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Seattle Opera Announces 2021/22 Season— a Return to Live, In-Person Performances
FOR IMMEDIATE RELEASE: May 11, 2021 Contact: Gabrielle Gainor (206) 295-0998, [email protected] Press images: https://seattleopera.smugmug.com/2122 Password: “press” Seattle Opera announces 2021/22 season— a return to live, in-person performances La bohème Orpheus and Eurydice Blue The Marriage of Figaro Plus a special recital by Lawrence Brownlee McCaw Hall and The Opera Center Subscriptions begin at $240 (BRAVO! Club, senior, and student pricing is also available). Single tickets will go on sale closer to each production. seattleopera.org SEATTLE—After more than a year without live, in-person performances due to COVID-19, Seattle Opera will officially return to the theater this fall with its 2021/22 Season. Offerings include immortal favorites (La bohème, The Marriage of Figaro), historic works with a modern twist (Orpheus and Eurydice), plus an award-winning piece speaking to racial injustice in America (Blue). It will take years for Seattle Opera—and the arts sector as a whole—to recover from the pandemic’s economic impact. Feeling the presence and excitement of live performance again is one way that the healing can begin, said General Director Christina Scheppelmann. “The theater, where music, storytelling, lights, performers, and audiences meet, is a space of magic and impact,” Scheppelmann said. “This past year has been difficult and challenging on so many levels. As we process all that we’ve been through, we can come here to enjoy ourselves. We can rediscover the positive moment and outlook we are seeking. Through opera, we can reconnect with our deepest emotions and our shared humanity.” In addition to mainstage productions, the company will offer a special, one-night- only recital by tenor Lawrence Brownlee (April 29, 2022, at McCaw Hall) with pianist John Keene. -
San Francisco Opera Center and Merola Opera Program Announce 2020 Schwabacher Recital Series
SAN FRANCISCO OPERA CENTER AND MEROLA OPERA PROGRAM ANNOUNCE 2020 SCHWABACHER RECITAL SERIES January 29 Kicks Off First of Four Recitals Highlighting Emerging Artists and Unique Musical Programs Tickets available at sfopera.com/srs and (415) 864-3330 SAN FRANCISCO, CA (January 6, 2019) — Now in its 37th year, the Schwabacher Recital Series returns on Wednesday, January 29, with performances at San Francisco’s Dianne and Tad Taube Atrium Theater that feature emerging artists from around the globe. Presented by San Francisco Opera Center and Merola Opera Program, the annual Schwabacher Series consists of four Wednesday evening recitals, the last of which concludes on April 22. The first-ever Schwabacher series was presented in December 1983, kicking off a decades-long San Francisco tradition of presenting rising international talent in the intimacy of a recital setting. The 2020 series will blend classics like Hector Berlioz’s Les Nuits d’Été with rarely performed 20th- and 21st-century works like Olivier Messiaen’s Harawi. JANUARY 29: ALICE CHUNG, LAUREANO QUANT AND NICHOLAS ROEHLER (From left to right: Alice Chung, Laureano Quant and Nicholas Roehler) The series opens on January 29 with a set of performers recently seen as part of the Merola Opera Program: mezzo-soprano Alice Chung, baritone Laureano Quant and pianist Nicholas Roehler. Twice named as a Merola artist—once in 2017 and again in 2019—Chung returns to the 1 Bay Area for this recital, having been hailed as a “force of nature” by San Francisco Classical Voice (SFCV). She will tackle a range of works, from Colombian composer Luis Carlos Figueroa’s soothing lullaby “Berceuse” to cabaret-inspired works like William Bolcom’s “Over the Piano.” Quant, a 2019 Merola participant, joins Chung to perform Bolcom’s music, as well as select songs from Berlioz’s Les Nuits d’Été and Francesco Santoliquido’s I Canti della Sera. -
Katalog EMI Classics Oraz Virgin Classics
Katalog EMI Classics oraz Virgin Classics Tytuł: Vinci L'Artaserse ICPN: 5099960286925 KTM: 6028692 Data Premiery: 01.10.2012 Data nagrania: styczeń 2012 Main Artists: Diego Fasolis/Philippe Jaroussky/Max Emanuel Cencic/Franco Fagioli/Valer Barna-Sabadus/Yuriy Mynenko/Daniel Behle/Coro della Radiotelevisione svizzera, Lugano/Concerto Köln Kompozytor: Leonardo Vinci 3 CD POLSKA PREMIERA Tytuł: Feelhermony ICPN:5099901770827 KRM:0177082 Data Premiery: 09.10.2012 Data Nagrania: 2012 Main Artists: KROKE, Sinfonietta Cracovia, Anna Maria Jopek, Sławek Berny Kompozytor: KROKE Aranżancje: Krzysztof Herdzin 1 CD Tytuł: Rodgers & Hammerstein at the Movies ICPN: 5099931930123 KTM: 3193012 Data Premiery: 01.10.2012 Data nagrania: styczeń 2012 Main Artists: John Wilson, John Wilson Orchestra, Sierra Boggess, Anna Jane Casey, Joyce DiDonato, Maria Ewing, Julian Ovenden, David Pittsinger, Maida Vale Singers Kompozytor: Rodgers & Hammerstein 1 CD Tytuł: Sound the Trumpet - Royal Music of Purcell and Handel ICPN: 5099944032920 KTM: 4403292 Data Premiery: 15.10.2012 Data nagrania: styczeń 2012 Main Artists: Alison Balsom, The English Concert, Pinnock Trevor Kompozytor: Purcell, Haendel 1 CD Tytuł: Dvorak: Symphony No.9 & Cello Concerto ICPN: 5099991410221 KTM: 9141022 Data Premiery: 08.10.2012 Data Nagrania: styczeń 2012 Main Artists: Antonio Pappano Kompozytor: Antonin Dvorak 2 CD Tytuł: Drama Queens ICPN: 5099960265425 KTM: 6026542 Data Premiery: 01.10.2012 Main Artists: Joyce DiDonato/Il Complesso Barocco/Alan Curtis Kompozytor: Various Artists 1 CD -
A1ib000000d8uszaaz.Pdf
KOOR EN ORKEST VAN DE MUNT Ver A i U I T DE MUNT 14 J A N U A R I 92 KOOR EN ORKEST VAN DE MUNT muzikale leiding Antonio Pappano koorleider Johannes Mikkelsen Solisten Margaret Jane Wray, sopraan Florence Quivar, mezzo Richard Greager, tenor Carlo Colombara, bas P rogr a mma GIUSEPPE VERDI (1813-1901) MESSA DA REQUIEM Requiem en Kyrie (a quattro voci soliste e coro) Dies Irae Dies Irae (coro) Tuba mirum (basso e coro) Liber scriptus (mezzosoprano e coro) Quid sum mlser (soprano, mezzosoprano e coro) Rex tremendae (quartetto e coro) Recordare (soprano e mezzosoprano) Ingemisco (solo pet tenore) Confutatis (basso e coro) Lacrymosa (quartetto e coro) Domine Jesu (offertorio a quattro voci soliste) Sanctus (fuga a due cori) Agnus Dei (soprano, mezzosoprano e coro) Lux Aeterna inleidend gesprek door Magda de Meester Foyer 19.15 uur (mezzosoprano, tenore e basso) aanvang concert 20.00 uur Libera Me geen pauze (soprano e coro) einde concert omstreeks 21 .30 uur ANTONIO PAPPANO Antonio Pappano werd in Londen geboren uit Italiaanse ouders. Hij studeerde piano, compositie en orkestdirectie bij Norma Verrilli, Arnold Franchetti en Gustav Meier. Van in het begin van zijn carrière ontwikkelde Antonio Pappano een liefde voor opera en theater. Hij heeft in talrijke operahuizen gewerkt, zoals de New York City Opera, de Opera van San Diego, het Liceu in Barcelona en de Opera van Frankfurt. Hij onderhield nauwe banden met de Lyric Opera van Chicago en het Festival van Bayreuth waar hij assistent was van Daniel Barenboim voor 'Tristan und Isolde', 'Parsifal' en de 'Ring des Nibelungen'. -
Pittsburgh Opera NEWS RELEASE
4/1/2008 Pittsburgh Opera NEWS RELEASE CONTACT: BETH PARKER (412) 281-0912 X 248 [email protected] PHOTOS: MAGGIE JOHNSON (412) 281-0912 X 262 [email protected] Jane Dutton replaces Stephanie Blythe in Pittsburgh Opera’s Aida Pittsburgh, PA . Opera companies expect their drama in high doses, but this week at Pittsburgh Opera has been more stimulating than most. Mezzo-soprano superstar Stephanie Blythe was to have made her long-anticipated company and role debut as Amneris in Pittsburgh Opera’s production of Verdi’s Aida. Blythe, however, fell victim to a virus and had to bow out the day before the show opened on March 29. Following a remarkable last-minute rescue of the opening night by Marianne Cornetti, Ms. Blythe had to cancel the second performance, leaving the company without a back-up for the remaining shows. This time Artistic Director Christopher Hahn secured Jane Dutton, another highly-regarded American mezzo who has recently added the killer role to her repertoire with highly successful performances at English National Opera. Dutton sings the Tuesday, April 1 performance and remains available to safeguard the production. Pittsburgh Opera anticipates the return of a healthy Ms. Blythe for the final performances on April 4th and 6th. Ms.Cornetti’s appearance was nigh on miraculous. An experienced Amneris and alumna of the company’s training program, the Pittsburgh Opera Center, Cornetti was released from a rehearsal in Amsterdam and got the last available seat on a KLM flight. She arrived in Pittsburgh at 2:30 PM, and after a mad dash from the airport, a brief rehearsal and costume fitting, the Metropolitan Opera star nailed the 8 PM performance. -
Inside the Ring: Essays on Wagner's Opera Cycle
Inside the Ring: Essays on Wagner’s Opera Cycle John Louis DiGaetani Professor Department of English and Freshman Composition James Morris as Wotan in Wagner’s Die Walküre. Photo: Jennifer Carle/The Metropolitan Opera hirty years ago I edited a book in the 1970s, the problem was finding a admirer of Hitler and she turned the titled Penetrating Wagner’s Ring: performance of the Ring, but now the summer festival into a Nazi showplace An Anthology. Today, I find problem is finding a ticket. Often these in the 1930s and until 1944 when the myself editing a book titled Ring cycles — the four operas done festival was closed. But her sons, Inside the Ring: Essays on within a week, as Wagner wanted — are Wieland and Wolfgang, managed to T Wagner’s Opera Cycle — to be sold out a year in advance of the begin- reopen the festival in 1951; there, published by McFarland Press in spring ning of the performances, so there is Wieland and Wolfgang’s revolutionary 2006. Is the Ring still an appropriate clearly an increasing demand for tickets new approaches to staging the Ring and subject for today’s audiences? Absolutely. as more and more people become fasci- the other Wagner operas helped to In fact, more than ever. The four operas nated by the Ring cycle. revive audience interest and see that comprise the Ring cycle — Das Wagnerian opera in a new visual style Rheingold, Die Walküre, Siegfried, and Political Complications and without its previous political associ- Götterdämmerung — have become more ations. Wieland and Wolfgang Wagner and more popular since the 1970s. -
Wagner Inlay 10/6/04 10:43 Am Page 1 NAXOS
555789 Wagner inlay 10/6/04 10:43 am Page 1 NAXOS The present recording of scenes from Tristan und Isolde and of the Immolation Scene from Götterdämmerung features three distinguished interpreters of Wagner, acclaimed for performances in the major opera houses of Europe and America. Margaret Jane Wray has performed with some of the most important musical figures of our day, including Daniel Barenboim, Maris Janssons and Seiji Ozawa and 8.555789 enjoys a busy career as a concert artist in addition to her varied operatic performances. Included on this WAGNER: disc is the rarely recorded 1862 concert ending to the Love Duet from Tristan und Isolde. DDD Richard 8.555789 WAGNER Playing Time (1813-1883) 76:39 Scenes from Tristan and Götterdämmerung TRISTAN UND ISOLDE, ACT 2, SCENES 1 & 2 7 Isolde . Margaret Jane Wray, Soprano 47313 Tristan . John Horton Murray, Tenor Brangäne . Nancy Maultsby, Mezzo-Soprano 1 Einleitung (Introduction) 1:58 ! O sink hernieder, Nacht der Liebe 2:36 57892 2 Hörst du sie noch? 2:29 @ Barg im Busen uns sich die Sonne 2:42 3 Nicht Hörnerschall tönt so hold 6:09 # Einsam wachend in der Nacht 2:43 4 Dein Werk? O tör’ge Magd! 3:56 $ Lausch, Geliebter! 1:46 5 Isolde! Tristan! Geliebte(r)! 2:57 % Unsre Liebe? Tristans Liebe? 2:10 6 Wie lange fern! Wie fern so lang! 1:19 ^ Doch unsre Liebe 1:58 4 7 Dem Tage! Dem Tage 4:51 & So stürben wir, um ungetrennt 2:57 www.naxos.com Made in the EU English translations Gesangtexte auf Deutsch • German sung texts with Booklet notes in English • Kommentar und h 8 O eitler Tagesknecht! 2:15 * Soll ich lauschen? 1:41 & 9 In deiner Hand den süssen Tod 1:56 ( O ew’ge Nacht, süsse Nacht!* 5:43 g 0 Doch es rächte sich der 2004 Naxos Rights International Ltd. -
WAGNER and the VOLSUNGS None of Wagner’S Works Is More Closely Linked with Old Norse, and More Especially Old Icelandic, Culture
WAGNER AND THE VOLSUNGS None of Wagner’s works is more closely linked with Old Norse, and more especially Old Icelandic, culture. It would be carrying coals to Newcastle if I tried to go further into the significance of the incom- parable eddic poems. I will just mention that on my first visit to Iceland I was allowed to gaze on the actual manuscript, even to leaf through it . It is worth noting that Richard Wagner possessed in his library the same Icelandic–German dictionary that is still used today. His copy bears clear signs of use. This also bears witness to his search for the meaning and essence of the genuinely mythical, its very foundation. Wolfgang Wagner Introduction to the program of the production of the Ring in Reykjavik, 1994 Selma Gu›mundsdóttir, president of Richard-Wagner-Félagi› á Íslandi, pre- senting Wolfgang Wagner with a facsimile edition of the Codex Regius of the Poetic Edda on his eightieth birthday in Bayreuth, August 1999. Árni Björnsson Wagner and the Volsungs Icelandic Sources of Der Ring des Nibelungen Viking Society for Northern Research University College London 2003 © Árni Björnsson ISBN 978 0 903521 55 0 The cover illustration is of the eruption of Krafla, January 1981 (Photograph: Ómar Ragnarsson), and Wagner in 1871 (after an oil painting by Franz von Lenbach; cf. p. 51). Cover design by Augl‡singastofa Skaparans, Reykjavík. Printed by Short Run Press Limited, Exeter CONTENTS PREFACE ............................................................................................ 6 INTRODUCTION ............................................................................... 7 BRIEF BIOGRAPHY OF RICHARD WAGNER ............................ 17 CHRONOLOGY ............................................................................... 64 DEVELOPMENT OF GERMAN NATIONAL CONSCIOUSNESS ..68 ICELANDIC STUDIES IN GERMANY ......................................... -
Wagner: Das Rheingold
as Rhe ai Pu W i D ol til a n ik m in g n aR , , Y ge iin s n g e eR Rg s t e P l i k e R a a e Y P o V P V h o é a R l n n C e R h D R ü e s g t a R m a e R 2 Das RheingolD Mariinsky Richard WAGNER / Рихард ВагнеР 3 iii. Nehmt euch in acht! / Beware! p19 7’41” (1813–1883) 4 iv. Vergeh, frevelender gauch! – Was sagt der? / enough, blasphemous fool! – What did he say? p21 4’48” 5 v. Ohe! Ohe! Ha-ha-ha! Schreckliche Schlange / Oh! Oh! Ha ha ha! terrible serpent p21 6’00” DAs RhEingolD Vierte szene – scene Four (ThE Rhine GolD / Золото Рейна) 6 i. Da, Vetter, sitze du fest! / Sit tight there, kinsman! p22 4’45” 7 ii. Gezahlt hab’ ich; nun last mich zieh’n / I have paid: now let me depart p23 5’53” GoDs / Боги 8 iii. Bin ich nun frei? Wirklich frei? / am I free now? truly free? p24 3’45” Wotan / Вотан..........................................................................................................................................................................René PaPe / Рене ПАПЕ 9 iv. Fasolt und Fafner nahen von fern / From afar Fasolt and Fafner are approaching p24 5’06” Donner / Доннер.............................................................................................................................................alexei MaRKOV / Алексей Марков 10 v. Gepflanzt sind die Pfähle / These poles we’ve planted p25 6’10” Froh / Фро................................................................................................................................................Sergei SeMISHKUR / Сергей СемишкуР loge / логе..................................................................................................................................................Stephan RügaMeR / Стефан РюгАМЕР 11 vi. Weiche, Wotan, weiche! / Yield, Wotan, yield! p26 5’39” Fricka / Фрикка............................................................................................................................ekaterina gUBaNOVa / Екатерина губАновА 12 vii. -
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 -
Seattle Opera's 2003/04 Season
FOR RELEASE: July 17, 2014 Press Contact: Gabrielle Nomura, 206.676.5559, [email protected]. Seattle Opera Projects Budget Surplus for 2013/14 Season Kate Lindsey and Asher Fisch Named Seattle Opera Artists of the Year Maryanne Tagney Elected as Board President Seattle – Seattle Opera is projecting a surplus for the 2013/14 season, to be confirmed with published audited financials in December 2014. The surplus will be used to replenish its operating reserves for future seasons, which were significantly lowered during the recent recession. On an operating budget of nearly $28 million, the company saw significant growth in contributions and ticket sales that both exceeded expectations for the year. This announcement comes following the company’s Annual Meeting at McCaw Hall on Tuesday, July 15. Seattle Opera Board President, Dr. William T. Weyerhaeuser thanked his fellow board members and donors for their generosity and support during his tenure as president. Contributing to Seattle Opera’s surplus this season were a variety of factors, including successful fundraising and ticket sales operations thanks to generous donors and subscribers, a slightly increased overall attendance of 95,000, and the economic impact of Wagner’s Ring cycle in August, 2013. Opera lovers from all 50 states and 22 foreign countries flocked to Seattle for this unforgettable experience of story, music, spectacle, and community. Seattle Opera Annual Meeting Page 2 of 6 “Speight’s single-minded focus on the art of opera has been an inspiration to us all,” said Board Chairman John Nesholm. “When Seattle Opera staff was tasked with creating its list of core values, ‘art matters’ is what came to the forefront; this is because of Speight. -
A Season of Thrilling Intrigue and Grand Spectacle –
A Season of Thrilling Intrigue and Grand Spectacle – Angel Blue as MimÌ in La bohème Fidelio Rigoletto Love fuels a revolution in Beethoven’s The revenger becomes the revenged in Verdi’s monumental masterpiece. captivating drama. Greetings and welcome to our 2020–2021 season, which we are so excited to present. We always begin our planning process with our dreams, which you might say is a uniquely American Nixon in China Così fan tutte way of thinking. This season, our dreams have come true in Step behind “the week that changed the world” in Fidelity is frivolous—or is it?—in Mozart’s what we’re able to offer: John Adams’s opera ripped from the headlines. rom-com. Fidelio, to celebrate the 250th anniversary of Beethoven’s birth. Nixon in China by John Adams—the first time WNO is producing an opera by one of America’s foremost composers. A return to Russian music with Musorgsky’s epic, sweeping, spectacular Boris Godunov. Mozart’s gorgeous, complex, and Boris Godunov La bohème spiky view of love with Così fan tutte. Verdi’s masterpiece of The tapestry of Russia's history unfurls in Puccini’s tribute to young love soars with joy a family drama and revenge gone wrong in Rigoletto. And an Musorgsky’s tale of a tsar plagued by guilt. and heartbreak. audience favorite in our lavish production of La bohème, with two tremendous casts. Alongside all of this will continue our American Opera Initiative 20-minute operas in its 9th year. Our lineup of artists includes major stars, some of whom SPECIAL PRESENTATIONS we’re thrilled to bring to Washington for the first time, as well as emerging talents.