The Atlanta Opera's
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Parsifal and Canada: a Documentary Study
Parsifal and Canada: A Documentary Study The Canadian Opera Company is preparing to stage Parsifal in Toronto for the first time in 115 years; seven performances are planned for the Four Seasons Centre for the Performing Arts from September 25 to October 18, 2020. Restrictions on public gatherings imposed as a result of the Covid-19 pandemic have placed the production in jeopardy. Wagnerians have so far suffered the cancellation of the COC’s Flying Dutchman, Chicago Lyric Opera’s Ring cycle and the entire Bayreuth Festival for 2020. It will be a hard blow if the COC Parsifal follows in the footsteps of a projected performance of Parsifal in Montreal over 100 years ago. Quinlan Opera Company from England, which mounted a series of 20 operas in Montreal in the spring of 1914 (including a complete Ring cycle), announced plans to return in the fall of 1914 for another feast of opera, including Parsifal. But World War One intervened, the Parsifal production was cancelled, and the Quinlan company went out of business. Let us hope that history does not repeat itself.1 While we await news of whether the COC production will be mounted, it is an opportune time to reflect on Parsifal and its various resonances in Canadian music history. This article will consider three aspects of Parsifal and Canada: 1) a performance history, including both excerpts and complete presentations; 2) remarks on some Canadian singers who have sung Parsifal roles; and 3) Canadian scholarship on Parsifal. NB: The indication [DS] refers the reader to sources that are reproduced in the documentation portfolio that accompanies this article. -
L'opera Famiglia PR .Qxp Layout 1
November 10, 2020 FOR IMMEDIATE RELEASE Contact: James Cassidy (859) 431-6216 [email protected] L’Opera Famiglia (Two couples, great arias) 7:30 p.m. November 21, 2020 St. Peter in Chains Cathedral Basilica 8th and Plum Cincinnati, OH The Kentucky Symphony Orchestra continues its 29th season of in-person performances and live streaming with an evening of operatic and sacred arias. The KSO, over the last 20 seasons, has offered audiences complete concert operas — Tosca, Otello, La Boheme, Rigoletto, Samson & Delilah and Turandot. These productions featured a number of internationally recognized singers, many with local ties (CCM and the Cincinnati Opera). Four of these artists return as two couples for L’Opera Famiglia on November 21 at the Cathedral Basilica of St. Peter in Chains. Mezzo soprano Stacey Rishoi appeared in a KSO “Sopranos” evening and as Delilah (Samson & Delilah). Her husband Gustav Andreassen (bass) sang the role of Sparafucille (Rigoletto). Stacey and Gus when not on the road reside Bellevue, KY. Stuart Neill KSO at St. Peter in Chains Cathedral Feb. 23, 2020 (tenor) and Sandra Lopez (soprano) met as Rodolfo and Mimi in the KSO’s 2007 production of La Boheme. They were married a couple years later and live in Miami. “As with any team sport or artistic collaboration, cast chemistry is vital for success. We were fortunate for the stars to align to find these wonderful performers available this week,” commented KSO music director, James Cassidy. Those who don’t think that opera is their cup of tea, might be surprised to find many of the selections on the program very familiar to a universal audience (see below). -
YMTC to Present the Rock Musical Rent, November 3–10 in El Cerrito
Youth Musical Theater Company FOR IMMEDIATE RELEASE Press Inquiries: Laura Soble/YMTC Phone 510-595-5514 Email: [email protected] Website: https://www.ymtcbayarea.org YMTC to Present the Rock Musical Rent, November 3–10 in El Cerrito Berkeley, California, September 27, 2019—Youth Musical Theater Company (YMTC) will launch its 15th season of acclaimed regional theater with the rock musical Rent. The show opens Sunday, November 3, at the Performing Arts Theater, 540 Ashbury Ave., El Cerrito. Its run consists of a 5:00 p.m. opening (11/3), two 2:00 p.m. matinees (11/9, 11/10), and three 7:30 p.m. performances (11/7, 11/8, 11/9). Rent is a rock opera loosely based on Puccini’s La Boheme, with music, lyrics, and book by Jonathan Larson. Set in Lower Manhattan’s East Village during the turmoil of the AIDS crisis, this moving story chronicles the lives of a group of struggling artists over a year’s time. Its major themes are community, friendship, and survival. In 1996, Rent received four Tony Awards, including Best Musical; six Drama Desk Awards; and the Pulitzer Prize for Drama. In 1997, it won the Grammy Award for Best Musical Show Album. Its Broadway run lasted 12 years. Co-Director Jennifer Boesing comments, “Rent is a love story and a bold, brazen manifesto for young artists who are trying not just to stay alive, but to stay connected to each other, when the mainstream culture seems to be ignoring signs of destruction all around them. Although the show today is a period piece about a very specific historical moment—well before the earliest memories of our young performing artists—they relate to it deeply just the same. -
01-25-2020 Boheme Eve.Indd
GIACOMO PUCCINI la bohème conductor Opera in four acts Marco Armiliato Libretto by Giuseppe Giacosa and production Franco Zeffirelli Luigi Illica, based on the novel Scènes de la Vie de Bohème by Henri Murger set designer Franco Zeffirelli Saturday, January 25, 2020 costume designer 8:00–11:05 PM Peter J. Hall lighting designer Gil Wechsler revival stage director Gregory Keller The production of La Bohème was made possible by a generous gift from Mrs. Donald D. Harrington Revival a gift of Rolex general manager Peter Gelb This season’s performances of La Bohème jeanette lerman-neubauer and Turandot are dedicated to the memory music director Yannick Nézet-Séguin of Franco Zeffirelli. 2019–20 SEASON The 1,344th Metropolitan Opera performance of GIACOMO PUCCINI’S la bohème conductor Marco Armiliato in order of vocal appearance marcello muset ta Artur Ruciński Susanna Phillips rodolfo a customhouse serge ant Roberto Alagna Joseph Turi colline a customhouse officer Christian Van Horn Edward Hanlon schaunard Elliot Madore* benoit Donald Maxwell mimì Maria Agresta Tonight’s performances of parpignol the roles of Mimì Gregory Warren and Rodolfo are underwritten by the alcindoro Jan Shrem and Donald Maxwell Maria Manetti Shrem Great Singers Fund. Saturday, January 25, 2020, 8:00–11:05PM MARTY SOHL / MET OPERA Roberto Alagna as Chorus Master Donald Palumbo Rodolfo and Maria Musical Preparation Caren Levine*, Joshua Greene, Agresta as Mimì in Jonathan C. Kelly, and Patrick Furrer Puccini’s La Bohème Assistant Stage Directors Mirabelle Ordinaire and J. Knighten Smit Met Titles Sonya Friedman Stage Band Conductor Joseph Lawson Children’s Chorus Director Anthony Piccolo Italian Coach Loretta Di Franco Prompter Joshua Greene Associate Designer David Reppa Scenery, properties, and electrical props constructed and painted in Metropolitan Opera Shops Costumes executed by Metropolitan Opera Costume Department Wigs and Makeup executed by Metropolitan Opera Wig and Makeup Department Ladies millinery by Reggie G. -
TURANDOT Cast Biographies
TURANDOT Cast Biographies Soprano Martina Serafin (Turandot) made her San Francisco Opera debut as the Marshallin in Der Rosenkavalier in 2007. Born in Vienna, she studied at the Vienna Conservatory and between 1995 and 2000 she was a member of the ensemble at Graz Opera. Guest appearances soon led her to the world´s premier opera stages, including at the Vienna State Opera where she has been a regular performer since 2005. Serafin´s repertoire includes the role of Lisa in Pique Dame, Sieglinde in Die Walküre, Elisabeth in Tannhäuser, the title role of Manon Lescaut, Lady Macbeth in Macbeth, Maddalena in Andrea Chénier, and Donna Elvira in Don Giovanni. Upcoming engagements include Elsa von Brabant in Lohengrin at the Opéra National de Paris and Abigaille in Nabucco at Milan’s Teatro alla Scala. Dramatic soprano Nina Stemme (Turandot) made her San Francisco Opera debut in 2004 as Senta in Der Fliegende Holländer, and has since returned to the Company in acclaimed performances as Brünnhilde in 2010’s Die Walküre and in 2011’s Ring cycle. Since her 1989 professional debut as Cherubino in Cortona, Italy, Stemme’s repertoire has included Rosalinde in Die Fledermaus, Mimi in La Bohème, Cio-Cio-San in Madama Butterfly, the title role of Manon Lescaut, Tatiana in Eugene Onegin, the title role of Suor Angelica, Euridice in Orfeo ed Euridice, Katerina in Lady Macbeth of Mtsensk, the Countess in Le Nozze di Figaro, Marguerite in Faust, Agathe in Der Freischütz, Marie in Wozzeck, the title role of Jenůfa, Eva in Die Meistersinger von Nürnberg, Elsa in Lohengrin, Amelia in Un Ballo in Machera, Leonora in La Forza del Destino, and the title role of Aida. -
THE CZECH SONGS of RUDOLF FRIML, 1901-1911 by Daniel
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
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Doing the Time Warp: Queer Temporalities and Musical Theater Permalink https://escholarship.org/uc/item/1k1860wx Author Ellis, Sarah Taylor Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Doing the Time Warp: Queer Temporalities and Musical Theater A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Theater and Performance Studies by Sarah Taylor Ellis 2013 ABSTRACT OF THE DISSERTATION Doing the Time Warp: Queer Temporalities and Musical Theater by Sarah Taylor Ellis Doctor of Philosophy in Theater and Performance Studies University of California, Los Angeles, 2013 Professor Sue-Ellen Case, Co-chair Professor Raymond Knapp, Co-chair This dissertation explores queer processes of identification with the genre of musical theater. I examine how song and dance – sites of aesthetic difference within the musical – can warp time and enable marginalized and semi-marginalized fans to imagine different ways of being in the world. Musical numbers can complicate a linear, developmental plot by accelerating and decelerating time, foregrounding repetition and circularity, bringing the past to life and projecting into the future, and physicalizing dreams in a narratively open present. These excesses have the potential to contest naturalized constructions of historical, progressive time, as well as concordant constructions of gender, sexual, and racial identities. While the musical has historically been a rich source of identification for the stereotypical white gay male show queen, this project validates a broad and flexible range of non-normative readings. -
La-Boheme-Study-Guide-Reduced.Pdf
VANCOUVER OPERA PRESENTS LA BOHÈME Giacomo Puccini STUDY GUIDE OPERA IN FOUR ACTS By Giacomo Puccini Libretto by Giuseppe Giacosa and Luigi Illica, based on Henri Murger’s novel Scènes de la Vie de bohème. In Italian with English Surtitles™ CONDUCTOR Judith Yan DIRECTOR Renaud Doucet QUEEN ELIZABETH THEATRE February 14, 16, 19 & 21at 7:30PM | February 24 at 2PM DRESS REHEARSAL Tuesday, February 12 at 7PM OPERA EXPERIENCE Tuesday, February 19 and 21 at 7:30PM EDUCATION LA BOHÈME VANCOUVER OPERA | STUDY GUIDE LA BOHÈME Giacomo Puccini CAST IN ORDER OF VOCAL APPEARANCE MARCELLO, A PAINTER Phillip Addis RODOLFO, A POET Ji-Min Park COLLINE, A PHILOSOPHER Neil Craighead SCHAUNARD, A MUSICIAN Geoffrey Schellenberg BENOIT, A LANDLORD J. Patrick Raftery MIMI, A SEAMSTRESS France Bellemare PLUM SELLER Wade Nott PARPIGNOL, A TOY SELLER William Grossman MUSETTA, A WOMAN OF THE LATIN QUARTER Sharleen Joynt ALCINDORO, AN ADMIRER OF MUSETTA J. Patrick Raftery CUSTOMS OFFICER Angus Bell CUSTOMS SERGEANT Willy Miles-Grenzberg With the Vancouver Opera Chorus as habitués of the Latin Quarter, students, vendors, soldiers, waiters, and with the Vancouver Opera Orchestra. SCENIC DESIGNER / COSTUME DESIGNER André Barbe CHORUS DIRECTOR/ ASSOCIATE CONDUCTOR Leslie Dala CHILDREN’S CHORUS DIRECTOR / PRINCIPAL RÉPÉTITEUR Kinza Tyrrell LIGHTING DESIGNER Guy Simard WIG DESIGNER Marie Le Bihan MAKEUP DESIGNER Carmen Garcia COSTUME COORDINATOR Parvin Mirhady MUSICAL PREPARATION Tina Chang, Perri Lo* STAGE MANAGER Theresa Tsang ASSISTANT DIRECTOR Peter Lorenz ASSISTANT STAGE MANAGERS Marijka Asbeek Brusse, Michelle Harrison ASSISTANT LIGHTING DESIGNER Sara Smith ENGLISH SURTITLE™ TRANSLATIONS David Edwards Member of the Yulanda M. Faris Young Artist Program* The performance will last approximately 2 hours and 18 minutes. -
Hair for Rent: How the Idioms of Rock 'N' Roll Are Spoken Through the Melodic Language of Two Rock Musicals
HAIR FOR RENT: HOW THE IDIOMS OF ROCK 'N' ROLL ARE SPOKEN THROUGH THE MELODIC LANGUAGE OF TWO ROCK MUSICALS A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Music Eryn Stark August, 2015 HAIR FOR RENT: HOW THE IDIOMS OF ROCK 'N' ROLL ARE SPOKEN THROUGH THE MELODIC LANGUAGE OF TWO ROCK MUSICALS Eryn Stark Thesis Approved: Accepted: _____________________________ _________________________________ Advisor Dean of the College Dr. Nikola Resanovic Dr. Chand Midha _______________________________ _______________________________ Faculty Reader Interim Dean of the Graduate School Dr. Brooks Toliver Dr. Rex Ramsier _______________________________ _______________________________ Department Chair or School Director Date Dr. Ann Usher ii TABLE OF CONTENTS Page LIST OF TABLES ............................................................................................................. iv CHAPTER I. INTRODUCTION ............................................................................................................1 II. BACKGROUND OF THE STUDY ...............................................................................3 A History of the Rock Musical: Defining A Generation .........................................3 Hair-brained ...............................................................................................12 IndiffeRent .................................................................................................16 III. EDITORIAL METHOD ..............................................................................................20 -
CHAN 3000 FRONT.Qxd
CHAN 3000 FRONT.qxd 22/8/07 1:07 pm Page 1 CHAN 3000(2) CHANDOS O PERA IN ENGLISH David Parry PETE MOOES FOUNDATION Puccini TOSCA CHAN 3000(2) BOOK.qxd 22/8/07 1:14 pm Page 2 Giacomo Puccini (1858–1924) Tosca AKG An opera in three acts Libretto by Giuseppe Giacosa and Luigi Illica after the play La Tosca by Victorien Sardou English version by Edmund Tracey Floria Tosca, celebrated opera singer ..............................................................Jane Eaglen soprano Mario Cavaradossi, painter ..........................................................................Dennis O’Neill tenor Baron Scarpia, Chief of Police................................................................Gregory Yurisich baritone Cesare Angelotti, resistance fighter ........................................................................Peter Rose bass Sacristan ....................................................................................................Andrew Shore baritone Spoletta, police agent ........................................................................................John Daszak tenor Sciarrone, Baron Scarpia’s orderly ..............................................Christopher Booth-Jones baritone Jailor ........................................................................................................Ashley Holland baritone A Shepherd Boy ............................................................................................Charbel Michael alto Geoffrey Mitchell Choir The Peter Kay Children’s Choir Giacomo Puccini, c. 1900 -
Culture Report Eunic Yearbook 2011 Culture Report Eunic Yearbook 2011
CULTURE REPORT EUNIC YEARBOOK 2011 CULTURE REPORT EUNIC YEARBOOK 2011 Cultural relations are the glue that holds alliances together. The geopolitics of the 21st century mean we need to see a revival of cultural diplomacy. China and India are already expanding their external cultural policies. Despite Europe‘s huge cultural diversity, the EU has still not developed an adequate cultural strategy for its foreign policy. The establishment of the European External Action Service (EEAS) provides an opportunity to tighten up and co-ordinate the EU‘s existing cultural foreign policy. In this edition of the Culture Report, 30 authors from 20 different countries examine what this all means. Foreword: Crisis and new awakenings by Sebastian Körber 4 CHAPTER 1: EXTERNAL PERSPECTIVES A Brave New World - Globalisation as Europe’s touchstone by Yang Lian 8 All talk and no action by Mai’a K. Davis Cross 20 Art at the heart of mainstream entertainment – an interview by Regis Debray with Frédéric Martel 28 Seizing the day by André Azoulay 38 The cultural revolution by Reem Kassem 45 A gateway to two worlds by Julie Chénot 48 Welcome to the real world by André Lemos 54 A union of double standards by Mahir Namur 60 2 Contents Moving the chairs in the global boardroom by Rajeef Balasubramanyam 64 Europe‘s forgotten fringes by Jurko Prochasko 70 Peeking through the open window by Hela Kamarou 78 CHAPTER 2: EUROPE IN THE WORLD THE WORLD IN EUROPE Now is the time by Robert Palmer 86 Common spaces by Gerhard Sabathil 96 A necessity, not a luxury by Marietje Schaake -
Il Trovatore Was Made Stage Director Possible by a Generous Gift from Paula Williams the Annenberg Foundation
ilGIUSEPPE VERDItrovatore conductor Opera in four parts Marco Armiliato Libretto by Salvadore Cammarano and production Sir David McVicar Leone Emanuele Bardare, based on the play El Trovador by Antonio García Gutierrez set designer Charles Edwards Tuesday, September 29, 2015 costume designer 7:30–10:15 PM Brigitte Reiffenstuel lighting designed by Jennifer Tipton choreographer Leah Hausman The production of Il Trovatore was made stage director possible by a generous gift from Paula Williams The Annenberg Foundation The revival of this production is made possible by a gift of the Estate of Francine Berry general manager Peter Gelb music director James Levine A co-production of the Metropolitan Opera, Lyric Opera of Chicago, and the San Francisco principal conductor Fabio Luisi Opera Association 2015–16 SEASON The 639th Metropolitan Opera performance of GIUSEPPE VERDI’S il trovatore conductor Marco Armiliato in order of vocal appearance ferr ando Štefan Kocán ines Maria Zifchak leonor a Anna Netrebko count di luna Dmitri Hvorostovsky manrico Yonghoon Lee a zucena Dolora Zajick a gypsy This performance Edward Albert is being broadcast live on Metropolitan a messenger Opera Radio on David Lowe SiriusXM channel 74 and streamed at ruiz metopera.org. Raúl Melo Tuesday, September 29, 2015, 7:30–10:15PM KEN HOWARD/METROPOLITAN OPERA A scene from Chorus Master Donald Palumbo Verdi’s Il Trovatore Musical Preparation Yelena Kurdina, J. David Jackson, Liora Maurer, Jonathan C. Kelly, and Bryan Wagorn Assistant Stage Director Daniel Rigazzi Italian Coach Loretta Di Franco Prompter Yelena Kurdina Assistant to the Costume Designer Anna Watkins Fight Director Thomas Schall Scenery, properties, and electrical props constructed and painted by Cardiff Theatrical Services and Metropolitan Opera Shops Costumes executed by Lyric Opera of Chicago Costume Shop and Metropolitan Opera Costume Department Wigs and Makeup executed by Metropolitan Opera Wig and Makeup Department Ms.