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KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas
KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas GEORGES BIZET EMI 63633 Carmen Maria Stuarda Paris Opera National Theatre Orchestra; René Bologna Community Theater Orchestra and Duclos Chorus; Jean Pesneaud Childrens Chorus Chorus Georges Prêtre, conductor Richard Bonynge, conductor Maria Callas as Carmen (soprano) Joan Sutherland as Maria Stuarda (soprano) Nicolai Gedda as Don José (tenor) Luciano Pavarotti as Roberto the Earl of Andréa Guiot as Micaëla (soprano) Leicester (tenor) Robert Massard as Escamillo (baritone) Roger Soyer as Giorgio Tolbot (bass) James Morris as Guglielmo Cecil (baritone) EMI 54368 Margreta Elkins as Anna Kennedy (mezzo- GAETANO DONIZETTI soprano) Huguette Tourangeau as Queen Elizabeth Anna Bolena (soprano) London Symphony Orchestra; John Alldis Choir Julius Rudel, conductor DECCA 425 410 Beverly Sills as Anne Boleyn (soprano) Roberto Devereux Paul Plishka as Henry VIII (bass) Royal Philharmonic Orchestra and Ambrosian Shirley Verrett as Jane Seymour (mezzo- Opera Chorus soprano) Charles Mackerras, conductor Robert Lloyd as Lord Rochefort (bass) Beverly Sills as Queen Elizabeth (soprano) Stuart Burrows as Lord Percy (tenor) Robert Ilosfalvy as roberto Devereux, the Earl of Patricia Kern as Smeaton (contralto) Essex (tenor) Robert Tear as Harvey (tenor) Peter Glossop as the Duke of Nottingham BRILLIANT 93924 (baritone) Beverly Wolff as Sara, the Duchess of Lucia di Lammermoor Nottingham (mezzo-soprano) RIAS Symphony Orchestra and Chorus of La Scala Theater Milan DEUTSCHE GRAMMOPHON 465 964 Herbert von
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Newsletter • Bulletin
NATIONAL CAPITAL OPERA SOCIETY • SOCIETE D'OPERA DE LA CAPITALE NATIONALE Newsletter • Bulletin Summer 2000 L’Été A WINTER OPERA BREAK IN NEW YORK by Shelagh Williams The Sunday afternoon programme at Alice Tully Having seen their ads and talked to Helen Glover, their Hall was a remarkable collaboration of poetry and words new Ottawa representative, we were eager participants and music combining the poetry of Emily Dickinson in the February “Musical Treasures of New York” ar- recited by Julie Harris and seventeen songs by ten dif- ranged by Pro Musica Tours. ferent composers, sung by Renee Fleming. A lecture We left Ottawa early Saturday morning in our bright preceded the concert and it was followed by having most pink (and easily spotted!) 417 Line Bus and had a safe of the composers, including Andre Previn, join the per- and swift trip to the Belvedere Hotel on 48th St. Greeted formers on stage for the applause. An unusual and en- by Larry Edelson, owner/director and tour leader, we joyable afternoon. met our fellow opera-lovers (six from Ottawa, one from Monday evening was the Met’s block-buster pre- Toronto, five Americans and three ladies from Japan) at miere production of Lehar’s The Merry Widow, with a welcoming wine and cheese party. Frederica von Stade and Placido Domingo, under Sir Saturday evening the opera was Offenbach’s Tales Andrew Davis, in a new English translation. The oper- of Hoffmann. This was a lavish (though not new) pro- etta was, understandably, sold out, and so the only tick- duction with sumptuous costumes, sets descending to ets available were seats in the Family Circle (at the very reappear later, and magical special effects.
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Frankenstein
FRANKENSTEIN Mark Grey PRODUCTIE / PRODUCTION De Munt / La Monnaie 8, 10, 12, 14, 15, 17, 19 & 20 MAART / MARS 2019 DE MUNT / LA MONNAIE Deze productie werd gerealiseerd met de steun van de Tax Shelter van de Belgische Federale Overheid, in samenwerking met Prospero NV en Taxshelter.be powered by ING. / Cette production a été réalisée avec le soutien du Tax Shelter du Gouvernement fédéral belge, en collaboration avec Prospero SA et Taxshelter.be powered by ING. FRANKENSTEIN Frankenstein, or The Modern Prometheus Opera in two acts based on the novel by Mary Shelley Libretto by Júlia Canosa i Serra Music by Mark Grey Opdrachtwerk van de Munt / Commande de la Monnaie Wereldcreatie / Création mondiale BASSEM AKIKI Muzikale leiding / Direction musicale Oorspronkelijk idee en regie / ÀLEX OLLÉ (LA FURA DELS BAUS) Idée originale et mise en scène ALFONS FLORES Decors / Décors LLUC CASTELLS Kostuums / Costumes URS SCHÖNEBAUM Belichting / Éclairages FRANC ALEU Video / Vidéo Regiemedewerkster / SUSANA GOMEZ Collaboratrice à la mise en scène ÀLEX OLLÉ, Dramaturgie JÚLIA CANOSA I SERRA & MARK GREY MARTINO FAGGIANI Koorleider / Chef des chœurs SCOTT HENDRICKS Victor Frankenstein TOPI LEHTIPUU Creature ELEONORE MARGUERRE Elizabeth ANDREW SCHROEDER Walton CHRISTOPHER GILLETT Henry STEPHAN LOGES Blind Man / Father HENDRICKJE VAN KERCKHOVE Justine WILLIAM DAZELEY Prosecutor SYMFONIEORKEST EN KOOR VAN DE MUNT / ORCHESTRE SYMPHONIQUE ET CHŒURS DE LA MONNAIE Konzertmeister NANA KAWAMURA Muziekuitgave / Éditions musicales Virrat Music Duur van de voorstelling:
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Branding Brussels Musically: Cosmopolitanism and Nationalism in the Interwar Years
BRANDING BRUSSELS MUSICALLY: COSMOPOLITANISM AND NATIONALISM IN THE INTERWAR YEARS Catherine A. Hughes A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2015 Approved by: Annegret Fauser Mark Evan Bonds Valérie Dufour John L. Nádas Chérie Rivers Ndaliko © 2015 Catherine A. Hughes ALL RIGHTS RESERVED ii ABSTRACT Catherine A. Hughes: Branding Brussels Musically: Cosmopolitanism and Nationalism in the Interwar Years (Under the direction of Annegret Fauser) In Belgium, constructions of musical life in Brussels between the World Wars varied widely: some viewed the city as a major musical center, and others framed the city as a peripheral space to its larger neighbors. Both views, however, based the city’s identity on an intense interest in new foreign music, with works by Belgian composers taking a secondary importance. This modern and cosmopolitan concept of cultural achievement offered an alternative to the more traditional model of national identity as being built solely on creations by native artists sharing local traditions. Such a model eluded a country with competing ethnic groups: the Francophone Walloons in the south and the Flemish in the north. Openness to a wide variety of music became a hallmark of the capital’s cultural identity. As a result, the forces of Belgian cultural identity, patriotism, internationalism, interest in foreign culture, and conflicting views of modern music complicated the construction of Belgian cultural identity through music. By focusing on the work of the four central people in the network of organizers, patrons, and performers that sustained the art music culture in the Belgian capital, this dissertation challenges assumptions about construction of musical culture.
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None but Thelonelyheart Amanda Roocroft Malcolm Martineau Tchaikovsky | Debussy | Strauss CD Booklet-Final 24/9/07 17:33 Page 2 CD Booklet-Final 24/9/07 17:33 Page 3
CD Booklet-Final 24/9/07 17:33 Page 1 None but theLonelyHeart Amanda Roocroft Malcolm Martineau Tchaikovsky | Debussy | Strauss CD Booklet-Final 24/9/07 17:33 Page 2 CD Booklet-Final 24/9/07 17:33 Page 3 Amanda Roocroft has secured an international reputation as one of Britain’s most exciting singers, in opera, concert, and in recital. In concert she has appeared with leading orchestras throughout Europe and North America with conductors including Sir Simon Rattle, Zubin Mehta, Mariss Jansons, Ivor Bolton, Sir John Eliot Gardiner, Daniele Gatti, Sir Neville Marriner, Sir Andrew Davis, Sir Charles Mackerras, Valery Gergiev and Bernard Haitink. She enjoys a close relationship with the Royal Opera House, Covent Garden, the Glyndebourne Festival, the English National Opera, the Welsh National Opera and the Bayerische Staatsoper in Munich, and her roles in these houses have included Fiordiligi (Così fan tutte), Countess (Le nozze di Figaro), Donna Elvira (Don Giovanni), Desdemona (Otello), Amelia (Simon Boccanegra), Mimì (La Bohème), Eva (Die Meistersinger), Ginevra (Ariodante), Cleopatra (Giulio Cesare), Jenifer (The Midsummer Marriage), Tatiana (Eugene Onegin) and the title roles in Madama Butterfly, Kát’a Kabanová and Jenu˚fa. Recent opera highlights include Elisabetta (Don Carlo) in Amsterdam (Riccardo Chailly/Willy Decker); Ellen Orford (Peter Grimes) in Salzburg (Sir Simon Rattle/Trevor Nunn); a tour of Japan as the Countess (Le nozze di Figaro) with the Bayerische Staatsoper and Zubin Mehta; and the title role in Jenufa in Berlin, Barcelona and, most recently, at the English National Opera for which she won the 2007 Laurence Olivier Award for Outstanding Achievement in Opera.
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Music of the Mississippi Carlos Miguel Prieto, Conductor Ariana Kim, Violin Jane Redding, Soprano Mikko, Mark Twain
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Performer Biographies
TOSCA Performer Biographies Making both her San Francisco Opera and role debuts as Tosca, soprano Carmen Giannattasio first received international notice after a first-place win at the 2002 Operalia competition in Paris, followed in 2007 by a tour-de-force performance as Violetta in Scottish Opera’s production of La Traviata. As equally comfortable in bel canto as she is in Verdi and Puccini, she has distinguished herself in the title role of Norma at Munich’s Bavarian State Opera, Violetta at the Metropolitan Opera, Mimì in La Bohème at the Deutsche Oper Berlin, Alice Ford in Falstaff at Teatro alla Scala and Vienna State Opera, Leonora in Il Trovatore at Vienna State Opera, and Nedda in Pagliacci at Dresden’s Semperoper and the Royal Opera House, Covent Garden, among other roles. Upcoming engagements include Hélène in Les Vêpres Siciliennes at the Bavarian State Opera, Margherita in Mefistofele at the Bavarian State Opera and Chorégies d'Orange, and Amalia in I Masnadieri at the Opéra de Monte-Carlo. Tenor Brian Jagde (Mario Cavaradossi) made his San Francisco Opera debut in 2010 as Joe in La Fanciulla del West and most recently returned to the Company as Calaf in Turandot, Radames in Aida, Don José in Carmen, and Pinkerton in Madama Butterfly. Last season, Jagde made role debuts as Maurizio in Adriana Lecouvreur at the Royal Opera House, Covent Garden and Froh in Das Rheingold in his first appearance with the New York Philharmonic. He also performed as Pinkerton in a house debut at Washington National Opera, and he sang for the first time at Madrid’s Teatro Real as Macduff in Macbeth and at Oper Stuttgart as Cavaradossi.
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Front Matter
Cambridge University Press 978-1-108-48161-8 — Carmen Abroad Edited by Richard Langham Smith , Clair Rowden Frontmatter More Information Carmen Abroad From the ‘old world’ to the ‘new’ and back again, this transnational history of the performance and reception of Bizet’s Carmen – whose subject has become a modern myth and its heroine a symbol – provides new understanding of the opera’s enduring yet ever-evolving and resituated presence and popularity. This book examines three stages of cultural transfer: the opera’s establishment in the repertoire; its performance, translation, adaptation and appropriation in Europe, the Americas and Australia; and its cultural ‘work’ in Soviet Russia, in Japan in the era of Westernisation, in southern, regionalist France and in Carmen’s ‘homeland’, Spain. As the volume reveals the ways in which Bizet’s opera swiftly travelled the globe from its Parisian premiere, readers will understand how the story, the music, the staging and the singers appealed to audiences in diverse geographical, artistic and political contexts. richard langham smith is a Research Professor at the Royal College of Music, London. He edited Carmen for Edition Peters and his translation of the libretto can be found in the Overture Opera Guide. With Cambridge University Press, he is the author of the Cambridge Opera Handbook for Debussy’s Pelléas et Mélisande and the editor of Debussy Studies. In 1995 he was made Chevalier de l’ordre des arts et des lettres for services to French culture and music. clair rowden is a Reader in Musicology at Cardiﬀ University. Her work includes collaborating with Richard Langham Smith on Carmen (Edition Peters) and the recent curation of carmenabroad.org to accompany this book.
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Don Pasquale
DON PASQUALE Gaetano Donizetti PRODUCTIE / PRODUCTION Santa Fe Opera (2014), Gran Teatro del Liceu (Barcelona, 2015) PRESENTATIE / PRÉSENTATION De Munt / La Monnaie 9, 16 & 23* DECEMBER / DÉCEMBRE 2018 – 15:00 11*, 12, 13*, 14, 18*, 19 & 21 DECEMBER / DÉCEMBRE 2018 – 20:00 20* DECEMBER / DÉCEMBRE 2018 – 14:00 (BUILDING BRIDGES) DE MUNT / LA MONNAIE In coproductie met Shelter Prod en Prospero MM Productions, met de steun van de Taxshelter.be en ING, met de steun van de tax shelter van de Belgische federale overheid / En coproduction avec Shelter Prod et Prospero MM Productions, avec le soutien de taxshelter.be et ING, avec le soutien du tax shelter du gouvernement fédéral de Belgique DON PASQUALE Dramma buffo in tre atti Libretto di Giovanni Ruffini e Gaetano Donizetti, Ser Marcantonio tratto dal di Angelo Anelli Musica di Gaetano Donizetti Creatie / Création Théâtre-Italien, Salle Ventadour, Paris, 3.1.1843 ALAIN ALTINOGLU Muzikale leiding / Direction musicale LAURENT PELLY Regie en kostuums / Mise en scène et costumes CHANTAL THOMAS Decors / Décors DUANE SCHULER Belichting / Éclairages MARTINO FAGGIANI Koorleider / Chef des chœurs MICHELE PERTUSI / Don Pasquale PIETRO SPAGNOLI* LIONEL LHOTE / Dottor Malatesta RODION POGOSSOV* JOEL PRIETO / Ernesto ANICIO ZORZI GIUSTINIANI* DANIELLE DE NIESE / Norina ANNE-CATHERINE GILLET* ALESSANDRO ABIS Un Notaro SYMFONIEORKEST EN KOOR VAN DE MUNT / ORCHESTRE SYMPHONIQUE ET CHŒURS DE LA MONNAIE KOORACADEMIE VAN DE MUNT o.l.v. / ACADÉMIE DES CHŒURS DE LA MONNAIE s.l.d. de BENOÎT GIAUX Konzertmeister
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04-28-2018 Cendrillon Mat.Indd
JULES MASSENET cendrillon conductor Opera in four acts Bertrand de Billy Libretto by Henri Cain, based on production Laurent Pelly the fairy tale by Charles Perrault set designer Saturday, April 28, 2018 Barbara de Limburg 1:00–3:50 PM costume designer Laurent Pelly New Production lighting designer Duane Schuler choreographer The production of Cendrillon was Laura Scozzi made possible by a generous gift from The Sybil B. Harrington Endowment Fund Additional funding for this production was received from Elizabeth M. and Jean-Marie R. Eveillard Cendrillon is produced in association with the Royal Opera House, Covent Garden, London; general manager Peter Gelb Gran Teatre del Liceu, Barcelona; Théâtre Royal de la Monnaie, Brussels; and Opéra de Lille. music director designate Yannick Nézet-Séguin Original production by The Santa Fe Opera 2017–18 SEASON The 5th Metropolitan Opera performance of JULES MASSENET’S This performance cendrillon is being broadcast live over The Toll Brothers– Metropolitan Opera conductor International Radio Bertrand de Billy Network, sponsored by Toll Brothers, in order of vocal appearance America’s luxury ® homebuilder , with pandolfe the fairy godmother generous long-term Laurent Naouri Kathleen Kim support from The Annenberg madame de la haltière the master of ceremonies Foundation, The Stephanie Blythe* David Leigh** Neubauer Family Foundation, the noémie the dean of the faculty Vincent A. Stabile Ying Fang* Petr Nekoranec** Endowment for Broadcast Media, dorothée the prime minister and contributions Maya Lahyani Jeongcheol Cha from listeners worldwide. lucette, known as cendrillon prince charming Joyce DiDonato Alice Coote There is no Toll Brothers– spirits the king Metropolitan Lianne Coble-Dispensa Bradley Garvin Opera Quiz in Sara Heaton List Hall today.
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Manon Lescaut 8 from Novel to Opera 9 Act II: Bad Behavior 13
i The Taming of Manon and Mimì: Engaging with Women in Puccini’s Operas Emily Siar Senior Honors Thesis Music Department University of North Carolina at Chapel Hill Fall 2014 Approved: ii Table of Contents Preface iii Chapter 1: Introduction 1 Social and Political Climate 3 Gender Onstage 5 An “Effeminate” National Composer? 6 Chapter 2: Manon Lescaut 8 From Novel to Opera 9 Act II: Bad Behavior 13 Chapter 3: La Lupa 18 The Taming of the She-Wolf 20 Chapter 4: La Bohème 24 Mimi’s Transformation 25 “Good Girl” and “Bad Girl” Music 28 Vocal Oppositions 35 The Courtyard Act 36 The Domestication of Musetta 37 Chapter 5: Last Words 40 A Verdian Precedent 40 Non voglio morir! Manon’s Death 42 Silenzio: Mimì’s Death 46 iii Preface I began research on this thesis in the late fall of 2013 under the guidance of Tim Carter. The product that has resulted analyzes the female characters in two operas by Puccini, Manon Lescaut and La Bohème, and one interim project, La Lupa, which was never completed. For this thesis, I have drawn the Italian libretto texts from the website “Libretti d’opera italiani” (http://www.librettidopera.it/), and the English translation of these librettos from Dmitry Murashev’s website (http://www.murashev.com/opera/). The one exception is Musetta’s aria, which was translated by Aaron Green (http://classicalmusic.about.com/od/classicalmusictips/qt/quando-Men-Vo-Lyrics-And-Text- Translation.htm). Although the translations are drawn from Murashev and Green, I have modified some of them to ensure that they are accurate and literal translations of the Italian text.
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The Taming of Manon and Mimì
i The Taming of Manon and Mimì: Engaging with Women in Puccini’s Operas Emily Siar Senior Honors Thesis Music Department University of North Carolina at Chapel Hill Fall 2014 Approved: Tim Carter, Thesis Advisor Annegret Fauser, Reader Jeanne Fischer, Reader ii Table of Contents Preface iii Chapter 1: Introduction 1 Social and Political Climate 3 Gender Onstage 5 An “Effeminate” National Composer? 6 Chapter 2: Manon Lescaut 8 From Novel to Opera 9 Act II: Bad Behavior 13 Chapter 3: La Lupa 18 The Taming of the She-Wolf 20 Chapter 4: La Bohème 24 Mimi’s Transformation 25 “Good Girl” and “Bad Girl” Music 28 Vocal Oppositions 35 The Courtyard Act 36 The Domestication of Musetta 37 Chapter 5: Last Words 40 A Verdian Precedent 40 Non voglio morir! Manon’s Death 42 Silenzio: Mimì’s Death 46 iii Preface I began research on this thesis in the late fall of 2013 under the guidance of Tim Carter. The product that has resulted analyzes the female characters in two operas by Puccini, Manon Lescaut and La Bohème, and one interim project, La Lupa, which was never completed. For this thesis, I have drawn the Italian libretto texts from the website “Libretti d’opera italiani” (http://www.librettidopera.it/), and the English translation of these librettos from Dmitry Murashev’s website (http://www.murashev.com/opera/). The one exception is Musetta’s aria, which was translated by Aaron Green (http://classicalmusic.about.com/od/classicalmusictips/qt/quando-Men-Vo-Lyrics-And-Text- Translation.htm). Although the translations are drawn from Murashev and Green, I have modified some of them to ensure that they are accurate and literal translations of the Italian text.
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