Lohengrin RICHARD WAGNER

Total Page:16

File Type:pdf, Size:1020Kb

Lohengrin RICHARD WAGNER Richard Wagner Lohengrin RICHARD WAGNER Òpera romàntica en tres actes Llibret de Richard Wagner Del 19 de març al 5 d'abril Temporada 2019-2020 Temporada 1 Patronat de la Fundació del Gran Teatre del Liceu Comissió Executiva de la Fundació del Gran Teatre del Liceu President d’honor President Joaquim Torra Pla Salvador Alemany Mas President del patronat Vocals representants de la Generalitat de Catalunya Salvador Alemany Mas Mariàngela Vilallonga Vives, Francesc Vilaró Casalinas Vicepresidenta primera Vocals representants del Ministerio de Cultura y Deporte Mariàngela Vilallonga Vives Amaya de Miguel Toral, Antonio Garde Herce Vicepresident segon Vocals representants de l'Ajuntament de Barcelona Andrea Gavela Llopis Joan Subirats Humet, Marta Clarí Padrós Vicepresident tercer Vocal representant de la Diputació de Barcelona Joan Subirats Humet Joan Carles Garcia Cañizares Vicepresidenta quarta Vocals representants de la Societat del Gran Teatre del Liceu Núria Marín Martínez Javier Coll Olalla, Manuel Busquet Arrufat Vocals representants de la Generalitat de Catalunya Vocals representants del Consell de Mecenatge Francesc Vilaró Casalinas, Àngels Barbarà Fondevila, Àngels Elisa Duran Montolio i Luis Herrero Borque Ponsa Roca, Pilar Fernández Bozal Secretari Vocals representants del Ministerio de Cultura y Deporte Joaquim Badia Armengol Santiago Fisas Ayxelà, Amaya de Miguel Toral, Santiago de Director general Torres Sanahuja, Joan Francesc Marco Conchillo Valentí Oviedo Cornejo Vocals representants de l'Ajuntament de Barcelona Josep Maria Vallès Casadevall, Marta Clari Padrós Vocal representant de la Diputació de Barcelona Joan Carles Garcia Cañizares Vocals representants de la Societat del Gran Teatre del Liceu Javier Coll Olalla, Manuel Busquet Arrufat, Ignasi Borrell Roca, Josep Maria Coronas Guinart, Àgueda Viñamata de Urruela Vocals representants del Consell de Mecenatge Luis Herrero Borque, Elisa Duran Montolio, Kim Faura Batlle, Alfonso Rodés Vilà Patrons d’honor Josep Vilarasau Salat, Manuel Bertrand Vergès Secretari no patró Joaquim Badia Armengol Director general Valentí Oviedo Cornejo 3 Gràcies per fer-ho possible Mitjans de comunicació Patrocinadors del 20è aniversari Mecenes Ópera Actual, RAC 1, Associació de Premsa Comarcal, Barcelona Connect, El Gerió Digital, Ràdio Estel. Patrocinadors 4 5 Protectors Col·laboradors Benefactors Carlos Abril Guzmán Clavel Calamanda Grifoll Josep Sabé Salvador Alemany M. Dolors i Francesc Francesca Guardiola Francisco Salamero Fernando Aleu Francisco Egea Maria Guasch Lluís Sans José Aljaro Joan Esquirol Pepita Izquierdo Maria Soldevila Lidia Arcos Magda Ferrer - Dalmau Gabriel Jené Jordi Soler Josep Balcells Mercedes Fuster Sofi a Lluch Karen Swenson Joaquim Barraquer José Gabeiras Ma. Teresa Machado Manuel Terrazo David Barroso José Luis Galí Rocio Maestre August Torà Núria Basi Jorge Gallardo Jaume Mercant Ernestina Torelló Manuel Bertran Pau Gasol Josep Milian Ana Torredemer Manuel Bertrand Francisco Gaudier José M. Mohedano Joan Uriach Agustí Bou Lluis M. Ginjaume Juan Molina-Martell Marta Uriach Josep M. Bové Ezequiel Giró Joan Molins Manuel Valderrama Carmen Buqueras Enric Girona Josep Ignasi Molins Josep Viader Cucha Cabané Andrea Gömöry Josep Oliu Anna Vicens Jordi Calonge Casimiro Gracia M. Carmen Pous Josep Vilarasau Gràcies per Joan Camprubi Jaume Graell Francisco Reynés Maria Vilardell † Montserrat Cardelús Francisco A. Granero Miquel Roca Salvador Viñas fer-ho possible Ramon Centelles Pere Grau Pedro Roca-Cusachs 6 7 11 19 44 68 Fitxa tècnica Amb el teló English synopsis Lohengrin, abaixat el Wagner més liceista 14 32 56 Jaume Tribó 80 Orquestra Sobre Ortrud, Selecció la producció una atracció fatal d'enregistraments 12 28 50 Rosa Massagué 74 Manel Bertran Mariné Fitxa artística Lohengrin Lohengrin Cronologia o el cavaller del cigne, un mite medieval Víctor Garcia de Gomar 16 37 Victoria Cirlot 13 Cor Argument 62 84 de l'obra Repartiment Entrevista Biografies 42 a Katharina Wagner Comentaris musicals 8 9 Temporada 2019 / 20 Lohengrin aproximada: Durada RICHARD WAGNER 4 h i 25 min 28 d’agost de 1850: estrena absoluta al Großherzogliches Hoftheater de Weimar 17 de maig de 1882: estrena a Barcelona al Teatre Principal 6 de març de 1883: estrena al Gran Teatre del Liceu 5 de setembre de 2012: última representació al Liceu Total de representacions al Liceu: 242 Març 2020 Torn 19 19 h H Cancel·lat 22 17 h T Cancel·lat 25 19 h B Cancel·lat 28 19 h C Cancel·lat 31 19 h A Cancel·lat Abril 2020 Torn 3 19 h E Cancel·lat 5* 17 h F Cancel·lat (*): Amb audiodescripció 10 11 Lohengrin Richard Wagner Fitxa artística Repartiment Direcció musical Orquestra Simfònica Heinrich Cavallers de Brabant Josep Pons i Cor del Gran Teatre del Liceu Rei dels saxons Jorge Rodríguez-Norton Günther Groissböck Gerardo López Direcció d’escena Direcció del Cor Josep-Ramon Olivé Katharina Wagner Conxita Garcia Lohengrin Marc Pujol Klaus Florian Vogt Escenografi a Concertino Joves nobles Marc Löhrer Kai Gleusteen Elsa de Brabant Carmen Jiménez Emily Magee: 19, 22, 25, 28 i 31 de març Helena Zaborowska Vestuari Assistència a la direcció musical Simone Schneider: 3 i 5 d'abril Olga Szabó Thomas Kaiser Oleguer Aymamí Ingrid Venter Friedrich de Telramund Dramatúrgia Assistents musicals Comte de Brabant Daniel Weber Véronique Werklé, Vanessa García, Olafur Sigurdarson David-Huy Nguyen-Phong, Jaume Tribó Il·luminació Ortrud Esposa de Friedrich Stefan Bolliger Evelyn Herlitzius Assistència a la direcció d’escena Herald del rei Eleonora Herder Roman Trekel Construcció de les habitacions Gottfried Neo Escenografi a Germà d’Elsa Eduard Gomez Construcció del llac Escenografi a Moià Cigne, cigne animat i maniquí home mort Fito Dellibarda (KREAT FX) Producció Gran Teatre del Liceu i Oper Leipzig Amb el suport de: 12 13 Richard Wagner Intèrprets Violí I Contrabaix Arpa Kai Gleusteen Joaquín Arrabal Tiziana Tagliani Kostadin Bogdanoski Sávio De La Corte Orgue Liviu Morna Cristian Sandu Vanessa García Olga Aleshinsky Francesc Lozano Eva Pyrek Jorge Martínez Birgit Euler Javier Fierro Banda Interna Oriol Algueró Flauta Flauta Sergey Maiboroda Albert Mora Alexandra Miletic Oleg Shport Nieves Aliaño Joan Josep Renart Raul Suárez Sandra Luisa Batista Laia Albinyana Renata Tanellari Oboè Yana Tsanova Oboè Cesar Altur Joan Andreu Bella Barbara Stegemann Raúl Pérez Paula Banciu Enric Pellicer Emili Pascual Clarinet Violí II Juanjo Mercadal Anna Smith Clarinet Dolores Payá Rodica Monica Harda Darío Mariño Fagot Jing Liu Liam Harmann Bernardo Verde Andrea Ceruti Cristina Martín Francesc Benítez Charles Courant Fagot Trompeta Piotr Jeczmyk Guillermo Salcedo Francesc Colomina Magdalena Kostrzewska M. José Rielo David Alcaraz L’Orquestra Simfònica del Gran Teatre del Liceu del Liceu Teatre Simfònica del Gran L’Orquestra Josep Pons. titular, amb el seu director Kalina Macuta Juan Pedro Fuentes Adrián Beneyto Mijai Morna Raúl Calvo Alexandre Polonski Trompa Ionut Podgoreanu Nacho Civera Sergi Puente José Esteban Orquestra Simfònica del Gran Teatre del Liceu Annick Puig Jorge Vilalta Pablo Cadenas Manuel Latorre Viola Enrique Martínez Andreu Moros L’Orquestra Simfònica del Gran Teatre del Liceu és l'orquestra més antiga de l'Estat espanyol. Alejandro Garrido David Pérez Durant gairebé 170 anys d’història, l'Orquestra del Gran Teatre del Liceu ha estat dirigida per les Fulgencio Sandoval Trompeta Guillem Rodríguez més grans batutes, d’Arturo Toscanini a Erich Kleiber, d’Otto Klemperer a Hans Knapperstsbusch, Albert Coronado Josep Anton Casado Carlos Tavida de Bruno Walter a Fritz Reiner, Richard Strauss, Alexander Glazunov, Ottorino Respighi, Pietro Samuel Palomino Javi Cantos Fernando Timoneda Fco. Gaspar Tomás Mascagni, Igor Stravinsky, Manuel de Falla o Eduard Toldrà, fins a arribar als nostres dies amb Claire Bobij Arpa Riccardo Muti o Kirill Petrenko. Bettina Brandkamp Trombó Mª Jesús Ávila Anna Aldomà Jordi Berbegal Trompa Ha estat la protagonista de les estrenes del gran repertori operístic a la península ibèrica del Josep Bracero Miguel Esteve Luis Bellver Carles Chordà S. barroc als nostres dies i al llarg de la seva història ha dedicat també una especial atenció a la Franck Tollini Carles Chordà E. creació lírica catalana. Va fer el seu debut el 1847 amb un concert simfònic dirigit per Marià Obiols, Marie Vanier Tuba Marc Garcia essent la primera òpera Anna Bolena, de Donizetti. Des de llavors ha actuat de forma continuada Violoncel Jose Miguel Bernabeu Rita Salgado durant totes les temporades del Teatre. Internacionalment cal destacar el Concert per la Pau i Cristoforo Pestalozzi Timpani Trombó els Drets Humans, organitzat per la Fundació Onuart, retransmès des de la seu de les Nacions Guillaume Terrail Artur Sala Juan González Unides a Ginebra el passat 9 de desembre del 2017. Matthias Weinmann David Morales Esther Clara Braun Percussió Gabriel Mateu Andrea Amador Manuel Martínez Després de la reconstrucció de 1999 han estat directors titulars Bertrand de Billy (1999-2004), Se- Percussió Juan Manuel Stacey Jose Luis Carreres bastian Weigle (2004–2008), Michael Boder (2008–2012) i, des de setembre del 2012, Josep Pons. David Montoya Lourdes Kleykens David Merseguer Nico Cobo Concertino C. Associat Solista 14 15 Richard Wagner Intèrprets Sopranos I Tenors I Figurants Margarida Buendia Josep Mª Bosch David Aixalà Maria Genís José Luis Casanova David Aparicio Oihane Gonzalez Sung Min Kang Alberto Aymar Olatz Gorrotxategi Xavier Martínez Ricardo Castro Carmen Jimenez José Antº Medina Rocío Cebrero Glòria López Daniel Muñoz
Recommended publications
  • Mozart Magic Philharmoniker
    THE T A R S Mass, in C minor, K 427 (Grosse Messe) Barbara Hendricks, Janet Perry, sopranos; Peter Schreier, tenor; Benjamin Luxon, bass; David Bell, organ; Wiener Singverein; Herbert von Karajan, conductor; Berliner Mozart magic Philharmoniker. Mass, in C major, K 317 (Kronungsmesse) (Coronation) Edith Mathis, soprano; Norma Procter, contralto...[et al.]; Rafael Kubelik, Bernhard Klee, conductors; Symphonie-Orchester des on CD Bayerischen Rundfunks. Vocal: Opera Così fan tutte. Complete Montserrat Caballé, Ileana Cotrubas, so- DALENA LE ROUX pranos; Janet Baker, mezzo-soprano; Nicolai Librarian, Central Reference Vocal: Vespers Vesparae solennes de confessore, K 339 Gedda, tenor; Wladimiro Ganzarolli, baritone; Kiri te Kanawa, soprano; Elizabeth Bainbridge, Richard van Allan, bass; Sir Colin Davis, con- or a composer whose life was as contralto; Ryland Davies, tenor; Gwynne ductor; Chorus and Orchestra of the Royal pathetically brief as Mozart’s, it is Howell, bass; Sir Colin Davis, conductor; Opera House, Covent Garden. astonishing what a colossal legacy F London Symphony Orchestra and Chorus. Idomeneo, K 366. Complete of musical art he has produced in a fever Anthony Rolfe Johnson, tenor; Anne of unremitting work. So much music was Sofie von Otter, contralto; Sylvia McNair, crowded into his young life that, dead at just Vocal: Masses/requiem Requiem mass, K 626 soprano...[et al.]; Monteverdi Choir; John less than thirty-six, he has bequeathed an Barbara Bonney, soprano; Anne Sofie von Eliot Gardiner, conductor; English Baroque eternal legacy, the full wealth of which the Otter, contralto; Hans Peter Blochwitz, tenor; soloists. world has yet to assess. Willard White, bass; Monteverdi Choir; John Le nozze di Figaro (The marriage of Figaro).
    [Show full text]
  • ARSC Journal
    A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers.
    [Show full text]
  • ARSC New York Chapter MARCH 2014 Meeting
    ARSC New York Chapter MARCH 2014 Meeting !!NOTE CHANGE OF DATE!! 7 P. M. Thursday, 3/27/14 at the CUNY Sonic Arts Center West 140th Street & Convent Avenue, New York or, enter at 138th Street off Convent Avenue Shepard Hall (the Gothic building) – Recital Hall (Room 95, Basement level) An elevator is located in the center of the building ARSCNY is again pleased to present “The Two Gary’s” (Galo and Thalheimer, respectively) …reprising their gala presentations of recordings by Lauritz Melchior (“The Great Dane: Lauritz Melchior – A 40th Anniversary Tribute”) and German singers in Verdi roles. Both are expanded versions of presentations given at the ARSC national conference in Kansas City, MO in May 2013. Danish tenor Lauritz Melchior (1890-1973) was arguably the greatest Wagnerian tenor in the history of that species. Melchior began his career as a baritone, making his operatic debut as Sivlio in Leoncavallo’s Pagliacci at the Royal Opera, Copenhagen in 1913. On the advice of Mme. Charles Cahier, Melchior restudied as a tenor with Vilhelm Herold, and made a second debut in 1918 in the title role of Wagner’s Tannhäuser. After further studies with Anna Bahr-Mildenburg, Melchior began his international career at the Royal Opera House, Covent Garden in 1924 as Siegmund in Wagner’s Die Walküre, followed by a Bayreuth debut later that year, and a Metropolitan Opera debut in 1926. Melchior combined a voice of unrivalled power with a true bel canto production, allowing him to remain virtually unchallenged in the heldentenor repertoire until his retirement from the stage in 1950.
    [Show full text]
  • Corso Di Dottorato Di Ricerca in Storia Delle Arti Tesi Di Ricerca
    Corso di Dottorato di ricerca in Storia delle Arti ciclo XXI Tesi di Ricerca «THE PHENOMENAL CONTRALTO» Vita e carriera artistica di Eugenia Mantelli SSD: L-ART/07 Musicologia e storia della musica Coordinatore del Dottorato ch. prof. Piermario Vescovo Supervisore ch. prof. Paolo Pinamonti Dottorando Federica Camata Matricola 808540 «THE PHENOMENAL CONTRALTO». VITA E CARRIERA ARTISTICA DI EUGENIA MANTELLI INDICE Introduzione p. 3 1. Biografia di Eugenia Mantelli p. 7 1.1. L’infanzia e gli studi p. 9 1.2. Il debutto al Teatro de São Carlos p. 13 1.3. La carriera internazionale p. 16 1.3.1. 1886: prima tournée in Sudamerica p. 17 1.3.2. 1887: seconda tournée in Sudamerica p. 24 1.3.3. 1889: terza tournée in Sudamerica p. 26 1.3.4. Eugenia Mantelli-Mantovani p. 28 1.3.5. Dal Bolshoi al Covent Garden p. 31 1.3.6. ¡Que viva Chile! Ultime tournée in Sudamerica p. 33 1.4. New York, il Metropolitan e le tournée negli Stati Uniti p. 36 1.4.1. Eugenia Mantelli-De Angelis p. 47 1.5. «Madame Mantelli has gone into vaudeville» p. 51 1.6. Mantelli Operatic Company p. 66 1.7. Attività artistica in Italia p. 69 1.8. Le ultime stagioni portoghesi e il ritiro dalle scene p. 81 1.9. Gli anni d’insegnamento p. 91 1.10.Requiem per Eugenia p. 99 1 2. Cronologia delle rappresentazioni p. 104 2.1. Nota alla consultazione p. 105 2.2. Tabella cronologica p. 107 3. Le fonti sonore p. 195 3.1.
    [Show full text]
  • Richard Strauss's Ariadne Auf Naxos
    Richard Strauss’s Ariadne auf Naxos - A survey of the major recordings by Ralph Moore Ariadne auf Naxos is less frequently encountered on stage than Der Rosenkavalier or Salome, but it is something of favourite among those who fancy themselves connoisseurs, insofar as its plot revolves around a conceit typical of Hofmannsthal’s libretti, whereby two worlds clash: the merits of populist entertainment, personified by characters from the burlesque Commedia dell’arte tradition enacting Viennese operetta, are uneasily juxtaposed with the claims of high art to elevate and refine the observer as embodied in the opera seria to be performed by another company of singers, its plot derived from classical myth. The tale of Ariadne’s desertion by Theseus is performed in the second half of the evening and is in effect an opera within an opera. The fun starts when the major-domo conveys the instructions from “the richest man in Vienna” that in order to save time and avoid delaying the fireworks, both entertainments must be performed simultaneously. Both genres are parodied and a further contrast is made between Zerbinetta’s pragmatic attitude towards love and life and Ariadne’s morbid, death-oriented idealism – “Todgeweihtes Herz!”, Tristan und Isolde-style. Strauss’ scoring is interesting and innovative; the orchestra numbers only forty or so players: strings and brass are reduced to chamber-music scale and the orchestration heavily weighted towards woodwind and percussion, with the result that it is far less grand and Romantic in scale than is usual in Strauss and a peculiarly spare ad spiky mood frequently prevails.
    [Show full text]
  • Erste Tuchfühlung Mit Der Mindener Bühne Proben Zu Der Eigenproduktion „Tristan Und Isolde“ Starten / Regisseur Fordert „Pure Emotion“ Von Den Sängern
    Nummer 180 · Samstag, 4. August 2012 Kultur regional Mindener Tageblatt 27 Erste Tuchfühlung mit der Mindener Bühne Proben zu der Eigenproduktion „Tristan und Isolde“ starten / Regisseur fordert „pure Emotion“ von den Sängern Von Ursula Koch Publikum als Chance und spannende Aufgabe. „Die gro- Minden (mt). „Ich möchte ße Operngestik wird hier nicht Begegnung von pure Emotion da oben. Das funktionieren“, stimmt er die Orgel und Posaune wird euch fordern. Ihr müsst sieben anwesenden Sängerin- in jeder Sekunde wissen, was nen und Sänger ein, die bis auf Lübbecke (mt). Das fünfte Ruth Maria Nicolay, die jetzt Konzert in der Veranstal- ihr tut und warum ihr es tut“, als Brangäne auftreten wird tungsreihe „Orgelsommer mahnt Matthias von Steg- und in „Lohengrin“ die Ortrud 2012“ am Sonntag, 5. Au- mann. Der Regisseur der verkörperte, noch nicht auf die- gust, um 18 Uhr in der St.- Mindener Opernproduktion ser Bühne gestanden haben. Andreas-Kirche Lübbecke, „Tristan und Isolde“ legte An die drei Sänger der bringt die Königin der Instru- den Sängern zum Probenbe- Hauptpartien Dara Hobbs mente mit einem anderen ginn seine Konzeption offen. (Isolde), Andreas Schager kraftvollen Instrument in (Tristan) und James Moellen- Verbindung: Martin Nagel Die Kompromisslosigkeit der hoff (König Marke) gewandt, und Simon Obermeier spie- von Wagner in diesem Werk formuliert von Stegmann: „Ihr len Werke für Posaune und beschriebenen Liebe will der habt die schwierigsten Partien, Orgel. Martin Nagel ist Leh- langjährige Regieassistenten aber das Haus hilft euch mit rer an der Musikschule „pro und Spielleiter bei den Bayreu- seiner Akustik auch.“ Vor al- Musica“ in Lübbecke und an ther Festspielen auf der Min- lem diese drei Darsteller for- der Kreisjugendmusikschule dener Bühne sichtbar machen.
    [Show full text]
  • Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected]
    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-15-2018 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Bourne, Thaddaeus, "Male Zwischenfächer Voices and the Baritenor Conundrum" (2018). Doctoral Dissertations. 1779. https://opencommons.uconn.edu/dissertations/1779 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus James Bourne, DMA University of Connecticut, 2018 This study will examine the Zwischenfach colloquially referred to as the baritenor. A large body of published research exists regarding the physiology of breathing, the acoustics of singing, and solutions for specific vocal faults. There is similarly a growing body of research into the system of voice classification and repertoire assignment. This paper shall reexamine this research in light of baritenor voices. After establishing the general parameters of healthy vocal technique through appoggio, the various tenor, baritone, and bass Fächer will be studied to establish norms of vocal criteria such as range, timbre, tessitura, and registration for each Fach. The study of these Fächer includes examinations of the historical singers for whom the repertoire was created and how those roles are cast by opera companies in modern times. The specific examination of baritenors follows the same format by examining current and
    [Show full text]
  • 1 CRONOLOGÍA LICEÍSTA Se Incluye Un Listado Con Las
    CRONOLOGÍA LICEÍSTA Se incluye un listado con las representaciones de Aida, de Giuseppe Verdi, en la historia del Gran Teatre del Liceu. Estreno absoluto: Ópera del Cairo, 24 de diciembre de 1871. Estreno en Barcelona: Teatro Principal, 16 abril 1876. Estreno en el Gran Teatre del Liceu: 25 febrero 1877 Última representación en el Gran Teatre del Liceu: 30 julio 2012 Número total de representaciones: 454 TEMPORADA 1876-1877 Número de representaciones: 21 Número histórico: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21. Fechas: 25 febrero / 3, 4, 7, 10, 15, 18, 19, 22, 25 marzo / 1, 2, 5, 10, 13, 18, 22, 27 abril / 2, 10, 15 mayo 1877. Il re: Pietro Milesi Amneris: Rosa Vercolini-Tay Aida: Carolina de Cepeda (febrero, marzo) Teresina Singer (abril, mayo) Radamès: Francesco Tamagno Ramfis: Francesc Uetam (febrero y 3, 4, 7, 10, 15 marzo) Agustí Rodas (a partir del 18 de marzo) Amonasro: Jules Roudil Un messaggiero: Argimiro Bertocchi Director: Eusebi Dalmau TEMPORADA 1877-1878 Número de representaciones: 15 Número histórico: 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36. Fechas: 29 diciembre 1877 / 1, 3, 6, 10, 13, 23, 25, 27, 31 enero / 2, 20, 24 febrero / 6, 25 marzo 1878. Il re: Raffaele D’Ottavi Amneris: Rosa Vercolini-Tay Aida: Adele Bianchi-Montaldo Radamès: Carlo Bulterini Ramfis: Antoine Vidal Amonasro: Jules Roudil Un messaggiero: Antoni Majjà Director: Eusebi Dalmau 1 7-IV-1878 Cancelación de ”Aida” por indisposición de Carlo Bulterini.
    [Show full text]
  • Richard-Wagner-Jahr 2013 - Auswertung
    Informationsvorlage Richard Wagner Jahr 2013 - Auswertung Richard-Wagner-Jahr 2013 - Auswertung Inhalt: 1. Beschlüsse des Stadtrates / Kuratorium 1.1. RBIV-1072/07 v. 12.12.2007: Gründung des Kuratoriums „Richard-Wagner-Jahr 2013“ sowie seines Fachbeirates und des Arbeitskreises zur Vorbereitung des 200. Geburtstages von Richard Wagner im Jahr 2013 1.2. V/1172 vom 22.06.2011: Jubiläum "200. Geburtstag Richard Wagners" im Jahr 2013 1.3. Kuratorium Richard Wagner Jahre 2013 2. Eröffnung: Pressekonferenz 11. Januar 2013, Oper Leipzig 3. Beteiligte Institutionen und programmatische Höhepunkte 3.1. Oper Leipzig 3.2. Gewandhaus zu Leipzig 3.3. Mitteldeutscher Rundfunk 3.4. Der Festakt der Stadt Leipzig: 22. Mai 2013, Oper Leipzig 3.5. Universität Leipzig / Hochschule für Musik und Theater 3.6. Thomanerchor 3.7. Weitere 4. Verband, Verein, Gesellschaft, Stiftung 4.1. Richard-Wagner-Verband Leipzig 4.2. Richard-Wagner-Stiftung Leipzig 4.3. Richard-Wagner Gesellschaft 2013 e.V. 4.4. Richard-Wagner-Denkmal Verein 5. Ausstellungen 6. Presse / Marketing / wirtschaftliche & touristische Aspekte 1 Informationsvorlage Richard Wagner Jahr 2013 - Auswertung 1. Beschlüsse des Stadtrates 1.1. RBIV-1072/07 vom 12.12.2007 Gründung des Kuratoriums „Richard-Wagner-Jahr 2013“ sowie seines Fachbeirates und des Arbeitskreises zur Vorbereitung des 200. Geburtstages von Richard Wagner im Jahr 2013 1. Zur Vorbereitung des 200. Geburtstages von Richard Wagner im Jahr 2013 bildet die Stadt Leipzig ein Kuratorium „Richard-Wagner-Jahr 2013“, dem ein Fachbeirat angehört.
    [Show full text]
  • The George London Foundation for Singers Announces Its 2016-17 Season of Events
    Contact: Jennifer Wada Communications 718-855-7101 [email protected] www.wadacommunications.com THE GEORGE LONDON FOUNDATION FOR SINGERS ANNOUNCES ITS 2016-17 SEASON OF EVENTS: • THE RECITAL SERIES: ISABEL LEONARD & JARED BYBEE PAUL APPLEBY & SARAH MESKO AMBER WAGNER & REGINALD SMITH, JR. • THE 46TH ANNUAL GEORGE LONDON FOUNDATION AWARDS COMPETITION “This prestigious competition … now in its 45th year, can rightfully claim to act as a springboard for major careers in opera.” -The New York Times, February 18, 2016 Isabel Leonard, Jared Bybee, Paul Appleby, Sarah Mesko, Amber Wagner, Reginald Smith, Jr. (Download photos.) The George London Foundation for Singers has been honoring, supporting, and presenting the finest young opera singers in the U.S. and Canada since 1971. Upon the conclusion of the 20th year of its celebrated recital series, which was marked with a gala in April featuring some of opera’s most prominent American and Canadian stars, the Foundation announces its 2016-17 season of events: The George London Foundation Recital Series, which presents pairs of outstanding opera singers, many of whom were winners of a George London Award (the prize of the foundation’s annual vocal competition): George London Foundation for Singers Announces Its 2016-17 Season - Page 2 of 5 • Isabel Leonard, mezzo-soprano, and Jared Bybee, baritone. Mr. Bybee won an Encouragement Award at the 2016 competition. Sunday, October 9, 2016, at 4:00 pm • Paul Appleby, tenor, and Sarah Mesko, mezzo-soprano. Mr. Appleby won his George London Award in 2011, and Ms. Mesko won hers in 2015. Sunday, March 5, 2017, at 4:00 pm • Amber Wagner, soprano, and Reginald Smith, Jr., baritone.
    [Show full text]
  • A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher Diana Carol Amos University of South Carolina
    University of South Carolina Scholar Commons Theses and Dissertations 2015 A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher Diana Carol Amos University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Amos, D. C.(2015). A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/3642 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. A SURVEY OF THE CAREER OF BARITONE, JOSEF METTERNICH: ARTIST AND TEACHER by Diana Carol Amos Bachelor of Music Oberlin Conservatory of Music, 1982 Master of Music University of South Carolina, 2011 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Performance School of Music University of South Carolina 2015 Accepted by: Walter Cuttino, Major Professor Donald Gray, Committee Member Sarah Williams, Committee Member Janet E. Hopkins, Committee Member Lacy Ford, Senior Vice Provost and Dean of Graduate Studies ©Copyright by Diana Carol Amos, 2015 All Rights Reserved. ii ACKNOWLEDGEMENTS I gratefully acknowledge the help of my professor, Walter Cuttino, for his direction and encouragement throughout this project. His support has been tremendous. My sincere gratitude goes to my entire committee, Professor Walter Cuttino, Dr. Donald Gray, Professor Janet E. Hopkins, and Dr. Sarah Williams for their perseverance and dedication in assisting me.
    [Show full text]
  • Wagner March 06.Indd
    Wagner Society in NSW Inc. Newsletter No. 103, March 2006 IN NEW SOUTH WALES INC. President’s Report In Memoriam While on the subject of recordings, we are still waiting for the first opera of the promised set from the Neidhardt Birgit Nilsson, the Wagner Soprano Legend, Ring in Adelaide in 2004, and regretting that last year’s Dies at 87 and Tenor James King at 80 triumphal Tristan in Brisbane with Lisa Gasteen and John Birgit Nilsson, the Swedish soprano, died on 25 December Treleaven went unrecorded. 2005 at the age of 87 in Vastra Karup, the village where Functions she was born. Max Grubb has specially written for the Newsletter an extensive appraisal and appreciation of the On 19 February, we held our first function of 2006, at which voice, career and character of Nilsson (page 10). Nilsson’s Professor Kim Walker, Dean of the Sydney Conservatorium regular co-singer, Tenor James King has also died at eighty: of Music, spoke about the role of the Conservatorium, Florida, 20 November 2005 (see report page 14). the work of the Opera Studies Unit in particular, and the need to find private funding to replace government grants A LETTER TO MEMBERS which have been severely cut. Sharolyn Kimmorley then Dear Members conducted a voice coaching class with Catherine Bouchier, a voice student at the Con. From feedback received at and Welcome to this, our first Newsletter for 2006, in which since the function, members attending found this “master we mourn the passing of arguably the greatest Wagnerian class” a fascinating and rewarding window onto the work soprano of the second half of the 20th century, Birgit of the Conservatorium, and I’d like on your behalf to once Nilsson.
    [Show full text]