DOCSLIB.ORG

October 13, 15, & 17, 2017

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
October 13, 15, & 17, 2017 PRESENTS October 13, 15, & 17, 2017 AT THE BLAISDELL CONCERT HALL HawaiiOpera.org | 808.596.7858 AT THE BLAISDELL CONCERT HALL Composed by Georges Bizet Aria | Carmen 1 AND WELCOME TO AN EXCITING NEW SEASON OF OPERAS FROM HAWAII OPERA THEATRE! We are thrilled to be opening our regular at the Metropolitan Opera, In the meantime, please join us for season with one of the world’s most and Tara Faircloth directs. our beautiful Opera Ball – which popular operas, the tragic tale of the is Carmen themed this year – with seductive gypsy Carmen. This will be another great season for fabulous entertainment, delicious HOT, with three more unforgettable food, and dancing at the Sheraton, HOT’s production of Carmen was operas to come. In January, we Waikiki on Saturday November 11. last seen in 2009, and we are bring an astonishing new work This is, without doubt, “the best presenting it this season with by composer Laura Kaminsky and party in town!” spectacular new costumes. The co-librettists Mark Campbell and cast is led by American mezzo- Kimberly Reed, As One. Premiered As always we are grateful to you, soprano, Kate Aldrich, a regular at at the Brooklyn Academy of Music our audience, for attending our the Metropolitan Opera and San in 2014, this moving work tells the performances and for the support Francisco, as well as the major story of Hannah and her journey as you give us in so many ways European houses. Her tragic lover a transgender person. The creators throughout the year. Without your is played by local favorite, Kip of the roles, Sasha Cooke and Kelly help we simply could not continue WIlborn, who has appeared in Markgraf, will be here to perform the to bring the world’s best opera to recent productions I Pagliacci and opera at the Terminal at Aloha Tower Hawaii each year. A Streetcar Named Desire. Alongside – a new venue for HOT. them, we welcome back Talise But now sit back and enjoy Carmen! Trevigne (Pamina, Magic Flute, 2015) Later in the season, Audrey Luna will as Micaëla, and Darren Stokes, star as Marie in Donizetti’s engaging making his HOT debut as the comedy, Daughter of the Regiment, MAHALO toreador, Escamillo. We are also and Ryan McKinny along with Simon Crookall delighted to have two members Melody Moore return to perform General Director of the HOT Orvis Opera Studio, Tchaikovsky’s timeless classic Eugene Leslie Goldman McInerny and Sarah Onegin in a brand new co-production Lambert Connelly, as the gypsy with the opera companies of Seattle, girls, Frasquita and Mercédès. Atlanta, Kansas City, and Michigan. Our conductor is Derrick Inouye, a 2 Hawaii Opera Theatre Aria | Carmen 3 ARIA - HAWAII Composed by Georges Bizet Libretto by Henri Meilhac and Ludovic Halévy CAST ARTISTIC TEAM In order of vocal appearance LEON WILLIAMS DERRICK INOUYE Moralès Conductor TALISE TREVIGNE TARA FAIRCLOTH Micaëla Stage Director KIP WILBORN MAIKA’I NASH Don José Répétiteur MATTHEW TREVIÑO NOLA A. NĀHULU Zuniga Chorus Director KATE ALDRICH PETER DEAN BECK Carmen Scenery and Lighting Designer LESLIE GOLDMAN MCINERNY HELEN E. RODGERS Frasquita Costume Director SARAH LAMBERT CONNELLY SUE SITTKO SCHAEFER Mercédès Wig & Make-up Designer DARREN STOKES TONY PISCULLI Escamillo Fight Coordinator BRIAN JAMES MYER JAYME CASTLE VAN CLEEF & ARPELS Le Dancaïre Stage Manager CHRISTIAN SANDERS Le Remendado HONOLULU ALA MOANA CENTER 808.951.8887 4 Hawaii Opera Theatre Aria | Carmen 5 412F17_NMS_ALA_MOANA_FALL_REGIONAL ADS_ARIAHI_11_22.indd 1 9/15/17 5:39 PM HOT CHORUS HOT Orchestra Continued SOPRANO Sophia Paige Sansano+ TENOR Keane Ishii* TIMPANI ORCHESTRA LIBRARIAN Sienna Achong Victoria Shiroma Mark Ah Yo Geoffrey Kahapea, Jr. Jordan Schifino, Principal Kim Kiyabu, Principal Jayde Addison+ Georgine Stark Dan Barnett Les Loo Brooke Alcuran* Megan Takagi Christopher Chung Ricky Nepomuceno PERCUSSION ORCHESTRA CONTRACTOR Maria Carmichael* Stephen M. Foster Stelio Rebecca Laurito, Principal Colin Belisle Naomi Castro* ALTO Gary Kawasaki Douglas K. Stiles Christopher Cabrera, Associate Principal Jaime Blu Craycroft* Bonnie Chock Burke Ian McMillan* Stephen Strugnell Matthew Levine Patti Ikeda Martha Gomez Miles Trudo* Rae’chelle Jarmon Athena Iokepa BASS Otis Tufi Whitman* Mālia Kā‘ai-Barrett Jan T. Kamiya* Tom Barnett Nicholas Yos+ PRODUCTION STAFF Leah Ralston* Diane Sunada Koshi Steven Buchthal Erin Richardson Severin* Patricia Pongasi-Goldson Melvin K. Chang DIRECTOR OF PRODUCTION STAGE MANAGER SCENIC ARTIST Oaklea Rowe* Chris Walsh David Del Rocco Robert F. Reynolds Jayme Castle M. Emi Yabuta *Mae Z. Orvis Opera Studio Member SCENIC & LIGHTING DESIGNER ASSISTANT STAGE MANAGER SHOP CREW +Orvis Young Voices Peter Dean Beck Liz Petley Ryan Keone Seabury Dado Santos COSTUME DIRECTOR 2ND ASSISTANT STAGE MANAGER Herb Kaeo HAWAII YOUTH OPERA CHORUS Helen E. Rodgers Stephanie Conching I.A.T.S.E. UNION STEWARD Angelina Araki Lily Carlson Jayne Lau Bao Nguyen ASSISTANT COSTUMER MASTER CARPENTER Al Omo, Local 665 Kelaiah Jada Araki Adia Dunn Noah Laygo Lilinoe Field Perkins Marcia Evers Al Omo Katerina Araki Mayuko Ikeda Margaret Lonborg Ethan Phan RUNNING CREW Matin Bulos Ian Jones Mia Moore Sophia Victorino WIG & MAKE-UP DESIGNER MASTER ELECTRICIAN I.A.T.S.E. Local 665 Sue Sittko Schaefer Sandy Sandelin SECURITY SUPERNUMERARIES ASSISTANT TO WIG & MAKE-UP DESIGNER MASTER FLYMAN Kiekie Productions Kellen Eason Alema Ryder Ed Chow David Keli'ikuli (Mayor) Scott Francis Russell Kacy Todd BACKSTAGE SECURITY COORDINATOR Pat Connelly Aaron Ota Tristan Williams SOUND & VIDEO Miu Lan Oman Randy Encarnacion Stacy Ray James Wright FIGHT COORDINATOR Charles Roberts Tony Pisculli Skye Yee SUPERTITLES Chiori Shively HOT ORCHESTRA PROPS MASTER WARDROBE MISTRESS Rick Romer Pam Gossage VIOLIN 1 VIOLA FLUTE/PICCOLO HORN Ignace Jang, Concertmaster Mark Butin, Principal Susan McGinn, Principal David Lintz, Principal *Supertitles translated by Tara Faircloth and provided by Utah Opera Claire Sakai Hazzard, Associate Steve Flanter, Associate Principal Claire Starz Butin, Associate Julia Filson, Associate Principal Concertmaster Jean-Michel Jacquon Principal Colton Hironaka Judy Barrett, Assistant Melvin Whitney Eric Kop PRODUCTION SPONSORS Concertmaster Anna Womack OBOE Ram Gepner Sandra Wong Michelle Feng, Principal TRUMPET SUPERTITLES HOSPITALITY Katharine Hafner Brian Greene, Associate Principal Kenneth Hafner, Principal Maile Reeves CELLO Russell Ishida, Associate Principal Adrienne & Clifford Lau Bank of Hawaii Nancy Shoop-Wu Sung Chan Chang, Principal ENGLISH HORN Mio Unosawa-Herzog Joshua Nakazawa, Associate Brian Greene TROMBONE LANAI LECTURES Halekulani Principal Jason Byerlotzer, Principal VIOLIN 2 Pauline Bai CLARINET Craig Beattie, Associate Principal First Insurance Honolulu Club Hung Wu, Principal Karen Fujimoto James F. Moffitt, Principal Darel Stark, Associate Principal Norman Foster, Associate Principal BASS TROMBONE Timothy Leong DOUBLE BASS T.J. Ricer Michael Lim Malcolm Armstrong, Principal BASSOON Daniel Padilla John Gallagher, Associate Principal Thomas Morrison, Principal HARP Duane White Matthew Love Philip F. Gottling III, Associate Constance Uejio, Principal Hayden Joyce Principal 6 Hawaii Opera Theatre Aria | Carmen 7 The Facts THINGS YOU Carmen is one of the most beloved and often-performed MAY NOT operas in the entire world, and even if you are not an opera fanatic, you probably already know all of the big tunes. KNOW ABOUT However, here are nine things that you may not know about this world-famous opera: CARMEN 1. French composer Georges hair. She and José are from the the sport as a way to get out of Bizet wrote more than 30 operas, Basque region of Navarre, in the ghetto. In early days, the prize but Carmen is the only one that is the northern part of Spain. The for killing a bull was an ear (or two performed with any regularity. Navarrese were often fair. for an excellent performance!). Winning also meant the bullfighter 2. After its premiere in 5. When Don José attacks could claim the meat of the bull, a 1875, Carmen was critically panned, Escamillo in the mountains, he welcome source of food for a poor and many believe the poor reception uses a Navaja knife. This large family. Finding a patron was the led to Bizet's early death at age folding knife could lock open, quickest way out of poverty. 36. He died not knowing just how and was favored for its easy beloved his opera would become. concealment and was considered to 8. A great quote from the be very popular among the criminal beleaguered Bizet: “Ah, music! What 3. The leading man in the show, element. a beautiful art! But what a wretched Don José, had trained to be a priest. profession!" As a young man, he got into a 6. The most famous aria in the fight after a game of paume (kind opera features a completely made 9. Georges Bizet never stepped of like tennis) and killed a man. He up word: “Toreador.” The proper foot in Spain. ran away from his hometown and term is “torero,” but Bizet needed joined the military to avoid arrest. another syllable to fit the tune. Tara Faircloth Stage Director 4. Micaëla, Don José's hometown 7. Matadors often came from a sweetheart, usually wears blond very poor background and chose 8 Hawaii Opera Theatre Aria | Carmen 9 TheSynop�is ACT I ACT II ACT III ACT IV Carmen and her friends Frasquita and Carmen and José quarrel in the smugglers’ Back in Seville, the crowd cheers the bullfighters on In Seville by a cigarette factory, soldiers comment on Mercédès entertain the guests at the tavern. mountain hideaway. She admits that her their way to the arena. Carmen arrives on Escamillo’s the townspeople. Among them is Micaëla, a peasant Zuniga tells Carmen that José has just been love is fading and advises him to return to arm, and Frasquita and Mercédès warn her that José is girl, who asks for a corporal named Don José. Moralès, released. The bullfighter Escamillo enters, live with his mother.
Load more

Recommended publications
  • Lectures and Community Engagement 2017­–18 About the Metropolitan Opera Guild
    Lectures and Community Engagement 2017 –18 About the Metropolitan Opera Guild The Metropolitan Opera Guild is the world’s premier arts educa- tion organization dedicated to enriching people’s lives through the magic and artistry of opera. Thanks to the support of individuals, government agencies, foundations, and corporate sponsors, the Guild brings opera to life both on and off the stage through its educational programs. For students, the Guild fosters personal expression, collaboration, literacy skills, and self-confidence with customized education programs integrated into the curricula of their schools. For adults, the Guild enhances the opera-going experience through intensive workshops, pre-performance talks, and community outreach programs. In addition to educational activities, the Guild publishes Opera News, the world’s leading opera magazine. With Opera News, the Guild reaches a global audience with the most insightful and up-to-date writing on opera available anywhere, helping to maintain opera as a thriving, contemporary art form. For more information about the Metropolitan Opera Guild and its programs, visit metguild.org. Additional information and archives of Opera News can be found online at operanews.com. How to Use This Booklet This brochure presents the 2017–18 season of Lectures and Community Programs grouped into thematic sections—programs that emphasize specific Met performances and productions; courses on opera and its history and culture; and editorial insights and interviews presented by our colleagues at Opera News. Courses of study are arranged chronologically, and learners of all levels are welcome. To place an order, please call the Guild’s ticketing line at 212.769.7028 (Mon–Fri 10AM–4PM).
    [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]
  • Piano; Trio for Violin, Horn & Piano) Eric Huebner (Piano); Yuki Numata Resnick (Violin); Adam Unsworth (Horn) New Focus Recordings, Fcr 269, 2020
    Désordre (Etudes pour Piano; Trio for violin, horn & piano) Eric Huebner (piano); Yuki Numata Resnick (violin); Adam Unsworth (horn) New focus Recordings, fcr 269, 2020 Kodály & Ligeti: Cello Works Hellen Weiß (Violin); Gabriel Schwabe (Violoncello) Naxos, NX 4202, 2020 Ligeti – Concertos (Concerto for piano and orchestra, Concerto for cello and orchestra, Chamber Concerto for 13 instrumentalists, Melodien) Joonas Ahonen (piano); Christian Poltéra (violoncello); BIT20 Ensemble; Baldur Brönnimann (conductor) BIS-2209 SACD, 2016 LIGETI – Les Siècles Live : Six Bagatelles, Kammerkonzert, Dix pièces pour quintette à vent Les Siècles; François-Xavier Roth (conductor) Musicales Actes Sud, 2016 musica viva vol. 22: Ligeti · Murail · Benjamin (Lontano) Pierre-Laurent Aimard (piano); Bavarian Radio Symphony Orchestra; George Benjamin, (conductor) NEOS, 11422, 2016 Shai Wosner: Haydn · Ligeti, Concertos & Capriccios (Capriccios Nos. 1 and 2) Shai Wosner (piano); Danish National Symphony Orchestra; Nicolas Collon (conductor) Onyx Classics, ONYX4174, 2016 Bartók | Ligeti, Concerto for piano and orchestra, Concerto for cello and orchestra, Concerto for violin and orchestra Hidéki Nagano (piano); Pierre Strauch (violoncello); Jeanne-Marie Conquer (violin); Ensemble intercontemporain; Matthias Pintscher (conductor) Alpha, 217, 2015 Chorwerk (Négy Lakodalmi Tánc; Nonsense Madrigals; Lux æterna) Noël Akchoté (electric guitar) Noël Akchoté Downloads, GLC-2, 2015 Rameau | Ligeti (Musica Ricercata) Cathy Krier (piano) Avi-Music – 8553308, 2014 Zürcher Bläserquintett:
    [Show full text]
  • San Francisco Symphony MICHAEL TILSON THOMAS MUSIC DIRECTOR
    Audio And Video from the San Francisco Symphony MICHAEL TILSON THOMAS MUSIC DIRECTOR the San francisco Symphony is the first uS orchestra with its own in-house label, SfS media™, offering a distinctive series of recordings and dVds. under the leadership of music director michael tilson thomas, the orchestra has recorded a GrAMMY®-winning, critically acclaimed cycle of the symphonies of Gustav mahler. our groundbreaking Keeping Score series, available on dVd and Blu-ray, features MTT and the orchestra exploring great works and the people behind them, and is designed to make classical music accessible to those of all ages and musical backgrounds. Also on dVd is A Celebration of Leonard Bernstein: Carnegie Hall Opening Night 2008, the San francisco Symphony’s gala Bernstein concert, broadcast originally on PBS’s Great Performances. MAHLER SYMPHONY NO. 1 “it’s not unheard of for this orchestra and conductor to sound so good together; anyone who’s been going to davies Symphony hall with any frequency in recent years has heard comparable performances. But to hear the dramatic sweep and sonic depth of the performance caught so resplendently on disc—that’s another story. thomas’ dedication to live recordings has never seemed so thoroughly justified.” – San Francisco Chronicle Mahler: Symphony No. 1 SFS-0002 Hybrid SACD MAHLER SYMPHONY NO. 2 SOLOISTS Isabel Bayrakdarian Lorraine Hunt Lieberson with the San francisco Symphony Chorus “At times demoniacally dramatic, [MTT] … yields a forceful, stunning interpretation (sumptuous brass) with sepulchral undertones (strings from beyond the grave). the vocal parts are almost supernatural.… it is a decidedly classy performance.” – Le Monde Mahler: Symphony No.
    [Show full text]
  • Review Downloaded from by University of California, Irvine User on 18 March 2021 Performance
    Review Downloaded from https://academic.oup.com/oq/article/34/4/355/5469296 by University of California, Irvine user on 18 March 2021 Performance Review Colloquy: The Exterminating Angel Met Live in HD, November 18, 2017 Music: Thomas Ade`s Libretto: Tom Cairns, in collaboration with the composer, based on the screenplay by Luis Bunuel~ and Luis Alcoriza Conductor: Thomas Ade`s Director: Tom Cairns Set and Costume Design: Hildegard Bechtler Lighting Design: Jon Clark Projection Design: Tal Yarden Choreography: Amir Hosseinpour Video Director: Gary Halvorson Edmundo de Nobile: Joseph Kaiser Lucıa de Nobile: Amanda Echalaz Leticia Maynar: Audrey Luna Leonora Palma: Alice Coote Silvia de Avila: Sally Matthews Francisco de Avila: Iestyn Davies Blanca Delgado: Christine Rice Alberto Roc: Rod Gilfry Beatriz: Sophie Bevan Eduardo: David Portillo Raul Yebenes: Frederic Antoun Colonel Alvaro Gomez: David Adam Moore Sen~or Russell: Kevin Burdette Dr. Carlos Conde: Sir John Tomlinson The Opera Quarterly Vol. 34, No. 4, pp. 355–372; doi: 10.1093/oq/kbz001 Advance Access publication April 16, 2019 # The Author(s) 2019. Published by Oxford University Press. All rights reserved. For permissions, please email: [email protected] 356 | morris et al Editorial Introduction The pages of The Opera Quarterly have featured individual and panel reviews of op- era in performance both in its traditional theatrical domain and on video, including Downloaded from https://academic.oup.com/oq/article/34/4/355/5469296 by University of California, Irvine user on 18 March 2021 reports from individual critics and from panels assembled to review a single produc- tion or series of productions on DVD.
    [Show full text]
  • Sally Matthews Is Magnificent
    ` DVORAK Rusalka, Glyndebourne Festival, Robin Ticciati. DVD Opus Arte Sally Matthews is magnificent. During the Act II court ball her moral and social confusion is palpable. And her sorrowful return to the lake in the last act to be reviled by her water sprite sisters would melt the winter ice. Christopher Cook, BBC Music Magazine, November 2020 Sally Matthews’ Rusalka is sung with a smoky soprano that has surprising heft given its delicacy, and the Prince is Evan LeRoy Johnson, who combines an ardent tenor with good looks. They have great chemistry between them and the whole cast is excellent. Opera Now, November-December 2020 SCHUMANN Paradies und die Peri, Cincinnati Symphony Orchestra, Paolo Bortolameolli Matthews is noted for her interpretation of the demanding role of the Peri and also appears on one of its few recordings, with Rattle conducting. The soprano was richly communicative in the taxing vocal lines, which called for frequent leaps and a culminating high C … Her most rewarding moments occurred in Part III, particularly in “Verstossen, verschlossen” (“Expelled again”), as she fervently Sally Matthews vowed to go to the depths of the earth, an operatic tour-de-force. Janelle Gelfand, Cincinnati Business Courier, December 2019 Soprano BARBER Two Scenes from Anthony & Cleopatra, Chicago Symphony Orchestra, Juanjo Mena This critic had heard a fine performance of this music by Matthews and Mena at the BBC Proms in London in 2018, but their performance here on Thursday was even finer. Looking suitably regal in a glittery gold form-fitting gown, the British soprano put her full, vibrant, richly contoured voice fully at the service of text and music.
    [Show full text]
  • Connection/Separation
    Friday, February 12, 2021 | 4 PM MANHATTAN SCHOOL OF MUSIC OPERA THEATRE Tazewell Thompson, Director of Opera Studies presents Connection/Separation Featuring arias and scenes from Carmen, Così fan tutte, Die Zauberflöte, La clemenza di Tito, L’elisir d’amore, Le nozze di Figaro, Les pêcheurs de perles, and Lucio Silla A. Scott Parry, Director MSM Opera Theatre productions are made possible by the Fan Fox and Leslie R. Samuels Foundation and the Joseph F. McCrindle Endowment for Opera Productions at Manhattan School of Music. Friday, February 12, 2021 | 4 PM MANHATTAN SCHOOL OF MUSIC OPERA THEATRE Tazewell Thompson, Director of Opera Studies presents Connection/Separation Featuring arias and scenes from Carmen, Così fan tutte, Die Zauberflöte, La clemenza di Tito, L’elisir d’amore, Le nozze di Figaro, Les pêcheurs de perles, and Lucio Silla A. Scott Parry, Director Myra Huang, Vocal Coach & Pianist Kristen Kemp, Vocal Coach & Pianist Megan P. G. Kolpin, Props Coordinator DIRECTOR’S NOTE In each of our lives—during this last year especially—we may have discovered ourselves in moments of wanting, even needing some sort of human connection, but instead finding separation by any number of barriers. In the arias and scenes that follow, we witness characters in just this kind of moment; searching for meaningful contact yet being somehow barred from achieving it. Through circumstance, distance, convention, misunderstanding, pride, fear, ego, or what have you, we may find ourselves in situations similar to the characters in this program, while looking forward to the days when connection can be more easily achieved and separation the exception to the rule.
    [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]
  • ANIOŁ ZAGŁADY THOMAS ADÈS Dyrektor Naczelny Tomasz Bęben Dyrektor Artystyczny Paweł Przytocki Chórmistrz, Szef Chóru Dawid Ber
    ANIOŁ ZAGŁADY THOMAS ADÈS dyrektor naczelny Tomasz Bęben dyrektor artystyczny Paweł Przytocki chórmistrz, szef chóru Dawid Ber dyrektor generalny Peter Gelb honorowy dyrektor muzyczny James Levine dyrektor muzyczny Yannick Nézet-Séguin główny dyrygent Fabio Luisi 2. ANIOŁ ZAGŁADY (THE EXTERMINATING ANGEL) OPERA W TRZECH AKTACH LIBRETTO: TOM CAIRNS WE WSPÓŁPRACY Z KOMPOZYTOREM NA PODSTAWIE FILMU LUISA BUÑUELA POD TYM SAMYM TYTUŁEM OSOBY Lucía, markiza de Nobile, gospodyni sopran Leticia Maynar, śpiewaczka operowa sopran koloraturowy Leonora Palma mezzosopran Silvia, hrabina Ávila, młoda owdowiała matka sopran Blanca Delgado, pianistka, żona Roca mezzosopran Beatriz, narzeczona Eduarda sopran Edmundo, markiz de Nobile, gospodarz tenor hrabia Raúl Yebenes, odkrywca tenor pułkownik Álvaro Gómez baryton Francisco de Ávila, brat Silvii kontratenor Eduardo, narzeczony Beatriz tenor Señor Russell bas-baryton Alberto Roc, dyrygent bas-baryton Doktor Carlos Conde bas Julio, kamerdyner baryton Lucas, lokaj tenor Enrique, kelner tenor Pablo, kucharz baryton Meni, pokojówka sopran Camila, pokojówka mezzosopran Padre Sansón baryton Yoli, synek Silvii dyszkant chłopięcy Chór (SABT) grający służących, policjantów, wojskowych, tłum Prapremiera podczas Salzburger Festspiele – 28 lipca 2016 roku Premiera inscenizacji w The Metropolitan Opera w Nowym Jorku – 26 października 2017 roku Współpraca i koprodukcja Metropolitan Opera, Royal Opera House Covent Garden, Royal Danish Theatre i Salzburg Festival Transmisja z The Metropolitan Opera w Nowym Jorku – 18
    [Show full text]
  • Summer 2021 NEWSLETTER : BULLETIN Été 2012 Handel’S the Resurrection - a New Production for a New Era Opera Atelier in 2021 by Lesley Robinson
    Société d' Opéra National Capital de la Capitale Nationale Opera Society Summer 2021 NEWSLETTER : BULLETIN Été 2012 Handel’s The Resurrection - a New Production for a New Era Opera Atelier in 2021 by Lesley Robinson After more than a year of re-runs and old favourites, I am absolutely thrilled to be writing about a brand-new production. When Ontario went into a lockdown in March 2020, the production was officially cancelled. At that time, the set had been built, the costumes were almost ready and rehearsals had begun. Instead of just shutting everything down and waiting for things to get back to “normal”, Toronto’s Opera Atelier chose to create something new and exciting. Rather than bemoaning what was not possible, they focused on new ways to present their traditional, classic, baroque content. Atelier’s production of The Resurrection is a film, which was streamed online over a limited period for their audience. They sold tickets, just as they would for a regular production and provided an online libretto, translation and program book. The creators’ task was to reimagine a production, whilst remaining true to the work. They looked back to the roots of the piece which was first performed in Rome in 1708 in the grand hall of a palace. Without the constraints of a regular theatrical auditorium and in keeping with the premiere, they decided to film The Resurrection in the Ballroom of St. Lawrence Hall. Everything was done in strict accordance with pandemic guidelines and when the appropriately socially distanced artists of the Atelier Ballet appeared in their protective masks, I was immediately struck by the impression that this was a whole new take on a masked ball.
    [Show full text]
  • The Magic Flute
    OCTOBER 09, 2015 THE FRIDAY | 8:00 PM OCTOBER 11, 2015 MAGIC SUNDAY | 4:00 PM OCTOBER 13, 2015 FLUTE TUESDAY | 7:00 PM FLÂNEUR FOREVER Honolulu Ala Moana Center (808) 947-3789 Royal Hawaiian Center (808) 922-5780 Hermes.com AND WELCOME TO AN EXCITING NEW SEASON OF OPERAS FROM HAWAII OPERA THEATRE. We are thrilled to be opening our 2014) conducts, and Allison Grant As always we are grateful to you, season with one of Mozart’s best- (The Merry Widow, 2004) directs this our audience, for attending our loved operas: The Magic Flute. This new translation of The Magic Flute by performances and for the support colorful production comes to us Jeremy Sams. you give us in so many ways from Arizona Opera, where it was throughout the year. Without your created by Metropolitan Opera This will be another unforgettable help we simply could not continue stage director, Daniel Rigazzi. season for HOT with three to bring the world’s best opera to Inspired by the work of the French sensational operas, including Hawaii each year. surrealist painter, René Magritte, a stunning new production of the production is fi lled with portals– Benjamin Britten’s A Midsummer But now sit back and enjoy Mozart’s doorways and picture frames–that Night’s Dream, directed by Henry The Magic Flute. lead the viewer from reality to Akina, with videography by Adam dreams. With a cast that includes Larsen (Siren Song, 2015) and a MAHALO Antonio Figueroa as Tamino and So spectacular production of Verdi’s Il Young Park as the formidable Queen Trovatore designed by Peter Dean Henry G.
    [Show full text]
  • Sir Colin Davis Anthology Volume 1
    London Symphony Orchestra LSO Live Sir Colin Davis Anthology Volume 1 Sir Colin Davis conductor Colin Lee tenor London Symphony Chorus London Symphony Orchestra Hector Berlioz (1803–1869) – Symphonie fantastique, Op 14 (1830–32) Recorded live 27 & 28 September 2000, at the Barbican, London. 1 Rêveries – Passions (Daydreams – Passions) 15’51’’ Largo – Allegro agitato e appassionato assai – Religiosamente 2 Un bal (A ball) 6’36’’ Valse. Allegro non troppo 3 Scène aux champs (Scene in the fields) 17’16’’ Adagio 4 Marche au supplice (March to the Scaffold) 7’02’’ Allegretto non troppo 5 Songe d’une nuit de sabbat (Dream of the Witches’ Sabbath) 10’31’’ Larghetto – Allegro 6 Hector Berlioz (1803–1869) – Overture: Béatrice et Bénédict, Op 27 (1862) 8’14’’ Recorded live 6 & 8 June 2000, at the Barbican, London. 7 Hector Berlioz (1803–1869) – Overture: Les francs-juges, Op 3 (1826) 12’41’’ Recorded live 27 & 28 September 2006, at the Barbican, London. Hector Berlioz (1803–1869) – Te Deum, Op 22 (1849) Recorded live 22 & 23 February 2009, at the Barbican, London. 8 i. Te Deum (Hymne) 7’23’’ 9 ii. Tibi omnes (Hymne) 9’57’’ 10 iii. Dignare (Prière) 8’04’’ 11 iv. Christe, Rex gloriae (Hymne) 5’34’’ 12 v. Te ergo quaesumus (Prière) 7’15’’ 13 vi. Judex crederis (Hymne et prière) 10’20’’ 2 Antonín Dvořák (1841–1904) – Symphony No 9 in E minor, Op 95, ‘From the New World’ (1893) Recorded live 29 & 30 September 1999, at the Barbican, London. 14 i. Adagio – Allegro molto 12’08’’ 15 ii. Largo 12’55’’ 16 iii.
    [Show full text]