Copyright 2010, Michigan Opera Theatre

Total Page:16

File Type:pdf, Size:1020Kb

Copyright 2010, Michigan Opera Theatre Copyright 2010, Michigan Opera Theatre \\She inspired me to feel beautiful, I felt very comforta ble, Linda makes you feel so good, Her selection is the best, You know what? You buy these pieces and end up keeping them forever," - Elle Elder BIRMINGHAM LINDA DRESNER NEW YORK You never forget your fi rst time, 299 W Maple Road Bi rmingham, MI 248,642,4999 · 484 Park Avenue New York, NY 212,308,3177 Copyright 2010, Michigan Opera Theatre B~VO CONTENTS Spring 2008 The Official Magazine W ELCOME of the Detroit Opera House Letter from David DiChiera ....... .... ... ........... ...... .... ........ ........ ... 4 BRAVO is a Michigan Opera Theatre publication. Rebekah Johnson, Editor ON STAGE Mitch Carter, Contributing Editor Peter Pan .................. .. .... .... .... ... ....................... ............. ... .. .. ..... .... 6 Contributors History of the Grand Rapids Ballet Company .......... .... .... ... ... .. 10 Mitch Carter David DiChiera The Joffrey Ballet: Giselle .. .... ... ..... ... .. .. .... .. .. .... .... ........ ..... ... ... 12 Karen V DiChiera Rebekah Johnson Stephen Lusmann La Sonnambula ... .... ........ .... .... .... .... ... .. .. ... .. .... ..... .... ....... .. .. .... ... 16 F EATURE STORY: Publisher Echo Publications, Inc. Renata Scotto Awakens La Sonnambula from its Slumber ..... .... 18 Royal Oak, Michigan www.echopublications.com La Rondine .... ... .... .... .. ... .. .. ....... ..... .. ..... .... .. .. ..... .... ... .... .... .... ... .. .20 Tom Putters, president FEATURE STORY: Toby Faber, Advertising Sales Director Lotfi Loves Opera T-H-I-S Much ..... ... ............ .............. .. .... ..... .22 Physicians' services provided by Henry Ford Medical Center. La Traviata .... ....... .. ...... .. ... .. ..... ... ... .. .. ... ... .... ... .. ...... ... .. .. .. .. .... ... .. 24 Pepsi-Cola is the official soft drink FEATURE STORY: and juice provider of the Traviata Brings Teacher and Students Together ........................ 26 Detroit Opera House. Cadillac Coffee is the official coffee MICHIGAN OPERA THEATRE of the Detroit Opera House. Artist Profiles ............... .... ...... ............ .... ............... ... .. ... ........ ... ... ... 28 Steinway is the official piano of the Chorus and Orchestra ................... .. .. ... ....... .... .......... .................... 41 Detroit Opera House and Michigan Opera Theatre. Steinway pianos are Education at the Detroit Opera House: Community provided by Hammell Music, Programs and Learning at the Opera House, Dance Education, exclusive representative for Steinway and the Michigan Opera Theatre Children's Chorus ......... .... ...... ... 36 and Sons in Michigan. Family Album .. ................ .............. ..... ........ .. ............. ..... ...... .. ......44 President Tuxedo is the official provider of formalwear for the Detroit Opera House. Board of Directors and Trustees ........... ... .... ............ ............. .... .... ..42 Administration and Staff .................. ............ ... ...... ........ < ..... .• . .. 43 Michigan Opera Theatre is a nonprofit cultural organization, whose activities are supported in part by the Michigan CONTRIBUTORS Council for Arts and Cultural Affairs, Increasing Regional Philanthropy Program Update .... ..... ............. ..48 the National Endowment for the Arts, and other individuals, corporations Avanti Society .... ... ........ ....... .. .......... ............... ... ... ... ... .. .. .. .. .. .... .... 50 and foundations. Michigan Opera Campaign to Restore the Detroit Opera House ..... ................... ...... 51 Theatre is an Equal Opportunity Michigan Opera Theatre Contributors ....... .... ..................... .. ......... 53 Employer. Volunteer Information ...... .. .. ... .... ...... .. .. .. .. .... .... .......... ...... .... .... .... 58 General Information .......... ...... .... ... ...... ....... .. ..... .... ... ....... ..... .. .... .. 62 NATIONAL ENDOWMENT FOR THE ARTS Detroit Opera House Copyright 2010,www.MichiganOp Michiganera .oOperarg Theatre BRAVO 3 Welcome to the 2008 Spring season of Opera and Dance! our 37th season of opera continues Our 12 th season o f p.;,t his spring, I am pleased to present d ance closes in March hree operas that span nearly a century with performances by two of Italian opera. We open with La Sonnambula , different but equ ally one of the great bel canto operas b y the en ch anting dance greatest of all bel canto composers, Vincenzo companies. March 1, Bellini, who also composed Norma. This great 2008, marks the return of masterpiece is a first for MOT and could very the Grand Rapids Ballet well be the first time it has been performed in Company, who made their Michigan. Opera star and household name in debut at the Detroit Opera the opera world -Renata Scotto - makes her House last season . This Mi chigan Opera Theatre debut directing the year, they return to bring production. Returning after a 19-year absence, us a charming production Australian conductor Richard Bonynge, one of of Peter Pan. The Grand the world's foremost authorities on bel ca nto Rapids Ballet Company is opera, directs the Michigan Opera Theatre Michigan's premiere dance orchestra. The cast of La Sonnambula features a troupe, a nd we are MOT debut by one of opera's new shining delighted to be close stars, Ekaterina Siurina in the role of Amina, "neighbors" with such a alternating in the role with Eglise Gutierrez youthful and energetic company. wh o made her acclaimed MOT debut last The Joffrey Ballet, which for the past few season as liu in Turandot. yea rs has performed The Nutcracker annuall y at Our second opera of the season, La Rondine, the Detroit Opera House, returns in March to returns to the Michigan Opera Theatre stage perform Gis ell e, regarded as one of the first for the first time since 1972, following a 36- masterpieces of traditional romantic ballet. A year absence. Puccini's tragic masterpiece will favorite among dance aficionados and novices be staged by world-renowned director and alike, ballet's most famous ghost story about opera impresario Lotfi Mansouri, who returns love and redemption from the world beyond to Michigan Opera Theatre for the first time will be sure to enchant yo u. since Anna Eolena in 1984. La Rondine also Of course, we are most grateful for the includes a U.S. opera premiere by Tiziana generous support of our sponsors that make Caruso, who will be alternating in the title role each season possible. I feel an excepti onal of Magda with MOT veter an Pamela gratitude for our corporate partners, as we ll as Armstrong. the foundations and individual donors who One of the world's most popular operas, and have graCiously extended their support so that a standard of the Michigan Opera Thea tre we may enrich lives with opera and dance. I repertoire, La Tra viata closes out our spring would like to offer my heartfelt thanks to our 2008 season. A h eart-wren ching story of 2008 spring opera season sponso r, Cadillac, forbidden love, La Traviata sees the return of and our 2007-08 dance season sponso r, the two artists who m ade their debut in last Chrysler Foundation, whose support for the season's Romeo and Juliet - Dina Kuznetsova past eleven years h as been critical to our and Arturo Chacon-Cruz return to the success. Michigan Opera Theatre stage as Violetta and Thank yo u for joining us for this most Alfredo. exciting 2008 spring season of opera and dance Enjoy the showl UD~ 4 BRAVO Copyright 2010,www.M MichiganichiganOpera.org Opera Theatre Detroit Opera House PRIVATE CLIENT GROUP The Pri vate Client Group is proud to announce that wi th every $1 mi llion ne w investment management or trust account you open, we wil l donate $5,000 to the Detroit Opera House in yo ur name. So , while we help clients preserve and grow their wea lth through sound financial guidance from our team of experts, we wi ll also help to ensure the arts rema in for future ge ne rations. To experience the Private Cl ient Group, ca ll Randi Bellner, Market Execu ti ve, at 248.729.8431. WEALTH PLANNING I PRIVATE BANKING I I NVESTMENTS I TRUST & ESTATE ADMINISTRATION National Cil¥ NationalCity.com/Wealth ©2007, National City Corporation® Copyright 2010, Michigan Opera Theatre Copyright 2010, Michigan Opera Theatre PETER PAN A M ESSAGE F ROM THE ARTISTIC D IRECTOR SYNOPSIS OF SCENES ACT! Welcome to Neverlandl Scene 1 Kensington Gardens For the next couple of hours do yourself a favor and don't Divertissement * j acques Iben grow up. I guarantee you the dancers won't. After more than 1. Introduction one hundred years this story still has the power to enchant Scene 2 Bedroom of the Darling Children young and old alike. Divertissement * j acques Ibert After reading the book I decided to take some of my favorite II. Conege moments and attempt to recreate the exuberant feeling of being III. Nocturne young and in control of your own life story, like Peter Pan IV Valse himself. One moment he's focused on killing pirates and the next he's on to a new adventure - as he says, "After Scene 3 Neverland Escales .. j acques Iben I kill them I forget them." II. Tunis I tried to reflect this easily distracted thought process through the musical arrangement of the score. I made a rule - Scene 4 Lost Boys' Camp whatever I felt would fit a scene musically Overture: William Tell Gioacchino Rossini I would do and not worry whether it went along with the rest La Giaconda: Dance of the Hours Amilcare Ponchielli of the score. We may go from a divertissement by j acques Ibert
Recommended publications
  • UNITEL PROUDLY REPRESENTS the INTERNATIONAL TV DISTRIBUTION of Browse Through the Complete Unitel Catalogue of More Than 2,000 Titles At
    UNITEL PROUDLY REPRESENTS THE INTERNATIONAL TV DISTRIBUTION OF Browse through the complete Unitel catalogue of more than 2,000 titles at www.unitel.de Date: March 2018 FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager [email protected] & Marketing [email protected] [email protected] Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director [email protected] [email protected] CONTENT BRITTEN: GLORIANA Susan Bullock/Toby Spence/Kate Royal/Peter Coleman-Wright Conducted by: Paul Daniel OPERAS 3 Staged by: Richard Jones BALLETS 8 Cat. No. A02050015 | Length: 164' | Year: 2016 DONIZETTI: LA FILLE DU RÉGIMENT Natalie Dessay/Juan Diego Flórez/Felicity Palmer Conducted by: Bruno Campanella Staged by: Laurent Pelly Cat. No. A02050065 | Length: 131' | Year: 2016 OPERAS BELLINI: NORMA Sonya Yoncheva/Joseph Calleja/Sonia Ganassi/ Brindley Sherratt/La Fura dels Baus Conducted by: Antonio Pappano Staged by: Àlex Ollé Cat.
    [Show full text]
  • Schubert's Mature Operas: an Analytical Study
    Durham E-Theses Schubert's mature operas: an analytical study Bruce, Richard Douglas How to cite: Bruce, Richard Douglas (2003) Schubert's mature operas: an analytical study, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/4050/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk Schubert's Mature Operas: An Analytical Study Richard Douglas Bruce Submitted for the Degree of PhD October 2003 University of Durham Department of Music A copyright of this thesis rests with the author. No quotation from it should be published without his prior written consent and information derived from it should be acknowledged. The copyright of this thesis rests with the author. No quotation from it should be published without their prior written consent and information derived from it should be acknowledged. 2 3 JUN 2004 Richard Bruce - Schubert's Mature Operas: An Analytical Study Submitted for the degree of Ph.D (2003) (Abstract) This thesis examines four of Franz Schubert's complete operas: Die Zwillingsbruder D.647, Alfonso und Estrella D.732, Die Verschworenen D.787, and Fierrabras D.796.
    [Show full text]
  • I Puritani the Puritans Page 1 of 2 Opera Assn
    San Francisco War Memorial 1977 I Puritani The Puritans Page 1 of 2 Opera Assn. Opera House I Puritani (in Italian) Opera in three acts by Vincenzo Bellini Libretto by Carlo Pepoli Conductor CAST Paolo Peloso Sir Bruno Roberton Robert Johnson Stage Director Sir Riccardo Forth Giorgio Zancanaro Tito Capobianco Elvira Beverly Sills Scenery designed by Enrichetta di Francia Carol Vaness Ming Cho Lee Sir Giorgio Walton Bonaldo Giaiotti Costumes designed by Lord Gualtiero Walton David Cale Johnson Peter J. Hall Lord Arturo Talbot Cesar-Antonio Suarez Miss Sills's costumes by Carl Toms *Role debut †U.S. opera debut Chorus Director PLACE AND TIME: Mid-seventeenth century in Plymouth, England Richard Bradshaw Lighting Designer Thomas J. Munn Prompter Louis Salemno Musical Preparation Ernest Fredric Knell Wednesday, November 2 1977, at 7:30 PM Act I, Scene 1 -- Terrace of Lord Walton's castle Saturday, November 5 1977, at 8:00 PM Scene 2 -- Sir Giorgio Walton's study Tuesday, November 8 1977, at 8:00 PM Scene 3 -- Terrace of Lord Walton's castle Friday, November 11 1977, at 8:00 PM INTERMISSION Sunday, November 20 1977, at 2:00 PM Act II, Scene 1 -- Main hall of the castle Wednesday, November 23 1977, at 7:30 PM Scene 2 -- Hall in the castle INTERMISSION Act III -- Terrace of Lord Walton's castle San Francisco War Memorial 1977 I Puritani The Puritans Page 2 of 2 Opera Assn. Opera House Sponsors: Notes: Production owned by the Metropolitan Opera Association Live broadcast -- November 11 SUPERNUMERARIES Dorothy Brown Madeline Chase Barbara Clifford
    [Show full text]
  • Samuel Ramey
    welcome to LOS i\Ilgeles upera http://www.losangelesopera.comlproduction/index.asp?... •• PURCHASE TICKETS • 2003/2004 SEASON LA AMNATION DE FAD T La damnation de Faust The damnation of Faust / Hector Berlioz Nicholas and In French with English Supertitles Ticket Information Alexandra Lucia di Samuel Ramey, Synopsis Lammermoor r-----------.., Program Notes Denyce Graves and Photo Gallery Orfeo ed Euridice Paul Groves star in a spectacular new Recital: production by Achim Ask an Expert Hei-Kyung Hong Forward to a Freyer with Kent Friend Recital: Cecilia Nagano conducting. Bartoli Generously Madama Europe's master Underwritten by: Butterfly theatre artist Achim Freyer matches his New production Die Frau ohne made possible by a Schatten painterly visual imagery with Hector generous gift from Mr. and Mrs. Recital: Dmitri Berlioz's vivid musical imagination in the premiere of Hvorostovsky Milan Panic this new production featuring a cast of more than Le nozze di 100 singers and dancers. The legend of Faust, which Figaro tells the story of the man who sold his soul to the II trovatol'"e Devil, has captivated great imaginations for centuries. Marlowe, Goethe, Gounod, Schumann, Liszt, Mahler and Stravinsky all found inspiration in SEASON G!J1]) the Faust tale, which continues to reverberate in SPONSOR Audt today's modern world. Originally conceived as an oratoriO, Hector Berlioz's dramatic La damnation de Faust is now a mainstay of opera houses around the world. Haunting melodies and startling orchestrations flood the score and illustrate the beWitching tale of Faust's desperate struggle for power, riches, youth and, ultimately, redemption. PRODUCTION DATES: Wednesday September 10, 20036:30 p.m.
    [Show full text]
  • 103 the Music Library of the Warsaw Theatre in The
    A. ŻÓRAWSKA-WITKOWSKA, MUSIC LIBRARY OF THE WARSAW..., ARMUD6 47/1-2 (2016) 103-116 103 THE MUSIC LIBRARY OF THE WARSAW THEATRE IN THE YEARS 1788 AND 1797: AN EXPRESSION OF THE MIGRATION OF EUROPEAN REPERTOIRE ALINA ŻÓRAWSKA-WITKOWSKA UDK / UDC: 78.089.62”17”WARSAW University of Warsaw, Institute of Musicology, Izvorni znanstveni rad / Research Paper ul. Krakowskie Przedmieście 32, Primljeno / Received: 31. 8. 2016. 00-325 WARSAW, Poland Prihvaćeno / Accepted: 29. 9. 2016. Abstract In the Polish–Lithuanian Common- number of works is impressive: it included 245 wealth’s fi rst public theatre, operating in War- staged Italian, French, German, and Polish saw during the reign of Stanislaus Augustus operas and a further 61 operas listed in the cata- Poniatowski, numerous stage works were logues, as well as 106 documented ballets and perform ed in the years 1765-1767 and 1774-1794: another 47 catalogued ones. Amongst operas, Italian, French, German, and Polish operas as Italian ones were most popular with 102 docu- well ballets, while public concerts, organised at mented and 20 archived titles (totalling 122 the Warsaw theatre from the mid-1770s, featured works), followed by Polish (including transla- dozens of instrumental works including sym- tions of foreign works) with 58 and 1 titles phonies, overtures, concertos, variations as well respectively; French with 44 and 34 (totalling 78 as vocal-instrumental works - oratorios, opera compositions), and German operas with 41 and arias and ensembles, cantatas, and so forth. The 6 works, respectively. author analyses the manuscript catalogues of those scores (sheet music did not survive) held Keywords: music library, Warsaw, 18th at the Archiwum Główne Akt Dawnych in War- century, Stanislaus Augustus Poniatowski, saw (Pl-Wagad), in the Archive of Prince Joseph musical repertoire, musical theatre, music mi- Poniatowski and Maria Teresa Tyszkiewicz- gration Poniatowska.
    [Show full text]
  • From Our Pastor
    From Our Pastor On graduating, I asked my father, ‘Shall I After a disconcerting year in 2020, I want to WITH MUCH GRATITUDE... be a teacher or a singer?’ ‘Luciano,’ my father Shirley Brannan would like to thank everyone for challenge our church to think outside the box. I want replied, ‘if you try to sit on two chairs, you will fall your encouraging words, phone calls, cards, prayers every person to consider and embrace the between them. For life, you must choose one and for your helping hands during the time of her possibilities of what God can do through them for His struggle with covid. She is feeling much better now chair.’ ‘I chose one. It took seven years of study glory in 2021. I encourage each of you to seek and as she continues her recovery. and frustration before I made my first professional understand the calling that God has placed on your appearance. It took another seven to reach the life. To better understand your giftedness and strive Metropolitan Opera. And now I think whether it's to serve the Lord in that area. One of my favorite Why is February 14 called laying bricks, writing a book--whatever we choose- quotes by Albert Schweitzer, “I don't know what your Valentine’s Day? - we should give ourselves to it. Commitment, destiny will be, but one thing I know: the only ones that's the key. Choose one chair.” Valentine’s Day began as Saint among you who will be really happy are those who Our challenge this year at First Methodist is Valentine’s Day or the Feast of Saint Valentine.
    [Show full text]
  • Finding Aid to the Historymakers ® Video Oral History with Arthur Mitchell
    Finding Aid to The HistoryMakers ® Video Oral History with Arthur Mitchell Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Mitchell, Arthur, 1934-2018 Title: The HistoryMakers® Video Oral History Interview with Arthur Mitchell, Dates: October 5, 2016 Bulk Dates: 2016 Physical 9 uncompressed MOV digital video files (4:21:20). Description: Abstract: Dancer, choreographer, and artistic director Arthur Mitchell (1934 - 2018 ) was a principal dancer for the New York City Ballet for fifteen years. In 1969, he co-founded the Dance Theatre of Harlem, the first African American classical ballet company and school. Mitchell was interviewed by The HistoryMakers® on October 5, 2016, in New York, New York. This collection is comprised of the original video footage of the interview. Identification: A2016_034 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Dancer, choreographer and artistic director Arthur Mitchell was born on March 27, 1934 in Harlem, New York to Arthur Mitchell, Sr. and Willie Hearns Mitchell. He attended the High School of Performing Arts in Manhattan. In addition to academics, Mitchell was a member of the New Dance Group, the Choreographers Workshop, Donald McKayle and Company, and High School of Performing Arts’ Repertory Dance Company. After graduating from high school in 1952, Mitchell received scholarships to attend the Dunham School and the School of American received scholarships to attend the Dunham School and the School of American Ballet. In 1954, Mitchell danced on Broadway in House of Flowers with Geoffrey Holder, Louis Johnson, Donald McKayle, Alvin Ailey and Pearl Bailey.
    [Show full text]
  • Giacomo Puccini, III Atto. Percorsi Della Maturità Teatro Alla Scala, Milano 17 Giugno 2007
    3 Teatro alla Scala, Milano Teatro domenica 17 giugno 2007, ore 20.00 giacomo III atto percorsi della maturità percorsi Puccini giacomo puccini giacomo percorsi della maturità Teatro alla Scala, Milano Teatro domenica 17 giugno 2007, ore 20.00 giacomo PucciniIII atto Percorsi della maturità Comitato Nazionale Celebrazioni Pucciniane 2004-2008 Sotto l’Alto Patronato del Presidente della Repubblica Presidente onorario – Senatore Marcello Pera Cavaliere del Lavoro Bruno Ermolli Presidente Comitato Nazionale Celebrazioni Pucciniane Enel - Gruppo Poste Italiane - Fondazione Banca del Monte di Lucca Giacomo Puccini, III atto. Percorsi della maturità Teatro alla Scala, Milano 17 giugno 2007 A cura di Michele Girardi Comitato Nazionale Celebrazioni Pucciniane - Commissione storico-scientifica Gabriella Biagi Ravenni, Virgilio Bernardoni, Luigi della Santa, Michele Girardi, Dieter Schickling Ricerca iconografica Simonetta Bigongiari Progetto grafico Marco Riccucci Stampa Italpaghe Toscana - Viareggio (Lucca) – giugno 2007 domenica 17 giugno 2007, ore 20.00 Teatro alla Scala, Milano Giacomo Puccini, III atto percorsi della maturità FILARMONICA DELLA SCALA CORO FILARMONICO DELLA SCALA soprano Isabelle Kabatu mezzosoprano Francesca Franci tenore Vincenzo La Scola baritono Franco Vassallo Alisa Zinovjeva Alessandro Paliaga Thiago Arancam Ernesto Panariello Giancarlo Boldrini Vassili Pavlenko Leonardo Cortellazzi Patrizio Saudelli Enrico Cossutta Sergio Spina Nino Machaidze Piero Terranova direttore RICCARDO CHAILLY maestro del Coro Bruno Casoni parte
    [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]
  • Boheme Cinema Cast Sheet January 2020 ENG ENCORE.Indd
    THE ROYAL OPERA Approximate timings MUSIC DIRECTOR SIR ANTONIO PAPPANO Introduction is approximately 15 minutes. DIRECTOR OF OPERA OLIVER MEARS Act I 35 minutes Act II 20 minutes Interval of 30 minutes Act III 25 minutes Act IV 30 minutes Curtain calls approximately 5 minutes There will be short pauses after Act I and after Act III, please remain seated. Tweet your thoughts about tonight’s performance before it starts, LA BOHÈME during the interval or afterwards with #ROHboheme OPERA IN FOUR ACTS MUSIC GIACOMO PUCCINI LIBRETTO GIUSEPPE GIACOSA AND LUIGI ILLICA AFTER HENRI MURGER’S NOVEL SCÈNES DE LA VIE DE BOHÈME CONDUCTOR EMMANUEL VILLAUME DIRECTOR RICHARD JONES 2019/20 Live Cinema Season REVIVAL DIRECTOR JULIA BURBACH DESIGNER STEWART LAING TUESDAY 25 FEBRUARY 2020 DANCES AT A GATHERING / THE CELLIST LIGHTING DESIGNER MIMI JORDAN SHERIN (ENCORE SUNDAY 1 MARCH 2020) MOVEMENT DIRECTOR SARAH FAHIE TUESDAY 17 MARCH 2020 FIDELIO REVIVAL MOVEMENT DIRECTOR DANIELLE URBAS (ENCORE SUNDAY 22 MARCH 2020) SWAN LAKE WEDNESDAY 1 APRIL 2020 ROYAL OPERA CHORUS (ENCORE SUNDAY 5 APRIL 2020) CHORUS DIRECTOR WILLIAM SPAULDING CAVALLERIA RUSTICANA/PAGLIACCI TUESDAY 21 APRIL 2020 ORCHESTRA OF THE ROYAL OPERA HOUSE (ENCORE SUNDAY 26 APRIL 2020) GUEST CONCERT MASTER ANDREW HAVERON THE DANTE PROJECT THURSDAY 28 MAY 2020 (ENCORE SUNDAY 31 MAY 2020) DIRECTED FOR THE SCREEN BY ELEKTRA THURSDAY 18 JUNE 2020 JONATHAN HASWELL (ENCORE SUNDAY 21 JUNE 2020) ORIGINALLY BROADCAST LIVE FROM THE ROYAL OPERA HOUSE roh.org.uk/cinema WEDNESDAY 29 JANUARY 2020 CO-PRODUCTION WITH TEATRO REAL, MADRID, AND LYRIC OPERA OF CHICAGO GENEROUS PHILANTHROPIC SUPPORT FROM THE ROYAL OPERA HOUSE ENDOWMENT FUND Synopsis Cast Act I An attic in the Latin Quarter of Paris, Christmas Eve MARCELLO ANDRZEJ FILOŃCZYK A PAINTER Rodolfo and Marcello complain about the bitter cold.
    [Show full text]
  • 825646166411.Pdf
    FRANCESCO CAVALLI L’AMORE INNAMORATO Nuria Rial soprano Hana Blažíková soprano L’ARPEGGIATA Christina Pluhar theorbo, baroque harp Doron David Sherwin cornetto Veronika Skuplik baroque violin Judith Steenbrink baroque violin Eero Palviainen archlute, baroque guitar Marcello Vitale baroque guitar Sarah Ridy baroque harp Margit Übellacker psaltery Elisabeth Seitz psaltery Lixsania Fernandes viola da gamba Rodney Prada viola da gamba Paulina van Laarhoven lirone Josetxu Obregon baroque cello Rüdiger Kurz violone Boris Schmidt double bass Haru Kitamika harpsichord, organ Francesco Turrisi harpsichord, organ David Mayoral percussion Christina Pluhar direction 1 L’Armonia (Prologo) 7:47 11 Affliggetemi, guai dolenti 2:23 L’Ormindo L’Artemisia 3 2 Sinfonia 2:31 12 Che città 3:34 Il Giasone L’Ormindo 3 Piante ombrose 3:07 Giovanni Girolamo Kapsperger La Calisto 13 Toccata prima 5:30 4 Restino imbalsamate 4:20 14 Alle ruine del mio regno 7:07 La Calisto La Didone 5 Vieni, vieni in questo seno 3:39 15 L’alma fiacca svanì 4:23 La Rosinda La Didone 6 Verginella io morir vo’ 3:54 Andrea Falconieri La Calisto 16 La suave melodia 3:30 7 Ninfa bella 3:37 66:52 La Calisto 8 Non è maggior piacere 4:38 La Calisto 9 Dammi morte 4:33 L’Artemisia 10 Sinfonia 2:18 Nuria Rial 3, 4, 6, 8, 12, 14, 15 L’Eliogabalo Hana Blažíková 1, 5, 7, 9, 11 4 Christina Pluhar L’Armonia (Prologo) Restino imbalsamate from L’Ormindo, 1644 from La Calisto, 1651 Libretto by Giovanni Faustini Libretto by Giovanni Faustini 5 Arr. Christina Pluhar Arr.
    [Show full text]
  • Finley Is Falstaff by Ute Davis Those of Us Who Know the Slim, Handsome, Modest Dic Movement and Timing That Set Her Apart
    é é é Soci t d' Op ra NATIONAL CAPITAL de la CAPITALE NATIONALE Opera Society Winter 2015 NEWSLETTER : BULLETIN Hiver 2015 Transformation!! Finley is Falstaff by Ute Davis Those of us who know the slim, handsome, modest dic movement and timing that set her apart. Her inter- Gerald Finley, simply stopped and gaped when he action with Sir John added vastly to my enjoyment. I un- appeared on the COC stage as the obese, overbear- derstand it even was her idea to give her coat, worn at the ing, pompous Sir John! The transformation was so Garter Inn encounter with Gerald Finley, the same lining complete and dramatic that it took the opening several material as was that of her dress. This would only be funny bars of music for me to realize that it really was Gerald to those of you who actually saw the COC production. Finley inside the masses of body padding and plastic Colin Ainsworth as Bardolfo and Robert face, neck and leg prostheses. Then he began to sing Gleadow as Pistola were appropriately disreputable and the Falstaff character truly came to life. in dress and behaviour, an excellent foil for Falstaff Indeed Finley’s Falstaff is, under the direc- whose dapper appearance whether in tweeds or hunt- tion of Robert Carsen, larger ing pink demonstrated the value than life, supremely funny and of a skilled tailor, no matter what superb entertainment. The your body shape.Lyne Fortin balance of comedy, some and Lauren Segal supplied the subtle and some obvious, with required charm and colour as moments of pathos was finely well as fine singing.
    [Show full text]