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Parsifal and Canada: a Documentary Study
Parsifal and Canada: A Documentary Study The Canadian Opera Company is preparing to stage Parsifal in Toronto for the first time in 115 years; seven performances are planned for the Four Seasons Centre for the Performing Arts from September 25 to October 18, 2020. Restrictions on public gatherings imposed as a result of the Covid-19 pandemic have placed the production in jeopardy. Wagnerians have so far suffered the cancellation of the COC’s Flying Dutchman, Chicago Lyric Opera’s Ring cycle and the entire Bayreuth Festival for 2020. It will be a hard blow if the COC Parsifal follows in the footsteps of a projected performance of Parsifal in Montreal over 100 years ago. Quinlan Opera Company from England, which mounted a series of 20 operas in Montreal in the spring of 1914 (including a complete Ring cycle), announced plans to return in the fall of 1914 for another feast of opera, including Parsifal. But World War One intervened, the Parsifal production was cancelled, and the Quinlan company went out of business. Let us hope that history does not repeat itself.1 While we await news of whether the COC production will be mounted, it is an opportune time to reflect on Parsifal and its various resonances in Canadian music history. This article will consider three aspects of Parsifal and Canada: 1) a performance history, including both excerpts and complete presentations; 2) remarks on some Canadian singers who have sung Parsifal roles; and 3) Canadian scholarship on Parsifal. NB: The indication [DS] refers the reader to sources that are reproduced in the documentation portfolio that accompanies this article. -
Alberto Zedda
Le pubblicazioni del Rossini Opera Festival sono realizzate con il contributo di Amici del Friends of the Note al programma Rossini Opera Festival Rossini Opera Festival della XL Edizione Sotto l’Alto Patronato del Presidente della Repubblica XL edizione 11~23 agosto 2019 L’edizione 2019 è dedicata a Montserrat Caballé e a Bruno Cagli MINISTERO PER I BENI E LE ATTIVITÀ CULTURALI Regione Marche Enti fondatori Il Rossini Opera Festival si avvale della collaborazione scientifica della Fondazione Rossini Il Festival 2019 si attua con il contributo di Ministero per i beni e le attività culturali Comune di Pesaro Provincia di Pesaro e Urbino Comune di Pesaro Regione Marche in collaborazione con Intesa Sanpaolo Fondazione Gruppo Credito Valtellinese Fondazione Scavolini con l’apporto di Abanet Internet Provider Bartorelli-Rivenditore autorizzato Rolex Eden Viaggi Grand Hotel Vittoria - Savoy Hotel - Alexander Museum Palace Hotel Harnold’s Hotel Excelsior Ratti Boutique Subito in auto Teamsystem Websolute partecipano AMAT-Associazione marchigiana attività teatrali AMI-Azienda per la mobilità integrata e trasporti ASPES Spa Azienda Ospedaliera San Salvatore Centro IAT-Informazione e accoglienza turistica Conservatorio di musica G. Rossini Si ringrazia UBI Banca per il contributo erogato tramite Art Bonus United Nations Designated Educational, Scientific and UNESCO Creative City Cultural Organization in 2017 Il Festival è membro di Italiafestival e di Opera Europa Sovrintendente Ernesto Palacio Direttore generale Olivier Descotes Presidente Relazioni -
Daily #26 Als PDF Downloaden
DailyNr. 26, 25. August 2009 Riccardo Muti in Salzburg Demnächst wieder Mozart SALZBURGER FESTSPIELE 2009 Foto: Silvia Lelli, © www.riccardomuti.com SALZBURGER FESTSPIELE 2009Daily Nr. 26, 25. August 2009 Mischa Maisky, Helga Rabl-Stadler, Markus Oggenfuss (Generaldirektor Nestlé Österreich), Adam Fischer und Ö1 Klassik-Treffpunkt mit Haide Tenner, Helga Rabl-Stadler, Jürgen Flimm und vielen Festspielkünstlern Landeshauptfrau Gabi Burgstaller nach dem Konzert des Attersee Institute Orchestra Fotos: wildbild.at er Wiener Klang, der an den Interpretationen der Wiener Philharmoniker so sehr ge- he Viennese sound, which is so highly praised in the Vienna Philharmonic’s interpretations, is schätzt wird, ist keine Chimäre – das haben wissenschaftliche Untersuchungen bewiesen. not a chimera – as scientific investigations have proven. The specific characteristics of sound can DDer spezifische Klangcharakter lässt sich mit digitalen Methoden messen und liegt nicht Tbe measured digitally, and the difference lies not only in the orchestra’s instruments either. The nur im Instrumentarium des Orchesters begründet. Hauptanteil am Orchesterklang hat die tra- main element that goes into the orchestra’s sound is the sound ideal of its members. To convey this to dierte Klangvorstellung der Musiker. Diese jungen Musikern näher zu bringen ist Ziel des Inter- young musicians is the goal of the International Attergau Orchestra Institute. The curriculum is taught nationalen Orchesterinstituts Attergau. Der Lehrstoff wird zunächst in Einzel- sowie Gruppenun- -
Gioachino Rossini
MATILDE DI SHABRAN GIOACHINO ROSSINI Olga Peretyatko Juan Diego Flórez Paolo Bordogna Anna Goryachova Nicola Alaimo Michele Mariotti Orchestra del Teatro Comunale di Bologna GIOACHINO ROSSINI MATILDE DI SHABRAN Conductor Michele Mariotti “There truly is a Rossini miracle!” (Deutschlandradio). Acclaiming Orchestra Orchestra del Teatro the mastery of tenorissimo Juan Diego Flórez and the breathtaking Comunale di Bologna young soprano Olga Peretyatko in the lead roles, the press hailed Chorus Coro del Teatro Comunale di Bologna the premiere of Rossini’s Matilde di Shabran at the Rossini Opera Chorus Master Lorenzo Fratini Festival in Pesaro as the “high point of the festival” (the Berlin daily Der Tagesspiegel). Matilde di Shabran Olga Peretyatko Matilde di Shabran was given its world premiere performance in Edoardo Anna Goryachova Rome in 1821. A genuine international hit, it was staged in Vienna, Raimondo Lopez Marco Filippo Romano London, Paris, New York and throughout Italy all before 1830. The Corradino Juan Diego Flórez music of Rossini’s last “opera semiseria” – thus half serious and half Ginardo Simon Orfila comic – contains a succession of beguiling ensemble pieces. The plot Aliprando Nicola Alaimo revolves around the knight Corradino, who has withdrawn to his castle Isidoro Paolo Bordogna and professes to hate his fellow humans. When he meets Matilde di Contessa d’Arco Chiara Chialli Shabran, however, he experiences unknown emotions that have Egoldo Giorgio Misseri nothing to do with hatred... Rodrigo Luca Visani Leading the Orchestra del Teatro Comunale di Bologna, conductor Staged by Mario Martone Michele Mariotti commands an ideal ensemble of singers: while Juan Diego Flórez, “perhaps the best Rossini tenor of our time” Video Director Tiziano Mancini (Deutschlandradio), sings the role of Corradino, that of Matilde is “gorgeously sung by Olga Peretyatko” (The New York Times). -
OPERA BROADCASTS from the ROYAL OPERA HOUSE - in PARTNERSHIP with the EUROPEAN BROADCASTING UNION and the BBC Broadcast Schedule —Spring/Summer 2019
OPERA BROADCASTS FROM THE ROYAL OPERA HOUSE - IN PARTNERSHIP WITH THE EUROPEAN BROADCASTING UNION AND THE BBC Broadcast Schedule —Spring/Summer 2019 Please Note: due to production considerations, cast members for each production are subject to change. Please consult associated cue sheet for more details. Please also be aware that all timings listed below are approximate, as several of these operas will be performed at the Royal Opera House weeks before their syndication release. For exact times, please consult the associated cue sheet. PROGRAM #: BBC 19-01 RELEASE DATE: May 18, 2019 OPERA: Falstaff (in Italian) COMPOSER: Giuseppe Verdi LIBRETTIST: Arrigo Boito CAST: Sir John Falstaff, a fat knight Sir Bryn Terfel, baritone Alice Ford, wife of Ford Ana Maria Martínez, soprano Ford, a wealthy man Simon Keenlyside, baritone Nanetta, the Fords' daughter Anna Prohaska, soprano Fenton, one of Nannetta's suitors Frédéric Antoun, tenor Mistress Quickly Marie-Nicole Lemieux, contralto Meg Page Marie McLaughlin, mezzo-soprano Dr. Caius Peter Hoare, tenor Bardolph Michael Colvin, tenor Pistol Craig Colclough, bass ENSEMBLE: Royal Opera House Orchestra and Chorus CONDUCTOR: Nicola Luisotti CHORUS DIRECTOR: William Spaulding DIRECTOR: Robert Carsen REVIVAL DIRECTOR: Daniel Dooner SET DESIGNER: Paul Steinberg COSTUME DESIGNER: Brigitte Reiffenstuel LIGHTING DESIGNERS: Robert Carsen & Peter van Praet Approx. Length: 2 hours, 30 minutes PROGRAM #: BBC 19-02 RELEASE DATE: May 25, 2019 OPERA: Das Rheingold, Part I of ‘The Ring of the Nibelung’ (in German) -
Relazione Della Corte Dei Conti
SENATO DELLA REPUBBLICA XVII LEGISLATURA Doc. XV n. 535 RELAZIONE DELLA CORTE DEI CONTI AL PARLAMENTO sulla gestione finanziaria degli Enti sottoposti a controllo in applicazione della legge 21 marzo 1958, n. 259 FONDAZIONE ROSSINI OPERA FESTIVAL (Esercizio 2015) Comunicata alla Presidenza il 13 giugno 2017 SEZIONE DEL CONTROLLO SUGLI ENTI Determinazione e relazione sul risultato del controllo eseguito sulla gestione finanziaria della FONDAZIONE ROSSINI OPERA FESTIVAL (ROF) per l’esercizio 2015 Relatore: Cons. Mauro Nori Ha collaborato per l’istruttoria e l’elaborazione dei dati la dott.ssa Paola Fazio 2 Corte dei conti -Relazione Fondazione Rossini Opera Festival esercizio 2015 Determinazione n. 47/2017 nell’adunanza del 30 maggio 2017; visto il testo unico delle leggi sulla Corte dei conti approvato con r.d. 12 luglio 1934, n. 1214; vista la legge 21 marzo 1958, n. 259 e la legge 14 gennaio 1994, n. 20; visto il d.p.r. 17 ottobre 1994, con il quale la Fondazione “Rossini Opera Festival” è stata sottoposta al controllo della Corte dei conti a norma dell’art. 2 della legge n. 259 del 1958; visto il bilancio di esercizio della Fondazione suddetta, relativo all’anno 2015, nonché le annesse relazioni del presidente e del collegio dei revisori dei conti, trasmessi alla Corte in adempimento dell’art.4 della citata legge n. 259 del 1958; esaminati gli atti; udito il relatore, Consigliere Mauro Nori e, sulla sua proposta, discussa e deliberata la relazione con la quale la Corte, in base agli atti ed agli elementi acquisiti, riferisce alle Presidenze -
Tristan & Isolde
Wagner Society of New Zealand Patron: Sir Donald McIntyre NEWSLETTER Vol. 12 No. 2 September 2014 Tristan & Isolde: TRIUMPH! Mixed Emotions July 2014: two performances of Wagner one in each hemisphere and two different reactions. In Auckland the response to the APO’s concert performance brought the audience to its feet cheering. In the words of Jeanette Miller and Richard Green: “More’s the pity if it were to prove a once-in-a-lifetime concert experience—the massed standing ovation that greeted the final chord of the Auckland Philharmonia’s Tristan und Isolde was surely testament enough that New Zealand audiences have a hunger for more of the same. 12,000 miles away (give or take a few) the audience in Bayreuth was Eckehard Stier conducts while Daveda Karanas (Brangäne) keeps watch. Photo: Adrian Malloch also on its feet reacting to Frank Castorf’s ‘radically deconstructed’ Those members of the Wagner the Steersman, opened Act 1. We Ring with a different sort of hunger Society who were lucky enough to were then enthralled by Annalena in mind. Lance Ryan, who sings attend the Auckland Philharmonia’s Persson’s Isolde and Daveda Karanas the role of Siegfried in this year’s concert performance of Tristan & as Brangäne. Persson’s voice was bright production, gave the following Isolde not only became part of history, and clear while Karanas’ singing was quote to The Guardian: “I have attending the New Zealand premiere contrastingly rich and lustrous giving never come across an audience with of the work, but were treated to a the impression that she always had so much hatred, so much anger, wonderful performance. -
Laurence Equilbey Announces Insula Orchestra's First Season at Their New
Laurence Equilbey announces Insula orchestra’s first season at their new home La Seine Musicale with further multi-media stagings of Beethoven’s Egmont and Mozart’s Thamos, King of Egypt, plus a celebration of Louise Farrenc at the Barbican for International Women’s Day Opening of Season in Paris - 21 & 22 September Theater an der Wien, Vienna – 15 December Beethoven/Goethe Egmont (staged by Séverine Chavrier) La Seine Musicale Paris - 16 & 17 February Barbican, London – 8 March Louise Farrenc and International Women’s Day Celebration La Seine Musicale, Paris - 22 – 26 June Festival Mozart Maximum with Mozart Thamos, King of Egypt Laurence Equilbey announces Insula orchestra’s first season at their critically-acclaimed new home La Seine Musicale celebrating the multi- media capabilities of their Shigeru Ban-designed concert hall to their full potential. The season opens with a rarely staged version of Goethe’s play Egmont with musical interludes by Beethoven directed by Séverine Chavrier on 21 and 22 September, which will tour to Vienna in December. Opened in spring, Insula orchestra’s 1,150-seater concert hall at La Seine Musicale was met with enthusiasm by audiences and press. Equilbey’s mission is to reform the entire experience of classical music with bite-size, multi-media concerts, flash-mobs and themed weekends with Insula orchestra and by programming guest performances. Neue Zuricher Zeitung’s reaction to “the promised This is the future” was “it was difficult to contradict, but in the south-west of Paris there was not only another fabulous concert hall, but the first evening demonstrated with a lightness of touch how good old classical music can look like today.” (Christian Berzins). -
2013·2014Eview Season Pr a MESSAGE from GENERAL DIRECTOR ALEXANDER NEEF Be Part of the Experience!
winter 2013 | volume 20 | number 2 The SellArS/violA World of TrisTan und isolde divided loyAlTieS Mozart’s la clemenza di TiTo WelCoMeS ANd fAreWellS tHE CoC BOARD ShooTiNg starS MiCHaEl CoopEr's 30 yEars as CoC proDuCtion pHotograpHEr ial spEC 2013·2014EviEw Season pr A MESSAGe FROM GENERAl DIRECTOR ALEXANDER NEEF Be PArT of The eXPerieNCe! or better or worse, we live in an age when virtually any form of Fentertainment can be downloaded directly onto your computer, beamed into your television or your local cinema, or experienced on your smartphone as you are walking down the street; an age that has drastically altered how quickly and easily we can consume culture. And, as convenient as that is, the sheer ease of it serves to remind us how vital it is to be an active participant in culture and the arts. Because, in the end, it is the electric exchange between artists and the audience that makes the art come alive. There is simply nothing like being A gift to our friends in a great opera house and hearing a phenomenal singer live; you get goose Editorial Board: robert lamb, bumps, you are moved in body and soul Speaking of relationships, I am very Managing Director by the immediate, emotional core of the pleased and proud that Johannes’s contract roberto mauro, work. The very fact that you share the has been extended through the 2016/2017 Artistic Administrator space with the artists makes you become season. He brings such energy, talent and Jeremy elbourne, Director of Marketing part of the action, part of the work, leadership to our company, there is no limit Claudine Domingue, and finally, part of the art itself. -
Staged Treasures
Italian opera. Staged treasures. Gaetano Donizetti, Giuseppe Verdi, Giacomo Puccini and Gioacchino Rossini © HNH International Ltd CATALOGUE # COMPOSER TITLE FEATURED ARTISTS FORMAT UPC Naxos Itxaro Mentxaka, Sondra Radvanovsky, Silvia Vázquez, Soprano / 2.110270 Arturo Chacon-Cruz, Plácido Domingo, Tenor / Roberto Accurso, DVD ALFANO, Franco Carmelo Corrado Caruso, Rodney Gilfry, Baritone / Juan Jose 7 47313 52705 2 Cyrano de Bergerac (1875–1954) Navarro Bass-baritone / Javier Franco, Nahuel di Pierro, Miguel Sola, Bass / Valencia Regional Government Choir / NBD0005 Valencian Community Orchestra / Patrick Fournillier Blu-ray 7 30099 00056 7 Silvia Dalla Benetta, Soprano / Maxim Mironov, Gheorghe Vlad, Tenor / Luca Dall’Amico, Zong Shi, Bass / Vittorio Prato, Baritone / 8.660417-18 Bianca e Gernando 2 Discs Marina Viotti, Mar Campo, Mezzo-soprano / Poznan Camerata Bach 7 30099 04177 5 Choir / Virtuosi Brunensis / Antonino Fogliani 8.550605 Favourite Soprano Arias Luba Orgonášová, Soprano / Slovak RSO / Will Humburg Disc 0 730099 560528 Maria Callas, Rina Cavallari, Gina Cigna, Rosa Ponselle, Soprano / Irene Minghini-Cattaneo, Ebe Stignani, Mezzo-soprano / Marion Telva, Contralto / Giovanni Breviario, Paolo Caroli, Mario Filippeschi, Francesco Merli, Tenor / Tancredi Pasero, 8.110325-27 Norma [3 Discs] 3 Discs Ezio Pinza, Nicola Rossi-Lemeni, Bass / Italian Broadcasting Authority Chorus and Orchestra, Turin / Milan La Scala Chorus and 0 636943 132524 Orchestra / New York Metropolitan Opera Chorus and Orchestra / BELLINI, Vincenzo Vittorio -
Malin Hartelius Årets Schymberg-Stipendiat
2012-06-12 15:31 CEST Malin Hartelius årets Schymberg- stipendiat Hjördis Schymberg (1909-2008) tillhörde Operans fasta ensemble till 1959 men gästspelade regelbundet till 1968. Det är tredje gången som stipendiet delas ut; i fjol gick det till Marianne Hellgren-Staykov och dessförinnan till Elin Rombo. Stiftelsen Hjördis Schymbergs Minnesfond förvaltas av Stiftelsen Kungliga Teaterns Solister. Malin Hartelius, som är född i Malmö och uppvuxen i Tingsryd, är en av Sveriges främsta operasångerskor med en framgångsrik internationell karriär, inte minst i de tyskspråkiga länderna. Efter studier i tonåren för Sylvia Mang- Borenberg i Växjö kom hon till musikkonservatoriet i Wien där hon studerade för Margarethe Bence. Efter fast engagemang pà Wiener Staatsoper 1990-91 ingår hon i den fasta ensemblen vid operan i Zürich. 1990 gjorde hon debut som Blondchen i Mozarts Enleveringen ur Seraljen vid festspelen i Ludwigsburg, en roll som hon också gjorde året därpå vid festspelen i Schwetzingen samt i Salzburg 1997. Till höjdpunkterna i början pà karriären räknas konserterna med John Elliot Gardiner under Bach-året, engagemang vid festspelen i Salzburg, rollen som Marzelline i Beethovens Fidelio vid Bayerische Staatsoper, Sophie i Rosenkavaljeren på Wiener Staatsoper och den kvinnliga huvudrollen i Schuberts Alfonso och Estrella i Zürich. Under de gångna säsongerna har Malin Hartelius samarbetat med Accademia Santa Cecilia, Philharmonia Orchestra, London Symphony Orchestra, Bayerska radions orkester, Tonhalle-orkestern i Zürich och Cleveland Orchestra. Hon blev också återinbjuden till Bastiljoperan, Bayerische Staatsoper och Wiener Staatsoper. Bland aktuella roller kan nämnas Adina i Kärleksdrycken, Grevinnan i Mozarts Figaros bröllop, Donna Elvira i Don Giovanni, Fiordiligi i Cosi fan tutte och Armida i Händels Rinaldo – alla på Zürichoperan. -
Laurence Equilbey L a U R E N C E E Q U I L B E Y
laurence equilbey LAURENCE EQUILBEY 2 nuit sacrée | holy night johann sebastian bach, georges bizet, dietrich buxtehude, césar franck, charles gounod, george frideric handel, wolfgang amadeus mozart, johann pachelbel, camille saint-saëns sandrine piau SOPRANO nathalie stutzmann CONTRALTO pavol breslik TENOR johannes weisser BASSE | BASS sonia wieder-atherton VIOLONCELLE | CELLO aurélie saraf HARPE | HARP daniel maurer ORGUE | ORGAN accentus concerto köln laurence equilbey DIRECTION | CONDUCTOR 3 nuit sacrée | holy night johann pachelbel 1652-1706 1 Canon en ré majeur | in D major johann sebastian bach 1685-1750 2 Choral | Jésus que ma joie demeure (Cantate BWV 147) 3 Jauchzet, frohlocket! (Oratorio de Noël | Weihnachts-Oratorium | Christmas Oratorio BWV 248) charles gounod 1818-1893 | johann sebastian bach 4 Ave Maria | Nathalie Stutzmann CONTRALTO , Aurélie Saraf HARPE dietrich buxtehude 1637-1707 5 Alleluia (Cantate BuxWV 15) george frideric handel 1685-1759 Le Messie | Messiah 6 For unto us a Child is born 7 Alleluia 4 camille saint-saëns 1835-1921 8 Benedictus (Oratorio de Noël | Christmas Oratorio) | Sandrine Piau SOPRANO , Johannes Weisser BASSE , Aurélie Saraf HARPE , Daniel Maurer ORGUE césar franck 1822-1890 9 Panis angelicus | Pavol Breslik TÉNOR , Sonia Wieder-Atherton VIOLONCELLE , Daniel Maurer ORGUE wolfgang amadeus mozart 1756-1791 10 Alleluia (Exsultate, jubilate K165) | Sandrine Piau SOPRANO 11 Farandole de L’Arlésienne d'après Georges Bizet | thibault perrine ORCHESTRATION 12 adolphe adam 1803-1856 Minuit, chrétiens | Pavol Breslik TÉNOR , Daniel Maurer ORGUE 13 augusta holmès 1847-1903 | thibault perrine ARRANGEMENT Trois anges sont venus ce soir | Sandrine Piau SOPRANO , Sonia Wieder-Atherton VIOLONCELLE , Aurélie Saraf HARPE 14 franz xaver gruber 1787-1863 Stille Nacht! Heilige Nacht! 5 Mozart, Haendel ou Bach, certes, mais aussi Richard Strauss, Liszt et Schoenberg.