DOCSLIB.ORG

WNO Boheme Sim REORDER2 Print Spreads

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
WNO Boheme Sim REORDER2 Print Spreads WASHINGTON NATIONAL OPERA ORCHESTRA HEINZ FRICKE, MUSIC DIRECTOR Violin I Cello Clarinet Bass Trombone Oleg Rylatko, Amy Frost Baumgarten, David Jones, Principal Stephen Dunkel Concertmaster Principal Lora Ferguson, Assistant Eric Lee, Associate Elizabeth Davis,Assistant Principal Tuba/Cimbasso Concertmaster Principal Stephen Bates Michael Bunn, Principal Zino Bogachek+** Ignacio Alcover+ Joan Cataldo Amy Ward Butler Bass Clarinet Timpani Michelle Kim Timothy H. Butler** Stephen Bates Jonathan Rance, Principal Karen Lowry-Tucker Igor Zubkovsky Greg Akagi, Assistant Susan Midkiff Kerry Van Laanen* Bassoon Principal Washington National Opera’s Board of Trustees Margaret Thomas Donald Shore, Principal Charlie Whitten Bass Christopher Jewell, Percussion presents Doug Dube* Robert D’Imperio, Assistant Principal John Spirtas, Principal Jennifer Himes* Principal Nancy Stutsman Greg Akagi Patty Hurd* Frank Carnovale, Assistant Bill Richards* A Live Broadcast from Agnieszka Kowalsky* Principal Contrabassoon John Ricketts Nancy Stutsman Harp The John F. Kennedy Center for the Performing Arts Violin II Jeffrey Koczela* Susan Robinson, Principal Julia Grueninger, Horn Sunday, September 23, 2007 Principal Flute Gregory Drone, Principal ADMINISTRATION Joel Fuller, Assistant Adria Sternstein Foster, John Peiffer, Assistant Principal Principal Principal Orchestra Personnel & Richard Chang+ Stephani Stang-Mc- Robert Odmark Operations Manager Xi Chen Cusker, Assistant Peter de Boor Aaron Doty Jessica Dan Fan Principal Geoffrey Pilkington Martha Kaufman John Lagerquist Orchestra Librarian Timothy Macek Trumpet Shelley Friedman Victoria Noyes Piccolo Tim White, Principal Leslie Nero* John Lagerquist Christopher Tranchitella, MUSIC STAFF By Giacomo Puccini Linda Smith* Assistant Principal Oboe Michael Rossi Assistant Conductors Libretto by Giuseppe Giacosa and Luigi Illica Viola Igor Leschishin, Principal Ben Malensek Shelley Coss, Principal Carole Libelo, Assistant Trombone Michael Baitzer Based on the novel Scènes de la vie de bohème by Henry Murger Evelyn Harpham, Principal Lee Rogers, Principal Assistant Principal Kathleen Golding Donald King, Assistant Philippe Chao+ Principal Production from Teatr Wielki-National Opera Warsaw Leon Neal English Horn Stephen Dunkel Elizabeth Pulju-Owen Carole Libelo Simulcast Presenting Sponsor Uri Wassertzug M&Ms® Chocolate Candies David Basch* Alexandra Van De Geijn* This production is made possible through the generous support of the + Begins the alphabetical listing of musicians who participate in a system of revolving within the string section. Eugene B. Casey Endowment. * Guest Musician ** On leave The performance is approximately two hours and ten minutes including one 20-minute intermission. In Italian with English supertitles www.dc-opera.org Patrons are requested to turn off pagers, cellular phones, and signal watches during the performance. The taking of photographs and the use of recording equipment is not allowed. FROM THE DIRECTOR MEET THE ARTISTS as Mehta, Maazel, Chailly, Salonen, Villaume, Cam- führung aus dem Serail) with Maryland Concert Opera, When, at the end of the 19th century, Puccini was composing La Bohème, he saw in it his peers— pa nella, Rizzi, Curtis, and Olmi. Future engagements in- Collatinus (The Rape of Lucretia) with Bal timore The- his 20-year-old contemporaries. His dream was to break the hieratic character of the opera and in- clude La Bohème (Novara), Aida (directed by Zeffirelli with atre Project and Bartolo (Le Nozze di Figaro) with Opera troduce real life to the stage. Then time stopped for over 100 years. Generations changed both on Teatro Stabile di Bolzano), L’Italiana in Algeri (Pisa), Bel Cantanti. As winner of Vocal Arts Society’s Discov- stage and in the audience while La Bohème, once an up-to-date, even documentary tale about the life Madama Butterfly (Teatro del Maggio Musicale ery Series, Mr. Tarr presented a recital program at the Fiorentino), and Simon Boccanegra (Opera de Oviedo). Kennedy Center. Upcoming engagements include Mes- of artists, became just a charming little story with beautiful melodies. siah with New Dominion Chorale and the title role in In order to reflect the freshness and originality of Puccini’s idea, I decided to give up fin-de-siècle American bass Jeffrey Tarr (Benoit) Maryland Concert Opera’s Giulio Cesare. made his company role debut as staffage and tell some thing about the contemporary world, about the lives of contemporary artists. the French Soldier in The Maid of Reject ing the historical point of view allows us to focus on the deep truth pervading this work of art, Orleans in 2005. During the 2006– which tells a story about the insignificance of human life—fragile, uncertain, exposed to continuous 2007 season, he appeared as Don shocks. Basilio (Il Barbiere di Siviglia) with Annapolis Opera, Osmin (Die Ent- The plot of this story takes place here and now, in a large city. The characters live in a photography studio, a spacious glass loft, which can be found today in Paris, New York, or Berlin. There is noth- WASHINGTON NATIONAL OPERA CHORUS ing in this tale to specify where it takes place. The style of life in contemporary bohemia is different. Tim Augustin W. Paul Edson Katherine Keem Sarah B. Richey The notion of poverty does not, in fact, exist. Sometimes you have money, other times you don’t. You Ruth Bailis Harvey D. Fort David Kozisek Howard Scott spend it all on hijinks during one night and then wait for fortune to smile on you. We tend to show Shawnee Ball J. Alan Garcia Tricia Lepofsky Hyun-Oh Shin Dorothey Bodner Grace Gori Adrienne Mandley Aaron Silverman feelings in a different way, hiding them under a coat of irony. The customs seem to be different today, as Patricia Boyd Prince Edward Havely Jennifer Mathews Margaret Stricklett are the clothes, but the inner truth of the world remains the same. Angela Butler Ling Ling He Milagros Matos Jonathan Woody Luciana Cecille Richard C. Hoffheins, Jr. Samantha McElhaney Suzanne S. Chadwick Kurt B. Hoffman Joan Morton La Bohème is a story about maturing, about youth, gaining a new dimension through contact with Chenlin Chang Nicholas Houhoulis Seong Won Nam love and death. It becomes full and mature. In this world of appearances, false glitter, and somewhat Connie Coffelt Annadaire Ingram Matthew Osifchin Keith Craig Jennifer Jellings Sheryl Perry gushing artists, the most important character is Mimì, who dominates intellectually over the rest of Raoul J. Daggett William Jones Alan T. Reed the company. The sacrifice of her love, the depth of her feelings, and the death she is carrying in her reverse all the values completely. What is characteristic is that even Puccini’s music, which accom- DANCERS panies Mimì, is totally different. When she appears on stage, time seems to stop. A new perspective Troy D. Brown Sara Elena Jerez Maureen MacNeill Luis Torres Lourdes P. Elias Lisae C. Jordan Amir Raissi and depth of feeling, previously unknown to us, opens to the audience and to the characters of the story. Dying Mimì, when parting, leaves a strong mark on the characters of the opera; she leaves MIMES them a gift which is responsible for the fact that, from now on, nothing will remain the same. When Michal Ciecka Tomasz Nerkowski Tomasz Wygoda in the finale Rodolfo cries out the unforgettable word “Mimì,” a new man is born. SUPERNUMERARIES I have changed the stylistics of my work on stage especially for this tale, making cinema one of the char- Victoria Gregg Andrea McPherson Stacee Prigmore Monroe Jessica Roman acters of the story. This method of narrating or framing resembles film editing; video clips and pro- jections appear on stage. Being a filmmaker by profession, I have tried to convey the experiences of PRODUCTION STAFF my own youth as a student, a time when we light-heartedly played at art and life, when we used to Assistant Stage Managers. Lynn Krynicki, Diane Lin, Constance Dubinski speak about love by means of a camera. Apprentice Stage Manager . Rich Ching Associate Technical Director . Christy Blackham Or…when we even declared falling in love by means of a camera. Assistant Lighting Designer . Jeff Bruckerhoff Costume Coordinator. Timm Burrow Supertitles Operator . Catheryn Dowd —Mariusz Trelin´ski (Translated from Polish by Mariusz Brymora) The American Guild of Musical Artists (AGMA), the The technicians at the union of professional singers, dancers and production Kennedy Center are personnel in opera, ballet and concert, affiliated with the represented by Local #22 AFL-CIO, represents the Artists and Staging Staff for the I.A.T.S.E. AFL-CIO-CLC, 22 purposes of collective bargaining the professional union of 2 theatrical technicians. 7 MEET THE ARTISTS La Bohème Italian tenor Vittorio Grigolo Golden Gala. He recently debuted at the Metropoli- By Giacomo Puccini (Rodolfo) makes his company tan Opera as Curio in Giulio Cesare and will soon debut with this production. He was make his Glyndebourne Festival debut in productions Sunday, September 23, 2007 chosen as a soloist of the Sistine of L’Incoro nazione di Poppea and Eugene Onegin. He CAST Chapel Choir and debuted at 13 as will next appear as Masetto in WNO’s production of (In order of vocal appearance) Pastorello in Tosca. Soon after, he Don Giovanni, as well as in the title role of the Young was singing for major operatic in- Artist performance of Don Giovanni here at WNO Marcello . Hyung Yun± stitutions under Riccardo Muti, and in Monte Carlo. Rodolfo. Vittorio Grigolo* Daniel Oren, Myung-Whun Chung, and Lorin Colline . Paolo Pecchioli Korean baritone and former Maazel in works by Rossini, Mozart, Bellini, Shaunard. Trevor Scheunemann±† Domingo-Cafritz Young Artist Donizetti, Verdi, and Puccini, among others. At 23 Benoit. Jeffrey Tarr Hyung Yun (Marcello) made his he became the youngest tenor to open a season at Mimì . Adriana Damato*† company debut as a Trojan Soldier in Teatro alla Scala singing in a commemorative concert Musetta . Nicole Cabell* Idomeneo in 2002, returning in 2003 for Verdi. He returned to open another season at La Alcindoro.
Load more

Recommended publications
  • Sold-Out Sessions to Tan Dun's the First Emperor Even Before Opera
    FOR IMMEDIATE RELEASE More Shows for The Metropolitan Opera in HD Digital at Golden Village VivoCity Sold-out Sessions to Tan Dun’s The First Emperor even before Opera premieres tomorrow Singapore, 19 September 2007 – Due to popular and overwhelming demand, Golden Village has added 7 more shows for The Metropolitan Opera: Tan Dun’s The First Emperor in High-Definition (HD) Digital exclusively at GV VivoCity from 20 September to 3 October 2007 daily. 5 out of the original 9 sessions for The First Emperor have been fully sold out before the opera premieres tomorrow. Remaining sessions are left with tickets on the first two rows from the screen. Golden Village is now adding new sessions in response to the great demand. Opera fans who were not able to catch The Metropolitan Opera in HD Digital at GV VivoCity will now be given another chance to experience the phenomenon. Screening details: 20 – 26 September 2007 – 7pm daily and 3.30pm on the weekends 4 sessions remaining and tickets are selling fast! Golden Village Seats only available in the first two rows from the screen . VivoCity 27 September – 3 October 2007 – 7pm daily 7 new sessions added Tickets to The First Emperor are at $15 per ticket. Tickets are available at GV Box Offices and at www.gv.com.sg . Staged by world-renown film director Zhang Yimou, written by acclaimed Academy Award winner Tan Dun, The First Emperor stars Plácido Domingo (one of the Three Tenors ) as Qin Shi Huang. Please visit www.gv.com.sg for more information.
    [Show full text]
  • Network Notebook
    Network Notebook Fall Quarter 2018 (October - December) 1 A World of Services for Our Affiliates We make great radio as affordable as possible: • Our production costs are primarily covered by our arts partners and outside funding, not from our affiliates, marketing or sales. • Affiliation fees only apply when a station takes three or more programs. The actual affiliation fee is based on a station’s market share. Affiliates are not charged fees for the selection of WFMT Radio Network programs on the Public Radio Exchange (PRX). • The cost of our Beethoven and Jazz Network overnight services is based on a sliding scale, depending on the number of hours you use (the more hours you use, the lower the hourly rate). We also offer reduced Beethoven and Jazz Network rates for HD broadcast. Through PRX, you can schedule any hour of the Beethoven or Jazz Network throughout the day and the files are delivered a week in advance for maximum flexibility. We provide highly skilled technical support: • Programs are available through the Public Radio Exchange (PRX). PRX delivers files to you days in advance so you can schedule them for broadcast at your convenience. We provide technical support in conjunction with PRX to answer all your distribution questions. In cases of emergency or for use as an alternate distribution platform, we also offer an FTP (File Transfer Protocol), which is kept up to date with all of our series and specials. We keep you informed about our shows and help you promote them to your listeners: • Affiliates receive our quarterly Network Notebook with all our program offerings, and our regular online WFMT Radio Network Newsletter, with news updates, previews of upcoming shows and more.
    [Show full text]
  • Plácido Domingo – a Short Biography
    Plácido Domingo – a short biography Plácido Domingo was born in the Barrio de Salamanca district of Madrid on January 21, 1941. He is the son of Plácido Domingo Ferrer and Pepita Embil Echaníz, two Spanish Zarzuela performers, who nurtured his early musical abilities. Domingo's father, a violinist performing for opera and zarzuela orchestra, was half Catalan and half Aragonese, while his mother, an established singer, was a Basque. After moving to Mexico at the age of 8, Plácido Domingo went to Mexico City’s Conservatory of Music to study piano and conducting, but eventually was sidetracked into vocal training after his voice was discovered. The highly gifted singer had his first professional engagement as accompanist to his mother in a concert at Mérida, Yucatan, in 1957. He soon achieved great acclaim at international level. Challenged by cosmopolitan groups and new roles In 1961, Domingo made his operatic debut in a leading role as Alfredo in La Traviata at Monterrey. The performance of La Traviata included a baritone singing in Hungarian, a soprano in German, a tenor in Italian, and the chorus in Hebrew. Domingo credits this cosmopolitan group for improving his abilities in several languages. At the end of 1962, he signed a six month contract with the Israel National Opera in Tel Aviv but later extended the contract and stayed for two and a half years, singing in 280 performances and incorporating 12 different roles. Domingo has sung and continues to sing in every important Opera House in the world including the Metropolitan Opera in New York, Milan’s La Scala, the Vienna State Opera, London's Covent Garden, Paris' Bastille Opera, the San Francisco Opera, Chicago's Lyric Opera, the Washington National Opera, the Los Angeles Opera, the Teatro del Liceu in Barcelona, Teatro Colon in Buenos Aires, the Real in Madrid, and at the Bayreuth and Salzburg Festivals.
    [Show full text]
  • 1718Studyguidetosca.Pdf
    TOSCA An opera in three acts by Giocomo Puccini Text by Giacosa and Illica after the play by Sardou Premiere on January 14, 1900, at the Teatro Constanzi, Rome OCTOBER 5 & 7, 2O17 Andrew Jackson Hall, TPAC The Patricia and Rodes Hart Production Directed by John Hoomes Conducted by Dean Williamson Featuring the Nashville Opera Orchestra CAST & CHARACTERS Floria Tosca, a celebrated singer Jennifer Rowley* Mario Cavaradossi, a painter John Pickle* Baron Scarpia, chief of police Weston Hurt* Cesare Angelotti, a political prisoner Jeffrey Williams† Sacristan/Jailer Rafael Porto* Sciarrone, a gendarme Mark Whatley† Spoletta, a police agent Thomas Leighton* * Nashville Opera debut † Former Mary Ragland Young Artist TICKETS & INFORMATION Contact Nashville Opera at 615.832.5242 or visit nashvilleopera.org. Study Guide Contributors Anna Young, Education Director Cara Schneider, Creative Director THE STORY SETTING: Rome, 1800 ACT I - The church of Sant’Andrea della Valle quickly helps to conceal Angelotti once more. Tosca is immediately suspicious and accuses Cavaradossi of A political prisoner, Cesare Angelotti, has just escaped and being unfaithful, having heard a conversation cease as she seeks refuge in the church, Sant’Andrea della Valle. His sis - entered. After seeing the portrait, she notices the similari - ter, the Marchesa Attavanti, has often prayed for his release ties between the depiction of Mary Magdalene and the in the very same chapel. During these visits, she has been blonde hair and blue eyes of the Marchesa Attavanti. Tosca, observed by Mario Cavaradossi, the painter. Cavaradossi who is often unreasonably jealous, feels her fears are con - has been working on a portrait of Mary Magdalene and the firmed at the sight of the painting.
    [Show full text]
  • Cinematic Hamlet Arose from Two Convictions
    INTRODUCTION Cinematic Hamlet arose from two convictions. The first was a belief, confirmed by the responses of hundreds of university students with whom I have studied the films, that theHamlet s of Lau- rence Olivier, Franco Zeffirelli, Kenneth Branagh, and Michael Almereyda are remarkably success- ful films.1 Numerous filmHamlet s have been made using Shakespeare’s language, but only the four included in this book represent for me out- standing successes. One might admire the fine acting of Nicol Williamson in Tony Richard- son’s 1969 production, or the creative use of ex- treme close-ups of Ian McKellen in Peter Wood’s Hallmark Hall of Fame television production of 1 Introduction 1971, but only four English-language films have thoroughly transformed Shakespeare’s theatrical text into truly effective moving pictures. All four succeed as popularizing treatments accessible to what Olivier’s collabora- tor Alan Dent called “un-Shakespeare-minded audiences.”2 They succeed as highly intelligent and original interpretations of the play capable of delight- ing any audience. Most of all, they are innovative and eloquent translations from the Elizabethan dramatic to the modern cinematic medium. It is clear that these directors have approached adapting Hamlet much as actors have long approached playing the title role, as the ultimate challenge that allows, as Almereyda observes, one’s “reflexes as a film-maker” to be “tested, battered and bettered.”3 An essential factor in the success of the films after Olivier’s is the chal- lenge of tradition. The three films that followed the groundbreaking 1948 version are what a scholar of film remakes labels “true remakes”: works that pay respectful tribute to their predecessors while laboring to surpass them.4 As each has acknowledged explicitly and as my analyses demonstrate, the three later filmmakers self-consciously defined their places in a vigorously evolving tradition of Hamlet films.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 2009
    SUMMER 2009 • . BOSTON SYMPHONY ORCHESTRA JAMES LEVINE MUSIC DIRECTOR DALECHIHULY HOLSTEN GALLERIES CONTEMPORARY GLASS SCULPTURE 3 Elm Street, Stockbridge 413 -298-3044 www.holstengaIleries.com Olive Brown and Coral Pink Persian Set * for a Changing World They're Preparing to Change the 'I'Mi P i MISS HALL'S SCHOOL what girls have in mind 492 Holmes Road, Pittsfield, Massachusetts 01201 (413)499-1300 www.misshalls.org • e-mail: [email protected] m Final Weeks! TITIAN, TINTORETTO, VERONESE RIVALS IN RENAISSANCE VENICE " "Hot is the WOrdfor this show. —The New York Times Museum of Fine Arts, Boston March 15-August 16, 2009 Tickets: 800-440-6975 or www.mfa.ore BOSTON The exhibition is organized the Museum by The exhibition is PIONEER of Fine Arts, Boston and the Musee du sponsored £UniCredit Group by Investments* Louvre, and is supported by an indemnity from the Federal Council on the Arts and Titian, Venus with a Mirror (detail), about 1555. Oil on canvas. National Gallery of Art, Washington, Andrew the Humanities. W. Mellon Collection 1 937.1 .34. Image courtesy of the Board of Trustees, National Gallery of Art, Washington. James Levine, Music Director Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate 128th season, 2008-2009 Trustees of the Boston Symphony Orchestra, Inc. Edward H. Linde, Chairman • Diddy Cullinane, Vice-Chairman • Robert P. O'Block, Vice-Chairman Stephen Kay, Vice-Chairman • Roger T. Servison, Vice-Chairman • Edmund Kelly, Vice-Chairman • Vincent M. O'Reilly, Treasurer • George D. Behrakis • Mark G. Borden • Alan Bressler • Jan Brett • Samuel B. Bruskin • Paul Buttenwieser • Eric D.
    [Show full text]
  • A Season of Thrilling Intrigue and Grand Spectacle –
    A Season of Thrilling Intrigue and Grand Spectacle – Angel Blue as MimÌ in La bohème Fidelio Rigoletto Love fuels a revolution in Beethoven’s The revenger becomes the revenged in Verdi’s monumental masterpiece. captivating drama. Greetings and welcome to our 2020–2021 season, which we are so excited to present. We always begin our planning process with our dreams, which you might say is a uniquely American Nixon in China Così fan tutte way of thinking. This season, our dreams have come true in Step behind “the week that changed the world” in Fidelity is frivolous—or is it?—in Mozart’s what we’re able to offer: John Adams’s opera ripped from the headlines. rom-com. Fidelio, to celebrate the 250th anniversary of Beethoven’s birth. Nixon in China by John Adams—the first time WNO is producing an opera by one of America’s foremost composers. A return to Russian music with Musorgsky’s epic, sweeping, spectacular Boris Godunov. Mozart’s gorgeous, complex, and Boris Godunov La bohème spiky view of love with Così fan tutte. Verdi’s masterpiece of The tapestry of Russia's history unfurls in Puccini’s tribute to young love soars with joy a family drama and revenge gone wrong in Rigoletto. And an Musorgsky’s tale of a tsar plagued by guilt. and heartbreak. audience favorite in our lavish production of La bohème, with two tremendous casts. Alongside all of this will continue our American Opera Initiative 20-minute operas in its 9th year. Our lineup of artists includes major stars, some of whom SPECIAL PRESENTATIONS we’re thrilled to bring to Washington for the first time, as well as emerging talents.
    [Show full text]
  • Do You Think You're What They Say You Are? Reflections on Jesus Christ Superstar
    Journal of Religion & Film Volume 3 Issue 2 October 1999 Article 2 October 1999 Do You Think You're What They Say You Are? Reflections on Jesus Christ Superstar Mark Goodacre University of Birmingham, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation Goodacre, Mark (1999) "Do You Think You're What They Say You Are? Reflections on Jesus Christ Superstar," Journal of Religion & Film: Vol. 3 : Iss. 2 , Article 2. Available at: https://digitalcommons.unomaha.edu/jrf/vol3/iss2/2 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Do You Think You're What They Say You Are? Reflections on Jesus Christ Superstar Abstract Jesus Christ Superstar (dir. Norman Jewison, 1973) is a hybrid which, though influenced yb Jesus films, also transcends them. Its rock opera format and its focus on Holy Week make it congenial to the adaptation of the Gospels and its characterization of a plausible, non-stereotypical Jesus capable of change sets it apart from the traditional films and aligns it with The Last Temptation of Christ and Jesus of Montreal. It uses its depiction of Jesus as a means not of reverence but of interrogation, asking him questions by placing him in a context full of overtones of the culture of the early 1970s, English-speaking West, attempting to understand him by converting him into a pop-idol, with adoring groupies among whom Jesus struggles, out of context, in an alien culture that ultimately crushes him, crucifies him and leaves him behind.
    [Show full text]
  • The American Opera Series May 16 – November 28, 2015
    The American Opera Series May 16 – November 28, 2015 The WFMT Radio Network is proud to make the American Opera Series available to our affiliates. The American Opera Series is designed to complement the Metropolitan Opera Broadcasts, filling in the schedule to complete the year. This year the American Opera Series features great performances by the Lyric Opera of Chicago, LA Opera, San Francisco Opera, Glimmerglass Festival and Opera Southwest. The American Opera Series for 2015 will bring distinction to your station’s schedule, and unmatched enjoyment to your listeners. Highlights of the American Opera Series include: • The American Opera Series celebrates the Fourth of July (which falls on a Saturday) with Lyric Opera of Chicago’s stellar production of George Gershwin’s Porgy and Bess. • LA Opera brings us The Figaro Trilogy, including Mozart’s The Marriage of Figaro, Rossini’s The Barber of Seville, and John Corigliano’s The Ghosts of Versailles. • The world premiere of Marco Tutino’s Two Women (La Ciociara) starring Anna Caterina Antonacci, based on the novel by Alberto Moravia that became a classic film, staged by San Francisco Opera. • Opera Southwest’s notable reconstruction of Franco Faccio’s 1865 opera Amleto (Hamlet), believed lost for over 135 years, in its American premiere. In addition, this season we’re pleased to announce that we are now including multimedia assets for use on your station’s website and publications! You can find the supplemental materials at the following link: American Opera Series Supplemental Materials Please note: If you have trouble accessing the supplemental materials, please send me an email at [email protected] Program Hours* Weeks Code Start Date Lyric Opera of Chicago 3 - 5 9 LOC 5/16/15 LA Opera 2 ½ - 3 ¼ 6 LAO 7/18/15 San Francisco Opera 1 ¾ - 4 ¾ 10 SFO 8/29/15 Glimmerglass Festival 3 - 3 ½ 3 GLI 11/7/15 Opera Southwest Presents: Amleto 3 1 OSW 11/28/15 Los Angeles Opera’s Production of The Ghosts of Versailles Credit: Craig Henry *Please note: all timings are approximate, and actual times will vary.
    [Show full text]
  • MADAMA BUTTERFLY Membro Di MADAMA BUTTERFLY
    ISBN: 978-88-98389-49-0 TEATRO MASSIMO TEATRO Giacomo Puccini Giacomo Puccini MADAMA BUTTERFLY Membro di | MADAMA BUTTERFLY STAGIONE seguici su: OPERE E BALLETTI teatromassimo.it Piazza Verdi - 90138 Palermo euro 10,00 STAGIONE OPERE E BALLETTI Fondazione Teatro Massimo SOCI FONDATORI Francesco Giambrone Sovrintendente CONSIGLIO DI INDIRIZZO Leoluca Orlando (sindaco di Palermo) Presidente Leonardo Di Franco Vicepresidente Daniele Ficola Francesco Giambrone Sovrintendente Enrico Maccarone Anna Sica COLLEGIO DEI REVISORI Maurizio Graffeo Presidente Marco Piepoli Gianpiero Tulelli MADAMA BUTTERFLY Il Teatro Massimo dedica le recite di Madama Butterfly alla memoria di Daniela Dessì. Tragedia giapponese in due atti Libretto di Giuseppe Giacosa e Luigi Illica (da John L. Long e David Belasco) Musica di Giacomo Puccini Data Turno Ora Prima rappresentazione: Venerdì 16 settembre Prime 20.30 Milano, Teatro alla Scala, 17 febbraio 1904 Sabato 17 settembre F 20.30 Domenica 18 settembre D 17.30 Editore proprietario: Martedì 20 settembre S1 18.30 Casa Ricordi, Milano Mercoledì 21 settembre C 18.30 Venerdì 23 settembre S2 17.30 Sabato 24 settembre B 18.30 Nuovo allestimento del Teatro Massimo Domenica 25 settembre Danza 17.30 in coproduzione con il Macerata Opera Festival INDICE 9 Argomento 13 Synopsis 17 Argument 21 Handlung 25 Ilaria Grippaudo | Introduzione all’opera 33 Libretto 34 Atto I 49 Atto II 69 Mario Morini | Fascino di Butterfly 79 Madama Butterfly nelle lettere di Puccini 89 Alexandra Jud | Tra mondi diversi Riflessioni sulla regia di Madama Butterfly di Nicola Berloffa 97 Madama Butterfly al Teatro Massimo 107 Bibliografia essenziale 109 Note biografiche ARGOMENTO Atto I F.
    [Show full text]
  • MODELING HEROINES from GIACAMO PUCCINI's OPERAS by Shinobu Yoshida a Dissertation Submitted in Partial Fulfillment of the Requ
    MODELING HEROINES FROM GIACAMO PUCCINI’S OPERAS by Shinobu Yoshida A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Musicology) in The University of Michigan 2011 Doctoral Committee: Associate Professor Naomi A. André, Co-Chair Associate Professor Jason Duane Geary, Co-Chair Associate Professor Mark Allan Clague Assistant Professor Victor Román Mendoza © Shinobu Yoshida All rights reserved 2011 TABLE OF CONTENTS LIST OF FIGURES ...........................................................................................................iii LIST OF APPENDECES................................................................................................... iv I. CHAPTER ONE........................................................................................................... 1 INTRODUCTION: PUCCINI, MUSICOLOGY, AND FEMINIST THEORY II. CHAPTER TWO....................................................................................................... 34 MIMÌ AS THE SENTIMENTAL HEROINE III. CHAPTER THREE ................................................................................................. 70 TURANDOT AS FEMME FATALE IV. CHAPTER FOUR ................................................................................................. 112 MINNIE AS NEW WOMAN V. CHAPTER FIVE..................................................................................................... 157 CONCLUSION APPENDICES………………………………………………………………………….162 BIBLIOGRAPHY..........................................................................................................
    [Show full text]
  • 2016-17 Winter Program Book 138Th
    2016-17 WINTER PROGRAM BOOK138TH SEASON // UNIVERSITY OF MICHIGAN | ANN ARBOR You have a part to play. Uncommon Your gift will help in the following areas: and engaging ACCESS AND INCLUSIVENESS experiences. Helping make tickets more affordable. Helping create free educational events and A sense of community-building activities. Providing connection opportunities for all to experience the transformative power of the arts. between audience and artist. ENGAGED LEARNING THROUGH THE ARTS Integrating performing arts into the Moments of clarity, student experience. Creating meaningful connections between the arts and life. inspiration, and Encouraging creative thinking, collaboration, reflection. The and experimentation. performing arts BOLD ARTISTIC LEADERSHIP provide us with Commissioning work that reflects our commitment to tradition and innovation. these elemental Solidifying and elevating our position as experiences, a recognized national and international artistic leader. Unique and bold offering a shortcut programming. to our creative As a Leader and Best among arts presenters, selves. UMS wants anyone and everyone, students and community alike, to experience the transformative power of the performing arts. We seek generous partners who want to help us achieve our goal. UMS.ORG/SUPPORT Visit us online or call the UMS Development 734.764.8489 Office to make your gift today. BE PRESENT Be Present UMS unleashes the power of the WINTER 2017 performing arts in order to engage, educate, transform, and connect individuals with uncommon experiences. The Winter 2017 season is full of exceptional, world-class, and truly inspiring performances. Welcome to the UMS experience. We’re glad you’re present. Enjoy the performance. 1 When you attend a UMS performance, you’re part of a larger equation: nonprofit ARTS +CULTURE = ECONOMIC PROSPERITYin the greater Ann Arbor Area $100 million annually Together, we invest in our local community’s vibrancy.
    [Show full text]