Bayerische Staatsoper.TV: watch opera and ballet live and online

In 2015/16, the Bayerische Staatsoper is presenting its fourth season of selected performances as live streams free of charge online with STAATSOPER.TV. Classical music fans from all over the world can thus follow several evenings of opera and of ballet at the full length, live from Munich.

Past live streams in the 2015/16 season: Richard Strauss’s Ariadne auf Naxos, Arrigo Boito’s Mefistofele and Sergei Prokofiev’s The Fiery Angel.

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The central box of the National Theatre (Photo: Wilfried Hösl)

“Over a million viewers from 55 different countries and countless imitators from the Vienna State Opera to various private suppliers prove that we’re right with STAATSOPER.TV. We see our live streams as an expansion of our cultural mission, and we continue to stand out from all the other services offered by the nature of our programme: Unique, live, free of charge, plus the top singers and dancers and the most important directors”, says General Manager Nikolaus Bachler. “Also Kirill Petrenko supports the initiative and was happy to make all the new productions conducted by him available in this form too.”

As previously, four to six cameras in the auditorium will broadcast the performances throughout the world at http://www.staatsoper.de/tv. Up to 40 microphones in the orchestra pit and on stage provide first-class sound quality. From this season onward, the video images will be produced in high definition (Full HD). Another innovation is the provision of streams in HD resolution with increased bandwidth, offering even better picture quality. All the streams (without subtitles, German or English subtitles) are offered in three different transmission qualities (Low, High, HD). Viewers can choose freely between these three qualities and adapt the transmission to their own individual internet connection.

General Manager Nikolaus Bachler (or Ballet Director Ivan Liška for the ballet performances) will provide an introduction to the work before every live stream, and in the intervals, the Bayerische Staatsoper will offer a glimpse into the theatre’s backstage areas. Subtitles in German and English complete the services offered. Apart from a computer, laptop or tablet, users only need a broadband internet connection such as DSL and speakers connected to the device.

Here is the 2015/16 season live stream schedule:

Zubin Mehta

Zubin Mehta

March 19, 2016, 7.00 p.m.
Giuseppe Verdi
Un ballo in maschera (New Production)
Musical Direction: Zubin Mehta
Stage Direction: Johannes Erath
With Piotr Beczala, Simon Keenlyside, Anja Harteros, a.o.

June 12, 2016, 7.30 p.m.
Marius Petipa / Ivan Liška
Le Corsaire
Musical Direction: Aivo Välja
Soloists and corps de ballet of the Bavarian State Ballet

Le Corsaire

Le Corsaire

June 26, 2016, 6.00 p.m.
Fromental Halévy
La Juive (New Production)
Musical Direction: Bertrand de Billy
Stage Direction: Calixto Bieito
With Kristine Opolais, Roberto Alagna, John Osborn, Aleksandra Kurzak a.o.

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July 31, 2016, 4.00 p.m.
Richard Wagner
Die Meistersinger von Nürnberg (New Production)
Musical Direction: Kirill Petrenko
Stage Direction: David Bösch
With Wolfgang Koch, Christof Fischesser, Jonas Kaufmann, Sara Jakubiak a.o.

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The marriage of Figaro on tour in Wales…

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What makes us tick? Mozart and his librettist da Ponte understood this better than most great artists. In The Marriage of Figaro, Mozart allows us to eavesdrop into a day in the life of Count Almaviva’s household. Over the course of the opera we get to see each character’s agendas, flaws, wit and strengths. We also get to see flashes of ourselves in each character. The Countess struggles to come to terms with the possibility that her husband may not love her anymore in the heartbreaking aria ‘Porgi Amor’. In ‘Hai già vinta la causa’ the Count himself struggles with the reality that his privileged world may be changing forever. At the opera’s conclusion the Count asks for his wife’s forgiveness (and he probably means it for that moment). All seems to be resolved but we cannot be sure that he will keep his promise. Outside the Castle walls, a storm is brewing that will change everything forever. The Marriage of Figaro preserves a moment in time for audiences of all subsequent generations. With sublime music and a huge sense of fun, Figaro, perhaps more than any work of art since captures what it means to be alive.

The Bristol Hippodrome 16 March – 19 March
Milton Keynes Theatre 30 March – 2 April
Venue Cymru, Llandudno 9 March – 12 March
Birmingham Hippodrome 2 March – 5 March
Wales Millennium Centre, Cardiff 18 February – 26 February
Theatre Royal, Plymouth 6 April – 9 April
Mayflower Theatre, Southampton 23 March – 26 March

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Creative Team

Conductor Lothar Koenigs (until 9 March,6 & 9 April) Timothy Burke (12 March – 2 April)
Director Tobias Richter
Set Designer Ralph Koltai
Costume Designer Sue Blane
Lighting Designer Linus Fellbom
Assistant Set Designer Robin Don

Cast

Figaro David Stou
Susanna Anna Devin
Count Almaviva Mark Stone
Countess Almaviva Elizabeth Watts
Cherubino Naomi O’Connell
Marcellina Susan Bickley
Doctor Bartolo Richard Wiegold
Don Basilio / Don Curzio Alan Oke
Barbarina Rhian Lois

Plot summary

Engaged couple Figaro and Susanna, servants to the Count and Countess Almaviva, are worried that the Count will attempt to seduce Susanna on her impending wedding night. As part of a plan to prevent this from happening, Susanna, the Countess, and Figaro dress the young page, Cherubino, as a girl who will pretend to be Susanna and meet the Count so that the Countess can  trap her husband. When the Count interrupts them and orders Cherubino to join the army, they change tack. Susanna and the Countess decide to expose the Count’s infidelity by swapping clothes with each other and arranging a secret meeting with him. Figaro is horrified to see what appears to be Susanna in the Count’s arms but he has been temporarily fooled. When the ladies’ true identities are revealed, the Count begs the Countess for forgiveness. Susanna and Figaro celebrate their long-awaited wedding.

SYNOPSIS

Act One

It is the wedding day of Susanna and Figaro, servants to the Count and Countess Almaviva. As the couple prepare to move into their new marital quarters, Susanna is worried that the Count will try and revive the old feudal custom of the droit de seigneur, according to which the Lord of the house can be the first to sleep with the bride on her wedding night. When Figaro learns of the Count’s plans, he vows to teach his master a lesson.

Housekeeper Marcellina discusses her marriage contract with Bartolo: Figaro must repay her the money he owes her, or marry her.  Household Doctor Bartolo is delighted to help her and take revenge on Figaro – the former barber who prevented him from marrying Rosina, now known as the Countess. Marcellina and Susanna exchange insults. Marcellina taunts Susanna about the Count’s interest in her.  Cherubino, an adolescent page, comes to see Susanna because the Count has dismissed him for flirting with the serving girl, Barbarina. Cherubino declares his love for all the women in the house – and particularly for the Countess. He hides when the Count arrives, intent on seducing Susanna – but he, too, hides when Don Basilio, the music teacher, appears. Don Basilio tells Susanna that she would be better off with the Count than with Cherubino, who also has eyes on the Countess. The Count reappears and orders Basilio to find Cherubino. The Count discovers  Cherubino, but realising that the boy has overheard everything, is at a loss as to how to punish him.

Figaro has assembled the entire household to sing the praises of their master for renouncing his claim on Susanna on her wedding night and asks the  Count to bless their marriage. The Count stalls his response to Figaro by ordering Cherubino to join the army. Figaro mocks Cherubino about his forthcoming life as a soldier.

Act Two

The Countess is sad because she believes her husband no longer loves her. Susanna tells her that the Count has tried to seduce her. With Figaro and Susanna’s encouragement, the Countess agrees to plot against the Count, with anonymous letters warning him of her planned assignations. They plan to expose the Count by disguising Cherubino as Susanna, and sending him to meet the Count. The Countess will then catch her husband red-handed as he attempts to seduce ‘Susanna’. Susanna and the Countess start to dress Cherubino, but he has to hide quickly as the Count enters. The Count becomes suspicious of his wife when he hears a strange noise from Cherubino’s hiding place. The Count suspects it is the Countess’s lover who is hiding. The Count leaves with the Countess, and in that time Susanna manages to help Cherubino escape and changes places with him. The Count is dumbfounded when Susanna appears from the hiding place. The  Countess confronts him for his suspicious behaviour and the Count begs her forgiveness. When Figaro appears, the Count challenges him about the anonymous letter he received and Figaro denies any knowledge of it.

The gardener, Antonio, reports that he saw someone running from the Countess’s rooms, suspecting Cherubino. Figaro improvises quickly and pretends that it was him. With the help of Susanna and the Countess, he almost succeeds in his story, until Marcellina demands that Figaro marries her in repayment of the loan. The Count promises to look into the contract.

Act Three

As part of a new plan to fool the Count, encouraged by the Countess, Susanna arranges to meet the Count in secret that night. When he overhears Figaro and Susanna plotting together, the Count vows to have revenge. Marcellina, supported by a lawyer, Don Curzio, insists that Figaro marries her. Figaro responds that without the consent of his parents – for whom Figaro has been searching for years –  he cannot marry her. Marcellina spots a birthmark on Figaro’s arm, and realises that he is her long-lost son. She reveals to Figaro that his father is Dr Bartolo. Susanna sees Figaro embracing Marcellina and is livid until she learns that Marcellina is in fact his mother. Marcellina and Bartolo agree to marry. The Countess and Susanna plot to humiliate the Count, and the Countess dictates a note to Susanna that confirms his planned rendezvous with Susanna that night. They seal the note with a pin.

Antonio tells the Count that Cherubino has not gone to war and is somewhere in the household dressed in women’s clothing. Cherubino is saved from the Count’s punishment by the servant, Barbarina. She outwits the Count by forcing him to bless her marriage to Cherubino.  As the double wedding celebrations proceed, Susanna slips the note to the Count, who pricks his finger on the pin attached to it.

Act Four

Barbarina has lost the pin she was supposed to return to Susanna, confirming the Count’s meeting with her. Barbarina enlists the help of Marcellina and Figaro to find it.  Figaro concludes that Susanna is unfaithful to him and swears vengeance on his new wife. Susanna and the Countess arrive, dressed in each other’s clothes, and Figaro hides. Cherubino tries to seduce ‘Susanna’, but he is chased away by the Count, who wants to be alone with her. The Count leads ‘Susanna’ away and Figaro is called by the ‘Countess’ – who is in fact Susanna, wearing her mistress’s clothes. At first Figaro is fooled, but when he realises it is Susanna, he decides to turn the tables on her and pretends to woo the ‘Countess’. Susanna is furious but when he reveals that he knew what was going on, all is forgiven. When the Count comes looking for ‘Susanna’ they decide to trick the Count once more. Figaro declares his love for the ‘Countess’, to the outrage of the Count. He calls on everyone to witness the infidelity of his wife. The real Countess reveals herself, and the Count is ashamed. He begs his wife for forgiveness, which she gives, and the household unites in celebration of the double wedding day.

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Norma at the English National Opera in London

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A close-knit community’s way of life is threatened by unstoppable change. The people want war. Their priestess Norma, secretly in love with one of the enemy, resists. But now he has a new love. And in the face of his betrayal, it seems Norma is prepared to make the ultimate sacrifice.

Award-winning director Christopher Alden returns to ENO for our first-ever production of Bellini’s masterpiece. Celebrated for its finely shaped melodies and exquisite arias, Norma is full of ravishing music.

This critically acclaimed production sets the action in a rural community in the mid-19th century. Rising star soprano Marjorie Owens sings the demanding title role, alongside Peter Auty as the love-rat Pollione who cheats on her. Bel canto specialist Stephen Lord conducts.

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Running time: 3hrs
Language: Sung in English, with surtitles projected above the stage
Signed Performance: 7 March 2016

Want to learn more about Norma?

Join a pre-performance discussion with musicologist Roger Parker, plus designer Charles Edwards, on 24 February.

Norma cast and creative team

Conductor  Stephen Lord

Director  Christopher Alden

Set Designer  Charles Edwards

Costume Designer  Sue Willmington

Lighting Designer  Adam Silverman

Translator  George Hall

Norma  Marjorie Owens

Adalgisa  Jennifer Holloway

Pollione  Peter Auty

Oroveso  James Creswell

Clotilde  Valerie Reid

Flavio  Adrian Dwyer

Originally created by Opera North in a co-production with Die Theater Chemnitz

New production supported by the English National Opera Trust and the American Friends of ENO.

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THE WONDERFUL VOICE OF FEDERICO CARDELLA: Entertainment = HOPERA. An exclusive interview.

 

federico_opera Federico is a Boston born, Italian-American vocalist that sings adult contemporary pop, rock, gospel and classical music. One of ten children, he has  loved to sing ever since he  can remember. His goal as a singer is to help rejuvenate true love,faith and romance throughout the world.

Blest with a very dynamic and sturdy vocal instrument, and a careful study of the Italian Bel Canto & Appoggio breathing technique, Federico has stunned audiences worldwide with the strength and beauty of his range, alacrity & warm, golden, Italianate timbre. 

Federico's daughter Lindsay with James Galway @ Duke University. Lindsay performed with LSO on all Federico's albums.

Federico’s daughter Lindsay with James Galway @ Duke University. Lindsay performed with LSO on all Federico’s albums.

L’IDEA MAGAZINE: You affirm on your website that you started your singing career later in life than most professional singers. Could you elaborate on that? What was your inspiration?
FEDERICO CARDELLA: I was busy raising two daughters, Lindsay & Rebekah – life got in the way of a full time career in Opera. I worked to put them in College – one is a PA Dermatologist and graduate of Wake Forest, the other is a Theater actress and singer and attended to Royal Academy of Dramatic Arts in London.
I went to a Luciano Pavarotti Concert in Orlando and heard him sing Tosca’s Recondita Armonia by Puccini as his first selection – I thought it was so beautiful I cried and vowed to my wife that I wanted to try and learn to sing like this!

L’IDEA MAGAZINE: You had opera voice teachers who were renowned and respected, such as Vera Rosca, Jerome Hines, Ken Smith and Franco Corelli. What did you take from each of them?
FEDERICO CARDELLA: This is what I learned:

Vera Rosca – not to “spread”(ahhhhh) on the tenor notes E-Ab on the Ah vowel but open the throat more to round the sound like Domingo: awe.
Jerome Hines – taught me the best scales to practice- especially as I age, to prevent the chords from “bowing” and to keep the voice young sounding and strong even into my 80’s…
Ken Smith -through a series of seemingly animalistic vocal exercises, he was the first to teach me how to achieve true “squealo” ( i.e. -the primitive scream in the head) and head voice from Ab to Db – to listen, achieve and appreciate the richness and baritone space in the middle voice. He was first to teach me the tenor physical sensation of the voice through esoteric Caruso type teaching method.
Franco Corelli – take risks- be imperfect and crack if you must – but NAIL the high notes in the head – use the full thrust of air from the appoggio technique – it takes a certain body of diaphragm/largeness, large lungs, small chords and a big enough skull to ring the notes in the head to sound dramatic and dark – it’s the intangible result of great technique mixed with a linebacker’s body and skull with women size chords – basically there are few dramatic tenors because they are freaks of nature! lol It seems most people today settle for the “neck tie” El perfecto micro tenors – and the larger bodied tenors are too covered and sing too Germanic/Wagnerian. Caruso/Corelli/Pavarotti/Bjorling (the Swedish Caruso) represented the best in tenor singing – all of these men were massive in girth of diaphragm and had the strength of a rugby player when they sang. Corelli, most of all, taught me that the voice was strong – that you train it like a horse – not to pamper it like these thin sounding but “perfect” sounding micro tenors do today. I tell you there is no primitive scream or thrill in them and if their “polished” voices were put next to any of the above greats – these peep squeaks would not be heard!

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L’IDEA MAGAZINE: Who is the singer who influenced you the most and why?
FEDERICO CARDELLA: Luciano Pavarotti  – because he showed me how to sing brightly/lightly in the middle voice with the least effort at almost speaking voice energy – in Italian called “Parlando” technique
Franco Corelli – because he taught me how to achieve in Caruso’s form the true Voce di Testa (Ringing voice in the head/skull) the primitive scream in the head – to go through the passaggio easily with the open throat and sub glottal breath support – there are only a handful of Tenors/Sopranos  in the world today who truly sing like Joan Sutherland, Maria Callas/ Corelli & Mario Del Monaco, Mario Lanza etc.
Sadly, most modern main stage tenors today are boring to listen to- though perfect in their pitch and placement they sound weak when nailing the high notes or just too covered – they do not have the clarion/clear ring at the top with the baritone power- pretty singing – but not powerful at all. There is great risk to sing BOTH brightly and with full baritone power at the top -I have heard none sing like young Carreras or as Pavarotti/Jussi Bjorling or Corelli in their prime. Yet the opera buff pundits say this small, new breed of some tiny, highly amplified, South American tenors singing a bunch of amplified hi C’s is better than the Italian large men greats. lol!!!! I rather hear a Corelli sing an exciting high A over their bright and thinned (but perfectly paced) high C or Db any day!
These little, small diaphragm tenors are going around accepting that they are the best tenors of all time by their shills in the Opera press. Corelli’s manly, heroic and unamplified tenor voice would blow ten of the Mets best tenors off the stage with one B natural if put side by side. They all only go to prove that the Golden Era of Opera is long dead. It is full of perfectly small, uninspiring perfect tenor voices – there is no soul weight or heroic sound in them- they strut around like peacocks – and the younger opera crowds don’t know any better. Sure, the older tenors applaud them too. They are trying to promote the industry. But in private they don’t approve.

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L’IDEA MAGAZINE: What opera character would you most intrigued to perform and why?
FEDERICO CARDELLA: Mario Cavaradossi, the painter in Puccini’s Tosca- I love all the drama in this 1800’s setting, but most of all- being a Verde/Puccini tenor – I am affixed to the tenor arias (equally so with Nessun Dorma – Turandot) Recondita Armonia and E Luce Van Le Stelle are my two favorite arias to hear and sing and why I was inspired to become an operatic tenor in the first place.

starwarsL’IDEA MAGAZINE: You recorded numerous tracks with the London Symphony Orchestra. Could you talk about that experience?
FEDERICO CARDELLA: In my opinion, the London Symphony is the best recording orchestra in the world, which is why George Lucas, Cameron and so many others use them for their movie sound tracks- when I recorded with them we had 100 pieces and did not shoot the glass, but they all played as one unit live. The 300 year old Brass sounds very powerful and unique, not to mention all the Strats in the violin section. That’s why Star Wars sound s like Star Wars!

federicomixL’IDEA MAGAZINE: One of your CDs was recorded as EDM (Electronic Digital Music).  What does that really mean? Did you have to make some voice adaptation for this occurrence?
FEDERICO CARDELLA: Yes, I had to learn to sing more contemporary, but without leaving my own voice to imitate Sting, or Michael Bolton or Bryan Adams or Zedd … the main vocal adaptation is to tighten up or shorten wave lengths of vibrato- especially on end notes- the big operatic wobble /vibrato not permitted. I had to raise my normally dropped larynx more in the passaggio and head voice, but still keeping the power tenor with the power groove; I gained a lot of respect for pop singers when I first tried this!

federico_ItalianL’IDEA MAGAZINE: Singing the old fashioned way seems to be the major theme of your style. Your repertoire comprises Christmas songs, Christian Hymns, arias from operas, pop songs and even EDM recordings. It is a vast and interesting repertoire. What is the goal of your singing? Just entertaining or a bit more?
FEDERICO CARDELLA: Entertainment = HOPERA – as it is called – I like the revolutionary and evolutionary convergence of the two styles – EDM/ Hip Hop with Opera and this can keep our young people still interested in the arias of old because it is the digital sound they have grown so accustomed to. So yes – a cultural invasion of a new genre I call (and now trademarked) HOPERA.

Federico's daughter Rebekah is the child soprano on all his recordings.

Federico’s daughter Rebekah is the child soprano on all his recordings.

L’IDEA MAGAZINE: In some of your recordings, there was the participation of your daughters Lindsay as flutist and Rebekah as singer in duets with you. How emotional was that experience?
FEDERICO CARDELLA: That is the best experience any performer can have – to record or perform live with family and the people you love the most. Very heart warming and cherished memories- forever recorded. Love my girls.

L’IDEA MAGAZINE: What new projects are you working on at the moment?
FEDERICO CARDELLA: A Broadway Musical

L’IDEA MAGAZINE: What is your most ambitious goal?
FEDERICO CARDELLA: To do a musical and then a major motion picture to follow- I have nearly finished the script for both…

L’IDEA MAGAZINE: Where are you going to perform in the next few months?
FEDERICO CARDELLA: On Broadway – we are close to closing a deal with a Theater for late summer 2016.

Note: to sample some of his wonderful music, visit http://www.federicomusic.com

 

 

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Die Fledermaus in Israel

logoisraelioperaDIE FLEDERMAUS

Thursday 11/02/2016 20:00
Friday 12/02/2016 13:00
Friday 12/02/2016 20:30

Music by Johann Strauss Jr.
Bubbling Viennese operetta comes direct from Budapest as the Budapest Operetta Theatre presents its champagne like production of Strauss’ ultimate operetta full with sweeping waltzes.

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New Production | Sung in German | Duration: 2 hours and 30 minutes

Libretto: Karl Haffner & Richard Genee

Conductor          Laszlo Maklary  (KERO)
Director Miklos Gabor Kerenyi
Costumes Designer Tunde Kemenesi
Set Designer  Csorsz Khell
Choreographer  Jeno Locsei
Among the soloists
Rosalinde Monika Fischl
Timea Vermes
Eisenstein                Zsolt Vadasz
Zsolt Homonnay
Adele Anita Lukacs
Annamaria Zabradi
Falke   Soma Langer
Istvan Kristof
Alfred    Peter Balczo
Zsolt Vadasz
Frank Andras Farago
Soma Langer
Orlovsky  Karoly Peller
David Szabo
Ida Marika Oszvald
Szilvi Szendy
Blind   Otto Magocs
Robert Vanya
Ivan Lajos Flier
Frosch  Israel Katorza

The Budapest Operetta and Musical Theatre Choir
The Budapest Operetta and Musical Theatre Dancers
The Budapest Operetta and Musical Theatre Orchestra

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SYNOPSIS

Four years before the action of the opera begins

Gabriel von Eisenstein, a man of private means, and his friend the notary Dr. Falke, have been attending parties together for years. Upon returning from a lavish costume ball – which, as usual, involved heavy drinking – Eisenstein decides to play a dirty trick on his old friend, and leaves him sleeping in the park dressed in his magnificent bat costume. The next morning, wending his way home still dressed as a bat, to the great amusement of the passers-by and to his own great shame, Falke resolves to get even. Four years later his plan is ripe. Aided by the eccentric Russian Prince Orlofsky, who, bored with his own licentiousness, is always game for fresh diversions, he stages his spectacular revenge!

Act I

A room in Eisenstein’s house
Outside the house a voice is heard serenading Rosalinde, Eisenstein’s wife and the lady of the house. She recognizes the voice to be that of Alfred, an opera singer and her former lover, who was thought long gone and has now reappeared and is using all his vocal skills to tempt his still adored Rosalinde to a tête-à- tête. Adele, the Eisensenstein’s maid, has received a letter from her sister Ida, inviting her to a party at Prince Orlofsky’s. Now, in addition to debating what she could possibly wear to the sumptuous occasion, she contemplates how she might get the night off. Nothing, not even a “very sick aunt”, assists her in her pleas: Rosalinde refuses, as her husband is due to start a five day prison sentence that evening for assault. As Adele leaves the room, Alfred appears and is persuaded to leave only with the promise that he can return that evening, when Eisenstein has gone to jail.

Eisenstein returns from his court hearing. He is enraged, for his bungling lawyer, Dr. Blind, rather than reduce his sentence, has actually caused it to be increased to eight days. Falke opportunely appears and persuades Eisenstein to begin serving his sentence only the following morning and to enjoy his last evening of freedom with him at a party at Prince Orlofsky’s. Rosalinde and Adele reappear. Having promised Alfred he can return to see her, Rosalinde, who does not wish her maid present at the rendezvous, releases Adele for the night. Adele leaves as do Eisenstein and Falke, assuring Rosalinde that her husband is on his way to prison.

Alfred appears and, preparing himself for an intimate evening with Rosalinde, dons Eisenstein’s robe. They are interrupted by the prison governor, Frank, who, before repairing to Orlofsky’s party himself, has come to accompany Eisenstein to prison. Discovered alone with a man wearing her husband’s robe, Rosalinde protests at the notion that he could be anyone but her husband, and Alfred is forced to go along with the pretence so as not to compromise his beloved’s honor.

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Act II

Prince Orlofsky’s villa
The party at prince Orlofsky’s is in full swing. Champagne is flowing and Falke’s elaborate charade is starting to unfold. Adele, wearing her mistress’ dress, approaches Ida, who at first denies having sent her a letter but then promises to present Adele as a singer named Olga. Eisenstein, introduced as the Marquis Renard, soon spots Adele, but when he comments on her likeness to his maid, she dismisses the suggestion, and all agree that the confusion is the result of a merely coincidental – though most amazing – likeness. Eisenstein now finds himself obliged to converse with, of all people, the prison governor Frank, whom Falke presents as Chevalier Chagrin.

Falke has in the meantime informed Rosalinde that her husband has left home to go not to prison, but rather to Orlofsky’s party, and has invited her to join the festivities dressed as a Hungarian countess. She arrives at the party, and decides to present herself instead as a famous singer. Eisenstein is instantly fascinated by the exotic new guest, and attempts to seduce her with his well tried and tested ploy of the repeater watch. But he underestimates the cleverness of his present victim, who slyly pockets his watch. Falke persuades Rosalinde to prove she is indeed an artist, and she does so with a fiery csárdás. Orlofsky proposes a toast to champagne, the king of all wines. Merriment abounds, but when the clock strikes six, Frank and Eisenstein both rush off to prison – the one to work, the other to begin serving his sentence.

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Act III

The prison governor’s office
The drunken jailer Frosch, though annoyed by Alfred’s constant singing – whom he unsuccessfully tries to silence – is nevertheless enjoying his drink. No sooner does Frank arrive in high spirits, than Adele and Ida appear at his office seeking him. Adele confesses that she is not really an actress, but is convinced that all she needs in order to become one is a patron with some money and influence. Believing Frank to be the perfect candidate, she proceeds to demonstrate her talents to him, and he is soon persuaded. Eisenstein arrives to start his prison sentence. He is surprised to find “Chevalier Chagrin”, but even more so to learn from him that he had already personally arrested Eisenstein the night before. Falke appears followed by Dr. Blind, and Eisenstein, who is anxious to know who was discovered in his wife’s company, quickly exchanges clothes with Blind at Falke’s instigation. When Rosalinde comes to the prison, Eisenstein learns all he wanted to know at first hand. Indignant and outraged, he reveals his true identity. But Rosalinde has her own little surprise: she presents her husband with a repeater watch which she had  obtained from a certain  Marquis Renard.  The rest of the company arrives, and Falke reveals to Eisenstein that the whole affair has been his revenge for the bat incident. Eisenstein has no choice but to take this with good heart, and all agree that any misdemeanor should be blamed on King Champagne alone.

GALLERY

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Tosca at the San Diego Opera

sandiego_logotoscaTitle

Step into the web of politics, police brutality, betrayal, jealousy and murder in Puccini’s blood-soaked and intense Tosca. In Rome, the fiery and celebrated singer Floria Tosca has no idea that her life, and that of the man she loves, will irrevocably change the very next day. In a whirlwind of events, Tosca is forced to save her rebellious lover from the tainted hands of the treacherous chief of police and must take a stand while looking death in the face. Will she murder for the man she loves? Will she save her lover in time? What will become of her?

With passionate arias and soaring, sensuous melodies, Tosca’s power and raw emotion will leave you breathless.

Performances

Sat, Feb 13 at 7pm
Tue, Feb 16 at 7pm
Fri, Feb 19 at 7pm
Sun, Feb 21 at 2pm

All performances at the San Diego Civic Theatre
2 hours and 40 minutes with two intermissions
In Italian with projected English supertitles

CAST

TOSCA

Alexia Voulgaridou

San Diego Opera Debut. Greek soprano Alexia Voulgaridou made her professional debut at the Prinzregententheater in Munich as Susanna in The Marriage of Figaro. Notable performances include Mimì in La bohème, Marguerite in Faust, and Cio-Cio San in Madama Butterfly for The Royal Opera, Covent Garden. Notable roles included Sophie in Der Rosenkavalier, Violetta in La traviata, Adina in The Elixir of Love and the three heroines in The Tales of Hoffmann. She sings regularly with the Hamburg State Opera, where her many roles include Marguerite, Blanche in Dialogues des Carmélites, Cio-Cio-San, Nedda in Cavalleria rusticana and Desdemona in Otello. Notable engagements elsewhere include the title role of Tosca and Magda in La rondine for Opera Australia, Mimì, Massenet’s Manon and Micaëla in Carmen at La Scala, the title role of Luisa Miller for Stuttgart State Opera, Maria in Mazepa for De Vlaamse Opera, Amelia Grimaldi in Simon Boccanegra in Toulouse and Anna Bolena in Turin and Palermo. Her concert performances include Verdi’s Requiem at the Ravenna Festival under Riccardo Muti. Her recordings include a solo album with Nicola Luisotti and the Munich Radio Orchestra on the Arte Nova label.

CAVARADOSSI

Gwyn Hughes Jones

San Diego Opera debut. Welsh tenor Gwyn Hughes Jones has sung at the Royal Opera, Covent Garden, English National Opera, Opéra National de Paris, Opéra de Lyon, La Monnaie Brussels and Norwegian National Opera. In America, he has appeared at the Metropolitan Opera, Lyric Opera of Chicago, San Francisco Opera, Los Angeles Opera, Washington National Opera and Sante Fe Opera. Roles include Manrico in Il trovatore, Calàf in Turandot, Duke of Mantua in Rigoletto, Pinkerton in Madama Butterfly, Rodolfo in La bohème, Nemorino in The Elixir of Love, Chevalier des Grieux in Manon Lescaut, and the title role of Faust. He has appeared with orchestras including the Academia Nazionale di Santa Cecilia, Trondheim Symfoniorkester, Israeli Philharmonic Orchestra, Royal Flanders Philharmonic Orchestra, London Symphony Orchestra, London Philharmonic Orchestra, London Sinfonietta and Royal Philharmonic Orchestra, and in recital at St Olaf Festival, Trondheim, Musashino Civic Cultural Hall, Tokyo, Wigmore Hall and Purcell Room, London, and Auditorium du Louvre, Paris. Recordings include Macduff in Verdi’s Macbeth. Recent roles include Pinkerton at the Metropolitan Opera and Walther von Stolzing Die Meistersinger von Nürnberg for English National Opera.

SCARPIA

Greer Grimsley

American bass-baritone Greer Grimsley made his San Diego Opera debut as Telramund in Lohengrin in 2000, returned for Pizarro in Fidelio in 2003, The High Priest of Dagon in Samson and Delilah in 2007, Scarpia in Tosca in 2009, Méphistophélès in Faust in 2010, and in 2012 as Jochanaan in Salome. He made his Metropolitan Opera debut as Captain Balstrode in Peter Grimes and has returned as Escamillo in Carmen, Jochanaan, Scarpia, Telramund, and Amfortas in Parsifal. Recent engagements include Wotan in Seattle Opera’s Ring Cycle, Don Pizarro in Fidelio with Opera Company of Philadelphia, Portland Opera and the Portuguese National Opera, Kurwenal in Tristan und Isolde at Lyric Opera of Chicago, John the Baptist with the companies of Santa Fe, Vancouver and San Francisco and Scarpia with L’Opera de Montreal, Opera Colorado and Lyric Opera of Kansas City. Other roles include The Flying Dutchman in Lithuania and Seattle Opera, the title role of Macbeth with Vancouver Opera, Amonasro in Aida with Portland Opera, Méphistophélès in Faust with New Orleans Opera, and the title role of Sweeney Todd with Vancouver Opera. A frequent singer in Europe, Grimsley has performed leading roles at Deutsche Oper Berlin, Teatro Comunale di Bologna, Royal Danish Opera, Prague National Theatre, Aarhus-Den Jyske Opera in Denmark, the Scottish Opera and the Stadttheater Basel in Switzerland, among others.

ANGELOTTI

Kristopher Irmiter

American bass-baritone Kristopher Irmiter made his San Diego Opera debut as Ned Keene in Peter Grimes in 2009, returning to sing Dr. Grenvil in La traviata in 2010, the Fifth Jew in Salome in 2012, and The Second Priest in 2013’s Murder in the Cathedral. The 2007 Grammy nominee has performed over 90 roles with more than 45 opera companies and made his Lyric Opera of Chicago debut as Scarpia in Tosca. Other credits include Daland in The Flying Dutchman for Opera Carolina, the title role of The Flying Dutchman for Michigan Opera Theatre and Utah Festival Opera, Scarpia for Arizona Opera, Méphistophélès in Faust for Lyric Opera Baltimore, The Immigration Officer in Flight for Austin Lyric Opera, Escamillo in Carmen and Don Alfonso in Così fan tutte for Opera Carolina, Raimondo in Lucia di Lammermoor for Opera Cleveland, Méphistophélès in Faust for Baltimore Lyric Opera, Rucker Lattimore in Cold Sassy Tree with Utah Opera and Atlanta Opera, the title role of Don Giovanni with Opera Carolina, Escamillo with San Francisco Opera, Capulet in Romeo and Juliet with Atlanta Opera, T.J. Rigg in the world premiere of Elmer Gantry with Nashville Opera, Mr. Redburn in Billy Budd with Pittsburgh Opera, Gremin in Eugene Onegin with the Todi Music Festival, and The Four Villains in The Tales of Hoffmann with Opera Lyra in Ottawa.

CONDUCTOR

Massimo Zanetti

Massimo Zanetti maintains a high-profile international career in the world’s leading opera houses and concert halls: a dynamic and accomplished presence, he is particularly noted for his expertise in the 19th century Italian repertoire.

He begins the 2015/16 season leading Verdi’s Don Carlos (French version) at the ABAO Bilbao and returns to the Berlin Staatsoper for Mozart’s Don Giovanni. In February 2016 he will conduct Puccini’s Tosca at the San Diego Opera, followed by Verdi’s Simon Boccanegra at Barcelona’s Gran Teatre del Liceu.

Zanetti will conduct the opening concert at the VII International Mstislav Rostropovich Festival in Moscow, leading Russian National Orchestra in the Mozart’s Requiem.

Recent season highlights included a return to Teatro alla Scala di Milano conducting Carmen and Il barbiere di Siviglia, Verdi’s I due Foscari featuring Placido Domingo at Gran Teatre del Liceu (Barcelona) and Verdi’s Otello at the Teatro Colón in Buenos Aires. Two highly acclaimed concert performances of Simon Boccanegra with the Wiener Symphoniker and Thomas Hampson in the title role at the Vienna Konzerthaus culminated in a live CD recording for Decca, as well as concerts with Anna Netrebko at the Théâtre des Champs-Elysées in Paris and at Palau de la Música Catalana in Barcelona.

As a guest conductor on the operatic stage, he has appeared with houses world-wide including Teatro alla Scala di Milano, Lyric Opera of Chicago, Royal Opera House (Covent Garden), Opéra de Paris (Bastille), Teatro del Maggio Musicale Fiorentino, Teatro dell’Opera di Roma, Teatro Comunale di Bologna, Teatro Regio di Torino, San Francisco Opera, San Diego Opera, Royal Swedish Opera, Opera Australia at the Sydney Opera House, Gran Teatre del Liceu (Barcelona), Teatro Real de Madrid, ABAO Bilbao, and the NCPA Beijing, among many others. He held the position of Music Director of the Flemish Opera from 1999–2002, leading highly-acclaimed productions including Salome and Pelléas et Melisande, in addition to many symphonic concerts as part of the season.

Over the last ten years, Zanetti has worked regularly at the Semperoper Dresden and has conducted new productions including Otello, Carmen, Le nozze di Figaro and Norma as well as several symphonic concerts with the Staatskapelle Dresden. He enjoys a close relationship with the Staatskapelle Berlin and is a regular guest also at Berlin’s Staatsoper. Following his debut with Norma in 2002, productions have included L’italiana in Algeri, Carmen, La Bohème, L’elisir d’amore, La Traviata and Don Carlo. After his debut in 2008 he has maintained a close collaboration with the Zürich Opera, most recently leading new productions of Luisa Miller and revivals of La fanciulla del West, Anna Bolena, Turandot, Otello and La Bohème. In 2007 he made his Bayerische Staatsoper debut with a new production of Luisa Miller and has returned for numerous revivals. Zanetti has also appeared at Teatro Regio di Parma’s prestigious Verdi Festival with Rigoletto (2008), Nabucco (2009 ), I Vespri Siciliani (2010) and Un ballo in maschera (2013), as well as Puccini’s Tosca.

As a symphonic conductor, Massimo Zanetti has worked regularly with the Czech Philharmonic, the Weimar Staatskapelle and the Konzerthausorchester Berlin, in addition to leading the Bamberger Symphoniker, Stuttgart Radio Symphony and NDR Symphony Orchestra Hamburg, Orchestre Philharmonique de Radio France, the Finnish and Swedish Radio Symphony Orchestras and the New Zealand Symphony. In the UK, Zanetti worked with the City of Birmingham Symphony and the Hallé Orchestra including both concerts and a UK tour. In Asia, he developed a close relationship with the NHK Symphony Tokyo, as well as with the China Philharmonic and Guangzhou Symphony Orchestras, a collaboration that will continue in forthcoming seasons. He has also worked with the National Symphony Orchestra of Taiwan and the Nagoya Symphony Orchestra. In 2014, Zanetti led the San Diego Symphony Orchestra in critically-acclaimed performances of Verdi’s Requiem.

Massimo Zanetti’s recordings include Flavio Testi’s Saül (Naïve, 2004) and a Decca release of Verdi’s Simon Boccanegra (2013), as well as DVD releases by C Major within the ‘Tutto Verdi’ project of Rigoletto (2008) and I Vespri Siciliani (2010) from the Teatro Regio di Parma.

Director

Lesley Koenig

American Director Lesley Koenig made her San Diego Opera debut in 1995 directing La bohème, returned in 1998 for The Marriage of Figaro, 2013 for Samson and Delilah and in 2014 for A Masked Ball. Koenig has been a stage director of opera for almost twenty years in top houses and festivals worldwide. She began her career at San Francisco Opera at 17 as a stage manager and was engaged as a stage director at the Metropolitan Opera when just 23 – the youngest director then hired to date. She has directed over 30 productions at the Met, including a highly acclaimed new production of Mozart’s Così fan tutte with Levine in 1996. She holds three shared Emmy Awards from the Met for Outstanding Classical Program in the Performing Arts. In 1998, Koenig took a sabbatical from her directing career to pursue further education and, in 2001, earned two Masters degrees from Stanford University, an MBA and an MA in Education. Shortly thereafter, she joined San Francisco Ballet as General Manager in charge of all operations, including managing the opening of over 60 new productions. Koenig subsequently left the Ballet and returned to the Metropolitan Opera as Assistant Manager and Director of Production. Most recently, she was General Director for Opera Boston, accepted a Fellowship at Stanford University in the Center for Philanthropy and Civil Society and consults with the Stanford’s Institute for Creativity and the Arts.

SYNOPSIS

Act I

The Church of Sant’ Andrea della Valle

Angelotti, an escaped political prisoner, runs into the Attavanti chapel in the church of Sant’ Andrea della Valle. He hides as a Sacristan is heard. Mario Cavaradossi enters to work on his portrait of Mary Magdalene – inspired by the Marchesa Attavanti (Angelotti’s sister), whom he has seen but does not know. He compares the raven beauty of the singer Floria Tosca with that of the blonde Magdalene. When the Sacristan leaves, Angelotti comes out of hiding and is recognized by Cavaradossi, who gives him food and hurries him back into the chapel as Tosca is heard calling outside. She jealously questions Cavaradossi, and reminds him of their rendezvous that evening at his villa. Recognizing the Marchesa Attavanti in the painting, she explodes, but he reassures Tosca he is not having an affair with her. After she has gone, Mario and Angelotti flee to Mario’s villa. Soon after, the Sacristan returns with choirboys, announcing a celebration. Baron Scarpia, chief of the secret police, searches for Angelotti. Tosca returns looking for Cavaradossi, and in comes Scarpia who shows her a fan which he has just found, decorated with the Attavanti crest. Thinking Mario faithless, Tosca tearfully vows vengeance and leaves. Scarpia sends his men to follow her and schemes to get her in his power.

Act II

The Farnese Palace

In the Farnese Palace, Scarpia acknowledges his lust for Tosca. The spy Spoletta arrives with Mario, who is interrogated as Tosca’s voice is heard singing a cantata downstairs. She enters as her lover is being taken to an adjoining room to be tortured. Unnerved by his screams, she reveals Angelotti’s hiding place at the villa. Realizing what has happened, Mario turns on Tosca, but the officer Sciarrone rushes in announcing that Napoleon has won the Battle of Marengo, a defeat for Scarpia’s side. Mario shouts his defiance and is dragged out. Scarpia suggests Tosca yield herself to him in exchange for her lover’s life. Fighting off his embraces, she protests her fate to God, having dedicated her life to art and love. Under pressure from Scarpia, Tosca is forced to give in or see her lover killed. In front of Tosca, Scarpia orders a mock execution for the prisoner, after which he is to be freed. When Scarpia writes a safe-conduct for the lovers, Tosca snatches a knife from the table and kills him. Wrenching the document from his fingers, she slips from the room.

Act III

The Roof of Castel Sant’ Angelo

Awaiting execution at the Castel Sant’Angelo, Mario bribes the jailer to take a farewell note to Tosca. Writing it, overcome with memories of love, he gives way to despair. Tosca runs in telling him that it will be a mock execution and they will be able to escape. As the firing squad appears, she coaches Mario on how to fake his death convincingly. The soldiers fire and depart. Tosca urges Mario to hurry and get up, but when he fails to move, she discovers that Scarpia’s treachery has reached from beyond the grave: the bullets were real. Calling out that she and Scarpia will meet before God, Tosca leaps to her death.

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Donizetti’s Mary Stuart at the Seattle Opera

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By Gaetano Donizetti

HISTORIC CONFRONTATION WITH SEARING EMOTIONS. Two icons of English royalty, Queen Elizabeth I and Mary Queen of Scots, clash in a powerful story of jealousy, pity, doubt, menace, exaltation, and remorse. Extravagant period costumes and virtuosic bel canto singing heighten the many moods of this haunting, unforgettable battle of wills. Does Elizabeth retain her nobility and show clemency to her rival? Or will spite and ambition drive her to seal Mary’s grisly fate? Join us at the palace and see!

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Joyce El Khoury makes her Seattle Opera debut as Maria Stuarda.

In Italian with English subtitles | at McCaw Hall
Approximate Running Time: 2 hours, 30 minutes with 1 intermission
Evenings at 7:30 PM. Sunday matinee at 2:00 PM.

– See more at: http://www.seattleopera.org/on-stage/mary-stuart/#sthash.A5dqRP9C.dpuf

Synopsis

England, 1587

What Has Come Before: Henry VIII of England broke with the Catholic Church and founded the Church of England, in part so he could divorce his first wife and marry Anne Boleyn. His daughter by Anne eventually became Elizabeth I. Henry’s older sister Margaret married the King of Scotland; their granddaughter, Mary Stuart (also known as Mary, Queen of Scots), became Elizabeth’s rival for the throne of England. When our opera begins, Elizabeth has had Mary imprisoned…

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Act 1
Westminster palace, where Queen Elizabeth I is holding court. Elizabeth toys with the idea of marrying the King of France, although she is in love with someone else. She discusses the fate of Mary Stuart with two advisors, Talbot and Cecil. Talbot urges Elizabeth to show clemency, whereas Cecil warns her that Mary is a dangerous rival.

Elizabeth appoints her favorite, the Earl of Leicester, ambassador to France, and is annoyed when he shows no indication of regret that he must leave her. Talbot gives Leicester a letter from Mary asking him to arrange a meeting between her and Elizabeth. Leicester, who loves Mary, shows her message to Elizabeth. Elizabeth, jealous of Leicester’s fondness for Mary, agrees to the meeting.

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Act 2
Mary Stuart is under house arrest at Fotheringay Castle, where she tells her attendant, Anna, about her happy childhood in France. Leicester appears and tells Mary that the Queen will visit her very soon. He encourages her to be humble and submissive. The Queen arrives with her entourage. Mary kneels before the Queen, but Elizabeth accuses Mary of having violated her first marriage and participated in the murder of her second husband. Goaded to fury, Mary publicly  insults Elizabeth, denouncing her as the illegitimate bastard of a whore—and sealing her own doom.

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Act 3
At Westminster, Cecil shows Elizabeth evidence implicating Mary in a treasonous plot, and Elizabeth signs Mary’s death warrant. When Leicester begs her to spare Mary’s life, Elizabeth tells him he must witness the execution.

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Mary, still a devout Catholic, refuses Cecil’s offer of a meeting with an Anglican minister. Talbot, secretly a Catholic priest, hears her final confession and comforts her. She tells her supporters that she is happy to return to God’s embrace. Three cannon shots signal her execution; Mary Stuart forgives Elizabeth, bids farewell to those she loves and calmly ascends the scaffold.

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Photos copyright Michal Daniel

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