Don Giovanni in Adelaide



Don Giovanni

Presented by State Opera of South Australia

7:30pm: 23, 26, 28, 30 May 2015

In the hedonistic pursuit of pleasure, Don Giovanni, seducer, rake, libertine and murderer, leaves behind him a trail of broken hearts, broken promises and broken lives. Accompanied by his faithful, if occasionally unwilling valet Leporello, Don Giovanni infiltrates, invades and inveigles his way into the bedrooms of Europe, with his catalogue of conquests which includes 1003 maidens in Spain alone! Such wickedness cannot stay unpunished and the demise of the Commendatore, father of one of the jilted maidens, at Don Giovanni’s hand, sets in motion the wheels of divine retribution. This is Mozart at his finest, with a classic mix of comedy and tragedy that has enthralled audiences for more than two centuries.

Adelaide-born Grant Doyle makes a triumphant return to his home town in the role of Don Giovanni. He is joined by the incomparable Douglas McNicol as Leporello, in one of his signature roles. The supporting cast comprises a veritable who’s who of local and national opera stars, with the magnificent State Opera Chorus and the Adelaide Symphony Orchestra under the expert guidance of maestro Graham Abbott.

Don’t miss your assignation with Don Giovanni!

CONDUCTOR Graham Abbott
STAGE DESIGNER Carl Friedrich Oberle

LEPORELLO Douglas McNicol
DONNA ANNA Sharon Prero
DONNA ELVIRA Teresa La Rocca
DON OTTAVIO Virgilio Marino
ZERLINA Gisele Blanchard
MASETTO Jeremy Tatchell


Sung in Italian with English surtitles (sponsored by James & Diana Ramsay Foundation)

An Opera Australia Production


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Un Ballo in maschera in Belgium

 monnaieballoUn Ballo in maschera

Melodramma in tre atti (1856-1858)
Libretto di Antonio Somma
Premiere Teatro Apollo, Roma, 17/2/1859

Approximate running time: 2 hours 50′ (including 1 interval)

Pre-performance talks half an hour before the start of the performances by Delphine Berryer (in French) and by Serge Algoet (in Dutch).

‘È scherzo od è follia ?’ A joke or pure madness, or is one really looking into the future in Un Ballo in maschera ? This work is a masterpiece of variety, of the fusion of differing stylistic elements, a work that relates first to the French opera comique and then to the Italian dramatic style, with characters who are among the most powerful Verdi ever created. The censor forced Verdi to switch from the original historical context – the murder of the Swedish king during a masked ball in 1792 – to the Boston of the 17th century, but his human and political message is no less forceful. The director Alex Ollé and his company La Fura dels Baus set the action in the near future, in the atmosphere of Orwell’s 1984, where power is totalitarian, while all the characters wear their masks throughout the performance in a bankrupt society founded on hypocrisy.
New production

Production La Monnaie / De Munt
Co-production Opera Australia (Sidney), Teatro Colón (Buenos Aires), Den Norske Opera (Oslo)
With the support of The National Lottery
In collaboration with Valentina Carrasco

Un Ballo in maschera
Concept ¦ Alex Ollé (La Fura dels Baus)

Music direction ¦ Carlo Rizzi

Director ¦ Alex Ollé (La Fura dels Baus)

Set design ¦ Alfons Flores

Costumes ¦ Lluc Castells

Lighting ¦ Urs Schönebaum

Video ¦ Emmanuel Carlier

Chorus direction ¦ Martino Faggiani

Gustav III ¦ Stefano Secco (12, 15, 17, 20, 23 & 26 May)
Riccardo Massi (13, 16, 19, 21, 26 & 27 May)

René Ankarström ¦ George Petean (12, 15, 17, 20, 23 & 26 May)
Scott Hendricks (13, 16, 19, 21, 24 & 27 May)

Amelia ¦ María José Siri (12, 15, 17, 20, 23 & 26 May)
Monica Zanettin (13, 16, 19, 21, 24 & 27 May)

Ulrica Arfvidsson ¦ Marie-Nicole Lemieux

Oscar ¦ Kathleen Kim (12, 15, 17, 20 & 23 May)
Ilse Eerens (13, 16, 19, 21, 24, 26 & 27 May)

Cristiano ¦ Roberto Accurso

Ribbing ¦ Tijl Faveyts

Horn ¦ Carlo Cigni

Un Giudice ¦ Zeno Popescu

Un Servo ¦ Pierre Derhet

Orchestra & chorus ¦ La Monnaie Symphony Orchestra & Chorus

12, 13*, 15, 16*, 17, 19*, 20, 21*, 23, 24*, 26* & 27* May

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Don Pasquale in Barcelona


Norina and Ernesto are a young couple in love but then Don Pasquale, Ernesto’s aged uncle, decides to interfere. He has other plans for his nephew involving marriage to a wealthy single lady. Dr Malatesta comes to the aid of the bewildered young pair, sparking off a series of entertaining developments – bizarre incidents, mix-ups and hard lessons about life – before the happy ending is reached and they marry. All this is accompanied by Gaetano Donizetti’s captivating melodies. His Don Pasquale, considered one of the foremost Italian comic operas, is a Romantic game that scored an instant success at its Parisian premiere in 1847. It is also a homage from Donizetti to the opera buffa tradition. Laurent Pelly’s famed dramatic imagination is brought to bear here on a masterpiece of the genre.

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Don Pasquale

Dramma buffo in three acts. Libretto by Giovanni Ruffini based on a text written by Angelo Anelli for the opera Ser Marcantonio by Stefano Pavesi. Premiered on 3 January 1843 at the Théâtre Italien in Paris. First performed at the Gran Teatre del Liceu on 19 January 1848. Last staged at the Liceu on 13 May 1986.

Diego Matheuz

Stage Direction and Costumes
Laurent Pelly

Chantal Thomas

Duane Schuler

New Co-production
Gran Teatre del Liceu, Santa Fe Festival (Nuevo México) and San Francisco Opera

Symphony Orchestra and Chorus of the Gran Teatre del Liceu

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Don Pasquale Lorenzo Regazzo 16, 18, 20, 22, 25 and 27 Jun
Roberto de Candia 17, 19, 21 and 26 Jun
Norina Ailyn Pérez 16, 18, 20, 22, 25 and 27 Jun
Pretty Yende 17, 19, 21 and 26 Jun
Ernesto Juan Francisco Gatell 16, 18, 20, 22, 25 and 27 Jun
Antonino Siragusa 17, 19, 21 and 26 Jun
Dottor Malatesta Mariusz Kwiecien 16, 18, 20, 22, 25 and 27 Jun
Gabriel Bermúdez 17, 19, 21 and 26 Jun
a notary Marc Pujol
Photos: Festival de Santa Fe de Nuevo México

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Cinderella at the Washington National Opera



Saturday, May 09, 2015 – Thursday, May 21, 2015

Rossini’s retelling of the Cinderella story adds a few twists in a whimsical production featuring two mezzo-sopranos alternating in the title role: Isabel Leonard, the 2013 Richard Tucker Award winner, and Tara Erraught, making her U.S. debut.

GIOACHINO ROSSINI’s Cinderella (1817) (La cenerentola)

Libretto by Jacopo Ferretti, after Cendrillon by Charles Perrault

A co-production of Houston Grand Opera Association, Welsh National Opera, Gran Teatre del Liceu, and Grand Théâtre de Genève

“Imaginative, fast-paced, irresistibly funny… a show that will entrance the whole family”–The Seattle Times

Rossini’s popular retelling of Charles Perrault’s beloved Cinderella story adds a few fabulous twists to the traditional fairy tale, a perfect springtime treat for the entire family. In this bright and whimsical production by Spanish director Joan Font and his performance troupe Els Comediants, a kindhearted girl named Angelina dreams of one day escaping her impoverished stepfather’s castle. When the prince announces he’ll choose his bride at a glamorous ball, she seizes the opportunity to escape the tyranny of her vain stepsisters and take control of her own destiny. Audiences of all ages will delight in this clever romantic comedy featuring bracelets instead of glass slippers, a philosophical tutor in place of a fairy godmother, and six adorable dancing rats that serve as a makeshift Greek chorus. Considered one of his finest vocal works, Rossini’s opera glows with captivating bel canto singing and ornate ensemble passages performed by a thrilling cast of young talents, including American mezzo-soprano and 2013 Richard Tucker Award winner Isabel Leonard alternating in the title role with celebrated Irish mezzo-soprano Tara Erraught in her U.S. debut.
Gifted conductor Speranza Scappucci makes her WNO debut leading the orchestra in a “marvelously perfect show” (Los Angeles Daily News) that has enchanted audiences from Seattle to Toronto to Barcelona with its witty characterizations, rainbow-bright costumes, and rags-to-riches ending that celebrates the power of love and forgiveness.

Isabel Leonard is “a rising young mezzo with a radiant, bell-like voice and a captivating sense of drama…What a voice it is– supple, perfectly controlled, capable of great power, but with a lilt, purity and expressive warmth.” –The Washington Post
Tara Erraught,”a bright star in her guild…has some of the cleanest coloratura in the game, an enviably large range, and body language that draws one directly into the mood of each song.” –Opera News


Angelina (Cenerentola): Isabel Leonard* (May 9, 13, 16, 19, 21) / Tara Erraught* (May 11, 15, 17m)

Don Ramiro: Maxim Mironov* (May 9, 13, 16, 19, 21) / David Portillo* (May 11, 15, 17m)

Dandini: Simone Alberghini Don Magnifico: Paolo Bordogna* (May 9, 11, 13, 16, 19, 21) / Valeriano Lanchas^ (May 15, 17m)

Alidoro: Shenyang* Tisbe: Deborah Nansteel**

Clorinda: Jacqueline Echols**


Conductor: Speranza Scappucci*

Director: Joan Font*

Set and Costume Designer: Joan Guillén*

Lighting Designer: Albert Faura*

Choreographer: Xevi Dorca

* * WNO debut ** Current Domingo-Cafritz Young Artist ^ Former Domingo-Cafritz Young Artist
In Italian with projected English titles. Titles may not be visible from the rear of the orchestra.
Performance Timing: Act I – 95 min.; Intermission – 20 min.; Act II – 58 min.

Costumes of these performances

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Ariadne auf Naxos at the Seattle Opera


Ariadne auf Naxosseattlelogo

By Richard Strauss

May 2 – 16, 2015

THE SHOWS MUST GO ON! A wealthy patron has commissioned two pieces of entertainment for a private dinner party: an opera based on the myth of Ariadne in exile, and a capering troupe of clowns for comic relief. The catch: the two acts must perform simultaneously so a fabulous pyrotechnics display can conclude the evening as promised. Our acclaimed production delivers a deliciously theatrical mix of lowbrow comedy and high art, offering surprises and delights at every turn.
In German with English subtitles | at McCaw Hall
Approximate Running Time: 2 hours, 35minutes with 1 intermission


Prima Donna/Ariadne
Christiane Libor
Marcy Stonikas *
Sarah Coburn
Haeran Hong † *
The Composer
Kate Lindsey
Sarah Larsen *
Issachah Savage
Jeffrey Hartman † *
Andrew Garland
Music Teacher/Truffaldino
Patrick Carfizzi
Dancing Master
Doug Jones
Joshua Kohl
Eric Neuville
Amanda Opuszynski
Maya Lahyani
Andrea Carroll
Georg Martin Bode
Butler’s Assistant
Barry Johnson
Karl Marx Reyes
Jon Farmer
Lawrence Renes
Stage Director
Chris Alexander
Set Designer
Robert Dahlstrom
Costume Designer
Cynthia Savage
Lighting Designer
Robert Wierzel
Hair and Makeup Designer
Joyce Degenfelder
English Captions
Jonathan Dean
Sets and Costumes
Seattle Opera 

† Seattle Opera debut
* On May 3 and 15 only
Sarah Coburn, Andrew Garland, Maya Lahyani, Sarah Larsen, Eric Neuville, Amanda Opuszynski, and Marcy Stonikas are former Seattle Opera Young Artists.


Long Story Short
Tonight we attempt to answer the age-old question: what happens when comedy and tragedy are forced to share the same stage?

Who’s Who?
The Composer is an idealistic, impatient, emotional young genius who deplores the frivolity and vulgarity of the world. Since he is very young, he is played by a woman.
The Music Master, his teacher, is older, wiser, and much more practical.
The Butler is a pompous sycophant who couldn’t care less about art or music. Because he’s supposed to be tone-deaf, he is played by an actor.
The Dancing Master is a sly producer of silly Italian comedies.
Zerbinetta is a sexy, flirtatious young actress who stars in the Dancing Master’s shows.
The Soprano is an obnoxious prima donna who plays Ariadne, an ancient Greek princess whose lover abandoned her, in the Composer’s opera.
The Tenor is a quick-tempered clod who plays Bacchus, the god of wine, in the Composer’s opera.
Harlequin is a likeable, lovesick young clown.
The Nymphs are Ariadne’s only companions in her exile upon Naxos; they are Naiad, a water spirit, Dryad, a forest spirit, and Echo, a…well, an echo.
The Comics perform with Zerbinetta and Harlekin; their names are Brighella, Scaramuccio, and Truffaldino.

Where and When?
The Prologue to this opera within an opera takes place in an art-lover’s mansion. The opera itself takes place on (a stage representing) the island of Naxos, from Greek myth.

What’s Going On?
The wealthiest man in town, eager to dazzle his friends and neighbors and show off his vast wealth, is having a party. The invitation promised a glorious feast, the premiere of a serious opera on the Greek myth of Ariadne (written by the hotshot young composer the entire city is talking about), and a hilarious skit about “Fickle Zerbinetta and Her Four Lovers.” But the real climax of the evening—according to the Butler, at least—will be fireworks, in the garden at dusk!

No one dared tell the Composer that the antics of a troupe of Italian clowns would follow the unveiling of his masterpiece, and when he finds out he is livid. But matters grow worse as the dinner drags on, and the Butler announces that, in order to make up the time, the comedians and tragedians must combine their shows; they are both to appear on the same stage at the same time, and must perform ALL their music and text if they hope to be paid. Upon hearing this, the Composer is ready to kill himself, or at least to walk away forever from the rich cretin who could so desecrate his sacred art. Zerbinetta, however, saves the day (and her paycheck) by flirting with the Composer and seducing him into staying.

The resulting mish-mash of a performance veers back and forth between comedy and tragedy. Ariadne, who has been abandoned on an island by her faithless lover, Theseus, longs for death; Zerbinetta and her friends, who evidently inhabit this deserted island, attempt to cheer her up. But she is inconsolable—at least until the young god Bacchus stops by. Bacchus and Ariadne slowly discover each other’s identity; they fall in love, and the magic of their love transforms them both. As they sing the conclusion of their opera, the same thing happens—in real life—to Zerbinetta and the Composer

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WORLD PREMIERE of “Daniel”, an oratorio by Dan Montez in Westchester

taconicoperalogodanielan oratorio by Dan Montez In English


On the heels of last year’s premiere, Jonah, based on the famous prophet of whale fame, Taconic Opera presents another world premiere, Daniel, based on the prophet sent to the den of lions. The work is being promoted by Arts Westchester as part of this year’s ARTSEE campaign to promote new works to the public.

“The story isn’t just about a lions’ den; the book of Daniel includes some of the most exciting narrative in canon,” says Dan Montez, the composer, orchestrator, and conductor of the work. The story covers the lives of four kings, including the famous Nebuchadnezzar. “For those who love Verdi’s opera, Nabucco, this oratorio tells the rest of the story,” claims Montez.

The narrative includes the famous “writing on the wall,” the madness of Nebuchadnezzar, the bizarre dreams, the three burning young men, and, of course, Daniel’s survival of the lions’ den.

Much like Jonah, Daniel is a revered prophet in Judaism, Islam, and Christianity. Within Christianity, Catholicism’s version of the Bible (based on the Septuagint) has two additional chapters not found in the King James version. “These two additional chapters contain the words and prayers of the three men cast into the fiery furnace and are some of the most beautiful prose in scripture…it was calling me to write music for it,” says Montez.

Montez describes his composing style as “somewhat impressionistic.” It is similar to Ravel, Poulenc, Debussy, Fauré, and yet seems to have harmonic elements of Puccini, and stylistic elements of Copland and Ralph Vaughan Williams. “Truth be told, as much as I love impressionism, it is hard to get the opera out of me. I like drama, and I love the powerful way opera singers can tell a story. I believe it is time to tell these Biblical stories in the language of the people, in this case English, and not only foreign languages like Latin. They also need to be told to a modern audience in a beautiful way. Too many liturgical oratorios are either only available in early music or in ultra-modern forms. I’m not sure people are being moved by the stories this way…so I don’t apologize for not composing with any sort of atonality. I want to reach people with the narrative.”

The work is about an hour and fifteen minutes in length and features the soloists, opera chorus, and full orchestra of the Taconic Opera.

The company will be presenting the oratorio in two locations:

One Emwilton (corner of Emwilton and Route 9 next to the high school)
Saturday, May 30, 2015, at 7:30 pm


39 North Broadway, White Plains, New York (Route 6 exit on Highway 287)
Sunday, May 31, 2015, at 3:00 pm.

Tickets are $27 for adults, $20 for seniors, and $15 for students
Tickets can be purchased safely ONLINE here or by calling toll-free
1-(855) 88-OPERA (67372) or at the door.












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Fidelio at the Operhaus in Zurich



Opera in two actsfidelio2

Disguised as a man and under the name of Fidelio (the faithful one), Leonore has herself employed as the gaoler’s assistant in a state prison. The governor of the prison is keeping her husband, his most dangerous opponent, hidden there and intends to let him slowly starve to death. When the minister comes to inspect the prison, the governor decides that he must die immediately. Leonore has to dig her own husband’s grave. At the moment of the gravest danger, a trumpet signal announces the arrival of the minister.

fidelio3Beethoven contemplated writing an opera all his life, but only the story of the woman who risks her life to rescue her beloved husband from prison reflected his vision of an opera as he felt it should be. However, the work was arduous and dogged by discouraging failures and setbacks. After the unsuccessful première in 18O5, the composer revised the work thoroughly on two occasions, until it embarked on its triumphal progress across the stages of the world. The composer’s difficulties in writing the piece have left their mark: Fidelio is not a self-contained, classically rounded work. It is a contradictory, brittle and angular conglomerate of singspiel, grand opera and oratorio. Yet Beethoven’s music succeeds in uniting the disparate elements and, from a seemingly trivial libretto, creating a work with clearly delineated figures and moving situations. The opera is both a paean to conjugal love and an ardent hymn to freedom. Above all, however, it is an opera about the invincible strength of hope and the world-changing power of utopian ideals.


Fidelio is Andreas Homoki and Fabio Luisi’s first joint opera production in Zurich. The much-lauded American tenor Brandon Jovanovich will be giving his role début as Florestan.



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