Scarica Il Programma Del ROF 2020

Total Page:16

File Type:pdf, Size:1020Kb

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] Platea / Stalls E 100 Posto in palco A e B / Seat in box A & B E 70 Posto in palco C / Seat in box C E 30 www.rossinioperafestival.it Posto in palco 4° ordine / Seat in box 4th floor E 50 Loggione (non prenotabile) / Upper circle (unreserved seats)* E 25 Sei sonate a quattro nel 1823 Rossini a Venezia Platea / Stalls E 50 Posto in palco A e B / Seat in box A & B E 35 Posto in palco C / Seat in box C E 20 Sotto l’Alto Patronato Posto in palco 4° ordine / Seat in box 4th floor E 30 del Presidente della Repubblica Loggione (non prenotabile) / Upper circle (unreserved seats)* E 20 * Solo vendita diretta al Botteghino / Only for Box Office sales Maggiorazione del 10% per diritti di prenotazione Plus 10% booking fee on ticket price BIGLIETTO GIOVANE / YOUTH TICKET Riservato a Moïse et Pharaon, Elisabetta regina d’Inghilterra, Rarità rossiniane e Stabat Mater, limitatamente al Settore B: 30 E per i minori di 26 anni, 1 E per i minori di 14 anni al seguito di un adulto. Limited to Moïse et Pharaon, Elisabetta regina d’Inghilterra, Rarità rossiniane and Stabat Mater, Category B: 30 E for under 26 year-olds, 1 E for under 14 year-olds accompanied by an adult. XLI Edizione United Nations Designated Educational, Scientific and UNESCO Creative City Cultural Organization in 2017 A cura dell’Ufficio Edizioni del Rossini Opera Festival • Progettazione grafica Dario Ottaviani • A cura dell’Ufficio Edizioni del Rossini Opera Festival • Progettazione Pesaro, 8~21 agosto 2020 Vitrifrigo Arena - 8, 11, 14 e 18 agosto, ore 19.00 Vitrifrigo Arena - 10, 13, 17 e 20 agosto, ore 20.00 Vitrifrigo Arena - 16 agosto, ore 20.00 MOÏSE ET PHARAON ELISABETTA REGINA Rarità rossiniane Opéra en quatre actes di Luigi Balochi e Étienne de Jouy Juan Diego Flórez Edizione Casa Ricordi D’INGHILTERRA Dramma in due atti di Giovanni Schmidt Direttore MICHELE SPOTTI Direttore GIACOMO SAGRIPANTI Edizione critica della Fondazione Rossini, in collaborazione FILARMONICA GIOACHINO ROSSINI Regia, scene e costumi PIER LUIGI PIZZI con Casa Ricordi, a cura di Vincenzo Borghetti Regista collaboratore e Luci MASSIMO GASPARON Interpreti Direttore EVELINO PIDÒ Moïse ROBERTO TAGLIAVINI, Regia DAVIDE LIVERMORE Teatro Rossini - 19 agosto, ore 16.00 Pharaon ERWIN SCHROTT, Aménophis ANDREW OWENS, Scene GIÒ FORMA Éliézer RUZIL GATIN, Osiride / Voix mystérieuse NICOLÒ DONINI, Costumi GIANLUCA FALASCHI L’ABC del Buffo Aufide MATTEO ROMA, Sinaïde VASILISA BERZHANSKAYA, Interpreti Musiche di G. Rossini, D. Cimarosa, G. Donizetti, Anaï OLGA PERETYATKO, Marie MONICA BACELLI Elisabetta KARINE DESHAYES, Leicester SERGEY ROMANOVSKY, G. Verdi, N. Rota, G. Paisiello CORO DEL TEATRO VENTIDIO BASSO Matilde MARIANGELA SICILIA, Enrico SONIA PRINA, Maestro del Coro GIOVANNI FARINA Direttore IVÁN LÓPEZ-REYNOSO Norfolc BARRY BANKS, Guglielmo OSCAR ORÉ ORCHESTRA SINFONICA NAZIONALE DELLA RAI ALFONSO ANTONIOZZI CORO DEL TEATRO VENTIDIO BASSO Nuova produzione PAOLO BORDOGNA Maestro del Coro GIOVANNI FARINA ALESSANDRO CORBELLI ORCHESTRA SINFONICA NAZIONALE DELLA RAI FILARMONICA GIOACHINO ROSSINI Nuova produzione Teatro Rossini - 9, 12, 15 e 19 agosto, ore 20.00 Teatro Rossini - 20 agosto, ore 16.00 FESTIVAL GIOVANE L’EQUIVOCO STRAVAGANTE Teatro Rossini - 20 luglio, ore 20.00 Sinfonia alternativa in prima esecuzione assoluta Sei sonate a quattro Edizione critica della Fondazione Rossini, in collaborazione per due violini, violoncello e contrabbasso con Casa Ricordi, a cura di Marco Beghelli e Stefano Piana Accademia Rossiniana Edizione critica della Fondazione Rossini, in collaborazione “Alberto Zedda” con Casa Ricordi, a cura di Matteo Giuggioli Esecuzione a quattro violini I, quattro violini II, GIOVANNA D’ARCO Concerto conclusivo Cantata a voce sola due violoncelli, un contrabbasso Elaborazione per orchestra di Salvatore Sciarrino Teatro Rossini - 14 e 18 agosto, ore 11.00 I SOLISTI VENETI diretti da GIULIANO CARELLA Edizione Casa Ricordi Mezzosoprano MARIANNA PIZZOLATO Il viaggio a Reims Dramma giocoso in un atto di Luigi Balochi Edizione critica della Fondazione Rossini, in collaborazione Vitrifrigo Arena - 21 agosto, ore 20.30 LA CAMBIALE con Casa Ricordi, a cura di Janet Johnson DI MATRIMONIO Direttore GIANCARLO RIZZI Stabat Mater Farsa comica in un atto di Gaetano Rossi Elementi scenici e Regia EMILIO SAGI per soli, coro e orchestra Edizione Casa Ricordi Costumi PEPA OJANGUREN Edizione Casa Ricordi Direttore DMITRY KORCHAK Interpreti scelti dell’Accademia Rossiniana “Alberto Zedda” Direttore JADER BIGNAMINI Regia LAURENCE DALE FILARMONICA GIOACHINO ROSSINI Regia MASSIMO GASPARON Scene e Costumi GARY McCANN Produzione 2001, riallestimento • Diretta streaming GIULIANA GIANFALDONI soprano Interpreti VASILISA BERZHANSKAYA mezzosoprano Tobia Mill CARLO LEPORE, Fanny DILYARA IDRISOVA, RUZIL GATIN tenore Edoardo Milfort DAVIDE GIUSTI, Slook IURII SAMOILOV, Teatro Rossini - 13, 17 e 21 agosto, ore 16.00 RICCARDO FASSI basso Norton ALEXANDER UTKIN, Clarina MARTINIANA ANTONIE Concerti di Belcanto CORO DEL TEATRO VENTIDIO BASSO ORCHESTRA SINFONICA G. ROSSINI Maestro del Coro GIOVANNI FARINA 13 agosto ELEONORA BURATTO Nuova coproduzione con Royal Opera House Muscat ORCHESTRA SINFONICA NAZIONALE DELLA RAI 17 agosto MAXIM MIRONOV Videoproiezione in diretta in Piazza del Popolo 21 agosto KARINE DESHAYES in collaborazione con il Comune di Pesaro .
Recommended publications
  • Emily Grace Righter
    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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • WHITEHALL CHOIR SCHUBERT Stabat Mater MOZART Mass in C
    WHITEHALL CHOIR Brandenburg Sinfonia SCHUBERT Stabat Mater MOZART Mass in C minor Conductor PAUL SPICER (Sopranos) Emily Garland, Anna Sideris (Tenor) Ørjan Bruskeland Hinna (Baritone) Nicholas Mogg Thursday, 2 April 2015, 7.30pm St John’s Smith Square, London SW1P 3HA Programme £2 Ascendit – Music for Passiontide to Ascension. The perfect Easter gift The pieces for Whitehall Choir’s most recent CD, Ascendit, its third, recorded in 2014, were chosen to trace the period of the church’s year between Passiontide and Ascension. In selecting them, we wanted to present a wide variety of styles and periods, including a substantial amount of recent music. A key element was the winning entry of Whitehall Choir's 70th anniversary Young Composer Competition, which stipulated that the piece had to set words which related to the programme. Samuel Parsons’ work movingly sets the words from the Latin Stabat Mater alongside those of Elizabeth Jennings. We also sing pieces by James MacMillan, one of the greatest choral composers of the present day, and his teacher Kenneth Leighton. Balancing all this modern music are classics from earlier periods including Purcell’s near-perfect Remember not, Lord, our offences, Lotti’s extraordinary Crucifixus and Gibbons’s precocious doctoral exercise for Oxford University, O Clap your Hands, one of the truly virtuoso compositions of the Tudor period. There really should be something for everyone on this CD. In accordance with the requirements of Westminster City Council persons shall not be permitted to sit or stand in any gangway. The taking of photographs and use of recording equipment is strictly forbidden without formal consent from St John’s.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • Stabat Mater
    ROSSINI STABAT MATER Feola • Romberger • Korchak • Kares Chor des Bayerischen Rundfunks Münchner Rundfunkorchester Howard Arman Gioachino Rossini 1792–1868 STABAT MATER for soloists, choir and orchestra für Soli, Chor und Orchester 1. Introduction (soloists/chorus) Stabat mater dolorosa – Andantino moderato 8:08 2. Aria (tenor) Cujus animam gementem – Allegretto maestoso 5:50 3. Duet (soprano/alto) Quis est homo – Largo 5:57 4. Aria (bass) Pro peccatis suae gentis – Allegretto maestoso 3:55 5. Chorus and recitativo (bass) Eja mater, fons amoris – Andante mosso 4:01 6. Quartet (soloists) Sancta mater, istud agas – Allegretto moderato 7:16 7. Cavatina (alto) Fac ut portem – Andante grazioso 4:28 8. Aria (soprano) and chorus Inflammatus et accensus – Andante maestoso 4:32 9. Quartet (soloists) Quando corpus morietur – Andante 4:38 10. Finale (chorus) Amen – Allegro 5:48 Rosa Feola soprano Gerhild Romberger alto Dmitry Korchak tenor Mika Kares bass Chor des Bayerischen Rundfunks Münchner Rundfunkorchester Howard Arman conductor Howard Arman rus and an orchestra in order to perform the work in its entirety: “It was necessary, above everything, to assure ourselves of the collaboration of leading artists. Mme Giulia Grisi SWEET LAMENT and M. Mario did not immediately appreciate the scope of the work and greeted our pro- GIOACHINO ROSSINI’S STABAT MATER ject coldly. Tamburini alone understood us; after having read the Pro peccatis twice and having cast his eye over the whole of the work, he exclaimed: ‘It is beautiful, it is admira- “You tell me that you’ve been sold an item of some value,” Gioachino Rossini wrote angrily ble, I will see Mmes Grisi and Albertazzi and M.
    [Show full text]