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Otello Program
GIUSEPPE VERDI otello conductor Opera in four acts Gustavo Dudamel Libretto by Arrigo Boito, based on production Bartlett Sher the play by William Shakespeare set designer Thursday, January 10, 2019 Es Devlin 7:30–10:30 PM costume designer Catherine Zuber Last time this season lighting designer Donald Holder projection designer Luke Halls The production of Otello was made possible by revival stage director Gina Lapinski a generous gift from Jacqueline Desmarais, in memory of Paul G. Desmarais Sr. The revival of this production is made possible by a gift from Rolex general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2018–19 SEASON The 345th Metropolitan Opera performance of GIUSEPPE VERDI’S otello conductor Gustavo Dudamel in order of vocal appearance montano a her ald Jeff Mattsey Kidon Choi** cassio lodovico Alexey Dolgov James Morris iago Željko Lučić roderigo Chad Shelton otello Stuart Skelton desdemona Sonya Yoncheva This performance is being broadcast live on Metropolitan emilia Opera Radio on Jennifer Johnson Cano* SiriusXM channel 75 and streamed at metopera.org. Thursday, January 10, 2019, 7:30–10:30PM KEN HOWARD / MET OPERA Stuart Skelton in Chorus Master Donald Palumbo the title role and Fight Director B. H. Barry Sonya Yoncheva Musical Preparation Dennis Giauque, Howard Watkins*, as Desdemona in Verdi’s Otello J. David Jackson, and Carol Isaac Assistant Stage Directors Shawna Lucey and Paula Williams Stage Band Conductor Gregory Buchalter Prompter Carol Isaac Italian Coach Hemdi Kfir Met Titles Sonya Friedman Children’s Chorus Director Anthony Piccolo Assistant Scenic Designer, Properties Scott Laule Assistant Costume Designers Ryan Park and Wilberth Gonzalez Scenery, properties, and electrical props constructed and painted in Metropolitan Opera Shops Costumes executed by Metropolitan Opera Costume Department; Angels the Costumiers, London; Das Gewand GmbH, Düsseldorf; and Seams Unlimited, Racine, Wisconsin Wigs and Makeup executed by Metropolitan Opera Wig and Makeup Department This production uses strobe effects. -
Gianni Schicchi Puccini Il Trittico 2000-2001
3 COMUNE DI LUCCA TEATRO DEL GIGLIO CENTRO STUDI G. PUCCINI Teatro di Tradizione in coproduzione con FONDAZIONE ORCHESTRA REGIONALE TOSCANA PUCCINI IL TRITTICO 2000-2001 GIANNI SCHICCHI PUCCINI IL TRITTICO 2000-2001 direttore DONATO RENZETTI ORT - ORCHESTRA DELLA TOSCANA Progetto Puccini nel Novecento 1999-2002 Progetto Puccini nel Novecento 1999-2002 COMUNE DI LUCCA TEATRO DEL GIGLIO CENTRO STUDI G. PUCCINI in coproduzione con FONDAZIONE ORCHESTRA REGIONALE TOSCANA Teatro Verdi, Firenze - giovedì 3 maggio 2001 - ore 21.00 TEATRO DEL GIGLIO, LUCCA - venerdì 4 maggio 2001 - ore 21.00 GIANNI SCHICCHI in forma di concerto direttore DONATO RENZETTI ORT - ORCHESTRA DELLA TOSCANA IL TRITTICO 2000-2001 Teatro Verdi, Firenze - giovedì 3 maggio 2001 - ore 21.00 TEATRO DEL GIGLIO, LUCCA - venerdì 4 maggio 2001 - ore 21.00 GIANNI SCHICCHI in forma di concerto opera in un atto di Giovacchino Forzano musica di GIACOMO PUCCINI Edizioni Casa Ricordi, Milano personaggi e interpreti Gianni Schicchi Bruno De Simone Lauretta Anna Carnovali Zita Adele Cossi Rinuccio Roberto Iuliano Gherardo Carlo Bosi Nella Daniela Schillaci Gherardino Matteo Ciccone Betto di Signa Giovanni Mele Simone Marco Spotti Marco Arturo Cauli La Ciesca Dionisia Di Vico Maestro Spinelloccio Armando Gabba Ser Amantio di Nicolao Fabio Bonavita Pinellino Marco Pauluzzo Guccio Daniele Tonini Direttore DONATO RENZETTI ORT - ORCHESTRA DELLA TOSCANA Mise en space di GILBERTO TOFANO in collaborazione con ROSANNA MONTI - luci UGO BENEDETTI Fin dalla mia elezione a Sindaco della città di Lucca, ho manifestato il mio impegno personale e quello dell’Amministrazione a porre al centro del programma culturale la figura e l’opera di Giacomo Puccini. -
Marie Collier: a Life
Marie Collier: a life Kim Kemmis A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Department of History The University of Sydney 2018 Figure 1. Publicity photo: the housewife diva, 3 July 1965 (Alamy) i Abstract The Australian soprano Marie Collier (1927-1971) is generally remembered for two things: for her performance of the title role in Puccini’s Tosca, especially when she replaced the controversial singer Maria Callas at late notice in 1965; and her tragic death in a fall from a window at the age of forty-four. The focus on Tosca, and the mythology that has grown around the manner of her death, have obscured Collier’s considerable achievements. She sang traditional repertoire with great success in the major opera houses of Europe, North and South America and Australia, and became celebrated for her pioneering performances of twentieth-century works now regularly performed alongside the traditional canon. Collier’s experiences reveal much about post-World War II Australian identity and cultural values, about the ways in which the making of opera changed throughout the world in the 1950s and 1960s, and how women negotiated their changing status and prospects through that period. She exercised her profession in an era when the opera industry became globalised, creating and controlling an image of herself as the ‘housewife-diva’, maintaining her identity as an Australian artist on the international scene, and developing a successful career at the highest level of her artform while creating a fulfilling home life. This study considers the circumstances and mythology of Marie Collier’s death, but more importantly shows her as a woman of the mid-twentieth century navigating the professional and personal spheres to achieve her vision of a life that included art, work and family. -
Spring 2021 NEWSLETTER : BULLETIN Printemps 2021 President’S Message
Société d' Opéra National Capital de la Capitale Nationale Opera Society Spring 2021 NEWSLETTER : BULLETIN Printemps 2021 President’s Message It is March 15, 2021 and I am starting to feel viding a virtual Ring festival throughout optimistic that our jail sentences are coming March. The four operas, recorded in 2018, to an end. Spring is in the air and we saw a are streamed each weekend free of charge. In high of 16 C last week. The vaccines are on addition they offer a series of one hour pre- their way!! Phew! It is about time. sentations on subjects such as the History of We have postponed the next Brian Law The Ring, Dining on the Rhine, Feminism, Opera Competition until October 2022 and Grace Bumbry breaking the colour barrier at will start the planning in the fall. Also we Bayreuth etc. The fee to watch all 16 presen- decided to waive membership fees for this tations is US$99. As always, big thanks year. So do not worry about your member- for contributions from David Williams and ship. However, if you would like to make a his team for the newsletter and to Jim Bur- donation to the society, it will be gratefully gess for our website. received. I will provide you a receipt for As soon as everyone feels safe, we Income Tax purposes. should plan on a special face-to-face meet- I have some sad news to share, that one ing where we can embrace, watch opera, eat, of our long-time supporters passed away re- drink and be merry! cently, Tom McCool. -
Sarah Baumgarten, Soprano
SARAH BAUMGARTEN, SOPRANO Innately comical soprano Sarah Baumgarten has no trouble showcasing her personality through the repertoire she performs. Whether singing Mozart, Puccini, or Gershwin she embraces the essence of each musical style. She brings her sunny demeanor to her collaborations with composers and other performers. Sarah has performed at venues such as Baltimore’s Meyerhoff Symphony Hall, Verizon Hall at The Kimmel Center, Dixon Place, the Library of Congress, The Jewish Museum of Maryland, Andrea Clearfield’s Salon in Philadelphia, The West End Lounge and World Café Live. She sings with the Philadelphia Orchestra Symphonic Choir, Chizuk Amuno Congregation, Concert Artists of Baltimore, the Baltimore Symphony Orchestra Chorale, The Ritz Theatre, The Broadway Theatre of Pitman, and is currently the Soprano Choral Scholar at St. Andrew’s United Methodist Church in Cherry Hill, NJ. Highlights from last season include Monica (The Medium); Annunziata in the new musical, La Giara at World Café Live with Minas; Rebecca Kaplan in the new opera, The Yellow Star with Garden State Opera; the roles of Lucy (The Telephone) and Suor Genovieffa (Suor Angelica) with the Delaware Valley Opera Company; Soprano Soloist for the 2nd annual Sing Hallelujah! concert at the Kimmel Center’s Verizon Hall under the baton of Cantor David F. Tilman; debuting her solo concert, Jews to my Ears, a concert of Jewish songs, and songs by Jewish composers; and reprising her solo concert, No One is Alone: The Jewish Tradition on Broadway, a lecture recital detailing the influence of Jewish songwriters on American Musical Theatre. Favorite roles include Monica (The Medium); Lucy (The Telephone); Musetta (La Bohème); Cinderella (A Tale of Cinderella); Noémie (Cendrillon) and Papagena (Die Zauberflӧte). -
El Camino De Verdi Al Verismo: La Gioconda De Ponchielli the Road of Verdi to Verism: La Gioconda De Ponchielli
Revista AV Notas, Nº8 ISSN: 2529-8577 Diciembre, 2019 EL CAMINO DE VERDI AL VERISMO: LA GIOCONDA DE PONCHIELLI THE ROAD OF VERDI TO VERISM: LA GIOCONDA DE PONCHIELLI Joaquín Piñeiro Blanca Universidad de Cádiz RESUMEN Con Giuseppe Verdi se amplificaron y superaron los límites del Bel Canto representado, fundamentalmente, por Rossini, Bellini y Donizetti. Se abrieron nuevos caminos para la lírica italiana y en la evolución que terminaría derivando en la eclosión del Verismo que se articuló en torno a una nutrida generación de autores como Leoncavallo, Mascagni o Puccini. Entre Verdi y la Giovane Scuola se situaron algunos compositores que constituyeron un puente entre ambos momentos creativos. Entre ellos destacó Amilcare Ponchielli (1834-1886), profesor de algunos de los músicos más destacados del Verismo y autor de una de las óperas más influyentes del momento: La Gioconda (1876-1880), estudiada en este artículo en sus singularidades formales y de contenido que, en varios aspectos, hacen que se adelante al modelo teórico verista. Por otra parte, se estudian también cuáles son los elementos que conserva de los compositores italianos precedentes y las influencias del modelo estético francés, lo que determina que la obra y su compositor sean de complicada clasificación, aunque habitualmente se le identifique incorrectamente con el Verismo. Palabras clave: Ponchielli; Verismo; Giovane Scuola; ópera; La Gioconda; Italia ABSTRACT With Giuseppe Verdi, the boundaries of Bel Canto were amplified and exceeded, mainly represented by Rossini, Bellini and Donizetti. New paths were opened for the Italian lyric and in the evolution that would end up leading to the emergence of Verismo that was articulated around a large generation of authors such as Leoncavallo, Mascagni or Puccini. -
Bacarisse, Angela
Angela Bacarisse 805 Spring Valley Drive, Nacogdoches, TX 75964 Ph. 936-559-1429 cell 936-558-7710 e-mail [email protected] EDUCATION M.F.A. Theatre Design; University of Memphis, Memphis, TN B.A. Theatre; University of Delaware, Newark, DE TEACHING EXPERIENCE 2001-pres Stephen F. Austin State University- Nacogdoches, TX rank: Professor, tenure and promotion received 2006, promotion received 2012 Administrator of Student Productions courses taught: Principles of Design Advanced Makeup Design Costume Technology BFA Portfolio Costume Design Costume History Stage Makeup Advanced Costume Technology Stage Management SFA 101- Freshman Experience 2014 Recipient SFA College of Fine Arts Teaching Excellence Award 1995-2000 University of North Carolina-Asheville, Asheville, NC rank; Assistant Professor, re-appointment received, 1997 courses taught; Costume Construction Costume Design Arts and Ideas, Liberal Studies Elements of Production Advanced Costume Techniques Scenic Rendering Advanced Costume Rendering Stage and Arts Management First Year Experience, Drama Costume History Makeup Design 1994-1995 College of Charleston, Charleston, SC rank; Visiting Artist courses taught; Introduction to Theatre Costume Construction Costume Design 1990- 1994 James Madison University, Harrisonburg, VA rank; Staff Instructor courses taught; Technical Costuming Makeup Design Costume Design Tap Dance Introduction to Technical Production First Year Seminar, Liberal Studies Directed Projects in Properties, Stage Management & Light Design 1988-1990 Memphis State University, Memphis, TN rank; Graduate Assistant courses taught: Makeup Design Costume construction Introduction to Theatre Bacarisse 1 1987 Ballet Studio of Newark, Newark, DE rank; Instructor courses taught; Advanced & Intermediate Jazz Beginner Ballet for Adults Beginner Jazz for Adults 1982-83 Focus on Dance, Philadelphia, PA rank; Instructor courses taught; Third level ballet Beginner ballet COMMITTEES AND ACTIVITIES 2001-pres Stephen F. -
Boston Symphony Orchestra Concert Programs, Season 82, 1962-1963
:') >i BOSTON SYMPHONY ORCHESTRA FOUNDED IN I88I BY HENRY LEE HIGGINSON it )lf 24 vi '^7- fy J ^^\ -^ .J '~^u I \,.. -^- ^J--«i!i:^.^ ^x\ ••—ieCS^; \'\ EIGHTY-SECOND SEASON 1962-1963 ADIVARI created for all time a perfect marriage of precision and beauty for both the eye and the ear. He had the unique genius to combine a thorough knowledge of the acoustical values of wood with a fine artist's sense of the good and the beautiful. Unexcelled b<r anything before or after, his violins have such purity of tone, they are said to speak with the voice of a lovely soul within. In business, as in the arts, experience audi ability are invaluable. We suggest you take advantage of our extensive insurance background by letting us review youf needs either business or personal and counsel you to an intelligent program. W^e respectfully invite your inquiry. CHARLES H. WATKINS & CO. Richard P. Nvquist — Charles G. Carleton — Robert G. Jennings 147 MILK STREET BOSTON 9, MASSACHUSETTS LIBERTY 2-1250 Associated With OBRION, RUSSELL & CO. Insurance of Every Description EIGHTY-SECOND SEASON, 1962-1963 Boston Symphony Orchestra ERICH LEINSDORF, Music Director Richard Burgin, Associate Conductor CONCERT BULLETIN with historical and descriptive notes by John N. Burk Copyright, 1963, by Boston Symphony Orchestra, Inc. The trustees of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Talcott M. Banks Vice-President Richard C. Paine Treasurer Abram Berkowitz Henry A. Laughlin Theodore P. Ferris John T. Noonan Francis W. Hatch Mrs. James H. Perkins Harold D. Hodgkinson Sidney R. Rabb C. -
Cartella Presentazione Concerto 15Mag21
Sabato 15 Maggio 2021, ore 18 Il Goldoni riapre! Concerto lirico inaugurale OMAGGIO A LUCIA STANESCU ORCHESTRA DEL TEATRO GOLDONI direttore Gerardo Estrada Martínez partecipano: Maria Luigia Borsi (soprano) Antonello Palombi (tenore) Devid Cecconi (baritono) Brad Repp (violino) PROGRAMMA J. Massenet Thäis: Méditation Violino solista: Brad Repp G. Puccini La bohème: “Donde lieta uscì” Lorena Puican (soprano) U. Giordano Andrea Chenier: “Nemico della patria” Devid Cecconi (baritono) F. Cilea Adriana Lecouvreur: “Io son l’umile ancella” Maria Luigia Borsi (soprano) R. Leoncavallo Pagliacci: “Vesti la giubba” Antonello Palombi (tenore) P. Mascagni L’amico Fritz: “Son pochi fiori” Lorena Puican (soprano) G. Verdi Un ballo in maschera: “Eri tu che macchiavi quell’anima” Devid Cecconi (baritono) G. Puccini La bohème: “O soave fanciulla” Antonello Palombi (tenore), Maria Luigia Borsi (soprano) G. Puccini Turandot: “Tu che di gel sei cinta” Lorena Puican (soprano) G. Verdi Rigoletto: “Cortigiani, vil razza dannata” Devid Cecconi (baritono) G. Puccini Tosca: “Vissi d’arte” Maria Luigia Borsi (soprano) G. Puccini Tosca: “E lucevan le stelle” Antonello Palombi (tenore) BIS S. Gastaldon: Musica proibita Antonello Palombi, Maria Luigia Borsi, Devid Cecconi, Lorena Puican, Brad Repp Livorno. Riapre al pubblico il Teatro Goldoni di Livorno: “E’ un giorno che attendevamo con grande trepidazione – afferma subito il Direttore della Fondazione Goldoni Mario Menicagli – e che ci riempie di gioia. E’ passato oltre un anno dall’ultimo spettacolo in presenza e riavere il pubblico in sala, nell’assoluto rispetto delle disposizioni normative in tema di sicurezza, è un evento che intendiamo condividere con tutta la città offrendo uno straordinario concerto lirico in omaggio ed in ricordo di una grande Signora ed Artista che ha onorato con la sua professione e la sua vita la nostra città per oltre cinquant'anni: il soprano rumeno Lucia Stanescu”. -
LA PRODUZIONE E CAST De “LA BOHEME” Di Puccini Una Nuova Produzione Per LTL Opera Studio (Livorno, Lucca E Pisa) Conferenza Stampa Stagione Lirica 2018-2019
Giovedì 10 Gennaio, ore 12 – Teatro Goldoni LA PRODUZIONE E CAST de “LA BOHEME” di Puccini Una nuova produzione per LTL Opera Studio (Livorno, Lucca e Pisa) Conferenza stampa Stagione Lirica 2018-2019 Livorno, Teatro Goldoni Sabato 19 gennaio, ore 20.30 - Domenica 20 gennaio, ore 16.30 Pisa, Teatro Verdi Sabato 16 febbraio, ore 20.30 - Domenica 17 febbraio, ore 15.30 Lucca, Teatro del Giglio Sabato 16 marzo, ore 20.30 - Domenica 17 marzo, ore 16 LTL OPERASTUDIO 2018 La bohème Scene liriche in quattro quadri su libretto di Luigi Illica e Giuseppe Giacosa, dal romanzo Scènes de la vie de bohème di Henri Murger musica di Giacomo Puccini Editore Casa Ricordi, Milano personaggi e interpreti (in o.a.) Mimì Maria Bagalà / Martina Gresia Musetta Antonella Biondo / Dioklea Hoxha / Blerta Zhegu Rodolfo Francesco Fortes / Rosolino Claudio Cardile Marcello Jaime Eduardo Pialli / Francesco Solinas Schaunard Tommaso Caramia / Gangsoon Kim / Matteo Loi Colline Michele Gianquinto / Alessandro Yague Parpignol Francesco Fortes / Rosolino Claudio Cardile / Massimo Froli Benoît e Alcindoro Alessandro Ceccarini Sergente dei doganieri Giorgio Marcello Un doganiere Paolo Morelli La scelta degli interpreti e dei Maestri collaboratori è il risultato del Progetto LTL Opera Studio 2018 Direttore Gianna Fratta Regia di Bruno Ravella ripresa da João Carvalho Aboim Assistente alla regia Tecla Gucci Scene Tiziano Santi Costumi Angela Giulia Toso Luci Bruno Ciulli OGI Orchestra Giovanile Italiana CLT Coro Lirico Toscano Maestro del coro Flavio Fiorini Coro Voci Bianche -
RIGOLETTO Musica Giuseppe Verdi
STAGIONE LIRICA E DI BALLETTO 2018 RIGOLETTO musica Giuseppe Verdi GLI INTERPRETI Anastasia Boldyreva - Maddalena (mezzosoprano) Ha intrapreso lo studio del canto lirico con Igor Chernov a Mosca, sua città natale. Nel 2002 è stata ammessa al Conservatorio di Mosca nella classe di Larissa Nikitina. Giunta in Italia nel 2003 per approfondire lo studio del belcanto, ha frequentato il corso di perfezionamento “Maggio Musicale Formazione” per cantanti lirici tenuto da Bernadette Manca di Nissa al Teatro Comunale di Firenze. Successivamente ha frequentato l’Accademia Europea del Festival Aix-en-Provence, dove è stata scelta per la tournée internazionale HSBC Giovani Artisti. In questi stessi anni ha partecipato a diversi concorsi nazionali ed internazionali, aggiudicandosi importanti riconoscimenti tra cui: Primo Premio al Concorso “Giulio Neri” e al Concorso “Anselmo Colzani”, Terzo Premio al Concorso “Ferruccio Tagliavini”, Premio Speciale della Giuria al Concorso “Riccardo Zandonai”. Ha debuttato in Italia nel ruolo di Maddalena in Il viaggio a Reims con l’Orchestra del Maggio Musicale Fiorentino diretta da Nir Kabaretti. A seguire ha cantato in: La Canterina di Haydn (Apollonia) e Il Pigmalione di Donizetti (Galatea) diretti da Carlo Montanaro, Where the Wild Things Are (Tzippy) di Oliver Knussen diretta da Roberto Polastri, Biancaneve di Zarinelli (La venditrice cattiva) diretta da Michele Mariotti al Piccolo Teatro del Comunale di Firenze, Messa da Requiem di Verdi, diretta da Stefano Addabbo, all’Auditorium Santo Stefano di Firenze. -
David Dichiera
DAVID DICHIERA 2013 Kresge Eminent Artist THE KRESGE EMINENT ARTIST AWARD HONORS AN EXCEPTIONAL ARTIST IN THE VISUAL, PEFORMING OR LITERARY ARTS FOR LIFELONG PROFESSIONAL ACHIEVEMENTS AND CONTRIBUTIONS TO METROPOLITAN DETROIT’S CULTURAL COMMUNITY. DAVID DICHIERA IS THE 2013 KRESGE EMINENT ARTIST. THIS MONOGRAPH COMMEMORATES HIS LIFE AND WORK. CONTENTS 3 Foreword 59 The Creation of “Margaret Garner” By Rip Rapson By Sue Levytsky President and CEO The Kresge Foundation 63 Other Voices: Tributes and Reflections 4 Artist’s Statement Betty Brooks Joanne Danto Heidi Ewing The Impresario Herman Frankel Denyce Graves 8 The Grand Vision of Bill Harris David DiChiera Kenny Leon By Sue Levytsky Naomi Long Madgett Nora Moroun 16 Timeline of a Lifetime Vivian R. Pickard Marc Scorca 18 History of Michigan Opera Theatre Bernard Uzan James G. Vella Overture to Opera Years: 1961-1971 Music Hall Years: 1972-1983 R. Jamison Williams, Jr. Fisher/Masonic Years: 1985-1995 Mayor Dave Bing Establishing a New Home: 1990-1995 Governor Rick Snyder The Detroit Opera House:1996 Senator Debbie Stabenow “Cyrano”: 2007 Senator Carol Levin Securing the Future By Timothy Paul Lentz, Ph.D. 75 Biography 24 Setting stories to song in MOTown 80 Musical Works 29 Michigan Opera Theatre Premieres Kresge Arts in Detroit 81 Our Congratulations 37 from Michelle Perron A Constellation of Stars Director, Kresge Arts in Detroit 38 The House Comes to Life: 82 A Note from Richard L. Rogers Facts and Figures President, College for Creative Studies 82 Kresge Arts in Detroit Advisory Council The Composer 41 On “Four Sonnets” 83 About the Award 47 Finding My Timing… 83 Past Eminent Artist Award Winners Opera is an extension of something that By David DiChiera is everywhere in the world – that is, 84 About The Kresge Foundation 51 Philadelphia’s “Cyranoˮ: A Review 84 The Kresge Foundation Board the combination of music and story.