DOCSLIB.ORG

Cubierta Septiembre 2010.Indd

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Cubierta Septiembre 2010.Indd SCHERZO 2 5 A Ñ O S 1985 - 2010 REVISTA DE MÚSICA Año XXV - Nº 255 - Septiembre 2010 - 7 € DOSIER Orquestas españolas 2010-11 ENCUENTRO Gerard Mortier Año XXV - Nº 255 Septiembre 2010 ACTUALIDAD Dietrich Fischer-Dieskau Calixto Bieito AGENDA Se abre la temporada ANIVERSARIOS Durón y Salazar REFERENCIAS Cuartetos de Debussy y Ravel apirila 15, 16, 17 abril DANTZA ZARZUELA DANZA COMPAÑÍA ZARZUELA NACIONAL DE DANZA Zuzendari artistikoa Director artístico Nacho Duato maiatza 6, 7 mayo BALLET DE LA ÓPERA REAL EGITARAUA 2010 2011 PROGRAMA urria 6, 7, 8, 9, 10, 11, 12 urtarrila 21, 23, 25, 26, octubre DE SUECIA 28, 29 enero RAFAEL Zuzendari artistikoa EL CASERÍO Director artístico AMARGO Marc Ribaud Jesús Guridi urtarrila 27 enero maiatza 2 mayo ROSSO FIORENZA CARLOS ekaina 22, 23, 25, 26, ekaina 9, 10, 11 junio junio ÁLVAREZ octubre 28, 29 CEDOLINS urria 14 AUKERAN soprano barítono SOL PICÓ LA DEL sopranoa baritonoa BURNIA MANOJO DE ROCÍO EL LLAC DE LES otsaila 18, 19 febrero IGNACIO MOSQUES ROSAS CONCIERTO Pablo Sorozabal sopranoa soprano HOMENAJE RECITAL DE azaroa 14 noviembre Juan A. Urbeltz A CARMELO ÓPERA Y AXURI-BELTZA LARREA ZARZUELA otsaila 20 febrero maiatza 8 mayo azaroa 20, 21 noviembre JUAN PASTORA BALLET DE LA OPERA ÓPERA VALDERRAMA SOLER CONCIERTOS ÓPERA DE LYON KONTZERTUAK MAESTROS maiatza 28 mayo GISELLE martxoa 10 marzo ORFEÓN MARIOLA DONOSTIARRA abendua 17, 18, 19 urria 1, 2 octubre diciembre L’ INCORONAZIONE CANTARERO PETITE MESSE THE IMPERIAL DI POPPEA sopranoa soprano SOLENNELLE ICE STARS urria 19 octubre G. Rossini (izotz gaineko baleta Claudio Monteverdi PAQUITO martxoa 27 marzo ballet sobre hielo) D’RIVERA - BOS SERGIO EL LAGO DE martxoa 25, 26 marzo DALMA LOS CISNES IL SEGRETO urria 24 octubre* DI SUSANNA LOS MITOS apirila 7 abril abendua 21, 22, 23, 26 Ermanno ANA BELEN - diciembre Wolf-Ferrari noviembre ROSA TORRES THE IMPERIAL azaroa 7 Sarrerak ekainaren ICE STARS LA VOIX GOLDEN APPLE PARDO 28tik aurrera izango (izotz gaineko baleta HUMAINE QUARTET dira salgai. ballet sobre hielo) Entradas a la venta a Francis Poulenc partir del 28 de junio. LA CENICIENTA abendua 13 diciembre ENRIQUE martxoa 4, 5 marzo MORENTE LA LA LA HUMAN STEPS www.teatroarriaga.com Zuzendari artistikoa Director artístico Edouard Lock martxoa 29, 30, 31 marzo, apirila 1, 2, 3 abril MOMIX BOTHANICA INT. PORTADA.indd 1 27/07/10 13:38 255-Pliego 1 26/7/10 13:46 Página 1 AÑO XXIV - Nº 255 - Septiembre 2010 - 7 € 2 OPINIÓN DOSIER Orquestas españolas, CON NOMBRE temporada 2010-2011 101 PROPIO 6 Dietrich Fischer-Dieskau ENCUENTROS Arturo Reverter Gerard Mortier 8 Calixto Bieito Arturo Reverter Javier Pérez Senz Luis Suñen 120 10 AGENDA ANIVERSARIO Salazar y Durón 20 ACTUALIDAD Paulino Capdepón Verdú 124 NACIONAL EDUCACIÓN 38 ACTUALIDAD Pedro Sarmiento 128 INTERNACIONAL JAZZ Pablo Sanz 130 50 ENTREVISTA Andreas Scholl LIBROS 132 Catalina García 56 Discos del mes LA GUÍA 134 CONTRAPUNTO 57 SCHERZO DISCOS Norman Lebrecht 136 Sumario Colaboran en este número: Javier Alfaya, Daniel Álvarez Vázquez, Julio Andrade Malde, Íñigo Arbiza, Emili Blasco, Alfredo Brotons Muñoz, José Antonio Cantón, Paulino Capdepón Verdú, Patrick Dillon, Pierre Élie Mamou, José Luis Fernández, Fernando Fraga, Germán Gan Quesada, Catalina García, Joaquín García, José Antonio García y García, Carmen Dolores García González, Juan García-Rico, José Guerrero Martín, Elena Hernández Sandoica, Fernando Herrero, Bernd Hoppe, Clauspeter Koscielny, Antonio Lasierra, Norman Lebrecht, Juan Antonio Llorente, Fiona Maddocks, Bernardo Mariano, Santiago Martín Bermúdez, Joaquín Martín de Sagarmínaga, Enrique Martínez Miura, Aurelio Martínez Seco, Blas Matamoro, Juan Carlos Moreno, Antonio Muñoz Molina, Miguel Ángel Nepomuceno, Rafael Ortega Basagoiti, Josep Pascual, Enrique Pérez Adrián, Javier Pérez Senz, Paolo Petazzi, Francisco Ramos, Arturo Reverter, Barbara Röder, David Rodríguez Cerdán, Leopoldo Rojas- O’Donnell, Justo Romero, Pablo Sanz, Bruno Serrou, Franco Soda, Luis Suñén, José Luis Téllez, Claire Vaquero Williams, Asier Vallejo Ugarte, Pablo J. Vayón, Juan Manuel Viana, José Luis Vidal, Albert Vilardell, Reinmar Wagner. Traducciones: Rafael Banús Irusta y Blas Matamoro (alemán) - Enrique Martínez Miura (italiano) - Barbara McShane (inglés) Juan Manuel Viana (francés) Impreso en papel 100% libre de cloro Esta revista es miembro de ARCE, Asociación de Revistas Culturales de PRECIO DE LA SUSCRIPCIÓN: España, y de CEDRO, Centro Español de Derechos Reprográficos. SCHERZO es una publicación de carácter plural y no pertenece ni está adscri- por un año (11 Números) ta a ningún organismo público ni privado. La dirección respeta la libertad de expresión de sus colaboradores. Los textos firmados son de exclusiva respon- sabilidad de los firmantes, no siendo por tanto opinión oficial de la revista. España (incluido Canarias) 70 €. Europa: 105 €. Esta revista ha recibido una ayuda de la Dirección General del Libro, Archivos y Bibliotecas de EE.UU y Canadá 120 €. Ministerio de Cultura para su difusión en bibliotecas, centros culturales y universidades de Méjico, América Central y del Sur 125 €. España, para la totalidad de los números del año. 1 255-Pliego 1 26/7/10 13:46 Página 2 OPINIÓN EDITORIAL CRÉDITO Y EXIGENCIA n el presente número de SCHERZO, Gerard Mortier explica sus planes al frente del Teatro Real en la que va a ser su primera temporada como director artístico. Conoce bien cuáles son los frentes que tiene abiertos, dónde debe convencer al público y Ede qué forma —cuestión esta inevitable en quien gestiona una fuente de creación como es un teatro de ópera—, dejar la impronta de su paso por la casa. Las expectativas ante la nueva etapa que se abre en el coliseo madrileño son diversas, y unas más interesadas que otras. Y van desde la indiferencia de una sociedad que tiene otras cosas en que pensar pero a la que el teatro debe recordar de vez en cuando que existe porque ella le paga, hasta las más bien patéticas declaracio- nes de amor rendido por parte de algún compositor contemporáneo que quiere ser la novia en la boda y el muerto en el entierro, pesadísi- mo vicio que, curiosamente, se generaliza con la edad entre algunos de nuestros intelectuales más valiosos, reconocidos y —a veces sus- tanciosamente— premiados. Es algo cargante esa apelación continua a una sociedad ignorante, OPINIÓN futbolera, taurina, que no sabe apreciar el genio de sus compatriotas más dotados —de algunos, pues la mayoría de sus pares les importan poco a estos protestones— y a la que debiera ser obligatorio educar con la obra propia. Imaginemos que de este compositor que ha pues- to verde a dos antecesores de Mortier —ambos con muy estimable tra- yectoria profesional—, el nuevo director del Real no programe ningu- na obra, no le encargue nada, no reponga tampoco producciones vie- jas. ¿Seguirá pensando aquél acerca del nuevo responsable artístico que “el público no sé cómo lo recibirá pero tendrá que acostumbrar- se”? Hay mucha literatura sobre la esencia y la cáscara del arte, sobre la legítima o no tanto vanidad del creador como para seguir dándole vueltas al asunto en este modesto editorial. Lo importante es que comienza una nueva etapa y que en ella deberá mientras se muestra la impronta del nuevo director artístico del Real —cuestión esta inherente al cargo en cualquier teatro del mun- do—, fidelizar a un público un tanto temeroso y atraer nuevas audien- cias aprovechando la fama de innovador que acompaña desde siem- pre a Mortier. Una buena carga de responsabilidad para los adminis- tradores del coliseo de la Plaza de Oriente y todo ello en este tiempo de crisis que a todos afecta. A ello habrá que añadir las ideas de Mor- tier sobre óperas españolas —raras y curiosas si se quiere pero patri- monio al fin y al cabo y no necesariamente irrecuperable—, que no tienen desperdicio y que probablemente moverán más de una volun- tad. Del mismo modo, la apuesta por una orquesta sin titular no deja de tener su riesgo, pues no todos los experimentos funcionan del mis- mo modo en todas partes. Ese es también uno de los puntos en los que el nuevo director artístico del Real apuesta fuerte y donde se jue- ga una parte importante de su diseño para el futuro del coliseo. En todo caso, parece claro que hay que conceder a Gerard Mortier la confianza y el crédito que merece cualquiera que llega a un nuevo cargo. Que no le quepa la menor duda de que lo va a tener. Como también, y es lógico, la exigencia debida a quien posee una trayecto- ria excepcional, polémica en ocasiones pero enormemente creativa y a quien ha demostrado que es un profesional con ideas de enorme interés. Una cosa y otra son inseparables. 2 255-Pliego 1 26/7/10 13:56 Página 3 OPINIÓN La música extremada A PALO SECO Diseño de portada Argonauta ítulo de una canción de Thelo- Foto portada: nious Monk, Straight No Chaser James McMillan / Decca es una expresión de bar que designa la bebida que uno se Edita: SCHERZO EDITORIAL S.L. Ttoma sin acompañamiento que la dilu- C/Cartagena, 10. 1º C 28028 MADRID ya, el shot de whisky en un vaso no Teléfono: 913 567 622 mucho más grande que un dedal sin FAX: 917 261 864 Internet: www.scherzo.es una cerveza al lado. Una buena equiva- E mail: lencia en español sería a palo seco. No Redacción: [email protected] siempre tiene uno el cuerpo o el alma Administración: [email protected] para tomarse una bebida straight, y en Presidente: Santiago Martín Bermúdez cualquier caso ésta ha de ser de prime- ra calidad, porque de otro modo, sin envoltorios que la disimulen, ofenderá el paladar y trastornará la cabeza. Pero REVISTA DE MÚSICA hay un placer grande en tomar las Director: Luis Suñén cosas mejores a palo seco, un vino excelente o uno de esos single malts Redactor Jefe: Enrique Martínez Miura con resplandor de oro y de ámbar y Edición: Arantza Quintanilla aroma de humo en un bosque.
Load more

Recommended publications
  • 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]
  • 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]
  • Holland Festival Luigi Nono: Trilogie Van Het Sublieme
    LUIGI NONO: TRILOGIE VAN HET SUBLIEME VAN TRILOGIE LUIGI NONO: HOLLAND FESTIVAL PROGRAMMA / PROGRAMME do 19.6 / thu 19.6 vr 20.6 / fri 20.6 za 21.6 / sat 21.6 zo 22.6 / sun 22.6 lunchconcerten symposium / conference symposium / conference tentoonstelling / exhibition Rijksmuseum, Passage Universiteitstheater Transformatorhuis Westergasfabriek Luigi Nono 1924–1990 Nono Interventions “... Hay que caminar ...” “... Hay que caminar ...” Maestro di suoni e silenzi Luigi Nono’s musical paths between politics Luigi Nono’s musical paths between politics and art and art tentoonstelling / exhibition concert Westergasfabriek Gashouder Westergasfabriek Gashouder tentoonstelling / exhibition Luigi Nono 1924–1990 Westergasfabriek Gashouder Caminantes … Ayacucho Maestro di suoni e silenzi Kyrie uit from Sacrae Symphoniae Luigi Nono 1924–1990 No hay caminos, hay que caminar … Andrej Maestro di suoni e silenzi Tarkowski concert Gloria uit from Sacrae Symphoniae Westergasfabriek Gashouder concert Prometeo. Tragedia dell’ascolto Westergasfabriek Gashouder Il canto sospeso Non consumiamo Marx Como una ola de fuerza y luz concert Westergasfabriek Gashouder La lontananza nostalgica utopica futura 2 3 INHOUD CONTENT programma context programme context Prometeo Tentoonstelling Prometeo Exhibition Info, credits, programma 6 Luigi Nono 1924–1990 Info, credits, programme 6 Luigi Nono 1924–1990 Toelichting 8 Maestro di suoni e silenzi Programme notes 10 Maestro di suoni e silenzi Info en credits 76 Info and credits 76 Il canto sospeso Il canto sospeso Info, credits, programma 12 Luigi Nono: symposium Info, credits, programme 12 Luigi Nono: symposium Toelichting 14 “... Hay que caminar ...” Programme notes 17 “... Hay que caminar ...” Info, programma 77 Info, programme 77 La lontonanza nostalgica Samenvattingen 78 La lontonanza nostalgica Abstracts 82 utopica futura utopica futura Info, credits, programma 20 Info, credits, programme 20 Toelichting 22 Programme notes 23 Caminantes ..
    [Show full text]
  • Press Information Eno 2013/14 Season
    PRESS INFORMATION ENO 2013/14 SEASON 1 #ENGLISHENO1314 NATIONAL OPERA Press Information 2013/4 CONTENTS Autumn 2013 4 FIDELIO Beethoven 6 DIE FLEDERMAUS Strauss 8 MADAM BUtteRFLY Puccini 10 THE MAGIC FLUte Mozart 12 SATYAGRAHA Glass Spring 2014 14 PeteR GRIMES Britten 18 RIGOLetto Verdi 20 RoDELINDA Handel 22 POWDER HeR FAce Adès Summer 2014 24 THEBANS Anderson 26 COSI FAN TUtte Mozart 28 BenvenUTO CELLINI Berlioz 30 THE PEARL FISHERS Bizet 32 RIveR OF FUNDAMent Barney & Bepler ENGLISH NATIONAL OPERA Press Information 2013/4 3 FIDELIO NEW PRODUCTION BEETHoven (1770–1827) Opens: 25 September 2013 (7 performances) One of the most sought-after opera and theatre directors of his generation, Calixto Bieito returns to ENO to direct a new production of Beethoven’s only opera, Fidelio. Bieito’s continued association with the company shows ENO’s commitment to highly theatrical and new interpretations of core repertoire. Following the success of his Carmen at ENO in 2012, described by The Guardian as ‘a cogent, gripping piece of work’, Bieito’s production of Fidelio comes to the London Coliseum after its 2010 premiere in Munich. Working with designer Rebecca Ringst, Bieito presents a vast Escher-like labyrinth set, symbolising the powerfully claustrophobic nature of the opera. Edward Gardner, ENO’s highly acclaimed Music Director, 2013 Olivier Award-nominee and recipient of an OBE for services to music, conducts an outstanding cast led by Stuart Skelton singing Florestan and Emma Bell as Leonore. Since his definitive performance of Peter Grimes at ENO, Skelton is now recognised as one of the finest heldentenors of his generation, appearing at the world’s major opera houses, including the Metropolitan Opera, New York, and Opéra National de Paris.
    [Show full text]
  • Read Program
    KAIJA SAARIAHO l’amour de loin conductor Opera in five acts Susanna Mälkki Libretto by Amin Maalouf production Robert Lepage Saturday, December 10, 2016 PM associate director 1:00–3:35 Sybille Wilson New Production set and costume designer Michael Curry lighting designer Kevin Adams lightscape image designer Lionel Arnould The production of L’Amour de Loin was made sound designer Mark Grey possible by a generous gift from the Francis Goelet Trusts Additional funding for this production was received from The H.M. Agnes Hsu-Tang, PhD. and Oscar Tang Endowment Fund general manager Peter Gelb music director emeritus James Levine Co-production of the Metropolitan Opera and L’Opéra de Québec principal conductor Fabio Luisi In collaboration with Ex Machina 2016–17 SEASON The 3rd Metropolitan Opera performance of KAIJA SAARIAHO’S This performance l’amour is being broadcast live over The Toll Brothers– de loin Metropolitan Opera International Radio Network, sponsored conductor by Toll Brothers, Susanna Mälkki America’s luxury ® in order of vocal appearance homebuilder , with generous long-term jaufré rudel support from Eric Owens The Annenberg Foundation, The the pilgrim Neubauer Family Tamara Mumford* Foundation, the Vincent A. Stabile clémence Endowment for Susanna Phillips Broadcast Media, and contributions from listeners worldwide. There is no Toll Brothers– Metropolitan Opera Quiz in List Hall today. This performance is also being broadcast live on Metropolitan Opera Radio on SiriusXM channel 74. Saturday, December 10, 2016, 1:00–3:35PM This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. The Met: Live in HD series is made possible by a generous grant from its founding sponsor, The Neubauer Family Foundation.
    [Show full text]
  • Wagner: Das Rheingold
    as Rhe ai Pu W i D ol til a n ik m in g n aR , , Y ge iin s n g e eR Rg s t e P l i k e R a a e Y P o V P V h o é a R l n n C e R h D R ü e s g t a R m a e R 2 Das RheingolD Mariinsky Richard WAGNER / Рихард ВагнеР 3 iii. Nehmt euch in acht! / Beware! p19 7’41” (1813–1883) 4 iv. Vergeh, frevelender gauch! – Was sagt der? / enough, blasphemous fool! – What did he say? p21 4’48” 5 v. Ohe! Ohe! Ha-ha-ha! Schreckliche Schlange / Oh! Oh! Ha ha ha! terrible serpent p21 6’00” DAs RhEingolD Vierte szene – scene Four (ThE Rhine GolD / Золото Рейна) 6 i. Da, Vetter, sitze du fest! / Sit tight there, kinsman! p22 4’45” 7 ii. Gezahlt hab’ ich; nun last mich zieh’n / I have paid: now let me depart p23 5’53” GoDs / Боги 8 iii. Bin ich nun frei? Wirklich frei? / am I free now? truly free? p24 3’45” Wotan / Вотан..........................................................................................................................................................................René PaPe / Рене ПАПЕ 9 iv. Fasolt und Fafner nahen von fern / From afar Fasolt and Fafner are approaching p24 5’06” Donner / Доннер.............................................................................................................................................alexei MaRKOV / Алексей Марков 10 v. Gepflanzt sind die Pfähle / These poles we’ve planted p25 6’10” Froh / Фро................................................................................................................................................Sergei SeMISHKUR / Сергей СемишкуР loge / логе..................................................................................................................................................Stephan RügaMeR / Стефан РюгАМЕР 11 vi. Weiche, Wotan, weiche! / Yield, Wotan, yield! p26 5’39” Fricka / Фрикка............................................................................................................................ekaterina gUBaNOVa / Екатерина губАновА 12 vii.
    [Show full text]
  • Il Trovatore Was Made Stage Director Possible by a Generous Gift from Paula Williams the Annenberg Foundation
    ilGIUSEPPE VERDItrovatore conductor Opera in four parts Marco Armiliato Libretto by Salvadore Cammarano and production Sir David McVicar Leone Emanuele Bardare, based on the play El Trovador by Antonio García Gutierrez set designer Charles Edwards Tuesday, September 29, 2015 costume designer 7:30–10:15 PM Brigitte Reiffenstuel lighting designed by Jennifer Tipton choreographer Leah Hausman The production of Il Trovatore was made stage director possible by a generous gift from Paula Williams The Annenberg Foundation The revival of this production is made possible by a gift of the Estate of Francine Berry general manager Peter Gelb music director James Levine A co-production of the Metropolitan Opera, Lyric Opera of Chicago, and the San Francisco principal conductor Fabio Luisi Opera Association 2015–16 SEASON The 639th Metropolitan Opera performance of GIUSEPPE VERDI’S il trovatore conductor Marco Armiliato in order of vocal appearance ferr ando Štefan Kocán ines Maria Zifchak leonor a Anna Netrebko count di luna Dmitri Hvorostovsky manrico Yonghoon Lee a zucena Dolora Zajick a gypsy This performance Edward Albert is being broadcast live on Metropolitan a messenger Opera Radio on David Lowe SiriusXM channel 74 and streamed at ruiz metopera.org. Raúl Melo Tuesday, September 29, 2015, 7:30–10:15PM KEN HOWARD/METROPOLITAN OPERA A scene from Chorus Master Donald Palumbo Verdi’s Il Trovatore Musical Preparation Yelena Kurdina, J. David Jackson, Liora Maurer, Jonathan C. Kelly, and Bryan Wagorn Assistant Stage Director Daniel Rigazzi Italian Coach Loretta Di Franco Prompter Yelena Kurdina Assistant to the Costume Designer Anna Watkins Fight Director Thomas Schall Scenery, properties, and electrical props constructed and painted by Cardiff Theatrical Services and Metropolitan Opera Shops Costumes executed by Lyric Opera of Chicago Costume Shop and Metropolitan Opera Costume Department Wigs and Makeup executed by Metropolitan Opera Wig and Makeup Department Ms.
    [Show full text]
  • Lessons in Love and Violence - George Benjamin / Martin Crimp
    Lessons in Love and Violence GEORGE BENJAMIN MARTIN CRIMP Temporada 2020-2021 Temporada Con el apoyo exclusivo de: Lessons in Love and Violence - George Benjamin / Martin Crimp Volver al índice Patronato de la Fundación del Gran Teatre del Liceu Comisión ejecutiva de la Fundación del Gran Teatre del Liceu Presidente de honor Presidente President de la Generalitat de Catalunya Salvador Alemany Mas Presidente del patronato Vocales representantes de la Generalitat de Catalunya Salvador Alemany Mas Àngels Ponsa Roca, Lluís Baulenas Cases Vicepresidenta primera Vocales representantes del Ministerio de Cultura y Deporte Àngels Ponsa Roca Amaya de Miguel Toral, Antonio Garde Herce Vicepresidente segundo Vocales representantes del Ayuntamiento de Barcelona Andrea Gavela Llopis Joan Subirats Humet, Marta Clarí Padrós Vicepresidente tercero Vocal representant de la Diputació de Barcelona Joan Subirats Humet Joan Carles Garcia Cañizares Vicepresidenta cuarta Vocales representantes de la Societat del Gran Teatre del Liceu Núria Marín Martínez Javier Coll Olalla, Manuel Busquet Arrufat Vocales representantes de la Generalitat de Catalunya Vocales representantes del Consejo de Mecenazgo Lluis Baulenas Cases, Irene Rigau Oliver, Rosa Tubau LLorià, Luis Herrero Borque, Elisa Durán Montolío Angels Barbara Fondevila Secretario Vocales representantes del Ministerio de Cultura y Deporte Joaquim Badia Armengol Javier García Fernández, Amaya de Miguel Toral, Joan Francesc Director General Marco Conchillo, Santiago de Torres Sanahuja Valentí Oviedo Cornejo Vocales
    [Show full text]
  • Central Opera Service Bulletin
    CENTRAL OPERA SERVICE BULLETIN WINTER, 1972 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Center Plaza • Metropolitan Opera • New York, N.Y. 10023 • 799-3467 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Canter Plaza • Metropolitan Opera • New York, NX 10023 • 799.3467 CENTRAL OPERA SERVICE COMMITTEE ROBERT L. B. TOBIN, National Chairman GEORGE HOWERTON, National Co-Chairman National Council Directors MRS. AUGUST BELMONT MRS. FRANK W. BOWMAN MRS. TIMOTHY FISKE E. H. CORRIGAN, JR. CARROLL G. HARPER MRS. NORRIS DARRELL ELIHU M. HYNDMAN Professional Committee JULIUS RUDEL, Chairman New York City Opera KURT HERBERT ADLER MRS. LOUDON MEI.LEN San Francisco Opera Opera Soc. of Wash., D.C. VICTOR ALESSANDRO ELEMER NAGY San Antonio Symphony Ham College of Music ROBERT G. ANDERSON MME. ROSE PALMAI-TENSER Tulsa Opera Mobile Opera Guild WILFRED C. BAIN RUSSELL D. PATTERSON Indiana University Kansas City Lyric Theater ROBERT BAUSTIAN MRS. JOHN DEWITT PELTZ Santa Fe Opera Metropolitan Opera MORITZ BOMHARD JAN POPPER Kentucky Opera University of California, L.A. STANLEY CHAPPLE GLYNN ROSS University of Washington Seattle Opera EUGENE CONLEY GEORGE SCHICK No. Texas State Univ. Manhattan School of Music WALTER DUCLOUX MARK SCHUBART University of Texas Lincoln Center PETER PAUL FUCHS MRS. L. S. STEMMONS Louisiana State University Dallas Civic Opera ROBERT GAY LEONARD TREASH Northwestern University Eastman School of Music BORIS GOLDOVSKY LUCAS UNDERWOOD Goldovsky Opera Theatre University of the Pacific WALTER HERBERT GIDEON WALDKOh Houston & San Diego Opera Juilliard School of Music RICHARD KARP MRS. J. P. WALLACE Pittsburgh Opera Shreveport Civic Opera GLADYS MATHEW LUDWIG ZIRNER Community Opera University of Illinois See COS INSIDE INFORMATION on page seventeen for new officers and members of the Professional Committee.
    [Show full text]
  • WAGNER / Рихард Вагнер DISC 3 45’41” (1813–1883) Zweiter Aufzug – Act Two (Conclusion) 1 Xii
    lk a Waü GN r W , joNas k e e pe kY au r m iNs or f e ri C m i a a Val H k er e a m Y s N a t D j N G r N e , a r a r e G N i e é V p a p e , N i N a s t e e m m 2 Die Walküre Mariinsky Richard WAGNER / Рихард ВагнеР DISC 3 45’41” (1813–1883) Zweiter Aufzug – Act Two (conclusion) 1 xii. Schwer wiegt mir der Waffen Wucht / My load of armour weighs heavy on me p18 2’28” DiE WAlkÜRE 2 xiii. Dritte Szene: Raste nun hier, gönne dir Ruh’! / Scene Three: Do stop here, and take a rest p18 8’56” (ThE VAlkyRiE / ВалькиРия) 3 xiv. Wo bist du, Siegmund? / Where are you, Siegmund? p19 3’49” 4 xv. Vierte Szene: Siegmund! Sieh auf mich! / Scene Four: Siegmund, look at me p19 10’55” Siegmund / Зигмунд...................................................................................................................................Jonas KAUFMANN / Йонас Кауфман 5 xvi. Du sahst der Walküre sehrenden Blick / you have seen the Valkyrie’s searing glance p20 4’27” hunding / Хундинг................................. ..............................................................................................Mikhail PETRENKO / михаил ПетренКо 6 xvii. So jung un schön erschimmerst du mir / So young and fair and dazzling you look p20 4’58” Wotan / Вотан..........................................................................................................................................................................René Pape / рене ПаПе 7 xviii. Funfte Szene: Zauberfest bezähmt ein Schlaf / Scene Five: Deep as a spell sleep subdues p21 3’01” Sieglinde / Зиглинда........................................................................................................................................................Anja
    [Show full text]
  • Developing the Young Dramatic Soprano Voice Ages 15-22 Is Approved in Partial Fulfillment of the Requirements for the Degree Of
    DEVELOPING THE YOUNG DRAMATIC SOPRANO VOICE AGES 15-22 By Monica Ariane Williams Bachelor of Arts – Vocal Arts University of Southern California 1993 Master of Music – Vocal Arts University of Southern California 1995 A dissertation submitted in partial fulfillment of the requirements for the Doctor of Musical Arts School of Music College of Fine Arts The Graduate College University of Nevada, Las Vegas December 2020 Copyright 2021 Monica Ariane Williams All Rights Reserved Dissertation Approval The Graduate College The University of Nevada, Las Vegas November 30, 2020 This dissertation prepared by Monica Ariane Williams entitled Developing the Young Dramatic Soprano Voice Ages 15-22 is approved in partial fulfillment of the requirements for the degree of Doctor of Musical Arts School of Music Alfonse Anderson, DMA. Kathryn Hausbeck Korgan, Ph.D. Examination Committee Chair Graduate College Dean Linda Lister, DMA. Examination Committee Member David Weiller, MM. Examination Committee Member Dean Gronemeier, DMA, JD. Examination Committee Member Joe Bynum, MFA. Graduate College Faculty Representative ii ABSTRACT This doctoral dissertation provides information on how to develop the young dramatic soprano, specifically through more concentrated focus on the breath. Proper breathing is considered the single most important skill a singer will learn, but its methodology continues to mystify multitudes of singers and voice teachers. Voice professionals often write treatises with a chapter or two devoted to breathing, whose explanations are extremely varied, complex or vague. Young dramatic sopranos, whose voices are unwieldy and take longer to develop are at a particular disadvantage for absorbing a solid vocal technique. First, a description, classification and brief history of the young dramatic soprano is discussed along with a retracing of breath methodologies relevant to the young dramatic soprano’s development.
    [Show full text]
  • Britten Epicentre — Issue 68, 1 November 2013
    Britten epicentre — Issue 68, 1 November 2013 COMING SOON — LIVE PERFORMANCE IN NOVEMBER Concerts for the Benjamin Britten centenary come thick and fast this month, with the one- hundredth anniversary of Britten's birth on 22 November. The epicentre appears to be in Cambridge, UK (quite near to Britten's Aldeburgh): Mark Padmore, Stephen Bell and the Britten Sinfonia contribute Now Sleeps the Crimson Petal and the Serenade for Tenor, Horn and Strings on the birthday itself; the Escher String Quartet plays Quartet No 3; Florilegium and King's College Choir with Stephen Cleobury present Canticle II: Abraham and Isaac and Hymn to St Cecilia; James Gilchrist and Anna Tilbrook perform the Seven Sonnets of Michelangelo, On This Island and folksong arrangements. Amongst the other UK-based groups celebrating are Bene't Coldstream, Keith Maries and the Chiltern Camerata (Serenade for Tenor, Horn and Strings in Buckinghamshire UK); Canticum and Mark Forkgen (all-Britten choral programme in London); Adrian Partington's War Requiem in Bristol, featuring joint forces from Gloucester and Bristol, and Les Illuminations (Swinsian Ensemble and Justin Fung, in London). In New York City, Melodia Women's Choir contributes A Ceremony of Carols. There are more events at Britten 100, all co-ordinated by the Britten-Pears Foundation. Other notable live performance this month includes the National Theatre for Children, the New Zealand Symphony Orchestra, Grant Cooper and Sara Brodie performing Gareth Farr's Sky Dancer in Auckland and Christchurch. In New York, St Luke's Chamber Ensemble presents the first New York performance of Crossroads by John Harbison; Experiments in Opera have programmed three contemporary operas in celebration of Hallowmas; Salon/Sanctuary Concerts presents Dowland's Europe: The Winds of Change with lutenist Hopkinson Smith and Music for Brunelleschi's Dome with organist Lucia Baldacci; there's Czech music from Cerddorion Vocal Ensemble conducted by James John.
    [Show full text]