Giuseppe Verdi

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GIUSEPPE VERDI CARLO COLOMBARAAIDA | ANITA RACHVELISHVILI | KRISTIN LEWIS | FABIO SARTORI CONDUCTED BY ZUBIN MEHTA | STAGED BY PETER STEIN GIUSEPPE VERDI Giuseppe Verdi’s masterpiece AIDA at La Scala in Milan is an experience in itself. Consequently, a new production of AIDA is an event barely to be surpassed, especially when performed before a notoriously critical audience of la La Scala. AIDA With his unpretentious and lucid new interpretation of the opera, directorial legend Peter Stein succeeds in delivering a production acclaimed in equal measure by the Orchestra Orchestra and Chorus press and public: “a perfect coup de theatre” (Giornale della musica). of the Teatro alla Scala Conductor Zubin Mehta Indeed, he breathes new life into Giuseppe Verdi’s romantic drama about power, Stage Director Peter Stein passion, jealousy and death: the Nubian Princess Aida, who is unfortunate enough to find herself in prison in Egypt, is secretly in love with the leader of the army, The King Carlo Colombara Radamès. He however has been promised in marriage to the Egyptian king's Amneris Anita Rachvelishvili daughter Amneris, who also loves him. The secret love affair between Aida and Aida Kristin Lewis Radamès is uncovered and fate takes its course ... Radamès Fabio Sartori A “stellar cast” (La Stampa) contributes to the production’s success Ramfis Matti Salminen under the musical direction of Verdi specialist Zubin Mehta. Amonasro George Gagnidze “The entire ensemble is brilliant in its portrayal of the A Messenger Azer Rza-Zada characters” (Die Presse), especially the American soprano The High Priestess Chiara Isotton Kristin Lewis in the title role. Anita Rachvelishvili gives a wholly credible reading of the jealous Amneris, as Produced by Metis Film does George Gagnidze as a restrained and resolute Video Director Tiziano Mancini Amonasro, with Fabio Sartori as the warrior Radamès who is the object of both women’s affections. Carlo Colombara as a dignified Length: 151' Pharaoh and Matti Salminen as the High Priest Shot in 4K Ultra High Definition (3840x2160) who demands respect round off the persuasive and Cat. no. A 000 50020 eminently well cast ensemble. A production of “Applaus for an Aida minus sphinx and pyramids Servus TV and UNITEL CLASSICA but nevertheless played in a spectacular and in co-production with elegant ambience” (Rai Radio 1). Fondazione Teatro alla Scala World Sales: All rights reserved · credits not contractual · Different territories · Photos: © Brescia-Amisano · Flyer: luebbeke.com contractual Brescia-Amisano Flyer: Different Photos: © · territories credits · not rights · All reserved · Tel. +49.30.30306464 [email protected] Unitel GmbH & Co. KG, Germany · Tel. +49.89.673469-630 · [email protected] www.unitelclassica.com.

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1 CRONOLOGÍA LICEÍSTA Se Incluye Un Listado Con Las
CRONOLOGÍA LICEÍSTA Se incluye un listado con las representaciones de Aida, de Giuseppe Verdi, en la historia del Gran Teatre del Liceu. Estreno absoluto: Ópera del Cairo, 24 de diciembre de 1871. Estreno en Barcelona: Teatro Principal, 16 abril 1876. Estreno en el Gran Teatre del Liceu: 25 febrero 1877 Última representación en el Gran Teatre del Liceu: 30 julio 2012 Número total de representaciones: 454 TEMPORADA 1876-1877 Número de representaciones: 21 Número histórico: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21. Fechas: 25 febrero / 3, 4, 7, 10, 15, 18, 19, 22, 25 marzo / 1, 2, 5, 10, 13, 18, 22, 27 abril / 2, 10, 15 mayo 1877. Il re: Pietro Milesi Amneris: Rosa Vercolini-Tay Aida: Carolina de Cepeda (febrero, marzo) Teresina Singer (abril, mayo) Radamès: Francesco Tamagno Ramfis: Francesc Uetam (febrero y 3, 4, 7, 10, 15 marzo) Agustí Rodas (a partir del 18 de marzo) Amonasro: Jules Roudil Un messaggiero: Argimiro Bertocchi Director: Eusebi Dalmau TEMPORADA 1877-1878 Número de representaciones: 15 Número histórico: 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36. Fechas: 29 diciembre 1877 / 1, 3, 6, 10, 13, 23, 25, 27, 31 enero / 2, 20, 24 febrero / 6, 25 marzo 1878. Il re: Raffaele D’Ottavi Amneris: Rosa Vercolini-Tay Aida: Adele Bianchi-Montaldo Radamès: Carlo Bulterini Ramfis: Antoine Vidal Amonasro: Jules Roudil Un messaggiero: Antoni Majjà Director: Eusebi Dalmau 1 7-IV-1878 Cancelación de ”Aida” por indisposición de Carlo Bulterini.
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ANDREA BOCELLI At last, a legend At last, a legend for the new millennium. A myth in the Homeric sense, “story delivered by word of mouth”, which blossomed through singing, just like Caruso, Gigli, Del Monaco, Corelli… A legend of Andrea Bocelli’s caliber cannot be artificially designed: not even the most astute marketing plan would be able to come up with such a result. People simply recognize his talent and choose him. This is what happened, in an apparently well-matched but perfect context, the Italian singing competition Sanremo in 1994, because the childhood of a legend follows a course that breaks tradition. Since then, the tone of his voice has brought gentleness to the world and his fame has increased exponentially. “If God could sing, He would sound a lot like Andrea Bocelli”: even Celine Dion’s famous comment is a clear, unadorned testament to the artist’s legendary status, as well as the perception of a God given gift. That voice, that melancholic and at the same time radiant tone, unrivalled in interpreting the love song of a lover or a father, a matchless expression of earthly desire or heavenly love. We are about to celebrate the first twenty years of his career, supported by the sale of 80 million records. With talent comes responsibility “I don’t think one decides to become a singer, it is decided for you by the reactions of the people around you”. Andrea Bocelli has had to come to terms with having two all-encompassing gifts. The first is a specific timbre, which has become his signature, full and powerful, versatile to the point that he can range from the belcanto to the furor of verismo, from the sacred repertoire to the popular ballads.
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Specials Call Us! See Page 5 > 2 Station Signals January2009 March2009 Sstationtation Ssignalsignals 3
Adirondack Seasons airs Tell Me More premieres Thursday, March 5 at 10:00 p.m. Monday, March 23 at 8 p.m. on WXXI-TV/HD on AM1370/HD91.5-2 STATION SIGNALS TV21 | DTV | AM1370 | FM91.5/90.3/88.5/HD | REACHOUT RADIO | EDUCATION | WXXI.ORG march 2009 in Boston CHRIS BOTTI hosts Rock, Rhythm & Doo Wop Live from the Forum in Acapulco Voices: YANNI YANNI FRANKIE VALLI music SPECIALS call us! see page 5 > 2 StatiON SIGNALS january2009 march2009 SSTATIONtatiON SSIGNALSIGNALS 3 Dear Friend, If you’re a new member of WXXI (especially if you joined during our recent radio membership campaign), let me extend a warm welcome to the WXXI family! You join more than 27,000 others who voluntarily contribute to WXXI to keep our station a strong, independent voice for the Rochester community. Listenership to our radio services, especially news and public affairs, is stronger than ever. There’s also some good news to share about WXXI television. The most recent Nielsen ratings show that WXXI-TV viewers are the most loyal in the nation to their public television station, based on time spent viewing. That means that more people are tuning in and staying with our programming throughout the day. It’s just one measure of audience success, but an important one. Our children’s programming continues to attract a wide, diverse audience, as does drama, culture and news and public affairs in the evening. The WXXI Center for Public Affairs is also being recognized, not just locally, but throughout the state and nation.
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PRESENTS OPERA 101 EDUCATOR’S GUIDE WELCOME HELLO! Thank you for inviting The Atlanta Opera to perform In using this guide, we hope you will feel free to for your students! A core mission of The Atlanta adapt pages or activities to best meet the needs of Opera is to provide opportunities for students of all your students. A simple activity may be a perfect ages – we believe opera is for everyone and we are launching pad for a higher-level lesson, and a committed to ensuring that the art form is available to complex lesson may contain key points onto which the widest possible cross-section of our community. younger students can latch. Please make this guide Each year, our education programs serve more than your own! 25,000 students in Metro-Atlanta and throughout the state of Georgia. Our programs seek to inspire Thank you again for allowing us to share this creativity, stimulate critical conversations, promote experience with you. We value your feedback and an enduring appreciation of the arts, and create will take it into account in planning future education audiences for the future. programs. We look forward to hearing from you, your students, administration, and/or parents following This educator guide has been developed to help the performance. you familiarize students with the art form of opera (vocabulary, history, etc.). The guide approaches these Sincerely, subjects via a wide range of disciplines, including The Atlanta Opera English Language Arts, Science, Music, Theater and Education Department Social Studies. Our goal is to provide you with an 1575 Northside Drive, Suite 350, Atlanta, GA 30318 innovative, multidisciplinary approach to teaching 404-881-8801 required skills and curriculum, including connections to [email protected] the Georgia Standards of Excellence.
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NABUCCO De G. Verdi
la música de Verdi Notas a la produccióN “Con Nabucco puede afirmarse realmente que mi Si hay un escenario del mundo rendido a Verdi es carrera ha comenzado”, afirmaba Verdi. En efecto, es la Arena de Verona. Sus óperas más espectaculares el principio de todo: de su idilio con el público, de su y colectivas, empezando por Nabucco , parecen romance con la soprano Giuseppina Strepponi (que pensadas para este inmenso anfiteatro romano del encarnó a la primera Abigail, y con la que convivió siglo I, con capacidad para 16.000 espectadores. más de medio siglo) y, sobre todo, de su estilo Más aún si al frente de la orquesta se sitúa un viejo musical, que impactó al mundo antes incluso del conocido como Daniel Oren y Marco Faelli dirige un estreno. Lo relataba una crónica: “Era tan nueva, tan estupendo coro, verdadera estrella de la función. Y desconocida, tan rápida, que durante los ensayos los eso que el reparto de esta grabación es de categoría: operarios, pintores, maquinistas, abandonaban sus Leo Nucci, barítono verdiano por excelencia, lleva tareas para mirar boquiabiertos”. cuatro décadas en la piel de Rigoletto, Miller, Simon ABUCCO de G. Verdi 4 N 1 Boccanegra o, por supuesto, el rey Nabucodonosor, 0 El joven compositor no había sido un niño prodigio. 2 e al que otorga autoridad, saber estar y carisma. Le d No tocaba bien el piano, razón por la cual le recha- o y zaron en el conservatorio de Milán. Pero logró cierta da réplica como Abigail la poderosa soprano Maria a m Guleghina, y completa la terna la nobleza del bajo e repercusión con su primera ópera, Oberto (1839), y d 8 Carlo Colombara.
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