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Of Operatic Love Courtesan
E. Giuseppe Verdi (1813–1901) Finally to the first act of La traviata (1854), a highly unusual work in Verdi’s output in that it treats a contemporary subject taken from a play currently playing on French stages. Violetta Valéry is a Paris Vagaries of Operatic Love courtesan. Knowing that she is dying of tuberculosis, she is set on going out in a froth of champagne. But then she meets an admirer, Alfredo Germont, who tries to persuade her to give up this life and move with him to the peace of the country. As we discover in Act Two, she will do so, but not without ending Act One in an aria that is the most remarkable internal examination of the feelings of a woman 11 in love yet seen on the opera stage. The innovative production by Willy Decker was first seen in Salzburg 12 in 2005 and later brought to the Met. Alas, it was replaced by a much less inventive one last season. — La traviata, Act I, second half 18 Anna Netrebko, Rolando Villazón. Salzburg, 2005 All materials for the class, including PowerPoint images and video links to these or similar performances, will be posted on the instructor’s website shortly after the end of each class: http://www.brunyate.com/vagariesColumbia/ Click on the image for that particular class to access them. Roger Brunyate may be contacted at [email protected] 1. A Brief History of Love, Monteverdi to Verdi Class One: A Brief History of Love Though there is a scene in which Cleopatra makes Julius Caesar fall in love with her through performing for him in a masque; it begins in enchantment, but the characters end genuinely in love. -
The American Opera Series May 16 – November 28, 2015
The American Opera Series May 16 – November 28, 2015 The WFMT Radio Network is proud to make the American Opera Series available to our affiliates. The American Opera Series is designed to complement the Metropolitan Opera Broadcasts, filling in the schedule to complete the year. This year the American Opera Series features great performances by the Lyric Opera of Chicago, LA Opera, San Francisco Opera, Glimmerglass Festival and Opera Southwest. The American Opera Series for 2015 will bring distinction to your station’s schedule, and unmatched enjoyment to your listeners. Highlights of the American Opera Series include: • The American Opera Series celebrates the Fourth of July (which falls on a Saturday) with Lyric Opera of Chicago’s stellar production of George Gershwin’s Porgy and Bess. • LA Opera brings us The Figaro Trilogy, including Mozart’s The Marriage of Figaro, Rossini’s The Barber of Seville, and John Corigliano’s The Ghosts of Versailles. • The world premiere of Marco Tutino’s Two Women (La Ciociara) starring Anna Caterina Antonacci, based on the novel by Alberto Moravia that became a classic film, staged by San Francisco Opera. • Opera Southwest’s notable reconstruction of Franco Faccio’s 1865 opera Amleto (Hamlet), believed lost for over 135 years, in its American premiere. In addition, this season we’re pleased to announce that we are now including multimedia assets for use on your station’s website and publications! You can find the supplemental materials at the following link: American Opera Series Supplemental Materials Please note: If you have trouble accessing the supplemental materials, please send me an email at [email protected] Program Hours* Weeks Code Start Date Lyric Opera of Chicago 3 - 5 9 LOC 5/16/15 LA Opera 2 ½ - 3 ¼ 6 LAO 7/18/15 San Francisco Opera 1 ¾ - 4 ¾ 10 SFO 8/29/15 Glimmerglass Festival 3 - 3 ½ 3 GLI 11/7/15 Opera Southwest Presents: Amleto 3 1 OSW 11/28/15 Los Angeles Opera’s Production of The Ghosts of Versailles Credit: Craig Henry *Please note: all timings are approximate, and actual times will vary. -
ANNUAL REPORT 2013 2013: the Year in Brief
ANNUAL REPORT 2013 2013: The year in brief The 2013 Festival was one of Glydebourne’s Journey into cyberspace most ambitious, showcasing six highly Months before the Festival itself, diverse operas. Glyndebourne’s auditorium was the Ariadne auf Naxos was a choice prompted venue for the world premiere of our latest by Music Director Vladimir Jurowski, community opera, Imago*. Our education who, in his last season at Glyndebourne, department commissioned the work, in longed to tackle his first staged opera partnership with Scottish Opera, from by Richard Strauss. Katharina Thoma composer Orlando Gough and librettist directed, making her Glyndebourne debut. Stephen Plaice. The two-act piece brought Rameau’s Hippolyte et Aricie, directed by together over 75 local amateur singers Jonathan Kent, continued Glyndebourne’s (ranging in age from 15 to 73) working with exploration of Baroque operas less well- professional soloists as well as 25 young known in the UK – an interest shared by musicians in the pit with members of conductor William Christie. Don Pasquale Aurora Orchestra. by Donizetti was revived by Mariame Likened to a ‘La bohème for the digital age,’ Clément with a cast including Danielle Imago tells how a wheelchair-bound woman de Niese and Alessandro Corbelli. For the of 80, confined to a care home, creates an Britten centenary, Billy Budd was an obvious 18 year old avatar through whom she can selection. Falstaff and Le nozze di Figaro made re-experience the joys – and uncertainties – welcome returns. of youth. All perfectly suited Glyndebourne’s 1,200- The first performance, on 6 March, was seat auditorium. -
Opera Australia 2018 Annual Report
2018 ANNUAL REPORT Cover image: Simon Lobelson as Gregor in Metamorphosis, which played at the Opera Australia Scenery Workshop in Enriching Australia’s Surry Hills and the Malthouse cultural life with Theatre in Melbourne. exceptional opera. One of Opera Australia’s new Vision productions, it was written by Australian Brian Howard, performed by an all Australian cast To present opera that excites and produced by an all Australian audiences and sustains and creative team. Photo: develops the art form. Prudence Upton Mission TABLE OF CONTENTS At a glance 3 Artistic Sydney Screens on stage 32 Director’s Report 12 Conservatorium Productions: of Music 2018 awards 34 performances and Regional Tour 13 Internships 23 attendances 4 China tour 36 Regional Student Professional and Artists 38 Season star ratings 5 Scholarships 16 Talent Development 24 Orchestra 39 Revenue and expenditure 6 Schools Tour 18 Evita 26 Philanthropy 40 Australia’s biggest Auslan Handa Opera arts employer 7 shadow-interpreting 20 on Sydney Harbour – Opera Australia Community reach 8 Community events 21 La Bohème 28 Capital Fund 43 Chairman’s Report 10 NSW Regional New works Staff 46 Conservatoriums in development 30 Partners 48 Chief Executive Project 22 Officer’s Report 11 opera.org.au 2 At a glance 77% Self-generated revenue $61mBox office 1351 jobs provided 543,500 58,000 attendees student attendees 7 637 productions new to Australia performances opera.org.au 3 Productions Productions Performances Attendance A Night at the Opera, Sydney 1 2,182 Performances and total attendances Aida, Sydney 19 26,266 By the Light of the Moon, Victorian Schools tour 85 17,706 Carmen, Sydney 13 18,536 Die Meistersinger von Nürnberg, Melbourne 4 6,175 Don Quichotte, Melbourne 4 5,269 Don Quichotte, Sydney 6 7,889 Great Opera Hits 2018 27 23,664 La Bohème, Handa Opera on Sydney Harbour 26 48,267 La Bohème, Melbourne 7 11,228 La Bohème, New Year 1 1,458 The chorus of Bizet’s Carmen, directed by John Bell. -
Don Giovanni Was Made Possible by a Generous Gift from the Richard and Susan Braddock Family Foundation, and Sarah and Howard Solomon
donWOLFGANG AMADEUS MOZARTgiovanni conductor Opera in two acts Fabio Luisi Libretto by Lorenzo Da Ponte production Michael Grandage Saturday, October 22, 2016 PM set and costume designer 1:00–4:30 Christopher Oram lighting designer Paule Constable choreographer Ben Wright revival stage director Louisa Muller The production of Don Giovanni was made possible by a generous gift from the Richard and Susan Braddock Family Foundation, and Sarah and Howard Solomon Additional funding was received from Jane and Jerry del Missier and Mr. and Mrs. Ezra K. Zilkha general manager Peter Gelb The revival of this production is made possible music director emeritus by a gift from Rolex James Levine principal conductor Fabio Luisi 2016–17 SEASON The 556th Metropolitan Opera performance of WOLFGANG AMADEUS MOZART’S don giovanni conductor Fabio Luisi in order of vocal appearance leporello maset to Adam Plachetka Matthew Rose donna anna Hibla Gerzmava continuo David Heiss, cello don giovanni Howard Watkins*, Simon Keenlyside harpsichord the commendatore mandolin solo Kwangchul Youn Joyce Rasmussen Balint don ot tavio Paul Appleby* donna elvir a Malin Byström zerlina Serena Malfi Saturday, October 22, 2016, 1:00–4:30PM This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. The Met: Live in HD series is made possible by a generous grant from its founding sponsor, The Neubauer Family Foundation. Global sponsorship of The Met: Live in HD is also provided by Bloomberg Philanthropies. Chorus Master Donald Palumbo Musical -
Così Fan Tutte
Wolfgang Amadeus Mozart Così fan tutte CONDUCTOR Opera in two acts James Levine Libretto by Lorenzo Da Ponte PRODUCTION Lesley Koenig Saturday, April 26, 2014, 1:00–4:40 pm SET & COSTUME DESIGNER Michael Yeargan LIGHTING DESIGNER Duane Schuler STAGE DIRECTOR Robin Guarino This production of Così fan tutte was made possible by a generous gift from Alberto Vilar. Additional funding was provided by the Metropolitan Opera Club; the Denenberg Foundation, in honor of Dan Denenberg; The DuBose and Dorothy Heyward Memorial Fund; and the late Mr. and Mrs. Samuel L. Tedlow. The revival of this production is made possible GENERAL MANAGER Peter Gelb by a gift from DOLCE & GABBANA. MUSIC DIRECTOR James Levine PRINCIPAL CONDUCTOR Fabio Luisi 2013–14 Season The 184th Metropolitan Opera performance of Wolfgang Amadeus Mozart’s Così fan tutte This performance is being broadcast live over The Conductor Toll Brothers– James Levine Metropolitan Opera International IN ORDER OF VOCAL APPEARANCE Radio Network, sponsored by Ferrando Toll Brothers, Matthew Polenzani America’s luxury homebuilder®, with Guglielmo generous long-term Rodion Pogossov* support from Don Alfonso The Annenberg Maurizio Muraro Foundation, The Neubauer Family Fiordiligi Foundation, the Susanna Phillips Vincent A. Stabile Endowment for Dorabella Broadcast Media, Isabel Leonard and contributions from listeners Despina worldwide. Danielle de Niese* This performance is Cello Continuo also being broadcast David Heiss live on Metropolitan Opera Radio on Harpsichord Continuo SiriusXM channel 74. Howard Watkins* Saturday, April 26, 2014, 1:00–4:40 pm This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. The Met: Live in HD series is made possible by a generous grant from its founding sponsor, The Neubauer Family Foundation. -
NEWSLETTER of the American Handel Society
NEWSLETTER of The American Handel Society Volume XXI, Number 3 Winter 2006 AMERICAN HANDEL SOCIETY- PRELIMINARY SCHEDULE (Paper titles and other details of program to be announced) Thursday, April 19, 2006 Check-in at Nassau Inn, Ten Palmer Square, Princeton, NJ (Check in time 3:00 PM) 6:00 PM Welcome Dinner Reception, Woolworth Center for Musical Studies Covent Garden before 1808, watercolor by Thomas Hosmer Shepherd. 8:00 PM Concert: “Rule Britannia”: Richardson Auditorium in Alexander Hall SOME OVERLOOKED REFERENCES TO HANDEL Friday, April 20, 2006 In his book North Country Life in the Eighteenth Morning: Century: The North-East 1700-1750 (London: Oxford University Press, 1952), the historian Edward Hughes 8:45-9:15 AM: Breakfast, Lobby, Taplin Auditorium, quoted from the correspondence of the Ellison family of Hebburn Hall and the Cotesworth family of Gateshead Fine Hall Park1. These two families were based in Newcastle and related through the marriage of Henry Ellison (1699-1775) 9:15-12:00 AM:Paper Session 1, Taplin Auditorium, to Hannah Cotesworth in 1729. The Ellisons were also Fine Hall related to the Liddell family of Ravenscroft Castle near Durham through the marriage of Henry’s father Robert 12:00-1:30 AM: Lunch Break (restaurant list will be Ellison (1665-1726) to Elizabeth Liddell (d. 1750). Music provided) played an important role in all of these families, and since a number of the sons were trained at the Middle Temple and 12:15-1:15: Board Meeting, American Handel Society, other members of the families – including Elizabeth Liddell Prospect House Ellison in her widowhood – lived in London for various lengths of time, there are occasional references to musical Afternoon and Evening: activities in the capital. -
02-23-2020 Cosi Fan Tutte Mat.Indd
WOLFGANG AMADEUS MOZART così fan tutte conductor Opera in two acts Harry Bicket Libretto by Lorenzo Da Ponte production Phelim McDermott Sunday, February 23, 2020 PM set designer 3:00–6:35 Tom Pye costume designer Laura Hopkins lighting designer Paule Constable The production of Così fan tutte was revival stage director made possible by generous gifts from Sara Erde William R. Miller, and John Sucich / Trust of Joseph Padula Additional funding was received from the The Walter and Leonore Annenberg Endowment Fund, and the National Endowment for the Arts Co-production of the Metropolitan Opera and English National Opera In collaboration with Improbable general manager Peter Gelb jeanette lerman-neubauer Sunday matinee performances at the Met are music director Yannick Nézet-Séguin sponsored by the Neubauer Family Foundation 2019–20 SEASON The 202nd Metropolitan Opera performance of WOLFGANG AMADEUS MOZART’S così fan tutte conductor Harry Bicket in order of vocal appearance ferrando skills ensemble Ben Bliss* Leo the Human Gumby Jonathan Nosan guglielmo Ray Valenz Luca Pisaroni Josh Walker Betty Bloomerz don alfonso Anna Venizelos Gerald Finley Zoe Ziegfeld Cristina Pitter fiordiligi Sarah Folkins Nicole Car Sage Sovereign Arthur Lazalde dorabella Radu Spinghel Serena Malfi despina continuo Heidi Stober harpsichord Jonathan C. Kelly cello David Heiss Sunday, February 23, 2020, 3:00–6:35PM RICHARD TERMINE / MET OPERA A scene from Chorus Master Donald Palumbo Mozart’s Così Musical Preparation Joel Revzen, Liora Maurer, fan tutte and Jonathan -
Richard STRAUSS Intermezzo Elisabeth Söderström
RICHARD STRAUSS INTERMEZZO Elisabeth Söderström Glyndebourne Festival Opera London Philharmonic Orchestra Sir John Pritchard RICHARD STRAUSS © SZ Photo/Lebrecht Music & Arts Photo Library Richard Strauss (1864 –1949) Intermezzo A bourgeois comedy with symphonic interludes in two acts Libretto by the composer English translation by Andrew Porter Christine Elisabeth Söderström soprano Robert Storch, her husband, a conductor Marco Bakker baritone Anna, their maid Elizabeth Gale soprano Franzl, their eight-year-old son Richard Allfrey spoken Baron Lummer Alexander Oliver tenor The Notary Thomas Lawlor bass-baritone His wife Rae Woodland soprano Stroh, another conductor Anthony Rolfe Johnson tenor A Commercial Counsellor Donald Bell Robert’s Skat baritone partners A Legal Counsellor Brian Donlan baritone { A Singer Dennis Wicks bass Fanny, the Storchs’ cook Barbara Dix spoken Marie, a maid Susan Varley spoken Therese, a maid Angela Whittingham spoken Resi, a young girl Cynthia Buchan soprano Glyndebourne Festival Opera London Philharmonic Orchestra Sir John Pritchard 3 compact disc one Time Page Act I Scene 1 1 ‘Anna, Anna! Where can the silly creature be?’ 5:52 [p.28] The Wife, the Husband, Anna 2 ‘Have you got all the master’s things?’ 6:02 [p.32] The Wife, Anna, the Husband 3 ‘And now I’ll have my hair done!’ 11:16 [p.35] The Wife, Anna, The Son, Housemaid, Cook 4 'Oh! Frau Huß! Good morning' 2:59 [p.39] The Wife, Anna Scene 2 5 ‘You blockhead! Can’t you see, this is a toboggan run?’ 4:08 [p.39] The Wife, Baron Lummer 6 Waltz 1:55 [p.40] -
In Nature's Mirror
The Pastoral in Music In Nature’s Mirror Monteverdi: Orfeo (1607), opening toccata and start of Act II Liceu, Barcelona. Furio Zanasi (Orfeo), Sara Mingardo (Messenger). Staged by Gilbert Deflo, conducted by Jordi Savall. — https://www.youtube.com/watch?v=0mD16EVxNOM The Orfeo of Claudio Monteverdi (1567–1643), is the earliest opera still performed today. Fittingly, it is about Orpheus, the first musician. The first two acts, before Orpheus descends to the underworld, epitomize the Pastoral, full of madrigals and dances. We shall hear the opening toccata and then a scene from Act II, where the celebration is chilled by the Messenger telling of Euridice’s death from snakebite. Handel: Acis and Galatea (c.1720), end of Act I Royal Opera House, Covent Garden. Danielle de Niese (Galatea), William Workman (Acis). Choreographed by Wayne McGregor, conducted by Christopher Hogwood. — https://www.youtube.com/watch?v=jEN6jiZdqcU George Frideric Handel (1685–1759) was the greatest composer of Italian opera at the start of the 18th century. His pastoral, Acis and Galatea, was a lighter piece written in English, without the heroic pretensions of Italian opera. We shall see the end of Act I, where the lovers come together, in a modern-dress production that Class 1: A Map of Arcady nonetheless captures the pastoral element through dance. September 12, 2017 Ravel: Daphnis and Chloe (1912), opening and pas-de-deux Royal Ballet, London. Federico Bonelli (Daphnis), Alina Cojacaru (Chloe), choreography by Sir Frederick Ashton (1951). — https://www.youtube.com/watch?v=H1XSculJrRs After Pan made pipes from Syrinx’s reeds, he taught the shepherd Daphnis to play them. -
Engineering an Opera House: the New Glyndebourne
Engineering an opera house: I L 10431 r) the new Glyndebourne Stas Brzeski Derek Sugden John Thornton John Turzy1 l\.. H'I sightlines and create the required acoustic; layout of the building is based on circular the fabric must provide good acoustic isola forms, which are used to soften its impact on tion; and the ventilation system should be the site. Recognizing that the auditorium and inaudible. Also, theatre and lighting equip stage areas have the same requirement for ment have very specific needs. (These are acoustic isolation and generate similar the technical criteria; the architectural plan widths, they are contained by an oval-shaped ning, too, has its own demands). massive brick wall, the 'fortress wall', At one Apart from the requirement that only one sea end is the auditorium, at the other the back son should be lost during construction, stage, and between lie the side and centre Glyndebourne presented another challenge: stages with the flytower above. how to relate to the House and gardens, and Around the fortress wall is wrapped the an maintain those qualities which make cillary accommodation: dressing rooms, 'Glyndebourne' unique. offices, and circulation space. Primary ser The concept vice;:; distribution is located in this zone. Whatever success the design has stems from There is a basement. The area behind the the simplicity and clarity of the overall con proscenium contains plantrooms, stage 1. Glyndebourne in 1934: Organ Room (left), cept of the building, which works for all dis Theatre (right). equipment and dressing rooms, whilst in front ciplines at all levels. The diagram may seem there is a ventilation plenum beneath the obvious but a study of other theatres soon Introduction auditorium, cloakrooms for the public, and reveals that its clarity is exceptional. -
Bernstein 100
Saturday 16 December 2017 7.30–9.45pm Barbican Hall LSO SEASON CONCERT BERNSTEIN 100 Bernstein Symphony No 2, ‘The Age of Anxiety’ Interval Bernstein Wonderful Town (concert version) Sir Simon Rattle conductor Krystian Zimerman piano WONDERFUL Danielle de Niese Eileen Alysha Umphress Ruth Nathan Gunn Bob Baker Duncan Rock Wreck/Second Associate Editor David Butt Philip Lonigan Ashley Riches Guide/First Editor/Frank Kevin Brewis Third Cop/First Man/Cadet/Villager Stephen John Davis First Cop/Chick Clark Flora Dawson Violet TOWN Second Woman Soophia Foroughi Andrew Keelan Second Cop/Second Man Jane Quinn First Woman Michael Baxter Fourth Cop Daniele Quilleri, Gary Brown casting consultants London Symphony Chorus Simon Halsey chorus director Part of Bernstein 100 at the Barbican Welcome LSO News On Our Blog Bernstein was also known for some LSO LIVE’S A MIDSUMMER NIGHT’S PANUFNIK COMPOSER BUSHRA EL-TURK of the 20th century’s greatest musicals, DREAM WINS RECORDING OF THE YEAR and this evening’s programme concludes A former participant on the LSO's Panufnik with his 1953 work Wonderful Town. This The LSO’s recording of Mendelssohn’s Composers Scheme, Bushra El-Turk tells is a piece well-known to Sir Simon Rattle, A Midsummer Night’s Dream, performed with us what it was like working with the LSO who created a landmark recording in 1999. Sir John Eliot Gardiner, the Monteverdi Choir and how she combined Middle Eastern and It is a pleasure to welcome a brand new cast and three artists from the Guildhall School, Western art music in her piece Tmesis.