Seattle Opera Announces 2014/15 Season
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10-26-2019 Manon Mat.Indd
JULES MASSENET manon conductor Opera in five acts Maurizio Benini Libretto by Henri Meilhac and Philippe production Laurent Pelly Gille, based on the novel L’Histoire du Chevalier des Grieux et de Manon Lescaut set designer Chantal Thomas by Abbé Antoine-François Prévost costume designer Saturday, October 26, 2019 Laurent Pelly 1:00–5:05PM lighting designer Joël Adam Last time this season choreographer Lionel Hoche revival stage director The production of Manon was Christian Räth made possible by a generous gift from The Sybil B. Harrington Endowment Fund general manager Peter Gelb Manon is a co-production of the Metropolitan Opera; jeanette lerman-neubauer Royal Opera House, Covent Garden, London; Teatro music director Yannick Nézet-Séguin alla Scala, Milan; and Théâtre du Capitole de Toulouse 2019–20 SEASON The 279th Metropolitan Opera performance of JULES MASSENET’S manon conductor Maurizio Benini in order of vocal appearance guillot de morfontaine manon lescaut Carlo Bosi Lisette Oropesa* de brétigny chevalier des grieux Brett Polegato Michael Fabiano pousset te a maid Jacqueline Echols Edyta Kulczak javot te comte des grieux Laura Krumm Kwangchul Youn roset te Maya Lahyani an innkeeper Paul Corona lescaut Artur Ruciński guards Mario Bahg** Jeongcheol Cha Saturday, October 26, 2019, 1:00–5:05PM This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. The Met: Live in HD series is made possible by a generous grant from its founding sponsor, The Neubauer Family Foundation. Digital support of The Met: Live in HD is provided by Bloomberg Philanthropies. The Met: Live in HD series is supported by Rolex. -
Spring 2019 NEWSLETTER : BULLETIN Printemps 2019
Société d' Opéra National Capital de la Capitale Nationale Opera Society Spring 2019 NEWSLETTER : BULLETIN Printemps 2019 Announcing Increased Prize Money for the 2019 Brian Law Opera Competition We are delighted to announce a 40% increase in prize money. This year a total of $14,750 is available to be awarded to the finalists as follows: 1st prize: $7500 2nd prize: $3500 3rd prize: $1500 other finalists will receive $750 Another exciting change is to an afternoon competition. We hope that the change to the afternoon will be attractive to our audience and boost attendance. The 14th Brian Law Opera Competition (BLOC) will be held at 2:00 pm on Saturday, 19th October 2019 at the Southminster United Church, 15 Aylmer Avenue, Ottawa. At the last Competition, Southminster partnered with us by making the Competi- tion part of their Saturday concert series. Although the church has not as yet made plans for a concert series next season, we would welcome their partnership. The BLOC is our major activity, so the prizes are the best possible use of our funds. Mark your calendars and we’ll look forward to seeing you on October 19th. Mark Robinson Spring 2019 Printemps 2019 President's Message March 2019 by Murray Kitts It’s a lovely Spring day in Victoria, with sun- 1605 Requiem as well as Passiontide motets by shine and blossoms everywhere just like it was Renaissance masters. in January before winter reappeared. I’ve en- As for the simulcasts from the Met, I missed joyed a number of fine concerts here principally so many last season due to poor health but was because they have been presented on Sunday glad to see a repeat of La fille du regiment, more afternoons usually at the excellent auditorium at delightful every time I see it. -
Madame Bizet Walter Hall, Sunday, December 2, 2012, 2:30 Pm We Wish to Thank, Most Sincerely, Peter M
THE Aldeburgh CONNECTION Madame Bizet Walter Hall, Sunday, December 2, 2012, 2:30 pm We wish to thank, most sincerely, Peter M. Partridge for sponsoring Nathalie Paulin and James and Connie MacDougall for sponsoring Brett Polegato * We are also grateful to James and Connie MacDougall for providing the flowers on stage * We are performing on the Edith McConica Steinway 1 Madame Bizet Walter Hall, Sunday, December 2, 2012, 2:30 pm Nathalie Paulin, soprano Brett Polegato, baritone Stephen Ralls and Bruce Ubukata, piano with Fiona Reid and Mike Shara Although the married life of Georges and Geneviève Bizet lasted only from 1869 until his death in 1875, those six years were packed with incident, from the Franco-Prussian War of 1870 and the subsequent uprising of the Paris Commune in 1871 through to the disastrous premiere of Carmen on March 3, 1875. The cumulative effects of those events is thought to have hastened the composer’s untimely demise at the age of 36. Unfortunately, despite the undoubted mutual love of the married couple, a considerable amount of blame may, perhaps, be attached to the appalling strains imposed on Bizet by the instability of his wife and, especially, his mother-in-law. Geneviève, the daughter of Fromental Halévy (composer of the ultra-grand French opera, La Juive), never fully recovered from the shock of the death at the age of 21 of her beloved elder sister, Esther. Even worse, her mother, in one of her recurrent bouts of insanity, blamed Geneviève herself for the tragedy, with such obsessive vindictiveness that mother and daughter were never able to live under the same roof again. -
La Clemenza Di Tito
La clemenza di Tito La clemenza di Tito (English: The Clemency of Titus), K. 621, is an opera seria in La clemenza di T ito two acts composed by Wolfgang Amadeus Mozart to an Italian libretto by Caterino Mazzolà, after Pietro Metastasio. It was started after the bulk of Die Zauberflöte Opera by W. A. Mozart (The Magic Flute), the last opera that Mozart worked on, was already written. The work premiered on 6 September 1791 at theEstates Theatre in Prague. Contents Background Performance history Roles Instrumentation Synopsis Act 1 The composer, drawing by Doris Act 2 Stock, 1789 Recordings Translation The Clemency of Titus See also References Librettist Caterino Mazzolà External links Language Italian Based on libretto by Pietro Metastasio Background Premiere 6 September 1791 In 1791, the last year of his life, Mozart was already well advanced in writing Die Estates Theatre, Zauberflöte by July when he was asked to compose an opera seria. The commission Prague came from the impresario Domenico Guardasoni, who lived in Prague and who had been charged by the Estates of Bohemia with providing a new work to celebrate the coronation of Leopold II, Holy Roman Emperor, as King of Bohemia. The coronation had been planned by the Estates in order to ratify a political agreement between Leopold and the nobility of Bohemia (it had rescinded efforts of Leopold's brother Joseph II to initiate a program to free the serfs of Bohemia and increase the tax burden of aristocratic landholders). Leopold desired to pacify the Bohemian nobility in order to forestall revolt and strengthen his empire in the face of political challenges engendered by the French Revolution. -
Shakespeare Theatre Association Conference in Prague, Czech Republic
PRAGUE COMPANY INVITES YOU TO THE CITY OF A HUNDRED SPIRES PRAGUE, CZECH REPUBLIC JANUARY 2019 PRECONFERENCE January 6-8, 2019 . 2019 STA CONFERENCE January 9-12, 2019 STA 2019 SPECS & WELCOME PACKET (more info coming later in 2018) STA Prague Conference 2019 Celebrate Shakespeare's global impact with the January 2019 Shakespeare Theatre Association Conference in Prague, Czech Republic. Prague Shakespeare Company is honored to host the STA 2019 Conference with a special focus on Shakespeare performance and production practices from around the world. Featuring exciting exchanges of artistic, managerial and educational methodologies between native and non-native English- speaking Shakespeare theatres and opportunites to attend performances in the evenings, STA 2019 Prague will offer valuable insights into new ways of thinking about and producing Shakespeare while allowing STA members to share their own proven practices with fellow Shakespeare artists from around the world. Highlights include a day of workshop sessions, panels and a performance at the National Theatre's historic Estates Theater (where Mozart premiered Don Giovanni in 1787) and a final banquet at the Lobkowicz Palace at Prague Castle. General Conference Itinerary: Pre-Conference - daily from 10am-4pm on 6, 7, 8 January 2019 Conference - daily from 10am-4pm on 9, 10, 11, 12 January 2019 Optional Evening performances (with purchase of ticket package) - 6, 7, 8, 9, 10, 11 January 2019 Conference Day & Evening performance at the National Theatre's historic Estates Theater - 11 -
Mozart's Operas, Musical Plays & Dramatic Cantatas
Mozart’s Operas, Musical Plays & Dramatic Cantatas Die Schuldigkeit des ersten Gebotes (The Obligation of the First and Foremost Commandment) Premiere: March 12, 1767, Archbishop’s Palace, Salzburg Apollo et Hyacinthus (Apollo and Hyacinth) Premiere: May 13, 1767, Great Hall, University of Salzburg Bastien und Bastienne (Bastien and Bastienne) Unconfirmed premiere: Oct. 1768, Vienna (in garden of Dr Franz Mesmer) First confirmed performance: Oct. 2, 1890, Architektenhaus, Berlin La finta semplice (The Feigned Simpleton) Premiere: May 1, 1769, Archbishop’s Palace, Salzburg Mitridate, rè di Ponto (Mithridates, King of Pontus) Premiere: Dec. 26, 1770, Teatro Regio Ducal, Milan Ascanio in Alba (Ascanius in Alba) Premiere: Oct. 17, 1771, Teatro Regio Ducal, Milan Il sogno di Scipione (Scipio's Dream) Premiere: May 1, 1772, Archbishop’s Residence, Salzburg Lucio Silla (Lucius Sillus) Premiere: Dec. 26, 1772, Teatro Regio Ducal, Milan La finta giardiniera (The Pretend Garden-Maid) Premiere: Jan. 13, 1775, Redoutensaal, Munich Il rè pastore (The Shepherd King) Premiere: April 23, 1775, Archbishop’s Palace, Salzburg Thamos, König in Ägypten (Thamos, King of Egypt) Premiere (with 2 choruses): Apr. 4, 1774, Kärntnertor Theatre, Vienna First complete performance: 1779-1780, Salzburg Idomeneo, rè di Creta (Idomeneo, King of Crete) Premiere: Jan. 29, 1781, Court Theatre (now Cuvilliés Theatre), Munich Die Entführung aus dem Serail (The Abduction from the Seraglio) Premiere: July 16, 1782, Burgtheater, Vienna Lo sposo deluso (The Deluded Bridegroom) Composed: 1784, but the opera was never completed *Not performed during Mozart’s lifetime Der Schauspieldirektor (The Impresario) Premiere: Feb. 7, 1786, Palace of Schönbrunn, Vienna Le nozze di Figaro (The Marriage of Figaro) Premiere: May 1, 1786, Burgtheater, Vienna Don Giovanni (Don Juan) Premiere: Oct. -
Radio 3 Listings for 15 – 21 February 2020
Radio 3 Listings for 15 – 21 February 2020 Page 1 of 12 SATURDAY 15 FEBRUARY 2020 05:07 AM Haydn 2032 Volume 8: La Roxolana - Symphonies 28, 43 and Giuseppe Tartini (1692-1770) 63 and Bartók Romanian Folk Dances SAT 01:00 Through the Night (m000f7pm) Sonata No 6, 'Senti lo Mare' (Listen to the Sea) Il Giardino Armonico Brahms and Vaughan Williams Elizabeth Wallfisch (baroque violin) Giovanni Antonini (conductor) Alpha ALPHA682 Violinist Christian Tetzlaff joins the NDR Radio Philharmonic 05:14 AM https://outhere-music.com/en/albums/haydn-2032-volume-8-la- Orchestra to perform Brahms's Violin Concerto, paired with Frantisek Jiranek (1698-1778) roxolana-alpha682 Vaughan Williams's Fifth Symphony. Presented by Jonathan Sinfonia in D major Swain. Collegium Marianum, Jana Semeradova (director) Lutosławski: Symphonies Nos. 2 & 3 Finnish Radio Symphony Orchestra 01:01 AM 05:22 AM Hannu Lintu (conductor) Ludwig van Beethoven Robert Schumann (1810 -1856) Ondine ODE13325 (Hybrid SACD) Overture to 'Fidelio', Op 72 Nachtlied https://www.ondine.net/?lid=en&cid=2.2&oid=6417 NDR Radio Philharmonic Orchestra, Andrew Manze Bavarian Radio Chorus, Polish National Radio Symphony (conductor) Orchestra, Katowice, Alexander Liebreich (conductor) 10.45am New Releases 01:08 AM 05:32 AM Simon Heighes discusses two new box sets with Andrew: Bach Johannes Brahms (1833-1897) Ludwig van Beethoven harpsichord and violin concertos from Concerto Copenhagen; Violin Concerto in D major, Op 77 Trio for oboe, cello and piano in B flat major, Op 11 and a set of Italian violin concertos by composers from Vivaldi Christian Tetzlaff (violin), NDR Radio Philharmonic Orchestra, Alexei Ogrintchouk (oboe), Boris Andrianov (cello), Ekaterina to Paganini. -
Mozart's La Clemenza Di Tito
6 Stage Directions and Set Design in Mozart’s La clemenza di Tito Sergio Durante In this essay I will examine the mise-en-scène of the 1791 Prague pro- duction of La clemenza di Tito. Beginning with an examination of the sets and their importance for understanding Mozart’s score and his use of the stage, I will then apply the results to a broader discussion of aesthetic dimensions within the opera.1 The Stage Sets and their Importance in Prague 1791 It has long been known that the main set designer for the Prague production of La clemenza di Tito was the Milanese Pietro Travaglia, a pupil of the famous Galliari brothers, Bernardino and Fabrizio (see Chapter 1, II Document 7). The most important source documenting Travaglia’s work is the so-called ‘Travaglia sketchbook’, preserved today in the National Széchényi Library in Budapest. The book, which had been in private possession before it arrived at the Budapest How to cite this book chapter: library in the 1950s, includes a number of scenographic sketches at Durante, S. 2018. Stage Directions and Set different stages of completion and many miscellaneous notes.2 It was Design in Mozart’s La clemenza di Tito. In: Tessing Schneider, M. and Tatlow, R. a main source for Horányi Mátyás in his book devoted to the theat- (eds.) Mozart’s La clemenza di Tito: A rical productions of the court of Esterháza.3 Travaglia, like Joseph Reappraisal. Pp. 134–158. Stockholm: Haydn, spent most of his professional life at Esterháza, until the death Stockholm University Press. -
SANTA FE Santa Fe, New Mexico, Is Unlike Any Place, Anywhere
DISCOVER SANTA FE Santa Fe, New Mexico, is unlike any place, anywhere. Visitors from around the globe fock to Santa Fe for its combination of stunning natural beauty, 300+ days of sunshine, rich cultural and foodie scene, and seemingly endless outdoor activities. But the best LIZ COUGHLAN part of Santa Fe may be the people who live there. ! There’s the well-publicized mix of Native Americans, PHOTO Hispanics, and Anglos, but the city’s professional di- versity is just as broad. Santa Fe is home to artists of many disciplines—scientists, spiritual innovators, athletes, intellectuals . the list goes on and on. Santa Fe attracts people from all over, many of whom have achieved great success and stature in their re- spective and varied felds. And on any given evening at any given restaurant or lecture or musical perform- ance, you’re likely to see a wonderful mix. Gentry Destinations is proud to present this insider’s guide to savoring Santa Fe and its many treasures. BY BRENDA BECK NAGEL PHOTOGRAPHY NAGEL NELSON SIRLIN ! ! San Miguel Mission PHOTO PHOTO GENTRY DESTINATIONS | 57 discover |santa fe ANDRIY BLOKHIN The Cathedral Basilica of St. Francis ! Beautiful autumn colors adorn the of Assisi in downtown Santa Fe. Sangre de Cristo Mountains. PHOTO HEART OF TOWN Founded in 1610, Santa Fe—situated where the Sangre de Cristo Mountains meet the high desert—is part of the fabric of our country’s history, where modern civilization traveling on wagon trails and clanging railways discovered ancient cultures with new ideas and opportunities. It was the final destination of the Santa Fe Trail and the crossroads of the great Camino Real stretching to Mexico City, and as such, Santa Fe became the market capital of the Great American West. -
Newsletter • Bulletin
NATIONAL CAPITAL OPERA SOCIETY • SOCIETE D'OPERA DE LA CAPITALE NATIONALE Newsletter • Bulletin Summer 2000 L’Été A WINTER OPERA BREAK IN NEW YORK by Shelagh Williams The Sunday afternoon programme at Alice Tully Having seen their ads and talked to Helen Glover, their Hall was a remarkable collaboration of poetry and words new Ottawa representative, we were eager participants and music combining the poetry of Emily Dickinson in the February “Musical Treasures of New York” ar- recited by Julie Harris and seventeen songs by ten dif- ranged by Pro Musica Tours. ferent composers, sung by Renee Fleming. A lecture We left Ottawa early Saturday morning in our bright preceded the concert and it was followed by having most pink (and easily spotted!) 417 Line Bus and had a safe of the composers, including Andre Previn, join the per- and swift trip to the Belvedere Hotel on 48th St. Greeted formers on stage for the applause. An unusual and en- by Larry Edelson, owner/director and tour leader, we joyable afternoon. met our fellow opera-lovers (six from Ottawa, one from Monday evening was the Met’s block-buster pre- Toronto, five Americans and three ladies from Japan) at miere production of Lehar’s The Merry Widow, with a welcoming wine and cheese party. Frederica von Stade and Placido Domingo, under Sir Saturday evening the opera was Offenbach’s Tales Andrew Davis, in a new English translation. The oper- of Hoffmann. This was a lavish (though not new) pro- etta was, understandably, sold out, and so the only tick- duction with sumptuous costumes, sets descending to ets available were seats in the Family Circle (at the very reappear later, and magical special effects. -
Aldeburgh CONNECTION
THE Aldeburgh CONNECTION A Shropshire Lad in Ontario Walter Hall, Sunday, January 30, 2011, 2:30 pm This concert in honour of James Campbell McInnes has been generously supported by the Stratton Trust, to whom we are most grateful, as we are to its administrator, Stephen Clarke * We wish to thank most sincerely Sue Mortimer for sponsoring Michael Colvin and James and Connie MacDougall for sponsoring Brett Polegato and providing the flowers on stage * We are performing on the Edith McConica Steinway 1 A Shropshire Lad in Ontario The life story of James Campbell McInnes (1874-1945) Walter Hall, Sunday, January 30, 2011, 2:30 pm Michael Colvin, tenor Brett Polegato, baritone Stephen Ralls and Bruce Ubukata, piano As you well know by now, a significant anniversary is always a useful place for us to begin programme planning. This afternoon’s presentation began its life in such a way - and along the journey, we were visited by so many surprising events and lucky coincidences as to convince us that the spirits were moving and helping to create something important. It all began at Christmas 2009. Once again, we were consulting Bruce’s mother’s convenient little handbook of the dates and anniversaries of composers and their works. What caught our eye this time was the first performance in 1911 of George Butterworth’s Six Songs from “A Shropshire Lad” - one of the earliest and greatest of English song-cycles which has always been a favourite of ours. We started to look into the circumstances of the premiere and discovered that the singer on that occasion was a baritone who subsequently emigrated to Canada, James Campbell McInnes. -
2017 Season Updates
FOR IMMEDIATE RELEASE 19 JUNE 2017 CONTACT: DANIEL ZILLMANN | DAISY GEOFFREY |[email protected] | 505.986.5908 SANTA FE OPERA ANNOUNCES 2017 SEASON UPDATES DIE FLEDERMAUS JOHANN STRAUSS II NEW PRODUCTION. LAST PERFORMED BY THE COMPANY IN 1992. LUCIA DI LAMMERMOOR GAETANO DONIZETTI NEW PRODUCTION. LAST PERFORMED BY THE COMPANY IN 2001. THE GOLDEN COCKEREL NIKOLAI RIMSKY-KORSAKOV NEW PRODUCTION. CO-PRODUCTION WITH THE DALLAS OPERA. A COMPANY PREMIERE. THE (R)EVOLUTION OF STEVE JOBS MASON BATES, COMPOSER | MARK CAMPBELL, LIBRETTIST A WORLD PREMIERE. COMMISSIONED BY SANTA FE OPERA, SEATTLE OPERA, AND SAN FRANCISCO OPERA WITH SUPPORT FROM CAL PERFORMANCES. CO-PRODUCTION WITH SEATTLE OPERA, SAN FRANCISCO OPERA, AND THE INDIANA UNIVERSITY JACOBS SCHOOL OF MUSIC. ALCINA GEORGE FRIDERIC HANDEL NEW PRODUCTION. A COMPANY PREMIERE. SANTA FE, NM—Santa Fe Opera announces updates to the company’s 61st season. The world premiere production of The (R)evolution of Steve Jobs is now a co-commission with SEATTLE OPERA and SAN FRANCISCO OPERA, with support from CAL PERFORMANCES. It is a co-production with Seattle Opera, San Francisco Opera, and THE INDIANA UNIVERSITY JACOBS SCHOOL OF MUSIC. San Francisco Opera General Director MATTHEW SHILVOCK said, “This is a profoundly moving new opera that I am excited to bring to Northern California audiences. Steve Jobs was an iconic figure in contemporary life whose genius has impacted the very way in which we engage with the world. But he was also a real person and a member of our community. Mason Bates’ new opera is a deeply layered, moving portrayal of a man grappling with the complex priorities of life, family, and work.