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Coa-Program-For-Web.Pdf
HOUSTON GRAND OPERA AND SID MOORHEAD, CHAIRMAN WELCOME YOU TO THE TAMARA WILSON, LIVESTREAM HOST E. LOREN MEEKER, GUEST JUDGE FRIDAY, FEBRUARY 5, 2021 AT 7 P.M. BROADCAST LIVE FROM THE WORTHAM THEATER CENTER TEXT TO VOTE TEXT TO GIVE Text to vote for the Audience Choice Award. On page Support these remarkable artists who represent 9, you will see a number associated with each finalist. the future of opera. Text the number listed next to the finalist’s name to 713-538-2304 and your vote will be recorded. One Text HGO to 61094 to invest in the next generation vote per phone number will be registered. of soul-stirring inspiration on our stage! 2 WELCOME TO CONCERT OF ARIAS 2021 SID MOORHEAD Chairman A multi-generation Texan, Sid Moorhead is the owner of in HGO’s Overture group and Laureate Society, and he serves Moorhead’s Blueberry Farm, the first commercial blueberry on the company’s Special Events committee. farm in Texas. The farm, which has been in the Moorhead family for three generations, sits on 28 acres in Conroe and Sid was a computer analyst before taking over the family boasts over 9,000 blueberry plants. It is open seasonally, from business and embracing the art of berry farming. He loves to the end of May through mid-July, when people from far and travel—especially to Europe—and has joined the HGO Patrons wide (including many fellow opera-lovers and HGO staffers) visit on trips to Italy and Vienna. to pick berries. “It’s wonderful. -
La Donna Del Lago , the Met's First Production of the Bel Canto Showcase, on Great Performances at the Met
Press Contacts: Harry Forbes, WNET 212-560-8027 or [email protected] Eva Chien 212-870-4589 or [email protected] Press materials: http://pressroom.pbs.org or http://www.thirteen.org/13pressroom Website: http://www.pbs.org/wnet/gperf Facebook: http://www.facebook.com/GreatPerformances Twitter: @GPerfPBS Joyce DiDonato and Juan Diego Flórez Star In Rossini's La Donna del Lago , the Met's First Production of the Bel Canto Showcase, on Great Performances at the Met Sunday, August 2 at 12 p.m. on PBS Joyce DiDonato and Juan Diego Flórez headline Rossini's bel canto tour-de-force La Donna del Lago on THIRTEEN’S Great Performances at the Met Sunday, August 2 at 12 p.m. on PBS. (Check local listings.) In this Rossini classic based on the work by Sir Walter Scott, DiDonato sings the title role of Elena, the lady of the lake pursued by two men, with Flórez in the role of Giacomo, the benevolent king of Scotland. Michele Mariotti , last featured in the Great Performance at the Met broadcast of Rigoletto , conducts debuting Scottish director Paul Curran's staging, a co-production with Santa Fe Opera. The cast also includes Daniela Barcellona in the trouser role of Malcolm, John Osborn as Rodrigo, and Oren Gradus as Duglas. "The wondrous Ms. DiDonato and Mr. Mariotti, the fast-rising young Italian conductor, seemed almost in competition to see who could make music with more delicacy,” noted The New York Times earlier this year, and “Mr. Mariotti drew hushed gentle and transparent playing from the inspired Met orchestra.” And NY Classical Review raved, "Joyce DiDonato…was beyond perfect.. -
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, -
Metropolitan Opera 19-20 Season Press Release
Updated: November 12, 2019 New Productions of Porgy and Bess, Der Fliegende Holländer, and Wozzeck, and Met Premieres of Agrippina and Akhnaten Headline the Metropolitan Opera’s 2019–20 Season Yannick Nézet-Séguin, in his second season as Music Director, conducts the new William Kentridge production of Wozzeck, as well as two revivals, Met Orchestra concerts at Carnegie Hall, and a New Year’s Eve Puccini Gala starring Anna Netrebko Sunday matinee performances are offered for the first time From Roberto Alagna to Sonya Yoncheva, favorite Met singers return Debuting conductors are Karen Kamensek, Antonello Manacorda, and Vasily Petrenko; returning maestros include Valery Gergiev and Sir Simon Rattle New York, NY (February 20, 2019)—The Metropolitan Opera today announced its 2019–20 season, which opens on September 23 with a new production of the Gershwins’ classic American opera Porgy and Bess, last performed at the Met in 1990, starring Eric Owens and Angel Blue, directed by James Robinson and conducted by David Robertson. Philip Glass’s Akhnaten receives its Met premiere with Anthony Roth Costanzo as the title pharaoh and J’Nai Bridges as Nefertiti, in a celebrated staging by Phelim McDermott and conducted by Karen Kamensek in her Met debut. Acclaimed visual artist and stage director William Kentridge directs a new production of Berg’s Wozzeck, starring Peter Mattei and Elza van den Heever, and led by the Met’s Jeanette Lerman-Neubauer Music Director Yannick Nézet-Séguin. In another Met premiere, Sir David McVicar stages the black comedy of Handel’s Agrippina, starring Joyce DiDonato as the conniving empress with Harry Bicket on the podium. -
Roberto Devereux
GAETANO DONIZETTI roberto devereux conductor Opera in three acts Maurizio Benini Libretto by Salvadore Cammarano, production Sir David McVicar after François Ancelot’s tragedy Elisabeth d’Angleterre set designer Sir David McVicar Saturday, April 16, 2016 costume designer 1:00–3:50 PM Moritz Junge lighting designer New Production Paule Constable choreographer Leah Hausman The production of Roberto Devereux was made possible by a generous gift from The Sybil B. Harrington Endowment Fund The presentation of Donizetti’s three Tudor queen operas this season is made possible through a generous grant from Daisy Soros, general manager in memory of Paul Soros and Beverly Sills Peter Gelb music director James Levine Co-production of the Metropolitan Opera principal conductor Fabio Luisi and Théâtre des Champs-Élysées 2015–16 SEASON The seventh Metropolitan Opera performance of GAETANO DONIZETTI’S This performance roberto is being broadcast live over The Toll Brothers– devereux Metropolitan Opera International Radio Network, sponsored by Toll Brothers, conductor America’s luxury Maurizio Benini homebuilder®, with generous long-term in order of vocal appearance support from sar ah (sar a), duchess of not tingham The Annenberg Elīna Garanča Foundation, The Neubauer Family queen eliz abeth (elisabet ta) Foundation, the Sondra Radvanovsky* Vincent A. Stabile Endowment for lord cecil Broadcast Media, Brian Downen and contributions from listeners a page worldwide. Yohan Yi There is no sir walter (gualtiero) r aleigh Toll Brothers– Christopher Job Metropolitan Opera Quiz in List Hall robert (roberto) devereux, e arl of esse x today. Matthew Polenzani This performance is duke of not tingham also being broadcast Mariusz Kwiecien* live on Metropolitan Opera Radio on a servant of not tingham SiriusXM channel 74. -
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. -
Tamara Wilson
Il soprano statunitense Tamara Wilson, vincitrice nel 2016 del prestigioso Richard Tucker Award e della nomination agli Olivier Award, si sta affermando internazionalmente come punto di riferimento per le interpretazioni delle opere di Verdi, Strauss e Wagner. La sua nutrita lista di eroine verdiane comprende Amelia in Un ballo in maschera (Washington, Houston, Miami, Minorca, Deutsche Oper Berlin), Elvira in Ernani (Tolosa), Lucrezia ne I due Foscari (Tolosa, Santiago, Amsterdam), Leonora ne Il trovatore (Barcellona, Houston, Tolosa, Palma di Maiorca e Chicago), Elisabeth (Houston) ed Elisabetta (München e Zurigo con Fabio Luisi, Francoforte) in entrambe le versioni di Don Carlo, Desdemona in Otello (Cincinnati, Toronto), Alice in Falstaff (Washington), Amelia in Simon Boccanegra (Toronto), Leonora ne La forza del destino (ENO, interpretazione per la quale è stata nominata per l'Olivier Award), la protagonista in Aida (come debutto al MET e anche a Washington, Arena di Verona, Opera Australia, Siviglia e Santiago del Cile), Marchesa del Poggio in Un giorno di regno e Gulnara ne Il corsaro (Washington). Ha anche riscosso unanimi consensi come Elettra in Idomeneo (Toronto, Ravinia Festival), Donna Anna in Don Giovanni (Chicago, Milwaukee) e come protagonista di Norma al Gran Teatre del Liceu di Barcellona Tamara Wilson Soprano Parallelamente si è distinta anche nel repertorio tedesco come Ada in Die Feen (all'Opera di Francoforte, il suo debutto in Germania), Sieglinde (Amsterdam con Valery Gergiev) e Brünnhilde (Londra con Mark Wiggleworth) nel terzo atto di Die Walküre, la protagonista in Ariadne auf Naxos (Scala, Cleveland), Chrysothemis in Elektra (Zurigo, Houston), Kaiserin in Die Frau ohne Schatten (Francoforte con la registrazione per Oehms Classics). -
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) -
Wagnerkalender – Sluitingsdatum Van Deze Kalender 1 December 2017
Wagnerkalender – sluitingsdatum van deze kalender 1 december 2017 Amsterdam Tristan und Isolde, 18, 22, 25, 30 januari, 4, 7, 10 en 14 februari 2018 Pierre Audi regie, Christof Hetzer decor, Marc Albrecht dirigent, Stephen Gould (Tristan), Ricarda Merbeth (Isolde), Günther Groisböck (Marke), Ian Paterson (Kurwenal), Michelle Breedt (Brangäne), Roger Smeets (Ein Steuermann), Marc Lachner (Ein Hirt/Ein Junger Seemann) Tannhäuser light, 26 mei, Muziekgebouw aan het IJ Pocketversie van Tannhäuser, samengesteld door Carel Alphenaar. Michael Gieler dirigent, zangers: Laetitia Gerards, Gustavo Peña, Aylin Sezer, Michael Wilmering, orkest: leden van het Koninklijk Concertgebouworkest. Der Ring ohne Worte (arr. Lorin Maazel), Concertgebouw 13 juni 2018 UVA-orkest J.Pzn. Sweelinck Fragmenten uit de Ring, 20, 21 en 22 juni 2018, Concertgebouw Concertant, Koninklijk Concertgebouworkest o.l.v. Daniele Gatti, met medewerking van Eva-Maria Westbroek. Antwerpen Parsifal, 18, 21, 24, 27, 29 maart, 1 en 4 april 2018 Tatjana Gürbaca regie, Henrik Ahr decor, Cornelius Meister dirigent, Erin Caves (Parsifal), Tanja Ariane Baumgartner (Kundry), Stefan Kocan (Gurnemanz), Christoph Pohl (Amfortas), Károly Szemerédy (Klingsor), Markus Suihkonen (Titurel) Baden Baden - Festspielhaus Parsifal, 24 en 30 maart, 2 april 2018 Dieter Dorn regie, Magdalena Gut decor, Simon Rattle dirigent, Stephen Gould (Parsifal), Franz-Josef Selig (Gurnemanz), Ruxandra Donose (Kundry), Evgeny Nikitin (Klingsor), Gerald Finley (Amfortas) Der fliegende Holländer, 18 mei 2018 (concertant) -
FABIO LUISI Direttore
CITTÀ METROPOLITANA DI FIRENZE 2020 FABIO LUISI direttore CARMELA REMIGIO soprano CITTÀ METROPOLITANA DI FIRENZE FABIO LUISI direttore CARMELA REMIGIO soprano ANTONIO VIVALDI concerto trasmesso in streaming Sinfonia in si minore per archi e sul canale YouTube e basso continuo “Al Santo Sepolcro” RV 169 sulla pagina Fb dell’ORT Adagio molto Allegro ma poco ven_27 novembre 2020 / ore 21:00 GUSTAV MAHLER Sinfonia n.4 in sol maggiore per soprano e orchestra (versione da camera di Klaus Simon 2007) riprese e streaming a cura di Sicrea 1. Bedächtig. Nicht eilen Moderato. Non affrettare 2. Im gemächlicher Bewegung. Ohne Hast Movimento con comodo. Senza fretta 3. Ruhevoll. (Poco adagio) registrazione e produzione Tranquillo audio a cura di SoundStudioService 4. Sehr behaglich - “Das himmlische Leben” Molto piacevole - “La vita celeste” per soprano solo da “Des Knaben Wunderhorn” (Il corno magico del fanciullo) con il contributo di pianoforte fornito da ANTONIO VIVALDI / Venezia 1678 / Vienna 1741 Sinfonia Al Santo Sepolcro durata: 5 minuti circa nota di Luigi Bellingardi È noto che fra la seconda metà del ‘600 e festosamente ornati, alle gondole risonan- qualche catalogo della produzione del continuo: Vivaldi si premura di precisare la prima parte del ‘700 la musica italiana ti di canti, alle rappresentazioni liriche e “prete rosso” ove si annoverano titoli “Senza Organi o Cembali”, quasi a voler assunse nei confronti dell’Europa quella drammatiche nei teatri dei palazzi. quanto mai emblematici di pagine compo- prendere le distanze da certi effetti di leadership che nei secoli precedenti era Alludere alla civiltà musicale di Venezia a ste per la solennità di San Lorenzo o per fascino sonoro che potevano generarsi stata un esclusivo appannaggio delle cavallo del ‘700 significa parlare del fasto quella della Santa Lingua di Sant’Antonio dall’impiego del basso continuo come lettere umanistiche e delle arti figurative. -
Summer 2019 NEWSLETTER : BULLETIN Été 2018
Société d' Opéra National Capital de la Capitale Nationale Opera Society Summer 2019 NEWSLETTER : BULLETIN Été 2018 A Feast of Ottawa Singers! by Shelagh Williams The Canadian Opera Company(COC)’s final two of- butter wouldn’t melt in his mouth, but when he was ferings of the season, Verdi’s Otello and Puccini’s La alone his voice and manner revealed his true nature, as Bohème were a testament to Ottawa singers, the in his Credo. His eyes had a red, devilish gleam and NCOS, and the Brian Law Opera Competition twice he dropped a lit match to dramatically light a (BLOC)! fire on stage! The staging of the oath of vengeance To begin, we saw the last night of Otello, star- between Iago and Otello at the end of Act II, with the ring the NCOS patron, baritone Gerald Finley, as knife to cut and blood to smear, was very powerful. Iago, originally Verdi’s title character! The produc- At the end, with Desdemona and Otello both dead, tion was created by English National Opera as a Iago just sat there with a big satanic smile on his face, co-production with Royal Swedish Opera and Teatro like the devil incarnate. It was fascinating to watch Real Madrid, and so came with director David Alden. Gerald Finley, without overacting, seem so easily to He gave us a fairly straightforward production, with orchestrate the downfall of first Cassio, then Otello, only a few quirky, head scratching aspects to distract and finally Desdemona, all the while appearing to be one from the opera itself and its marvellous music. -
Opera Warhorses Interview
Rising Stars: An Interview with Raymond Aceto, Part I February 26th, 2010 [Note from William: Over the past several months, I have posted occasional interviews with opera singers and other artists, whose careers are obviously in their ascendancy, reflecting worldwide interest in securing their talents for future opera seasons. The current interview is with Raymond Aceto, the basso cantante graduate of the Metropolitan Opera Company's Lindemann Young Artists Development Program. I interviewed him last month in Houston singing Baron Scarpia in the new Houston Grand Opera production of Puccini's "Tosca" and again last week in San Diego, where he sang Zaccaria in Verdi's "Nabucco" for the San Diego Opera. The "Houston" half of the interview is published here. The remainder will be posted at a later date.] * * * * * Wm: How did you become interested in opera? RA: It’s a funny answer. I grew up in Brunswick Ohio, outside of Cleveland. I went to Brunswick High School, where I was in the band and choir and also sang in a rock band. I have a collection of guitars. I determined that I would pursue music in college. I was admitted to the Bowling Green State University (near Toledo) and took the music courses. There, I had a wonderful voice teacher, Andreas Poulimenos, who helped me discover that I have more voice than I thought I had. Bowling Green offers extensive training in both music and the performing arts. I switched into a performance major and fell in love with the idea of operatic performance. I was then accepted into the Metropolitan Opera’s Lindemann Young Artists Development Program.