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1 Madama Butterfly I Personaggi E Gli Interpreti
1 G V M e i r a a s i d c o n o a e Madama Butterfly m m o o r a i Versione originale del 17 febbraio 1904 g i P B n u a u l c Giacomo Puccini e t c t d e i e n r l i f 1 l 7 y f e Stagione d’Opera 2016 / 2017 b b r a i o 1 9 0 4 S t a g i o n e d ’ O p e r a 2 0 1 6 / 2 0 1 7 Madama Butterfly Versione originale del 17 febbraio 1904 Tragedia giapponese in due atti Musica di Giacomo Puccini Libretto di Luigi Illica e Giuseppe Giacosa (da John L. Long e David Belasco) Nuova produzione Teatro alla Scala EDIZIONI DEL TEATRO ALLA SCALA TEATRO ALLA SCALA PRIMA RAPPRESENTAZIONE Mercoledì 7 dicembre 2016, ore 18 REPLICHE dicembre Sabato 10 Ore 20 – TurNo B Martedì 13 Ore 20 – TurNo A VeNerdì 16 Ore 20 – TurNo C DomeNica 18 Ore 20 – TurNo D VeNerdì 23 Ore 20 – TurNo E REPLICHE gennaio 2017 Martedì 3 Ore 20 – Fuori abboNameNto DomeNica 8 Ore 15 – Fuori abboNameNto ANteprima dedicata ai GiovaNi LaScalaUNDER30 Domenica 4 dicembre 2016, ore 18 SOMMARIO 5 Madama Butterfly . Il libretto 40 Il soggetto ArgumeNt – SyNopsis – Die HaNdluNg – ࠶ࡽࡍࡌ – Сюжет Claudio Toscani 53 Giacomo PucciNi Marco Mattarozzi 56 L’opera iN breve Claudio Toscani 58 La musica Virgilio Bernardoni 62 La prima Butterfly , uN ricoNoscimeNto morale all’Autore. UNa possibilità iN più di ascolto, coNfroNto e coNosceNza INtervista a Riccardo Chailly 67 “UNa vera sposa...”? INgaNNo e illusioNe Nella prima Arthur Groos scaligera di Madama Butterfly 83 Madama Butterfly, uNa tragedia iN kimoNo Michele Girardi 99 Come eseguire Madama Butterfly Dieter Schickling 110 Madama Butterfly alla Scala dal 1904 al 2007 Luca Chierici 137 Alvis HermaNis e Madama Butterfly Olivier Lexa Il gesto della fragilità 167 Riccardo Chailly 169 Alvis HermaNis 170 Leila Fteita 171 Kris t¯ıNe Jur j¯aNe 172 Gleb FilshtiNsky 173 INeta SipuNova 174 Alla Sigalova 175 Olivier Lexa 176 Madama Butterfly . -
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. -
Opera 2001 Sl
OPERA 2001 S.L. Tel (+ 34) 965 26 86 01 – Fax 965 26 85 94 1 www.opera 2001.net opera 2001@opera 2001.net LA COMPAÑÍA LÍRICA OPERA 2001 presenta El Barbero de Sevilla De Gioacchino Rossini Ópera en 4 actos de Rossini Libreto de Cesare STERBINI Versión original en italiano Ópera sobretitulada en español ÍNDICE Ficha artística – p3 Curriculum del equipo artístico – p4 Curriculum de los artistas de los papeles principales – p5 Argumento - p8 Compañía - Contactos - Enlaces - p9 Ficha técnica - p10 SINOPSIS Es la historia del viejo Doctor Bartolo, empeñado en casarse con su pupila Rosina. Pero Rosina está enamorada del joven Conde Almaviva que con la complicidad del barbero Fígaro, se presenta disfrazado de varias maneras en casa de Bartolo. En cuanto a Basilio, un jesuita muy sospechoso, sirve alternativamente los intereses de Bartolo y los de Almaviva… OPERA 2001 S.L. Tel (+34) 965 26 86 01 – Fax 965 26 85 94 www.opera 2001.net opera 2001@opera 2001.net 2 El Barbero de Sevilla Ópera en 4 actos de Rossini Libreto de Cesare STERBINI Dirección musical: Martin Mázik & Constantin Rouits Dirección de escena: Roberta Mattelli & Matteo Peirone Dirección artística: Luis Miguel Lainz Escenografía: Alfredo Troisi Vestuario: Arrigo (Milano - Italia) Peluquería: Mario Audello (Torino - Italia) Calzado: Calzature Epoca (Milano – Italia) Solistas, Orquesta y Coros de la compañía lírica Opera 2001 REPARTO ALMAVIVA Paolo ANTOGNETTI, Gora CAH FIGARO Giulio BOSCHETTI, Javier GALÁN, Paolo RUGGIERO ROSINA Francesca BRUNI, Linda CAMPANELLA, Pauline ROUILLARD BARTOLO Matteo PEIRONE, Giancarlo TOSI BASILIO Luca DALL’AMICO, Ivaylo DZHUROV FIORELLO Nicolay BACHEV BERTA Roberta MATELLI *Reparto a título informativo, que puede sufrir cambios el día de la actuación, no previstos en la fecha de publicar esta información OPERA 2001 S.L. -
CV EN Soprano Claudia Oddo
www.claudiaoddo.com Claudia Oddo Opern- und Konzertsängerin Am Botanischen Garten 12 33617 Bielefeld & Elisabethstr. 4 40217 Düsseldorf Email: [email protected] Mobil: +491722588111 Biography – Claudia Oddo – spinto soprano Born in Germany, the Italian soprano Claudia Oddo gained her first stage experience at the age of 14 at the opera house of her native city, Bielefeld. There she received her ballet, piano and first vocal training. She performed as dancer, actress and chorus-singer in the theatre’s operas and ballets until she moved to Italy where she started her classical voice studies at the conservatories in Bologna and Modena. By the age of 21 she had already made her concert debut as a solo vocalist in the contemporary music theatre play "Siate Parchi“. Claudia Oddo’s performances in concert and opera are an equally important part of her schedule. She currently performs numerous concerts in Europe with excellent musicians, ensembles and orchestras. She is well known for her extraordinary concert programs of combining classical music to visual and multimedia arts. 2018 marks for Claudia Oddo the year of new recordings of soundtracks and songs that have made history. With the music video shot in Sicily and the soundtrack "Brucia la terra“ by Nino Rota and Giuseppe Rinaldi of the film "The Godfather" the Sicilian soprano wants to pay tribute to the life of Sicilian immigrants in Germany who emigrated in the 60s with testimony of her own family. Furthermore she will publish the audio recording and video called "Ode of Rock - Claudia Oddo & Mondo Musica" which will be a „Rock meets Classic“ version of the European anthem, Beethoven's "hymn to joy". -
La Gioconda (Review) William Ashbrook
La Gioconda (review) William Ashbrook The Opera Quarterly, Volume 18, Number 1, Winter 2002, pp. 128-129 (Review) Published by Oxford University Press For additional information about this article https://muse.jhu.edu/article/25455 [ This content has been declared free to read by the pubisher during the COVID-19 pandemic. ] 128 recordings La Gioconda. Amilcare Ponchielli La Gioconda: Giannina Arangi-Lombardi Isepo/Singer: Giuseppe Nessi Laura: Ebe Stignani Zuane/Singer: Aristide Baracchi La Cieca: Camilla Rota Orchestra and Chorus of La Scala, Milan Enzo Grimaldo: Alessandro Granda Lorenzo Molajoli, conductor Barnaba: Gaetano Viviani Naxos Historical 8.110112–14 (3 CDs) Alvise Badoero: Corrado Zambelli This is the complete Gioconda from 1931, recorded by Italian Columbia, but never issued in the United States during the 78 r.p.m. era. Here it is, vividly remastered by Ward Marston, with bonus tracks consisting of eight arias and two duets featuring the soprano Giannina Arangi-Lombardi, whom Max de Schauensee always referred to as “the Ponselle of Italy.” I have a special aVection for La Gioconda, as it was my first opera, seen when I was seven. Three things made an unforgettable impression on me. Hearing big voices live had quite an impact, since before then I had heard opera only on acoustic records (I still think that Julia Claussen, the Laura of that occasion, could sing louder than anyone I have heard since); although the plot made no sense to me, the Dance of the Hours seemed perfectly logical; and I got cold chills from the moment the big ensemble was launched at the end of act 3. -
Inside This Issue "
.SCHOLASTIC February, 1985 \ \ \\', \. \, INSIDE THIS ISSUE ", I. Ireland , Love Relationships: Romancing the Dome 'College Suicide "\'~"", Plus Fiction by Chuck Ehrman Laurel-Ann Dooley ' ' " '. ''\ i, '. , '.' . ~ ; ".'. \ , ' r .' " ' '--.. ~.'. :: L ·oN Il WJ9d tlUtllPUI '9Wtla 9JION a I'ld 3E)\f.lSOd ·s·n 3.l\fI:l>llns a • I.e• SCHOLASTIC ~~For in every act of love and will-and in the long run they are Volume 127, Number 4 both present in each act-we mold ourselves and our world simultane ously. This is what it means to em brace the future." Dr. Rollo May Psychotherapist FEATURES 6/Streetwise: Gotta Beat the Streets by Bud Luepke Love has everything to do with justice. Chocolate St. Mary's is to claim a standard for community brown Jim with his fifty-two-year-old cigarette that counts individuals as more than parts of a sum. 8/The Proximity of Crime saturated voice wants us to remember that. The It is to claim that we have a table bountiful enough by Theresa Hardy and Anne Gallagher Urban Plunge, a forty-eight-hour descent into the to nourish our spirits, as well as our minds and·our bowels of an American city explodes the term bodies. Suicide should make us stop and listen. 9/Looking for Answers "poverty" right before our middle-class eyes. We "Therefore never send to know for whom the bell by Sue St. Ville find the debris scattered across our manicured lawns tolls;' the poet John Donne writes. "It tolls for IO/Beware of Yuppies and our consciences and we are forced to admit that . -
La Vie Musicale
MIHAI DE BRANCOVAN LA VIE MUSICALE Verdi, au T.M.P. — Fidelio, à l'Opéra. — Mstislav Ros- tropovitch et l'Orchestre de Paris. — Rudolf Serkin. — Annie d'Arco. Maintenant qu'il est terminé, on peut dire en connaissance de cause que le cycle d'opéras de jeunesse de Verdi présenté par le Théâtre Musical de Paris a été un succès, même si toutes les représentations n'ont pas été d'un niveau irréprochable. Mes réactions diffèrent sensiblement de celles du public, qui a beaucoup applaudi Emani, a fait un triomphe aussi délirant qu'exagéré à Macbeth, mais s'est montré, par contre, d'une froi• deur assez surprenante à l'égard dì Attila, spectacle qui méritait bien mieux que cela. Commençons par Macbeth. Pier Luigi Pizzi, qui a signé à la fois les décors, les costumes et la mise en scène, a choisi de faire jouer cette tragédie sur un plateau quasiment nu, où, à de rares exceptions près, tout est noir. Rien à dire à cela : c'est dans des cadres non moins austères et dépouillés que celui-ci qu'ont été réalisées, notamment en Angleterre, quelques-unes des plus fortes, des plus impressionnantes productions shakespearien• nes des quinze ou vingt dernières années. Pier Luigi Pizzi a d'ailleurs, lui aussi, trouvé de belles images, qui restent dans la mémoire : les apparitions du spectre de Banquo (habituellement laissées à l'imagination du spectateur, Macbeth étant seul à les voir), ou encore celles, suscitées par les sorcières, des huit rois symbolisant la descendance du même Banquo. Il n'était, en revan• che, pas indispensable de faire déposer, en plein milieu de la scène, le corps nu et ruisselant de sang du roi assassiné ; ni d'user et d'abuser (comme l'avait aussi fait Pierre Constant dans / Mas• nadieri) de ces nuages d'azote qui, depuis Chéreau, sont devenus 470 LA VIE MUSICALE l'accessoire obligatoire de tout spectacle qui se respecte : c'est là une véritable manie, qui commence à prendre des proportions inquiétantes. -
Paolo Antognetti Character Tenor
! Paolo Antognetti Character Tenor Italian character tenor Paolo Antognetti has been an audience favorite across the globe. His masterful portrayals, musicality and simpatico, driven by his sweet-timbered voice, also allow him to sing some lyric tenor roles such as Nemorino and Don Ottavio In 2017/18, Mr. Antognetti performs as Le Remendado in Carmen at Opera di Firenze, Borsa in Rigoletto at Teatro Massimo di Palermo, and Raymond in Jérusalem at Festival Verdi in Parma. Last season he returned to the Arena di Verona Opera Festival as Abdallo in Nabucco and Il Messaggero in Aida. At Teatro Comunale di Bologna he sang Bob Boles in Peter Grimes and at La Fenice, the role of Heinrich der Schreiber in Tannhäuser as well as Ernesto in the World Première of Filippo Ferocco’s Aquagranda. Recent seasons have seen Paolo Antognetti performing for delighted audiences across Italy in the roles of Arlecchino in I Pagliacci, Spoletta in Tosca, Gastone in La Traviata, Pong in Turandot, Ismaele in Nabucco, Tebaldo in both Romèo et Juliette and I Capuletti e i Montecchi, and many others. He has also appeared outside of Italy at the Royal Opera House of Muscat in Oman (Pong in Turandot), the State Opera Rousse in Bulgaria (Ismaele in Nabucco), International Opera Theater in Philadelphia (multiple roles in the World Première of Carlo Pedini’s Jago), Musikfestuttgart in Germany and the Concertgebouw in Holland (Eurimaco/Eumete in Il Ritorno d’Ulisse). He has created the roles for World Premièmes of Fabio Vacchi’s Lo specchio magico at Maggio Musicale Fiorentino (Alessandro di Fere/John Dunbar) and Alessandro Solbiati’s Il suono giallo at Teatro Comunale di Bologna Throughout Europe, audiences have seen Mr. -
Staged Treasures
Italian opera. Staged treasures. Gaetano Donizetti, Giuseppe Verdi, Giacomo Puccini and Gioacchino Rossini © HNH International Ltd CATALOGUE # COMPOSER TITLE FEATURED ARTISTS FORMAT UPC Naxos Itxaro Mentxaka, Sondra Radvanovsky, Silvia Vázquez, Soprano / 2.110270 Arturo Chacon-Cruz, Plácido Domingo, Tenor / Roberto Accurso, DVD ALFANO, Franco Carmelo Corrado Caruso, Rodney Gilfry, Baritone / Juan Jose 7 47313 52705 2 Cyrano de Bergerac (1875–1954) Navarro Bass-baritone / Javier Franco, Nahuel di Pierro, Miguel Sola, Bass / Valencia Regional Government Choir / NBD0005 Valencian Community Orchestra / Patrick Fournillier Blu-ray 7 30099 00056 7 Silvia Dalla Benetta, Soprano / Maxim Mironov, Gheorghe Vlad, Tenor / Luca Dall’Amico, Zong Shi, Bass / Vittorio Prato, Baritone / 8.660417-18 Bianca e Gernando 2 Discs Marina Viotti, Mar Campo, Mezzo-soprano / Poznan Camerata Bach 7 30099 04177 5 Choir / Virtuosi Brunensis / Antonino Fogliani 8.550605 Favourite Soprano Arias Luba Orgonášová, Soprano / Slovak RSO / Will Humburg Disc 0 730099 560528 Maria Callas, Rina Cavallari, Gina Cigna, Rosa Ponselle, Soprano / Irene Minghini-Cattaneo, Ebe Stignani, Mezzo-soprano / Marion Telva, Contralto / Giovanni Breviario, Paolo Caroli, Mario Filippeschi, Francesco Merli, Tenor / Tancredi Pasero, 8.110325-27 Norma [3 Discs] 3 Discs Ezio Pinza, Nicola Rossi-Lemeni, Bass / Italian Broadcasting Authority Chorus and Orchestra, Turin / Milan La Scala Chorus and 0 636943 132524 Orchestra / New York Metropolitan Opera Chorus and Orchestra / BELLINI, Vincenzo Vittorio -
TURANDOT Di Giacomo Puccini a TEATRO CON LA LUTE
A TEATRO CON LA LUTE TURANDOT di Giacomo Puccini Ricerca contenuti ed immagini a cura di Elvira V. Resta gruppo LUTE TEATRO Opera in tre atti Libretto di Giuseppe Adami e Renato Simoni Musica di Giacomo Puccini Direttore Gabriele Ferro Concept Fabio Cherstich e AES+F Regia Fabio Cherstich Scene, video e costumi AES+F Luci Marco Giusti Orchestra, Coro e Coro di voci bianche del Teatro Massimo Nuovo allestimento del Teatro Massimo in coproduzione con Badisches Staatstheater Karlsruhe, Teatro Comunale di Bologna In partnership con Lakhta Center - San Pietroburgo CAST Principessa Turandot , Astrik Khanamiryan SOPRANO Imperatore Altoum e Principe di Persia, Antonello Ceron TENORE Timur il deposto re dei Tartari , Yuri Vorobiev BASSO Calaf il principe sconosciuto , Carlo Ventre TENORE Liù, la ragazza schiava Valeria Sepe MEZZOSOPRANO Ping il cancelliere , Federico Longhi BARITONO Pang maggiordomo, Francesco Marsiglia TENORE Pong capo chef della cucina imperiale, Manuel Pierattelli TENORE Mandarino, Luciano Roberti Direttore d’orchestra Gabriele Ferro Ha compiuto gli studi musicali, pianoforte e composizione, diplomandosi presso il Conservatorio Santa Cecilia di Ro- ma. Nel 1970 ha vinto il concorso per giovani direttori d’orchestra della Rai, collaborando da allora con le sue orchestre, quella dell’Accademia di Santa Cecilia e della Scala di Milano per i concerti sinfonici. Ha riscosso un ampio successo internazionale dirigendo i Wiener Symphoniker, i Bamberg Symphoniker, l’Orchestre de la Suisse Romande, l’Orchestre Philharmonique de Radio France, la BBC Symphony Orchestra, l’Orchestra WDR, la Cleveland Orchestra, e la Gewandhaus di Lipsia. Ha inoltre collaborato per molti anni con l’Orchestre National de Fran- ce. -
Otello Otello Con El Apoyo De: El Apoyo Con Otello - Giuseppe Verdi
Otello GIUSEPPE VERDI Temporada 2020-2021 Temporada Con el apoyo de: Otello - Giuseppe Verdi Volver al índice Patronato de la Fundación del Gran Teatre del Liceu Comisión ejecutiva de la Fundación del Gran Teatre del Liceu Presidente de honor Presidente President de la Generalitat de Catalunya Salvador Alemany Mas Presidente del patronato Vocales representantes de la Generalitat de Catalunya Salvador Alemany Mas Àngels Ponsa Roca, Lluís Baulenas Cases Vicepresidenta primera Vocales representantes del Ministerio de Cultura y Deporte Àngels Ponsa Roca Amaya de Miguel Toral, Antonio Garde Herce Vicepresidente segundo Vocales representantes del Ayuntamiento de Barcelona Andrea Gavela Llopis Joan Subirats Humet, Marta Clarí Padrós Vicepresidente tercero Vocal representant de la Diputació de Barcelona Joan Subirats Humet Joan Carles Garcia Cañizares Vicepresidenta cuarta Vocales representantes de la Societat del Gran Teatre del Liceu Núria Marín Martínez Javier Coll Olalla, Manuel Busquet Arrufat Vocales representantes de la Generalitat de Catalunya Vocales representantes del Consejo de Mecenazgo Lluis Baulenas Cases, Irene Rigau Oliver, Rosa Tubau LLorià, Luis Herrero Borque, Elisa Durán Montolío Angels Barbara Fondevila Secretario Vocales representantes del Ministerio de Cultura y Deporte Joaquim Badia Armengol Javier García Fernández, Amaya de Miguel Toral, Joan Francesc Director General Marco Conchillo, Santiago de Torres Sanahuja Valentí Oviedo Cornejo Vocales representantes del Ayuntamiento de Barcelona Marta Clari Padrós, Josep Maria -
Il Trovatore Verdi LYRIC OPERA of CHICAGO Table of Contents
Il Trovatore Verdi LYRIC OPERA OF CHICAGO Table of Contents DAN REST IN THIS ISSUE Prime Time: The Ryan Opera Center p 16 6 From the General Director 44 Patron Salute 8 From the President 46 Aria Society A Wondrous 10 Board of Directors 55 Breaking New Ground 12 Women’s Board/Guild Board/ 56 60th Anniversary Gala Contributors Sound: Chapters’ Executive Board/ 57 Major Contributors – Special Events The Lyric Opera Chorus Ryan Opera Center Board and Project Support Celebrates a New Season 14 Administration/Administrative Staff/ Saturday, November 22, 2014, 3 pm 58 Lyric Unlimited Contributors/ Production and Technical Staff Alice Millar Chapel Northwestern University, Evanston Look To The Future Tickets just $20 at lyricopera.org 16 Prime Time: The Ryan Opera Center 59 Ryan Opera Center Contributors MIKE RUEGG PHOTO: 24 Tonight's Opera 60 Annual Corporate Support/ 25 Story of the Opera Matching Gifts 27 Cast 62 Planned Giving: 28 Cast Profiles The Overture Society 35 Opera Notes 64 Annual Individual and Foundation 39 Director’s and Designer’s Notes Support 40 Musical Staff/Orchestra/Chorus 70 Commemorative Gifts 42 Artistic Roster 71 Special Thanks/Acknowledgements 43 Ryan Opera Center/Lyric Unlimited/ 72 Facilities and Services/ Education Corps/Supernumeraries Theatre and Facilities On the cover: Francisco de Goya, “Pilgrimage to the Hermitage of St. Isidore, 1819-23, oil mural transferred to canvas. Museo Nacional del Prado, Madrid. 2 | OCTOBER 27 - NOVEMBER 29, 2014 LYRIC OPERA OF CHICAGO Since 1991 www.performancemedia.us 3453 Commercial Avenue, Northbrook, IL 60062 Gail McGrath Publisher & President Sheldon Levin Publisher & Director of Finance A.