Darwin Prakash CV July 2021

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DARWIN PRAKASH

Baritoneꢁ

Date of Birth
23rd June 1993ꢁ

Education

2017-2019 2015-2017 2011-2014
Advanced Diploma in Opera MA Performance (Vocals) BSc (Hons.) Geology
Royal Academy of Music, London Royal Academy of Music, London University of Delhi, India

Prizes, Awards and Scholarships

2019 Queen's Commendation for Excellence Award 2019 First Prize and Audience Prize 2018 English Speaking Union Scholarship 2015-2017 Full Entrance Scholarship 2017-2019 Susie Sainsbury Scholarship 2017 Second Prize
Royal Academy of Music, London National Mozart Competition, UKꢁ Georg Solti Accademia, Italy Royal Academy of Music, Londonꢁ Royal Academy of Music, Londonꢁ Richard Lewis/ Jean Shanks Awardꢁ Royal Academy of Music, Londonꢁ Glyndebourne Opera
2017 Philip Hattey Award & Scholarship 2016 Gus Christie Award

Performing Highlights

2021

Liceu Opera Barcelona Finalist
Tenor Viñas Competition

2020

Staatsoper Hannover Staatsoper Hannover Staatsoper Hannover

2019

Steuermann
Tristan und Isolde
Richard Wagnerꢁ

Frank Martinꢁ Rossiniꢁ

Kaherdin
Le vin herbé

Fiorello, Uﬃcale
Il barbiere di Siviglia

Staatsoper Hannover Staatsoper Hannover Staatsoper Hannover Glyndebourne Opera Glyndebourne Opera Royal Academy Opera

2018

Royal Academy Opera Royal Academy Opera British Youth Opera

2017

Sergente Second Nazarene Salome Baritone,Sherifa Chorus Chorus Ibn- Hakia

La Boheme
Pucciniꢁ

Strauss ꢁ
Zad Moultakaꢁ Rossini
Hamed und Sherifa Il barbiere di Siviglia La damnation de Faust Iolanta
Berlioz

ꢁ

Tchaikovsky ꢁ

Escamillo
La tragédie de Carmen
Gounodꢁ

Immigration Oﬃcer Flight
Jonathan Doveꢁ

Jeremy Samsꢁ
Lysander
Enchanted Island (Pastiche)

Royal Academy Opera Opera Holland Park
Masetto Leporello
Don Giovanni Don Giovanni
Mozart ꢁ Mozart

Concert

2021 Jewish Culture Commemoration Staatsoper Hannover ꢁ

2019 Opening Concert
Staatsoper Hannover ꢁ

Arundel Cathedral, UKꢁ Marlborough College, UK
2019 Handel's Messiah 2018 Beethoven 9th Symphony 2018 Georg Solti Accademia Concert Piazza Solti, Grosseto, Italy 2018 Songs of War Recital 2017 Legacy Concert 2016 Reopening Gala Concert
Wilfred Owen Association at St. James Piccadilly, Londonꢁ Glyndebourne Opera, UKꢁ Royal Opera House Mumbai, Indiaꢁ

Upcoming Performance 2021

Waterperry Opera Staatsoper Hannover Staatsoper Hannover Staatsoper Hannover Staatsoper Hannover Staatsoper Hannover

Belcore
L’Elisir d’Amore
Donizetti

Baritone Marullo Kostandnis Piet Robert Green
Denis & Katya (German Premier) Philip Venables

Rigoletto
Verdi

Greek Passion Humanoid (German Premier) Der Vampyr
Martineau ꢁ Leonard Evers Marschner

Recommended publications

Advance Program Notes New York Gilbert & Sullivan Players H.M.S

Advance Program Notes New York Gilbert & Sullivan Players H.M.S. Pinafore Friday, May 5, 2017, 7:30 PM These Advance Program Notes are provided online for our patrons who like to read about performances ahead of time. Printed programs will be provided to patrons at the performances. Programs are subject to change. Albert Bergeret, artistic director in H.M.S. Pinafore or The Lass that Loved a Sailor Libretto by Sir William S. Gilbert | Music by Sir Arthur Sullivan First performed at the Opera Comique, London, on May 25, 1878 Directed and conducted by Albert Bergeret Choreography by Bill Fabis Scenic design by Albère | Costume design by Gail Wofford Lighting design by Benjamin Weill Production Stage Manager: Emily C. Rolston* Assistant Stage Manager: Annette Dieli DRAMATIS PERSONAE The Rt. Hon. Sir Joseph Porter, K.C.B. (First Lord of the Admiralty) James Mills* Captain Corcoran (Commanding H.M.S. Pinafore) David Auxier* Ralph Rackstraw (Able Seaman) Daniel Greenwood* Dick Deadeye (Able Seaman) Louis Dall’Ava* Bill Bobstay (Boatswain’s Mate) David Wannen* Bob Becket (Carpenter’s Mate) Jason Whitfield Josephine (The Captain’s Daughter) Kate Bass* Cousin Hebe Victoria Devany* Little Buttercup (Mrs. Cripps, a Portsmouth Bumboat Woman) Angela Christine Smith* Sergeant of Marines Michael Connolly* ENSEMBLE OF SAILORS, FIRST LORD’S SISTERS, COUSINS, AND AUNTS Brooke Collins*, Michael Galante, Merrill Grant*, Andy Herr*, Sarah Hutchison*, Hannah Kurth*, Lance Olds*, Jennifer Piacenti*, Chris-Ian Sanchez*, Cameron Smith, Sarah Caldwell Smith*, Laura Sudduth*, and Matthew Wages* Scene: Quarterdeck of H.M.S. Pinafore *The actors and stage managers employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
Marschner Heinrich

MARSCHNER HEINRICH Compositore tedesco (Zittau, 16 agosto 1795 – Hannover, 16 dicembre 1861) 1 Annoverato fra i maggiori compositori europei della sua epoca, nonché degno rivale in campo operistico di Carl Maria von Weber, strinse amicizia con i maggiori musicisti del tempo, fra cui Ludwig van Beethoven e Felix Mendelssohn Bartoldy. Dopo gli studi fatti a Lipsia ed a Praga con Tomášek e dopo essersi introdotto nel mondo musicale viennese, fu nominato maestro di cappella a Bratislava e successivamente divenne il direttore dei teatri dell'opera di Dresda e Lipsia; fu quindi ad Hannover nel periodo 1830-59, per dirigere la cappella di corte. Marschner fu fondamentalmente un compositore teatrale, fra le opere che gli conferirono maggior fama si annoverano: Der Vampyr (1828), Der templar und die Jüdin (1829) e un'opera di gusto popolare e leggendario, come è nel suo stile, intitolata Hans Heiling (1833), la quale ha alcune analogie con L'olandese volante di Richard Wagner. Caratteristica dell'arte di Marschner sono: la ricerca (nel melodramma) di soggetti soprannaturali caratteristici di quel senso puramente romantico di "orrore dilettevole", ma anche cavallereschi e soprattutto popolari, resi attraverso una ritmica incalzante, una vasta coloritura dei timbri orchestrali e con l'ausilio di numerosi leitmotiv e fili conduttori musicali. Non mancano inoltre nella sua produzione numerosi Lieder, due quartetti per pianoforte e ben sette trii per pianoforte particolarmente apprezzati da Robert Schumann. 2 3 HANS HEILING Tipo: Opera romantica in un prologo e tre atti Soggetto: libretto di Philipp Eduard Devrient Prima: Berlino, Königliches Opernhaus, 24 maggio 1833 Cast: la regina degli spiriti (S), Hans Heiling (Bar), Anna (S), Gertrude (A), Konrad (T), Stephan (B), Niklas (rec); spiriti, contadini, invitati, giocatori, tiratori Autore: Heinrich Marschner (1795-1861) Il personaggio di Hans Heiling, tra quelli creati da Marschner, rappresenta una delle più notevoli incarnazioni del tipico tema romantico dell’io diviso, condannato a non trovare la propria unità.
Der Vampyr De Heinrich Marschner

DESCUBRIMIENTOS Der Vampyr de Heinrich Marschner por Carlos Fuentes y Espinosa ay momentos extraordinarios Polidori creó ahí su obra más famosa y trascendente, pues introdujo en un breve cuento de en la historia de la Humanidad horror gótico, por vez primera, una concreción significativa de las creencias folclóricas sobre que, con todo gusto, el vampirismo, dibujando así el prototipo de la concepción que se ha tenido del monstruo uno querría contemplar, desde entonces, al que glorias de la narrativa fantástica como E.T.A. Hoffmann, Edgar Allan dada la importancia de la Poe, Joseph Sheridan Le Fanu, Jules Verne y el ineludible Abraham Stoker aprovecharían y Hproducción que en ellos se generara. ampliarían magistralmente. Sin duda, un momento especial para la literatura fantástica fue aquella reunión En su relato, Polidori presenta al vampiro, Lord Ruthven, como un antihéroe integrado, a de espléndidos escritores en Ginebra, su manera, a la sociedad, y no es difícil identificar la descripción de Lord Byron en él (sin Suiza, a mediados de junio de 1816 (el mencionar que con ese nombre ya una escritora amante de Byron, Caroline Lamb, nombraba “año sin verano”), cuando en la residencia como Lord Ruthven un personaje con las características del escritor). Precisamente por del célebre George Gordon, Lord Byron, eso, por la publicación anónima original, por la notoria emulación de las obras de Byron y a orillas del lago Lemán, departieron el su fama, las primeras ediciones del cuento se atribuyeron a él, aunque con el tiempo y una baronet Percy Bysshe Shelley, notable incómoda cantidad de disputas, terminara por dársele el crédito al verdadero escritor, que poeta y escritor, su futura esposa Mary fuera tío del poeta y pintor inglés Dante Gabriel Rossetti.
Mona Lisa LEON BOTSTEIN, Conductor

Friday Evening, February 20, 2015, at 8:00 Isaac Stern Auditorium/Ronald O. Perelman Stage Conductor’s Notes Q&A with Leon Botstein at 7:00 presents Mona Lisa LEON BOTSTEIN, Conductor MAX VON SCHILLINGS Mona Lisa ACT I Intermission ACT II Foreigner/Francesco del Giocondo: MICHAEL ANTHONY MCGEE, Bass-baritone Woman/Mona Fiordalisa: PETRA MARIA SCHNITZER, Soprano Lay Brother/Giovanni de Salviati: PAUL MCNAMARA, Tenor Pietro Tumoni: JUSTIN HOPKINS, Bass-baritone Arrigo Oldofredi: ROBERT CHAFIN, Tenor Alessio Beneventi: JOHN EASTERLIN, Tenor Sandro da Luzzano: CHRISTOPHER BURCHETT, Baritone Masolino Pedruzzi: MICHAEL SCARCELLE, Bass-baritone Mona Ginevra: ILANA DAVIDSON, Soprano Dianora: LUCY FITZ GIBBON, Soprano Piccarda: KATHERINE MAYSEK, Mezzo-soprano Sisto: JOHN KAWA, Tenor BARD FESTIVAL CHORALE JAMES BAGWELL, Director This evening’s concert will run approximately two hours and 20 minutes including one 20-minute intermission. Used by arrangement with European American Music Distributors Company, sole U.S. and Canadian agent for Universal Edition Vienna, publisher and copyright owner. American Symphony Orchestra welcomes the many organizations who participate in our Community Access Program, which provides free and low-cost tickets to underserved groups in New York’s five boroughs. For information on how you can support this program, please call (212) 868-9276. PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. FROM THE Music Director The Stolen Smile DVDs or pirated videos. Opera is the by Leon Botstein one medium from the past that resists technological reproduction. A concert This concert performance of Max von version still represents properly the Schillings’ 1915 Mona Lisa is the latest sonority and the multi-dimensional installment of a series of concert perfor- aspect crucial to the operatic experi- mances of rare operas the ASO has pio- ence.
Central Opera Service Bulletin • Vol

CENTRAL OPERA SERVICE COMMITTEE Founder MRS. AUGUST BELMONT Honorary National Chairman ROBERT L. B. TOBIN National Chairman ELIHU M. HYNDMAN National Co-Chairmen MRS. NORRIS DARRELL GEORGE HOWERTON Profntional Committee KURT HERBERT ADLER BORIS GOLDOVSKY San Francisco Opera Goldovsky Opera Theatre WILFRED C. BAIN DAVID LLOYD Indiana University Lake George Opera Festival GRANT BEGLARIAN LOTFI MANSOURI University of So. California Canadian Opera Company MORITZ BOMHARD GLADYS MATHEW Kentucky Opera Association Community Opera SARAH CALDWELL RUSSELL D. PATTERSON Opera Company of Boston Lyric Opera of Kansas City TITO CAPOBIANCO MRS. JOHN DEWITT PELTZ San Diego Opera Metropolitan Opera KENNETH CASWELL EDWARD PURRINGTON Memphis Opera Theatre Tulsa Opera ROBERT J. COLLINGE GLYNN ROSS Baltimore Opera Company Seattle Opera Association JOHN CROSBY JULIUS RUDEL Santa Fe Opera New York City Opera WALTER DUCLOUX MARK SCHUBART University of Texas Lincoln Center ROBERT GAY ROGER L. STEVENS Northwestern University John F. Kennedy Center DAVID GOCKLEY GIDEON WALDROP Houston Grand Opera The Juilliard School Central Opera Service Bulletin • Vol. 21, No. 4 • 1979/80 Editor, MARIA F. RICH Assistant Editor, JEANNE HANIFEE KEMP The COS Bulletin is published quarterly for its members by Central Opera Service. For membership information see back cover. Permission to quote is not necessary but kindly note source. Please send any news items suitable for mention in the COS Bulletin as well as performance information to The Editor, Central Opera Service Bulletin, Metropolitan Opera, Lincoln Center, New York, NY 10023. Copies this issue: $2.00 |$SN 0008-9508 NEW OPERAS AND PREMIERES Last season proved to be the most promising yet for new American NEW operas, their composers and librettists.
Carnegie Hall Rental

Friday Evening, October 26, 2012, at 8:00 Isaac Stern Auditorium/Ronald O. Perelman Stage Conductor’s Notes Q&A with Leon Botstein at 7:00 presents 50th Birthday Celebration LEON BOTSTEIN, Conductor JOHN STAFFORD SMITH The Star-Spangled Banner Arr. by LEOPOLD STOKOWSKI CHARLES IVES Symphony No. 4 Prelude: Maestoso Allegretto Fugue: Andante moderato Largo maestoso BLAIR MCMILLEN, Piano THE COLLEGIATE CHORALE Intermission GUSTAV MAHLER Symphony No. 8 in E-flat Major (“Symphony of a Thousand”) Part 1: Hymnus: Veni, Creator Spiritus Part 2: Final scene from Goethe’s Faust Part 2 Magna Peccatrix: REBECCA DAVIS, Soprano Una Poenitentium: ABBIE FURMANSKY, Soprano Mater Gloriosa: KATHERINE WHYTE, Soprano Mulier Samaritana: SUSAN PLATTS, Mezzo-soprano Maria Aegyptiaca: FREDRIKA BRILLEMBOURG, Mezzo-soprano (continued) This evening’s concerT will run approximaTely Two and a half hours, inlcuding one 20-minuTe inTermission. The Empire State Building is liT red and white this evening in honor of American Symphony Orchestra’s 50th Birthday. We would like to Thank the Empire State Building for This special honor. American Symphony Orchestra welcomes students and teachers from ASO’s arts education program, Music Notes. For information on how you can support Music Notes, visit AmericanSymphony.org. PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. Dr. Marianus: CLAY HILLEY, Tenor Pater EcsTaticus: TYLER DUNCAN, Baritone Pater Profundus: DENIS SEDOV, Bass THE COLLEGIATE CHORALE JAMES BAGWELL, Director THE BROOKLYN YOUTH CHORUS DIANNE BERKUN, Director THE Program JOHN STAFFORD SMITH (Arr. by LEOPOLD STOKOWSKI) The Star-Spangled Banner Smith: Born March 30, 1750 in Gloucester, England Died September 21, 1836 in London Stokowski: Born April 18, 1882 in London Died September 13, 1977 in Nether Wallop, Hampshire, England Composed by Smith as “The Anacreontic Song” in 1775 in London Stokowski first arranged the song in 1940.
Zombie Parsifal Kagen, Melissa the Opera Quarterly

Zombie Parsifal ANGOR UNIVERSITY Kagen, Melissa The Opera Quarterly DOI: 10.1093/oq/kbx022 PRIFYSGOL BANGOR / B Published: 30/12/2017 Peer reviewed version Cyswllt i'r cyhoeddiad / Link to publication Dyfyniad o'r fersiwn a gyhoeddwyd / Citation for published version (APA): Kagen, M. (2017). Zombie Parsifal: Undead Walkers and Post-Apocalyptic Stagings. The Opera Quarterly, 33(2), 122-139. https://doi.org/10.1093/oq/kbx022 Hawliau Cyffredinol / General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. 28. Sep. 2021 Zombie Parsifal: Undead Walkers and Post-apocalyptic Stagings melissa kagen bangor university This essay locates zombies in Wagner’s Parsifal, interpreting them within the work’s original nineteenth-century context and reading recent productions in light of contemporary zombie studies. Immediately, a question arises: why zombies? Perhaps Kundry, the wandering Jewess, could be seen as an undead wanderer. Parsifal, too, is cursed to wander past endurance, and Amfortas clearly suffers from an inconvenient and painful immortality.
GREAT OPERATIC ARIAS GREAT OPERATIC ARIAS CHAN 3112 CHANDOS O PERA in ENGLISH BARRY BANKS Tenor Sings BEL CANTO ARIAS

CHAN 3112 Book Cover.qxd 20/9/06 11:02 am Page 1 GREAT OPERATIC ARIAS GREAT OPERATIC ARIAS CHAN 3112 CHANDOS O PERA IN ENGLISH BARRY BANKS BANKS BARRY tenor sings BEL CANTO ARIAS sings BEL CANTO PETER MOORES FOUNDATION CHAN 3112 BOOK.qxd 20/9/06 11:08 am Page 2 Christian Steiner Barry Banks sings Bel canto Arias 3 CHAN 3112 BOOK.qxd 20/9/06 11:08 am Page 4 Time Page Time Page Gioachino Rossini (1792–1868) Igor Stravinsky (1882–1971) from The Italian Girl in Algiers from The Rake’s Progress Lindoro’s Cavatina (Languir per una bella) Tom Rakewell’s Recitative and Aria 1 ‘In dreams of endless pleasure’ 7:16 [p. 46] 6 ‘Here I stand’ – ‘Since it is not by merit’ 2:40 [p. 48] London Philharmonic Orchestra London Philharmonic Orchestra from Stabat Mater (Cujus animam) Gaetano Donizetti (1797–1848) 2 ‘Through her soul in endless grieving’ 6:25 [p. 46] London Philharmonic Orchestra from Don Pasquale Ernesto’s Prelude and Aria (Cercherò lontana terra) from Count Ory 7 ‘Poor lost Ernesto’ – Count’s Cavatina (Que le destin prospère) 3 ‘I shall go, no more returning’ 9:47 [p. 48] ‘May destiny befriend you’ 4:38 [p. 46] London Philharmonic Orchestra London Philharmonic Orchestra from CHAN 3011(2) Don Pasquale from Moses in Egypt from The Elixir of Love Amenophis’ and Pharaoh’s Duet (Parla, spiegar non posso) Nemorino’s Romance (Una furtiva lagrima) 4 ‘The blow at last has fallen’ 7:10 [p. 46] 8 ‘Only one teardrop’ 5:14 [p.
CHAD SHELTON, Tenor

CHAD SHELTON, tenor Opera News praises tenor Chad Shelton for one of his trademark roles, claiming that his “Don José was the dramatic heart of this production; this was a performance that grew in complexity as he struggled to recon- cile the forces of loyalty, lust and fate. Shelton owned the final scene, as his character descended into despair fueled by psychotic obsession. His bright tone amplified the intensity of the last gripping moments.” In the 2016-17 season, he makes returns to the Grand Théâtre de Genève for his first performances of Sir Edgar Aubry in Der Vampyr and Houston Grand Opera to reprise Chairman Mao in Adams’ Nixon in China and sings Don Jose in Carmen on tour in Japan as a guest artist of the Seiji Ozawa Music Academy Opera Project. He also sings his first perfor- mances of Mahler’s Das Lied von der Erde with the Phoenix Symphony and returns to the roster of the Metropolitan Opera for its production of Cyrano de Bergerac. Last season, he retured to Houston Grand Opera for Cavardossi in Tosca and to create the role of Charles II in the world premiere of Carlisle Floyd’s Prince of Players. He made his Metropolitan Opera debut as Rodrigo in a new production of Otello and also joined the company for Elektra in addition to returning to one of his most fre- quently performed roles, Alfredo in La traviata, with Pensacola Opera. He has joined the Opéra National de Lorraine numerous times, including for the title role of Idomeneo, Giasone in Cherubini’s Medea, Don Jose in Carmen, Jack in Gerald Barry’s The Importance of Being Earnest, Lysander in A Midsummer Night’s Dream, Guido Bardi in Eine floren- tinische Tragödie, Lechmere in Owen Wingrave, Tamino in Die Zauber- flöte, and the title role of Candide.
Over 100 Opera Makers

#OPERAHARMONY CREATING OPERAS IN ISOLATION 1 3 WELCOME TO #OPERA HARMONY FROM FOUNDER – ELLA MARCHMENT Welcome to #OperaHarmony. #Opera Harmony is a collection of opera makers from across the world who, during this time of crisis, formed an online community to create new operas. I started this initiative when the show that I was rehearsing at Dutch National Opera was cancelled because of the lockdown. Using social media and online platforms I invited colleagues worldwide to join me in the immense technical and logistical challenge of creating new works online. I set the themes of ‘distance’ and ‘community’, organised artist teams, and since March have been overseeing the creation of twenty new operas. All the artists involved in #OperaHarmony are highly skilled professionals who typically apply their talents in creating live theatre performances. Through this project, they have had to adapt to working in a new medium, as well as embracing new technologies and novel ways of creating, producing, and sharing work. #OperaHarmony’s goal was to bring people together in ways that were unimaginable prior to Covid-19. Over 100 artists from all the opera disciplines have collaborated to write, stage, record, and produce the new operas. The pieces encapsulate an incredibly dark period for the arts, and they are a symbol of the unstoppable determination, and community that exists to perform and continue to create operatic works. This has been my saving grace throughout lockdown, and it has given all involved a sense of purpose. When we started building these works we had no idea how they would eventually be realised, and it is with great thanks that we acknowledge the support of Opera Vision in helping to both distribute and disseminate these pieces, and also for establishing a means in which audiences can be invited into the heart of the process too .
Read Book the Witches Curse Kindle

THE WITCHES CURSE PDF, EPUB, EBOOK Amelia Conroy-Larue | 67 pages | 14 Mar 2015 | Lulu.com | 9781326215057 | English | London, United Kingdom The Witches Curse PDF Book See Bargainnier, Earl F. Comment required. The demand for tickets for the first night was so great that the management of the Fifth Avenue Theatre sold them by public auction. We know that witches curses is the bad way to get anything but now this time most of persons like witches curse because it gives us fast results. The thread was an unexpected viral hit, rising to more than , likes over the weekend. Media Into the Woods. The trouble in Salem began during the cold, dark Massachusetts winter, in January of Read about the author Keith McGowan. As reported in The Times , 2 February , p. From Wikipedia, the free encyclopedia. No ads, no adware, no spyware. In fact, you've basically got that same type of character doing the same type of things but the only difference here is that they throw in the Hell setting for some entertainment value. Nor is the orchestration of the passage particularly skilful. On the day of the premiere, The New York Times , whose correspondent attended the dress rehearsal the day before, warned, "The music is not up to the standard of Sir Arthur Sullivan. Pick a username you like and can share with others. Is this a good film? Season 7 events. Your username is permanent and yours forever. Burgomeister Antonio Ciani Pietro Ceccarelli Subscribe to GameZebo. Subscribe to the Secrets of the Dead Newsletter. Retrieved 13 October Read Next.
Alcina Alcina

ALCINAALCINA George Frideric Handel NEW PRODUCTION Four Hundred Forty-Fourth Program of the 2014-15 Season _______________________ Indiana University Opera Theater presents as its 440th production Alcina Music by George Frideric Handel Libretto by Antonio Fanzaglia Arthur Fagen, Conductor Chas Rader-Shieber, Stage Director Robert Perdziola, Set and Costume Designer Patrick Mero, Lighting Designer Eiddwen Harrhy, Baroque Style Coach Daniela Siena, Italian Diction Coach Vincent Liotta, Supertitle Author _________________ Musical Arts Center Friday, February Sixth Saturday, February Seventh Friday, February Thirteenth Saturday, February Fourteenth Eight O’Clock music.indiana.edu Cast of Characters Friday, February 6 Saturday, February 7 Saturday, February 14 Friday, February 13 Alcina . Shannon Love Elizabeth Toy Morgana . Kellie Motter Monica Dewey Bradamante . Rachel K . Evans Kaitlyn McMonigle Oronte . Christopher Sokołowski Issa Ransom Melisso . Eunje Cho Ross Coughanour Ruggiero . Deniz Uzun Michael Linert Supernumeraries . Andrew Copeland Andrew Copeland Colin Ellis Colin Ellis Moses Mayabilo Moses Mayabilo Jake Rhoad Jake Rhoad The Georgina Joshi Foundation, Inc. Handel Underwriting Through the vision of Georgina’s mother, Louise Addicott-Joshi, The Georgina Joshi Foundation, Inc ,. was established in 2007 as a 501(c)(3) charitable foundation to provide, among other things, educational and career development opportunities for young musicians and to encourage and support the public performance of music . - let music flow and surround the world let humanity be drown in beautiful music - George Frideric Handel, a German-English baroque composer, was famous for his operas, oratorios, and concerti grossi . He was strongly influenced by the techniques of the great composers of the Italian Baroque period and English composer Henry Purcell .