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Rockwell Blake GRAN TEATRE DEL LICEU Rockwell Blake GRAN TEATRE DEL LICEU Temporada 1992-93 CONSORCI DEL GRAN TEATRE DEL LICEU Generalitat de Catalunya Ajuntament de Barcelona Ministerio de Cultura Diputació de Barcelona Societat del Gran Teatre del Liceu Hay pocos instl1lmentos tan bien afinados como éste. Concert Rockwell Blake tenor Director d'orquestra David Robertson Director del cor Romano Gandolfi SIMFÒ ICA I COR es como La es suave. ORQUESTRA LEGEND El Honda Legend suspensión por un instrumento musical. Su eso el Legend se desplaza por el DEL GRAN TEATRE DEL LICEU motor es de una precisión sínçu- asfalto como las notas por el pen- lar. y sus 204 caballos responden tagrama. de inmediato a la menor presión La calidad de los acabados y sobre el acelerador. La nobleza de los materiales en el Legend es de las aleaciones con que está sólo comparable a la de un construido y la exactitud milimé- Stradivarius. trica de sus piezas. permiten que El Honda Legend es realmen­ el motor del Legend interprete te como un instrumento musical. verdadera música. Pero el mejor afinado de todos . [gJ. HONDA Dissabte, 14 de novembre, 21 h., funció núm. 30, torn e ® ® Rockwell Blake El tenor Rockwell va Blake néixer a Plattsburgh, Nova York, on realitzà els estudis musicals i on encara té el seu domicili. L'any 1978 fou el primer guanyador del prestigiós Premi Richard Tuc­ ker, però ja abans el famós baríton George London, aleshores director de l'Òpera de Washington, l'havia invitat a fer el debut operístic com a Lindoro de L'italiana in Algeri, en la inaugura­ ció de la temporada 1976 del Kennedy Center. Cinc anys després, el 1981, Rockwell Blake debutà al Metropolitan Opera House de Nova York, també amb L'italiana in Algeri al costat de Marilyn Horne. Després d'haver cantat a Washington, Baltimore, Omaha, Michi­ gan, Wolf Trap i altres ciutats, féu el debut esmentat al Metropo­ litan i, des d'aleshores, ha cantat als teatres més importants dels Estats Units i d'Europa, on és considerat com un dels millors te­ nors especialitzats en el « bel canto". Als E.U.A. ha actuat a la Chicago Lyric Opera (La Cenerentola i L'italiana in Algerù, Òpera de San Francisco (Anna Balena, al costat de Joan Sutherland), Houston (La Cenerentola, Il barbiere di Siviglia i La donna del lago amb Marilyn Horne), Metropoli­ tan de Nova York (L'italiana in Algeri, 1 Puritani amb Joan Su­ therland, Il barbiere di Siuiglia i Don Giovanni), New York City Opera (Le comte Ory, Don Giovanni, Anna Balena i La Cene­ rentola), Dallas (La Cenerentola amb Frederica von Stade, Il barbiere di Siviglia i Cost-jan tutte), Carnegie Hall de Nova York (Semele de Handel, La donna del lago i Il crociato in Egitto de Meyerbeer), Boston CI Puritani), Pittsburgh (Faust), Washington (Don. Pasquale), Nova Orleans (Lakmé), etc. També ha actuat en concerts amb la Simfònica de Chicago (Edipus Rex amb Claudia Abbado), Orquestra de Filadèlfia (Pulcinella), Simfònica de San Francisco, Nacional de Washington (El Mes­ i sies) altres orquestres. Al continent americà també ha actuat a Otawa (Lucia di Lammermoor, Il barbiere di Siviglia i La jille du régiment) i Montreal (Le comte Ory). L'any 1983, tot i que abans ja havia cantat Il barbiere di Siviglia ® ® a Viena i Lalemé a Graz, va irrompre en els escenaris europeus al Rockwell Blake debutà en aquest Gran Teatre del Liceu, amb Elvina Festival d'Ais de Provença i amb l'òpera de Mozart Mitridate, Re de La Sonnarnbula, la temporada 1986-1987 i tornà en el cicle 1989- di Ponto, títol que després va repetir a Viena, Zuric, Lió, Niça, 1990 com a Arturo de I Puritani. Estrasburg, etc. Des d'aleshores ha interpretat Robert le diable de Meyerbeer a l'Òpera de París, I Puritani a l'Opéra Comique de Rockwell Blake i Rossini París, L'italiana in Algerí a Florència, París, Hamburg i Gènova, Personatges d'òperes de Gioachino Rossini interpretats per La Cenerentola a Munie, Stuttgart i Schwetzingen, Mosè in Egitto Rockwell Blake i alguns dels teatres en els quals ho ha fet. a Lisboa, Pesaro i Roma, Il barbiere di Siviglia a Torí, Hamburg, Gènova i Serniramide a i La donna Viena, Mòdena, Niça Nàpols, Almaviva (Il barbiere di Siviglia): Metropolitan de Nova York, a París i Le comte Ermione i Otello de Rossini dellago Niça, OI]!, Houston, Dallas, Fort Worth, Otawa, Hamburg, Òpera de a La Sonnambula a Lisboa i Il Pirata a Iesi i Ca­ Pesaro, Càller, Viena, Milwaukee, Pittsburgh, Torí, Gènova, Mòdena, Òpera tània, Il Flaminio de Pergolesi a Nàpols, Wiesbaden i Dresden, de Roma. a La du ré­ Elisabetta regina d'Ingbilterra de Rossini Torí, fille Giacomo (La donna del lago): Carnegie Hall de Nova York, giment a Parma, Armida de Rossini a Ais de Provença, Zelrnire Houston, Niça, Châtelet de París, Bonn, La Scala de Milà. de Rossini a Roma i Carmina Burana al Festival de Salzburg, amb Idreno (Semiramide): Niça, San Carla de Nàpols. la direcció de Riccardo Muti. Ilo (Zelmira): Òpera de Roma. Després d'haver estat nomenat Doctor "honoris causa" per la Lindara (L'italiana in Algeri): Metropolitan de N ova York, Universitat de Nova York, "per la seva investigació i contribució Hamburg, Gènova, Kennedy Center de Washington, Lyric a l'art del cant", en la dècada dels noranta ha interpretat, entre Opera de Chicago, Comunale de Florència, Châtelet de París, altres, La fille du régiment i Cosîfan tutte a Santiago de Xile, Il Regia de Torí. crociata in Egitto a Montpelier, Don Giovanni a Bolonya, Er­ Norfolk (Elisabetta, regina d'Ingbilterra): Regia de Torí, San Carla mione a Roma, L'italiana in Algeri a Torí, Otello de Rossini a de Nàpols. de Roma. Chicago, Elisabetta regina d'Ingbilterra al San Carlo de Nàpols, Oreste (Ermione): Festival de Pesara, Òpera comte New York Festival de La Cenerentola a Parma i Bilbao, Il barbiere di Siuiglia a Roma i Ory (Le Ory): City Opera, Pesaro, Montreal. Gènova i La donna del lago a Bonn i a La Scala de Milà. Osiride (Mosè in Sao Carlos de Lisboa, Festival de Pesa­ Entre els seus enregistraments més recents hom pot destacar una Egitto): ro, de Roma. versió de Il barbiere di Siuiglia dirigida per Bruna Campanella i Òpera Ramiro (La Cenerentola): New York Houston, tres recitals amb àries de Rossini i Mozart. City Opera, Dallas, , Lyric Opera de Festival de Schwetzingen, Stuttgart, Cantant cult i molt preparat, estudia molt a fons no sols la músi­ Chicago, Munie, Niça, Regia de Parma, Albia de Bilbao, ca que interpreta, sinó també els diversos punts musicològics sobre Rinaldo (Armida): Festival d'Ais de Provença. aquesta música i les seves interpretacions històriques. Amb facultats Rodrigo (Otello): Festival de Pesara, Lyric Opera de Chicago. vocals molt especials, s'ha dit d'ell que té "una tècnica excitant, semblant a la de Marilyn Horne", "possiblement la veu masculina més àgil del món", -virtuosisme excepcional" a -facilitat del tot esbalaïdora quan canta les coloratures-. David Robertson Va néixer a Santa Mònica, Califòrnia. Realitzà estudis privats de trompa, viola, direcció i composició. Entrà a la Royal Academy of Music de Londres l'any 1976 i aconseguí premis de direcció, trompa i composició i la graduació l'any 1979. Participà en els cursos d'Hilversum i tot seguit perfeccionà els estudis de direc­ ció amb Kiril Kondrashin a Holanda i amb Rafael Kubelik a Lucerna. El 1980 és segon premi al Concurs MaIko i el 1984 semifinalista al Concurs Ansermet. L'any 1981 és assistent de Hiroshi Wakasugi a l'Òpera. de Düsseldorf i a de 1983 1986 de Janos Fürst a Dublín. De 1985 a 1987 és di­ rector resident a la Simfònica de Jerusalem. Ha dirigit també les orquestres de la Ràdio de Berlín, de la Ràdio de Colònia, Nacional de França, de Ràdio France, Filharmònica de Marsella, de la RAI de Torí, de Santa Cecília de Roma, de la RAI de Roma, de la Ràdio de Dinamarca, del Liceu de Barcelona,etc. Ha a dirigit òpera Suècia, Marsella, Avinyó, Bilbao, París, amb un repertori ampli i variat que inclou obres de Cimarosa, Mozart, Bellini, Rossini, Verdi, Puccini, Bizet, Tomasi, Ravel, etc. Dedica també bona part de la seva activitat a la música contem­ porània i ha tingut el suport d'una personalitat tan important com Olivier Messiaen. Recentment ha dirigit l'Ensemble InterContem­ porain, i també les orquestres de la RAI de Nàpols i Milà, Santa Cecília de Roma, Radio France, BBC Scottish, Simfònica de la BBC (Sisena de Mahler),Hallé Orquestra, Òpera de Montpeller i l'estrena d'una a òpera de Philippe Manoury París. Dirigí per primera ve­ gada en aquest Gran Teatre del Liceu la temporada 1990-91, en un concert amb Alessandra Marc i Dolora Zajick com a solistes. Romano Gandolfi Es diplomà en cornposició i piano, amb la màxima puntuació, al Conservatori A. Boito de Parma, la seva ciutat natal. Des de 1984 és Assessor Artístic i Director del Cor del Gran Teatre del Liceu. Ha treballat com a director de cor al Teatre Colón de Buenos Ai­ res (1968-1970), i a la Scala de Milà (1971-1983), col·laborant amb directors corn Von Karajan, Kleiber, Bernstein, Prêtre, Giulini, Abbado, Muti, etc. Ha participat en les gires de la Scala i ha col·laborat en enregis­ traments d'òperes verdianes dirigides per ClaudioAbbado (Aida, Requiem, Simon Boccanegra, Macbeth, Un bailo in rnascbera, Don Carlo) per a Deutsche Grammophon, i amb Riccardo Muti (Ernant) per al segell Decca. Des de 1970 alterna la direcció coral amb la direcció d'orquestra, activitat en la qual ha desenvolupat una àmplia activitat concertística i, operística en teatres com la Scala de Milà, Òpera de Roma, Co­ lón de Buenos Aires, San Carla de Nàpols, Zarzuela i Real de Madrid, Comunale de Bolonya, Verdi de Trieste, Margherita de Gènova, Regia de Parma, Municipal de Ria; a ciutats com París, Berlín, Praga,i als EUA, etc.
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