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Mozart Magic Philharmoniker
THE T A R S Mass, in C minor, K 427 (Grosse Messe) Barbara Hendricks, Janet Perry, sopranos; Peter Schreier, tenor; Benjamin Luxon, bass; David Bell, organ; Wiener Singverein; Herbert von Karajan, conductor; Berliner Mozart magic Philharmoniker. Mass, in C major, K 317 (Kronungsmesse) (Coronation) Edith Mathis, soprano; Norma Procter, contralto...[et al.]; Rafael Kubelik, Bernhard Klee, conductors; Symphonie-Orchester des on CD Bayerischen Rundfunks. Vocal: Opera Così fan tutte. Complete Montserrat Caballé, Ileana Cotrubas, so- DALENA LE ROUX pranos; Janet Baker, mezzo-soprano; Nicolai Librarian, Central Reference Vocal: Vespers Vesparae solennes de confessore, K 339 Gedda, tenor; Wladimiro Ganzarolli, baritone; Kiri te Kanawa, soprano; Elizabeth Bainbridge, Richard van Allan, bass; Sir Colin Davis, con- or a composer whose life was as contralto; Ryland Davies, tenor; Gwynne ductor; Chorus and Orchestra of the Royal pathetically brief as Mozart’s, it is Howell, bass; Sir Colin Davis, conductor; Opera House, Covent Garden. astonishing what a colossal legacy F London Symphony Orchestra and Chorus. Idomeneo, K 366. Complete of musical art he has produced in a fever Anthony Rolfe Johnson, tenor; Anne of unremitting work. So much music was Sofie von Otter, contralto; Sylvia McNair, crowded into his young life that, dead at just Vocal: Masses/requiem Requiem mass, K 626 soprano...[et al.]; Monteverdi Choir; John less than thirty-six, he has bequeathed an Barbara Bonney, soprano; Anne Sofie von Eliot Gardiner, conductor; English Baroque eternal legacy, the full wealth of which the Otter, contralto; Hans Peter Blochwitz, tenor; soloists. world has yet to assess. Willard White, bass; Monteverdi Choir; John Le nozze di Figaro (The marriage of Figaro). -
“Lucrezia Borgia”
PROGRAMACIÓN LÍRICA DE A CORUÑA 2017 ÓPERA (en versión de concierto) “Lucrezia Borgia” Gaetano Donizetti Teatro Colón, 23 de septiembre (20.00 h.) PROGRAMACIÓN LÍRICA DE A CORUÑA 2017 EDITA Amigos de la Ópera de A Coruña DISEÑO Y MAQUETACIÓN Lamarck Publicidad TRADUCCIÓN Roxelio Xabier García Romero IMPRIME Imprenta da Deputación da Coruña Gaetano Donizetti Lucrezia Borgia Ópera en un prólogo y dos actos, con libreto de Felice Romani, basado en el drama Lucrèce Borgia de Víctor Hugo, y música de Gaetano Donizetti, estrenada en el Teatro alla Scala de Milán el 26 de diciembre de 1833. REPARTO Lucrezia Borgia Mariella Devia, soprano Gennaro Celso Albelo, tenor Don Alfonso Luiz-Ottavio Faria, bajo Maffio Orsini Elena Belfiore, mezzosoprano Rustighello Francisco Corujo, tenor Astolfo Axier Sánchez, barítono Jacoppo Liverotto Enrique Alberto Martínez, tenor Apostolo Gazella David Sánchez, bajo Oloferno Vitellozzo Ramón Farto, tenor Ascanio Petrucci Pedro Martínez Tapia, barítono Gubetta Jeroboám Tejera, bajo Coro Gaos Fernando Briones, director Orquesta Sinfónica de Galicia Andriy Yurkevych, director 6 Lucrezia Borgia Ópera en só un prólogo e dous actos, con libreto de Felice Romani, baseado no drama Lucrèce Borgia de Víctor Hugo, e música de Gaetano Donizetti, estreada no Teatro alla Scala de Milán o 26 de decembro de 1833. REPARTO Lucrezia Borgia Mariella Devia, soprano Gennaro Celso Albelo, tenor Don Alfonso Luiz-Ottavio Faria, baixo Maffio Orsini Elena Belfiore, mezzosoprano Rustighello Francisco Corujo, tenor Astolfo Axier Sánchez, barítono Jacoppo Liverotto Enrique Alberto Martínez, tenor Apostolo Gazella David Sánchez, baixo Oloferno Vitellozzo Ramón Farto, tenor Ascanio Petrucci Pedro Martínez Tapia, barítono Gubetta Jeroboám Tejera, baixo Coro Gaos Fernando Briones, director Orquestra Sinfónica de Galicia Andriy Yurkevych, director 7 ARGUMENTO El prólogo se desarrolla en Venecia, y el drama en Ferrara, a comienzos del siglo XVI. -
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. -
Richard Strauss's Ariadne Auf Naxos
Richard Strauss’s Ariadne auf Naxos - A survey of the major recordings by Ralph Moore Ariadne auf Naxos is less frequently encountered on stage than Der Rosenkavalier or Salome, but it is something of favourite among those who fancy themselves connoisseurs, insofar as its plot revolves around a conceit typical of Hofmannsthal’s libretti, whereby two worlds clash: the merits of populist entertainment, personified by characters from the burlesque Commedia dell’arte tradition enacting Viennese operetta, are uneasily juxtaposed with the claims of high art to elevate and refine the observer as embodied in the opera seria to be performed by another company of singers, its plot derived from classical myth. The tale of Ariadne’s desertion by Theseus is performed in the second half of the evening and is in effect an opera within an opera. The fun starts when the major-domo conveys the instructions from “the richest man in Vienna” that in order to save time and avoid delaying the fireworks, both entertainments must be performed simultaneously. Both genres are parodied and a further contrast is made between Zerbinetta’s pragmatic attitude towards love and life and Ariadne’s morbid, death-oriented idealism – “Todgeweihtes Herz!”, Tristan und Isolde-style. Strauss’ scoring is interesting and innovative; the orchestra numbers only forty or so players: strings and brass are reduced to chamber-music scale and the orchestration heavily weighted towards woodwind and percussion, with the result that it is far less grand and Romantic in scale than is usual in Strauss and a peculiarly spare ad spiky mood frequently prevails. -
Mihailo Arsenski, Tenor
Mihailo Arsenski TENOR Mobil 0176 7086 5780 [email protected] www.arsenski.de REPETOIRE The French- Macedonian tenor Mihailo Arsenski made his debut at the Macedonian National Opera in the roles of Alfredo (La Traviata), Almaviva (Il Barbiere di Siviglia), Beppe (I Pagliacci), Camille (Die Lustige Witwe) and Homonay (Der Zigeunerbaron). He obtained the «Artist Diploma» from the Oberlin Conservatory, USA, in the class of Richard Miller and until 2001 was part of the Opera Studio «Centre de Formation Lyrique» at the Paris National Opera. In Paris he performed regularly in concerts and productions at the Amphitheatre of Opera Bastille, including Nemorino (L'Elisir d'Amore), Fenton (Falstaff), Roméo (Roméo et Juliette), coached by Janine Reiss (Opéra de Paris), Robert Kettelson (La Scala di Milano) and Joan Dornemann (Metropolitan Opera, NY). He also sang a number of roles at the Paris National Opera, at the Opéra Bastille and Palais Garnier, including Matteo Borsa in Rigoletto, Abdallo in Nabucco, Uldino in Attila, Gastone in La Traviata, Thibault in Vêpres Siciliennes, Dritter Jude in Salome, Haushofmeister bei Faninal in Rosenkavalier and Solo Tenor in Les Noces by Stravinski, with conductors such as Daniel Oren, Pinchas Steinberg, Gary Bertini, Renato Palumbo, Paolo Carignani, Nicola Luisotti, Ulf Schirmer, Dietrich Henchel, James Conlon, Philippe Jourdain, Vladimir Jurowski, Jesus Lopez-Cobos and Arturo Tamaio. Concerts in Paris at the Opéra Comique, Théatre de Champs Elysées, Salle Pleyel and Salle Gavot. Mihailo took part in the Master Classes with Alain Vanzo, Michel Sénechal and Christa Ludwig. He represented Macedonia at the BBC «Cardiff Singer of the World» 2001 competition. -
Premières Principali All 'Opéra-Comique
Premières principali all ’Opéra-Comique Data Compositore Titolo 30 luglio 1753 Antoine Dauvergne Les troqueurs 26 luglio 1757 Egidio Romualdo Duni Le peintre amoureux de son modèle 9 marzo 1759 François-André Danican Philidor Blaise le savetier 22 agosto 1761 François-André Danican Philidor Le maréchal ferrant 14 settembre 1761 Pierre-Alexandre Monsigny On ne s ’avise jamais de tout 22 novembre 1762 Pierre-Alexandre Monsigny Le roy et le fermier 27 febbraio 1765 François-André Danican Philidor Tom Jones 20 agosto 1768 André Grétry Le Huron 5 gennaio 1769 André Grétry Lucile 6 marzo 1769 Pierre-Alexandre Monsigny Le déserteur 20 settembre 1769 André Grétry Le tableau parlant 16 dicembre 1771 André Grétry Zémire et Azor 12 giugno 1776 André Grétry Les mariages samnites 3 gennaio 1780 André Grétry Aucassin et Nicolette 21 ottobre 1784 André Grétry Richard Coeur-de-lion 4 agosto 1785 Nicolas Dalayrac L ’amant statue 15 maggio 1786 Nicolas Dalayrac Nina, ou La folle par amour 14 gennaio 1789 Nicolas Dalayrac Les deux petits savoyards 4 settembre 1790 Étienne Méhul Euphrosine 15 gennaio 1791 Rodolphe Kreutzer Paolo e Virginia 9 aprile 1791 André Grétry Guglielmo Tell 3 maggio 1792 Étienne Méhul Stratonice 6 maggio 1794 Étienne Méhul Mélidore et Phrosine 11 ottobre 1799 Étienne Méhul Ariodant 23 ottobre 1800 Nicolas Dalayrac Maison à vendre 16 settembre 1801 François-Adrien Boieldieu Le calife de Bagdad 17 maggio 1806 Étienne Méhul Uthal 17 febbraio 1807 Étienne Méhul Joseph 9 maggio 1807 Nicolas Isouard Les rendez-vous bourgeois 22 febbraio -
Classical Music Service Program Report
CLASSICAL MUSIC SERVICE PROGRAM REPORT April 1 through June 30, 2004 April 6 Music@Menlo series is broadcast each Tuesday night in April. The four programs showcase performances from last summer's inaugural season of the Music@Menlo chamber music festival. April 9 Bach: St. John Passion … Monteverdi Choir; English Baroque Solists/John Eliot Gardiner, conductor, and soloists Anthony Rolfe Johnson, Stephen Varcoe, Cornelius Hauptmann, Nancy Argenta and Ruth Holton (Archiv 419324, from the MPR library). April 24 Metropolitan Opera final season performance. May 5 Dale Warland Singers Farewell Series: 30th Anniversary Concert. Recorded April 2003. Each Wednesday evening in May, we present special programs by the Dale Warland Singers in honor of the 30 years of music they've brought to the community. May12 Dale Warland Singers Farewell Series: 2003 Cathedral Classics May 19 Dale Warland Singers Farewell Series: 2004 Cathedral Classics May 26 Dale Warland Singers Farewell Series: A River Journey May 28 Final Broadcast of the Minnesota Orchestra season May 30 Dale Warland Singers: live broadcast of their final concert (repeated on June 20) May 30 Minnesota Opera: Verdi’s Rigoletto (Recorded and produced by MPR) June 2 VocalEssence: broadcast of 35th anniversary concert, and of the world premiere of Tina Davidson’s Hymn of the Universe June 3 and 4 Live broadcast of the final concerto round of the International Piano-e-Competition from Orchestra Hall, Minneapolis June 4 The series of three Schubert Club Performances begins, replacing the Friday evening Minnesota Orchestra broadcasts during June. June 6 Minnesota Opera: Donizetti’s Lucrezia Borgia (Recorded and produced by MPR) June 13 Minnesota Opera: Stephen Sondheim’s Passion (Recorded and produced by MPR) June 27 Minnesota Opera: Mozart’s The Magic Flute (Recorded and produced by MPR) CLASSICAL MUSIC SERVICE PROGRAM REPORT January 1 through March 31, 2004 January 12 The St Paul’s Cathedral Choir, London, concert at the Cathedral of St Paul, MN, recorded by Minnesota Public Radio in October 2003. -
Spring 2019 NEWSLETTER : BULLETIN Printemps 2019
Société d' Opéra National Capital de la Capitale Nationale Opera Society Spring 2019 NEWSLETTER : BULLETIN Printemps 2019 Announcing Increased Prize Money for the 2019 Brian Law Opera Competition We are delighted to announce a 40% increase in prize money. This year a total of $14,750 is available to be awarded to the finalists as follows: 1st prize: $7500 2nd prize: $3500 3rd prize: $1500 other finalists will receive $750 Another exciting change is to an afternoon competition. We hope that the change to the afternoon will be attractive to our audience and boost attendance. The 14th Brian Law Opera Competition (BLOC) will be held at 2:00 pm on Saturday, 19th October 2019 at the Southminster United Church, 15 Aylmer Avenue, Ottawa. At the last Competition, Southminster partnered with us by making the Competi- tion part of their Saturday concert series. Although the church has not as yet made plans for a concert series next season, we would welcome their partnership. The BLOC is our major activity, so the prizes are the best possible use of our funds. Mark your calendars and we’ll look forward to seeing you on October 19th. Mark Robinson Spring 2019 Printemps 2019 President's Message March 2019 by Murray Kitts It’s a lovely Spring day in Victoria, with sun- 1605 Requiem as well as Passiontide motets by shine and blossoms everywhere just like it was Renaissance masters. in January before winter reappeared. I’ve en- As for the simulcasts from the Met, I missed joyed a number of fine concerts here principally so many last season due to poor health but was because they have been presented on Sunday glad to see a repeat of La fille du regiment, more afternoons usually at the excellent auditorium at delightful every time I see it. -
KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas
KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas GEORGES BIZET EMI 63633 Carmen Maria Stuarda Paris Opera National Theatre Orchestra; René Bologna Community Theater Orchestra and Duclos Chorus; Jean Pesneaud Childrens Chorus Chorus Georges Prêtre, conductor Richard Bonynge, conductor Maria Callas as Carmen (soprano) Joan Sutherland as Maria Stuarda (soprano) Nicolai Gedda as Don José (tenor) Luciano Pavarotti as Roberto the Earl of Andréa Guiot as Micaëla (soprano) Leicester (tenor) Robert Massard as Escamillo (baritone) Roger Soyer as Giorgio Tolbot (bass) James Morris as Guglielmo Cecil (baritone) EMI 54368 Margreta Elkins as Anna Kennedy (mezzo- GAETANO DONIZETTI soprano) Huguette Tourangeau as Queen Elizabeth Anna Bolena (soprano) London Symphony Orchestra; John Alldis Choir Julius Rudel, conductor DECCA 425 410 Beverly Sills as Anne Boleyn (soprano) Roberto Devereux Paul Plishka as Henry VIII (bass) Royal Philharmonic Orchestra and Ambrosian Shirley Verrett as Jane Seymour (mezzo- Opera Chorus soprano) Charles Mackerras, conductor Robert Lloyd as Lord Rochefort (bass) Beverly Sills as Queen Elizabeth (soprano) Stuart Burrows as Lord Percy (tenor) Robert Ilosfalvy as roberto Devereux, the Earl of Patricia Kern as Smeaton (contralto) Essex (tenor) Robert Tear as Harvey (tenor) Peter Glossop as the Duke of Nottingham BRILLIANT 93924 (baritone) Beverly Wolff as Sara, the Duchess of Lucia di Lammermoor Nottingham (mezzo-soprano) RIAS Symphony Orchestra and Chorus of La Scala Theater Milan DEUTSCHE GRAMMOPHON 465 964 Herbert von -
Iolanta Bluebeard's Castle
iolantaPETER TCHAIKOVSKY AND bluebeard’sBÉLA BARTÓK castle conductor Iolanta Valery Gergiev Lyric opera in one act production Libretto by Modest Tchaikovsky, Mariusz Treliński based on the play King René’s Daughter set designer by Henrik Hertz Boris Kudlička costume designer Bluebeard’s Castle Marek Adamski Opera in one act lighting designer Marc Heinz Libretto by Béla Balázs, after a fairy tale by Charles Perrault choreographer Tomasz Wygoda Saturday, February 14, 2015 video projection designer 12:30–3:45 PM Bartek Macias sound designer New Production Mark Grey dramaturg The productions of Iolanta and Bluebeard’s Castle Piotr Gruszczyński were made possible by a generous gift from Ambassador and Mrs. Nicholas F. Taubman general manager Peter Gelb Additional funding was received from Mrs. Veronica Atkins; Dr. Magdalena Berenyi, in memory of Dr. Kalman Berenyi; music director and the National Endowment for the Arts James Levine principal conductor Co-production of the Metropolitan Opera and Fabio Luisi Teatr Wielki–Polish National Opera The 5th Metropolitan Opera performance of PETER TCHAIKOVSKY’S This performance iolanta is being broadcast live over The Toll Brothers– Metropolitan Opera International Radio Network, sponsored conductor by Toll Brothers, Valery Gergiev America’s luxury in order of vocal appearance homebuilder®, with generous long-term marta duke robert support from Mzia Nioradze Aleksei Markov The Annenberg iol anta vaudémont Foundation, The Anna Netrebko Piotr Beczala Neubauer Family Foundation, the brigit te Vincent A. Stabile Katherine Whyte Endowment for Broadcast Media, l aur a and contributions Cassandra Zoé Velasco from listeners bertr and worldwide. Matt Boehler There is no alméric Toll Brothers– Keith Jameson Metropolitan Opera Quiz in List Hall today. -
Benjamin Britten: Art Song, a Synthesis of Words and Music — Issues and Approaches to Text-Setting
Benjamin Britten: art song, a synthesis of words and music — issues and approaches to text-setting Paul Higgins The clarity of verbal expression evident throughout Benjamin Britten’s (1913-1976) art songs serves to highlight the central role which the setting of pre-existing written poetic texts occupies in his compositional process and in the aesthetic appreciation of his interpretation. For Britten, text acts initially as a source of musical imagination, but it also provides the composer with a framework with which to express musically his selected, literary-based ideas. To place Britten’s contribution against the backdrop of an important musicological debate, it is necessary to clarify a number of key issues. Firstly, text-setting is often loosely perceived as the composition of music of a pre-existing written text, yet in Britten this approach has been expanded to incorporate the process whereby music and text are simultaneously generated. A good example of this is Britten’s close collaboration with W.H. Auden in the song cycle Our Hunting Fathers op.8 (1936),1 in which Auden not only wrote two poems but also selected and modernised three other poems, specifically for Britten to set to music. Secondly, that text-setting is a broader concern than the activity of mere text underlay and is significant to all text-based vocal music: its study also involves syntactic and semantic considerations. Syntactic concerns make reference to the musical response of the work to the structure of the source text, at both the level of overall form, and sentence and word patterns. -
Madame Bizet Walter Hall, Sunday, December 2, 2012, 2:30 Pm We Wish to Thank, Most Sincerely, Peter M
THE Aldeburgh CONNECTION Madame Bizet Walter Hall, Sunday, December 2, 2012, 2:30 pm We wish to thank, most sincerely, Peter M. Partridge for sponsoring Nathalie Paulin and James and Connie MacDougall for sponsoring Brett Polegato * We are also grateful to James and Connie MacDougall for providing the flowers on stage * We are performing on the Edith McConica Steinway 1 Madame Bizet Walter Hall, Sunday, December 2, 2012, 2:30 pm Nathalie Paulin, soprano Brett Polegato, baritone Stephen Ralls and Bruce Ubukata, piano with Fiona Reid and Mike Shara Although the married life of Georges and Geneviève Bizet lasted only from 1869 until his death in 1875, those six years were packed with incident, from the Franco-Prussian War of 1870 and the subsequent uprising of the Paris Commune in 1871 through to the disastrous premiere of Carmen on March 3, 1875. The cumulative effects of those events is thought to have hastened the composer’s untimely demise at the age of 36. Unfortunately, despite the undoubted mutual love of the married couple, a considerable amount of blame may, perhaps, be attached to the appalling strains imposed on Bizet by the instability of his wife and, especially, his mother-in-law. Geneviève, the daughter of Fromental Halévy (composer of the ultra-grand French opera, La Juive), never fully recovered from the shock of the death at the age of 21 of her beloved elder sister, Esther. Even worse, her mother, in one of her recurrent bouts of insanity, blamed Geneviève herself for the tragedy, with such obsessive vindictiveness that mother and daughter were never able to live under the same roof again.