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BEHIND THE CURTAIN FALL 2009 Gotham Chamber Opera is the nation’s foremost com- pany dedicated to pro- ducing rarely-performed chamber operas from the Baroque era to the pres- ent. Our mission is to pres- The National Endowment for the Arts With our inaugural newsletter, Gotham Cham- ent innovative, fully-staged recently awarded Gotham Chamber ber Opera intends to keep you – our loyal sup- productions of the highest Opera a $25,000 American Recovery porters and fans – current on the “pre-eminent quality in intimate venues. small opera company in New York” according to and Reinvestment Grant. Gotham was The New York Times. Starting with this semi-an- one of only 17 opera companies in the NEAL GOREN nual dispatch, we will broadcast the company’s ARTISTIC DIRECTOR country to receive this very special rec- news: our exciting upcoming productions; bios ognition, and one of just three in New of the fantastic artists scheduled to perform with York, along with New York City Opera us; reviews of our successes; and other relevant DAVID BENNETT developments. and Opera America. The NEA received MANAGING DIRECTOR While all performing arts companies endure tough stimulus funding under the American challenges these days, Gotham wants you to know Recovery and Reinvestment Act to sup- that our company also enjoys towering achieve- BOARD OF DIRECTORS port job retention in the performing arts ments. Read on to see what ambitious plans are sector. in our future. KAREN LERNER Thank you for your support! PRESIDENT EMERITUS “Because these grants go to support the or- ganizations themselves - rather than specif- ic programs or productions - this is a vote of TED TRUSSELL PORTER real confidence in Gotham as an institution,” PRESIDENT said Managing Director David Bennett. “This confirms that we now have an important na- tional presence within the field of opera.” DOMNA C. STANTON Please join the NEA in expressing con- VICE PRESIDENT fidence in Gotham Chamber Opera by making a tax-deductible contribution. DONALD N. GELLERT Use the form enclosed or join online at: SECRETARY & TREASURER www.gothamchamberopera.org/support. html. Every gift makes a difference! ROBERT BAREUTHER BROOKE HAYWARD DUCHIN MICHELLE EDELMAN ANDREA K. FALLEK In January 2010, take a won- drous trip to the moon with a PAUL L. KING revolutionary new production of LOUIS MIANO Joseph Haydn’s delightful opera JOHN L. MOORE I I I Il mondo della luna (The World WILLIAM OLIVER on the Moon). For the first time ever, the Hayden Planetarium at OLIVIA PIROVANO the Rose Center for Earth and ROBERT L. TURNER Space will be transformed into an intimate opera house. In an extraordinary collaboration with the American Museum of Natural © AMNH\D. Finnin AMNH\D. © History and the American The Rose Center for Earth and Space at the American Museum of Natural History Repertory Theater, Gotham will fuse live opera and stargazing. Taking advantage of breakthroughs in laser and light tech- nology, the production will immerse the audience in a completely new kind of the- atrical event – an out-of-this-world experi- ence for opera lovers, science buffs, and I know of only one commer- theatergoers alike. cial recording of Il mondo del- Gotham Chamber Opera will literally take au- la luna, and it is no longer diences to the moon in this production of Il In the days before easy travel, operas in print. The recording was mondo della luna, Haydn’s personal favorite were often set in what would have been made in 1978 by Philips and of all his operas. Written in 1777, it’s the sto- exotic locales for their audiences: the Arab features a star-studded cast ry of a nobleman who refuses to let his daugh- world (Mozart’s Abduction from the Seraglio, conducted by Haydn special- ters marry their true loves. With the help of Rossini’s L’italiana in Algeri, Verdi’s Nabucco), ist Antál Dorati. In the role a fake astronomer and a sleeping potion, the the East (Bizet’s Pearl Fishers, Puccini’s of Buonafede, bass-baritone daughters trick their father into believing he’s Turandot, Delibes’ Lakmé), and even the Alberto Trimarchi manages, been sent to the moon, where he discovers United States (Puccini’s La fanciulla del West). through his committed por- they do things differently, especially when it But nothing compares to the bizarrerie of set- trayal, to disguise the fact comes to courtship. On the moon, women are ting an opera on the moon, as Haydn did in Il the he’s singing a role that is allowed to choose their own husbands, and mondo della luna. The idea was so twisted I clearly written for a baritone. there it is even proper for a young lady to go found it irresistible on first sight. Edith Mathis lends her pas- off with a man before marriage. It is a sign of When I delved further into the work, I was de- sionate voice to the role of respect! After much music and merriment, ev- lighted to discover that this setting had in- Clarice, while Arleen Auger, erybody comes back to Earth, properly and spired Haydn to write some of his most var- as Flaminia, sings faultlessly, happily matched. ied and stupendous music. If you are looking if missing the sense of dev- The Hayden Planetarium is unlike any other. In for a super-virtuosic show-stopping soprano il-may-care abandon that the top half of the Hayden Sphere, the Space aria, there is nothing in the entire repertoire the virtuosic role begs for. Theater uses the most advanced visual tech- that surpasses Flaminia’s Ragion nell’alma sie- As their suitors, Luigi Alva nology to create shows of unparalleled sophis- de; for dreamy pathos, Clarice’s Quanta gente is clearly way past his prime tication, realism, and excitement. The Hayden che sospira has never been outdone; and if (though only 51 when the re- Planetarium is the largest and most power- you’re a fan of brilliant ensembles, the sec- cording was made), and con- ful virtual reality simulator in the world and ond-act finale of Il mondo is clearly the pro- tralto Lucia Valentini-Terrani is will provide a stunning and singularly apt en- totype for the glorious second-act finale for terribly miscast in a role much vironment for our production of Il mondo del- Mozart’s Marriage of Figaro – and loses noth- better suited to the baritone la luna. ing in the comparison. This is not only the voice. The newcomers on the The lift-off begins January 19, 2010, using a best of Haydn; this is the best of music. It is, recording are Frederica von 180-degree dome and projections courtesy however, no secret that there is a great deal Stade, with her unmistak- of NASA. The production will be directed by of chaff among the wheat of Il mondo della able lovely, dark-hued tim- Diane Paulus, whom Opera News calls one of luna. Were there not, the piece would be in bre, and the warm-voiced the top 25 names in U.S. opera, and whose the standard repertory of every opera house Anthony Rolfe Johnson. In production of Hair has triumphed in Central today. So you will be pleased to know that the spite of all these fine talents, Park and on Broadway. Leading the 27-piece director Diane Paulus, her associate Andrew I find the recording incredi- orchestra is Neal Goren, Artistic Director and Eggert, and I have cut out the chaff, leaving bly boring, due to its languid founder of Gotham Chamber Opera. you the very choicest bits. tempi and turgid recitatives. So we hope you will get on board with Gotham, When planning the production in 2007, I noted Haydn, and the Hayden and join us as we fly Bass-baritone Thomas New York opera-lovers to the moon! “...the Space Theater uses Quasthoff included one aria and one duet from Il mon- the most advanced visual do della luna on his 2009 CD Performance dates and times: Gala technology to create entitled Haydn Italian Arias. Opening Performance and Reception: shows of unparalleled Quasthoff sings with his cus- Tuesday, January 19th, 7:30 pm. All oth- tomary rich middle and low er performances at 8:00 pm: Wednesday, sophistication, realism, notes and bright, tenori- January 20th, Monday January 25th, and excitement.” al top. His musical suavity is Tuesday, January 26th, and Thursday, that the orchestral forces for Il mondo, while very much in evidence here, January 28th. Gala opening night tickets not particularly large, were still too big to fit in music that calls for humor are $500 ($325 tax-deductible), and can in the pit of our home theater at the Henry above all else. The duet is be purchased by calling 212-868-4460. Street Settlement. As I began considering al- of such scant musical value VIP ($1,000) and Premium ($2,500) Gala ternative performance spaces, I happened to that we have cut it from our tickets are also available, with addition- take my nephew to the Hayden Planetarium production. al premium benefits; please call for more at the American Museum of Natural History. I information. soon realized there was no venue more suit- able (or more audacious) for an opera largely For tickets to other performances, please call set on the moon than the Hayden, where we Ticket Central at 212-279-4200 or order online could incorporate segments of the planetari- at www.ticketcentral.com. Ticket prices for all um’s amazing star show into our production, other performances are $125, $75, and $30. 2 thereby enabling our audience to make her success in moving back and forth be- the trip to the moon along with Haydn’s tween working in opera and musical theater protagonists.
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    **MANY OF THESE SINGERS SPANNED MORE THAN ONE VOICE TYPE IN THEIR CAREERS!** COLORATURA and LYRIC COLORATURA SOPRANO: DRAMATIC SOPRANO: Joan Sutherland Maria Callas Birgit Nilsson Anna Moffo Kirstin Flagstad Lisette Oropesa Ghena Dimitrova Sumi Jo Hildegard Behrens Edita Gruberova Eva Marton Lucia Popp Lotte Lehmann Patrizia Ciofi Maria Nemeth Ruth Ann Swenson Rose Pauly Beverly Sills Helen Traubel Diana Damrau Jessye Norman LYRIC MEZZO: SOUBRETTE & LYRIC SOPRANO: Janet Baker Mirella Freni Cecilia Bartoli Renee Fleming Teresa Berganza Kiri te Kanawa Kathleen Ferrier Hei-Kyung Hong Elena Garanca Ileana Cotrubas Susan Graham Victoria de los Angeles Marilyn Horne Barbara Frittoli Risë Stevens Lisa della Casa Frederica Von Stade Teresa Stratas Tatiana Troyanos Elisabeth Schwarzkopf Carolyn Watkinson DRAMATIC MEZZO: SPINTO SOPRANO: Agnes Baltsa Anja Harteros Grace Bumbry Montserrat Caballe Christa Ludwig Maria Jeritza Giulietta Simionato Gabriela Tucci Shirley Verrett Renata Tebaldi Brigitte Fassbaender Violeta Urmana Rita Gorr Meta Seinemeyer Fiorenza Cossotto Leontyne Price Stephanie Blythe Zinka Milanov Ebe Stignani Rosa Ponselle Waltraud Meier Carol Neblett ** MANY SINGERS SPAN MORE THAN ONE CATEGORY IN THE COURSE OF A CAREER ** ROSSINI, MOZART TENOR: BARITONE: Fritz Wunderlich Piero Cappuccilli Luigi Alva Lawrence Tibbett Alfredo Kraus Ettore Bastianini Ferruccio Tagliavani Horst Günther Richard Croft Giuseppe Taddei Juan Diego Florez Tito Gobbi Lawrence Brownlee Simon Keenlyside Cesare Valletti Sesto Bruscantini Dietrich Fischer-Dieskau
  • Opera Recordings: a Very Personal Guide by Ralph Moore

    Opera Recordings: a Very Personal Guide by Ralph Moore

    “Untouchable” and ”Most Recommendable” Opera Recordings: a very personal guide by Ralph Moore My handful of regular readers might have noticed some glaring omissions in the list of thirty-seven major operas whose discographies I have surveyed over the last couple of years - operas whose quality and popularity are such that one might reasonably have expected me to have included them in my labours. There are, after all, probably around fifty truly first-rate operas which have been most often performed and recorded and I have by no means covered them all. I received requests to survey some of the following but on consideration, I realised that there were good reasons for my reluctance to do so. The most obvious omissions are these twelve operas: Verdi’s La traviata and Il trovatore; Wagner’s Lohengrin and Tannhäuser; Mozart’s Don Giovanni; Puccini’s La bohème, Tosca, Madama Butterfly and Turandot; Rossini’s Il barbiere di Siviglia; Donizetti’s Lucia di Lammermoor and Beethoven’s Fidelio. My reason for not having reviewed them collectively is that either the opera in question has received one or two recordings of such definitive quality that consideration of the others is otiose or there are so many good recordings of it in the catalogue that making a helpful or meaningful recommendation becomes difficult. I have therefore decided to circumvent the problem by making some brief, annotated recommendations and guidance for those major operas hitherto neglected. Obviously, my selections are highly subjective and controversial, and other collectors will be dismayed that I have ostensibly rejected their own candidates for recordings of classic status or nominated one they loathe but at the same time I think I may fairly claim that these are, in general, recordings which have stood the test of time.
  • The Barber of Seville

    The Barber of Seville

    Education Study Guide The Barber of Seville Music by Gioachino Rossini Libretto by Cesare Sterbini First Performance February 5, 1816, Teatro Argentina, Rome Opera 101, Wednesday February 19, 2014 Children’s Performance February 22 at 1pm Performances February 21 & 22 at 7:30 pm. Matinée February 23 at 2:00 pm At the Kravis Center for the Performing Arts In Italian with English Surtitles PALM BEACH OPERA Education Materials THE BARBER OF SEVILLE STUDY GUIDE & ACTIVITES 2013/2014 CAST & CREATIVE TEAM Conductor: Patrick Fournillier* Director: Christopher Mattaliano* Figaro: Rodion Pogossov* Rosina: Silvia Tro Santafe* Count Almaviva: David Portillo* Dr. Bartolo: Bruno Pratico Don Basilio: Wayne Tigges* *Palm Beach Opera Debut GIAOCHINO ROSSINI, Composer PALM BEACH OPERA Education Materials THE BARBER OF SEVILLE STUDY GUIDE & ACTIVITES 2013/2014 THE BARBER OF SEVILLE COMPOSER BIOGRAPHY GIAOCHINO ROSSINI Gioachino Antonio Rossini (February 29, 1792 – November 13, 1868) is one of the most prolific, enduring and popular composers in the history of opera. He wrote 39 operas, including the famous Il Barbiere di Siviglia (The Barber of Seville), La Cenerentola (Cinderella), and Guillaume Tell (William Tell). His musical style is characterized by distinctive, song-like melodies that, combined with his operasʼ lighthearted stories, have captivated audiences to the present day. Rossini was born in Pesaro, Italy on February 29, 1792 to musical parents. As a boy he learned to sing and play the horn, and sang in at least one opera in Bologna. Though he wrote an opera that went unperformed for several years at the age of 13 or 14, the official beginning of his operatic career occurred at the age of 18, with a one-act comedy for the opera in Venice, and furthercommissions followed from Bologna, Ferrara, Venice, and Milan, where La Pietra del Paragone was a success at La Scala in 1812.