Aureliano Inpalmira

Total Page：16

File Type：pdf, Size：1020Kb

GIOACHINO ROSSINI AURELIANO IN PALMIRA Michael Spyres Jessica Pratt Lena Belkina Raffaella Lupinacci Orchestra Sinfonica G. Rossini conducted by Will Crutchfield staged by Mario Martone GIOACHINO ROSSINI AURELIANO IN PALMIRA Orchestra Orchestra Sinfonica G. Rossini Since 1980 Pesaro, the Italian town at the Adriatic Sea, is celebrating Conductor Will Crutchfield its most famous son: Gioachino Rossini. Beside the well known and Chorus Coro del Teatro Comunale famous Works of the master, in the intimate setting of the Teatro Rossini di Bologna also the creations which fell into oblivion were performed. In 2014 Aureliano in Palmira was for the very first time part of the repertoire. Chorus Master Andrea Faidutti Stage Director Mario Martone Aureliano in Palmira celebrated its first premiere on the 26th of December 1813 at the Scala In Milan. Soon afterwards the work was Aureliano Michael Spyres played in different theatres all over Europe. Nevertheless Rossinis piece felt into oblivion more and more compared to the great competitors Zenobia Jessica Pratt like Tancredi or the Barber of Seville for which Rossini recycled musical Arsace Lena Belkina parts of Aureliano. But since a few years there are ambitions to play this Publia Raffaella Lupinacci work about love, war, jealousy, loyalty and magnanimity more frequently. Oraspe Dempsey Rivera The direction in Pesaro was in the proven hands of the famous film Licinio Sergio Vitale director Mario Martone. He approached the piece of the realistic side, Gran sacerdote Dimitri Pkhaladze with marvellous, picturesque pictures and tableaux. The conductor of the Un Pastore Raffaele Constantini rediscovery was Will Crutchfield. He decisively espoused the performance of this new edited work and directed masterfully the Orchestra Sinfonica Produced by Metisfilm Classica G. Rossini. Also the choir of the Teatro Comunale Bologna was in perfect Video Director Tiziano Mancini shape. From the soloist’s ensemble particularly Michael Spyres protruded in the title role. “The American showed immediately that his tenor with Length: approx. 170' marvelous top notes has not only flexibility and agility, but also enough Shot in HDTV 1080/50i body, to provide the Roman emperor great vocal authority” (opera glass) Cat. no. A00050019 “Jessica Pratt, making her role debut, is more than a match as the Syrian Queen, and went straight to the heart with an astonishing lengthy and penetrating top E that would stop any Roman Emperor in his tracks.” A production of UNITEL CLASSICA (Express) Lena Belkina as Arsace was also convincing in her role and gave the in co-production with performance that brillant shine, that is neccesary for Festivals like Pesaro. Rossini Opera Festival World Sales: All rights reserved · credits not contractual · Different territories · Photos: © studio amati bacciardi · Flyer: luebbeke.com Flyer: · contractual studio Different amati bacciardi 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.

Copy Link

Recommended publications

Aureliano in Palmira Gioachino Rossini (1792-1868) : Felice Romani (1788-1865)
1/3 Data Livret de Aureliano in Palmira Gioachino Rossini (1792-1868) : Felice Romani (1788-1865) Langue : Italien Genre ou forme de l’œuvre : Œuvres musicales Date : 1813 Note : "Dramma serio" en 2 actes créé à Milan, Teatro alla Scala, le 26 décembre 1813. - Livret de Felice Romani d'après "Zenobia di Palmira" d'Anfossi Éditions de Aureliano in Palmira (19 ressources dans data.bnf.fr) Partitions (13) Cavatina del maestro , Gioachino Rossini Quartetto pastorale , Gioachino Rossini Rossini nell' Aureliano in (1792-1868), Paris : Pacini nell'Aureliano in Palmira. (1792-1868), Paris : Pacini Palmira. [Chant et piano] , [s.d.] Composto dal maestro , [s.d.] Rossini. [Chant et accompagnement de piano] Aureliano in Palmira, opéra , Gioachino Rossini Cavatina nell'Aureliano in , Gioachino Rossini in due atti, musica di (1792-1868), Paris : Palmira, musica del (1792-1868), Paris : Pacini Rossini [Partition chant et Schonenberger , [s.d.] maestro Rossini. [Chant et , [s.d.] piano] piano] Terzettino nel Aureliano in , Gioachino Rossini Cavatina nell'Aureliano in , Gioachino Rossini Palmira del maestro (1792-1868), Paris : Pacini Palmira del maestro (1792-1868), Paris : Pacini Rossini. [Chant et piano] , [s.d.] Rossini. [Chant et piano] , [s.d.] Aureliano in Palmira. Mille sospiri e lagrimé. - [7] Aureliano in Palmira , Felice Romani (2019) (1788-1865), Gioachino Rossini (1792-1868), Pesaro : Fondazione Rossini data.bnf.fr 2/3 Data Aureliano in Palmira, opera , Felice Romani Mille sospiri e Lagrime. Air , Gioachino Rossini in 2 atti (1788-1865), Gioachino à 2 v. tiré d'Aureliano in (1792-1868), Paris : [s.n.] , (1855) Rossini (1792-1868), Paris Palmira 1823 : Schonenberger , [1855] (1823) Ecco mi, ingiustinumi.
[Show full text]
Jessica Pratt - Soprano
Jessica Pratt - Soprano Jessica Pratt est considérée comme l’une des meilleures interprètes de Bel cantos, même des plus difficiles du répertoire. Depuis ses débuts européens en 2007 dans Lucia di Lammermoor, la carrière de Jessica comprend des performances dans des théâtres et festivals comme le Metropolitan Opera New York, Teatro alla Scala of Milan, Gran Teatre Liceu of Barcelona, Zurich Opera, Deutsche Oper Berlin, le Vienna State Opera et le Royal Opera House Covent Garden. Elle a travaillé avec des chefs d’orchestre comme Daniel Oren, Nello Santi, Kent Nagano, Sir Colin Davis, Giacomo Sagripanti, Gianandrea Noseda, Carlo Rizzi, Roberto Abbado, Wayne Marshall et Christian Thielemann. Le répertoire de Jessica compte plus de 30 rôles différents, dont le plus célèbre est Lucia Ashton de Lucia di Lammermoor de Gaetano Donizetti dans plus de 27 productions, suivi de Amima de La Sonnambula de Vincenzo Bellini et Elvira de I Puritani du même compositeur. Elle est éGalement spécialiste du répertoire de Rossini : invitée fréquemment au Rossini Opera Festival à Pesaro, Jessica a tenu 12 rôles dans des opéras de ce compositeur, notamment les rôles principaux de Semiramide, Armida, Adelaide de BorGoGna, plus récemment Desdemona dans Otello au Gran Teatre de Liceu de Barcelone et Rosina dans Barbiere di Siviglia à l’Arena de Vérone. Un autre compositeur au centre du travail de Jessica est Gaetano Donizetti. Elle a fait ses débuts à La Scala de Milan avec La Prima Donna in Convenienze ed Inconvenienze Teatrali et plus tard, Lucia di Lammermoor. La saison dernière, elle a ajouté 4 nouvelles œuvres de Donizetti à son répertoire : La Fille du Regiment à l’Opera Las Palmas, Don Pasquale à l’ABAO de Bilbao, L'elisir d'amore au Gran Theatre Liceu de Barcelone et le rôle principal de Rosmonda d'Ingliterra en version de concert pour l’Opera di Firenze.
[Show full text]
Maria Teresa Grassi
M.T. Grassi, Zenobia, un mito assente, “LANX” 7 (2010), pp. 299-314 Maria Teresa Grassi Zenobia, un mito assente Tra i grandi personaggi femminili della storia romana vanno senza dubbio annoverate due regine straniere, l’egiziana Cleopatra e la siriana Zenobia: entrambe hanno avuto un ruolo di primo piano nelle vicende politiche della loro epoca, ma la fama della prima - una vera star dell’immaginario collettivo - non è neppure paragonabile a quella della seconda.1 La vicenda di Zenobia si svolge nel III secolo d.C., in soli cinque anni, tra il 267 e il 272 d.C., nel settore orientale dell’Impero Romano, ed ha come epicentro la Siria e Palmira, importante città carovaniera posta in un’oasi del deserto siriano, a mezza strada tra l’Eufrate e il Mediterraneo. Di Zenobia abbiamo solo poche immagini, “sfuocate”, dalle monete coniate a suo nome (monete peraltro di grande importanza per ricostruire l’ascesa politica della regina) e nella stessa Palmira ben poco si può ricondurre a Zenobia (qualche grande complesso è stato talora definito come il “palazzo di Zenobia”, ma si tratta di attribuzioni di fantasia2) e scarse sono anche le fonti letterarie ed epigrafiche da cui ricavare qualche dato. Dal punto di vista romanzesco, Zenobia è indubbiamente poco attraente: al contrario di Cleopatra non se ne conoscono gli amori e neppure le circostanze della morte, non ha avuto intorno a sé personaggi di primo piano come Giulio Cesare, Marco Antonio e Augusto. Il suo antagonista, l’imperatore Aureliano, non ha la stessa fama: malgrado le indubbie qualità politiche e militari, è uno dei tanti imperatori del turbolento III secolo d.C.
[Show full text]
Rossini: La Recepción De Su Obra En España
EMILIO CASARES RODICIO Rossini: la recepción de su obra en España Rossini es una figura central en el siglo XIX español. La entrada de su obra a través de los teatros de Barcelona y Madrid se produce a partir de 1815 y trajo como consecuencia su presen- cia en salones y cafés por medio de reducciones para canto de sus obras. Más importante aún es la asunción de la producción rossiniana corno símbolo de la nueva creación lírica europea y, por ello, agitadora del conservador pensamiento musical español; Rossini tuvo una influencia decisi- va en la producción lírica y religiosa de nuestro país, cuyo mejor ejemplo serían las primeras ópe- ras de Ramón Carnicer. Rossini correspondió a este fervor y se rodeó de numerosos españoles, comenzando por su esposa Isabel Colbrand, o el gran tenor y compositor Manuel García, termi- nando por su mecenas y amigo, el banquero sevillano Alejandro Aguado. Rossini is a key figure in nineteenth-century Spain. His output first entered Spain via the theatres of Barcelona and Madrid in 1815 and was subsequently present in salons and cafés in the form of vocal reduc- tions. Even more important is the championing of Rossini's output as a model for modern European stage music which slwok up conservative Spanish musical thought. Rossini liad a decisive influence on die sacred and stage-music genres in Spain, the best example of which are Ramón Carnicer's early operas. Rossini rec- ipricated this fervour and surrounded himself with numerous Spanish musicians, first and foremost, his wife Isabel Colbrand, as well as die great tenor and composer Manuel García and bis patron and friend, the Sevil- lan banker Alejandro Aguado.
[Show full text]
Søvngængersken
SØVNGÆNGERSKEN La sonnambula Opera semiseria i 2 akter af Vincenzo Bellini – Teatro la Fenice 2014 Bellinis La sonnambula er ægte bel canto, hvis særkende er virtuos sang fremfor historie og stormusikalsk udvikling, og sværhedsgraden af de sanglige udfordringer er åbenbar for enhver. Det var datidens store sopran Giuditta Pasta (valgt af Bellini) der sang ved uropførelsen. I det 20. århundrede havde sangere som Maria Callas og Joan Sutherland stor succes i rollen som Amina (Søvngængersken). Sopranen Jessica Pratt løfter smukt arven som Amina i denne historie om forvikling og misforståelse, der foregår blandt et rejseselskab af skiturister i Alperne i 30’erne. Varighed: ca. 2t. og 20m. ex. pause. Denne "spændende og vittige" - i ordene fra Tysklands prestigefyldte Frankfurter Allgemeine Zeitung - ny produktion af Vincenzo Bellinis La sonnambula blænder med sine kærlige detaljerede og fantasifulde sæt, der gengiver et schweizisk alpint feriested i 1930'erne. (Bellini selv satte handlingen i en schweizisk landsby). Komplet med et majestætisk bjergpanorama, svævebane, bus og stor restaurant, for ikke at nævne de farverigt klædte resortgæster. Sætdesigner Massimo Checchetto har skabt en fortryllende billedbog med visuelle overraskelser. Den oprindelige handling 1.akt Amina og Elvino er blevet forlovede, hvilket fejres med en fest i landsbyen. Under festlighederne ankommer en fremmed til landsbyen, grevens søn, Rudolfo, der selv er vokset op i landsbyen. Rudolfo indlogerer sig på landsbyens kro, der drives af Lisa, der er forelsket i Elvino. Rudolfo deltager senere i festlighederne, og bliver til Elvinos store ubehag betaget af Amina, som Rudolfo overdænger med komplimenter. Senere på aftenen går Lisa op på Rudolfos værelse, hvor de to kurtiserer.
[Show full text]
Staged Treasures
Italian opera. Staged treasures. Gaetano Donizetti, Giuseppe Verdi, Giacomo Puccini and Gioacchino Rossini © HNH International Ltd CATALOGUE # COMPOSER TITLE FEATURED ARTISTS FORMAT UPC Naxos Itxaro Mentxaka, Sondra Radvanovsky, Silvia Vázquez, Soprano / 2.110270 Arturo Chacon-Cruz, Plácido Domingo, Tenor / Roberto Accurso, DVD ALFANO, Franco Carmelo Corrado Caruso, Rodney Gilfry, Baritone / Juan Jose 7 47313 52705 2 Cyrano de Bergerac (1875–1954) Navarro Bass-baritone / Javier Franco, Nahuel di Pierro, Miguel Sola, Bass / Valencia Regional Government Choir / NBD0005 Valencian Community Orchestra / Patrick Fournillier Blu-ray 7 30099 00056 7 Silvia Dalla Benetta, Soprano / Maxim Mironov, Gheorghe Vlad, Tenor / Luca Dall’Amico, Zong Shi, Bass / Vittorio Prato, Baritone / 8.660417-18 Bianca e Gernando 2 Discs Marina Viotti, Mar Campo, Mezzo-soprano / Poznan Camerata Bach 7 30099 04177 5 Choir / Virtuosi Brunensis / Antonino Fogliani 8.550605 Favourite Soprano Arias Luba Orgonášová, Soprano / Slovak RSO / Will Humburg Disc 0 730099 560528 Maria Callas, Rina Cavallari, Gina Cigna, Rosa Ponselle, Soprano / Irene Minghini-Cattaneo, Ebe Stignani, Mezzo-soprano / Marion Telva, Contralto / Giovanni Breviario, Paolo Caroli, Mario Filippeschi, Francesco Merli, Tenor / Tancredi Pasero, 8.110325-27 Norma [3 Discs] 3 Discs Ezio Pinza, Nicola Rossi-Lemeni, Bass / Italian Broadcasting Authority Chorus and Orchestra, Turin / Milan La Scala Chorus and 0 636943 132524 Orchestra / New York Metropolitan Opera Chorus and Orchestra / BELLINI, Vincenzo Vittorio
[Show full text]
Barcelona Obertura 2017-18
1 Welcome to Barcelona Obertura 2 We are proud to present a new Barcelona Obertura, Classic & Lyric season, a joint initiative of the Liceu Opera, the Palau de la Música and L’Auditori to promote Barcelona as one of the global cities where classical music matters. When major institutions with such vast history as the three promoters of Barcelona Obertura work together for their city, results are clear: an exceptional season that will help Barcelona gain fame for its excellence in the classical music scene. I want to thank the three institutions for their work and commitment, their directors and teams, as well as Barcelona Turisme. I also want to thank Fundació Banc Sabadell for sponsoring this catalogue. After two years working on the project and various press trips, we have achieved remarkable communication successes - with a dozen appearances in specialized and general international media - and we can say that Barcelona Obertura is contributing to make our city much more attractive and diverse. As a Barcelona Global member, I’m proud of this project and its future. Ramon Agenjo President of Barcelona Obertura and member of the Directive Board of Barcelona Global Barcelona Global is a private, independent and non-profit association made up of more than 700 professionals from all sectors aiming to make Barcelona one of the world’s best cities for talent and economic activity Musical Treasures Institutions from the most Liceu Opera seductive Palau de la Música Catalana Mediterranean city L'Auditori Discover Season 2017–18 Barcelona Classical music from Barcelona to the world 4 5 Musical Treasures in the most seductive Mediterranean city Pau Casals, Alícia de Larrocha, Federic Mompou, Josep Carreras, Jaume Aragall, Montserrat Caballé, Victoria de los Angeles, Jordi Savall, Cuarteto Casals..
[Show full text]
Adelaide Di Borgogna
UNITEL and CLASSICA present ROSSINI OpERA FESTIVAL PESARO Gioachino Rossini Adelaide di Borgogna Daniela Barcellona Dmitri Jurowski Jessica Pratt Orchestra del Nicola Ulivieri Teatro Comunale Bogdan Mihai di Bologna Gioachino Rossini Adelaide di Borgogna Conductor Dmitri Jurowski rediscovery that will delight every Rossini lover! From Orchestra Orchestra del Teatro the Rossini Festival in Pesaro comes the first staged Comunale di Bologna A performance since 1825 of “Adelaide di Borgogna”, written Chorus Coro del Teatro Comunale di Bologna in 1817 for Rome’s Teatro Argentina, which also produced Rossini’s Chorus Master Lorenzo Fratini “Barbiere di Siviglia” and “Cenerentola”. Set in medieval times, the libretto relates the tale of a king’s widow who is used as a pawn in Ottone Daniela Barcellona diplomatic and amorous intrigues, which lead to the victory of the Adelaide Jessica Pratt imperial politics of Emperor Otto I. Berengario Nicola Ulivieri Adelberto Bogdan Mihai The work unfolds a compact succession of brilliant arias, duets, Eurice Jeannette Fischer trios and quartets, of which especially the finales of each act Iroldo Francesca Pierpaoli provide particularly attractive high points: propelled along by Ernesto Clemente Antonio Daliotti the boisterous chorus and Rossini’s typical pumping rhythms, the soloists cut through the vocal and instrumental masses with Staged by Pier’Alli cleverly inserted coloraturas and high notes. Rossini thought so Video Director Tiziano Mancini highly of “Adelaide’s” music that he used no fewer than nine of its numbers in another work of his, “Edoardo e Cristina”. Length 137' The Rossini Festival has always nurtured its vocal talents, and many Cat.
[Show full text]
Call for Applications for the Post of Artistic Director Dossier
CALL FOR APPLICATIONS FOR THE POST OF ARTISTIC DIRECTOR DOSSIER FUNDACIÓ PALAU DE LES ARTS REINA SOFÍA CONTENTS CONTENTS....................................................................................................................................2 FINANCIAL INFORMATION............................................................................................................2 DESCRIPTION OF THE ARTISTIC PROGRAMME.............................................................................3 WHO’S WHO AT ‘LES ARTS’.........................................................................................................25 FINANCIAL INFORMATION Financial information for 2014 - 2016 can be found on the transparency portal of Fundació Palau de les Arts Reina Sofía. The information is contained in the section Información económica, presupuestaria y estadística > CCAA e Informes de auditoría (Financial, Budgetary and Statistic Information > Annual Accounts and Audit Reports) (available in Spanish). Details of productions, concerts, and programmes for 2015 - 2018 can be found on the Fundació Palau de les Arts’ transparency portal. See the section titled Información institucional, organizativa y de planificación > Plan de actuación y programa de actividades (Information on the Institution, Organisation and Planning > Action Plan and Programmed Activities) (available in Spanish). 2 DESCRIPTION OF THE ARTISTIC PROGRAMME FINANCIAL YEAR 2017: PRODUCTIONS AND CONCERTS Description and key information The 2016-2017 Season (September 2016 to January
[Show full text]
2018 Performance Roles in Australia Victorian Opera
Past Winners 2018 Performance Roles in Australia Victorian Opera CAITLIN HULCUP The Capulets and the Romeo - Convent Garden Award 2002 Montagues - Vienna State Opera Award 2004 JESSICA PRATT The Capulets and the Giulietta - Vienna State Opera Award 2008 Montagues DAVID PARKIN The Capulets and the Capellio -Lady Fairfax New York Scholarship Montagues 2009 Pelleas and Melisande - Vienna State Opera Award 2014 Arkel SIOBHAN STAGG Pelleas and Melisande Melisande - AIMS Award and AIMS Sundell Study Prize 2011 LIANE KEEGAN William Tell Hedwige - Convent Garden Award 1992 Pelleas and Melisande Genevieve SAMUEL DUNDAS Pelleas and Melisande Golaud - Lady Fairfax New York Scholarship 2013 ALEXANDRA FLOOD William Tell Jemmy - AIMS Award 2013 TOMAS DALTON Hansel and Gretel The Witch - Finalist Deutsche Oper Berlin Award 2016 Cameron Menzies- Director - The Magic Pudding - Bayreuth Opera Award 2008 and Berlin New Music Award 2011 OPERA AUSTRALIA SAMUEL DUNDAS La Boheme - Handa Marcello - Lady Fairfax New York Scholarship The Turk in Italy Prosdocimo 2013 ALEXANDER LEWIS - Lady Fairfax New York Scholarship The Merry Widow Danilo Danilovich 2006 The Nose The Nose/laryzhkin CHRISTOPHER HILLIER The Merry Widow Sylviane - Rockend National Opera Studio Lon- La Boheme - Handa Schaunard don Scholarship 2006 Rigoletto Ceprano WARWICK FYFE - Bayreuth Award 2009 Don Quichotte Sancho Panza Aida Amonasro The Turk in Italy Geronio NATALIE AROYAN -Lady Fairfax New York Scholarship Carmen Michaela 2008 La Traviata Annina Aida Aida JESSICA PRATT - Vienna State Opera
[Show full text]
Rossini, G.: Aureliano in Palmira 8.660448-50
Rossini, G.: Aureliano in Palmira 8.660448-50 https://www.naxos.com/catalogue/item.asp?item_code=8.660448-50 Gioachino Rossini (1792-1868) Aureliano in Palmira Dramma serio per musica in due atti Libretto di Felice Romani Prima rappresentazione: Milano, Teatro alla Scala, 26 dicembre 1813 Revised version by Ian Schofield, Edition Peters, London Aureliano: ................................................................ Juan Francisco Gatell Zenobia: ...................................................................... Silvia Dalla Benetta Arsace: ...................................................................................Marina Viotti Publia: ............................................................................. Ana Victória Pitts Orsape: ........................................................................................ Xiang Xu Licinio: ................................................................................. Zhiyuan Chen Gran sacerdote: .................................................... Baurzhan Anderzhanov Un pastore: ................................................................................ Un corista La scena è in Palmira e nelle vicinanze. CD 1 Coro di guerrieri Invoca te la supplice guerriera gioventù. [1] Sinfonia Coro di vergini, di guerrieri, di sacerdoti Salvi il tremante popolo l’eterna tua virtù. ATTO PRIMO Madre di questo regno, accorda a noi sostegno, il tuo tremante popolo Gran tempio d’Iside con simulacro a destra. salva da tanto orror. Gran sacerdote (spaventato) [2] N. 1 Introduzione
[Show full text]
Ciro in Babilonia Gioachino Rossini
CIRO IN BAbILONIA GIOACHINO RossINI Michael Spyres Ewa Podleś Jessica Pratt Carmen Romeu Will Crutchfield Orchestra del Teatro Comunale di Bologna GIOACHINO RossINI CIRO IN BABILONIA Conductor Will Crutchfield Gioachino Rossini was only 20 years old when he wrote his fifth Orchestra Orchestra del Teatro opera, Ciro in Babilonia, for the Teatro Comunale Ferrara in 1812. Comunale di Bologna In this recording from the Rossini Opera Festival of Pesaro (Italy), Chorus Coro del Teatro stage director Davide Livermore sets the action in the 1920s, with Comunale di Bologna period black-and-white film inserts, lavish costumes in the Art Chorus Master Lorenzo Fratini Nouveau style, and decors highlighted by “Babylonian” elements. The production was a wildly cheered hit with the audience. Baldassare Michael Spyres Ciro Ewa Podleś The plot revolves around Baldassare, the King of Babylon, who Amira Jessica Pratt has captured the wife and son of the Persian king Ciro. Baldassare Argene Carmen Romeu wants to marry Ciro’s wife Amira and kill the child, but after many Zambri Mirco Palazzi intrigues, betrayals and battles, good triumphs over evil. Since Arbace Robert McPherson the work was to be premiered during Lent, when operas were Daniello Raffaele Costantini prohibited, Rossini combined an Old Testament subject with a Staged by Davide Livermore secular love story and declared the work a “scenic oratorio”. Video Director Daniele Biggiero The lead roles in this festival performance have been entrusted to distinguished stars such as Ewa Podleś (Ciro), whom the press calls Length approx. 165' “the only true Rossini contralto today after Marilyn Horne,” the commanding Michael Spyres (Baldassare), and Jessica Pratt Shot in HDTV 1080 (Amira), whose coloraturas and high notes incite storms of Cat.
[Show full text]