted the opera at the cinema project. The intervention of television cameras on stage exalts the most vibrant moments, and high definition means that details that would otherwise escape our attention can be brought out, thus amplifying the emotional impact of the spectacle and transforming it into an unforgettable experience. The operas that Dynamic proposes are all pre-recorded; this makes their scheduling more flexible and eas- ier to manage than LIVE events. -
Keck, Sabine: Die Regie Hat Das Wort 1989
Repositorium für die Medienwissenschaft Sigrid Neef Keck, Sabine: Die Regie hat das Wort 1989 https://doi.org/10.17192/ep1989.3.6064 Veröffentlichungsversion / published version Rezension / review Empfohlene Zitierung / Suggested Citation: Neef, Sigrid: Keck, Sabine: Die Regie hat das Wort. In: medienwissenschaft: rezensionen, Jg. 6 (1989), Nr. 3. DOI: https://doi.org/10.17192/ep1989.3.6064. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Deposit-Lizenz (Keine This document is made available under a Deposit License (No Weiterverbreitung - keine Bearbeitung) zur Verfügung gestellt. Redistribution - no modifications). We grant a non-exclusive, Gewährt wird ein nicht exklusives, nicht übertragbares, non-transferable, individual, and limited right for using this persönliches und beschränktes Recht auf Nutzung dieses document. This document is solely intended for your personal, Dokuments. Dieses Dokument ist ausschließlich für non-commercial use. All copies of this documents must retain den persönlichen, nicht-kommerziellen Gebrauch bestimmt. all copyright information and other information regarding legal Auf sämtlichen Kopien dieses Dokuments müssen alle protection. You are not allowed to alter this document in any Urheberrechtshinweise und sonstigen Hinweise auf gesetzlichen way, to copy it for public or commercial purposes, to exhibit the Schutz beibehalten werden. Sie dürfen dieses Dokument document in public, to perform, distribute, or otherwise use the nicht in irgendeiner Weise abändern, noch dürfen Sie document in public. -
Carmela Remigio Began Taking Voice Lessons Under Aldo Protti, Then Perfecting Her Technique Under Leone Magiera
Saverio Clemente Andrea De Amici Luca Targetti Recently awarded the prestigious “Premio Abbiati”, soprano Carmela Remigio began taking voice lessons under Aldo Protti, then perfecting her technique under Leone Magiera. After winning the 1992 “Luciano Pavarotti International Voice Competition” she made her debut – at the young age of nineteen – singing the lead role in Giampaolo Testoni’s opera Alice at the Teatro Massimo in Palermo. Following her first baroque roles, she dedicated to Mozart’s operas, singing all of their main roles: Susanna and Countess in Le Nozze di Figaro, Elettra and Ilia in Idomeneo. She has been in over three- hundred-fifty performances of Don Giovanni, singing both Donna Elvira and Donna Anna, the latter role allowing her to work with Peter Brook and Claudio Abbado. Since then she has worked with conductors such as Antonio Pappano, Myung-Whun Chung, Jeffrey Tate, Daniel Harding, Gustavo Dudamel, Riccardo Chailly, Gianandrea Noseda, John Axelrod, Roberto Abbado, Lorin Maazel, Michel Plasson, Eliahu Inbal, Kent Nagano; and stage directors like David McVicar, Graham Vick, Pier Luigi Pizzi, Federico Tiezzi, Karole Armitage, Mario Martone, Luca Ronconi and Damiano Michieletto. Carmela Remigio Her repertoire includes roles like Alice in Falstaff, Desdemona in Soprano Otello, Messa da Requiem, Amelia in Simon Boccanegra, Violetta in La Traviata, Mimì in Bohème, Liù in Turandot, all the three main roles of the “Three Tudor Queens Cycle” (Maria Stuarda, Roberto Devereux and Anna Bolena), Norma and Adalgisa (Norma), Micaela (Carmen), Cleopatra (Giulio Cesare), Marguerite (Faust), Malwina (Der Vampyr), Alceste, Euridice (Orfeo ed Euridice), Tatiana in Eugene Onegin, Anne in The Rake’s Progress, Miranda in La Donna Serpente.