SPRING 2017 CUES Diversify Your Assets: Invest in the Arts

Total Page:16

File Type:pdf, Size:1020Kb

SPRING 2017 CUES Diversify Your Assets: Invest in the Arts OPERAVOLUME 57 NUMBER 05 | SPRING 2017 CUES Diversify your Assets: Invest in the Arts. We applaud the artists and patrons who invest in our community. SAN ANTONIO | AUSTIN | HOUSTON | DALLAS | CORPUS CHRISTI 1.866.805.1385 | STMMLTD.COM painting: “Opera” by Alex Kenevsky, c. 2005 HoustonOpera2016.indd 1 7/25/16 12:19 PM > GÖTTERDÄMMERUNG APR. MAY 22 | 25 | 29 4 | 7m THE ABDUCTION FROM THE SERAGLIO APR. MAY 28 | 30m 6 | 10 | 12 a; í PATRICK SUMMERS PERRYN LEECH Artistic & Music Director Managing Director Margaret Alkek Williams Chair Photos by Eva Ripoll, Palau de les Arts Renia Sof Brandon A. DuHamel. LAUREATE Opera Cues is published by Houston Grand Opera SOCIETY Association; all rights reserved. Opera Cues is produced by Houston Grand Opera’s Communications Department, Judith Kurnick, director. Director of Publications Laura Chandler Art Direction / Production Pattima Singhalaka Contributors M. Owen Lee Perryn Leech Jim Townsend Larry Wolff For information on all Houston Grand Opera productions and events, or for a complimentary season brochure, please call the Customer Care Center at 713-228-OPERA (6737). Houston Grand Opera is a member of OPERA America, Inc., and the Theater District Association, Inc. FIND HGO ONLINE: HGO.org facebook.com / houstongrandopera twitter.com / hougrandopera instagram.com/hougrandopera For information about advertising in Opera Cues, YOUR LEGACY COUNTS! contact Matt Ross at [email protected]. Who will enjoy world-class opera because of your generosity? By including HGO in your will or as a beneficiary of your retirement plan or insurance policy, you become a partner with HGO in perpetuating the art form we love, sustaining its vibrant good health for future generations. As a member of the Laureate Society, your legacy gift helps ensure opera forever in Houston. For more information, please contact Richard Buffett at 713-546-0216 or [email protected]. HGO.org/LaureateSociety 2 > SPRING 2017 A selection of diamond, amethyst, citrine and aquamarine jewelry, featuring Bulgari, Cartier and David Webb P J H G O 4310 Westheimer Rd www.T ENENBAUMJEWELERS.com 713.629.7444 CONTENTS THE PROGRAM FEATURES DEPARTMENTS 36 WAGNER: 24 IT’S A WRAP! 6 Welcome GÖTTERDÄMMERUNG As we wrap up HGO’s first-ever Ring cycle, 16 News & Notes 41 WHO’S WHO: we thank those who GÖTTERDÄMMERUNG made it possible. 60 HGOco 48 MOZART: THE 28 WE ARE THE RING 62 HGO Studio ABDUCTION FROM Wagner’s epic on THE SERAGLIO gods, dwarves, and 64 Spotlight WHO’S WHO: THE dragons is really all 53 about us. 66 Special Events ABDUCTION FROM THE SERAGLIO 32 FOR OUR OWN TIMES 71 Impresarios Circle Mozart’s The Abduction from the 75 HGO Donors Seraglio speaks to us Cover photo for Götterdämmerung by 86 Calendar Eva Ripoll, Palau de les Arts Reina Sofìa. through the centuries. Cover design for The Abduction from 56 UNSUNG HEROES: 88 Your HGO the Seraglio by Pattima Singhalaka. Chorister Tony This page: photo from The Abduction Martinez is living from the Seraglio (2008) by Andrew Cloud. his dream. from the ARTISTIC & MUSIC DIRECTOR A MESSAGE and the MANAGING DIRECTOR Welcome to the Wortham Theater Center. It hardly seems possible that we are concluding our first-ever presentation of Richard Wagner’s four-opera masterwork, Der Ring des Nibelungen, which began in April 2014. We have been enjoying the journey and will be sorry to see it end. But what an end! Whatever you loved most about the three previous installments, there’s more of it in Götterdämmerung, we promise. People travel all over the world to see the Ring (maybe you’re one of them—we’ve had visitors from 17 countries as well as 45 states) but there simply are no finer singers than those we have enjoyed in Houston. We’re delighted to welcome a cast of distinguished Wagnerians headed by soprano Christine Goerke and tenor Simon O’Neill, as well as director Carlus Padrissa and the other Patrick Summers creative forces behind the production from the Catalan theater group La Fura dels Baus. We end our mainstage season with an opera that could not be a greater contrast: Mozart’s The Abduction from the Seraglio. This opera has a special place in our hearts, as it is one of three works—the others were Aida and Nixon in China—chosen to inaugurate the Wortham Theater Center in 1987. Composed when Mozart was falling in love with the woman he would marry, Abduction perfectly blends romance and comedy with emotional depth in the way only Mozart could combine them. In a stroke of genius, director James Robinson sets the action on the 1920s Orient Express: with the luxury railroad’s endpoints being Istanbul and Paris at that time, what better symbol could there be of East meeting West? While Abduction can potentially lend itself to dated stereotypes, this production finds the heart of the opera—expansive, generous, and, above all, human. We welcome Perryn Leech back conductor Thomas Rösner and a marvelous ensemble cast featuring HGO Studio alumna Albina Shagimuratova and tenor Lawrence Brownlee. In a bit of luxury casting, Christopher Purves—our Alberich from Götterdämmerung—takes on the pivotal but all-spoken role of Pasha Selim. With the final notes of Abduction, HGO’s mainstage 2016–17 season ends, but we hope you’ll join us for outdoor performances of The Elixir of Love at Miller Outdoor Theatre (May 19 and 20) and The Cynthia Woods Mitchell Pavilion at The Woodlands (May 26). There is no better finale to the season. Please enjoy the performance. Sincerely, Patrick Summers Perryn Leech Artistic and Music Director Managing Director Margaret Alkek Williams Chair 6 > SPRING 2017 KEEPING ELITE PERFORMERS IN THE SPOTLIGHT. THAT’S THE DIFFERENCE BETWEEN PRACTICING MEDICINE AND LEADING IT. At Houston Methodist, we’re proud partners in helping artists achieve peak performance, week in and week out. We have decades of experience supporting the total health needs of performers from around the world — which is why the best artists rely on us not just to get them healthy, but to keep them that way. We then use this experience to treat every patient with the same elite level of specialized care. For a physician referral or appointment, visit houstonmethodist.org or call 713.730.3333. BOARD OF DIRECTORS 2016 | 17 James W. Crownover Janet Langford Carrig Robert C. Hunter * Allyn Risley Development Committee Chairman of the Board Houston Grand Opera Endowment, Richard Husseini Inc., Chairman Vice Chair Lynn Wyatt Alfred W. Lasher III Vice Chairman of the Board Zane Carruth Glen A. Rosenbaum Perryn Leech John Mendelsohn, M.D. Anna Catalano Jack A. Roth, M.D. Claire Liu Senior Chairman of the Board Marketing and Communications Manolo Sánchez Committee Chair Finance Committee Vice Chair Beth Madison Mark R. Spradling Richard A. Lydecker Jr. Chairman Emeritus Albert Chao General Counsel and Secretary; Finance Committee Chair MEMBERS AT LARGE Donna P. Josey Chapman Audit Committee Vice Chair Special Events Committee Frances Marzio Judy Agee Harlan C. Stai Vice Chair Studio and Training Committee HGOco Committee Chair Chair Patrick Summers N. A. (Neil) Chapman Richard E. Agee Brucie Moore Ignacio Torras Mrs. Bobbie-Vee Cooney Robin Angly Sara Morgan John G. Turner Development Committee Albert O. Cornelison Jr. * Terrylin G. Neale Alfredo Vilas Vice Chair Dan Domeracki * Houston Grand Opera Endowment Margaret Alkek Williams John S. Arnoldy David B. Duthu Inc., Senior Chairman Philip A. Bahr Governance Committee Chair Frederica von Stade Franci Neely * Honorary Director Michelle Beale Frederic Dyen Ward Pennebaker Development Committee Chair Samuel Ramey Larry Faulkner Cynthia Petrello Honorary Director Astley Blair Benjamin Fink Audit Committee Chair Gloria M. Portela * Senior Director Dr. Ellen R. Gritz Pat Breen Studio and Training Committee Vice Chair Houston Grand Opera ASSOCIATION CHAIRS 1955–58 1973–74 1987–89 2004–07 Elva Lobit Gray C. Wakefield John M. Seidl John S. Arnoldy 1958–60 1974–75 1989–91 2007–09 Stanley W. Shipnes Charles T. Bauer James L. Ketelsen Robert L. Cavnar 1960–62 1975–77 1991–93 2009 William W. Bland Maurice J. Aresty Constantine S. Nicandros Gloria M. Portela 1962–64 1977–79 1993–95 2009–11 Thomas D. Anderson Searcy Bracewell J. Landis Martin Glen A. Rosenbaum 1964–66 1979–81 1995–97 2011–13 Marshall F. Wells Robert Cizik Robert C. McNair Beth Madison 1966–68 1981–83 1997–99 2013–16 John H. Heinzerling Terrylin G. Neale Dennis R. Carlyle, M.D. John Mendelsohn, M.D. Susan H. Carlyle, M.D. 1968–70 1983–84 2016–present Lloyd P. Fadrique Barry Munitz 1999–2001 James W. Crownover Archie W. Dunham 1970–71 1984–85 Ben F. Love Jenard M. Gross 2001–03 Harry C. Pinson 1971–73 1985–87 Joe H. Foy Dr. Thomas D. Barrow 2003–04 James T. Hackett 8 > SPRING 2017 TRUSTEES Samuel Abraham Christa M. Cooper David Hindman Marion Roose Pullin ‡ Gary Adams Sarah Cooper Todd Hoffman Dr. Angela Rechichi-Apollo Josh Adler Efraín Z. Corzo Dr. Gary Hollingsworth Gary Reese Mrs. Anthony G. Aiuvalasit ‡ Catherine Crath Eileen Hricik ‡ Todd Reppert Thomas Ajamie Mary Davenport Lee M. Huber Jill Risley Edward H. Andrews III Joshua Davidson Joan B. Johnson David Rowan Christos Angelides Darrin Davis Carey Jordan Jean B. Rowley ‡ Hon. Mary E. Bacon Sasha Davis Marianne Kah Thomas Rushing Denise Bush Bahr June Deadrick Stephen M. Kaufman Nan Schissler ‡ C. Mark Baker Tracy Dieterich John Keville Sue S. Schwartz Saúl Balagura, M.D. Gislar R. Donnenberg Yolanda Knull Helen Shaffer Jonathan Baliff David Dorenfeld Connie Kwan-Wong Hinda Simon Dr. Barbara Lee Bass Connie Dyer Michele LaNoue Janet Sims Martin D. Beirne Brad Eastman The Honorable Sheila Jackson Lee Kristina Hornberger Somerville Judith A.
Recommended publications
  • Damiani Davide
    René MASSIS Agent artistique +33 6 80 57 94 62 +49 160 93835013 [email protected] 132 Boulevard Pereire 75017 Paris - France www.amo-massis.com Davide DAMIANI Baritone Italian baritone Davide Damiani studied voice, double bass, composition and orchestral conducting in Pesaro, Parma and Bologna. In 1992, he was assistant to Chief conductor Gustav Kuhn in Macerata, which earned him engagements in Italy and Europe. He made his debut as a baritone in a production of Don Giovanni in Tel Aviv. As a member of the Vienna Staatsoper company from 1995 to 1999, he performed in Madama Butterfly, Le Nozze di Figaro, L’Elisir d’Amore, Giordano’s Fedora with Placido Domingo and José Cura, Enescu’s Oedipe (recorded on CD) and Verdi’s Jerusalem with José Carreras conducted by Zubin Mehta (and broadcast on television). He has performed in Naples in L’Elisir d’Amore with Luciano Pavarotti ; in Turin, Cardiff, Palm Beach, Toronto and Verona in Don Giovanni ; in Palermo in Manon Lescaut ; in Genoa and Florence in The Rape of Lucretia ; in Ravenna, Catania and Modena in The Rake’s Progress ; in St. Gallen in Don Giovanni, L’Elisir d’Amore, Ariadne auf Naxos ; in Tokyo in Madama Butterfly and La Traviata ; in Tel- Aviv in Lucia di Lammermoor ; in Düsseldorf in Le Nozze di Figaro and Don Giovanni ; in Berlin and Bergamo in La Bohème ; in Cagliari in Granados’ Goyescas (recorded on CD) ; in Bologna in Fabio Vacchi’s Les oiseaux de passage and in Guido Turchi’s Exil ; in Bari in Piccinni’s Didon (recorded on CD) ; in Basel in Falstaff ; in Wexford in Mercadante’s Il Giuramento (recorded on CD) and in Rigoletto.
    [Show full text]
  • English Translation of the German by Tom Hammond
    Richard Strauss Susan Bullock Sally Burgess John Graham-Hall John Wegner Philharmonia Orchestra Sir Charles Mackerras CHAN 3157(2) (1864 –1949) © Lebrecht Music & Arts Library Photo Music © Lebrecht Richard Strauss Salome Opera in one act Libretto by the composer after Hedwig Lachmann’s German translation of Oscar Wilde’s play of the same name, English translation of the German by Tom Hammond Richard Strauss 3 Herod Antipas, Tetrarch of Judea John Graham-Hall tenor COMPACT DISC ONE Time Page Herodias, his wife Sally Burgess mezzo-soprano Salome, Herod’s stepdaughter Susan Bullock soprano Scene One Jokanaan (John the Baptist) John Wegner baritone 1 ‘How fair the royal Princess Salome looks tonight’ 2:43 [p. 94] Narraboth, Captain of the Guard Andrew Rees tenor Narraboth, Page, First Soldier, Second Soldier Herodias’s page Rebecca de Pont Davies mezzo-soprano 2 ‘After me shall come another’ 2:41 [p. 95] Jokanaan, Second Soldier, First Soldier, Cappadocian, Narraboth, Page First Jew Anton Rich tenor Second Jew Wynne Evans tenor Scene Two Third Jew Colin Judson tenor 3 ‘I will not stay there. I cannot stay there’ 2:09 [p. 96] Fourth Jew Alasdair Elliott tenor Salome, Page, Jokanaan Fifth Jew Jeremy White bass 4 ‘Who spoke then, who was that calling out?’ 3:51 [p. 96] First Nazarene Michael Druiett bass Salome, Second Soldier, Narraboth, Slave, First Soldier, Jokanaan, Page Second Nazarene Robert Parry tenor 5 ‘You will do this for me, Narraboth’ 3:21 [p. 98] First Soldier Graeme Broadbent bass Salome, Narraboth Second Soldier Alan Ewing bass Cappadocian Roger Begley bass Scene Three Slave Gerald Strainer tenor 6 ‘Where is he, he, whose sins are now without number?’ 5:07 [p.
    [Show full text]
  • Blandade Insatser I Tidig Verdi
    Blandade insatser i tidig Verdi Giuseppe Verdi: I due Foscari Solister: Vladimir Stoyanov, Stefan Pop, Maria Katzarava, Giacomo Prestia, m.fl. Filharmonica Arturo Toscanini & Coro del Teatro Regio di Parma Dirigent: Paolo Arrivabeni Dynamic CDS7865 [2 CD] Giuseppe Verdi: Attila Solister: Ildebrando d’Arcangelo, Liudmyla Monastyrska, Stefano La Colla, George Petean, m.fl. Münchner Rundfunkorchester & Chor des Bayerischen Rundfunks Dirigent: Ivan Repusic BR Klassik 900330 [2 CD] Efter att ha förlorat sin fru, sina två barn och fått uppleva ett praktfiasko i sin andra opera Un giorno di regno, gjorde Verdi en rejäl comeback med Nabucco 1842 som blev storsuccé. Därefter komponerade han hela 13 operor under de s.k. “Anni di galera”* (1843-50), som för Verdi innebar ett oupphörligt, intensivt arbete, där han tidvis till och med jobbade på flera verk samtidigt. Bland dessa verk har egentligen baraMacbeth varit given i standardrepertoaren, vilken de flesta av hans operor efter 1851 (från Rigoletto) tillhör. På 1970-talet fick operorna från “Anni di galera” en renässans på skivbolaget Philips (numera Decca), mycket tack vare den trogne Verdispecialisten Lamberto Gardelli. När det gäller operorna I due Foscari och Attila så har Gardellis upptagningar varit referensinspelningar för många; den förstnämnda nästan helt utan konkurrens och den andra har endastMutis inspelning på EMI/Warner kunnat mäta sig med om man enbart räknar med kommersiella inspelningar. I maj släpptes en inspelning av vardera operan, på skivmärkena Dynamic respektive BR Klassik. Dynamic har producerat en rad Verdi-inspelningar, där några ha varit acceptabla utan att på något sätt vara i närheten av dem från den gamla goda tiden.
    [Show full text]
  • Network Notebook
    Network Notebook Fall Quarter 2018 (October - December) 1 A World of Services for Our Affiliates We make great radio as affordable as possible: • Our production costs are primarily covered by our arts partners and outside funding, not from our affiliates, marketing or sales. • Affiliation fees only apply when a station takes three or more programs. The actual affiliation fee is based on a station’s market share. Affiliates are not charged fees for the selection of WFMT Radio Network programs on the Public Radio Exchange (PRX). • The cost of our Beethoven and Jazz Network overnight services is based on a sliding scale, depending on the number of hours you use (the more hours you use, the lower the hourly rate). We also offer reduced Beethoven and Jazz Network rates for HD broadcast. Through PRX, you can schedule any hour of the Beethoven or Jazz Network throughout the day and the files are delivered a week in advance for maximum flexibility. We provide highly skilled technical support: • Programs are available through the Public Radio Exchange (PRX). PRX delivers files to you days in advance so you can schedule them for broadcast at your convenience. We provide technical support in conjunction with PRX to answer all your distribution questions. In cases of emergency or for use as an alternate distribution platform, we also offer an FTP (File Transfer Protocol), which is kept up to date with all of our series and specials. We keep you informed about our shows and help you promote them to your listeners: • Affiliates receive our quarterly Network Notebook with all our program offerings, and our regular online WFMT Radio Network Newsletter, with news updates, previews of upcoming shows and more.
    [Show full text]
  • Milan and Seregno
    MILAN AND SEREGNO LIDA EMILIANA MELETAKI VICTORIA MILIARAKI NIKOLETA XENAKI C’3 MILAN Milan is the capital of Lombardy and the second most populous city in Italy after Rome. It is located in the north- western section of the Po Valley, approximately halfway between the river Po to the south and the foothills of the Alps with the great lakes (Lake Como, Lake Maggiore, Lake Lugano) to the north, the Ticino river to the west and the Adda to the east. MUSEUMS Some of the most popular museums are: • Pinacoteca di Brera • The Last Supper • Fondazione Prada • Museo del Novecento • Mudec • Museo Civico di Storia Naturale di Milano • Museo Poldi Pezzoli • Villa Necchi Campiglio PINACOTECA DI BRERA FONDAZIONE PRADA MONUMENTS/LANDMARKS Santa Maria delle Grazie This church was built between 1466 and 1490 by Giuniforte Solari and later partly modified by Bramante who re- designed the apse, the Tribuna, the Cloister and the Old Sacristy. In the Refectory there is one of the most famous paintings of Leonardo da Vinci: the “Last Supper”. The works of the fresco started in 1495 and finished in 1498. Monumental Cemetery Carlo Maciachini built the Monumental Cemetery between 1863 and 1866 at Porta Volta. Villa Reale (Royal Villa) One of the most important Milanese neo- classical buildings, the Royal Villa, was built in 1790 by Leopoldo Pollak. It has been the residence of Napolen and Josephine and also of Eugene Beauharnais and the General Radetzky. Pilasters and columns decorate all the building that is surrounded by an English- style garden. The insides are finely decorated with candelabras, sculptures, frescoes and other decorations typical of Lombard neo- classicism.
    [Show full text]
  • C100 Trip to Houston
    Presented in partnership with: Trip Participants Doris and Alan Burgess Tad Freese and Brook Hartzell Bruce and Cheryl Kiddoo Wanda Kownacki Ann Marie Mix Evelyn Neely Yvonne and Mike Nevens Alyce and Mike Parsons Your Hosts San Jose Museum of Art: S. Sayre Batton, deputy director for curatorial affairs Susan Krane, Oshman Executive Director Kristin Bertrand, major gifts officer Art Horizons International: Leo Costello, art historian Lisa Hahn, president Hotel St. Regis Houston Hotel 1919 Briar Oaks Lane Houston, Texas, 77027 Phone: 713.840.7600 Houston Weather Forecast (as of 10.31.16) Wednesday, 11/2 Isolated Thunderstorms 85˚ high/72˚ low, 30% chance of rain, 71% humidity Thursday, 11/3 Partly Cloudy 86˚ high/69˚ low, 20% chance of rain, 70% humidity Friday, 11/4 Mostly Sunny 84˚ high/63 ˚ low, 10% chance of rain, 60% humidity Saturday, 11/5 Mostly Sunny 81˚ high/61˚ low, 0% chance of rain, 42% humidity Sunday, 11/6 Partly Cloudy 80˚ high/65˚ low, 10% chance of rain, 52% humidity Day One: Wednesday, November 2, 2016 Dress: Casual Independent arrival into George Bush Intercontinental/Houston Airport. Here in “Bayou City,” as the city is known, Houstonians take their art very seriously. The city boasts a large and exciting collection of public art that includes works by Alexander Calder, Jean Dubuffet, Michael Heizer, Joan Miró, Henry Moore, Louise Nevelson, Barnett Newman, Claes Oldenburg, Albert Paley, and Tony Rosenthal. Airport to hotel transportation: The St. Regis Houston Hotel offers a contracted town car service for airport pickup for $120 that would be billed directly to your hotel room.
    [Show full text]
  • Avant Première Catalogue 2018 Lists UNITEL’S New Productions of 2017 Plus New Additions to the Catalogue
    CATALOGUE 2018 This Avant Première catalogue 2018 lists UNITEL’s new productions of 2017 plus new additions to the catalogue. For a complete list of more than 2.000 UNITEL productions and the Avant Première catalogues of 2015–2017 please visit www.unitel.de FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager [email protected] & Marketing [email protected] [email protected] Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director [email protected] [email protected] CATALOGUE 2018 Unitel GmbH & Co. KG Gruenwalder Weg 28D 82041 Oberhaching/Munich, Germany CEO: Jan Mojto Editorial team: Franziska Pascher, Dr. Martina Kliem, Arthur Intelmann Layout: Manuel Messner/luebbeke.com All information is not contractual and subject to change without prior notice. All trademarks used herein are the property of their respective owners. Date of Print: February 2018 © UNITEL 2018 All rights reserved Front cover: Alicia Amatriain & Friedemann Vogel in John Cranko’s “Onegin” / Photo: Stuttgart Ballet ON THE OCCASION OF HIS 100TH BIRTHDAY UNITEL CELEBRATES LEONARD BERNSTEIN 1918 – 1990 Leonard Bernstein, a long-time exclusive artist of Unitel, was America’s ambassador to the world of music.
    [Show full text]
  • Ernani Program
    VERDI PATRON-IN-CHIEF DR HARUHISA HANDA Celebrating the return of World Class Opera HSBC, as proud partner of Opera Australia, supports the many returns of 2021. Together we thrive Issued by HSBC Bank Australia Limited ABN 48 006 434 162 AFSL No. 232595. Ernani Composer Ernani State Theatre, Giuseppe Verdi (1813-1901) Diego Torre Arts Centre Melbourne Librettist Don Carlo, King of Spain Performance dates Francesco Maria Piave Vladimir Stoyanov 13, 15, 18, 22 May 2021 (1810-1876) Don Ruy Gomez de Silva Alexander Vinogradov Running time: approximately 2 hours and 30 Conductor Elvira minutes, including one interval. Carlo Montanaro Natalie Aroyan Director Giovanna Co-production by Teatro alla Scala Sven-Eric Bechtolf Jennifer Black and Opera Australia Rehearsal Director Don Riccardo Liesel Badorrek Simon Kim Scenic Designer Jago Thank you to our Donors Julian Crouch Luke Gabbedy Natalie Aroyan is supported by Costume Designer Roy and Gay Woodward Kevin Pollard Opera Australia Chorus Lighting Designer Chorus Master Diego Torre is supported by Marco Filibeck Paul Fitzsimon Christine Yip and Paul Brady Video Designer Assistant Chorus Master Paul Fitzsimon is supported by Filippo Marta Michael Curtain Ina Bornkessel-Schlesewsky and Matthias Schlesewsky Opera Australia Actors The costumes for the role of Ernani in this production have been Orchestra Victoria supported by the Concertmaster Mostyn Family Foundation Sulki Yu You are welcome to take photos of yourself in the theatre at interval, but you may not photograph, film or record the performance.
    [Show full text]
  • A Culture of Recording: Christopher Raeburn and the Decca Record Company
    A Culture of Recording: Christopher Raeburn and the Decca Record Company Sally Elizabeth Drew A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music This work was supported by the Arts & Humanities Research Council September 2018 1 2 Abstract This thesis examines the working culture of the Decca Record Company, and how group interaction and individual agency have made an impact on the production of music recordings. Founded in London in 1929, Decca built a global reputation as a pioneer of sound recording with access to the world’s leading musicians. With its roots in manufacturing and experimental wartime engineering, the company developed a peerless classical music catalogue that showcased technological innovation alongside artistic accomplishment. This investigation focuses specifically on the contribution of the recording producer at Decca in creating this legacy, as can be illustrated by the career of Christopher Raeburn, the company’s most prolific producer and specialist in opera and vocal repertoire. It is the first study to examine Raeburn’s archive, and is supported with unpublished memoirs, private papers and recorded interviews with colleagues, collaborators and artists. Using these sources, the thesis considers the history and functions of the staff producer within Decca’s wider operational structure in parallel with the personal aspirations of the individual in exerting control, choice and authority on the process and product of recording. Having been recruited to Decca by John Culshaw in 1957, Raeburn’s fifty-year career spanned seminal moments of the company’s artistic and commercial lifecycle: from assisting in exploiting the dramatic potential of stereo technology in Culshaw’s Ring during the 1960s to his serving as audio producer for the 1990 The Three Tenors Concert international phenomenon.
    [Show full text]
  • RICHMOND BURTON I AM Paintings (The Return) March 30 – May 8, 2016
    ART 3 109 INGRAHAM ST. BROOKLYN NY 11237 art-3gallery.com For immediate release: RICHMOND BURTON I AM paintings (the return) March 30 – May 8, 2016 Opening: Wednesday, March 30, 6-9 PM Richmond Burton, I AM (SWEET SPOT), 2001, Oil on linen, 63 x 99 in. Photo: courtesy of the artist and ART 3 gallery Brooklyn, NY – ART 3 gallery is pleased to represent works and projects by Richmond Burton as well as his Solo Exhibition RICHMOND BURTON: I AM paintings (the return) featuring works from the artist’s groundbreaking I AM series of paintings. This exhibition will mark a 15-year anniversary and return to the seminal works, originally shown in 2001 at Cheim & Read, New York, NY. Richmond Burton’s works are known for their kaleidoscopic color, undulating patterns, and lyrical handling of expressionistic mark making. The I AM paintings manage to simultaneously hold two truths without becoming one or the other. They exist both as geometric, structured, formal, while concurrently being relaxed, visceral, seductive, and organic compositions. The works play with decorative patterning without compromising a conceptual backbone. Their intensity of vision allows for transcendent thought, experience, and connection while challenging any preconceived norms or rules defining abstract painting. The paintings hold a tension between ruptured grids and naturalistic, diffused light with jolts of intense jewel-like color. Metallic colors are used—gold, silver, and copper thread through the work and coalesce into details, concentrated inlay or patterned punctuation. Abstracted forms break and congeal, with imagery reminiscent of swirling sperm, egg yolks, rocks, petals, leaves, and shells.
    [Show full text]
  • A Season of Thrilling Intrigue and Grand Spectacle –
    A Season of Thrilling Intrigue and Grand Spectacle – Angel Blue as MimÌ in La bohème Fidelio Rigoletto Love fuels a revolution in Beethoven’s The revenger becomes the revenged in Verdi’s monumental masterpiece. captivating drama. Greetings and welcome to our 2020–2021 season, which we are so excited to present. We always begin our planning process with our dreams, which you might say is a uniquely American Nixon in China Così fan tutte way of thinking. This season, our dreams have come true in Step behind “the week that changed the world” in Fidelity is frivolous—or is it?—in Mozart’s what we’re able to offer: John Adams’s opera ripped from the headlines. rom-com. Fidelio, to celebrate the 250th anniversary of Beethoven’s birth. Nixon in China by John Adams—the first time WNO is producing an opera by one of America’s foremost composers. A return to Russian music with Musorgsky’s epic, sweeping, spectacular Boris Godunov. Mozart’s gorgeous, complex, and Boris Godunov La bohème spiky view of love with Così fan tutte. Verdi’s masterpiece of The tapestry of Russia's history unfurls in Puccini’s tribute to young love soars with joy a family drama and revenge gone wrong in Rigoletto. And an Musorgsky’s tale of a tsar plagued by guilt. and heartbreak. audience favorite in our lavish production of La bohème, with two tremendous casts. Alongside all of this will continue our American Opera Initiative 20-minute operas in its 9th year. Our lineup of artists includes major stars, some of whom SPECIAL PRESENTATIONS we’re thrilled to bring to Washington for the first time, as well as emerging talents.
    [Show full text]
  • LORI LAITMAN the Scarlet Letter Libretto by David Mason
    AMERICAN OPERA CLASSICS LORI LAITMAN The Scarlet Letter Libretto by David Mason Claycomb • Armstrong MacKenzie • Belcher Knapp • Gawrysiak Opera Colorado Orchestra and Chorus Ari Pelto Lori CD 1 66:18 LAITMAN Act I (b. 1955) 1 Scene I: A Meeting Place 14:47 The Scarlet Letter (2008, rev. 2015–16) (Wilson, Bellingham, Dimmesdale, Chillingworth, Prynne, Chorus) Opera in Two Acts 2 Scene II: The Prison 13:33 (Chillingworth, Prynne) Libretto by David Mason (b. 1954) 3 Interlude: Time Passing 2:29 Based on the novel by Nathaniel Hawthorne (1804–64) (Chorus) Commissioned by The University of Central Arkansas through Robert Holden and the UCA Opera Program 4 Scene III: The Governor’s Rose Garden, Seven Years Later 14:18 (Bellingham, Wilson, Chillingworth, Dimmesdale, Prynne) Cast in order of vocal appearance 5 Scene IV: Dimmesdale’s Study – His Nightmare 21:11 A Sailor . Charles Eaton, Baritone (Chillingworth, Dimmesdale, Hibbons) A Farmer . Benjamin Werley, Tenor Goodwife 1 . Emily Robinson, Soprano John Wilson, an elder minister . Kyle Knapp, Tenor CD 2 45:04 Governor Bellingham . Daniel Belcher, Baritone Arthur Dimmesdale, a young minister . Dominic Armstrong, Tenor Act II Congregation Leader . William Bryan, Baritone 1 Scene I: The Forest 22:33 Goodwife 2 . Becky Bradley, Soprano (Chillingworth, Prynne, Dimmesdale) Goodwife 3 . Danielle Lombardi, Mezzo-soprano Roger Chillingworth, Hester’s long-missing husband . Malcolm MacKenzie, Baritone 2 Scene II: A Meeting Place – Election Day 22:31 Hester Prynne, a young seamstress . Laura Claycomb, Soprano (Hibbons, Prynne, Bellingham, Wilson, Dimmesdale, Chillingworth, Chorus) Mistress Hibbons, a witch . Margaret Gawrysiak, Mezzo-soprano A Shipmaster . William Bryan, Baritone Pearl, Hester’s daughter .
    [Show full text]