Amerio Chiara

Total Page：16

File Type：pdf, Size：1020Kb

Amerio Chiara Maria Chiara, Actress: Hannah and Her Sisters. Maria Chiara was born on November 24, 1939 in Oderzo, Veneto, Italy. She is an actress, known for Hannah and Her Sisters (1986), Aida (1981) and Aida (1985).Â Maria Chiara was born on November 24, 1939 in Oderzo, Veneto, Italy. She is an actress, known for Hannah and Her Sisters (1986), Aida (1981) and Aida (1985). See full bio Â». Amerio Chiara ) is an Italian professional rugby league footballer of the 1950s. He played at representative level for Italy, and at club level for Torino XIII, as a Second-row, or Loose forward/Lock, i.e. number 11 or 12, or, 13.Â For faster navigation, this Iframe is preloading the Wikiwand page for Amerio Chiara. Home. News. Share, rate and discuss pictures of Maria Chiara Giannetta's feet on wikiFeet - the most comprehensive celebrity feet database to ever have existed.Â People who liked Maria Chiara Giannetta's feet, also liked: Hilary Duff. Giorgia Palmas. Amerio Chiara (born circa-1924 (age 93â“94)) is an Italian professional rugby league footballer of the 1950s. He played at representative level for Italy, and at club level for Torino XIII, as a Second-row, or Loose forward/Lock, i.e. number 11 or 12, or, 13. Amerio Chiara. Personal information. Full name.Â Club career. Following the Italy (RL) tour of 1950 to France, England, and Wales, a Torino XIII featuring Amerio Chiara joined the French league. References. ^ "1950 Tour Match: Wigan 49 Italy 28". wigan.rlfans.com. We found one dictionary with English definitions that includes the word amerio chiara: Click on the first link on a line below to go directly to a page where "amerio chiara" is defined. General (1 matching dictionary). Amerio Chiara: Wikipedia, the Free Encyclopedia [home, info]. â–¸ Words similar to amerio chiara. â–¸ Words that often appear near amerio chiara. â–¸ Rhymes of amerio chiara. â–¸ Invented words related to amerio chiara. Search for amerio chiara on Google or Wikipedia. Pronunciation of Amerio Chiara. Submitted from: Italy. Pronunciation: Your browser does not support the audio element. Video: Full Screen YouTube. See what maria chiara (_maria_chiara_) found on We Heart It, your everyday app to get lost in what you love.Â maria chiara. Follow. 665 Hearts. 7 Collections. 3 Posts. 23 Following. 55 Followers. @_maria_chiara_. Advertisement. Maria Chiara (born 24 November 1939) is an Italian lyric soprano. She was born in Oderzo and studied at the Venice Conservatory and in Turin with bass Antonio Cassinelli and soprano Maria Carbone. She made her debut in Venice in 1965, as Desdemona in Otello. She frequently performed roles from the operas of Giacomo Puccini and Giuseppe Verdi, including Aida (a La Scala production directed by Luca Ronconi is available on DVD), Violetta ValÃ©ry in La traviata, and the title roles in Tosca and Madama Amerio Chiara is an Italian professional rugby league football player of the 1950s playing at representative level for Italy, and at club level for Torino XIII, as a second-row, or loose forward/lock, i.e. number 11 or 12, or, 13.Â Amerio Chiara. 1924 (age 94). International honours Club career Following the Italy (RL) tour of 1950 to France, England, and Wales, a Torino XIII featuring Amerio Chiara joined the French league. Back to Profile. Photos..

Copy Link

Recommended publications

Avant Première Catalogue 2018 Lists UNITEL’S New Productions of 2017 Plus New Additions to the Catalogue
CATALOGUE 2018 This Avant Première catalogue 2018 lists UNITEL’s new productions of 2017 plus new additions to the catalogue. For a complete list of more than 2.000 UNITEL productions and the Avant Première catalogues of 2015–2017 please visit www.unitel.de 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] CATALOGUE 2018 Unitel GmbH & Co. KG Gruenwalder Weg 28D 82041 Oberhaching/Munich, Germany CEO: Jan Mojto Editorial team: Franziska Pascher, Dr. Martina Kliem, Arthur Intelmann Layout: Manuel Messner/luebbeke.com All information is not contractual and subject to change without prior notice. All trademarks used herein are the property of their respective owners. Date of Print: February 2018 © UNITEL 2018 All rights reserved Front cover: Alicia Amatriain & Friedemann Vogel in John Cranko’s “Onegin” / Photo: Stuttgart Ballet ON THE OCCASION OF HIS 100TH BIRTHDAY UNITEL CELEBRATES LEONARD BERNSTEIN 1918 – 1990 Leonard Bernstein, a long-time exclusive artist of Unitel, was America’s ambassador to the world of music.
[Show full text]
Opera Aida Directed by Olivier Py and Noda Kabuki Version of Princess Aida
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Hosei University Repository Aida as a Drama: Opera Aida Directed by Olivier Py and Noda Kabuki Version of Princess Aida 著者 Hiranoi Chieko 出版者法政大学人間環境学会 journal or 人間環境論集 publication title volume 17 number 1 page range 43-58 year 2016-12-21 URL http://hdl.handle.net/10114/13603 Aida as a Drama: Opera Aida Directed by Olivier Py and Noda Kabuki Version of Princess Aida Chieko Hiranoi 1. Classics in Modern Society This year 2016 is the 400th anniversary of William Shakespeare’s death, and various related events have been organized worldwide, especially in the United Kingdom. For instance, Shakespeare’s Globe made a series of short films abridged from every work of Shakespeare titled The Complete Walk, which surely reminds the audience of‘The Complete Works’ of the great poet and dramatist. The title was originally the name of an event, in which members of the audience walk and visit each location along the South Bank and Bankside such as in front of National Theatre, in front of Tate Modern, on the riverside opposite Royal Festival Hall, to watch originally made short films mainly composed of excerpts from the Globe performances, silent movies and newly shot location films for this event. This was a free event provided on the 23rd and the 24th of April in commemoration of Shakespeare's birthday as well as his death. Edinburgh International Festival also offered three programs of Shakespeare among its nine theatrical events, Richard III by Berlin’s Schaubühne Theatre, Measure for Measure from Britain’s Cheek by Jowl and Moscow’s Pushkin Theatre and a French adaptation of Twelfth Night by the company Eat a Crocodile.
[Show full text]
21.92 More Lps, Laser Discs. Pp 164-177
LP SETS and SINGLES ALL IN EXCELLENT CONDITION (records and jackets) AND CONTAINING ORIGINAL PAPER MATERIALS, UNLESS OTHERWISE INDICATED, FOR SETS THAT ORIGINALLY INCLUDED THEM . MINIMUM BID AS INDICATED PER ITEM. A few have a small cut in the box usually on the right side. These were made by the dealer to indi- cate that the set was on sale. In some cases a small hole was punched in the upper right hand area instead. They are both indicated as “ small box cut ”. A few others have a neat plastic tape index label attached to the upper right cover and/or spine. “ Index lbl ” indicates such items. IN SUBMITTING YOUR BIDS FOR ITEMS IN THIS SECTION, PLEASE BE SURE TO INCLUDE THE CORRECT CATALOGUE NUMBER. OPERAS, OPERETTAS and EXTENDED VOCAL WORKS 5000. [FRANCO ALFANO ]. SAKUNTALA. Casapietra, Michele Molese, Tomleich, Mazzoli, dir. Ottavio Ziino. 2 LP boxed MRF 196. Factory sealed . $5.00. 5001. [ ALFANO] . CYRANO DE BERGERAC . Olivia Stapp, Johns, Blancas, dir. Maurizio Arenas. 2 2 LP boxed MRF 131. Factory sealed . $5.00. 5032. [ WILLIAM ALWYN ]. MISS JULIE . Jill Gomez, Benjamin Luxon, Della Jones, John Mitchinson, etc., dir. Vilem Tausky. 2 LP boxed Lyrita Stereo 121-2. Cover signed by Gomez, Jones and Luxon. $5.00. 5003. [DOMINICK ARGENTO ]. POSTCARDS FROM MOROCCO . 2 LP boxed set. Barbara Brandt, Barry Busse, Foreman, Hardy, Marshall, etc., dir. Philip Brunelle. 2 LP boxed Desto 7137/8. Factory sealed. $5.00. 5002. [ RAFFAELLO DE BANFIELD ] [libretto TENNESSEE WILLIAMS ]. LORD BYRON’S LOVE LETTER. Astrid Varnay, Gertrude Ribla, Carlin, Carrruba, dir. Nicola Rescigno. 1 LP.
[Show full text]
The Operatic Bassoon: a Pedagogical Excerpt Collection
!"#$%&#'(!)*$+(,,%%-.$($&#/(0%0)*(1$#2*#'&!$*%11#*!)%-$ $ $ $ $ $ $ $ $ 34$ $ ,565$(7$869:;:$ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ ,93<=>>:?$>@$>;:$A5B9C>4$@A$>;:$ D5B@3E$,B;@@C$@A$F9E=B$=G$H56>=5C$A9CA=CC<:G>$ @A$>;:$6:I9=6:<:G>E$A@6$>;:$?:J6::K$ /@B>@6$@A$F9E=B$ )G?=5G5$LG=M:6E=>4$ F54$NONP$ $ $ (BB:H>:?$34$>;:$A5B9C>4$@A$>;:$ )G?=5G5$LG=M:6E=>4$D5B@3E$,B;@@C$@A$F9E=BK$ =G$H56>=5C$A9CA=CC<:G>$@A$>;:$6:I9=6:<:G>E$A@6$>;:$?:J6::$ /@B>@6$@A$F9E=B$ $ $ /@B>@65C$*@<<=>>::$$ $ $ $ QQQQQQQQQQQQQQQQQQQQQQQQQQQQQQQQQQQQQQ$ R=CC=5<$19?S=JK$':E:56B;$/=6:B>@6$T$*;5=6$ $ $ $ $ QQQQQQQQQQQQQQQQQQQQQQQQQQQQQQQQQQQQQQ$ U5>;64G$19V5E$ $ $ $ $ QQQQQQQQQQQQQQQQQQQQQQQQQQQQQQQQQQQQQQ$ U5>;C::G$FB1:5G$ $ $ $ $ QQQQQQQQQQQQQQQQQQQQQQQQQQQQQQQQQQQQQQ$ &:>:6$F=VEW5$ $ $ (H6=C$NPK$NONP$ $ $ ==$ $ *@H46=J;>$X$NONP$ ,565$869:;:$ $ $ ===$ $ $ !"#$%#&'()#*'+),(-.#/0$0#',1#2)+$',.## 34"#(""5#$)#("#)6)+%#$7-08#&)--",.#%"7(4#"+84)-(+'#+)4)'+-'&.#',1#'((),1)1#)6)+%#*"--09&)#8",8)+(:## ;40&)#,"#&",<)+#4)+).#0(#0-#%"7+#6"08)-#',1#9)&0)=#0,#$)#(4'(#8",(0,7)#("#-))#$)#(4+"7<4:# >#'$#(4)#3"$',#>#'$#("1'%#9)8'7-)#"=#%"7:# ?"6)#',1#$0--#%"7:# @&3'%-:# # # : =M$ $ !"#$%&'()*(+($,-. !;5GV$4@9$>@$>;:$<5G4$@H:65$@6J5G=W5>=@GE$5G?$A:CC@S$35EE@@G=E>E$S;@$S=CC=GJC4$5=?:?$<4$ 6:E:56B;$=G$H6@M=?=GJ$@H:65$59?=>=@G$6:H:6>@=6:$H5BV:>E$5G?$C=E>E7$!;5GV$4@9$>@$+@@E:4$T$"5SV:EK$1>?7$ A@6$6:H6=G>$H:6<=EE=@GE$@A$!4)#A'5)B-#C+"<+)--#5G?$C)()+#D+0$)-7$$ !;5GV$4@9$>@$<4$B@CC:5J9:E$5G?$A6=:G?E$5>$)G?=5G5$LG=M:6E=>4$S;@$;5M:$3::G$9G?:6E>5G?=GJ$5G?$ E9HH@6>=M:$@A$<4$:G?:5M@6E$>@$B@<HC:>:$>;=E$?@B9<:G>$5G?$?:J6::$S;=C:$S@6V=GJ$A9CCY>=<:K$5G?$>;:G$
[Show full text]
Aida, Tomb Scene, Act IV, Scene Ii Aida
Giuseppe Verdi Aida, Tomb Scene, Act IV, scene ii Aida Aida was commissioned for the new opera house in Cairo, honoring the completion of the Suez Canal (1869). The opera was premiered in 1871. Verdi chose an Egyptian theme for his opera, incorporating some of the most grandiose scene displays in the history of the theater. However, the human scale of the drama, and Verdi’s sensitive musical setting, keeps Aida from turning into a trash-fest. Trivia Aida is one of the few operas that can justify the inclusion of on-stage, live elephants. During a dress rehearsal of Aida, a trained horse forgot its training, at which point conductor Thomas Beecham glared at the offender and quipped: “Disgusting spectacle, but Gad, what a critic!” The Basic Plot Radames, an Egyptian general, and Aida, a captive Ethiopian slave girl, are secretly in love. Due to various machinations of the plot, Radames is condemned to die by being entombed alive. Little does he know that Aida has sequestered herself in the tomb, to die with him. The Tomb Scene Recitative Radames sings of Aida and hopes she has been spared his fate. However, she appears—having sequestered herself in the tomb. Ariosos A pair of ariosos in which the two lovers sing of their forthcoming demise. Duet with Chorus The priests chant offstage while Radames and Aida sing their “farewell to Earth” Conclusion The priestess Amneris invokes the god Ptah Performance La Scala (Milan), 1985 Aida: Maria Chiara Radames: Luciano Pavarotti Conductor: Lorin Maazel .
[Show full text]
Hunter's Clarion, January/February 2001
Western Carolina University Hunter’s January/February 2001 edition CC ll a r I o n From the University Librarian by Bil Stahl n the last Hunter’s Clarion, I talked about the by Lorna Dorr, New Database Reference Librarian continued importance of libraries. This month I want I unter Library has subscribed to another new to raise one of the biggest issues our library faces, which is the cost of journals. Hdatabase, The New Grove Dictionary of Music and Musicians. It is the foremost authority on Journals continue to be primary information sources, and all aspects of music worldwide from prehistory to as such, are core to library services. Even with the advent the present. The new second edition is being of the web, journals are still the “official record” of research published simultaneously in print and online. Hunter for most disciplines. They remain the primary vehicle for Library has access to the online version now, and scholarly communications, and are critical to the has just received the print edition. Features of the university’s ability to create knowledge. The ability of online version include keyword searching of the libraries to keep up with journal costs has become a major complete text of all 29 volumes, written music issue for the entire academic enterprise. Faculties of examples, hypertext links to other sections of the universities are the primary suppliers of scholarly journal dictionary, browsing by subject categories, links to content, which university libraries purchase. The “Tempe thousands of images, links to digital sound, and Principles for Emerging Systems for Scholarly links to related sites.
[Show full text]
Chiara Isotton, Soprano
Chiara Isotton, soprano La soprano Chiara Isotton nació en 1985 en Belluno, donde estudió en la Escuela de Música A. Miari. De- spués de graduarse en el Benedetto Marcello en Venecia, continuó su perfeccionamiento con William Matteuzzi y Roberto Scandiuzzi y en 2008 asistió a clases en la Acca- demia Chigiana con Renato Bruson. En junio de 2009 ganó una beca en el XXXIX Concurso Internacional Toti dal Monte en Treviso y asistió a clases magistrales sobre La vera costanza de Haydn con Regina Resnik, Maria Chiara y Roberto Scandiuzzi. Después de varias competiciones nacionales, en marzo de 2013 es una de las ganadoras de la Comunidad Europea de Spoleto que le permitirá actuar en verano en el Festival dei due Mondi y hacer su debut como Tosca en el Teatro Lirico Sperimentale. En febrero de 2015 canta la Suma Sacerdotisa en Aida dirigida por Zubin Mehta en el Teatro alla Scala, donde luego canta Alisa en Lucia di Lammer- moor dirigida por Stefano Ranzani. En junio de 2015 se gradúa en la Acca- demia della Scala y en septiembre vuelve a Spoleto para interpretar el papel de Mimì en La Bohème. Ha actuado para el Hermitage Music Festival en San Petersburgo, cantado el Stabat Mater de Rossini en el auditorio Wiener Sängerknaben en Viena y ha ofrecido algunos recitales en Corea (Sejong Art Center, Daegu Opera Hou- se) junto con Renato Bruson, y más tarde en Hong Kong, Nueva Brunswick (Nueva Jersey), Brescia, en Al Ain (Universidad de los EAU), en el Nuevo Escenario del Teatro Bolshoi en Moscú dirigida por Tugan Sokhiev.
[Show full text]
Catalogue 2018
CATALOGUE 2018 Cast The Arthaus Musik classical music catalogue features more than 400 productions from the beginning of the 1990s until today. Outstanding conductors, such as Claudio Abbado, Lorin Maazel, Giuseppe Sinopoli and Sir Georg Solti, as well as world-famous singers like Placido Domingo, Brigitte Fassbaender, Marylin Horne, Eva Marton, Luciano Pavarotti, Cheryl Studer and Dame Joan Sutherland put their stamp on this voluminous catalogue. The productions were recorded at the world’s most renowned opera houses, among them Wiener Staatsoper, San Francisco Opera House, Teatro alla Scala, the Salzburg Festival and the Glyndebourne Festival. Unitel and Arthaus Musik are proud to announce a new partnership according to which the prestigious Arthaus Musik catalogue will now be distributed by Unitel, hence also by Unitel’s distribution partner C Major Entertainment. World Sales: All rights reserved · credits not contractual · Different territories · Photos: © Arthaus · Flyer: luebbeke.com Tel. +49.30.30306464 [email protected] Unitel GmbH & Co. KG, Germany · Tel. +49.89.673469-630 · [email protected] www.unitel.de OPERA ................................................................................................................................. 3 OPERETTA ......................................................................................................................... 35 BALLET ............................................................................................................................... 36 CONCERT...........................................................................................................................
[Show full text]
The Impact of Jules Massenet's Operas in Milan
THE IMPACT OF JULES MASSENET’S OPERAS IN MILAN, 1893–1903 Matthew Martin Franke 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 2014 Approved by: John L. Nádas Anne MacNeil Severine Neff David Garcia Bryan Gilliam © 2014 Matthew Martin Franke ALL RIGHTS RESERVED ii ABSTRACT Matthew Martin Franke: The Impact of Jules Massenet’s Operas in Milan, 1893–1903 Under the direction of John L. Nádas The reception of French opera in Italy in the late nineteenth century has received little scholarly attention. This dissertation attempts to fill at least part of that gap through studying the reception of three operas by Jules Massenet (1842–1912), the most internationally successful French composer of the fin de siècle, in Milan, the capital of the Italian music publishing industry. Massenet’s Italian reception demonstrates that opera’s relationship to Italian identity politics in the late nineteenth century was far more complex than has been previously imagined. Massenet’s operas, performed in Italian translation, occupied an ambiguous middle ground in Italian identity politics. Italian critics described Massenet’s operas as purely French, as contributing to Italian musical culture, and as inherently cosmopolitan works. Critics thus translated Massenet’s operas into Italian culture, whether as role models for or foils to Italian musical developments. Massenet also participated directly in Italian musical culture, visiting Milan frequently to supervise productions of his operas and serving as a judge in an Italian competition for new operas.
[Show full text]
Stella Georgiou Soprano
Stella Georgiou Soprano Email: [email protected] Sito web: http://www.stellageorgiou.com Born in Limassol, Cyprus. She devoted herself to both physical education and musical university studies. She com pleted a Degree in Gymnastics at the University of “Aristotele” and a Musical and Vocal Degree at the “Nuovo” Musical School of Thessalonica. In order to specialize in her vocal education, she moved to Italy and par ticipated to a series of different master classes directed by a numerous renown teachers such as M.Caballè, Maria Chiara, Delores Zingler,Cheryl Studer, Susanna Rigacci , Raul Gimenez and A.Bertacchi. She received a Diploma at the Musical School of Lucca and she was finalist in many inter national opera competitions. Later she concentrated mainly on vocal concert activity in Italy and abroad, focusing spe cially on oratory and chamber in different theatre such as the Tchaikovsky Conservatoire in Moscow, the Theatre of University of Thessalonica, the Festival Rossini in Stuttgart, the Theatre of “Bibliena” in Mantova and the “Borci” Theater of Cesena.In the Church of S. Carlo in Prague,theatre “Cernante “ in Malaga. Very young she interpreted the role of Oscar in “Un Ballo in Maschera” by G. Verdi with the Mariinsky Theatre at the Pafos Aphrodite festival.After that she jumb in her repertoire with Norma in “Norma”di Bellini,la Tosca e la Boheme ( Mimi,Musetta)by Puccini,Anna Bo lena by Donizetti,Cosi fan tutte (Fiordiligi),Don Giovanni (Donna Anna),La Clemenza di Tito (Vitellia) by W.A.Mozart,Il Corsaro (Medora),Otello (Desdemona),Nabucco(Abigaille)by Verdi.
[Show full text]
Verdi's Aida: a Partial Survey of the Discography by Ralph Moore
Verdi’s Aida: A partial survey of the discography by Ralph Moore I emphasise the word “partial” here, as there are over 260 recordings of Aida in the catalogue; however, the bulk of these are live and as there are “only” just under thirty studio recordings to choose from, and I have concentrated on those. Although there are some superb live performances, the average collector will want one in good sound without distracting, extraneous noise. I have discounted two studio accounts from the very earliest days of acoustic recording as of specialist interest only, but included two from 1928 for reasons of their historical importance and vocal quality, and for purposes of comparison. A total of twenty-one recordings are considered below, of which two are radio broadcasts and the rest products of the recording studio. Given my own affection for Aida, its wide popularity and the frequency with which it is performed, I have been surprised upon occasionally encountering a real disdain for it among some operaphile friends. Perhaps it is a case of over-familiarity or “too many elephants” which leads them to regard it is as clichéd, but to me Aida represents another of those successful operas, like Don Carlo, where private passions are strikingly portrayed against a backdrop of epic events in superlative music. I certainly vividly recall the first time I heard the otherworldly incantations of the chorus to “Immenso Ftà” and the soaring, keening desolation of Aida’s lament; Verdi creates a special, exotic soundworld for this opera and skilfully exploits the clash of love and loyalty to generate maximum dramatic tension.
[Show full text]
Charles Mackerras: Performances in Vienna
Charles Mackerras: Performances in Vienna A. Vienna State Opera 1957, November, four performances Tchaikovsky: Symphony No. 6 L’Amour et son destin (ballet) choreo: Serge Lifar; d. Georges Wakhevitch Grand Ballet du Marquis de Cuevas, Vienna Philharmonic [or more likely Vienna State Opera Orchestra] ‘They have made a new ballet, for the Viennese première, to the Pathétique Symphony. This means that I will have conducted this work four times with the Vienna Philharmonic’ (CM to his mother, quoted in Phelan, p. 108). 1980, February 29, March 4 Janáček: Jenůfa p. Richard Bletschacher, d. Günther Schenider-Siemssen Margarita Lilowa (Grandmother Buryjovka), Peter Lindroos (Laca Klemeň), Peter Gougaloff (Štewa Buryja), Sena Jurinac (Kostelnička), Gabriela Beňačková (Jenůfa), Frederick Guthrie (Mayor), Marjana Lipovšek (Mayor’s Wife, 29 Feb), Waltraud Winsauer (Mayor’s Wife, 4 March), Maria Venuti (Karolka) 1982, October 21, 24, November 2, 5 Janáček: Jenůfa p. Richard Bletschacher, d. Günther Schenider-Siemssen Margarita Lilowa (Grandmother Buryjovka), Peter Lindroos (Laca Klemeň), Heinz Zednik (Štewa Buryja), Sena Jurinac (Kostelnička), Gabriela Beňačková (Jenůfa), Rudolf Mazzola (Mayor), Waltraud Winsauer (Mayor’s Wife), Olivera Miljakovic (Karolka) 1982, December 19, 22, 25, 29 Strauss: Der Rosenkavalier p. Otto Schenk, d. Rudolf Heinrich Gundula Janowitz (Feldmarschallin), Manfred Jungwirth (Baron Ochs), Gertrude Jahn (Octavian, 19 Dec), Agnes Baltsa (Octavian, 22, 25, 29 Dec), Gottfried Hornik (Herr von Faninal), Patricia Wise (Sophie),
[Show full text]