“Migrants” by Antonio Fini a success at Manhattanville University

Posted on June 19, 2024 by editoreusa

By Tiziano Thomas Dossena

Antonio Fini and the National Ballet of Kosovo amazed the public on June 6 at Manhattanville University’s Little Theater with an outstanding performance. The program, called “Migrations,” was choreographed masterfully by Mr. Fini and was performed flawlessly and with remarkable energy by the dancers.

Organized by the Albanian American Educators Association, the evening started with a welcome and introduction by Jacqueline Kapaj-Vieira, Executive Director and President of the AAEA, followed by an award presentation to the Nika Family, which has done a lot to support Albanian American dance projects. Lucrezia Lindia and Nerieda Rama, respectively Vice President and Secretary of the AAEA, handed out the awards.

From the left: Dr. Lucrezia Lindia, Vice President of AAEA, the choreographer Antonio Fini, and Tiziano Thomas Dossena.
The Nika family’s acceptance speech…

After that, the dancing started and took over the emotions of everyone present…

As the program stated, “In the choreography of “Migrations,” colors play a significant role. As the dancers move across the stage, layers of vibrant colors are added, representing the diverse cultures that migrants carry with them and acquire during their journey. These colors symbolize the richness and diversity that emerge from the encounter of different traditions and stories. A distinctive element of this performance is the use of Arbresh songs, which the dancers sing during their performance. These songs not only add an engaging musical element to the choreography but also represent a deep connection to the culture and roots of the Arbresh. The melodies and lyrics of the songs narrate the stories of a migrant community, evoking feelings of nostalgia, hope, and resilience.”

Mr. Fini, a dancer of Arbresh origins, which stands for Italian Albanian, chose to create this choreography to explore “the universal theme of migration through the language of movement”.

The effect was sensational also because the dancers reproduced the imagery with a flare and precision that was deeply appreciated by the public. The duet with Aulonë Nuhiu and Fatmir Smani was touching and complemented by a marvelous musical background. That was also a surprising factor in the performance: the songs may not have been understood by most of the public, being in a foreign language, but their sentiment was carried perfectly and was able to create a mood that clarified the dance representation evermore.

Another section, performed by Leonora Rexhepi, Sead Vuniqi, Fisnik Smani, and Kreshnik Musolli. was also enticing and matched by a superb song.

 The final section was danced by a trio of women, Vjollca Llugiqi, Luljeta Ademi and Mërgime Morina

was as interesting and stunning as the other two.

Overall, Mr. Fini was able to convey his message very clearly and effectively, as he always does. The director of the National Ballet of Kosovo (Baleti Kombëtar I Kosovës), Sinan Kajtazi, is also to be complimented for his work and ability to ensure the positive outcome of the evening.

GALLERY

National Ballet of Kosovo (Baleti Kombëtar I Kosovës),

Director: Sinan Kajtazi 

Dancers 

01. Aulonë Nuhiu

02. Besarta Gashi 

03. Drilon Podrimçaku 

04. Donmir Bilall

05. Elmedina Berisha

06. Fatmir Smani

07. Fisnik Smani

08. lir Krasniqi 

09. Jeta Musolli

10. Kreshnik Musolli

11. Leonora Rexhepi

12. Liridon Mziu

13. Luljeta Ademi

14. Marigonẽ Beha

15. Mërgime Morina

16. Muhamet Bikliqi

17. Blerta Fanaj

18. Sead Vuniqi

19. Vjollca Llugiqi

20. Vlora Prizreni

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Philippe Jaroussky wins the 16th Traetta Prize 2024

Posted on June 9, 2024 by editoreusa

French countertenor Philippe Jaroussky has been named the winner of the 16th Traetta Prize 2024 “in recognition of his passionate and enduring commitment to giving voice to the rediscovery of the European roots of 18th-century music.”

The Traetta Prize is an award presented by the Traetta Society in recognition of achievements in the rediscovery of the roots of European music. It is named after the composer Tommaso Traetta (1727-1779) and is awarded annually during Traetta Week, a week of commemorative celebrations dedicated to the composer, taking place over the eight days between the day of his birth and the day of his death (March 30 – April 6).

The Traetta Prize aims to honor individuals who have been committed to expanding the knowledge of 18th-century musical production.
The Prize borrows Traetta’s name as a symbol of a long list of unfairly forgotten composers such as Leonardo Vinci, Pasquale Anfossi, Antonio Sacchini, Nicola Vaccaj, Leonardo Leo, Domenico Cimarosa, or Vicente Martín y Soler, among others.

Premio Traetta

Born in 1978, Philippe Jaroussky has emerged as the most admired countertenor of his generation, as confirmed by the French awards’Victoires de la Musique’ (‘Revelation Artiste Lyrique’ in 2004, ‘Artiste lyrique de l’année’ in 2007 and 2010, CD of the Year 2009) and multiple Echo Klassik awards in Germany (2005, 2008, 2011-2012, and 2015).
Jaroussky’s technique allows him the boldest nuances and the most impressive vocal acrobatics. He has explored a vast repertoire, from the refinement of Italian Seicento with Monteverdi, Sances, and Rossi, to the extraordinary brilliance of Handel and Traetta’s arias. He has collaborated with renowned orchestras on period instruments such as L’Arpeggiata, Les Arts florissants, Ensemble Matheus, Les Musiciens du Louvre, Le Concert d’Astrée, Le Cercle de l’Harmonie, and Europa
Galante, with conductors such as Christina Pluhar, William Christie, Jean-Christophe Spinosi, Marc Minkowski, René Jacobs, Jérémie Rhorer, Emmanuelle Haïm, Jean-Claude Malgoire, and Fabio Biondi.
He has been praised for performances in all the most prestigious concert halls of his native France (Théâtre des Champs-Élysées, Théâtre du Châtelet, Salle Pleyel, Salle Gaveau, Opéra de Lyon, Opéra de Montpellier, Opéra de Nancy, Arsenal de Metz, Théâtre de Caen) and abroad (The Barbican Centre and Southbank Centre in London, Palais des Beaux Arts in Brussels, Grand Théâtre du Luxembourg, Konzerthaus in Vienna, Staatsoper and Philharmonie in Berlin, Teatro Real in Madrid, Carnegie Hall, Lincoln Center in New York, and recently Palau de les Arts in Valencia).

Philippe Jaroussky has received numerous awards for his recordings: with Heroes (Vivaldi opera arias) and La Dolce Fiamma, he achieved gold disc status; his homage to Carestini (with Concert d’Astrée and Emmanuelle Haim) won CD of the Year at Victoires de la Musique and Midem Classical Awards in 2009; his Stabat Mater with soprano Julia Lezhneva and I Barocchisti won the 2014 International Classical Music Awards for Best Baroque Vocal Album and Best Opera Album. Regarding the 2013 release Farinelli: Porpora Arias, Gramophone wrote: “Jaroussky’s swift passages in the rapid heroic arias are precise… but the most exceptional moments are the slow arias that seem tailor-made for Jaroussky’s sweet and graceful melodic singing.”

In recent years, he has collaborated with singers like Cecilia Bartoli and Nathalie Stutzmann, as well as singing and conducting the Artaserse Ensemble, the baroque orchestra he founded in 2002.
In 2017, he established the Philippe Jaroussky Music Academy to enable the discovery and study of classical music for less privileged youngsters and support young musicians in entering the professional world.

————————————————-

More info:
Traetta Prize : http://en.wikipedia.org/wiki/Traetta_Prize

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MARTITA GOSHEN’S EARTHWORKS  

Posted on June 9, 2024 by editoreusa

in the premiere of  ‘WAY OF THE WHALE’

Dedicated to marine biologist and expert in cetacean intelligence Dr. Roger Payne,

and composer/cellist David Darling

Friday June 14, 8 PM

The Scripps Studio Theater, 551 Grand Street

(top floor of the Paul Taylor Dance Company Studios)

Tickets: $25

Reservations: e-mail requests to whaledance2024@gmail.com

Choreography: Martita Goshen with company members Annmaria Mazzini, Kim Grier-Martinez,

Grace Ho, Yonna Lee, Patricia Ruiz, and Carla Rigon

Music: David Darling, and Dr. Roger Payne’s Songs of the Humpback Whales

Sound Design: Gregory Kostroff

Lighting Design: Aaron Copp

_______________________________________________________________________________

“Ms. Goshen’s dances spring from her respect for the earth and its preservation.”               

The New York Times

“With every ounce of her being (Goshen) pours her love and passion into her company.  A true artist and guardian of nature, she will forever whisper the spirit words of the natural world” 

 broadwayworld.com

“…her dances are brave and haunting proof that movement can be just as powerful as speech.”       

The Washington Post

Choreographer Martita Goshen returns to the Scripps Studio Theater with the world premiere of “Way of the Whale,” a tribute to the great whales and prayer for their survival, on June 14th at the Paul Taylor Dance Company Studios, 551 Grand Street.  The work is set to music by late composer/cellist David Darling and to a variety of the songs of humpback whales, blue whales, dolphins, and natural waves from recordings by Dr. Roger Payne.  

The work is dedicated to the late Dr. Roger Payne, a great scientist, humanitarian, and marine biologist who discovered that humpback whales sing and who created a recording of their voices in the 1970s.   At that time, notes Martita, “it was not known that whales were so sentient and possessed such highly evolved intelligence,” adding “(it) really saved these whales from extinction.”  Dr. Payne’s book Among Whales was universally praised and brought to life the awesome presence of these great, noble – and desperately threatened – creatures.

“Way of the Whale” is also dedicated to the late composer/cellist David Darling, Grammy award winner for his album “Prayer for Compassion.”   Martita has selected several of his songs from that album for her new work.

Martita Goshen was born in Montevideo, Uruguay, the daughter of American parents in the U.S. Diplomatic Corps, specializing in Latin American affairs.  Growing up in some remote corners of South America, she was profoundly impressed by her time spent with the Indigenous people and one of the tribes in the Upper Amazon, which fostered her love and respect for the earth and its preservation, a theme reflected in her works.   Her dance experience is derived from a diverse background, including studies with Anna Sokolow, Limon, Zena Rommett, and Christine Wright, among others.

“Way of the Whale” is made possible by the generosity of

Jody and John Arnhold, the Great Mother Earth Fund, and

loyal friends of Goshen’s Turtles Inc. around the globe.

Special thanks to Noah Aberlin of the Paul Taylor Dance Company.

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LA CENERENTOLA IN PERU

Posted on May 5, 2024 by editoreusa

From the 8th to the 12th of May, the Teatro Municipal in Lima (Peru) will present La Cenerentola, a production already seen at Tempio Pausania and on the circuit of the Opera Network of the Marche Region, curated by Matteo Anselmi and directed by Andrea Foti. In the cast, former students of the Accademia Rossiniana, Alberto Zedda as Chiara Tirotta (Angelina), Pietro Adaíni (Don Ramiro), Giuseppe Toia (Don Magnífico), Matteo Mancini (Dandini), Giacomo Nanni (Alidoro), Patricia Calvache (Clorinda) and Tamar Ugrekhelidze (Tisbe). (Ph Marilena Imbrescia)

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OPERAMYLOVE selected by Feedspot as one of the Top 25 New York Classical Music Blogs on the web.

Posted on April 29, 2024 by editoreusa

Opera, My Love Magazine has been selected by the panelists of FEEDSPOT as one of the Top 25 New York Classical Music Blogs on the web.

GO TO FEEDSPOT

https://blog.feedspot.com/new_york_classical_music_blogs/
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The Opera on the piano: two Italian musicians in New York

Posted on March 18, 2024 by editoreusa

Elena Buttiero and Anita Frumento, Italian musicians from Liguria, are the protagonists of the concert “Opera for piano four hands”.
The event is promoted by the Allegro con Moto Association of Savona in collaboration with the “Friends of Maple Grove” of New York.
In December 2023 The Practice of Opera Singing in Italy was declared on the Intangible Heritage List of Umanity Sites by UNESCO (United Nations Cultural Agency). The concert pays tribute to the extraordinary world of Opera with a journey to discover the greatest Italian opera composers through the four hands of pianists Elena Buttiero and Anita Frumento.
During the concert, music by Giuseppe Verdi, Gioacchino Rossini, Francesco Cilea, Umberto Giordano, and Pietro Mascagni will be performed.
The recital will take place in New York on Saturday 30 March 2024 for the “Friends of Maple Grove” in the Center’s Celebration Hall at 4.00 pm (127-15 Kew Gardens Road, Kew Gardens, NY 11415).
Entrance fee $15.
For information:
Email: info@friendsofmaplegrove.org
Telephone: (+1) (347) 878 6613


Elena Buttiero and Anita Frumento have been carrying out research in the musicological field for many years, in particular, aimed at the discovery and enhancement of the repertoire for piano four hands.
There are many shows staged from 2009 to today: “Italy ‘900: words, images and music of the short century”; and “Future Sounds. A Musical Journey into Futurism”; “Italy in the Great War: words, figures and music between 1915 and 1918” (Official program of the commemorations of the Centenary of the First World War by the Presidency of the Council of Ministers); “Non sembiava imagine che tace” (with the patronage of the National Committee for the celebration of the 700th anniversary of the death of Dante Alighieri of the Ministry of Cultural Heritage), “Quella sagoma di Dante. Tre donne alle prese con l’Alighieri”, theatrical and musical show.


Elena Buttiero graduated in piano at the Turin’s Conservatoire ‘G. Verdi’, she held concerts in several Italian cities, Switzerland, Germany, Ireland, France, Romania, Czech Republic, Serbia, United States, Canada, Tanzania, Argentine, and Uruguay. She published two CDs as a harpist with Birkin Tree: Continental Reel and A Cheap present’. With Carlo Aonzo, she published Il mandolin italiano nel Settecento and Fantasia poetica. In 2009, the Duo was awarded with the Ligurian Region Price, Cultural section, from Liguria Region. In 2012, she recorded the CD Arethusa Consortium for two Celtic harps repertoire and plectrums, Saluti dall’Italia in 2013 and Lontano nel mondo in 2015 devoted to Luigi Tenco’s songs. In 2021 she published the CD The Baroque Hurdy-
Gurdy at the French Royal Court with Francesco Giusta. In the didactic field, she published for Carisch/Hal Leonard editor the solfege method Il Centone, the piano method Primo Piano, the Piano Antologia and the Antologia pianistica a 4 mani. She is the artistic director of the Mozart Savona Association and of the Allegro con Moto Association.
Anita Frumento obtained the Second Level Academic Diploma in Piano and Chamber Music with top grades and honors at the Conservatory of Genoa and the Conservatory of Piacenza.
Winner of numerous competitions, she has participated in important national and international
exhibitions.
She has been carrying out research in the musicological field for many years in a duo with the pianist Elena Buttiero, in particular, aimed at the discovery and enhancement of the repertoire for piano four hands, performing regularly in Italy and abroad.
She is a pianist and managing member of the APS Nuovi Contesti Sonori of Clusone (Bg), where she actively participates in concert and teaching activities and in the creation of original shows.
Always dedicated to teaching and training, she obtained the Master of Arts in Music Pedagogy at the Conservatory of Italian Switzerland in Lugano. She teaches at the MAT Artistic Center in
Lugano (Switzerland) and she is a tenured piano teacher at the Liceo Musicale of Albenga (Sv).
allegroconmoto.savona@virgilio.it

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Lila Palmer Appointed General and Artistic Director of New Orleans Opera

Posted on January 23, 2024 by editoreusa
Following a comprehensive search, the board of New Orleans Opera Association (NOOA) has announced Anglo-American producer and librettist Lila Palmer as its new General and Artistic Director. Her term begins on May 15, 2024.
Palmer will be NOOA’s ninth chief executive, succeeding Clare Burovac, whose three-year tenure followed 23 seasons of stalwart leadership – including a company-saving effort following Hurricane Katrina – by Robert Lyall, who passed away earlier this year. Palmer will be responsible for setting the artistic vision for the company and overseeing all aspects of operations. In collaboration with the staff and board, Palmer will also seek to broaden the company’s impact, develop business partnerships, and deepen community involvement.
Palmer joins NOOA from New York’s American Lyric Theater, a highly regarded new music incubator, where she has served as Interim Managing Director and Associate Director for Promotions and Partnerships. An accomplished producer, Palmer has also led arts programming in heritage spaces, including The Museum of London, The London Transport Museum, Trebah Gardens, and the Bethlem Gallery and Trust, building relationships with varied stakeholders across fields. Palmer’s earlier experience as a lyric mezzo-soprano and cultural commentator for radio and television, combined with her education at Cambridge University and the Royal Opera House London’s Guildhall Opera Makers MA program, have led to her firm commitment to expand the perspectives of stories on opera stages.
As a librettist, Palmer has been recognized with an Edinburgh Fringe Lustrum Award, Aix-en-Provence Festival Women in Opera Professional Artist nomination, and Album of the Year by The Times of London. Her work has recently been performed at the Gran Teatro del Liceu in Barcelona, Royal Liverpool Philharmonic, and Glimmerglass Festival, and her song cycle This Be Her Verse received international premieres in Canada, Scotland, Switzerland, and France. Palmer will continue her creative practice as a librettist, and has upcoming artistic collaborations with Mark Adamo, Rene Orth, and La Fura dels Baus.
This wide-ranging professional background will serve Palmer well in New Orleans, often dubbed the country’s “First City of Opera” and known for the many tremendous musicians who have considered it home, including Louis Armstrong, Wynton Marsalis, Terence Blanchard, and renowned opera singer Norman Treigle. Over the 80 seasons since its founding in 1943, NOOA has built a reputation as a talent-spotter, providing early career opportunities for singers like Lisette Oropesa, Kathryn Lewek, and Alfred Walker, now performing on stages worldwide.
Recent productions at NOOA have included sold-out performances of An Homage to Josephine Baker and Daniel Schnyder’s Charlie Parker’s Yardbird, as well as Jeanine Tesori’s Blue, and a new English translation of Tchaikovsky’s Joan of Arc, also known as The Maid of Orleans. Locally focused productions of Il tabarro, set on a barge in the Mississippi River, and María de Buenos Aires in collaboration with Casa Argentina have more closely connected the company with the community it serves. During production periods, NOOA is one of the largest employers of artists in the state of Louisiana, with roughly 400 people working on each mainstage production. The H. Lloyd Hawkins Scenic Studio has constructed dozens of new sets for productions in New Orleans, which are subsequently rented to performing arts organizations across the country.
“To be asked to lead a company with the lineage of New Orleans Opera Association is a tremendous gift and a humbling responsibility,” said incoming General and Artistic Director Lila Palmer. “The company and its antecedents formed the cradle of bel canto in America and the city has shown an unbroken legacy of love for both opera and the transformative, life-giving power of music. New Orleans continues to prove itself a resilient, vibrant, and joyful city, and it belongs at the forefront of the newly dawning golden age of American opera.”
“I am truly excited to welcome Lila Palmer to New Orleans Opera,” said NOOA Board Chair Emmet Geary. “Her extraordinary energy and insight, as well as her vast experience in opera as a performer, librettist, and producer, make her an ideal fit. Lila’s deep respect for both classic and contemporary repertoire will give the city an exciting menu of operatic performances, and I look forward to working with her to further our goal of connecting as many people as possible to the joy of opera.”
“When I first met Lila as a resident artist in the ALT program I teach for opera creators, I immediately recognized her as a gifted artist and born collaborator,” said composer and librettist Mark Adamo. “It has been a pleasure to see her develop those talents while also becoming a seasoned executive and visionary advocate for the art of opera. I see great things ahead for New Orleans Opera under her leadership.”
“I am thrilled to learn that Lila will join the growing ranks of women General Directors helping to redefine and enhance our beloved art form,” said Francesca Zambello, Artistic Director of Washington National Opera and internationally acclaimed stage director. “Having worked on several creative producing projects with Lila, I know she will bring a unique voice of leadership to the storied New Orleans Opera.”
About New Orleans OperaNow in its 81st season, New Orleans Opera Association (NOOA) is committed to enriching the lives of all people by producing operas of the highest artistic quality and providing educational opportunities through traditional and innovative approaches. NOOA aspires to connect people to the arts and each other through the joy of opera. www.neworleansopera.org
About Lila PalmerLila Palmer is an Anglo-American librettist, producer, and arts administrator, most recently serving as a member of the senior executive team at American Lyric Theatre (ALT), where she leads strategic planning and executive recruitment while overseeing marketing, public relations, and media strategies. She has served as an Artist Leader and Dramaturgy Mentor in new works development for companies including Boston Opera Collaborative and Canada’s Loose Tea Music Theater and sits on the National Opera Association’s Dominick Argento Competition Panel. She has been an invited speaker on contemporary opera, gender, and concealed stories at both OPERA America and NOA national conferences. A lifelong advocate for the arts across the public sphere, her blogs, program notes, criticism, and essays have been featured by the The Scotsman, The I, Carl Nielsen Competition, English National Opera, Leeds Piano competition, and other outlets. An accomplished producer, Lila has led expanded arts programming in non-traditional and heritage spaces, including The Museum of London, The London Transport Museum, Trebah Gardens, and the Bethlem Gallery and Trust. www.lilapalmer.com
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“Callas Forever”: all’IIC di Washington il film di Franco Zeffirelli

Posted on December 2, 2023 by editoreusa

In occasione del centenario della nascita di Maria Callas e di Franco Zeffirelli, che ricorre il 2 dicembre, l’Istituto Italiano di Cultura di Washington e l’Ambasciata di Grecia negli USA hanno organizzato insieme la proiezione di “Callas Forever”, film biografico diretto da Franco Zeffirelli, che ha co-scritto la sceneggiatura insieme a Martin Sherman. La proiezione si terrà il 4 dicembre, alle 18.00 ora locale, presso la sede dell’Ambasciata d’Italia a Washington DC.
Maria Callas era un’amica personale di Franco Zefferelli. Uscito nelle sale nel 2002 il film è ispirato alla straordinaria vita della cantante lirica, amata e ammirata in tutto il mondo, della quale racconta gli ultimi mesi di vita nel 1977. A interpretare Maria Callas è Fanny Ardant. La donna riceve in visita Larry Kelly, interpretato da Jeremy Irons, amico di vecchia data e suo ex produttore, che si trova a Parigi per occuparsi della tournée di una band. La cantante, invece, si trova nella capitale francese perché dopo aver capito che la sua voce non sarà mai quella di prima, ha deciso di isolarsi nella sua abitazione e abbandonarsi alla depressione. Con l’impresario c’è anche Sarah Keller (Joan Plowright), giornalista e amica della Callas, e insieme cercano di convincerla ad accettare il ruolo di protagonista in un progetto cinematografico sulla Carmen. (aise)

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VERONA ARENA’S CENTENNIAL OPERA FESTIVAL COMMENCES WITH SPECTACULAR “CRYSTAL” AIDA, BROADCAST GLOBALLY ON RAI 1

Posted on June 20, 2023 by editoreusa

Stefano Poda’s unique production of Verdi’s masterpiece takes the stage   

Starring Anna Netrebko and Yusif Eyvazov  

Friday, 16 June at 9pm

The opening night of the 100th edition of Verona Arena Opera Festival brings a visionary adaptation of Giuseppe Verdi’s Aida. Crystal pyramids and mesmerising lighting designs blend seamlessly within the ancient Roman amphitheatre, creating a technologically advanced yet intimate rendition of this beloved opera. The multifaceted artist Stefano Poda takes the helm as the director, making his Arena debut.

The grand premiere of Verdi’s timeless masterpiece, a symbol of the Arena since its inception, will take place on Friday, 16 June at 9pm. The performance will be broadcast live worldwide on Rai1 by Rai Cultura, featuring the celebrated star Anna Netrebko in the titular role, alongside the tenor Yusif Eyvazov as Radamès. They will be joined by Olesya Petrova as Amneris, Roman Burdenko as Amonasro, and Michele Pertusi as Ramfis.

Describing his creation, which encompasses direction, set design, costumes, lighting and choreography, Poda explains, “The audience will be greeted with a grand installation: modernity is not merely about chasing after the contemporary but taking a leap into the future. The ancient Egyptian heritage becomes Verdi’s own, transformed into an all-Italian treasure represented within a secular cathedral—a sacred and age-old space ready to harness the finest energy Italy has to offer”.

It is fitting that Aida, the opera most beloved and performed by audiences worldwide, has been chosen to kick off this landmark 100th edition in Verona. Poda’s poetic vision will present an Aida that is innovative and unlike traditional productions at the Verona amphitheatre. “The stage will become a microcosm buzzing with a myriad of experiences”, remarks the director. “It will be a technological, dynamic, ever-changing, and surprising marvel. Simultaneously, the ambition is to create a recognisable and familiar journey, tailored to human dimensions—a Dantean voyage from a world in conflict to an intimate narrative. Harmonising these two aspects—grandeur and intimacy—poses a challenge in tackling a monumental opera like Aida”.

Verdi’s masterpiece will have a dual premiere. On Saturday, 17 June at 9:15pm, other exceptional voices will grace the stage, including Yusif Eyvazov, Olesya Petrova and Michele Pertusi, returning for this performance. Maria José Siri will assume the role of the Ethiopian princess and Amartuvshin Enkhbat will embody Amonasro.

Following the Arena’s esteemed tradition, this production of Aida will showcase international stars throughout its 13 scheduled performances until 8 September. Among them are Gregory Kunde, Ekaterina Semenchuk, Ludovic Tézier, Anna Pirozzi, and Elena Stikhina. Conductors Marco Armiliato, who will also lead the two premieres, and Daniel Oren will alternate on the podium.

The war-stricken world of Aida will materialise on stage through the participation of over 300 performers—soloists, chorus members, dancers, and mimes—adorned in garments inspired by Paco Rabanne and Capucci, with helmets radiating brilliance akin to the works of Damien Hirst.

Cecilia Gasdia, General Manager and Artistic Director of the Fondazione Arena, expresses her gratitude, stating, “This is the culmination of extensive efforts following the Arena’s restoration and the pandemic. It is a success made possible thanks to all the Fondazione staff, the Board of Directors, the Institutions, and the joint forces of the patrons of the 67 Columns for Verona Arena. This project, now in its third edition, as well as our partners and sponsors, deserve our deepest appreciation”.

Stefano Trespidi, Deputy Artistic Director, adds, “Prepare to witness an Aida like no other at Verona Arena—an extraordinary performance that combines arts and styles never before seen in the amphitheatre. This is a place where innovative and unique solutions can and should be experimented with. However, these solutions are based on a respect for the amphitheatre, the opera, and the music. Stefano Poda tells a human story that, as depicted in the libretto, traverses the conflicts of war, power, and jealousy, ultimately arriving at peace by harnessing the full range of his artistic vision and the collective efforts of the Fondazione, which firmly believed in this project”.

The 100th Edition of Verona Arena Opera Festival (2023), held under the patronage of the Ministry of Culture and the Veneto Region, will continue until 9 September, featuring eight operas, four gala evenings, and an show-stopping concert.

The exceptional nature of this special edition is also reflected in the support received from private sponsors. Long-standing partners are joined by several new brands. Among our historical sponsors, the Fondazione Arena di Verona would first and foremost like to thank UniCredit, which whom we have collaborated for more than 25 years, along with Calzedonia, Pastificio Rana, Volkswagen Group Italia, DB Bahn, and RTL 102.5. Joining the cohort of official sponsors this year are Metinvest/Saving Lives, and Genny, which will provide new uniforms for our front-of-house team, and Müller, which will fund accessibility projects for people with disabilities.

Our official partners also include historical brands such as Veronafiere, Air Dolomiti, A4 Holding, Casa Sartori, SABA Italia, SDG Group, and Cultural Partner Palazzo Maffei, joined by Acqua Dolomia, Sanagol and Mantova Village.

We also extend our gratitude to the businesses, individuals, and professional associations who make up the 67 Columns Membership for Verona Arena, founded by Gianluca Rana from Pastificio Rana, and Sandro Veronesi, patron of the Calzedonia Group, which is now in its third year.

Info: www.arena.it 

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The Bronx Opera in Dialogues of the Carmelites, Lehman College, May 6-14

Posted on April 15, 2023 by editoreusa


THE  BRONX  OPERA

presents

Francis Poulenc’s Dialogues of the Carmelites

performed in English

Saturday May 6 at 7:30 pm; Sunday May 7 at 2:30 pm

Saturday May 13 at 7:30 pm; Sunday May 14 at 2:30 pm

Lehman College/Lovinger Theatre, 250 Bedford Pk. Blvd. West

Tickets: $40; $30

Reservations: www.bronxopera.org         718.365.4209                                                                                                                                                                                                                                                                                                                                                                                                                                                                                            

The Bronx Opera returns with four performances of Poulenc’s moving Dialogues of the Carmelites, music and libretto by Francis Poulenc, performed in English, May 6 & 7 and May 13 & 14 at the Lovinger Theatre, Lehman College, 250 Bedford Park Blvd. West in the Bronx.  Principal roles in the two casts will be taken by Barbee Monk and Alina Tamborini as Blanche de la Force; Hannah Spierman and Michelle Trovato as Madame Lidoine; Annie Chester and Caroline Tye as Mother Marie of the Incarnation; and Tiernan Elizabeth Chase and Sarah Daniels as Sister Constance.Dialogues of the Carmelites begins in the spring of 1789, on the eve of the French Revolution. At its heart, the opera tells the story of Blanche de la Force, a young noblewoman torn apart by fear. She leaves her father and brother for the perceived safety of the convent, becoming a Carmelite nun. As the story progresses and time passes, Blanche relates to her sister nuns, and witnesses the traumatic death of the Priory’s Mother Superior. The Reign of Terror in 1794 forces the nuns to choose between their vows and conformity — unwilling to renounce their religious life, they ultimately choose martyrdom, a choice which drives Blanche to flee the convent in confusion and terror. In the final scene, despite her profound fear of death, Blanche returns to join the other nuns as they march to the guillotine.
The world premiere of Dialogues of the Carmelites took place, performed in French, January 26, 1957 at La Scala.  The U.S. premiere followed, by the San Francisco Opera in September 1957.  Poulenc’s desire was to see Carmelites performed in the vernacular of its local audience. Honoring that desire, BxO will (as is their custom) present this towering masterpiece in English.

Bronx Opera Company was founded in 1967 by its artistic director and music director, the conductor Michael Spierman, and is run by Maestro Spierman in partnership with his son Benjamin Spierman, the company’s General Director.  The Company is a member of the New York Opera Alliance.

Bronx Opera Company presents two full productions each year.  Its repertoire ranges from the very rarely performed to opera’s “top ten.”   All productions are sung in English with full orchestra and chorus.  Additionally, the Company presents concerts of opera excerpts throughout the year in the Bronx, Manhattan, and surrounding areas, and partners with local community schools and organizations to spread the word about the current production, create performances, and educate people in all areas of the performing arts.

www.bronxopera.org

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