DOCSLIB.ORG

Autumn 2015 Spring 2016 What's On

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Autumn 2015 Spring 2016 What's On WHAT’S ON AUTUMN 2015 SPRING 2016 WELCOME CONTENTS TO ENGLISH NATIONAL OPERA It’s a great pleasure to introduce ENO’s 2015/16 Season. 4 2015/16 Season From Mozart and Rossini, through Verdi and Puccini to Philip Glass – the eight productions of our Autumn 6 Lady Macbeth of Mtsensk and Spring seasons offer a diverse range of operatic 8 The Barber of Seville repertoire. I truly hope there is something to offer everyone a memorable visit to the London Coliseum. 10 Meet Mark Wigglesworth, ENO’s New Music Director At its heart, ENO is a company of world-class musical storytellers, and we are delighted to welcome the distinguished British conductor Mark Wigglesworth as ENO’s new Music 12 La bohème Director in succession to Edward Gardner. Mark will be conducting many of the season’s 14 The Force of Destiny highlights, and you can read about his aspirations for the company on pages 10–11. 16 Theatre Tours and We have five new productions in this period, all collaborations with some of the world’s Pre-performance Talks most talented and in-demand directors. In the autumn we have Dmitri Tcherniakov’s powerful Lady Macbeth of Mtsensk; Benedict Andrews’s spectacular new staging of 18 The Mikado La bohème, and a major new collaboration with New York’s Metropolitan Opera in 20 The Magic Flute Calixto Bieito’s The Force of Destiny. In the spring we have a thrilling Norma directed by Christopher Alden, while Phelim McDermott continues his exploration of the operas of 22 ENO Friends Membership Philip Glass with a new production of the iconic Akhnaten. 24 Norma Returning to ENO are the enduringly popular Barber of Seville and The Mikado (both 26 Akhnaten originally directed by Jonathan Miller), and the first revival of Simon McBurney’s visually stunning production of The Magic Flute. 28 English National Ballet 29 Food and Drink at the We’re passionate about this work, and we want to make sure that it can be enjoyed by London Coliseum anyone who wants to see it – whether you’re trying opera for the very first time, or come to every ENO production. To that end, we’ve made some changes to our prices for the 30 Visiting Us 2015/16 Season – reducing the cost of many of our seats, and ensuring that at least 500 tickets are available for £20 or less at every performance. You can also find out 32 Ways to Save about other ways to save on page 32. 34 Ticket Prices and Seating Plan ENO performances at the London I hope this all encourages you to explore the world of opera through the talents of this Coliseum (except Akhnaten) are 35 Calendar extraordinary award-winning company. We look forward to welcoming you to ENO soon. sung and surtitled in English. 37 How to Book ENO gratefully acknowledges financial support from Arts Council England. ENO is a registered charity (no. 257210) in the UK and a 501(c)3 registered organisation in the US. John Berry CBE Artistic Director 2015/16 SEASON SHOSTAKOVICH AUTUMN LADY MACBETH OF MTSENSK 2015 26 September – 20 October ROSSINI THE BARBER OF SEVILLE 28 September – 11 November PUCCINI LA BOHÈME 16 October – 26 November VERDI THE FORCE OF DESTINY 9 November – 4 December GILBERT & SULLIVAN THE MIKADO 21 November – 6 February MOZART SPRING THE MAGIC FLUTE 2016 5 February – 19 March BELLINI NORMA 17 February – 11 March GLASS AKHNATEN 4 – 18 March PUCCINI Muir AUTUMN/SPRING BOOKING DATES SUMMER BOOKING DATES SUMMER MADAM BUTTERFLY 22 April: ENO Opera Circle Patrons 7 October: ENO Opera Circle Patrons 2016 16 May – 7 July Alastair 6 May: ENO Friends 21 October: ENO Friends WAGNER 20 May: Subscription tickets 4 November : Subscription tickets Photo: TRISTAN AND ISOLDE & Access Scheme booking & Access Scheme booking 9 June – 9 July North. 27 May: Public booking 11 November: Public booking V JANÁCEK O Opera , JENUFA 23 June – 8 July Norma 4 ENO.ORG 020 7845 9300 5 BOLD AND POWERFUL DRAMA LADY MACBETH OF MTSENSK DMITRI SHOSTAKOVICH The finest Shostakovich interpreter Dmitri Shostakovich and Alexander Preys, after Nikolai Leskov ‘ of his generation 26 September – 20 October | 8 Performances | Running time: 3hrs BBC Music Magazine on ’Mark Wigglesworth Lady Macbeth of Mstensk is a powerful work of raw emotional Conductor intensity. With themes of adultery and murder, the story Mark Wigglesworth follows the downfall of a bored provincial merchant’s wife Director/Set Designer who seeks solace and excitement in an extra-marital affair. Dmitri Tcherniakov Associate Costume Designer With a bold and contemporary setting, this staging provides Elena Zaytseva the perfect backdrop to this 20th-century opera’s unflinching Lighting Designer approach to sex and violence. Shostakovich’s music is Gleb Filshtinsky fast-paced and dynamic, brimming with his hallmark Translator orchestration and unmatched gifts for biting parody. David Pountney This vibrant new production launches Mark Wigglesworth’s Cast includes tenure as ENO Music Director. It is a perfect piece to mark his Katerina Ismailova arrival as he is a critically acclaimed Shostakovich interpreter, Patricia Racette who has recorded all the composer’s symphonies. He is Sergei partnered by Dmitri Tcherniakov, one of the most in-demand John Daszak Straub directors currently working in opera. The world-class cast Zinovy Ismailov Peter Hoare is led by soprano Patricia Racette, one of today’s greatest Eduard Sonyetka singing actresses, alongside acclaimed British tenors Clare Presland John Daszak as her lover, Sergei, and Peter Hoare as the Photo: Old Convict cuckolded Zinovy. Matthew Best Rhein. Shabby Peasant Adrian Thompson am Aksinya Oper Rosie Aldridge Priest Graeme Danby Deutsche Sep 26, 29 & Oct 2, 8, 10, 13, 20 at 7.30pm , Oct 17 at 6.30pm Pre -performance talk: 8 Oct, 5.15–6pm, £5/£2.50 concs Co-production with Opéra de Lyon Originally created by Deutsche Oper am Rhein New production supported by a syndicate of individual donors Lady Macbeth of Mtsensk ENO.ORG 020 7845 9300 7 A COMIC CLASSIC THE BARBER OF SEVILLE GIOACHINO ROSSINI A genuinely funny Cesare Sterbini, after Pierre-Augustin Beaumarchais and a libretto attributed to ‘ opera staging Giuseppe Petrosellini Evening ’Standard 28 September – 11 November | 10 Performances | Running time: 2hrs 50mins The Barber of Seville will have you smiling from the moment it Conductor begins. Filled with fun and farce, this sunny adventure follows Christopher Allen the escapades of the barber Figaro as he assists Count Director Almaviva to prise the beautiful yet feisty Rosina away from Jonathan Miller her lecherous guardian Dr Bartolo. Revival Director Peter Relton Designer Set in an elegant vision of 18th-century Seville, Jonathan Tanya McCallin Miller’s much-loved production returns to the Coliseum and Lighting Designer remains as side-splittingly funny as ever. For this revival, the Tom Mannings talented Christopher Allen will conduct Rossini’s sparkling Translators score, packed full of wit and playful tunes. Amanda Holden and Anthony Holden As Dr Bartolo, ENO favourite Andrew Shore returns in one of his signature roles, showcasing his peerless comic timing. Cast includes Kathryn Rudge, a former ENO Harewood Artist, sings the role Figaro of Rosina for the first time, alongside rising baritone Morgan Morgan Pearse Pearse as Figaro. Making his ENO debut as Almaviva is Rosina Kathryn Rudge Eleazar Rodriguez, a tenor who has won critical praise for his Count Almaviva Rossini roles. Eleazar Rodriguez Dr Bartolo Andrew Shore Don Basilio Great fun and highly recommended Barnaby Rea Berta The Guardian ‘ ’ Katherine Broderick Fiorello Matthew Durkan Sep 28, 30, Oct 9, 15, 19, 30 & Nov 5, 11 at 7.30pm Oct 3, 24 at 6.30pm Rylander Pre -performance talk: 30 Sep, 5.15–6pm, £5/£2.50 concs Scott Revival Photo: ENO.ORG 020 7845 9300 9 MEET MARK WIGGLESWORTH ENO’S NEW MUSIC DIRECTOR AS A FAN OF ENO FOR to produce operas that others never This season’s journey forget. It is these people that give OVER THIRTY-FIVE YEARS, offers operas that define ENO its identity beyond the work ‘ THE PHILOSOPHY OF THIS itself. Regular audience members are ENO’s fresh taste to the EXCEPTIONAL COMPANY IS part of this family and newcomers familiar and its constant VERY CLOSE TO MY HEART. feel welcome in an environment that commitment to adventure. simultaneously manages to be both Opera is an equal and indivisible spectacular and relaxed. Revivals of iconic productions of The’ combination of music and drama, Barber of Seville, The Magic Flute, movement and design. It tells The company is rightly Madam Butterfly* and The Mikado sit elemental stories through the essential alongside new takes on cult status simplicity and depth of the human ‘proud of its past and I am contemporary work such as Akhnaten, voice. Singing in our own language immensely excited to be and to have the opportunity to hear not only increases opera’s power again David Alden’s Olivier Award- part of its future. O to move, challenge and excite, winning production of Jenufa* is to but also allows it to connect with ’ be able to be profoundly affected by as broad a public as possible. This season’s journey offers operas one of the greatest twentieth-century Our productions, like our that define ENO’s fresh taste to the operas ever written. audiences, express diversity, familiar and its constant commitment curiosity and passion, and to adventure. The huge forcesO involved The company is rightly proud of its experiencing them in London’s in breathtaking pieces like Lady past and I am immensely excited greatest theatre always creates Macbeth of Mtsensk and The Force to be part of its future.
Load more

Recommended publications
  • Ground-Breaking Opera for Babies Comes to Glasgow
    PRESS RELEASE 26 September 2017 GROUND-BREAKING OPERA FOR BABIES COMES TO GLASGOW This autumn audiences in Glasgow have the chance to see the Scottish Opera’s hugely successful BambinO, a pioneering and unique piece of music theatre for infants aged 6 to 18 months. Following its premiere at Manchester International Festival in July and a sell out run at the Edinburgh Festival Fringe, BambinO comes to Scottish Opera’s Production Studios in October and November. Written by former Scottish Opera Composer in Residence Lliam Paterson and directed by Improbable’s critically-acclaimed Phelim McDermott, BambinO is a celebration of the possibilities of music and the power of the infant imagination. The show reinvents operatic language and traditions for children at an age when their minds are wide open to new sounds, images and experiences. Babies are free to explore during the performance, and to interact with the singers, musicians and each other. Director, Phelim McDermott, said: ‘It is inspiring to create a new opera for what is possibly the most discerning – and important – audience there is. We all know that babies respond to music and we want to nurture and stimulate that relationship through their very first opera.’ Composer Lliam Paterson, continued: ‘BambinO will bring an operatic experience to a little audience with ears open to discovering new sounds. It is so exciting to create a colourful and vibrant work that can engage both babies and adults fully, while conveying the drama and passion of opera. The opportunity for me to work with as imaginative a director as Phelim McDermott is fantastic and truly inspiring.
    [Show full text]
  • COCKEREL Education Guide DRAFT
    VICTOR DeRENZI, Artistic Director RICHARD RUSSELL, Executive Director Exploration in Opera Teacher Resource Guide The Golden Cockerel By Nikolai Rimsky-Korsakov Table of Contents The Opera The Cast ...................................................................................................... 2 The Story ...................................................................................................... 3-4 The Composer ............................................................................................. 5-6 Listening and Viewing .................................................................................. 7 Behind the Scenes Timeline ....................................................................................................... 8-9 The Russian Five .......................................................................................... 10 Satire and Irony ........................................................................................... 11 The Inspiration .............................................................................................. 12-13 Costume Design ........................................................................................... 14 Scenic Design ............................................................................................... 15 Q&A with the Queen of Shemakha ............................................................. 16-17 In The News In The News, 1924 ........................................................................................ 18-19
    [Show full text]
  • 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.
    [Show full text]
  • The Festival D'aix
    FESTIVAL D’AIX-EN-PROVENCE 2017 69th edition 3 – 22 JULY 2017 PRESS RELEASE www.festival-aix.com PRESS OFFICE Valérie Weill | valerie.weill@festival-aix.com +33 (0)1 44 88 59 66 | +33 (0)6 85 22 74 66 Christine Delterme | c.delterme@wanadoo.fr CONTENTS THE INSTITUTION PAGES 4 - 5 CALENDAR PAGES 6 - 8 OPERA PAGES 9 - 15 CONCERTS PAGES 16-17 AIX EN JUIN PAGES 18 - 21 ACADEMIE DU FESTIVAL PAGES 22-30 PASSERELLES PAGES 31-34 TALKS AND EVENTS PAGE 35 TOURS IN 2017 PAGE 36 ESTIMATED BUDGET 2017 PAGE 37 SUSTAINABLE DEVELOPMENT PAGES 38-39 SPONSORS AND PARTNERSHIPS PAGES 40-47 PRICES PAGE 48 PRACTICAL INFORMATION PAGE 49 3 FESTIVAL D’AIX-EN-PROVENCE 2017 THE FESTIVAL D’AIX KEY FIGURES 2016 | by 31 December 2016 | | ATTENDANCE | | PASSERELLES | 75,526 SPECTATORS 3,200 STUDENTS FROM 133 CLASSES of 87 educational institutions (schools, secondary 40% OF TICKETS SOLD FOR LESS THAN 55 ¤ schools, highschools, music schools, universities, 534 YOUNG PEOPLE ENJOYED THE conservatoires) « CHILDREN DISCOVERY » RATE including 1,170 students from Aix-Marseille 39,972 TICKETS FOR OPERAS AND CONCERTS Université (370 through the Opera ON programme) ( not including the Académie ) 2,250 YOUNG ADULTS AND ADULTS 35,554 SPECTATORS FOR AIX EN JUIN, THE BENEFITED FROM THE RAISING AWARENESS ACADEMIE, THEIR PUBLIC REHEARSAL AND OF OPERA PROGRAMME THEIR LIVE BROADCASTING as well as 110 associations and social partners 220 AMATEUR ARTISTS | AIX EN JUIN | 1 450 SPECTATORS 17 004 SPECTATORS or the opening performance Ouverture[s] including 12,736 for free performances 3 000
    [Show full text]
  • Piano; Trio for Violin, Horn & Piano) Eric Huebner (Piano); Yuki Numata Resnick (Violin); Adam Unsworth (Horn) New Focus Recordings, Fcr 269, 2020
    Désordre (Etudes pour Piano; Trio for violin, horn & piano) Eric Huebner (piano); Yuki Numata Resnick (violin); Adam Unsworth (horn) New focus Recordings, fcr 269, 2020 Kodály & Ligeti: Cello Works Hellen Weiß (Violin); Gabriel Schwabe (Violoncello) Naxos, NX 4202, 2020 Ligeti – Concertos (Concerto for piano and orchestra, Concerto for cello and orchestra, Chamber Concerto for 13 instrumentalists, Melodien) Joonas Ahonen (piano); Christian Poltéra (violoncello); BIT20 Ensemble; Baldur Brönnimann (conductor) BIS-2209 SACD, 2016 LIGETI – Les Siècles Live : Six Bagatelles, Kammerkonzert, Dix pièces pour quintette à vent Les Siècles; François-Xavier Roth (conductor) Musicales Actes Sud, 2016 musica viva vol. 22: Ligeti · Murail · Benjamin (Lontano) Pierre-Laurent Aimard (piano); Bavarian Radio Symphony Orchestra; George Benjamin, (conductor) NEOS, 11422, 2016 Shai Wosner: Haydn · Ligeti, Concertos & Capriccios (Capriccios Nos. 1 and 2) Shai Wosner (piano); Danish National Symphony Orchestra; Nicolas Collon (conductor) Onyx Classics, ONYX4174, 2016 Bartók | Ligeti, Concerto for piano and orchestra, Concerto for cello and orchestra, Concerto for violin and orchestra Hidéki Nagano (piano); Pierre Strauch (violoncello); Jeanne-Marie Conquer (violin); Ensemble intercontemporain; Matthias Pintscher (conductor) Alpha, 217, 2015 Chorwerk (Négy Lakodalmi Tánc; Nonsense Madrigals; Lux æterna) Noël Akchoté (electric guitar) Noël Akchoté Downloads, GLC-2, 2015 Rameau | Ligeti (Musica Ricercata) Cathy Krier (piano) Avi-Music – 8553308, 2014 Zürcher Bläserquintett:
    [Show full text]
  • Robert Lepage's Scenographic Dramaturgy: the Aesthetic Signature at Work
    1 Robert Lepage’s Scenographic Dramaturgy: The Aesthetic Signature at Work Melissa Poll Abstract Heir to the écriture scénique introduced by theatre’s modern movement, director Robert Lepage’s scenography is his entry point when re-envisioning an extant text. Due to widespread interest in the Québécois auteur’s devised offerings, however, Lepage’s highly visual interpretations of canonical works remain largely neglected in current scholarship. My paper seeks to address this gap, theorizing Lepage’s approach as a three-pronged ‘scenographic dramaturgy’, composed of historical-spatial mapping, metamorphous space and kinetic bodies. By referencing a range of Lepage’s extant text productions and aligning elements of his work to historical and contemporary models of scenography-driven performance, this project will detail how the three components of Lepage’s scenographic dramaturgy ‘write’ meaning-making performance texts. Historical-Spatial Mapping as the foundation for Lepage’s Scenographic Dramaturgy In itself, Lepage’s reliance on evocative scenography is inline with the aesthetics of various theatre-makers. Examples range from Appia and Craig’s early experiments summoning atmosphere through lighting and minimalist sets to Penny Woolcock’s English National Opera production of John Adams’s Dr. Atomic1 which uses digital projections and film clips to revisit the circumstances leading up to Little Boy’s release on Hiroshima in 1945. Other artists known for a signature visual approach to locating narrative include Simon McBurney, who incorporates digital projections to present Moscow via a Google Maps perspective in Complicité’s The Master and Margarita and auteur Benedict Andrews, whose recent production of Three Sisters sees Chekhov’s heroines stranded on a mound of dirt at the play’s conclusion, an apt metaphor for their dreary futures in provincial Russia.
    [Show full text]
  • Issue 17 Ausact: the Australian Actor Training Conference 2019
    www.fusion-journal.com Fusion Journal is an international, online scholarly journal for the communication, creative industries and media arts disciplines. Co-founded by the Faculty of Arts and Education, Charles Sturt University (Australia) and the College of Arts, University of Lincoln (United Kingdom), Fusion Journal publishes refereed articles, creative works and other practice-led forms of output. Issue 17 AusAct: The Australian Actor Training Conference 2019 Editors Robert Lewis (Charles Sturt University) Dominique Sweeney (Charles Sturt University) Soseh Yekanians (Charles Sturt University) Contents Editorial: AusAct 2019 – Being Relevant .......................................................................... 1 Robert Lewis, Dominique Sweeney and Soseh Yekanians Vulnerability in a crisis: Pedagogy, critical reflection and positionality in actor training ................................................................................................................ 6 Jessica Hartley Brisbane Junior Theatre’s Abridged Method Acting System ......................................... 20 Jack Bradford Haunted by irrelevance? ................................................................................................. 39 Kim Durban Encouraging actors to see themselves as agents of change: The role of dramaturgs, critics, commentators, academics and activists in actor training in Australia .............. 49 Bree Hadley and Kathryn Kelly ISSN 2201-7208 | Published under Creative Commons License (CC BY-NC-ND 3.0) From ‘methods’ to ‘approaches’:
    [Show full text]
  • Press Information Eno 2013/14 Season
    PRESS INFORMATION ENO 2013/14 SEASON 1 #ENGLISHENO1314 NATIONAL OPERA Press Information 2013/4 CONTENTS Autumn 2013 4 FIDELIO Beethoven 6 DIE FLEDERMAUS Strauss 8 MADAM BUtteRFLY Puccini 10 THE MAGIC FLUte Mozart 12 SATYAGRAHA Glass Spring 2014 14 PeteR GRIMES Britten 18 RIGOLetto Verdi 20 RoDELINDA Handel 22 POWDER HeR FAce Adès Summer 2014 24 THEBANS Anderson 26 COSI FAN TUtte Mozart 28 BenvenUTO CELLINI Berlioz 30 THE PEARL FISHERS Bizet 32 RIveR OF FUNDAMent Barney & Bepler ENGLISH NATIONAL OPERA Press Information 2013/4 3 FIDELIO NEW PRODUCTION BEETHoven (1770–1827) Opens: 25 September 2013 (7 performances) One of the most sought-after opera and theatre directors of his generation, Calixto Bieito returns to ENO to direct a new production of Beethoven’s only opera, Fidelio. Bieito’s continued association with the company shows ENO’s commitment to highly theatrical and new interpretations of core repertoire. Following the success of his Carmen at ENO in 2012, described by The Guardian as ‘a cogent, gripping piece of work’, Bieito’s production of Fidelio comes to the London Coliseum after its 2010 premiere in Munich. Working with designer Rebecca Ringst, Bieito presents a vast Escher-like labyrinth set, symbolising the powerfully claustrophobic nature of the opera. Edward Gardner, ENO’s highly acclaimed Music Director, 2013 Olivier Award-nominee and recipient of an OBE for services to music, conducts an outstanding cast led by Stuart Skelton singing Florestan and Emma Bell as Leonore. Since his definitive performance of Peter Grimes at ENO, Skelton is now recognised as one of the finest heldentenors of his generation, appearing at the world’s major opera houses, including the Metropolitan Opera, New York, and Opéra National de Paris.
    [Show full text]
  • La Fille De Neige
    REVUE DE PRESSE LA FILLE DE NEIGE 8 représentations du 15 avril au 3 mai 2017 Opéra Bastille DIRECTION MUSICALE Mikhail Tatarnikov MISE EN SCÈNE, DÉCORS Dmitri Tcherniakov COSTUMES Elena Zaytseva LUMIÈRES Gleb Filshtinsky VIDÉO Tieni Burkhalter CHEF DES CHŒURS José Luis Basso Orchestre et Chœurs de l’Opéra national de Paris FLEUR DE NEIGE Aida Garifullina LEL Yuriy Mynenko KOUPAVA Martina Serafin LE TSAR BÉRENDEÏ Maxim Paster MIZGUIR Thomas Johannes Mayer DAME PRINTEMPS Elena Manistina LE PÈRE GEL Vladimir Ognovenko BERMIATA Franz Hawlata LE BONHOMME BAKOULA Vasily Gorshkov LA BONNE FEMME Carole Wilson L’ESPRIT DES BOIS Vasily Efimov LA CHANDELEUR Julien Joguet PREMIER HÉRAUT Vincent Morell DEUXIÈME HÉRAUT Pierpaolo Palloni LE PAGE DU TSAR Olga Oussova DIFFUSIONS RADIO Europe 1 - Sujet sur La Fille de neige le 9/04 http://www.europe1.fr/emissions/europe-1-week-end France Musique - Sujet sur La Fille de neige le 20/04 https://www.francemusique.fr/emissions/la-chronique-musique-de-guillaume-tion/la-fille-de-neige-opera-de-nikolai- rimski-korsakov-33429 France Culture - Sujet sur La Fille de neige le 27/04 (dès 46’40) https://www.franceculture.fr/emissions/la-dispute/musique-la-fille-de-neige-alcione-et-la-seine-musicale Catalunya Música - Sujet sur La Fille de neige le 2/05 http://www.ccma.cat/catradio/alacarta/assaig-general/el-cronista-errant-aterra-de-paris/audio/961105/ RTBF - Musiq 3 - Sujet sur La Fille de neige le 3/05 (dès 5’55) https://www.rtbf.be/auvio/detail_decibel-canto?id=2209768 COMPTE-RENDUS (Presse française) Dimanche 23 avril 2017 Page 1 sur 1 0123 DIMANCHE 23 - LUNDI 24 AVRIL 2017 CULTURE | 17 L’Opéra de Paris fond pour « La Fille de neige » L’œuvre de Rimski-Korsakov entre au répertoire dans une magnifique mise en scène de Dmitri Tcherniakov LYRIQUE La vision l aura fallu attendre le de Tcherniakov réchauffement climatique de habille de grâce l’ère Lissner pour qu’éclose I La Fille de neige, de Rimski- et de blancheur Korsakov, jamais revue sur une virginale cette scène parisienne depuis 1929.
    [Show full text]
  • 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).
    [Show full text]
  • To Download the Full Archive
    Complete Concerts and Recording Sessions Brighton Festival Chorus 27 Apr 1968 Concert Dome Concert Hall, Brighton Brighton Festival Belshazzar's Feast Walton William Walton Royal Philharmonic Orchestra Baritone Thomas Hemsley 11 May 1968 Concert Dome Concert Hall, Brighton Brighton Festival Kyrie in D minor, K 341 Mozart Colin Davis BBC Symphony Orchestra 27 Oct 1968 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Budavari Te Deum Kodály Laszlo Heltay Brighton Philharmonic Orchestra Soprano Doreen Price Mezzo-Soprano Sarah Walker Tenor Paul Taylor Bass Brian Kay 23 Feb 1969 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Symphony No. 9 in D minor, op.125 Beethoven Herbert Menges Brighton Philharmonic Orchestra Soprano Elizabeth Harwood Mezzo-Soprano Barbara Robotham Tenor Kenneth MacDonald Bass Raimund Herincx 09 May 1969 Concert Dome Concert Hall, Brighton Brighton Festival Mass in D Dvorák Václav Smetáček Czech Philharmonic Orchestra Soprano Doreen Price Mezzo-Soprano Valerie Baulard Tenor Paul Taylor Bass Michael Rippon Sussex University Choir 11 May 1969 Concert Dome Concert Hall, Brighton Brighton Festival Liebeslieder-Walzer Brahms Laszlo Heltay Piano Courtney Kenny Piano Roy Langridge 25 Jan 1970 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Requiem Fauré Laszlo Heltay Brighton Philharmonic Orchestra Soprano Maureen Keetch Baritone Robert Bateman Organ Roy Langridge 09 May 1970 Concert Dome Concert Hall, Brighton Brighton Festival Mass in B Minor Bach Karl Richter English Chamber Orchestra Soprano Ann Pashley Mezzo-Soprano Meriel Dickinson Tenor Paul Taylor Bass Stafford Dean Bass Michael Rippon Sussex University Choir 1 Brighton Festival Chorus 17 May 1970 Concert Dome Concert Hall, Brighton Brighton Festival Fantasia for Piano, Chorus and Orchestra in C minor Beethoven Symphony No.
    [Show full text]
  • JOHN RELYEA Four Villains... Four
    spring 2012 | volume 19 | number 3 Catherine Malfitano Born into the right trunk! John relyea Four Villains... Four signatures alan held a DouBle Bill oF sun anD shaDow happy BirthDay Myth Manifest enseMble CirCle Zhang huan’s Semele A MESSAge From THe generAl DireCTor aleXander neef spring into opera Photo: Rider Dyce Opera is such a collaborative business great Canadian bass-baritone Gary A gift to our friends that great artists make very specific Relyea, performed many times with Editorial Board: decisions about who they want to work the COC over the years. I am very robert lamb, with and where they want to work. As proud to have the Relyeas join Louis Managing Director roberto mauro, more of the world’s best artists choose and Gino Quilico, and Victor and Artistic Administrator us, you, the audience, are the ultimate Russell Braun as COC father-son Jeremy elbourne, beneficiary; the better the artists, opera stars. Director of Marketing the better the art on stage. Is it any Claudine Domingue, Director of Public Relations wonder why welcoming new artists to Opera is a synthesis of many art forms, and a huge part of its presentation is Christie Darville, our company is a particular pleasure Director of Development the theatrical and visual aspect. Zhang of mine? Editors: Huan, our Semele director, is a visual suzanne vanstone, This spring it is our privilege to have artist of great renown and his ability Senior Communications Manager, Editorial the legendary Catherine Malfitano to merge art forms is second nature. gianna Wichelow, join us to direct our new double bill – Zhang has placed this production of Senior Communications Manager, Creative Zemlinsky’s A Florentine Tragedy Handel’s Baroque masterpiece within Editors E-mail: editor@coc.ca and Puccini’s Gianni Schicchi.
    [Show full text]