Curriculum Vitae

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Pauliina Tukiainen - Curriculum vitae The Finnish pianist Pauliina Tukiainen studied piano in her native country and in Frankfurt am Main. She won numerous prizes and scholarships during her Art Song studies with Hartmut Höll and Anne Le Bozec in Zurich and Karlsruhe. Further artistic impulses she received from Dietrich Fischer-Dieskau, Ralf Gothoni, Thomas Hampson, Christoph Prégardien und Wolfgang Rihm. Pauliina Tukiainen has given Song recitals in renowned concert halls and international festivals such as Musikverein in Wien, the Mecklenburg-Vorpommern Festival, the Bodensee Festival, the Enescu Festival in Bukarest, Festival classique des Haudères in Switzerland, Fundación Juan March in Madrid, Zurich’s Tonhalle, the Liederhalle in Stuttgart, Konserthus Oslo, the Cape Classic Festival in South Africa, the Mehli Mehta Foundation in India, and Saigon Opera House, Vietnam. Many of the concerts have been recorded live by international broadcasting companies. Her highly acclaimed debut CD, „Mirrors“, including chamber music and songs by Kaija Saariaho and Jean Sibelius, was released by Coviello Classics in 2013 followed by a recording of songs by Alban Berg, Claude Debussy and Richard Wagner. Her newest CD includes songs by Robert Schumann, Richard Strauss and the world premiere of Wolfgang Rihms „Ophelia Sings“. She has been connected to and shared an extensive cooperation with the Bonner Schumannfest where she has also as an artistic adviser created a podium for younger Liedduos. Pauliina Tukiainen taught at the music universities of Frankfurt am Main and Freiburg. She is an internationally sought-afer jury member and lecturer at masterclasses and workshops. Since October 2017 she holds a professorship for Art Song at the Mozarteum University Salzburg. .

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Voice Types in Opera
Voice Types in Opera In many of Central City Opera’s educational programs, we spend some time explaining the different voice types – and therefore character types – in opera. Usually in opera, a voice type (soprano, mezzo soprano, tenor, baritone, or bass) has as much to do with the SOUND as with the CHARACTER that the singer portrays. Composers will assign different voice types to characters so that there is a wide variety of vocal colors onstage to give the audience more information about the characters in the story. SOPRANO: “Sopranos get to be the heroine or the princess or the opera star.” – Eureka Street* “Sopranos always get to play the smart, sophisticated, sweet and supreme characters!” – The Great Opera Mix-up* A soprano is a woman’s voice type. There are many different kinds of sopranos within the general category: coloratura, lyric, and spinto are a few. Coloratura soprano: Diana Damrau as The Queen of the Night in The Magic Flute (Mozart): https://youtu.be/dpVV9jShEzU Lyric soprano: Mirella Freni as Mimi in La bohème (Puccini): https://youtu.be/yTagFD_pkNo Spinto soprano: Leontyne Price as Aida in Aida (Verdi): https://youtu.be/IaV6sqFUTQ4?t=1m10s MEZZO SOPRANO: “There are also mezzos with a lower, more exciting woman’s voice…We get to be magical or mythical characters and sometimes… we get to be boys.” – Eureka Street “Mezzos play magnificent, magical, mysterious, and miffed characters.” – The Great Opera Mix-up A mezzo soprano is a woman’s voice type. Just like with sopranos, there are different kinds of mezzo sopranos: coloratura, lyric, and dramatic.
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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.
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CONDUCTOR Rico Saccani
如 • 歌 • 文 • 化 Ruge Artists Management 扫描关注微信订阅号 CONDUCTOR Rico Saccani ARTISTIC ACHIEVEMENTS Rico Saccani is the most recently served as Music Director/Artistic Adviser of the Budapest Philharmonic Orchestra and was principal guest conductor of the Hungarian State Opera. He won top prize in the Herbert von Karajan International Conducting Competition in Berlin. He was immediately engaged to perform with the Berlin and Stuttgart Radio Orchestras, the Royal Danish Philharmonic and the Spoleto Festival. His opera debut came in 1985 in Verdi’s Un Giorno di Regno at the Teatro Filarmonico di Verona. La Traviata at the Paris Opera and the Vienna State Opera, Il Turco in Italia at the Rossini Festival in Pesaro plus La Bohème at the Philadelphia Opera with Luciano Pavarotti for the PBS American television network immediately followed. PERFORMANCES He has returned on numerous occasions as a guest conductor with the most important symphony orchestras around the globe, such as Bavarian Radio Orchestra, Czech Philharmonic Orchestra, Cologne Gurzenisch Symphony and Opera Orchestras, Houston Symphony, Oslo Philharmonic, Royal Philharmonic of Denmark, Tokyo Philharmonic, Yomiuri Symphony Orchestra. He has also worked with many of the world’s greatest solo artists, such as Alicia De Larrocha, Stephen Isserlis, Denis Matsouev, Sabine Meyer, Kun Woo Paik, Dimitri Sitkovetsky, Maxim Vengerov, Julian Lloyd-Weber, Pinchas Zuckerman, etc, as well renowned Beaux Arts Trio. Maestro Saccani has also appeared at the Hamburg State Opera, the Lyon Opera, the Monte-carlo Opera, the Arena de Nimes Festival, the Paris Opera Comique, Rome, Dresden and Cologne Operas. He made his Metropolitan Opera debut in Il Trovatore and re- engaged for the first international radio broadcast of Traviata and Aida.
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MU 270/Voice
California State Polytechnic University, Pomona COURSE SYLLABUS MU 270 - Performance Seminar/VOICE –Spring 2014 Time and Location: T 1-1:50 Bldg. 24-191 Instructor/ office: Lynne Nagle; Bldg. 24 – 155 and 133 Office Hours: M 9:30-10:30; T11:00-12:00; T 4:00-5:00; others TBA Phone: (909) 869-3558 e-mail: [email protected] Textbook and Supplies: No textbook is needed; notebook required. Course Objectives: To provide a laboratory recital situation wherein students may perform for each other, as well as for the instructor, for critical review. They will share song literature, musical ideas, production techniques, stylistic approaches, etc., in order to learn from each other as well as from the instructor. Assignments and Examinations:!In-class performances: You will be expected to perform a minimum of 3 times (5 for upper division) during each quarter, each performance taking place on a different day. Songs may be repeated for performance credit, but lower division students must perform at least 3 different songs and upper division at least 4 different songs. Please provide a spoken translation when performing in a foreign language. A brief synopsis of an opera, musical or scene is also appropriate if time allows. ALL PERFORMANCES IN SEMINAR ARE TO BE MEMORIZED except for traditional use of the score for oratorio literature. You are also expected to contribute to the subsequent discussion. Concert Reports: TWO (2) typed reports on choral/vocal concerts, recitals or shows must be submitted by week 10 seminar or sooner. You may use any concert you have attended since the end of the previous quarter.
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Wolfgang Sawallisch Wolfgang Sawallisch
WOLFGANG SAWALLISCH Conductor Laureate Wolfgang Sawallisch became conductor laureate of The Philadelphia Orchestra in September 2003, following the culmination of his celebrated, decade-long tenure as the Orchestra’s sixth music director. Acclaimed as one of the greatest living exponents of the Germanic musical tradition, Mr. Sawallisch enriched and expanded upon the Orchestra’s century-old tradition of excellence, leaving an enduring legacy of artistic achievements with the ensemble. As music director, Mr. Sawallisch encouraged the exploration of new ways to present music to American audiences. In April 1997 he led the Philadelphians in the first live internet concert “cybercast” made by a major American orchestra, attracting listeners from more than 40 countries around the world. He presented season-long focuses on the works of Schumann, Haydn, Beethoven, and Brahms, and an ongoing overview of the works of Richard Strauss (including a concert presentation of the opera Ariadne auf Naxos ). Through a series of commissions, Mr. Sawallisch re-affirmed the Orchestra’s commitment to new music; and his vision for the Orchestra’s 100th Anniversary Season in 1999-2000, made up exclusively of music written since the ensemble’s creation in 1900, resulted in record ticket sales and critical praise. During his tenure, Mr. Sawallisch led The Philadelphia Orchestra each year in concerts outside Philadelphia, helping to build upon the ensemble’s long tradition of touring. He appeared annually with the Orchestra in a series of concerts at Carnegie Hall and conducted the Orchestra in major concert halls throughout the world on eight international tours (three to Europe, four to Asia, and one to Central and South America).
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Thomas Hampson, Baritone
Monday, May 3, 2021 | 3 PM Livestreamed from Gordon K. and Harriet Greenfield Hall and William R. and Irene D. Miller Recital Hall MASTER CLASS & LIVE WEBCAST Distinguished Visiting Artist for Vocal Studies and Distance Learning Thomas Hampson, baritone PROGRAM WOLFGANG AMADEUS “Dove sono i bei momenti” from Le nozze di Figaro, K. 492 MOZART (1756–1791) RICHARD STRAUSS “Wasserrose” from Mädchenblumen, Op. 22 (1864–1949) Jasmine Ismail, soprano Winston Salem, North Carolina Student of Ruth Golden Travis Bloom, piano NED ROREM Emily’s Goodbye Aria from Our Town (b. 1923) HARRY THACKER “Worth While” from Five Songs of Laurence Hope BURLEIGH (1866–1949) RICHARD STRAUSS “Cäcilie,” Op. 27, no. 2 Evangeline Ng, soprano Singapore Student of Joan Patenaude-Yarnell Fumiyasu Kawase, piano GEORGE FRIDERIC “È gelosia” from Alcina, HWV 34 HANDEL (1685–1759) GUSTAV MAHLER “Wenn mein Schatz Hochzeit macht” from Lieder eines fahrenden Gesellen (1860–1911) Yile Huang, mezzo-soprano Inner Mongolia, China Student of Maitland Peters Tongyao Li, piano FRANZ SCHUBERT “Erlkönig,” Op. 1, D. 328 (1797–1828) WOLFGANG AMADEUS “Tutto è disposto… Aprite un po’quegli ochi” from Le nozze di Figaro, K. 492 MOZART Michael Leyte-Vidal, bass-baritone Palmetto Bay, Florida Student of Ashley Putnam Travis Bloom, piano Alternates WOLFGANG AMADEUS “Ah, chi mi dice mai” from Don Giovanni, K. 527 MOZART HENRI DUPARC “Au pays où se fait la guerre” (1848–1933) Sarah Rachel Bacani, soprano Toms River, New Jersey Student of Cynthia Hoffmann Travis Bloom, piano TEXT AND TRANSLATIONS “Dove sono i bei momenti” from Le nozze di Figaro E Susanna non vien! Sono ansiosa di saper Susanna does not come! come il Conte accolse la proposta.
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Digital Concert Hall Where We Play Just for You
www.digital-concert-hall.com DIGITAL CONCERT HALL WHERE WE PLAY JUST FOR YOU PROGRAMME 2016/2017 Streaming Partner TRUE-TO-LIFE SOUND THE DIGITAL CONCERT HALL AND INTERNET INITIATIVE JAPAN In the Digital Concert Hall, fast online access is com- Internet Initiative Japan Inc. is one of the world’s lea- bined with uncompromisingly high quality. Together ding service providers of high-resolution data stream- with its new streaming partner, Internet Initiative Japan ing. With its expertise and its excellent network Inc., these standards will also be maintained in the infrastructure, the company is an ideal partner to pro- future. The first joint project is a high-resolution audio vide online audiences with the best possible access platform which will allow music from the Berliner Phil- to the music of the Berliner Philharmoniker. harmoniker Recordings label to be played in studio quality in the Digital Concert Hall: as vivid and authen- www.digital-concert-hall.com tic as in real life. www.iij.ad.jp/en PROGRAMME 2016/2017 1 WELCOME TO THE DIGITAL CONCERT HALL In the Digital Concert Hall, you always have Another highlight is a guest appearance the best seat in the house: seven days a by Kirill Petrenko, chief conductor designate week, twenty-four hours a day. Our archive of the Berliner Philharmoniker, with Mozart’s holds over 1,000 works from all musical eras “Haffner” Symphony and Tchaikovsky’s for you to watch – from five decades of con- “Pathétique”. Opera fans are also catered for certs, from the Karajan era to today. when Simon Rattle presents concert perfor- mances of Ligeti’s Le Grand Macabre and The live broadcasts of the 2016/2017 Puccini’s Tosca.
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Composing for Classical Voice Voice Types/Fach System
Composing for Classical Voice Alexandra Smither A healthy relationship between composer and singer is essential for the creation of new song. Like all good relationships, communication is key. Through this brief talk, I hope to give you some tools, some language you can use as common ground when working together. Remember, we are all individuals with insecurities and vulnerabilities and our art made together should lean on strengths. Being in the room with someone means they are making themselves available to you: this goes both ways, so do what you can to elevate them in the way that they see fit. Composers, remember that to be a singer is to be an athlete. If we are protective of our voices, it’s because we are only given one and it is very delicate. Additionally, the opera world is not kind. Many singers are constantly dealing with rejection and commentary, not just on how they sound, but on how they look and who they are. Remember this, be compassionate, choose your words wisely and kindly. Your singer will appreciate it and will sing all the better for it. Singers, take the time to think about your voice and singing. What do you love to sing? What sounds do you like, even outside singing? How does your voice work? Share this information joyfully and without shame - the music being written will reflect it more the more you talk about it. Be willing to try things in ways that are healthy and sustainable for your body. Embrace your individual identity as singer, person, and artist.
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Luca Pisaroni and Thomas Hampson: No Tenors Allowed Tuesday, April 30, 2019 at 8:00Pm Pre-Concert Talk at 7:00Pm This Is the 937Th Concert in Koerner Hall
Luca Pisaroni and Thomas Hampson: No Tenors Allowed Tuesday, April 30, 2019 at 8:00pm Pre-concert Talk at 7:00pm This is the 937th concert in Koerner Hall Luca Pisaroni, baritone Thomas Hampson, baritone Vlad Iftinca, piano PROGRAM: Some Enchanted Evening Wolfgang Amadeus Mozart: “Non più andrai” from Le nozze di Figaro Wolfgang Amadeus Mozart: “Hai già vinta la causa” from Le nozze di Figaro Wolfgang Amadeus Mozart: “Madamina, il catalogo è questo” from Don Giovanni Wolfgang Amadeus Mozart: “Eh via buffone” from Don Giovanni Wolfgang Amadeus Mozart: “Deh vieni alla finestra” from Don Giovanni Ruggero Leoncavallo: “Intermezzo” from I pagliacci Giuseppe Verdi: “Perfidi! ... Pietà, rispetto, amore” from Macbeth Gioachino Rossini: “Sorgete … Duce di tanti eroi” from Maometto II INTERMISSION Franz Lehár: “O Vaterland, du machst bei Tag” from Die lustige Witwe Franz Lehár: “Dein ist mein ganzes Herz” from Das Land des Lächelns Emmerich Kálmán: “Komm, Zigány” from Gräfin Mariza Harold Arlen: “Somewhere Over the Rainbow” from The Wizard of Oz Richard Rogers: “Some Enchanted Evening” from South Pacific Leonard Bernstein: “Lonely Town” from On the Town Richard Rogers: “This Nearly Was Mine” from South Pacific Medley (“Anything You Can Do,” “There Is Nothing Like a Dame,” “This Is My Beloved”) Luca Pisaroni Baritone Italian bass-baritone Luca Pisaroni has established himself as one of the most charismatic and versatile singers performing today. Since his debut at age 26 with the Vienna Philharmonic at the Salzburg Festival, led by Nikolaus Harnoncourt, he has continued to bring his compelling artistry to the world’s leading opera houses and concert halls.
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Download Booklet
CHAN 3042 BOOK 29/01/2016 14:55 Page 2 Pyotr Ilyich Tchaikovsky (1840–1893) Eugene Onegin KG A Opera in three acts Text by the composer and Konstantin Shilovsky after Alexander Pushkin’s verse novel Eugene Onegin English translation by David Lloyd-Jones Eugene Onegin....................................................Thomas Hampson baritone Tatyana......................................................................Kiri Te Kanawa soprano Lensky..........................................................................Neil Rosenshein tenor Prince Gremin....................................................................John Connell bass A Captain/Zaretsky....................................................Richard Van Allan bass Monsieur Triquet..............................................................Nicolai Gedda tenor Madame Larina..................................................Linda Finnie mezzo-soprano Filippyevna............................................Elizabeth Bainbridge mezzo-soprano Olga................................................................Patricia Bardon mezzo-soprano Pyotr Ilyich Tchaikovsky Orchestra and Chorus of Welsh National Opera Gareth Jones chorus master Sir Charles Mackerras 3 CHAN 3042 BOOK 29/01/2016 14:55 Page 4 COMPACT DISC ONE TimePage TimePage No. 5 Scene and Quartet Act I 8 ‘Mesdames, I hope that you’ll excuse me’ 1:4897 1 Introduction 2:3992 Lensky, Onegin, Madame Larina 9 ‘Now tell me, which of them’s Tatyana?’ 1:4297 Scene 1 Onegin, Lensky, Tatyana, Olga No. 1 Duet and Quartet 2 ‘Oh, did you hear the lovesick shepherd boy’ 5:0892 No. 6 Scene and Arioso Tatyana, Olga, Madame Larina, Nurse 10 ‘How perfect, how wonderful’ 2:14 098 No. 2 Chorus and Dance of the Peasants Lensky, Olga, Onegin, Tatyana 3 ‘My legs ache and can no longer run’ 2:3994 11 ‘How I love you, I adore you, Olga’ 3:16 099 Leader (John Hudson), Peasants, Madame Larina Lensky, Olga 4 ‘In a cottage by the water’ 2:0594 No. 7 Closing Scene Peasants 12 ‘Ah, here you are!’ 2:40100 No.
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The New Yorker Since 1993, and He Became the Magazine’S Music Critic in 1996
two, three,” someone hollered. “You should go up there, Joyce,” Tami Swope McDonald, DiDonato’s old roommate, who is a pianist at a local church, said. “Give them a master class in karaoke technique,” Mike Folsom, a Web designer who plays in country bands, added. “Should I?” DiDonato asked. “I could do a killer ‘Desperado.’ ” She applied an operatic timbre: “Desss-pehr-ah-do.” Her friends urged her on. “Oh, no,” she said, putting a hand to her throat and assuming a fragile-diva air. “I must rest the voice.” The conversation meandered from Renaissance polyphony to the Wichita State basketball team, the Shockers, who had recently reached the Final Four. DiDonato said, authoritatively, “If the game had ended #ve minutes earlier, we would have won.” She had checked March Madness scores on the Internet after her “Drama Queens” performances. The concert ’s title plays with the stereotype of the diva as an aﬀected, tempestuous creature. This does not describe DiDonato. The adjectives “cheery,” “upbeat,” and “down-to-earth” follow her around in the press; it’s often mentioned that she once dreamed of being a backup singer for Billy Joel. But there’s a sly, self-aware edge to her enthusiasm. Her conversation is mercurial, with personae "itting in and out: the Country Gal (“Ahm not soundin’ very erudite today”), the Airy Diva (“How glad I am that we had these few stolen moments”), the Young Person (“Um, oh, my God, Rossini is, like, amazing?”). She is ambitious, impatient with routine, and unintimidated by conductors and directors who condescend to her.
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Renée Fleming
Renée Fleming Hartmut Höll, Piano WHEN: VENUE: Wednesday, Bing ConCert January 31, 2018 Hall 7:30 PM Photo: Decca/Andrew Eccles Program George Frideric Händel (1685 –1759) “ombra mai fu” from Serse text by nicola Minato and silvio stampiglia “Bel piacere e godere” from Agrippina text by Cardinal Vincenzo grimani Johannes Brahms (1833 –1897) Mondnacht, Woo 21 text by Joseph von eichendorff (1788–1857) ständchen from 5 Lieder, op.106 text by Franz Kugler (1808–1858) die Mainacht from 4 Songs , op.43 text by ludwig Heinrich Christoph Hölty (1748–1776) da unten im tale from 49 Deutsche Volkslieder, WoO 33 text by anonymous Meine liebe ist grün from 9 Lieder and Songs, op.63 text by Felix schumann (1854–1879) Wiegenlied from 5 Lieder, op.49 text by german folk poems ( Das Knaben Wunderhorn ) and georg scherer (1824–1909) Vergebliches ständchen from 5 Romances and Songs, op.84 text by anton von Zuccalmaglio (1803–1869) Caroline Shaw (1982–) text by Mary Jo salter (1954–) “aurora Borealis” “Bed of letters” —INTERMISSION— 2 Gabriel Fauré (1845 –1924) Clair de lune. Op. 46 No 2 text by Paul-Marie Verlaine (1844–1896) Mandoline from Cinq mélodies “de Venise,” op. 58 text by Paul-Marie Verlaine (1844–1896) Rufus Wainwright (1973– ) les feux d’artifice t’appellent text by rufus Wainwright and Bernadette Colomine Oscar Straus (1870 –1954) Je t’aime quand même from Trois Valses text by Paul Knepler (1879–1967) and armin l. robinson (1900–1985); French translation by léopold Marchand (1891–1952) and albert Willemetz (1887–1964) TRIBUTE TO BARBARA COOk
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