Eileen Chambers, 312-294-3092 Photos Available by Request [email protected]
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Eleonora Buratto, from Mantua, Is One of the Most Highly Acclaimed Lyric Sopranos in the World
Saverio Clemente Andrea De Amici Luca Targetti Eleonora Buratto, from Mantua, is one of the most highly acclaimed lyric sopranos in the world. Her career began in 2009 singing as Creusa in Demofoonte, conducted by Riccardo Muti at the Salzburg Festival, Opéra Garnier and the Ravenna Festival. In the years that followed she sang under Maestro Muti as Susanna in the opera I Due Figaro by Mercadante, as Norina in Don Pasquale, Amelia in Simon Boccanegra, Alice in Falstaff and Countess Almaviva in Le Nozze di Figaro. At the start of 2015 she was Corinna at the Dutch National Opera in Amsterdam in Il Viaggio a Reims, directed by Damiano Michieletto and conducted by Stefano Montanari. Since then her international career has continued to develop. That same year she sang for the first time both as Liù and as Countess Almaviva and she also inaugurated the Teatro San Carlo season in Naples singing as Micaela in Carmen conducted by Zubin Mehta. Since 2016 she has made other debuts which have become signature roles in her Eleonora Buratto repertoire such as Mimì at the Liceu in Barcelona, Donna Anna at Soprano the Aix-en-Provence Festival, Elettra in Idomeneo at the Teatro Real in Madrid (available worldwide from spring 2020 on Dvd and Bd by Opus Arte) and Luisa Miller once again at the Liceu. She has regularly made her return, amongst other theatres, to the Teatro Real in Madrid, Liceu in Barcelona, Lyric Opera in Chicago, Dutch National Opera, Teatro San Carlo in Naples, the Metropolitan Opera and the Royal Opera House and has sung in concert performances -
Salzburg-Falstaff-2013.Pdf
LEADING TEAM ZUR INSZENIERUNG „Ich mache keine Opera buffa, sondern stelle einen Typen dar. Mein Falstaff ist nicht nur derjenige, der in den Lustigen Weibern von Windsor von Shakespeare vorkommt, wo er bloß ein Narr ist und sich von den Zubin Mehta, Musikalische Leitung Frauen betrügen lässt, sondern auch so, wie er unter den beiden Heinrichs [d. h. in den beiden Teilen von Damiano Michieletto, Regie Shakespeares Henry IV] war.“ Verdis Bemerkung, von Italo Pizzi in seinen Memorie verdiane (1901) überliefert, gibt bündig wieder, worum es dem Komponisten in seiner letzten Oper Falstaff ging: nicht um Paolo Fantin, Bühne die Wiederbelebung einer lustigen oder lächerlichen Figur in der Tradition der alten italienischen Buffa- Oper, sondern – wie sollte es beim großen Humanisten Verdi anders sein? – um das Porträt eines Carla Teti, Kostüme menschlichen Charakters in allen seinen Schattierungen. Arrigo Boito, dem Verdi seit der Otello-Premiere Alessandro Carletti, Licht zunehmend freundschaftlich verbunden war, wusste glücklicherweise recht genau, was für ein Libretto nötig war, um den bald 80-Jährigen zu einer weiteren gemeinsamen Arbeit zu motivieren. So ist es vor allem sein rocafilm, Video Verdienst, dass sich Verdi den jahrzehntelang gehegten Wunsch, eine komische Oper zu komponieren, doch noch erfüllen konnte. „Boito hat mir eine lyrische Komödie geschrieben, die keiner anderen gleicht“, Christian Arseni, Dramaturgie berichtete er 1890 in einem Brief. Auch wenn die Oper, die am 9. Februar 1893 an der Mailänder Scala ihre Walter Zeh, Choreinstudierung Uraufführung erlebte, eine gewisse Portion an konventioneller Situationskomik enthält, so ist sie doch vor allem eine Charakterkomödie – mit Musik, die in der Zeichnung der Figuren virtuos zwischen innerer Anteilnahme und ironischer Distanz changiert. -
NEWSLETTER > 2019
www.telmondis.fr NEWSLETTER > 2019 Opera Dance Concert Documentary Circus Cabaret & magic OPERA OPÉRA NATIONAL DE PARIS > Boris Godunov 4 > Don Pasquale 4 > Les Huguenots 6 SUMMARY > Simon Boccanegra 6 OPÉRA DE LYON DANCE > Don Giovanni 7 OPÉRA NATIONAL DE PARIS TEATRO LA FENICE, VENICE > Thierrée / Shechter / Pérez / Pite 12 > Tribute to Jerome Robbins 12 > Tannhäuser 8 > Cinderella 14 > Orlando Furioso 8 > Norma 9 MALANDAIN BALLET CONCERT > Semiramide 9 > Noah 15 OPÉRA NATIONAL DE PARIS DUTCH NATIONAL OPERA MARIINSKY THEATRE, ST. PETERSBURG > Tchaikovsky Cycle (March 27th and May 15th) 18 > Le Nozze de Figaro 10 > Petipa Gala – 200th Birth Anniversary 16 > The 350th Anniversary Inaugural Gala 18 > Der Ring des Nibelungen 11 > Raymonda 16 BASILIQUE CATHÉDRALE DE SAINT-DENIS > Processions 19 MÜNCHNER PHILHARMONIKER > Concerts at Münchner Philharmoniker 19 ZARYADYE CONCERT HALL, MOSCOW > Grand Opening Gala 20 ST. PETERSBURG PHILHARMONIC > 100th Anniversary of Gara Garayev 20 > Gala Concert - 80th Anniversary of Yuri Temirkanov 21 ALHAMBRA DE GRANADA > Les Siècles, conducted by Pablo Heras-Casado 22 > Les Siècles, conducted by François-Xavier Roth 22 > Pierre-Laurent Aimard’s Recital 23 OPÉRA ROYAL DE VERSAILLES > La Damnation de Faust 23 DOCUMENTARY > Clara Haskil, her mystery as a performer 24 > Kreativ, a study in creativity by A. Ekman 24 > Hide and Seek. Elīna Garanča 25 > Alvis Hermanis, the last romantic of Europe 25 > Carmen, Violetta et Mimi, romantiques et fatales 25 CIRCUS > 42nd international circus festival of Monte-Carlo 26 -
Season Premiere of Tosca Glitters
2019–20 Season Repertory and Casting Casting as of November 12, 2019 *Met debut The Gershwins’ Porgy and Bess By George Gershwin, DuBose and Dorothy Heyward, and Ira Gershwin New Production Sep 23, 27, 30, Oct 5mat, 10, 13mat, 16, Jan 8, 11, 15, 18, 24, 28, Feb 1mat Conductor: David Robertson Bess: Angel Blue/Elizabeth Llewellyn* Clara: Golda Schultz/Janai Brugger Serena: Latonia Moore Maria: Denyce Graves Sportin’ Life: Frederick Ballentine* Porgy: Eric Owens/Kevin Short Crown: Alfred Walker Jake: Ryan Speedo Green/Donovan Singletary Production: James Robinson* Set Designer: Michael Yeargan Costume Designer: Catherine Zuber Lighting Designer: Donald Holder Projection Designer: Luke Halls The worldwide copyrights in the works of George Gershwin and Ira Gershwin for this presentation are licensed by the Gershwin family. GERSHWIN is a registered trademark of Gershwin Enterprises. Porgy and Bess is a registered trademark of Porgy and Bess Enterprises. A co-production of the Metropolitan Opera; Dutch National Opera, Amsterdam; and English National Opera Production a gift of The Sybil B. Harrington Endowment Fund Additional funding from Douglas Dockery Thomas Manon Jules Massenet Sep 24, 28mat, Oct 2, 5, 19, 22, 26mat ____________________________________________________________________________________________________________ PRESS DEPARTMENT The Metropolitan Opera Press: 212.870.7457 [email protected] 30 Lincoln Center Plaza General: 212.799.3100 metopera.org New York, NY 10023 Fax: 212.870.7606 Conductor: Maurizio Benini Manon: Lisette Oropesa Chevalier des Grieux: Michael Fabiano Guillot de Morfontaine: Carlo Bosi Lescaut: Artur Ruciński de Brétigny: Brett Polegato* Comte des Grieux: Kwangchul Youn Production: Laurent Pelly Set Designer: Chantal Thomas Costume Designer: Laurent Pelly Lighting Designer: Joël Adam Choreographer: Lionel Hoche Associate Director: Christian Räth A co-production of the Metropolitan Opera; Royal Opera House, Covent Garden, London; Teatro alla Scala, Milan; and Théâtre du Capitole de Toulouse Production a gift of The Sybil B. -
La Forza Del Baritone
LA FORZA DEL BARITONE Interview ERNESTO PETTI (Ernesto Petti) OM: Ernesto, since October 2018 you have been performing successfully at the Theater Basel in „Lucia di Lammermoor“ where you and your colleagues got many positive comments by the audience as well as by the media. EP: Singing in Basel was a great experience, the city is very beautiful and in the moments free from work I really enjoyed going around discovering its beauty. The work enviroment was very stimulating. OM: How did you experience your work in Basel and what was your personal highlight of your work period in Basel? EP: I was lucky in this production to work alongside great artists. This package has led to a climate of relaxation that allows us to give the best of us. One of the most beautiful moments was certainly when the public decided to give us a standing ovation, which is not very common in the theater. Rosa Feola and Ernesto Petti in LUCIA DI LAMMERMOOR/Theater Basel/ Foto @Sandra Then OM: How did you get to become an opera singer and who at the beginning encouraged you to go this way? EP: Initially opera music did not interest me at all. I was completely dedicated to sports, in fact, already young (13) I played in a water polo team Serie A2. Around the age of 17 I approached opera music thanks to discs on the possesion of my father, who is a big fan of this genre. Love was immediate and from there I decided, thanks to the total family support to take this path. -
“Met in the Parks” Celebrates 40Th Season of Free Summer Opera
Thursday, February 15, 2018 Yannick Nézet-Séguin to Become Met Music Director in September 2018, Two Seasons Earlier Than Originally Planned Neubauer Family Foundation Names Met Music Director position with $15 Million Gift 2018–19 Season to Feature Three Operas Conducted by Nézet-Séguin, Including New Production of La Traviata, Directed by Michael Mayer Other New Productions Include Season-Opening Samson et Dalila, Starring Elīna Garanča and Roberto Alagna; North American Premiere of Nico Muhly’s Marnie; and Adriana Lecouvreur, Starring Anna Netrebko Robert Lepage’s Ring cycle, Starring Christine Goerke as Brünnhilde, to Return for First Time Since 2013 Live in HD Season to Feature 10 Transmissions, Beginning October 6 with Anna Netrebko in Aida New York, NY (February 15, 2018) – Accelerating his arrival as Music Director by two seasons, Yannick Nézet-Séguin will take up the post in time for the start of the Metropolitan Opera’s 2018–19 season, it was announced today. By freeing up some guest conducting weeks in his busy calendar in both the 2018–19 and 2019–20 seasons, Nézet- Séguin will now be able to conduct three operas and two Met Orchestra concerts at Carnegie Hall in each of those seasons, instead of the two operas per season originally scheduled. With the assumption of the Music Director title in the fall of 2018, Nézet- Séguin will also be taking on the full artistic responsibilities for the orchestra, chorus, and music staff. His full-time collaboration with Met General Manager Peter Gelb on all other artistic matters will also begin at that time. -
Cinderella Fidelio El Lago De Los Cisnes Rigoletto Fausto
CINDERELLA Sadler’s Wells Theatre, Londres Jueves, 15 de abril | 19.30h FIDELIO Centenario Fest. de Salzburgo Jueves, 22 de abril | 19.15h EL LAGO DE LOS CISNES Ópera de París Jueves, 29 de abril | 19.15h RIGOLETTO Circo Massimo, Ópera de Roma Jueves, 6 de mayo | 19.30h FAUSTO Teatro Real de Madrid Viernes, 14 de mayo | por confirmar Textos: Javier Heras Javier Textos: IL TROVATORE Festival de Salzburgo Jueves, 20 de mayo | por confirmar León, abril de 2021. CINDERELLA | Ballet de Prokofiev/Matthew Bourne Jueves, 15 de abril / 19.30h De un coreógrafo que convirtió a los cisnes de Chaikovski en un grupo de bailarines (masculinos) siempre cabe esperar sorpresas. El inglés Matthew Bourne (1960) sitúa La Cenicienta en el Londres bombardeado por los nazis en 1941. El Blitz dejó 20.000 muertos y una ciudad devastada. En ese contexto desesperado y frágil surge el amor entre la protagonista y -en vez de un príncipe- un piloto de la RAF, la fuerza aérea británica. Los decorados evocan el cine de Fred Astaire y Powell/Pressburger, aunque también imágenes históricas como el ataque de la Luftwaffe al Café de París, donde se sitúa el baile de salón del Acto II, que parece un sueño. El planteamiento tiene sentido: esta música se escribió Sadler’s Wells Theatre de Londres, 06/2017 precisamente durante la II Guerra Mundial. El soviético Prokofiev (1891-1953) venía de triunfar con Romeo y Julieta Direc. de escena: Matthew Bourne | Escenografía en el Kirov en 1940, y justo después le encargaron su sexto y Vestuario: Lez Brotherston | Elenco: Ashley Shaw ballet, sobre el cuento de Perrault (que había inspirado ya (Cinderella), Andrew Monaghan (piloto), Michella a Rossini o Massenet). -
04-26-2019 Rigoletto Eve.Indd
GIUSEPPE VERDI rigoletto conductor Opera in three acts Nicola Luisotti Libretto by Francesco Maria Piave, production Michael Mayer based on the play Le Roi s’Amuse by Victor Hugo set designer Christine Jones Friday, April 26, 2019 costume designer 8:00–11:05 PM Susan Hilferty lighting designer Kevin Adams choreographer Steven Hoggett The production of Rigoletto was revival stage director Gregory Keller made possible by a generous gift from the Hermione Foundation, Laura Sloate, Trustee; and Mr. and Mrs. Paul M. Montrone general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2018–19 SEASON The 895th Metropolitan Opera performance of GIUSEPPE VERDI’S rigoletto conductor Nicola Luisotti in order of vocal appearance the duke gilda Matthew Polenzani Rosa Feola DEBUT borsa giovanna Eduardo Valdes Edyta Kulczak countess cepr ano a page Samantha Hankey Catherine MiEun Choi-Steckmeyer rigolet to George Gagnidze a guard Earle Patriarco marullo Jeongcheol Cha maddalena Ramona Zaharia count cepr ano Paul Corona monterone Stefan Szkafarowsky sparafucile Dimitry Ivashchenko Friday, April 26, 2019, 8:00–11:05PM RICHARD TERMINE / MET OPERA George Gagnidze Chorus Master Donald Palumbo in the title role of Musical Preparation Gareth Morrell, Vlad Iftinca*, and Verdi’s Rigoletto Adam Nielsen Assistant Stage Director Daniel Rigazzi Stage Band Conductor Gregory Buchalter Italian Coach Loretta Di Franco Met Titles Sonya Friedman, revised for this production by Michael Panayos and Paul Cremo Assistant to the Set Designer Brett Banakis Assistant to the Costume Designer Marina Reti Assistant Choreographer Lorin Latarro Scenery, properties, and electrical props constructed and painted in Metropolitan Opera Shops Costumes constructed by Metropolitan Opera Costume Shop; Giliberto Designs, Inc., New York; Tricorne, New York; Eric Winterling, Inc., New York; Euroco Costumes, Inc., New York; and Merimask Designs, Tonawanda, New York Wigs and Makeup executed by Metropolitan Opera Wig and Makeup Department This performance uses gunshot and strobe-light effects. -
The Royal Opera House Announces Full Details of the 2021/22 Season
Tuesday 1 June 2021 The Royal Opera House announces full details of the 2021/22 Season • 11 new productions, including 5 world premieres, and 20 revivals. • An exciting roster of UK and international talent with many debuts The Royal Opera House today confirms details for its 2021/22 Season, the first full Season since 2019. Opening on Monday 13 September, the Season includes five world premieres from The Royal Ballet and The Royal Opera, classic revivals and an exciting roster of international and UK talent performing across the two stages of the Royal Opera House. In its 90th anniversary year, The Royal Ballet presents a Season that respects the past and heralds the future. Three world premieres, including Wayne McGregor’s The Dante Project, Christopher Wheeldon’s Like Water for Chocolate and a new work by American choreographer Kyle Abraham, are performed alongside much-loved 19th-century classics and heritage ballets by Frederick Ashton and Kenneth MacMillan. The Linbury Theatre hosts a raft of partnerships and co-productions including with Ballet Black, Alessandra Ferri, Yorke Dance Project and a world premiere from Company Wayne McGregor. Creative opportunities for emerging talent will also feature with Draft Works and the Next Generation Festival. The Season culminates in July 2022 with The Royal Ballet 1 making a welcome return to international touring with a three-week tour of Japan where the Company will perform Kenneth MacMillan’s Manon and Peter Wright’s Giselle. The Royal Opera Season will open with a new production of Verdi’s Rigoletto, directed by Oliver Mears – his first production since becoming The Royal Opera’s Director of Opera in 2017. -
Programma 21 22 TSC.Pdf
Soci Fondatori Pubblici Consiglio di Indirizzo Ministero della Cultura Luigi de Magistris Ministro Presidente Dario Franceschini Maria Luisa Faraone Mennella Consigliere Regione Campania Presidente Giuseppe Tesauro Vincenzo De Luca Consigliere Comune di Napoli Maurizio Borgo Sindaco Consigliere Luigi de Magistris Mariano Bruno Consigliere Altri Soci Collegio dei Revisori dei Conti Città Metropolitana di Napoli Carlo Greco Sindaco Presidente in rappresentanza Luigi de Magistris della Corte dei Conti Michela Guarino Componente in rappresentanza del Ministero dell’Economia e delle Finanze Roberto Cappabianca Componente in rappresentanza del Ministero della Cultura Sovrintendente e Direttore Artistico Stéphane Lissner Direttore Generale Emmanuela Spedaliere Coordinatore Area Artistica e Direttore Casting Ilias Tzempetonidis Direttore Musicale Juraj Valcˇuha Maestro del Coro José Luis Basso Direttore del Balletto Clotilde Vayer 22 21 4 Palcoscenici vuoti, le sale dei musei al buio, le piazze dei monumenti storici deserte sono tra le immagini più iconiche dell’anno trascorso, triste testimonianza degli effetti della pandemia. I cosiddetti “luoghi di nutrimento dell’anima”, sono stati luoghi senz’anima, senza il vociare del suo pubblico che li abita, senza i suoi lavoratori che rendono viva l’opera, la musica, la danza. Eppure in questo lungo tempo il San Carlo non è stato inoperoso. Da oltre un anno abbiamo messo in campo diversi progetti, cercato di creare un’alternativa in assenza dello spettacolo dal vivo, elaborando idee coerenti col nostro percorso artistico. Abbiamo utilizzato altri linguaggi, altri strumenti, nuove attività di formazione per raggiungere il nostro pubblico e nuovi spettatori. È stato tempo di incertezza, di ansia, ma anche di riflessione, di azione comune, e l’impegno costante di salvaguardare i diritti dei lavoratori e nel contempo creare una nuova squadra che potesse guardare al futuro con rinnovata fiducia. -
Le Ginger Opera
In prima fila con… le Ginger Opera Aspettando di rientrare tutti in teatro, il contenitore virtuale di approfondimento musicale di Le Cronache ospita le cantanti Anna Maria Sarra, Giuseppina Bridelli, Anna Corvino e la regista Stefania Panighini, in una diretta tra musica e moda Di Olga Chieffi Eravamo personalmente rimaste al “Teatro alla moda” di Benedetto Marcello, che proprio lo scorso anno ha compiuto trecento anni, con i suoi ventinove piccoli paragrafi riguardanti i partecipanti attivi alla forma teatrale, la lirica o concertistica e da coloro che sono di contorno, come avvocati e “conduttori del botteghino”, ma stasera incontreremo due soprano, un mezzo-soprano e una regista che, oltre a far teatro lirico, hanno inteso divulgarlo, disegnando e mettendosi in gioco con delle T-Shirt, ispirato al mondo del melodramma. “In prima fila con…” il contenitore di approfondimento musicale di Le Cronache, presenterà, infatti, ai propri follower, alle ore 19, sui propri canali social, https://www.facebook.com/lecronachequotidiano e YouTube https://www.youtube.com/channel/UCJaOrPcGFKLxjQWMMDaiM4g, la splendida idea di due soprano, la nostra , le quali hanno dato vita al brand Ginger O’, che vede protagoniste delle T- shirt, tutte ad edizione limitata, riservate agli appassionati della lirica e non solo. La collezione lancio di Ginger Opera, al momento, racchiude ben cinque magliette, al femminile, in cotone, ispirate a frasi rimaste celebri del melodramma da “Bocca baciata non perde ventura, anzi rinnova come fa la luna”, il canto di Fenton continuato da Nannetta nel Falstaff di Verdi o “Sempre libera!” la cabaletta di Violetta in Traviata, poi c’è Despina che intima a Fiordiligi e Dorabella di divertirsi con gli uomini di “Far all’amor come assassine” di Così fan tutte, il pallore, la poesia e l’amore di Mimì nell’icona rock David Bowie, ma proprio dai nostri canali lanceremo, Zuccher’O, la linea unisex del marchio Ginger O’. -
Chicago Symphony Orchestra Riccardo Muti Zell Music Director Yo-Yo Ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO
PROGRAM ONE HUNDRED TWENTY-FIFTH SEASON Chicago Symphony Orchestra Riccardo Muti Zell Music Director Yo-Yo Ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Thursday, April 21, 2016, at 8:00 Saturday, April 23, 2016, at 8:00 Tuesday, April 26, 2016, at 7:30 Falstaff, Lyric comedy in three acts Music by Giuseppe Verdi Libretto by Arrigo Boito, after William Shakespeare’s The Merry Wives of Windsor and parts of Henry IV Riccardo Muti Conductor CAST Sir John Falstaff ............................................................................Ambrogio Maestri baritone Ford, husband of Alice ................................................................................. Luca Salsi baritone Fenton ................................................................................................................Saimir Pirgu tenor Doctor Caius ................................................................................................... Saverio Fiore tenor Bardolfo, follower of Falstaff ...............................................Anicio Zorzi Giustiniani tenor Pistola, follower of Falstaff..................................................................... Luca Dall’Amico bass Mrs. Alice Ford .................................................................................Eleonora Buratto soprano Nannetta, daughter of Alice and Ford ..................................................Rosa Feola soprano Mrs. Quickly ................................................................... Daniela Barcellona mezzo-soprano