“THE FLYING DUTCHMAN” in New Zealand on October 5th

The Flying Dutchman DLE flyer“THE FLYING DUTCHMAN”

RICHARD WAGNER

Brooding. Boundless. Haunting.

The Flying Dutchman, a cursed sea captain, sails his phantom ship across the world’s oceans. Only true love can save him and every seven years he is allowed one night to venture ashore in search of the right bride. The Flying Dutchman was only Wagner’s second opera to be successfully staged but its brooding tension, boundless energy and haunting melodies ensure it is still a firm favorite today.

The Cast

This co-production with Opera Queensland stars Jason Howard as The Dutchman, Christchurch-born bass Paul Whelan as Daland, and Irish soprano Orla Boylan as Senta.

The Story

Off the Norwegian coast, a community of women are yearning for the return of their men. But Senta is obsessed with a different passion – she fantasizes about the myth of the Flying Dutchman, and longs to save his tormented soul. When her father, Daland, is caught out in a storm at sea, he catches sight of the blood-red sails of the Dutchman’s ship and invites the stranger home, never dreaming of the captain’s true identity.

Accompanied by the New Zealand Symphony Orchestra
and the Auckland Philharmonia Orchestra

Featuring the Chapman Tripp Opera Chorus

Sung in German with English surtitles

A co-production with Opera Queensland

*contains nudity.

DATES:

 ASB Theatre, Aotea Centre, Auckland, New Zealand,  October 5—12, 2013;

St James Theatre,  Wellington, New Zealand, September 14—21

“As a passionate practitioner of theatre in music I think of the scene in which the ghostly crew of the Dutchman’s ghostly ship answers the call of the chorus on shore as one of the most hair-raising in opera”

Wyn Davies, Conductor

CAST:
Jason Howard Orla BoylanPaul WhelanPeter AutyShaun DixonWendy Doyle

The Dutchman: Jason Howard
Senta: Orla Boylan
Daland: Paul Whelan
Erik:Peter Auty
The Steersman: Shaun Dixon
Mary: Wendy Doyle

 CREATIVE TEAM:
Wyn Davies Matthew LuttonZoe AtkinsonJon Buswell
Conductor: Wyn Davies
Director: Matthew Lutton
Production Designer: Zoe Atkinson
Lighting Designer: Jon Buswell

Artists assemble for bold new production.
When New Zealand Opera’s season of Wagner’s The Flying Dutchman opens on October 5th, some of the biggest and best voices in the business will be on stage.
Aidan Lang, General Director of NZ Opera, says Wagner’s magnificent music requires singers who possess vocal power and stamina as well as acting prowess. “And we feel confident we have achieved this with our international cast,” he says. “The leading principals – Welsh baritone Jason Howard (The Dutchman), New Zealand bass Paul Whelan (Daland), and Irish soprano Orla Boylan (Senta) – have all received the highest accolades for their previous Wagnerian roles, while English tenor Peter Auty (an intense and superbly sung Turiddu in 2011’s Cavalleria rusticana) makes his Wagnerian debut as Erik. In smaller roles, but also taking to the stage with all the right credentials are New Zealanders Shaun Dixon (tenor, The Steersman) and Wendy Doyle (mezzo soprano, Mary).”
This new production of The Flying Dutchman is New Zealand’s first fully staged Wagner
opera in over 20 years. It is also a production of bold proportions, created by award-winning Director Matt Lutton and Designer Zoe Atkinson, two highly imaginative and creative Australians of the same generation as Wagner when he wrote the opera, aged just 28.
In later years Wagner referred to opera as ‘Gesamtkunstwerk’, or ‘total work of art’, the
synthesis of the poetic, visual, musical and dramatic arts. “Although The Flying Dutchman is an early example of Wagner’s work,” Lang says, “it contains a glorious fusion of all these art forms.
“And if you’ve never experienced Wagner before and are curious to, this opera will likely
hook you forever,” he adds.

Flying Dutchman

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A MODERN DAY SETTING ‘DON GIOVANNI’ APPLAUDED IN NEW ZEALAND

NEW ZEALAND OPERA, NEW ZEALAND

“DON GIOVANNI”

WOLFGANG AMADEUS MOZART

Italian libretto by Lorenzo Da Ponte

The Ultimate Seduction.

“Here for a good time, not a long time” might well be the motto of Don Giovanni, opera’s greatest anti-hero. A thoroughly hedonistic womanizer, he will stop at nothing – even murder – in the pursuit of pleasure.

Mozart’s liveliest, most extreme and most romantic music draws the image of a human being who knows that his existence is not infinite, and therefore wants to make the most of his time on earth.

Don Giovanni cannot resist the opportunity to seduce any woman who crosses his path. But as a crowd of wronged lovers, their fiancés and other enraged relatives grows, his fate is sealed when he kills the father of Donna Anna.

Mozart’s serio-comic opera might have a villain at its heart but watching him get his come uppance has drawn rapturous audiences since its premiere in 1788.

The Cast

This new production stars English baritone Mark Stone in the title role, with English-born Australian soprano Lisa Harper-Brown as Donna Anna, Dunedin’s Jonathan Lemalu as Leporello and our current Freemasons Dame Malvina Major Young Artist Anna Leese (Tatyana in Eugene Onegin) as Donna Elvira.

The Story

Don Giovanni, an exceptionally lecherous nobleman, cannot resist the opportunity to seduce any woman who crosses his path. As a small crowd of wronged lovers, their fiancés and other enraged relatives grows, his fate is sealed when he kills the father of Donna Anna, one of his conquests. The Commendatore might be dead but his wrath is enough to cross even this boundary.

Accompanied by the Christchurch Symphony Orchestra

Featuring the Chapman Tripp Opera Chorus.

Sung in Italian with English surtitles.

A New Zealand Opera production
In association with the Christchurch Arts Festival

Don Giovanni

“As for all great pieces, the possibilities for Don Giovanni are endless, which is why it will continue to be performed forever. If Mozart is Shakespeare, then Don Giovanni is his Hamlet — an eternal work which continues to ask questions of performers and audiences.

Mark Stone, Don Giovanni

The opera, which was performed on August 22 through September 22, 2013 at the CBS Canterbury Arena in Christchurch, New Zealand, received a wide applause from the public and the critics….

CAST:

Mark StoneJonathan LemaluAnna LeeseLisa Harper-BrownNicky SpenceRichard GreenRobert TuckerAmelia Berry

Don Giovanni: Mark Stone
Leporello: Jonathan Lemalu
Donna Elvira: Anna Leese
Donna Anna: Lisa Harper-Brown
Don Ottavio: Nicky Spence
Commendatore: Richard Green
Masetto: Robert Tucker
Zerlina: Amelia Berry

CREATIVE TEAM:

Wyn Davies Sara BrodieJohn VerrytElizabeth WhitingJeremy Fern

Conductor: Wyn Davies
Director: Sara Brodie
Production Designer: John Verryt
Costume Designer: Elizabeth Whiting
Lighting Designer: Jeremy Fern

Images from the performance:

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Ukranian National Opera Presents “La traviata”

logoukraineopera

Ukranian National Opera Presents:

Giuseppe Verdi’s

La traviata

Opera in 3 acts

Tuesday, October 15. 2013

Starting time 17:00

Ending time 21:50

 

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A breathtaking “Madama Butterfly” performed last September in Cape Town…

Madama Butterfly was performed on September 19, 21, 25 and 27

“Riveting, heartfelt … breathtaking and thoroughly engaging” – Sunday Independent

“Christine Crouse’s production is simple, beautiful and gimmick-free … and she creates gorgeous scenes” – Die Burger.

“an engaging production of an operatic masterpiece … which can be warmly recommended, especially to first-time opera-goers” – The Cape Times.

Presented by Cape Town Opera

Christine Crouse and Michael Mitchell’s visually stunning staging of Puccini’s most heart-rending opera returns to the Opera House at Artscape

 

 “And the geisha will sing, as she used to do. And the happy song will end in a sob”

East and West collide with tragic results in Puccini’s devastating opera about a trusting young Japanese bride and the callous American naval officer who weds and abandons her. Famous highlights including Butterfly’s aria ‘Un bel dì’, the joyous Flower Duet and the haunting Humming Chorus emerge from a score of consistent beauty and power, which goes straight for the emotional jugular and seldom fails to reduce even the hardest hearts to tears.

Christine Crouse’s “visually arresting” production, with Kabuki-inspired designs by Michael Mitchell, was a sell-out sensation at its first run in 2009.

Conductor: Albert Horne
Director: Christine Crouse
Set and Costume Design: Michael Mitchell
Lighting Design: Kobus Rossouw
Movement Director: Jacki Job
Cape Town Opera Voice of the Nation Chorus
Chorus Master: Albert Horne

CAST

 

Pinkerton            Tshepo Moagi
Goro                   Lukhanyo Moyake
Suzuki                Violina Anguelov (u/s Nonhlanhla Yende)
Sharpless            Mandisinde Mbuyazwe (u/s Owen Metsileng)
Cio-Cio-San         Tatiana Monogarova
The Imperial
Commissioner      Nkosana Sitimela
The Registrar       Lindile Kula Snr
The Bonze           Xolela Sixaba
Prince Yamadori   Owen Metsileng (u/s Mandisinde Mbuyazwe)
Dolore                 Cade Miller
Kate Pinkerton     Siphamandla Yakupa and Nonhlanhla Yende
Kabuki Actors      1.  Mark Hoeben
2.  Richard September
Supers                1.  Lubabalo Velebayi
2.  Lindile Kula Jnr
3.  Thando Mpushe

 

Pictures from our 2009 Production of Madama Butterfly

     

      

 

  

 

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VERDI’S 200th ANNIVERSARY CELEBRATION: Aida in Kiev, Ukraine

logoukraineopera

Ukranian National Opera Presents:

Giuseppe Verdi’s

aidaukraine1Aida

Opera in 4 acts

Saturday, October 12, 2013

Beginning 19:00      Ending  22:05

Address of the theatre:
Kyiv, 01034, Volodymyrska st., 50
Ukraine
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Madama Butterfly in Kiev at the Ukranian National Opera

logoukraineoperaUKRAINE NATIONAL OPERA PRESENTS:

Giacomo Puccini’s

Madama Butterfly (Сіо-Cio-San)

Tragedy in 3 acts

Tuesday, October 8, 2013

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Ukranian National Opera Presents “Il Barbiere di Siviglia”

logoukraineoperaUkranian National Opera  Presents:

G. Rossini’s

Il Barbiere di Siviglia

Opera in 2 acts

Saturday, October 5, 2013

Starting time: 19:00
Ending time: 21:35

Address of the theatre:
Kyiv, 01034, Volodymyrska st., 50
Ukraine

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Orpheus and Eurydice at the Oslo Opera House

 

Orfeus%20og%20Evrydike_Foto_Erik_BergThe Norwegian National Opera & Ballet presents

Orpheus and Eurydice

at the Oslo Opera House

logonorwayChristoph Willibald Gluck has gone down in music history as one of opera’s great reformers. Gluck felt that music theatre in his day had become too distant from its original concept. Superficial effects and circus-like entertainment were in the way of the interplay between text and music. He wished to return opera to its original ideals. His first opera in this new style was Orpheus and Eurydice.

The myth of Orpheus, who journeys to the underworld to save his beloved Eurydice, is about love and the transcending power of the music. Gluck illustrates Orpheus’ journey and his encounter with angry Furies and Blessed Spirits, with music that is free of effects yet which arouses strong feelings. It is pure and balanced, with dark and light, simpleness and pathos in perfect equilibrium.

This is the first time in a long time that we are able to present a coproduction between the Norwegian National Opera and the Norwegian National Ballet. House choreographer Jo Strømgren has directed, choreographed and done the scenography, and contra-tenor Lawrence Zazzo sings the role of Orpheus. Audiences can also look forward to hearing once again conductor Rinaldo Alessandrini.

  • 9 productions / From October 17. to November 5.
  • Premier October 17. 2013 / Main House

Main roles

  • Orfeus

    Lawrence Zazzo
    Playing the following days
    • 10/17/2013
    • 10/19/2013
    • 10/22/2013
    • 10/24/2013
    • 10/26/2013
    • 10/29/2013
    • 10/31/2013
    • 11/3/2013
    • 11/5/2013
  • Evrydike

    Eli Kristin Hanssveen
    Playing the following days
    • 10/17/2013
    • 10/22/2013
    • 10/24/2013
    • 10/29/2013
    • 10/31/2013
    • 11/3/2013
    • 11/5/2013
    Nina Gravrok
    Playing the following days
    • 10/19/2013
    • 10/26/2013
  • Amor

    Kari Ulfsnes Kleiven
    Playing the following days
    • 10/17/2013
    • 10/22/2013
    • 10/24/2013
    • 10/29/2013
    • 10/31/2013
    • 11/3/2013
    • 11/5/2013
    Amelie Aldenheim
    Playing the following days
    • 10/19/2013
    • 10/26/2013

    Orfeus og Evrydike 2013 Orfeus og Evrydike 2013 Orfeus og Evrydike 2013 Orfeus og Evrydike 2013 Orfeus og Evrydike 2013 Orfeus og Evrydike 2013 orpheusNorway6 Orfeus og Evrydike 2013 Orfeus og Evrydike 2013 Orfeus og Evrydike 2013 Orfeus og Evrydike 2013 Orfeus og Evrydike 2013 orpheusNorway13

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VERDI’S 200th ANNIVERSARY CELEBRATION: “RIGOLETTO” premieres in Slovenia

rigoletto-front-net

logoThe Opera Balet Ljubljana Presents: Giuseppe Verdi’s

RIGOLETTO

An Opera in Three Acts

 Premiere: 26 September 2013

3 October 2013 19:30 SNG Opera in balet Ljubljana
15 November 2013 19:30 SNG Opera in balet Ljubljana
27 November 2013 19:30 SNG Opera in balet Ljubljana
29 November 2013 18:00 SNG Opera in balet Ljubljana
14 December 2013 19:30 SNG Opera in balet Ljubljana
16 December 2013 19:30 SNG Opera in balet Ljubljana
16 January 2014 19:30 SNG Opera in balet Ljubljana
18 January 2014 19:30 SNG Opera in balet Ljubljana
28 February 2014 19:30 SNG Opera in balet Ljubljana
29 March 2014 19:30 SNG Opera in balet Ljubljana

rigoletto6In March 1850, the Venetian La Fenice commissioned Verdi to compose an opera seria that would be performed during the Carnival, in 1851. The composer gladly accepted the commission, since the two of his operas – Ernani and Atilla – were already successfully premiered at this renowned theatre. He occupied himself with the choice of topic for quite some time and finally opted for Hugo’s Le roi s’amuse, as he found it one of the greatest plays of its time and the creation, worthy of Shakespeare himself. He was particularly allured by Hugo’s dramaturgy with sharp, romantic contrasts, turbulent conflicts of passion, zealous love of freedom as well as exciting and dynamic development of action. Although the theatre’s direction accepted the suggested theme, it did have its doubts, mainly due to the stormy reactions, caused by Hugo’s source material on the occasion of its first staging in Paris, in 1832. Even Verdi was concerned, but the poet Francesco Maria Piave assured him of the opposite and wrote the entire libretto after the composer’s draft that was at first entitled as La maledizione (The Curse). Then the Austrian censorship banned the opera’s performance under this title due to its alleged immorality and obscenity. However, since the composer had already set a significant part of the play to the music, he could not afford the additional loss of time that would be necessary for the acquisition of a new topic. The obedient and flexible Piave set himself to some remaking, with which, however, the composer did not agree. After a series of complications the senior police officer Martello wisely proposed some alterations, which would comply with the demands of the censorship on the one hand and would not considerably affect the essence of the opera’s dramatic concept on the other. Thus the French King was replaced with the unknown Duke of Mantua, the court jester was named Rigoletto and some other characters also obtained new names so that the premiere, held in Venice on 11th March 1851, could see its triumph at last. The first performance was soon followed by its repetitions as on the other Italian stages as well as abroad – among other in Vienna, in 1852 and in Ljubljana, in 1855. The audience in Paris saw it only two years later, since its staging was initially opposed to by Hugo himself, who soon became a zealous fan of this Verdi’s masterpiece. And it was indeed with it that the thirty eight years old composer reached his artistic maturity. With its heartbreaking and uniform drama Rigoletto certainly outperforms the other pieces from Verdi’s middle creative period. In his collection of works this opera announced a period, in which the composer’s works were marked by greater musical consistency and stronger individual character in comparison to any of the operas, composed by his Italian predecessors. Verdi’s melodics became even warmer and more distinctive, and although dominated by melodious element, the orchestra that convincingly created the mood and deepened the psychological background, was increasingly obtaining a more important role as well. Detlef Soelter, who has successfully revived on our stage Verdi’s Nabucco and also took part in the staging of the Monteverdi’s L’Orfeo, produced by the Ljubljana’s three artistic academies, is coming back to direct yet another staging of the Verdi’s famous operas.

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Richard Wagner’s “Der fliegende Holländer”, The Flying Dutchman, at the Bolshoi in Moskow

bolshoiRichard Wagner’s

“Der fliegende Holländer”

bolshoi_hollander-smOpera in three acts

Premiered on June 20, 2004

Revival: October 16, 2013

Coproduction with Bavarian State Opera

Libretto by Richard Wagner based on the popular legend and a novel by Heinrich Heine

Performance dates:

  • October 16, 2013
  • October 17, 2013
  • October 18, 2013
  • October 19, 2013
  • October 20, 2013
  • October 22, 2013
  • October 23, 2013
  • October 24, 2013

Music Director: Vassily Sinaisky
Stage Director: Peter Konwitschny
Revival Director: Nina Gühlstorff
Sets and Costumes: Johannes Leiacker
Lighting Designer: Damir Ismagilov

CAST

Conductor: Alexei Bogorad, Vassily Sinaisky
The Dutchman: Nathan Berg, Wieland Satter
Daland, a Norwegian sea captain: Nikolai Kazansky, Alexander Teliga
Senta, his daughter: Mardi Byers, Elena Zelenskaya
Eric, a huntsman, Senta’s groom: Viktor Antipenko, Roman Muravitsky
Mary, Senta’s nurse: Elena Novak, Evgenia Segenyuk
Daland’s steersman: Marat Gali, Maxim Paster

In Honor of Richard Wagner’s Bicentennial

 

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