DOCSLIB.ORG

New York Metropolitan Opera, March 30-April 6, 2019

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
New York Metropolitan Opera, March 30-April 6, 2019 NEW YORK METROPOLITAN OPERA La Clemenza di Tito by Wolfgang Amadeus TOUR SCHEDULE March 30 – April 6, 2019 Mozart Sat. Mar. 30: Vancouver - New York Mezzo-soprano Joyce DiDonato sings Sesto at Morning departure via Air Canada non-stop to The Vancouver Opera Guild invites you to join the Met for the first time, and tenor Matthew New York’s Newark Airport. On arrival transfer its spring tour to New York featuring four Polenzani adds yet another role to his extensive to the Watson Hotel (formerly Holiday Inn productions at the Metropolitan Opera with Mozartean repertoire as Tito. Mozart’s opera of Midtown) on West 57th Street between 9th and 10th excellent seating in the Grand Tier Balance vengeance and forgiveness, set during the Roman Avenues, just a short walk from Lincoln Center. section plus the Met’s National Council Grand Empire, also stars sopranos Elza van den Heever Finals Concert. as Vitellia, with Ying Fang, Paula Murrihy, and Sun. Mar 31: New York bass Christian Van Horn completing the principal 3:00 p.m. National Council Grand Finals Concert. National Council Grand Finals Concert cast. Lothar Koenigs conducts. Some of today’s greatest singers got their start in Mon. Apr. 1: New York the Met National Council Auditions including La Traviata by Giuseppe Verdi Welcome reception late this afternoon. Jamie Barton, Stephanie Blythe, Lawrence Nicola Luisotti conducts Michael Mayer’s richly Tue. Apr. 2: New York Brownlee, Renée Fleming, Susan Graham, textured new production, featuring a dazzling 7:30 p.m. performance of Tosca. Thomas Hampson, Angela Meade, Eric Owens, 18th-century setting that changes with the seasons. Frederica von Stade and Simone Osborne. Watch Soprano Anita Hartig plays the tragic heroine, Wed. Apr. 3: New York the 2019 finalists compete for cash prizes and the Violetta, and tenor Stephen Costello returns to the 8:00 p.m. performance of La Clemenza di Tito. chance to launch a major operatic career while Met for the first time in five seasons to sing the accompanied by the Metropolitan Opera role of Alfredo, Violetta’s hapless lover. Orchestra, conducted by Carlo Rizzi. Following Thu. Apr. 4: New York Baritone Artur Rucinski is Alfredo’s father, 8:00 p.m. performance of Don Giovanni. the concert, toast the new 2019 winners at a Germont, who destroys their love. champagne reception on The Mercedes T. Bass Grand Tier. Fri. Apr. 5: New York TOUR INCLUDES 8:00 p.m. performance of La Traviata. Return airfare Vancouver to New York Don Giovanni by Wolfgang Amadeus Mozart Airport transfers in New York Baritone Peter Mattei stars as opera’s most Sat. Apr. 6: New York – Vancouver 7 nights accommodation at the Watson Hotel Day at leisure. Afternoon transfer to Newark notorious seducer in Mozart’s masterpiece of (formerly Holiday Inn Midtown), baggage dark comedy. Cornelius Meister makes his Met Airport for an evening non-stop flight with Air handling and hotel tax Canada to Vancouver. debut conducting performances that also include Welcome reception soprano Guangun Yu as Donna Anna, soprano Four opera tickets (Grand Tier Balance) plus Susanna Phillips as Donna Elvira, and bass Adam National Council Grand Finals Concert TOUR COST Plachetka as Leporello. Vancouver Opera Guild Tour Director Guild Members: Cdn. $3,170 per person based $150 donation to the Vancouver Opera Guild on sharing twin accommodation. Tosca by Giacomo Puccini ($200 for non-members) Rising star Jennifer Rowley sings the title role of Non-Guild Members: Cdn. $3,220 per person the volatile diva at the heart of Puccini’s operatic TOUR DOES NOT INCLUDE based on sharing twin accommodation. thriller. Joseph Calleja brings his stylish tenor to the role of Cavaradossi, Wolfgang Koch is the Airport taxes and GST of approx. $130 Single supplement: Cdn. $1,300 nefarious police chief Scarpia, and Carlo Rizzi Meals in New York and other items of a conducts Sir David McVicar’s resplendent PRICES personal nature Prices quoted in this brochure are in Canadian dollars based production. on a full tour, and airfares and foreign exchange rates in effect at time of printing (April 2018). We reserve the right RESERVATIONS to adjust the tour cost if there are exceptional price changes A on-refundable deposit of $500 per person is required beyond our control. at time of booking with balance due by January 16. For bookings made after January 16, full payment is Vancouver Opera Guild LIMITATION OF LIABILITY required at time of booking. This paragraph defines our responsibility with respect to all Presents our tours. Please read it carefully. Payment of deposit CANCELLATIONS represents an acceptance by purchaser of the following terms The deposit of $500 is non-refundable from date paid. and conditions. Great Expeditions (its owners, outfitters, agents and employees) gives notice that all arrangements for For cancellations received after January 16, any refund NEW YORK accommodation, transportation and/or all related travel is subject to the amount actually recovered from the services, have been made by Great Expeditions only as suppliers. Metropolitan Opera Tour agent, upon the express condition that Great Expeditions shall not be liable for any injury, damage, delay, mishap, COMPREHENSIVE INSURANCE inconvenience or irregularity occasioned through the default Our comprehensive insurance package covers trip of any company or individual engaged in providing the cancellation/interruption in the event of cancellation arranged accommodation. Great Expeditions cannot be due to personal or family illness, excess hospital/ responsible for negligent conduct or financial irresponsibility medical benefits, baggage and travel accident. For of these suppliers, since they maintain no control over them. Such passenger conveyance, hotel accommodation, etc. is those under 61 years, the premium is $197.00. From subject to the laws of the state or country where provided. In 61 to 65 years, the premium is $237.00. From 66 to addition, Great Expeditions assumes no liability resulting 70 the premium is $299.00, from 71 to 76 $353.00 and directly or indirectly from any of the following causes: acts for those 77+ the premium is $667.00. Premiums are of God, detention, annoyance, weather, quarantines, strikes, higher for those paying a single supplement. Some civil disturbance, theft, government regulations, etc. over exclusions for pre-existing conditions do apply. which it has no control. Great Expeditions reserves the right Please ask for details. to substitute hotels and leaders and to alter the itinerary when deemed necessary or advisable. The right is also reserved to cancel any trip prior to departure upon the refund OPERA TICKETS of all payments received, which shall release Great Seating at the Met is requested in the Grand Tier Expeditions from any further liability. Great Expeditions Balance section for the four opera performances and reserves the right to decline to accept or retain any person or one concert. Great Expeditions is not responsible for member of any tour should such person's actions or general last minute changes in the opera program nor to the deportment impede the operation of the tour or the rights or performers. welfare or enjoyment of other members of the tour, and it is agreed a refund of the amount recovered from suppliers of DOCUMENTATION unused land services is the limit of Great Expeditions' A valid passport is required. responsibility. CARRIER'S RESPONSIBILITY March 30 – April 6, 2019 No carrier shall have or incur any responsibility or liability to any passenger or for property accompanying passengers, For further information, please contact: Great Expeditions except for its liability as a common carrier. In particular, Great Expeditions advises the customer that any air carrier's 940 West King Edward Avenue liability may be limited by its tariffs, conditions of carriage Elisabeth Dawson 604-922-8008 Vancouver, B.C. V5Z 2E2 and international conventions and agreements. or Tel: 604-257-2040 Genny MacLean Toll free: 1-800-663-3364 (Great Expeditions) 604-738-5535 [email protected] B.C. Reg. 2622 www.greatexpeditions.com.
Load more

Recommended publications
  • William Kentridge Brings 'Wozzeck' Into the Trenches
    William Kentridge Brings ‘Wozzeck’ Into the Trenches The artist’s production of Berg’s brutal opera, updated to World War I, has come to the Metropolitan Opera. By Jason Farago (December 26, 2019) ”Credit...Devin Yalkin for The New York Times Three years ago, on a trip to Johannesburg, I had the chance to watch the artist William Kentridge working on a new production of Alban Berg’s knifelike opera “Wozzeck.” With a troupe of South African performers, Mr. Kentridge blocked out scenes from this bleak tale of a soldier driven to madness and murder — whose setting he was updating to the years around World War I, when it was written, through the hand-drawn animations and low-tech costumes that Metropolitan Opera audiences have seen in his stagings of Berg’s “Lulu” and Shostakovich’s “The Nose.” Some of what I saw in Mr. Kentridge’s studio has survived in “Wozzeck,” which opens at the Met on Friday. But he often works on multiple projects at once, and much of the material instead ended up in “The Head and the Load,” a historical pageant about the impact of World War I in Africa, which New York audiences saw last year at the Park Avenue Armory. Mr. Kentridge’s “Wozzeck” premiered at the Salzburg Festival in 2017. Zachary Woolfe of The New York Times called it “his most elegant and powerful operatic treatment yet.” At the Met, the Swedish baritone Peter Mattei will sing the title role for the first time; Elza van den Heever, like Mr. Kentridge from Johannesburg, plays his common-law wife, Marie; and Yannick Nézet- Séguin, the company’s music director, will conduct.
    [Show full text]
  • Naxcat2005 ABRIDGED VERSION
    CONTENTS Foreword by Klaus Heymann . 4 Alphabetical List of Works by Composer . 6 Collections . 88 Alphorn 88 Easy Listening 102 Operetta 114 American Classics 88 Flute 106 Orchestral 114 American Jewish Music 88 Funeral Music 106 Organ 117 Ballet 88 Glass Harmonica 106 Piano 118 Baroque 88 Guitar 106 Russian 120 Bassoon 90 Gypsy 109 Samplers 120 Best Of series 90 Harp 109 Saxophone 121 British Music 92 Harpsichord 109 Trombone 121 Cello 92 Horn 109 Tr umpet 121 Chamber Music 93 Light Classics 109 Viennese 122 Chill With 93 Lute 110 Violin 122 Christmas 94 Music for Meditation 110 Vocal and Choral 123 Cinema Classics 96 Oboe 111 Wedding 125 Clarinet 99 Ondes Martenot 111 White Box 125 Early Music 100 Operatic 111 Wind 126 Naxos Jazz . 126 Naxos World . 127 Naxos Educational . 127 Naxos Super Audio CD . 128 Naxos DVD Audio . 129 Naxos DVD . 129 List of Naxos Distributors . 130 Naxos Website: www.naxos.com NaxCat2005 ABRIDGED VERSION2 23/12/2004, 11:54am Symbols used in this catalogue # New release not listed in 2004 Catalogue $ Recording scheduled to be released before 31 March, 2005 † Please note that not all titles are available in all territories. Check with your local distributor for availability. 2 Also available on Mini-Disc (MD)(7.XXXXXX) Reviews and Ratings Over the years, Naxos recordings have received outstanding critical acclaim in virtually every specialized and general-interest publication around the world. In this catalogue we are only listing ratings which summarize a more detailed review in a single number or a single rating. Our recordings receive favourable reviews in many other publications which, however, do not use a simple, easy to understand rating system.
    [Show full text]
  • Così Fan Tutte
    Wolfgang Amadeus Mozart Così fan tutte CONDUCTOR Opera in two acts James Levine Libretto by Lorenzo Da Ponte PRODUCTION Lesley Koenig Saturday, April 26, 2014, 1:00–4:40 pm SET & COSTUME DESIGNER Michael Yeargan LIGHTING DESIGNER Duane Schuler STAGE DIRECTOR Robin Guarino This production of Così fan tutte was made possible by a generous gift from Alberto Vilar. Additional funding was provided by the Metropolitan Opera Club; the Denenberg Foundation, in honor of Dan Denenberg; The DuBose and Dorothy Heyward Memorial Fund; and the late Mr. and Mrs. Samuel L. Tedlow. The revival of this production is made possible GENERAL MANAGER Peter Gelb by a gift from DOLCE & GABBANA. MUSIC DIRECTOR James Levine PRINCIPAL CONDUCTOR Fabio Luisi 2013–14 Season The 184th Metropolitan Opera performance of Wolfgang Amadeus Mozart’s Così fan tutte This performance is being broadcast live over The Conductor Toll Brothers– James Levine Metropolitan Opera International IN ORDER OF VOCAL APPEARANCE Radio Network, sponsored by Ferrando Toll Brothers, Matthew Polenzani America’s luxury homebuilder®, with Guglielmo generous long-term Rodion Pogossov* support from Don Alfonso The Annenberg Maurizio Muraro Foundation, The Neubauer Family Fiordiligi Foundation, the Susanna Phillips Vincent A. Stabile Endowment for Dorabella Broadcast Media, Isabel Leonard and contributions from listeners Despina worldwide. Danielle de Niese* This performance is Cello Continuo also being broadcast David Heiss live on Metropolitan Opera Radio on Harpsichord Continuo SiriusXM channel 74. Howard Watkins* Saturday, April 26, 2014, 1:00–4:40 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.
    [Show full text]
  • LA VESTALE GASPARE SPONTINI Alessandro De Marchi & Eric Lacascade
    PRESS FILE OPERA LA VESTALE GASPARE SPONTINI Alessandro de Marchi & Eric Lacascade 13, 15, 17, 20, 22 October 2015 20:00 25 October 2015 15:00 CIRQUE ROYAL / KONINKLIJK CIRCUS Opéra en trois actes, version française Livret de Victor-Joseph Etienne de Jouy Premiere Salle Montsansier, Paris, 15/12/1807 NEW PRODUCTION I – INTRODUCTION WITH BIOGRAPHIES THE FLAMES OF THE VESTAL ALTAR SET THE SCORE ALIGHT Since La Vestale, not a note of music has been written that wasn’t stolen from my scores!’ Gaspare Spontini was himself aware of how innovative and influential his score was. He turned opera in a new direction by conceiving the whole score on the basis of a compelling dramatic conception involving naturalistic effects, orchestration, and musical form, thereby pointing the way for such opera composers as Rossini, Wagner, Berlioz, and Meyerbeer. As a grand opera it was ahead of its time and was full of spectacular scenes showing a Vestal Virgin’s forbidden love for a Roman general; it made Spontini the most important composer of the Napoleonic period. Here directing his first opera, the French stage director Éric Lacascade focuses on a highly topical subject: ‘More than passionate love, what is at stake in this opera is the liberation of a woman who frees herself from the power of religious authority.’ COMPOSER & WORK Born in 1774 in Italy, Gaspare Spontini (1774-1851) imposed a new style to French music, mixing his Neapolitan inspiration to the genre of French lyric tragedy and thus creating what may be termed as Grand Historic Opera. The Italian composer, who became French in 1817, began a brilliant career in Rome and Venice after his studies at the Royal Conservatory of Naples.
    [Show full text]
  • Program Notes
    Monday Evening, July 25, 2016, at 8:00 pm m Opening-Night Program a r The Illuminated Heart (World premiere) g Selections from Mozart’s Operas o r P Mostly Mozart Festival Orchestra Louis Langrée , Conductor e Netia Jones , Director, Designer, and Illuminations M|M h Kiera Duffy , Soprano M|M T Christine Goerke , Soprano Ana María Martínez , Soprano M|M Nadine Sierra , Soprano M|M Marianne Crebassa , Mezzo-soprano M|M Daniela Mack , Mezzo-soprano (New York debut) Matthew Polenzani , Tenor Christopher Maltman , Baritone M|M Peter Mattei , Baritone M|M Peter Carwell , Program Consultant Andrew Hill , Director of Lighting This program is approximately 90 minutes long and will be performed without intermission. The Illuminated Heart was commissioned by Lincoln Center for the Performing Arts. M|M Mostly Mozart debut (Program continued) Please make certain all your electronic devices are switched off. The Mostly Mozart Festival is made possible by Renée and Robert Belfer, Sarah Billinghurst Solomon and Howard Solomon, and Rita E. and Gustave M. Hauser. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Fortepiano by R.J. Regier, Freeport, Maine David Geffen Hall Mostly Mozart Festival Additional support is made possible by Chris and Bruce Crawford, Laurie M. Tisch Illumination Fund, Anne and Joel Ehrenkranz, The Howard Gilman Foundation, The Fan Fox and Leslie R. Samuels Foundation, Inc., Charles E. Culpeper Foundation, S.H. and Helen R. Scheuer Family Foundation, and Friends of Mostly Mozart. Public support
    [Show full text]
  • Don Giovanni
    Don Giovanni La publicación de la partitura de Don Giovanni en De entre las más de doscientas grabaciones de 1953 la Neue Mozart Ausgabe en 1968 fue como un esta ópera completas y cantadas en italiano Giuseppe Taddei; Italo Tajo: Maria Curtis Verna; Carla relámpago para el mundo musical, y los truenos que están documentadas, en el siguiente Gavazzi; Cesare Valletti; Elda Ribetti; Vito Susca; se han seguido escuchando durante mucho listado ofrecemos las referencias de las que han tiempo después. Los responsables de esa edición, Antonio Zerbini; coro y orquesta de la RAI Torino; llamado la atención de los críticos en revistas Wolfgang Plath y Wolfgang Rehm, declaraban en dir. Max Rudolf. Cetra LPS 3253 (3LP); Cetra OLPC especializadas nacionales e internacionales con su comentario que sólo la versión que Mozart y Da 1253/1-3 (3LP); Cetra C-1253 (3LP) (USA); Everest ocasión de su primera publicación o posteriores Ponte habían preparado para el estreno en Praga en Cetra 403-3 (3LP) Balkanton BOA 1575-1527 (3LP); 1787 sería auténtica. En la publicación posterior del reediciones. Por razones de espacio, hasta el año Warner Fonit 0927 43561-2 (3CD) (2002); Warner aparato crítico correspondiente a esa edición, de 2000 constan sólo las grabaciones en estudio. 2003, los autores no habían cambiado de parecer, Los papeles se presentan en el orden siguiente: Fonit Cetra 2564698347 (download) (2002); Urania e incluso en el año 2007, uno de los dos editores, el Don Giovanni (baritono); Leporello (bajo); Donna URN22308 (download) (2006). Grabación en estudio. único vivo en ese momento, se mantenía firme en Anna (soprano); Donna Elvira (soprano); Don su opinión.
    [Show full text]
  • Peter Mattei Sings Mozart at Drottningholm Court Theatre
    2012-07-12 14:11 CEST Peter Mattei sings Mozart at Drottningholm Court Theatre The Swedish baritone Peter Mattei has established himself as one of the most sought after singers of his generation. On August 4 and 8 Peter Mattei gives two Mozart concerts at the Drottningholm Court Theatre, with soprano Vivianne Holmberg and the Drottningholm Theatre Orchestra, directed by Mark Tatlow. The concert includes arias from Mozart's Don Giovanni, Le Nozze di Figaro and The Magic Flute Peter Mattei studied at the Royal Academy of Music and at the University College of Opera in Stockholm. While still a student he made his debut in 1990 as Nardo in Mozart's La Finta Giardiniera at the Drottningholm Court Theatre and made a sensational Royal Swedish Opera debut as Pentheus in Daniel Börtz’ The Bacchae (directed by Ingmar Bergman) in 1991. Peter Mattei won international acclaim for his interpretation of the title role of Don Giovanni in Aix-en-Provence, directed by Peter Brook in 1998. Peter Mattei has worked with world-renowned conductors such as Sir Georg Solti, Daniel Barenboim, Riccardo Muti, Sir Colin Davis, Riccardo Chailly, Antonio Pappano, Zubin Mehta, Herbert Blomstedt, Esa-Pekka Salonen and Daniel Harding. The last seasons have included the title role of Don Giovanni with the Metropolitan Opera, Staatsoper Berlin (also on tour to Japan) and Opéra National de Paris, the Count in Le nozze di Figaro at the Royal Opera House Covent Garden and the San Francisco Opera, Figaro in Il barbiere di Siviglia at the Metropolitan Opera, the title role of Eugene Onegin with the Tanglewood Festival and the Salzburger Festspiele, Posa in Don Carlo with the Norwegian Opera, Wolfram in Tannhäuser at Teatro alla Scala and Guglielmo in Così fan tutte with the Royal Swedish Opera.
    [Show full text]
  • EUGENE ONEGIN Pyotr Ilyich Tchaikovsky
    EUGENE ONEGIN Pyotr Ilyich Tchaikovsky Opera in 3 acts Sung in Russian Recorded August 2007 at the Salzburg Festival Act 1: 73 minutes, Act 2: 42 minutes, Act 3: 42 minutes. TOTAL: 157 minutes. Conductor | Daniel Barenboim Director | Andrea Breth Sets | Martin Zehetgruber Costumes | Silke Willrett & Marc Weeger Lights | Friedrich Rom Orchestra Wiener Philharmoniker Starring Eugene Onegin | Peter Mattei Tatyana | Anna Samuil Olga | Ekaterina Gubanova Lensky | Joseph Kaiser Prince Gremin | Ferruccio Furlanetto Larina, Lady of the Manor | Reneé Morloc Presentation Tchaikovsky is best known for his symphonic scores and ballets such as the “Nutcracker,“ “Swan Lake” and “Sleeping Beauty.“ Yet his operas also occupy a place of honor in his oeuvre, and two of them, “Eugene Onegin” and “The Queen of Spades,” both based on novels by Pushkin, are among his very finest works. The plot of “Onegin” is quickly told: on a Russian country estate, awkward, inexperienced young Tatyana is seized by a sudden passion for the handsome, blasé new neighbor Eugene Onegin. She writes him a love letter, but he makes it clear to her that he is not interested. Later, Tatyana‘s sister flirts with Onegin, her fiancé challenges him to a duel and is killed by Onegin. Years later, Onegin returns, finds that Tatyana has married an aged prince, and tries to win her back but fails... Tchaikovsky called his opera a sequence of “lyric scenes.” Its structure prefigures narrative techniques that later came into use in cinema: abrupt cuts and chronological leaps, intimate close-ups, atmospheric interjections... Bearing this practically cinematic structure in mind, director Andrea Breth has produced an intimate chamber play that mines the depths of veracity, precision and charisma of her singer-actors.
    [Show full text]
  • Sir Colin Davis Discography
    1 The Hector Berlioz Website SIR COLIN DAVIS, CH, CBE (25 September 1927 – 14 April 2013) A DISCOGRAPHY Compiled by Malcolm Walker and Brian Godfrey With special thanks to Philip Stuart © Malcolm Walker and Brian Godfrey All rights of reproduction reserved [Issue 10, 9 July 2014] 2 DDDISCOGRAPHY FORMAT Year, month and day / Recording location / Recording company (label) Soloist(s), chorus and orchestra RP: = recording producer; BE: = balance engineer Composer / Work LP: vinyl long-playing 33 rpm disc 45: vinyl 7-inch 45 rpm disc [T] = pre-recorded 7½ ips tape MC = pre-recorded stereo music cassette CD= compact disc SACD = Super Audio Compact Disc VHS = Video Cassette LD = Laser Disc DVD = Digital Versatile Disc IIINTRODUCTION This discography began as a draft for the Classical Division, Philips Records in 1980. At that time the late James Burnett was especially helpful in providing dates for the L’Oiseau-Lyre recordings that he produced. More information was obtained from additional paperwork in association with Richard Alston for his book published to celebrate the conductor’s 70 th birthday in 1997. John Hunt’s most valuable discography devoted to the Staatskapelle Dresden was again helpful. Further updating has been undertaken in addition to the generous assistance of Philip Stuart via his LSO discography which he compiled for the Orchestra’s centenary in 2004 and has kept updated. Inevitably there are a number of missing credits for producers and engineers in the earliest years as these facts no longer survive. Additionally some exact dates have not been tracked down. Contents CHRONOLOGICAL LIST OF RECORDING ACTIVITY Page 3 INDEX OF COMPOSERS / WORKS Page 125 INDEX OF SOLOISTS Page 137 Notes 1.
    [Show full text]
  • March-24-Barbiere.Pdf
    Gioachino Rossini CONDUCTOR Opera in two acts Maurizio Benini Libretto by Cesare Sterbini, PRODUCTION based on the play by Beaumarchais Bartlett Sher Saturday, March 24, 2007, 1:30–4:40pm SET DESIGNER Michael Yeargan New Production COSTUME DESIGNER Catherine Zuber LIGHTING DESIGNER Christopher Akerlind This production of Il Barbiere di Siviglia was made possible by a generous gift from The Sybil B. Harrington Endowment Fund. GENERAL MANAGER Peter Gelb MUSIC DIRECTOR James Levine The 560th Metropolitan Opera performance of Conductor Maurizio Benini This performance is IN ORDER OF VOCAL APPEARANCE broadcast live over Fiorello, Count Almaviva’s servant the Toll Brothers– Brian Davis Metropolitan Opera Count Almaviva International Radio Juan Diego Flórez Network, sponsored by Toll Brothers, Figaro, a barber America’s luxury Peter Mattei TM home builder , with Dr. Bartolo, Rosina’s guardian generous long- John Del Carlo term support from The Annenberg Ambrogio, Dr. Bartolo’s servant Foundation and the Rob Besserer Vincent A. Stabile Rosina Foundation. Joyce DiDonato This afternoon’s Don Basilio, a music teacher performance is also John Relyea being transmitted Berta, Dr. Bartolo’s housekeeper live in high definition Claudia Waite to movie theaters in the United States, An officer Canada, and Europe, Mark Schowalter and broadcast live on Metropolitan Recitative Accompanist Opera Radio, on Robert Morrison Sirius Satellite Radio channel 85. Saturday, March 24, 2007, 1:30–4:40pm Ken Howard/Metropolitan Opera Juan Diego Flórez Chorus Master Raymond
    [Show full text]
  • Il Barbiere Di Siviglia
    Synopsis Act I Seville. Count Almaviva comes in disguise as a poor student named Lindoro to the house of Doctor Bartolo and serenades Rosina, whom Bartolo keeps confined to the house. Figaro the barber, who knows all the town’s secrets and scandals, explains to Almaviva that Rosina is Bartolo’s ward, not his daughter, and that the doctor intends to marry her. Figaro devises a plan: the count will disguise himself as a drunken soldier with orders to be quartered at Bartolo’s house so that he may gain access to Rosina. Almaviva is excited and Figaro looks forward to a nice cash pay-off. Rosina reflects on the voice that has enchanted her and resolves to use her considerable wiles to meet the man it belongs to. Bartolo appears with Rosina’s music master, Don Basilio. Basilio warns Bartolo that Count Almaviva, who has made known his admiration for Rosina, has been seen in Seville. Bartolo decides to marry Rosina immediately. Basilio suggests slander as the most effective means of getting rid of Almaviva. Figaro, who has overheard the plot, warns Rosina and promises to deliver a note from her to Lindoro. Bartolo suspects that Rosina has indeed written a letter, but she outwits him at every turn. Bartolo warns her not to trifle with him. Almaviva arrives, creating a ruckus in his disguise as a drunken soldier, and secretly passes Rosina his own note. Bartolo is infuriated by the stranger’s behavior and noisily claims that he has an official exemption from billeting soldiers. Figaro announces that a crowd has gathered in the street, curious about the argument they hear coming from inside the house.
    [Show full text]
  • MATTEI SJUNGER MAHLER TORSDAG 6 SEPTEMBER 2018 Kl 19.00 DE GEERHALLEN NORRKÖPING FREDAG 7 SEPTEMBER 2018 Kl 19.00 CRUSELLHALLEN LINKÖPING
    MATTEI SJUNGER MAHLER TORSDAG 6 SEPTEMBER 2018 kl 19.00 DE GEERHALLEN NORRKÖPING FREDAG 7 SEPTEMBER 2018 kl 19.00 CRUSELLHALLEN LINKÖPING Norrköpings Symfoniorkester Dirigent Karen Kamensek Solist Peter Mattei baryton Konsertmästare Erik Arvinder MOZART Uvertyr till Figaros bröllop MAHLER Sånger ur Des Knaben Wunderhorn och Rückert Lieder – paus – DVOŘÁK Symfoni nr 8 Svenska Salongsorkestern spelar i foajén från kl 18! Välkommen till Norrköpings Symfoniorkester! Checka gärna in, ta bilder i foajé och konsertsal och berätta att du är här! Innan konserten börjar ber vi dig dock stänga av telefon och kamera, eftersom ljuset från skärmar stör både publik och artister. Under konsert är fotografering och ljudupptagning ej tillåten. I applådtacket går det bra att ta bilder igen. Hoppas du får en riktigt fin konsertupplevelse med oss! –en del av Scenkonst Öst Karen Kamensek Den amerikanska dirigenten Karen Kamensek hittar man lika gärna i operadiket som på konsertpodiet, och hennes repertoar täcker en stor del av den klassiska musiken, inte minst den nya. Hon har dirigerat många av världens främsta orkestrar: Århus Symfoniorkester, Bilbao Symfoniorkester, Orchestre National de Pays Loire, Göteborgs Symfoniorkester, Aalborg Symfoniorkester, Malmö Opera och Musikteater, Saarländisches Staatsorchester Saarbrücken och Orchester National de Lille, i de mest kända konserthallarna. Bara den här säsongen uruppför hon verk av Philip Glass och Victoria Borisova-Ollas. Under sin period som Generalmusikdirektor för Staatsoper Hannover 2011–2016 ledde hon flera uppmärksammade produktioner, däribland Sjostakovitjs Lady Macbeth från Mtsensk, Wagners Mästersångarna, Puccinis Il trittico, Bernsteins Candide, Janáčeks Jenůfa och Webers Friskytten. Efter sin uppmärksammade debut på English National Opera i Glass Ahknaten återvände hon i början av 2018 till ENO i samma kompositörs Satyagraha.
    [Show full text]