“HÄNSEL UND GRETEL” in Frankfurt

Posted on December 25, 2014 by editoreusa

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HÄNSEL UND GRETEL

Engelbert Humperdinck 1854 – 1921

Opera in three Scenes
Libretto by Adelheid Wette after the fairy tale of the same name (1810) by Jacob and Wilhelm Grimm
First performed December 23rd 1893 at the Hoftheater in Weimar
Sung in German with German surtitles
Duration: 2 hours 15 min. with one interval

Performances

25.12.2014 |28.12.2014 |
28.12.2014 |02.01.2015

Louise Alder (Gretel), Katharina Magiera (Hänsel) © Monika Rittershaus

Louise Alder (Gretel), Katharina Magiera (Hänsel) © Monika Rittershaus

About the work
Is it really only a dark, bitterly cold wood in which the broom-maker’s children get lost and fall into the clutches of a demonic power? Or does the wandering path lead inwards, to the maze of the soul, to the heart of early and late romanticism? There where Weber’s wolf’s glen and Caspar David Friedrich’s ice floes are to be found? Something definitely happens in the wood and the children who emerge from it are not quite the same as they were when they entered it.

Peter Marsh (Witch) © Monika Rittershaus

Peter Marsh (Witch) © Monika Rittershaus

The brothers Grimm and Engelbert Humperdinck, who composed the work in Frankfurt at a time of booming economy, lived at the time of the industrial revolution, a time of unscrupulous exploitation, especially of the young. Child labour – Dicken’s starving orphans and workhouse boys – was common. These children’s psychological and social problems are mirrored in the tale of the abandoned siblings. There is a deeply moving chorale at the end of the opera that proclaims the brightness of day and freedom – dissolving the darkness, and fear, of slavery.

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Artistic Team

Conductor
Sebastian Weigle / Björn Huestege / Nikolai Petersen / Hartmut Keil / Karsten Januschke
Director
Keith Warner
Stage Designer
Jason Southgate
Costume Designer
Julia Müer
Lighting Designer
John Bishop
Children’s Chorus Master
Markus Ehmann
Dramaturge
Norbert Abels

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Cast

Peter, Besenbinder
Alejandro Marco-Buhrmester / Simon Bailey
Gertrud, his wife
Heidi Melton / Barbara Zechmeister / Hedwig Fassbender
Hänsel
Katharina Magiera / Judita Nagyová
Gretel
Louise Alder / Karen Vuong / Juanita Lascarro
Die Knusperhexe (Witch)
Peter Marsh / Michael McCown
Sandmännchen (Sandman)
Elizabeth Reiter / Katharina Ruckgaber*
Taumännchen (Dew Fairy)
Nora Friedrichs * / Kateryna Kasper

Oper Frankfurt’s Orchestra and Children’s Chorus

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Synopsis
Act 1 Hänsel and Gretel are on their own at home. They are supposed to be working. They are getting hungry, waiting for their mother to make some rice pudding for them with milk from the jug, so start to dance and play to pass the time. Their mother comes home. Her disobedient children make her so cross that she smashes the milk jug and sends them off to collect berries in the woods. Their father comes home after selling some brooms, with lots to eat. He reproaches his wife when he hears that the children are in the woods. They set off to find them.

Katharina Magiera (Hänsel) Louise Alder (Gretel), Elizabeth Reiter (Sandman, centre), © Monika Rittershaus

Katharina Magiera (Hänsel) Louise Alder (Gretel), Elizabeth Reiter (Sandman, centre), © Monika Rittershaus

Act 2 Evening in the wood. Hänsel and Gretel play and gobble up all the berries they collected. They get frightened when it starts to get dark and they realise they are lost. The Sandman appears and sends them to sleep. The children see angels in a dream. Dawn arrives with the Dew Fairy.

Heidi Melton (Mother), Louise Alder (Gretel) © Monika Rittershaus

Heidi Melton (Mother), Louise Alder (Gretel) © Monika Rittershaus

Act 3 Hänsel and Gretel find the witch’s house. They begin to eat bits of it. The witch appears, pretending to be friendly; the children don’t trust her and are put under a spell. Hänsel is locked up and Gretel must work for the witch. When the witch tells her to check on the oven Gretel pretends to be so stupid that the witch has to show her how to do it – and Gretel pushes her in. The spell over the other lost children is broken. Their parents find them and everyone rejoices.

Louise Alder (Gretel), Katharina Magiera (Hänsel) Peter Marsh (Witch, upstairs) © Monika Rittershaus

Louise Alder (Gretel), Katharina Magiera (Hänsel) Peter Marsh (Witch, upstairs) © Monika Rittershaus

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Peter Marsh (Witch) © Monika Rittershaus

Peter Marsh (Witch) © Monika Rittershaus

Louise Alder (Gretel), Katharina Magiera (Hänsel) © Monika Rittershaus

Louise Alder (Gretel), Katharina Magiera (Hänsel) © Monika Rittershaus

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La Traviata in Berlin

Posted on December 25, 2014 by editoreusa

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PRESENTS:

traviata1La Traviata

Giuseppe Verdi (1813 – 1901)

Melodramma in 3 acts;
Libretto by Francesco Maria Piave based on the novelle La dame aux camélias by Alexandre Dumas fils;
First performed on 6. March, 1853 in Venice;
Premiered at the Deutsche Oper Berlin on 20. November, 1999

In Italian with German and English surtitles

Photo credits: La Traviata © Marcus Lieberenz

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Cast

Conductor Ivan Repusic
Director Götz Friedrich
Stage-design Frank Philipp Schlößmann
Costume-design Klaus Bruns
Lighting Ulrich Niepel
Choir Conductor Thomas Richter
Choreographer Klaus Beelitz
Violetta Valéry Aleksandra Kurzak
Patrizia Ciofi (01.07.2015 | 04.07.2015)
Marina Rebeka (09.04.2015 | 12.04.2015)
Alfredo Germont Murat Karahan
Gianluca Terranova (01.07.2015 | 04.07.2015)
Yosep Kang (09.04.2015 | 12.04.2015)
Giorgio Germont Artur Rucinski
Leo Nucci (01.07.2015 | 04.07.2015)
Jean-François Lapointe (09.04.2015 | 12.04.2015)
Flora Bervoix Christina Sidak
Jana Kurucová (01.07.2015 | 04.07.2015)
Annina Siobhan Stagg
Elbenita Kajtazi (01.07.2015 | 04.07.2015)
Gaston Gideon Poppe
Álvaro Zambrano (01.07.2015 | 04.07.2015)
Baron Douphol Stephen Bronk
Marquis D’Obigny John Chest
Carlton Ford (09.04.2015 | 12.04.2015 | 01.07.2015 | 04.07.2015)
Doktor Grenvil Andrew Harris
Giuseppe Matthew Newlin
Sunnyboy Dladla (01.07.2015 | 04.07.2015)
A messenger Thomas Lehman
A servant Holger Gerberding
Chorus Chor der Deutschen Oper Berlin
Orchestra Orchester der Deutschen Oper Berlin

traviata4Information

Violetta Valery is kept in luxury by her admirer Baron Douphol. Seemingly recovered from a serious illness, she hosts a glittering party at which she meets and falls in love with Alfredo Germont. The world in which Violetta lives cannot countenance such a love affair and so she abandons her old existence and seeks happiness with Alfredo in the countryside. Soon, however, Alfredo’s father Giorgio beseeches Violetta to end the relationship, fearing that Violetta’s dubious reputation will jeopardise the wedding of Alfredo’s younger sister. In despair, Violetta concedes and writes a farewell letter to Alfredo. At a ball given by her friend Flora Alfredo and Violetta clash: Violetta has taken it upon herself to convince Alfredo that she is in love with Baron Douphol. Alfredo has won a large sum of money at the gambling tables. Overcome by jealousy, he hurls his winnings at Violetta’s feet, publicly declaring this to be the “fee” for her “favours”. One month later, with Paris in the grip of carnival fever, Violetta is at death’s door, having suffered a relapse. Now that his father has revealed the true reasons for her actions, Alfredo hurries back. Violetta forgives Alfredo for his conduct, releases him and dies.

traviata5La Traviata was Verdi’s only opera to be set among the Parisian middle classes of the day. It is based on the acclaimed novel The Lady of the Camellias by Alexandre Dumas fils, which is a critical portrayal of the Parisian demi-monde and charts the story of Marie Duplessis, a noble courtesan who died from consumption in 1847 at the age of 23. While Dumas paid considerable attention to social networks and relationships, Verdi and his librettist Francesco Maria Piave focused entirely on the conflict between Violetta, Alfredo and his father Giorgio. Their drama concerns itself only with internal conflicts and focuses on the three phases in the fortunes of Violetta Valery – love, renunciation and death.

traviata7By presenting Violetta’s tribulations in the form of a retrospective narrative Götz Friedrich has given his tragedy the atmosphere of a requiem. No sooner has the opera begun than we see the protagonist on her deathbed, surrounded by the dark vastness of the stage, which resembles a gigantic tomb. As the ball begins Violetta, now in ballroom attire, rises from the bed, which has become a divan. Suddenly the doors burst open and in pours the frolicking Parisian crowd, intent on its frivolous entertainment. The flashback begins. Shunning sentimentality and trivial frankness, Friedrich’s production reaches deep into the characters, laying bare the inner drama and bringing the gloom and fatalism of the piece to the fore.

Kindly supported by Krone Management and Technologies and by Klaus Krone

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RIGOLETTO in Latvia

Posted on December 24, 2014 by editoreusa
latvialogoGiuseppe Verdi

RIGOLETTO

03:00 The Main Hall
Premiere: 2014-09-18
Performance: January 9, 2015, 7 PM
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Music Director and Conductor: Martins Ozolins
Conductor: Normunds Vaicis
Stage Director: Margo Zālīte
Set Designer: Aída-Leonor Guardia
Costume Designer: Liene Dobraja
Dramaturge: Johanna Mangold
Light Designer: Stefan Bolliger
Video: Ineta Sipunova
Choreographer: Dace Kravale
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CAST
Rigoletto: Samsons Izjumovs, Armands Siliņš
Gilda: Olga Pudova, Inga Šļubovska, Julija Vasiljeva
Duke of Mantua: Rame Lahaj, Raimonds Bramanis
Sparafucile: Krišjānis Norvelis, Romāns Poļisadovs
Maddalena: Kristīne Zadovska, Irma Pavāre
Count Monterone: Rihards Mačanovskis, Armands Siliņš
Marullo: Rihards Millers, Juris Ādamsons
Borsa: Guntars Ruņģis, Nauris Puntulis
Count Ceprano: Viesturs Vītols, Kārlis Saržants
Countess Ceprano: Dana Bramane, Laura Grecka
Giovanna: Andžella Goba, Liene Lasmane-Vītola
A Court Usher: Viesturs Vītols, Kārlis Saržants
A Page: Laura Grecka, Anastasia Lebedyantseva
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The cynical jester of the dissolute hedonist duke has a secret – his beloved daughter Gilda. The duke, for whom sanctity does not exist, seduces young maiden. Deeply hurt, her father’s revenge turns back on himself… OperaRigoletto by Giuseppe Verdi earned resounding success already in its Venice premiere in 1851 and love of the public has only increased ever since, elevating this masterpiece into the ranks of the most recognized operas of the world.

This staging of Rigoletto in Latvian National Opera will present opera director Margo Zālīte, master’s program graduate from Hanns Eisler School of Music Berlin, to our opera audiences.  Rigoletto4

SYNOPSIS

Act 1

A lavish celebration in the castle of the Duke. The Duke, a carefree man of pleasure, tells of a new beauty he has seen in the church. Her name is unknown, but he has learned that she is visited by a stranger every night at her home. Duke is determined to see her again and seduce her, but then he notices Countess Ceprano with her husband among the arrivals. Before Count’s eyes, the Duke invites her to follow him to his private chambers. Having observed this scene, Rigoletto derides the cuckolded Count and exposes him in public. Count swears to revenge his honour.  Meanwhile, Marullo reveals to the guests that Rigoletto has a secret mistress.Rigoletto5

The ball turns increasingly bacchanal. At its climax, Count Monterone arrives and accuses the Duke for defamation of his daughter. Rigoletto reviles humiliated father, who, in turn, curses the Duke and Rigoletto alike. The party is over.

A dark little street. Rigoletto is tormented by the curse of Monterone. The contract killer Sparafucile approaches, and offers his services. At first, Rigoletto refuses his offer, but then he realizes how alike the two of them are – assassin’s weapon is his sharp sword, while his is his biting tongue.Rigoletto6

Rigoletto has his daughter Gilda waiting for him at home. She asks her father to reveal the mystery of his name and family, but Rigoletto is evasive.

Gilda turns to her governess Giovanna and confesses that she has met an attractive man in the church and fallen in love with him. Suddenly, the disguised Duke appears and opens his feelings to Gilda. Alone again, Gilda falls into reverie over her newly found love.

Meanwhile, courtiers prepare to kidnap the mistress of Rigoletto. When Rigoletto arrives, they claim their intentions to abduct the Countess Ceprano, who lives nearby. Rigoletto is ready to join in the act and allows to be blindfolded for that by the courtiers. It is too late when he realizes that he has been misled. Gilda has already been taken kidnapped. Rigoletto7

Act II

In one of the castle halls, Duke deplores disappearance of his beloved Gilda. Marullo arrives to confirm the abduction of Rigoletto’smistress and the fact that she is now in the castle.

Rigoletto arrives. Courtiers observe him gleefully, but Rigoletto preserves the façade of calm. Then he collapses and reclaims his daughter.Rigoletto8

Gilda arrives and tells in distress that she has been seduced by the Duke. Rigoletto drives away the courtiers to be able to remain alone with his daughter. Now, Gilda tells her father the history of fer and Duke. Monterone, who has fallen out of grace, crosses the hall to be taken to jail. Rigoletto swears his revenge – he will make the Duke pay by death for daughter’s dishonour.

Act III

A dilapidated night-shelter in a godforsaken place – it is home of Sparafucile and his sister Maddalena who helps her brother in committing murder and robbery. The Duke appears and flippantly demands Maddalena and wine. Intoxicated, he teases inconstancy of women in a song. Rigoletto and Gilda observe this scene from outside. Gilda realizes that Duke is an unfaithful man, but cannot stop loving him.Rigoletto9

Sparafucile demands a half of his fee for the intended assassination of the Duke, and they shake hands about the condition, that the dead body will be received in a bag. Rigoletto orders Gilda to dress herself as a man and go to Verona and wait for him there.

Duke goes to sleep. Maddalena, consumed by a sudden passion for Duke, implores her brother to spare him. Sparafucile resists. Then, Maddalena suggests they should kill the next arrival to knock at their door. Having ignored her father’s orders, Gilda over-hears their conversation in secret. Her desire is to save the Duke and she takes decision to die instead of him.Rigoletto10

Rigoletto returns and receives a dead body wrapped in a bag. Rejoicing in the success of his plot, he sinks to the ground, but, next, count’s singing begins to be heard. Full of darkest premonitions, Rigoletto opens the bag to find his daughter dying. The curse of Monterone has been fulfilled.

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“Hänsel und Gretel” in Croatia

Posted on December 23, 2014 by editoreusa

croatianLogoEngelbert Humperdinck

Hänsel und Gretel

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From Thursday, December 4, 2014, one of the best works of the German composer Engelbert Humperdinck, opera Hansel and Gretel, is back on the repertoire. The librettist is Adelheid Wette after the famous story of the Grimm brothers. The stage director is Ivan Leo Lemo and the conductor is Sasa Britvic.gretel2

The music score is filled with lovely music and folk-like melodies. In history it held a significant role because it introduced, according to Josip Andreis aspirit of true, unfixed simple art, equally distanced from the Wagnerian symbolism and the brutality of the bloody Veristic jealousy into the German music of the late 19th century.gretel3

Humperdinck’s music draws on children’s songs and popular melodies of unknown origin, which incites childhood memories in listeners and spectators. Due to an exceptionally popular story and the freshness of the music expression, spontaneity and technical skilfulness, this work marked a turning point in German music opus and permanently holds a place in the world opera repertoire. The Zagreb audience had the opportunity to see the story of two siblings Hansel and Gretel, that are attracted to a house made of candy and are then imprisoned by an evil witch who wishes to eat them only two years after the opening night. Its last production, the fourth staging at the CNT Opera was in 2013, with Sasa Britvic as conductor and Ivan Leo Lemo as stage director. Respecting the fairytale-like literary model, this performance at first glance is attractive for its playfulness and colourfulness of the spectacle, but also presents the biggest omnipresent problems of the modern capitalist society.

gretel4Hansel and Gretel are very poor gypsy children who live on the outskirts of a metropolis, by a dump. Piles of garbage that are produced by certain people and the neediness of others in everything, in a discrete manner suggest the social class and racial awareness of the performance. While children in a neglected forest contaminated by garbage try to find food, they come upon a witch’s Disneyland in which resides a dressed-up witch who turns children into honey cookies in order to eat them or use them as building material. Even though it is very real in its critique of terms like capitalism, consumerism, manipulations, illusions, lies and luxury, this performance does not cease to be entertaining, funny and fairytale–like and is fun for all age groups. Ivanka Boljkovac, Helena Lucić Šego and Marija Kuhar Šoša with their impressive interpretations, connecting the musical and the stage aspect of the performance, in great part contributed to the exceptional success of this performance. The performance is in the Croatian language which additionally enables an easier following of the story.

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In 1881, the twenty-year old Engelbert Humperdinck became an associate of Richard Wagner in Bayreuth. The last two years of maestro’s life and the intensive cooperation on Parsifal left an inerasable trace on the artistic credo and style of the young composer. Ten years later, he completed his masterpiece opera Hänsel and Gretel inspired by the fairy-tale of the Grimm brothers. Humperdinck has kept Wagner’s compositional style and leitmotif. However, the fairy-tale opera (Märchenoper) reaches out for children’s songs and popular melodies whose origins are not known and seem to be lost through a haze of time. The result is fascinating music, as deep as a lake filled with German legends, but at the same time unusually close, because it calls out for childhood memories after which we have wondered off into the woods and fallen into the witch’s candy and gingerbread house.

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The Vocal Score of van Westerhout’s great opera Doña Flor is now available!!

Posted on December 18, 2014 by editoreusa

Doña Flor, The Vocal Score, Is Now Available!!

Doña Flor is a lyrical drama in one act with music by Niccolò van Westerhout and libretto by Arturo Colautti, which was performed for the first time April 18, 1896.
Composed for the theater in Mola di Bari already named after van Westerhout, Doña Flor was conceived keeping in mind its dimensions, insufficient to contain large vocal and instrumental ensemble, or to allow dazzling scenic changes.
The scene is only one, singers and orchestra members were reduced to the minimum necessary: three protagonists, a gondolier’s chorus out of scene. For the first performance, the orchestra members were forty-three, upon request of the composer, apportioned among strings, harp, cymbals and woodwinds. From such a calibrated orchestra, source of infinite symphonic and psychological hues, Niccolò draws with the alertness of not covering the singing.
Doña Flor is one of the most beautiful and outstanding Nineteenth century’s Italian operas; an opera that deserves to be placed among others whose fate was less transient and whose creators more lucky.

Doña Flor è un’opera in un atto con musiche di Niccolò van Westerhout e libretto di Arturo Colautti, che andò in scena per la prima volta il 18 aprile 1896.
Composta per il teatro di Mola di Bari già dedicato a van Westerhout, Doña Flor fu ideata tenendo conto delle sue dimensioni, insufficienti ad accogliere grandi complessi vocali e strumentali, e tanto meno a permettere molteplici cambi scenografici.
La scena è unica, cantanti e orchestrali sono ridotti allo stretto necessario: tre protagonisti, un coretto di gondolieri fuori campo. Per la rappresentazione di Mola, l’organico dell’orchestra prevedeva quarantatré elementi, per volontà dell’autore, tra archi, fiati, arpa e timpani. Dall’orchestra ben calibrata, fonte d’infinite gradazioni sinfoniche e psicologiche, Niccolò attinge con l’accortezza di non coprire il canto.
Doña Flor è una tra le opere italiane più belle e singolari della fine dell’Ottocento; un’opera che può ben figurare accanto ad altre la cui sorte è stata meno caduca e i cui artefici più fortunati.

donaFlorScore

AVAILABLE NOW FROM AMAZON.COM, BARNES & NOBLE AND MOST MUSIC BOOKSELLERS

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Die Fledermaus in Moldova

Posted on December 18, 2014 by editoreusa

moldova

Die fledermaus

24.12.2014

Author: Johann Strauss II
Original name: Die Fledermaus
Gender: Operetta

Libretto: Nikolai Erdman and Mihai Volipin
After the story “Le Reveillon” by Henri Melhac and Ludovic Halévy
Gender: Operetta

Stage Director: Mihai Timofti Maestru în Artă
Music Director: Dumitru Cârciumaru
Set Designer and Costume designer: Ludmila Furdui Maestru în Artă
Choreography: E.Gîrneţ, Maestru în Artă

Conductor: Marin Balan, Maestru in Arta

Choir master: Ion Brătescudie1

World Premiere: 5 April 1874, at Theater an der Wien, Viena.
Premiere in Chisinau: 19 April 1965, at State Moldovan Theatre of Opera and Ballet„A.S.Pushkin”.
The premiere of the last version: 20th june 2013, The Natioanal Opera and Ballet Theater “Maria Bieşu”

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Roles and performers

Eisenstein

Rosalinda

Frank

Orlovski

Alfred

Dr. Falke

Dr. Blind

Adela

Frosch

Ivan

Nicolae Busuioc, Artist al Poporului

Rodica Picireanu

Robert Hvalov

Adrian Tampau

Ion Timofti, Maestru in Arta

Alexei Digore

Vasile Micusa

Lilia Solomei, Artista Emerita

Mihai Timofti, Maestru in Arta

Vasile Munteanu

SYNOPSIS——————————————————————————–

The action takes place in the last day of 1870 year and New Year’s Eve 1870-1871, in Austrian castle Weinbergdie2

ACT 1

Eisenstein’s apartment

Gabriel von Eisenstein has been sentenced to eight days in prison for insulting an official, partially due to the incompetence of his attorney, Dr. Blind. Adele, Eisenstein’s maid, receives a letter from her sister, who is in the company of the ballet, inviting her to Prince Orlofsky’s ball. She pretends the letter says that her aunt is very sick, and asks for a leave of absence (“My sister Ida writes to me”). Falke, Eisenstein’s friend, arrives to invite him to the ball (Duet: “Come with me to the souper”). Eisenstein bids farewell to Adele and his wife Rosalinde, pretending he is going to prison (Terzett: “Oh dear, oh dear, how sorry I am”) but really intending to postpone jail for one day and have fun at the ball.

After Eisenstein leaves, Rosalinde is visited by her lover, the singing teacher Alfred, who serenades her (“Dove that has escaped”). Frank, the governor of the prison, arrives to take Eisenstein to jail, and finds Alfred instead. In order not to compromise Rosalinde, Alfred agrees to pretend to be Eisenstein and to accompany Frank. (Finale, drinking song: “Happy is he who forgets” followed by Rosalinde’s defence when Frank arrives: “In tête-à-tête with me so late”and Frank’s invitation: “My beautiful, large bird-cage.”)die3

ACT 2

A summer house in the Villa Orlovsky

It turns out that Falke, with Prince Orlofsky’s permission, is orchestrating the ball as a way of getting revenge on Eisenstein. The previous winter, Eisenstein had abandoned a drunken Falke dressed as a bat (and thus explaining the opera’s title) in the center of town, exposing him to ridicule the next day. As part of his scheme, Falke has invited Frank, Adele, and Rosalinde to the ball as well. Rosalinde pretends to be a Hungarian countess, Eisenstein goes by the name “Marquis Renard,” Frank is “Chevalier Chagrin,” and Adele pretends she is an actress.
The ball is in progress (Chorus: “A souper is before us”) and the Prince welcomes his guests (“I love to invite my friends”). Eisenstein is introduced to Adele, but is confused as to who she really is because of her striking resemblance to his maid. (“My lord marquis,” sometimes referred to as “Adele’s Laughing Song”).
Then Falke introduces the disguised Rosalinde to Eisenstein (Csárdás: “Sounds from home”). During an amorous tête-à-tête, she succeeds in extracting a valuable watch from her husband’s pocket, something which she can use in the future as evidence of his impropriety. (Watch duet: “My eyes will soon be dim”). In a rousing finale, the company celebrates (The Drinking song: “In the fire stream of the grape”; followed by the canon: “Brothers, brothers and sisters”; and the ballet and waltz finale, “Ha, what joy, what a night of delight.”)die4

ACT 3

In the prison offices of Governor Frank

The next morning they all find themselves at the prison where the confusion increases and is compounded by the jailer, Frosch, who has profited by the absence of the prison director to become gloriously drunk.
Adele arrives to obtain the assistance of the Chevalier Chagrin (Melodrama; Couplet of Adele: “If I play the innocent peasant maid”) while Alfred wants nothing more than to get out of jail. Knowing of Eisenstein’s trickery, Rosalinde wants to begin an action for divorce, and Frank is still intoxicated.
Frosch locks up Adele and her sister Ida, and the height of the tumult arrives when Falke appears with all the guests of the ball and declares the whole thing is an act of vengeance for the “Fledermaus”. (Trio between Rosalinde, Eisenstein, Alfred: “A strange adventure”). Everything is amicably arranged (with Eisenstein blaming the intoxicating effects of champagne for his act of infidelity and Orlofsky volunteering to support Adele’s artistic career), but Eisenstein is compelled to serve his full term in jail (Finale, “Oh bat, oh bat, at last let thy victim escape”).

The National Opera and Balet Theatre Maria Bieşu RM
MD – 2012, mun. Chişinău, BD. ŞTEFAN CEL MARE, 152
Box office: tel. +373 (22) 24-51-04,

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La Traviata in Prague at the Czech National Theatre

Posted on December 17, 2014 by editoreusa

 

TraviataLnationaltheatreibretto: Francesco Maria Piave
Musical preparation: Enrico Dovico
Conductor: Martin Leginus
Stage director: Arnaud Bernard
Sets: Alessandro Camera
Costumes: Carla Ricotti
Chorus master: Adolf Melichar

State Opera Orchestra

State Opera Chorus

Premiere: October 5, 2006

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Giuseppe Verdi’s La traviata, to the libretto based on Alexandre Dumas’s novel La Dame aux camélias, about Marie Duplessis, the famous courtesan and idol of Parisian society in the 1840s, is actually the very first significant opera to a contemporary social theme. The work’s premiere in 1863 in Venice was, however, a fiasco: the audience was appalled that the lead role had been assigned to a courtesan who, what’s more, was portrayed in a positive light. Yet Verdi’s opera soon started garnering plaudits and is now one of the most popular repertoire titles the world over. La traviata has been staged by the opera house (today’s State Opera) in Prague since the very beginning of its existence, when it took over the production from the German Estates Theatre.

la-traviata-so-1The opera primarily afforded the opportunity to host celebrated foreign singers, including the legendary Australian soprano Nellie Melby (18 April 1900). The most recent production was undertaken in 2006 by a foreign team headed by the French stage director Arnaud Bernard, with the music being explored by the Italian conductor Enrico Dovico. It is one of the most popular State Opera titles and has been performed to great acclaim abroad too (including Japan, 2007). You will have the opportunity to see only three performances of this production, within the Verdi Festival at the very beginning of the season. Subsequently, during the season you can attend Jana Kališová’s production at the National Theatre.traviata-so-df-001web

The opera is staged in Italian original version and Czech and English surtitles are used in the performance.

Duration of the performance: 2 hours and 45 minutes with 2 intermissions

PERFORMANCES

December 18, 30, 2014

January 28, 2015

February 3, 2015

March 7, 17, 28, 2015

April 4, 2015

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CAST

jana-sibera2013cVioletta Valéry Jana Sibera

 

 

 

berger-peter-cbAlfredo Germont Peter Berger

 

 

 

ssem29Giorgio Germont Svatopluk Sem

 

 

 

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mugrova-sylvaFlora Bervoix Sylva Čmugrová

 

 

 

hruska-jiriGaston Jiří Hruška

 

 

 

apkovic-danielBarone Douphol Daniel Čapkovič

 

 

 

ivohrachovecMarquis D’Obigny Ivo Hrachovec

 

 

 

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jarkovska-erika-1Annina Erika Vocelová Jarkovská

 

 

 

olegkorotkovDoctor Grenville Oleg Korotkov

 

 

 

Commissario Nikola Tašev

Giuseppe Jindřich Nečesaný

Domestico di Flora Michael Skalický

traviata-so-df-316web

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Rusalka in the Czech Republic

Posted on December 17, 2014 by editoreusa

nationaltheatre

RusalkaLibretto: Jaroslav Kvapil
Musical preparation: Jakub Hrůša
Conductor: Zbyněk Müller
Stage director: Jiří Heřman
Sets: Jaroslav Bönisch
Costumes: Alexandra Grusková
Lights: Daniel Tesař
Chorus master: Pavel Vaněk
Choreography: Jan Kodet
Dramaturgy: Beno Blachut

National Theatre Orchestra

National Theatre Chorus

Ballet of the National Theatre Opera

Premiere: May 13, 2009rusalka-nd

Dvořák’s Rusalka is a true gem of Czech opera, one that has won over audiences worldwide. The composer’s ardent melodies, both tender and dramatically extreme, his masterful work with musical motifs and full-blooded orchestration, as well as Jaroslav Kvapil’s fairy-tale libretto, evoking Erben’s immensely forcible ballads, make Rusalka a work of fascinating beauty addressing audiences of all ages. Rusalka is customary deemed a “mere” fairy-tale. To be sure, there is no doubt that the fantastic story and the characters of the nymphs, water goblin or the witch are of a fairy-tale nature, yet in its fairy-tale scenes Dvořák’s paramount operatic work bears an enciphered yet profound message about the fundamental order of powers, elements, energies and passions in the natural, therefore also human, world.rusalka-nd-1

Orchestra, Chorus and Ballet of the National Theatre Opera.

The opera is staged in Czech original version and English surtitles are used in the performance.

Photo: Hana Smejkalová, Petra Hajská and Petr Neubert

Duration of the performance: 3 hours and 10 minutes, 2 intermissions

PERFORMANCE DATES:
Thursday, 18 December 2014
Friday, 16 January 2015
Thursday, 12 February 2015
Thursday, 5 March 2015
Tuesday, 17 March 2015
Wednesday, 22 April 2015

rusalka-nd-2-1

CAST

Rusalka Dana Burešová

Prince Aleš Briscein

Walter Goblin Miloslav Podskalský

Witch, Foreign Princess Denisa Hamarová

First Wood Sprite Yukiko Šrejmová Kinjo

Second Wood Sprite Lucie Hájková

Third Wood Sprite Václava Krejčí Housková

Turnspit Michaela Šrůmová

Gamekeeper/Hunter František Zahradníček

rusalka-nd-4 rusalka-nd-5 rusalka-nd-6 rusalka-nd-7

rusalka-nd-8 rusalka-nd-9 rusalka-nd-10 rusalka-nd-11

The National Theatre

Ostrovní 1
112 30 Praha 1

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The Israeli Opera presents “The Magic Flute” in Tel Aviv

Posted on December 17, 2014 by editoreusa

 

 

israeli opera

The Magic Flute

Wolfgang Amadeus Mozart
Hebrew translation: Ehud Manor

Papageno the bird catcher embarks on a perilous journey to find princess Pamina and return her to prince Tamino who lovers her and waits for her. On his journey he will encounter the Queen of the Night and her three ladies and at the end of the day will also find love. Mozart’s beloved opera in a special version for the entire family with colorful costumes.

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Original Director Niv Hoffman
Director Shirit Lee Weiss

CAST

Drori Eitan, tenor

Drori Eitan, tenor

Tamino

 Eitan Drori, tenor, was born in Israel. He performed as a soloist with the Israel Chamber Orchestra, The Ramat Gan Orchestra, The Haifa Symphony Orchestra, the Israel Symphony Orchestra Rishon LeZion, The Raanana Symphonette Orchestra, The Herzliya Chamber Orchestra, the Jerusalem Baroque Orchestra, the Jerusalem Symphony Orchestra, the Israel Camerata and others. He performed in various local festivals including Kfar Bloom and Abu Gosh. He received the AICF, the Ronen, the IVAI and the Eli Leon scholarships. He performed Alfred in Die Fledermaus (J. Strauss) with the Israeli Opera Studio. Eitan Drori is a member of the Israeli Opera’s Meitar Opera Studio where his repertoire includes Tamino in Die Zauberflote, Don Ottavio in Don Giovanni, Ferrando in Cosi fan tutte (Mozart), Nemorino in L’elisir d’amore (Donizetti), Gaston in La traviata (Verdi) and other roles. At the Israeli Opera he performed Don Ottavio in Don Giovanni (Mozart) in Akko and the Judge in Un ballo in maschera (Verdi).
Kopel Liran, tenor

Kopel Liran, tenor

Tamino

  

Liran Kopel, tenor, was born in Israel. He studies at the Jerusalem Academy of Music and Dance. He performed with most leading vocal ensembles in Israel including the New Vocal Ensemble, the Moran Ensemble and the Israeli Opera Chorus. He performed as a soloist with the Israel Chamber Orchestra, the Raanana Symphonette Orchestra, the Ramat Gan Chamber Orchestra, the Abu Gosh Festival and others. His operatic repertoire includes Belfiore in La finta giardiniera (Mozart), Beppe in Rita (Donizetti) and Ramiro in La Cenerentola (Rossini). At the Israeli Opera he performed as Tamino in a community production of Die Zauberflote (Mozart).
Knaani Goni, soprano

Knaani Goni, soprano

Pamina

 Goni Knaani, soprano, was born in Israel. She studied at the Buchman-Mehta School of Music at the Tel Aviv University. Her repertoire includes Donna Elvira in Don Giovanni (Mozart), Euridice in Orfeo ed Euridice (Gluck) and other roles. Her concert repertoire includes Psalm 42 (Mendelssohn), German Requiem (Brahms) and other works. She received scholarships and won competitions at the Buchman-Mehta School of Music Goni Knaani is a member of the Israeli Opera’s Meitar Opera Studio were her repertoire includes Gretel in Hansel and Gretel (Humperdinck), Susanna in Le nozze di Figaro, Pamina and the First Lady in Die Zauberflote, Donna Anna in Don Giovanni, Fiordiligi in Cosi fan tutte (Mozart) and other roles.
Polishook Yair, baritonePapageno Yair Polishook, baritone, was born in Israel. He graduated from the Jerusalem Academy of Music and Dance. He performs in concerts all over Israel including with the Israel Symphony Orchestra Rishon LeZion, the Jerusalem Baroque Orchestra, the Raanana Symphonette Orchestra and others. He performed Fiorello in Il barbiere di Siviglia (Rossini) with the Israel Philharmonic Orchestra and with the Israel Sinfonietta Beersheva, Aeneas in Dido & Aeneas (Purcell), Figaro in Le nozze di Figaro (Mozart), as well as in the operas The Cheater (Avidom) and The Bald Soprano (Israel Sharon). His liturgical repertoire includes Messiah (Handel), St. Matthew’s Passion (Bach), the Faure Requiem, Schonberg’s serenade Op. 24 and other works. He is a member of the Israeli Bach Soloists. Beside his singing career he studies conducting with maestro Avner Biron. He received the AICF, Ronen Foundation and Eli Leon scholarships. Yair Polishook is a member of the Israeli Opera’s Meitar Opera Studio where his repertoire includes Papageno in Die Zauberflote, Leporello in don Giovanni, Guglielmo in Cosi fan tutte (Mozart), Belcore in L’elisir d’amore (Donizetti) and other roles. At the Israeli Opera he performed Leporello in Don Giovanni (Mozart) in Akko, the Mad Hatter in Alice in Wonderland (Sebba), the Marchese in La traviata, Ceprano in Rigoletto (Verdi), Schlemil in Les Contes d’Hoffmann (Offenbach), the Notary in Don Pasquale (Donizetti) and others.
Ketzef Tali, sopranoPapagena

Tali Ketzef, soprano, was born in Israel. She studied at the Buchman-Mehta School of Music at the Tel Aviv University. Her repertoire includes Donna Elvira in Don Giovanni (Mozart), Euridice in Orfeo ed Euridice (Gluck) and other roles. Her concert repertoire includes Psalm 42 (Mendelssohn), German Requiem (Brahms) and other works. She received scholarships and won competitions at the Buchman-Mehta School of Music Goni Knaani is a member of the Israeli Opera’s Meitar Opera Studio were her repertoire includes Gretel in Hansel und Gretel (Humperdinck), Susanna in Le nozze di Figaro, Pamina and the First Lady in Die Zauberflote, Donna Anna in Don Giovanni, Fiordiligi in Cosi fan tutte (Mozart) and other roles.
Grestova Lilia, sopranoQueen of the Night Lilia Gretsova, soprano, was born in Russia and immigrated to Israel. She performed in many concerts throughout Israel including with the Jerusalem Symphony Orchestra, IBA, the Israel Symphony Orchestra Rishon LeZion, the Raanana Symphonette Orchestra and the Haifa Symphony Orchestra. Her wide concert repertoire includes Carmina Burana (Orff) and the Faure requiem. She has received scholarships from the AICF as well as the Berkovic, the Eli Leon and the Industrial-Commercial Club scholarships. Lilia Gretsova was a member of the Israeli Opera’s Opera Studio where her repertoire included the Queen of the Night and the First Lady in Die Zauberflote (Mozart), Rosalinde in Die Fledermaus (J. Strauss), Euridice in Orfeo ed Euridice (Gluck) and Gretel in Hansel und Gretel (Humperdinck). At the Israeli Opera she performed Mrs. Stoat in The Cunning Little Vixen (Janacek) and the Wailing Woman in The Child Dreams (Shohat). At the Israeli Opera she performed as the First Lady in Die Zauberflote (Mozart) and as Aksinia in Lady Macbeth of Mtsensk (Shostakovich). She also performs as the lead singer in the dance opus Rooster (Barak Marshall), a co production of the Israeli Opera and the Suzanne Della Center.
Gurtler Avigail, sopranoQueen of the Night Avigail Gurtler, soprano, was born in Israel. She graduated from the Jerusalem Academy of Music and Dance, where she studied with Miriam Meltzer and David Sebba. She performed in concerts all over Israel, including at the Abu Gosh Festival and the Jerusalem Arts Festival in varied repertoire including works by Pergolesi (Laudate Pueri), Beethoven (Mass in C), Mendelssohn (Psalm 42) and Haydn (Nelson Mass). During her studies she has performed the Queen of the Night in Die Zauberflote (Mozart). She is the winner of the Academy’s vocal competition for 2010, accompanied by the Israel Sinfonietta Beersheva. Avigail Gurtler is a member of the Israeli Opera’s Opera Studio where her repertoire includes the Queen of the Night in Die Zauberflote (Mozart), Gretel in Hansel und Gretel (Humperdinck), Adele in Die Fledermaus (J. Strauss), Susanna in Le nozze di Figaro (Mozart), Adina in L’elisir d’amore (Donizetti) and other roles. She performed Barbarina in Le nozze di Figaro (Mozart) in the Opera Studio production with the Israel Sinfonietta Beersheva as well as Adele in Die Fledermaus (J. Strauss) with the Jerusalem Symphony Orchestra, IBA. She performed Gretel in Hansel und Gretel (Humperdinck) with the Israel Sinfonietta Beersheva and Adina in L’elisir d’amore (Donizetti) with the Israel Chamber Orchestra. In 2012 she played Paggio in Rigoletto (Verdi). She performs in numerous Israeli Opera concerts. She performed the Queen of the Night in the Israeli Opera family production of Die Zauberflote (Mozart).
First Lady Goni Knaani
Shahar Lavi, Mezzo sopranoSecond Lady

Shahar Lavi, mezzo soprano, was born in Israel. She studied at the Buchman-Mehta School of Music at the Tel Aviv University. Her repertoire includes Cherubino in Le nozze di Figaro (Mozart), Orfeo in Orfeo ed Euridice (Gluck), Rosina in Il barbiere di Siviglia (Rossini) and other roles. Her concert repertoire includes Mozart’s requiem and Coronation Mass, the Bach Magnificat, Vivaldi’s Gloria and Rossini’s Petite Messes Solennelle. She received scholarships and won competitions at the Buchman-Mehta School of Music and also received the AICF, IVAI and Ronen scholarships. Shahar Lavi is a member of the Israeli Opera’s Meitar Opera Studio were her repertoire includes Hansel in Hansel und Gretel (Humperdinck), Cherubino in Le nozze di Figaro, Second Lady in Die Zauberflote (Mozart), the title role in La Cenerentola (Rossini) and other roles.
Nitzan Yogev-Alon, mezzo sopranoThird Lady Nitzan Yogev-Alon, mezzo soprano, was born in Israel. She studied at the Jerusalem Academy for Music and Dance as well as at the Mendelssohn Hochschule fur Musik und Theater in Leipzig. Her repertoire includes the Flower/Neighbor in L’absence (Sara Nemtsov) at the Munich Biennale, Zefka in The Dairy of the One Who Disappeared (Janacek) at the Kfar Bloom Festival and other roles. Her concert repertoire includes among others, the Mozart Requiem, Magnificat (Bach), Petite Messe Solennelle (Rossini), Magnificat (Vivaldi), Nelson Mass (Haydn) and many other works. She performed as a soloist with the Raanana Symphonette Orchestra and other orchestras. She received the Chabas scholarship for young promising singers. Nitzan Yogev is a members of the Israeli Opera’s Meitar Opera Studio where her repertoire includes the Witch in Hansel and Gretel (Humperdinck), Marcellina in Le nozze di Figaro and the Third Lady in Die Zauberflote (Mozart).
TUE 16.12.14 17:00
TUE 6.1.15 17:00
TUE 10.2.15 17:00
WED 4.3.15 10:30
SUN 5.4.15 10:30
TUE 14.4.15 17:00

Ticket Price: 30 Nis

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Puccini’s “La Rondine” in Tel Aviv

Posted on December 16, 2014 by editoreusa

israeli opera

La Rondine

Giacomo Puccini

Can romantic love be genuine and blossom? Puccini presents a touching love story about a boy and a girl who fall in love but are not able live happily ever after replete. with beautiful arias in his own personal magical style.

Libretto: Giuseppe Adami

rondinea

Conductor Frederic Chaslin
Eithan Schmeisser
Director Nicolas Joel
Revival Director Stephane Roche
Set Designer Ezio Frigerio
Costume Designer Franca Squarciapino
Lighting Designer Vinicio Cheli
revival lighting director Jacopo Pantani

Among the soloists

Magda Angela Gheorghiu
Aurelia Florian
Ira Bertman
Ruggero Zoran Todorovic
Avi Klemberg
Prunier Marius Brenciu
Luca Lombardo
Lisette Alla Vasilevitsky
Hila Baggio
Rambaldo Vladimir Braun
Yvette Shiri Hershkovitz
Bianca Efrat Ashkenazi
Suzy Shay Bloch
Gobin Eitan Drori
Perichaud Yair Polishook
Crebillon Anton Alexeev
Georgette Goni Knaani
Gabriella Tal Bergman
Lolette Nitzan Yogev-Alon
Young Man Liran Kopel
Rabonnier Anatoli Krasik
Butler Yair Polishook

The Israeli Opera Chorus
Chorus Master: Ethan Schmeisser
The Opera Orchestra – The Israel Symphony Orchestra Rishon LeZion

English & Hebrew Surtitles
Translation: Israel Ouval

New Production
Sung in Italian
Duration: approx. 3 hours

rondineb

Day Date Hour Back Stage Tours Opera Talkback
FRI 9.1.15 13:00
SAT 10.1.15 20:00
* MON 12.1.15 20:00
TUE 13.1.15 20:00 18:30 After the show
WED 14.1.15 20:00 18:30 After the show
FRI 16.1.15 13:00
SAT 17.1.15 20:00
SUN 18.1.15 20:00 18:30 After the show
MON 19.1.15 20:00 18:30
THU 22.1.15 20:00 After the show
FRI 23.1.15 13:00
SAT 24.1.15 20:00

* PREMIÈRE
** Towards Opening – SAT 3.1.15, 11:00
*** A pre-performance lecture (in Hebrew) is held one hour before every performance. Free admission for tickets holders.

ACT I

An elegant salon in Magda’s house in Paris
Magda, the mistress of the rich banker Rambaldo, is serving tea for her guests. Yvette. Bianca and Suzy laugh at the poet Prunier, who is holding forth about his theories of love. When he speaks approvingly of sentimental love, Magda’s maid Lisette tells him he does not know what he is talking about. Prunier is offended and Magda dismisses Lisette. Prunier insists that everyone is prey to romantic love; to prove his point he starts the story of his latest heroine, Doretta, who spurned a king’s ransom for love. When Prunier admits he does not know how to finish his song, Magda improvises a second verse, telling how Doretta lost her heart to a student. All the guests are charmed by her performance, Rambaldo so much so that he presents her with a pearl necklace.
Lisette announces a stranger who has been repeatedly inquiring for Rambaldo. Rambaldo asks Magda for permission to receive the son of an old school friend. Magda describes a youthful escapade she once had at Bullier’s, where she met a charming student with whom she had a delightful flirtation. The girls suggest Magda’s story to Prunier as the subject for one of his songs but he retorts that he prefers perverse heroines like Berenice and Salome.
Prunier takes the girls on one side to demonstrate his skills at palmistry. Lisette shows in the visitor. Ruggero Lastouc and Rambaldo reads a letter he has brought from his father. Meanwhile, Prunier, reading Magda’s palm, tells her she is like a swallow, eager to migrate towards the sun and true love. Ruggero, who has never been to Paris before, expresses his excitement at being in the city and Rambaldo calls on the others to suggest a suitable place of entertainment for the evening. Prunier advises Ruggero to go to bed. Lisette interrupts and recommends Bullier’s.
After Ruggero has left Magda chides tbe others for making fun of Ruggero. Her guests leave and Magda tells Lisette she will be staying in; but after a moment’s reflection she impulsively decides to go to Bullier’s and hurries off to change. Soon Lisette comes tiptoeing in, dressed up to go out; Prunier is waiting for her. He tells her he dislikes her hat, which is Magda’s, and Lisette goes to change it. They steal off together.

rondinec

ACT II

At Bullier’s
A pleasure-seeking crowd of students, artists and flower girls fills the place with animated chatter. Suddenly their attention is caught by Magda, who enters shyly. Some young men gather round her but she escapes them and hurries over to the table where Ruggero is sitting alone. She apologizes and explains that she will leave him as soon as the young men are no longer watching. Ruggero, who does not recognize her, gently urges her to stay and they chat amicably; she reminds him of the girls back home. Ruggero persuades her to dance. Soon the dance floor is crowded.
Prunier and Lisette appear. They are having an argument because of Prunier’s insistence on trying to turn her into a lady, and Lisette leaves him, angry. Magda and Ruggero return to their table. When Ruggero orders two beers, Magda is filled with memories of her earlier escapade. Ruggero asks her name and she replies ‘Paulette’ and writes it on the table; Ruggero signs his name beneath it. Magda teases him about his probable love affairs, to which he replies that if he were to fall in love it would be for ever. Their mutual attraction grows in intensity and soon they arc kissing.
Lisette turns up again, now convinced that ‘Paulette’ is her mistress, a deduction that Prunier pretends not to believe. To prove his point he takes Lisette and introduces her, but Magda tries to preserve her disguise. The two couples sit at the same table and soon are toasting their love. Suddenly Prunier catches sight of Rambaldo. Upset, Magda begs Ruggero to leave her alone for a few minutes. When Rambaldo demands an explanation, she answers that he has seen it for himself and she has nothing to add. Rambaldo asks her to leave, but Magda refuses, swearing she loves Ruggero. Rambaldo bows. Magda is left alone. Ruggero joins her and the two stroll away.

ACT III
A hotel on the Riviera
For some months Magda and Ruggero have been leading an idyllic existence; they discuss their first meeting and their present happiness. Ruggero tells Magda that he has written to his mother, not just for money to pay their many debts but also for consent to his marriage to Magda. Knowing that her concealed past will make her unacceptable to Ruggero’s parents, Magda suffers as she listens to his description of wedded bliss in the bosom of his family. Ruggero goes off leaving Magda torn between her desire to tell Ruggero the truth and her wish to avoid hurting him.
Lisette and Prunier appear. Lisette is distraught because Prunier has tried to make her a music hall singer and her performance in Nice the before was a fiasco; the whistling of the audience still rings in her ears. When Magda sees them she welcomes Lisette back as her maid. Prunier gives Magda an oblique message from Rambaldo, who will be happy to take her back on any terms. Lisette goes off to resume her duties and Prunier leaves after finding out what time Lisette will be free that evening.
Ruggero returns with his mother’s letter, which he shows Magda. She reads about Ruggero’s mother’s hopes that her son has chosen a virtuous woman who will be a worthy mother of his children. Unable to keep silent any longer, Magda reveals her past, telling the stunned Ruggero that she can never be his wife. Ruggero protests and begs her not to abandon him. She tells him he must return home. Ruggero collapses while the heartbroken Magda leaves him.

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