MOZART’S DON GIOVANNI in Copenhagen

Posted on March 29, 2014 by editoreusa

dkt_logo_mobile

The Royal Danish Opera Presents:

MOZART’S DON GIOVANNI

Stage: Turné
Title: Don Giovanni | On Tour
Artform: Opera
Performance period: 02. Apr. – 11. Apr. 2014
Duration: Unknown (TBD)
Dates: 02/04, 04/04, 06/04, 09/04, 11/04

Don-JuanEN_top415The Royal Danish Opera is on tour in Jutland with a brand new version of Mozart’s Don Giovanni. The performance will play in Randers, Holstebro, Esbjerg, Ålborg and Århus.

Young old, fat, thin, tall and short – for Don Giovanni, each have their own charms. As one of the strongest stories in opera history, Mozart’s Don Giovanni touches something profoundly deep inside every one of us. And now you can experience this classic in a refreshing new ‘dogma’ version.

Young Chilean director Aniara Amos is behind this innovative production of Don Giovanni. Her production is founded on a creative dogma concept embracing the use of costumes, sets and props sourced from the treasure trove of the Royal Danish Theatre.

The blazing Baroque interpreter Lars Ulrik Mortensen is back at the podium to lead Scandinavia’s foremost Baroque orchestra, Concerto Copenhagen. The title role of the restless seducer is sung by Palle Knudsen, surrounded by a range of The Royal Danish Opera’s most powerful women: Gisela Stille, Inger Dam-Jensen, Sine Bundgaard, Ylva Kihlberg and Tuva Semmingsen, whose characters are not exactly open to Don Giovanni’s romantic overtures.

Don Giovanni is performed in Italian with Danish supertitles.

Hempel A/S is the exclusive production sponsor for Don Giovanni. The Obel Family Foundation is the exclusive sponsor of the Danish tour of Don Giovanni. The Danish Research Foundation is the principal sponsor of the Royal Danish Opera.

Conductors: Lars Ulrik Mortensen/Benjamin Bayl
Stage direction: Aniara Amos
Set design: Alex Eales
Costume design: Signe Beckmann
Lighting design: Ulrik Gad
Concerto Copenhagen | The Royal Danish Opera Chorus

Cast

Palle_Knudsen_cvs

PALLE KNUDESN as Don Giovanni

BARITONE

 

 

Nationality
Danish. Born in Copenhagen.

Education
Trained at the Royal Danish Opera Academy in Copenhagen.

Palle Knudsen
Baritone
Assigned to the Royal Danish Theatre from 1999.

Debut
Debut at the Royal Danish Theatre in Philip Glass’ Orphée at Turbinehallerne 1998.

At The Royal Danish Theatre
Principal performances at the Royal Danish Theatre: Mozart performances as Papageno in Die Zauberflöte, the Count in Le nozze di Figaro, the title role in Don Giovanni and Guglielmo in Così fan tutte. Figaro in Rossini’s Il barbiere di Siviglia. Count Lamoral in Strauss’ Arabella. Ping in Puccini’s Turandot. Bobul in Kunzen’s Holger Danske. Lord Sidney in Rossini’s Il viaggio a Reims. Achilla in Handel’s Giulio Cesare. Ned Keene in Britten’s Peter Grimes. Eisenstein in Strauss’ Die Fledermaus. Marcello in Puccini’s La Bohème. Silvio in Leoncavallo’s I pagliacci.

Other engagements
Apollo in Monteverdi’s Orfeo with La Monnaie in Brussels at performances in New York and Paris. Albert in Massenet’s Werther with the Bergen Philharmonic Orchestra. Title role in Mozart’s Don Giovanni and the part of Guglielmo in Mozart’s Cosi fan tutte at the Glimmerglass Opera in New York in 2003. A much sought-after concert singer and oratorio soloist performing with, e.g. the Danish National Chamber Choir, the Danish National Symphony Orchestra and Collegium Musicum. He has performed concerts at the Court Theatre in Stockholm, at the Saint Petersburg Philharmonic, at the Hanoi Opera and at Pest Vigad in Budapest.

Gisela_Stille_cvs

GISELA STILLE as Donna Anna

SOPRANO

Nationality
Swedish

Education
The Opera Academy in Copenhagen, tutored by Kirsten Buhl Møller.

At The Royal Danish Theatre
Papagena in Mozart’s Die Zauberflöte. Nanetta in Verdi’s Falstaff. Moira in Poul Ruders’ The Handmaid’s Tale. Gepopo in Ligeti’s Le Grand Macabre. Corina in Rossini’s Il viaggio a Reims. Despina in Mozart’s Così fan tutte. Sophie in Massenet’s Werther. Eurydike in Glucks Orfeo et Eurydice. Bürstner/Felice Bauer in Ruders’ Kafka’s Trial. Adele in Johann Strauss’ Die Fledermaus. Fortuna/Giunione/Melanto in Il ritorno d’Ulisse in patria. Sofie in Strauss’ Der Rosenkavalier. Lucia in Donizetti’s Lucia di Lammermoor. Susanna in Mozart’s Le Nozze di Figaro. Lulu in Berg’s Lulu. Violetta in Verdi’s La traviata. Miss Wordsworth in Britten’s Albert Herring.

Other engagements
Gisela Stille is internationally a highly demanded singer and has in recent years performed at Semperoper and Bregenzer Festspiele. From 1999-2001 Gisela Stille was a principle at the Oper Bonn and her roles included: Ännchen in Weber’s Freischütz, Marzelline in Beethoven’s Fidelio, Zerlina in Mozart’s Don Giovanni, Tebaldo in Verdi’s Don Carlos and Waldvogel in Wagner’s Siegfried. She sang all the soprano parts, Olympia, Antonia, Giulietta and Stella in Offenbach’s The Tales of Hoffmann, in Malmö season 10/11.

Besides performing on opera stages Gisela Stille has sung with several orchestras in various countries: The Dew Fairy (Hänsel und Gretel) with the Berlin Philharmonic Orchestra conducted by Mark Elder, Grieg songs with I Pomeriggi Musicali in Mayland, Symphony no. 9 by Beethoven in Palermo; Schubert’s Mass in A major in Brussels with Walter Weller conducting and a tour in Great Britain with Elvis Costello performing his Secret Songs written specially for Gisela.

Future engagements
Future engagements include Pamina/Zauberflöte at Bregenzer Festspiele in 2013 and 2014, Alice Ford/Falstaff and Donna Anna/Don Giovanni at The Royal Opera in Copenhagen, Brahms’ German Requiem with BBC Orchestra in Cardiff, and Mathilde/Wilhelm Tell with Rizzi and Poutney at Welsh National Opera.

Prices and scholarships
The 2003 recipient of Elisabeth Dons’ Mindelegat. She was finalist in Queen Sonja International Music Competition, Norway and the Belvedere Competition in Vienna. She has received numerous legacies and prizes. In 2006 she was the recipient of the Birgit Nilsson Award.

  • Peter Lodahl
    as Don Ottavio

  • Sine Bundgaard
    as Donna Elvira

  • Henning von Schulman
    as Leporello
  • Florian Plock
    as Masetto

  • Tuva Semmingsen
    as Zerlina
  • Petri Lindroos
    as Commendatore
    Tour plan

    <!–

     

    –>

    2 April 2014 – Værket i Randers at 20.00
    4 April 2014 – Musikteatret Holstebro at 19.30
    6 April 2014 – Musikhuset Esbjerg at 20.00
    9 April 2014 – Aalborg Kongres og Kultur Center at 20.00
    11 April 2014 – Musikhuset Aarhus at 19.30

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Die Fledermaus in Copenhagen

Posted on March 29, 2014 by editoreusa

dkt_logo_mobileDET KONGELIGE TEATER

(Royal Danish Theater) Presents:

Flagermusen

Die Fledermaus

 

Stage: Operaen Takkelloftet
Title: Die Fledermaus
Artform: Opera
Performance period: 28. Mar. – 01. Apr. 2014
Duration: 2 h. and 30 min.
Price: 195kr
Dates: 28/03, 30/03, 01/04

Operaen_nat03_300x200

Royal Danish Theater

The Royal Danish Opera Academy performs the world’s greatest operetta, Die Fledermaus. A hilarious comedy charged with light-hearted intrigue, two-timing mischief, and sweet revenge.

 

With its parade of catchy classics and whirlwind waltzes, Johann Strauss felt so inspired when composing the operetta that it took him no more than 43 days and nights to complete.

die_fledermaus_opera_posterThe operetta is set in Vienna in the late 1800s. After a carousing and high-spirited carnival, Gabriel von Eisenstein, a dandy, has left his inebriated friend, Dr Falke, asleep on a bench in a park dressed as a bat – the laughing stock of the gentlefolk of town. Dr Falke instigates a refined revenge that sends Eisenstein into deep water when at a grand party Eisenstein makes a pass at a Hungarian countess, who turns out to be his own wife in disguise.

Die Fledermaus replaces the previously announced Ariadne auf Naxos.

Die Fledermaus is performed in Danish.

Appearing: Students from Royal Danish Opera Academy, et al| Conductor: Martin Nagashima Toft | Stage direction: Ebbe Knudsen

The Royal Danish Theatre
EAN: 5798000791282
Postbox 2185
DK-1017 Copenhagen K

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The BARBER OF SEVILLE in Atlanta

Posted on March 26, 2014 by editoreusa

The Atlanta Opera

The Barber of Seville

Gioachino Rossini

 
Saturday, April 26, 2014 at 8:00 p.m.
Tuesday, April 29, 2014 at 7:30 p.m.
Friday, May 02, 2014 at 8:00 p.m.
Sunday, May 04, 2014 at 3:00 p.m.

Music by Gioachino Rossini
Libretto by Cesare Sterbini

Conducted by Craig Kier
Directed by José Maria Condemi

Sung in Italian with projected English translations

The wily barber Figaro aids Count Almaviva in wooing the radiant maiden, Rosina. With masterful disguises and hilarious antics, romance unfurls right under the nose of an aghast Dr. Bartolo, intent on marrying Rosina himself. Rossini’s delightful comedy The Barber of Seville has elicited peals of laughter from opera lovers for generations!

Sidney
Outlaw
Figaro

Juan José
de León
Count
Almaviva
Craig Kier
Conductor
 José Maria
Condemi
Stage 
Director 		      
 
      
Irene
Roberts
Rosina
                

Stefano
de Peppo
Dr. Bartolo  
Don Basilio

Synopsis

ACT I
Aided by his servant Fiorello and a troupe of musicians, Count Almaviva (under the assumed name of Lindoro) arrives early in the morning to serenade and hopefully have an assignation with a young girl he has recently seen. His song receives no response. Almaviva is about to depart when he unexpectedly encounters his former servant Figaro, the town barber. Figaro identifies the girl as Rosina, the ward of Dr. Bartolo. Rosina appears on the balcony with a letter for her unknown admirer. She is interrupted by Bartolo but manages to drop the letter off the balcony before he can snatch it from her. The letter requests that her suitor identify himself. Almaviva is frantic about meeting Rosina. Figaro, in his capacity as Bartolo’s barber, offers to help the lovesick Count (for a promise of gold, of course). A regiment is due in town and Figaro suggests that Almaviva disguise himself as a drunken soldier and demand lodging in Bartolo’s house.

Inside Bartolo’s house, Rosina takes delight in her admirer’s voice and resolves that Lindoro will be hers. Figaro manages to enter the house and visit Rosina, but their attempts to talk are frustrated by the appearance of Bartolo and Don Basilio, Rosina’s music teacher, who brings news that Count Almaviva is in town incognito. Don Basilio suggests that slander would be the best way to ruin Count Almaviva, but the nervous Bartolo instead decides to have a marriage contract drawn up between himself and Rosina as soon as possible. The two men leave to organize the contract, and Figaro, who has heard their conversation from a hiding place, immediately informs Rosina of the danger.

As Rosina gives Figaro a note for her lover, Bartolo returns and accuses her of writing to an admirer. He threatens to lock her in, but she defies him. Almaviva, now disguised as a drunken army officer, arrives at the house demanding lodging. Bartolo indignantly claims that he has a certificate of exemption from housing the military, and, as he searches for it, Almaviva slips Rosina a note. Catching sight of this trickery, Bartolo orders Rosina to surrender the note, but she cunningly substitutes a laundry list. Almaviva becomes belligerent, threatening to fight Bartolo, and the whole house is in turmoil. Figaro enters attempting to calm them down. Soon the local militia arrives at the house to restore order, and Almaviva narrowly avoids arrest by secretly identifying himself to the officer in charge. Bartolo is left standing amidst all the activity, amazed and confused.

ACT II

Bartolo is sitting alone in his study when Almaviva enters in a new disguise. He is now Don Alonso, a music teacher sent to replace the ailing Don Basilio. Bartolo is suspicious, but to allay his fears, “Alonso” shows Bartolo a letter from Rosina to Count Almaviva, claiming that he found it in Almaviva’s lodgings. Fooled again, Bartolo fetches Rosina for her lesson and listens as she performs an air proclaiming that love will surmount all obstacles. 

Figaro arrives to shave Bartolo. Bartolo sends him to fetch a towel and Figaro takes this opportunity to steal the key to the balcony, smashing a pile of dishes in the process. This “accident” lures Bartolo away, allowing Figaro to slip the key to the disguised Almaviva. All is going according to plan when suddenly Don Basilio appears. It takes only a small bribe to persuade him to go home and take care of his “fever.” As Figaro covers Bartolo with lather, the Count whispers the escape plans to Rosina during the singing lesson. Almaviva tells her that he and Figaro will come for her at midnight. Bartolo overhears them and accuses Almaviva, Figaro and Rosina of scheming against him. Once everyone has withdrawn, the maid, Berta, is left to reflect on the foolishness of lovers of all ages.

Don Basilio arrives and Bartolo soon discovers that Don Alonso was an imposter. Bartolo realizes that it is more urgent than ever to marry Rosina immediately, and Basilio hurries off in search of a notary to draw up the contract. Meanwhile, Bartolo attempts to make Rosina doubt her lover by producing the letter that she wrote to Lindoro, saying that it was found in Count Almaviva’s lodgings. Clearly, he argues, Lindoro and Figaro are just hirelings for Count Almaviva. In distress, Rosina agrees to give up Lindoro and marry her guardian that very night.

A storm rages outside as Rosina and Bartolo retreat to their quarters. As it subsides, Figaro and Almaviva appear on the balcony, ready to escape with Rosina. Rosina is at first furious, but her anger quickly turns to delight when she finds out that Almaviva and Lindoro are one and the same. Figaro urges the lovers to make their escape quickly, but upon returning to the balcony, they find that their ladder is gone. At that moment, Don Basilio enters with the notary that Bartolo has hastily engaged. Bribed with a valuable ring and threatened with a gun to his head, Don Basilio is persuaded to act as a witness as the notary marries Almaviva and Rosina. Bartolo arrives with the civil guard but it is too late: the lovers have been wed. Almaviva placates Bartolo by allowing him to keep Rosina’s dowry, and all express relief and joy at the happy outcome.

Courtesy of Boston Lyric Opera

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OPERA PHILADELPHIA Presents “DON GIOVANNI”

Posted on March 25, 2014 by editoreusa

OPERA PHILADELPHIA Presents:

dongiovanniphiladelphia

Wolfgang Amadeus Mozart

Don Giovanni
Apr. 25, 27m, 30, May 2, 4m, 2014 | Academy of Music
Opera at the Academy

All he wanted was everything.

Who was that masked man? As the legendary rake Don Juan leaves a trail of jilted lovers and mayhem in his wake, Mozart’s alternately mischievous and harrowing masterpiece of mistaken identity reveals the charmer’s darkest side. With an ingeniously playful staging of masquerades, trapdoors and mirrored panels, witness the genre’s most infamous scoundrel in this timeless classic of comedy and tragedy. A cadre of the most prestigious alumni of the Curtis Institute of Music and the Academy of Vocal Arts come home to star in this lavish production.

OPERA AT THE ACADEMY

Venue:

Academy of Music
240 S Broad Street, Philadelphia, PA 19102

Schedule Details:

Friday, April 25, 2014 at 8:00 pm
Sunday, April 27, 2014 at 2:30 pm
Wednesday, April 30, 2014 at 7:30 pm
Friday, May 2, 2014 at 8:00 pm
Sunday, May 4, 2014 at 2:30 pm

Estimated Running Time:

Approximately three hours including one 20-minute intermission

Language:

Performed in Italian with English supertitles

Cast

 

Elliot Madore
as Don Giovanni

Michelle Johnson
as Donna Anna

Amanda Majeski
as Donna Elvira

 

David Portillo
as Don Ottavio

Joseph Barron
as Leporello

Cecelia Hall*
as Zerlina

 

Wes Mason*
as Masetto

Nicholas Masters*
as Commendatore

Creative Team

*Opera Philadelphia Debut

Synopsis

Time: 1930s

Place: Europe

Act 1

Scene 1: Leporello bemoans his destiny as a servant to Don Giovanni (“Notte e giorno faticar” – “Night and day I slave away”). His master and Donna Anna emerge from the palace struggling, as Anna tries to identify the disguised person who attempted to seduce her in her bedroom (Trio: “Non sperar, se non m’uccidi, Ch’io ti lasci fuggir mai!” – “Do not hope, unless you kill me, that I shall ever let you run away!”). Her father, Commandant of Seville, alarmed by his daughter’s cries, challenges the attacker. Don Giovanni kills the old nobleman. Donna Anna returns with her fiancé, Don Ottavio, but they are too late to save her father.

Scene 2: Donna Elvira, abandoned lover and would-be wife, arrives by train in search of the Don. Don Giovanni, who is on an amorous adventure at the train station, unwittingly approaches Elvira. He escapes, leaving Leporello to show Elvira to the Don’s “not-so-little black book” of conquests. (“Madamina, il catalogo è questo” – “My dear lady, this is the catalogue”)

A group of peasants arrive in a park for a pre-wedding celebration for Zerlina and Masetto. Giovanni immediately tries to charm the young bride, much to the chagrin of her fiancé, who dares to stand up for his rights (“Ho capito! Signor, sì” – “I understand! Yes, my lord!”). In vain, he is taken off by Leporello, leaving the Don to attempt further seduction (Duet: “Là ci darem la mano” – “There we will entwine our hands”). Elvira enters and warns the girl against the intentions of the traitor (“Ah, fuggi il traditor” – “Flee from the traitor!”). As the women leave, Anna and Ottavio arrive to ask Giovanni for help in finding her father’s assassin. Elvira interrupts and begs the two nobles not to trust Giovanni, who in turn, indicates that Elvira has lost her mind (Quartet: “Non ti fidar, o misera” – “Don’t trust him, oh sad one”). He then takes leave of the two, and Anna suddenly realizes that Giovanni is the man who attacked her. (Anna aria: “Or sai chi l’onore Rapire a me volse” – “Now you know who is the one having trying to rob me of my honour”). She asks Ottavio to avenge her father.

Scene 3: Before the party that he promised the peasants, we find Don Giovanni singing of his happy pursuit of love (“Champagne Aria”: “Fin ch’han dal vino calda la testa” – “Till they are tipsy”). Zerlina begs Masetto’s forgiveness for her behavior and assures him that she did not fall for the advances of the Don (“Batti, batti o bel Masetto” – “Beat o beat me, handsome Masetto”). However, when the Don appears, the jealousies of the bridegroom flare up again. Dance music is heard in the distance and Anna, Elvira, and Ottavio, who are masked, are invited to the party. They swear to punish the libertine (Trio: “Proteggra il giusto cielo” – “May the just heavens protect us”).

Scene 4: At the party, Giovanni takes advantage of the busy crowd to lead Zerlina into his private quarters. When she calls out for help, the three masked guests reveal their identities to the Don and Don Ottavio threatens Giovanni with a pistol. Giovanni escapes the wrath of his guests.

Act II

Scene 1: As Don Giovanni wants to attract the attention of Elvira’s maid, he exchanges cloaks and hats with Leporello and sings first to Elvira, while his servant is miming the words. As Elvira leaves with the disguised Leporello, Giovanni serenades the servant girl (“Deh vieni alla finestra” – “Ah, come to the window”). Masetto and a band of angry peasants, who are after the Don, are sent by Giovanni (in his Leporello disguise) in the wrong direction. He assalts Masetto. Zerlina consoles her groom with tender care “Vedrai carino” – “You’ll see, dear one”). Elvira is still furious at Giovanni for betraying her, but she also feels sorry for him. (“Mi tradì quell’alma ingrata” – “That ungrateful wretch betrayed me”).

Scene 2: Leporello, still in disguise, tries to flee from Elvira, but instead is met by Anna, Ottavio, Zerlina and Masetto, who all want their revenge. The servant finally unmasks, begs for forgiveness and flees the scene.

Scene 3: Don Giovanni and Leporello exchange their recent experiences and thereby mock the deceived women. As they are leaving the graveyard, they hear a voice and recognize the tomb of the slain Commandant. Don Giovanni insists that Leporello read the inscription on the tomb. “I wait to avenge my wrongful death.” Giovanni forces the petrified servant to invite the statue to dinner. Shaken, the two perceive a positive response to the invitation.

Scene 4: In her home, Anna, still in mourning, puts off Ottavio’s offer of marriage until her father is avenged (“Non mi dir” – “Tell me not”).

Scene 5: Don Giovanni is still leading a life of debauchery, interrupted only briefly by Elvira, who makes a final, desperate attempt to save the Don (“L’ultima prova dell’amor mio” – “The final proof of my love”). The Don becomes a victim of the demons of guilt that he has, until now, fended off through a dissolute life. In his alcoholic stupor, he perceives the avenging voice of the Commandant and is carried off to his own Hell.

Wolfgang Amadeus Mozart (1756-1791)

 

Wolfgang Amadeus Mozart was born on January 27, 1756 in Salzburg, Austria to Leopold Mozart and his wife, Anna Maria.  Leopold was a successful composer and violinist and served as assistant concertmaster at the Salzburg court.  Mozart and his older sister, Maria Anna, were the only two of the family’s seven children to survive infancy.  Both children showed great musical potential and Leopold began instructing them at a very early age.  His benefactor, the archbishop of the Salzburg court, Sigismung von Schrattenbach, was also very supportive of the Mozart children’s remarkable talents.

At the age of three Mozart was able to pick out tunes on the piano and by the time he was five he was composing minuets.  Both Mozart and his sister played the harpsichord exceedingly well and Mozart also mastered the violin.  Leopold was eager to exhibit both of his children’s musical abilities so, when his son was seven, he left his position at the Salzburg court to take his family on a concert tour of Western Europe.  Mozart and his sister performed in the major musical centers of Europe, including Mannheim, Mainz, Frankfurt, Brussels, Paris, London, and Amsterdam.  During this time, Mozart continued to compose, completing his first symphony at the age of nine and publishing his first sonatas that same year.  The family returned to Salzburg in 1766 but, after spending less than a year there, they left again for Vienna, where Mozart completed his first opera, La Finta Semplice, in 1768, when he was just 12 years old.  Shortly after, Mozart was appointed honorary Konzertmeister at the Salzburg court.

Mozart and his father traveled to Italy in 1769, where he toured for more than a year in Rome, Milan, Florence, Naples, and Bologna.  While in Italy, Mozart completed another opera, Mitridate, re di Ponto and also received a papal audience, during which the Pope conferred knighthood as a tribute to the boy’s genius.  In the next few years Mozart would make two more trips to Italy and complete two more operas, Alba in 1771 and Lucio Silla in 1772, as well as eight symphonies, four divertimentos, and several other works.

In 1771, Archbishop von Schrattenbach, who had been a great supporter of Mozart since his childhood, died and was succeeded by Hieronymus von Colloredo.  Although Mozart did not get along well with his new patron, he remained in his position in Salzburg for many more years.  In 1777 Mozart obtained leave from Salzburg and set out on tour with his mother, in hopes of securing a better position.  They traveled through Munich, Augsburg, and Mannheim, but Mozart was unsuccessful in finding a post.  The next year they continued to Paris, where Mozart composed the Paris Symphony.  While they were there, Mozart’s mother became ill and soon after the symphony’s premiere, she died.

Mozart returned to Salzburg and was given the post of court organist and Konzertmeister.  He produced numerous works during this period, including the Coronation Mass in 1779.  In 1780, he was commissioned to compose an Italian opera for Munich.  Idomeneo, re di Creta was completed the next year and became his first great operatic success.  Soon after, Archbishop Colloredo summoned Mozart back to Vienna, where the Salzburg court was in residence on the accession of a new emperor.  Fresh from the success of Idomeneo, Mozart was exacerbated to find himself back in the service of the court.  This, combined with his growing resentment of his employer, soon led to conflict and in 1781 he left his post.

Mozart remained in Vienna and in 1782 married Constanze Weber.  The couple had six children but only two of them survived.  That same year, he completed the opera Die Entführung aus dem Serail, which was an immediate success.  Also in 1782, Mozart was appointed to the position of chamber composer for Emperor Joseph II, a post that he held until 1787.  These years were very productive for Mozart, during which he met Italian librettist, Lorenzo da Ponte.  Their partnership produced three of the most popular and best loved operas of Mozart’s career, the first of which, Le Nozze di Figaro, premiered in Vienna in 1786.  Don Giovanni and Così fan tutte followed soon after in 1787 and 1790.

Despite these successes, Mozart and his wife lived well beyond their means and were in continual debt.  In 1787, Mozart was appointed to the post of Kammermusicus, although the salary did little to lessen the couple’s financial hardships.  In 1791, Mozart was commissioned to compose a score to Emanual Schikaneder’s Die Zauberflöte, which was inspired by the group they were both members of, the Free Masons.  The opera premiered in Vienna to large success.  Also in 1791 was the premiere of La Clemenza di Tito, which would be the last of the 20 operas Mozart wrote in his lifetime.  During this time of financial strain, Mozart also composed his last three symphonies: E flat, G minor, and the Jupiter in C.

In 1791, Mozart was commissioned to write a requiem, but he would never finish the piece.  He became quite ill, although he had never known very good health, and he died on December 5, 1791 at the age of 35.  His death, which gave rise to false rumors of poisoning, is thought to have resulted from rheumatic fever, a disease which he had suffered from repeatedly throughout his life.  Despite his unquestionable reputation as the greatest musical mind of his time, Mozart was buried with little ceremony in an unmarked grave in Vienna, as was legally required for all those without noble or aristocratic birth.

 

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“Roberto Devereux” in Toronto

Posted on March 25, 2014 by editoreusa

Canadian Opera Company PRESENTS:

ROBERTO DEVEREUX

Gaetano Donizetti

The tumultuous final days of the reign of Queen Elizabeth I find powerful expression in Donizetti’s Tudor drama. 

Queen Elizabeth I, the central character in Roberto Devereux, has always attracted the foremost divas of their day. That tradition now continues with Sondra Radvanovsky, the world’s leading interpreter of the great 19th-century Italian prima donna roles. Donizetti’s show-stopping melodies and sumptuous period costumes bring the intrigue of the Elizabethan court to life within a Shakespearean-inspired Globe Theatre setting.

APRIL 25 to MAY 21, 2014

On stage at the Four Seasons Centre, 145 Queen St. W., Toronto.
Performance time is approximately three hours including two intermissions.
Sung in Italian with English SURTITLES™.

Cast 

Elisabetta: Sondra Radvanovsky

Nottingham: Russell Braun

Roberto Devereux: Giuseppe Filianoti

Sara: Allyson McHardy

<!–Lord Cecil:

Sir Gualtiero:

A Page:

A Servant of Nottingham:

–>

Creative Team

Conductor: Corrado Rovaris

Director: Stephen Lawless

Set Designer: Benoit Dugardyn

Costume Designer: Ingeborg Bernerth

<!–Lighting Designer:

–>

Chorus Master: Sandra Horst

With the COC Orchestra and Chorus

SYNOPSIS

Elisabetta has sent her beloved Roberto Devereux, the Earl of Essex, to lead a military expedition to Ireland. Against the Queen’s orders, Roberto has signed a peace treaty with the Irish rebels. Jealous of his favourable position with the Queen, her advisors seize this opportunity to push through a charge of treason against him.

 Act I

Scene i, 1598, London, England
Parliament prepares to discuss charges against Roberto Devereux. Sara, the Duchess of Nottingham and close friend of Queen Elisabetta, is plagued with guilt for having an affair with Roberto. Elisabetta arrives and expresses her love for Roberto, and confides to Sara that she suspects Roberto of being unfaithful. The Queen is interrupted by a visit from Lord Cecil and Gualtiero who convey the Parliament’s frustration over her leniency towards Roberto. To stall the Parliament, she demands more proof of guilt before making a decision. When a page arrives with a request from Roberto (who is under house arrest) to meet with the Queen, her heart is stirred with a hope that their affection will be rekindled and she agrees to the visit.

Elisabetta meets Roberto in private and reminds him of the ring she gave him, a special token that will guarantee his safety if he only sends it back to her. She tries to win his heart by reminding him of their happy days together. Roberto is shocked at Elisabetta’s tenderness towards him and accidentally reveals that he is in love with another woman. Seeing Elisabetta’s initial anger escalate to fury, he tries to deny everything but the damage has been done: Elisabetta is set on vengeance against Roberto and the woman who has won his affection.

With Elisabetta infuriated, Roberto’s only remaining ally is the Duke of Nottingham (Sara’s husband). Nottingham discloses to Roberto that he observed his wife sobbing while embroidering a blue scarf and expresses his concern over his wife’s secret suffering. Their exchange is interrupted by Lord Cecil who summons Nottingham on behalf of the Queen to a meeting of the Parliament to decide on Roberto’s sentence. Nottingham vows to save his friend.

Scene ii
Roberto can’t resist a secret meeting with his beloved Sara while Nottingham is out. He berates her for getting married while he was at battle. She explains that after her father’s death, the union was ordered by the Queen to ensure her financial stability. Sara also reminds him of his previous royal affection by pointing to his ring. They acknowledge their mutual love but realize that they can never be together. Roberto pledges his love by giving his ring to Sara as a parting gift and she gives him her blue embroidered scarf in return.

Act II

At the hall at Westminster, the Parliament reaches a decision and Lord Cecil informs the Queen of the verdict: the death penalty. Only Elisabetta’s signature is needed for the execution to be ordered. She dismisses the court for a private meeting with Gualtiero, one of her trusted spies. Gualtiero confirms that Roberto was arrested after being out until dawn; when searched, they found a blue scarf hidden under his shirt. Gualtiero produces the scarf as proof of his story. Upon careful examination Elisabetta notices love knots embroidered into the scarf, which verify her suspicions, and fuels her decision to agree to sign Roberto’s death warrant.

Nottingham begs the Queen to have mercy on Roberto. His pleas are silenced when Roberto is brought in and Elisabetta reveals the blue scarf demanding to know its owner. Recognizing the scarf as belonging to his wife, Nottingham is horrified at Roberto’s betrayal. In a fiery jealous rage, the Queen signs the death sentence.

Act III

Scene i
In a letter from Roberto, Sara learns of his imminent execution. In the letter, he implores her to take the ring back to Elisabetta, the one that is supposed to guarantee his life. Before she can leave, Nottingham returns and upon seeing the letter from Roberto, he demands to read it. Understanding that returning the ring may spare Roberto’s life, Nottingham orders Sara not to see the Queen.

Scene ii
Alone in the tower of London, Roberto reflects on his life of lies and indiscretions with great regret. He remains hopeful that Elisabetta will receive the ring and pardon him. The guards arrive and Roberto allows himself to be led to his execution without protest.

Scene iii
Elisabetta has unresolved feelings about signing Roberto’s death warrant. She desperately hopes Roberto will return her ring as a sign of his renewed devotion. To her horror, Cecil enters and informs her that Roberto is being led to his execution. At that exact moment, Sara bursts in and unable to speak, hands the ring to Elisabetta, silently identifying herself as the Queen’s rival. It is too late: a cannon shot is heard signifying the fatal blow has been delivered and Elisabetta lashes out at Nottingham and Sara for their part in Roberto’s death. They are taken into custody and the Queen laments the events that led to her bloodstained crown. Haunted by Roberto’s severed head and the destruction she has rained on her subjects, Elisabetta longs for death. The Queen gives up her royal power by declaring King James of Scotland, her nephew and heir to the throne, the new King of England.

Performance Dates & Times

  • Fri. Apr. 25, 2014 at 7:30 p.m.
  • Tues. Apr. 29, 2014 at 7:30 p.m.
  • Sat. May 3, 2014 at 7:30 p.m.
  • Sat. May 10, 2014 at 4:30 p.m.
  • Thurs. May 15, 2014 at 7:30 p.m.
  • Sun. May 18, 2014 at 2 p.m.
  • Wed. May 21, 2014 at 7:30 p.m.

Gaetano Donizetti

Born on November 29, 1797 in Bergamo, Italy, composer Gaetano Donizetti enjoyed tremendous popularity throughout Europe. His operas, together with Bellini’s, came to epitomize the Italian Romantic spirit of the 1830s.

Donizetti was given free admission to Simon Mayr’s school for choir boys when he was nine years old, and Mayr proved to be a major influence on the composer. In 1814, he provided Donizetti with the financial and moral support he needed to move to Bologna to study counterpoint (the use of multiple melodies). Three years later, when Donizetti returned to Bergamo having decided he would be a composer of opera, Mayr secured a contract for him with a company in Venice for which Donizetti wrote four operas.

Donizetti’s first notable work was his production of Zoraida di Granata in Rome in 1822. For the next several years he produced two to five operas a year, from one-act farces to full-length serious works; these were presented in Naples, Rome, Palermo and Genoa. In 1828 Donizetti married Virginia Vasselli, and although she bore them three children, none survived infancy. Virginia herself was stricken with cholera and died an early death in 1837. The loss of her companionship is said to have had a profound and lasting impact on the composer.

1830 saw Donizetti’s first international success with Anna Bolena, and by that time he had written 23 operas. Although his next opera was a fiasco, L’elisir d’amore, produced in 1832, set things right again. His controversial Maria Stuarda premiered in 1834.

In 1835, Rossini invited Donizetti to visit Paris to present Marino Faliero at the Théâtre-Italien. This was Donizetti’s first experience with opera in the grand tradition, and he was impressed with the artistic standards and the lucrative pay. Although he returned to Naples later that year to write and produce Lucia di Lammermoor (based on Sir Walter Scott’s novel, The Bride of Lammermoor), he did not stay long. The death of his wife and his disillusionment with the operatic world of Naples prompted Donizetti to move back to Paris in 1838.

During his first two years in France, Donizetti’s operas were performed in four Paris theatres, much to the chagrin of contemporary French composers. He rewrote the score of Lucia for a French production, and though not the artistic success of the Italian original, the exposure it received established his reputation as an eminent European composer. Among the many operas Donizetti wrote in his later years were La fille du régiment (1840), La favorite (1840), Don Pasquale (1843) and Dom Sébastien (1843). Don Pasquale became an overnight success at Paris’s Théâtre-Italien and was widely regarded as a comic masterpiece.

In rehearsal for his last opera, Dom Sébastien, Donizetti’s behavior became erratic and obsessive. It was discovered that Donizetti was suffering from cerebro-spinal degeneration of syphilitic origin, and he was sent to a sanatorium near Paris. Although he was returned home to Bergamo in October 1847, Donizetti was paralyzed and unable to speak more than monosyllables. He was attended by friends and family until his death on April 8, 1848.

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“THE MARRIAGE OF FIGARO” in Victoria

Posted on March 24, 2014 by editoreusa

logoPACIFIC OPERA VICTORIA Presents:

THE MARRIAGE OF FIGARO

Music by W.A. Mozart
Libretto by Lorenzo Da Ponte
April 24, 26, 30, May 2, 2014, at 8 pm
Matinée May 4 at 2:30 pm

In Italian with English Surtitles

Mozart: The Marriage of Figaro

A riotous comedy with a revolutionary subtext, The Marriage of Figaro follows the Almaviva household through a single tumultuous day as Count Almaviva, his wife, his valet Figaro, and his servants spin a tangled web of love affairs, plots, and counterplots. The opera is based on the Beaumarchais play that caused an uproar in 18th century France for its subversive portrayal of uppity servants outwitting their aristocratic betters.

The opera charges along like Upstairs, Downstairs on steroids as the predatory Count tries to seduce Figaro’s fiancée Susanna on her wedding day. But even as the Count receives his comeuppance, the opera becomes a poignant study of love, jealousy, and ultimate forgiveness.

Mozart’s score is an absolute masterpiece, at once sunny and sublime, unrivalled for beauty, grace, and theatrical truth.

  • CONDUCTOR Timothy Vernon
  • DIRECTOR Brent Krysa
  • DESIGNER Cameron Porteous
  • COUNTESS ALMAVIVA Leslie Ann Bradley
  • COUNT ALMAVIVA Phillip Addis
  • SUSANNA Miriam Khalil
  • FIGARO Justin Welsh
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La bohème in Tel Aviv

Posted on March 23, 2014 by editoreusa

logoisraelioperaThe Israeli Opera Presents:

La bohème

Giacomo Puccini

The ultimate and most touching operatic love story. Mimi and Rodolfo fall in love in a shabby Parisian attic and when the curtain goes down on the same attic Mimi falls dead in the arms of her beloved. A new production conducted by Daniel Oren.

Libretto: Giuseppe Giacosa and Luigi Illica after Scènes de la Vie Bohème by Henry Murger

Conductor Daniel Oren
Director Stefano Mazzonis di Pralafera
Set Designer Carlo Sala
Costume Designer          Fernand Ruiz
Lighting Designer Franco Marri

Among the Soloists:

Rodolfo Giorgio Berruggi
Mimi Maria Agresta
Elena Mosuc
Ira Bertman
Marcello Gabriele Viviani
Ionut Pascu
Colline Carlo Striuli
Musetta Alla Vasilevitsky
Schaunard Ionut Pascu
Noah Briger

Special appearance by GASTON RIVERO. Read the interview with the renowned tenor: https://operamylove.wordpress.com/2014/02/25/interview-with-the-tenor-gaston-rivero/

The Israeli Opera Chorus
Chorus Master: Ethan Schmeisser
The Young Efroni Choir
The Opera Orchestra – The Israel Symphony Orchestra Rishon LeZion
Surtitles in Hebrew and English
Translation: Israel Ouval

New Production
Sung in Italian
Duration: Three hours

Day  Date Hour        back stage tours   Opera Talkback
*WED 23.4.14 20:00
THU 24.4.14 20:00 After the show
FRI 25.4.14 13:00
SAT 26.4.14 21:00 18:30
MON 28.4.14 20:00 18:30 After the show
TUE 29.4.14 20:00 18:30
WED 30.4.14 20:00 18:30 After the show
FRI 2.5.14 13:00
SAT 3.5.14 21:00
THU 8.5.14 20:00 After the show
FRI 9.5.14 13:00
SAT 10.5.14 21:00

* PREMIÈRE
** TOWARDS OPENING – 19.4.14 SAT 11:00

La boheme

Act I
An attic in Paris, December 24, evening
In their shabby attic, the painter Marcello and the poet Rodolfo complain of the cold. In order to light the stove, Rodolfo decides to sacrifice one of his manuscripts, and the two enjoy a moment of warmth before the fire fades away. Colline, their philosopher roommate, arrives having failed to sell some books. However at a moment of total despair, the fourth Bohemian, the musician Schaunard arrives triumphantly with wood, food, wine and money. He tries to tell his friends how he succeeded in obtaining this surprising fortune, but the other three are not interested in his tales and set the table for the meal they have craved for so many days. But Schaunard will have nothing of this. On Christmas Eve they will eat out he decrees. As the four are about to leave, Benoit, their landlord, appears and pronounces just a single word: “rent”. He is invited inside, offered some wine and begins to tell the four young Bohemians about his amorous adventures. And then in the name of virtue they throw the married landlord out and escape paying the rent one more time.

Rodolfo decides to stay behind in order to finish a newspaper article while his friends promise to wait downstairs. A weak knock is heard and the neighbor Mimi enters asking Rodolfo to light her candle which has blown out on the staircase. She is very weak and faints. Rodolfo assists her and as she revives, he lights her candle and she hurries out, immediately returning as the wind has blown out the candle once again. This time Rodolfo quickly blows out his own candle too and in the darkness Mimi drops her key. She asks Rodolfo to help her find it and when he does, he conceals it in his pocket and continues searching until his hand touches Mimi’s hand. “Your tiny hand is frozen,” says Rodolfo and in a beautiful aria tells her that he is a poet who loves life. In her own aria which follows, Mimi says that her real name is Lucia and that she does not know why everybody calls her Mimi. She tells him that she embroiders flowers for a living. The three Bohemians downstairs wonder what has happened to Rodolfo and call him to hurry. He sends them off, intending to spend the evening with Mimi inside. But she begs him to go and join his friends promising, in a very suggestive manner, a surprise for later in the evening. Rodolfo offers his arm to Mimi and the couple leaves together singing of their love to each other.

Act II
Outside the Cafe Momus in the Latin Quarter, later that evening
It is Christmas Eve and the Latin Quarter is crowded. Children rush after the toy seller Parpignol. The Bohemians discover that there is no free table inside the Cafe Momus and so they decide to dine outside on the pavement. Colline has had his beard trimmed, Schaunard has picked up a girl and only Marcello is alone. Rodolfo buys Mimi a bonnet and introduces her to his friends. Suddenly Marcello notices his old flame Musetta walk by expensively dressed on the arm of the old yet wealthy Alcindoro and followed by footmen loaded with parcels. Musetta also notices her former lover and sits close to him trying to attract his attention. She breaks plates, makes a fuss about her meal, yet Marcello remains indifferent and begins flirting with some other girls. Musetta does not give up, climbs on one of the tables and sings her beautiful waltz-like aria in which she describes how everybody stares at her as she walks in the streets. But in between the lines she is speaking directly to Marcello, asking him to stop his games and come and embrace her. Pretending that one of her shoes is pinching her feet she sends Alcindoro to get a new one and throws herself into Marcello’s arms. As the six merry makers are about to depart a waiter brings their bill, but they have no money left. Musetta adds their bill to hers and they all leave happily.

ACT III
Outside a tavern by one of the Paris toll gates. A cold, wet February dawn
Customs men are searching the peasants, milkmaids and the workers from the suburbs who are coming into the city to work. Musetta’s voice is heard from the nearby tavern. Mimi approaches looking for Marcello. She begs him to intervene on her behalf with Rodolfo as his jealousy has made their life together impossible. She hides when Rodolfo comes out of the tavern. He tells Marcello that he has had enough of Mimi and that he cannot stand her flirtations. But then he reveals the real truth: Mimi is very ill and his life of poverty will kill her, which is why they must part. Mimi overhears their conversation and for the first time actually realizes that her illness is indeed fatal. She faints and when she comes to her senses she accepts Rodolfo’s decision to part, but since they cannot bear to part immediately they agree to stay together until spring. Marcello and Musetta quarrel outside the tavern, Musetta arguing that she cannot stand his jealousy and the she hates lovers who behave like husbands. The bickering of the two lovers serves a perfect contrast to the peaceful and tranquil acceptance of love of Rodolfo and Mimi who leave hand in hand.

ACT IV
The attic, early summer
Just as in the opening act, Marcello and Rodolfo are trying to work, but without any success. Then it was the cold air that prevented them from concentrating. Now it is the cold feeling from inside. Both are alone and while pretending to be happy neither can forget the memory of his love. Colline and Schaunard come in with some food, but this time only bread and herring. They improvise a meal, pretend to be at a ball and even fight a mock duel, when Musetta bursts in telling them that Mimi is very ill but does not dare to come in. Rodolfo rushes outside and brings Mimi in, and Musetta says that as she heard Mimi was ill she searched for her all over Paris. When she finally found her, Mimi expressed one wish only, to come to and die near Rodolfo. To make her last moments easier everyone tries to satisfy Mimi’s last desires. Musetta gives her earrings to Marcello and asks him to buy Mimi a warm muff. Colline goes to pawn his coat and bring a doctor. Alone with Rodolfo, Mimi recalls their first meeting, their short spell of happiness, their dreams and their love. She thanks her friends as they return and closes her eyes. As Musetta prays for Mimi’s health Schaunard realizes that Mimi is dead and Marcello tries in vein to comfort Rodolfo.

The Israeli Opera, Sderot Sha’ul HaMelech 19, Tel Aviv-Yafo, Israel

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CINDERELLA in Omaha

Posted on March 22, 2014 by editoreusa

OPERA OMAHA PRESENTS:

CINDERELLA

GIOACHINO ROSSINI

Friday April 25, 2014
Sunday April 27, 2014
Orpheum Theater

ABOUT THE PRODUCTION

AbouttheProduction

Bring the entire family to relive the cherished fairy tale of an impoverished girl tormented by two stepsisters in her stepfather’s dilapidated house. Mistaken identities and a glamorous ball give the kindhearted Cinderella the opportunity to transform her life. This story, full of humor and love, is told through some of Rossini’s finest writing and a colorful, whimsical production.

Led by a world-renowned international creative team, this colorful and comedic production of Cinderella has graced some of the world’s finest opera stages including Houston, Los Angeles, Seattle, and Toronto. Praised by critics and loved by audiences of all ages, this is your opportunity to see several returning Opera Omaha audience favorites in a phenomenal cast, in a larger-than-life production.

Approximate run time is 3 hours with one intermission.

CAST

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SEATTLE OPERA PRESENTS: International Wagner Competition

Posted on March 20, 2014 by editoreusa

wagner5SEATTLE OPERA PRESENTS: International Wagner Competition

A Special One-Night Only Event Returns at McCaw Hall

Thu, Aug 7, 2014 7:00 PM

The world will be watching as an elite group of up-and-coming Wagnerians take the stage for our third International Wagner Competition. Accompanied by full orchestra, each finalist will perform two selections from the Wagner canon. In addition to awards for orchestra and audience favorites, finalists will compete for a total of $50,000 in cash prizes, awarded by a distinguished panel of judges.

Seating is limited to Orchestra and Dress Circle levels for this exciting one-night-only event.

Performance at: McCaw Hall, 321 Mercer Street, Seattle, WA 98109

Finalists

Helena Dix

Helena Dix
Soprano

Australian-born Helena Dix recently won the Wagner Society’s 2012 Bursary Competition and has since performed in the 2012 Bayreuth Stipendiatenkonzert at the Festspielhaus and in Karlsruhe as part of the International Wagner prize. In 2005, Dix represented Australia in the 2005 BBC Cardiff Singer of the World competition. Her operatic repertoire includes Elettra in Idomeneo for Theater Lübeck; the title role in La Gioconda in Valladoliad; the Flowermaiden in Parsifal for English National Opera; Rosalinde in Die Fledermaus and Hanna Glawari in The Merry Widow for Scottish Opera; Fiordiligi in Così fan tutte, Donna Anna in Don Giovanni, and Nella in Gianni Schicchi for The Opera Project; Li-Li in Greed for the Glyndebourne Young Artist Project; and Musetta in La bohème for Opera Novella. Other roles include Felice inSchool for Fathers, Erste Dame in Die Zauberflöte, the title role of Thaïs, Cio-Cio-San in Madama Butterfly, Elvira in Ernani, Violetta La traviata, and Noémie in Massenet’sCendrillon.

 

Ric Furman

Ric Furman
Tenor

Ric Furman made his Seattle Opera debut as Florestan in Fidelio in 2012. He has performed Tito in La clemenza di Tito at Opera Company of Brooklyn, Don José inCarmen at Springfield Regional Opera, Dancaïre in Carmen at Cincinnati Opera, and Rinuccio in Gianni Schicchi at Pittsburgh Opera. For Cincinnati Opera he sang Augustin Moser in Die Meistersinger von Nürnberg. He has also appeared at Dayton Opera, Dicapo Opera, Indianapolis Opera, and Opera Omaha. Past roles include Rodolfo in La bohème, Alfredo in La traviata, the Duke in Rigoletto, both Roméo and Tybalt in Roméo et Juliette, Detlef in The Student Prince, Beppe in Pagliacci, and roles in Aida, Don Carlo, Ainadamar, Carmen, Salome, Samson et Dalila, Il viaggio a Reims, Le nozze di Figaro, Gianni Schicchi, Der Kaiser von Atlantis, Così fan tutte,The Tender Land, and Die Zauberflöte. He is a former Young Artist with Cincinnati Opera and Opera Omaha.

Suzanne Hendrix

Suzanne Hendrix
Soprano

Suzanne Hendrix made her Seattle Opera debut as Waltraute in Die Walküre in 2013. Other Wagner roles include Schwertleite in Die Walküre at San Francisco Opera and Mary in Der Fliegende Holländer at Lyric Opera of Kansas City. She recently performed the Fortune Teller in Arabella at Santa Fe Opera, Bianca in The Rape of Lucretia at Opera Memphis, and Azucena in Il trovatore at Wichita Grand Opera. Other roles include Suzuki in Madama Butterfly, Ma in The Tender Land, Zita in Gianni Schicchi, the Princess in Suor Angelica, and Florence Pike in Albert Herring. She is a former apprentice artist with Des Moines Metro Opera, Merola Opera Program, and the Santa Fe Opera. She won first prize in the 2012 George London Competition.

 

Roman Ialcic

Roman Ialcic
Bass

German bass Roman Ialcic covered the roles of Fafner and Hunding for Seattle Opera’s 2013 Der Ring des Nibelungen. His roles include Konchak in Prince Igor, Boris in Boris Godunov, Gremin in Eugene Onegin, and Fiesco in Simon Boccanegra. He also performed Sarastro in Die Zauberflöte at the Open Air Opera Festival in Isny. In 2006, he reached the final round of Plácido Domingo’s Operalia, and since September 2007 has been engaged as a soloist at the St. Gallen Theater, Switzerland, where his roles have included Escamillo in Carmen, Cascada in The Merry Widow, Lamoral in Arabella, Tomski in The Queen of Spades, Talbot in Giovanna d’Arco, Marchese d’Obigny in La traviata, and Kaspar in Der Freischütz.

 

Kevin Ray

Kevin Ray
Tenor

As a second year member in the Houston Grand Opera Studio, Kevin Ray’s roles have included Eisenstein in Die Fledermaus, the Third SS Officer in Weinberg’s The Passenger, scenes of Captain Ahab in Heggie’s Moby-Dick, Froh and Loge in Das Rheingold, and Don José in Carmen. Last season, he sang his first performances of the title role of Peter Grimes with Chautauqua Opera as well as Don José at the Lyrique-en-Mer/Festival de Belle-Île. His previous roles at Houston Grand Opera include Melot in Tristan und Isolde, the Messenger in Il trovatore, and Parpignol in La bohème. At Santa Fe Opera, he created the role of the Second Clubman in the world premiere of Moravec’s The Letter and has performed the role of the Poet in Menotti’s The Last Savage. He is a former member of the Santa Fe Apprentice Singer Program and the Merola Opera Program of San Francisco Opera.

 

Tamara Mancini

Tamara Mancini
Soprano

Tamara Mancini made her Seattle Opera debut as Ortlinde in Die Walküre in 2013. A former San Francisco Opera Adler Fellow, she performed in their mainstage productions as Freia in Das Rheingold and Helmwige in Die Walküre. She recently performed the title role in Turandot at Royal Opera Stockholm; Palácio de Bellas Artes, Mexico City; and Teatro Comunale di Bologna. Other roles include Amelia in Un ballo in maschera, Leonora in La forza del destino, Maddalena di Coigny in Andrea Chénier, Santuzza in Cavalleria rusticana, and the title role in Tosca, which she performed in her Vancouver Opera debut earlier this season. She has won the Giulio Gari Competition, the Licia Albanese Puccini Competition, and the Opera Index Competition.

 

Issacha Savage

Issacha Savage
Tenor

Grand prize winner of the 2012 Marcello Giordani International Competition, Issacha Savage has received awards and career grants from the Wagner Societies of New York, Washington, D.C., and Northern California, and two first place prizes in the Liederkranz Foundation competition. Savage has performed in the world premiere of Wynton Marsalis’s All Rise and Mark Antony in the world premiere of Leslie Savoy Burrs’ Egypt’s Nights at Philadelphia’s Opera North, and he has performed Radames inAida at Opera North Carolina and Houston Grand Opera. He has also participated in the Merola Opera Program at San Francisco Opera, the Evelyn Lear and Thomas Steward Emerging Singers Program, Dolora Zajick’s Institute for Young Dramatic Voices, and ACMA’s Wagner Theater program, where he performed scenes from Die Walküre,Parsifal, and Samson et Delilah.

 

Marcy Stonikas

Marcy Stonikas
Soprano

During Seattle Opera’s 2012/13 season, Marcy Stonikas debuted the title roles in productions of Turandot and Fidelio, and she returns to Seattle Opera in 2014 to sing Magda Sorel in The Consul. She recently performed Donna Anna in Don Giovanni at Wolf Trap Opera Company, the title role of at Utah Opera, and the title role of at Opera Santa Barbara. Upcoming engagements include Leonora at Volksoper Vienna and a performance in concert with the West Australian Symphony Orchestra. A graduate of the Young Artists Program at Seattle Opera, she performed the roles of Donna Anna,Fiordiligi in Così fan tutte, and the title role in Ariadne auf Naxos while a member of the program. She is a winner of the 2013 George London Foundation Vocal Competition and First Prize winner in the Wagner Division of the 2013 Gerda Lissner Foundational Vocal Competition.

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TOSCA at Florida Grand Opera

Posted on March 20, 2014 by editoreusa

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TOSCA

Music by Giacomo Puccini
Libretto by Giuseppe Giacosa and Luigi Illica

“Poetry and again poetry; tenderness mixed with pain; sensuality; a drama surprising and burning; and a rocketing finale.”
―Giacomo Puccini

The passionate and beautiful singer, Floria Tosca, is in love with a handsome young artist, Cavaradossi, but the lustful chief of police, Scarpia, has other plans. He makes a lecherous offer, allowing Tosca to save her lover. At first, she strikes an unholy bargain with the evil Scarpia, but her hatred for him gives her second thoughts. The results are bloody, deadly, and shocking.

Come see what Tosca means when she says, “This is Tosca’s kiss.” Tosca includes some of the most inspired and memorable music in all of opera. When it debuted in 1900, it was an immediate hit, and it has been an opera fan favorite for 113 years.

CAST

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Conductor
Ramón Tebar

Stage Director
José Maria Condemi

Chorus Master
Michael Sakir

Production
Seattle Opera

Florida Grand Opera General Director and CEO Susan Danis calls this double cast of Tosca her “Dream Casts.”
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Sung in Italian with English and Spanish projected titles.
Pre-opera lecture one hour before every performance.
Post-opera talk back following every performance.

The performance will last approximately two and a half hours.

Photo © by Richard Termine for Sarasota Opera

Performances
Saturday, Mar 29, 2014, 7:00PM, Miami
Sunday, Mar 30, 2014, 2:00PM, Miami
Tuesday, Apr 1, 2014, 8:00PM, Miami
Wednesday, Apr 2, 2014, 8:00PM, Miami
Friday, Apr 4, 2014, 8:00PM, Miami
Saturday, Apr 5, 2014, 8:00PM, Miami
Thursday, Apr 10, 2014, 7:30PM, Ft. Lauderdale
Saturday, Apr 12, 2014, 7:30PM, Ft. Lauderdale

Miami performances are at the Sanford and Dolores Ziff Ballet Opera House at the Adrienne Arsht Center for the Performing Arts of Miami-Dade County, 1300 Biscayne Boulevard, Miami.

Fort Lauderdale performances are at the Au-Rene Theater at the Broward Center for the Performing Arts, 201 SW 5th Avenue, Fort Lauderdale.

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A tale of love and treachery that will keep you on the edge of your seat from start to finish…

And what a finish! One of opera’s most famous! Don’t miss Puccini’s TOSCA. It’s in a class of its own, with riveting drama and thrilling music. Many people say it’s the perfect first opera, so bring your friends! They’ll be amazed and forever grateful!

Synopsis of the Opera

Act I
The Church of Sant’Andrea della Valle

Angelotti, an escaped political prisoner, takes refuge in a chapel of the church of Sant’Andrea della Valle in Rome. An elderly sacristan comes to tidy up, followed by Cavaradossi, who is painting a portrait of the Madonna. Cavaradossi compares his Madonna’s blonde-haired, blue-eyed charm with the dark beauty of his lover, the singer Floria Tosca.

Angelotti emerges to find Cavaradossi, his political ally, who promises to help him escape from Rome. Angelotti hides again at the sound of Tosca’s voice. Tosca jealously demands to know why the door was locked. Cavaradossi reassures her, and they join in a passionate duet.

Once Tosca has gone, Angelotti reappears, and he and Cavaradossi plan his flight. A cannon shot announces the discovery of Angelotti’s escape. They exit. The sacristan enters followed by clerics and choir boys excited by the rumors of Bonaparte’s defeat. Baron Scarpia, the chief of police, arrives with his henchman Spoletta in search of the escaped prisoner.

Tosca returns, and Scarpia plays upon her jealousy in hopes of discovering Angelotti’s whereabouts. When she leaves, Scarpia has her followed. As the crowd intones the “Te Deum,” Scarpia vows to bring Cavaradossi to the gallows and Tosca into his arms.

Act II
Scarpia’s study in the Palazzo Farnese; that evening

Alone at dinner, Scarpia reviews his plot. Spoletta reports that he and his men trailed Tosca to the villa and found no trace of Angelotti, but placed Cavaradossi under arrest. Cavaradossi is brought in and questioned. Scarpia has sent for Tosca, and she enters as Cavaradossi is taken away to be tortured. Upon hearing his cries, Tosca reveals Angelotti’s hiding place. Cavaradossi is dragged into the study. His anger at Tosca’s betrayal turns to joy when Sciarrone announces that Bonaparte has actually defeated Melas at Marengo. The enraged Scarpia sends Cavaradossi back to his cell.

Tosca asks the price of her lover’s freedom. Scarpia will accept only Tosca’s submission. Tosca sobs to herself: She has devoted her life to music and piety; why does God repay her with misery? Spoletta enters with the news that Angelotti has killed himself rather than be arrested. Ashamed, Tosca signals that she will give in to the Baron, on condition that Cavaradossi be set free. Scarpia explains that he cannot grant a pardon; he can only release Cavaradossi by faking his death in a mock execution. Tosca demands a note of safe passage for herself and Cavaradossi. While he is writing, Tosca catches sight of a knife on his dinner table and, unnoticed, takes it. Scarpia seals the note, then turns to embrace the diva. “This is Tosca’s kiss!” she cries, plunging the knife deep into his heart. Scarpia cries out for help as Tosca curses him. She takes the safe-conduct pass and slips out of the room.

Act III
The Castel Sant’Angelo; dawn of the following day

Soldiers bring Cavaradossi to the ramparts of the fortress. He reflects on his love for Tosca. Tosca rushes in with the note of safe passage and the story of Scarpia’s violent death. Cavaradossi praises her courage, saying that her gentle hands were not meant for murder. Tosca tells him of the plan of the feigned execution: after the gunshots he is to lie still until she gives him a signal. Tosca is filled with anxiety as her lover is led before the soldiers. They fire and Cavaradossi falls to the ground. Tosca whispers to him to remain motionless until everyone has gone. At last she tells him it is safe, but he does not respond. With a piercing scream, Tosca realizes Scarpia’s final deceit. She weeps over Cavaradossi’s body as Spoletta and Sciarrone, having found the Baron murdered, burst in to arrest her. Too quick for them, she runs to a parapet, shouts “Oh, Scarpia, we shall meet before God!” and hurls herself to her death.

Main Art

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