DOCSLIB.ORG

Entraêaêformarê Partêdeêlaêhist˜Riaê Delêliceu

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Entraêaêformarê Partêdeêlaêhist˜Riaê Delêliceu EntraÊaÊformarÊ partÊdeÊlaÊhist˜riaÊ delÊLiceu ElÊLiceuÊŽsÊpartÊdeÊtots.ÊColálabora «M’has arrossegat fins al fons, cruel poder de les aigües, i no obstant això saps molt bé que en el teu fred si, no puc morir!» Rusalka (Acte III) Fundació Gran Teatre del Liceu Generalitat de Catalunya Ministerio de eduCaCión, Cultura y deporte ajuntaMent de BarCelona diputaCió de BarCelona soCietat del Gran teatre del liCeu Consell de MeCenatGe www.liceubarcelona.cat Patronat de la Fundació del Gran Teatre del Liceu Direcció del Teatre president Artur Mas i Gavarró direCtor General Joan Francesc Marco ViCepresidents José María Lassalle Ruíz direCtor artÍstiC Joan Matabosch Xavier Trias i Vidal de Llobatera DIRECtora eConÒMiCa i FinanCera Ana Serrano Salvador Esteve i Figueras direCtor de MÀrQuetinG, Martí Torres VoCals representants de la Ferran Mascarell i Canalda CoMuniCaCió i MeCenatGe Generalitat de Catalunya Josep Maria Busquets i Galera direCtor de produCCió i Gires Eduard Garcia VoCALS REPRESENTANTS DEL MINISTERIO Miguel Ángel Recio Crespo direCtor de reCursos HuMans Jordi Tarragó de eduCaCión, Cultura y deporte Santiago Fisas Ayxelà i serVeis Generals VoCals representants de Jaume Ciurana i Llevadot direCtor tÈCniC Xavier Sagrera l’ajuntaMent de BarCelona Marta Clari i Padrós Cap de GaBinet de la direCCió Rosa Bassedas VoCal representant de Mònica Querol Querol General i relaCions instituCionals la diputaCió de BarCelona Cap del serVei jurÍdiC Jaume Solé VoCals representants del Josep Vilarasau i Salat Consell de MeCenatGe Pablo Cigüela Ibáñez direCtor MusiCal Josep Pons Luis Abril Pérez direCtor del Cor José Luis Basso Leopoldo Rodés i Castañé VoCals representants de Manuel Bertrand i Vergés la soCietat del Gran teatre Javier Coll Olalla Consell d’Assessorament Artístic del liCeu Josep Maria Coronas i Guinart Manuel Busquet Arrufat assessors Xavier Albertí Francesc Cortès direCtor General Joan Francesc Marco i Conchillo Pilar Figueras Anna Maleras seCretari Jaume Solé i Janer Ramon Pla interVentor Joan Guerrero i Luque Antoni Ros-Marbà MeMBres del Gran teatre del liCeu Joan Francesc Marco Comissió Executiva Joan Matabosch Josep Pons José Luis Basso president Miguel Ángel Recio Crespo Jaume Solé VoCals representants Xavier Solà i Cabanas de la Generalitat de Catalunya Vicenç Villatoro i Lamolla VoCALS REPRESENTANTS DEL MINISTERIO Miguel Ángel Recio Crespo de eduCaCión, Cultura y deporte Antonio Garde Herce VoCals representants de Jaume Ciurana i Llevadot l’ajuntaMent de BarCelona Marta Clari i Padrós VoCal representant de la Salvador Esteve i Figueras diputaCió de BarCelona VoCals representants de la Manuel Bertrand i Vergés SOCietat del Gran teatre del liCeu Javier Coll Olalla VoCals representants del Josep Vilarasau i Salat la Fundació del Gran teatre del liceu és membre de: Consell de MeCenatGe Pablo Cigüela Ibáñez direCtor General Joan Francesc Marco i Conchillo seCretari Jaume Solé i Janer interVentor Joan Guerrero i Luque Plantilla del Liceu Direcció General Maria Subirana José Antonio Gómez Fulgencio Sandoval Jordi Figueras Emili Roses Joan Francesc Marco Roser Trepat Adam Glubinski Catalin Cristian Sandu Mariel Wlady Fontes Theodore Rulfs director general Jaume Tribó Rodica Monica Harda Birgit Renate Schmidt Isabel Fuentealba Miglena Savova M. Isabel Aguilar Maria Carme Ventura Detlef Hillbricht Oleg Shport Ignasi Gomar Spasova Rosa Bassedas Gueràssim Voronkov Piotr Janusz Jeczmyk Oksana Solovieva Olatz Gorrotxategi Maria Such Paloma Casa Véronique Werklé Christo Kasmetski Juan Manuel Stacey Ramón Grau Lorenzo P. Valero M. Àngels Casals Aleksandar Krapovski Renata Tanollari Airam Hernández Ingrid Venter Laura Cosme Orquestra Emilie Langlais N. Peter Thiemann Andrés Jara Elisabet Vilaplana Ariadna Pedrola Olga Aleshinski Jing Liu Franck Tollini M. Carme Jiménez Mariano Viñuales Laura Prat Cesar Altur Francesc Lozano Vessela Tomov Sung Min Kang Rita Wing Teresa Serra Maria Anca Andrei Kalina Macuta Yana V. Tsanova Hortensia Larrabeiti Helena Zaborowska Jaume Solé Sandra Luisa Batista Edith Maretzki M. Eulàlia Valero Yordanka León Guisela Zannerini Lluís Bellver Enric Xavier Martínez Marie Vanier Graham Lister Departament Francesc Benítez Joan Josep Mercadal Bernardo Verde M. Dolors Llonch Departament Artístic José Miguel Bernabeu Jordi Mestres Àngel Vidal Glòria López P. Econòmic i Joan Matabosch Dorothea Biehler Aleksandra Miletic Francisco Villaescusa Raquel Lucena Financer director Claire Marie Bobij Albert Mora Matias Weinmann Mònica Luezas Anna Serrano Anabel Alenda Kostadin Bogdanoski David Morales Ignacio Zamora Elizabeth Maldonado directora Lluís Alsius Margaret Bonham Liviu I. Morna Encarnació Martínez Jesús Arias Josep Maria Armengol Miquel Àngel Bosch Mihai Morna Cor Xavier Martínez Jordi Cabrero Sònia Cañas Bettina Brandkamp Arturo Nogués Alejandra Marie Aguilar Isabel Mas Cristina Esteve Damià Carbonell Esther Clara Braun Emili Pascual M. Isabel Arqué J. Antonio Medina Maria Jesús Fèlix Albert Castells Mercè Brotons Dolors Payà Min A. Baek Ivo Ivanov Mischev Maria Josep Garcia Luca Ceruti Josep Anton Casado Enric Pellicer Josep Maria Bosch Raquel Momblant Eva Grijalba Concepción García Elena Ceaucescu Raúl Pérez Margarita Buendia José Luis Moreno Esther Juli Vanessa García Andrea Ceruti Cristoforo Pestalozzi Ignasi Campà Daniel Muñoz Gemma Martínez Victòria Gómez Carles Chordà Ionut Podgoreanu Teresa Casadellà Anna Oliva Roser Pausas Mark Hastings Francesc Colomina Alexandre Polonski José Luis Casanova M. Àngels Padró Raquel Pérez Joaquim Iborra Carme Comeche Annick Puig Paul Chiarot Pierpaolo Palloni Gemma Rodríguez Eva Marín Savio de la Corte Ewa Pyrek Alexandra Codina Eun-Kyung Park Josep Valls Àngels Martínez Charles Courant Kornelia Racz F. Xavier Comorera Marta Polo Glòria Nogué Philip-Raymond Joan Josep Renart Núria Cors Joan Prados Departament de Juan Carlos Olivares Cunningham Francesc Rodríguez Rosa Maria Cristo Carles Prat Màrqueting, Núria Piquer Birgit Euler Lluís Rusiñol Miguel Ángel Curras Angèlica Prats Comunicació i Sebastian Popescu Vincent Fillatreau Artur Sala Georgiev Darlev Florenci Puig Mecenatge Susana Rodríguez Juan Pedro Fuentes Rafael Sala Gabriel Antonio Diap Joan Josep Ramos Martí Torres Elena Rosales Nicolae Giurgea Francesc Sánchez María José Escorsa Miquel Rosales director Carmen Aguilar Muntsa Inglada Albert Anguera Gemma Felius Aduino J. Martínez Josuè Sampere Emma Blancafort Elena Moral Ferran Anguera Cristina Fortuny Jaime Martínez Andrés Sánchez Sònia Blanquet Mercè Núñez Ricard Anguera Marta Frades Manuel Martínez Josep M. Sánchez Irene Calvís Meritxell Penas Joan Anton Antich José M. Franganillo Roger Martínez Juan M. Sánchez Montserrat Cardona Joan Rimbau Víctor Antich Ruth Galán Eduard Melich Margarita Sánchez Maite Guerra Josep Maria Sabench Stefano Armani Victòria Gallego Vicenç Miguel Mariano Sánchez Mireia Martínez Pilar Villanueva Jerónima Armas Jordi Gallués Enric Miquel Esther Sanclemente Berna Navarro Mercè Arribas Antoni Garcia Bautista V. Molina Vicenç Santos Josefa Padrós Departament de Antonio Arrufat Joan Carles Garriga Carlos Montosa Javier Sanz Lluís Palomar Recursos Humans i Natalia Barot Josep P. Gil Mercedes Muñoz Pedro Sastre Victòria Pardell Serveis Generals Xavier Bové Fiorella Giudicessi Blai Munuera Jordi Segarra Susanna Piquer Jordi Tarragó Albert Brignardelli María José Gómez Agustí Navarro Maria Serra Maria Teresa Pous director Manuel Cabello Alberto González Mònica Núñez Maria Teresa Sil Sònia Puig-Gros Jordi Aymar Raúl Cabello Carmen González Alfonso Ochoa Jordi Soler Gemma Pujol Cristina Ferraz Julián Candón José Jorge González Albert Ortiz Carles Lluís Suárez Isabel Ramon Pilar Foixench Carles Capdet Antonio Guardiola Amadeo Pabó Marc Teixidor Marta Ribas Mireia Gay Ferran Capella Miguel Guillén Natàlia Paradela Eduard Torrents Inés Riviere Raül López Xavier Carreras José Ángel Hidalgo Carles A. Pascua Antoni Ujeda Helena Roca Xavier Massotti Jordi Castro Adela del Hoyo Albert Peña Esperanza Valderrama Mercè Roig Juan Manuel Muñoz Gertrudis Cayuela Pablo Huerres Liliana Pereña Núria Valero Gemma Sánchez Ruben Ondoño Marc Comas Fernando Jiménez Ana Pérez Andrés Varela Isabel Santana Sandra Oliva Alexandre Curcó Anna Maria Junquera Robert Pinies Ana Sabina Vergara Sari Sanz Júlia Osorio Pietro d’Agostino Jamaine M. Kässler José C. Pita Jaume Vergés Paulina Soucheiron Joan Peyretó Laia Daniels Antonio Larios Salvador S. Pozo Alba Viader Deborah Tarridas Maria Rosa Pons Ricard Delgado Antoni Lebrón Ferran Pratdesaba Patricia Viguer Carme Urgell Sara Ramírez Antoni Díaz Esther Linuesa Esteban Quifer Eva Vílchez Mireia Ventura Mercè Siles José Luis Encinas Eduard López Carles Rabassa Judit Villalmanzo Cristina Viñas Albert Sust Sergi Escoda Francesc Xavier López Lluís Rabassa Ana Zurdo Ferran Torres Yolanda Escoda Jordi López Dolors Rodríguez Departament de Sebastià Escutia Xesca Llabrés Jaume Roig Producció i Departament Tècnic Rafael Espada Ramón Llinás Darío Rojas Gires Xavier Sagrera Guillermo Fabra Mònica Llorens Carlos A. Rojo Eduard Garcia director Antoni Falcó Joaquim Macià Marcos Romero director Rui Alves Josep R. Falcó Francesc Macip Pere Romero Yolanda Blaya Jordi Amate David Farré Antoni Magriñà Josep Rosés Sílvia Garcia Llorenç Ametller Immaculada Faura Begoña Marcos Glòria Royo Carles Gibert Javier Andrés Josefa Fèlix Isaac Martín Josep Sala Fundació Gran Teatre del Liceu Mecenes · Consell de Mecenatge Patrocinadors Protectors Col·laboradors BANCO MEDIOLANUM ILLY CAFFÈ SUMARROCA BON PREU SAGA MOTOR GENERAL CABLE SOGEUR Benefactors
Load more

Recommended publications
  • Opera Colorado Announces 2018-19 Season: Verdi’S La Traviata and Mozart’S the Marriage of Figaro in Grand, Traditional Productions at the Ellie Caulkins Opera House
    FOR IMMEDIATE RELEASE: February 21, 2018 Media Contact: Tamara Vallejos, Director of Marketing & Audience Development 303.778.0214 | [email protected] Opera Colorado Announces 2018-19 Season: Verdi’s La Traviata and Mozart’s The Marriage of Figaro in grand, traditional productions at the Ellie Caulkins Opera House Plus, a double-bill of Tom Cipullo’s After Life and Josephine at the new Kirkland Museum of Fine & Decorative Art Now in his 10th year of leading the company, Greg Carpenter to take on new title of General & Artistic Director DENVER—Opera Colorado is pleased to announce its 2018-19 season, anchored by two of the most beloved works in the repertoire: Verdi’s stunning and heartbreaking La Traviata and Mozart’s effervescent comedy The Marriage of Figaro, both to be performed at the Ellie Caulkins Opera House at the Denver Performing Arts Complex. The season is rounded out by the 2018-19 Scene Change offering: a contemporary double-bill of After Life and Josephine by composer Tom Cipullo, for which Opera Colorado will transform a gallery of the new Kirkland Museum of Fine & Decorative Art into a 100-seat theater. “The 2018-19 season is particularly exciting in its contrasts,” says Opera Colorado General & Artistic Director Greg Carpenter. “Both La Traviata and The Marriage of Figaro are iconic operas, and both are masterpieces of music and theater. But the former offers us the intensity of tragic passion, while the latter is the height of sophisticated comedy.” “And, of course, there is the delightful contrast of presenting
    [Show full text]
  • Voix Nouvelles, Concert Des Lauréats
    Concert Voix Nouvelles du mercredi Concert des lauréats du Concours Voix Nouvelles 2018 me 12 décembre 18h PROG_VOIX NOUVELLES_140190.indd 1 04/12/2018 16:22 Hélène Carpentier ©Harcourt Caroline Jestaedt ©DR Eva ZAÏCIK ©Philippe Biancotto Gilen Goicoechea ©DR Concert des lauréats du Concours Voix Nouvelles 2018 PROG_VOIX NOUVELLES_140190.indd 2 04/12/2018 16:22 Concert du Mercredi en Grande Salle Surtitré en français +/- 1h10 sans entracte Caroline Jestaedt ©DR Concert des lauréats du Concours Voix Nouvelles 2018 Voix Nouvelles Avec Hélène Carpentier soprano Caroline Jestaedt soprano Eva Zaïcik mezzo-soprano Gilen Goicoechea baryton Gilen Goicoechea ©DR Direction musicale Cyril Diederich Orchestre de Picardie Concert des lauréats du Concours Voix Nouvelles 2018 Le Concours Voix Nouvelles est co-organisé par le Centre Français de Promotion Lyrique, la Fondation Orange et la Caisse des Dépôts, avec le soutien du Ministère de la Culture, du Ministère des Outre-Mer et de l’Adami, en partenariat avec France 3, France Musique et TV5 Monde PROG_VOIX NOUVELLES_140190.indd 3 04/12/2018 16:22 ••• Programme Airs d’opéras de Wolfgang Amadeus Mozart (1756-1791) 1. Ouverture des Noces de Figaro 2. Air de Chérubin : « Voi che sapete » (Les Noces de Figaro) 3. Air du Comte : « Hai già vinta la causa » (Les Noces de Figaro) 4. Duo Comtesse et Susanne « Canzonetta sull’aria » (Les Noces de Figaro) 5. Air de Guglielmo : « Donne mie, la fate a tanti » (Così fan tutte) 6. Trio Fiordiligi, Dorabella, Alfonso : « Soave Sia il vento » (Così fan tutte) 7. Ouverture de Don Giovanni 8. Air de Zerline : « Vedrai carino, se sei buonino » (Don Giovanni) 9.
    [Show full text]
  • Julio-Agosto 2004
    AÑO XIX Nº 188 Julio-Agosto 2004 6 € 2 OPINIÓN Luigi Dallapiccola, cárceles e islas CON NOMBRE Stefano Russomanno 112 PROPIO Petrassi: la poética artesana como tradición y vanguardia 6 Carlo Maria Giulini Tomás Marco 116 Roberto Andrade Dallapiccola y Petrassi en CD 10 AGENDA Juan Manuel Viana 120 12 ACTUALIDAD ENCUENTROS NACIONAL José van Dam Rafael Banús Irusta 126 38 ACTUALIDAD REPORTAJE INTERNACIONAL Tras las huellas de Antonín Dvorák 52 ENTREVISTA Rafael Banús Irusta 130 Rolando Villazón EDUCACIÓN Bruno Serrou Pedro Sarmiento 134 56 Discos del mes EL CANTAR DE SCHERZO DISCOS LOS CANTARES 57 Sumario Arturo Reverter 136 DOSIER LIBROS 137 105 Dallapiccola Petrassi JAZZ 138 cien años LA GUÍA 140 106 Un siglo de música en Italia Francisco Ramos CONTRAPUNTO Norman Lebrecht 144 Colaboran en este número: Teresa Adrán, Javier Alfaya, Daniel Álvarez Vázquez, Julio Andrade Malde, Íñigo Arbiza, Rafael Banús Irusta, Alfredo Brotons Muñoz, Domingo del Campo Castel, José Antonio Cantón, Paulino Capdepón, Carmelo Di Gennaro, Fernando Fraga, Joaquín García, Manuel García Franco, José Antonio García y García, Mario Gerteis, José Guerrero Martín, Leopoldo Hontañón, Bernd Hoppe, Paul Korenhof, Norman Lebrecht, Luciana Leiderfarb, Juan Antonio Llorente, Fiona Maddocks, Nadir Madriles, Tomás Marco, Santiago Martín Bermúdez, Joaquín Martín de Sagarmínaga, Enrique Martínez Miura, Blas Matamoro, Erna Metdepenninghen, Antonio Muñoz Molina, Miguel Ángel Nepomuceno, Josep Pascual, Enrique Pérez Adrián, Javier Pérez Senz, Pablo Queipo de Llano Ocaña, Francisco Ramos, Arturo Reverter, Justo Romero, Stefano Russomanno, Ignacio Sánchez Quirós, Pablo Sanz, Pedro Sarmiento, Bruno Serrou, Franco Soda, José Luis Téllez, Juan Manuel Viana, Claire Vaquero Williams, Asier Vallejo Ugarte, Pablo J.
    [Show full text]
  • 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.
    [Show full text]
  • Giuseppe Verdi
    GIUSEPPE VERDI CARLO COLOMBARAAIDA | ANITA RACHVELISHVILI | KRISTIN LEWIS | FABIO SARTORI CONDUCTED BY ZUBIN MEHTA | STAGED BY PETER STEIN GIUSEPPE VERDI Giuseppe Verdi’s masterpiece AIDA at La Scala in Milan is an experience in itself. Consequently, a new production of AIDA is an event barely to be surpassed, especially when performed before a notoriously critical audience of la La Scala. AIDA With his unpretentious and lucid new interpretation of the opera, directorial legend Peter Stein succeeds in delivering a production acclaimed in equal measure by the Orchestra Orchestra and Chorus press and public: “a perfect coup de theatre” (Giornale della musica). of the Teatro alla Scala Conductor Zubin Mehta Indeed, he breathes new life into Giuseppe Verdi’s romantic drama about power, Stage Director Peter Stein passion, jealousy and death: the Nubian Princess Aida, who is unfortunate enough to find herself in prison in Egypt, is secretly in love with the leader of the army, The King Carlo Colombara Radamès. He however has been promised in marriage to the Egyptian king's Amneris Anita Rachvelishvili daughter Amneris, who also loves him. The secret love affair between Aida and Aida Kristin Lewis Radamès is uncovered and fate takes its course ... Radamès Fabio Sartori A “stellar cast” (La Stampa) contributes to the production’s success Ramfis Matti Salminen under the musical direction of Verdi specialist Zubin Mehta. Amonasro George Gagnidze “The entire ensemble is brilliant in its portrayal of the A Messenger Azer Rza-Zada characters” (Die Presse), especially the American soprano The High Priestess Chiara Isotton Kristin Lewis in the title role.
    [Show full text]
  • Simone Alberghini
    Simone Alberghini - Debutta nel 1993 al Teatro Regio di Torino e da allora si esibisce nei più importanti teatri internazionali, collaborando con celebri direttori quali Chailly, Jurowsky, Mehta, Muti, Ozawa, Thomas. Il suo repertorio comprende soprattutto ruoli mozartiani, rossiniani e opere del repertorio francese. Al Glyndebourne Festival del 2005 interpreta Dandini nella Cenerentola di Rossini con la regia di Peter Hall e la direzione di Vladimir Jurowski, ruolo che riprende anche al Kennedy Center a Washington e al Metropolitan Opera di New York. Sempre negli Stati Uniti, all’Opera Company di Philadelphia è il Conte nelle Nozze di Figaro di Mozart. È ospite regolare al Rossini Opera Festival di Pesaro, dove canta nella Donna del Lago, Zelmira, Otello, Tancredi, Torvaldo e Dorliska e La Scala di Seta ed interpreta Don Simone in Adelina di Pietro Generali. Veste i panni di Athanael in Thaïs di Massenet alla Royal Opera House di Londra diretto da Davis a fianco di Renée Fleming e successivamente al Teatro La Fenice di Venezia ed al Teatro Regio di Torino. Nel 2008 è Guglielmo nel Così Fan Tutte di Mozart al Festival Mozart de La Coruña, Escamillo in Carmen di Bizet al Teatro dell’Opera di Roma ed allo Sferisterio di Macerata; interpreta Nick Shadow in The Rake’s progress di Stravinskij alle Settimane Musicali di Stresa diretto da Noseda; canta nel ruolo di Mustafà nell’Italiana in Algeri di Rossini al Teatro di San Carlo di Napoli, interpreta per la prima volta i quattro ruoli ne Les Contes d’Hoffmann di Offenbach diretto da Emmanuel Villaume e debutta il Figaro rossiniano alla Washington National Opera.
    [Show full text]
  • Fascinace Wagnerem TZ Aj.Indd
    PRESS RELEASE opera Mgr. SILVIA HRONCOVÁ Director of Opera Faszination Wagner, a remarkable project combining opera and film, will receive its world premiere in Prague. Andreas Schager, one of the most acclaimed contemporary Heldentenors, will perform at the Forum Karlín. Prague, 4 October 2018 On 25 October, the National Theatre in Prague will host the world premiere of the unique Faszination Wagner project. Following the first night, at the Forum Karlín, it will be presented in other cities in Europe. The project, encompassing an opera performance and screening of a film, specially created for this occasion, may even be referred to as revolutionary. The evening features selected highlights from Richard Wagner’s operas, which will be performed by the State Opera Orchestra, conducted by Matthias Fletzberger, and the stellar singer Andreas Schager, one of the most acclaimed contemporary Heldentenors. The State Opera Orchestra, which is participating in a project of this kind for the very first time, will be led by the Austrian pianist and conductor Matthias Fletzberger, who said: “Wagner’s visions transcended the limits of music. His aim was to create a universal, comprehensive artwork, which would employ all the senses at the same time. Transformation of the content of live music to the form of film within the concert affords Wagner’s work a new dimension.” Along with Andreas Schager, his wife, the world-renowned violinist Lidia Baich, will appear as a soloist. The entire concept of the project, including the film, was created by the German stage and film director, screenwriter and musicologist of Turkish descent Selcuk Cara, who started his artistic career as an opera singer.
    [Show full text]
  • 1 CRONOLOGÍA LICEÍSTA Se Incluye Un Listado Con Las
    CRONOLOGÍA LICEÍSTA Se incluye un listado con las representaciones de Aida, de Giuseppe Verdi, en la historia del Gran Teatre del Liceu. Estreno absoluto: Ópera del Cairo, 24 de diciembre de 1871. Estreno en Barcelona: Teatro Principal, 16 abril 1876. Estreno en el Gran Teatre del Liceu: 25 febrero 1877 Última representación en el Gran Teatre del Liceu: 30 julio 2012 Número total de representaciones: 454 TEMPORADA 1876-1877 Número de representaciones: 21 Número histórico: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21. Fechas: 25 febrero / 3, 4, 7, 10, 15, 18, 19, 22, 25 marzo / 1, 2, 5, 10, 13, 18, 22, 27 abril / 2, 10, 15 mayo 1877. Il re: Pietro Milesi Amneris: Rosa Vercolini-Tay Aida: Carolina de Cepeda (febrero, marzo) Teresina Singer (abril, mayo) Radamès: Francesco Tamagno Ramfis: Francesc Uetam (febrero y 3, 4, 7, 10, 15 marzo) Agustí Rodas (a partir del 18 de marzo) Amonasro: Jules Roudil Un messaggiero: Argimiro Bertocchi Director: Eusebi Dalmau TEMPORADA 1877-1878 Número de representaciones: 15 Número histórico: 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36. Fechas: 29 diciembre 1877 / 1, 3, 6, 10, 13, 23, 25, 27, 31 enero / 2, 20, 24 febrero / 6, 25 marzo 1878. Il re: Raffaele D’Ottavi Amneris: Rosa Vercolini-Tay Aida: Adele Bianchi-Montaldo Radamès: Carlo Bulterini Ramfis: Antoine Vidal Amonasro: Jules Roudil Un messaggiero: Antoni Majjà Director: Eusebi Dalmau 1 7-IV-1878 Cancelación de ”Aida” por indisposición de Carlo Bulterini.
    [Show full text]
  • Artists Management Hartmut Haase Aalgrund 8 D-31275 Lehrte Telefon: 05175-953232 Telefax: 05175-953233 E-Mail: [email protected]
    Artists Management Hartmut Haase Aalgrund 8 D-31275 Lehrte Telefon: 05175-953232 Telefax: 05175-953233 e-mail: [email protected] www.artists-haase.de Christiane Libor ( Soprano) Christiane Libor was born in Berlin, where she received her first lessons in piano and singing. Until 1996 she studied at the ‘Musikhochschule für Musik Hans Eissler’ Berlin with Professor Anneliese Fried. From April 1997 on she started an additional concert course of study which she finished in February 1999 with honours. In 1997 she attended classes in Lieder interpretation with Dietrich Fischer-Dieskau and Julia Varady. She also attended master classes with Edith Mathis, Hans Hotter, Peter Schreier and Joseph Protschka. 1998 Christiane Libor received the O.E. Hasse-Prize of the Academy of the arts Berlin and was prize winner of the VII. International Mozart-Competition Salzburg 1999. 1999 she sang the part of ‘Erste Dame’ (Die Zauberflöte) at the Nationale Reisopera Enschede. In 2003 she was engaged for the role of ‘Agathe’ (Der Freischütz) at the Reisopera in Enschede. In December 1999 she sung the first time at Hamburgische Staatsoper in ‘Die Zauberflöte’ (Erste Dame) and sung the soprano-part in John Neumeier’s Choreography of Händel’s ‘The Messiah’. In the 2003/04 season she appeared at Hamburgische Staatsoper as ‘Feldmarschallin’ (Rosenkavalier), at Staatsoper Hannover and at Semperoper Dresden as ‘Rosalinde’ (Fledermaus). In 2005 she sung ‘Leonore’ (Fidelio) at Staasoper Berlin and Hamburgische Staatsoper and ‘Dialogues des Carmélites’ (Hamburgische Staatsoper). In the 2005/06 season she sung first time ‘Senta’ (Der fliegende Holländer), ‚Eva’ (Die Meistersinger von Nürnberg) and ‘Donna Anna’ (Don Giovanni).
    [Show full text]
  • Source-Vocal Tract Interaction in Female Operatic Singing and Theater Belting
    549-572_JOS_MayJune11_depts_C 3/28/11 2:06 PM Page 561 VOICE RESEARCH AND TECHNOLOGY Ingo Titze, Associate Editor Source-Vocal Tract Interaction in Female Operatic Singing and Theater Belting Ingo R. Titze, Albert S. Worley, and Brad H. Story INTRODUCTION IGH PITCHED SINGING SEEMS to follow two techniques that are clearly differentiated by the operatic style and the music theater style. Both styles (and hence the techniques) grew out of the need to produce intense unamplified vocal sound to large audi- Hences and over considerable large background instrumental accompaniments. The styles have been cultivated over time, even though amplification is now part of some performances in both styles. Ingo Titze Several authors have described differences between operatic productions and music theater productions. Sundberg, Gramming, and LoVetri studied a female singer who could produce both styles and concluded that theater belting is characterized by a higher subglottal pressure, by a higher degree of glottal adduction, and a higher larynx position with a concomitant higher first formant frequency on comparable vowels.1 Schutte and Miller pointed out that the second harmonic was characteristically strong in belting and went on record to suggest that, acoustically, the strength of the second har- monic was the defining element of belting.2 Bestebreustje and Schutte studied the strengthening of individual har- Albert S. Worley monics by formants on several vowels produced in the belt style.3 Vowels with considerable mouth opening, such as /å /and / ø /, needed less modifi- cation than the vowels with less mouth opening, like / i / and / u /, to reinforce several harmonics with formants.
    [Show full text]
  • Premieren Der Oper Frankfurt Ab September 1945 Bis Heute
    Premieren der Oper Frankfurt ab September 1945 bis heute Musikalische Leitung der Titel (Title) Komponist (Composer) Premiere (Conductor) Regie (Director) Premierendatum (Date) Spielzeit (Season) 1945/1946 Tosca Giacomo Puccini Ljubomir Romansky Walter Jokisch 29. September 1945 Das Land des Lächelns Franz Lehár Ljubomir Romansky Paul Kötter 3. Oktober 1945 Le nozze di Figaro W.A. Mozart Dr. Karl Schubert Dominik Hartmann 21. Oktober 1945 Wiener Blut Johann Strauß Horst-Dietrich Schoch Walter Jokisch 11. November 1945 Fidelio Ludwig van Beethoven Bruno Vondenhoff Walter Jokisch 9. Dezember 1945 Margarethe Charles Gounod Ljubomir Romansky Walter Jokisch 10. Januar 1946 Otto und Theophano Georg Friedrich Händel Bruno Vondenhoff Walter Jokisch 22. Februar 1946 Die Fledermaus Johann Strauß Ljubomir Romansky Paul Kötter 24. März 1946 Zar und Zimmermann Albert Lortzing Ljubomir Romansky Heinrich Altmann 12. Mai 1946 Jenufa Leoš Janáček Bruno Vondenhoff Heinrich Altmann 19. Juni 1946 Spielzeit 1946/1947 Ein Maskenball Giuseppe Verdi Bruno Vondenhoff Hans Strohbach 29. September 1946 Così fan tutte W.A. Mozart Bruno Vondenhoff Hans Strohbach 10. November 1946 Gräfin Mariza Emmerich Kálmán Georg Uhlig Heinrich Altmann 15. Dezember 1946 Hoffmanns Erzählungen Jacques Offenbach Werner Bitter Karl Puhlmann 2. Februar 1947 Die Geschichte vom Soldaten Igor Strawinsky Werner Bitter Walter Jokisch 30. April 1947 Mathis der Maler Paul Hindemith Bruno Vondenhoff Hans Strohbach 8. Mai 1947 Cavalleria rusticana / Pietro Mascagni / Werner Bitter Heinrich Altmann 1. Juni 1947 Der Bajazzo Ruggero Leoncavallo Spielzeit 1947/1948 Ariadne auf Naxos Richard Strauss Bruno Vondenhoff Hans Strohbach 12. September 1947 La Bohème Giacomo Puccini Werner Bitter Hanns Friederici 2. November 1947 Die Entführung aus dem W.A.
    [Show full text]
  • ANDREA BOCELLI at Last, a Legend at Last, a Legend for the New
    ANDREA BOCELLI At last, a legend At last, a legend for the new millennium. A myth in the Homeric sense, “story delivered by word of mouth”, which blossomed through singing, just like Caruso, Gigli, Del Monaco, Corelli… A legend of Andrea Bocelli’s caliber cannot be artificially designed: not even the most astute marketing plan would be able to come up with such a result. People simply recognize his talent and choose him. This is what happened, in an apparently well-matched but perfect context, the Italian singing competition Sanremo in 1994, because the childhood of a legend follows a course that breaks tradition. Since then, the tone of his voice has brought gentleness to the world and his fame has increased exponentially. “If God could sing, He would sound a lot like Andrea Bocelli”: even Celine Dion’s famous comment is a clear, unadorned testament to the artist’s legendary status, as well as the perception of a God given gift. That voice, that melancholic and at the same time radiant tone, unrivalled in interpreting the love song of a lover or a father, a matchless expression of earthly desire or heavenly love. We are about to celebrate the first twenty years of his career, supported by the sale of 80 million records. With talent comes responsibility “I don’t think one decides to become a singer, it is decided for you by the reactions of the people around you”. Andrea Bocelli has had to come to terms with having two all-encompassing gifts. The first is a specific timbre, which has become his signature, full and powerful, versatile to the point that he can range from the belcanto to the furor of verismo, from the sacred repertoire to the popular ballads.
    [Show full text]