The Royal Opera Presents the First Revival of Bizet's Carmen

Total Page:16

File Type:pdf, Size:1020Kb

The Royal Opera Presents the First Revival of Bizet's Carmen Monday 15 October 2018 The Royal Opera presents the first revival of Bizet’s Carmen ©2018 ROH. Photographed by Bill Cooper Barrie Kosky's all-singing all-dancing production of Bizet’s much-loved opera Carmen returns to The Royal Opera for its first revival this autumn, following the production’s UK premiere in February 2018. The production was first seen at Oper Frankfurt in 2016. For all Royal Opera House press releases visit www.roh.org.uk/for/press-and-media The young soldier Don José intends to marry Micaëla, a girl from his home village. But when he meets the sensual and fiercely independent Carmen, he sacrifices everything to be with her. Carmen quickly grows bored of Don José and his possessiveness. When she turns her attentions to the dashing toreador Escamillo, Don José's jealousy erupts into violence. Award-winning Australian director Barrie Kosky provides a refreshing staging of this well-known opera. The production draws upon musical theatre and features distinctively-staged numbers, energetic dancing and arresting theatrical visuals, all designed to offer a new perspective on this enduringly popular classic. The opera’s original dialogue/recitative is also replaced with new text (including some from the Mérimée novella on which Bizet based his opera), performed by a recorded narrator who may symbolize Carmen herself. Kosky made his Royal Opera debut in the 2016/17 Season directing Shostakovich's The Nose. He is currently Intendant and Artistic Director of Komische Oper Berlin, a position he has held since 2012. The production features set and costume designs by Katrin Lea Tag, lighting design by Joachim Klein and choreography by Otto Pichler It features the Orchestra of the Royal Opera House and Royal Opera Chorus conducted by Keri-Lynn Wilson, who makes her Royal Opera debut. Mezzo-soprano Ksenia Dudnikova and tenor Brian Jagde sing the roles of Carmen and Don José, both for the first time at Covent Garden. Other cast members include Eleonora Buratto in her Royal Opera debut as Micaëla and Alexander Vinogradov as Escamillo. Carmen opens at the Royal Opera House on 30 November 2018, with subsequent performances on 4, 8, 11, 14, 19 and 22 December 2018. The Royal Opera presents a Schools’ Matinee performance of Carmen on 27 November 2018, generously supported by Dame Gail Ronson. ENDS NOTES TO EDITORS 1. For further information or interview requests please contact Jolene Dyke Page 2 of 4 2. For images or press ticket requests please contact Hannah Last CARMEN 30 November, 4, 8, 11, 14, 22 December 2018 at 7pm 19 December 2018 at 12 noon Production first seen at Oper Frankfurt in 2016 Schools’ Matinee generously supported by Dame Gail Ronson. Sung in French with English surtitles Tickets available from the Royal Opera House website and box office (+44 (0)20 7304 4000) Credits Music Georges Bizet Libretto Henri Meilhac and Ludovic Halévy Director Barrie Kosky Designer Katrin Lea Tag Lighting designer Joachim Klein Choreographer Otto Pichler Dramaturg Zsolt Horpácsy Performers Conductor Keri-Lynn Wilson* Carmen Ksenia Dudnikova Don José Brian Jagde Escamillo Alexander Vinogradov Micaëla Eleonora Buratto* Zuniga Jean Teitgen Frasquita Yaritza Véliz *† Mercédès Aigul Akhmetshina† Page 3 of 4 Dancaïro Germán E. Alcántara*† Moralès Dominic Sedgwick† Le Remendado François Piolino Royal Opera Chorus Orchestra of the Royal Opera House *Royal Opera debut †Jette Parker Young Artist About The Royal Opera The Royal Opera, under the artistic direction of Antonio Pappano, Music Director, and Oliver Mears, Director of Opera, is one of the world’s leading opera companies. Based in the iconic Covent Garden theatre, it is renowned both for its outstanding performances of traditional opera and for commissioning new works by today’s leading opera composers, such as Harrison Birtwistle, Mark-Anthony Turnage and Thomas Adès. About the Royal Opera House The Royal Opera House’s aim is for many more people to enjoy and engage in exceptional ballet and opera. As The Royal Ballet, The Royal Opera and the Orchestra of the Royal Opera House, we bring together the world’s most extraordinary ballet and opera artists in more than 500 performances every year: live events that thrill, move and excite, and that transport people to other worlds though music, dance and theatre. Page 4 of 4 .
Recommended publications
  • Così Fan Tutte Cast Biography
    Così fan tutte Cast Biography (Cahir, Ireland) Jennifer Davis is an alumna of the Jette Parker Young Artist Programme and has appeared at the Royal Opera, Covent Garden as Adina in L’Elisir d’Amore; Erste Dame in Die Zauberflöte; Ifigenia in Oreste; Arbate in Mitridate, re di Ponto; and Ines in Il Trovatore, among other roles. Following her sensational 2018 role debut as Elsa von Brabant in a new production of Lohengrin conducted by Andris Nelsons at the Royal Opera House, Davis has been propelled to international attention, winning praise for her gleaming, silvery tone, and dramatic characterisation of remarkable immediacy. (Sacramento, California) American Mezzo-soprano Irene Roberts continues to enjoy international acclaim as a singer of exceptional versatility and vocal suppleness. Following her “stunning and dramatically compelling” (SF Classical Voice) performances as Carmen at the San Francisco Opera in June, Roberts begins the 2016/2017 season in San Francisco as Bao Chai in the world premiere of Bright Sheng’s Dream of the Red Chamber. Currently in her second season with the Deutsche Oper Berlin, her upcoming assignments include four role debuts, beginning in November with her debut as Urbain in David Alden’s new production of Les Huguenots led by Michele Mariotti. She performs in her first Ring cycle in 2017 singing Waltraute in Die Walküre and the Second Norn in Götterdämmerung under the baton of Music Director Donald Runnicles, who also conducts her role debut as Hänsel in Hänsel und Gretel. Additional roles for Roberts this season include Rosina in Il barbiere di Siviglia, Fenena in Nabucco, Siebel in Faust, and the title role of Carmen at Deutsche Oper Berlin.
    [Show full text]
  • 2008, WDA Global Summit
    World Dance Alliance Global Summit 13 – 18 July 2008 Brisbane, Australia Australian Guidebook A4:Aust Guide book 3 5/6/08 17:00 Page 1 THE MARIINSKY BALLET AND HARLEQUIN DANCE FLOORS “From the Eighteenth century When we come to choosing a floor St. Petersburg and the Mariinsky for our dancers, we dare not Ballet have become synonymous compromise: we insist on with the highest standards in Harlequin Studio. Harlequin - classical ballet. Generations of our a dependable company which famous dancers have revealed the shares the high standards of the glory of Russian choreographic art Mariinsky.” to a delighted world. And this proud tradition continues into the Twenty-First century. Call us now for information & sample Harlequin Australasia Pty Ltd P.O.Box 1028, 36A Langston Place, Epping, NSW 1710, Australia Tel: +61 (02) 9869 4566 Fax: +61 (02) 9869 4547 Email: [email protected] THE WORLD DANCES ON HARLEQUIN FLOORS® SYDNEY LONDON LUXEMBOURG LOS ANGELES PHILADELPHIA FORT WORTH Ausdance Queensland and the World Dance Alliance Asia-Pacific in partnership with QUT Creative Industries, QPAC and Ausdance National and in association with the Brisbane Festival 2008 present World Dance Alliance Global Summit Dance Dialogues: Conversations across cultures, artforms and practices Brisbane 13 – 18 July 2008 A Message from the Minister On behalf of our Government I extend a warm Queensland welcome to all our local, national and international participants and guests gathered in Brisbane for the 2008 World Dance Alliance Global Summit. This is a seminal event on Queensland’s cultural calendar. Our Government acknowledges the value that dance, the most physical of the creative forms, plays in communicating humanity’s concerns.
    [Show full text]
  • MEDIA KIT As at 13.3.14
    The Australian Broadcasting Corporation Screen Australia, the ACT Government and Screen ACT In association with Screen NSW present A Playmaker Production THE CODE A Political Thriller in Six Parts MEDIA KIT As at 13.3.14 Unit Publicity ABC Publicity Catherine Lavelle Kris Way T 02 9405 2880 T 02 8333 3844 M 0413 885 595 M 0419 969 282 E [email protected] E [email protected] © 2014 Playmaker Media Pty Ltd, Australian Broadcasting Corporation, the Australian Capital Territory, Screen NSW and Screen Australia. THE CODE Synopsis Stretching from the spectacular red desert of Australia’s outback to the cool corridors of power in Canberra, THE CODE tells the story of two very different brothers who unearth information those at the highest levels of political power will kill to keep secret. In the middle of the outback a stolen 4WD collides with a transport truck. Two local kids in the car are hurt. Badly. Someone should have called for help. But they didn’t. They didn’t because that ‘someone’ works for a major stakeholder in an international research project no-one talks about. The kids’ accident would have remained a mystery if it weren’t for Ned (Dan Spielman) and Jesse Banks (Ashley Zukerman) – a young internet journalist desperate for a break, and his troubled hacker brother on a strict good-behavior bond. Ned and Jesse Banks are gifted a poisoned chalice when a phone video of the outback accident arrives in their in-box. And posting it on- line will cost them more than they ever imagined.
    [Show full text]
  • Magical Night
    REVIEWS Performances Magical Night Royal Opera House London Premiere: 9 December 2011 There were many admirable aspects to the Royal Opera House’s presentation of Weill’s ballet-pantomime, which was premiered in Berlin in 1922. This was the first performance in the UK. There was no skimping on the staging in the ROH’s Linbury Studio The- atre—the budget was generous, the designs intricate, the produc- tion lively and complex. There were 29 performances during the Christmas season given in mornings, afternoons and evenings— the afternoon performance I attended on 10 December 2011 was packed with children and their mothers. The press reaction was also very encouraging. All the London papers carried reviews, the majority of them initially focusing on the music, as well they might. The one undeniable The Witch forces the Toy Fairy back into the toy box. success of the venture was the outstanding playing of the band of TRISTRAM KENTON PHOTO: ten under the baton of James Holmes, always sympathetic to the composer’s varying idioms—witness his memorable leadership (now a dancer), and played games with the awakened children. of Der Kuhhandel and One Touch of Venus for Opera North in To judge from some audience restlessness—myself included— recent years. In this studio theatre the sound was ideally crisp and the narrative was less than clear, and it was no help that the pungent, with the impulsive rhythmic precision pointing most Fairy (Yvette Bonner), whose song has to propel the story, sang clearly to the more mature Weill. virtually wordlessly. What was she telling us, or should she have The excellence of the musical performance gave admirers of been telling us? Three footballers joined in, briefly, and a deep-sea the composer much food for thought.
    [Show full text]
  • Senator for Culture Klaus Lederer Presents the Komische
    Media release | Jan 31, .2019 | acr Senator for Culture Klaus Lederer Presents the Komische For the interim seasons during the complete refurbishment of the Komische Oper Berlin beginning in 2022, Susanne Moser and Philip Bröking will take over the artistic direction, while Barrie Kosky retains a close creative connection with the Komische Oper Berlin as the in-house director. At a press conference today at the Komische Oper Berlin, together with Intendant and Chefregisseur Barrie Kosky, Dr Klaus Lederer, Senator for Culture and Europe, presented the leadership team for the 2022/23 season, when the complete refurbishment of the theatre in Behrenstrasse will begin, and which will see the ensemble moving to other performance venues for the following five years. With Susanne Moser, Managing Director since 2005, and Philip Bröking, Opera Director since 2005, two integral members of the the reins from summer 2022 as Joint Intendants, guiding the Komische Oper Berlin through this challenging interim period, ensuring the greatest possible continuity and stability. As in-house director, with two productions a year in the interim seasons, Barrie Kosky will provide key creative impulses for the profile of the theatre. Through this, he will remain closely connected with the Komische Oper and the city of Berlin, even after the end of his tenure as Intendant. theatre plans to carry out extensive refurbishments, which are set to last for five years, during which time the Ensemble will stage productions at various venues around Berlin. As Joint Intendants, Susanne Moser will remain in the role of Managing Director, and Philip Bröking will continue on as Opera Director.
    [Show full text]
  • Dimitry Ivashchenko, Bass
    BALMER & DIXON MANAGEMENT AG Kreuzstrasse 82, CH 8032 Zürich, Tel: 0041 43 244 86 44, [email protected] Dimitry Ivashchenko, Bass He was highly acclaimed by public and press alike when presenting his first Philippe of DON CARLOS in the original French version in Darmstadt as well as for his appearance as Kaspar in DER FREISCHÜTZ at the Baden-Baden Festival under Thomas Hengelbrock. Despite his young age, the Russian bass won also great acclaim for his impressive portrayal of Gurnemanz in PARSIFAL and for Méphistophélès in Gounod's FAUST. Mr. Ivashchenko is Russian and a graduate of the Glinka Conservatory in Novosibirsk. After moving to Germany, he completed his studies at the Music High School of Karlsruhe. International appearances include Sarastro at the Deutsche Oper Berlin, Osmin at the Scottish Opera in Glasgow. He also performed Mephisto, Böser Geist & Pater Profundus in Schumann's FAUST SZENEN at La Scala in Milan, Janaceck's GLAGOLITIC MASS with the Vienna Philharmonic Orchestra under Pierre Boulez at the Musikverein in Vienna, Frère Laurent in ROMEO ET JULIETTE at the Salzburg Festival 2010, Pogner in a new production of DIE MEISTERSINGER as well as Vodnik in RUSALKA at the Komische Oper Berlin, VERDI’S REQUIEM in Berlin and Zurich, Titurel in PARSIFAL with the Radio-Sinfonieorchester Berlin under Marek Janowski at the Philharmonie Berlin, Banco in MACBETH in Lille, Hunding in a concert version of WALKÜRE, 1st act at the Concertgebouw in Amsterdam, Bruckner's TE DEUM with the NDR Symphony Orchestra in Hamburg, a scenic version of
    [Show full text]
  • Barrie Kosky Director
    Barrie Kosky Director Barrie Kosky is the Intendant and Chefregisseur Meistersinger von Nürnberg was announced as of the Komische Oper Berlin. He is one of the Production of the Year by Opernwelt. In 2020 he most internationally sought-after stage directors was the recipient of a Sidney Myer Performing of today presenting productions all over the Arts Award, in recognition of his unique and world. influential contribution to the Australian Arts world. His work at the Komische Oper Berlin has included The Magic Flute (co-directed with 1927), New productions in 21/22 include Mahagonny for which has been seen by over a quarter of a million Komische Oper Berlin, The Cunning Little Vixen/ people in three continents, The Monteverdi Bayerischen Staatsoper Munich, Don Trilogy, Ball at the Savoy, Eugene Onegin, Les Giovanni/Wiener Staatsoper and Tosca/Dutch Contes d’Hoffmann, Rigoletto, La Belle Hélène, National Opera. Moses und Aron, La bohème, Rusalka, Le Grand Macabre, West Side Story, Pelléas et Mélisande, Born in Melbourne, Kosky was Artistic Director of Semele, The Bassarids, Die Perlen von Cleopatra, Gilgul Theatre Company 1990–97, Artistic Anatevka and Candide. At the end of his first Director of the 1996 Adelaide Festival and from season for 2012/13, the Komische Oper was 2001-2005 he was co-Artistic Director of the voted 'Opera House of the Year' by Opernwelt Vienna Schauspielhaus. magazine. Barrie Kosky has directed opera productions for Valid for use until 1 September 2022 the Bayerische Staatsoper (Die Schweigsame For updated versions please contact Frau, Agrippina, The Fiery Angel and Der [email protected] Rosenkavalier), the Salzburg Festival (Orphée aux Enfers), Glyndebourne Festival Opera (Saul), Festival Aix en Provence (Falstaff, Coq D´Or), Oper Frankfurt (Dido and Aeneas/Bluebeard's Castle, Salome and Carmen), Opera Zurich (La Fancuilla del West, The Stigmatized, Macbeth and Boris Gudonov), Opéra National de Paris (Prince Igor) and Royal Opera House Covent Garden (The Nose, Agrippina and Carmen).
    [Show full text]
  • Handel Semele
    Handel Semele concert performance Friday 5 April 2019 6.30pm, Hall The English Concert Harry Bicket director/harpsichord Brenda Rae Semele Elizabeth DeShong Juno/Ino Soloman Howard Somnus/Cadmus Benjamin Hulett Jupiter Ailish Tynan Iris Christopher Lowrey Athamas Brian Giebler Apollo Joseph Beutel Priest Clarion Choir (Steven Fox artistic director) Kristin Hoebermann There will be two intervals of 20 minutes Brenda Rae following Part 1 and Part 2 Part of Barbican Presents 2018–19 Programme produced by Harriet Smith; printed by Trade Winds Colour Printers Ltd; advertising by Cabbell (tel 020 3603 7930) Please turn off watch alarms, phones, pagers etc during the performance. Taking photographs, capturing images or using recording devices during a performance is strictly prohibited. Please remember that to use our induction loop you should switch your hearing aid to T setting on entering the hall. If your hearing aid is not correctly set to T it may cause high-pitched feedback which can spoil the enjoyment of your fellow audience members. We appreciate that it’s not always possible to prevent coughing during a performance. But, for the sake of other audience members and the artists, if you feel the need to cough or sneeze, please stifle it The City of London with a handkerchief. Corporation is the founder and If anything limits your enjoyment please let us know principal funder of the Barbican Centre during your visit. Additional feedback can be given online. Welcome Tonight we welcome back Harry Bicket An international cast is led by the and The English Concert for Semele, American soprano Brenda Rae, who the latest instalment in their Handel sings the self-regarding Semele; and series.
    [Show full text]
  • Lyric Opera of Kansas City 2015-16 Season to Conclude with Bizet's
    FOR IMMEDIATE RELEASE Contact: Ellen McDonald (816) 444-0052 Or (816) 213-4355 (c) [email protected] For Tickets: kcopera.org or 816.471.7344 Lyric Opera of Kansas City 2015-16 Season to Conclude with Bizet’s Carmen Jose Maria Condemi, Zanda Švēde, Corey Crider and Janai Brugger Winner of 2016 Marian Anderson Vocal Award Making Lyric Opera Debuts Rafael Davila and Jeffrey Beruan Return April 23- May 1 at the Kauffman Center for the Performing Arts Kansas City, MO (March 25, 2016) – Lyric Opera of Kansas City concludes its dynamic 58th season with Georges Bizet’s Carmen April 23, 27, 29 and May 1 at the Kauffman Center for the Performing Arts. Bizet’s sweeping masterpiece of seduction and betrayal, complete with flaming dress and fighting bull, will be sung in French with English titles. High res production and artists’ photos can be downloaded here. Georges Bizet’s Carmen is one of the most famous operas of all time. Bizet’s score is seductive, alluring and perfectly matched to Carmen’s conquest of bullfighters, soldiers and smugglers. The fiery gypsy sings the signature “Habanera” as she sets her sights on local corporal Don José. He quickly falls under her spell, only to be cast aside and humiliated. The music follows his descent from soldier and lover to desperate murderer as he sends Carmen to her doom against the roar and cry of the bullring. This production is appropriate for children 13+. General Director and CEO Deborah Sandler stated, “We are thrilled to close our season with perhaps the most popular and charismatic opera of them all- Carmen.
    [Show full text]
  • DIDASKALIA Volume 8 (2011)
    ! ! Didaskalia is an electronic journal dedicated to the study of all aspects of ancient Greek and Roman performance.! ! DIDASKALIA Volume 8 (2011) http://didaskalia.net ISSN 1321-4853 1 ! ! DIDASKALIA 8 (2011) ! About Didaskalia Didaskalia (!"!#$%#&ί#) is the term used since ancient times to describe the work a playwright did to teach his chorus and actors the play. The official records of the dramatic festivals in Athens were the !"!#$%#&ί#". Didaskalia now furthers the scholarship of the ancient performance. Didaskalia is an English-language, online publication about the performance of Greek and Roman drama, dance, and music. We publish peer-reviewed scholarship on performance and reviews of the professional activity of artists and scholars who work on ancient drama. We welcome submissions on any aspect of the field. If you would like your work to be reviewed, please write to [email protected] at least three weeks in advance of the performance date. We also seek interviews with practitioners and opinion pieces. For submission guidelines, go to didaskalia.net. 2011 Staff Editor-in-Chief: Amy R. Cohen [email protected] +1 434 947-8117 Post: Didaskalia Randolph College 2500 Rivermont Avenue Lynchburg, VA 24503 USA Associate Editor: C.W. (Toph) Marshall Assistant Editor: Jay Kardan [email protected] Intern: Gage Stuntz [email protected] Advisory Board Caterina Barone Oliver Taplin John Davidson Peter Toohey Gary Decker J. Michael Walton Mark Griffith David Wiles Mary Hart Paul Woodruff Kenneth Reckford Editorial Board Kathryn Bosher Dan McCaffrey Dorota Dutsch Marianne McDonald Fred Franko Peter Meineck Allison Futrell Paul Menzer Mary-Kay Gamel Tim Moore John Given Nancy Rabinowitz Mike Lippman Brett Rogers Fiona Macintosh John Starks Willie Major Copyright Readers are permitted to save or print any files from Didaskalia as long as there are no alterations made in those files.
    [Show full text]
  • The Magic Flute Komische Oper Berlin / Barrie Kosky / 1927
    Schools Program Learning Resources: The Magic Flute Komische Oper Berlin / Barrie Kosky / 1927 Capabilities: Literacy, Numeracy, Critical & Creative Thinking, Personal & Social, Information and Communication Technology, Ethical Understanding, Intercultural Understanding Cross Curriculum priorities: Sustainability 1 Table of Contents THE MAGIC FLUTE AT ADELAIDE FESTIVAL 3 ABOUT BARRIE KOSKY 5 ABOUT 1927 6 SHOW CREDITS 6 IN SHORT 7 VIDEO LINKS 8 THE MAGIC FLUTE REVIEWS 8 THE MAGIC FLUTE: PRESS 12 BEHIND THE MAGIC FLUTE 15 INTERVIEWS 16 THEMES AND IDEAS 19 LITERARY/THEATRICAL DEVICES 19 ACTIVITIES 19 DISCUSSION QUESTIONS 20 ESSAY QUESTIONS 20 ESSAY WRITING TIPS 21 REVIEW WRITING TIPS 24 USE SOME NEW WORDS 26 2 The Magic Flute at Adelaide Festival Barrie Kosky and his multi-award-winning opera company, the Berlin-based Komische Oper will make a triumphant return to the 2019 Adelaide Festival with its most popular and joyous masterwork, Mozart's The Magic Flute. Following its Berlin premiere in 2012, The Magic Flute has won Opera World Awards, accumulated rapturous reviews and played to over half a million people in 22 cities across Europe, America and Asia. The Magic Flute is co-directed by Komische Oper’s Artistic Director Barrie Kosky in conjunction with Suzanne Andrade from acclaimed British performance company 1927. Together with Paul Barritt, they have created a thrilling imaginative world which fuses the virtuosity of live opera performance with grand-scale animated tableaux. Their production evokes the enchantment of Buster Keaton’s silent movies, the dark underbelly of Tim Burton and the whimsy and humour of early 20th Century animated cartoons - think Felix the Cat and Betty Boop.
    [Show full text]
  • Martin Crimp's
    Cole, E. K. (2016). Adapting Greek tragedy during the War on Terror: Martin Crimp’s Cruel and Tender. Journal of Adaptation in Film and Performance, 9(1), 37-51. https://doi.org/10.1386/jafp.9.1.37_1 Peer reviewed version Link to published version (if available): 10.1386/jafp.9.1.37_1 Link to publication record in Explore Bristol Research PDF-document This is the accepted author manuscript (AAM). The final published version (version of record) is available online via Ingenta at https://doi.org/10.1386/jafp.9.1.37_1 . Please refer to any applicable terms of use of the publisher. University of Bristol - Explore Bristol Research General rights This document is made available in accordance with publisher policies. Please cite only the published version using the reference above. Full terms of use are available: http://www.bristol.ac.uk/red/research-policy/pure/user-guides/ebr-terms/ Adapting Greek tragedy during the War on Terror: Martin Crimp’s Cruel and Tender Emma Cole, University of Bristol Abstract When contemporary playwrights adapt ancient tragedy they often distance themselves from their source, claiming that their adaptations are stand-alone plays that do not evince a complex relationship with the classical material. Martin Crimp differs remarkably from this, and is on record stating that Cruel and Tender, his adaptation of Sophocles’ Trachiniae, not only recalls the original’s structure, but also engages with its metrical patterns. In this article I build upon Crimp’s invitation to consider the two plays in dialogue by exploring Crimp’s interpretation of Sophocles’ Herakles figure, and the representation of this character in Luc Bondy’s 2004 production of the play.
    [Show full text]