Boston Symphony Orchestra Concert Programs, Season 127, 2007-2008

Total Page:16

File Type:pdf, Size:1020Kb

Boston Symphony Orchestra Concert Programs, Season 127, 2007-2008 mS James Levine | M Bernard Haitink I Seiji Ozawa I Music Directo INSURANCE INVESTMENTS RETIREMENT -{ -fU eth. //W fimply pari" ^ wh$ we ate. and artists who bring At John Hancock we celebrate the talented performers legacy of support for the performing the arts to life. And proudly continue our community. arts and cultural institutions that enrich our FA the future is yours Table of Contents | Weeks 25/26 15 BSO NEWS 23 ON DISPLAY IN SYMPHONY HALL 25 BSO MUSIC DIRECTOR JAMES LEVINE 28 THE BOSTON SYMPHONY ORCHESTRA 31 "BERLIOZ'S VIRGILIAN MUSE" BY THOMAS MAY 40 THIS WEEK'S PROGRAMS 44 FROM THE MUSIC DIRECTOR Notes on the Program 47 Synopsis of "Les Troyens" 53 Hector Berlioz's "Les Troyens" 69 To Read and Hear More... Guest Artists 75 Marcello Giordani 77 Yvonne Naef 79 Anne Sofie von Otter 80 Dwayne Croft 83 Kwangchul Youn 85 Clayton Brainerd 87 Jane Bunnell 87 Philippe Castagner 89 James Courtney 89 Eric Cutler 91 Christin-Marie Hill 93 David Kravitz 93 Kate Lindsey 95 Ronald Naldi 97 Eric Owens 97 Julien Robbins 99 Tanglewood Festival Chorus 106 SYMPHONY HALL EXIT PLAN 107 SYMPHONY HALL INFORMATION THIS WEEK S PRE-CONCERT TALKS ARE GIVEN BY BSO DIRECTOR OF PROGRAM PUBLICATIONS MARC MANDEL. program copyright ©2008 Boston Symphony Orchestra, Inc. design by Hecht Design, Arlington, MA cover photograph by Peter Vanderwarker THE ARTS ALLOW US TO DISCOVER WHO WE CAN BE Imagine the world without music and dance, or literature and art. Life is incomplete without ways to express ourselves, and to discover who we are and what we can be. That's why Northern Trust proudly supports the arts in its many diverse forms. Northern Trust has been helping clients meet their financial needs for more than 1 18 years. Northern Trust One International Place, Suite 1600 Boston 617-235-1800 northerntrust.com . » ' -._ . [Ti£ \ — '-" ' 4.-^ ' \ V- !,:, "J m *m k ^s.-is «ft * \F *jLa? fr -?.f ... •*.i =j • -*i - ,» *>• </>' ^W -, '-" <A -i. •J- ^ r* The path to recovery,• ••'- ^W- f§ — McLean Hospital ' The nation's top psych U.S. News & Wbr/d fte|£art " " £& 3^- ;ll::lDi::IS a**w The Pavilioja sf'Tfeaifc *t McLearf^ostfTiaJl Unparalleled psychiatric evaluation 5-TffiW- and treatment Unsurpassed discretion and service > JP * : Belmont, Massachusetts 6 1 7/855-3535 www.mclean.harvard.edu/pav/ McLean is the largest psychiatric clinical care, teaching and research affiliate Partners. of Harvard Medical School, an affiliate Massachusetts Healthcare of General Hospital and a member of Partners HealthCare. REASON #78 bump-bump bump-bump bump-bump A regular heartbeat is something most people take for granted. But if you're one of the millions afflicted with a cardiac arrhythmia, the prospect of a steadily beating heart is music to your ears. At Beth Israel Deaconess Medical Center, we wrote the book on arrhythmias and are leading the way with less invasive and more permanent treatments. We're also tending to matters of the heart in our renowned catheterization lab, cardiac MRI and peripheral vascular diseases units and unique diabetes partnership with Joslin Clinic. To find out more, visit www.bidmc.harvard.edu/heart or call 800-667-5356. Beth Israel Deaconess A teaching hospital of Harvard MedicaJ School $ Medical Center Affiliated Sox with Joslin Clinic I A Research Partner of Dana-Farber/Harvard Cancer Center I Official Hospital of the Boston Red JAMES LEVINE, MUSIC DIRECTOR BERNARD HAITINK, CONDUCTOR EMERITUS KM SEIJI OZAWA, MUSIC DIRECTOR LAUREATE 127th season, 2007-2008 ^=^>^^3 TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, INC. Edward H. Linde, Chairman Diddy Cullinane, Vice-Chairman • Robert P. O'Block, Vice-Chairman • Stephen Kay, Vice-Chairman • Roger T. Servison, Vice-Chairman • Edmund Kelly, Vice-Chairman • Vincent M. O'Reilly, Treasurer • George D. Behrakis • Mark G. Borden • Alan Bressler Jan Brett • Samuel B. Bruskin • Paul Buttenwieser • Eric D. Collins • Cynthia Curme • William R. Elfers • Nancy J. Fitzpatrick • Charles K. Gifford Thelma E. Goldberg George Krupp Shari Loessberg, ex-officio • Carmine Martignetti Robert J. Mayer, M.D. • Nathan R. Miller • Richard P. Morse • Susan W. Paine • Ann M. Philbin, ex-officio Carol Reich Edward I. Rudman • Hannah H. Schneider • Arthur I. Segel Thomas G. Sternberg • Wilmer J. Thomas, Jr. Stephen R. Weber Stephen R. Weiner • Robert C. Winters LIFE TRUSTEES Vernon R. Alden Harlan E. Anderson David B. Arnold, Jr. J. P. Barger Leo L. Beranek • Deborah Davis Berman • Peter A. Brooke • Helene R. Cahners • James F. Cleary John F. Cogan, Jr. Abram T. Collier • Mrs. Edith L. Dabney • Nelson J. Darling, Jr. • Nina L. Doggett Mrs. John H. Fitzpatrick Dean W. Freed • Edna S. Kalman • George H. Kidder • R. Willis Leith, Jr. • Mrs. August R. Meyer • Mrs. Robert B. Newman • William J. Poorvu • Irving W. Rabb Peter C. Read • Richard A. Smith Ray Stata • John Hoyt Stookey • John L. Thorndike • Dr. Nicholas T. Zervas OTHER OFFICERS OF THE CORPORATION Mark Volpe, Managing Director • Thomas D. May, Chief Financial Officer Suzanne Page, Clerk of the Board BOARD OF OVERSEERS OF THE BOSTON SYMPHONY ORCHESTRA, INC. Shari Loessberg, Chairman • William F. Achtmeyer • Diane M. Austin Lucille M. Batal • Maureen Scannell Bateman • Linda J.L. Becker • George W. Berry James L. Bildner • Bradley Bloom Anne F. Brooke • Gregory E. Bulger • William Burgin Ronald G. Casty • Carol Feinberg Cohen Susan Bredhoff Cohen • Richard F. Connolly, Jr. • Charles L. Cooney • Ranny Cooper • James C. Curvey • Mrs. Miguel de Braganca • Disque Deane Paul F. Deninger > Ronald M. Druker Alan J. Dworsky • Alan Dynner • Ursula Ehret-Dichter John P. Eustis II • Pamela D. Everhart Joseph F. Fallon • Thomas E. Faust, Jr. • Judith Moss Feingold Steven S. Fischman John F. Fish • Lawrence K. Fish • Myrna H. Freedman Carol Fulp • Robert P. Gittens • Michael Gordon • Paula Groves • Carol Henderson • Brent L. Henry • Susan Hockfield • Osbert M. Hood Roger Hunt • William W. Hunt • Ernest Jacquet Everett L. Jassy • Charles H. Jenkins, Jr. Darlene Luccio Jordan, Esq. • Paul L. Joskow • Stephen R. Karp Brian Keane Douglas A. Kingsley Robert Kleinberg • Farla H. Krentzman • Peter E. Lacaillade • Renee Landers - Charles Larkin • Robert J. Lepofsky Christopher J. Lindop John M. Loder Edwin N. London Jay Marks Jeffrey E. Marshall • Joseph B. Martin, M.D. Thomas McCann Joseph C. McNay Albert Merck WEEKS 25/26 TRUSTEES AND OVERSEERS - MUSEUM OF FINE ARTS, BOSTON elGreco xVelAzouez ART DURING THE RE REX OF PHILIP 111 r"! APRIL 20-JULY 27, 2008 TICKETS ON SALE NOW Tickets: 800-440-6975 or www.mfa.org/elgreco BOSTON media The exhibition is presented The television The exhibition is sponsored by This exhibition is organized by the Museum of Fine Arts, Boston, and with the collaboration of sponsor is the Nasher Museum of Art at Duke University, and is supported by indemnity from the Federal Council on the Arts and the Humanities. America an Bank of ^ WCVBTV OI:X BOSTON Humanit Additional support provided by National Endowment for the Foundation, and National Endowment for the Arts. Toledo. The Homeland Mayor) (detail), about 1610-H. Oil on canvas. Museo del Greco, El Greco (Domenikos Theotokopoulos), St. James (Santiago el Dr. Martin C. Mihm, Jr. • Robert Mnookin Paul M. Montrone • Robert J. Morrissey • Evelyn Stefansson Nef Robert T. O'Connell • Joseph Patton • Ann M. Philbin • May H. Pierce Claudio Pincus • Joyce L. Plotkin Dr. John Thomas Potts, Jr. Dr. Tina Young Poussaint • James D. Price Claire Pryor • Patrick J. Purcell John Reed • Donna M. Riccardi • Susan Rothenberg Alan Rottenberg Joseph D. Roxe • Kenan Sahin • Gilda Slifka Christopher Smallhom • John C. Smith Charles A. Stakely • Patricia L. Tambone • Caroline Taylor • Mark D. Thompson • Samuel Thorne • Albert Togut Diana Osgood Tottenham Joseph M. Tucci Paul M. Verrochi • Robert S. Weil David C. Weinstein • James Westra • Mrs. Joan D. Wheeler • Richard Wurtman, M.D. Patricia Plum Wylde • Dr. Michael Zinner • D. Brooks Zug OVERSEERS EMERITI Helaine B. Allen Marjorie Arons-Barron Caroline Dwight Bain Sandra Bakalar • Mrs. Levin H. Campbell Earle M. Chiles • Mrs. James C. Collias • Joan P. Curhan • Phyllis Curtin Tamara P. Davis • Betsy P. Demirjian • JoAnne Walton Dickinson • Phyllis Dohanian • Goetz B. Eaton • Harriett Eckstein • George Elvin • J. Richard Fennell Peter H.B. Frelinghuysen Mrs. Thomas Galligan, Jr. • Mrs. James Garivaltis Dr. Arthur Gelb • Jordan Golding Mark R. Goldweitz • Michael Halperson John Hamill • Deborah M. Hauser • Mrs. Richard D. Hill • Marilyn Brachman Hoffman • Lola Jaffe Michael Joyce Martin S. Kaplan • Mrs. S. Charles Kasdon • Mrs. Gordon F. Kingsley • David I. Kosowsky • Robert K. Kraft Benjamin H. Lacy Mrs. William D. Larkin • Hart D. Leavitt Frederick H. Lovejoy, Jr. • Diane H. Lupean Mrs. Charles P. Lyman • Mrs. Harry L. Marks • John A. Perkins • Daphne Brooks Prout • Robert E. Remis John Ex Rodgers • Mrs. Jerome Rosenfeld Roger A. Saunders Lynda Anne Schubert • Mrs. Carl Shapiro L. Scott Singleton • Patricia Hansen Strang • Robert A. Wells • Margaret Williams-DeCelles • Mrs. Donald B. Wilson Mrs. John J. Wilson OFFICERS OF THE BOSTON SYMPHONY ASSOCIATION OF VOLUNTEERS Ann Philbin, President • Howard Cutler, Executive Vice President, Fundraising Richard Dixon, Executive Vice President, Administration Gerald Dreher, Treasurer • Margery Steinberg, Executive Vice President, Tanglewood EXECUTIVE BOARD Mary Gregorio, Vice President, Special Projects • Pat Kavanagh, Vice President, Membership • Rosemary Noren, Vice President, Symphony Shop • Aaron Nurick, Vice President, Education and Outreach Beverly Pieper, Vice President, Hall Services • Paula Strasser, Secretary Janis Su, Vice President, Public Relations • Leah Weisse, Nominating Chairman WEEKS 25/26 TRUSTEES AND OVERSEERS • re information lives / # When information comes together, it's always # a memorable performance. EMC is a proud partner of the Boston Symphony Orchestra. As the world's largest orchestral organization, the BSO understands the critical role that information plays in keeping its operations running fluidly— and as the world leader in information infrastructure solutions, we help enterprises of all sizes manage, use, protect, and share their information more efficiently and cost effectively.
Recommended publications
  • Aoife Miskelly Soprano
    Aoife Miskelly Soprano Northern Irish soprano Aoife Miskelly Codetta in their performance – live on studied as a Sickle Foundation Scholar on the Spanish radio – of Beethoven’s oratorio Christ Opera Masters degree course at the Royal on the Mount of Olives in Cuenca. Aoife is also Academy of Music in London, graduating in a very keen oratorio singer, having performed 2012 with the Regency Award. During her in a whole host of concerts, including Bach’s studies, Aoife was a Kathleen Ferrier Awards Christmas Oratorio, St. John and Matthew finalist (2010), won a BBC Northern Ireland Passions, Jauchzet Gott in allen Landen and Young Artists Platform Award, and was a Magnificat, Beethoven’s Mass in C (in Samling Scholar, Internationale Cologne Cathedral), Brahms’ Deutches Meistersinger Akademie Young Artist and Requiem (St. Martin in the Fields), Carissimi’s Britten-Pears Young Artist. Aoife was the Jepthe (St. John’s, Smith Square), Handel’s winner of the Hampshire National Singing Messiah, Dixit Dominus, Laudate Pueri Competition in 2011, the Bernadette Greevy Dominum, and Saul (conducted by Laurence Bursary in 2011, finalist in the Veronica Dunne Cummings), Mozart’s Requiem, Coronation International Singing Competition 2013, and Mass and Exultate Jubilate, Orff’s Carmina finalist in the 2015 Wigmore Hall Song Burana (Ulster Orchestra), Poulenc’s Gloria, Competition. Stravinsky’s Mass, Varese’s Nocturnal and Vivaldi’s Gloria. During the 2012-16 seasons Aoife was a soloist at the Cologne Opera House where she Aoife’s recent highlights include
    [Show full text]
  • A Midsummer Night's Dream
    Monday 25, Wednesday 27 February, Friday 1, Monday 4 March, 7pm Silk Street Theatre A Midsummer Night’s Dream by Benjamin Britten Dominic Wheeler conductor Martin Lloyd-Evans director Ruari Murchison designer Mark Jonathan lighting designer Guildhall School of Music & Drama Guildhall School Movement Founded in 1880 by the Opera Course and Dance City of London Corporation Victoria Newlyn Head of Opera Caitlin Fretwell Chairman of the Board of Governors Studies Walsh Vivienne Littlechild Dominic Wheeler Combat Principal Resident Producer Jonathan Leverett Lynne Williams Martin Lloyd-Evans Language Coaches Vice-Principal and Director of Music Coaches Emma Abbate Jonathan Vaughan Lionel Friend Florence Daguerre Alex Ingram de Hureaux Anthony Legge Matteo Dalle Fratte Please visit our website at gsmd.ac.uk (guest) Aurelia Jonvaux Michael Lloyd Johanna Mayr Elizabeth Marcus Norbert Meyn Linnhe Robertson Emanuele Moris Peter Robinson Lada Valešova Stephen Rose Elizabeth Rowe Opera Department Susanna Stranders Manager Jonathan Papp (guest) Steven Gietzen Drama Guildhall School Martin Lloyd-Evans Vocal Studies Victoria Newlyn Department Simon Cole Head of Vocal Studies Armin Zanner Deputy Head of The Guildhall School Vocal Studies is part of Culture Mile: culturemile.london Samantha Malk The Guildhall School is provided by the City of London Corporation as part of its contribution to the cultural life of London and the nation A Midsummer Night’s Dream Music by Benjamin Britten Libretto adapted from Shakespeare by Benjamin Britten and Peter Pears
    [Show full text]
  • Ildar Abdrazakov Las Versiones Del Demonio
    ENTREVISTA Ildar Abdrazakov Las versiones del demonio por Ingrid Haas ldar Abdrazakov es uno de los grandes bajos en la actualidad. A sus 39 años, goza ya de una carrera sólida y llena de éxitos en teatros tan importantes como la Scala de Milán, Iel Metropolitan Opera House de Nueva York, Washington Opera, Los Ángeles Ópera, Royal Opera House de Londres, Opéra Bastille de París, el Teatro Mariinsky, el Liceu de Barcelona, el Real de Madrid, la Ópera de Montecarlo, la Ópera de San Francisco, la Ópera Estatal de Viena y la Ópera Estatal de Baviera, entre otras. La voz de Abdrazakov ha conquistado a los públicos más exigentes y a directores de orquesta de la talla de Riccardo Muti, James Levine, Valery Gergiev, Gianandrea Noseda, Anthony Pappano, Riccardo Chailly y Bertrand de Billy, sólo por nombrar a algunos. “En las tres Con su cavernoso timbre, innegable musicalidad y gallarda versiones de presencia escénica, Abdrazakov ha cantado una amplia gama de Mefistófeles que he roles que van desde Fígaro en Le nozze di Figaro de Mozart, el rol cantado, mi Fausto titular y Leporello en Don Giovanni, Moïse en Moïse et Pharaon, ha sido siempre Assur en Semiramide, Don Basilio en Il Barbiere di Siviglia, las Ramón Vargas” tres de Rossini, Oroveso en Norma de Bellini, Méphistophélès Foto: Sergei Misenko en las versiones de Faust de Gounod y La damnation de Faust de Berlioz, el rol principal de Mefistofelede Boito, los Cuatro Sí, en efecto. Vine a cantar hace unos años a la Ciudad de México: Villanos de Les contes d’Hoffmann, Walter en Luisa Miller así un recital en la Sala Nezahualcóyotl y el Requiem de Verdi en como Oberto y Attila en las óperas homónimas de Verdi, Dosifei en Bellas Artes.
    [Show full text]
  • Debussy's Pelléas Et Mélisande
    Debussy’s Pelléas et Mélisande - A discographical survey by Ralph Moore Pelléas et Mélisande is a strange, haunting work, typical of the Symbolist movement in that it hints at truths, desires and aspirations just out of reach, yet allied to a longing for transcendence is a tragic, self-destructive element whereby everybody suffers and comes to grief or, as in the case of the lovers, even dies - yet frequent references to fate and Arkel’s ascribing that doleful outcome to ineluctable destiny, rather than human weakness or failing, suggest that they are drawn, powerless, to destruction like moths to the flame. The central enigma of Mélisande’s origin and identity is never revealed; that riddle is reflected in the wispy, amorphous property of the music itself, just as the text, adapted from Maeterlinck’s play, is vague and allusive, rarely open or direct in its expression of the characters’ velleities. The opera was highly innovative and controversial, a gateway to a new style of modern music which discarded and re-invented operatic conventions in a manner which is still arresting and, for some, still unapproachable. It is a work full of light and shade, sunlit clearings in gloomy forest, foetid dungeons and sea-breezes skimming the battlements, sparkling fountains, sunsets and brooding storms - all vividly depicted in the score. Any francophone Francophile will delight in the nuances of the parlando text. There is no ensemble or choral element beyond the brief sailors’ “Hoé! Hisse hoé!” offstage and only once do voices briefly intertwine, at the climax of the lovers' final duet.
    [Show full text]
  • 20Th-Century Repertory
    Mikrokosmos List 592. - 2 - November 2014 ....20TH-CENTURY REPERTORY 1 Antill: Corroboree - Sydney SO, cond.Lanchbery (TAS) S EMI OASD 7603 A 70 2 Antill: Corroboree/Ginestera: Panambi - cond.Goosens (reissue) S EVEREST SDBR(RI) 3003 A 20 3 Apostel: Ballade/Leikauf: 4 Orch Pieces/W.Waldstein: Adagio & Fugue/E.Wilimek: PREISER SPR 104 A 20 Div/M.J.M.Nedbal: Prel & Fugue - cond.Horak, Woss S 4 Aranyi-Ascher: Aus den Memoiren (hrpschrd)/Kropfreiter: Concertante music PREISER SPR 140 A 12 (orch)/Markaritzer: Div (ch orch)/Nussgruber: Adagio (ch orch)/K.F.Muller: Organ Con 2/Haselbock: 2 Songs S 5 Arvay, Pierre: Images symphoniques - G.Barboteu, A.Fournier hns, M.Allard bsn, J- TEPPAZ 30S 2 A 40 B.Mari tuba (no orch or cond listed) S 6 Barraud: Offrande a une ombre/Prokofiev: Sym 7/Bliss: 4 Dances from Checkmate 2 x BBC TRANSC 92062 A 40 - BBC SO, cond.Freitas Branco 10" 7 Bartok: Contrasts, Sonata for 2 Pnos & Percs - Farnadi, Gertler, Prinz, J.& WESTMINSTE XWN 19064 A 10 O.Schwartz 8 Bate, Stanley: Pno Con 2 (comp.pno)/Mussorgsky: Bare Mountain/Clementi: Sym 2 x BBC TRANSC 92186 A 40 in C - BBC SO, cond.S.Robinson 10" 9 Bentzon, Niels Viggo: Meet the Danes (orch suite) - cond.S.Lundvig (Danish-only RCA DLPM 6404 A 25 issue) 10 Bianchi, Vicente: Misa a la Chilena; Six Folklore Themes - Jaime Soval, Chile Canta ODEON LDC 36521 A 15 Chorus, cond.comp (with orch) (Chilean pressing) (worn jacket) 11 Bowen, York: Piano Music (10 Preludes, Partita, etc) - comp.pno LYRITA RCS 17 A 10 12 Brill, Margret: The Fabulous Harp (17 pieces) - comp.harp S
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 2009
    SUMMER 2009 • . BOSTON SYMPHONY ORCHESTRA JAMES LEVINE MUSIC DIRECTOR DALECHIHULY HOLSTEN GALLERIES CONTEMPORARY GLASS SCULPTURE 3 Elm Street, Stockbridge 413 -298-3044 www.holstengaIleries.com Olive Brown and Coral Pink Persian Set * for a Changing World They're Preparing to Change the 'I'Mi P i MISS HALL'S SCHOOL what girls have in mind 492 Holmes Road, Pittsfield, Massachusetts 01201 (413)499-1300 www.misshalls.org • e-mail: [email protected] m Final Weeks! TITIAN, TINTORETTO, VERONESE RIVALS IN RENAISSANCE VENICE " "Hot is the WOrdfor this show. —The New York Times Museum of Fine Arts, Boston March 15-August 16, 2009 Tickets: 800-440-6975 or www.mfa.ore BOSTON The exhibition is organized the Museum by The exhibition is PIONEER of Fine Arts, Boston and the Musee du sponsored £UniCredit Group by Investments* Louvre, and is supported by an indemnity from the Federal Council on the Arts and Titian, Venus with a Mirror (detail), about 1555. Oil on canvas. National Gallery of Art, Washington, Andrew the Humanities. W. Mellon Collection 1 937.1 .34. Image courtesy of the Board of Trustees, National Gallery of Art, Washington. James Levine, Music Director Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate 128th season, 2008-2009 Trustees of the Boston Symphony Orchestra, Inc. Edward H. Linde, Chairman • Diddy Cullinane, Vice-Chairman • Robert P. O'Block, Vice-Chairman Stephen Kay, Vice-Chairman • Roger T. Servison, Vice-Chairman • Edmund Kelly, Vice-Chairman • Vincent M. O'Reilly, Treasurer • George D. Behrakis • Mark G. Borden • Alan Bressler • Jan Brett • Samuel B. Bruskin • Paul Buttenwieser • Eric D.
    [Show full text]
  • Los Puritanos
    VINCENZO BELLINI LOS PURITANOS STREAMING METROPOLITAN OPERA HOUSE Presenta VINCENZO BELLINI LOS PURITANOS Ópera en tres actos Libreto de Cesar Pepoli, basado en el drama histórico “Têtes rondes et Cavaliers” de Jaques François Ancelot y Joseph Xavier Boniface. Reparto Elvira Anna Netrebko Arturo Eric Cutler Riccardo Franco Vassallo Giorgio John Relyea Enrichetta Maria Zifchak Gualtiero Valerian Ruminski Bruno Eduardo Valdes Coro y Orquesta del Metropolitan Opera House Dirección: Patrick Summers Producción escénica Dirección teatral Sandro Sequi Escenografía Ming Cho Lee Vestuario Peter J. Hall Dirección de TV Gary Halvorson Viernes 18 de septiembre de 2018 Transmisión vía streaming desde Metropolitan Opera House – New York, USA TEATRO NESCAFÉ DE LAS ARTES Temporada 2020 LOS PURITANOS ANTECEDENTES Toda información que se reciba con ante- cedentes sobre “Los puritanos” de Vincen- zo Bellini debe considerar que ésta es la décima y última ópera de este compositor, surgida en 1835, pocos meses antes de su temprana muerte, a los 33 años. A fines de marzo de 1833, poco después de estrenar “Beatrice di Tenda” en Vene- cia, Bellini viajó a Londres vía París, junto a la aclamada soprano Giuditta Pasta, quien encabezaría el estre- no de “Norma” en la capital inglesa. En otros teatros londinenses se presentarían también “La sonámbula” y “Capuletos y Montescos” en la misma temporada. Vincenzo Bellini Pero a Bellini le atraía mucho París, la ciu- dad más importante de Europa a la que Opera de París y encontrar una esposa, ya ya habían arribado Rossini y Donizetti, sus que hasta entonces había mantenido rela- grandes colegas belcantistas, a quienes ciones muy complejas con algunas mujeres quería seguir en la ruta geográfica y artís- casadas.
    [Show full text]
  • The Marriage of Figaro
    UNIVERSITY MUSICAL SOCIETY Charles A. Sink, President Lester McCoy, Conductor Gail W. Rector, Executive Director First Concert 1957-1958 Complete Series 3216 Twelfth Annual Extra Concert Series THE NBC OPERA COMPANY m THE MARRIAGE OF FIGARO MOZART SUNDAY EVENING, OCTOBER 6, 1957, AT 8:30 HILL AUDITORIUM, ANN ARBOR, MICHIGAN THE CAST Count Almaviva WALTER CASSEL Countess Almaviva MARGUERITE WILLAUER Susanna, the Countess' maid JUDITH RASKIN Figaro, the Count's valet . MAC MORGAN Cherubino, the Count's page REGINA SARFATY Marcellina, an aged dame . RUTH KOBART Basilio, a music master LUIGI VELUCCI Don Curzio, a judge FRED CUSHMAN Bartolo, a doctor . EMILE RENAN Antonio, a gardener-Susanna's uncle EUGENE GREEN Barbarina, his daughter . BERTE GOAPERE Crier . RICHARD KRAUSE Country men and women, court attendants, hunters, and servants. (Cast subject to change) Conductor and Stage Director: PETER HERMAN ADLER Baldwin piano courtesy 0/ Maddy Music Company, Ann Arbor. A R S LON G A V I T A BREVIS THE MARRIAGE OF FIGARO By WOLFGANG AMADEUS MOZART Libretto by DAPONTE Based on a comedy by BEAUMARCHAIS English version: EDWARD EAGER Producer: SAMUEL CHOTZINOFF Music and Artistic Director: PETER HERMAN ADLER General Manager: CHANDLER COWLES Costumes: ALVIN COLT The action takes place in the castle and grounds of the Count and Countess Almaviva, near Seville. ACT I Count Almaviva, grown faithless to his Rosina after some years of marriage, has cast a roving eye upon her maid, Susanna, the bride-to-be of his valet, Figaro; while the Count's page, young Cherubino, has fallen in love, if you please, with the Countess herself.
    [Show full text]
  • Télécharger Le Bulletin De Liaison N° 42
    Bulletin de liaison N° 42 janvier 2008 Page: 1 ASSOCIATION NATIONALE HECTOR BERLIOZ Reconnue d’utilité publique Président : Gérard CONDÉ COMITÉ D’HONNEUR Gilbert AMY, Jacques CHARPENTIER, Pascal DUSAPIN, Henri DUTILLEUX, Betsy JOLAS, Noël LEE, Michaël LÉVINAS, Serge NIGG, de l’Institut. MEMBRES D’HONNEUR Serge BAUDO Colin DAVIS Alain LOMBARD Anne BONGRAIN Désiré DONDEYNE Jean-Pierre LORÉ David CAIRNS Jean FOURNET Hugh MACDONALD Sylvain CAMBRELING Brigitte FRANCOIS-SAPPEY Jean-Paul PENIN Jean-Claude CASADESUS Nicolaï GEDDA Michel PLASSON Gérard CAUSSÉ Yves GÉRARD Georges PRÊTRE Marie-Hélène COUDROY-SAGHAÏ CONSEIL D’ADMINISTRATION Président : Gérard CONDÉ Membres élus Dominique ALEX, Josiane BOULARD, Présidente adjointe : Arlette GINIER-GILLET Jacques CHAMBREUIL, Philippe Secrétaire général : Alain REYNAUD CHINKIRCH, Alain DURIAU, Patrick FAVRE-TISSOT-BONVOISIN, Marcelle Trésorière : Michèle CORRÉARD GIDON, Clarisse GUILMET, Gérard LEBRUN, Jean-Pierre MAASSAKKER, Membres de droit: Patrick MOREL, Hervé ROBERT, Alain M. le Président du Conseil général de l’Isère ROUSSELON, Pierre-René SERNA, M. le Conseiller général du canton de La Côte-Saint- Christian WASSELIN, Charles WOLFERS. André M. le Maire de La Côte-Saint-André Membres associés M. le Président de l’Agence iséroise de diffusion artistique Jean-Pierre ARNAUD, Gunther BRAAM, (AIDA) Lucile DUC, Marcelle GEORJON, Emma- Mme le Conservateur en chef du musée Hector-Berlioz nuel de MALEYZIEUX. DÉLÉGATIONS REGIONALES Alsace: Martine WEBER, Clarisse GUILMET Nord-Picardie : Dominique CATTEAU
    [Show full text]
  • Nancy Opéra Passion, a Réservé Au Public Cette Surprise Renouant Avec Les Fastes D’Un Passé Pas Si Lointain
    "Forum Opéra" Splendeurs à la Cour des Ducs de Lorraine La tradition lyrique de la Cité des Ducs de Lorraine est installée depuis des lustres et bien des Nancéiens se souviennent encore - et en conservent précieusement les programmes - de fabuleuses saisons lyriques des années 50, où un spectacle nouveau était monté chaque semaine ! Il n’était pas rare d’assiter alors, pour ne citer que deux titres, aussi bien au Postillon de Longjumeau d’Adolphe Adam, qu’à La Poupée d’Edmond Audran. Les années passant, la Ville n’a pu conserver un tel renouvellement dans la magie d’opéra qu’elle réservait à son public mais elle continua à le régaler de spectacles de grande qualité, servis par des artistes de renommée nationale et internationale. Il était en effet monnaie courante d’entendre ceux pour lesquels on ajoutait alors, après leur nom, « de l’Opéra », signifiant qu’ils étaient les glorieux pensionnaires de l’Opéra de Paris, comme Mado Robin, Jacqueline Brumaire, Régine Crespin, Guy Chauvet, Henri Legay, Michel Dens, Gabriel Baquier, Alain Vanzo… L’Opéra de Nancy s’ouvrit également aux grands noms internationaux et l’on retrouvait régulièrement Piero Cappuccilli, Rolando Panerai, Nicola Rossi Lemeni, Sesto Bruscantini, Paolo Montarsolo, Ruggero Raimondi, Fedora Barbieri, côtoyant des artistes venus d’Europe et même d’Asie. Quelques grands parmi les grands passèrent parfois à Nancy, comme Lucia Valentini Terrani et, pour dérouler un tapis rouge à José Cura, grand Interprète d‘aujourd’hui, ses illustres devanciers-ténors : Giacomo Lauri Volpi, Luis Mariano et Carlo Bergonzi. Il était temps que le public encourageât son Opéra et vers la fin des années 60, naissait la première association promouvant conférences et brochures destinées à présenter les ouvrages à l’affiche de la saison lyrique, ainsi que de sympathiques réceptions des artistes, approchés par tous.
    [Show full text]
  • Berlioz's Les Nuits D'été
    Berlioz’s Les nuits d’été - A survey of the discography by Ralph Moore The song cycle Les nuits d'été (Summer Nights) Op. 7 consists of settings by Hector Berlioz of six poems written by his friend Théophile Gautier. Strictly speaking, they do not really constitute a cycle, insofar as they are not linked by any narrative but only loosely connected by their disparate treatment of the themes of love and loss. There is, however, a neat symmetry in their arrangement: two cheerful, optimistic songs looking forward to the future, frame four sombre, introspective songs. Completed in 1841, they were originally for a mezzo-soprano or tenor soloist with a piano accompaniment but having orchestrated "Absence" in 1843 for his lover and future wife, Maria Recio, Berlioz then did the same for the other five in 1856, transposing the second and third songs to lower keys. When this version was published, Berlioz specified different voices for the various songs: mezzo-soprano or tenor for "Villanelle", contralto for "Le spectre de la rose", baritone (or, optionally, contralto or mezzo) for "Sur les lagunes", mezzo or tenor for "Absence", tenor for "Au cimetière", and mezzo or tenor for "L'île inconnue". However, after a long period of neglect, in their resurgence in modern times they have generally become the province of a single singer, usually a mezzo-soprano – although both mezzos and sopranos sometimes tinker with the keys to ensure that the tessitura of individual songs sits in the sweet spot of their voices, and transpositions of every song are now available so that it can be sung in any one of three - or, in the case of “Au cimetière”, four - key options; thus, there is no consistency of keys across the board.
    [Show full text]
  • Let's Think About This Reasonably: the Conflict of Passion and Reason
    Let’s Think About This Reasonably: The Conflict of Passion and Reason in Virgil’s The Aeneid Scott Kleinpeter Course: English 121 Honors Instructor: Joan Faust Essay Type: Poetry Analysis It has long been a philosophical debate as to which is more important in human nature: the ability to feel or the ability to reason. Both functions are integral in our composition as balanced beings, but throughout history, some cultures have invested more importance in one than the other. Ancient Rome, being heavily influenced by stoicism, is probably the earliest example of a society based fundamentally on reason. Its most esteemed leaders and statesmen such as Cicero and Marcus Aurelius are widely praised today for their acumen in affairs of state and personal ethics which has survived as part of the classical canon. But when mentioning the classical canon, and the argument that reason is essential to civilization, a reader need not look further than Virgil’s The Aeneid for a more relevant text. The Aeneid’s protagonist, Aeneas, is a pious man who relies on reason instead of passion to see him through adversities and whose actions are foiled by a cast of overly passionate characters. Personages such as Dido and Juno are both portrayed as emotionally-laden characters whose will is undermined by their more rational counterparts. Also, reason’s importance is expressed in a different way in Book VI when Aeneas’s father explains the role reason will play in the future Roman Empire. Because The Aeneid’s antagonists are capricious individuals who either die or never find contentment, the text very clearly shows the necessity of reason as a human trait for survival and as a means to discover lasting happiness.
    [Show full text]