Cast Amendment Die Zauberflote

Total Page：16

File Type：pdf, Size：1020Kb

27 FEBRUARY 2015 CAST AMENDMENT DIE ZAUBERFLOTE (Wolfgang Amadeus Mozart) 28 February; 2, 4, 6, 7, 9 and 11 March Due to personal reasons, Australian tenor and Jette Parker Young Artist Samuel Sakker has withdrawn from singing the role of First Man in Armour. The role will now be sung by British tenor and member of the Royal Opera Chorus Andrew Macnair . Andrew Macnair joined the Royal Opera Chorus in 2006. His solo roles for The Royal Opera have included Drunken Guest ( Lady Macbeth of Mtsensk), Notary ( Il barbiere di Siviglia ), Echo ( The Tsarina's Slippers ) and Don Curzio ( Le nozze di Figaro ). The rest of the cast remains unchanged, with British tenor Toby Spence (2, 6, 9, 11 Mar) and Slovakian tenor Pavol Breslik (28 Feb; 4, 7 March) sharing the role of Tamino, American soprano Janai Brugger (2, 6, 9, 11 Mar) and German soprano Christiane Karg (28 Feb; 4, 7 March ) sharing the role of Pamina, Welsh soprano Rhian Lois (28 Feb; 2, 4, 6 Mar) and Australian soprano and Jette Parker Young Artist Lauren Fagan ( 7, 9, 11 Mar) sharing the role of Papagena, Polish soprano Anna Siminska as Queen of the Night, Austrian baritone Markus Werba as Papageno, German bass Georg Zeppenfeld as Sarastro, British tenor Colin Judson as Monostatos, British baritone Benjamin Bevan (2, 6, 9, 11 Mar) and British bass Robert Lloyd (28 Feb; 4, 7 March) sharing the role of the Speaker of the Temple, Irish soprano Sinéad Mulhern, Russian mezzo-soprano and Jette Parker Young Artist Nadezhda Karyazina and British contralto Claudia Huckle as the Three Ladies , Scottish tenor Harry Nicoll and Scottish baritone Donald Maxwell as First and Second Priest and British bass and Jette Parker Young Artist James Platt as Second Man in Armour. PRESS OFFICE CONTACTS Ann Richards/ David Brownlie-Marshall/ Celia Moran/Emily Meredith Opera Press Office, The Royal Opera Tel: 020 7212 9132/9504/9149 For all Royal Opera House press releases visit www.roh.org.uk/press [email protected] / [email protected] / [email protected] /[email protected] For all Royal Opera House press releases visit www.roh.org.uk/press .

Copy Link

Recommended publications

Verdi Week on Operavore Program Details
Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr.
[Show full text]
Broadcasting the Arts: Opera on TV
Broadcasting the Arts: Opera on TV With onstage guests directors Brian Large and Jonathan Miller & former BBC Head of Music & Arts Humphrey Burton on Wednesday 30 April BFI Southbank’s annual Broadcasting the Arts strand will this year examine Opera on TV; featuring the talents of Maria Callas and Lesley Garrett, and titles such as Don Carlo at Covent Garden (BBC, 1985) and The Mikado (Thames/ENO, 1987), this season will show how television helped to democratise this art form, bringing Opera into homes across the UK and in the process increasing the public’s understanding and appreciation. In the past, television has covered opera in essentially four ways: the live and recorded outside broadcast of a pre-existing operatic production; the adaptation of well-known classical opera for remounting in the TV studio or on location; the very rare commission of operas specifically for television; and the immense contribution from a host of arts documentaries about the world of opera production and the operatic stars that are the motor of the industry. Examples of these different approaches which will be screened in the season range from the David Hockney-designed The Magic Flute (Southern TV/Glyndebourne, 1978) and Luchino Visconti’s stage direction of Don Carlo at Covent Garden (BBC, 1985) to Peter Brook’s critically acclaimed filmed version of The Tragedy of Carmen (Alby Films/CH4, 1983), Jonathan Miller’s The Mikado (Thames/ENO, 1987), starring Lesley Garret and Eric Idle, and ENO’s TV studio remounting of Handel’s Julius Caesar with Dame Janet Baker. Documentaries will round out the experience with a focus on the legendary Maria Callas, featuring rare archive material, and an episode of Monitor with John Schlesinger’s look at an Italian Opera Company (BBC, 1958).
[Show full text]
KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas
KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas GEORGES BIZET EMI 63633 Carmen Maria Stuarda Paris Opera National Theatre Orchestra; René Bologna Community Theater Orchestra and Duclos Chorus; Jean Pesneaud Childrens Chorus Chorus Georges Prêtre, conductor Richard Bonynge, conductor Maria Callas as Carmen (soprano) Joan Sutherland as Maria Stuarda (soprano) Nicolai Gedda as Don José (tenor) Luciano Pavarotti as Roberto the Earl of Andréa Guiot as Micaëla (soprano) Leicester (tenor) Robert Massard as Escamillo (baritone) Roger Soyer as Giorgio Tolbot (bass) James Morris as Guglielmo Cecil (baritone) EMI 54368 Margreta Elkins as Anna Kennedy (mezzo- GAETANO DONIZETTI soprano) Huguette Tourangeau as Queen Elizabeth Anna Bolena (soprano) London Symphony Orchestra; John Alldis Choir Julius Rudel, conductor DECCA 425 410 Beverly Sills as Anne Boleyn (soprano) Roberto Devereux Paul Plishka as Henry VIII (bass) Royal Philharmonic Orchestra and Ambrosian Shirley Verrett as Jane Seymour (mezzo- Opera Chorus soprano) Charles Mackerras, conductor Robert Lloyd as Lord Rochefort (bass) Beverly Sills as Queen Elizabeth (soprano) Stuart Burrows as Lord Percy (tenor) Robert Ilosfalvy as roberto Devereux, the Earl of Patricia Kern as Smeaton (contralto) Essex (tenor) Robert Tear as Harvey (tenor) Peter Glossop as the Duke of Nottingham BRILLIANT 93924 (baritone) Beverly Wolff as Sara, the Duchess of Lucia di Lammermoor Nottingham (mezzo-soprano) RIAS Symphony Orchestra and Chorus of La Scala Theater Milan DEUTSCHE GRAMMOPHON 465 964 Herbert von
[Show full text]
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.
[Show full text]
Daniel Grice
Daniel Grice "Musically, the performance is blessed with one of the finest of all Papagenos - witty, touching, infinitely endearing - in Daniel Grice.” The Guardian Daniel Grice trained at the Guildhall School of Music and Drama and is continuing his studies with Robert Lloyd. Daniel’s most recent operatic roles have been as Papageno Die Zauberflöte, Zoroastre Orlando. Schaunard La Boheme, Rocheford Anna Bolena, Angelotti Tosca and Ein Mann/Ephramite Moses und Aaron for Welsh National Opera, Schaunard and Flemish Deputy Don Carlo at the Royal Opera House, Pastore/Spirito Orfeo for the Opéra National de Lorraine and in concert with Les Talens Lyriques (cond. Christophe Rousset) and Escamillo Carmen at the Royal Albert Hall. Daniel was a member of the Royal Opera House's Jette Parker Young Artist Programme from 2010 to 2012. His roles in the 2011/12 season at the Royal Opera House included Wagner Faust, Hunter Rusalka, Marquis d’Obigny La Traviata, Pinellino Gianni Schicchi and Soldier/Mercure Les Troyens and cover Guglielmo Cosi fan Tutte, Schaunard and Simon Miss Fortune. His roles in the 2010/11 season at the Royal Opera House were Enrico L'isola disabitata, Fiorello Il Barbiere di Siviglia, Commissioner Madama Butterfly, Papageno (cover) Die Zauberflöte and Wolfram (cover and performance) Tannhäuser. Other than his Royal Opera House commitments, during this time Daniel sang Schaunard La Boheme in concert with the RTE Symphony Orchestra and an opera gala for the CBSO. Before entering the programme Daniel also sang Flemish Deputy Don Carlo (cond. Antonio Pappano and dir. Nicholas Hytner) and Leone (cover) Tamerlano (dir.
[Show full text]
Roméo Et Juliette
Charles Gounod Roméo et Juliette CONDUCTOR Opera in five acts Plácido Domingo Libretto by Jules Barbier and Michel Carré PRODUCTION Guy Joosten Saturday, December 15, 2007, 1:00–4:20pm SET DESIGNER Johannes Leiacker COSTUME DESIGNER Jorge Jara LIGHTING DESIGNER David Cunningham The production of Roméo et Juliette is made possible by generous gifts from the CHOREOGRAPHER Gramma Fisher Foundation, Marshalltown, Iowa, Sean Curran and The Annenberg Foundation. Additional funding for this production was provided by Mr. and Mrs. Sid R. Bass, Hermione Foundation, Karen and Kevin Kennedy, Mr. and Mrs. William R. Miller, Bill Rollnick and Nancy Ellison Rollnick, and Mr. and Mrs. Ezra K. Zilkha. GENERAL MANAGER Peter Gelb MUSIC DIRECTOR James Levine 2007-08 Season The 319th Metropolitan Opera performance of Charles Gounod’s This performance is broadcast live over The Toll Brothers– Roméo et Metropolitan Opera International Radio Network, Juliette sponsored by Toll Brothers, America’s luxury home builder®, Conductor with generous long- Plácido Domingo term support from The Annenberg IN ORDER OF VOCAL APPEARANCE Foundation and the Tybalt Friar Laurence Vincent A. Stabile Marc Heller Robert Lloyd Endowment Fund for Paris Stéphano Broadcast Media, Louis Otey Isabel Leonard and through contributions from Capulet Benvolio listeners worldwide. Charles Taylor Tony Stevenson Juliette The Duke of Verona This afternoon’s Anna Netrebko Dean Peterson performance is also being transmitted Mercutio live in high definition Nathan Gunn to movie theaters in the
[Show full text]
01-15-2019 Pelleas Eve.Indd
CLAUDE DEBUSSY pelléas et mélisande conductor Opera in five acts Yannick Nézet-Séguin Libretto by the composer, adapted from production Sir Jonathan Miller the play by Maurice Maeterlinck set designer Tuesday, January 15, 2019 John Conklin 7:30–11:30 PM costume designer Clare Mitchell First time this season lighting designer Duane Schuler revival stage director Paula Williams The production of Pelléas et Mélisande was made possible by a generous gift from Pierre and Ailene Claeyssens general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2018–19 SEASON The 115th Metropolitan Opera performance of CLAUDE DEBUSSY’S pelléas et mélisande conductor Yannick Nézet-Séguin in order of vocal appearance gol aud Kyle Ketelsen mélisande Isabel Leonard geneviève Marie-Nicole Lemieux DEBUT arkel Ferruccio Furlanetto pellé as Paul Appleby* yniold This performance A. Jesse Schopflocher is being broadcast live on Metropolitan a shepherd Opera Radio on Jeremy Galyon SiriusXM channel 75 and streamed at a physician metopera.org. Paul Corona Tuesday, January 15, 2019, 7:30–11:30PM KAREN ALMOND / MET OPERA Paul Appleby and Chorus Master Donald Palumbo Isabel Leonard in Musical Preparation Derrick Inouye, Carol Isaac, the title roles of Jonathan C. Kelly, and Marie-France Lefebvre Debussy’s Pelléas et Mélisande Assistant Stage Director Robin Guarino Children’s Chorus Director Anthony Piccolo Prompter Marie-France Lefebvre Scenery, properties, and electrical props constructed and painted in Metropolitan Opera Shops Costumes executed by Metropolitan Opera Costume Department Wigs and Makeup executed by Metropolitan Opera Wig and Makeup Department This performance is made possible in part by public funds from the New York State Council on the Arts.
[Show full text]
Per Bach Nissen Bass
! Per Bach Nissen Bass Danish bass, Per Bach Nissen is on the brink of a major international career. His deep, rich and voluminous voice, and commanding presence make him the perfect choice for the most demanding roles in the bass repertoire. In the 2017/18 season, Mr. Nissen will be performing Prince Gremin in Eugene Onegin with Sinfonia Selandia in Copenhagen, Zuniga in Carmen with the Danish National Opera, Cardinal Camillo in Berthold Goldschmidt’s Beatrice Cenci, and will sing in an autumn concert with the South Danish Symphony. Last season, he was seen in the title role in Boris Godunov with Undergrunden in Copenhagen, and with the Royal Danish Opera he sang Jeronimus in Maskarade and Antonio in Le nozze di Figaro. In recent seasons, Per Bach Nissen has performed Fafner in Das Rheingold and Siegfried with Opera Frankfurt, Osmin in Die Entführung aus dem Serail with The Opera Company of Philadelphia, Gremin in Eugene Onegin with Komische Oper Berlin, Il Re in Aida with Malmö Opera, Eremit in Der Freischütz and Lothario in Mignon at Holsteinisches Landestheater, Dr. Bartolo in Le Nozze di Figaro at the Concertgebouw with Opera Zuid, and The Chief of Police in Lady Macbeth of Mtsensk with the English National Opera. With Hannover State Opera, he has sung Veit Pogner in Die Meistersinger von Nürnberg, Sarastro in Die Zauberflöte, Theseus in A Midsummer Night’s Dream, Boris in Lady Macbeth from Mtsensk, and Il Gran Inquisitore in Don Carlos, Samuel in Un Ballo in Maschera, as well as Prince Gremin in Eugene Onegin. From 2007 to 2010 Mr.
[Show full text]
Regular Vocal Coaches' Bios for Spring 2020
VOCAL COACHING REGULAR COACHES’ BIOGRAPHIES — SPRING 2020 Pianist NOBUKO AMEMIYA has built a reputation as a dynamic and versatile collaborator; her playing is described as “soaring with a thrilling panache, and then with great warmth and suppleness.” (Valley News, VT) Equally committed to opera, artsongs and instrumental chamber music, she traveled three continents to give recitals and concerts with numerous renowned conductors and soloists such as Seiji Ozawa, James Conlon, Brian Priestman, James Dunham, Colin Carr, Rober Spano, and Lucy Shelton. An enthusiastic advocate of new music, Ms. Amemiya has worked with today’s leading composers, including John Harbison, George Crumb, Bright Sheng, Oliver Knussen and George Benjamin. Her music festival appearances include Música da Figueira da Foz in Portugal, Britten-Pears Institute at Aldeburgh Music Festival, Festival de Musique Lausanne in Switzerland, Aspen Music Festival, and Tanglewood Music Center where she was awarded Tanglewood Hooton Prize, acknowledging the “extraordinary commitment of talent and energy.” Prizes and awards include “Vittorio Gui” in Florence, Italy, the Munich International Music Competition, Manhattan School of Music President’s Award and Aldeburgh Music Festival Grant. Also active as a coach and educator, she worked for AIMS in Graz, Opera North, Aspen Music School, IIVA in Italy, Lotte Lehmann Akademie, New England Conservatory and Palazzo Ricci Akademie für Musik in Montepulciano. Ms. Amemiya currently works for the Manhattan School of Music, Prelude to Performances by Martina Arroyo Foundation, Lyric Opera Studio Weimar and Berlin Opera Academy in Germany. Accompanist/vocal coach, KARINA AZATYAN, extensively collaborates with leading figures of vocal art in United States, Europe and Israel.
[Show full text]
Children's Chorus of the Royal Opera RECORDING of SPECIAL
"Special Merit" tag from an otherwise ex- rymose tendencies in the music. Overall, his pold Hager cond. EURODISC SQ 200152- ceptional recording. R.F. approach is closer to Michel Plasson's (An- 366 $9.98. gel S-3894) than to Georges Pretre's (An- Performance Lively HOFFMAN: Mandolin Concerto in D Ma- gel S-3736), which is more briskly paced. jor (see HASSE) Jose Carreras starts rather unpromisingly Recording. Good with Werther's opening "0 Nature. pleine Kristin Merscher was seventeen when she HUMMEL: Mandolin Concerto in G Major de grace," in which the requisite ardor is made these recordings. Felix Mendelssohn (see HASSE) effortfully expressed. He improves in thewas not much older when he wrote the first later scenes, and the dark timbre of his at-of these concertos. Where Mendelssohn MASSENET: Werther. Jose Carreras (ten- tractive voice helps in creating a manly fig-wrote Moho allegro con fuoco or Presto or), Werther; Frederica von Stade (mezzo- ure out of Goethe's at times annoyingly self- scherzando or Molto allegro evivace, soprano), Charlotte; Thomas Allen (bari- pitying hero. There is much here that this Merscher has taken him at his word. These tone), Albert; Isobel Buchanan (soprano), sensitive artist does very well indeed; itis are, to say the least, lively performances. Sophie; Robert Lloyd (bass), the Bailiff; unfortunate that so much of his singing This record is a memorial to French pian- Paul Crook (tenor), Schmidt; Malcolm above the staff lacks grace. Frederica von ist Monique de la Bruchollerie, who died in King (bass), Johann; others. Orchestra and Stade, on the other hand, solves all her vo- 1972.
[Show full text]
Sir Colin Davis Discography
1 The Hector Berlioz Website SIR COLIN DAVIS, CH, CBE (25 September 1927 – 14 April 2013) A DISCOGRAPHY Compiled by Malcolm Walker and Brian Godfrey With special thanks to Philip Stuart © Malcolm Walker and Brian Godfrey All rights of reproduction reserved [Issue 10, 9 July 2014] 2 DDDISCOGRAPHY FORMAT Year, month and day / Recording location / Recording company (label) Soloist(s), chorus and orchestra RP: = recording producer; BE: = balance engineer Composer / Work LP: vinyl long-playing 33 rpm disc 45: vinyl 7-inch 45 rpm disc [T] = pre-recorded 7½ ips tape MC = pre-recorded stereo music cassette CD= compact disc SACD = Super Audio Compact Disc VHS = Video Cassette LD = Laser Disc DVD = Digital Versatile Disc IIINTRODUCTION This discography began as a draft for the Classical Division, Philips Records in 1980. At that time the late James Burnett was especially helpful in providing dates for the L’Oiseau-Lyre recordings that he produced. More information was obtained from additional paperwork in association with Richard Alston for his book published to celebrate the conductor’s 70 th birthday in 1997. John Hunt’s most valuable discography devoted to the Staatskapelle Dresden was again helpful. Further updating has been undertaken in addition to the generous assistance of Philip Stuart via his LSO discography which he compiled for the Orchestra’s centenary in 2004 and has kept updated. Inevitably there are a number of missing credits for producers and engineers in the earliest years as these facts no longer survive. Additionally some exact dates have not been tracked down. Contents CHRONOLOGICAL LIST OF RECORDING ACTIVITY Page 3 INDEX OF COMPOSERS / WORKS Page 125 INDEX OF SOLOISTS Page 137 Notes 1.
[Show full text]
Wagneriana June–July 2006 Wer Weiß Was Ich Thu’! Volume 3, Number 3 – Das Rheingold from the Editor
Bedenken will ich’s: Wagneriana June–July 2006 wer weiß was ich thu’! Volume 3, Number 3 – Das Rheingold From the Editor Thanks to all of you who contributed to our fundraising drive. Your donations will ensure the success of the Boston Wagner Society and the means to present musical events to you. Due to your generosity, we will offer another recital in September 2006. See the back page for details and save the date. Also, there will be another presentation by Donald Arthur, on October 23. This issue of Wagneriana brings you three reviews of live performances, the Met’s Lohengrin and Parsifal and the Copenhagen Ring Cycle. –Dalia Geffen Met Orchestra Brilliant in Lohengrin Lohengrin, May 3, 2006; Metropolitan Opera, cond. Philippe Auguin; Herald: Charles Taylor; King Henry; René Pape; Telramund: Greer Grimsley; Elsa: Karita Mattila; Lohengrin: Klaus Florian Vogt (debut); Ortrud: Margaret Jane Wray; production: Robert Wilson The Met’s production of Lohengrin this season featured the stage design of Robert Wilson. According to a recent review in the New York Times, when Wilson’s ideas were unveiled in the 1998 Metropolitan Opera production of this work, they drew lusty boos from the audience. Apparently, less robotic movements by the singers and improved synchronization have helped Wilson’s vision come through (there were no boos this time). However, one can’t help but wonder how much “vision” is too much, especially with a composer who is so meticulous about all the facets of the work and their unity. There was no horn, sword, or ring (Lohengrin defeats Telramund in a stare down), let alone a knight in shining armor.
[Show full text]