Vincenzo Bellini’s “La Straniera” in Vienna

Posted on December 8, 2014 by editoreusa

tadw_en

Straniera_244x599La straniera

Melodramma in two acts (1829)

Music by Vincenzo Bellini
Libretto by Felice Romani based on the novel
“L´étrangère” by Charles-Victor Prévost Vicomte D´Arlincourt

In Italian with German surtitles

An enthusiastic Vincenzo Bellini wrote of Victor d’Arlincourt’s successful novel L’etrangère: “It is a book full of exciting moments, and all are new and marvellous.” In the book he found material replete with extreme characters in situations of exceptional emotion which he could use to develop his ideas of the romantic opera. In La straniera he produced his most radical score. Hector Berlioz, not one who found much to admire in Italian opera, was impressed by this music, feeling that “deep passions, painful emotion” and a “fearful cry of insane love” had been incorporated in the composition.

cast

actor role
Conductor Paolo Arrivabeni
Director Christof Loy
Set design Annette Kurz
Costume design Ursula Renzenbrink
Light design Franck Evin
Dramaturgy Thomas Jonigk
Alaide Edita Gruberova (14., 18., 22. & 26. January)
Alaide Marlis Petersen (16. 24. & 28. January)
Arturo, Conte di Ravenstel Dario Schmunck (14., 18., 22. & 26. January)
Arturo, Conte di Ravenstel Norman Reinhardt (16., 24. & 28. January)
Isoletta Theresa Kronthaler
Barone Valdeburgo Franco Vassallo
Osburgo Vladimir Dmitruk (JET)
Il Signore di Montolino Martin Snell
Il priore degli Spedalieri Stefan Cerny
Orchestra ORF Radio-Symphonieorchester Wien
Chorus Arnold Schoenberg Choir

Mon Tue Wed Thu Fri Sat Sun
January 2015
14 16 18
22 24
26 28

SYNOPSIS

Count Arturo is engaged to Isoletta, but has fallen in love with a mysterious stranger who lives alone in the woods. The villagers think she is a witch. Arturo wants to run away with her, but the stranger refuses. Arturo’s friend Baron Valdeburgo tries to persuade him to go back to Isoletta. To elicit Valdeburgo’s sympathy for his plight, Arturo takes him to the stranger. To Arturo’s astonishment, the stranger and Valdeburgo greet one another with a tender embrace. The jealous Arturo immediately fights a duel with his friend, and Valdeburgo falls into the lake. The stranger’s cry of “You have killed my brother!” explains the affectionate greeting. Arturo plunges into the lake, leaving the despairing stranger alone with the bloodstained rapier. This is how the villagers find her, and they accuse her of murdering the two men. At the trial, both men reappear, still alive, thus proving the stranger’s innocence. Arturo still refuses to give up his passion for her. On the day of his wedding to Isoletta he runs away from the altar. When it emerges that the stranger is in fact the wife of the King of France and was forced to live in exile, Arturo stabs himself.

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DON CARLO at the New National Theatre in Tokyo

Posted on December 8, 2014 by editoreusa

newDON CARLO

Music by Giuseppe VERDI
Opera in 4 acts
Sung in Italian with Japanese surtitles
Opera Palace
27 Nov. – 9 Dec., 2014

This is a masterwork from VERDI’s mature period. At the centre of this massive historic drama is the grief of a prince, whose sweetheart becomes his father’s bride. Confrontations in politics, religion and in the relationship between father and son, love and jealousy, friendship, as well as complicated intertwinement, between the characters are all expressed in the stately, dignified music. The staging by Marco Arturo MARELLI comprises a space surrounded by prison-like walls and a symbolic cross. It was first presented in 2006 and is here being re-presented 8 years later.

doncarlo

Staff

Conductor　Pietro RIZZO 

 Production and Scenery Design　Marco Arturo MARELLI

Costume Design　Dagmar NIEFIND-MARELLI

Lighting Design　YAGI Maki

Cast

 Filippo II　Rafal SIWEK

【英HP】SergioEscobar.jpg Don Carlo　Sergio ESCOBAR

【英HP】MarcusWerba.jpg Rodrigo　Markus WERBA

 Elisabetta di Valois　Serena FARNOCCHIA

 La Principessa d’Eboli　Sonia GANASSI

 Il Grande Inquisitore　TSUMAYA Hidekazu

Un frate　OTSUKA Hiroaki

Tebaldo　YAMASHITA Makiko

Il Conte di Lerma/Un araldo reale　MURAKAMI Toshiaki

Una voce dal cielo　UNOKI Eri

Chorus　New National Theatre Chorus

Orchestra　Tokyo Philharmonic Orchestra

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Rigoletto at the Bolshoi

Posted on December 8, 2014 by editoreusa

BolschoiGiuseppe Verdi

Rigoletto

Opera in three acts

Festival d’Aix-en-Provence, Opéra national du Rhin (Strasburg), Théâtre Royale de la Monnaie (Belgium), Grand Théâtre de Genève and Bolshoi Theatre of Russia CoproductionRigoletto2

Will be premiered at the Bolshoi Theatre on 14 December 2014

14 december 2014 18:00
16 december 2014 19:00
17 december 2014 19:00
18 december 2014 19:00
19 december 2014 19:00

Presented with one interval.

rigoletto1Music Director: Evelino Pidò
Stage Director: Robert Carsen
Set Designer: Radu Boruzescu
Costume Designer: Miruna Boruzescu
Lighting designers: Peter Van Praet, Robert Carsen
Choreographer: Philippe Giraudeau
Chorus Master: Valery Borisov

Cast

Conductor Evelino Pidò

Alexander Soloviev
The Duke of Mantua Fabrizio Paesano

Sergey Romanovsky

Pavel Valuzhin
Rigoletto, the Duke’s jester Valery Alexeyev

Dimitris Tiliakos
Gilda, his daughter Anne-Catherine Gillet

Venera Gimadieva

Nina Minasyan

Kristina Mkhitaryan
Sparafucile, an assassin Oleg Tsybulko

Alexander Tsymbalyuk
Maddalena, his sister Justina Gringyte

Aleksandra Kovalevich
Giovanna, Gilda’s Nurse Irina Dolzhenko

Alexandra Durseneva
Граф Монтероне Otar Kunchulia

Vyacheslav Pochapsky
Marullo Kirill Kireyev

Konstantin Shushakov
Matteo Borsa, a courtier Sergei Radchenko

Arseny Yakovlev
Count Ceprano Nikolai Kazansky

Pavel Tchervinsky
Countess Ceprano, his wife Daria Davydova

Yulia Klintsova
A Court Usher Herman Golubev

Sergei Vasilchenko
A Page Ruslana Koval

Synopsis by Robert Carsen

Act I

During a ball at the Duke of Mantova’s, the latter confesses to his friend Borsa his desire to seduce a young girl he has seen in church. But his attention goes to all women, including the spouse of Count Ceprano. Rigoletto, the Duke’s court jester, overtly encourages him to get rid of the unwanted husband, which makes Ceprano furious. As for Marullo, he announces to everyone an astonishing discovery, namely that Rigoletto would have a mistress. Ceprano sticks to his revenge: that very same night he will abduct the mistress in question. The ball is cut short by Count Monterone, who accuses the Duke of having dishonoured his daughter. Rigoletto’s persistent mockeries lead Monterone to curse him.

Tormented by the curse, the jester goes back home. On his way, he meets Sparafucile, a hitman who offers him his services. Left to himself, Rigoletto compares both professions: the hitman uses his sword where the jester uses his word. He then meets up with his daughter Gilda, whom he forbids to leave the house except to go to church. Gilda questions him in vain on his past and her mother’s death. Rigoletto, as he believes he hears some noise, goes out in the street. It is the Duke, who has come to spy on the mysterious unknown young woman and who now understands that she is his jester’s daughter. Rigoletto comes back to take leave of his daughter. Gilda then confesses to her governess Giovanna that she has met a very seductive young man in church. The Duke appears, declares his love, passing himself off as a student named Gualtier Maldè, and then leaves. Gilda dreams of her beloved, whereas as Ceprano, Borsa and the other courtiers are watching her, believing she is Rigoletto’s mistress. The latter chances upon them, as he retraces his steps. They claim they pretend they want to abduct Ceprano’s wife. Rigoletto accepts to wear a mask and takes part in the abduction only to enable the courtiers to flee with Gilda. The jester understands too late that he has been tricked and believes it to be the effect of Monterone’s curse.

Act II

The Duke is lamenting that the young woman he coveted has been abducted. The courtiers reassure him however: they are the ones who abducted Rigoletto’s mistress. Consumed by desire, the Duke goes to meet with Gilda. Feigning indifference when he is actually in despair, Rigoletto starts to search for his daughter. As he understands she is with the Duke, he discloses she is his daughter and begs the courtiers to give her back. Gilda then appears and throws herself in her father’s arms. Once alone with Rigoletto, she confesses she is in love with the Duke. A court usher interrupts the confidences, announcing that Monterone is arrested and will be jailed. Rigoletto offers him his vengeance.

Act III

Determined to show his daughter the true nature of her seducer, Rigoletto obliges her to watch him court Maddalena, the sister of Sparafucile. To carry out his vengeance, the jester, together with Sparafucile, plots the Duke’s assassination and then demands of Gilda that she leave the city. When the Duke falls asleep, Maddalena begs his brother to spare him. Sparafucile ends up accepting on the condition however that another victim falls under his sword. Gilda has overheard their discussion and offers to sacrifice herself out of love. She knocks on the door and Sparafucile stabs her just before Rigoletto arrives to find the body. The jester rejoices in his vengeance and sets out to rid himself of the corpse he has been delivered in a sack. In the distance, the Duke’s voice can be heard. Rigoletto then discovers his daughter’s body who dies in his arms: he cries out, horrified, “La maledizione!” (The Curse!)

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Der Rosenkavalier in Copenhagen

Posted on December 7, 2014 by editoreusa

rosenkavalerenEN_top415c

Performance period: 12. Sep. – 24. Jan. 2015

at the Royal Danish Thatre in Copenhagen

Scathing satire, captivating romance and worldly melancholy, Richard Strauss’s masterstroke Der Rosenkavalier was created in partnership with librettist Hugo von Hofmannsthal in 1911, bridging comedy and bittersweet romance.miklos1

The working title was Ochs auf Lerchenau, conveying the comic tale of Baron Ochs, whose fiancée is stolen by the young Octavian.miklos2

As work on the opera progressed, the Marschallin’s role nonetheless became more prominent and the operatic creators worked hard to strike a balance between the farcical Baron Ochs and the melodramatic romance in which the Marschallin is embroiled. Eventually, the love story involving the young Octavian, who as Der Rosenkavalier steals the Marschallin’s heart and Baron Ochs’ fiancée, took centre stage.miklos3

Audiences can look forward to experiencing soprano Ann Petersen, alternating with Anne Margrethe Dahl, in the role as the ravishing yet emotionally tormented Marschallin. The brash and jovial Baron Ochs will be performed by Austrian bass baritone Wolfgang Bankl, a familiar face at the Vienna State Opera and at several of Europe’s great opera houses.miklos4

A revival of master director Marco Arturo Marelli’s award-winning staging from 2008, Der Rosenkavalier marks a festive opening of the opera season.

Der Rosenkavalier is performed in German with Danish supertitles.

Hempel A/S is the exclusive performance sponsor of Der Rosenkavalier.miklos5miklos6miklos7miklos8miklos9miklos10miklos11

CAST

ann-petersen_cvs

Ann Petersen as The Marschallin

Lyric dramatic soprano

Anne_Margrethe_Dahl_cvsAnne Margrethe Dahl as The Marschallin

Soprano

 

 

elisabeth_jansson_2010_11_cvsElisabeth Jansson as Octavian

Mezzo Soprano

 

 

Wolfgang-Bankl_cvsWolfgang Bankl as Baron Ochs

Bass

 

 

Anke-Briegel_cvsAnke Briegel as Sophie

Soprano

 

 

morten-frank-larsen_cvsMorten Frank Larsen as Herr von Faninal

 

 

 

CorneliaBeskow_cvsCornelia Beskow as Marianne

Soprano

 

 

Bengt_Ola_Morgny_cvsBengt-Ola Morgny as Valzacchi

Tenor

 

 

Elisabeth_Halling_cvsElisabeth Halling as En modehandlerske

Mezzo Soprano

 

 

Cast and conducting

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–>

The Marschallin:
Ann Petersen
9/12, 9/25, 10/5, 10/11, 10/18, 10/26

Anne Margrethe Dahl
9/20, 9/28, 1/18, 1/24

Baron Ochs:
Wolfgang Bankl
9/12, 9/20, 9/25, 9/28, 10/5, 10/11, 10/18, 10/26, 1/18, 1/24

Octavian:
Elisabeth Jansson
9/12, 9/20, 9/25, 9/28, 10/5, 10/11, 10/18, 10/26, 1/18, 1/24

Herr von Faninal:
Morten Frank Larsen
9/12, 9/20, 9/25, 9/28, 10/5, 10/11, 10/18, 10/26, 1/18, 1/24

Sophie von Faninal:
Anke Briegel
9/12, 9/20, 9/25, 9/28, 10/5, 10/11, 10/18, 10/26, 1/18, 1/24

Marianne Leitmetzerin:
Cornelia Beskow
9/12, 9/20, 9/25, 9/28, 10/5, 10/11, 10/18, 10/26, 1/18, 1/24

Valzacchi:
Bengt-Ola Morgny
9/12, 9/20, 9/25, 9/28, 10/5, 10/11, 10/18, 10/26, 1/18, 1/24

Annina:
Hanne Fischer
12/9, 20/9, 25/9, 28/9, 5/10, 11/10, 18/10, 26/10, 18/1, 24/1

A police inspector:
Florian Plock

12/9, 20/9, 25/9, 28/9, 5/10, 11/10, 18/10, 26/10, 18/1, 24/1

The Marschallin’s Major-Domo:
Lars Bo Ravnbak
9/12, 9/20, 9/25, 9/28, 10/5, 10/11, 10/18, 10/26, 1/18, 1/24

Faninal’s Major-Domo:
Torleif Steinstø
9/12, 9/20, 9/25, 9/28, 10/5, 10/11, 10/18, 10/26, 1/18, 1/24

A notary:
Ole Jegindø Norup
9/12, 9/20, 9/25, 9/28, 10/5, 10/11, 10/18, 10/26, 1/18, 1/24

An innkeeper:
Peter Steen Andersen
9/12, 9/20, 9/25, 9/28, 10/5, 10/11, 10/18, 10/26, 1/18, 1/24

An Italian singer:
Peter Lodahl
10/11, 10/18, 10/26, 1/18, 1/24

Gert Henning-Jensen
9/12, 9/20, 9/25, 9/28, 10/5

Three noble orphans:
Anne Sophie Hjort Ullner
9/12, 9/20, 9/25, 9/28, 10/5, 10/11, 10/18, 10/26, 1/18, 1/24

Sara Madeleine Swietlicki
9/12, 9/20, 9/25, 9/28, 10/5, 10/11, 10/18, 10/26, 1/18, 1/24

Felicia Gyllenstig Serrao
9/12, 9/20, 9/25, 9/28, 10/5, 10/11, 10/18, 10/26, 1/18, 1/24

A milliner:
Elisabeth Halling
9/12, 9/20, 9/25, 9/28, 10/5, 10/11, 10/18, 10/26, 1/18, 1/24

A vendor of pets:
Peter Arnoldsson
9/12, 9/20, 9/25, 9/28, 10/5, 10/11, 10/18, 10/26, 1/18, 1/24

Conductor:
Michael Boder
9/12, 9/20, 9/25, 9/28, 10/5, 10/11, 1/18, 1/24

Florian Krumpöck
10/18, 10/26

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Placido Domingo in Valencia, Spain, directs Manon and sings in Luisa Fernanda

Posted on December 6, 2014 by editoreusa

placidologo_palaupalau Palau de Les Arts de Valencia Presents:manon
9th, 12th, 16th, 19th, 21st, 27th December 2014 – The performances start at 8:00 pm. Sundays and holidays, at 7:00 pm

Sala Principal

Lyric drama in three acts · Music by Giacomo Puccini
Libretto by Marco Praga, Domenico Oliva, Luigi Illica, Giuseppe Giacosa and Giulio Ricordi based on the novel Histoire du Chevalier des Grieux et Manon Lescaut by the Abbé Prévost
Premiere: Torino, Teatro Regio, 1st February 1893

fernanda

15th, 18th, 22nd December 2014 • 12tj January 2015 – The performances start at 8:00 pm. Sundays and holidays, at 7:00 pm

Sala Principal

Lyric comedy in three acts
Libretto by Federico Romero and Guillermo Fernández Shaw
Music by Federico Moreno Torroba

Conductor
Jordi Bernàcer

Stage Director and Stage Concept
Emilio Sagi

Costume Designer
Pepa Ojanguren

Lighting Designer
Eduardo Bravo

Production
Teatro Real de Madrid
Cor de la Generalitat Valenciana
Francesc Perales, chorus master

Orquestra de la Comunitat Valenciana

15th, 18th, 22nd December 2014 · 8:00 pm
9th, 12tj January 2015 · 8:00 pm

Sala Principal

 Luisa Fernanda
Davinia Rodríguez

Carolina
Isabel Rey

Javier
Celso Albelo (15, 18, 22) / José Bros (9, 12)

Vidal Hernando
Plácido Domingo

Mariana
María José Suárez

Saboyano
Emilio Sánchez

Rosita
Sandra Ferrández

Nogales
Miguel Sola

Aníbal / Vareador
Vicenç Esteve

Don Florito
N. N.

Bizco Porras
David Rubiera

 

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Zeffirelli’s production of La Boheme at the metropolitan Opera shines

Posted on December 3, 2014 by editoreusa

Review by Tiziano Thomas Dossena

boheme8-512x342

 

La Boheme is an opera that does not need introduction and most of our readers probably had the occasion to see its performance at least once, but seeing this version at the Metropolitan Opera may offer a unique opportunity that should not be missed. The intricate set designed by the famed movie director and artiste par excellence Franco Zeffirelli serves many purposes: it creates the proper settings for the story as originally described in the libretto; it offers a thrilling visual experience; it is designed for an optimal movement of the singers; and in the second act, it allows an unbelievable amount of people on stage without any encumbrance. If you think that is always the standard of opera sets, think again. Zeffirelli puts the spectators in awe and in a state of relaxation at the same time, allowing them to be absorbed completely by the story developing in front of them and to forget being in a theater.

Certainly that occurred also because of the perfect amalgam among the performers, who excelled in their acting ability, if not all in their singing one. Mimi was interpreted convincingly by a superb Sonya Yoncheva, who shone without overpowering the male singers, although in the first scenes, a slightly weak Rodolfo, interpreted by a usually valiant Charles Castronovo, seemed to struggle to be heard above the music. The orchestra was performing in an impeccable manner, thanks to the Italian conductor Riccardo Frizza, who was able to extract from it a truly emotional and luxurious sound, something Puccini would certainly recognize and approve of, and it was not drowning any of the singers’ voices; I was therefore surprised by this occurrence. Thank God, Castronovo found his volume and made up for this early shortcoming by singing the rest of the opera with heart, offering a congenial Rodolfo by using his richly-textured voice to enhance the emotional undertones of his relationship with Mimi and with his friends; in particular, his duets with Mimi were tender and showed a perfect chemistry between the two singers.

boheme6-512x410

 

Schaunard was executed by the funny and agile baritone Alessio Arduini, who showed how important that part could be in the balance of the story if interpreted as it was intended to be. That his voice was rich and resounding certainly helped even more in bringing the character alive. Arduini is definitely a promising baritone and his future will certainly be more than successful if he keeps the good work coming.

David Bizic’s Marcello was poignant and his voice supported and complemented Rodolfo’s singing so well that Castronovo’s unconfident beginnings almost slipped by unnoticed. Marcello was also convincing in his amusing exchanges with Musetta, and their interaction was optimal, focusing on their impulsiveness, his jealousy and her emotional volatility.

To complete the impeccable group of Bohemian friends, ready to give up all their belongings, even to take literally the coat off their back, was the magnificent bass Matthew Rose as Colline, who gave an unforgettable and touching version of the famous aria “Vecchia zimarra.”  His physical presence making him quite noticeable, Rose has the gift of a marvelous voice and obviously of a great technical training, since his performance was flawless.

The enactment of the male singers as a whole was so well controlled and their characters so believable that for once I appreciated fully the meaning of friendship as the composer and the librettists had most probably meant to transpose through their work.

La-Boheme-A-scene-from-Act-III-photo-by-Cory-Weaver-512x342

 

That is not to say that the love affairs of Mimi/Rodolfo and Marcello/Musetta appeared as secondary, but the friendship displayed heightened even more the tragedy of the tortuous love affairs, in particular that one of Mimi, who dies in her lover’s arms after leaving him so as not to make him feel guilty, just one of the many gestures of unselfishness demonstrated by the protagonists. It was an exciting and inspiring experience to actually see this aspect of the story so well developed.

Susanna Phillips as Musetta in Act II of Puccini's "La Bohème." Photo: Cory Weaver/Metropolitan Opera

Greek soprano Myrto Papatanasiu’s Musetta presented a fair vocal performance, but her stage presence was exceptional and her acting was impeccable. John Del Carlo’s (Benoit and Alcindoro) carried his two parts very well, both as a singer and an actor, offering, just as Schaunard and Marcello, a fresh comic relief that allows the strong emotional stress caused by the underlying tragedy not to overcome the spectator.

As I mentioned, La Boheme is an extraordinary opera, but this particular performance at the Met is unforgettable and deserves to be seen above all others. Some of the performers will change in the future performances, but we were told that all of them are as capable and enthusiastic about the opera as the ones I saw. Enjoy it.

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Interview with Maestro Giuseppe Sabbatini

Posted on December 1, 2014 by editoreusa

8268395588_f72940f58a_zInterview by Natalia Di Bartolo for L’Idea Magazine, November 30, 2014

Maestro Giuseppe Sabbatini, a tenor of international fame, retired from his active career seven years ago, now dedicates himself to conducting: music is his blood flow, his cultural and intellectual nourishment, the expression of his personality and his constantly renewed vitality of refined musician, of various tastes.
Now he directs with excitement and joy the musical works that once he was singing on stage.

In a theater he feels at home, around the world … and I meet him in Italy after returning from his last project- conducting L’Elisir d’amore by Gaetano Donizetti, November 9, 2014, in the great Yokosuka Theatre, Japan, which this year celebrates the 20th anniversary of the inauguration.10311759_876911178999504_317868119470943094_ncopyright

L’IDEA MAGAZINE: Maestro Sabbatini, you always claim to be “happy”, while being in Japan …
GIUSEPPE SABBATINI: Yes, it’s true … I feel well in Japan, I made my debut there, there I started my career as a tenor; I find myself among people who appreciate me greatly, people that respect me and that respond in the highest level to my musical expectations, also in teaching.
Everything is well received.

Catturasabba9L’IDEA MAGAZINE: What is your role at the time as a musician in the Land of the Rising Sun?
GIUSEPPE SABBATINI: I am a Director of Studies at Suntory Hall Opera Academy, where I teach Singing.
2014-2015 is the 4th academic year, each course including two years of study: we started in 2011.
Soul creator of the Academy is Mrs. Keiko Manabe, providing continues support for all of us, using her great talent of an artistic manager.

Catturasabba6

L’IDEA MAGAZINE: How does the Academy operate in general and how does it work, putting on stage these events, including L’Elisir d’Amore- this year’s big achievement? Nemorino was an important role in your career …
GIUSEPPE SABBATINI: Yes, L’Elisir, this year…Nemorino is a character that I sang many times. We did a performance in the Theatre of Yokosuka: I sang there Gounod’s Romeo et Juliette in October 2003; last year we made there a production of Mozart’s Così fan tutte, always with students of the Academy. As for the Academy, all the teaching staff is at a really high level: I have four assistants/colleagues among the best teachers of singing at the Tokyo’s Universities; a renowned pianist teaches piano accompaniment to the students (we have also a Korrepetitor section for pianist students).
Altogether there are six teachers, with different skills and specializations (Bel Canto, Baroque, German and French Repertoires, Verismo).
It is a great benefit for the boys and girls that study; they are getting the best possible.
By the way this Academy is all sponsored by Suntory, important Japanese company, without even one yen disbursement from the students!
For them, the two years course of studying with us is totally for free. This is an extremely important fact for us.
As for the performances within the Academy itself, we try to put on stage a title that will be useful for the artistic and musical development of our already graduated, also actual, advanced students. For vacant roles we do casting.
In May I started working on the music… We mount all the work; about a month before the performance we start building everything together; in Japan the performers and the chorus work separately also with the stage director, Michiko Taguchi.

Catturasabba23

L’IDEA MAGAZINE: A really great help!
GIUSEPPE SABBATINI: Absolutely! Stage direction, sets and costumes. Ms. Taguchi lives in Italy for the past 40 years … she studied Lyric singing and is the preferred Japanese language’s interpreter for Maestro Muti. She knows all the parts by heart, and is extraordinary. We like very much to work with the students in a “traditional” way, without too much dwelling on the interpretation, but going in deep for all that is “real”… They will have time to work and change the characters of the roles! Picasso began with incredibly real drawings, as great as he was, and arrived to Guernica after a long journey! The settings, then, are absolutely “essential.”

L’IDEA MAGAZINE: The procedure of work?
GIUSEPPE SABBATINI: According to the organization, this year, as last year of the study, we did orchestra rehearsals of the 1st act on the first day and 2nd in the second day.
The general rehearsal followed.1459242_735077966545948_5282239116525866572_n

L’IDEA MAGAZINE: And the young of the Academy? How do they respond?
GIUSEPPE SABBATINI: Oh, for them I’m really very happy, and proud.
The soprano Yuko Sato, who sang the role of Adina, had the Honour Diploma of our Academy in 2012, the first two years of ”Sabbatini’s era”. Adina … very, very good! Beautiful phrasing and control of the voice: very interesting. Katsuhiko Nakashima was Nemorino: the Furtiva lagrima was a real jewell … the tenor, although possessing limited vocal power, has a great musical taste … one can hear that he sings baroque style … and singing, has a great stage presence. The bassoon player from the orchestra, also, played the introduction very, very well.
Toru Kaku sang Belcore; a light baritone that is constantly singing chamber music (specializing in German Lieder); he did very well, as well as Giannetta, Taeko Shimizu- she graduated in 2012, together with Yuko Sato, during the 1st period of my teaching at the Academy. And then Dulcamara, Hideya Masuhara … the protagonist of the evening. He has a great stage presence … well put and with excellent vocal pronunciation. He studied in Parma, for four years, at the Conservatory of Parma. Well done, really bravi, all the soloists!Catturacoro

L’IDEA MAGAZINE: The chorus?
GIUSEPPE SABBATINI: Another satisfaction! The Suntory Hall Academy Opera Chorus is our pride because the group included sixteen singers and 60% of them were students and former students of the Academy… these guys had the great opportunity to have the experience of singing in a choir, while at the same time, as soloists, they are studying with me and my assistants/colleagues.

L’IDEA MAGAZINE: And the Conductor Sabbatini? What do you think?
GIUSEPPE SABBATINI: What can I say about him? That he is always attentive to the details in the score and loves to color the music regarding the meaning of the words…even when he’s conducting the Suntory Hall Chamber Opera Orchestra Academy.

L’IDEA MAGAZINE: I meant, about his conducting?
GIUSEPPE SABBATINI: Well, for that I can say- respecting the score in every little detail, I “dramatized” the indications!

L’IDEA MAGAZINE: In what way?
GIUSEPPE SABBATINI: In the score there are many “crowns” that would not have sense musically, if not interpreted them as a part of some action on stage. Me, together with the stage director, tried to exploit and enhance them!
L’Elisir of course it is still a “melodramma giocoso”, with a particular way of the orchestra “commenting” the phrases of the soloists, especially when there are phrases interspersed with homorhythm by the whole orchestra. I did ask for extended breaks in some cases … I slowed down or accelerated these “omoritmie” (it’s what I call them).
I try to explain the words: there are times, such as Nemorino/Belcore duet , where the orchestra plays all together the same rhythm, for example when Nemorino sings “Venti scudi?” – Belcore: “Su due piedi” – Nemorino “Ebben vada: li prepara” … etc. … Or, rather, when Dulcamara sings: “Ho qui una canzonetta”- (orchestra) -” di fresco data fuori’ – (orchestra) – “vivace, graziosa” – (orchestra) – “che gusto vi può dar!” The first two sentences are the same, but the third (“vivace e graziosa”) I asked to be played faster and staccato at the end. So you “ruled” the score in a personal and original philological and very resourceful way.

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L’IDEA MAGAZINE: But what would Donizetti think?
GIUSEPPE SABBATINI: I think he would’ve been content! For already 182 years everyone tells their own version…I wanted to tell mine… in this way to me the opera seems different and fresh!

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L’IDEA MAGAZINE: The audience responded with big and warm applause…
GIUSEPPE SABBATINI: Yes, it was a good audience. The “Navigator” Satoshi Asaoka was telling in detail the story before the beginning of each act. It was a big success for everybody: I am satisfied with everything together, including the warm response of the public.

Thank you, Maestro Sabbatini for your well-known frankness and your detailed explanations. We look forward to hear you live!
Inevitable curiosity …

Photos: © Yokosuka Arts Theatre, © Natalia Di Bartolo

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Le Nozze di Figaro at the Met in NYC

Posted on November 30, 2014 by editoreusa

 

 

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Le Nozze di Figaro

Approximate running time 3 hrs. 34 min.

Richard Eyre’s season-opening new production of Mozart’s eternal masterpiece is set in an 18th-century manor house in Seville during the 1930s. Erwin Schrott in the title role leads a stellar cast that also includes Mariusz Kwiecien as the Count and Danielle de Niese as Susanna, along with Met debutantes Rachel Willis-Sørensen as the Countess and Serena Malfi as Cherubino. Edo de Waart conducts.

Production a gift of Mercedes T. Bass, and Jerry and Jane del Missier

“A sparkling new production… joyful music-making… A memorable performance of Mozart’s immortal comedy.” (Associated Press)
“A swiftly paced, playful evening… Eyre skillfully built the comic ensembles to climaxes that made you laugh out loud… A happy Marriage at the Met.” (Wall Street Journal)
“A ravishing, intricately wrought evening of music, humor and emotional depth… An evening like this is the strongest argument for the continued vigor of the Met.” (New York Magazine)

Production Team

Production: Richard Eyre
Set & Costume Designer: Rob Howell
Lighting Designer: Paule Constable
Choreographer: Sara Erde

CAST

willissorensenrachelRachel Willis-Sørensen as The Countess

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–> SOPRANO (Tri-Cities, Washington)
DEBUT SEASON
REPERTORY The Countess, Le Nozze di Figaro

 

daniellediniese_artistpageDanielle de Niese as Susanna

Hometown Melbourne, Australia
Met debut Barbarina in Le Nozze di Figaro (1998)
Performance history Ariel in The Enchanted Island, Despina in Così fan tutte, Susanna in Le Nozze di Figaro, Euridice in Orfeo ed Euridice, Cleopatra in Giulio Cesare, the Child in L’Enfant et les Sortilèges, Poussette in Manon, Papagena in Die Zauberflöte, and a Flower Maiden in Parsifal

 

marius-kwiecien_artistpageMariusz Kwiecień as the Count

Hometown Kraków, Poland
Met debut Kuligin in Káťa Kabanová (1999)
Performance history More than 150 performances of 15 roles, including the title role of Don Giovanni, Belcore in L’Elisir d’Amore, Malatesta in Don Pasquale , Escamillo in Carmen, Guglielmo in Così fan tutte, Count Almaviva in Le Nozze di Figaro, Marcello in La Bohéme, and Enrico in Lucia di Lammermoor

 

malfiserenaSerena Malfi as Cherubino

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–> MEZZO-SOPRANNO (Naples, Italy)
DEBUT SEASON
REPERTORY Cherubino, Le Nozze di Figaro

 

schrotterwinErwin Schrott as Figaro

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–> BASS (Montevideo, Uruguay)
DEBUT Colline, La Bohème, 2000
REPERTORY Figaro, Le Nozze di Figaro

 

 

Performance Dates

  • Thursday, December 4, 2014, 7:30 pm
  • Monday, December 8, 2014, 7:30 pm
  • Friday, December 12, 2014, 7:30 pm
  • Monday, December 15, 2014, 7:30 pm
  • Saturday, December 20, 2014, 12:00 pm
Ildar Abdrazakov (Figaro), Marlis Petersen (Susanna) Photo: Ken Howard/Met Opera

Ildar Abdrazakov (Figaro), Marlis Petersen (Susanna)
Photo: Ken Howard/Met Opera

SYNOPSIS
Act I
Count Almaviva’s country estate near Seville, late 18th century. The servants Figaro and Susanna are preparing for their wedding. Figaro is furious when his bride tells him that the count has made advances toward her and vows to outwit his master (“Se vuol ballare”). The scheming Dr. Bartolo appears with his housekeeper, Marcellina, who wants Figaro to marry her. When she runs into Susanna, the two women trade insults. The page Cherubino enters; finding Susanna alone, he explains to her that he is in love with all women (“Non so più”). He hides when the count—who is angry because he caught Cherubino flirting with Barbarina, the gardener’s daughter—shows up. The count again pursues Susanna, but conceals himself when the music master, Basilio, approaches. When Basilio tells Susanna that Cherubino has a crush on the countess, the count furiously steps forward. He becomes further enraged when he discovers the page in the room. Figaro returns with a group of peasants who praise the count for renouncing the traditional feudal right of a nobleman to take the place of a manservant on his wedding night. The count orders Cherubino to join his regiment in Seville and leaves Figaro to cheer up the unhappy adolescent (“Non più andrai”).

Isabel Leonard (Cherubino), Marlis Petersen (Susanna) Photo: Ken Howard/Met Opera

Isabel Leonard (Cherubino), Marlis Petersen (Susanna)
Photo: Ken Howard/Met Opera

Act II
The countess laments that her husband no longer loves her (“Porgi, amor”). Encouraged by Figaro and Susanna, she agrees to set a trap for him: they will send Cherubino, disguised as Susanna, to a rendezvous with the count. The page sings a song he has written in honor of the countess (“Voi, che sapete”), after which Susanna begins to dress him in girls’ clothes (“Venite, inginocchiatevi”). When she goes off to find a ribbon, the count knocks and is annoyed to find the door locked. Cherubino hides in the closet. The countess admits her husband, who, when he hears a noise, is skeptical of her story that Susanna is in the closet. Taking his wife with him, he leaves to get tools to force the door. Meanwhile, Susanna, who has reentered unseen and observed everything, helps Cherubino escape through the window before taking his place in the closet. When the count and countess return, both are stunned to find Susanna inside. All seems well until the gardener Antonio appears, complaining that someone has jumped from the window, ruining his flowers. Figaro, who has rushed in to announce that everything is ready for the wedding, pretends that it was he who jumped. When Bartolo, Marcellina, and Basilio appear, waving a court summons for Figaro, the delighted count declares the wedding postponed.

Ildar Abdrazakov (Figaro), Isabel Leonard (Cherubino) Photo: Ken Howard/Met Opera

Ildar Abdrazakov (Figaro), Isabel Leonard (Cherubino)
Photo: Ken Howard/Met Opera

Act III
Susanna leads the count on with promises of a rendezvous, but he grows doubtful when he overhears her conspiring with Figaro. He vows revenge (“Vedrò, mentr’io sospiro”). The countess recalls her past happiness (“Dove sono”). Marcellina wins her case but then, noticing a birthmark on Figaro’s arm, is astonished to discover that he is her long lost son, fathered by Bartolo. The joyful parents agree to marry as well. Susanna and the countess continue their conspiracy against the count and compose a letter to him confirming the rendezvous with Susanna that evening in the garden (Duet: “Che soave zeffiretto”). Later, during Figaro and Susanna’s wedding ceremony, the bride slips the letter to the count.

Amanda Majeski (Countess), Marlis Petersen (Susanna), Isabel Leonard (Cherubino) Photo: Ken Howard/Met Opera

Amanda Majeski (Countess), Marlis Petersen (Susanna), Isabel Leonard (Cherubino)
Photo: Ken Howard/Met Opera

Act IV
In the garden, Barbarina tells Figaro and Marcellina about the planned rendezvous between the count and Susanna. Thinking that his bride is unfaithful, Figaro rages against all women (“Aprite un po’ quegl’occhi”). He leaves, just missing Susanna and the countess, who are dressed for their masquerade. Alone, Susanna sings a love song (“Deh! vieni, non tardar”). Figaro, hidden nearby, thinks she is speaking to the count. Susanna conceals herself in time to see Cherubino declare his love to the disguised countess—until the count chases him away to be alone with “Susanna.” Soon Figaro understands what is going on and, joining in the fun, makes exaggerated advances towards Susanna in her countess disguise. The count returns, finding Figaro with his wife, or so he thinks. Outraged, he calls everyone to witness his verdict. At that moment, the real countess reveals her identity. Realizing the truth, the count asks for his wife’s forgiveness. The couples are reunited, and so ends this mad day.

Amanda Majeski (Countess), Peter Mattei (Count), Ildar Abdrazakov (Figaro), Marlis Petersen (Susanna) Photo: Ken Howard/Met Opera

Amanda Majeski (Countess), Peter Mattei (Count), Ildar Abdrazakov (Figaro), Marlis Petersen (Susanna)
Photo: Ken Howard/Met Opera

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La Grande-Duchesse de Gérolstein in Geneve

Posted on November 28, 2014 by editoreusa

duchesse

La Grande-Duchesse de Gérolstein

Opéra-bouffe in 3 acts and 4 tableaux by Jacques Offenbach
Libretto by Henri Meilhac and Ludovic Halévy.
First performed at Théâtre des Variétés in Paris on 12 April 1867.

Production of the Grand Théâtre de Genève
At the Grand Théâtre de Genève

Sung in French with English and French surtitles
Mon 15 dec 14 – 19:30
Wed 17 dec 14 – 19:30
Fri 19 dec 14 – 19:30
Sun 21 dec 14 – 15:00
Tue 23 dec 14 – 19:30
Fri 26 dec 14 – 19:30
Mon 29 dec 14 – 19:30
Wed 31 dec 14 – 19:30

“One couldn’t dream of a more hilarious assault on military vainglory, with all its plumes and braids and paraphernalia.” La Grande-Duchesse de Gérolstein discharges the full satirical fire-power of Jacques Offenbach’s comic operas on the world of warmongering. In the imaginary Grand Duchy of Gerolstein, plots are hatched, strategies developed and wars are even simulated to satisfy the whims of the Grand Duchess, who is besotted with the manly young soldier Fritz, who unfortunately only has eyes for his fiancée Wanda. With a premiere during the Paris Exhibition of 1867, in the presence of French Emperor Napoleon III, the Prussian King (soon to be Kaiser) Wilhelm and many other royal and political personalities in Paris for the event, La Grande-Duchesse du Gérolstein played to full house after full house, leaving the audience in stitches. With a drum roll and the boom of canons echoing General Boum’s bombastics, Offenbach’s beloved operetta is a fitting conclusion to a year of lyric victories!

Musical Director Franck Villard

Stage Director and Costume Designer Laurent Pelly

Associate Stage Director Christian Räth

Set Designer Chantal Chantal

Associate Costume Designer Jean-Jacques Delmotte

Libretto & dialogue adaptation Agathe Mélinand

Choreographer Laura Scozzi

Lighting Designer Joël Adam

CAST

La Grande-Duchesse Ruxandra Donose

Ruxandra Donose

Ruxandra Donose

Bénédicte Tauran

Bénédicte Tauran

Wanda Bénédicte Tauran

Fritz Fabio Trümpy

Le Général Boum Jean-Philippe Lafont

Le Baron Puck Boris Grappe

Le Prince Paul Rodolphe Briand

Le Baron Grog Michel de Souza

Népomuc Fabrice Farina

Iza Julienne Walker

Olga Marina Lodygensky

Amélie Marion Jacquemet

Charlotte Ahlima Mhamdi

A notary Nicolas Carré

Grand Théâtre Opera Chorus
Director Alan Woodbridge
Orchestre de la Suisse Romande

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La Boheme directed By Zeffirelli at the MET

Posted on November 18, 2014 by editoreusa

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La Bohème

Metropolitan Opera, NYC

Thursday, November 20, 20147:30 pm

Approximate running time 2 hrs. 55 min.Franco Zeffirelli’s classic take on Puccini’s most popular opera, the immortal tale of tragic young love, is set among the rooftops of bohemian Paris. The role of the fragile Mimì is shared by Sonya Yoncheva, Angela Gheorghiu, and Kristine Opolais, with Ramón Vargas, Bryan Hymel, and Jean-François Borras as the love-sick poet Rodolfo. Riccardo Frizza conducts.

Sonya Yoncheva as Mimì “is the real deal… Her first-act aria built to a gently riveting reverie, and she grew in tragic stature as the opera went on… Subtle, thoughtful and heart-rending, [her Act III “Addio”] seemed like the work of a veteran artist. But astonishingly, this was Ms. Yoncheva’s first staged performance of the role. Her delicate, dreamy, detailed Mimì has arrived more or less fully formed…” (New York Times)

boheme1

SYNOPSIS

Act I
Paris, the 1830s. In their Latin Quarter garret, the near-destitute artist Marcello and poet Rodolfo try to keep warm on Christmas Eve by feeding the stove with pages from Rodolfo’s latest drama. They are soon joined by their roommates—Colline, a philosopher, and Schaunard, a musician, who brings food, fuel, and funds he has collected from an eccentric student. While they celebrate their unexpected fortune, the landlord, Benoit, comes to collect the rent. After making the older man drunk, they urge him to tell of his flirtations, then throw him out in mock indignation at his infidelity to his wife. As his friends depart to celebrate at the Café Momus, Rodolfo remains behind to finish an article but promises to join them later. There is another knock at the door—the visitor is Mimì, a pretty neighbor, whose candle has gone out on the stairway. As she enters the room she suddenly feels faint. Rodolfo gives her a sip of wine, then helps her to the door and relights her candle. Mimì realizes she lost her key when she fainted, and as the two search for it, both candles are blown out. Rodolfo finds the key and slips it into his pocket. In the moonlight, he takes Mimì’s hand and tells her about his dreams. She recounts her life alone in a lofty garret, embroidering flowers and waiting for the spring. Rodolfo’s friends are heard outside, calling him to join them. He responds that he is not alone and will be along shortly. Happy to have found each other, Mimì and Rodolfo embrace and leave, arm in arm, for the café.

Act II
Amid the shouts of street hawkers near the Café Momus, Rodolfo buys Mimì a bonnet and introduces her to his friends. They all sit down and order supper. The toy vendor Parpignol passes by, besieged by children. Marcello’s former sweetheart, Musetta, makes a noisy entrance on the arm of the elderly but wealthy Alcindoro. The ensuing tumult reaches its peak when, trying to gain Marcello’s attention, she sings a waltz about her popularity. Complaining that her shoe pinches, she sends Alcindoro off to fetch a new pair. The moment he is gone, she falls into Marcello’s arms and tells the waiter to charge everything to Alcindoro. Soldiers march by the café, and as the bohemians fall in behind, Alcindoro rushes back with Musetta’s shoes.

Act III
At dawn on the snowy outskirts of Paris, a customs official admits farm women to the city. Guests are heard drinking and singing within a tavern. Mimì arrives, searching for the place where Marcello and Musetta now live. When the painter appears, she tells him of her distress over Rodolfo’s incessant jealousy. She says she believes it is best that they part. Rodolfo, who has been asleep in the tavern, comes outside. Mimì hides nearby, though Marcello thinks she has left. Rodolfo tells his friend that he wants to separate from Mimì, blaming her flirtatiousness. Pressed for the real reason, he breaks down, saying that her coughing can only grow worse in the poverty they share. Overcome with emotion, Mimì comes forward to say goodbye to her lover. Marcello runs back into the tavern upon hearing Musetta’s laughter. While Mimì and Rodolfo recall past happiness, Marcello returns with Musetta, quarreling about her flirting with a customer. They hurl insults at each other and part, but Mimì and Rodolfo decide to remain together until spring.

bohemeAct IV
Months later in the garret, Rodolfo and Marcello, now separated from their girlfriends, lament their loneliness. Colline and Schaunard bring a meager meal. To lighten their spirits the four stage a dance, which turns into a mock duel. At the height of the hilarity Musetta bursts in with news that Mimì is outside, too weak to come upstairs. As Rodolfo runs to her aid, Musetta relates how Mimì begged to be taken to Rodolfo to die. She is made as comfortable as possible, while Musetta asks Marcello to sell her earrings for medicine and Colline goes off to pawn his overcoat. Left alone, Mimì and Rodolfo recall their meeting and their first happy days, but she is seized with violent coughing. When the others return, Musetta gives Mimì a muff to warm her hands and prays for her life. Mimì slowly drifts into unconsciousness. Schaunard realizes that she is dead, and Rodolfo is left desperate.

Production Team:

Production: Franco Zeffirelli
Set Designer: Franco Zeffirelli
Costume Designer: Peter J. Hall
Lighting Designer: Gil Wechsler

CAST:

frizzariccardoRiccardo Frizza

CONDUCTOR (Brescia, Italy)
DEBUT Rigoletto, 2009
REPERTORY La Bohème

yonchevasonyaSonya Yoncheva (Mimi)

SOPRANO (Plovdiv, Bulgaria)
DEBUT Gilda, Rigoletto, 2013
REPERTORY Musetta, La Bohème

papatanasiumyrtonewMyrtò Papatanasiu (Musetta)

SOPRANO (Larissa, Greece)
DEBUT SEASON
REPERTORY Musetta, La Bohème

vargasramonRamón Vargas (Rodolfo)

TENOR (Mexico City, Mexico)
DEBUT Edgardo, Lucia di Lammermoor, 1992
REPERTORY Rodolfo, La Bohème

bizicdavidDavid Bizic (Marcello)

BARITONE (Belgrade, Sebria)
DEBUT Albert, Werther, 2014
REPERTORY Marcello, La Bohème

arduinialessioAlessio Arduini (Schaunard)

BARITONE (Desenzano, Italy)
DEBUT SEASON
REPERTORY Schaunard, La Bohème

rosematthewMatthew Rose (Colline)

BASS (Brighton, England)
DEBUT SEASON Colline, La Bohème, 2011
REPERTORY Colline, La Bohème; Nightwatchman, Die Meistersinger von Nürnberg

delcarlojohnJohn Del Carlo (Benoit/Alcindoro)

BASS-BARITONE (San Francisco, California)
DEBUT Kothner, Die Meistersinger von Nürnberg, 1993
REPERTORY Dr. Bartolo, Le Nozze di Figaro; Benoit/Alcindoro, La Bohème

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