DOCSLIB.ORG

Edition 1 | 2019-2020

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Edition 1 | 2019-2020 2 AUSTIN OPERA austinopera.org WHAT'S INSIDE Welcome From the Board Chair ���������������������������������������������������������������������������������������� 7 Q&A with Austin Opera General Director & CEO Annie Burridge �������������� 9 Rigoletto Sponsors ������������������������������������������������������������������������������������������������������������� 5 Spotlight Artist: Carolyn Hoehle ��������������������������������������������������������������������� 13 Directors Note ������������������������������������������������������������������������������������������������ 15 Staff ������������������������������������������������������������������������������������������������������������������� 18 Board ���������������������������������������������������������������������������������������������������������������� 19 Title Page ���������������������������������������������������������������������������������������������������������� 21 Production Page �����������������������������������������������������������������������������������������������23 Synopsis ������������������������������������������������������������������������������������������������������������24 Cast �������������������������������������������������������������������������������������������������������������������28 Creative Team ��������������������������������������������������������������������������������������������������32 Chorus ��������������������������������������������������������������������������������������������������������������35 Orchestra ����������������������������������������������������������������������������������������������������������37 Honoring Vince Herod ������������������������������������������������������������������������������������38 Past Productions �����������������������������������������������������������������������������������������������39 Austin Opera Guild ����������������������������������������������������������������������������������������� 41 Opera + Tech ���������������������������������������������������������������������������������������������������52 Thank you to our Donors Donor Spotlight ������������������������������������������������������������������������������������������������42 Leadership Giving ��������������������������������������������������������������������������������������������43 Patron Program ������������������������������������������������������������������������������������������������44 Partner Program �����������������������������������������������������������������������������������������������45 Endowment Fund ���������������������������������������������������������������������������������������������47 Bravo Society ���������������������������������������������������������������������������������������������������48 Honorarium and Memorial �����������������������������������������������������������������������������49 This program is published in association with Onstage Publications, ADVERTISING 1612 Prosser Avenue, Kettering, OH 45409. This program may not be Onstage Publications reproduced in whole or in part without written permission from the 937-424-0529 | 866-503-1966 publisher. JBI Publishing is a division of Onstage Publications, Inc. e-mail: [email protected] Contents © 2019. www.onstagepublications.com All rights reserved. Printed in the U.S.A. AUSTIN OPERA 2019-20 SEASON 3 PRESENTS Rigoletto By Giuseppe Verdi PRODUCTION SPONSORS Maria and Stephen Kahng Patty and Mike Erspamer Gail and Jeff Kodosky Paula and Stuart Damore Hootan Khatami and Daryl Fox Sissi and Gerard O’Reilly Martha Rochelle WINE & SPIRIT SPONSOR MEDIA SPONSOR HOSPITALITY SPONSOR AUSTIN OPERA IS A MEMBER OF OPERA AMERICA, INC. AUSTIN OPERA 2019-20 SEASON 5 6 AUSTIN OPERA austinopera.org FROM THE BOARD CHAIR Welcome to the opening of Austin Opera’s 2019-2020 Season, our 33rd year of producing exceptional opera in the Live Music Capital of the World� Our opera company is proud to present an artistically vibrant and exciting season designed to engage all Austinites and opera lovers throughout Central Texas� The 2018-2019 Season was one of our best yet, marked by artistic excellence, exceptional ticket sales and fundraising, strengthened community partnerships, and expanded education program reach� Last season, both Otello and Silent Night were nominated for best concert/performance by the Austin Critics Table Awards with the contemporary masterpiece, Silent Night, taking home the grand prize� We launched our bold new series, Opera ATX, and welcomed 1,000 community members to the historic Paramount Theatre to experience the multimedia work, Soldier Songs� The spring production of La bohème had record ticket sales, exceeding all shows of the past five seasons� We proudly announced our formal partnership with the Butler School of Music at The University of Texas at Austin, and we saw a generous increase in support from our donor family, achieving the highest amount of annual contributions in the company’s history� As we look forward to another thrilling season beginning with Verdi’s masterpiece Rigoletto, our gratitude extends to every individual, collaborator, and partner who have made Austin Opera the dynamic company it has become today, especially you, our loyal patrons� With all the myriad of entertainment choices one has today, we appreciate your enthusiastic participation and generous support of Austin Opera� On behalf of the Board of Trustees, please enjoy the performance� Cordially, Jeff Kodosky Chair AUSTIN OPERA 2019-20 SEASON 7 Q&A WITH AUSTIN OPERA GENERAL DIRECTOR & CEO ANNIE BURRIDGE Q: Why Rigoletto? A: It has been 10 years since Austin Opera has produced this Verdi masterpiece! We think it is a perfect piece to open our 2019-2020 Season, which furthers our commitment to offering our audiences a thrilling combination of beloved favorites (Rigoletto and Turandot) and engaging new experiences (Everest and Winter Journey)� Rigoletto contains some of the most passionate and tuneful music in the operatic repertory—from the Duke’s swaggering “La donna è mobile,” to Gilda’s stunning “Caro nome,” to Rigoletto’s devastating “Cortigiani�” It is clear why Verdi is considered the patriarch of Italian opera� And while the opera is based on a Victor Hugo play that debuted in 1832, its characters—a philandering Duke; an innocent, love struck young woman; and her overprotective, vindictive father—all seem to resonate as much today as they did 187 years ago� Q: What is special about this production? A: We could not be prouder of the outstanding cast we have assembled for our production� There is a very special chemistry that can result from combining returning favorites like Michael Chioldi and Peter Volpe with artists making their Austin Opera debut, like the stunning Madison Leonard� Ms� Leonard came to our attention when she won the 2018 Metropolitan Opera competition singing “Caro nome,” and we are so excited that she is making her Austin Opera debut in a role that will surely come to be known as a signature role for her� We are also delighted to welcome back tenor Kang Wang, who made his Austin Opera debut as Rodolfo in La bohème last season� The Duke is a very different character than the poor poet Rodolfo! It has also been a pleasure to work with conductor Robert Wood, who makes his Austin Opera debut in this production� As we work toward naming a Principal Conductor for the company, we have been so grateful for the very talented artists who have taken the podium as part of that process� Q: What’s up next at Austin Opera? A: Everest! This 70-minute opera will be like nothing else our audiences have experienced before� It is one of the most epic and emotionally searing operas I have ever encountered, and the Austin Opera staff has learned a great deal about mountain climbing in the process� I encourage everyone to read Jon Krakauer’s Into Thin Air or Dr� Beck Weathers’ memoir, Left for Dead, in anticipation of this historic Austin premiere� You won’t regret it! AUSTIN OPERA 2019-20 SEASON 9 INTRODUCING EVEREST COMPOSER JOBY TALBOT British composer Joby Talbot is one of the most versatile and prolific of our time� While Everest marks his first opera, his distinguished catalogue includes numerous symphonic works, instrumental ensembles, choral works, ballets, and film and television scores� For television, Joby Talbot earned early notoriety for his award-winning score and theme for the BBC Comedy Series The League of Gentlemen� Among Mr� Talbot’s most popular film scores are The Hitchhiker’s Guide to the Galaxy (2005) and the 2016 animated hit Sing, starring Matthew McConaughey and Reese Witherspoon, for which he won an Annie Award for Outstanding Achievement in Music� Mr� Talbot’s striking ability to capture and convey drama is easily heard in his classical compositions, as well� He created two narrative ballets with choreographer Christopher Wheeldon—Alice’s Adventures in Wonderland and The Winter’s Tale—which both opened to considerable critical acclaim at the Royal Opera House Covent Garden� Talbot won the prestigious Prix Benois de la Danse for The Winter’s Tale� Everest opened in 2015 at the Dallas Opera to equally high praise and has since been seen at Lyric Opera of Kansas City, Calgary Opera, Dallas Opera (reprised), and Theater Hagen in Germany� This season, the work is featured at Chicago Opera Theatre and the Barbican in London, in addition to Austin Opera� “Gripping, edge of your seat story-telling” wrote one critic after its premiere� “It’s easy to imagine
Load more

Recommended publications
  • Seattle Opera Announces 2021/22 Season— a Return to Live, In-Person Performances
    FOR IMMEDIATE RELEASE: May 11, 2021 Contact: Gabrielle Gainor (206) 295-0998, [email protected] Press images: https://seattleopera.smugmug.com/2122 Password: “press” Seattle Opera announces 2021/22 season— a return to live, in-person performances La bohème Orpheus and Eurydice Blue The Marriage of Figaro Plus a special recital by Lawrence Brownlee McCaw Hall and The Opera Center Subscriptions begin at $240 (BRAVO! Club, senior, and student pricing is also available). Single tickets will go on sale closer to each production. seattleopera.org SEATTLE—After more than a year without live, in-person performances due to COVID-19, Seattle Opera will officially return to the theater this fall with its 2021/22 Season. Offerings include immortal favorites (La bohème, The Marriage of Figaro), historic works with a modern twist (Orpheus and Eurydice), plus an award-winning piece speaking to racial injustice in America (Blue). It will take years for Seattle Opera—and the arts sector as a whole—to recover from the pandemic’s economic impact. Feeling the presence and excitement of live performance again is one way that the healing can begin, said General Director Christina Scheppelmann. “The theater, where music, storytelling, lights, performers, and audiences meet, is a space of magic and impact,” Scheppelmann said. “This past year has been difficult and challenging on so many levels. As we process all that we’ve been through, we can come here to enjoy ourselves. We can rediscover the positive moment and outlook we are seeking. Through opera, we can reconnect with our deepest emotions and our shared humanity.” In addition to mainstage productions, the company will offer a special, one-night- only recital by tenor Lawrence Brownlee (April 29, 2022, at McCaw Hall) with pianist John Keene.
    [Show full text]
  • Harvey Milk Page 1 of 3 Opera Assn
    San Francisco Orpheum 1996-1997 Harvey Milk Page 1 of 3 Opera Assn. Theatre Production made possible by a generous grant from Madeleine Haas Russell. Harvey Milk (in English) Opera in three acts by Stewart Wallace Libretto by Michael Korie Commissioned by S. F. Opera, Houston Grand Opera, and New York City Opera The commission for "Harvey Milk" has been funded in substantial part by a generous gift from Drs. Dennis and Susan Carlyle and has been supported by major grants from the Lila Wallace-Reader's Digest Opera for a New America, a project of OPERA America; the Caddell & Conwell Foundation for the Arts; as well as the National Endowment for the Arts. Conductor CAST Donald Runnicles Harvey Milk Robert Orth Production Messenger James Maddalena Christopher Alden Mama Elizabeth Bishop Set designer Young Harvey Adam Jacobs Paul Steinberg Dan White Raymond Very Costume Designer Man at the opera James Maddalena Gabriel Berry Gidon Saks Lighting Designer Bradley Williams Heather Carson Randall Wong Sound Designer William Pickersgill Roger Gans Richard Walker Chorus Director Man in a tranch coat/Cop Raymond Very Ian Robertson Central Park cop David Okerlund Choreographer Joe Randall Wong Ross Perry Jack Michael Chioldi Realized by Craig Bradley Williams Victoria Morgan Beard Juliana Gondek Musical Preparation Mintz James Maddalena Peter Grunberg Horst Brauer Gidon Saks Bryndon Hassman Adelle Eslinger Scott Smith Bradley Williams Kathleen Kelly Concentration camp inmate Randall Wong Ernest Fredric Knell James Maddalena Synthesizer Programmer
    [Show full text]
  • The Keystone
    THE KEYSTONE SOUTHWESTERN WRITERS COLLECTION | WITTLIFF GALLERY OF SOUTHWESTERN & MEXICAN PHOTOGRAPHY FALL 2006 | SPECIAL COLLECTIONS AT THE ALKEK LIBRARY | WWW. LIBRARY. TXSTATE. EDU/ SPEC- COLL UNIVERSITY SAN MARCOS A member of the Texas State University System from the CURATOR (right) Raymond, ¡Saludos! are extensively represented in the Wittliff Gallery, tells the (left) Sally Wittliff, 1991, Keith Carter The power of art in life is a story of a cleaning woman who said to him that in the the Bill Wittliff, Dawn Jones, Tommy Lee recurring motif here at the building where she worked there was one of his pictures— Jones, Sam Shepard, THANK YOU Collections, vividly set an old blind man petting a bunch of tiny kittens that were in & John Graves to all contributors forth once again by Graci- his lap and crawling over his shirt—eyes not open yet, blind of (seated)* who made gifts ela Iturbide in her book, like him. An edgy, unsentimental portrait that nevertheless Spirit (center) Emcee this fiscal year for Evan Smith, editor- Eyes to Fly With, upcoming reaches into every single chamber of your heart. She told general support or in-chief of TEXAS in the Wittliff Gallery Keith that she looked at it each day before she started work MONTHLY** to sponsor specific Series (p. 12). In the rare because it made her feel so good. anniversary gala projects: Place (below) revelatory text she ex- The life-changing power of art is not for the practition- Debbie & Jim # Azadoutioun Epperson, president plains how, after the death ers of art alone—it’s for all of us.
    [Show full text]
  • Andrea Chénier Giordano
    ANDREA CHÉNIER GIORDANO Argument MT / 3 Andrea Chénier Argument 4 / 5 Andrea Chénier Andrea Chénier torna al Liceu amb la producció de David McVicar. (ROH/Bill Cooper) Fitxa L’autèntic 6 / 7 9 45 André Chénier Alain Verjat Repartiment 10 Entrevista a 53 Sondra Radvanovsky Amb el teló abaixat 12 Andrea Chénier al 61 Gran Teatre del Liceu 17 Argument Jaume Tribó Cronologia 27 English Synopsis 68 Jordi Fernández M. Selecció d’enregistraments Andrea Chénier, Javier Pérez-Senz 35 una òpera verista 77 entre el Romanticisme i el romàntic Biografies Jesús Ruiz Mantilla 80 Andrea Chénier Temporada 2017-18 8 / 9 ANDREA CHÉNIER Dramma storico en quatre actes. Llibret de Luigi Illica. Música d’Umberto Giordano. Estrenes 28 de març de 1896: estrena absoluta al Teatro alla Scala de Milà 12 de novembre de 1898: estrena a Barcelona al Gran Teatre del Liceu 17 d’octubre de 2007: última representació al Liceu Total de representacions al Liceu: 49 Març 2018 Torn Tarifa 9 20:00 1 Durada total aproximada 2h 35m 10 20:00 PB 6 (*): Amb audiodescripció 12 20:00 1 13 20:00 PC 6 15 20:00 1 17 20:00 C 4 18 17:00 T 3 19 20:00 G 5 21 20:00 D 3 22 20:00 B 4 24 20:00 E 2 25 18:00 F 3 27 20:00 A 4 28* 20:00 H 4 Uneix-te a la conversa #AndreaChénierLiceu liceubarcelona.cat facebook.com/liceu @liceu_cat @liceu_opera_barcelona Andrea Chénier Andrea Chénier, poeta Madelon, anciana revolucionària Jonas Kaufmann 9, 12 i 15 de març Anna Tomowa-Sintow Jorge de León 9, 12, 15, 18, 21, 24 i 27 de març 10, 13, 17, 19, 22, 25 i 28 de març Elena Zaremba Antonello Palombi 18, 21,
    [Show full text]
  • Grand Finals Concert
    NATIONAL COUNCIL AUDITIONS grand finals concert conductor Metropolitan Opera Carlo Rizzi National Council Auditions host Grand Finals Concert Anthony Roth Costanzo Sunday, March 31, 2019 3:00 PM guest artist Christian Van Horn Metropolitan Opera Orchestra The Metropolitan Opera National Council is grateful to the Charles H. Dyson Endowment Fund for underwriting the Council’s Auditions Program. general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2018–19 SEASON NATIONAL COUNCIL AUDITIONS grand finals concert conductor Carlo Rizzi host Anthony Roth Costanzo guest artist Christian Van Horn “Dich, teure Halle” from Tannhäuser (Wagner) Meghan Kasanders, Soprano “Fra poco a me ricovero … Tu che a Dio spiegasti l’ali” from Lucia di Lammermoor (Donizetti) Dashuai Chen, Tenor “Oh! quante volte, oh! quante” from I Capuleti e i Montecchi (Bellini) Elena Villalón, Soprano “Kuda, kuda, kuda vy udalilis” (Lenski’s Aria) from Today’s concert is Eugene Onegin (Tchaikovsky) being recorded for Miles Mykkanen, Tenor future broadcast “Addio, addio, o miei sospiri” from Orfeo ed Euridice (Gluck) over many public Michaela Wolz, Mezzo-Soprano radio stations. Please check “Seul sur la terre” from Dom Sébastien (Donizetti) local listings. Piotr Buszewski, Tenor Sunday, March 31, 2019, 3:00PM “Captain Ahab? I must speak with you” from Moby Dick (Jake Heggie) Thomas Glass, Baritone “Don Ottavio, son morta! ... Or sai chi l’onore” from Don Giovanni (Mozart) Alaysha Fox, Soprano “Sorge infausta una procella” from Orlando (Handel)
    [Show full text]
  • Following His Heart: Your Next Five Career Moves Your Ears and Your Career from Opera to Jazz with Sylvia Mcnair
    December 2016 Michael Chioldi Following His Heart: Your Next Five Career Moves Your Ears and Your Career From Opera to Jazz with Sylvia McNair U.S.A. $6.50 • Can $8.70 CS VOCAL COMPETITION $20,000 Cash Prizes Competition Classical & Musical Theatre $4,000 First Place Prize and No Age Limits! High School, University, and Emerging Professional Divisions First Round - Online or Live Locations, January-May Finals - CS Convention in Chicago, May 26-28, 2017 Convention Classes Four days of masterclasses and presentations by universities, conservatories, summer programs, industry experts, and more. Free for Competition Participants The Expo More than 80 schools, summer programs, and professional companies eager to recruit top singers and offer scholarship and performance opportunities. More than $12,700,000 in Scholarships Offered since 2004 Sponsored by magazine Use the $20 Coupon Code Magazine www.ClassicalSinger.com/vocalcompetition CELEBRATING 15 SHENANDOAH CONSERVATORy’S YEARS CCM VOCAL PEDAGOGY INSTITUTE Vocal Pedagogy for the 21st Century July 15 – 23, 2017 “I will recommend the CCM Institute to literally every vocal pedagogue I know! Shenandoah is offering the world exactly what has been needed for such a long time! I’m so grateful that I took Dr. Matthew Edwards Lifetime Achievement the time to do it, and I will definitely be back.” Artistic Director Award Recipient Dr. Robert Sataloff, Luisa Rodriguez, Boulder, CO Otolaryngologist and 2016 participant Keynote Speaker SESSION 1: JULY 15–17 RESPIRATION AND PHONATION FOR CCM SINGERS Matt Edwards with returning guests Wendy LeBorgne and Marci Rosenberg, authors of “Building on the new format established last summer, we are proud “The Vocal Athlete” to announce our first Lifetime Achievement Award honoree, world renowned otolaryngologist Dr.
    [Show full text]
  • FY19 Annual Report View Report
    Annual Report 2018–19 3 Introduction 5 Metropolitan Opera Board of Directors 6 Season Repertory and Events 14 Artist Roster 16 The Financial Results 20 Our Patrons On the cover: Yannick Nézet-Séguin takes a bow after his first official performance as Jeanette Lerman-Neubauer Music Director PHOTO: JONATHAN TICHLER / MET OPERA 2 Introduction The 2018–19 season was a historic one for the Metropolitan Opera. Not only did the company present more than 200 exiting performances, but we also welcomed Yannick Nézet-Séguin as the Met’s new Jeanette Lerman- Neubauer Music Director. Maestro Nézet-Séguin is only the third conductor to hold the title of Music Director since the company’s founding in 1883. I am also happy to report that the 2018–19 season marked the fifth year running in which the company’s finances were balanced or very nearly so, as we recorded a very small deficit of less than 1% of expenses. The season opened with the premiere of a new staging of Saint-Saëns’s epic Samson et Dalila and also included three other new productions, as well as three exhilarating full cycles of Wagner’s Ring and a full slate of 18 revivals. The Live in HD series of cinema transmissions brought opera to audiences around the world for the 13th season, with ten broadcasts reaching more than two million people. Combined earned revenue for the Met (box office, media, and presentations) totaled $121 million. As in past seasons, total paid attendance for the season in the opera house was 75%. The new productions in the 2018–19 season were the work of three distinguished directors, two having had previous successes at the Met and one making his company debut.
    [Show full text]
  • Volume 10, Issue 3 March 2018
    Volume 10, Issue 3 March 2018 Copyright © 2018 Peel, Inc. Lakeway Voice - March 2018 1 107 BELLA MONTAGNA CIRCLE A new standard in senior living A unique residential experience for older adults, nestled in Northwest Austin. A community built to high standards with thoughtful design, warm hospitality and innovative programming for a variety of lifestyles and needs. LAKEWAY Opening Summer 2018. Now accepting reservations. Independent Living | Assisted Living | Award-Winning Memory Care Distinctive Residential Settings | Chef-Prepared Dining and Bistro Premier Health and Wellness Programs | Enrichment and Social Activities Professionally Supervised Fitness, Therapy and Rehabilitation Services Information Center Now Open at Lakeway Commons 900 Ranch Road 620 South, Suite A100 • 512-402-1800 The Community Built for Life.® belmontvillage.com/lakeway Artist’s rendering. © 2018 Belmont Village, L.P. 2 Lakeway Voice - March 2018 Copyright © 2018 Peel, Inc. IMPORTANT NUMBERS AROUND LAKEWAY EMERGENCY NUMBERS 4 LAKEWAY LAKERS SWIM TEAM EMERGENCY ...............................................................911 Fire ...................................................................................... 911 5 EAGLE SCOUTS Ambulance .......................................................................... 911 6 NEW HORIZONS BAND Lakeway Police Department ................................512-314-7590 Sheriff – Non-Emergency ....................................512-974-0845 6 BIG BAND BASH Travis County ESD No.6/Lake Travis Fire Rescue 6 ST. PATTY’S BLOOD
    [Show full text]
  • FY13 Annual Report View Report
    ANNUAL REPORT 2012–13 3 Introduction 5 Metropolitan Opera Board of Directors 7 2012–13 Season Repertory & Events 14 2012–13 Artist Roster 15 The Financial Results 46 Patrons Introduction The Metropolitan Opera’s 2012–13 season featured an extraordinary number of artistic highlights, earning high praise for new productions, while the company nevertheless faced new financial challenges. The Met presented seven new stagings during the 2012–13 season, including the Met premieres of Thomas Adès’s The Tempest and Donizetti’s Maria Stuarda, the second of the composer’s trilogy of Tudor operas (with the third installment planned for a future season). All seven new productions, plus five revivals, were presented in movie theaters around the world as part of the Met’s groundbreaking Live in HD series, which continued to be an important revenue source for the Met, earning $28 million. Combined earned revenue for the Met (Live in HD and box office) totaled $117.3 million. This figure was lower than anticipated as the company continued to face a flat box office, complicated by the effects of Hurricane Sandy, the aftermath of which had a negative impact of approximately $2 million. As always, the season featured the talents of the world’s leading singers, conductors, directors, designers, choreographers, and video artists. Two directors made stunning company debuts: François Girard, with his mesmerizing production of Parsifal on the occasion of Wagner’s bicentennial, and Michael Mayer, whose bold reimagining of Verdi’s Rigoletto in 1960 Las Vegas was the talk of the opera world and beyond. Robert Lepage returned to direct the highly anticipated company premiere of Thomas Adès’s The Tempest, with the composer on the podium.
    [Show full text]
  • Odyssey Opera Shares Rarely Heard Delights
    Odyssey Opera shares rarely heard delights By Steve Smith | Globe Staff June 13, 2014 Not every piece of music cast into history’s dustbin deserves to be there — a point made forcefully and playfully by Odyssey Opera in its inaugural June Festival at the Boston University Theatre on Wednesday and Thursday nights. Introduced last September with a lauded concert account of Wagner’s “Rienzi,” the resourceful young company made its first foray into staged productions with a pair of events devoted to three Italian operas more familiar from hearsay than actually heard. Concerning Verdi’s “Un giorno di regno” (“King for a Day”), a bad reputation is misleading. A larky comedy about the doings of the cavalier Belfiore, deputized as a stand-in for the in-hiding king of Poland, the opera was a flop scrapped after its premiere. Verdi nearly gave up altogether. Happily, he regrouped and resumed his march toward magnificence. Still, “Giorno,” a work made hastily, saddled with an untidy libretto and, by reports of the day, performed poorly, was a victim of its bad press — a clutch of latter-day revivals notwithstanding. Taking in an airy, economical new production on Wednesday, directed by Joshua Major and conducted by Odyssey artistic and general director Gil Rose, you recognized immediately that “Giorno” is not top-flight Verdi. Rossini and Donizetti loom large; the composer of “La Traviata” and “Otello” is barely there. The opera amounts to a bel canto B movie, its best gestures almost wholly borrowed. Still, B movies can be good fun. So, too, is “Giorno,” when invested with the kind of insightful directing, committed acting, and stylish playing it received here.
    [Show full text]
  • Repertoire and Performance History Virginia Opera Repertoire 1974-2020
    Repertoire and Performance History Virginia Opera Repertoire 1974-2020 1974–1975 Initial Projects LA BOHÈME – January 1975 N LA TRAVIATA – June 1975 N 1975–1976 Inaugural Subscription Season TOSCA – October/November 1975 N LUCIA DI LAMMERMOOR – January 1976 N THE BARBER OF SEVILLE – March/April 1976 N 1976–1977 RIGOLETTO – October/November 1976 N IL TROVATORE – January 1977 N THE IMPRESARIO/I PAGLIACCI – March/April 1977 N 1977–1978 MADAMA BUTTERFLY – October/November 1977 N COSÌ FAN TUTTE – January/February 1978 N MARY, QUEEN OF SCOTS – American Premiere– April 1978 N 1978–1979 CARMEN – October/November 1978 N THE DAUGHTER OF THE REGIMENT – January 1979 N DON GIOVANNI – March/April 1979 N 1979–1980 LA BOHÈME – October/November 1979 N A CHRISTMAS CAROL – World Premiere – December 1979 N DON PASQUALE – January/February 1980 N THE TALES OF HOFFMAN – March 1980 N 1980–1981 PORGY AND BESS – October/November 1980 N, R HANSEL AND GRETEL – December 1980 N WERTHER – January/February 1981 N I CAPULETI E I MONTECCHI – March/April 1981 N 1981–1982 FAUST – October/November 1981 N CINDERELLA – December 1981 N LA TRAVIATA – January 1982 N THE MAGIC FLUTE – March 1982 N 1982–1983 DIE FLEDERMAUS – October/November 1982 N, R AMAHAL AND THE NIGHT VISITORS – December 1982 N MACBETH – January 1983 N THE ELIXIR OF LOVE – March 1983 N 1983–1984–Inaugural Subscription Season Richmond NORMA – October 1983 R GIANNI SCHICCHI/SUOR ANGELICA – December 1983 R RIGOLETTO – January 1984 N, R THE GIRL OF THE GOLDEN WEST – February/March 1984 N 1984–1985 THE MARRIAGE
    [Show full text]
  • Falstaff Music by Giuseppe Verdi • Libretto by Arrigo Boito English Translation by Andrew Porter
    Falstaff Music by Giuseppe Verdi • Libretto by Arrigo Boito English Translation by Andrew Porter Performances Friday, July 26 and Monday, July 29 at 7:30 p.m. Chautauqua Opera dedicates this performance to the Chautauqua Opera Guild. The generosity of Guild James Meena members comes to us in so many ways – the Adopt-An-Artist program, master classes, Operalogues, Young Artist scholarship awards and their incredible enthusiasm. The entire company thanks you for your love and support. Opera in Three Acts After The Merry Wives of Windsor by William Shakespeare Premiere Performance Teatro alla Scala, Milan, February 9, 1893 Chautauqua Opera Performances 1987, 1995 and 2001 CAST CREATIVE AND Kevin Glavin At the garter inn PRODUCTION Sir John Falstaff, Knight of the Garter Conductor James Meena Kevin Glavin Bardolph, a follower of Falstaff Conceived/Directed by Jay Lesenger Aaron Short+ Chorus Master Carol Rausch Pistol, a follower of Falstaff Set Designer Ron Kadri Jonathan Harris+ Innkeeper Lighting/Video Designer Michael Baumgarten Adam Barta+ Costume Designer B. G. FitzGerald Amy Burton Innkeeper’s Wife Wig/Makeup Designer Georgianna Eberhard Emily Spencer+ Robin, Falstaff’s Page Coach/Accompanists Emily Jarrell Urbanek Dorothy Randall Beck Benson Diction Coach/ Allison Voth In the neighborhood Supertitles Ford, a wealthy townsman Technical Director Erin Waters Ryan Michael Chioldi Properties Master/ Tricia L. Thelen Alice Ford, his wife Scenic Artist Michael Chioldi Amy Burton** Production Stage Manager Teri Jo Fuson Nanetta, their daughter Assistant Stage Director Alison Moritz Mandy Brown+ Fenton, beloved of Nanetta Assistant Stage Managers Melissa Futch Jon Jurgens+ Susan Stephenson Dame Quickly, Nanetta's Godmother Concertmaster Vahn Armstrong Jennifer Roderer** Meg Page, a neighbor Andrew Porter (English Translation), born August Ellen PutneyMoore+ 26, 1928, in Cape Town, South Africa, is a British music Jennifer Roderer Dr.
    [Show full text]