Hansel & Gretel at the Seattle Opera


By Engelbert Humperdinck

seattlelogoUNEXPECTED ADVENTURE. Not seen at Seattle Opera for 23 years, Humperdinck’s impressive adaptation of the iconic Grimm story has been an international favorite since its premiere. With refreshing humor and Wagnerian orchestration, this atmospheric fable explores universal themes of poverty, peril, and bravery, culminating in happiness for all – save for one very bad witch! Laurent Pelly’s “astonishing” (WhatsOnStage) production celebrates the richness of imagination and offers entertaining commentary on the pitfalls of consumerism in the modern world. Provocative, dreamy, and melodious, it’s unlike any fairytale you’ve ever seen.

In German with English subtitles | at McCaw Hall
Approximate Running Time: 2 hours, 15 minutes, with 1 intermission
Evenings at 7:30 PM. Sunday matinees at 2:00 PM.





The broom-maker’s house
Hansel and Gretel are doing chores. Both are bored and hungry, and to cheer themselves up they start to dance. Their games are interrupted by their Mother, who is angry to find them playing instead of working. In her anger she knocks over the milk jug, losing what was to have been supper. She sends them into the forest to gather strawberries for their meal. Alone, the Mother laments their precarious existence, but is soon interrupted by the return of her husband. Irritated to find him tipsy, her mood brightens when he produces a sack full of food. When he enquires after Hansel and Gretel, he is alarmed to hear they are in the forest: he warns of the Witch who lives there, and both parents set out to search for their children.


The wood
Hansel and Gretel pick and eat strawberries. When night falls they realise they are lost, and are frightened by the mysterious shapes in the mist, but a Sandman appears and settles them. Hansel and Gretel say their evening prayers and go to sleep. Angels appear to guard them from harm.


The Witch’s house
At dawn the Dew Fairy wakes Hansel and Gretel. They notice a house not far away, but when they begin to tamper with it, the Witch emerges and captures them, casting a spell. She imprisons Hansel, telling Gretel that her brother needs to be fattened up. She also casts a spell on Gretel, in order that the girl may help her with the oven. Gretel makes clever use of the Witch’s spell to free Hansel. As the Witch demonstrates to Gretel how to check the oven, the children take advantage of the situation. At the Witch’s demise, the children she had previously captured are freed, and they thank Hansel and Gretel for saving them. The Mother and Father appear, and the family is reunited.

Synopsis provided by Glyndebourne Productions Ltd



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Macbeth in Los Angeles with Placido Domingo



laopera_logoPlácido Domingo and James Conlon unite again in a powerful adaptation of Shakespeare’s classic thriller.

Returning home from battle, a victorious general encounters a coven of witches who predict his future—he will become king of Scotland. Blinded by ambition, and spurred on by his power-hungry wife, Macbeth commits multiple murders to attain and keep the throne. Verdi’s score elevates the tragedy and horror through electrifying vocal lines and propulsive energy. Plácido Domingo takes on the title role with Ekaterina Semenchuk as the diabolical Lady Macbeth. Tony Award-winner Darko Tresnjak (director of our 2015 hit The Ghosts of Versailles) creates a striking new production. schedulemacbeth


  • Macbeth                  Plácido Domingo

  • Lady Macbeth        Ekaterina Semenchuk

  • Banquo                    Roberto Tagliavini

  • Banquo (Oct. 13-16) Ildebrando D’Arcangelo

  • Macduff (Sep. 17-25) Arturo Chacón-Cruz

  • Macduff (Oct. 5-16) Joshua Guerrero++

  • Malcolm                    Josh Wheeker+*

  • Lady-in-Waiting      Summer Hassan+

  • Doctor / First Apparition  Theo Hoffman+*

  • Second Apparition     Liv Redpath+*

  • Third Apparition       Isaiah Morgankap_125p

Creative Team

  • Conductor                   James Conlon

  • Director / Co-Scenic Designer  Darko Tresnjak

  • Co-Scenic Designer   Colin McGurk*

  • Costume Design         Suttirat Anne Larlarb*

  • Lighting Design          Matthew Richards*

  • Projection Design       Sean Nieuwenhuis*

  • Chorus Director          Grant Gershon

  • Fight Director              Steve Rankin*

  • Climbing Consultant  Daniel Lyons*



Act One
Macbeth and Banquo, generals in the army of King Duncan of Scotland, meet a band of witches, who hail Macbeth as Thane of Cawdor and future king, Banquo as father of kings thereafter. Messengers from Duncan approach, proclaiming Macbeth the new Thane of Cawdor, thus fulfilling the first prophecy. Amazed at this turn of events, Macbeth muses on his chances of achieving his ambition to be king.

Lady Macbeth reads a letter from her husband describing his meeting with the witches. Exulting in the prospect of power, she vows to add her own cunning and boldness to Macbeth’s ambition. When a servant brings word that the king will spend that night in the castle, she invokes powers of darkness to aid her aims. Macbeth enters, and his wife persuades him to murder Duncan that night. Duncan arrives, retiring at once. Macbeth, dreading his task, imagines a dagger before his eyes.

As a night bell sounds, he steals into the royal chamber. Lady Macbeth reenters a moment before her husband staggers from the room to tell her the deed is done. Seeing the dagger still in his hands, she coolly takes the weapon and goes to smear blood on the sleeping royal guards, thus incriminating them. There is a knock at the gate, and the couple withdraws. Macduff and Banquo enter, discover the murder and summon the entire court, which invokes God’s vengeance, led by the hypocritical couple.kap_179p

Act Two
Macbeth is now king. Duncan’s son Malcolm, whom many suspect of his father’s murder, has fled to England. Macbeth and his wife plot the murder of Banquo and his son, lest the latter gain the crown as the witches prophesied. When her husband leaves, Lady Macbeth reaffirms their pursuit of power.

A group of assassins awaits Banquo. Troubled by a foreboding of evil, he is set upon and killed, but his son Fleance escapes.

At a state banquet, Lady Macbeth toasts her guests in a drinking song. Macbeth, secretly informed the murder has been done, complains to the assembly of Banquo’s absence. Suddenly, to the guests’ astonishment, he imagines that he sees the general’s ghost. Lady Macbeth chides her husband, and he momentarily regains his calm as she sings a reprise of the drinking song. But the bloody specter continues to haunt him, and the guests comment on his guilty behavior.

Act Three
Macbeth visits the witches to learn his fate, and at his insistence they conjure up a series of apparitions. The first tells him to beware Macduff; the second assures him that no man born of woman can harm him; the third reveals that he will rule invincible until Birnham Wood marches against him. Somewhat reassured, Macbeth asks the witches if Banquo’s sons will ever reign in Scotland; in reply, they invoke a procession of future kings, followed by Banquo. As Macbeth faints in dread, the witches disappear. Lady Macbeth finds him, and the couple vows to kill all of their enemies.

Act Four
Near Birnham Wood, a band of Scottish refugees bewails its oppressed homeland, caught in the grip of Macbeth’s tyranny. Macduff joins them, grieving over his murdered wife and children. Duncan’s son Malcolm arrives at the head of an English army. Determined to liberate Scotland from tyranny, Malcolm instructs the soldiers to cut branches from the forest as camouflage for an attack on Macbeth’s castle. Malcolm and Macduff unite with the crowd in a call to arms.A doctor and lady-in-waiting observe the guilt-wracked Lady Macbeth as she wanders in her sleep, wiping imaginary blood from her hands.

During the siege of the castle, Macbeth clings to the hope he can withstand the forces of Malcolm and Macduff, but he is soul-weary and curses his fate. Word of his wife’s death reaches him. Messengers bring the astounding news that Birnam Wood is advancing. Macbeth leads his men to battle. Macduff seeks out Macbeth and, crying that he was not born of woman but torn prematurely from his mother’s womb, kills the tyrant. Macduff’s soldiers hail Malcolm as the new king.


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The Tsar’s Bride at the Estonian National Opera


Nikolai Rimsky-Korsakov’s opera in four acts
Libretto by Ilya Tyumenev based on the drama of the same name by Lev Mey

T, 13 October 2016 / 19:00             S, 15 October 2016 / 19:00

World premiere on November 2, 1899 at the Moscow theater of the Private Opera of S. I. Mamontov
Premiere at the Helikon-Opera on September 6, 1997

  • Approx. running time: 2 h (one intermission)
  • Performed in Russian, subtitles in Estonian

    The dreadful story telling of a beautiful fiancée of Ivan the Terrible, brutal rivalry, withering love and poisoned jealousy is based on the true events of the past. Not trying to recreate the colorful details of the way of life, the theatre is thoroughly recreating the spirit of those dark times, searching for psychological motives of the deeds, trying to answer eternal questions standing before a native Russian.


The plot of“The Tsar’s Bride” by Lev Aleksandrovich Mei provoked interest in Rimski-Korsakov yet in his young days. In “Chronicle of My Musical Life” Nikolai Andreevich wrote about the winter of 1867/68: “At Borodin’s we looked through the score of his symphony, talked about “Prince Igor” and “The Tsar’s Bride”, the wish to compose which had been first a Borodin’s fleeting dream of a composer and then mine some time ago”. He might be mistaken: the concept of “Prince Igor” relates to 1869. It is proven that Rimski-Korsakov turned to “The Tsar’s Bride” in February 1898. The script was developed by the composer himself, while the libretto was written by his student Ilya Fyodorovich Tyumenev.

Mei’s drama was inspired by true events. Among its sources is “The History of the Russian State” by Nikolay Mikhailovich Karamzin, who said about Ivan the Terrible: “Being bored with his widowerhood, though not celibate, he had already long been looking for a third wife… The brides from all the Russian cities both noble-born and simple of over two thousand were brought to the Alexandrov Kremlin: each one was personally introduced to him. First he chose a 24-year-old, then a 12-year-old… he was comparing their beauty, manners and intellect for a long while; finally he preferred Marfa Vasilyevna Sobakina to the others, a daughter of a Novgorod merchant, at the same time he chose the bride for the senior prince — Evdokia Bogdanovna Saburova. The fathers of the lucky beauties suddenly became boyars from nothing. Beside the titles they also got the wealth, opal mining, estates, taken away from the ancient knyaz and boyar families. But the tsar’s bride fell sick, began to thin and dry: people said she had been spoilt by the malefactors, who hated Ivan. A wicked slanderer doctor Yelisey Bomelius had offered the Tsar to poison the malefactors and composed, as people said, a poisonous philtre so craftily, that the poisoned person died exactly in a designated minute. Ivan executed one of his favorites Grigory Gryaznoy this way and many others, who were accused of the participation in the poisoning of the tsar’s bride…” The author completed the play in 1849 and it became ingrained in the repertoire of the Russian theatres. One of the outstanding performers of Marfa was Maria Nikolaevna Yermolova. But the popular drama was eclipsed by Rimski-Korsakov’s opera of the same name that premiere half-a-century later. There were no significant changes in the plot; many verses of the drama were included in the libretto. Two new episodes appeared: the scene, when Grozny meets with Marfa and the scene of the crapulence of the oprichniks in the second act. Tyumenev worked quickly alongside with the creation of the music, and the opera was completed within ten months.

“The Tsar’s Bride” premiered on 22 October (3 November) 1899 by efforts of private theatre company of Savva Mamontov, those time bearing the name “Winter Private Opera”. The part of Marfa was sung by Nadezhda Ivanovna Zabela-Vrubel, the sets were made by Mikhail Vrubel, and the conductor was Mikhail Ippolitov-Ivanov.

The Feast
The Tsar’s oprichnik Grigory Gryaznoy is fatally in love for the first time in his life. He vainly sends the in-laws to the father of his beloved Marfa: the merchant Sobakin refuses him flatly, because Marfa has already been betrothed to the boyar Ivan Lykov.
The guests are arriving at Grigory’s. Among them are Malyuta Skuratov, Bomelius (the Tsar’s healer) and Ivan Lykov who just returned from overseas. Grayznoy secretly asks the healer to get the love philtre for the Marfa’s binding and promises to award him generously for his help. Their talk has been overheard by Gryaznoy’s lover Lyubasha. She won’t concede her happiness and will take revenge to her wicked rival in love.

The Love Philtre
A street in the Alexandrov Kremlin. Marfa is telling Dunyasha about her beloved groom Ivan Lykov. The conversation has been interrupted by a terrible ghost — Tsar Ivan has walked at a distance, looking at them. In the gloaming Lyubasha steals up to the Sobakin’s house. She is amazed with the Marfa’s beauty. Lyubasha decides to kill her rival, replacing the love philtre with poison. Bomelius is ready to carry out her wish, but demands her love in exchange for it. Lyubasha agrees to this shameful bargain.

The Best Man
There are wedding preparations in the Sobakin’s house. It is high time they celebrated, but everything has been interrupted by the Tsar’s request for the brides, for which the best beauties have been gathered at the palace. Lykov is worried as well as Grigory. Finally Marfa returns. Everybody is calmed down, congratulating the groom and the bride. Taking the opportunity, Gryaznoy pours the philtre into Marfa’s glass. Suddenly Malyuta and boyars appear: the Tsar has chosen not Dunyasha to be his wife as the couple has hoped, but Marfa.

The Bride
Sobakin is deeply saddened by his daughter’s incurable illness. Gryaznoy tells Marfa, that under torture Lykov confessed his intention to kill the Tsar’s bride with poison and has been executed for it. Marfa can’t bear the grief. In her insanity she sees not Gryaznoy beside her, but her beloved groom Vanya. She tells him about her strange dream. Gryaznoy is frightened by Marfa’s insanity: he has ruined her instead of binding to himself. Being unable to bear the sufferings Gryaznoy confesses the crime — he poisoned Marfa and maligned Lykov. Lubasha confesses that she has replaced the love philtre with the poison and Gryaznoy kills her in a bout of fury.

Staging team

Stage Director: Dmitry Bertman
Musical Director of the Production: Kirill Tikhonov
Conductor: Eugene Brazhnik
Set and Costume Designers: Igor Nezhny and Tatiana Tulubieva
Lighting Designer: Denis Yenyukov
Stage Movement Director: Yuri Ustyugov


Grigory Gyaznoy, an oprichnik Alexey Isayev
Lyubasha, Grigory Gryaznoy’s lover Larisa Kostiuk
Marfa, Vasily Sobakin’s daughter Lidiya Svetozarova
Ivan Lїkov, boyar Igor Morozov
Yelisey Bomeliy, the Tsar’s physician Dmitry Khromov
Dunyasha, Domna Saburova’s daughter and Marfa’s friend Irina Reynard
Vasily Sobakin, Novgorodian merchant Mikhail Guzhov
Grigory Malyuta-Skuratov, an oprichnik Dmitry Skorikov
Domna Saburova, the merchant’s wife Elena Mikhailenko
The Tsar’s stoker Dmitry Korotkov
A maiden Ekaterina Myazina
A bell-ringer Andrey Orekhov

Helikon-Opera Chorus and Orchestra

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Falstaff at the Landestheather in Linz, Austria


Falstaff, a knight and libertine par excellence, just as hard-drinking as he is chronically bankrupt, has the ingeniously impertinent idea two write two identical love letters to two wives of wealthy citizens. Too bad that the two women know each other and swear to take revenge. In the course of this entertaining evening of opera, things become more and more complicated until finally no one knows exactly who is the joker and who is the butt of the joke.

Friday, 16. September 2016
Wednesday, 21. September 2016
Saturday, 24. September 2016
Tuesday, 27. September 2016
Friday, 07. October 2016
Wednesday, 12. October 2016
Friday, 14. October 2016
Monday, 17. October 2016


Musical director                     Dennis Russell Davies
Director                                      Guy Montavon
Stage, costume designs       Hank Irwin Kittel
Choir conductor                     Georg Leopold
Dramaturgy                              Christoph Blitt

falstaff3Sir John Falstaff                   Federico Longhi
Ford, Alice’s husband         Martin Achrainer, Seho Chang                                                    
Fenton                                       Iurie Ciobanu, Jacques le Roux
Dr. Cajus                                  Hans-Günther Müller, Pedro Velázquez Díaz
Bardolfo, Falstaff’s servant Sven Hjörleifsson, Matthäus Schmidlechner
Pistola, Falstaff’s servant  Nikolai Galkin, Dominik Nekel
Mrs. Alice Ford                     Myung Joo Lee
Nannetta, Alice’s daughter Theresa Grabner, Fenja Lukas
Mrs. Quickly                          Christa Ratzenböck
Mrs. Meg Page                      Martha Hirschmann

Chor des Landestheaters Linz
Statisterie des Landestheaters Linz
Bruckner Orchester Linzlonghi3



Federico Longhi began his musical studies as flautist at the Musical institute of Aosta. He then continues into singing studies under the guidance of G. Valdengo, A. Pola, Franca Mattiucci.B.M.Casoni and actually with Alida Ferrarini. He improves his voice techniques at the Accademia Musicale Catalani of Senigallia, at the Toscanini Foundation of Parma, at the Rossinian Accademy of Pesaro and at the International Accademy for Lyrics Katia Ricciarelli in Parma. Winner of numerous International Competitions, in 1995 Federico Longhi has started his professional career in Operas that in year 2000 has seen him in performing in multiple roles, singing with international celebrities such as Katia Ricciarelli, J.Cura, Francesca Patanè and Renato Bruson.

Copyright Federico Longhi 2016

Copyright Federico Longhi 2016

In Chamber Music, Federico Longhi has performed with the guitar-duo G.Rosetta, with the pianist Giulio Zappa in a vast repertoire of French vocal music. In year 2000 he participated at the production of opera “Tosca”, produced and broadcasted by the Italian State Television network RAI2. Performed with Katia Ricciarelli and the Choir “Emile Chanoux” at the concert “San Grato 2001” in Aosta. In 2002 Federico L. sung in Lecce in “Gianni Schicchi”, under director Pippo Baudo, and in “Tosca” with Daniela Dessì. Also during Summer 2002, he contributed at the “Concert du Printemps” in the Cathedral of Aosta, singing with Cecilia Gasdia and the “Choir Emile Chanoux”. He has also performed as Guest Singer at the Puccini’s Festival at Torre del Lago, singing in “Manon Lescaut” and, with Andrea Boccelli in “Madama Butterfly”, contribuiting afterward with the Theatre “La Scala di Milano” for a tournee of concerts in South Africa.

longhi7In September 2003 Federico Longhi has given Concerts in San José in Costarica, where he also gave a “Master Class” on vocality and on Italian Opera Lyrics at their State University. Among his most relevant is the “Christmas Concert” at the Teatro Regio di Torino. During the 2004’s Opera Lirica season, Federico Longhi has participated at “Madame Butterfly”, during the celebrations for the 50th Puccini’s Festival at Torre del Lago, in “Traviata” at the Arena of Verona and in a tournee with “The Barber of Seville” to continue with September in Japan as one of the main singers in the celebrations for the centenial of “Madama Butterfly” produced there by the Festival Pucciniano di Torre del Lago.

Among his most relevant performances that sustain his constant ascent as Opera Singer, also in 2005 is again “Guest of the Arena of Verona” in “La Bohème”, directed by D. Oren, at Torre del Lago with the new production of “La Fanciulla del West” of G. Puccini, performance that will be produced in DVD, and at the Teatro Comunale di Bologna where he debuts with “Malombra” of M.E.Bossi. At the Philarmonic Theatre of Verona, Federico Longhi is the main protagonist of the Opera “Una Notte nel Bosco” of A.Zanon. Outside his usual repertoire, Federico Longhi has produced a CD “Vos sos El Tango” latest success produced with the quintet “PenTan’go!”, where music from A.Piazzolla, C.Gardel and S.Palumbo are beautifully performed.

In 2006 Federico Longhi is the main artist at the Philarmonic Theatre of Verona on “Barbiere di Siviglia” of G. Rossini, on “Don Pasquale” by G.Donizetti, and “Via Crucis” by F. Listz.

During the actual Opera Season, has performed at “Pagliacci” by R. Leoncavallo, and on “Madame Butterfly” by G. Puccini, under the direction of F. Zeffirelli. Several are the concerts where Federico Longhi performances are acclaimed for his interpretations, not only in Italy, but also in Argentina, Brasil, again in Japan, and in many other European capitals.

After having produced and participated in the DVD production of Liszt’s “La Via Crucis” at Aosta under the direction of Daniele de Plano, in 2007 Federico Longhi performed the  “St. Mark Passion” by Perosi at the Festival of Sacred Music in Monte Carlo, with the Orchestra Sinfonica of Sanremo. He has also frequently performed Orff’s “Carmina Burana”, in Porto Cervo, Venice and Santa Dona. In the summer of 2007 he took part in the new productions of “La Bohème” and “Il barbiere di Siviglia” at the Arena di Verona.


Federico Longhi appeared, alongside Arnoldo Foà, in a new production of “Maria de Buenos Aires”, by Piazzolla, at Casino de Saint-Vincent, and in “La Bohème” as Marcello at the Teatro Coccia in Novara and at the Teatro Sociale in Mantua, under the direction of Aldo Tarabella. In 2008 Longhi sang Verdi’s “Nabucco” at the Kiemsee Festival in Austria, and participated in “Rigoletto” at the Arena di Verona, sang the role of Silvio (Leoncavallo’s “I Pagliacci”) in Mantua, and various sacred concerts including Fauré’s Requiem. In 2009 there were again performances of “Maria di Buenos Aires” and “Carmina Burana” , as well as performances of Mercutio (Gounod’s “Roméo et Juliette”), directed by M. Rota, and “Maestro di Cappella” directed by G. Guida. In the summer Federico Longhi sang Schaunard (“La Bohème”) directed by M. Rota at the Puccini Festival in Torre di Lago. Later that year he participated in “Bianco Rosso e Verdi” directed by F. Villard, and in “Rigoletto” (directed K. L. Wilson) at the Teatro Massimo in Palermo. In November he sang the Duruflé’s “Requiem” , and sang in the new production of “Il vestito nuovo dell’Imperatore”, by Paolo Furlani at the Teatro Carlo Felice in Genoa, further performances of which took place in January 2010.

In 2010 Federico Longhi performed again the role of Silvio (“Pagliacci”), directed by E. Maschio, as well as Figaro (“Barbiere di Siviglia”), directed by Ratti. He also recently sang in “La Bohème” with the Puccini Festival company in Abu-Dhabi in the Emirates, under the direction of A. Veronesi.

2011 :

– Invited again in the Emirates for some lyrical-symphonic concerts in occasion of the “Festival Italia”  under the patronage of the italian Embassy

– Naples, San Carlo Theatre, G. Bizet’s Carmen

– Trieste, Teatro Verdi, G. Puccini’s Gianni Schicchi

– Alba, Music Festival-Italia&USA-primavera 2011 (8° ed.), J. Brahms’ “Deutches Requiem

-Trieste, 42° Festival dell’Operetta,  J.Offenbach’s “La metamorfosi di una gatta (La chatte metamorphsèe en femme– Torre del Lago, 57° Festival Puccini, in G. Puccini’s Bohème

– Aosta, Teatro Romano, in occasion of the event Aosta Classica, for the concert “Il Canto Intorno a Verdi

– Muscat (Oman), Royal Opera House, G. Verdi’s Rigoletto

Porto (Portugal), Coliseum Theatre, C. Saint-Saëns’s Sanson et Dalila

– Porto (Portugal), Amarante, lyric-Symphonic concert

– Palermo, Teatro Massimo, “Bianco Rosso e Verdi” of G.D’Aquila e F.Micheli

– Saronno, association “Giuditta Pasta”, chamber music concert with the harp player Stefania Saglietti

– Principality of Monaco – “Concert de Noel”

– Pisa, chamber music concert with the harp player Stefania Saglietti

– Novara, Teatro Coccia, New Year’s Eve Gala’, “La nuit des Chansonnier”


– Torgnon (AO) – Chamber music concert with the harp player Stefania Saglietti

– Torino, Teatro Regio, G. Puccini’s “La Tosca” – dir. J.L. Grindà, cond. G.A. Noseda

– Palermo, Teatro Massimo, G. Verdi’s “Traviata”, dir. H. Brockhaus, cond. A. Polastri

– Torino,  Sala Verdi, D. Cimarosa’s “Il Maestro di Cappella” dir. R. Rega

– Verona, Arena di Verona, G. Bizet’s “Carmen”, dir. F. Zeffirelli, cond. J. Kovatchev

– Palermo, Teatro Massimo, G. Puccini’s “Madama Buttefly”, dir. G. Ferrara, cond. M.Mottadelli

– Aosta, Cathedral, G. Rossini’s “Petite Messe Solennelle”, cond. Jeff Silberschlag

– Torino, Teatro Regio, G. Bizet’s “Carmen”, dir. C. Bieito, cond. Y. Sado

– Torino, Teatro Regio, C. Orff’s “Carmina Burana”, cond. G. Monte


– Torino, Teatro Regio, U. Giordano’s “Andrea Chenier”, dir. L. Puggelli, cond. R. Palumbo

– Torino, Teatro Regio, G. Puccini’s “La Bohème”, dir.V. Borrelli, cond. R. Palumbo – Torino, Teatro Regio, W.A. Mozart’s “Don Giovanni” dir. M. Placido, cond. C. Hogwood

– Torino, Auditorium Orpheus, chamber music concert (music by Fauré, Hahn, Gounod, Debussy, Tosti, Montanaro) – Danzica, G. Verdi’s “Rigoletto”, Baltic Philarmonic Orchestra, cond. M. Caldi

– Badia di Ganna (VR), chamber music concert with harp “Verso il Novecento”, music by Fauré, Hahn,    Gounod, Debussy –  Aosta, Teatro Splendor, “Buon Compleanno M. Verdi”, symphonic-lyric concert cond. S. Praduroux –  Istanbul – Concerto under the patronage of the Fondazione Arena di Verona –  Verona, Teatro Filarmonico, lyric concert – Aosta, chamber music concert “Suona Francese”, music by Fauré, Hahn, Gounod, Debussy, Tosti – Torino, Teatro Regio, G. Rossini’s “Italiana in Algeri”, dir. V. Borrelli, cond. D. Rustioni

–  Friuli Venezia-Giulia, Festival “Verdi200”      Sacile -PN-, Palazzo Regazzoni “Verdi a Palazzo”      Tricesimo -UD-, Castle “Verdi in Castello”      Duino -TS-, Castle “Verdi sul Lido” – Verona, Arena 19-23-26 luglio e 2-8 agosto, G. Verdi’s “Traviata”, dir. H. De Ana, cond. A.Battistoni –  Bergamo, Teatro Donizetti, G. Donizetti’s “Il Furioso nell’isola San Domingo”, dir. F. Esposito, cond.

  1. Di Stefano –  Savona, Teatro Chiabrera, G. Donizetti’s “Il Furioso all’isola di San Domingo”, dir. F. Esposito, cond.
  2. Di  Stefano

–  Bruxelles, Albert Hall, lyric concerto under the patronage of Arena di Verona –  Teatro Regio’s Tournèe in Japan: G. Puccini’s “Tosca” and  G. Verdi’s “Un ballo in maschera”, cond. G. Noseda –  Bari, Teatro Petruzzelli – sala Unione, lyric concert –  Principality of Monaco- Christmas Concert
– Maribor, Drama Theatre, G. Verdi’s “La Traviata”, cond. F. Rosa, dir. H. de Ana – Rovigo, Teatro Sociale, G. Donizetti’s “Il Furioso all’Isola di San Domingo”, cond. G. Distefano, dir. F. Esposito – Verona, Teatro Filarmonico, G. Rossini’s “Italiana in Algeri”, cond. F. Lanzillotta, dir. P. L. Pizzi – Ravenna, Teatro Alighieri, G. Rossini’s “Il Furioso all’Isola di San Domingo”, cond. G. Distefano, dir. F. Esposito – Ivrea, Auditorium Olivetti, G. Rossini’s “Petite Messe”

– Venezia, Palazzo Albrizzi, J.Brahms’  “Ein Deutsches Requiem” – Aosta,   Teatro Splendor, concert “AVEC AMOUR”, tribute to Edith Piaf – Parigi, Chamber music concert – Salle de Pentemont – rue de Grenelle – Torino, Teatro Regio, F. Léhar’s “La Vedova Allegra”, cond. C. Campestrini dir. U. De Ana – Utrecht, Olanda –  Opera Concert – Palazzolo (Bs) – Opera Concert – Sofia, Bulgaria – Opera Concert

– Verona, Arena – G. Bizet’s “CARMEN” – cond. H. Nanasi dir. F. Zeffirelli – Torre del Lago – Festival Puccini Torre del Lago – “BOHEME” – cond. V. Galli dir. E. Scola – Verona, Arena – G. Puccini’s “Madama BUTTERFLY” cond. M. Armiliato dir. F. Zeffirelli – Novara – G. Rossini’s “BARBIERE DI SIVIGLIA”- cond. F. Omassini Zhuhau, Cina – G. Puccini’s “TURANDOT”- Tournèe Festival Pucciniano- cond. V. Galli dir. A. Bertini – Maribor- G. Verdi’s “TRAVIATA” – cond. F. Rosa dir. H. De Ana – Casale Monferrato – Duomo- J. Brahms “Requiem” – cond. dir. Y. Khutoretskaya – Berlino – Galà Liri – Arena di Verona Foundation – Rimini – Teatro Novelli – Sagra Musicale Malatestiana – Palazzolo (BS) – Opera Concert

– Chatillon (AO) – Sacred music Concert

– Roma – Opera Galà – Arena di Verona Foundation – Fivizzano (MS) – Opera concert – Ensemble Puccini

– Firenze – Opera di Firenze – Maggio Musicale Fiorentino- V. Ullman’s “Der Kaiser von Atlantis”                                                                                 dir. P. Paolo Pacini cond. R. Misto – Reggio Emilia-Teatro Valli – G. Verdi’s “Falstaff” – cond. N. Paszkowsky dir. C. Mazzavillani Muti – Ferrara-Teatro Comunale – G. Verdi’s “Falstaff” – cond. N. Paszkowsky dir. C. Mazzavillani Muti -Trieste-Teatro Verdi – G. Donizetti’s “Don Pasquale” – cond. H. Yoshida dir. S. Vizioli -Verona-Arena – G. Puccini’s “Tosca” – cond. J. Kovatchev dir. U. De Ana -Ravenna-Teatro Alighieri – Ravenna Festival – G. Verdi’s “Falstaff” – cond. R. Muti   dir.   C.Mazzavillani Muti -Oviedo-(Spagna)- G. Verdi’s “Falstaff” – cond. R. Muti dir. C. Mazzavillani Muti -Lapedona-Fermo- Festival “Musica in Collina” recital with the pianist M. Cristina Pantaleoni -Verona-Arena -G. Puccini’s “Tosca”

-Helsinky-Finnish Nationale Theatre  – Matinée del Foyer – Classic Concert with harp player Stefania Saglietti -Ancona-Teatro delle Muse – G.Verdi’s “Falstaff” – cond. N. Paszkowsky dir. C.Mazzavillani Muti

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The Barber of Seville at the Royal Swedish Opera


Music by Gioachino Rossini

logooperanPerformed in Italian with Swedish text on surtitles

One of opera repertoires’ most witty comedy show with true carnival mood about youth and love down to old age and greed. Barber of Seville premiered in February 1816 and it is said that Gioachino Rossini wrote the music in just 19 days. The first night was a fiasco, but then came the successes and the opera is one of the most played. The director is the opera legend Knut Hendriksen and in some of the characters we see brilliant young singer Joel Annmo, Ms Holmberg, and Jens Persson.

Brief Synopsis: Count Almaviva is in love with Rosina. To ensure that she is not simply attracted by his money, he pretends to be the poor student Lindoro. However, he is not the only man fond of her. Rosina’s guardian, Doctor Bartolo, wishes to marry his protégée and keeps her under lock and key for this reason. In order that his advances might succeed, Count Almaviva employs the help of the town barber, the crafty fixer Figaro.

The Barber of Seville is Gioacchino Rossini’s exurberant comic opera based on Beaumarchais’ trilogy, which continues with the famous Mariage of Figaro. Even the overture is a miniature masterpiece.



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NORMA at the Edimburgh International Festival with Cecilia Bartoli


5 – 9 August 2016
Festival Theatre

Cecilia Bartoli sang the title role in a powerful, passionate production of Bellini’s searing opera masterpiece on love, betrayal and revenge. Since its unveiling at the 2013 Salzburg Whitsun Festival, it has been acclaimed throughout Europe, winning that year’s International Opera Award for best new production.

Eminent directors Moshe Leiser and Patrice Caurier have set Bellini and librettist Felice Romani’s tragic tale of ancient druids rebelling against Roman occupation in more modern times – Second World War France, where the French Resistance struggles against its Nazi oppressors. Bartoli’s Norma is torn between loyalty towards her community and her illicit love for Pollione, chief of the occupying forces (and the father of Norma’s two children), who has diverted his affections to the younger Adalgisa.normachansjorgmichel3_0

The iconic role of Norma featured one of the most famous arias in all opera – the prayer to the moon goddess ‘Casta diva’. Bartoli performed the role as Bellini originally envisioned it thanks to a newly prepared critical edition that restores the originally intended vocal colours.

‘Only in this way can we appreciate once more the true magic, the colour and emotion in this music,’ Bartoli has explained. ‘It was my wish to bring Bellini’s opera closer to the sound world of the bel canto period.’

Cecilia Bartoli is one of the world’s finest and most sought-after singers, celebrated internationally for her astonishingly versatile voice and her searching, enormously expressive interpretations. She is joined by a superb cast including US tenor John Osborn as Pollione and Mexican-born soprano Rebeca Olvera as Adalgisa, alongside Péter Kálmán, Liliana Nikiteanu and Reinaldo Macias. I Barocchisti will be playing on authentic instruments from the 19th century.norma_c_hans_jorg_michel_2

Opera in two acts by Vincenzo Bellini (1801–1835). Performance of the new critical edition by Maurizio Biondi and Riccardo Minasi

Libretto by Felice Romani (1788–1865) based on the tragedy Norma ou L’Infanticide (1831) by Alexandre Soumet (1788–1845).

A Salzburg Festival production in association with U-Live/Universal Music Arts and Entertainment, London

Cecilia Bartoli Norma
Rebeca Olvera Adalgisa
John Osborn Pollione
Péter Kálmán Oroveso
Liliana Nikiteanu Clotilde
Reinaldo Macias Flavio

Gianluca Capuano Conductor
Moshe Leiser, Patrice Caurier Directors

I Barocchisti
Swiss Radio and Television Chorus, Lugano

A Salzburg Festival production in association with U-Live/Universal Music Arts and Entertainment



  The New York Times       April 14th 2016

…a triumph        Read the full review by George Loomis

The Telegraph             August 6th 2016

Cecilia Bartoli’s Norma is a furious triumph ★★★★

She conveyed Norma’s confusion and fragility as well as her superb fury, and she made the immortal Casta Diva aria tremulous with suppressed emotion

Read the full review by Ivan Hewett


The Herald                August 7th 2016

Rebeca Olvera’s Adalgisa is a gorgeous portrayal of corrupted innocence

Read the full review here


The Sunday Times        August 14th 2016

Bartoli can project Norma’s dilemma… with fierce and devastating intensity

Read full review


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Natalka Poltavka in Kiev on September 9th

Natalka Poltavka

Mykola Lysenko

nationalOperaUkraineLogoOpera in 2 acts
Beginning: 9.09.2016 – 19:00
Completion: 20:50

Based on I.Kotliarevsky’s play.
Edited by M. Skoryk and A. Solovyanenko.
Premiered on the stage of the Kyiv Opera on July 5, 2012.





Act I

Natalka awaits the return of her fiance Petro, who is working abroad. She is noted by the elderly landowner Vozniy, who persuades Viborniy to intercede with her on his behalf.

Act II

Viborniy persuades Natalka’s mother, Terpilikha, that her daughter should marry the wealthy Vozniy, rather than await the uncertain return of Petro. The village maidens prepare Natalka for her wedding, although she is in despair.


Petro returns: Mykola informs him of Natalka’s engagement. Natalka appears and tells Petro she loves only him. Terpilikha objects, and Petro undertakes to leave the village if it will prevent bad feeling. Touched by this gesture, Vozniy relents and all ends happily.

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