DOCSLIB.ORG

Rigoletto – Pp

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

VERDI LYRIC OPERA OF CHICAGO Table of Contents CORY WEAVER/SAN FRANCISCO OPERA FRANCISCO WEAVER/SAN CORY IN THIS ISSUE Rigoletto – pp. 20-34 6 From the General Director 21 Synopsis 40 Patron Salute 8 From the Chairman 23 Cast 43 Aria Society 10 24 Artist Profiles Board of Directors 52 Breaking New Ground 11 Women’s Board/Guild Board/Chapters’ 30 Opera Notes 53 Look to the Future Executive Board/Young Professionals/ 34 A Talk with the Director Ryan Opera Center Board 54 Major Contributors – Special Events 35 After the Curtain Falls 12 Administration/Administrative Staff/ and Project Support Production and Technical Staff 36 Musical Staff/Orchestra/Chorus 55 Lyric Unlimited Contributors 37 14 Juggling Act: Anthony Freud at Lyric – Backstage Life Part Two 38 Artistic Roster 57 Ryan Opera Center 20 Tonight’s Performance 39 Lyric and Social Media 58 Ryan Opera Center Alumni Around the World JUGGLING ACT: 59 Ryan Opera Center Contributors ROBERT KUSEL ROBERT ANTHONY FREUD 60 Planned Giving: The Overture Society AT LYRIC – 61 Commemorative Gifts PART TWO 62 Corporate Partnerships pp. 14-18 63 Matching Gifts, Special Thanks and Acknowledgements 64 Annual Individual and Foundation Support 71 Facilities and Services/Theater Staff Top of this page: Quinn Kelsey as Rigoletto at San Francisco Opera, 2017. On the cover: "La Mattinata Agonizante," painted in 1912 by Giorgio de Chirico. Credit: © 2017 Artists Rights Society (ARS), New York / SIAE, Rome. 2 | October 7 - November 3, 2017 Since 1991 www.performancemedia.us | 847-770-4620 3453 Commercial Avenue, Northbrook, IL 60062 Gail McGrath Publisher & President Sheldon Levin Publisher & Director of Finance A. J. Levin Director of Operations Account Managers Rand Brichta - Arnie Hoffman - Greg Pigott Executive Editor Southeast Michael Hedge 847-770-4643 Southwest Betsy Gugick & Associates 972-387-1347 Lisa Middleton East Coast Manzo Media Group 610-527-7047 Marketing and Sales Consultant David L. Strouse, Ltd. 847-835-5197 Editor Terry Luc Graphic Designer Roger Pines Lory Richards Graphic Designer Associate Editor Joy Morawez - Josie Negron Accounting Magda Krance Willie Smith Supervisor Operations Earl Love Operations Administrative Offices: Wilfredo Silva Operations 20 North Wacker Drive Steve Dunn Web & Internet Development Suite 860 You can view this program on your mobile device at performancemedia.us. Chicago, Illinois 60606 For advertising information call 847-770-4620. To see our Terms and Conditions relating to advertising orders, visit our website at www.performancemedia.us. All contents copyrighted. All rights reserved. Nothing may be reproduced in any manner without written permission. © 2017 Performance Media & Gail McGrath & Associates, Inc. is a Woman Owned Business LYRIC OPERA OF CHICAGO From the General Director Is there any composer who invigorates an opera audience more than Giuseppe Verdi? No Verdi score is graced more abundantly with unforgettable melodies than one of the greatest masterpieces of his “middle period,” Rigoletto. Whether you’re hearing this opera for the first or the hundredth time, you’ll have “La donna è mobile,” “Caro nome,” and all the other gems in your memory for days after the performance – they’re simply irresistible. STEVE LEONARD STEVE Like all the most popular Verdi works, Rigoletto has always been part of my operagoing life. From my very first experience of it to today, I’ve never failed to be riveted by the story of the hunchbacked court jester. It’s impossible to remain unmoved as we witness how this man’s desperate need to protect his innocent daughter and his overwhelming desire for revenge lead to tragic catastrophe for them both. Few characters in the repertoire make such a devastating impact as Rigoletto, and certainly there are few tenor cads as dangerously charming as the Duke of Mantua or ingénues more sweetly appealing than Gilda. Only a truly extraordinary performer can make Rigoletto his signature role in the major opera houses of the world, and Lyric's Ryan Opera Center alumnus Quinn Kelsey has been doing just that for the past six seasons. In performances from Oslo and Zurich to London, Toronto, and San Francisco, Quinn has sung and acted Rigoletto with both a power and a finesse that recall the greatest interpreters of this hugely challenging role. Many critics have placed him in the “royal line” of American Verdi baritones, from Lawrence Tibbett and Robert Merrill to Cornell MacNeil and Sherrill Milnes. Joining Quinn onstage at Lyric is fellow Ryan Opera Center alumnus Matthew Polenzani, world-renowned as one of today’s most distinguished tenors, from whom we can anticipate a matchlessly elegant Duke of Mantua. A very eagerly awaited debut this season is that of our Gilda, the young Italian soprano Rosa Feola, who enchanted Chicago’s opera lovers in Falstaff for the Chicago Symphony Orchestra’s performances two seasons ago. I know hers will be one of the most impressive international careers of her generation. I’m also delighted at the prospect of two other exceptional debuts – the charismatic Ukrainian bass Alexander Tsymbalyuk (Sparafucile) and the captivating young Latvian mezzo-soprano Zanda Švēde (Maddalena). Any Verdi production is immeasurably enhanced when it’s conducted by a musician whose affinity for the style is his birthright. That is certainly true of one of today’s most sought-after opera conductors, Marco Armiliato, who has been demonstrating his excellence in Verdi at the Metropolitan Opera for more than two decades, while also making his presence felt in Vienna, Zurich, Munich, and many other major houses. His collaboration with director E. Loren Meeker (who gave Lyric a dazzling Fledermaus a few seasons ago), enhanced by the strikingly original stage designs by Michael Yeargan, will yield a production in the great Lyric tradition – a classic Rigoletto for Lyric audiences to savor. Anthony Freud General Director, President & CEO The Women's Board Endowed Chair 6 | October 7 - November 3, 2017 LYRIC OPERA OF CHICAGO From the Chairman On behalf of the Board of Directors, I’m delighted to welcome you to Lyric Opera of Chicago. This season is a particularly varied and distinctive one, launched with great anticipation by our opening production. Following Gluck’s exquisite Orphée et Eurydice in John Neumeier’s historic new production, our audiences can look forward to masterpieces of Italian opera in Verdi’s powerful Rigoletto, Puccini’s spectacular Turandot, and Bellini’s captivating I Puritani; French opera, with two highly contrasting works, Bizet’s exotic The Pearl Fishers and Gounod’s romantic ROSENBERG TODD Faust; a gem of the Mozart repertoire, Così fan tutte; and one of the most thrilling of all Wagner operas, Die Walküre, the second installment of Lyric’s monumental new Ring cycle. Speaking personally, one of the most rewarding aspects of Lyric – not only as chairman, but as a longtime subscriber and patron – is my joy in introducing family, friends, and business colleagues to the company and the art form. I hope you’ll consider doing the same! When I receive out-of-town visitors during the opera season, I always try to include an evening at Lyric. It’s inevitably a major highlight of their stay. A Lyric performance isn’t only an opportunity to dress up and go out with your significant other or with close friends for an elegant evening – it’s also an unforgettable and rewarding experience of timeless stories set to some of the world’s greatest music and performed by many of the top artists of our day. Lyric’s mainstage productions are, of course, the core of every season we present. I also encourage you to explore the unique activities of Lyric Unlimited, our initiative focused on community engagement and education. It is one of the ways that the company stays relevant as a cultural service provider to all of Chicago, whether with newly commissioned works, community-created performances or the special programs presented in dozens of public schools all over Chicago every year. The level of creativity at work in Lyric Unlimited presentations has been truly inspiring, and it has exposed the art form of opera to tens of thousands of students across Chicagoland. By presenting opera in new and non-traditional ways, Lyric Unlimited helps to grow and expand our audiences. I invite you to join me at one of the Lyric Unlimited performances of Fellow Travelers in March or Family Day at Lyric on April 7. At Lyric, we truly cherish our donors and patrons. We consider each one of you as members of the Lyric family. It can sometimes be trite to declare, “Every gift counts,” but at Lyric it’s true: you’re going above and beyond what you’re paying for the ticket price. You’re investing in Lyric, entrusting that we will turn your gift into great art. We take that responsibility very seriously and are constantly imagining new ways to enhance your personal experience at Lyric, build new audiences for opera, and do it all in the most cost-effective way we can. Many thanks to all of you who play a vital role in ensuring that our great art form and our great company continue to serve Chicago and the world of opera today and in the years to come. David T. Ormesher 8 | October 7 - November 3, 2017 LYRIC OPERA OF CHICAGO Board of Directors OFFICERS LIFE DIRECTORS Michael T. Foley Don M. Randel The Honorable Bruce Rauner Edgar Foster Daniels Anthony Freud*+ Elke Rehbock The Honorable Rahm Emanuel Richard J. Franke Mary Patricia Gannon Anne N. Reyes* Honorary Chairmen of the Board Edgar D. Jannotta Kristine R. Garrett J. Christopher Reyes Edgar D. Jannotta George E. Johnson Ronald J. Gidwitz William C. Richardson, Ph.D.° Co-Chairman Emeritus Robert H. Malott Ruth Ann M.
Recommended publications
  • Imperiale Konzert- Und Opernreisen

    Imperiale Konzert- Und Opernreisen

    IMPERIALE KONZERT- UND OPERNREISEN September bis Dezember 2017 SEPTEMBER - HÖHEPUNKTE In der Staatsoper kann neben Aufführungen wie „Die Hochzeit des Figaro“, „Der Barbier von Sevilla“, „La Bohème“ u. a., sicherlich „Der Troubadour“ mit Anna Netrebko als Höhepunkt im September gesehen werden. Zusätzlich wird noch Mussorgski‘s „Chowanschtschina“ mit Ferruccio Furlanetto in der Titelrolle gegeben: „Eine zeitlose Parabel auf den ewigen Kreislauf von Machterwerb,- u. Verlust Einzelner auf Kosten des einfachen Volkes.“ Die Wiener Symphoniker treten sowohl im Musikverein, als auch im Konzerthaus auf mit Werken von Strauss und Dvorak. Die Wiener Philharmoniker geben ein Konzert im Musikverein mit Stardirigent Zubin Mehta. REISE 1: 4. bis 7. September 2017 EZ € 2.085,- | DZ € 1.580,- p. P. Montag, den 4.9. In der Staatsoper: Der Troubadour v. G. Verdi Mit George Petean, Anna Netrebko, Luciana D‘Intino, Marcelo Alvarez, Jongmin Park Dienstag, den 5.9. In der Staatsoper: Die Hochzeit des Figaro Mit Adam Plachetka, Dorothea Röschmann, Andrea Caroll, Carlos Alvarez, Margarita Gritskova Mittwoch, den 6.9. In der Staatsoper: Der Barbier von Sevilla v. G. Rossini Mit Ioan Hotea, Paolo Rumetz, Rachel Frankel, Marco Caria, Sorin Coliban REISE 2: 7. bis 10. September 2017 EZ € 2.065,- | DZ € 1.560,- p. P. Donnerstag, den 7.9. In der Staatsoper: Der Troubadour v. G. Verdi Mit George Petean, Anna Netrebko, Luciana D‘Intino, Marcelo Alvarez, Jongmin Park Freitag, den 8.9. In der Staatsoper: Chowanschtschina v. M. Mussorgski Mit Ferruccio Furlanetto, Christopher Ventris, Herbert Lippert, Andrzej Dobber, Ain Anger, Elena Maximova Samstag, den 9.9. In der Staatsoper: Die Hochzeit des Figaro Mit Adam Plachetka, Dorothea Röschmann, Andrea Caroll, Carlos Alvarez, Margarita Gritskova REISE 3: 8.
  • Libretto Nabucco.Indd

    Libretto Nabucco.Indd

    Nabucco Musica di GIUSEPPE VERDI major partner main sponsor media partner Il Festival Verdi è realizzato anche grazie al sostegno e la collaborazione di Soci fondatori Consiglio di Amministrazione Presidente Sindaco di Parma Pietro Vignali Membri del Consiglio di Amministrazione Vincenzo Bernazzoli Paolo Cavalieri Alberto Chiesi Francesco Luisi Maurizio Marchetti Carlo Salvatori Sovrintendente Mauro Meli Direttore Musicale Yuri Temirkanov Segretario generale Gianfranco Carra Presidente del Collegio dei Revisori Giuseppe Ferrazza Revisori Nicola Bianchi Andrea Frattini Nabucco Dramma lirico in quattro parti su libretto di Temistocle Solera dal dramma Nabuchodonosor di Auguste Anicet-Bourgeois e Francis Cornu e dal ballo Nabucodonosor di Antonio Cortesi Musica di GIUSEPPE V ERDI Mesopotamia, Tavoletta con scrittura cuneiforme La trama dell’opera Parte prima - Gerusalemme All’interno del tempio di Gerusalemme, i Leviti e il popolo lamen- tano la triste sorte degli Ebrei, sconfitti dal re di Babilonia Nabucco, alle porte della città. Il gran pontefice Zaccaria rincuora la sua gente. In mano ebrea è tenuta come ostaggio la figlia di Nabucco, Fenena, la cui custodia Zaccaria affida a Ismaele, nipote del re di Gerusalemme. Questi, tuttavia, promette alla giovane di restituirle la libertà, perché un giorno a Babilonia egli stesso, prigioniero, era stato liberato da Fe- nena. I due innamorati stanno organizzando la fuga, quando giunge nel tempio Abigaille, supposta figlia di Nabucco, a comando di una schiera di Babilonesi. Anch’essa è innamorata di Ismaele e minaccia Fenena di riferire al padre che ella ha tentato di fuggire con uno stra- niero; infine si dichiara disposta a tacere a patto che Ismaele rinunci alla giovane.
  • Coa-Program-For-Web.Pdf

    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.
  • Verdi Week on Operavore Program Details

    Verdi Week on Operavore Program Details

    Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr.
  • VOCAL 78 Rpm Discs Minimum Bid As Indicated Per Item

    VOCAL 78 Rpm Discs Minimum Bid As Indicated Per Item

    VOCAL 78 rpm Discs Minimum bid as indicated per item. Listings “Just about 1-2” should be considered as mint and “Cons. 2” with just the slightest marks. For collectors searching top copies, you’ve come to the right place! The further we get from the time of production (in many cases now 100 years or more), the more difficult it is to find such excellent extant pressings. Some are actually from mint dealer stocks and others the result of having improved copies via dozens of collections purchased over the past fifty years. * * * For those looking for the best sound via modern reproduction, those items marked “late” are usually of high quality shellac, pressed in the 1950-55 period. A number of items in this particular catalogue are excellent pressings from that era. * * * Please keep in mind that the minimum bids are in U.S. Dollars, a benefit to most collectors. * * * “Text label on verso.” For a brief period (1912-14), Victor pressed silver-on-black labels on the reverse sides of some of their single-faced recordings, usually with a translation of the text or similarly related comments. BESSIE ABOTT [s]. Riverdale, NY, 1878-New York, 1919. Following the death of her father which left her family penniless, Bessie and her sister Jessie (born Pickens) formed a vaudeville sister vocal act, accompanying themselves on banjo and guitar. Upon the recommendation of Jean de Reszke, who heard them by chance, Bessie began operatic training with Frida Ashforth. She subsequently studied with de Reszke him- self and appeared with him at the Paris Opéra, making her debut as Gounod’s Juliette.
  • German Operetta on Broadway and in the West End, 1900–1940

    German Operetta on Broadway and in the West End, 1900–1940

    Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds.
  • POLAND Culture Andart

    POLAND Culture Andart

    POLAND Culture and Art ISBN 978-83-8010-013-8 www.poland.travel EN Culture and Art 3 Culture and Art Culture and Art 5 Culture: Our national heritage and the testimony of romantic reflections Polish culture is woven from the memories of past greatness and the dreams of a better future, and its national character is deeply rooted in Romanticism. In every branch of contemporary art, our rich Polish folklore becomes a source of inspiration for artists. nown for being very musical, Poles love dance and music. Folk melodies Kcan be heard in Chopin’s works, while Krzysztof Penderecki and Witold Lutosławski set new standards in the world of avant-garde music. Poland attracts a lot of attention, thanks to its talented jazz musicians and young artists excelling in the domain of alternative music. The poetry of Wisława Szymborska, recognised with a Nobel Prize, is appreciated in many corners of the world. Like Szymborska’s poems, many others’ works have been translated into foreign languages: the literary reportages of Ryszard Kapuściński, the futuristic prose of Stanisław Lem or the dramas of Sławomir Mrożek. Igor Mitoraj and Magdalena Abakanowicz are consid- ered ambassadors of Polish sculpture, with their monumental works arousing worldwide admi- ration. Roman Opałka’s and Wilhelm Sasnal’s paintings are highly sought after by art collec- tors. ▶ ▶ Poland has been home to many illustrious personalities, whose work changed the face of the world. Some were scientists, like Nicolaus Coperni- cus or Marie Skłodowska-Curie. Others shaped our reality in different ways, for example, the founders of Hollywood, Samuel Goldwyn and the Warner brothers.
  • Press Information Eno 2013/14 Season

    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.
  • 1 CRONOLOGÍA LICEÍSTA Se Incluye Un Listado Con Las

    1 CRONOLOGÍA LICEÍSTA Se Incluye Un Listado Con Las

    CRONOLOGÍA LICEÍSTA Se incluye un listado con las representaciones de Aida, de Giuseppe Verdi, en la historia del Gran Teatre del Liceu. Estreno absoluto: Ópera del Cairo, 24 de diciembre de 1871. Estreno en Barcelona: Teatro Principal, 16 abril 1876. Estreno en el Gran Teatre del Liceu: 25 febrero 1877 Última representación en el Gran Teatre del Liceu: 30 julio 2012 Número total de representaciones: 454 TEMPORADA 1876-1877 Número de representaciones: 21 Número histórico: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21. Fechas: 25 febrero / 3, 4, 7, 10, 15, 18, 19, 22, 25 marzo / 1, 2, 5, 10, 13, 18, 22, 27 abril / 2, 10, 15 mayo 1877. Il re: Pietro Milesi Amneris: Rosa Vercolini-Tay Aida: Carolina de Cepeda (febrero, marzo) Teresina Singer (abril, mayo) Radamès: Francesco Tamagno Ramfis: Francesc Uetam (febrero y 3, 4, 7, 10, 15 marzo) Agustí Rodas (a partir del 18 de marzo) Amonasro: Jules Roudil Un messaggiero: Argimiro Bertocchi Director: Eusebi Dalmau TEMPORADA 1877-1878 Número de representaciones: 15 Número histórico: 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36. Fechas: 29 diciembre 1877 / 1, 3, 6, 10, 13, 23, 25, 27, 31 enero / 2, 20, 24 febrero / 6, 25 marzo 1878. Il re: Raffaele D’Ottavi Amneris: Rosa Vercolini-Tay Aida: Adele Bianchi-Montaldo Radamès: Carlo Bulterini Ramfis: Antoine Vidal Amonasro: Jules Roudil Un messaggiero: Antoni Majjà Director: Eusebi Dalmau 1 7-IV-1878 Cancelación de ”Aida” por indisposición de Carlo Bulterini.
  • Star Singers on Stage

    Star Singers on Stage

    STAR SINGERS ON STAGE CONCERT TOUR 2017/18 CREATING AND MANAGING PRODUCTIONS WORLDWIDE GuliAnd Management is dedicated to all aspects of music performances from concerts to fully staged opera and operetta productions, special events, tours, broadcasts. The founders and partners of GuliAnd have been working together for many years. We have extensive international business network for the sake of successful productions. Our company is one of the most well-known producers of opera events with the new opera star generation in the industry. GuliAnd sets up and promotes individual concerts in theatres, arenas, stadiums and open air venues. In addition, we produce television programs as well as documentaries. It has been our great pleasure to present many colourful events with numerous internationally acknowledged artists in the past years. The PÉCS – PLÁCIDO DOMINGO CLASSICS festival was founded by the city of Pécs and GuliAnd Management in 2017. GuliAnd is registered in the United Kingdom and has an affiliated company in the United States as well as in Hungary. PÉCS2010 EUROPEAN CAPITAL OF CULTURE GuliAnd Management introduced a new tradition with the “Voices” in 2009. Photo© Kaori Suzuki PLÁCIDO DOMINGO’S OPERALIA THE WORLD OPERA COMPETITION hosted by the Astana Opera within the framework of the EXPO-2017 Future Energy programme and under the auspices of the Ministry of Culture and Sports of the Republic of kazakhstan, the 25th edition of the World Opera Competition, including its final, was one of the highlights of Astana’s cultural calendar this summer, held from 24-29 July. ARYSTANBEK MUKHAMEDIULY Minister of Culture and Sports of Kazakhstan BIG STANDING OVATIONS GuliAnd presents this regular events with Plácido Domingo’s Operalia, The World Opera Competition award winning singers at the United Kingdom, Austria, Hungary and Germany.
  • Royal Opera House Performance Review 2006/07

    Royal Opera House Performance Review 2006/07

    royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 1 Royal Opera House Performance Review 2006/07 The Royal Ballet - The Royal Opera royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 2 Contents 01 TH E ROYA L BA L L E T PE R F O R M A N C E S 02 TH E ROYA L OP E R A PE R F O R M A N C E S royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 3 3 TH E ROYA L BA L L E T PE R F O R M A N C E S 2 0 0 6 / 2 0 0 7 01 TH E ROYA L BA L L E T PE R F O R M A N C E S royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 4 4 TH E ROYA L BA L L E T PE R F O R M A N C E S 2 0 0 6 / 2 0 0 7 GI S E L L E NU M B E R O F PE R F O R M A N C E S 6 (15 matinee and evening 19, 20, 28, 29 April) AV E R A G E AT T E N D A N C E 91% CO M P O S E R Adolphe Adam, revised by Joseph Horovitz CH O R E O G R A P H E R Marius Petipa after Jean Coralli and Jules Perrot SC E N A R I O Théophile Gautier after Heinrich Meine PRO D U C T I O N Peter Wright DE S I G N S John Macfarlane OR I G I N A L LI G H T I N G Jennifer Tipton, re-created by Clare O’Donoghue STAG I N G Christopher Carr CO N D U C T O R Boris Gruzin PR I N C I PA L C A S T I N G Giselle – Leanne Benjamin (2) / Darcey Bussell (2) / Jaimie Tapper (2) Count Albrecht – Edward Watson (2) / Roberto Bolle (2) / Federico Bonelli (2) Hilarion – Bennet Gartside (2) / Thiago Soares (2) / Gary Avis (2) / Myrtha – Marianela Nuñez (1) / Lauren Cuthbertson (3) (1- replacing Zenaida Yanowsky 15/04/06) / Zenaida Yanowsky (1) / Vanessa Palmer (1) royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 5 5 TH E ROYA L BA L L E T PE R F O R M A N C E S 2 0 0 6 / 2 0 0 7 LA FI L L E MA L GA R D E E NU M B E R O F PE R F O R M A N C E S 10 (21, 25, 26 April, 1, 2, 4, 5, 12, 13, 20 May 2006) AV E R A G E AT T E N D A N C E 86% CH O R E O G R A P H Y Frederick Ashton MU S I C Ferdinand Hérold, freely adapted and arranged by John Lanchbery from the 1828 version SC E N A R I O Jean Dauberval DE S I G N S Osbert Lancaster LI G H T I N G John B.
  • The George London Foundation for Singers Announces Its 2016-17 Season of Events

    The George London Foundation for Singers Announces Its 2016-17 Season of Events

    Contact: Jennifer Wada Communications 718-855-7101 [email protected] www.wadacommunications.com THE GEORGE LONDON FOUNDATION FOR SINGERS ANNOUNCES ITS 2016-17 SEASON OF EVENTS: • THE RECITAL SERIES: ISABEL LEONARD & JARED BYBEE PAUL APPLEBY & SARAH MESKO AMBER WAGNER & REGINALD SMITH, JR. • THE 46TH ANNUAL GEORGE LONDON FOUNDATION AWARDS COMPETITION “This prestigious competition … now in its 45th year, can rightfully claim to act as a springboard for major careers in opera.” -The New York Times, February 18, 2016 Isabel Leonard, Jared Bybee, Paul Appleby, Sarah Mesko, Amber Wagner, Reginald Smith, Jr. (Download photos.) The George London Foundation for Singers has been honoring, supporting, and presenting the finest young opera singers in the U.S. and Canada since 1971. Upon the conclusion of the 20th year of its celebrated recital series, which was marked with a gala in April featuring some of opera’s most prominent American and Canadian stars, the Foundation announces its 2016-17 season of events: The George London Foundation Recital Series, which presents pairs of outstanding opera singers, many of whom were winners of a George London Award (the prize of the foundation’s annual vocal competition): George London Foundation for Singers Announces Its 2016-17 Season - Page 2 of 5 • Isabel Leonard, mezzo-soprano, and Jared Bybee, baritone. Mr. Bybee won an Encouragement Award at the 2016 competition. Sunday, October 9, 2016, at 4:00 pm • Paul Appleby, tenor, and Sarah Mesko, mezzo-soprano. Mr. Appleby won his George London Award in 2011, and Ms. Mesko won hers in 2015. Sunday, March 5, 2017, at 4:00 pm • Amber Wagner, soprano, and Reginald Smith, Jr., baritone.