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Peter Savidge Baritone

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Peter Savidge Baritone Peter Savidge Baritone Budd in Genova and Garibaldo Rodelinda and For Opera North he has sung Capulet Romeo et The Traveller Death in Venice for Canadian Juliette , Theseus A Midsummer Nights Dream , Opera Company in Toronto. various roles in Weinberg’s The Portrait , Macheath The Threepenny Opera , Giuseppe Savidge has a formidable international career The Gondolie rs, Storch Intermezzo , Figaro singing at the festivals of Aldeburgh, Barber of Seville , Don Giovanni, Marcello, Edinburgh, Florence, Venice, Tours, Brussels, Danilo, The Count, Ned Keene and Valentin Vienna, Jerusalem, Tel Aviv, Amsterdam, Oslo, Faust , Sharpless Madam Butterfly and most and the Three Choirs Festivals. He has been in recently Baron La Traviata , Krušina The demand in Europe as a soloist in Britten’s War Bartered Bride and Marco Gianni Schicchi. He Requiem , including a premiere in Hungary, in also played Gaylord Ravenal in their highly Buenos Aires for a series of performances of acclaimed co-production of Showboat with the Beethoven’s Symphony No. 9 and a tour of Royal Shakespeare Company, Rambaldo La Bach’s B Minor Mass . He has given Rondine , Zurga The Pearl Fishers , Dulcamara performances of Szymanowski’s Stabat Mater L’Elisir d’Amore , Don Alfonso Cosi fan Tutte , with the Rotterdam Philharmonic and The Baron Douphol La Traviata , Krušina The Dream of Gerontius and Belshazzar’s Feast with Bartered Bride, Traveller Death in Venice and the Warsaw Philharmonic. Sharpless Madama Butterfly. For the BBC, he has broadcast a wide range of For the Royal Opera House, Covent Garden, he solo and choral works – notably works by has taken the roles of Ned Keene, Travel Copland, Henze, Honegger and Martin for Agency Clerk Death in Venice , The Baron Austrian Radio ‘Dallapiccola’. He has recorded Cherubin , Lescaut Manon , and roles in Don albums of songs by Vaughan Williams, Bax and Carlos , Billy Budd and Fanciulla del West . For Bantock; with conductors Sir John Eliot Glyndebourne Touring Opera he has sung The Gardiner and Sir Charles Mackerras and most Marquis Song of Love and Death and Don recently Albert Herring with Steuart Bedford. Alfonso Così fan Tutte . Additionally, he was seen as Mr Coyle in the “ the experienced Peter Savidge Channel 4 film of Britten’s Owen Wingrave . is luxury casting ” For Scottish Opera he sang the title role in Don Giovanni , created the leading role of Thomas Recent highlights include Sharpless Madama Alfred Hickling, The Guardian Muir in the world premiere of David Horne’s Butterfly and Marco Gianni Schicchi for Opera Friend of the People , performed Don Alfonso, North, Ned Keene Peter Grimes for Deutsche Gunther Gotterdammerung in the widely Oper am Rhein, and To See the Invisible , a new acclaimed Ring Cycle, Faninal Der opera by Emily Howard for Aldeburgh Festival. Rosenkavalier and Mangus The Knot Garden . He also performed Benjamin Ellin’s oratorio For Garsington Opera he sang Count Le Nozze ‘One Before Zero’ with L’Orchestre de Picardie di Figaro . in Slovakia and Germany and returned One of Britain’s most distinguished and best Garsington Opera for Krušina The Bartered established baritones, Peter Savidge has He has sung the seven baritone roles in the Bride. performed for the major opera companies in French premiere of Death in Venice in Nancy the UK and for many leading houses in Europe and Liege, Valentin in Tel Aviv, Ned Keene in and elsewhere. His elegant and well focused Dublin, Cologne, Genova and Strasbourg, Don Valid for use until 1 September 2020 style of singing has been singled out for Alfonso for Opera du Rhin Strasbourg, For updated versions please contact particularly high praise. Mercurio La Calisto in Berlin, Belcore L’Elisir [email protected] d’Amore at L’Opera Comique in Paris, Don With Welsh National Opera roles include Alfonso in Nantes and Sharpless on tour in Papageno The Magic Flute , Danilo The Merry Japan. He sang Harry Easter Street Scene for Widow , Guglielmo Cosi Fan Tutte , Schaunard the Kurt Weill Festival in Dessau, Theseus A La Boheme , Falke Die Fledermaus , Harlequin Midsummer Night’s Dream at Teatro dell’Opera Ariadne auf Naxos , Figaro Barber of Seville , di Roma and created the title role in Abelard et Count Marriage of Figaro , Raimbaud Count Ory , Eloise in Strasbourg and at the Chatelet, Paris. Alfonso La Favorita , Marcello La Boheme , Ping He has performed the role of Choregos Turandot , Lieutenant of the Tower Yeomen of Birtwistle Punch and Judy in Porto and the Guard , Goryanchikov House of the Dead Collatinus The Rape of Lucretia in Reggio and Ned Keene Peter Grimes . Emilia, Parma and Modena and Mr. Flint Billy Rayfield Allied Member of the International Artist Unit 26 China Works Managers’ Association Black Prince Road, London SE 1 7 SJ , UK Rayfield Allied acts as agent only and can www.rayfieldallied.com accept no responsibility as principal E-mail [email protected] Telephone +44 (0) 20 7589 6243 Facsimile +44 (0) 20 7581 5269 .
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  • 10-26-2019 Manon Mat.Indd
    JULES MASSENET manon conductor Opera in five acts Maurizio Benini Libretto by Henri Meilhac and Philippe production Laurent Pelly Gille, based on the novel L’Histoire du Chevalier des Grieux et de Manon Lescaut set designer Chantal Thomas by Abbé Antoine-François Prévost costume designer Saturday, October 26, 2019 Laurent Pelly 1:00–5:05PM lighting designer Joël Adam Last time this season choreographer Lionel Hoche revival stage director The production of Manon was Christian Räth made possible by a generous gift from The Sybil B. Harrington Endowment Fund general manager Peter Gelb Manon is a co-production of the Metropolitan Opera; jeanette lerman-neubauer Royal Opera House, Covent Garden, London; Teatro music director Yannick Nézet-Séguin alla Scala, Milan; and Théâtre du Capitole de Toulouse 2019–20 SEASON The 279th Metropolitan Opera performance of JULES MASSENET’S manon conductor Maurizio Benini in order of vocal appearance guillot de morfontaine manon lescaut Carlo Bosi Lisette Oropesa* de brétigny chevalier des grieux Brett Polegato Michael Fabiano pousset te a maid Jacqueline Echols Edyta Kulczak javot te comte des grieux Laura Krumm Kwangchul Youn roset te Maya Lahyani an innkeeper Paul Corona lescaut Artur Ruciński guards Mario Bahg** Jeongcheol Cha Saturday, October 26, 2019, 1:00–5:05PM This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. The Met: Live in HD series is made possible by a generous grant from its founding sponsor, The Neubauer Family Foundation. Digital support of The Met: Live in HD is provided by Bloomberg Philanthropies. The Met: Live in HD series is supported by Rolex.
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    Grand Valley State University ScholarWorks@GVSU Honors Projects Undergraduate Research and Creative Practice Winter 2011 Prévost’s Manon Lescaut and Her Transition to the Operatic Stage Lily Guerrero Grand Valley State University Follow this and additional works at: http://scholarworks.gvsu.edu/honorsprojects Recommended Citation Guerrero, Lily, "Prévost’s Manon Lescaut and Her Transition to the Operatic Stage" (2011). Honors Projects. 79. http://scholarworks.gvsu.edu/honorsprojects/79 This Open Access is brought to you for free and open access by the Undergraduate Research and Creative Practice at ScholarWorks@GVSU. It has been accepted for inclusion in Honors Projects by an authorized administrator of ScholarWorks@GVSU. For more information, please contact [email protected]. Prévost’s Manon Lescaut and Her Transition to the Operatic Stage Lily Guerrero Senior Project, Frederik Meijer Honors College Grand Valley State University Dr. Kathryn Stieler, advisor 2 Prévost’s 1731 novel L'Histoire du chevalier des Grieux et de Manon Lescaut was an extremely controversial publication during its time. While the title expresses that it is a story concerning both Des Grieux and Manon, the latter is the character of interest for most readers. Many composers have fallen in love with this dangerous literary figure, and Manon’s story has culminated in operas by Massenet, Puccini, Henze, and Auber. What is it about Manon that inspires composers to translate Prévost’s written word to the operatic stage? Are these adaptations successful pieces of the operatic repertoire? Does Manon’s seemingly fickle nature become a caricature when transferred to the libretto, or do artistic teams successfully interpret this femme fatale of the stage? A study of the infatuation artists have with Manon and their commitment to the integrity of Prévost’s original Manon in their theatrical renditions of the character will shed light on these questions.
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  • (“You Love Opera: We'll Go Twice a Week”), Des Grieux Promise
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  • MSC French Opera Course (Teacher Notes) Page 40
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  • Massenet and Opera: Richness and Diversity
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  • Massenet's Cendrillon
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  • JULES MASSENET – His Life and Works by Nick Fuller I
    JULES MASSENET – His Life and Works By Nick Fuller I. Introduction Jules Massenet’s operas made him one of the most popular composers of the late nineteenth century, his works performed throughout Europe, the Americas and North Africa. After World War I, he was seen as old- fashioned, and nearly all of his operas, apart from Werther and Manon , vanished from the mainstream repertoire. The opera-going public still know Massenet best for Manon , Werther , and the Méditation from Thaïs , but to believe, as The Grove Dictionary of Opera wrote in 1954, that ‘to have heard Manon is to have heard all of him’ is to do the composer a gross disservice. Massenet wrote twenty-seven operas, many of which are at least as good as Manon and Werther . Nearly all are theatrically effective, boast beautiful music and display insightful characterisation and an instinct for dramatic and psychological truth. In recent decades, Massenet’s work has regained popularity. Although he Figure 1 Jules Massenet, drawing by Ernesto Fontana (Source: is not the household name he once http://artlyriquefr.fr/personnages/Massenet%20Jules.html) was, and many of his operas remain little known, he has been winning new audiences. Conductors like Richard Bonynge, Julius Rudel and Patrick Fournillier have championed Massenet, while since 1990 a biennial Massenet festival has been held in his birthplace, Saint-Étienne, in the Auvergne-Rhône-Alpes, its mission to rediscover Massenet’s operas. His work has been performed in the world’s major opera houses under the baton of conductors Thomas Beecham, Colin Davis, Charles Mackerras, Michel Plasson, Riccardo Chailly and Antonio Pappano, and sung by Joan Sutherland, José van Dam, Frederica von Stade, Nicolai Gedda, Roberto Alagna, Renée Fleming, Thomas Hampson and Plácido Domingo.
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  • Wertherin Huebner French Opera at the Fin De Siecle
    WARNING OF COPYRIGHT RESTRICTIONS1 The copyright law of the United States (Title 17, U.S. Code) governs the maKing of photocopies or other reproductions of the copyright materials. Under certain conditions specified in the law, library and archives are authorized to furnish a photocopy or reproduction. One of these specified conditions is that the photocopy or reproduction is not to be “used for any purpose other than in private study, scholarship, or research.” If a user maKes a reQuest for, or later uses, a photocopy or reproduction for purposes in excess of “fair use,” that user may be liable for copyright infringement. The Yale University Library reserves the right to refuse to accept a copying order, if, in its judgement fulfillment of the order would involve violation of copyright law. 137 C.F.R. §201.14 2018 FRENCH OPERA AT THE FIN DE SIÉCLE Wagnerism, Nationalism, and Style Steven Huebner tu OXFORD UNIVERSITY PRESS Werther STAGECRAFT Massenet's delay in getting down to Werther in the early 1880s may have been caused partly by difficulties in extracting an opera from an epistolary novel. The succession of Werther's letters, mainly to his friend Wilhelm, traces the psycho- logical state of the protagonist along a downward curve of increasing despair and alienation, after his initial optimistic identification with resplendent Nature and elation during the first days with his beloved Lotte. Goethe's heroine, like Prévost's Manon, appears mainly through the eyes of her obsessive admirer. As with the figure of Manon, the stage would require Charlotte to have a larger degree of dramatic agency in her own right.
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  • Odyssey Opera Presents the Boston Premiere of Le Cid in One-‐‑Night-‐‑Only Concert Event
    For Release 8.12.15 Media Contact: April Thibeault/AMT PR [email protected] 212.861.0990 Odyssey Opera Presents the Boston Premiere of Le Cid in One-Night-Only Concert Event WHAT: Live concert production of Le Cid, a rare opera by Jules Massenet WHEN: Friday, September 18 at 7:30 p.m. WHERE: NEC’s Jordan Hall, 30 Gainsborough Street, Boston, T: Green to Symphony TICKETS: General $20-100/Students & Seniors $5 Discount. To purchase, visit odysseyopera.org or call 617.826.1626. Tickets also available in person from the Jordan Hall box office. (Boston, MA) – Odyssey Opera, a Boston-based opera company dedicated to exploring the full spectrum of adventurous repertoire, presents the Boston premiere of one of France’s great operas, Le Cid (1885), composed by Jules Massenet (1842-1912). A rarity that has been sadly absent from opera houses worldwide in the 20th and 21st centuries, Le Cid is rarely produced in the United States. With its grand themes of honor, love, bravery, and sacrifice, Le Cid encompasses the sweep of historical epic and the depths of the heart. Conducted by Gil Rose, this one-night-only performance breathes new dramatic life into the legendary medieval Spanish warrior Rodrigue, known as “Le Cid” (“The Lord”) (played by American tenor Paul Groves.) “Le Cid is an under-appreciated masterpiece, bringing immense dramatic intensity to the operatic stage,” says Gil Rose, Artistic and General Director of Odyssey Opera. “This opera is one of Massenet’s greatest achievements.” Massenet completed Le Cid in 1885, between Manon and Werther, both of which have had long and fruitful lives.
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  • The Vocality of Sibyl Sanderson in Massenet's Manon and Esclarmonde Tamara D. Thompson
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  • Manon Lescaut Synopsis
    Manon Lescaut Synopsis Mid-18th century, France and Louisiana Act I Edmondo leads the merrymaking of a group of students. Des Grieux responds to taunts of being an unhappy lover by declaring that he knows nothing of love. He then serenades all the ladies present. The coach from Arras arrives, and all—including Des Grieux—are struck by the beauty of Manon as she alights, accompanied by her brother Lescaut and the roué Geronte de Ravoir. The girl waits for Lescaut while he enters the inn to arrange tor rooms. Des Grieux approaches her and asks her name. When he learns that she is on her way to a convent against her will, he begs her to meet him later to find a way to change her fate. Reluctantly she promises to return, then goes into the inn. Des Grieux admits to himself that he is already in love with her. Lescaut confides to Geronte that he disagrees with his parents' plans for Manon, whom he is accompanying only out of a sense of duty. Geronte invites Lescaut and his sister to dinner, then excuses himself to talk with the innkeeper. Lescaut is soon drawn into a card game with the students. Edmondo overhears Geronte ordering a carriage and informs Des Grieux that the old man is planning to abduct Manon. She finds Des Grieux, having kept her promise. He tells her of the planned abduction. Edmondo returns, letting them know that everything is ready. The lovers escape in Geronte's carriage. He soon discovers what has happened and is mocked by the students, but Lescaut tells him to be patient: Manon's fondness for luxury will eventually make it possible to lure her away from Des Grieux.
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