DOCSLIB.ORG

Angela Gheorghiu, Soprano Pietro Mascagni (1863–1945) Intermezzo from Cavalleria Rusticana

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Angela Gheorghiu, Soprano Pietro Mascagni (1863–1945) Intermezzo from Cavalleria Rusticana Cal Performances and San Francisco Opera Present Program Saturday, September 6, 2008, 7:30pm Gioachino Rossini (1792–1868) Overture to La Cenerentola Zellerbach Hall Ernesto de Curtis (1875–1937) Non ti scordar di me Léo Delibes (1836–1891) Les Filles de Cadiz Angela Gheorghiu, soprano Pietro Mascagni (1863–1945) Intermezzo from Cavalleria Rusticana with the Frederick Loewe (1901–1988) “I Could Have Danced All Night” from My Fair Lady San Francisco Opera Orchestra George Grigoriu (1927–1999) Muzica Kay Stern, concertmaster Marco Armiliato, conductor Wells Fargo Bank is the 2008–2009 Season Sponsor of Cal Performances and San Francisco Opera. Stage direction by Sandra Bernhard PROGRAM Wolfgang Amadeus Mozart (1756–1791) Overture to Le Nozze di Figaro San Francisco Opera Giuseppe Giordani (1751–1798) Caro mio ben David Gockley, General Director Giacomo Puccini (1858–1924) “Ch’il bel sogno di Doretta” from La Rondine Donald Runnicles, Music Director and Principal Conductor Nicola Luisotti, Music Director Designate Puccini Intermezzo from Act III of Manon Lescaut Puccini “Un bel dì” from Madama Butterfly Giuseppe Verdi (1813–1901) “Pace, pace, mio Dio” from La Forza del Destino INTERMISSION 6 CAL PERFORMANCES CAL PERFORMANCES 7 Orchestra Roster Orchestra Roster San Francisco Opera Orchestra Horn Timpani William Klingelhoffer, Co-Principal John Burgardt Donald Runnicles, Music Director & Principal Conductor Kevin Rivard, Co-Principal Nicola Luisotti, Music Director Designate Keith Green Percussion Brian McCarty Richard Kvistad, Principal/Associate Timpani First Violin Double Bass Lawrence Ragent Patricia Niemi Kay Stern, Concertmaster Joseph Lescher, Principal Laura Albers, Associate Concertmaster* Jonathan Lancelle, Associate Principal* Trumpet Harp Heidi Wilcox, Assistant Concertmaster Steven D’Amico, Assistant Principal Adam Luftman, Principal Olga Ortenberg Rakitchenkov Dawn Harms Shinji Eshima William Holmes Janice McIntosh Mark Drury John Pearson* Librarian Lev Rankov Lauré Campbell Barbara Riccardi Flute Trombone Carrie Weick, Assistant Robert Galbraith Julie McKenzie, Principal McDowell Kenley, Principal Leonid Igudesman Patricia Farrell Donald Kennelly Orchestra Manager Mariya Borozina Stephanie McNab* David Ridge Tracy Davis Julia Skiff Carrie Weick, Assistant Joseph Edelberg† Piccolo Bass Trombone Marianne Wagner† Stephanie McNab David Ridge * Principal for one or more operas of the season Second Violin Oboe Tuba/Cimbasso † Regular substitute Virginia Price, Principal Laura Griffiths, Acting Principal† Zachariah Spellman ** Leave of absence Martha Simonds, Associate Principal Deborah Henry, Assistant Principal* Beni Shinohara, Assistant Principal* Janet Popesco Archibald Eva Karasik Leslie Ludena English Horn Gerard Svazlian Janet Popesco Archibald Linda Deutsch Craig Reiss Clarinet Carey Bell, Principal** Viola Jerome Simas, Acting Principal† Carla Maria Rodrigues, Principal Joanne Burke Eisler, Assistant Principal* Sergei Rakitchenkov, Associate Principal* Anthony Striplen Paul Nahhas, Assistant Principal Patricia Heller Bass Clarinet Jonna Hervig Anthony Striplen Natalia Vershilova Joy Fellows Bassoon Rufus Olivier, Principal Cello Jerry Dagg David Kadarauch, Principal Robin Elliott Thalia Moore, Associate Principal* David Budd, Assistant Principal** Contrabassoon Nora Pirquet, Acting Assistant Principal Robin Elliott Emil Miland Victoria Ehrlich Ruth Lane Eric Sung† 8 CAL PERFORMANCES CAL PERFORMANCES 9 About the Artists and has since released a large number of recordings productions of La Bohème, L’Elisir d’Amore, Tosca, Renowned director with that label, including Duets and Arias, Verdi Werther, Don Carlos, Manon Lescaut, Il Barbiere di Sandra Bernhard per due and Angela & Roberto Forever with Roberto Siviglia, Tosca and Andrea Chénier. Sought inter- began her long Alagna; as well as complete recordings of Gounod’s nationally for his interpretation of the Italian and association with San Roméo et Juliette, Gianni Schicchi, Massenet’s French repertoire, he has led productions of Cyrano Francisco Opera in Werther and Manon, Il Trovatore and Carmen. Her de Bergerac at the Palau de les Arts in Valencia, 1990 as the assistant most recent release is the recital disc Live from La Spain; La Traviata and La Bohème at Bavarian State stage director for Scala, which features works by Bellini, Donizetti, Opera in Munich; Rigoletto at the Teatro Verdi in Rigoletto, and she Verdi and Frederick Loewe. Trieste; a new production of Puccini’s Il Tritico at the has been involved Ms. Gheorghiu’s film portrayal of Tosca, di- Théâtre du Capitole in Toulouse; andLa Rondine in more than 50 rected by Benoît Jacquot, was greeted with re- at the Théâtre du Châtelet in Paris. Mr. Armiliato productions for the company. Her San Francisco sounding acclaim upon its cinema and DVD re- conducts annually at the Metropolitan Opera, Opera directing credits include Lucio Silla (1991), lease in 2000 (Kultur). She was honored with La where his most recent productions include La Fille Ermione (1992), Daphne (1993), La Bohème Medaille Vermeille de la Ville de Paris and given du Régiment, Cavalleria Rusticana, Pagliacci, La (1993, 2004), Lucia di Lammermoor (1994, 1999), the title Officier de l’Ordre des Arts et Lettres by Traviata, Andrea Chénier, La Bohème, Turandot Madama Butterfly(1994, 1999), Carmen (1998, the French government. Upcoming engagements and Madama Butterfly. Future productions include 2006), L’Elisir d’Amore (2000), Tosca (2001, include Suzel (L’Amico Fritz) at Deutsche Oper La Rondine at the Metropolitan Opera; Le Nozze 2004), Samson and Delilah (2001, 2007) and Der Berlin, Marguerite (Faust) at Vienna State Opera, di Figaro in Toulouse; Il Trovatore in Barcelona; La Rosenkavalier (2007). Ms. Bernhard has taught for Magda de Civry and Adina (L’Elisir d’Amore) at Traviata, Lucia di Lammermoor, L’Elisir d’Amore, the both Merola Opera Program and the Adler the Met, and Violetta and the title role of Tosca at and Falstaff at Vienna State Opera; La Traviata at Fellowship Program and developed San Francisco Soprano Angela Gheorghiu made her San Deutsche Oper Berlin. Deutsche Oper Berlin; and Les Contes d’Hoffmann Opera Center’s education department, of which Francisco Opera debut last season as Magda at Paris Opéra. This September, he shares opening she was the founding director. She has directed de Civry (La Rondine) and will return to the night conducting honors at the Met with James Samson and Delilah at Lyric Opera of Chicago, Company to sing Mimì (La Bohème) later this fall. Levine, leading a gala concert featuring Renée Florida Grand Opera, and Dayton Opera, as well A native of Adjud, Romania, she graduated in 1990 Fleming. Next summer, he returns to the War as La Bohème at Washington National Opera, from the Bucharest Music Academy and made Memorial Opera House to conduct Tosca at San Cincinnati Opera and Opera Pacific; The Mother her international debut in 1992 at Royal Opera, Francisco Opera. of Us All at Baltimore Opera; Don Giovanni, Le Covent Garden, as Mimì (La Bohème). Later that Nozze di Figaro, Aida and La Bohème at Portland year, she made debuts at the Metropolitan Opera Opera; La Bohème, Un Ballo in Maschera and Street and Vienna State Opera. In 1994, she appeared Scene at Pittsburgh Opera; The Barber of Seville and at Covent Garden as Violetta (La Traviata) in a La Traviata at Utah Opera; Der Rosenkavalier at celebrated performance that was subsequently Minnesota Opera; The Barber of Seville, Rigoletto, broadcast on BBC Radio. Ms. Gheorghiu’s recent Don Pasquale and Un Ballo in Maschera at Florida appearances include Violetta (La Traviata), Amelia Grand Opera; Aida with Opera Omaha and Austin (Simon Boccanegra) and Mimì at the Met; Magda Lyric Opera; La Bohème at Opera Pacific;Les de Civry, Marguerite (Faust) and the title role of Contes d’Hoffmann at Fort Worth Opera; and Little Tosca at Covent Garden; Mimì at Vienna State Women at Dayton Opera. Upcoming engagements Opera; Nedda (Pagliacci) at Los Angeles Opera; include Aida at Portland Opera and Don Carlo at and Magda de Civry at the Théâtre du Châtelet Cincinnati Opera. Ms. Bernhard held the J. Ralph in Paris. Corbett Chair of Opera at College-Conservatory The soprano’s extensive discography includes Marco Armiliato has been a regular guest con- of Music at the University of Cincinnati from complete recordings of La Traviata with the or- ductor at San Francisco Opera since his 1997 2003 to 2007; during her tenure, she won four chestra of Royal Opera, Covent Garden; L’Elisir debut in La Bohème. He has led the Company in awards from the National Opera Association for d’Amore with the orchestra of Lyon Opera; La productions of Un Ballo in Maschera, Pagliacci, her productions there. She is currently the director Bohème with the orchestra of La Scala; as well as Cavalleria Rusticana, Il Trovatore, Tosca, Rigoletto, of HGOco at Houston Grand Opera, a unique solo discs Arias, Verdi Heroines, My World and La Traviata, La Favorite, Turandot and Madama initiative that explores ways of making opera Mysterium on the Decca label. In 1998, she signed Butterfly. A frequent conductor at Vienna State relevant to its changing audiences. an exclusive recording agreement with EMI records Opera, Mr. Armiliato recently appeared there for 10 CAL PERFORMANCES CAL PERFORMANCES 11.
Load more

Recommended publications
  • 10-12-2019 Turandot Mat.Indd
    Synopsis Act I Legendary Peking. Outside the Imperial Palace, a mandarin reads an edict to the crowd: Any prince seeking to marry Princess Turandot must answer three riddles. If he fails, he will die. The most recent suitor, the Prince of Persia, is to be executed at the moon’s rising. Among the onlookers are the slave girl Liù, her aged master, and the young Calàf, who recognizes the old man as his long-lost father, Timur, vanquished King of Tartary. Only Liù has remained faithful to the king, and when Calàf asks her why, she replies that once, long ago, Calàf smiled at her. The mob cries for blood but greets the rising moon with a sudden fearful reverence. As the Prince of Persia goes to his death, the crowd calls upon the princess to spare him. Turandot appears in her palace and wordlessly orders the execution to proceed. Transfixed by the beauty of the unattainable princess, Calàf decides to win her, to the horror of Liù and Timur. Three ministers of state, Ping, Pang, and Pong, appear and also try to discourage him, but Calàf is unmoved. He reassures Liù, then strikes the gong that announces a new suitor. Act II Within their private apartments, Ping, Pang, and Pong lament Turandot’s bloody reign, hoping that love will conquer her and restore peace. Their thoughts wander to their peaceful country homes, but the noise of the crowd gathering to witness the riddle challenge calls them back to reality. In the royal throne room, the old emperor asks Calàf to reconsider, but the young man will not be dissuaded.
    [Show full text]
  • In Santa Cruz This Summer for Special Summer Encore Productions
    Contact: Peter Koht (831) 420-5154 [email protected] Release Date: Immediate “THE MET: LIVE IN HD” IN SANTA CRUZ THIS SUMMER FOR SPECIAL SUMMER ENCORE PRODUCTIONS New York and Centennial, Colo. – July 1, 2010 – The Metropolitan Opera and NCM Fathom present a series of four encore performances from the historic archives of the Peabody Award- winning The Met: Live in HD series in select movie theaters nationwide, including the Cinema 9 in Downtown Santa Cruz. Since 2006, NCM Fathom and The Metropolitan Opera have partnered to bring classic operatic performances to movie screens across America live with The Met: Live in HD series. The first Live in HD event was seen in 56 theaters in December 2006. Fathom has since expanded its participating theater footprint which now reaches more than 500 movie theaters in the United States. We’re thrilled to see these world class performances offered right here in downtown Santa Cruz,” said councilmember Cynthia Mathews. “We know there’s a dedicated base of local opera fans and a strong regional audience for these broadcasts. Now, thanks to contemporary technology and a creative partnership, the Metropolitan Opera performances will become a valuable addition to our already stellar lineup of visual and performing arts.” Tickets for The Met: Live in HD 2010 Summer Encores, shown in theaters on Wednesday evenings at 6:30 p.m. in all time zones and select Thursday matinees, are available at www.FathomEvents.com or by visiting the Regal Cinema’s box office. This summer’s series will feature: . Eugene Onegin – Wednesday, July 7 and Thursday, July 8– Soprano Renée Fleming and baritone Dmitri Hvorostovsky star in Tchaikovsky’s lushly romantic masterpiece about mistimed love.
    [Show full text]
  • 01-25-2020 Boheme Eve.Indd
    GIACOMO PUCCINI la bohème conductor Opera in four acts Marco Armiliato Libretto by Giuseppe Giacosa and production Franco Zeffirelli Luigi Illica, based on the novel Scènes de la Vie de Bohème by Henri Murger set designer Franco Zeffirelli Saturday, January 25, 2020 costume designer 8:00–11:05 PM Peter J. Hall lighting designer Gil Wechsler revival stage director Gregory Keller The production of La Bohème was made possible by a generous gift from Mrs. Donald D. Harrington Revival a gift of Rolex general manager Peter Gelb This season’s performances of La Bohème jeanette lerman-neubauer and Turandot are dedicated to the memory music director Yannick Nézet-Séguin of Franco Zeffirelli. 2019–20 SEASON The 1,344th Metropolitan Opera performance of GIACOMO PUCCINI’S la bohème conductor Marco Armiliato in order of vocal appearance marcello muset ta Artur Ruciński Susanna Phillips rodolfo a customhouse serge ant Roberto Alagna Joseph Turi colline a customhouse officer Christian Van Horn Edward Hanlon schaunard Elliot Madore* benoit Donald Maxwell mimì Maria Agresta Tonight’s performances of parpignol the roles of Mimì Gregory Warren and Rodolfo are underwritten by the alcindoro Jan Shrem and Donald Maxwell Maria Manetti Shrem Great Singers Fund. Saturday, January 25, 2020, 8:00–11:05PM MARTY SOHL / MET OPERA Roberto Alagna as Chorus Master Donald Palumbo Rodolfo and Maria Musical Preparation Caren Levine*, Joshua Greene, Agresta as Mimì in Jonathan C. Kelly, and Patrick Furrer Puccini’s La Bohème Assistant Stage Directors Mirabelle Ordinaire and J. Knighten Smit Met Titles Sonya Friedman Stage Band Conductor Joseph Lawson Children’s Chorus Director Anthony Piccolo Italian Coach Loretta Di Franco Prompter Joshua Greene Associate Designer David Reppa Scenery, properties, and electrical props constructed and painted in Metropolitan Opera Shops Costumes executed by Metropolitan Opera Costume Department Wigs and Makeup executed by Metropolitan Opera Wig and Makeup Department Ladies millinery by Reggie G.
    [Show full text]
  • Libretto Nabucco.Indd
    Nabucco Musica di GIUSEPPE VERDI major partner main sponsor media partner Il Festival Verdi è realizzato anche grazie al sostegno e la collaborazione di Soci fondatori Consiglio di Amministrazione Presidente Sindaco di Parma Pietro Vignali Membri del Consiglio di Amministrazione Vincenzo Bernazzoli Paolo Cavalieri Alberto Chiesi Francesco Luisi Maurizio Marchetti Carlo Salvatori Sovrintendente Mauro Meli Direttore Musicale Yuri Temirkanov Segretario generale Gianfranco Carra Presidente del Collegio dei Revisori Giuseppe Ferrazza Revisori Nicola Bianchi Andrea Frattini Nabucco Dramma lirico in quattro parti su libretto di Temistocle Solera dal dramma Nabuchodonosor di Auguste Anicet-Bourgeois e Francis Cornu e dal ballo Nabucodonosor di Antonio Cortesi Musica di GIUSEPPE V ERDI Mesopotamia, Tavoletta con scrittura cuneiforme La trama dell’opera Parte prima - Gerusalemme All’interno del tempio di Gerusalemme, i Leviti e il popolo lamen- tano la triste sorte degli Ebrei, sconfitti dal re di Babilonia Nabucco, alle porte della città. Il gran pontefice Zaccaria rincuora la sua gente. In mano ebrea è tenuta come ostaggio la figlia di Nabucco, Fenena, la cui custodia Zaccaria affida a Ismaele, nipote del re di Gerusalemme. Questi, tuttavia, promette alla giovane di restituirle la libertà, perché un giorno a Babilonia egli stesso, prigioniero, era stato liberato da Fe- nena. I due innamorati stanno organizzando la fuga, quando giunge nel tempio Abigaille, supposta figlia di Nabucco, a comando di una schiera di Babilonesi. Anch’essa è innamorata di Ismaele e minaccia Fenena di riferire al padre che ella ha tentato di fuggire con uno stra- niero; infine si dichiara disposta a tacere a patto che Ismaele rinunci alla giovane.
    [Show full text]
  • Nicola Luisotti Direttore D’Orchestra
    Nicola Luisotti Direttore d’Orchestra Direttore Ospite Principale del Teatro Real di Madrid, il Maestro Luisotti è stato Direttore Musicale dell'Opera di San Francisco dal 2009 al 2018, dove ha diretto oltre quaranta produzioni tra opere e concerti dal suo debutto nel 2005. Nel 2018 è stato insignito della San Francisco Opera Medal per i suoi meriti artistici. Tra i numerosi titoli diretti all'Opera di San Francisco ricordiamo la prima mondiale de La Ciociara di Marco Tutino, Salome, Lohengrin, Don Carlo e la trilogia Mozart-Da Ponte. Gli impegni recenti includono La traviata e Don Carlo al Teatro Real, Il trovatore al Teatro alla Scala, Manon Lescaut all'Opera di San Francisco, La forza del destino all'Opéra National de Paris, Aida, Rigoletto e La traviata al Metropolitan Opera di New York, oltre alla Nona Sinfonia di Beethoven all'Auditorium Nacional de Música di Madrid. Luisotti ha riscosso grande successo di pubblico e di critica nei maggiori teatri d'opera del mondo, fra cui la Staatsoper di Vienna, il Teatro alla Scala, il Carlo Felice di Genova, la Fenice di Venezia, il Comunale di Bologna, il Teatro Regio di Torino, i Teatri dell'Opera di Monaco, Francoforte, Stoccarda, Dresda, Amburgo, Valencia, Los Angeles, Seattle, Toronto e la Suntory Hall di Tokyo. Nel 2010, in occasione dello storico centenario de La Fanciulla del West, da lui diretta al Metropolitan Opera, Luisotti ha ricevuto il Premio Puccini. Nicola Luisotti è stato Direttore Musicale del Teatro San Carlo di Napoli dal 2012 al 2014. Oltre ad opere e concerti a Napoli, ha diretto anche una storica esecuzione del Requiem di Verdi a San Francisco con le orchestre e i cori dei due teatri congiunti.
    [Show full text]
  • La Favorite Opéra De Gaetano Donizetti
    La Favorite opéra de Gaetano Donizetti NOUVELLE PRODUCTION 7, 9, 12, 14, 19 février 2013 19h30 17 février 2013 17h Paolo Arrivabeni direction Valérie Nègre mise en scène Andrea Blum scénographie Guillaume Poix dramaturgie Aurore Popineau costumes Alejandro Leroux lumières Sophie Tellier choréraphie Théâtre des Champs-Elysées Alice Coote, Celso Albelo, Ludovic Tézier, Service de presse Carlo Colombara, Loïc Félix, Judith Gauthier tél. 01 49 52 50 70 [email protected] Orchestre National de France Chœur de Radio France theatrechampselysees.fr Chœur du Théâtre des Champs-Elysées Coproduction Théâtre des Champs-Elysées / Radio France La Caisse des Dépôts soutient l’ensemble de la Réservations programmation du Théâtre des Champs-Elysées T. 01 49 52 50 50 theatrechampselysees.fr 5 Depuis quelques saisons, le bel canto La Favorite et tout particulièrement Donizetti ont naturellement trouvé leur place au Gaetano Donizetti Théâtre puisque pas moins de quatre des opéras du compositeur originaire Opéra en quatre actes (1840, version française) de Bergame ont été récemment Livret d’Alphonse Royer et Gustave Vaëz, d’après Les Amours malheureuses présentés : la trilogie qu’il a consacré ou Le Comte de Comminges de François-Thomas-Marie de Baculard d’Arnaud aux Reines de la cour Tudor (Maria Stuarda, Roberto Devereux et Anna Bolena) donnée en version de direction musicale Paolo Arrivabeni concert et, la saison dernière, Don Valérie Nègre mise en scène Pasquale dans une mise en scène de Andrea Blum scénographie Denis Podalydès. Guillaume Poix dramaturgie Aurore Popineau costumes Compositeur prolifique, héritier de Rossini et précurseur de Verdi, Alejandro Le Roux lumières Donizetti appartient à cette lignée de chorégraphie Sophie Tellier musiciens italiens qui triomphèrent dans leur pays avant de conquérir Paris.
    [Show full text]
  • Lucia Di Lammermoor
    LUCIA DI LAMMERMOOR An in-depth guide by Stu Lewis INTRODUCTION In Gustave Flaubert’s Madame Bovary (1857), Western literature’s prototypical “Desperate Housewives” narrative, Charles and Emma Bovary travel to Rouen to attend the opera, and they attend a performance of Lucia di Lammermoor. Perhaps Flaubert chose this opera because it would appeal to Emma’s romantic nature, suggesting parallels between her life and that of the heroine: both women forced into unhappy marriages. But the reason could have been simpler—that given the popularity of this opera, someone who dropped in at the opera house on a given night would be likely to see Lucia. If there is one work that could be said to represent opera with a capital O, it is Lucia di Lammermoor. Lucia is a story of forbidden love, deceit, treachery, violence, family hatred, and suicide, culminating in the mother of all mad scenes. It features a heroic yet tragic tenor, villainous baritones and basses, a soprano with plenty of opportunity to show off her brilliant high notes and trills and every other trick she learned in the conservatory, and, to top it off, a mysterious ghost haunting the Scottish Highlands. This is not to say that Donizetti employed clichés, but rather that what was fresh and original in Donizetti's hands became clichés in the works of lesser composers. As Emma Bovary watched the opera, “She filled her heart with the melodious laments as they slowly floated up to her accompanied by the strains of the double basses, like the cries of a castaway in the tumult of a storm.
    [Show full text]
  • 1718Studyguidetosca.Pdf
    TOSCA An opera in three acts by Giocomo Puccini Text by Giacosa and Illica after the play by Sardou Premiere on January 14, 1900, at the Teatro Constanzi, Rome OCTOBER 5 & 7, 2O17 Andrew Jackson Hall, TPAC The Patricia and Rodes Hart Production Directed by John Hoomes Conducted by Dean Williamson Featuring the Nashville Opera Orchestra CAST & CHARACTERS Floria Tosca, a celebrated singer Jennifer Rowley* Mario Cavaradossi, a painter John Pickle* Baron Scarpia, chief of police Weston Hurt* Cesare Angelotti, a political prisoner Jeffrey Williams† Sacristan/Jailer Rafael Porto* Sciarrone, a gendarme Mark Whatley† Spoletta, a police agent Thomas Leighton* * Nashville Opera debut † Former Mary Ragland Young Artist TICKETS & INFORMATION Contact Nashville Opera at 615.832.5242 or visit nashvilleopera.org. Study Guide Contributors Anna Young, Education Director Cara Schneider, Creative Director THE STORY SETTING: Rome, 1800 ACT I - The church of Sant’Andrea della Valle quickly helps to conceal Angelotti once more. Tosca is immediately suspicious and accuses Cavaradossi of A political prisoner, Cesare Angelotti, has just escaped and being unfaithful, having heard a conversation cease as she seeks refuge in the church, Sant’Andrea della Valle. His sis - entered. After seeing the portrait, she notices the similari - ter, the Marchesa Attavanti, has often prayed for his release ties between the depiction of Mary Magdalene and the in the very same chapel. During these visits, she has been blonde hair and blue eyes of the Marchesa Attavanti. Tosca, observed by Mario Cavaradossi, the painter. Cavaradossi who is often unreasonably jealous, feels her fears are con - has been working on a portrait of Mary Magdalene and the firmed at the sight of the painting.
    [Show full text]
  • TUTTO VERDI 2013 TV P Rogram
    TV P ROGRAM 2013 CELebrating VERDI'S 200TH birthday ctober O O ctober 2013 ROGRAM TUTTO VERDI TV P Tutto Verdi – one of the most ambitious opera projects ever – is UNITEL CLASSICA’s exclusive highlight this October, celebrating Verdi’s 200th birthday on October 10. Enjoy as a world TV premiere Giuseppe Verdi‘s complete operatic works and his Requiem in High Definition and with Surround Sound. All 26 operas, which were produced in coproduction with the Verdi Festival, the Teatro Regio di Parma and the Teatro Verdi di Busseto are presented in chronological order, giving the viewer the unique chance to discover the grand composers musical development as well as the musical and historical influences he was under. On the birthday itself the great composer is honored with the broadcast of his Requiem in a special open air concert starring D’Arcangelo, Grigolo, De Young and Di Giacomo. The L.A. Philharmonic are conducted by no less than Gustavo Dudamel. Richard Wagner is born Giuseppe Verdi is born as Giuseppe Fortunino Francesco on 10 October 1813 in Le Roncole, a village near Busseto on 23 May in Leipzig 1813 (Parma), as son of the merchant Carlo Giuseppe Verdi and his wife Luigia Uttini. Congress of Vienna 1815 Premiere of Beethoven’s First engagement as organist in Le Roncole at the age of nine 1824 1822 Symphony No.9 Verdi moves to Busseto to Antonio Barezzi, a local merchant and president of the Philharmonic Society and supporter Wagner composes 1831 of Verdi’s musical ambitions. He gets engaged with Barezzi’s daughter Margherita.
    [Show full text]
  • The Belhaven College Department of Music Presents
    THE BELHAVEN UNIVERSITY DEPARTMENT OF MUSIC Dr. Stephen W. Sachs, Chair presents E. Blakeney Hatcliff, soprano Junior Recital assisted by Mrs. Nicole Harwell, piano Saturday, February 27, 2010 5:00 p.m. Belhaven University Center for the Arts Concert Hall BELHAVEN UNIVERSITY DEPARTMENT OF MUSIC MISSION STATEMENT The Music Department seeks to produce transformational leaders in the musical arts who will have profound influence in homes, churches, private studios, educational institutions, and on the concert stage. While developing the God-bestowed musical talents of music majors, minors, and elective students, we seek to provide an integrative understanding of the musical arts from a Christian world and life view in order to equip students to influence the world of ideas. The music major degree program is designed to prepare students for graduate study while equipping them for vocational roles in performance, church music, and education. The Belhaven University Music Department exists to multiply Christian leaders who demonstrate unquestionable excellence in the musical arts and apply timeless truths in every aspect of their artistic discipline. The Music Department of Belhaven University directs you to “Arts Ablaze 2009-2010.” Read about many of the excellent performances and presentations scheduled throughout this academic year at Belhaven University by the Arts Division. Please take a complimentary copy of “Arts Ablaze 2009-2010” with you. The Music Department would like to thank our many community partners for their support of Christian Arts Education at Belhaven University through their advertising in “Arts Ablaze 2009-2010”. It is through these and other wonderful relationships in the greater Jackson community that makes an afternoon like this possible at Belhaven.
    [Show full text]
  • Simon O'neill ONZM
    Simon O’Neill ONZM Tenor “Simon O'Neill made a tremendous debut in the title-role, giving notice that he is the best heroic tenor to emerge over the last decade.” Rupert Christiansen, The Telegraph, UK. A native of New Zealand, Simon O’Neill is one of the finest helden-tenors on the international stage. He has frequently performed with the Metropolitan Opera, the Royal Opera House, Covent Garden, Berlin, Hamburg and Bayerische Staatsopern, Teatro alla Scala and the Bayreuth, Salzburg, Edinburgh and BBC Proms Festivals, appearing with a number of illustrious conductors including Daniel Barenboim, Sir Simon Rattle, James Levine, Riccardo Muti, Valery Gergiev, Sir Antonio Pappano, Pietari Inkinen, Pierre Boulez, Sir Mark Elder, Sir Colin Davis, Simone Young, Edo de Waart, Fabio Luisi, Donald Runnicles, Sir Simon Rattle, Jaap Van Zweden and Christian Thielemann. Simon’s performances as Siegmund in Die Walküre at the Royal Opera House, Covent Garden with Pappano, Teatro alla Scala and Berlin Staatsoper with Barenboim, at the Metropolitan Opera with Runnicles in the celebrated Otto Schenk production returning with Luisi in the Lepage Ring Cycle and in the Götz Friedrich production at Deutsche Oper Berlin with Rattle were performed to wide critical acclaim. He was described in the international press as "an exemplary Siegmund, terrific of voice", "THE Wagnerian tenor of his generation" and "a turbo-charged tenor". During this season’s engagements Simon makes his debut at: Tanglewood with the Boston Symphony and Andris Nelsons and the Toronto Symphony with Sir Andrew Davis and Orquestra de la Comunitat Valenciana with Henrik Nánási as Siegmund in concert performances of Die Walküre.
    [Show full text]
  • Bellini's Norma
    Bellini’s Norma - A discographical survey by Ralph Moore There are around 130 recordings of Norma in the catalogue of which only ten were made in the studio. The penultimate version of those was made as long as thirty-five years ago, then, after a long gap, Cecilia Bartoli made a new recording between 2011 and 2013 which is really hors concours for reasons which I elaborate in my review below. The comparative scarcity of studio accounts is partially explained by the difficulty of casting the eponymous role, which epitomises bel canto style yet also lends itself to verismo interpretation, requiring a vocalist of supreme ability and versatility. Its challenges have thus been essayed by the greatest sopranos in history, beginning with Giuditta Pasta, who created the role of Norma in 1831. Subsequent famous exponents include Maria Malibran, Jenny Lind and Lilli Lehmann in the nineteenth century, through to Claudia Muzio, Rosa Ponselle and Gina Cigna in the first part of the twentieth. Maria Callas, then Joan Sutherland, dominated the role post-war; both performed it frequently and each made two bench-mark studio recordings. Callas in particular is to this day identified with Norma alongside Tosca; she performed it on stage over eighty times and her interpretation casts a long shadow over. Artists since, such as Gencer, Caballé, Scotto, Sills, and, more recently, Sondra Radvanovsky have had success with it, but none has really challenged the supremacy of Callas and Sutherland. Now that the age of expensive studio opera recordings is largely over in favour of recording live or concert performances, and given that there seemed to be little commercial or artistic rationale for producing another recording to challenge those already in the catalogue, the appearance of the new Bartoli recording was a surprise, but it sought to justify its existence via the claim that it authentically reinstates the integrity of Bellini’s original concept in matters such as voice categories, ornamentation and instrumentation.
    [Show full text]