DOCSLIB.ORG

La Cenerentola by Gioachino Rossini

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
La Cenerentola by Gioachino Rossini Opera in Williamsburg presents: La Cenerentola By Gioachino Rossini April 8 and 10, 2016 in partnership with The America-Israel Cultural foundation (AICF) Kimball Theatre, Williamsburg, Virginia 2 Opera in Williamsburg Naama Zahavi-Ely Founder and Artistic Director Opera in Williamsburg is an innovative opera company that creates productions of fully-staged opera classics with world-class casts in an intimate setting.in Williamsburg, Virginia Funded by ticket sales, grants and contributions, Opera in Williamsburg is committed to the highest artistic standards and maintains a relationship with the International Vocal Arts Institute (IVAI), founded and run by Joan Dornemann and Paul Nadler. Opera in Williamsburg’s objectives are as follows: Create excellent live, mainstream opera performances in Williamsburg, Virginia with outstanding singers, committed acting and directing, and meticulous ensemble work. Provide opportunities for exceptional singers, musicians, and other artists to earn a living by their art Give highly qualified singers opportunities to debut mainstream opera roles professionally Create effective, attractive, engaging and elegant mainstream opera productions through imaginative use of existing resources Attract new audiences to live, mainstream opera Opera in Williamsburg, Inc is a non-profit tax-exempt organization with its own 501(c)3 letter of recognition from the IRS (EIN 47-5511655). We can now receive tax-exempt donations directly and apply for more grants. We are very thankful indeed for the support of members of the community, which has allowed us to reach this point. Volunteers are welcome to join the group of loyal friends whose contributions of advice, assistance, hospitality and funding are gratefully acknowledged. If you are interested, please contact Naama Zahavi-Ely at [email protected]; or contact our advisory board chair, Frank Knuettel, at 757-259-2313. Naama Zahavi-Ely is a music-lover who founded Opera in Williamsburg as one more place where excellent opera productions could be performed and enjoyed. Her policy is to put people first, and to search for and engage outstanding performers and creative team without compromise. She enjoys opera and classical music wherever she travels. She taught Biblical Hebrew at the College of William and Mary for over a decade before retiring to her birth country, Israel. Naama loves sharing opera with her many Williamsburg friends, and sharing the beautiful city of Williamsburg with her many friends in the opera world. She believes that the city is uniquely positioned for creating intimate opera classics of the kind that Opera in Williamsburg specializes in. 3 Don’t miss our next operas! Opera in Williamsburg presents: Rossini’s Il barbiere di Siviglia (The Barber of Seville) October 21 and 23, 2016 Mozart’s Le Nozze di Figaro (The Marriage of Figaro) April 21 and 23, 2017 details at www.operainwilliamsburg.org 4 La Cenerentola by Gioachino Rossini Libretto: Jacopo Ferretti April 8 and 10, 2016 at the Kimball Theatre, Williamsburg Virginia Conductor: Jorge Parodi Stage director: Isabel Milenski Clorinda .......................................................... Michelle Trovato, Soprano Tisbe ......................................................... Fiorella Velez, Mezzo Soprano Angelina .............................................. Maya Yahav Gur, Mezzo Soprano Alidoro ....................................................................... Scott Russell, Bass Don Magnifico .......................................................... Igor Vieira, Baritone Prince Ramiro .................................................... Jonathan Blalock, Tenor Dandini ....................................................................Suchan Kim, Baritone Chorus ...................................................................... Carlton Moe, Tenor ................................................................ Devon Morin, Baritone Assistant Conductor / Piano ............................................. Abdiel Vazquez Violin 1 .............................................................................. Simon Lapointe Violin 2 ........................................................................... Heejin Weissbrod Viola ........................................................................................ Laura Seay Cello ............................................................................... Peter Greydanus Clarinet ............................................................................ Patricia Carlson Stage Manager .................................................................. Jerry Pedroza Costumes, supertitles, and projected backgrounds .... Naama Zahavi-Ely Producer ...................................................................... Naama Zahavi-Ely 5 LA CENERENTOLA - SYNOPSIS Act I In the run-down castle of Don Magnifico, his daughters Clorinda and Tisbe preen themselves. Their stepsister Angelina serves as the family maid; she sings her favorite song about a king who married a good and kind girl. They bully her and call her Cenerentola, Cinder-girl, that is, Dirtyface. There is a knock on the door and a beggar enters. The stepsisters send him away, but Angelina secretly gives him bread and coffee. The beggar is really a disguise: it is Alidoro, tutor to the prince Don Ramiro. Courtiers arrive to announce that Prince Ramiro will soon pay a visit: he is looking for the most beautiful girl in the land and will hold a ball to choose his bride. The two sisters are extremely excited, and rush to tell their father Don Magnifico. He is upset at first since they wake him up from a splendid dream about a flying donkey. When he hears the news, though, he perks up and hopes that the prince will marry one of his daughters: marriage to a high position is the only way to save the family fortune. When the room is empty, Ramiro enters alone, dressed in his servant’s clothes so he can freely observe the prospective brides. Alidoro has told him that there is a girl in the house worthy to be a princess, and Ramiro is determined to find out who she is. Angelina returns and is startled by the presence of a stranger. The two are immediately attracted to each other (Duet: “Un soave non so che”). He asks her who she is, and Ange- lina stammers a confused explanation, before being called away. Finally, the “prince” arrives—in fact Ramiro’s valet, Dandini, in disguise. To Ramiro’s amusement, Magnifico, Clorinda, and Tisbe fall all over them- selves flattering this “prince,” who invites them to the ball. Angelina asks to be taken along but Magnifico refuses (Quintet: “Signor, una pa- rola”). Ramiro notes how badly Angelina is treated. Alidoro reenters as the prince’s tutor with information that there is a third daughter in the house. He demands to see her, but Don Magnifico claims that she has died and silences Angelina when she tries to protest. All leave; Alidoro comes again in his beggar disguise, and tells Angelina that he will take her to the ball and explains that God will reward her good heart. 6 At Ramiro’s country house, Dandini shares with the prince his negative opinion of the two sisters. Both men are confused, since Alidoro has spoken well of one of Magnifico’s daughters. Clorinda and Tisbe appear again, having followed Dandini who still poses as the prince. When he offers Ramiro as a husband to the sister the prince does not marry, they are outraged at the idea of marrying a servant. Alidoro enters with a beautiful unknown lady who strangely resembles Dirtyface. Unable to make sense of the situation, they all sit down to supper, feeling as if they are in a dream. Act II Magnifico fears that the arrival of the stranger could ruin his daughters’ chances to marry the prince (“Sia qualunque delle figlie”). Angelina, tired of being pursued by Dandini, tells him that she is in love with his servant. Overhearing this, Ramiro is overjoyed and steps forward. Ce- nerentola, however, tells him that she will return home and doesn’t want him to follow her. If he really cares for her, she says, he will find her through the bracelet she gives him, one of a pair; and if when he finds her he wants her, she will have him. The prince resolves to win the mysterious girl (“Sì, ritrovarla io giuro”). Meanwhile Magnifico, who still thinks that Dandini is the prince, con- fronts him, insisting that he decide which of his daughters he will marry. Dandini first advises him to be patient, then reveals that he is in fact the prince’s servant (Duet: “Un segreto d’importanza”). Magnifico is furi- ous. Magnifico and the sisters return home in a bad mood and order Ange- lina, again in rags, to prepare supper. During a thunderstorm, Alidoro arranges for Ramiro’s carriage to break down in front of Magnifico’s castle so that the prince has to take refuge inside. Angelina and Ramiro recognize each other as the various parties comment on the situation (Sextet: “Siete voi?”). When Ramiro threatens Magnifico and his daugh- ters who are unwilling to accept defeat, Angelina asks him to forgive them. At the prince’s palace, Ramiro and Angelina celebrate their wedding. Magnifico tries to win the favor of the new princess, but she asks only to be acknowledged at last as his daughter. Born to misfortune, she has seen her life change and invites her family to join her, declaring that the days of sitting by the fire are over (“Non più mesta”). 7 8 JORGE PARODI: CONDUCTOR Argentinean conductor Jorge Parodi has worked at the Teatro Colón (Buenos Aires), Buenos Aires Lírica,
Load more

Recommended publications
  • The Italian Girl in Algiers
    Opera Box Teacher’s Guide table of contents Welcome Letter . .1 Lesson Plan Unit Overview and Academic Standards . .2 Opera Box Content Checklist . .8 Reference/Tracking Guide . .9 Lesson Plans . .11 Synopsis and Musical Excerpts . .32 Flow Charts . .38 Gioachino Rossini – a biography .............................45 Catalogue of Rossini’s Operas . .47 2 0 0 7 – 2 0 0 8 S E A S O N Background Notes . .50 World Events in 1813 ....................................55 History of Opera ........................................56 History of Minnesota Opera, Repertoire . .67 GIUSEPPE VERDI SEPTEMBER 22 – 30, 2007 The Standard Repertory ...................................71 Elements of Opera .......................................72 Glossary of Opera Terms ..................................76 GIOACHINO ROSSINI Glossary of Musical Terms .................................82 NOVEMBER 10 – 18, 2007 Bibliography, Discography, Videography . .85 Word Search, Crossword Puzzle . .88 Evaluation . .91 Acknowledgements . .92 CHARLES GOUNOD JANUARY 26 –FEBRUARY 2, 2008 REINHARD KEISER MARCH 1 – 9, 2008 mnopera.org ANTONÍN DVOˇRÁK APRIL 12 – 20, 2008 FOR SEASON TICKETS, CALL 612.333.6669 The Italian Girl in Algiers Opera Box Lesson Plan Title Page with Related Academic Standards lesson title minnesota academic national standards standards: arts k–12 for music education 1 – Rossini – “I was born for opera buffa.” Music 9.1.1.3.1 8, 9 Music 9.1.1.3.2 Theater 9.1.1.4.2 Music 9.4.1.3.1 Music 9.4.1.3.2 Theater 9.4.1.4.1 Theater 9.4.1.4.2 2 – Rossini Opera Terms Music
    [Show full text]
  • |What to Expect from L'elisir D'amore
    | WHAT TO EXPECT FROM L’ELISIR D’AMORE AN ANCIENT LEGEND, A POTION OF QUESTIONABLE ORIGIN, AND THE WORK: a single tear: sometimes that’s all you need to live happily ever after. When L’ELISIR D’AMORE Gaetano Donizetti and Felice Romani—among the most famous Italian An opera in two acts, sung in Italian composers and librettists of their day, respectively—joined forces in 1832 Music by Gaetano Donizetti to adapt a French comic opera for the Italian stage, the result was nothing Libretto by Felice Romani short of magical. An effervescent mixture of tender young love, unforget- Based on the opera Le Philtre table characters, and some of the most delightful music ever written, L’Eli s ir (The Potion) by Eugène Scribe and d’Amore (The Elixir of Love) quickly became the most popular opera in Italy. Daniel-François-Esprit Auber Donizetti’s comic masterpiece arrived at the Metropolitan Opera in 1904, First performed May 12, 1832, at the and many of the world’s most famous musicians have since brought the opera Teatro alla Cannobiana, Milan, Italy to life on the Met’s stage. Today, Bartlett Sher’s vibrant production conjures the rustic Italian countryside within the opulence of the opera house, while PRODUCTION Catherine Zuber’s colorful costumes add a dash of zesty wit. Toss in a feisty Domingo Hindoyan, Conductor female lead, an earnest and lovesick young man, a military braggart, and an Bartlett Sher, Production ebullient charlatan, and the result is a delectable concoction of plot twists, Michael Yeargan, Set Designer sparkling humor, and exhilarating music that will make you laugh, cheer, Catherine Zuber, Costume Designer and maybe even fall in love.
    [Show full text]
  • JOS-075-1-2018-007 Child Prodigy
    From the Bel Canto Stage to Reality TV: A Musicological View of Opera’s Child Prodigy Problem Peter Mondelli very few months, a young singer, usually a young woman, takes the stage in front of network TV cameras and sings. Sometimes she sings Puccini, sometimes Rossini, rarely Verdi or Wagner. She receives praise from some well meaning but uninformed adult Ejudge, and then the social media frenzy begins. Aunts and uncles start sharing videos, leaving comments about how talented this young woman is. A torrent of blog posts and articles follow shortly thereafter. The most optimistic say that we in the opera world should use this publicity as a means to an end, to show the world at large what real opera is—without ever explaining how. Peter Mondelli The sentiment that seems to prevail, though, is that this performance does not count. This is not real opera. Opera was never meant to be sung by such a voice, at such an age, and under such conditions. Two years ago, Laura Bretan’s performance of Puccini’s “Nessun dorma” on America’s Got Talent evoked the usual responses.1 Claudia Friedlander responded admirably, explaining that there are basic physiological facts that keep operatic child prodigies at a distance from vocally mature singers.2 More common, however, are poorly researched posts like the one on the “Prosporo” blog run by The Economist.3 Dubious claims abound—Jenny Lind, for exam- ple, hardly retired from singing as the post claims at age twenty-nine, the year before P. T. Barnum invited her to tour North America.
    [Show full text]
  • Hasmik Torosyan Was Born in Yerevan, Armenia
    Saverio Clemente Andrea De Amici Luca Targetti Hasmik Torosyan was born in Yerevan, Armenia. She has graduated from the Romanos Melikyan Musical College in 2004 and, later in 2010 the Komitas State Conservatory. Hasmik won several competitions in 2004 and 2006 including Special Prizes in the Republican Competitions after T. Shahnazaryan and T. Sazandaryan. In 2008 she won the First Prize and the Gold Medal in the Republican Competition after G. Gasparyan. In 2009 she won the President’s Prize for Young Singers of Armenia, in 2010 the First Prize in the “Bella Voce” International Music Competition in Moscow, Russia and became the finalist of the 6thSeoul International Music Competition in Seoul, South Korea (2010). In 2011 Hasmik won the First Prize in the “Musica Sacra” International Music Competition in Rome, Italy. Hasmik Torosyan recently performs in France, Germany, Belgium, Austria, Finland, Grate Britain, USA, Argentina, Brazil, Uruguay, Czech Republic, Switzerland, Italy, South Korea, Russia, Lebanon, Turkey with different concert projects. From 2011 Hasmik is the principal soloist of Armenian National Academic Opera and Ballet Theater A.Spendiaryan. Her repertoire includes Ilia in Idomeneo, Queen of the night in The magic flute, Musetta in La Bohème, Lauretta in Gianni Schicchi, Lisette in La Rondine, Rosina in Il Barbiere di Siviglia, Fanny in La cambiale di matrimonio, Lucia in Lucia di Lammermoor, Adina in L’elisir Hasmik Torosyan d’amore, Norina in Don Pasquale, Corinna and Comtesse di Folleville Soprano in Il viaggio a Reims, Violetta in La Traviata, Nedda in Pagliacci, Anush in Anush by A. Tigranyan and other roles.
    [Show full text]
  • Christine Lyons, Soprano
    CHRISTINE LYONS, SOPRANO Christine Lyons has been hailed as a “potent soprano” by Opera Magazine, called a “true virtuosa” by Broadway World, and exclaimed a “revelation” by Gay City News. In the 2019-20 season, she sings Cio-Cio San in Puccini’s Madama Butterfly with Baltimore Concert Opera, sings Violetta in La Traviata, Leonora in Il Trovatore and Gilda in Rigoletto in “Viva Verdi” with Penn Square Music Festival, and returns to “The Me I Want to Sing,” bringing excerpts of the title role in Puccini’s Tosca and Leonora in Verdi’s Il Trovatore to the National Portrait Gallery in Washington D.C. She will appear in concert with Annapolis Opera, with Maryland Symphony Orchestra, and at the Tuscon Desert Song Festival with the Ravinia Festival’s Steans Music Institute on Tour. Quickly garnering attention for her interpretations of bel canto heroines, in the 2018-19 season, Lyons sung Bellini’s Norma with Winter Opera Saint Louis, followed by the title role in Bellini’s La Straniera with Teatro Nuovo at Lincoln Center. As well, she performed excerpts of the title role in Tosca and Leonora in Il Trovatore at The Kennedy Center in “The Me I Want to Sing.” Concert performances included Mozart’s Exsultate, jubilate with the Queens Symphony Orchestra, with the St. Veronica Orchestra of New York, and with the Spectrum Symphony of New York, as well as Rossini’s Stabat Mater with Teatro Nuovo. In the 2017-18 season, Lyons sung Amenaide in Rossini’s Tancredi rifatto in the inaugural season of Teatro Nuovo, as well as Giulietta in Bellini’s I Capuleti e I Montecchi with Saltworks Opera, Adina in L’Elisir d’amore with City Lyric Opera, excerpts of the title role in Donizetti’s Anna Bolena with Opera Naples, excerpts of Floyd’s Susannah in concert at Wolf Trap, and the title role in Puccini’s Suor Angelica.
    [Show full text]
  • Carnegie Hall Rental
    Friday Evening, March 17, 2017, at 7:30 Isaac Stern Auditorium/Ronald O. Perelman Stage presents Susanna’s Secret LEON BOTSTEIN , Conductor Performance #49, Season 2, Concert 20 OTTORINO RESPIGHI Vetrate di chiesa (Church Windows ) (1926) (1879–1936) La fuga in Egitto San Michele Arcangelo Il mattutino di Santa Chiara San Gregorio Magno RESPIGHI Rossiniana , P. 148 (1925) Capri e Taormina (Barcarola a Siciliana) Lamento Intermezzo Tarantella “puro sangue” Intermission ERMANNO Il segreto di Susanna (Susanna’s Secret ) WOLF-FERRARI (1907–09) (1876–1948) JINWON PARK, Soprano MICHAEL KELLY, Baritone This evening’s concert will run approximately 2 hours and 15 minutes including one 20-minute intermission. PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. Notes FROM T ŌN MUSICIANS Notes by Sasha Haft, flute Ottorino Respighi Vetrate di chiesa (Church Windows ) Ottorino Respighi was born into a fam - ple suggestion from Elsa, after she ily of musicians. After many years of showed him some passages of Grego - study in his hometown, Respighi was rian Chant that she learned during her appointed to a position in the viola sec - studies. Respighi was immediately tion at the Imperial Opera in St. Peters - spellbound by the religiosity and emo - burg. Here he was also able to continue tional harmony he felt upon hearing the studying composition with the greatly chants, and set out to capture those esteemed composer Nikolai Rimsky- feelings in his future compositions. In Korsakov, who took a great interest in the summer of that year, Respighi wrote Respighi and convinced him to pursue a Three Piano Preludes on Gregorian career in composition upon returning Melodies as his first attempt to capture to Italy, where Respighi would be able what he had felt.
    [Show full text]
  • Ricciardo E Zoraide and Adina from the 2018 Pesaro Festival
    Rossini’s Ricciardo e Zoraide and Adina from the 2018 Pesaro Festival Charles Jernigan, August 20, 2018. 2018 is a Rossini anniversary year on several counts. It is the 150th anniversary of the composer's death in 1868, and that milestone is being celebrated all over Italy this year with numerous productions of his operas. It is also the 200th anniversary of the composition of three of his 39 operas--Mosè in Egitto, Ricciardo e Zoraide and Adina, and this year's Pesaro festival is dedicating two of its opera productions to two of those works. Ricciardo e Zoraide Between 1815 and 1823, Rossini focussed his operatic activity in Naples (with excursions to Rome, Venice and Milan to produce several other new works). The serious operas he created for Naples' San Carlo stage became the template for serious opera in Italy for some decades to come. The San Carlo was the most daring and professional house in Italy at the time, and Rossini was able to experiment and produce the ten serious works which came to be called the "jewels in his crown." It was an intensely creative period for him, presided over by his muse, lover and eventual wife, Isabella Colbran, who had the starring role in all of his Naples opera serias. According to most critics and scholars over the years, the fifth of those ten Naples opera serias, Ricciardo e Zoraide, was the least interesting and most conservative, and, in fact, its status is attested to by the paucity of modern revivals. Outside of two previous offerings at the ROF, modern productions have been very few indeed.
    [Show full text]
  • 02-15-2020 Cosi Fan Tutte.Indd
    WOLFGANG AMADEUS MOZART così fan tutte conductor Opera in two acts Harry Bicket Libretto by Lorenzo Da Ponte production Phelim McDermott Saturday, February 15, 2020 PM set designer 12:30–4:05 Tom Pye First time this season costume designer Laura Hopkins lighting designer Paule Constable revival stage director Sara Erde The production of Così fan tutte was made possible by generous gifts from William R. Miller, and John Sucich / Trust of Joseph Padula Additional funding was received from the The Walter and Leonore Annenberg Endowment Fund, and the National Endowment for the Arts general manager Peter Gelb Co-production of the Metropolitan Opera and jeanette lerman-neubauer English National Opera music director Yannick Nézet-Séguin In collaboration with Improbable 2019–20 SEASON The 199th Metropolitan Opera performance of WOLFGANG AMADEUS MOZART’S così fan tutte conductor Harry Bicket in order of vocal appearance ferrando skills ensemble Ben Bliss* Leo the Human Gumby Jonathan Nosan guglielmo Ray Valenz Luca Pisaroni Josh Walker Betty Bloomerz don alfonso Anna Venizelos Gerald Finley Zoe Ziegfeld Cristina Pitter fiordiligi Sarah Folkins Nicole Car Sage Sovereign Arthur Lazalde dorabella Radu Spinghel Serena Malfi despina continuo Heidi Stober harpsichord Jonathan C. Kelly cello David Heiss There is no Toll Brothers– Metropolitan Opera Quiz in List Hall today. Saturday, February 15, 2020, 12:30–4:05PM JONATHAN TICHLER / MET OPERA A scene from Chorus Master Donald Palumbo Mozart’s Così Musical Preparation Joel Revzen, Liora Maurer, fan tutte
    [Show full text]
  • Photo © Philip Newton from the GENERAL DIRECTOR
    Photo © Philip Newton Photo FROM THE GENERAL DIRECTOR Thank you for welcoming Seattle Opera into your home for this digital performance of Wolfgang Amadeus Mozart’s Don Giovanni, one of three great operas (The Marriage of Figaro, Così fan tutte) he created with librettist Lorenzo Da Ponte. Their handling of operatic storytelling is without equal. And in the hands of our creative team, led by conductor Lidiya Yankovskaya, stage director Brenna Corner, video director Ken Christensen, and lighting designer Connie Yun, this production takes on added layers of musical prescience, dramatic interpretation, and visual Photo © Philip Newton Photo dynamics. As the title makes clear, Don Giovanni, the seducer, is the center of this daylong tale. But the surrounding characters are the ones who drive the intrigue and passion. Giovanni’s behavior sparks all kinds of reactions—from revenge and anguish to curiosity and compassion to disgust and envy. Leporello, Giovanni’s manservant, is a reluctant loyalist. Donna Anna, Giovanni’s accuser, is vengeful to the point of conspiring to have him murdered. Zerlina, the newlywed, is torn between Giovanni’s panache and her husband. Then there is Donna Elvira, who believes herself his wife. At first she risks public humiliation to accuse him of treachery. But in the end, she pleads for Giovanni to repent and to save his soul from the depths of hell. Musically, Don Giovanni is without question a work of genius. It’s elegant and powerful, musically depicting each character’s personality and social standing. The brilliance is the combination of differing emotions and vocal lines by each of the four characters all held together by an elegant musical arc that belies those very feelings.
    [Show full text]
  • L'elisir D'amore
    Gaetano Donizetti L’Elisir d’Amore CONDUCTOR Opera in two acts Maurizio Benini Libretto by Felice Romani PRODUCTION Bartlett Sher Saturday, October 13, 2012, 1:00–3:45 pm SET DESIGNER Michael Yeargan New Production COSTUME DESIGNER Catherine Zuber LIGHTING DESIGNED BY Jennifer Tipton The production of L’Elisir d’Amore was made possible by a generous gift from The Monteforte Foundation, in honor of Wim Kooyker GENERAL MANAGER Peter Gelb MUSIC DIRECTOR James Levine PRINCIPAL CONDUCTOR Fabio Luisi 2012–13 Season The 273rd Metropolitan Opera performance of Gaetano Donizetti’s L’Elisir d’Amore Conductor Maurizio Benini cast in order of vocal appearance Giannetta Anne-Carolyn Bird Nemorino Matthew Polenzani Adina Anna Netrebko Sergeant Belcore Mariusz Kwiecien * Doctor Dulcamara Ambrogio Maestri recitative accompanist Robert Morrison Saturday, October 13, 2012, 1:00–3:45 pm This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. The Met: Live in HD series is made possible by a generous grant from its founding sponsor, The Neubauer Family Foundation. Bloomberg is the global corporate sponsor of The Met: Live in HD. Chorus Master Donald Palumbo Fight Director B.H. Barry Musical Preparation Jane Klaviter, Robert Morrison, Gareth Morrell, Howard Watkins, and Liora Maurer Assistant Stage Directors Gregory Keller, Gina Lapinski, and Louisa Muller Stage Band Conductor Jeffrey Goldberg Italian Coach Loretta Di Franco Met Titles Cori Ellison Assistants to the Costume Designer David Newell and Ryan Park Scenery, properties, and electrical props constructed and painted in Metropolitan Opera Shops Costumes constructed by Angels the Costumiers, London; Das Gewand GmbH, Düsseldorf; Brian Hemseth, New York; Seams Unlimited, Racine, Wisconsin; and Metropolitan Opera Costume Department Wigs executed by Metropolitan Opera Wig Department This production uses gunshot effects.
    [Show full text]
  • Olga Peretyatko' Biography
    Olga Peretyatko Photo by Dario Acosta, darioacosta.com ​ Olga Peretyatko, one of the most sought-after sopranos, was born and raised in ​ St. Petersburg, Russia. She started her musical career at the age of 15, singing in the children's choir of the Mariinsky Theatre. She completed a course as a choirmaster and then enrolled to study singing at the Hanns Eisler-Hochschule für Musik in Berlin. Olga Peretyatko has won several awards in international competitions such as Operalia, the opera competition organized by Plácido Domingo, where she won second prize, and she also recently received in Italy the important recognition of the Premio Franco Abbiati della Critica Musicale Italiana. ​ In 2015, Olga Peretyatko debuted to rave reviews as Violetta in La Traviata at the Opéra ​ ​ From 2005 and 2007 Olga Peretyatko was a member of the opera studio at the Hamburg State Opera. In subsequent years she performed at the Deutsche Oper Berlin, the Berlin and Munich state operas, the Théâtre des Champs-Elysées in Paris, La Fenice in Venice, at the Rossini Opera Festival in Pesaro, and at the Festival La Folle journée de Nantes.. ​ Olga Peretyatko gained international attention as Stravinsky's Rossignol in the acclaimed Robert Lepage production that premiered in Toronto in 2009, then presented at the Aix Festival in 2010 and subsequently at the Opéra Lyon, the Brooklyn Academy of Music in New York and Netherlands Opera in Amsterdam. She achieved great success in her role debuts as Adina in L'elisir d'amore in Lille, as Lucia di Lammermoor at the Teatro ​ ​ ​ ​ Massimo Palermo, as Gilda in Rigoletto at La Fenice in Venice, as well as at the Festival ​ ​ Avenches.
    [Show full text]
  • Rossini's Reform: the Controversy Surrounding the Use of Embellishment
    Rossini's Reform: The controversy surrounding the use of embellishment By Adele Phillips Dissertation submitted in partial fulfillment of the requirements for the degree of Bachelor of Music with Honours University of Tasmania Conservatorium of Music November 1999 Acknowledgements An expression of thanks must go to my supervisor Dr Maria Grenfell whose friendly advice and encouragement was consistent throughout the year. Special thanks also go to Marilyn Smith for her support and guidance. Others that I would like to acknowledge include Illeana Timmins for the translation of Italian text, Eve Cookson, Meagan Currie, Warwick Oliver, David Anderson and Scott Phillips for their helpful computer knowledge and the library staff at the Tasmanian Conservatorium for their cheerful and ever-obliging assistance. Table of Contents 1. Introduction page 1 2. The history of ornamentation in solo singing 3 3. Rossini's Reform 6 4. Form of Rossini arias 10 5. Analysis: Cruda Sorte! 5.1 Synopsis, character and text 13 5.2 The Music 14 6. Analysis: Una Voce Poco Fa 6.1 Synopsis and character 24 6.2 Ornamentation 26 6.3 The Music 27 7. Conclusion 34 Appendix A: Brief biography of Rossini Appendix B: List of Rossini operas 11 Appendix C: Cruda Sortel Appendix D: Una Voce Poco Fa Bibliography 111 Abstract This dissertation discusses the evolution of Rossini's intricate vocal writing style. In 1824 the French biographer Stendhal provided a monologue of Rossini's reasoning behind his florid tunes. The monologue however was fictitious and may have contributed to a blurred understanding of the composer's style amongst later researchers.
    [Show full text]