DOCSLIB.ORG

Otello Otello Amb El Suport De: Otello - Giuseppe Verdi

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Otello Otello Amb El Suport De: Otello - Giuseppe Verdi Otello GIUSEPPE VERDI Temporada 2020-2021 Temporada Amb el suport de: Otello - Giuseppe Verdi Tornar a l'índex Patronat de la Fundació del Gran Teatre del Liceu Comissió Executiva de la Fundació del Gran Teatre del Liceu President d'honor President President de la Generalitat de Catalunya Salvador Alemany Mas President del patronat Vocals representants de la Generalitat de Catalunya Salvador Alemany Mas Àngels Ponsa Roca, Lluís Baulenas Cases Vicepresidenta primera Vocals representants del Ministerio de Cultura y Deporte Àngels Ponsa Roca Amaya de Miguel Toral, Antonio Garde Herce Vicepresidenta segona Vocals representants de l'Ajuntament de Barcelona Andrea Gavela Llopis Joan Subirats Humet, Marta Clarí Padrós Vicepresident tercer Vocal representant de la Diputació de Barcelona Joan Subirats Humet Joan Carles Garcia Cañizares Vicepresidenta quarta Vocals representants de la Societat del Gran Teatre del Núria Marín Martínez Liceu Vocals representants de la Generalitat de Catalunya Javier Coll Olalla, Manuel Busquet Arrufat Lluís Baulenas Cases, Irene Rigau Oliver, Rosa Tubau LLorià, Vocals representants del Consell de Mecenatge Àngels Barbarà Fondevila Luis Herrero Borque, Elisa Durán Montolío Vocals representants del Ministerio de Cultura y Deporte Secretari Javier García Fernández, Amaya de Miguel Toral, Joan Francesc Joaquim Badia Armengol Marco Conchillo, Santiago de Torres Sanahuja Director general Vocals representants de l'Ajuntament de Barcelona Valentí Oviedo Cornejo Marta Clari Padrós, Josep Maria Vallès Casadevall Vocal representant de la Diputació de Barcelona Joan Carles Garcia Cañizares Vocals representants de la Societat del Gran Teatre del Liceu Javier Coll Olalla, Manuel Busquet Arrufat, Ignasi Borrell Roca, Josep Maria Coronas Guinart, Àgueda Viñamata y de Urruela Vocals representants del Consell de Mecenatge Luis Herrero Borque, Elisa Durán Montolío, José Manuel Casas Aljama, Alfonso Rodés Vilà Patrons d'honor Josep Vilarasau Salat, Manuel Bertrand Vergès Secretari no patró Joaquim Badia Armengol Director general Valentí Oviedo Cornejo 2 Otello - Giuseppe Verdi Tornar a l'índex Gràcies per fer-ho possible Patrocinadors Aniversari Mecenes 3 Otello - Giuseppe Verdi Tornar a l'índex Mitjans de comunicació Patrocinadors 4 Otello - Giuseppe Verdi Tornar a l'índex Protectors Benefactors Carlos Abril Rosa Cullell Calamanda Grifoll Miquel Roca Muntsa Alcañiz M. Dolors i Francesc Poppy Grijalbo Pedro Roca-Cusachs Salvador Alemany Francisco Egea Francesca Guardiola Alfonso Rodés Fernando Aleu Fernando Encinar Maria Guasch Gonzalo Rodés José Aljaro Joan Esquirol Bernardo Hernández Josep Sabé Lidia Arcos Patricia Estany Pepita Izquierdo Francisco Salamero Josep Balcells Marisa Falcó Gabriel Jené Josep Ll. Sanfeliu Joaquim Barraquer Magda Ferrer-Dalmau Mónica Lafuente Lluís Sans David Barroso Albert Foraster Sofia Lluch Maria Soldevila Núria Basi Mercedes Fuster Ma. Teresa Machado Jordi Soler Manuel Bertran José Gabeiras Waltraud Maczassek Karen Swenson Manuel Bertrand Jorge Gallardo Rocio Maestre Manuel Terrazo Agustí Bou Pau Gasol Ángel Martínez August Torà Josep M. Bové Francisco Gaudier Jaume Mercant Ernestina Torelló Carmen Buqueras Anna Gener Josep Milian Josep Turró Marc Busquets Lluís M. Ginjaume Verónica Mimoun Joan Uriach Cucha Cabané Ezequiel Giró José M. Mohedano Joaquim Uriach Jordi Calonge Enric Girona Juan Molina-Martell Marta Uriach Joan Camprubi M. Inmaculada Gómez Joan Molins Manuel Valderrama Montserrat Cardelús Andrea Gömöry Josep Oliu Josep Viader Aurora Catà Casimiro Gracia M. Carmen Pous Josep Vilarasau Ramon Centelles Jaume Graell Marian Puig Maria Vilardell † Guzmán Clavel Francisco A. Granero Francisco Reynés Salvador Viñas Sergio Corbera Pere Grau Blanca Ripoll 5 Otello - Giuseppe Verdi Tornar a l'índex Col·laboradors Gràcies per fer-ho possible 6 Otello - Giuseppe Verdi Tornar a l'índex Saqueig Ara ets una altra. Com un vent del desert bufa la mort deixant-te el rostre sec per la morfina. En un vol ràpid passa una oreneta creuant, lluent, aquesta llum taronja de la finestra encesa de la cambra. Amb el teu vol potser ja has arribat a la clara terrassa on a l’estiu la teva veu alegre platejava el crepuscle. Te n’has anat i queda aquest cos devastat per un saqueig que m’estimo com t’he estimat a tu. Joana, 2002 Joan Margarit 7 Otello - Giuseppe Verdi Tornar a l'índex 12 21 Fitxa tècnica Amb el teló abaixat 16 33 Orquestra Sobre la producció 13 29 Fitxa artística Otello Víctor Garcia 18 de Gomar 37 14 Cor Argument de l'obra Repartiment 43 Comentaris musicals 8 Otello - Giuseppe Verdi Tornar a l'índex 47 87 Tanta Biografies Desdemona avui Marta Sanz 76 Cronologia 57 Entrevista a Carlos Álvarez 84 Playlist 66 Otello Víctor Garcia de Gomar L'Otello al Liceu Jaume Tribó 9 Otello - Giuseppe Verdi Tornar a l'índex Temporada 2020 / 21 10 Otello - Giuseppe Verdi Tornar a l'índex Més de 85 anys construint una gran marca. A la Mutua, tot el que fem és per i per als nostres clients. Per això, treballem cada dia per oferir-los millors productes i serveis. 900 555 555 segueix-nos a www.mutua.es 11 Liceu- Anuncio INSTITUCIONAL 165x240 CAT.indd 1 4/3/21 9:35 Otello - Giuseppe Verdi Tornar a l'índex Otello Primera part: Durada aproximada: GIUSEPPE VERDI 70 min / pausa: 2h 50m 2 0 min / Dramma lirico en quatre actes Llibret d’Arrigo Boito basat en l’obra de William segona part: Shakespeare Funcions: 27, 28, 30 i 31 de març, 6, 7, 9, 10, 12, 13 i 14, d'abril del 2021 70 min 5 de febrer de 1887: estrena absoluta, al Teatro alla Scala de Milà 19 de novembre de 1890: estrena a Barcelona, al Gran Teatre del Liceu 7 de febrer de 2016: darrera representació al Liceu Total de representacions al Liceu: 165 Març 2021 Torn 27 19 h C 28 17 h T 30 19 h A 31 19 h PA Abril 2021 Torn 6 19 h G 7 19 h PC 9 19 h E 10 18 h F 12 19 h D 13* 19 h PE 14 19 h B (*): Amb audiodescripció 12 Otello - Giuseppe Verdi Tornar a l'índex Fitxa artística Direcció musical Assistència a la il·luminació Gustavo Dudamel Benedikt Zehm Direcció d'escena Producció Amélie Niermeyer Bayerische Staatsoper (Munic) Reposició Cor del Gran Teatre del Liceu Georgine Balk Conxita Garcia, directora Coreografia Orquestra Simfònica del Gran Teatre Thomas Wilhelm del Liceu Escenografia Concertino Christian Schmidt Kai Gleusteen Vestuari Assistència a la direcció musical Annelies Vanlaere Massimo Spadano Il·luminació Mestres assistents musicals Olaf Winter Véronique Werklé, Vanessa García, Jaume Tribó, David-Huy Nguyen-Phong. Vídeocreador Philipp Batereau Assistència a la direcció d’escena Albert Estany Assistència al moviment Giulia Giammona 13 Otello - Giuseppe Verdi Tornar a l'índex Repartiment Otello Gregory Kunde: 27, 30 març, 6, 9, 12 i 14 abril Jorge de León: 28, 31 març, 7, 10, 13 abril Jago Carlos Álvarez: 27, 30 març, 6, 9, 12 i 14 abril Željko Lučić: 28, 31 març, 7, 10, 13 abril Cassio Airam Hernández Roderigo Francisco Vas Lodovico Felipe Bou Montano Fernando Latorre Desdemona Krassimira Stoyanova: 27, 30 març, 6, 9, 12 i 14 abril Eleonora Buratto: 28, 31 març, 7, 10, 13 abril Emilia Mireia Pintó Araldo Gabriel Diap: 27, 30 març, 6, 9, 12 i 14 abril Lucas Groppo: 28, 31 març, 7, 10, 13 abril Amb el suport de: 14 Otello - Giuseppe Verdi Tornar a l'índex “Mai una dona tan plena de pietat ha estat destruïda d’una manera més despietada. Tot s’ha aliat per conduir-la a un anorreament l’abast del qual és incapaç de percebre, de la mateixa manera que la malvestat de Jago ultrapassa la comprensió humana” FIans Kohner, Verdi 15 Otello - Giuseppe Verdi Tornar a l'índex amb el seu director titular, Josep Pons. Josep Pons. titular, amb el seu director L'Orquestra Simfònica del Gran Teatre del Liceu del Liceu Teatre Simfònica del Gran L'Orquestra Orquestra Simfònica del Gran Teatre del Liceu L'Orquestra Simfònica del Gran Teatre del Liceu és l'orquestra més antiga de l'Estat espanyol. Durant gairebé 170 anys d'història, l'Orquestra del Gran Teatre del Liceu ha estat dirigida per les més grans batutes, d'Arturo Toscanini a Erich Kleiber, d'Otto Klemperer a Hans Knapperstsbusch, de Bruno Walter a Fritz Reiner, Richard Strauss, Alexander Glazunov, Ottorino Respighi, Pietro Mas- cagni, Igor Stravinsky, Manuel de Falla o Eduard Toldrà, fins a arribar als nostres dies amb Riccardo Muti o Kirill Petrenko. Ha estat la protagonista de les estrenes del gran repertori operístic a la península ibèrica del ba- rroc als nostres dies i al llarg de la seva història ha dedicat també una especial atenció a la creació lírica catalana. Va fer el seu debut el 1847 amb un concert simfònic dirigit per Marià Obiols, essent la primera òpera Anna Bolena, de Donizetti. Des de llavors ha actuat de forma continuada durant totes les temporades del Teatre. Internacionalment cal destacar el Concert per la Pau i els Drets Humans, organitzat per la Fundació Onuart, retransmès des de la seu de les Nacions Unides a Ginebra el passat 9 de desembre del 2017. Després de la reconstrucció de 1999 han estat directors titulars Bertrand de Billy (1999-2004), Se- bastian Weigle (2004–2008), Michael Boder (2008–2012) i, des de setembre del 2012, Josep Pons. 16 Otello - Giuseppe Verdi Tornar a l'índex Intèrprets Violí I Flauta Percussió Kai Gleusteen Aleksandra Miletic Manuel Martínez Kostadin Bogdanoski Nieves Aliaño Jordi Mestres Liviu Morna Sandra Luisa Batista Alba Rodríguez Aleksandar Krapovski Oboè Arpa Sergey Maiboroda Barbara Stegemann Tiziana Tagliani Oleg Shport Enric Pellicer Oksana Solovieva Emili Pascual Raul Suárez Yana Tsanova Clarinet Banda en escena Joan Andreu Bella Juanjo Mercadal Oriol Algueró Dolo Payá Oboè Cristina Martín (CLB) Violí II Raúl Pérez Emilie Langlais Fagot Guitarra Liu Jing Guillermo Salcedo Joan Furió Andrea Ceruti M. José Rielo Guillermo Rizzotto Charles Courant Juan Pedro Fuentes Magdalena Kostrzewska Francesc Benítez Mandolina Mijai Morna Eduard Iniesta Sergi Puente Trompa Laetitia Barbera Ionut Pogdoreanu Viola Pablo Cadenas Fulgencio Sandoval Carles Chordà E.
Load more

Recommended publications
  • UNITEL PROUDLY REPRESENTS the INTERNATIONAL TV DISTRIBUTION of Browse Through the Complete Unitel Catalogue of More Than 2,000 Titles At
    UNITEL PROUDLY REPRESENTS THE INTERNATIONAL TV DISTRIBUTION OF Browse through the complete Unitel catalogue of more than 2,000 titles at www.unitel.de Date: March 2018 FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager [email protected] & Marketing [email protected] [email protected] Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director [email protected] [email protected] CONTENT BRITTEN: GLORIANA Susan Bullock/Toby Spence/Kate Royal/Peter Coleman-Wright Conducted by: Paul Daniel OPERAS 3 Staged by: Richard Jones BALLETS 8 Cat. No. A02050015 | Length: 164' | Year: 2016 DONIZETTI: LA FILLE DU RÉGIMENT Natalie Dessay/Juan Diego Flórez/Felicity Palmer Conducted by: Bruno Campanella Staged by: Laurent Pelly Cat. No. A02050065 | Length: 131' | Year: 2016 OPERAS BELLINI: NORMA Sonya Yoncheva/Joseph Calleja/Sonia Ganassi/ Brindley Sherratt/La Fura dels Baus Conducted by: Antonio Pappano Staged by: Àlex Ollé Cat.
    [Show full text]
  • Daniela Schillaci
    IN COLLABORAZIONE Non ci fermeremo mai! con il patrocinio Non deporremo mai la nostra cetra. La nostra voce si alzerà pura e soave per cantare la nostra umanità. Saremo testimoni di bellezza per un sentimento di vera rinascita Premio Lirico e il nostro canto entrerà nei cuori dei buoni Internazionale e farà breccia in quelli di pietra. MARCELLA I nostri giorni saranno cantare e danzare l’amicizia tra i popoli. POBBE Insieme vedremo l’aurora di un nuovo tempo 2020 lasciando nell’aria il profumo della vita. Young Opera Project 2020 CON IL SOSTEGNO Daniela Schillaci Teatro Olimpico di Vicenza Sabato 19 Settembre 2020 ore 21.00 Daniela Schillaci, diplomata in canto al Conservatorio Gioacchino Premio Lirico Internazionale Rossini di Pesaro con il massimo dei voti, vince quale Migliore giovane can- tante il concorso Giuseppe Di Stefano di Trapani nel 1998. MARCELLA POBBE 2020 Inizia immediatamente una brillante carriera che la vede debuttare in Così Gala fan tutte (Despina) all’Opera Giocosa di Savona; Werther (Sophie) a Spoleto; Un ballo in maschera (Oscar) a Venezia e Catania; La sonnambula (Lisa) a Roma, Messina e Palermo; Il cappello di paglia di Firenze (Elena) a Messina e Comitato d’Onore all’Opéra de Lausanne; Turandot (Liù) a Seoul; I Lombardi alla prima crocia- Concert ta al Maggio Musicale Fiorentino; Ariane et Barbe-bleu, Thaïs e Peter Grimes Francesco Rucco a Torino, Elektra e Die Frau ohne schatten al Maggio Musicale Fiorentino; Il Sindaco di Vicenza Silvia Bonino telefono di Menotti (Lucy) a Catania; Carmen all’Opera di Roma, all’Arena di Verona e ad Ascoli Piceno; La serva padrona (Serpina) a Firenze e Roma.
    [Show full text]
  • Musica Lirica
    Musica Lirica Collezione n.1 Principale, in ordine alfabetico. 891. L.v.Beethoven, “Fidelio” ( Domingo- Meier; Barenboim) 892. L.v:Beethoven, “Fidelio” ( Altmeyer- Jerusalem- Nimsgern- Adam..; Kurt Masur) 893. Vincenzo Bellini, “I Capuleti e i Montecchi” (Pavarotti- Rinaldi- Aragall- Zaccaria; Abbado) 894. V.Bellini, “I Capuleti e i Montecchi” (Pavarotti- Rinaldi- Monachesi.; Abbado) 895. V.Bellini, “Norma” (Caballé- Domingo- Cossotto- Raimondi) 896. V.Bellini, “I Puritani” (Freni- Pavarotti- Bruscantini- Giaiotti; Riccardo Muti) 897. V.Bellini, “Norma” Sutherland- Bergonzi- Horne- Siepi; R:Bonynge) 898. V.Bellini, “La sonnanbula” (Sutherland- Pavarotti- Ghiaurov; R.Bonynge) 899. H.Berlioz, “La Damnation de Faust”, Parte I e II ( Rubio- Verreau- Roux; Igor Markevitch) 900. H.Berlioz, “La Damnation de Faust”, Parte III e IV 901. Alban Berg, “Wozzeck” ( Grundheber- Meier- Baker- Clark- Wottrich; Daniel Barenboim) 902. Georges Bizet, “Carmen” ( Verret- Lance- Garcisanz- Massard; Georges Pretre) 903. G.Bizet, “Carmen” (Price- Corelli- Freni; Herbert von Karajan) 904. G.Bizet, “Les Pecheurs de perles” (“I pescatori di perle”) e brani da “Ivan IV”. (Micheau- Gedda- Blanc; Pierre Dervaux) 905. Alfredo Catalani, “La Wally” (Tebaldi- Maionica- Gardino-Perotti- Prandelli; Arturo Basile) 906. Francesco Cilea, “L'Arlesiana” (Tassinari- Tagliavini- Galli- Silveri; Arturo Basile) 907. P.I.Ciaikovskij, “La Dama di Picche” (Freni- Atlantov-etc.) 908. P.I.Cajkovskij, “Evgenij Onegin” (Cernych- Mazurok-Sinjavskaja—Fedin; V. Fedoseev) 909. P.I.Tchaikovsky, “Eugene Onegin” (Alexander Orlov) 910. Luigi Cherubini, “Medea” (Callas- Vickers- Cossotto- Zaccaria; Nicola Rescigno) 911. Luigi Dallapiccola, “Il Prigioniero” ( Bryn-Julson- Hynninen- Haskin; Esa-Pekka Salonen) 912. Claude Debussy, “Pelléas et Mélisande” ( Dormoy- Command- Bacquier; Serge Baudo). 913. Gaetano Doninzetti, “La Favorita” (Bruson- Nave- Pavarotti, etc.) 914.
    [Show full text]
  • Comunicat Intern
    LICEU A LA FRESCA - LA TRAVIATA Giuseppe Verdi Òpera en tres actes. Llibret de Francesco Maria Piave basat en La dame aux camélias d’Alexandre Dumas fill . Gran Teatre del Liceu. Temporada 2014/15 Dissabte 18 de juliol Inici espectacle a les 20h Inici retransmissió Liceu a la Fresca: 21:30h Òpera en texans. Programa sobre La traviata 22h Inici de la retransmissió de l’òpera Durada aproximada: 3h Violetta Valéry Anita Hartig Flora Bervoix Gemma Coma-Alabert Annina Miren Urbieta Vega Alfredo Germont Ismael Jordi Giorgio Germont, el seu pare Leo Nucci Gastone, vescomte de Letorières Jorge Rodríguez-Norton Baró Douphol Toni Marsol Marquès d’Obigny Marc Canturri Doctor Grenvil Fernando Radó Giuseppe, servent de Violetta José Luis Casanova Criat de Flora Miquel Rosales Comissionat Mariano Viñuales Direcció musical Evelino Pidò Direcció d’escena David McVicar Escenografia i vestuari Tanya McCallin Il·luminació Jennifer Tipton Coreografia Andrew George Assistents de la direcció d’escena Marie Lambert i Leo Castaldi Nova coproducció Gran Teatre del Liceu / Scottish Opera (Glasgow) Welsh National Opera (Cardiff) / Teatro Real (Madrid) Orquestra Simfònica i Cor del Gran Teatre del Liceu Direcció del Cor Conxita Garcia Municipis participants Arenys de Mar, Barcelona, Cervera, Girona, Igualada, Lleida, Martorell, Puigcerdà, Tordera, Tortosa, Valls, Vielha 1 ARGUMENT Per David McVicar, director d’escena de La traviata L’acció té lloc a París al segle XIX. ACTE I. A l’apartament de Violetta Violetta Valéry, una coneguda cortesana, ha organitzat una festa per celebrar la seva recuperació d’una greu malaltia. Gastone de Letorières presenta Alfredo Germont a la seva jove i tímida amiga, i assabenta Violetta que ha trucat cada dia interessant-se per la seva salut.
    [Show full text]
  • Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected]
    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-15-2018 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Bourne, Thaddaeus, "Male Zwischenfächer Voices and the Baritenor Conundrum" (2018). Doctoral Dissertations. 1779. https://opencommons.uconn.edu/dissertations/1779 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus James Bourne, DMA University of Connecticut, 2018 This study will examine the Zwischenfach colloquially referred to as the baritenor. A large body of published research exists regarding the physiology of breathing, the acoustics of singing, and solutions for specific vocal faults. There is similarly a growing body of research into the system of voice classification and repertoire assignment. This paper shall reexamine this research in light of baritenor voices. After establishing the general parameters of healthy vocal technique through appoggio, the various tenor, baritone, and bass Fächer will be studied to establish norms of vocal criteria such as range, timbre, tessitura, and registration for each Fach. The study of these Fächer includes examinations of the historical singers for whom the repertoire was created and how those roles are cast by opera companies in modern times. The specific examination of baritenors follows the same format by examining current and
    [Show full text]
  • 1 CRONOLOGÍA LICEÍSTA Se Incluye Un Listado Con Las
    CRONOLOGÍA LICEÍSTA Se incluye un listado con las representaciones de Aida, de Giuseppe Verdi, en la historia del Gran Teatre del Liceu. Estreno absoluto: Ópera del Cairo, 24 de diciembre de 1871. Estreno en Barcelona: Teatro Principal, 16 abril 1876. Estreno en el Gran Teatre del Liceu: 25 febrero 1877 Última representación en el Gran Teatre del Liceu: 30 julio 2012 Número total de representaciones: 454 TEMPORADA 1876-1877 Número de representaciones: 21 Número histórico: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21. Fechas: 25 febrero / 3, 4, 7, 10, 15, 18, 19, 22, 25 marzo / 1, 2, 5, 10, 13, 18, 22, 27 abril / 2, 10, 15 mayo 1877. Il re: Pietro Milesi Amneris: Rosa Vercolini-Tay Aida: Carolina de Cepeda (febrero, marzo) Teresina Singer (abril, mayo) Radamès: Francesco Tamagno Ramfis: Francesc Uetam (febrero y 3, 4, 7, 10, 15 marzo) Agustí Rodas (a partir del 18 de marzo) Amonasro: Jules Roudil Un messaggiero: Argimiro Bertocchi Director: Eusebi Dalmau TEMPORADA 1877-1878 Número de representaciones: 15 Número histórico: 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36. Fechas: 29 diciembre 1877 / 1, 3, 6, 10, 13, 23, 25, 27, 31 enero / 2, 20, 24 febrero / 6, 25 marzo 1878. Il re: Raffaele D’Ottavi Amneris: Rosa Vercolini-Tay Aida: Adele Bianchi-Montaldo Radamès: Carlo Bulterini Ramfis: Antoine Vidal Amonasro: Jules Roudil Un messaggiero: Antoni Majjà Director: Eusebi Dalmau 1 7-IV-1878 Cancelación de ”Aida” por indisposición de Carlo Bulterini.
    [Show full text]
  • |What to Expect from La Bohème
    | What to Exp Ect from la bohème puccInI’S tImeless Story of Love amonG younG artistS In paris THE WORK can stake its claim as the world’s most popular opera. With all the joy and La Bohème sadness of romance, with comedy and tragedy, with scenes ranging from an opera in four acts, sung in Italian the intimate to the grand, La Bohème depicts the full scope of human experi- music by Giacomo puccini ence: wealth and poverty, art and commerce, deception and devotion. But Libretto by Giuseppe Giacosa and at the center of it are the small, often subtle, personal moments that make Luigi Illica, based on the novel Scènes up our everyday lives. de la Vie de bohème by henri murger In La Bohème, students will meet some of the most famous characters first performed on february 1, 1896 in opera—including Rodolfo, the writer; Marcello, the painter; delicate, in turin, Italy sensitive Mimì; and brassy, seductive Musetta. Puccini’s musical portrayal of the Parisian world of garrets, cafés, and nights of ribaldry remains vivid pROducTiOn more than a century after it was created, and his depictions ring true to this Stefano ranzani, conductor day. This guide is designed to help students appreciate both the sentiment franco Zeffirelli, production and the craft of La Bohème. With a variety of activities aimed at enhancing peter J. hall, costume Designer the experience of the Met’s Live in HD transmission, the guide will help Gil Wechsler, Lighting Designer young people connect not only with Puccini’s characters, setting, and music, but also discover some of the tricks of the composer’s trade.
    [Show full text]
  • Introduction: on Not Singing and Singing Physiognomically
    Cambridge University Press 978-1-107-00426-9 - Opera Acts: Singers and Performance in the Late Nineteenth Century Karen Henson Excerpt More information Introduction: On not singing and singing physiognomically Here you are, my dear Berty, an When the French baritone Victor Maurel wrote this image of the Don Giovanni your old to his son from New York City in 1899, he had just papa just presented to the New York enjoyed an extraordinary ten years performing public. In spite of squalls and storms around the world as Giuseppe Verdi’s first Iago and endured on land and sea, the ravages ff of time don’t seem to show up too Falsta , but was heading into the twilight of his much on my physiognomy, which I career, into a last half-decade of appearances in the think has the chic and youthfulness repertory. The note is written on the back of a appropriate to the character. photographic postcard (or “cabinet card”) that cap- ... What do you think? When I tures him on the occasion of one of those appear- have the full set [of photographs] I’ll ances, as Don Giovanni at the Metropolitan Opera. send them to you; in the meantime ’ accept the affectionate kisses of a The image, which is indeed part of a set by the Met s father who loves you dearly.1 first regularly employed photographer, Aimé Dupont, is well known to specialists of historical singing, but Maurel’s personalization of his copy is striking and unique. Along with the wistful reference to his age and the affectionate greeting, the baritone manages to offer a miniature disquisition on the character of Mozart’s anti-hero, whom he hopes to have presented with “chic” and “youthfulness” (Figure 0.1).
    [Show full text]
  • Central Opera Service Bulletin
    CENTRAL OPERA SERVICE BULLETIN WINTER, 1972 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Center Plaza • Metropolitan Opera • New York, N.Y. 10023 • 799-3467 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Canter Plaza • Metropolitan Opera • New York, NX 10023 • 799.3467 CENTRAL OPERA SERVICE COMMITTEE ROBERT L. B. TOBIN, National Chairman GEORGE HOWERTON, National Co-Chairman National Council Directors MRS. AUGUST BELMONT MRS. FRANK W. BOWMAN MRS. TIMOTHY FISKE E. H. CORRIGAN, JR. CARROLL G. HARPER MRS. NORRIS DARRELL ELIHU M. HYNDMAN Professional Committee JULIUS RUDEL, Chairman New York City Opera KURT HERBERT ADLER MRS. LOUDON MEI.LEN San Francisco Opera Opera Soc. of Wash., D.C. VICTOR ALESSANDRO ELEMER NAGY San Antonio Symphony Ham College of Music ROBERT G. ANDERSON MME. ROSE PALMAI-TENSER Tulsa Opera Mobile Opera Guild WILFRED C. BAIN RUSSELL D. PATTERSON Indiana University Kansas City Lyric Theater ROBERT BAUSTIAN MRS. JOHN DEWITT PELTZ Santa Fe Opera Metropolitan Opera MORITZ BOMHARD JAN POPPER Kentucky Opera University of California, L.A. STANLEY CHAPPLE GLYNN ROSS University of Washington Seattle Opera EUGENE CONLEY GEORGE SCHICK No. Texas State Univ. Manhattan School of Music WALTER DUCLOUX MARK SCHUBART University of Texas Lincoln Center PETER PAUL FUCHS MRS. L. S. STEMMONS Louisiana State University Dallas Civic Opera ROBERT GAY LEONARD TREASH Northwestern University Eastman School of Music BORIS GOLDOVSKY LUCAS UNDERWOOD Goldovsky Opera Theatre University of the Pacific WALTER HERBERT GIDEON WALDKOh Houston & San Diego Opera Juilliard School of Music RICHARD KARP MRS. J. P. WALLACE Pittsburgh Opera Shreveport Civic Opera GLADYS MATHEW LUDWIG ZIRNER Community Opera University of Illinois See COS INSIDE INFORMATION on page seventeen for new officers and members of the Professional Committee.
    [Show full text]
  • Kenneth E. Querns Langley Doctor of Philosophy
    Reconstructing the Tenor ‘Pharyngeal Voice’: a Historical and Practical Investigation Kenneth E. Querns Langley Submitted in partial fulfilment of Doctor of Philosophy in Music 31 October 2019 Page | ii Abstract One of the defining moments of operatic history occurred in April 1837 when upon returning to Paris from study in Italy, Gilbert Duprez (1806–1896) performed the first ‘do di petto’, or high c′′ ‘from the chest’, in Rossini’s Guillaume Tell. However, according to the great pedagogue Manuel Garcia (jr.) (1805–1906) tenors like Giovanni Battista Rubini (1794–1854) and Garcia’s own father, tenor Manuel Garcia (sr.) (1775–1832), had been singing the ‘do di petto’ for some time. A great deal of research has already been done to quantify this great ‘moment’, but I wanted to see if it is possible to define the vocal qualities of the tenor voices other than Duprez’, and to see if perhaps there is a general misunderstanding of their vocal qualities. That investigation led me to the ‘pharyngeal voice’ concept, what the Italians call falsettone. I then wondered if I could not only discover the techniques which allowed them to have such wide ranges, fioritura, pianissimi, superb legato, and what seemed like a ‘do di petto’, but also to reconstruct what amounts to a ‘lost technique’. To accomplish this, I bring my lifelong training as a bel canto tenor and eighteen years of experience as a classical singing teacher to bear in a partially autoethnographic study in which I analyse the most important vocal treatises from Pier Francesco Tosi’s (c.
    [Show full text]
  • FOTO ARTISTI PICS of ARTISTS
    CASA DELL'AMORE Archivi di Musica Arte e Storia Cesena - Italy www.dellamore.it [email protected] FOTO ARTISTI PICS of ARTISTS Secoli XIX-XX XIX-XX Centuries Aggiornata al 7 settembre 2015 Updated at September 7, 2015 Fotografie musicisti cesenati e romagnoli (Piccolo e grande formato) Collocazione: FOT 01 (ordine alfabetico) Marietta ALBONI Contralto + Cartoline Rue Alboni - Paris Melchiade BENNI e ORCHESTRA FOLCLORE DI ROMAGNA (Foto Viterbo, Longiano, 1987) Alessandro BONCI Tenore Foto cartolina originale Alessandro BONCI Tenore Fotografia duplicata Alessandro BONCI Tenore Fotografia duplicata (Cesena, 17.09.1904) Alessandro BONCI Tenore Fotografia Alessandro BONCI con Giosuè CARDUCCI a Villa Silvia. Foto cartolina Jolanda BUDELACCI Violinista COMPLESSO THE DEVILS di Cesena. Locandina COMPLESSO THE DEVILS di Cesena. 1962 COMPLESSO THE DEVILS di Cesena. Settimana Cesenate 1964 Dora DE GIOVANNI Soprano Domenico EVANGELISTI Violinista Franco FANTINI Trombettista Bruna LALLI Cantante Orchestra Astoria Claudio MALTONI Cantante Orchestra Astoria Vera MONTANARI Soprano (agosto 1941) ORCHESTRA ANGELINI al Club Sirenella, Anni '50 ? (Foto Baratelli) ORCHESTRINA ANONIMA di Montecastello di Mercato Saraceno ? ORCHESTRA MANARESI di Forlì (1966 ca.) ORCHESTRA PONI di Pievequinta (1915 ca.) ORCHESTRA SCAGLIONI di Bologna (Teatro Odeon Forlimpopoli, 26.III.1956) ORCHESTRA ZANGHERI (Cesenatico, 13.VIII.1910) Nicola PETRINI ZAMBONI violinista e direttore d'orchestra Camille SAINT-SAENS a Cesena. Banchetto all'Albergo Leon d'Oro, 4 settembre 1911 (Fondo
    [Show full text]
  • Toscanini IV – La Scala and the Metropolitan Opera
    Toscanini IV – La Scala and the Metropolitan Opera Trying to find a balance between what the verbal descriptions of Toscanini’s conducting during the period of roughly 1895-1915 say of him and what he actually did can be like trying to capture lightning in a bottle. Since he made no recordings before December 1920, and instrumental recordings at that, we cannot say with any real certainty what his conducting style was like during those years. We do know, from the complaints of Tito Ricordi, some of which reached Giuseppe Verdi’s ears, that Italian audiences hated much of what Toscanini was doing: conducting operas at the written tempos, not allowing most unwritten high notes (but not all, at least not then), refusing to encore well-loved arias and ensembles, and insisting in silence as long as the music was being played and sung. In short, he instituted the kind of audience decorum we come to expect today, although of course even now (particularly in Italy and America, not so much in England) we still have audiences interrupting the flow of an opera to inject their bravos and bravas when they should just let well enough alone. Ricordi complained to Verdi that Toscanini was ruining his operas, which led Verdi to ask Arrigo Boïto, whom he trusted, for an assessment. Boïto, as a friend and champion of the conductor, told Verdi that he was simply conducting the operas pretty much as he wrote them and not allowing excess high notes, repeats or breaks in the action. Verdi was pleased to hear this; it is well known that he detested slowly-paced performances of his operas and, worse yet, the interpolated high notes he did not write.
    [Show full text]