Tamara Wilson

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Il soprano statunitense Tamara Wilson, vincitrice nel 2016 del prestigioso Richard Tucker Award e della nomination agli Olivier Award, si sta affermando internazionalmente come punto di riferimento per le interpretazioni delle opere di Verdi, Strauss e Wagner. La sua nutrita lista di eroine verdiane comprende Amelia in Un ballo in maschera (Washington, Houston, Miami, Minorca, Deutsche Oper Berlin), Elvira in Ernani (Tolosa), Lucrezia ne I due Foscari (Tolosa, Santiago, Amsterdam), Leonora ne Il trovatore (Barcellona, Houston, Tolosa, Palma di Maiorca e Chicago), Elisabeth (Houston) ed Elisabetta (München e Zurigo con Fabio Luisi, Francoforte) in entrambe le versioni di Don Carlo, Desdemona in Otello (Cincinnati, Toronto), Alice in Falstaff (Washington), Amelia in Simon Boccanegra (Toronto), Leonora ne La forza del destino (ENO, interpretazione per la quale è stata nominata per l'Olivier Award), la protagonista in Aida (come debutto al MET e anche a Washington, Arena di Verona, Opera Australia, Siviglia e Santiago del Cile), Marchesa del Poggio in Un giorno di regno e Gulnara ne Il corsaro (Washington). Ha anche riscosso unanimi consensi come Elettra in Idomeneo (Toronto, Ravinia Festival), Donna Anna in Don Giovanni (Chicago, Milwaukee) e come protagonista di Norma al Gran Teatre del Liceu di Barcellona Tamara Wilson Soprano Parallelamente si è distinta anche nel repertorio tedesco come Ada in Die Feen (all'Opera di Francoforte, il suo debutto in Germania), Sieglinde (Amsterdam con Valery Gergiev) e Brünnhilde (Londra con Mark Wiggleworth) nel terzo atto di Die Walküre, la protagonista in Ariadne auf Naxos (Scala, Cleveland), Chrysothemis in Elektra (Zurigo, Houston), Kaiserin in Die Frau ohne Schatten (Francoforte con la registrazione per Oehms Classics). E' stata anche Rosalinde in Die Fledermaus nella produzione inaugurale del nuovo Teatro di Kyoto diretta da Seiji Ozawa. Attiva anche in campo concertistico si è esibita con la Cleveland Orchestra e con quella del Concertgebouw nella IX Sinfonia di Beethoven, con la National Symphony Orchestra nella II Sinfonia "Lobgesang" di Mendelssohn a Washington, ai BBC Proms con la VIII Sinfonia "Dei Mille" di Mahler e con il Requiem di Verdi registrato per la diffusione commerciale, con l'orchestra della Scala nel Te Deum di Bruckner e con la New York Philharmonic nella III Sinfonia "Kaddish" di Bernstein durante la celebrazione del Centenario del compositore. Tra i suoi impegni recenti e futuri i debutti come Odabella in Attila a Chicago, come protagonista in Turandot a Toronto e come Isotta ad Atalanta ed alla Santa Fe Opera dove si esibirà per la prima volta, sarà ancora Aida a Houston e Toronto e interpreterà la IX Sinfonia di Beethoven ad Amsterdam con la Royal Concertgebouw Orchestra diretta da Franz Welser-Möst, al Festival di Tanglewood con Christoph von Dohnanyi ed a Tokyo nella tournée del Teatro alla Scala con Riccardo Chailly. Gennaio 2020 .

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Coa-Program-For-Web.Pdf
HOUSTON GRAND OPERA AND SID MOORHEAD, CHAIRMAN WELCOME YOU TO THE TAMARA WILSON, LIVESTREAM HOST E. LOREN MEEKER, GUEST JUDGE FRIDAY, FEBRUARY 5, 2021 AT 7 P.M. BROADCAST LIVE FROM THE WORTHAM THEATER CENTER TEXT TO VOTE TEXT TO GIVE Text to vote for the Audience Choice Award. On page Support these remarkable artists who represent 9, you will see a number associated with each finalist. the future of opera. Text the number listed next to the finalist’s name to 713-538-2304 and your vote will be recorded. One Text HGO to 61094 to invest in the next generation vote per phone number will be registered. of soul-stirring inspiration on our stage! 2 WELCOME TO CONCERT OF ARIAS 2021 SID MOORHEAD Chairman A multi-generation Texan, Sid Moorhead is the owner of in HGO’s Overture group and Laureate Society, and he serves Moorhead’s Blueberry Farm, the first commercial blueberry on the company’s Special Events committee. farm in Texas. The farm, which has been in the Moorhead family for three generations, sits on 28 acres in Conroe and Sid was a computer analyst before taking over the family boasts over 9,000 blueberry plants. It is open seasonally, from business and embracing the art of berry farming. He loves to the end of May through mid-July, when people from far and travel—especially to Europe—and has joined the HGO Patrons wide (including many fellow opera-lovers and HGO staffers) visit on trips to Italy and Vienna. to pick berries. “It’s wonderful.
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Grand Finals Concert
NATIONAL COUNCIL AUDITIONS grand finals concert conductor Metropolitan Opera Carlo Rizzi National Council Auditions host Grand Finals Concert Anthony Roth Costanzo Sunday, March 31, 2019 3:00 PM guest artist Christian Van Horn Metropolitan Opera Orchestra The Metropolitan Opera National Council is grateful to the Charles H. Dyson Endowment Fund for underwriting the Council’s Auditions Program. general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2018–19 SEASON NATIONAL COUNCIL AUDITIONS grand finals concert conductor Carlo Rizzi host Anthony Roth Costanzo guest artist Christian Van Horn “Dich, teure Halle” from Tannhäuser (Wagner) Meghan Kasanders, Soprano “Fra poco a me ricovero … Tu che a Dio spiegasti l’ali” from Lucia di Lammermoor (Donizetti) Dashuai Chen, Tenor “Oh! quante volte, oh! quante” from I Capuleti e i Montecchi (Bellini) Elena Villalón, Soprano “Kuda, kuda, kuda vy udalilis” (Lenski’s Aria) from Today’s concert is Eugene Onegin (Tchaikovsky) being recorded for Miles Mykkanen, Tenor future broadcast “Addio, addio, o miei sospiri” from Orfeo ed Euridice (Gluck) over many public Michaela Wolz, Mezzo-Soprano radio stations. Please check “Seul sur la terre” from Dom Sébastien (Donizetti) local listings. Piotr Buszewski, Tenor Sunday, March 31, 2019, 3:00PM “Captain Ahab? I must speak with you” from Moby Dick (Jake Heggie) Thomas Glass, Baritone “Don Ottavio, son morta! ... Or sai chi l’onore” from Don Giovanni (Mozart) Alaysha Fox, Soprano “Sorge infausta una procella” from Orlando (Handel)
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Summer 2019 NEWSLETTER : BULLETIN Été 2018
Société d' Opéra National Capital de la Capitale Nationale Opera Society Summer 2019 NEWSLETTER : BULLETIN Été 2018 A Feast of Ottawa Singers! by Shelagh Williams The Canadian Opera Company(COC)’s final two of- butter wouldn’t melt in his mouth, but when he was ferings of the season, Verdi’s Otello and Puccini’s La alone his voice and manner revealed his true nature, as Bohème were a testament to Ottawa singers, the in his Credo. His eyes had a red, devilish gleam and NCOS, and the Brian Law Opera Competition twice he dropped a lit match to dramatically light a (BLOC)! fire on stage! The staging of the oath of vengeance To begin, we saw the last night of Otello, star- between Iago and Otello at the end of Act II, with the ring the NCOS patron, baritone Gerald Finley, as knife to cut and blood to smear, was very powerful. Iago, originally Verdi’s title character! The produc- At the end, with Desdemona and Otello both dead, tion was created by English National Opera as a Iago just sat there with a big satanic smile on his face, co-production with Royal Swedish Opera and Teatro like the devil incarnate. It was fascinating to watch Real Madrid, and so came with director David Alden. Gerald Finley, without overacting, seem so easily to He gave us a fairly straightforward production, with orchestrate the downfall of first Cassio, then Otello, only a few quirky, head scratching aspects to distract and finally Desdemona, all the while appearing to be one from the opera itself and its marvellous music.
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Tamara Wilson
Saverio Clemente Andrea De Amici Luca Targetti Autentica voce di soprano drammatico d’agilità, Tamara Wilson si è formata al Houston Grand Opera Studio e si è poi qualificata in numerosi Concorsi internazionali risultando finalista nel 2004 alle Metropolitan Opera National Council Auditions e vincendo importanti premi quali il primo premio all’Eleanor McCollum Competition for Young Singers a Houston, il George London Award a New York e la 48ª edizione del Concorso Francisco Viñas a Barcellona. Ha debuttato con la Baltimore Symphony Orchestra in Giovanna D’Arco al rogo di Honegger e ben presto la sua carriera si è arricchita di appuntamenti e teatri importanti, con un repertorio che cominciava ad esplorare i ruoli verdiani: eccola quindi interpretare Amelia in Un ballo in maschera, Leonora ne Il Trovatore, Elisabetta in Don Carlo alla Houston Grand Opera, Amelia Grimaldi in Simon Boccanegra alla Canadian Opera Company, la protagonista in Aida all'Opera Australia e Alice in Falstaff alla Washington Opera. Parallelamente il percorso artistico si è allargato all’Europa e ad altri autori: a Francoforte Tamara Wilson è stata interprete di Die Feen di Richard Wagner e lo sarà del ruolo della Kaiserin in Die Frau ohne Schatten e di Helena in Die Aegyptsiche Helena, alla Maestranza di Siviglia è stata protagonista di Aida e alla Canadian Opera Company Elettra in Idomeneo Tamara Wilson Soprano Un repertorio, il suo, che spazia dal Settecento di Mozart in Die Entführung aus dem Serail (Konstanze, a Houston), al Novecento di Britten (Lady Billows in Albert Herring a Toulouse e Miss Jessel in The Turn of the Screw a Los Angeles).
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Houston Grand Opera's 2017–18 Season Features Long-Awaited Return of Strauss's Elektra
Season Update: Houston Grand Opera’s 2017–18 Season Features Long-Awaited Return of Strauss’s Elektra and Bellini’s Norma, World Premiere of Ricky Ian Gordon/Royce Vavrek’s The House without a Christmas Tree, First Major American Opera House Presentation of Bernstein’sWest Side Story Company’s six-year multidisciplinary Seeking the Human Spirit initiative begins with opening production of La traviata Updated July 2017. Please discard previous 2017–18 season information. Houston, July 28, 2017— Houston Grand Opera expands its commitment to broadening the audience for opera with a 2017–18 season that includes the first presentations of Leonard Bernstein’s classic musical West Side Story by a major American opera house and the world premiere of composer Ricky Ian Gordon and librettist Royce Vavrek’s holiday opera The House without a Christmas Tree. HGO will present its first performances in a quarter century of two iconic works: Richard Strauss’s revenge-filled Elektra with virtuoso soprano Christine Goerke in the tempestuous title role and 2016 Richard Tucker Award–winner and HGO Studio alumna Tamara Wilson in her role debut as Chrysothemis, under the baton of HGO Artistic and Music Director Patrick Summers; and Bellini’s grand-scale tragedy Norma showcasing the role debut of stellar dramatic soprano Liudmyla Monastyrska in the notoriously difficult title role, with 2015 Tucker winner and HGO Studio alumna Jamie Barton as Adalgisa. The company will revive its production of Handel’s Julius Caesar set in 1930s Hollywood, featuring the role debuts of star countertenor Anthony Roth Costanzo (HGO’s 2017–18 Lynn Wyatt Great Artist) and Houston favorite and HGO Studio alumna soprano Heidi Stober as Caesar and Cleopatra, respectively, also conducted by Maestro Summers; and Rossini’s ever-popular comedy, The Barber of Seville, with a cast that includes the eagerly anticipated return of HGO Studio alumnus Eric Owens, Musical America’s 2017 Vocalist of the Year, as Don Basilio.
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Summer of Love, Season of Stars”
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Studio Buddies Newsletter
Studio Buddies Newsletter Published tri-annually by the Houston Grand Opera Guild December 2009 Contents Welcome Summer/Fall 2009 1 The Houston Grand Opera Studio (HGOS) has continued its tradition of excellence and innovation as the 2009/10 season has begun. We welcomed seven new artists hailing from as far Studio Alumni News 2 a w a y as Washington state to as near as Humble! We have been fortunate to see these talented Congratulations 3 young artists perform on the main stage at the Wortham as well as in th e Recitals at Rienzi series and Opera Night Live, in addition to the amazing Studio Showcase performance. Read on! Profile 4 Summer/Fall 2009 in Review For 2009/10 season, the Houston Fall 2009 Stephen Hopkins also served as Grand Opera Studio welcomed coach for Elixir and played in the Kiri Dyan Deonarine, soprano, Fall 2009 began with the Buddies orchestra and will be coaching Rachel Willis-Sørensen, soprano, Welcome Lunch on August 31st for The Turn of the Screw and for the Studio Artists at Wortham Catherine Martin, mezzo- Xerxes this season. soprano, Nathaniel Peake, tenor, Center. The Studio Buddies Brendan Tuohy, tenor, Michael program provided lunch for the Following L’elisir d’amore w a s BUDDIES WELCOME Sumuel, baritone, and Stephanie Studio Artists as a way to Maestro Patrick Summers’ LUNCH▼ Rhodes, pianist/ coach and welcome them to their new triumphant production of positions with the Houston Grand Lohengrin in which we welcomed back second-year a r ti s ts Octavio Moreno, baritone, Opera. welcomed back Studio alumni Richard Paul Fink (HGOS ’84-’87) Adam Cioffari, bass-b a r i to n e , The official Studio Welcome Party David Hanlon, pianist/coach, as Frederick of Telramund and was held on September 12th at Ryan McKinny (HGOS ’05-’08) as and Stephen Hopkins, pianist/ the home of Sue Patrick.
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2017–18 Season Week 19 Tchaikovsky Bernstein
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Thrilling Music, Powerhouse International Casts, Company
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The 2018 Guide Festivals
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Canadian Opera Foundation Directors
THE NIGHTINGALE AND OTHER SHORT FABLES ANNA BOLENA PROGRAM SPRING 2018 #COCNightingale #COCBolena CONTENTS KEEP THE 5 A MESSAGE FROM ALEXANDER NEEF CONVERSATION 6 WHAT’S PLAYING: GOING! THE NIGHTINGALE AND OTHER SHORT FABLES Join us online to keep up with all the latest news from your opera company! 16 THE NIGHTINGALE: THE MECHANICS OF MAGIC 18 WHAT’S PLAYING: @canadianoperacompany Great opera ANNA BOLENA @freeconcertseries 28 ANNA BOLENA: THE SOPRANOS @canadianopera 30 GET TO KNOW @canadianopera_events lives here. @alexanderneefcoc ALLYSON McHARDY @johannesdebuscoc 32 BACKSTAGE AND BEYOND @canadianopera 34 DISCOVER OUR @alexanderncoc 2018/2019 SEASON 40 PAYING IT FORWARD: SHEILA PIERCEY /canadianopera 52 MANY THANKS TO OUR SUPPORTERS You can also sign up for our digital newsletter at coc.ca/eOpera to receive information on all programming, PATRON INFORMATION 62 special offers and much more! AND POLICIES Front cover: puppets from The Nightingale emerge from storage for this spring’s production. COC Program is published three times a year by the Canadian Opera Company. All rights reserved. Reproduction in whole or in part without written GO SCENT FREE. consent is prohibited. Contents copyright Canadian We’re proud to be the In consideration of patrons Opera Company. with allergies, please avoid Program edited by Kristin McKinnon, Publicist and Canadian Opera Company’s using perfumed beauty Content Producer, and Gianna Wichelow, Senior products and fragrances. Manager, Creative and Publications. Layout by Gianna Wichelow. All information is correct at time of 2017/2018 Season Sponsor. printing. Photo credits are on page 61. CANADIAN OPERA COMPANY 2017/2018 3 17-1801 Canadian Opera Company Program Ad_Ev1.indd 1 2017-09-01 9:47 AM #OPERANATION A MESSAGE FROM GENERAL DIRECTOR ALEXANDER NEEF One of the most compelling things about opera is how truly vast and wide-ranging the art form is.
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