The Met: Live in HD Returns with Fourth Season of the Award-Winning Series to Movie Theaters Across the United States
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Newsletter • Bulletin Summer 2002 Été
NATIONAL CAPITAL OPERA SOCIETY • SOCIÉTÉ D'OPÉRA DE LA CAPITALE NATIONALE Newsletter • Bulletin Summer 2002 Été P.O. Box 8347, Main Terminal, Ottawa, Ontario K1G 3H8 • C.P. 8347, Succursale principale, Ottawa (Ontario) K1G 3H8 A new Canadian star!!! by Renate Chartrand Opernglas’ featured a six-page interview with her on the occasion of her Covent Garden debut as Donna Anna with Bryn Terfel as Don Giovanni. (Perhaps while I am writing this, ‘Opera Canada’ is doing the same?) For several years she was based in Vienna, singing lead roles at the State Opera. Elsewhere in Europe she has had great success as Elsa, Arabella, Tatiana, Desdemona and Alice Ford in Munich, Paris, Glyndebourne and Milan. Four years ago in Hamburg she had already caught my at- tention as a great Ellen Orford in Peter Grimes. As is the custom in Europe we joined the fans wait- ing for her at the stage door and asked her whether she is thinking of doing Tosca. Yes, next year in San Francisco. This year she will sing her first Elisabetta (Don Carlo) in Salzburg, Ariadne in Barcelona and her Met debut as Lisa (Pique Dame) is planned for 2004. For us Ottawans of greatest interest will be her first Sieglinde in Toronto’s (continued on page 3) Adrianne Pieczonka Kat’a Kabanova During my trip to Germany in April I had the pleasure of witnessingBrian a Canadian star being born. Soprano Adrianne Pieczonka made the front page of the ‘Hamburger Abendblatt’Law with the comment “A star was born” follow- ing the opening night of Kat’a Kabanova by Janacek at the Hamburg State Opera. -
Spring 2008-Final
Wagneriana Endloser Grimm! Ewiger Gram! Spring 2008 Der Traurigste bin ich von Allen! Volume 5, Number 2 —Die Walküre From the Editor ven though the much-awaited concert of the Wagner/Liszt piano transcriptions was canceled due to un- avoidable circumstances (the musicians were unable to obtain a visa), the winter and early spring months E brought several stimulating events. On January 19, Vice President Erika Reitshamer gave an audiovisual presentation on Wagner’s early opera Das Liebesverbot. This well-attended event was augmented by photocopies of extended excerpts from the libretto, with frequently amusing commentary by the presenter on Wagner’s influences and foreshadowings of his future operas. February 23 brought the excellent talk by Professor Hans Rudolf Vaget of Smith College. Professor Vaget spoke about Wagner’s English biographer Ernest Newman, whose seminal four-volume book The Life of Richard Wagner has never been surpassed in its thoroughness. In the early part of the twentieth century, the music critic Newman served as a counterbalance to his fellow countryman Houston Stewart Chamberlain, Wagner’s son-in-law and an ardent Nazi. The talk also included aspects of Thomas Mann’s fictional writings on Wagner, as well as the philoso- pher and musician Theodor Adorno and Wagner’s other son-in-law Franz Beidler. On April 19 we learned the extent of Buddhism’s influence on Wagner’s operas thanks to a lecture and book signing by Paul Schofield, author of The Redeemer Reborn: Parsifal as the Fifth Opera of Wagner’s Ring. The audience members were so interested in what Mr. -
Press Information Eno 2013/14 Season
PRESS INFORMATION ENO 2013/14 SEASON 1 #ENGLISHENO1314 NATIONAL OPERA Press Information 2013/4 CONTENTS Autumn 2013 4 FIDELIO Beethoven 6 DIE FLEDERMAUS Strauss 8 MADAM BUtteRFLY Puccini 10 THE MAGIC FLUte Mozart 12 SATYAGRAHA Glass Spring 2014 14 PeteR GRIMES Britten 18 RIGOLetto Verdi 20 RoDELINDA Handel 22 POWDER HeR FAce Adès Summer 2014 24 THEBANS Anderson 26 COSI FAN TUtte Mozart 28 BenvenUTO CELLINI Berlioz 30 THE PEARL FISHERS Bizet 32 RIveR OF FUNDAMent Barney & Bepler ENGLISH NATIONAL OPERA Press Information 2013/4 3 FIDELIO NEW PRODUCTION BEETHoven (1770–1827) Opens: 25 September 2013 (7 performances) One of the most sought-after opera and theatre directors of his generation, Calixto Bieito returns to ENO to direct a new production of Beethoven’s only opera, Fidelio. Bieito’s continued association with the company shows ENO’s commitment to highly theatrical and new interpretations of core repertoire. Following the success of his Carmen at ENO in 2012, described by The Guardian as ‘a cogent, gripping piece of work’, Bieito’s production of Fidelio comes to the London Coliseum after its 2010 premiere in Munich. Working with designer Rebecca Ringst, Bieito presents a vast Escher-like labyrinth set, symbolising the powerfully claustrophobic nature of the opera. Edward Gardner, ENO’s highly acclaimed Music Director, 2013 Olivier Award-nominee and recipient of an OBE for services to music, conducts an outstanding cast led by Stuart Skelton singing Florestan and Emma Bell as Leonore. Since his definitive performance of Peter Grimes at ENO, Skelton is now recognised as one of the finest heldentenors of his generation, appearing at the world’s major opera houses, including the Metropolitan Opera, New York, and Opéra National de Paris. -
Pdf Carlo Rizzi 2018-19 Season
Metropolitan Maestro Carlo Rizzi’s 2018-19 season includes Tosca and Mefistofele at the Met, Falstaff in Tokyo, a new production of Un ballo in maschera at Welsh National Opera and symphonic concerts in Japan, Italy and Spain ‘Carlo Rizzi knows exactly what Puccini needs and he draws wonderful colours from Welsh National Opera’s orchestra. The pacing is precise, the playing supple and gripping,’ The Times, review of Tosca, February 2018 Mature masterworks by Puccini and Verdi are set to occupy Carlo Rizzi over the 2018-19 season. The Italian conductor’s schedule includes engagements with the Metropolitan Opera in New York and at his home base in Cardiff for Welsh National Opera’s new production of Un ballo in maschera. It also contains debut dates with the New National Theatre in Tokyo and the New Japan Philharmonic, and a return to his native Milan for four concerts with the Orchestra I Pomeriggi Musicali. Maestro Rizzi, who made his Metropolitan Opera debut 25 years ago with Puccini’s La bohème, will lead the company in the first revival of Sir David McVicar’s lavish new staging of Tosca, with Sondra Radvanovsky in the title role and Joseph Calleja as Cavaradossi, and in Arrigo Boito’s Mefistofele. Carlo Rizzi has become a regular guest at the Met in recent years. He opened its 2017-18 season with Bellini’s Norma, receiving critical acclaim for his eloquent interpretation. ‘If there was a gimmick [about the production],’ wrote the Washington Post, ‘it was the gimmick of putting the opera in the hands of someone who actually knew how it was supposed to go.’ Rizzi’s conducting, the review continued, ‘had the taut, light, forward drive that this music calls for’. -
Final 2 Encores
WNET Contact: Harry Forbes 212-560-8027 or [email protected] Press materials; http://pressroom.pbs.org/ or http://www.thirteen.org/13pressroom/ Website: http://www.pbs.org/wnet/gperf/ Facebook: http://www.facebook.com/GreatPerformances Twitter: @GPerfPBS Memorable Arias and Duets from Today’s Operatic Superstars Topline Encores! Great Performances at the Met Airing in December on PBS From Natalie Dessay and Anna Netrebko to Juan Diego Flórez and Jonas Kaufmann, show-stopping excerpts from “Carmen,” “Rigoletto,” “La Bohème,” and more, hosted by Deborah Voigt Encores! Great Performances at the Met – featuring 19 unforgettable arias and duets selected from the past eight seasons of broadcasts, performed by today's greatest opera stars and talents – will air on Great Performances in December. (In New York, THIRTEEN will air the program on Thursday, December 11 at 8:30 p.m.) Hosted by soprano Deborah Voigt , from the Grand Staircase of the Met, the special covers a wide range of operatic ground, from heartbreak to hilarity, delivered by such artists as Natalie Dessay , Plácido Domingo , Renée Fleming , Juan Diego Flórez , Jonas Kaufmann , and Anna Netrebko , along with Voigt herself. These extraordinary moments, 2 selected from more than 75 productions, were initially seen as part of the Met’s global Live in HD movie-theater transmissions, and later shared with PBS audiences as presentations of Great Performances at the Met . These broadcast performances are the “high pressure performances that separate the divas from the girls,” says Voigt with a twinkle in her eye. The musical excerpts are interspersed with commentary by Voigt and some backstage interviews with the singers. -
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. -
Louis Riel Tosca
LOUIS RIEL TOSCA PROGRAM SPRING 2017 CONTENTS A MESSAGE FROM GENERAL DIRECTOR 4 WHAT’S PLAYING: ALEXANDER NEEF LOUIS RIEL 12 HONOURING INDIGENEITY NEW EXPERIENCES, IN LOUIS RIEL NEW INITIATIVES 14 COMPOSER HARRY SOMERS This spring we celebrate the return ADOPTS A MODERN TONE IN of an iconic Canadian opera, Harry LOUIS RIEL Somers’ Louis Riel. 15 THE NISGA’A HISTORY OF THE “KUYAS” ARIA The fact that 50 years ago Somers and Moore made the bold decision 16 A CANADIANIZED RIEL: to focus their work on the struggles MAKING SPACE FOR MÉTIS of Riel and the Métis Nation against TO SPEAK Canada’s colonial government serves as a challenge for present and future WHAT’S PLAYING: TOSCA Great opera 18 understandings of our country. In Canada’s sesquicentennial year, these 24 A PASSION FOR PUCCINI: CONDUCTOR KERI-LYNN challenges remain at the forefront of WILSON our country’s conversations, particularly as part of the ongoing Truth and lives here. 28 GET TO KNOW ADRIANNE Reconciliation process. PIECZONKA With this new production of Louis 32 BACKSTAGE AND BEYOND Riel, we have taken the opportunity to expand our base of creative knowledge with not-for-profit arts groups, 34 BIOGRAPHIES: LOUIS RIEL and perspectives to include musical community partners, and social and performance practices that service organizations in Ontario BIOGRAPHIES: TOSCA 42 wouldn’t have been a part of the artistic to offer more than 1,000 people conversation in 1967. the opportunity to experience our EVERY NOTE COUNTS 45 mainstage programming free of 46 MEET A BOARD MEMBER: Building broader awareness of the charge. -
THE METROPOLITAN OPERA Subject to Change 2016-17 TOLL BROTHERS-METROPOLITAN OPERA INTERNATIONAL RADIO NETWORK SEASON Last Update: 11/18/2016
THE METROPOLITAN OPERA Subject to change 2016-17 TOLL BROTHERS-METROPOLITAN OPERA INTERNATIONAL RADIO NETWORK SEASON Last update: 11/18/2016 Date Opera On-Air Last Broadcast 2016 Central Time December 3 MANON LESCAUT (Puccini) First SatMat Marco Armiliato; Anna Netrebko (Manon Lescaut), Marcelo Álvarez (des Grieux), Christopher Maltman 12:00 noon 3/5/2016 (Lescaut), Brindley Sherratt (Geronte de Ravoir) December 10 L'AMOUR DE LOIN (Saariaho) — New Production/Met Premiere 12:00 noon Met/Network Premiere HD** Susanna Mälkki; Susanna Phillips (Clémence), Tamara Mumford (The Pilgrim), Eric Owens (Jaufré Rudel) December 17 SALOME (R. Strauss) Johannes Debus; Patricia Racette (Salome), Nancy Fabiola Herrera (Herodias), Gerhard Siegel (Herod), Kang 12:00 noon 3/27/2004 Wang (Narraboth), Željko Lučić (Jochanaan) December 24 HANSEL AND GRETEL (Humperdinck) — in English Performance from January 1, 2008 12:00 noon 1/3/2015 Vladimir Jurowski; Christine Schäfer (Gretel), Alice Coote (Hansel), Rosalind Plowright (Gertrude), Philip Langridge (The Witch), Alan Held (Peter) December 31 L'ITALIANA IN ALGERI (Rossini) Performance from Fall 2016 12:00 noon 2/28/2004 James Levine; Marianna Pizzolato (Isabella), René Barbera (Lindoro), Nicola Alaimo (Taddeo), Ildar Abdrazakov (Mustafà) 2017 January 7 NABUCCO (Verdi) James Levine; Liudmyla Monastyrska (Abigaille), Jamie Barton (Fenena), Russell Thomas (Ismaele), 12:00 noon 2/26/2005 HD** Plácido Domingo (Nabucco), Dmitry Belosselskiy (Zaccaria) January 14 LA BOHÈME (Puccini) Carlo Rizzi; Ailyn Pérez (Mimì), -
GREAT OPERATIC ARIAS GREAT OPERATIC ARIAS CHAN 3112 CHANDOS O PERA in ENGLISH BARRY BANKS Tenor Sings BEL CANTO ARIAS
CHAN 3112 Book Cover.qxd 20/9/06 11:02 am Page 1 GREAT OPERATIC ARIAS GREAT OPERATIC ARIAS CHAN 3112 CHANDOS O PERA IN ENGLISH BARRY BANKS BANKS BARRY tenor sings BEL CANTO ARIAS sings BEL CANTO PETER MOORES FOUNDATION CHAN 3112 BOOK.qxd 20/9/06 11:08 am Page 2 Christian Steiner Barry Banks sings Bel canto Arias 3 CHAN 3112 BOOK.qxd 20/9/06 11:08 am Page 4 Time Page Time Page Gioachino Rossini (1792–1868) Igor Stravinsky (1882–1971) from The Italian Girl in Algiers from The Rake’s Progress Lindoro’s Cavatina (Languir per una bella) Tom Rakewell’s Recitative and Aria 1 ‘In dreams of endless pleasure’ 7:16 [p. 46] 6 ‘Here I stand’ – ‘Since it is not by merit’ 2:40 [p. 48] London Philharmonic Orchestra London Philharmonic Orchestra from Stabat Mater (Cujus animam) Gaetano Donizetti (1797–1848) 2 ‘Through her soul in endless grieving’ 6:25 [p. 46] London Philharmonic Orchestra from Don Pasquale Ernesto’s Prelude and Aria (Cercherò lontana terra) from Count Ory 7 ‘Poor lost Ernesto’ – Count’s Cavatina (Que le destin prospère) 3 ‘I shall go, no more returning’ 9:47 [p. 48] ‘May destiny befriend you’ 4:38 [p. 46] London Philharmonic Orchestra London Philharmonic Orchestra from CHAN 3011(2) Don Pasquale from Moses in Egypt from The Elixir of Love Amenophis’ and Pharaoh’s Duet (Parla, spiegar non posso) Nemorino’s Romance (Una furtiva lagrima) 4 ‘The blow at last has fallen’ 7:10 [p. 46] 8 ‘Only one teardrop’ 5:14 [p. -
Canada's Great Diva: ADRIANNE Pieczonka
Elisabeth de Valois, Don Carlos, COC, 2007: It was very sad that Richard Bradshaw died before we CAnada’S GreAt DivA: began rehearsals on Don Carlos. We performed the opera in his memory and I think everyone felt the passion and power of this ADRIANNE PieczONkA incredible opera. MAkES HER ROLE DEbuT as AMELIA IN A MAskEd BAll Photo: Michael Cooper In recent years, the Canadian are the first to witness Pieczonka in a sings a heartbreaking aria begging Opera Company has lured Canada’s role she calls “more dramatic than any her husband that, before she is killed, internationally acclaimed soprano other Verdi role I have sung to date” – she be allowed to say goodbye to her Adrianne Pieczonka from the world’s Amelia in Verdi’s A Masked Ball. young son. It’s this kind of emotion stages of New York, London, Paris, which really affects me deeply.” Milan, Berlin, Vienna, Bayreuth and “Amelia appeals to me because she is a mature woman – she is married and Adrianne Pieczonka’s performance is Salzburg to the Four Seasons Centre generously sponsored by Jack Whiteside for one riveting performance after she is a mother, both of which I can another. This winter, COC audiences relate to,” shares Pieczonka. “Amelia follow the development of canada’s great diva from her early COC appearances to more recent moments in this world-renowned soprano’s career abroad and here at home. Amelia, Simon Boccanegra, Metropolitan Opera, 2010: What a thrill it was to play Arabella, Arabella, Glyndebourne, Plácido Domingo’s long-lost daughter 1996: Arabella is a very special Amelia in this beautiful opera. -
Decca Discography
DECCA DISCOGRAPHY >>V VIENNA, Austria, Germany, Hungary, etc. The Vienna Philharmonic was the jewel in Decca’s crown, particularly from 1956 when the engineers adopted the Sofiensaal as their favoured studio. The contract with the orchestra was secured partly by cultivating various chamber ensembles drawn from its membership. Vienna was favoured for symphonic cycles, particularly in the mid-1960s, and for German opera and operetta, including Strausses of all varieties and Solti’s “Ring” (1958-65), as well as Mackerras’s Janá ček (1976-82). Karajan recorded intermittently for Decca with the VPO from 1959-78. But apart from the New Year concerts, resumed in 2008, recording with the VPO ceased in 1998. Outside the capital there were various sessions in Salzburg from 1984-99. Germany was largely left to Decca’s partner Telefunken, though it was so overshadowed by Deutsche Grammophon and EMI Electrola that few of its products were marketed in the UK, with even those soon relegated to a cheap label. It later signed Harnoncourt and eventually became part of the competition, joining Warner Classics in 1990. Decca did venture to Bayreuth in 1951, ’53 and ’55 but wrecking tactics by Walter Legge blocked the release of several recordings for half a century. The Stuttgart Chamber Orchestra’s sessions moved from Geneva to its home town in 1963 and continued there until 1985. The exiled Philharmonia Hungarica recorded in West Germany from 1969-75. There were a few engagements with the Bavarian Radio in Munich from 1977- 82, but the first substantial contract with a German symphony orchestra did not come until 1982. -
Metoo Simpering Victims
femmes fatales, simpering victims & #MeToo Jane Archibald (Konstanze) in Wajdi Mouawad’s 2018 Canadian Opera Company production of The Abduction from the Seraglio Glynis Ratcliffe asks four Canadian singers: how ‘woke’ is opera in an age of heightened awareness around sexual assault and harassment? 34 opEra Canada No art form can exist in a vacuum, not even one that relies so heavily on creations from centuries past. The #MeToo social movement has sparked media debates about movies once deemed modern classics, songs once thought harmless, and comedy once viewed as cringeworthy, but still funny. Adrianne Pieczonka in the title role of Canadian Opera isn’t—and shouldn’t be—immune. Its plots are rife Opera Company’s 2012 with objectionable behaviour, stereotyped characters, and production of Tosca outdated social norms. Everyone knows it: singers, directors, and audiences. That said, no one is arguing that many of these problematic operas aren’t masterpieces. It therefore seems like the right time to take stock and speak with the singers who consistently have to go on stage and play victims of misogyny and abuse. How, from their perspective, has the movement impacted the opera community; what does it mean to perform these roles right now, and what kind of change is still needed? Opera Canada spoke with four Canadian sopranos: Jane Archibald, Measha Brueggergosman, Teiya Kasahara, and Adrianne Pieczonka. Bringing outdated themes to relevance today One theme that emerged from our discussions was the idea of linking broader subject matters contained within opera with issues faced by marginalized members of society today. Pieczonka thought perhaps the timing was right for more detailed program notes.