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Boston Symphony Orchestra Concert Programs, Season 118, 1998-1999
BOSTON SYMPHONY ORCHESTRA 1 I O Z AWA ' T W E N T Y- F I F 1 H ANNIVERSARY SEASO N 1 1 8th Season • 1 998-99 Bring your Steinway: < With floor plans from acre gated community atop 2,100 to 5,000 square feet, prestigious Fisher Hill you can bring your Concert Jointly marketed by Sotheby's Grand to Longyear. International Realty and You'll be enjoying full-service, Hammond Residential Real Estate. single-floor condominium living at Priced from $1,100,000. its absolutefinest, all harmoniously Call Hammond Real Estate at located on an extraordinary eight- (617) 731-4644, ext. 410. LONGYEAR at Jisner Jiill BROOKLINE Seiji Ozawa, Music Director 25TH ANNIVERSARY SEASON Bernard Haitink, Principal Guest Conductor One Hundred and Eighteenth Season, 1998-99 Trustees of the Boston Symphony Orchestra, Inc. R. Willis Leith, Jr., Chairman Nicholas T. Zervas, President Peter A. Brooke, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer Harvey Chet Krentzman, Vice-Chairman Ray Stata, Vice-Chairman Harlan E. Anderson Deborah B. Davis Edna S. Kalman Vincent M. O'Reilly Gabriella Beranek Nina L. Doggett George Krupp Peter C. Read James E Cleary Nancy J. Fitzpatrick Mrs. August R. Meyer Hannah H. Schneider John F. Cogan, Jr. Charles K. Gifford, Richard P. Morse Thomas G. Sternberg Julian Cohen ex-ojficio Mrs. Robert B. Stephen R. Weiner William F. Connell Avram J. Goldberg Newman Margaret Williams- William M. Crozier, Jr. Thelma E. Goldberg Robert P. O'Block, DeCelles, ex-qfficio Nader F Darehshori Julian T. Houston ex-ojficio Life Trustees Vernon R. -
Luciano Pavarotti Is Dead at 71
September 6, 2007 Luciano Pavarotti Is Dead at 71 By BERNARD HOLLAND Luciano Pavarotti, the Italian singer whose ringing, pristine sound set a standard for operatic tenors of the postwar era, died Thursday at his home near Modena, in northern Italy. He was 71. His death was announced by his manager, Terri Robson. The cause was pancreatic cancer. In July 2006 he underwent surgery for the cancer in New York, and he had made no public appearances since then. He was hospitalized again this summer and released on Aug. 25. Like Enrico Caruso and Jenny Lind before him, Mr. Pavarotti extended his presence far beyond the limits of Italian opera. He became a titan of pop culture. Millions saw him on television and found in his expansive personality, childlike charm and generous figure a link to an art form with which many had only a glancing familiarity. Early in his career and into the 1970s he devoted himself with single- mindedness to his serious opera and recital career, quickly establishing his rich sound as the great male operatic voice of his generation — the “King of the High Cs,” as his popular nickname had it. By the 1980s he expanded his franchise exponentially with the Three Tenors projects, in which he shared the stage with Plácido Domingo and José Carreras, first in concerts associated with the World Cup and later in world tours. Most critics agreed that it was Mr. Pavarotti’s charisma that made the collaboration such a success. The Three Tenors phenomenon only broadened his already huge audience and sold millions of recordings and videos. -
Comunicato Stampa
COMUNICATO STAMPA Otello, omaggio a Giuseppe Verdi nel bicentenario della nascita, inaugura la Stagione lirica e di balletto 2013 Giovedì 2 maggio alle 20.30 si alza il sipario sulla Stagione lirica e di balletto 2013 del Teatro Lirico di Cagliari. Una stagione sempre molto attesa dal pubblico che, anche per quest’anno, segna la rinascita e la voglia di proseguire nella diffusione musicale del Teatro Lirico di Cagliari. Sei opere liriche ed un balletto, una produzione in più rispetto all’anno scorso, tutti titoli di grande interesse che, certamente, troveranno il gradimento del pubblico, sia per quelli noti che per quelli ricercati: Otello, Macbeth, L’amico Fritz, I Shardana, Così fan tutte, Pagliacci, Red Giselle. L’inaugurazione è affidata al doveroso omaggio, in occasione del bicentenario della nascita, a Giuseppe Verdi (Roncole di Busseto, Parma, 1813 - Milano, 1901), massimo operista italiano: Otello, dramma lirico in quattro atti, su libretto di Arrigo Boito, dalla tragedia omonima di William Shakespeare, e musica, appunto, di Verdi, va in scena per sei rappresentazioni, dal 2 al 10 maggio, per il XIII Festival di Sant’Efisio del Teatro Lirico di Cagliari. Lo spettacolo inaugurale, un stimolante allestimento dello scorso gennaio della Fondazione Lirico Sinfonica Petruzzelli e Teatri di Bari, conta dell’eccezionale regia di Eimuntas Nekrosius, geniale artista lituano, celebre in tutto il mondo dello spettacolo per aver curato importanti allestimenti teatrali e che ritorna a Cagliari dopo l’allestimento di La leggenda della città invisibile di Kitež e della fanciulla Fevronija di Nikolaj Rimskij-Korsakov che inaugurò la Stagione lirica e di balletto 2008, delle scene di Marius Nekrosius, dei costumi di Nadežda Gultiajeva e delle luci di Audrius Jankauskas che sfruttano tutte le potenzialità drammaturgiche dell’opera con pochi elementi scenici e colori assemblati con grande pulizia ed eleganza, oltre a movimenti essenziali, in un gioco di rimandi simbolici. -
Bellini's Norma
Bellini’s Norma - A discographical survey by Ralph Moore There are around 130 recordings of Norma in the catalogue of which only ten were made in the studio. The penultimate version of those was made as long as thirty-five years ago, then, after a long gap, Cecilia Bartoli made a new recording between 2011 and 2013 which is really hors concours for reasons which I elaborate in my review below. The comparative scarcity of studio accounts is partially explained by the difficulty of casting the eponymous role, which epitomises bel canto style yet also lends itself to verismo interpretation, requiring a vocalist of supreme ability and versatility. Its challenges have thus been essayed by the greatest sopranos in history, beginning with Giuditta Pasta, who created the role of Norma in 1831. Subsequent famous exponents include Maria Malibran, Jenny Lind and Lilli Lehmann in the nineteenth century, through to Claudia Muzio, Rosa Ponselle and Gina Cigna in the first part of the twentieth. Maria Callas, then Joan Sutherland, dominated the role post-war; both performed it frequently and each made two bench-mark studio recordings. Callas in particular is to this day identified with Norma alongside Tosca; she performed it on stage over eighty times and her interpretation casts a long shadow over. Artists since, such as Gencer, Caballé, Scotto, Sills, and, more recently, Sondra Radvanovsky have had success with it, but none has really challenged the supremacy of Callas and Sutherland. Now that the age of expensive studio opera recordings is largely over in favour of recording live or concert performances, and given that there seemed to be little commercial or artistic rationale for producing another recording to challenge those already in the catalogue, the appearance of the new Bartoli recording was a surprise, but it sought to justify its existence via the claim that it authentically reinstates the integrity of Bellini’s original concept in matters such as voice categories, ornamentation and instrumentation. -
28Apr2004p2.Pdf
144 NAXOS CATALOGUE 2004 | ALPHORN – BAROQUE ○○○○ ■ COLLECTIONS INVITATION TO THE DANCE Adam: Giselle (Acts I & II) • Delibes: Lakmé (Airs de ✦ ✦ danse) • Gounod: Faust • Ponchielli: La Gioconda ALPHORN (Dance of the Hours) • Weber: Invitation to the Dance ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Slovak RSO / Ondrej Lenárd . 8.550081 ■ ALPHORN CONCERTOS Daetwyler: Concerto for Alphorn and Orchestra • ■ RUSSIAN BALLET FAVOURITES Dialogue avec la nature for Alphorn, Piccolo and Glazunov: Raymonda (Grande valse–Pizzicato–Reprise Orchestra • Farkas: Concertino Rustico • L. Mozart: de la valse / Prélude et La Romanesca / Scène mimique / Sinfonia Pastorella Grand adagio / Grand pas espagnol) • Glière: The Red Jozsef Molnar, Alphorn / Capella Istropolitana / Slovak PO / Poppy (Coolies’ Dance / Phoenix–Adagio / Dance of the Urs Schneider . 8.555978 Chinese Women / Russian Sailors’ Dance) Khachaturian: Gayne (Sabre Dance) • Masquerade ✦ AMERICAN CLASSICS ✦ (Waltz) • Spartacus (Adagio of Spartacus and Phrygia) Prokofiev: Romeo and Juliet (Morning Dance / Masks / # DREAMER Dance of the Knights / Gavotte / Balcony Scene / A Portrait of Langston Hughes Romeo’s Variation / Love Dance / Act II Finale) Berger: Four Songs of Langston Hughes: Carolina Cabin Shostakovich: Age of Gold (Polka) •␣ Bonds: The Negro Speaks of Rivers • Three Dream Various artists . 8.554063 Portraits: Minstrel Man •␣ Burleigh: Lovely, Dark and Lonely One •␣ Davison: Fields of Wonder: In Time of ✦ ✦ Silver Rain •␣ Gordon: Genius Child: My People • BAROQUE Hughes: Evil • Madam and the Census Taker • My ■ BAROQUE FAVOURITES People • Negro • Sunday Morning Prophecy • Still Here J.S. Bach: ‘In dulci jubilo’, BWV 729 • ‘Nun komm, der •␣ Sylvester's Dying Bed • The Weary Blues •␣ Musto: Heiden Heiland’, BWV 659 • ‘O Haupt voll Blut und Shadow of the Blues: Island & Litany •␣ Owens: Heart on Wunden’ • Pastorale, BWV 590 • ‘Wachet auf’ (Cantata, the Wall: Heart •␣ Price: Song to the Dark Virgin BWV 140, No. -
Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt
(De)constructing the archive: An annotated catalogue of the Deon van der Walt Collection in the NMMU Library Frederick Jacobus Buys January 2014 Submitted in partial fulfilment for the degree of Master of Music (Performing Arts) at the Nelson Mandela Metropolitan University Supervisor: Prof Zelda Potgieter TABLE OF CONTENTS Page DECLARATION i ABSTRACT ii OPSOMMING iii KEY WORDS iv ACKNOWLEDGEMENTS v CHAPTER 1 – INTRODUCTION TO THIS STUDY 1 1. Aim of the research 1 2. Context & Rationale 2 3. Outlay of Chapters 4 CHAPTER 2 - (DE)CONSTRUCTING THE ARCHIVE: A BRIEF LITERATURE REVIEW 5 CHAPTER 3 - DEON VAN DER WALT: A LIFE CUT SHORT 9 CHAPTER 4 - THE DEON VAN DER WALT COLLECTION: AN ANNOTATED CATALOGUE 12 CHAPTER 5 - CONCLUSION AND RECOMMENDATIONS 18 1. The current state of the Deon van der Walt Collection 18 2. Suggestions and recommendations for the future of the Deon van der Walt Collection 21 SOURCES 24 APPENDIX A PERFORMANCE AND RECORDING LIST 29 APPEDIX B ANNOTED CATALOGUE OF THE DEON VAN DER WALT COLLECTION 41 APPENDIX C NELSON MANDELA METROPOLITAN UNIVERSTITY LIBRARY AND INFORMATION SERVICES (NMMU LIS) - CIRCULATION OF THE DEON VAN DER WALT (DVW) COLLECTION (DONATION) 280 APPENDIX D PAPER DELIVERED BY ZELDA POTGIETER AT THE OFFICIAL OPENING OF THE DEON VAN DER WALT COLLECTION, SOUTH CAMPUS LIBRARY, NMMU, ON 20 SEPTEMBER 2007 282 i DECLARATION I, Frederick Jacobus Buys (student no. 211267325), hereby declare that this treatise, in partial fulfilment for the degree M.Mus (Performing Arts), is my own work and that it has not previously been submitted for assessment or completion of any postgraduate qualification to another University or for another qualification. -
L'œuvre À L'affiche
37 affiche xp 2/06/05 10:13 Page 120 L'œuvre à l'affiche Recherches: Elisabetta Soldini avec la contribution de César Arturo Dillon, Georges Farret Calendrier des premières représentations du Barbier de Séville d’après A. Loewenberg, Annals of Opera 1597-1940, Londres 1978 et Pipers Enzyklopädie des Musiktheaters, éd. C. Dahlhaus et S. Döhring, 1991 Le signe [▼] renvoie aux tableaux des pages suivantes. Sauf indication contraire signalée entre parenthèses, l’œuvre a été chantée en italien: [Ang] anglais, [All] allemand, [Bulg] bulgare, [Cro] croate, [Dan] danois, [Esp] espagnol, [Est] estonien, [Finn] finnois, [Flam] flamand, [Fr] français, [Héb] hébreu, [Hong] hongrois, [Lett] letton, [Lit] Lituanien, [Née] néerlandais, [Nor] norvégien, [Pol] polonais, [Rou] roumain, [Ru] russe, [Serb] serbe, [Slov] slovène, [Sué] suédois, [Tch] tchèque CRÉATION: 20 février 1816, Rome, Teatro Argentina. [▼] 1869: décembre, Le Caire. 1871: 3 novembre, Paris, Athénée. 1818: 10 mars, Londres, Her Majesty’s Theatre. - 16 juillet, Barcelone. - 1874: 29 septembre, Helsinki. [Finn] - 2 décembre, Zagreb. [Cro] 13 octobre, Londres, Covent Garden. [Ang] 1875: Le Cap. 1819: 1er janvier, Munich. - Carnaval, Lisbonne. - 3 mai, New York [Ang] - 1876: Tiflis. - Kiev. [Ru] 27 mai, Graz. [All] - 28 septembre, Vienne, Theater auf der Wieden. [All] - 1883: 23 novembre, New York, Metropolitan. 26 octobre, Paris, Théâtre-Italien. 1884: 8 novembre, Paris, Opéra-Comique. 1820: 6 septembre, Milan, Teatro alla Scala. - 29 septembre, Prague. [All] - 1905 : Ljubljana. [Slov] 3 octobre, Braunschweig. [All] - 16 décembre, Vienne, Kärntnertor- 1913 : 3 mai, Christiania (Oslo). [Norv] Theater. [All] - 18 décembre, Brünn. [All] 1918 : Shanghai. [Ru] 1821: 25 août, Madrid. - 31 août, Odessa. - 19 septembre, Lyon. -
CV English - Noëmi Nadelmann —
CV English - Noëmi Nadelmann — Noëmi Nadelmann is a swiss soprano and one of the leading opera and concert singer of her generation. She made her debut in 1987 at the Teatro La Fenice in Venice as Musetta in 'La Bohème' with Renata Scotto as Mimi. Since that time she has sung major roles in the great opera houses of the world, in the major concert halls and with the world's leading orchestras. Noëmi Nadelmann has sung Musetta at the Metropolitan Opera in New York, Opéra National Paris (Bastille) in Paris (conductor: Daniel Oren), Vienna State Opera, Komische Oper Berlin (conductor: Simone Young), Dutch National Opera Amsterdam (director: Pierre Audi) and the Lyric Opera of Chicago. She has sung Violetta in 'La Traviata' at the Komische Oper in Berlin (director: Harry Kupfer, conductor: Yakov Kreizberg), Hessisches Staatstheater Wiesbaden, Deutsche Oper Berlin (director: Götz Friedrich), Opernhaus Zürich (director: Jürgen Flimm, conductor: Franz Welser- Möst) and the State Opera House Hamburg. She has also sung the title role in 'Lucia di Lammermoor' at the Komische Oper Berlin (director: Harry Kupfer, conductor: Yakov Kreizberg, Vladimir Jurowski) and the State Opera House Hamburg. Noëmi Nadelmann has sung the tiltle role in 'Manon' at the Deutsche Oper Berlin and Marschallin in 'der Rosenkavalier' on their tour to Beijing (conductor: Uwe Schirmer) as well as at the Israeli Opera in Tel Aviv (conductor: Asher Fisch). Armida in 'Rinaldo' she was a tremendous success at the Bavarian State Opera in Munich (director: David Alden, conductor: Harry Bicket) and at the State Opera Berlin (director: Nigel Lowery, conductor: René Jacobs). -
Stagione Lirica E Di Balletto 2010-2011 Verditrieste
VerdiTeatro Trieste FONDAZIONE TEATRO LIRICO GIUSEPPE VERDI - TRIESTE Stagione lirica e di balletto 2010-2011 grazie. La Fondazione Teatro Lirico “Giuseppe Verdi” porge un grazie vivissimo alle imprese e alle istituzioni che ne sostengono l’attività Stato Italiano Comune PROVINCIA di di Trieste TRIESTE comune di trieste assessorato alla cultura area cultura Stagione Lirica e di Balletto 2010-2011 Fondazione Benefica Kathleen Foreman Casali VerdiTeatro FONDAZIONE TEATRO LIRICO GIUSEPPE VERDI-TRIESTE La Traviata Teatro VerdiTriesteFONDAZIONE TEATRO LIRICO GIUSEPPE VERDI-TRIESTE Teatro Melodramma in tre atti di Francesco VerdiTriesteFONDAZIONE TEATRO LIRICO GIUSEPPE VERDI-TRIESTE Maria Piave, dal dramma La Dame aux camélias di Alexandre Dumas figlio Consiglio DIRETTORE AMMINISTRATIVO Teatro Lirico Musica di d’Amministrazione Fulvio Lizzul “Giuseppe Verdi” TRIESTE Giuseppe Verdi PRESIDENTE DIRETTORE PRODUZIONE martedì 16 novembre Roberto Dipiazza Alessandro Gilleri SERATA DI GALA Personaggi e Interpreti ore 20.30 A VICEPRESIDENTE Violetta Valery ALLESTIMENTI SCENICI mercoledì 17 novembre Donata Irneri Pier Paolo Bisleri ore 20.30 B Mariella Devia CONSIGLIERI giovedì 18 novembre Csilla Boross RESPONSABILE ore 16 C Roberto Collini UFFICIO STAMPA Alfredo Germont venerdì 19 novembre Lucio Delcaro E RELAZIONI ESTERNE Stefan Pop Nicoletta Cavalieri ore 18 F Bogdan Kralj sabato 20 novembre Angelo Ferrari SEGRETERIA ARTISTICA Massimo Paparo Paolo Rodda ore 17 S Giorgio Germont Giorgio Zanfagnin (Sovrintendente) domenica 21 novembre Gianfranco Montresor -
16-20 May 2018
OPERA HONG KONG & LE FRENCH MAY PROUDLY PRESENT AN OPERA IN 4 ACTS 四幕歌劇 16-20 MAY 2018 (WED - SUN) | 19:30 Libretto 編劇及作詞: Henri Meilhac and Ludovic Halévy Grand Theatre, 麥爾哈克及阿萊維 Hong Kong Cultural Centre 香港文化中心大劇院 Producer 監製: Warren Mok 莫華倫 Conductor 指揮: Yves Abel 阿貝爾 Performed in French with Chinese and English Surtitles Director 導演: Jean-Romain Vesperini 衛斯皮烈尼 法語演出,中英文字幕 Chorus Director 合唱團總監: Alex Tam 譚天樂 卡比才 門 Bizet’s CARMEN 節目主要贊助及5月20日演出之冠名贊助 鳴謝 Hong Kong Sinfonietta Performance Major Sponsor and Title Sponsor of 20 May performance Acknowledgement 香港小交響樂團 康樂及文化事務署 Opera Hong Kong Chorus Leisure and Cultural Services Department 香港歌劇院合唱團 Opera Hong Kong Children Chorus 香港歌劇院兒童合唱團 香港歌劇院榮譽贊助及5月18日演出之冠名贊助 5月19日演出之獨家贊助 全力支持 Honorary Patron of Opera Hong Kong & Sole Sponsor of 19 May performance Supported by The Song and Dance Troupe of Fujian Opera Title Sponsor of 18 May performance Dance and Drama Theatre 福建省歌舞劇院歌舞團 OPERA HONG KONG & LE FRENCH MAY PROUDLY PRESENT Love Awaits You Peter Gordon If any opera belies the notion that this art form is Bizet’s music is irresistible, so much so that it can somehow snobby and elitist, it’s Carmen. obscure the fact that this simple story of a doomed love affair is populated who characters who are deeply This now famous story of the gypsy seductress and the ambivalent. fatally besotted soldier Don José combines drama that is AN OPERA IN 4 ACTS both metaphorically and literally gut-stabbing with music Micaëla, the ostensibly simple country girl, turns out to be 四幕歌劇 16-20 MAY 2018 that is popular in the best sense of the word: hummable the only person with courage and decency. -
BRAD DALTON Stage Director [email protected] Cell 310-621-9575
BRAD DALTON Stage Director [email protected] cell 310-621-9575 www.braddalton.com OPERA A STREETCAR NAMED DESIRE Lyric Opera of Chicago*, Los Angeles Opera*, Carnegie Hall*, (design: Brad Dalton) the Barbican in London*, Opera San Jose (*with Renee Fleming) A STREETCAR NAMED DESIRE Washington National Opera, San Diego Opera, (design: Michael Yeargan) Austin Lyric Opera A STREETCAR NAMED DESIRE Hawaii Opera Theatre, Grand Rapids Opera, Townsend Opera, (design: Steven Kemp) Fresno Opera CINDERELLA (American premiere) Packard Humanities Institute, California Theatre ALBERT HERRING Shepherd School of Music, Rice University LA BOHEME Opera Santa Barbara RIGOLETTO Opera San Jose, Opera Santa Barbara THE FLYING DUTCHMAN Opera San Jose TOSCA Opera San Jose THE MAGIC FLUTE Opera San Jose MADAMA BUTTERFLY Opera San Jose IL TROVATORE Opera San Jose FAUST Opera San Jose IDOMENEO Opera San Jose ANNA KARENINA Opera San Jose COSI FAN TUTTE Opera San Jose ROMEO AND JULIET Hawaii Opera Theatre CAVALLERIA/PAGLIACCI New Orleans Opera DON GIOVANNI New Orleans Opera CARMEN New Orleans Opera ALCESTE Opera Boston LA CLEMENZA DI TITO Opera Boston REVIVALS DEAD MAN WALKING State Opera of South Australia (Joe Mantello production) - Winner 2004 Helpmann Award “Best direction of an Opera” THE BARBER OF SEVILLE Metropolitan Opera (John Cox production) IL TROVATORE San Francisco Opera (Nicholas Muni production) RIGOLETTO San Francisco Opera (Mark Lamos production) THE MARRIAGE OF FIGARO San Francisco Opera (John Copley production) THE BARBER OF SEVILLE San Francisco -
Otello Di Giuseppe Verdi Prima Rappresentazione Milano, Teatro Alla Scala, 5 Febbraio 1887
STAGIONE LIRICA E DI BALLETTO 2013 L’OPERA NELLA MEMORIA: LE EDIZIONI CAGLIARITANE DEL PASSATO Otello di Giuseppe Verdi prima rappresentazione Milano, Teatro alla Scala, 5 febbraio 1887 Teatro Civico Stagione di Carnevale 1898 25 dicembre interpreti Pietro Nobilini (Otello), Michele De Padova (Jago), Michele Olivieri (Cassio), Giacinto Pinna (Roderigo), Ettore Conti (Lodovico), Giuseppe Sorgi (Montano), Augusta Crux (Desdemona), Maria Galliano (Emilia) maestro concertatore e direttore d’orchestra Lorenzo Malajoli maestro del coro Virginia Mariani Politeama Regina Margherita Stagione lirica 1914 Politeama Regina Margherita Stagione lirica 1928-1929 Politeama Regina Margherita Stagione lirica 1941 interpreti Francesco Merli (Otello), Luigi Montesanto (Jago), Fernanda Ciani (Desdemona) maestro concertatore e direttore d’orchestra Giuseppe Podestà maestro del coro Gennaro D’Angelo Teatro Giardino Stagione lirica estiva 1951 18 agosto - 5 settembre (13 recite) interpreti Emilio Marinescu (Otello), Antonio Manca Serra (Jago), Salvatore Di Tommaso (Cassio), Ezio Achilli (Roderigo), Umberto Frisaldi (Lodovico), Silvio Loddo (Montano), Rosetta Noli (Desdemona), Fernanda Cadoni (Emilia) maestro concertatore e direttore d’orchestra Oliviero De Fabritiis regia Carlo Acly Azzolini Ufficio Stampa via Sant’Alenixedda, 09128 Cagliari - Italia telefono +39 0704082 232-261-209 - fax +39 0704082216 [email protected] www.teatroliricodicagliari.it Teatro Massimo Stagione lirica 1956 18, 20, 22, 25 marzo interpreti Charles Guichandut (Otello),