20171109 Opera Rara Brochure.Indd
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
ERNANI Web.Pdf
Foto: Metropolitan opera G. Verdi ERNANI Subota, 25. veljae 2012., 19 sati THE MET: LIVE IN HD SERIES IS MADE POSSIBLE BY A GENEROUS GRANT FROM ITS FOUNDING SPONZOR Neubauer Family Foundation GLOBAL CORPORATE SPONSORSHIP OF THE MET LIVE IN HD IS PROVIDED BY THE HD BRODCASTS ARE SUPPORTED BY Giuseppe Verdi ERNANI Opera u etiri ina Libreto: Francesco Maria Piave prema drami Hernani Victora Hugoa SUBOTA, 25. VELJAČE 2012. POČETAK U 19 SATI. Praizvedba: Teatro La Fenice u Veneciji, 9. ožujka 1844. Prva hrvatska izvedba: Narodno zemaljsko kazalište, Zagreb, 18. studenoga 1871. Prva izvedba u Metropolitanu: 28. siječnja 1903. Premijera ove izvedbe: 18. studenoga 1983. ERNANI Marcello Giordani JAGO Jeremy Galyon DON CARLO, BUDUĆI CARLO V. Zbor i orkestar Metropolitana Dmitrij Hvorostovsky ZBOROVOĐA Donald Palumbo DON RUY GOMEZ DE SILVA DIRIGENT Marco Armiliato Ferruccio Furlanetto REDATELJ I SCENOGRAF ELVIRA Angela Meade Pier Luigi Samaritani GIOVANNA Mary Ann McCormick KOSTIMOGRAF Peter J. Hall DON RICCARDO OBLIKOVATELJ RASVJETE Gil Wechsler Adam Laurence Herskowitz SCENSKA POSTAVA Peter McClintock Foto: Metropolitan opera Metropolitan Foto: Radnja se događa u Španjolskoj 1519. godine. Stanka nakon prvoga i drugoga čina. Svršetak oko 22 sata i 50 minuta. Tekst: talijanski. Titlovi: engleski. Foto: Metropolitan opera Metropolitan Foto: PRVI IN - IL BANDITO (“Mercè, diletti amici… Come rugiada al ODMETNIK cespite… Oh tu che l’ alma adora”). Otac Don Carlosa, u operi Don Carla, Druga slika dogaa se u Elvirinim odajama u budueg Carla V., Filip Lijepi, dao je Silvinu dvorcu. Užasnuta moguim brakom smaknuti vojvodu od Segovije, oduzevši sa Silvom, Elvira eka voljenog Ernanija da mu imovinu i prognavši obitelj. -
January 24, 2021 | 6:30Pm Tlaloc Lopez-Waterman Barbara B
´ La BohemeA Vivid Original Design Production! Artistic Director Steffanie Pearce Music Director Greg Ritchey Stage Director Josh Shaw Assistant Conductor & Chorus Master Brian Holman Set Designer Ardean Landhuis Lighting & Projections Designer January 24, 2021 | 6:30pm Tlaloc Lopez-Waterman Barbara B. Mann Performing Arts Center Wardrobe Supervisor Caitlin Durrance The Blagojevic Sponsored -Sazonov Group In Part By: at A Message From The ARTISTIC DIRECTOR For our highly anticipated Barbara B. Mann debut, we present a fresh new look at this most popular Puccini opera. The idea came when I was searching for a poster image. Mindful that Puccini composed the work at the height of the Impressionist movement, I started looking at Paris street scenes of that period and came across Van Gogh’s Terrace Cafe at Night. The painting sparked a vision of the characters in the opera living upstairs from that cafe and coming down to hang out there, just like Van Gogh and the Paris Impressionists would have. A vibrant young creative team from across the United States have been collaborating since October to bring this original design production of Puccini’s most loved grand opera to Southwest Florida. Stage director, Josh Shaw, describing this new production explains, “La Bohème is a timeless story with themes as relevant today, as they were in the original setting. In the late 1880s Paris was filled with a concentration of larger than life artistic characters -- Van Gogh, Gauguin, Toulouse-Lautrec, and others. In our production, we are imagining our bohemian lovers as moving in the same circles as the great Impressionist artists who rebelled against classical subject matter and embraced modernity, creating works that reflected the world in which they lived. -
La Sonnambula 3 Content
Florida Grand Opera gratefully recognizes the following donors who have provided support of its education programs. Study Guide 2012 / 2013 Batchelor MIAMI BEACH Foundation Inc. Dear Friends, Welcome to our exciting 2012-2013 season! Florida Grand Opera is pleased to present the magical world of opera to the diverse audience of © FLORIDA GRAND OPERA © FLORIDA South Florida. We begin our season with a classic Italian production of Giacomo Puccini’s La bohème. We continue with a supernatural singspiel, Mozart’s The Magic Flute and Vincenzo Bellini’s famous opera La sonnam- bula, with music from the bel canto tradition. The main stage season is completed with a timeless opera with Giuseppe Verdi’s La traviata. As our RHWIEWSRÁREPI[ILEZIEHHIHERI\XVESTIVEXSSYVWGLIHYPIMRSYV continuing efforts to be able to reach out to a newer and broader range of people in the community; a tango opera María de Buenoa Aires by Ástor Piazzolla. As a part of Florida Grand Opera’s Education Program and Stu- dent Dress Rehearsals, these informative and comprehensive study guides can help students better understand the opera through context and plot. )EGLSJXLIWIWXYH]KYMHIWEVIÁPPIH[MXLLMWXSVMGEPFEGOKVSYRHWWXSV]PMRI structures, a synopsis of the opera as well as a general history of Florida Grand Opera. Through this information, students can assess the plotline of each opera as well as gain an understanding of the why the librettos were written in their fashion. Florida Grand Opera believes that education for the arts is a vital enrich- QIRXXLEXQEOIWWXYHIRXW[IPPVSYRHIHERHLIPTWQEOIXLIMVPMZIWQSVI GYPXYVEPP]JYPÁPPMRK3RFILEPJSJXLI*PSVMHE+VERH3TIVE[ILSTIXLEX A message from these study guides will help students delve further into the opera. -
Metropolitan Opera 19-20 Season Press Release
Updated: November 12, 2019 New Productions of Porgy and Bess, Der Fliegende Holländer, and Wozzeck, and Met Premieres of Agrippina and Akhnaten Headline the Metropolitan Opera’s 2019–20 Season Yannick Nézet-Séguin, in his second season as Music Director, conducts the new William Kentridge production of Wozzeck, as well as two revivals, Met Orchestra concerts at Carnegie Hall, and a New Year’s Eve Puccini Gala starring Anna Netrebko Sunday matinee performances are offered for the first time From Roberto Alagna to Sonya Yoncheva, favorite Met singers return Debuting conductors are Karen Kamensek, Antonello Manacorda, and Vasily Petrenko; returning maestros include Valery Gergiev and Sir Simon Rattle New York, NY (February 20, 2019)—The Metropolitan Opera today announced its 2019–20 season, which opens on September 23 with a new production of the Gershwins’ classic American opera Porgy and Bess, last performed at the Met in 1990, starring Eric Owens and Angel Blue, directed by James Robinson and conducted by David Robertson. Philip Glass’s Akhnaten receives its Met premiere with Anthony Roth Costanzo as the title pharaoh and J’Nai Bridges as Nefertiti, in a celebrated staging by Phelim McDermott and conducted by Karen Kamensek in her Met debut. Acclaimed visual artist and stage director William Kentridge directs a new production of Berg’s Wozzeck, starring Peter Mattei and Elza van den Heever, and led by the Met’s Jeanette Lerman-Neubauer Music Director Yannick Nézet-Séguin. In another Met premiere, Sir David McVicar stages the black comedy of Handel’s Agrippina, starring Joyce DiDonato as the conniving empress with Harry Bicket on the podium. -
DE 3414 a Fool for Love Michael Spyres, Tenor
DE 3414 A Fool For Love Michael Spyres, tenor 1. Donizetti: La fille du régiment: “Ah! mes amis...Pour mon âme” (4:08) 2. Stravinsky: The Rake’s Progress: “Here I stand” (2:43) 3. Rossini: Il barbiere di Siviglia: “Cessa di più resistere” (7:44) 4. Donizetti: L’elisir d’amore: “Una furtiva lagrima” (4:34) 5. Mozart: Don Giovanni: “Il mio tesoro” (4:25) 6. Bizet: Les pêcheurs de perles: “Je crois entendre encore” (4:22) 7. Massenet: Werther: “Pourquoi me réveiller” (2:54) 8. Strauss: Der Rosenkavalier: “Di rigori armato il seno” (3:17) 9. Puccini: La Bohème: “Che gelida manina” (4:41) 10. Verdi: Rigoletto: “La donna è mobile” (2:15) 11. Donizetti: Lucia di Lammermoor: “Fra poco a me ricovero” (7:29) 12. Tchaikovsky: Eugene Onegin: “Kuda, kuda...” (6:16) 13. Cilea: L’Arlesiana: “È la solita storia...” (4:22) 14. Encore: Lehár: Das Land des Lächelns: “Dein ist mein ganzes Herz” (3:45) Total Playing Time: 63:04 Constantine Orbelian, conductor Moscow Chamber Orchestra of the Pavel Slobodkin Center for the Arts Executive Producer: Carol Rosenberger Recording Producer/Engineer: Vasiliy Sidenko Assistant Engineers: Alexander Mikhlin, Elena Klinova Editing: Matthew Snyder, Paul Stubblebine Mixing/Mastering: Mark Willsher Recorded November 2010, Pavel Slobodkin Center for the Arts, Moscow Cover Photo: Dan Taylor Cover Design: sigeldesign.com Graphic Design: Mark Evans 7 & W 2011 Delos Productions, Inc., P.O. Box 343, Sonoma, California 95476-9998 (707) 996-3844 • Fax (707) 320-0600 • (800) 364-0645 www.delosmusic.com NOTES ON THE PROGRAM ove, in all its many guises, is the most complex human emotion to define and express. -
67 Gaetano Donizetti LES MARTYRS Grand Opera In
Gaetano Donizetti LES MARTYRS Grand opera in four acts Libretto by Eugène Scribe First performance: 10 April 1840, Paris Opéra ORIGINAL CAST Polyeucte Gilbert Duprez Pauline Julie Dorus-Gras Sévère Jean-Etienne-Auguste Massol Félix Prosper Dérivis Callisthènes Jacques-Emil Serda Néarque Pierre François Wartel Un Chrétien François Gély (stage name Molinier) The action takes place in Mélitène, capital of Armenia. By restoring various cuts made to the score of Les Martyrs before the first performances in Paris, the present recording allows us to hear several passages of music never before played in public, and to appreciate the opera in a version much closer to Donizetti’s original intentions. For ease of reading these restored cuts are shown here in blue. 67 CD1 77’21 ACT 1 [1] Overture CHORUS OF CHRISTIANS O Dieu tutélaire, Oh protecting God, O toi notre père Oh you our father Qui règne sur terre comme dans les cieux, Who reigns on earth as in heaven, Dieu tutélaire, Protecting God, Qui règne sur terre comme dans les cieux. Who reigns on earth as in heaven. SCENE I Néarque, Polyeucte, Chorus of Christians. The scene depicts some catacombs, accessed by a staircase cut into the rock. In the foreground, to the right of the audience, stand some Roman tombs, one of which is particularly magnificent. On the left, about three-quarters of the way back, is the entrance to a cave leading to other tombs. It is dark. Several groups of Christians have come down into the catacombs. One group is already in the underground passages; the other group is still at the top of the staircase. -
National-Council-Auditions-Grand-Finals-Concert.Pdf
NATIONAL COUNCIL AUDITIONS grand finals concert conductor Metropolitan Opera Bertrand de Billy National Council Auditions host and guest artist Grand Finals Concert Joyce DiDonato Sunday, April 29, 2018 guest artist 3:00 PM Bryan Hymel Metropolitan Opera Orchestra The Metropolitan Opera National Council is grateful to the Charles H. Dyson Endowment Fund for underwriting the Council’s Auditions Program. general manager Peter Gelb music director designate Yannick Nézet-Séguin 2017–18 SEASON NATIONAL COUNCIL AUDITIONS grand finals concert conductor Bertrand de Billy host and guest artist Joyce DiDonato guest artist Bryan Hymel “Martern aller Arten” from Die Entführung aus dem Serail (Mozart) Emily Misch, Soprano “Tacea la notte placida ... Di tale amor” from Il Trovatore (Verdi) Jessica Faselt, Soprano “Va! laisse couler mes larmes” from Werther (Massenet) Megan Grey, Mezzo-Soprano “Cruda sorte!” from L’Italiana in Algeri (Rossini) Hongni Wu, Mezzo-Soprano “In quali eccessi ... Mi tradì” from Don Giovanni (Mozart) Today’s concert is Danielle Beckvermit, Soprano being recorded for “Amour, viens rendre à mon âme” from future broadcast Orphée et Eurydice (Gluck) over many public Ashley Dixon, Mezzo-Soprano radio stations. Please check “Gualtier Maldè! ... Caro nome” from Rigoletto (Verdi) local listings. Madison Leonard, Soprano Sunday, April 29, 2018, 3:00PM “O ma lyre immortelle” from Sapho (Gounod) Gretchen Krupp, Mezzo-Soprano “Sì, ritrovarla io giuro” from La Cenerentola (Rossini) Carlos Enrique Santelli, Tenor Intermission “Dich, teure Halle” from Tannhäuser (Wagner) Jessica Faselt, Soprano “Down you go” (Controller’s Aria) from Flight (Jonathan Dove) Emily Misch, Soprano “Sein wir wieder gut” from Ariadne auf Naxos (R. Strauss) Megan Grey, Mezzo-Soprano “Wie du warst! Wie du bist!” from Der Rosenkavalier (R. -
Kenneth E. Querns Langley Doctor of Philosophy
Reconstructing the Tenor ‘Pharyngeal Voice’: a Historical and Practical Investigation Kenneth E. Querns Langley Submitted in partial fulfilment of Doctor of Philosophy in Music 31 October 2019 Page | ii Abstract One of the defining moments of operatic history occurred in April 1837 when upon returning to Paris from study in Italy, Gilbert Duprez (1806–1896) performed the first ‘do di petto’, or high c′′ ‘from the chest’, in Rossini’s Guillaume Tell. However, according to the great pedagogue Manuel Garcia (jr.) (1805–1906) tenors like Giovanni Battista Rubini (1794–1854) and Garcia’s own father, tenor Manuel Garcia (sr.) (1775–1832), had been singing the ‘do di petto’ for some time. A great deal of research has already been done to quantify this great ‘moment’, but I wanted to see if it is possible to define the vocal qualities of the tenor voices other than Duprez’, and to see if perhaps there is a general misunderstanding of their vocal qualities. That investigation led me to the ‘pharyngeal voice’ concept, what the Italians call falsettone. I then wondered if I could not only discover the techniques which allowed them to have such wide ranges, fioritura, pianissimi, superb legato, and what seemed like a ‘do di petto’, but also to reconstruct what amounts to a ‘lost technique’. To accomplish this, I bring my lifelong training as a bel canto tenor and eighteen years of experience as a classical singing teacher to bear in a partially autoethnographic study in which I analyse the most important vocal treatises from Pier Francesco Tosi’s (c. -
Gli Esiliati in Siberia, Exile, and Gaetano Donizetti Alexander Weatherson
Gli esiliati in Siberia, exile, and Gaetano Donizetti Alexander Weatherson How many times did Donizetti write or rewrite Otto mesi in due ore. No one has ever been quite sure: at least five times, perhaps seven - it depends how the changes he made are viewed. Between 1827 and 1845 he set and reset the music of this strange but true tale of heroism - of the eighteen-year-old daughter who struggled through snow and ice for eight months to plead with the Tsar for the release of her father from exile in Siberia, making endless changes - giving it a handful of titles, six different poets supplying new verses (including the maestro himself), with- and-without spoken dialogue, with-and-without Neapolitan dialect, with-and-without any predictable casting (the prima donna could be a soprano, mezzo-soprano or contralto at will), and with-and-without any very enduring resolution at the end so that this extraordinary work has an even-more-fantastic choice of synopses than usual. It was this score that stayed with him throughout his years of international fame even when Lucia di Lammermoor and Don Pasquale were taking the world by storm. It is perfectly possible in fact that the music of his final revision of Otto mesi in due ore was the very last to which he turned his stumbling hand before mental collapse put an end to his hectic career. How did it come by its peculiar title? In 1806 Sophie Cottin published a memoir in London and Paris of a real-life Russian heroine which she called 'Elisabeth, ou Les Exilés de Sibérie'. -
Jamie Barton & Angela Meade
A DEDICATION TO RUTH BADER GINSBURG JAMIE BARTON & ANGELA MEADE WITH JOHN KEENE, PIANO “Our very first duo recital together took place at Stage Director................................................................................................................David Gately the Supreme Court in November 2015, where Film Director...................................................................................................................Kyle Seago we performed at the invitation of Supreme Court Lighting Designer.............................................................................................................Connie Yun Justice Ruth Bader Ginsburg. Production Stage Manager.........................................................................................Yasmine Kiss Assistant Stage Manager..................................................................................Adrienne Mendoza We were deeply honored to be asked and elated to have a chance to share with her how her work had impacted our lives. “Oh, rimembranza” from Act I of Norma .....……...……...….……... Vincenzo Bellini (1801–1835) That experience immediately became—and has remained—one of the high points in each Angela Meade and Jamie Barton of our careers. “Morrò, ma prima in grazia” from Un ballo in maschera .....……. Giuseppe Verdi (1813–1901) In this moment, we are mourning the tremendous loss that so many of us are feeling at Angela Meade Justice Ginsburg’s passing. And the timing is hitting home for us in a deeply personal way. “O don fatale” from Act -
Maria Di Rohan
GAETANO DONIZETTI MARIA DI ROHAN Melodramma tragico in tre atti Prima rappresentazione: Vienna, Teatro di Porta Carinzia, 5 VI 1843 Donizetti aveva già abbozzato l'opera (inizialmente intitolata Un duello sotto Richelieu) a grandi linee a Parigi, nel dicembre 1842, mentre portava a termine Don Pasquale; da una lettera del musicista si desume che la composizione fu ultimata il 13 febbraio dell'anno successivo. Donizetti attraversava un periodo di intensa attività compositiva, forse consapevole dell'inesorabile aggravarsi delle proprie condizioni di salute; la "prima" ebbe luogo sotto la sua direzione e registrò un convincente successo (furono apprezzate soprattutto l'ouverture ed il terzetto finale). L'opera convinse essenzialmente per le sue qualità drammatiche, eloquentemente rilevate dagli interpreti principali: Eugenia Tadolini (Maria), Carlo Guasco (Riccardo) e Giorgio Ronconi (Enrico); quest'ultimo venne apprezzato in modo particolare, soprattutto nel finale. Per il Theatre Italien Donizetti preparò una nuova versione, arricchita di due nuove arie, nella quale la parte di Armando fu portata dal registro di tenore a quello di contralto (il ruolo fu poi interpretato en travesti da Marietta Brambilla). Con la rappresentazione di Parma (primo maggio 1844) Maria di Rohan approdò in Italia dove, da allora, è stata oggetto soltanto di sporadica considerazione. Nel nostro secolo è stata riallestita a Bergamo nel 1957 ed alla Scala nel 1969, oltre all'estero (a Londra e a New York, dove è apparsa in forma di concerto). Maria di Rohan segna forse il punto più alto di maturazione nell'itinerario poetico di Donizetti; con quest'opera il musicista approfondì la propria visione drammatica, a scapito di quella puramente lirica e belcantistica, facendo delle arie di sortita un vero e proprio studio di carattere e privilegiando i duetti ed i pezzi d'assieme in luogo degli 276 episodi solistici (ricordiamo, tra i momenti di maggior rilievo, l'aria di Maria "Cupa, fatal mestizia" ed il duetto con Chevreuse "So per prova il tuo bel core"). -
Roger Parker: Curriculum Vitae
1 Roger Parker Publications I Books 1. Giacomo Puccini: La bohème (Cambridge, 1986). With Arthur Groos 2. Studies in Early Verdi (1832-1844) (New York, 1989) 3. Leonora’s Last Act: Essays in Verdian Discourse (Princeton, 1997) 4. “Arpa d’or”: The Verdian Patriotic Chorus (Parma, 1997) 5. Remaking the Song: Operatic Visions and Revisions from Handel to Berio (Berkeley, 2006) 6. New Grove Guide to Verdi and his Operas (Oxford, 2007); revised entries from The New Grove Dictionaries (see VIII/2 and VIII/5 below) 7. Opera’s Last Four Hundred Years (in preparation, to be published by Penguin Books/Norton). With Carolyn Abbate II Books (edited/translated) 1. Gabriele Baldini, The Story of Giuseppe Verdi (Cambridge, 1980); trans. and ed. 2. Reading Opera (Princeton, 1988); ed. with Arthur Groos 3. Analyzing Opera: Verdi and Wagner (Berkeley, 1989); ed. with Carolyn Abbate 4. Pierluigi Petrobelli, Music in the Theater: Essays on Verdi and Other Composers (Princeton, 1994); trans. 5. The Oxford Illustrated History of Opera (Oxford, 1994); translated into German (Stuttgart. 1998), Italian (Milan, 1998), Spanish (Barcelona, 1998), Japanese (Tokyo, 1999); repr. (slightly revised) as The Oxford History of Opera (1996); repr. paperback (2001); ed. 6. Reading Critics Reading: Opera and Ballet Criticism in France from the Revolution to 1848 (Oxford, 2001); ed. with Mary Ann Smart 7. Verdi in Performance (Oxford, 2001); ed. with Alison Latham 8. Pensieri per un maestro: Studi in onore di Pierluigi Petrobelli (Turin, 2002); ed. with Stefano La Via 9. Puccini: Manon Lescaut, special issue of The Opera Quarterly, 24/1-2 (2008); ed.