John Irvintenor

Total Page:16

File Type:pdf, Size:1020Kb

John Irvintenor www.JohnIrvinTenor.com TENOR JOHN IRVIN [email protected] 404 . 642 . 4167 Operatic Roles *cover Pirro Ermione Teatro San Carlo 2019 Faust La Damnation de Faust Opéra Nice CÔte d’Azur 2019 Duke Rigoletto Kentucky Opera 2018 Ruggero La Rondine Latvian National Opera & Ballet 2018 Vaudemon Iolanta Chicago Opera Theatre 2018 Faust La Damnation de Faust Deutsche Oper Berlin 2018 Count Almaviva Il barbiere di Siviglia The Grange Festival 2018 Count Almaviva Il barbiere di Siviglia Kentucky Opera 2018 Lucas/Eduardo* The Exterminating Angel The Metropolitan Opera 2017 Faust* Le Damnation de Faust Nantes-Angers Opera 2017 Cléomène Le siège de Corinthe Rossini Opera Festival 2017 Lucas*/Eduardo* The Exterminating Angel Royal Opera House 2017 Roméo Roméo et Juliette Madison Opera 2016 Lucas/Eduardo* The Exterminating Angel (world premiere) Salzburg Festival 2016 Rodolfo La Bohème Oper Heidelberg 2016 Christopf Bel Canto (world premiere) Lyric Opera of Chicago 2015 Matthew Gurney Emmeline Opera Theatre of St. Louis 2015 Count Almaviva Il barbiere di Siviglia Madison Opera 2015 Sir Hervey/Lord Percy* Anna Bolena Lyric Opera of Chicago 2015 Italian Singer* Capriccio Lyric Opera of Chicago 2014 Don Ottavio* Don Giovanni Lyric Opera of Chicago 2014 Tito* La clemenza di Tito Lyric Opera of Chicago 2014 Count Almaviva The Barber of Seville Lyric Opera Family Matinee 2014 Sergeant/Count Almaviva* Il barbiere di Siviglia Lyric Opera of Chicago 2014 Alfred Die Fledermaus Lyric Opera of Chicago 2013 Giuseppe/Alfredo* La traviata Lyric Opera of Chicago 2013 Roderigo/Cassio* Otello Lyric Opera of Chicago 2013 Don Curzio/Don Basilio* Le nozze di Figaro Los Angeles Philharmonic 2013 Borsa/Duke* Rigoletto Lyric Opera of Chicago 2013 Ernesto* Don Pasquale Ryan Opera Center 2012 Malcolm/Macduff * Macbeth Boston Lyric Opera 2011 Orchestral/Oratorio Soloist Bach Johannes Passion Hamburg Elbphilharmonie 2020 Faust La Damnation de Faust Finnish Radio Symphony Orchestra 2020 Soloist Mendelssohn Lobgesang Warsaw Philharmonic 2019 Soloist Berlioz Requiem Orchestre Philharmonique de Radio France 2018 Soloist Bach Johannes Passion Ensemble Pygmalion 2018 Soloist Mozart Requiem Ensemble Pygmalion 2018 Soloist Three Tenors Rossini Opera Festival 2017 Soloist Méhul : The First Romantic Orchestra of the Age of Enlightenment 2017 Soloist Berlioz Lélio Beethovenfest Bonn 2016 Soloist Berlioz Grande Messe des Morts Bochumer Symphoniker 2016 Soloist Mozart Mass in C minor Elmhurst Symphony Orchestra 2014 Soloist Strauss Songs Civic Orchestra of Chciago 2014 Soloist Beyond the Score: Symphonie Fantastique Chicago Symphony Orchestra 2014 Soloist Schubert Mass in E-flat Grant Park Music Festival 2013 Soloist Beethoven Symphony No. 9 Melbourne Symphony Orchestra 2013 Soloist Haydn Theresienmesse & Charpentier Te Deum Apollo Chorus 2013 Ferrando Mozart Cosi fan tutte (Act 1) Grant Park Music Festival 2012 Awards & Competitions Recipient Kahn Career Entry Award Kahn Foundation 2012 Finalist Sara Tucker Study Grant Richard Tucker Foundation 2012 Encouragement Award Gerda Lissner I.V.C. Gerda Lissner Foundation 2012 Encouragement Award MONCA New England Region 2012 Finalist Liederkranz I.V.C. Liederkranz Foundation 2012 Recipient Agnes M. Canning Memorial Award Santa Fe Opera 2011 Finalist MONCA New England Region 2011 Recipient David R. Gloss Award Central City Opera 2010 Education & Training Resident Artist Ryan Opera Center Lyric Opera of Chicago 2012-15 Emerging Artist Boston Lyric Opera 2011-12 Artist Diploma Opera Institute Boston University 2010-12 Apprentice Apprentice Program Santa Fe Opera 2011 Studio Artist Bonfils-Stanton Foundation Central City Opera 2010 Bachelor of Music School of Music Georgia State University 2007-10.
Recommended publications
  • The Barber of Seville
    The Barber of Seville Education Kit Opera Australia The Barber of Seville 2019 Education Kit WELCOME In 2019, we are delighted to present The Barber of Seville as Opera Australia’s Schools Tour in Victoria. Singing and drama play an inspiring role in the education of children. We aim to foster a love of the performing arts in people of all ages, engaging them in a combination of music, singing, drama and design. Opera involves its audience visually, aurally and emotionally. For over 20 years, Opera Australia has maintained a strong commitment to bringing high calibre opera into schools; and our Schools Tours have developed a reputation for being some of the finest incursion performances in Australia. This year, 70,000 children will experience the excitement of opera in their own school. We trust that The Barber of Seville inspires your students, and that their engagement with the performing arts encourages their creativity, imagination and learning. Rory Jeffes Chief Executive Officer Opera Australia 1 The Barber of Seville 2019 Education Kit Contents ABOUT OPERA AUSTRALIA ...................................................................................................................... 3 ABOUT OPERA ......................................................................................................................................... 4 OPERA: A HISTORY ............................................................................................................................. 4 THE OPERATIC VOICE ............................................................................................................................
    [Show full text]
  • Press Kit: the Barber of Seville
    Press Kit: The Barber of Seville Press Release José Maria Condemi Bio Bryan Nies Bio Synopsis Images: Krassen Karagiozov (as Figaro in The Barber of Seville) José Maria Condemi (stage director) Bryan Nies (conductor) News Release Press contacts: Virginia Perry, 408.437.4463 or 650.799.1341 [email protected] Elizabeth Santana, 408.437.2229 [email protected] FOR IMMEDIATE RELEASE: December 13, 2010 “Give Us More Barbers!” – Beethoven The Barber of Seville Opera San José presents Rossini’s comic masterpiece SAN JOSÉ, CA— Opera San José continues its 27th Season with Rossini’s delightful comic opera, The Barber of Seville. The charming tale of a clever young woman, her eager lover, and their resourceful accomplice, Figaro, The Barber of Seville is a tuneful testament to all that’s wonderful about fun and romance. Eight performances are scheduled from February 12 through 27 at the California Theatre, 345 South First Street in downtown San José. Tickets are on sale at the Opera San José Box Office, by phone at (408) 437-4450 or online at www.operasj.org. This production of The Barber of Seville is made possible, in part, by a Cultural Affairs Grant from the City of San José. The madcap story unfolds fast and furious in 18th-century Seville, Spain. Young Rosina is a wealthy orphan and the ward of a grasping old codger, Dr. Bartolo, who is plotting to marry her not only for her beauty, but for her substantial dowry. However, Rosina has two things on her side: the handsome Count Almaviva, who has fallen in love with her, and the town barber, Figaro, her conniving accomplice, who through clever disguises and quick wit succeeds in securing victory for the young couple.
    [Show full text]
  • "Il Barbiere Di Siviglia" De Rossini
    SAVERIO LAMACCHIA Universitá di Udine Reflexiones para una nueva interpretación de Il barbiere di Siviglia de Rossini (y de Manuel García)1 Se dice que Il barbiere di Siviglia de Rossini es una obra en la que un astuto barbero (Figaro), consigue que se casen el Conde de Almaviva y Rosina, para vergüenza del viejo Bartolo.Aquí sos- tenemos que, con toda probabilidad, Rossini y su libretista, Cesare Sterbini, en el carnaval de 1816, habían pensado en otra historia, aquella en la que el barbero chapucero intenta en el primer acto ayudar al Conde, pero provoca grandes problemas que hacen que el poderoso Conde deba tomar las riendas de la intriga en el segundo acto y a conducir él mismo el desenlace. Para argumentar esta tesis se subrayan las importantes diferencias entre el libreto y su fuente principal, Le barbier de Séville de Beaumarchais, y por primera vez, se señala como fuente Il Califfo di Bagdad de Manuel García (1813). Sostenemos que Il barbiere di Siviglia fue escrito por mediación de García, no sólo desde el punto de vista vocal sino también actoral: éste elegía personajes iracundos, poderosos y con deter- minación. Figaro no obstante, se toma su revancha desde el punto de vista musical: desde siempre, los espectadores acaban por hacer suya la parte de más éxito y divertida; y a fin de cuentas, es eso lo que más importa en una ópera cómica. Palabras clave: Rossini, Manuel García, Il barbiere di Siviglia, Il Califfo di Bagdad, Beaumarchais, ópera s. XIX. Rossini’s The Barber of Seville is said to be a work in which an astute barber
    [Show full text]
  • The Barber of Seville
    Education Study Guide The Barber of Seville Music by Gioachino Rossini Libretto by Cesare Sterbini First Performance February 5, 1816, Teatro Argentina, Rome Opera 101, Wednesday February 19, 2014 Children’s Performance February 22 at 1pm Performances February 21 & 22 at 7:30 pm. Matinée February 23 at 2:00 pm At the Kravis Center for the Performing Arts In Italian with English Surtitles PALM BEACH OPERA Education Materials THE BARBER OF SEVILLE STUDY GUIDE & ACTIVITES 2013/2014 CAST & CREATIVE TEAM Conductor: Patrick Fournillier* Director: Christopher Mattaliano* Figaro: Rodion Pogossov* Rosina: Silvia Tro Santafe* Count Almaviva: David Portillo* Dr. Bartolo: Bruno Pratico Don Basilio: Wayne Tigges* *Palm Beach Opera Debut GIAOCHINO ROSSINI, Composer PALM BEACH OPERA Education Materials THE BARBER OF SEVILLE STUDY GUIDE & ACTIVITES 2013/2014 THE BARBER OF SEVILLE COMPOSER BIOGRAPHY GIAOCHINO ROSSINI Gioachino Antonio Rossini (February 29, 1792 – November 13, 1868) is one of the most prolific, enduring and popular composers in the history of opera. He wrote 39 operas, including the famous Il Barbiere di Siviglia (The Barber of Seville), La Cenerentola (Cinderella), and Guillaume Tell (William Tell). His musical style is characterized by distinctive, song-like melodies that, combined with his operasʼ lighthearted stories, have captivated audiences to the present day. Rossini was born in Pesaro, Italy on February 29, 1792 to musical parents. As a boy he learned to sing and play the horn, and sang in at least one opera in Bologna. Though he wrote an opera that went unperformed for several years at the age of 13 or 14, the official beginning of his operatic career occurred at the age of 18, with a one-act comedy for the opera in Venice, and furthercommissions followed from Bologna, Ferrara, Venice, and Milan, where La Pietra del Paragone was a success at La Scala in 1812.
    [Show full text]
  • The Barber of Seville – Gioacchino Rossini
    The Barber of Seville – Gioacchino Rossini Spunky young Rosina lives under lock and key on a secluded square in ◊ A comic opera in two acts. Seville with her guardian, Dr. Bartolo. Dr. Bartolo has secret plans to marry Originally titled “Almaviva” or Rosina, but she has her eye on another suitor, a poor student named Lindoro, “The Useless Precaution” who is actually Count Almaviva, a Spanish nobleman in disguise. ◊ First performed: Teatro Outside Rosina’s window the voice of a blustering, swaggering fellow can Argentina, Rome, February 20, be heard. Figaro arrives, boasting that he is always in demand because he is 1816 in Italian simply the best barber in Seville (Largo al factotum). When Almaviva learns ◊ Librettist: Cesare Sterbini that Figaro is barber, wigmaker, surgeon, gardener, vet, apothecary and (1784-1831) general handyman to the Bartolo household, he sees his chance to meet ◊ Based on the comedy Le barbier Rosina. Figaro recognizes an opportunity to make some money helping de Séville (the prequel to Le Almaviva. marriage de Figaro) by Pierre Almaviva disguises himself as Rosina’s music teacher in order to meet Augustine de Beaumarchais in her. During the music lesson, Bartolo dozes in a chair while Almaviva and 1775 Rosina express their love for one another. They plan to escape together at ◊ Role: Figaro, the barber midnight. Figaro steals the key to the house as he shaves Bartolo but the plan is foiled when Bartolo sends Figaro and Almaviva from the house and Rosina to her room. Later that night when Figaro and Almaviva spring over the balcony to whisk her away, Rosina confronts them in a rage.
    [Show full text]
  • The Italian Girl in Algiers
    ROSSINI’S THE ITALIAN GIRL IN ALGIERS AN IN-DEPTH GUIDE © 2007 Michal Daniel Written by Stu Lewis ROSSINI’S WOMAN OF VALOR “Cruda sorte” – cruel fate! These are the first words we hear from Isabella, the title character of Rossini’s L’Italiana in Algeri (The Italian Girl in Algiers). Captured by pirates, looking – in vain, she believes – for her lover, soon to be forced to become part of an Arab potentate’s harem, she certainly is someone who has the right to sing the blues, or at least the nineteenth- century Italian equivalent. And so she does – for twenty-six bars – which is all the time that a Rossini heroine has for self-pity. As she moves to the up-tempo cabaletta, she reminds us that no man, however powerful, could possibly control an intelligent woman. And so it goes with the Rossini mezzo. Like Rosina in The Barber of Seville, who acts docile as long as she has her way and turns into a viper when she doesn’t, Isabella clearly has the inner resources to come out on top. Critic Andreas Richter calls her a “female Don Giovanni” – albeit, without the latter’s amorality. As the Don had the three principal female characters in the opera gravitating toward him, Isabella wins the affection of three men – one of each voice type – manipulating two of them mercilessly. (Another similarity: like Mozart’s opera, l’Italiana is labelled a “dramma giocosa” – a jolly drama). L’Italiana is a rescue opera, but, as Beethoven was to do years later in Fidelio, Rossini and Anelli turn the rescue theme on its head by making the woman the rescuer.
    [Show full text]
  • The Birth of an Opera
    THE BIRTH OF AN OPERA FIFTEEN MASTERPIECES from POPPEA TO WOZZECK Michael Rose IV • %'V • Norton & Company New York London Il Barbiere di Siviglia H E FIRST PERFORMANCE of Rossini's Barber was one of the great fiascos of operatic history. Yet only eight months earlier its composer had taken the first big step in what was to be the most daz- zling operatic career of the early nineteenth century. When Gioacchino Rossini arrived in Naples on 27 June 1815, he was twenty-three years old, he had fourteen operas to his credit, and he had never been this far from home in his life. Born in Pesaro and brought up in Bologna, his early successes had been largely confined to Venice and Milan, and the political divisions of the peninsula, recently reinstated after the Napoleonic interregnum, imposed at least two national borders between the Hapsburg regions of Lombardy and Venetia and the Bour- bon Kingdom of the Two Sicilies. But the Italian passion for opera had no respect for political frontiers and already Rossini was being spoken of across Italy as the latest operatic phenomenon. Since Naples had been for a century and a half one of the most important, perhaps the most influen- tial, of Italian centres of operatic activity, the appointment of this stripling from the north as director of its royal theatres raised eager anticipation (and not a few eyebrows) as well as opening a new chapter in Rossini's life. But Italian opera in the early nineteenth century was a cutthroat business. The Neapolitan contract did not tie him exclusively to Naples, and now that he had freed himself from the Venice-Milan axis of earlier years, Rossini was keen to exploit the new possibilities of his position.
    [Show full text]
  • Photo © Philip Newton from the GENERAL DIRECTOR
    Photo © Philip Newton Photo FROM THE GENERAL DIRECTOR Thank you for welcoming Seattle Opera into your home for this digital performance of Wolfgang Amadeus Mozart’s Don Giovanni, one of three great operas (The Marriage of Figaro, Così fan tutte) he created with librettist Lorenzo Da Ponte. Their handling of operatic storytelling is without equal. And in the hands of our creative team, led by conductor Lidiya Yankovskaya, stage director Brenna Corner, video director Ken Christensen, and lighting designer Connie Yun, this production takes on added layers of musical prescience, dramatic interpretation, and visual Photo © Philip Newton Photo dynamics. As the title makes clear, Don Giovanni, the seducer, is the center of this daylong tale. But the surrounding characters are the ones who drive the intrigue and passion. Giovanni’s behavior sparks all kinds of reactions—from revenge and anguish to curiosity and compassion to disgust and envy. Leporello, Giovanni’s manservant, is a reluctant loyalist. Donna Anna, Giovanni’s accuser, is vengeful to the point of conspiring to have him murdered. Zerlina, the newlywed, is torn between Giovanni’s panache and her husband. Then there is Donna Elvira, who believes herself his wife. At first she risks public humiliation to accuse him of treachery. But in the end, she pleads for Giovanni to repent and to save his soul from the depths of hell. Musically, Don Giovanni is without question a work of genius. It’s elegant and powerful, musically depicting each character’s personality and social standing. The brilliance is the combination of differing emotions and vocal lines by each of the four characters all held together by an elegant musical arc that belies those very feelings.
    [Show full text]
  • The Barber of Seville Synopsis
    Gioachino Rossini’s The Barber of Seville (Il barbiere di Siviglia) SYNOPSIS Act I: Count Almaviva, attended by a band of musicians, has come at dawn to serenade Rosina, a lovely young woman who has caught his eye. When he receives no response, he pays the musicians and sends them home. Outside her house, he comes upon Figaro, who informs the Count that Rosina is the ward of Dr. Bartolo. Although Bartolo keeps the girl under strict watch and plans to marry her himself, Figaro offers to help Almaviva with his pursuit. To Figaro’s guitar accompaniment, Almaviva begins another serenade. The Count, who wants to make sure that Rosina genuinely loves him – not merely for his wealth and title – claims to be a poor student named Lindoro. This time, Rosina’s voice is heard in response. Overjoyed, Almaviva readily agrees to Figaro’s next bit of advice: the Count is to disguise himself as a soldier and gain entry into the house with a false billeting order. Inside the house, Rosina vows to oppose Bartolo now that Lindoro has won her heart. Figaro arrives to conspire with her, but is forced to hide when Bartolo approaches. Bartolo tells Basilio, the music master, his suspicions that Almaviva is trying to steal Rosina’s heart. Bartolo readily agrees to Basilio’s suggestion that they begin a campaign of scandal to drive the Count out of town. The pair leave while planning Bartolo’s marriage to Rosina the very next day. Figaro tells Rosina that Lindoro is his cousin, madly in love with her.
    [Show full text]
  • THE BARBER of SEVILLE Curriculum Connections California Content Standards Kindergarten Through Grade 12
    San Francisco Operaʼs Rossiniʼs THE BARBER OF SEVILLE Curriculum Connections California Content Standards Kindergarten through Grade 12 VISUAL AND PERFORMING ARTS MUSIC STORYTELLING & MUSIC: WHAT IS AN OPERA? Character and plot development through musical themes. What is the difference between major and minor keys and how do changes between keys help tell the story? How are operas similar to musicals? How are they different? Watch examples of both. What is a prologue? What is an epilogue? How are they used in Barber of Seville? How does orchestral music enhance what characters are singing? How does it act as another character? How does orchestral music communicate a characterʼs state of mind? Set a mood? How does music associated with a particular character enhance their class status? Which voice types usually portray which types of characters and why? What kinds of ensembles are possible with this story and these characters? What is bel canto opera? What is its structure? How did opera change after the bel canto period? Identify different types of bel canto arias. Define sul ponticello. Find an example of it in the opera. Define a buffo bass. Who is a buffo bass in Barber of Seville? Define a contralto. Define a patter aria. Was the piano developed at the time of the opera, or was the harpsichord still being used? What is the instrumentation of the onstage serenade band? The onstage serenade band pretends to play their instruments; how would you do that? Identify the different vocal styles in Barber of Seville. How do they express different emotions? What is choral singing? What is its purpose in this opera? How does the music describe different plot points, like the thunderstorm? What is secco recitative? SAN FRANCISCO OPERA Education Materials THE BARBER OF SEVILLE Curriculum Connections What is a round? Can you find one in Barber of Seville? Pick out words that are emphasized by the music.
    [Show full text]
  • Barber of Seville CLASSROOM STUDY GUIDE
    The Barber of Seville CLASSROOM STUDY GUIDE MICHIGAN OPERA THEATRE Department of Education and Community Programs www.MichiganOpera.org Table of Contents Characters & Synopsis...........................................................................................3 The Creators.............................................................................................................6 A Closer Look..........................................................................................................10 Adaptations.........................................................................................................................12 18th Century Opera...........................................................................................................14 Opera in Popular Culture......................................................................................15 Discussion Questions............................................................................................16 In the Classroom.....................................................................................................17 Michigan Opera Theatre......................................................................................23 Contact & Sources................................................................................................25 MICHIGAN OPERA THEATRE 2 THE BARBER OF SEVILLE Characters & Synopsis Characters Rosina, Dr. Bartolo’s ward, mezzo-soprano Figaro, a barber and jack-of- all-trades, baritone Count Almaviva, a local nobleman, tenor
    [Show full text]
  • March-24-Barbiere.Pdf
    Gioachino Rossini CONDUCTOR Opera in two acts Maurizio Benini Libretto by Cesare Sterbini, PRODUCTION based on the play by Beaumarchais Bartlett Sher Saturday, March 24, 2007, 1:30–4:40pm SET DESIGNER Michael Yeargan New Production COSTUME DESIGNER Catherine Zuber LIGHTING DESIGNER Christopher Akerlind This production of Il Barbiere di Siviglia was made possible by a generous gift from The Sybil B. Harrington Endowment Fund. GENERAL MANAGER Peter Gelb MUSIC DIRECTOR James Levine The 560th Metropolitan Opera performance of Conductor Maurizio Benini This performance is IN ORDER OF VOCAL APPEARANCE broadcast live over Fiorello, Count Almaviva’s servant the Toll Brothers– Brian Davis Metropolitan Opera Count Almaviva International Radio Juan Diego Flórez Network, sponsored by Toll Brothers, Figaro, a barber America’s luxury Peter Mattei TM home builder , with Dr. Bartolo, Rosina’s guardian generous long- John Del Carlo term support from The Annenberg Ambrogio, Dr. Bartolo’s servant Foundation and the Rob Besserer Vincent A. Stabile Rosina Foundation. Joyce DiDonato This afternoon’s Don Basilio, a music teacher performance is also John Relyea being transmitted Berta, Dr. Bartolo’s housekeeper live in high definition Claudia Waite to movie theaters in the United States, An officer Canada, and Europe, Mark Schowalter and broadcast live on Metropolitan Recitative Accompanist Opera Radio, on Robert Morrison Sirius Satellite Radio channel 85. Saturday, March 24, 2007, 1:30–4:40pm Ken Howard/Metropolitan Opera Juan Diego Flórez Chorus Master Raymond
    [Show full text]