DOCSLIB.ORG

The Future of Opera

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Future of Opera May 2015 • Classical Singer Convention Program The Future of Opera Audition 101 for Opera Singers convention Chicago, May 21-24 Schedule and Details Inside U.S.A. $6.50 • Can $8.70 Top: Brian Jagde and Richard Ollarsaba as Cavaradossi and Angelotti in Lyric Opera of Chicago’s production of Tosca, 2015 Bottom: Norman Garrett and Hlengiwe Mkhwanazi as Jake and Clara in Lyric Opera of Chicago’s Porgy and Bess, 2014 photo by Todd Rosenberg The Future photo by Todd Rosenberg of Opera BY MEGAN GLOSS Chicago is not only home to one of the top opera houses in the U.S., but that opera house also hosts one of the best Young Artist Programs in the country. Several of the 15 fortunate young artists currently participating in the program, along with the faculty and staff who provide their training and support, share with readers this month what makes this program so truly remarkable. The Patrick G. and Shirley W. Ryan Opera Center at the Lyric Opera of Chicago is much more than just a training ground for the classical singing stars of tomorrow. 26 Classical Singer / May 2015 The Future of Opera Amanda Majeski and Daveda Karanas as Marta and Liese in Lyric Opera of Chicago’s production of The Passenger, 2015 ichard Ollarsaba dreams of making his mark on the world of opera. R A bass-baritone with an ever- growing list of impressive accomplishments under his belt—including leading roles with Opera Cleveland, Tulsa Opera, and Minnesota Opera—the 27-year-old is honing his craft by working alongside the most established professionals in the industry as a member of one of the most elite training grounds in the country: The Patrick G. and Shirley W. Ryan Opera Center at the world-renowned Lyric Opera of Chicago. For four decades, the prestigious program located in the heart of the Windy City has been credited with helping launch the careers of some of opera’s finest singers, while also attracting some of the most promising up-and-coming vocal talent from around the world. Now in his third year as a member of the Ryan Opera Center ensemble, Ollarsaba is poised to make his dream a reality, studying under some of the very best the industry has to offer as well as growing in his artistry alongside other budding young artists in a creatively stimulating and supportive environment. “I consider myself very lucky I entered the Ryan Center when I did,” Ollarsaba says. “The group of singers I’ve been able to call my peers are some of the most talented young singers I’ve ever seen. We’re able to challenge and inspire each other to work even harder than we already do, all the while being incredibly supportive. Everyone has their own trajectory on what they all want to accomplish in the short term, but we all share the same passion for singing and performing that hopefully will have the same end result so we can be performing together for the rest of our careers. “Along with what’s given to us through the Ryan Center, I feel even more of our education comes from each other. Where one singer’s strength is another singer’s current project, we all subliminally create an atmosphere that drives us to be better in all facets.” About the Program Celebrating its 40th anniversary, the Patrick G. and Shirley W. Ryan Opera Center was established in 1974 as the professional artist development program for the Lyric Opera of Chicago. Since then, it has been recognized photo byMichael Brosolow www.classicalsinger.com 27 The Future of Opera Andriana Chuchman and Mariusz Kwiecień as Zerlina and the title role in Lyric Opera of Chicago’s production of Don Giovanni, 2014 worldwide as one of the finest programs of its kind, giving the most seasoned and promising young performers a diverse offering of high-level training and experience that is unparalleled. The aim is to fine-tune the skills necessary for these aspiring young artists to both launch and sustain a professional career. The program assists them not only with advanced vocal training, language work, dramatic courses, and performance experience, but it also prides itself on prepping the singers for auditions beyond their time at the Ryan Opera Center, for both opera companies and management representation. At the helm of the program is Director Dan Novak, Music Director Craig Terry and—new to the program—Director of Vocal Studies Julia Faulkner. The incomparable soprano Renée Fleming acts as the program’s advisor. “First and foremost, our program wouldn’t be what it is today were we not standing photo by Michael Brosilow (L to R) J’nai Bridges, Julie Miller, and Laura Wilde as the Three Ladies from The Magic Flute and and Logan Neuschaefer as Sam in Lyric Opera of Chicago’s production of The Magic Victrola, 2015 photo by Todd Rosenberg 28 Classical Singer / May 2015 The Future of Opera on some terrific shoulders,” says can be quite a major attraction for singers Singers that are selected for the Novak, who has acted as director of the that are interested in the program.” program begin an intensive, one- program since 2013. “Looking back year residency, which includes on our history, I think an area where we The Audition Process everything from coaching sessions and particularly evolved was stepping up the Each year, the Ryan Opera Center masterclasses to performance and role degree to which we hear auditions. We selects singers from a pool of nearly 500 cover experience in the Lyric Opera hear many auditions at many audition hopeful applicants, beginning with a of Chicago’s mainstage productions sites. We cast a wider net that way.” prescreening process. throughout the season. Singers also Another tremendous advancement in “Technology has made it so easy that participate in Ryan Opera Center the program, Novak says, was enabling we can accept applicants through video,” concerts and recitals. young artists to gain invaluable hands- Novak says. “And we hear every video Singers have the option to audition for on experience by participating in the that is sent. From there, we decide who a second year in the program, and many Lyric Opera of Chicago’s mainstage will be granted a live audition. We’ll remain for a third year. productions. also do some traveling to hear singers at Each opportunity in the program But the program takes onstage summer programs in St. Louis and Santa holds fast to giving high-level singers experience even further than that. Fe—places like that. We, of course, are the training and tools they need to get “In addition to attracting terrific looking for singers of a certain level— to the next level of both their artistic and young artists to the program, we offer young artists we can enhance in their professional development. the opportunity for singers not only to development when they come to us.” “I think the thing we work very hard take part in mainstage productions but Throughout the next six months, to do is provide opportunities for these to understudy major roles,” Novak says. the audition panel will hear singers live singers that lead to successful careers,” “On occasion, they’ve been asked to step in a variety of locations, with the final Novak says. in for them at the performance level. It auditions taking place in Chicago. CELEBRATING AN INTENSE TWO WEEK PROGRAM WITH DYNAMIC OPERA PROFESSIONALS 13 YEARS CONTEMPORARY AMERICAN SINGERS’ COMMERCIAL MUSIC OPERA PROJECTINC. Vocal Pedagogy Institute 2015 OF NORTH CAROLINA July 18–26 FOUNDED BY NANCY STOKES-MILNES Somatic Voicework™ – The HANSEL & GRETEL LoVetri Method (Level I, II, III) Sung in English with Chamber Orchestra Additional courses offered: May 30 to June 14 • Treatment of the Injured Singer with Dr. Wendy LeBorgne • The Body Sings: Deepening the Somatic with Suzan Postel “INTRO TO OPERA” • The CCM Choral Singer with Edward Reisert High School Program All courses are $390 and earn one graduate credit. Maximum Enrollment of 10 Application deadline: May 15, 2015 June 6 to June 14 CONTACT US TO SIGN UP: 540-665-4556 | [email protected] | ccminstitute.com BARBARA DEMAIO CAPRILLI FOR MORE INFO For information: ARTISTIC DIRECTOR : Call 540-665-4600 RICHARD HEARD E-mail: [email protected] asop-inc.org www.su.edu/tvpc EXECUTIVE DIRECTOR Shenandoah University is an Equal Opportunity Educational Institution/Employer. www.classicalsinger.com 29 The Future of Opera Gaining Invaluable Experience Amber Wagner as Leonora in Lyric Opera of Chicago’s production of Il trovatore, 2014 Day-to-day activities vary for the singers, from rehearsals and performances to music and language coachings; courses in movement, dance, acting, and improvisation; and masterclasses with acclaimed instructors and artists. One instructor the singers work with regularly is Faulkner, a soprano with an impressive performance résumé in her own right. She joined the Ryan Opera Center as its director of vocal studies from a lengthy tenure as a voice instructor at the University of Wisconsin–Madison. Two of her former students—Emily Birsan and James Kryshak—participated in the Ryan Opera Center. “It’s very gratifying when your students can get you a job,” Faulkner says. “I wear two hats in the program. There is the voice teacher component as well as the advising component of helping singers find the right teacher, which is a really important thing. I also give advice on vocal health.” Additionally, she assists the singers with repertoire choices and works with them on how they might be perceived in auditions. Offering counsel is a valuable piece of the puzzle.
Load more

Recommended publications
  • TURANDOT Cast Biographies
    TURANDOT Cast Biographies Soprano Martina Serafin (Turandot) made her San Francisco Opera debut as the Marshallin in Der Rosenkavalier in 2007. Born in Vienna, she studied at the Vienna Conservatory and between 1995 and 2000 she was a member of the ensemble at Graz Opera. Guest appearances soon led her to the world´s premier opera stages, including at the Vienna State Opera where she has been a regular performer since 2005. Serafin´s repertoire includes the role of Lisa in Pique Dame, Sieglinde in Die Walküre, Elisabeth in Tannhäuser, the title role of Manon Lescaut, Lady Macbeth in Macbeth, Maddalena in Andrea Chénier, and Donna Elvira in Don Giovanni. Upcoming engagements include Elsa von Brabant in Lohengrin at the Opéra National de Paris and Abigaille in Nabucco at Milan’s Teatro alla Scala. Dramatic soprano Nina Stemme (Turandot) made her San Francisco Opera debut in 2004 as Senta in Der Fliegende Holländer, and has since returned to the Company in acclaimed performances as Brünnhilde in 2010’s Die Walküre and in 2011’s Ring cycle. Since her 1989 professional debut as Cherubino in Cortona, Italy, Stemme’s repertoire has included Rosalinde in Die Fledermaus, Mimi in La Bohème, Cio-Cio-San in Madama Butterfly, the title role of Manon Lescaut, Tatiana in Eugene Onegin, the title role of Suor Angelica, Euridice in Orfeo ed Euridice, Katerina in Lady Macbeth of Mtsensk, the Countess in Le Nozze di Figaro, Marguerite in Faust, Agathe in Der Freischütz, Marie in Wozzeck, the title role of Jenůfa, Eva in Die Meistersinger von Nürnberg, Elsa in Lohengrin, Amelia in Un Ballo in Machera, Leonora in La Forza del Destino, and the title role of Aida.
    [Show full text]
  • Subscribers Save up to 49%
    SUBSCRIBERS SAVE UP TO 49% DON GIOVANNI RUSALKA THE ELIXIR OF LOVE CARMEN THE 2015-2016 SEASON AT THE KAUFFMAN CENTER FOR THE PERFORMING ARTS 1 Few experiences on earth reveal the sheer beauty of the human voice quite like it. Opera has the power to move, to change, to enthrall and to delight. It touches our every emotion and leaves us breathless. Lyric Opera of Kansas City is thrilled to include four spectacular works for this upcoming season. Don Giovanni, Mozart’s haunting tale of lust and ultimate consequence, is updated to the smoky days of film noir, complete with fedoras and femme fatales. Rusalka is Dvořák’s lush and enchanting legend of a mermaid whose desperate quest for love means sacrificing her very self. The Elixir of Love, from Donizetti, is a delightful, bright and funny romp in a charming small town where snake oil may actually work. And finally, Carmen, Bizet’s sweeping masterpiece of seduction and betrayal, is complete with flaming dress and fighting bull. The 2015-16 season will dazzle, seduce, thrill and charm with each performance. Lyric Opera brings the best and the brightest artists to Kansas City, so don’t miss your chance to secure your seat. Our Season Ticket offers have more options than ever before, so order yours today! © Aaron Lindberg Lindberg © Aaron 21 Order tickets today at kcopera.org or call 816.471.7344 Subscriptions START AT JUST $79! © Aaron Lindberg Lindberg © Aaron Dark shadows hide mistaken identities while intrigue and revenge abound. © Patrick Pfister for Kentucky Opera Order tickets today at kcopera.org or call 816.471.7344 September 26 - October 4, 2015 MOZART'S Dark Desires and Destiny.
    [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]
  • Christine Brewer, Soprano and Craig Terry, Piano
    Old Dominion University 2018-2019 F. Ludwig Diehn Concert Series Christine Brewer, soprano Craig Terry, piano Concert: October 15, 7:30 p.m. Master Class: October 16, 12:30 p.m. Wilson G. Chandler Recital Hall F. Ludwig Diehn Center for the Performing Arts arts@odu Program Dich, teure Halle Richard Wagner (1813 – 1883) from Tannhäuser Wesendonck Lieder Richard Wagner Der Engel Stehe Still Im Treibhaus Schmerzen Träume September Richard Strauss (1864 – 1949) from Vier Letzte Lieder Ich liebe dich Allerseelen Breit über mein Haupt Zueignung INTERMISSION With a Song in My Heart Richard Rodgers (1902 – 1979) from Spring is Here Sing to Me, Sing Sidney Homer (1864 – 1953) Review Celius Dougherty (1902 – 1986) Hickory Hill Paul Sargent (1910 – 1987) Come Rain or Come Shine Harold Arlen (1905 – 1986) I Had Myself a True Love from St. Louis Woman Happiness is Just a Thing Called Joe Harold Arlen from Cabin in the Sky When I Have Sung My Songs Ernest Charles (1895 – 1984) Love Went A-Riding Frank Bridge (1879 – 1941) An endowment established at the Hampton Roads Community Foundation, made possible by a generous gift from F. Ludwig Diehn, funds this program. Translations Dich, teure Halle – Tannhäuser Be Still! – Stehe Still! by Richard Wagner Hurrying, scurrying wheel of time Marking out eternity; You, dear hall, I greet again... Glowing spheres in distant space I gladly greet you, beloved room! Circling us with gravity; All sempiternal generation, cease! In you, I still hear his songs Enough of that – let me know peace! Which waken me from my gloomy dream When he departed from you Desist, now, creative powers; How desolate you appeared to me.
    [Show full text]
  • Media Release
    Media Release FOR IMMEDIATE RELEASE: July 16, 2019 Contact: Edward Wilensky (619) 232-7636 [email protected] San Diego Opera’s 2019-2020 Season Opens with Verdi’s masterpiece Aida Verdi specialist Michelle Bradley to make Company debut as Aida Theatrical Concert Opera will use sets, costumes, and lighting with the San Diego Symphony, San Diego Opera Chorus, and principal singers on stage Tenor Carl Tanner makes welcome return as Radames San Diego, CA – Verdi’s beloved opera Aida opens San Diego Opera’s 2019-2020 season in an entirely new theatrical concert performance utilizing set elements, costumes, lighting, and featuring the San Diego Symphony and San Diego Opera chorus onstage, alongside some of the greatest interpreters of Verdi’s music performing today. Aida opens on October 19, 2019 for four performances. Additional performances are October 22, 25, and 27 (matinee), 2019. All evening performances for the 2019-2020 season will begin at 7:30 PM for the convenience of our audiences. The matinee will remain at 2 PM. Assembled for the opening opera of the season is an exciting cast of singers including the Company debut of soprano Michelle Bradley as Aida who is quickly becoming one of the most sought after Verdi sopranos performing today. Making a welcome return to San Diego Opera in the role of Radames is tenor Carl Tanner who was last heard in San Diego Opera’s 2018 production of Turandot as Calaf. Also making house debuts are mezzo-soprano Olesya Petrova as Amneris and baritone Nelson Martinez as Amonasro. Bass Mikhail Svetlov returns to sing the King of Egypt, having last been heard as Ambimelech in 2013’s Samson and Delilah.
    [Show full text]
  • Season Premiere of Tosca Glitters
    2019–20 Season Repertory and Casting Casting as of November 12, 2019 *Met debut The Gershwins’ Porgy and Bess By George Gershwin, DuBose and Dorothy Heyward, and Ira Gershwin New Production Sep 23, 27, 30, Oct 5mat, 10, 13mat, 16, Jan 8, 11, 15, 18, 24, 28, Feb 1mat Conductor: David Robertson Bess: Angel Blue/Elizabeth Llewellyn* Clara: Golda Schultz/Janai Brugger Serena: Latonia Moore Maria: Denyce Graves Sportin’ Life: Frederick Ballentine* Porgy: Eric Owens/Kevin Short Crown: Alfred Walker Jake: Ryan Speedo Green/Donovan Singletary Production: James Robinson* Set Designer: Michael Yeargan Costume Designer: Catherine Zuber Lighting Designer: Donald Holder Projection Designer: Luke Halls The worldwide copyrights in the works of George Gershwin and Ira Gershwin for this presentation are licensed by the Gershwin family. GERSHWIN is a registered trademark of Gershwin Enterprises. Porgy and Bess is a registered trademark of Porgy and Bess Enterprises. A co-production of the Metropolitan Opera; Dutch National Opera, Amsterdam; and English National Opera Production a gift of The Sybil B. Harrington Endowment Fund Additional funding from Douglas Dockery Thomas Manon Jules Massenet Sep 24, 28mat, Oct 2, 5, 19, 22, 26mat ____________________________________________________________________________________________________________ PRESS DEPARTMENT The Metropolitan Opera Press: 212.870.7457 [email protected] 30 Lincoln Center Plaza General: 212.799.3100 metopera.org New York, NY 10023 Fax: 212.870.7606 Conductor: Maurizio Benini Manon: Lisette Oropesa Chevalier des Grieux: Michael Fabiano Guillot de Morfontaine: Carlo Bosi Lescaut: Artur Ruciński de Brétigny: Brett Polegato* Comte des Grieux: Kwangchul Youn Production: Laurent Pelly Set Designer: Chantal Thomas Costume Designer: Laurent Pelly Lighting Designer: Joël Adam Choreographer: Lionel Hoche Associate Director: Christian Räth A co-production of the Metropolitan Opera; Royal Opera House, Covent Garden, London; Teatro alla Scala, Milan; and Théâtre du Capitole de Toulouse Production a gift of The Sybil B.
    [Show full text]
  • Brian Jagde Has Quickly Emerged As One of the Most Engaging and Exciting Artists of His Generation
    Saverio Clemente Andrea De Amici Luca Targetti American tenor Brian Jagde has quickly emerged as one of the most engaging and exciting artists of his generation. Jagde begins the 2017/18 season in his highly anticipated role debut as Calaf in Turandot at San Francisco Opera, under the baton of Nicola Luisotti. He then travels to Switzerland for his debut at Opernhaus Zürich as Cavaradossi (Tosca) and sings the role later in the season at the Deutsche Oper Berlin. In February 2018, Jagde makes his first appearance at the Het Concertgebouw in Amsterdam as the tenor soloist for a live radio broadcast performance of Verdi's Requiem, with conductor Edo de Waart and the Radio Filharmonisch Orkest. Mr. Jagde will debut as Der Fremde in a new Christof Loy production of Korngold's rarely performed Das Wunder der Heliane at Deutsche Oper Berlin, and returns to the US for his house debut at Seattle Opera as Radamès in Aida. His most recent seasons have featured important role debuts, including Maurizio (Adriana Lecouvreur) at the Royal Opera House; Radamès in a new production of Aida at San Francisco Opera; and Froh (Das Rheingold) in his first appearance with the New York Philharmonic. House debuts have included Pinkerton (Madama Butterfly) at the Brian Jagde Teatro Massimo, Washington National Opera, and Staatsoper Tenor Hamburg; Don José (Carmen) in a new production at the Teatro San Carlo and the Bayerische Staatsoper; Houston Grand Opera as the Prince (Rusalka); Macduff (Macbeth) at the Teatro Real; Cavaradossi (Tosca) at Oper Stuttgart and Bacchus (Ariadne auf Naxos) at Palm Beach Opera.
    [Show full text]
  • Manon Lescaut Cast Biographies
    Manon Lescaut Cast Biographies Soprano Lianna Haroutounian made her San Francisco Opera debut in 2014's Tosca and returned in 2016 as Cio-Cio-San in Madama Butterfly, a role she recently sang to great acclaim at the Vienna State Opera, Barcelona’s Gran Teatre del Liceu, Hamburg State Opera and Seattle Opera. She opened San Francisco Opera’s 2018–19 Season as Nedda in Pagliacci and makes her role debut with the Company as the title heroine in Manon Lescaut next season. She has performed Elisabetta in Don Carlo at Deutsche Oper; Staatsoper Berlin; Royal Opera, Covent Garden and the Metropolitan Opera. Her operatic appearances also include the title role of Tosca for her Palau de les Arts Reina Sofia debut in Valencia, Leonora in Il Trovatore at Covent Garden, Amelia in a concert performance of Simon Boccanegra at Amsterdam’s Royal Concertgebouw and Amelia in Un Ballo in Maschera in Bern and Tours. Upcoming performances include the title role of Iolanta at the Palau de les Arts Reina Sofia, Elisabetta at Hamburg State Opera and Leonora in a new production of Il Trovatoreat the Teatro Real in Madrid. Tenor Brian Jagde made his San Francisco Opera debut in 2010 as Joe in La Fanciulla del West and has returned to the Company as Cavaradossi in the new production of Tosca, Calaf in Turandot, Radames in Aida, Don José in Carmen and Pinkerton in Madama Butterfly. Recent highlights for the American tenor include Don José at Royal Opera, Covent Garden; Cavaradossi at the Opernhaus Zürich, San Carlo Opera Festival and Deutsche Oper Berlin; the Verdi Requiem at Amsterdam’s Royal Concertgebouw; Der Fremde in Korngold’s Das Wunder der Heliane at Deutsche Oper Berlin; Maurizio in Adriana Lecouvreur at Covent Garden and Radames at Seattle Opera.
    [Show full text]
  • Performer Biographies
    TOSCA Performer Biographies Making both her San Francisco Opera and role debuts as Tosca, soprano Carmen Giannattasio first received international notice after a first-place win at the 2002 Operalia competition in Paris, followed in 2007 by a tour-de-force performance as Violetta in Scottish Opera’s production of La Traviata. As equally comfortable in bel canto as she is in Verdi and Puccini, she has distinguished herself in the title role of Norma at Munich’s Bavarian State Opera, Violetta at the Metropolitan Opera, Mimì in La Bohème at the Deutsche Oper Berlin, Alice Ford in Falstaff at Teatro alla Scala and Vienna State Opera, Leonora in Il Trovatore at Vienna State Opera, and Nedda in Pagliacci at Dresden’s Semperoper and the Royal Opera House, Covent Garden, among other roles. Upcoming engagements include Hélène in Les Vêpres Siciliennes at the Bavarian State Opera, Margherita in Mefistofele at the Bavarian State Opera and Chorégies d'Orange, and Amalia in I Masnadieri at the Opéra de Monte-Carlo. Tenor Brian Jagde (Mario Cavaradossi) made his San Francisco Opera debut in 2010 as Joe in La Fanciulla del West and most recently returned to the Company as Calaf in Turandot, Radames in Aida, Don José in Carmen, and Pinkerton in Madama Butterfly. Last season, Jagde made role debuts as Maurizio in Adriana Lecouvreur at the Royal Opera House, Covent Garden and Froh in Das Rheingold in his first appearance with the New York Philharmonic. He also performed as Pinkerton in a house debut at Washington National Opera, and he sang for the first time at Madrid’s Teatro Real as Macduff in Macbeth and at Oper Stuttgart as Cavaradossi.
    [Show full text]
  • Santa Fe Opera, 2012 Maometto II Triumphs in a Solid Season
    1 Opera con Brio, LLC October 2012 Opera con Brio Fall 2012 Richard B. Beams Santa Fe Opera, 2012 Maometto II Triumphs in a Solid Season After many years of attending performances of opera, including all thirty-nine of Rossini’s works for stage, I occasionally leave a performance that is so compelling, powerful and moving that I find myself saying, this is why I still go to the opera. Such an occasion was the production of Rossini’s rarely encountered ambitious opera seria, Maometto II, given a truly festival-level performance during the summer of 2012 at the always-enticing Santa Fe opera. Indeed one could utter the same sentiments for the five-opera season itself, one of the more satisfying and artistically sound in recent memory, with its wide ranging and engaging array of the familiar, Puccini’s Tosca, to the esoteric, Karl Szymanowski’s bewilderingly symbolic King Roger. A Monumental Work from the Past In his essay introducing the opera in the Santa Fe program book, renowned musicologist and Rossini expert Philip Gossett calls Maometto II “one of the greatest serious operas written during the 19th century,” an assertion he has been making now for many years. Rightly so. I first realized the validity of this assertion at the modern premiere of the work in 1985 at the Rossini Opera Festival held each year in Rossini’s birthplace, Pesaro, Italy. The young Samuel Ramey was mesmerizing as the titular Maometto; the waif-like soprano, Cecelia Gasdia, a Gossett protégé, poignantly expressive in every wrenching phrase; Chris Merritt, at the height of his career, a thrilling, clarion Rossini tenor as Ann’s father, Paolo Erisso; and the exquisite rich-toned contralto, Lucia Valentini-Terrani (who sadly would die of cancer all too soon) in the trouser role of Calbo, Anna’s betrothed.
    [Show full text]
  • THE METROPOLITAN OPERA Subject to Change 2019-20 TOLL BROTHERS-METROPOLITAN OPERA INTERNATIONAL RADIO NETWORK SEASON As of 2/20/2019
    THE METROPOLITAN OPERA Subject to change 2019-20 TOLL BROTHERS-METROPOLITAN OPERA INTERNATIONAL RADIO NETWORK SEASON as of 2/20/2019 On- Off- Delay Delay Last Date Opera INT Air Air start end Broadcast 2019 October 12 TURANDOT (Puccini) 1:00 4:22 2 3/24/2018 HD** Yannick Nézet-Séguin; Christine Goerke (Turandot), Eleonora Buratto (Liù), Roberto Aronica (Calàf), James Morris (Timur) October 26 MANON (Massenet) Maurizio Benini; Lisette Oropesa (Manon), Michael Fabiano (Chevalier des Grieux), Carlo Bosi (Guillot de Morfontaine), 1:00 5:12 2 3/21/2015 HD** Artur Ruciński (Lescaut), Brett Polegato (de Brétigny), Kwangchul Youn (Comte des Grieux) November 9 MADAMA BUTTERFLY (Puccini) 1:00 4:32 2 3/3/2018 HD** Pier Giorgio Morandi; Hui He (Cio-Cio-San), Elizabeth DeShong (Suzuki), Andrea Carè (Pinkerton), Plácido Domingo (Sharpless) November 23 AKHNATEN (Philip Glass) – New Production/Met Premiere Network Karen Kamensek; Dísella Lárusdóttir (Queen Tye), J'nai Bridges (Nefertiti), Anthony Roth Costanzo (Akhnaten), 1:00 4:56 2 HD** Premiere Aaron Blake (High Priest of Amon), Will Liverman (Horemhab), Richard Bernstein (Aye), Zachary James (Amenhotep) December 7 AKHNATEN (Philip Glass) – New Production/Met Premiere Network Karen Kamensek; Dísella Lárusdóttir (Queen Tye), J'nai Bridges (Nefertiti), Anthony Roth Costanzo (Akhnaten), 1:00 4:45 2 First SatMat Premiere Aaron Blake (High Priest of Amon), Will Liverman (Horemhab), Richard Bernstein (Aye), Zachary James (Amenhotep) December 14 THE QUEEN OF SPADES (Tchaikovsky) Vasily Petrenko; Lise Davidsen
    [Show full text]
  • Minnesota Opera Announces 2015-2016 Season
    FOR IMMEDIATE RELEASE: February 21, 2015 Contact: Julie Behr, Communications Manager, 612-342-1612, [email protected] Minnesota Opera Announces 2015-2016 Season From world premieres of contemporary works to timeless classics. MINNEAPOLIS (February 21, 2015) – Minnesota Opera presents five operas in its 2015-2016 season, which includes the highly anticipated world-premiere thriller, The Shining, by Pulitzer Prize- winner Paul Moravec. Other season highlights include Puccini’s Tosca, an encore of Mozart’s The Magic Flute, Dvořák’s Rusalka and the first Minnesota Opera production of Strauss’ Ariadne auf Naxos in three decades. “I am pleased to announce Minnesota Opera’s new season filled with masterpieces, passionate performers, intriguing stories and beautiful music,” said General Director Nina Archabal. “These five accessible operas range from a suspenseful new production to one of Puccini’s most popular works. I extend my heartfelt gratitude to our audiences and the greater community for their generous support, which allows Minnesota Opera to bring the highest quality artistic product to the stage.” Artistic Director Dale Johnson continues, “Each season, we embark on an exciting journey with our audience, sharing unforgettable moments in the theater, which may bring tears to our eyes or send chills up our spines. This season will prove to be just as stunning!” “Our offerings in 2015-2016 make me beam with pride to be a member of this dynamic artistic team,” said Music Director Michael Christie. “This quintessential Minnesota Opera season highlights beloved blockbusters and an attention-grabbing world premiere sure to dazzle our audiences both vocally and visually.” ARIADNE AUF NAXOS by Richard Strauss September 26, October 1, 3 and 4, 2015 Sung in German with English translations projected above the stage.
    [Show full text]