CATALOGUE 2016 This Catalogue Features the New Productions/Additions from 2015 to the Unitel Catalogue

Total Page:16

File Type:pdf, Size:1020Kb

CATALOGUE 2016 This Catalogue Features the New Productions/Additions from 2015 to the Unitel Catalogue Avant PreCATALOGUEmi ère 2016 1966–2016 Unitel was founded in Munich 50 years ago in 1966 and went on to become the world's leading producer of classical music programmes for film, television and video. Based on exclusive relationships with outstanding artists and institutions like Herbert von Karajan, Leonard Bernstein, the Salzburg Festival and many others, the Unitel catalogue of more than 1500 titles presents some of the greatest achievements in the last half a century of classical music. Front cover: Jonas Kaufmann & Annalisa Stroppa in P. Mascagni’s “Cavalleria Rusticana” / Photo: Andreas J. Hirsch Avant AVANT PREMIÈRE CATALOGUE 2016 This catalogue features the new productions/additions from 2015 to the Unitel catalogue. For the full catalogue please visit www.unitel.com PreCATALOGUEmi ère 2016 Editorial Team: Konrad von Soden, Burkhard Grote Layout: Manuel Messner/luebbeke.com All information is not contractual and subject to change without prior notice. All trademarks used herein are the property of their respective owners. Date of Print: 1st of February 2016 © Unitel 2016 ∙ All Rights reserved Further information on Unitel, Unitel’s DVD releases and the international Pay TV plattform Classica, please visit: www.unitelclassica.com FOR COPRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching / Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: 49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas Arens Nishrin Schacherbauer Unitel GmbH & Co. KG Managing Director Sales Manager, Director Sales Sales Manager Grünwalder Weg 28d [email protected] & Marketing [email protected] 82041 Oberhaching ∙ Germany [email protected] CEO: Jan Mojto Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director [email protected] [email protected] 5 Avant PreCATALOGUEmi ère 2016 OPERA Beethoven: Fidelio (Salzburg Festival / Wiener Philharmoniker / Welser-Möst / Guth) 10 Berliner Philharmoniker Bizet: Carmen (Festival Chorégies d’Orange / Orchestre Philharmonique de Radio France / Franck / Désiré) 12 The Sibelius Cycle (S. Rattle) 66 Boito: Mefistofele (Staatsoper München / Wellber / Schwab) 14 Mozart & Haydn (S. Rattle) 66 Gounod: Faust (Teatro Regio Torino / Noseda / Poda) 16 HK Gruber & Mahler (H. Hardenberger, A. Nelsons) 68 Bartók, Shostakovich & Ravel (F. P. Zimmermann, M. Jansons) 68 Handel: Theodora (Théâtre des Champs-Élysées, Paris / Les Arts Florissants / Christie / Langridge) 18 Orchestre de Paris Humperdinck: Hänsel & Gretel (Wiener Staatsoper / Thielemann / Noble) 20 Bach & Mendelssohn (T. Hengelbrock) 71 Jommelli: Il Vologeso (Oper Stuttgart / Ferro / Wieler & Morabito) 22 Escaich, Widmann & Saint-Saëns (P. Järvi) 71 Mascagni: Cavalleria rusticana (Salzburg Easter Festival / Staatskapelle Dresden / Thielemann / Stölzl) 24 Bartók (E.-P. Salonen) 71 Mozart: Le nozze di Figaro (Salzburg Festival / Wiener Philharmoniker / Ettinger / Bechtolf) 26 Royal Concertgebouw Orchestra Leoncavallo: Pagliacci (Salzburg Easter Festival / Staatskapelle Dresden / Thielemann / Stölzl) 24 Shostakovich, Tchaikovsky & Stravinsky (Yo-Yo Ma, D. Gatti) 72 Offenbach: La Belle Hélène (Staatsoper Hamburg / Prießnitz / Doucet) 28 Shostakovich & Sibelius (A.-S. Mutter, A. Nelsons) 72 Offenbach: Les Contes d'Hoffmann (Bregenz Festival / Wiener Symphoniker / Debus / Herheim) 30 Mariss Jansons – The Farewell Concert 72 Puccini: Manon Lescaut (Royal Opera House, London / Pappano / Kent) 32 Bartók & Shostakovich (J. Jansen, A. Nelsons) 74 Giacomo Puccini: Turandot (Bregenz Festival / Wiener Symphoniker / Carignani / Marelli) 34 Breaking News – John Adams conducts John Adams 74 Rossini: La gazzetta (Rossini Opera Festival / Orchestra del Teatro Comunale di Bologna / Mazzola / Carniti) 36 Johann Sebastian Bach: Christmas Oratorio (J. W. de Vriend) 74 Szymanowski: Król Roger (Royal Opera House, London / Pappano / Holten) 38 Staatskapelle Dresden Bruckner & Beethoven (Y. Bronfman, C. Thielemann) 77 Verdi: Aida (Teatro alla Scala, Milano / Mehta / Stein) 40 Anton Bruckner: Symphony No. 4 (C. Thielemann) 77 Verdi: Aida (Teatro Regio Torino / Noseda / Friedkin) 42 Anton Bruckner: Symphony No. 9 (C. Thielemann) 77 Verdi: La Traviata (Festspielhaus Baden-Baden / Balthasar-Neumann-Ensemble / Heras-Casado / Villazón) 44 Festive Advent Concert from the Frauenkirche Dresden (L. Pisaroni, S. Yoncheva, D. Runnicles) 78 Wagner: Tannhäuser (Staatsoper im Schillertheater / Barenboim / Waltz) 46 Mozart Piano Concertos Nos. 20, 21 & 27 (R. Buchbinder) 78 Weber: Der Freischütz (Semperoper Dresden / Thielemann / Köhler) 48 Symphonieorchester des Bayerischen Rundfunks BALLET Hillborg, Grieg & Sibelius (A. S. Ott, E.-P. Salonen) 81 Webern & Shostakovich (B. Haitink) 81 The Royal Ballet: Quadruple Bill (Viscera / Afternoon of a Faun / Tchaikovsky Pas de Deux / Carmen) 50 Beethoven & Nielsen (H. Blomstedt) 81 Ferdinand Hérold: La Fille mal gardée (Royal Ballet / Ashton) 52 West-Eastern Divan Orchestra Pyotr I. Tchaikovsky: Swan Lake (Royal Ballet / Petipa & Ivanov) 54 Martha Argerich & Daniel Barenboim – Piano Duos at the Teatro Colón 83 CONCERT Beethoven & Tchaikovsky (D. Barenboim) 83 Czech Philharmonic – Dvořák, Martinů & Beethoven (J. Fischer, D. Zinman) 56 Concert for Understanding of Civilizations and Human Rights (D. Barenboim) 83 Wiener Philharmoniker Grafenegg Festival – Midsummer Night's Gala 56 Tchaikovsky & Brahms (A.-S. Mutter, R. Muti) 85 The Odeonsplatz Concert – Spanish Night 56 Johannes Brahms: Piano Concertos Nos. 1 & 2 (R. Buchbinder, Z. Mehta) 85 Hollywood in Vienna – A Tribute to James Newton Howard 59 András Schiff & Cappella Andrea Barca (Mozartwoche Salzburg) 59 CHAMBER MUSIC Les Musiciens du Louvre & Marc Minkowski (Mozartwoche Salzburg) 59 Juan Diego Flórez & Vincenzo Scalera - The Salzburg Recital 87 Johannes Brahms: The Complete String Quartets (Belcea Quartet) 87 Red Ribbon Celebration Concert – Building Bridges for Peace 60 Güher und Süher Pekinel – The Istanbul Concert 87 Orchestre Philharmonique du Luxembourg – The Inaugural Concert (G. Gimeno) 60 Anne-Sophie Mutter – The Club Concert 92 The Carl Nielsen Gala 60 The Prokofiev Marathon (V. Gergiev) 62 DOCUMENTARY BBC Proms Leonard Bernstein – Larger Than Life 89 Stage and Screen – A Tribute to Leonard Bernstein 65 The Swan of Pesaro – Rossini reloaded 89 Living with Beethoven 89 András Schiff – The Goldberg Variations 65 West-Eastern Divan Orchestra (D. Barenboim) 65 INDEX 90 6 7 ULTRA HD OUR GREATEST PRODUCTIONS THE FUTURE IS NOW: ARE GETTING EVEN GREATER! TODAY’S MASTERPIECES IN 4K UHD The Unitel catalogue features some of the world’s greatest 2160 Following the principles set up by Dr Leo Kirch and and finest moments of classical music from the last 50 4K ULTRA HD Herbert von Karajan to produce in the best technical years – fundamental works of art shot on 35 mm film quality available, Unitel has started to produce in 4K that have inspired generations of music lovers all over the Ultra High Definition - four times the quality of today’s world, landmark productions and bestsellers, to this day. 1080 standard Full HD. With more than ten productions from With the help of the latest advances in technology, we will 720 FULL HD Salzburg Festival, Teatro alla Scala, Bayersiche Staatsoper, now make these unique productions available in true 4K 490 HD Semperoper Dresden, Wiener Staatsoper, Teatro Regio Ultra High Definition, offering a visual experience never SD Torino available or in postproduction, Unitel, once again, before seen on the home screen. 640 1280 1920 3840 is taking classical music to the next stage. Unitel GmbH & Co. KG ∙ Tel: +49.89.673469-613 · [email protected] Unitel GmbH & Co. KG ∙ Tel: +49.89.673469-613 · [email protected] OPERA Ludwig van Beethoven’s only opera, Fidelio, features as the highlight of the Salzburg Festival: the stirring work centred around Leonore, who frees her incarcerated spouse Florestan from prison, is timelessly relevant with powerful emotional situations and jarringly human pleas of anguish from Leonore: Orchestra Wiener Philharmoniker “Whoever you are, I want to rescue you. By God! You shall not Conductor Franz Welser-Möst be a victim!” Chorus Konzertvereinigung Director Claus Guth, renowned for his profound interpretations Wiener Staatsopernchor of opera, replaces the spoken dialogue with menacing sounds, Chorus Master Ernst Raffelsberger doubling Leonore with a deaf, signing actress. The result is Stage Director Claus Guth a splendidly staged, new and deeply touching picture of the masterpiece, ending in the breakdown of the hugely traumatised Leonore Adrianne Pieczonka character, Florestan, to the accompaniment of exaltant music. Adrianne Pieczonka ∙ Jonas Kaufmann Florestan Jonas Kaufmann Don Pizarro Tomasz Konieczny The Vienna Philharmonic Orchestra delivers an intensely Tomasz Konieczny ∙ Hans-Peter König Rocco Hans-Peter König enthralling orchestral sound, supported by the concert Marzelline Olga Bezsmertna association of the Vienna State Opera Chorus under Franz Jaquino Norbert Ernst
Recommended publications
  • The Pomegranate Cycle
    The Pomegranate Cycle: Reconfiguring opera through performance, technology & composition By Eve Elizabeth Klein Bachelor of Arts Honours (Music), Macquarie University, Sydney A PhD Submission for the Department of Music and Sound Faculty of Creative Industries Queensland University of Technology Brisbane, Australia 2011 ______________ Keywords Music. Opera. Women. Feminism. Composition. Technology. Sound Recording. Music Technology. Voice. Opera Singing. Vocal Pedagogy. The Pomegranate Cycle. Postmodernism. Classical Music. Musical Works. Virtual Orchestras. Persephone. Demeter. The Rape of Persephone. Nineteenth Century Music. Musical Canons. Repertory Opera. Opera & Violence. Opera & Rape. Opera & Death. Operatic Narratives. Postclassical Music. Electronica Opera. Popular Music & Opera. Experimental Opera. Feminist Musicology. Women & Composition. Contemporary Opera. Multimedia Opera. DIY. DIY & Music. DIY & Opera. Author’s Note Part of Chapter 7 has been previously published in: Klein, E., 2010. "Self-made CD: Texture and Narrative in Small-Run DIY CD Production". In Ø. Vågnes & A. Grønstad, eds. Coverscaping: Discovering Album Aesthetics. Museum Tusculanum Press. 2 Abstract The Pomegranate Cycle is a practice-led enquiry consisting of a creative work and an exegesis. This project investigates the potential of self-directed, technologically mediated composition as a means of reconfiguring gender stereotypes within the operatic tradition. This practice confronts two primary stereotypes: the positioning of female performing bodies within narratives of violence and the absence of women from authorial roles that construct and regulate the operatic tradition. The Pomegranate Cycle redresses these stereotypes by presenting a new narrative trajectory of healing for its central character, and by placing the singer inside the role of composer and producer. During the twentieth and early twenty-first century, operatic and classical music institutions have resisted incorporating works of living composers into their repertory.
    [Show full text]
  • Bregenz's Floating Stage
    | worldwide | austria PC Control 04 | 2016 Art, technology and nature come together to deliver a great stage experience Advanced stage control technology produces magical moments on Bregenz’s floating stage The seventy-year history of the Bregenz Festival in Austria has been accompanied by a series of technical masterpieces that make watching opera on Lake Constance a world-famous experience. From July to August, the floating stage on Lake Constance hosts spectacular opera performances that attract 7,000 spectators each night with their combination of music, singing, state-of-the- art stage technology and effective lighting against a spectacular natural backdrop. For Giacomo Puccini’s “Turandot”, which takes place in China, stage designer Marco Arturo Marelli built a “Chinese Wall” on the lake utilizing complex stage machinery controlled by Beckhoff technology. | PC Control 04 | 2016 worldwide | austria © Bregenzer Festspiele/Karl Forster © Bregenzer Festspiele/Karl The centerpiece of the floating stage is the round area at its center with an extendable rotating stage and two additional performance areas below it. The hinged floor features a video wall on its under- side for special visual effects, projecting various stage setting images. The tradition of the Bregenz Festival goes back to 1946, when the event started The backdrop that Marco Arturo Marelli designed for “Turandot” consists with a performance of Wolfgang Amadeus Mozart’s musical comedy “Bastian of a 72-meter-long wall that snakes across the stage like a giant dragon. A and Bastienne” on two gravel barges anchored in the harbor. The space on the sophisticated structure of steel, concrete and wood holds the 29,000 pieces barges soon became too small, and the organizers decided to build a real stage in place.
    [Show full text]
  • Avant Première Catalogue 2018 Lists UNITEL’S New Productions of 2017 Plus New Additions to the Catalogue
    CATALOGUE 2018 This Avant Première catalogue 2018 lists UNITEL’s new productions of 2017 plus new additions to the catalogue. For a complete list of more than 2.000 UNITEL productions and the Avant Première catalogues of 2015–2017 please visit www.unitel.de FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager [email protected] & Marketing [email protected] [email protected] Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director [email protected] [email protected] CATALOGUE 2018 Unitel GmbH & Co. KG Gruenwalder Weg 28D 82041 Oberhaching/Munich, Germany CEO: Jan Mojto Editorial team: Franziska Pascher, Dr. Martina Kliem, Arthur Intelmann Layout: Manuel Messner/luebbeke.com All information is not contractual and subject to change without prior notice. All trademarks used herein are the property of their respective owners. Date of Print: February 2018 © UNITEL 2018 All rights reserved Front cover: Alicia Amatriain & Friedemann Vogel in John Cranko’s “Onegin” / Photo: Stuttgart Ballet ON THE OCCASION OF HIS 100TH BIRTHDAY UNITEL CELEBRATES LEONARD BERNSTEIN 1918 – 1990 Leonard Bernstein, a long-time exclusive artist of Unitel, was America’s ambassador to the world of music.
    [Show full text]
  • Saison 2017/18 Établissement Public Salle De Concerts Grande-Duchesse Joséphine-Charlotte
    Saison 2017/18 Établissement public Salle de Concerts Grande-Duchesse Joséphine-Charlotte Philharmonie Luxembourg Orchestre Philharmonique du Luxembourg Saison 2017/18 Nous remercions nos partenaires qui, Partenaires d’événements: en associant leur image à la Philharmonie et à l’Orchestre Philharmonique du Luxembourg et en soutenant leur programmation, permettent leur diversité et l’accès à un public plus large. Partenaire officiel: Partenaire automobile exclusif: Partenaires média: Sommaire / Inhalt / Content Une extraordinaire diversité 4 Découvrir la musique Musek erzielt (4–8 ans) 216 Bienvenue! 6 L’imagination au pouvoir Philou F (5–9 ans) 218 POST Luxembourg – Partenaire officiel 11 Artiste en résidence: Jean-François Zygel 118 Philou D (5–9 ans) 222 Dating 122 Familles (6–106 ans) 226 Les dimanches de Jean-François Zygel 124 Miouzik F (9–12 ans) 230 Orchestre Lunch concerts 126 Miouzik D (9–12 ans) 232 La beauté d’un cheminement artistique Yoga & Music 128 iPhil (14–18 ans) 236 Directeur musical: Gustavo Gimeno 16 résonances 130 Workshops 240 Grands rendez-vous 20 PhilaPhil 132 Aventure+ 24 Fondation EME 135 Fräiraim & Partenaires L’heure de pointe 30 Fräiraim 246 Fest- & Bienfaisance-Concerten 32 Jazz, World & Chill Solistes Européens, Luxembourg – Retour aux sources Une métaphore musicale de la démocratie Cycle Rencontres SEL A 250 Artiste en résidence: Paavo Järvi 36 Orchestre en résidence: Solistes Européens, Luxembourg – Grands orchestres 40 JALCO & Wynton Marsalis 140 Cycle Rencontres SEL B 252 Grands chefs 44 Jazz & beyond
    [Show full text]
  • Architecture and Space Our Congress Centre in Pictures and Figures Culture Meets Congress and Finds Him Devastatingly Good Looking
    Architecture and Space Our congress centre in pictures and figures Culture meets Congress and finds him devastatingly good looking Mrs Culture and Mr Congress appear from opposite sides of the plaza in front of Bregenz Festival House. She is very elegantly dressed, he has more of a sporty look. Both of them are presumably on their way to an event taking place in the centre. As they approach one another it is clear how glad they are to meet again. Culture: Hello! Well now, you look damn good. Congress: You’re not the first person to say so. Culture (a little taken aback): And you’re pretty self-confident with it. Congress: Did I just adopt the wrong tone? Culture : The right tone is more my domain. Congress: In the figurative sense, yes. But technically speaking it’s mine. Sound, lighting, stage set are my responsibilities, and I feel equal to them all. Culture : There seem to be developments in your life which I have never gone through. Congress: That’s right. I’m doing a lot of sport at the moment. Culture: Please don’t do too much. I’m not too keen on muscle-bound types. Congress: Don’t worry, I’m mainly building up my stamina. The body is my house, it’s got to be solid. Culture : The body is the house in which your soul and mind dwell. Congress: Yeah, them too. But without a strong body... Culture : The body matters a lot to me, too, but not in the sense of what’s external.
    [Show full text]
  • Polish Composer's Masterpiece Premiered After 31 Years
    Polish Composer’s Masterpiece Premiered after 31 Years Anna S. Debowska - July 23, 2013 ''The Merchant of Venice'' at the festival in Bregenz (Photo Bregenzer Festspiele / Karl Forster) The real bombshell of the Bregenzer Festspiele in Austria was “The Merchant of Venice.” This was the first time the opera by Andrzej Czajkowski – an eccentric piano genius and survivor of the Warsaw ghetto – has been staged. The outstanding work will have its Polish premiere next year. The classical music festival in Bregenz on Lake Constance is organized with two aims. The festival presents spectacular productions of famous operas on its stage on the water. These are attended by tens of thousands of listeners from Austria, Germany, Switzerland, and England. It also, ambitiously, highlights works by forgotten composers. This two-pronged approach is the brainchild of the English director David Pountney, who has been the artistic director of the Bregenzer Festspiele for nine years. He decided to revive the tradition of the festival, the first edition of which took place in 1946, on the stage built on the lake. He already has staged “Il Travatore,” “Aida,” “Andrea Chenier,” and this year, “The Magic Flute.” He provides light, witty, and cleverly high-tech productions that are open to innovative and quirky ideas. The performances on the water always start in the evening as darkness slowly settles on the lake. Festival organizers use a sound system, but the productions are performed by very talented singers who are able to project in the unusual setting. Every evening, close to seven thousand spectators gather at the floating amphitheater under the night sky.
    [Show full text]
  • Breathtaking Spectacle on Bregenz's Floating Stage Requires Complex
    | 26 worldwide | austria PC Control 02 | 2021 PC-based control runs the stage machinery for “Rigoletto” Breathtaking spectacle on Bregenz’s floating stage requires complex drive technology The Bregenz Festival (Bregenzer Festspiele) on Lake Constance proved once again with an enthralling stage spectacle that audi- ences still love great opera, even in the 21st century. During the five-week 2019 season, roughly 180,000 spectators came to see Giuseppe Verdi’s “Rigoletto.” And the upcoming season, which will have its premiere on July 22, 2021, is almost completely sold out as well. An oversized clown figure – a kind of alter ego of Rigoletto – functions as the stage. To handle its complex movements, the Bregenz Festival depends on control technology from Beckhoff. | PC Control 02 | 2021 worldwide | austria 27 The main With a diameter of 22 meters (72 feet) and a total area cabinet and of 338 square meters (3,638 square feet), the collar the panel for forms the central stage area. Mounted on a seesaw, controlling the the head can be moved across the entire stage. hydraulics are each equipped with a built-in 15-inch CP6602 Panel PC from Beckhoff. © Bregenzer Festspiele/Anja Köhler/andereart.de © Bregenzer Festspiele/Anja | 28 worldwide | austria PC Control 02 | 2021 The “Seebühne Bregenz” (Bregenz floating stage) is famous for its spectacu- and to subject each of them to a safety analysis with regard to their drive lar productions, but Philipp Stölzl’s staging exceeds all past performances in force, load and speed,” explains Wolfgang Urstadt, the technical director of terms of aesthetics as well as technical feasibility.
    [Show full text]
  • VIDEOSALAS NOVIEMBRE 2017 CAAV | Lerdo De Tejada 2071, Colonia Americana Ex Convento Del Carmen | Av
    VIDEOSALAS NOVIEMBRE 2017 CAAV | Lerdo de Tejada 2071, Colonia Americana Ex Convento del Carmen | Av. Juárez 638, Zona Centro 1 al 7 2 NOVIEMBRE Miércoles 1 | Funciones: 4:00, 6:00 y 8:00 EL GRAN McGINTY Dir. Preston Sturges | Con: Brian Donlevy, Muriel Angelus, Akim Tamiroff | USA | 1940 | 78 min. 1940: Oscar: Mejor guión original. Estados Unidos, años 30. Durante la Gran Depresión, un vagabundo es reclutado por un partido político de su ciudad para colaborar en un fraude electoral. Jueves 2 | Funciones: 4:00, 6:00 y 8:00 AÍDA Dir. Clemente Fracassi | Con: Sophia Loren, Lois Maxwell, Luciano Della Marra | Italia | 1953 | 95 min. Adaptación cinematográfica de la ópera de Verdi. Voces de Renata Tebaldi para Aida, Ebe Stignani para Amneris, Giuseppe Campora para Ramadès, Gino Bechi para Amonasro y Giulio Neri para Ramfis. Viernes 3 | Funciones: 4:00, 6:00 y 8:00 MIEDO Y DESEO Dir. Stanley Kubrick | Con: Frank Silvera, Kenneth Harp, Paul Mazursky | USA | 1953 | 68 min. En plena II Guerra Mundial, cuatro soldados norteamericanos quedan atrapados y perdidos detrás de las líneas enemigas cuando su avión se estrella. Desesperados por salir de ahí, deciden planear una ruta de escape a través del río, pero en el camino se encuentran con oficiales enemigos. Sábado 4 | Domingo 5 | Funciones: 4:00, 6:00 y 8:00 EL PEQUEÑO TALLARÍN Dir. Ayelet Menahemi | Con: Mili Avital, BaoQi Chen, Alon Aboutboul | Israel | 2007 | 90 min. 2007: Festival de Montreal: Gran Premio Especial del Jurado. Una trabajadora extranjera de origen chino que trabaja para una mujer israelí llamada Miri pide permiso para ausentarse durante una hora y desaparece sin dejar rastro, dejando tras de sí a un simpático niño apodado “Noodle” (fideo), que no habla una palabra de hebreo.
    [Show full text]
  • In Association With
    OVERTURE OPERA GUIDES in association with It is a pleasure to be able to welcome this Overture Opera Guide to The publisher John Calder began the Opera Guides series un- Mozart’s Die Zauberflöte (The Magic Flute), the eighteenth to be der the editorship of the late Nicholas John in association with published since the series in association with ENO was relaunched English National Opera in 1980. It ran until 1994 and even- in 2010. tually included forty-eight titles, covering fifty-eight operas. The books in the series were intended to be companions to the Mozart’s penultimate opera – written in the vernacular, with spoken works that make up the core of the operatic repertory. They dialogue and music that ranges from the deeply serious to the light- contained articles, illustrations, musical examples and a com- hearted – has delighted audiences since its premiere in September 1791 plete libretto and singing translation of each opera in the series, at a small theatre tucked away in the Viennese suburbs. Exploring as well as bibliographies and discographies. key issues of the Enlightenment, Die Zauberflöte is one of Mozart’s major contributions to the lyric theatre, and no opera company The aim of the present relaunched series is to make available can be without a production of it for long. This guide’s publication again the guides already published in a redesigned format with coincides with a revival at ENO of director Simon McBurney’s new illustrations, many revised and newly commissioned arti- staging of the work, a production whose innovative theatricality has cles, updated reference sections and a literal translation of the won many new admirers for the opera.
    [Show full text]
  • The Idea of Prima Donna: IRASM 47 (2016) 2: 237-287 the History of a Very Special Opera’S Institution
    V. Kotnik: The Idea of Prima Donna: IRASM 47 (2016) 2: 237-287 the History of a Very Special Opera’s Institution Vlado Kotnik Faculty of Humanities, Department of Media Studies University of Primorska The Idea of Prima Donna: KOPER, Slovenia E-mail: vlado.kotnik@guest. the History of a Very arnes.si Special Opera’s Institution UDC: 782 Received: March 8, 2016 Primljeno: 8. ožujka 2016. Accepted: October 10, 2016 Prihvaćeno: 10. listopada 2016. Abstract – Résumé This article examines the historical constitution and construction of prima donna, probably the most intrinsic Introduction institution of opera expand- ing from the end of the sixteenth century until today. Opera is a very complex system of different From the 16th to the 21st kinds of craft and artistry. However, throughout its century the opera’s prima donna has experienced entire history one craft in particular dominated the numerous cultural transfor- field, the craft of singers. Even now, at the beginning mations and commodifica- of the twenty-first century, singing seems to be the tions. Her idea was determined by paradigms lifeblood of opera while other elements, such as the and concepts of absence orchestra, acting, staging, setting, décor, costumes, and replaceability in the sixteenth and seventeenth etc., seem to be important but supplementary. The centuries, of human nature singing operatic voice, with all its idiosyncrasies, and body, sexuality and gender, character and charm, magnetic power, temper, theatricality, costume in the eighteenth seductiveness, drama, technique, virtuosity, century, of aura and fetish in pedantry, extravagance, mysteriousness, and artist- the nineteenth century, and of identity in the twentieth ry, drew and continues to draw people to the opera and twenty-first centuries.
    [Show full text]
  • Download Bio
    Mauricio Trejo www.MauricioTrejo.com [email protected] Mexican-Italian Tenor, Mauricio Trejo, was recently distinguished by the Wagner Society of New York as a promising Wagnerian Tenor. In August 2016 Mr.Trejo received a full scholarship to further and expand hi Wagnerian Tenor repertoire at the Lotte Lehmann Akademie where he also perform concerts in Germany. He has been hailed as "a tenor with a silver bullet top," "the possessor of a clear and powerful instrument of great beauty,” "a revelation." (Luzerner Zeitung) A Sony Classical Recording Artist as one of the original American Tenors. Mauricio has been honored with numerous awards such as the Placido Domingo Scholarship under the auspices of SIVAM, the Panasonic Scholar of the Year, a winner in the International Caruso Competition and a finalist in the Arena di Verona Turandot Competition in the role of Calaf. Mr. Trejo has also been featured in television performances in a nationwide airing on PBS and on TV Azteca in Mexico In May 2017 Mauricio made his debut in the role of Otello by Giuseppe Verdi in New York City. He is also currently expanding his repertory in preparation of Siegfried, Siegmund, Bacchus, and Florestan. Before expanding to the dramatic and Wagnerian repertoire, he performed the leading tenor roles in Tosca, Cavalleria Rusticana, Il Tabarro, Turandot, I Pagliacci, Madama Butterfly, La Boheme, La Traviata, Rigoletto, Lucia di Lammermoor, L'Elisir D'Amore and Der Rosenkavalier. Mauricio's international operatic and concert career has taken him to North, Central and South America, Europe and the Middle East. Performed with companies that include the Opera Orchestra Of New York, Bregenzer Festspiele in Austria, Opernhaus Zurich, Santa Fe Opera, Sarasota Opera, Opera Santa Barbara, Lyric Opera of Vinrginia, New Israeli Opera, The New York Grand Opera, and the Opera Nacional de Panama.
    [Show full text]
  • The Blake Collection Click on Item Titles Or in Memory of Nancy M
    (Scroll to the end of this document for an Index to all items. Please note that this Archive contains Live Links: The Blake Collection click on item titles or pictures to go to the In Memory of Nancy M. Blake Library’s catalog, and click on citations to see full articles.) BELLINI’S NORMA featuring CECILIA BARTOLI This tragic opera is set in Roman-occupied, first-century Gaul, features a title character, who although a Druid priestess, is in many ways a modern woman. Norma has secretly taken the Roman proconsul Pollione as her lover and had two children with him. Political and personal crises arise when the locals turn against the occupiers and Pollione turns to a new paramour. Norma “is a role with emotions ranging from haughty and demanding, to desperately passionate, to vengeful and defiant. And the singer must convey all of this while confronting some of the most vocally challenging music ever composed. And if that weren't intimidating enough for any singer, Norma and its composer have become almost synonymous with the specific and notoriously torturous style of opera known as bel canto — literally, ‘beautiful singing’” (“Love Among the Druids: Bellini's Norma,” NPR World of Opera, May 16, 2008). And Bartoli, one of the greatest living opera divas, is up to the challenges the role brings. (New York Public Radio’s WQXR’s “OperaVore” declared that “Bartoli is Fierce and Mercurial in Bellini's Norma,” Marion Lignana Rosenberg, June 09, 2013.) If you’re already a fan of this opera, you’ve no doubt heard a recording spotlighting the great soprano Maria Callas (and we have such a recording, too), but as the notes with the Bartoli recording point out, “The role of Norma was written for Giuditta Pasta, who sang what today’s listeners would consider to be mezzo-soprano roles,” making Bartoli more appropriate than Callas as Norma.
    [Show full text]