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Cast Amendment for Il Trovatore
8 DECEMBER 2015 CAST AMENDMENT IL TROVATORE (Giuseppe Verdi) 2, 4, 5, 7, 8, 9, 11, 12, 14 and 15 July at 7.15pm ; 17 July at 6.30pm Italian soprano Carmen Giannattasio has withdrawn from singing the role of Leonora in Il trovatore on 4, 7, 9, 12 and 15 July. The role will now be sung by Italian soprano Anna Pirozzi , who will make her Royal Opera debut in this new production by German director David Bösch . She will share the role with Armenian soprano Lianna Haroutounian (2, 5, 8, 11, 14 and 17 July) as previously announced. Anna Pirozzi was born in Naples and studied at the Istituto Musicale in Valle d’Aosta and at the Turin Conservatory with Silvana Moyso. She has won widespread acclaim for her performances as Abigaille ( Nabucco ), the role in which she made her Salzburg Festival debut in 2013 conducted by Riccardo Muti and which she has sung in Florence, Bologna, Parma, Leipzig, Stuttgart, Tel Aviv, Beijing, Valencia, and for Arena di Verona. Her other engagements include Amelia ( Un ballo in maschera ) for Teatro Regio, Turi, and in Parma, Lady Macbeth ( Macbeth ) in São Paulo and Bologna, Leonora (Il trovatore ) in Bologna, Santuzza ( Cavalleria rusticana ) for Rome Opera and Teatro di San Carlo, Naples, Elvira ( Ernani ) in Rome, Tosca for Deutsche Oper Berlin and in Leipzig and Turin, Luisa Miller in Genoa, Leonora and Maddalena ( Andrea Chénier ) for Teatro di San Carlo, Santuzza and Nedda ( Pagliacci ) in Macerata, Aida in Turin, and Elisabetta ( Roberto Devereux ) at the ABAO Bilbao. The rest of the cast remains unchanged, -
RSTD OPERN Nov Dez 212X476 15.10.12 17:48 Seite 1
RSTD OPERN_Nov_Dez_212x476 15.10.12 17:48 Seite 1 Opernprogramm November 2012 November Franz Liszt Legende der heiligen Elisabeth 20.00 - 22.35 Hermann: Kolos Kováts, Sophie: Éva Farkas, Ludwig: Sándor Sólyom-Nagy, Elisabeth: Éva Marton, 1 Friedrich II. von Hohenstaufen: József Gregor, Ungarischer Magnat: István Gáti, Seneschal: István Gáti. Donnerstag Ungarische Nationalphilharmonie, Leitung: Árpád Joó, 1984. November Léo Delibes Lakmé 20.00 - 21.55 Nilakantha: Clifford Grant, Lakmé: Joan Sutherland, Mallika: Huguette Tourangeau, Hadji: Graeme Ewer, 3 Gerald: Henri Wilden, Frederick: John Pringle, Ellen: Isobel Buchanan. Samstag Australian Opera Chorus, Elizabethan Sydney Orchestra, Leitung: Richard Bonynge, 1976. November Bedrichˇ Smetana Die verkaufte Braut 20.00 - 22.25 Marenka: Dana Burešová, Jenik: Tomáš Juhás, Kecal: Jozef Benci, Vašek: Aleš Vorácek, 6 Mícha: Gustáv Belácek, Háta: Lucie Hilscherová, Krušina: Svatopluk Sem, Ludmila: Stanislava Jirku. Dienstag BBC Singers, BBC Symphony Orchestra, Leitung: Jirí Belohlávek, 2011. November Wolfgang Amadé Mozart Le nozze di Figaro 20.00 - 23.00 Almaviva: Tom Krause, Gräfin: Anna Tomowa-Sintow, Susanna: Ileana Cotrubas, Figaro: José van Dam, Cherubino: Frederica 8 von Stade, Bartolo: Jules Bastin, Marcellina: Jane Berbié, Basilio: Heinz Zednik, Don Curzio: Kurt Equiluz. Donnerstag Chor und Orchester der Wiener Staatsoper, Leitung: Herbert von Karajan, 1977. November Christoph Willibald Gluck Alceste 20.00 - 22.25 Admete: Paul Groves, Alceste: Anne Sofie von Otter, Oberpriester: Dietrich Henschel, Euandros: Yann Beuron, 10 Herakles: Dietrich Henschel, Herold: Ludovic Tézier, Orakel: Nicolas Testé, Apollo: Ludovic Tézier. Samstag Monteverdi Choir, English Baroque Soloists, Leitung: Sir John Eliot Gardiner, 1999. November Christoph Willibald Gluck Paride ed Elena 20.00 - 22.30 13 Paride: Magdalena Kožená, Elena: Susan Gritton, Amore: Carolyn Sampson, Pallade: Gillian Webster. -
Castleton Festival Opera the Britten Project: the Rape of Lucretia
CAL PERFORMANCES PRESENTS Thursday, March 24, 2011, 8pm Friday, March 25, 2011, 8pm Zellerbach Hall Castleton Festival Opera The Britten Project: The Rape of Lucretia Composed by Benjamin Britten Conducted by Lorin Maazel Stage Direction by William Kerley Berkeley Symphony production Set & Costume Designer Nicholas Vaughan Lighting Designer Rie Ono Production Stage Manager Laine Goerner Assistant Director Amanda Consol Assistant Lighting Designer Marnie Cumings Associate Lighting Designer Brandon Mitchell Assistant Costume Designer Sarah Swafford cast (in order of vocal appearance) Male Chorus Vale Rideout Female Chorus Arianna Zukerman Collatinus Michael Rice Junius Michael Weyandt Tarquinius Matthew Worth Lucretia Ekaterina Metlova Bianca Alison Tupay Lucia Marnie Breckenridge music staff Assistant Conductor Blake Richardson Rehearsal Pianist/Coach Wilson Southerland By arrangement with Boosey & Hawkes, Inc., publisher and copyright holder. These performances are funded, in part, by the Britten-Pears Foundation and by Patron Sponsors Susan Graham Harrison and Michael A. Harrison. Cal Performances’ 2010–2011 season is sponsored by Wells Fargo. CAL PERFORMANCES 5 SYNOPSIS PROGRAM NOTES Scene 2 The Female Chorus takes us into the world of Lucretia at home with her nurse, Bianca, and maid, Lucia. They work, spinning yarn, embroi- dering, and folding linen, while Lucretia frets over Collatinus’s prolonged absence. Just as they are preparing to go to bed, Tarquinius arrives and demands to be put up for the night. With some trepidation, she invites him in and shows him to his room. Giuseppe DiLiberto Giuseppe act two The Rape of Lucretia (1946; rev. 1947) Scene 1 Civil unrest grows in Rome, and the discontent- he events of the opera, which take ed wait for the moment to revolt. -
La-Traviata-Extract.Pdf
OVERTURE OPERA GUIDES in association with We are delighted to have the opportunity to work with Overture Publishing on this series of opera guides and to build on the work English National Opera did over twenty years ago with the Calder Opera Guide Series. As well as reworking and updating existing titles, Overture and ENO have commissioned new titles for the series and all of the guides will be published to coincide with the repertory being staged by the company. We hope that these guides will prove an invaluable resource now and for years to come, and that by delving deeper into the history of an opera, the libretto and the nuances of the score, readers’ understanding and appreciation of the opera and the art form in general will be enhanced. Daniel Kramer Artistic Director, ENO The publisher John Calder began the Opera Guides series under the editorship of the late Nicholas John in association with English National Opera in 1980. It ran until 1994 and eventually included forty-eight titles, covering fifty-eight operas. The books in the series were intended to be companions to the works that make up the core of the operatic repertory. They contained articles, illustrations, musical examples and a complete libretto and singing translation of each opera in the series, as well as bibliographies and discographies. The aim of the present relaunched series is to make available again the guides already published in a redesigned format with new illustrations, revised and newly commissioned articles, updated reference sections and a literal translation of the libretto that will enable the reader to get closer to the meaning of the original. -
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 -
Portrait of Caterina Cornaro (1454 –1510) Dressed As St Catherine of Alexandria C.1542 (Oil on Canvas) by Titian (C.1588 –1576)
ORC48 Box cover and CD faces : Portrait of Caterina Cornaro (1454 –1510) dressed as St Catherine of Alexandria c.1542 (oil on canvas) by Titian (c.1588 –1576). Galleria degli Uffizi, Florence, Italy/ The Bridgeman Art Library Book cover : Caterina Cornaro by Hans Makart (1840 –1884). © Belvedere, Vienna Opposite : Gaetano Donizetti (Opera Rara Archive) –1– Gaetano Donizetti CATERINA CORNARO Tragedia lirica in a prologue and two acts Libretto by Giacomo Sacchèro Caterina Cornaro............................................................Carmen Giannattasio Andrea Cornaro, Caterina’s father ..........................................Graeme Broadbent Gerardo, a young Frenchman ( in the prologue bethrothed to Caterina ).....................................................................Colin Lee Lusignano, King of Cyprus ..................................................................Troy Cook Mocenigo, a counsellor of the Dieci in Venice and Venetian ambassador in Cyprus .................................................................Vuyani Mlinde Strozzi, a leader of mercenary cut-throats ...............................................Loïc Félix A Knight of the King...........................................................................Loïc Félix Matilde, Caterina’s confidante .........................................................Sophie Bevan Knights, Ladies, Gondoliers, Populace, Soldiers, Cut-throat ruffians, Guards BBC Singers Renato Balsadonna, chorus director BBC Symphony Orchestra Stephen Bryant, leader David Parry, conductor -
St Petersburg Philharmonic Orchestra St Petersburg on 2 Cds Philharmonic Signumclassics Orchestra
St Petersburg Philharmonic Orchestra St Petersburg on 2 CDs Philharmonic SIGNUMCLASSICS Orchestra VERDI Requiem Yuri Temirkanov Carmen Giannattasio Veronica Simeoni Alexander Timchenko Carlo Colombara www.signumrecords.com Mikhailovsky Available through record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 Theatre Chorus ' VERDI Requiem VERDI Requiem Giuseppe Verdi (1813-1901) CD 1 1 No.1 Requiem 8.39 By the time Verdi came to compose Aïda in he did not quite follow Rossini’s example of 2 No.2 (i) Dies Irae 2.15 1870, it seemed as if his time as a composer laying down his pen for the latter part of his 3 (ii) Tuba Mirum 3.25 was nearing its end. With some 23 operas to adult life. 4 (iii) Liber scriptus 5.34 his name, he was the grand old man of the 5 (iv) Quid sum miser 3.45 6 (v) Rex tremendae 3.54 genre in Italy and was revered throughout his The death of the poet and novelist Alessandro 7 (vi) Recordare 4.27 homeland and much of the rest of Europe as Manzoni in 1873 spurred Verdi immediately 8 (vii) Ingemisco 3.47 one of the most important musical figures of back into compositional action. He proposed 9 (viii) Confutatis 5.20 the age. His first great operatic success story to the Mayor of Milan, via his publisher bl (ix) Lacrymosa 6.02 Total timings 47.10 was Nabucco, which had catapulted him to Ricordi, that he would like to compose a instant fame as a young man, 30 years before requiem for the great man to commemorate CD 2 1 No.3 Offertorio 4.38 Aïda and, after the incredible trio of Rigoletto, the first anniversary of his death. -
National Arts Centre 09-10 Season
Subscribe today 613-947-7000 ext. 620 | www.nac-cna.ca/subscribe centre The ts difference is nal ar o Orchestra ti 09-10 na SEASON pinchas zukerman music director YourNational Labelle • Photo: Paul Pinchas Zukerman Arts Centre Orchestra welcome pinchas zukerman music director YourNational Arts Centre Orchestra Join Canada’s National Arts09-10 Centre Orchestra for an exciting 2009-2010 season. This season we celebrate our 40th anniversary with masterpieces from the Orchestra’s repertoire, and stellar visiting artists. Highlights for this season include: • The Romantic Revolution Festival, featuring Pinchas Zukerman in Beethoven’s Violin Concerto, cellist Lynn Harrell, pianist Angela Cheng and more; • Mahler’s “Symphony of a Thousand” with L’Orchestre Métropolitain du Grand Montréal and conductor Yannick Nézet-Séguin; • NAC Gala featuring renowned cellist Yo-Yo Ma and Dvořák’s glorious Cello Concerto; • A celebration of Oscar Peterson, with pianist Oliver Jones and other brilliant Canadian jazz artists; • And many more. Exclusivesubscriber benefits Subscribing is the most rewarding way to enjoy the NAC Orchestra! BEST SEATS BEST PRICES FREE Access the best seats for our 40th Anniversary Orchestra subscribers enjoy ticket discounts, saving season before tickets go on sale to the general up to 15% on Box Office prices. Save even more EXCHANGES public. Series subscribers can renew their seats when you purchase additional tickets to NAC Change in plans? No problem! As a subscriber, you year after year and have priority to change their Orchestra concerts or other NAC subscription can exchange your tickets for a different concert, series or seats. Subscribers also have a special performances when you subscribe, during or for any other NAC Dance or Theatre event priority week (beginning August 31) to purchase Subscriber Priority Week or anytime over the presented on subscription during the 2009-10 tickets to other great shows at the NAC Box Office course of the season. -
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. -
Carmen Giannattasio
Biography: Carmen Giannattasio Carmen Giannattasio’s lustrous soprano voice is in high demand at all the leading opera houses across the world from the Metropolitan to the Royal Opera House and La Scala. After winning the First Prize and the Audience Award at Placido Domingo’s Operalia, Paris 2002, her dramatic ability quickly thrust her onto the world stage and gained her immediate critical attention and a reputation as a chameleon, who could transform herself and delve convincingly into the grand passions of the tragic operatic heroines. Carmen boasts an impressive repertoire encompassing the great composers of the 18th and 19th centuries and has appeared in the major European and American opera houses and concert venues under the world’s leading conductors and directors. Following her Covent Garden debut in 2012, she performed for the first time at the Metropolitan Opera in New York as Leonora in David McVicar’s production of Verdi’s Il Trovatore in September of the same year. In December 2013, Giannattasio opened the season at San Carlo with a mesmeric performance of Violetta in La Traviata directed by film-maker Ferzan Özpetek, followed by Mrs Alice in Verdi’s Falstaff at La Scala, Verdi’s la Traviata at Hong Kong Arts Festival, Leonora in Philipp Stolzl’s new production of Verdi’s Il Trovatore at Wien Festwochen, Desdemona in Josè Cura new production of Verdi’s Otello at Teatro Colon of Buenos Aires, Alice in a Blakeley’s new production of Falstaff at Los Angeles Opera conducted by James Conlon. In 2014 season appeared in the New Year’s Concert from La Fenice broadcasted worldwide, Verdi’s Requiem in Valencia Palau de las Artes, Turandot (Liu’) at Teatro Regio of Turin conducted by P. -
Cast Change for Pagliacci
THURSDAY 30 NOVEMBER 2017 CAST AMENDMENT PAGLIACCI (Ruggero Leoncavallo) Wednesday 6 December 2017 at 12pm and Saturday 9 December 2017 at 7.30pm Due to a family emergency, Italian tenor Fabio Sartori has had to withdraw from the role of Canio in Pagliacci on 6 December and on 9 December. The role will now be sung by American tenor Bryan Hymel, who makes his debut in the role on 2 December, and who also makes his role debut as Turiddu (Cavalleria rusticana). Bryan Hymel made his Royal Opera debut in 2010 as Don José (Carmen) and has since sung Prince (Rusalka), Aeneas (Les Troyens), the title role of Robert le diable, Henri (Les Vêpres siciliennes), Don José and Don Carlo for the Company. Earlier in the 2017/18 Season he returned to sing Henri for The Royal Opera. Recent engagements elsewhere include Don José, Alfredo Germont (La traviata) and Faust (La Damnation de Faust) for Paris Opéra, Pinkerton (Madama Butterfly) for La Scala, Milan, Arnold (Guillaume Tell) and Rodolfo (La bohème) for the Metropolitan Opera, New York, and Duke of Mantua (Rigoletto) for Deutsche Oper Berlin. The rest of the cast remains the same with British baritone Simon Keenlyside as Tonio, Italian soprano Carmen Giannattasio as Nedda, Polish baritone Andrzej Filończyk as Silvio and Portuguese tenor Luis Gomez as Beppe. Israeli conductor Daniel Oren conducts. PRESS OFFICE CONTACTS Ann Richards/Rhys Edwards Opera Press Office, The Royal Opera Tel: 020 7212 9132/020 3772 6458 [email protected] /[email protected] For all Royal Opera House press releases visit www.roh.org.uk/press . -
Passion and Glamour.Pdf
Tosca 2018 articles.qxp_TOSCA 2018 9/21/18 1:14 PM Page 5 B Y M ARINA R OMANI Passionand Glamour The star of Tosca is ready for her San Francisco Opera close-up PERA O RANCISCO F AN /S ICCOLI N IORENZO : F PHOTOS LL A 44 SAN FRANCISCO OPERA Tosca 2018 articles.qxp_TOSCA 2018 9/21/18 1:15 PM Page 6 hunder roars in the summer sky, while waves ripple over We speak in Italian, with occasional forays into our own the Gulf of Naples. The scene unfolds before an open win- respective dialects—hers Neapolitan, mine Abruzzese—whose dow, looking onto the Castel dell’Ovo—the fortress that has common linguistic lineage speaks to the history of a fragmented served over the centuries as a convent, prison, and royal nation. Both of our regions belonged to the Kingdom of the Two residence. To the east, the blue silhouette of Mount Vesu- Sicilies until the unification of Italy in 1861 and, as Carmen vius rises against the clouds, through the driving rain. remarks, “it’s been maybe 60 years that we all speak the same The setting is worthy of an opera, and so an apt location in language. That’s thanks mainly to the advent of television at which I should meet Italian soprano Carmen Giannattasio. And home in the 1950s. Here in Campania, dialects—and especially no less appropriate that, with the appearance of the prima donna, Neapolitan—are deeply rooted.” Carmen is knowledgeable and as we sit down for a caffè in the sumptuous hall of the hotel, the passionate about local histories—their linguistic peculiarities, backdrop slowly shifts: the early evening air becomes warm and neighborhood theaters, little-known places to find the best crisp, the sky is becalmed.