DOCSLIB.ORG

The Royal Opera Celebrates 25 Years of Richard Eyre's Iconic Production

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Royal Opera Celebrates 25 Years of Richard Eyre's Iconic Production 02/10/2019 The Royal Opera celebrates 25 years of Richard Eyre’s iconic production of La traviata La traviata, Act I, The Royal Opera © 2019 ROH. Photographed by Tristram Kenton. Verdi’s eternally popular La traviata returns to the Royal Opera House in December 2019. This Season we celebrate the 25th anniversary of the premiere of Richard Eyre’s magnificent production, which perfectly encapsulates the colour, glamour and splendour of 19th-century Paris against which the heroine’s tragedy unfolds. For all Royal Opera House press releases visit www.roh.org.uk/for/press-and-media From lyrical arias to vibrant choruses, La traviata contains some of Verdi’s finest and best-known music. Based on Alexandre Dumas fils’s novel and play La Dame aux camélias, itself based on the life of Dumas’ own lover Marie Duplessis, La traviata tells the story of the courtesan Violetta and the passionate love she feels for Alfredo Germont – a love that leads her to make the ultimate sacrifice. Verdi’s most romantic opera has delighted audiences around the world for more than 150 years and Richard Eyre’s wonderful production has been a staple of The Royal Opera’s repertory since 1994. It is revived nearly every Season and is an unmissable experience for opera fans and newcomers alike. For this long-running revival, five internationally-acclaimed singers perform the role of Violetta: the Armenian soprano Hrachuhi Bassenz, the Azerbaijani soprano Dinara Alieva, the Russian sopranos Kristina Mkhitaryan and Vlada Borovko (the latter a former Royal Opera Jette Parker Young Artist) and the Polish soprano Aleksandra Kurzak. Violetta’s lover Alfredo Germont is performed by Armenian tenor Liparit Avetisyan, Kosovan tenor Rame Lahaj, French-Canadian tenor Frédéric Antoun and Korean tenor Ho-Yoon Chung. Alfredo’s father Giorgio Germont is performed by British baritone Simon Keenlyside, Italian baritone Gabriele Viviani, Serbian baritone Željko Lučić and Romanian baritone George Petean. Italian conductors Daniel Oren, Francesco Ivan Ciampa and Maurizio Benini conduct. La traviata opens at the Royal Opera House on 17 December 2019, with subsequent performances on 21, 24 (matinee) and 27 December, and 6, 8, 13, 22, 25 (matinee and evening), 27, 28 and 30 (matinee and evening) January, 1 (matinee and evening) February and 14, 16, 19, 21 and 23 March. The matinee performance on 1 February 2020 is British Sign Language (BSL) interpreted and reduced-price seating is available for BSL users. ENDS NOTES TO EDITORS 1. For further information or interview requests please contact Antonia Channer 2. For images or press ticket requests please contact Hannah Last Page 2 of 6 LA TRAVIATA 17, 21, 27 December 2019 at 7pm 24 December 2019 at 12pm 6, 8, 13, 22, 25, 27, 28, 30 January 2020 at 7pm 25 and 30 January 2020 at 12pm 1 February 2020 at 12pm (BSL interpreted) 1 February 2020 at 7pm 14, 16, 19, 21, 23 March 2020 at 7pm Sung in Italian with English surtitles Credits Music Giuseppe Verdi Libretto Francesco Maria Piave Director Richard Eyre Designer Bob Crowley Lighting designer Jean Kalman Director of movement Jane Gibson Performers Conductors Daniel Oren (17, 21, 27 December and 6, 8, 22, 25 matinee, 28, 30 January evening and 1 February matinee) Francesco Ivan Ciampa* (24 matinee December, 13, 25 evening, 27, 30 January matinee, 1 February evening) Maurizio Benini (14, 16, 19, 21, 23 March) Violetta Valéry Hrachuhi Bassenz (17, 21, 24 matinee, 27 December and 6, 8, 13 January) Dinara Alieva* (22, 25 matinee, 28 evening, 30 January evening) Page 3 of 6 Kristina Mkhitaryan (25 evening, 27, 30 January matinee and 1 February evening) Vlada Borovko (1 February matinee) Aleksandra Kurzak (14, 16, 19, 21, 23 March) Alfredo Germont Liparit Avetisyan (17, 21, 24 matinee, 27 December, and 6, 8, 13 January) Rame Lahaj* (22, 25 matinee, 28, 30 January evening and 1 February matinee) Ho-Yoon Chung* (25 evening, 27, 30 January matinee and 1 February evening) Frédéric Antoun (14, 16, 19, 21, 23 March) Giorgio Germont Simon Keenlyside (17, 21, 24 matinee, 27 December and 6, 8, 13 January) Gabriele Viviani (22, 25 matinee, 28, 30 January evening and 1 February matinee) Željko Lučić (25 evening, 27, 30 January matinee and 1 February evening) George Petean (14, 16, 19, 21, 23 March) Baron Douphol Germán E. Alcántara Doctor Grenvil Timothy Dawkins* (17, 21, 24 matinee, 27 December, 6, 8, 13 January) Michael Mofidian** (22, 25 matinee, 28, 30 evening January) Lukas Jakobski (25 evening, 27, 30 matinee January, 1 February matinee, 1 February evening) Robert Lloyd (14, 16, 19, 21, 23 March) Flora Bervoix Stephanie Wake-Edwards** (17, 21, 24 matinee, 27 December, 6, 8, 13, 25 evening, 27, 30 matinee January, 1 February evening) Page 4 of 6 Hongni Wu** (22, 25 matinee, 28, 30 evening January, 1 February matinee) Helen Sherman* (14, 16, 19, 21, 23 March) Marquis D’Obigny Jeremy White (17, 21, 24 matinee, 27 December, 6, 8, 13, 25 evening, 27, 30 matinee January, 1 February evening) ByeongMin Gil** (22, 25 matinee, 28, 30 evening January, 1 February matinee, 14, 16, 19, 21, 23 March) Gastone de Letorières Andrés Presno** (17, 21, 24 matinee, 27 December, 6, 8, 9, 13, 25, 27, 30 matinee January, 1 evening February) Filipe Manu** (22, 25 matinee, 28, 30 January, 1 matinee February, 14, 16, 19, 21, 23 March) Annina Pamela Helen Stephenson (17, 21, 24 matinee, 27 December, 6, 8, 13 January) Sarah Pring (22, 25 matinee, 28, 30 evening January, 1 February matinee) Renata Skarelyte (25 evening, 27, 30 matinee January, 1 February evening) Catherine Carby (14, 16, 19, 21, 23 March) 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 Page 5 of 6 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 6 of 6 .
Load more

Recommended publications
  • Blandade Insatser I Tidig Verdi
    Blandade insatser i tidig Verdi Giuseppe Verdi: I due Foscari Solister: Vladimir Stoyanov, Stefan Pop, Maria Katzarava, Giacomo Prestia, m.fl. Filharmonica Arturo Toscanini & Coro del Teatro Regio di Parma Dirigent: Paolo Arrivabeni Dynamic CDS7865 [2 CD] Giuseppe Verdi: Attila Solister: Ildebrando d’Arcangelo, Liudmyla Monastyrska, Stefano La Colla, George Petean, m.fl. Münchner Rundfunkorchester & Chor des Bayerischen Rundfunks Dirigent: Ivan Repusic BR Klassik 900330 [2 CD] Efter att ha förlorat sin fru, sina två barn och fått uppleva ett praktfiasko i sin andra opera Un giorno di regno, gjorde Verdi en rejäl comeback med Nabucco 1842 som blev storsuccé. Därefter komponerade han hela 13 operor under de s.k. “Anni di galera”* (1843-50), som för Verdi innebar ett oupphörligt, intensivt arbete, där han tidvis till och med jobbade på flera verk samtidigt. Bland dessa verk har egentligen baraMacbeth varit given i standardrepertoaren, vilken de flesta av hans operor efter 1851 (från Rigoletto) tillhör. På 1970-talet fick operorna från “Anni di galera” en renässans på skivbolaget Philips (numera Decca), mycket tack vare den trogne Verdispecialisten Lamberto Gardelli. När det gäller operorna I due Foscari och Attila så har Gardellis upptagningar varit referensinspelningar för många; den förstnämnda nästan helt utan konkurrens och den andra har endastMutis inspelning på EMI/Warner kunnat mäta sig med om man enbart räknar med kommersiella inspelningar. I maj släpptes en inspelning av vardera operan, på skivmärkena Dynamic respektive BR Klassik. Dynamic har producerat en rad Verdi-inspelningar, där några ha varit acceptabla utan att på något sätt vara i närheten av dem från den gamla goda tiden.
    [Show full text]
  • Avant Première Catalogue 2018 Lists UNITEL’S New Productions of 2017 Plus New Additions to the Catalogue
    CATALOGUE 2018 This Avant Première catalogue 2018 lists UNITEL’s new productions of 2017 plus new additions to the catalogue. For a complete list of more than 2.000 UNITEL productions and the Avant Première catalogues of 2015–2017 please visit www.unitel.de FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager [email protected] & Marketing [email protected] [email protected] Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director [email protected] [email protected] CATALOGUE 2018 Unitel GmbH & Co. KG Gruenwalder Weg 28D 82041 Oberhaching/Munich, Germany CEO: Jan Mojto Editorial team: Franziska Pascher, Dr. Martina Kliem, Arthur Intelmann Layout: Manuel Messner/luebbeke.com All information is not contractual and subject to change without prior notice. All trademarks used herein are the property of their respective owners. Date of Print: February 2018 © UNITEL 2018 All rights reserved Front cover: Alicia Amatriain & Friedemann Vogel in John Cranko’s “Onegin” / Photo: Stuttgart Ballet ON THE OCCASION OF HIS 100TH BIRTHDAY UNITEL CELEBRATES LEONARD BERNSTEIN 1918 – 1990 Leonard Bernstein, a long-time exclusive artist of Unitel, was America’s ambassador to the world of music.
    [Show full text]
  • Application/Pdf 983.64 KB
    BIOGRAFÍAS ANGELA TEODOR CIPRIAN GHEORGHIU ILINCĂI TEODORAŞCU TEMPORADA 2017-2018 Es una de las sopranos más Tras estudiar oboe y filología, Nació en Galati, Rumanía, y es destacadas de las últimas este tenor rumano se graduó en director en la Ópera Nacional décadas. Nació en Adjud, la Universidad de Música de de Rumanía en Bucarest desde Rumanía, y se graduó en la Bucarest. Inició su carrera 2003. Graduado de la Universidad Nacional de profesional en la Ópera Universidad Nacional de Música de Bucarest. Debutó Nacional de Rumanía en 2008. Música, estudió en Francia en la Royal Opera House de Fue premiado en importantes con el director Alain Paris, Londres en 1992 como Mimì concursos de canto, como el de especialista en repertorio (La bohème) y ese mismo año en Szczecin (2008) y el Viñas francés. Ha trabajado con casi la Metropolitan Opera House (2010). Su debut internacional, todas las instituciones de Nueva York y la Staatsoper en 2009, tuvo lugar en la Ópera musicales de su país, como las de Viena. En 1994 interpretó de Hamburgo con Macduff óperas de Brasov y Timisoara, por primera vez a Violetta (Macbeth), y ese mismo año el Teatro Nacional de Opereta (La traviata) con gran éxito debutó en la Staatsoper de de Bucarest, así como con la de público y crítica. Desde Viena como Ismaele (Nabucco). Radio Televisión Rumana. Ha entonces ha cantado en los más Ha cantado en algunos de los dirigido en la Ópera de Sarajevo reputados escenarios de París teatros más prestigiosos del y en el Teatro Malibran de Breguet La Classique a Buenos Aires, pasando por mundo, como la Royal Opera Venecia, y ha colaborado con Classique Extra-Plate Guillochée 7147 Ámsterdam, Kuala Lumpur, House de Londres, la Opéra destacados artistas rumanos (el Los Ángeles, Milán, Moscú national de Paris, el Liceu de bajo Eduard Tumagian, los y Zúrich.
    [Show full text]
  • 1718 Brchor Vorschau Endver.Pdf
    2017|2018 chor des bayerischen chor des bayerischen rundfunks rundfunks Abonnementkonzerte Konzerte mit den Orchestern des Bayerischen Rundfunks Gastkonzerte Mariss Jansons chefdirigent Howard Arman künstlerischer leiter Susanne Vongries management 9 | Abonnementkonzerte 25 | Weitere Konzerte 53 | Besetzung, Chefdirigent, Künstlerischer Leiter, CDs, Pressestimmen 71 | Abonnements, Kartenvorverkauf, Sitzpläne Chor des Bayerischen Rundfunks | Konzertübersicht 2017/2018 Sa 10|06|17 Händel-Festspiele Halle Händel | Messiah Howard Arman Mo 03|07|17 Rencontres Musicales d’Évian Brahms | Ein deutsches Requiem Howard Arman Do 13|07|17 Stuttgart | Liederhalle Mahler | Symphonie Nr. 2 Christoph Eschenbach (Auferstehungssymphonie) Fr 14|07|17 Sa 15|07|17 Rheingau Musik Festival So 16|07|17 Freiburg | Konzerthaus Sa 22|07|17 Salzburger Festspiele Ligeti | Lux aeterna | Messiaen | La Trans- Kent Nagano Eröffnungskonzert figuration de Notre Seigneur Jésus-Christ Di 25|07|17 Salzburger Festspiele Schubert | Gesang der Geister über den Howard Arman Wassern | Martin | Messe u. a. So 24|09|17 München | Prinzregententheater Verdi | Luisa Miller (Oper, konzertant) Ivan Repuˇsi´c Do 28|09|17 München | Jesuitenkirche musica viva | Wilhelm Killmayer zu Ehren Rupert Huber St. Michael Cage/Moran (UA) | Rihm | Killmayer | Scelsi Fr 20|10|17 München | Herz-Jesu-Kirche Abo plus | Bach pur Howard Arman Motetten | Cellosuite Mi 01|11|17 München | Herkulessaal Verdi | Messa da Requiem Riccardo Muti Do 02|11|17 Sa 04|11|17 Köln | Philharmonie Verdi | Messa da Requiem
    [Show full text]
  • Simon Boccanegra June 26 – August 13 | 9 Performances | Starring Barbara Frittoli and Diego Torre
    Verdi | Directed by Moffatt Oxenbould| | Revival Director Matthew Barclay| Conducted by Renato Palumbo Simon Boccanegra June 26 – August 13 | 9 Performances | Starring Barbara Frittoli and Diego Torre - It’s only fitting that a Verdi masterpiece would conclude Opera Australia’s 60th anniversary season, with the finest of voices, the greatest of composers and the highest levels of drama, passion, and intrigue. Boccanegra is a powerful man with a great tragedy in his past: 25 years earlier, his young lover died and their baby mysteriously disappeared. Just as he thinks he might have found his daughter, his enemies start to move against him. Personal sacrifice meets political thriller in this vast opera by a master of the genre. No composer rivals Verdi in his ability to draw the audience into complex political landscapes by telling intimate, personal stories. Grave duets, complex ensembles and majestic choruses reveal a world of intrigue and influence, where the past is never behind you and every friendly face could disguise an enemy. The opera's extraordinary musical demands and sprawling story make it a rarity on the opera stage. Under the baton of conductor Renato Palumbo, a major cast including Natalie Aroyan, Diego Torre, George Petean and Giacomo Prestia comes together to bring this masterpiece to the Sydney Opera House stage. “This is a wonderful grand opera. One of my favourites. For Verdi aficionados, it is one of the greatest penned by the master composer,” said Opera Australia Artistic Director Lyndon Terracini. “It’s notoriously difficult to sing and you need a conductor at the top of their game.
    [Show full text]
  • La Reina Del Bel Canto Ópera En México
    www.proopera.org.mx • año XXI • número 6 • noviembre – diciembre 2013 • sesenta pesos CRÍTICA Le comte Ory The Rape of Lucretia Rigoletto ENTREVISTAS Marcela Chacón André Dos Santos Alonso Escalante Fabián Rodríguez Lara Maribel Salazar ENTREVISTAS EN LÍNEA Christoph Berner Werner Güra Tobias Picker BAJO LA LUPA Agencias internacionales - Atelier Musicale - Fidelio Artist - IMG Artists FESTIVALES DE VERANO Florencia, Itria, Pesaro, Salzburgo, Santa Fe Joyce y Verona DiDonato ¾pro opera La reina del bel canto Ópera en México por José Noé Mercado 29 de septiembre, en la Sala Silvestre Revueltas del Centro Cultural Las cartas de Frida, nueva temporada Ollin Yoliztli, con un programa de arias de las óperas mexicanas Luego de su estreno en Heidelberg, Alemania, en 2011, y de las Romeo y Julieta de Melesio Morales, Olga de Monterrojo de Antonio presentaciones que en mayo y junio de este año tuvo en el Centro María y Campos, Keofar de Felipe Villanueva y Edith de Estanislao Cultural Universitario, un nuevo ciclo de funciones de la “ópera Mejía. toilette” Las cartas de Frida de Marcela Rodríguez se llevó al cabo los pasados 23, 24 y 25 de agosto en el Teatro de la Ciudad. La presentación de este par de conciertos se dio en el marco de todo un proyecto de investigación, rescate y registro sonoro de estas Al término de la primera función de obras que encabeza la maestra Murúa, gracias al apoyo recibido del esta nueva temporada, la directora de Estímulo hacia la Producción Musical Nacional (Epromusica), a escena Jesusa Rodríguez, la cantante través del Conaculta, el INBA y la Coordinación Nacional de Música Catalina Pereda y la compositora, y Ópera.
    [Show full text]
  • Puritanidossierinstituciones.Pdf
    I puritani I PURITANI Página s 2 – 3 Equipo artístico Página 4 Sinopsis de la ópera Página 5 ‘La última genialidad de Bellini ’, la Revista del Real Página 6 - 13 Biografías 1 I puritani I PURITANI (L OS PURITANOS ) Música de Vincenzo Bellini (1801-1835) Melodramma serio en tres actos Libreto de Carlo Pepoli, basado en la obra de teatro Têtes rondes et cavaliers (1833) de Jacques-Arsène Ancelot y Joseph-Xavier-Boniface Estrenado en el Théâtre Italien de París el 24 de enero de 1835 Estrenado en el Teatro Real el 6 de diciembre de 1850 Nueva producción del Teatro Real, en coproducción con el Teatro Municipal de Santiago de Chile EQUIPO ARTÍSTICO Director musical Evelino Pidò Director de escena Emilio Sagi Escenógrafo Daniel Bianco Figurinista Peppispoo Iluminador Eduardo Bravo Director del coro Andrés Máspero Asistente del director musical José Antonio Montaño Asistentes del director de escena Javier Ulacia, Marco Berriel Asistente del iluminador Alfonso Malanda REPARTO Lord Gualtiero Valton Miklós Sebestyén Sir Giorgio Nicolas Testé (4, 7, 11, 14, 17, 20, 24) Roberto Tagliavini (6, 13, 19) Lord Arturo Talbo Javier Camarena (4, 7, 11, 14, 17, 20, 24) Celso Albelo (6, 13, 19) Sir Riccardo Forth Ludovic Tezier (4, 7, 11, 14, 24) George Petean (6, 13, 17, 19) Damiano Salerno (20) ) Sir Bruno Robertson Antonio Lozano 2 I puritani Enrichetta di Francia Annalisa Stroppa (4, 7, 11, 14, 24) Cassandre Berthon (6, 13, 19) Lady Elvira Valton Diana Damrau (4, 7, 14, 17, 20, 24) Venera Gimadieva (6, 11, 13, 19) Actores Edgar Calot, Luis Romero, Eduardo
    [Show full text]
  • Opera Productions Old and New 6. Two Views of Verdi: Aïda /Attila
    was halted by a combination of famine and delaying tactics by the Roman army, though Church tradition assigns most of the credit to Opera Pope Leo I, who met with the invader near Mantua and persuaded him into a treaty. The subject had a political resonance for Verdi’s Productions contemporaries as Northern Italy was then under the rule of Austria. But it has less resonance us today. The Huns left little or no art or Old and New achitecture, making it hard for us to imagine their world, and our knowledge of the Roman empire is mostly of an earlier period. La Scala opened its 2018–19 season with a new production of Attila by Davide Livermore that looks to our own time for relevance: to all those news photos (and in some cases memories) of wartime destruction and occupation from WW2 to Yugoslavia. It is not a consistent approach, as we shall see, but it is never less than interesting. Verdi: Attila.La Scala, Milan, 2018. Saioa Hernández (Odabella), Fabio Sartori (Foresto), George Petean (Ezio), Ildar Abdrazakov (Attila), Gianluca Buratto (Leone); c. Riccardo Chailly; d. Davide Livermore; des. Giò Forma . After a glimpse of a more conventional staging from St. Petersburg, we shall look at two substantial scenes from La Scala, plus some shorter excerpts. The first is the Prologue. Attila has just conquered the city of Aquileia and is surprised that some female inhabitants have been left alive. The resistance fighter Odabella pours scorn on the Huns who leave their women quietly at home. Her attitude intrigues Attila.
    [Show full text]
  • Network Notebook
    Network Notebook Summer Quarter 2019 (July - September) A World of Services for Our Affiliates We make great radio as affordable as possible: • Our production costs are primarily covered by our arts partners and outside funding, not from our affiliates, marketing or sales. • Affiliation fees only apply when a station takes three or more programs. The actual affiliation fee is based on a station’s market share. Affiliates are not charged fees for the selection of WFMT Radio Network programs on the Public Radio Exchange (PRX). • The cost of our Beethoven and Jazz Network overnight services is based on a sliding scale, depending on the number of hours you use (the more hours you use, the lower the hourly rate). We also offer reduced Beethoven and Jazz Network rates for HD broadcast. Through PRX, you can schedule any hour of the Beethoven or Jazz Network throughout the day and the files are delivered a week in advance for maximum flexibility. We provide highly skilled technical support: • Programs are available through the Public Radio Exchange (PRX). PRX delivers files to you days in advance so you can schedule them for broadcast at your convenience. We provide technical support in conjunction with PRX to answer all your distribution questions. In cases of emergency or for use as an alternate distribution platform, we also offer an FTP (File Transfer Protocol), which is kept up to date with all of our series and specials. We keep you informed about our shows and help you promote them to your listeners: • Affiliates receive our quarterly Network Notebook with all our program offerings, and our regular online WFMT Radio Network Newsletter, with news updates, previews of upcoming shows and more.
    [Show full text]
  • Aida (2017-2018).Pdf
    Hay energías que nos mueven por dentro. Hay energías que conectan con nuestras emociones. Como las que nos transmiten la danza, la música y el teatro. Para mantenerlas vivas y activas, patrocinamos desde hace más de una década el Teatro Real. Porque cuando transmitimos nuestra energía, el progreso es posible para todos. TEMPORADA 2017-2018 AIDA GIUSEPPE VERDI endesa.com Contraportada_150x210+3_S&S_Endesa2018_CULTURA_TR_P_ES_v2.indd 1 31/1/18 9:52 Hay un lugar para los que saben divertirse. Si quieres emocionarte con los mejores eventos culturales, conocer a los personajes que admiras y experimentar con el arte en familia... Este es tu sitio. Solo pasa aquí, movistarlikes.es Movistar Likes Te gusta. Te apuntas. Lo vives. Foto: Magali Dougados Maserati Levante. Tuyo DESDE 86.700€* TAYRE C/ López de Hoyos, 62 - 28002 Madrid Tfno: 914 577 634 Fotógrafo: Javier del Real TAYRE MAJADAHONDA C/ Ciruela, 7. Plg. El Carralero - 28222 Majadahonda, Madrid Tfno.: 913 341 520 MÁS DE HOY MÁS DE TODOS MÁS TEATRO REAL 1 PATROCINADORES DEL BICENTENARIO MECENAS PRINCIPAL MECENAS ENERGÉTICO TEMPORADA 2017-2018 PATROCINADORES DEL BICENTENARIO AIDA GIUSEPPE VERDI (1813-1901) Ópera en cuatro actos Libreto de Antonio Ghislanzoni, basado en un argumento de Auguste Mariette y Camille du Locle Estrenada en la Ópera de El Cairo el 24 de diciembre de 1871 Estrenada en el Teatro Real el 12 de diciembre de 1874 Nueva producción del Teatro Real, en coproducción con la Lyric Opera de Chicago y el Teatro Municipal de Santiago de Chile, basada en la original del Teatro Real de 1998 El Teatro Real quiere dedicar esta reposición de Aida a uno de los grandes intérpretes del rol de Radamès, el tenor Pedro Lavirgen Patrocina: 7, 8, 9, 10, 11, 13, 14, 15, 16, 17, 19, 20, 21, 22, 23, 24, 25 de marzo ADMINISTRACIONES PÚBLICAS ADMINISTRACIÓN PÚBLICA FUNDADORAS COLABORADORA 3 «El amor de Aida por Radamès es una pasión espiritual.
    [Show full text]
  • FY17 Annual Report View Report
    Annual Report 2016–17 1 2 4 Introduction 6 Metropolitan Opera Board of Directors 7 Season Repertory and Events 14 Artist Roster 16 The Financial Results 48 Our Patrons 3 Introduction In the 2016–17 season, the Metropolitan Opera continued to present outstanding grand opera, featuring the world’s finest artists, while maintaining balanced financial results—the third year running in which the company’s finances were balanced or very nearly so. The season opened with the premiere of a new production of Wagner’s Tristan und Isolde and also included five other new stagings, as well as 20 revivals. The Live in HD series of cinema transmissions brought opera to audiences around the world for the 11th year, with ten broadcasts reaching approximately 2.3 million people. Combined earned revenue for the Met (Live in HD and box office) totaled $111 million. Total paid attendance for the season in the opera house was 75%. All six new productions in the 2016–17 season were the work of distinguished directors who had previous success at the Met. The compelling Opening Night new production of Tristan und Isolde was directed by Mariusz Treliński, who made his Met debut in 2015 with the double bill of Tchaikovsky’s Iolanta and Bartók’s Bluebeard’s Castle. French-Lebanese director Pierre Audi brought his distinctive vision to Rossini’s final operatic masterpiece Guillaume Tell, following his earlier staging of Verdi’s Attila in 2010. Robert Carsen, who first worked at the Met in 1997 on his popular production of Tchaikovsky’s Eugene Onegin, directed a riveting new Der Rosenkavalier, the company’s first new staging of Strauss’s grand comedy since 1969.
    [Show full text]
  • 1. Sonntagskonzert 2019/2020
    1. SONNTAGSKONZERT 2019/2020 13. Oktober 2019 19.00 Uhr − Ende ca. 21.20 Uhr Prinzregententheater Einführung mit Elgin Heuerding: 18.00 Uhr im Gartensaal Signieraktion mit Ivan Repušić im Anschluss an das Konzert im Foyer vor dem Gartensaal ATTILA Dramma lirico in einem Prolog und drei Akten von Giuseppe Verdi Libretto von Temistocle Solera und Francesco Maria Piave Konzertante Aufführung in italienischer Sprache mit deutschen Übertiteln (Übertitel-Inspizienz: Urte Regler) Pause nach dem I. Akt CD-Mitschnitt für das Label BR-KLASSIK Direktübertragung im Hörfunk auf BR-KLASSIK In der Pause: „PausenZeichen“. Elgin Heuerding im Gespräch mit dem Bassisten Ildebrando D’Arcangelo und dem Dirigenten Ivan Repušic´ Das Konzert kann anschließend 30 Tage nachgehört werden: rundfunkorchester.de/konzerte-digital br-klassik.de/programm/radio BESETZUNG Liudmyla Monastyrska ODABELLA Tochter des Herrschers von Aquileia (Sopran) Stefano La Colla FORESTO Ritter aus Aquileia (Tenor) Stefan Sbonnik ULDINO Ein junger Bretone und Sklave Attilas (Tenor) George Petean EZIO Ein römischer General (Bariton) Ildebrando D’Arcangelo ATTILA König der Hunnen (Bass) Gabriel Rollinson LEONE Ein alter Römer (Bass) Chor des Bayerischen Rundfunks Stellario Fagone EINSTUDIERUNG Münchner Rundfunkorchester Ivan Repušić LEITUNG ATTILA Handlung Nr. 1 Ouvertüre PROLOG Italien, Mitte des 5. Jahrhunderts. Der Marktplatz von Aquileia im Morgengrauen. Auf dem Platz hat ein Kampf gewütet. Nr. 2 Introduktion (Attila, Chor) Die Hunnen feiern ihren Sieg über die norditalienische Stadt Aquileia. Heerführer Attila zieht auf einem Wagen ein und wird von seinen Kriegern empfangen. Nr. 3 Szene und Kavatine (Odabella, Uldino, Attila, Chor) Sein Gehilfe Uldino präsentiert Attila eine Gruppe versklavter junger Frauen als Geschenk.
    [Show full text]