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744 Sentences With "trovatore"

How to use trovatore in a sentence? Find typical usage patterns (collocations)/phrases/context for "trovatore" and check conjugation/comparative form for "trovatore". Mastering all the usages of "trovatore" from sentence examples published by news publications.

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I even played the anvil onstage in "Il Trovatore" dressed as a Gypsy.
Tuesday); and Angela Meade and Marcello Giordani star in Verdi's ★ "Trovatore" (7:30 p.m. Wednesday).
Ms. Radvanovsky was supposed to be singing Leonora in Verdi's "Il Trovatore" in Vienna that fall.
The last time that happened was in 2016, when the club got a new Il Trovatore.
The soprano Jennifer Rowley took over the full "Trovatore" run from an ill colleague less than two weeks ago.
Productions this year include a monumental "Aida," directed by Gianfranco de Bosio, and an epic "Il Trovatore," staged by Mr. Zeffirelli.
His "Don Giovanni" reimagined the characters as members of a single family; his "Il Trovatore" took place in a single room.
Late last year, the news came that Mr. Hvorostovsky would withdraw from several repeat performances in "Il Trovatore" at the Met this month.
Her professional debut came in 1958 with the Cincinnati Opera, in a summer production of "Il Trovatore" in which she twice sang Leonora.
Alas, Robert Wilson's production in the same venue of "Le Trouvère," an 1857 adaptation of "Il Trovatore" for the Paris Opera, was a disappointment.
Verdi, apparently content with "Il Trovatore" as it stood, made only minor changes for Paris, apart from the addition of a lengthy ballet sequence.
This is followed by the Anvil Chorus from Verdi's "Il Trovatore," which recreates the sound of multiple Spanish Gypsies striking their anvils at dawn. Loud.
Her performances at the Met in recent years in "Carmen" (her 2011 debut), "Il Trovatore" and "Prince Igor" made her potential in this repertoire clear.
Witness her "Miserere" from Act IV of Verdi's "Il Trovatore," in which she attempts to free her lover from imprisonment with tidal rushes of sound.
For her first aria, the soprano Jessica Faselt, 25, sang "Tacea la notte" from Verdi's "Il Trovatore," including the quick-paced cabaletta at the end.
"For me it was almost a complete transformation," Peter Gelb, the Met's general manager, said about her turn in "Trovatore" after an absence of two seasons.
Last fall, during a break in his treatments, Mr. Hvorostovsky rallied to sing three performances as Count di Luna in Verdi's "Il Trovatore" at the Metropolitan Opera.
On March 12, 1903, the Metropolitan Opera presented composer Ethel Smyth's one act opera Die Wald (libretto by Henry Brewster) on a double bill with Il Trovatore.
The Met has not yet named conductors for the revivals of Verdi's "Il Trovatore" and "Luisa Miller" that Mr. Levine was also scheduled to lead in the coming months.
He has jumped into a new production of Puccini's "Tosca" set to premiere on New Year's Eve, with Verdi's "Il Trovatore" and "Luisa Miller" to follow in coming months.
She turns this haunted and haunting Gypsy, driven mad by her memories — and often mentioned last in rundowns of the "Trovatore" cast's main quartet — into the riveting, volatile central figure.
Ms. Netrebko sings with both relish and precision, having clearly internalized the bel canto lessons of earlier Verdi — like the other Leonora, in "Il Trovatore" — but now with an earthier flavor.
During an intermission feature for the live HD broadcast of "Trovatore," he spoke briefly backstage with the mezzo-soprano Susan Graham, giving a shout-out to fans for their love and support.
The Met said that it would add a revival of "Il Trovatore" to its season so that she could reprise the role, with which she had a big success earlier this season.
"Senso," his 1954 tale of Venetian intrigue during the Third Italian War of Independence, begins at a performance of "Il Trovatore" and is swept along on the music of Verdi and Bruckner.
And Angela Meade, a sumptuous-voiced young soprano, sings Leonora and Marcello Giordani is Manrico in Mr. McVicar's Goya-inspired production of Verdi's ★ "Trovatore" (Saturday at 8 and Tuesday at 7:30).
And don't miss the last chance this season to hear Angela Meade, a sumptuous-voiced young soprano, sing Leonora in Mr. McVicar's Goya-inspired production of Verdi's ★ "Il Trovatore" (at 1 p.m. Saturday).
The Paris Opera's production of another favourite, "La Traviata", will be conducted by yet another, Michele Mariotti, while Mr Luisotti and Pier Giorgio Morandi will conduct "Rigoletto" and Daniele Calligari will conduct "Il Trovatore".
The Metropolitan Opera said on Facebook Thursday that Levine will be replaced by conductors Marco Armiliato and Bertrand de Billy in productions of Verdi's "Il Trovatore" and "Luisa Miller," respectively, over the next few months.
It hasn't always been an easy fight: In 2000, when he refused to let a tenor cap an aria in "Il Trovatore" with an unwritten but traditional high C, the audience in Milan erupted in boos.
When Mr. Hvorostovsky last appeared at the Met in the fall of 2015 for three performances of Verdi's "Il Trovatore," also starring Ms. Netrebko, he was showered with white roses by the orchestra during the curtain calls.
" When he returned to the Met stage in September 2015 in Verdi's "Il Trovatore," Anthony Tommasini wrote in The New York Times that his "resplendent voice, with its distinctive mellow character and dusky veneer, sounded not at all compromised.
Returning to the camp the next year from her home in Salzburg, she played Leonora, the female lead in Verdi's "Il Trovatore," silently acting and gesturing onstage as three fellow cast members (including her younger sister) narrated the plot.
" Or the way he feasted on the great Verdi baritone roles: his suitably menacing Count di Luna in "Il Trovatore," regal Don Carlo in "Ernani," stern Germont in "La Traviata" and anguished Count Anckarstrom in Verdi's "Un Ballo in Maschera.
Well, it fairly freezes in your veins while watching and listening to Anita Rachvelishvili, the Georgian mezzo-soprano who is running away with the show in "Il Trovatore," which opened at the Metropolitan Opera on Monday and runs through Feb. 15.
This young Georgian mezzo-soprano had been daringly grim in "Carmen" and sensuous in "Prince Igor" in recent seasons at the Metropolitan Opera, but I was still unprepared for her overwhelming portrayal of Azucena in Verdi's "Il Trovatore" in January, sung with bel canto elegance and startling authority.
Spending the 1940s in Switzerland, she swiftly moved from lighter lyrical roles to heavier ones in operas by Wagner (Senta in "Der Fliegende Holländer"), Puccini (Tosca and Turandot) and Verdi (Leonora in "Il Trovatore" and "La Forza del Destino"), as well as the formidable Strauss antiheroines who became her calling cards.
Other operas being screened in this year's festival — which will have 3,100 seats set up and does not require tickets — include Verdi's "Il Trovatore" and "Otello"; Puccini's "Turandot"; Bizet's "Les Pêcheurs de Perles"; Donizetti's "La Fille du Régiment" and "Lucia di Lammermoor"; Rossini's "La Cenerentola"; the double bill of Mascagni's "Cavalleria Rusticana" and Leoncavallo's "Pagliacci"; and Lehár's "The Merry Widow."
George Michael, Elton John's Greatest Hits Volume II, Diana Ross (One Woman, The Ultimate Collection), Dancing on the Ceiling by Lionel Richie, Verdi's Il Trovatore (featuring her signature — perhaps to ward off anyone taking it!) and Carreras, Domingo and Pavarotti are kept in a case full of old cassette tapes that Prince William and Prince Harry have added to a display at Buckingham Palace.
Verdi's Il trovatore and La traviata received their British premieres in 1855 and 1856 respectively; British burlesques of them followed quickly. Our Lady of the Cameleon by Leicester Silk Buckingham and Our Traviata by William F. Vandervell (both 1857) were followed by five different burlesque treatments of Il trovatore, two of them by H. J. Byron: Ill Treated Trovatore, or the Mother the Maiden and the Musicianer (1863) and Il Trovatore or Larks with a Libretto (1880).Marvin, Roberta Montemorra. "Verdian Opera Burlesqued: A Glimpse into Mid-Victorian Theatrical Culture", Cambridge Opera Journal, Vol.
Sehulster, Jerry. “Il Trovatore provides a dramatic opera experience”, Greenwichtime.com Feb 21, 2009. Retrieved Feb 24, 2009.
Another commission came from Paris while he was visiting that city from late 1851 to March 1852. Before the libretto for Il trovatore was completed, before it was scored, and before it premiered, Verdi had four operatic projects in various stages of development. Today, Il Trovatore is performed frequently and is a staple of the standard operatic repertoire.
However, when Ferdinand heard the plans and found out that Michele Mazzara, a famous Neapolitan basso buffo, was in town, he demanded that his hosts put on Don Checco instead: "Trovatore and Trovatore, I want to hear Don Checco. I want to have fun." The theatre duly organized the performance on a few hours notice."Acuto" (pseudonym of Federico Polidoro) (11 October 1885).
23 Simpatie pel Rigoletto op. 27 Duo concertante sui motivi de “I due Foscari” op. 29 Fantasia “L’eco dell’Arno” op. 34 Fantasia sui motivi del “Trovatore” op. 38 Fantasia sui motivi verdiani op. 40 Divertimento sui motivi del “Trovatore” op. 41 Il lamento dell’abbandonato op. 43 Fantasia “La Capricciosa” op. 44 Fantasia “Le Rossignol du Nord” op. 45 Polka “Di chi?” op.
1937 Works Progress Administration production of Il trovatore This is a list of notable events in music that took place in the year 1937.
Phillips-Matz, p. 303 The couple returned to Sant'Agata by mid-March 1852 and Verdi immediately began work on Trovatore after a year's delay.
12Pinafore parodies the baby-switching plot device in Il Trovatore. See, e.g., Gurewitsch, Matthew. "There Will Always Be a Trovatore", The New York Times, 24 December 2000, accessed 22 April 2009 The paper praised Grossmith as Sir Joseph, noting with amusement that he was made up to look like portraits of Horatio Nelson, "and his good introductory song seems levelled at" W. H. Smith.
Uriz has recorded several TVE specials on opera, such as ', playing Amelia in Un ballo in maschera (José Carreras) and Leonora in Il trovatore (with J. Aragall).
Included are excerpts from La forza del destino, Norma, Il trovatore, Il barbiere di Siviglia, and a staged Act II of Tosca (also with Albert Lance and Tito Gobbi).
Edward Primrose is an Australian composer, writer, and musical dramaturge. He has conducted opera (Il Trovatore, The Magic Flute, La Belle Héléne) and orchestral recordings (Sydney & Melbourne Symphony Orchestras).
In 1986, he portrayed Leopold Bloom in the world premiere of Hans Zender's Stephen Climax at the Oper Frankfurt. In 1956, Hecht sang in Il trovatore (opposite Herva Nelli) for San Francisco's Cosmopolitan Opera. For the New Orleans Opera Association, he also sang Il trovatore, in 1961. The next year, Hecht was the Raimondo for Lily Pons's final appearances in Lucia di Lammermoor, with the young Plácido Domingo as Edgardo, at the Fort Worth Opera.
"I gioielli dell'opera buffa napoletana". Musica. Retrieved 7 July 2017 . On a state visit to Lecce in 1859, the city had prepared a gala performance of Verdi's Il trovatore for him.
The war confined his appearances to Europe. He appeared in opera in Copenhagen, Helsinki and Budapest and made his Italian debut at the Teatro Comunale, Florence, in 1943 in Il trovatore.
Her debut performance was as Azucena in Il trovatore on 22 November 1919.Mann, Alan and Frank. Settlement on The Sydenham: The Story of Wallaceburg. Wallaceburg: Standard Press, 1984, 16-17.
Il trovatore was in fact the first opera he wrote without a specific commission (apart from Oberto). At around the same time he began to consider creating an opera from Shakespeare's King Lear. After first (1850) seeking a libretto from Cammarano (which never appeared), Verdi later (1857) commissioned one from Antonio Somma, but this proved intractable, and no music was ever written. Verdi began work on Il trovatore after the death of his mother in June 1851.
This is a partial discography of Giuseppe Verdi's opera Il trovatore (The Troubadour) and Le trouvère (the revised version in French translation). At least 83 recordings exist of the opera as a whole, made between 1912 and 2011, although not all of them are absolutely complete. Of these, 45 are live audio recordings, 22 are studio audio recordings, and 16 are videos or movies. Il trovatore was first performed at the Teatro Apollo, Rome on 19 January 1853.
A considerable number of recordings of Margrethe Lendrop were made between 1906 and 1915. They include arias from Mignon, Cavalleria Rusticana, Carmen, Il Trovatore, La Bohème, Faust and The Marriage of Figaro.
She was seen in Aida (conducted by Renato Cellini), La forza del destino, Il trovatore, Cavalleria rusticana, Andrea Chénier, Un ballo in maschera (with Marian Anderson, conducted by Dimitri Mitropoulos) and Mozart's Don Giovanni (as Donna Anna, her only Mozart role). With the Met, she toured to Boston, Philadelphia, Cleveland, Atlanta, Dallas, Toronto and Minneapolis. The soprano appeared in Mexico City, at the Palacio de Bellas Artes, in 1953, starring in Il trovatore and Norma. Herva Nelli was also heard at the Cincinnati Opera many times between 1953 and 1956: Aida, La traviata (as Violetta Valéry, opposite John Alexander, and conducted by Anton Coppola), Andrea Chénier, Un ballo in maschera and Puccini's Madama Butterfly (as Cio-Cio-San, conducted by Nicola Rescigno). The soprano was also seen with the Pittsburgh Opera (Un ballo in maschera, 1955), San Francisco's Cosmopolitan Opera (Il trovatore, 1956), Lyric Opera of Chicago (Il trovatore, with Jussi Björling and Ettore Bastianini, 1956), Tulsa Opera (Aida, 1956) and Opera Guild of Miami (Un ballo in maschera, with Richard Tucker, 1959).
His operas remain extremely popular, especially the three peaks of his 'middle period': Rigoletto, Il trovatore and La traviata, and the 2013 bicentenary of his birth was widely celebrated in broadcasts and performances.
In Florida, she appeared in 1974 as Leonora in Il trovatore, and in the title roles of Puccini's Madama Butterfly and Suor Angelica. In recital, she performed Lieder by Schubert, Wolf and Ravel.
151 and 80 and the whispered plans for elopement in "This Very Night" in H.M.S. Pinafore, parodying the conspirators' choruses in Verdi's Il trovatore and Rigoletto.Scherer, Barrymore Laurence. "Gilbert & Sullivan, Parody's Patresfamilias", The Wall Street Journal, 23 June 2011, accessed 19 December 2017 The mock-jingoistic "He Is an Englishman" in H.M.S. Pinafore and choral passages in The Zoo satirise patriotic British tunes such as Arne's "Rule, Britannia!". The chorus "With Catlike Tread" from The Pirates parodies Verdi's "Anvil Chorus" from Il trovatore.
They include Mozart's Marriage of Figaro and Verdi's Il Trovatore, Simon Boccanegra and Otello. Concerning her lieder discography, she was included in the 1930s Hugo Wolf Society recording project (e.g., "Müh'voll komm' ich und beladen").
Enrico Caruso once said that all it takes for a successful performance of Il trovatore is the four greatest singers in the world.Osborne (2007) p. 502. On many occasions, this opera and its music have been featured in various forms of popular culture and entertainment. Scenes of comic chaos play out over a performance of Il trovatore in the Marx Brothers's film, A Night at the Opera (including a quotation, in the middle of the Act I Overture, of Take Me Out to the Ball Game).
Griffel, p. xvii It presented week-long annual seasons of popular operas including Faust, Carmen and Il trovatore, and like its predecessor was mainly an amateur body, with professional guest principals."Cardiff", The Era, 14 December 1927, p.
New York: Oxford University Press. . Il trovatore (23 December 1854), La traviata (6 December 1856), Rigoletto (19 January 1857), Un ballo in maschera (13 January 1861), and Aida (22 April 1876) with Verdi conducting.Busch, Hans, ed. and translator (1978).
George Andguladze (born August 6, 1984) is a Georgian operatic bass. Born in Tbilisi, Georgian SSR, he graduated from the Accademia delle voci Verdiane and began his operatic career in Italy at Festival Verdi singing Ferrando from Il Trovatore.
After a period, she became dissatisfied and asked to audition at the Mariinsky Theatre in St Petersburg. Artistic director Valery Gergiev invited her to join the company as a guest artist and she sang Il trovatore and Prince Igor.
A later performance was broadcast in October as part of the Met's HD series, with distribution throughout the United States and 39 other countries. In 2011, Álvarez appeared at the Met as Manrico in Il trovatore (also transmitted in HD).
Carlo Baucardé, the first Manrico "Di quella pira" is a short tenor aria (or more specifically, a cabaletta) sung by Manrico in act 3, scene 2, of Giuseppe Verdi's opera Il trovatore. It is the last number of the act.
Merrill was inspired to pursue professional singing lessons when he saw the baritone Richard Bonelli singing Count Di Luna in a performance of Il Trovatore at the Metropolitan Opera, and paid for them with money earned as a semi-professional pitcher.
Rosina Penco Rosina Penco, born in Naples in 1823, died in Poretta, near Bologna in 1894, was an Italian operatic soprano. She is most notable for creating the role of Leonora in "Il trovatore" by Verdi in Rome in 1853.
He can be heard on several recordings, notably Rigoletto, Il Trovatore, La Traviata, which were all soundtrack of German TV productions, and a live recording from the abovementioned revival of La Donna del Lago with Caballé. He also appeared in film versions of La Traviata, in 1968, opposite Anna Moffo and Gino Bechi; and of Il Trovatore in 1975, opposite Raina Kabaivanska, Viorica Cortez and Giorgio Zancanaro in which he sang the role of Manrico. In 1976, he recorded Mario Cavaradossi in Tosca, opposite Galina Vishnevskaya. He died suddenly, in Vienna, at the age of 65.
Six months later Licitra sang the part again in Verona to great acclaim. Prior to Il trovatore in Verona, he had performed in Un ballo in maschera at La Scala under Muti, then repeated the success in Rome in December. In November he made his American debut as a guest soloist at the 26th annual Richard Tucker Music Foundation Opera Gala in New York. In December he left for Vienna and the Wiener Staatsoper to sing in Tosca, then Manrico in Il trovatore at the Sao Carlos in Lisbon in January 2002 and Alvaro (Forza) in Turin in February.
12; and 8 September 1867, p. 12 In 1868, she sang Oscar in Un ballo in maschera at the Theatre Royal in Cork and Leonora in Il trovatore in London, in a production conducted by Meyer Lutz.The Era, 22 March 1868, p.
The first performance, on January 9, 1868, was Il trovatore, after which seven operettas by Jacques Offenbach were given in the space of four months. But the theater lost money initially, owing in part to competition from the Academy of Music on 14th Street.
Adèle Almati Alma Adèle Louise Almati née Heitmann (1861–1919) was a German- born Swedish mezzo-soprano opera singer who sang at the Royal Swedish Opera between 1886 and 1897. Important roles included Amneris in Aida, Azucena in Il trovatore and Brünhilde in Die Walküre.
In 1986 Aprile Millo made her Carnegie Hall debut with Verdi's I Lombardi alla prima crociata with tenor Carlo Bergonzi and Eve Queler and the Opera Orchestra of New York.New York Times January 1986 In the intervening years, she has sung over 160 performances of 15 different roles at the Metropolitan Opera, including Leonora in Il trovatore, Aida, Tosca, Amelia in Simon Boccanegra, and Amelia in Un ballo in maschera. Millo's debut recording in 1986 was Presenting Aprile Millo, with the London Symphony and Giuseppe Patanè. She has recorded several Verdi operas with James Levine and the Metropolitan Opera for Sony Classical, including Aida, Il Trovatore, Luisa Miller, and Don Carlo.
Troubadour Tower. The oldest construction of the Aljafería is today known as the Troubadour Tower. The tower received this name from Antonio Garcia Gutierrez’s 1836 romantic drama The Troubadour, based on the palace. This drama became a libretto for Giuseppe Verdi’s opera Il trovatore in 1853.
326–327, Google Books By October 1897 Slapoffski was principal conductor during Carl Rosa's short season at the Royal Opera House that included The Bohemian Girl.Wearing, p. 359 In 1899 he conducted for Carl Rosa's British tour of Faust, Il trovatore, The Bohemian Girl and Three Musketeers.
In 1950, she toured Queensland and appeared in Faust as Siébel; Il trovatore as Azucena; and Madama Butterfly as Suzuki. In 1952 she joined and toured with the National Opera Company of Australia,. .the company toured in that year as New South Wales National Opera. Read bio.
Cedolins has also sung the title roles in Cilea's Adriana Lecouvreur, Verdi's Aida and Luisa Miller, Puccini's Manon Lescaut, Madama Butterfly and Suor Angelica . Other roles include Leonora in Verdi’s Il trovatore, Amalia in Verdi’s I masnadieri, Desdemona in Otello, Elisabetta di Valois in Don Carlos.
She has been a regular guest artist with Opera Australia and her many roles with the company include Miss Jessel (The Turn of the Screw), Madame Lidoine (Dialogues of the Carmelites), Ortlinde (Die Walküre), Leonora (Il trovatore, La forza del destino and Fidelio), Elsa (Lohengrin), Donna Elvira and Donna Anna (Don Giovanni), Aida, Elisabetta (Don Carlos), Elisabeth (Tannhäuser) and Amelia (Un ballo in maschera). For Victoria State Opera she has sung Elisabetta, Elisabeth, Desdemona, Aida and Leonora (Il trovatore). After winning the 1991 Cardiff Singer of the World Competition, Lisa Gasteen was invited to sing Donna Anna in Prague with Sir Charles Mackerras followed by her British debut in 1992 as Leonora in Scottish Opera's new production of Il trovatore. Subsequently she was invited to perform in Europe and the United States with companies including Welsh National Opera, Deutsche Oper Berlin, Staatsoper Berlin, Scottish Opera and with the opera companies of Strasbourg, Stuttgart, Zurich, Dallas and Washington. She made her debut at the Metropolitan Opera, New York in 1997 as Aida.
He returned to art after retiring from the ring. In October 1937 he debuted as an opera singer in Nel Trovatore in Turin. In the same year he also worked in sculpture and painting. In 1939 he acted in his first film, Io, suo padre by Mario Bonnard.
This proved more successful in ticket sales than the alternate Italian nights of Il trovatore and Don Giovanni despite the rival attractions of the soprano Thérèse Tietjens and the tenor Antonio Giuglini. In 1862, Reeves presented Mazeppa, a cantata written for him by Michael Balfe.Reeves 1888, p. 231.
Bergonzi was born in Polesine Parmense, near Parma in Northern Italy, on 13 July 1924. He was an only child."Carlo-Bergonzi-obituary", The Telegraph (London), 27 July 2014 on telegraph.co.uk He later claimed he saw his first opera, Verdi’s Il trovatore, when he was six years old.
He can be heard on disc in Dom Sébastien, opposite Fedora Barbieri; La favorite, opposite Giulietta Simionato; Tosca, opposite Renata Tebaldi; and the aforementioned I vespri siciliani and Macbeth with Callas. In 1949, the baritone participated in a cinematic version of Il trovatore (available from the Bel Canto Society).
71 Ernani was first performed on 9 March 1844 and it was "immensely popular, and was revived countless times during its early years". It became Verdi's most popular opera until it was superseded by Il trovatore after 1853. In 1904 it became the first opera to be recorded completely.
In 1951, Nelli reappeared with the New York City Opera, in Cavalleria rusticana again, as well as Aida; the next year, she portrayed Maddalena de Coigny in Giordano's Andrea Chénier (in Theodore Komisarjevsky's production). With the San Francisco Opera, in 1951 and 1952, the soprano sang in Otello, La forza del destino (with Robert Weede), Aida (with Mario Del Monaco), Cavalleria rusticana, Il trovatore, and La bohème (this last on tour to Los Angeles); in 1957, she returned for Un ballo in maschera. With the Baltimore Civic Opera in 1952, she debuted in Aida; in the 1954-55 season, she sang there in Il trovatore. In 1953, Nelli debuted at the Metropolitan Opera, with which she appeared until 1961.
Peerce made a few film appearances, most notably in 1947's Something in the Wind, in which he plays Tony the jailer. In this role, Peerce sings the Miserere from Il trovatore in a duet with his jailed charge, the film's star, Deanna Durbin. This performance is available on DVD.
Carlo Baucardé or Boucardé (1825–1883) was an Italian operatic tenor who sang leading roles throughout Italy, as well as in London, Madrid, Paris, and New York. He is most remembered today for creating the role of Manrico in Verdi's opera Il trovatore and the title role in Donizetti's Poliuto.
Minto Cato as Azucena in the Federal Music Project production of Il trovatore she staged at the Manhattan Theatre (1936) Minto Cato (born La Minto Cato, August 23, 1900 – October 26, 1979) was a mezzo-soprano opera singer and show performer during the Harlem Renaissance from the 1920s to the late 1940s.
Singer's other roles included Leonora in Il trovatore and the title character in La Gioconda by Ponchielli. In the 1880s she moved into the mezzo-soprano repertoire, such as Amneris in Aida and the title part in Carmen. In 1891 she gave up her stage career and became a teacher in Florence.
Also in the tenor's repertoire were leading roles in La forza del destino, L'elisir d'amore, Carmen, Lucia di Lammermoor, Madama Butterfly, La bohème, Nabucco, Pagliacci, Les contes d'Hoffmann, La Gioconda, La traviata, Il trovatore, Faust, and Un ballo in maschera. On September 5, 1964, Giórgios Kokoliós-Bardi succumbed to cancer, in Athens.
The celebrated Bulgarian bass was her partner for Massenet's freshly revived opera, Don Quichotte, both in Paris and Chicago, the Parisian mise en scène being assigned to Peter Ustinov. In Chicago, Cortez was a commanding and electrifying Elisabetta in Maria Stuarda opposite Montserrat Caballé (1973). The friendship and mutual respect between the two divas represented a milestone in Cortez's career. For Norma and Maria Stuarda, as well as for Don Carlo and Il Trovatore, the Catalan soprano and the Romanian mezzo-soprano were scheduled together in Lisbon, Naples, Nice, Vienna, Cologne, Madrid and La Scala (Norma, 1974) and at the Met (Il Trovatore, 1973). In 1972, Viorica Cortez acceded to the Arena di Verona "hall of fame", interpreting Amneris opposite the Radames of Franco Corelli.
In 1852, after much insistence from Faldi and castrato Domenico Mustafà, among others, he agreed to sign a contract for his debut at Rome's Teatro Metastasio, as Belcore in L'elisir d'amore. For the next year, he did not sing in public at all but rather studied assiduously with Faldi to build his repertoire. After an initial contract at Spoleto for Il trovatore and Maria di Rohan, he began to pick up consistent work in the Italian regional operatic circuit: Lanciano for Trovatore, Rigoletto, and Maria di Rohan; Orvieto for I masnadieri; Lucrezia Borgia in several cities; I puritani at Perugia. In the spring of 1857, he was signed by the impresario Jacovacci for Lucia di Lammermoor and Gemma di Vergy at Rome's Teatro Argentina.
He sang with enormous success over the next year—I lombardi, Rossini's Otello, and Nabucco in Viterbo; again at Nice for Lucia di Lammermoor, Ernani, Trovatore, and Maria di Rohan; and at Barcelona's Teatro Principal for Saffo, Traviata, Attila, Gemma, Barbiere, and Trovatore. By October 1860, Cotogni had sung in 21 theaters, and it was at this point that he reached La Scala, Milan, debuting there in the role of Giovanni Bandino in Bottesini's L'assedio di Firenze. Cotogni had been nervous about this debuting, doubting his ability to do it justice and doubting the power of his voice to be heard in the theater. The reviews of the debut were encouraging, but one or two critics mentioned a certain tremulousness and constriction in his high notes.
Adolf Čech was born in Sedlec-Prčice, south of Prague as Adolf Jan Antonin Tausik, the son of a singing instructor. His brother was the singer Karel Čech. He trained as an engineer in Prague before turning to music. From 1862 he was choirmaster and assistant conductor at the Provisional Theatre, where he conducted operas such as Verdi's Il trovatore, Donizetti's Belisario, Rossini's Otello, Lortzing's Zar und Zimmermann (Tsar and Carpenter), Meyerbeer's Dinorah, and Flotow's Martha and Alessandro Stradella. From 1862 to 1866 he also appeared as a bass singer in smaller solo roles such as Don Basilio in The Barber of Seville, Méru in Meyerbeer's Les Huguenots, Pedro in Conradin Kreutzer's Das Nachtlager in Granada, and Ruiz in Verdi's Il trovatore.
Forbes, Elizabeth, "Borghi-Mamo [née Borghi], Adelaide" in Sadie, Vol. One, p. 549. Il trovatore was first performed in the US by the Max Maretzek Italian Opera Company on 2 May 1855 at the then- recently opened Academy of Music in New York while its UK premiere took place on 10 May 1855 at Covent Garden in London, with Jenny Bürde-Ney as Leonora, Enrico Tamberlick as Manrico, Pauline Viardot as Azucena and Francesco Graziani as the Conte di Luna.Kimbell (2001), p. 993. As the 19th century proceeded there was a decline in interest, but Il trovatore saw a revival of interest after Toscanini's 1902 revivals. From its performance at the Met on 26 October 1883 the opera has been a staple of its repertoire.
Other noted conductors under whom she sang included Edvard Grieg and Richard Strauss. She sang at the Metropolitan Opera in New York from 1912 to 1914, making her debut there as Azucena in Il trovatore. Other appearances there included Fricka in Die Walküre, alongside Olive Fremstad and Margaret Matzenauer.The New York Times, 15 December 1912.
She was also heard at that house that year as Azucena in Giuseppe Verdi's Il trovatore and in the title role in Gaetano Braga's Alina. On 23 August 1853 she performed in the world premiere of Lauro Rossi's L'alchimista at the Teatro del Fondo in Naples. She was also heard in Vienna in 1853.
He has also directed commercials. His first feature film as director was Baby from 2002. It was followed by North Face (2008), Young Goethe in Love (2010), Erased (2012) and The Physician (2013). Stölzl's work for the opera stage includes a production of Charles Gounod's Faust in 2008 and Giuseppe Verdi's Il trovatore in 2013.
Leone Emanuele Bardare (born Naples, 1820 – died there after 1874) was an Italian poet. He completed the libretto to Giuseppe Verdi's Il trovatore after the death, in 1852, of its original librettist Salvadore Cammarano. Bardare also crafted a new libretto, titled Clara di Perth, for Rigoletto in an attempt to placate the Neapolitan censors.
Armiliato has been referred to critically as "the best Chénier of our time" (Landini, L'Opera). In 1992 he sang the role of Mario Cavaradossi at the Vlaamse Opera. The conductor was Silvio Varviso. In 1993, he debuted in the Metropolitan Opera House in New York in Il trovatore, returning later in Aida and Madama Butterfly.
She created costumes for La Traviata at the Metropolitan Opera House in New York (1998), at the Teatro de la Maestranza of Seville in Spain (1999) and later in Rome (2007) and Messina (Teatro Vittorio Emanuele, 2018), always directed by Zeffirelli. Moreover, hers are the costumes for Il Trovatore at Arena di Verona (2001, 2016) .
His tenor voice retained its baritonal timbre, and he would later specialise in the spinto repertoire. Radames in Aida, Manrico in Il trovatore, Cavaradossi in Tosca, Don José, in Carmen, Bacchus in Ariadne auf Naxos and the title role in Parsifal were amongst his best known roles.Lampila, Hannu-Ilari (November 2003). "Peter Lindroos" (obituary).
Emilia Goggi in 1848 Emilia Goggi, also known as Emilia Goggi-Marcovaldi, (10 October 1817 – 29 August 1857) was an Italian operatic mezzo-soprano who sang in the leading opera houses of Italy as well as in Spain. In 1853 she created the role of Azucena in the world premiere of Verdi's In Il trovatore.
He made his real debut in Spain, in the leading role of Manrico in Verdi's Il trovatore. At the end of December 1976 he sang with Pavarotti in concerts in Chicago and Pittsburgh. Bernardi was preparing to sing the title role of Verdi's Otello when a fatal car accident ended his life at the age of 37.
Crimi was born in Paternò, Italy. He studied in Catania with Adernò and made his debut in Palermo, as Manrico in Il trovatore, in 1910, later appearing in Treviso as Hagenbach in La Wally. He sang throughout Italy, Rome, Milan, etc., and created in Turin the role of Paolo in Zandonai's Francesca da Rimini in 1914.
She was also named an honorary member of the opera. On 9 December 1905 she sang the role of Herodias in the world premiere of Salome by Richard Strauss. Other roles included Adriano (Rienzi), Amneris (Aida), Fidès (Le prophète), Azucena (Il trovatore) and Dalila (Samson and Delilah). She died in Dresden in 1938 at the age of 75.
Arthur Anderson (Lucius) and Orson Welles (Brutus) in the Mercury Theatre's Broadway production of Caesar (1937) Anderson appeared in Orson Welles's Mercury Theatre production of Caesar on Broadway, as portrayed as the character Richard Samuels in the 2008 film Me and Orson Welles. His other Broadway credits include 1776, Il Trovatore, Aida, Carmen, Good Neighbor, and The Shoemakers' Holiday.
Sondra Dee Radvanovsky (born 11 April 1969) is an American-Canadian soprano. Specializing in 19th-century Italian opera, Radvanovsky has been called one of the leading Verdi sopranos of her generation. Her signature roles include Elvira in Ernani, Leonora in Il trovatore, Elena in I vespri siciliani, Élisabeth in Don Carlos, and the title role in Norma.
Szabó has directed several operas, including Tannhäuser in Paris, Boris Godunov in Leipzig, Il Trovatore in Vienna, and 'Three Sisters in Budapest. He has taught at film schools in Budapest, London, Berlin, and Vienna. In 1989, he was one of the founding members of the European Film Academy,“History,” European Film Academy, . Retrieved 6 May 2012.
Suor Angelica Suor Angelica, Il Trittico from La Scala, Milan. Leonora Il Trovatore from L'Arena di Verona. Gertrude Hänsel und Gretel from The Metropolitan Opera, La Contessa di Coigny / Madelon Andrea Chenier from the Bregenz Festival. In 2009, she was a soloist in Not the Messiah (He's a Very Naughty Boy) for the Royal Albert Hall performance.
The family eventually arrived in New York, where Emma performed in Wallace's Maritana. In other North American cities, she played roles in Auber's Fra Diavolo, The Bohemian Girl, Martha, Oberon, The Marriage of Figaro, Der Freischütz and Il Trovatore, among others. In 1873, she travelled to Europe with her brother Frank and studied in Milan, Italy for two years.
He designed another production at that house following a year, Monteverdi's L'incoronazione di Poppea. He worked for the Metropolitan Opera for the first time in 1964 when he designed a Jacobean Lucia di Lammermoor for Wallmann. He later designed two productions for Nathaniel Merrill at the Met: a 19th-century Luisa Miller (1968) and a gloomy Il trovatore (1969).
His popular acclaim in the role increased when he substituted a high C for the original G in the finale of "Di quella pira" during a later performance of Trovatore in Florence.Rescigno (2001) p. 86 He went on to sing Manrico for the Paris premiere of the opera on 23 December 1854 at the Théâtre-Italien.
In the same year, he was seen as Otello at the Royal Opera House in London. In 2013, he appeared in the role of Radames in Aida at the Zurich Opera House. He followed that performance by appearing as Manrico in Il trovatore at the Berlin State Opera. He has also performed in Turandot as Calaf at La Scala.
To relaunch it, an association is created in 1979 with Roubaix's ballet and Tourcoing's opera studio. It creates the "Opéra du Nord" directed by Elie Delfosse. It is opened with Il Trovatore by Verdi for the 1979-1980 season. This new opera is a success, the number of subscribers jumped from 700 to 3000 within three years.
Jones began his career at the Welsh National Opera in 1995. In 2011, he was cast as Cavaradossi in Puccini's Tosca by director Catherine Malfitano. In 2012, he was cast as Manrico in Verdi's Il trovatore by director David McVicar. In 2015, he was cast as Don Alvaro in Verdi's La forza del destino by director Calixto Bieito.
In 1841, his opera "The French in Spain" was staged with great success. In the same year, Prince Egon von Furstenberg appointed Fesca as Chamber Virtuoso. From 1842, he settled in Brunswick. In the local court theater on 25 July 1847 was premiered Fescas major work, five-act heroic-romantic opera "Il Trovatore" with a libretto by Frederick Schmetzer.
Corrado Zambelli (3 June 1897 – 1 September 1974) was an Italian classical bass who had an active international singing career in operas and concerts from the 1920s through the 1950s. He appears on several complete opera recordings, including Otello and Carmen for His Master's Voice; and Ernani, Il trovatore, La favorite, and La Gioconda for Columbia Records.
In 1969, Domingo recorded his first recital album and his first complete opera in the studio, Il trovatore, with Leontyne Price and Sherrill Milnes, both for RCA Red Seal, which would be his primary record label throughout the entire 1970s; Milnes and Price recorded with Domingo several more times, both in complete operas and recital discs. Domingo followed Il trovatore with a steady stream of complete recorded operas from the 1970s through the early years of the next century. Starting with Il tabarro in 1970 and ending with Edgar in 2006, Domingo has recorded all of Puccini's operatic roles for tenor. Among his albums is a box set of every major tenor aria Verdi composed, including several obscure and rarely performed versions in languages different from the original operas, and written only for specific performances.
In about 1905, she moved to the United States, and toured from coast to coast."Mme. Ester Adaberto, Prima Donna Soprano" The Lincoln Star (December 9, 1914): 2. via Newspapers.com She and Nicola Zerola starred in Aida (1909) with the Italian Grand Opera Company,"Aida Will Open the Academy Season" New York Times (August 25, 1909): 9. and she sang in Il trovatore (1909)and she sangIl Trovatore Metropolitan Opera House (March 10, 1909). at the Metropolitan Opera in New York,"The Theatre" The Independent (January 22, 1910): 10. and in Tosca (1913) in San Francisco."Ester Adaberto Impresses Crowd" San Francisco Call (January 31, 1913): 4. via California Digital Newspaper Collection In 1913 she traveled to Honolulu with the Lombardi Opera Company.Ferdinand J. H. Schnack, The Aloha Guide (1915): 127-128.
Kelsey made his debut at the Metropolitan Opera in New York City as Schaunard in Puccini's La bohème on 29 March 2008. Other roles at the Met have included Monterone in Verdi's Rigoletto (role debut on 13 January 2011), Marcello in Puccini's La bohème (23 September 2014), Germont in Verdi's La traviata (11 December 2014), Peter in Humperdinck's Hänsel und Gretel (18 December 2017), the Count di Luna in Verdi's Il trovatore (23 January 2018), Enrico in Donizetti's Lucia di Lammermoor (25 April 2018), and Amonasro in Verdi's Aida (26 September 2018)."Kelsey, Quinn" at the Met Opera Archive. Retrieved 14 July 2019. He made his debut at the Royal Opera House as Germont in La traviata in 2016 and has also performed there the Count di Luna in Il trovatore.
Born Elinor Marilyn Rosenthal in Tampa, Florida, Ross studied at Syracuse University, and later came to New York to study with William Herman, Stanley Sontag and Leo Resnick. She made her debut with the Lyric Opera of Chicago in 1958, as Leonora in Il trovatore, alongside Jussi Björling, Giulietta Simionato and Ettore Bastianini. Elinor Ross in the title role of Turandot, Metropolitan Opera, 1970s Ross with tenor Jussi Björling prior to her Lyric Opera of Chicago debut as Leonora in Il trovatore, 1958 In the summer of 1959, Ross sang the American premiere of Heitor Villa-Lobos’ “Songs of the Tropical Forest” under the composer’s baton. She went on to sing at the opera houses of Boston, Chicago, Baltimore, Philadelphia, San Francisco, New Orleans, Houston, and Hartford, among others.
Two years later on May 20, 1858 Emma gave birth to a son, Prince Albert Edward Kamehameha. The queen tended palace affairs, including the expansion of the palace library. In 1861 she sang in the chorus of a performance of Verdi's opera Il Trovatore in Honolulu while her husband the king acted as stage manager. She was known for her humanitarian efforts.
She began to appear in the news as Nelli Gardini as early as 1915. In 1917, she sang with the Boston English Opera Co. where she appeared as Lenora from Il Trovatore. She went on to specialize in singing Grieg's music through the 1920s. She became head of the voice department of the Chicago Musical College in the early 1930s.
Over the next four years he sang in the opera houses of Portugal, Spain and Italy, including the Teatro Costanzi in Rome, where he sang Count de Luna in Verdi's Il trovatore and Severo in the theatre's first performance of Donizetti's Poliuto. Both he and his brother were engaged as singers at the Théâtre Privé d'Opéra in Moscow for the 1885/86 season.
He also performed in the U.S. premieres of Don Rodrigo and Cyrano de Bergerac. He continues to add more roles to his repertoire, most recently performing as Schicchi in Puccini's one-act opera Gianni Schicchi in September 2015. After taking on baritone roles, he sang Conte Di Luna in Il Trovatore, an opera in which he previously performed as Manrico, a tenor role.
That same year, he staged Carmen for the Seattle Opera, with John Duykers as Don José. While teaching French at Memphis University School, he directed Lucia di Lammermoor (1966), Il trovatore (1967), and Die Fledermaus (1968) for Memphis Opera Theater, now Opera Memphis. Morelock was also, from 1994 to 2007, director of the Opera Workshop at Loyola University of the South.
The Four Seasons is a ballet choreographed by New York City Ballet ballet master Jerome Robbins to excerpts from Giuseppe Verdi's I Vespri Siciliani (1855), I Lombardi (1843), and Il Trovatore (1853). The premiere took place on 18 January 1979 at the New York State Theater, Lincoln Center, with scenery and costumes by Santo Loquasto and lighting by Jennifer Tipton.
Other recordings include Maria Stuarda, Otello, Aida and Hänsel und Gretel, all for the Opera in English series for Chandos Records, Elijah also for Chandos, La vestale for Orfeo, Les contes d'Hoffmann for EMI, and Il trovatore, La forza del destino and Mahler's 2nd Symphony for Deutsche Grammophon. La Belle Dame sans Merci for Romeo Records – Release date 6 May 2014.
His greatest operatic roles were Manrico in Il trovatore, the title part in Lohengrin, Cola di Rienzo in Rienzi, and the title part in Tannhäuser. In his later life, from 1879 on, he worked as a teacher in Boston. His students included the likes of Arthur Middleton, Grace Hiltz, Nellie Melba, and Emma Eames, the latter being his most celebrated pupil.Macy, Laura.
He especially admired Rousseau for his promotion of democracy, republicanism, anti-clericalism, and defense of civil liberties. In 1865, while in prison, Nalbandian wrote a poem to Rousseau's memory. Nalbandian also praised Shakespeare's plays for their realism and often quoted or referred to Shakespeare in his writings. He greatly appreciated Giuseppe Verdi's works and was particularly amazed by Il trovatore.
Hundley was born in Cincinnati, Ohio. When he was seven years old he moved to his paternal grandmother's home in Covington, Kentucky and began piano lessons. At the age of ten, Hundley attended his first opera, Il trovatore by Giuseppe Verdi. He began taking piano lessons with Madame Illona Voorm at the Cincinnati Conservatory of Music when he was eleven.
On a subsequent tour to New York (1866-1867) a critic praised her voice as having "greater purity and less vehement forcing of tone". She continued touring each year in the Americas until 1870. Near the end of her career she sang mezzo-soprano roles. For example, she relinquished the role of Leonora in Verdi's Il trovatore and sang Azucena instead.
He can be heard on complete recordings of Nabucco, La traviata, Il trovatore, Simon Boccanegra, Don Carlo, La Gioconda, and Tosca. Silveri retired from the stage in 1968 after a last performance of Rigoletto in Budapest with his daughter Silvia in the role of Gilda, and taught in Rome, where he died at age 87 in the summer of 2001.
My Song for You is a 1934 film directed by Maurice Elvey and starring Jan Kiepura.Opera News - Volume 61, Issues 9-17 - Page 18 1997 -My Song for You Kiepura. Aida (several excerpts), Trovatore (he sings both verses of "Di quel la pira") + songs. (1934). English. 89m. #667 $29.95 A silly, wacky film gleefully overacted and magnificently sung by Kiepura. Fun. Fun. Fun.
These include: Violetta's death aria from La traviata, reflected in Addio Del Passato; the funeral pyre from the final scene of Norma, reflected in The Flame Duet; and both Countess Almaviva's forgiveness aria in The Marriage of Figaro and the off-stage voice of the imprisoned Manrico in Il trovatore, reflected in Jack's Song.Wayne Koestenbaum, "Artistic Statement" for the Banff Centre.
He spent some time in a villa on Lake Garda and then settled in Turin. He taught singing and piano there, and wrote music criticism for the journal Rivista contemporanea. In 1854 he also founded the journal, Il trovatore. In October 1859, after the French-Piedmontese troops had secured the city, Marcello moved to Milan where he spent the rest of his life.
Mapleson 1888, I, 23-27. English and Italian opera companies were run on alternate nights, and Giuglini, Tietjens, Mme Lemaire and Sig. Vialetti in Il trovatore were alternated with George Alexander Macfarren's Robin Hood, starring Helen Lemmens-Sherrington (her début), John Sims Reeves and Charles Santley.J. Sims Reeves, The Life of Sims Reeves written by himself (London: Simpkin Marshall, 1888), 220-221.
The programme included Offenbach's The Rose of Auvergne, or, Spoiling the Broth and the first act of Verdi's Il Trovatore. Their farewell tour included New Zealand, and dragged on to September 1872. The Simonsens returned to Melbourne aboard the Norfolk in January 1876 and staged a couple of concerts at the Town Hall which were very well received by the few who attended.
F. Boase: Modern English Biography, 6 vols. (1892–1921). He translated Victor Hugo's opera libretto La Esmeralda into English in 1856. He wrote the text for The Gipsy's Vengeance, an English version of Verdi's Il trovatore, performed at the Theatre Royal, Drury Lane in 1856, as well as an English version of Luisa Miller, performed at Sadler's Wells Theatre in 1858.
Nonetheless, they were well-known.Vitaglione, 9. Bertran's tenso with an anonymous trobairitz, "Bona dompna, d'una re quieus deman", has been translated into English by Frank Chambers and Carol Jane Nappholz. Both his poems were first edited and published (in Italian) by C. de Lollis under the title "Bertran del Pojet, trovatore dell' età angioina" in Miscellanea in onore di Arturo Graf (Bergamo, 1903).
2, pp. 245–248 because she had been the translator of Gutiérrez' other play which had become Il trovatore. The somewhat convoluted plot of Simon Boccanegra can be hard to follow. Budden notes: "All the characters define themselves against an ingeniously shifting pattern of intrigue such as can be highly effective in a play but well-nigh impossible to follow in an opera".
She introduced the song "Memories of You" in Blackbirds of 1930. From show business she went into opera, performing in Il trovatore in 1936, in Aida in New York, Show Boat and Gentlemen Unafraid in 1938, and La traviata in 1947. She returned to Europe, continuing to perform through the early 1950s. She died in New York City in 1979.
Her role was as Rossweise in Die Walküre. She performed the same role in New York City on January 5, 1900 – being her debut in that city. After performing in New York City she then went to Philadelphia in a hurry and filled in as a contralto, with no rehearsal, in Il trovatore by Giuseppe Verdi at the Metropolitan Opera.
McCants, Clyde T. (2009). Rigoletto, Trovatore, and Traviata: Verdi's Middle Period Masterpieces on and Off the Stage, p. 107. McFarland Olga Simzis was born in Odessa in 1887. She made her debut in Parma in 1906 as Amina in Vincenzo Bellini's La sonnambula and sang as a member of the Lambardi Opera Company in the United States in 1907–1908.
The first Victoria Theatre was built on the site in 1876. This was altered in 1885 and razed in 1890. The third Victoria Theatre was built in 1890 and closed as a cinema in 1966. Early performances at the theatre included Deglorian Acrobats (1880) and the Montague-Turner Opera Company (1881), the latter performing Lucia di Lammermoor, Il trovatore and Faust.
Born in Hanover, Hillebrecht studied singing after attending medical school and made her in the role of Leonora in Verdi's Il trovatore. She sang at the Zürich Opera House from 1952-1954, in Düsseldorf from 1954 to 1959 and at the Bayerische Staatsoper from 1961. She performed regularly at the Deutsche Oper Berlin and participated in many festivals including Salzburg and Munich.
In German language versions of Verdi, he played Luna in his Il trovatore (Der Troubadour), and Don Carlos in La forza del destino (Macht des Schicksals). In Puccini operas, he portrayed Sharpless in Puccini's Madame Butterfly, and the title role of his Gianni Schicchi. He retired from the stage due to deafness in one ear, and lived in Tyrol, where he died in Angerberg.
499 When Jacovacci, impresario of the Teatro Apollo (where Il trovatore had been presented successfully) received the libretto, his reaction was encouraging, but he warned the composer that there may be problems with the censor. Verdi was surprised: "In Rome they allow Gustavo III as a spoken play but won't allow a libretto on the same subject. Very strange!"Verdi to Jaccovaci, April 1858, in Budden, p.
At Covent Garden he conducted Il trovatore in 1953 (with Callas), Aida in 1960, and La traviata in 1962 (with Sutherland). He conducted Wagner's Lohengrin at Bayreuth in 1968, being the first Italian to appear there since Arturo Toscanini. He returned to the Metropolitan Opera for the 1974-75 season. On 03-January-1977 he conducted a performance of Puccini's Tosca at the Vienna State Opera.
Mihály Székely (May 8, 1901 in Jászberény – March 22, 1963) was a Hungarian bass singer famous for Mozartian roles. His name in Hungarian form is Székely Mihály, his original family name was Spagatner. He debuted as Ferrando (Il trovatore) in 1920 at the Budapest Opera, where he remained a principal singer until his death. His Metropolitan Opera debut was as Hunding (Die Walküre) in 1947.
She recorded the role of Erda in live recordings from Bayreuth conducted by Clemens Krauss (1953) and Joseph Keilberth (1955, Decca stereo). Among her other recordings of opera excerpts on two 10 inch LPs are arias from La finta semplice, La Betulia Liberata, Il trovatore, Don Carlos, Mignon and Carmen. She may also be heard in Verdi's Requiem, recorded in 1955 under van Kempen.
D'un serventes faire in an Italian manuscript of 1254, now in Modena. Centred at the top of the left column is the name "Peire dela Cauarana". Peire de la Caravana (also Cavarana, Gavarana, or Cà Varana, perhaps meaning "near Verona") was an Italian troubadour (trovatore) in Lombardy in the late 12th and early 13th centuries. He was one of the earliest Occitan troubadours in Italy.
She began her vocal training in New York City with Frederick Bristol in 1890 after singing in church choirs, then studied in Berlin with Lilli Lehmann before making her operatic debut as a mezzo-soprano as Azucena in Verdi's Il trovatore at the Cologne Opera in 1895. She remained there for at least three years, before going on to Vienna, Munich, Bayreuth and London.
Originally, Janssen sang an extensive repertory. He appeared in Mozart roles such as the Count in Le nozze di Figaro and as Lortzing's Zar Peter in Zar und Zimmermann. He also sang major baritone roles of Giuseppe Verdi, including Conte di Luna in Il trovatore as well as Renato in Un ballo in maschera and Iago in Otello. He also performed Escamillo in Bizet's Carmen.
He also worked as a guest conductor with several important opera houses during his career, including conducting several operas at La Scala in the 1930s and at the Metropolitan Opera (Cavalleria rusticana, Pagliacci, and Il trovatore) in 1940–1941. In 1939 he conducted the orchestra of La Scala for the first recording of Claudio Monteverdi's L'Orfeo. He died in Buenos Aires at the age of 93.
He added to his repertoire such Verdi roles as Manrico in Il trovatore, Radamès in Aida and the title part in Otello' (Escalais never sang Otello)'. Consequently, he was sometimes described as "the French Tamagno" (after Francesco Tamagno, the Italian heroic tenor). Escalaïs rejoined the Paris Opéra in 1908. The following year, he sang as a guest artist at the New Orleans Opera House.
La Llotja de Lleida is a theatre and congress centre in Lleida (Catalonia, Spain). It opened its doors in January 2010, and is owned by the city council. Giuseppe Verdi's Il Trovatore premiered there on 21 January that year. Its two congress halls, called A and B, have capacity for 400 and 200 people, while the main auditory, Sala Ricard Vinyes, has 1000 seats.
Hector Berlioz and others praised her singing in the Journal des Débats on 17 February. However, she abandoned the French repertoire and went to sing in Italy in 1859. She also sang in Berlin that year, at the opening of the Victoria Theatre with Lorini's Italian company. She was highly successful in The Barber of Seville, La Cenerentola, Il trovatore and other roles there.
Although the form is not typical of 18th and 19th century opera, one example is Giuseppe Verdi's Il trovatore. Further parallels can be found in ancient Greek dramas, but Kim does not acknowledge any of these connections. Sometimes Kim is speaking generally and merely stating the obvious, like "The orchestra must accompany songs skillfully" or "Excellent lyrics are a prerequisite for excellent music", and so on.
Medea Mei was born in Florence, Italy, on 4 March 1859. She studied there with Bianchi, Carozzi-Zucchi and Panofka. She sang the mezzo-soprano role in Verdi's Requiem at the young age of 16, and made her operatic debut soon afterwards, as Azucena in Il trovatore, at Sinalunga. She became well known throughout Italy, and also toured Spain, South America and Russia and visited London.
85 Verdi then cast Baucardé as the first Manrico in Il trovatore, although he had previously wanted Raffaele Mirate for the role.Phillips-Matz (1993) p. 308. Raffaele Mirate (1815-1885) created the role of the Duke in the world premiere of Rigoletto. The premiere at the Teatro Apollo in Rome on 19 January 1853 was a great success not only for Verdi, but also for Baucardé.
Neate also produced operas in Ireland and Austria, such as Il trovatore, Don Carlo, Tosca, Samson and Delilah, Tannhäuser and Fidelio. He also wrote some songs (Homeward calling; I am off to Kambalda). Ken Neate died in Munich, Germany on 27 June 1997. His book Great singing: Common Sense in Singing was completed at his death, and was published in 2001 by his widow.
She also appeared at Carnegie Hall, the Hollywood Bowl, and Chicago's Grant Park. Her appearances included operetta, including Bloomer Girl, and television. Her opera appearances included Tosca (as Tosca), Faust (as Marguerite), The Barber of Seville, Salome, Aida, Rigoletto, Carmen, La traviata, La bohème and Il trovatore. She appeared with such singers as tenor Mario Lanza, bass Ezio Pinza, tenor Nino Martini, and Japanese soprano Hizi Koyke.
The same programme was performed with the St. Petersburg Symphony Orchestra for survivors of the Siege of Leningrad on 16 January 2004. In later years Hvorostovsky's stage repertoire almost entirely consisted of Verdi operas such as Un ballo in maschera, La traviata and Simon Boccanegra. In 2009 he appeared in Il trovatore in a David McVicar production at the Metropolitan Opera with Sondra Radvanovsky.
Vincenzo Moscuzza (1827-1896) was an Italian composer. Born in Syracuse, Sicily, he was the son of composer Luigi Moscuzza, and his initial musical training was from his father. He later studied at the Naples Conservatory with Saverio Mercadante. He is chiefly known for his many operas, of which his most successful were Stradella il trovatore (1850), Don Carlo (1862), and Gonzales Davila (1869).
He conducted eight performances of Giuseppe Verdi's Il trovatore that year at the Met.MetOpera database His compositions include: concertos such as 'Concerto bergamasco'; 'The Song of St Alexander'; and sonatas. His last wife was the soprano Denia Mazzola-Gavazzeni.Denia Mazzola Website In January 1993, at age 83, he conducted Jules Massenet's Esclarmonde at Teatro Massimo di Palermo, with his wife singing the title role.
"Paris", p. 168 Morère made his debut at the Paris Opera in Giuseppe Verdi's Il trovatore in 1861 and sang there in the world premiere of Victor Sieg's cantata Ivanhoe in 1864. He created the title role in Verdi's Don Carlos, also at the Paris Opera, on 11 March 1867.Contrary to all other sources, Morère's first name is given as "Paul" in Parker, Roger (2006).
Her last performance there was on January 29, 1938, making a total of 29 performances. Although she sang at Covent Garden in 1936 and 1939 in Aida and Il trovatore, the war prevented a further international career. She returned to London in 1947, singing in Die Walküre at the BBC under Sir Thomas Beecham. In 1945 she sang Nyx in the premiere of Rosenberg's opera Lycksalighetens ö in Stockholm.
May also brought an offer for a new opera from La Fenice, which Verdi eventually realised as La traviata. That was followed by an agreement with the Rome Opera company to present Il trovatore for January 1853. Verdi now had sufficient earnings to retire, had he wished to. He had reached a stage where he could develop his operas as he wished, rather than be dependent on commissions from third parties.
In 1969, he made his debuts at the Paris Opera, with Carmen, Berlioz' La Damnation de Faust, production Maurice Béjart, then Mario Caravadossi with Hana Janků. Role of Manrico in Il trovatore on 13 June 1973. At the Opéra Comique: Werther, Hoffmann, Pagliacci, Tosca. The arrival of Rolf Liebermann as Administrator of the Opera was followed by the closure of the Opéra Comique and the dislocation of the troupe.
The "Anvil Chorus" is the English name for the 'The Ricordi score uses the title "Coro di Zingari", not "degli Zingari", on p. 100 of its score. (Italian for "Gypsy chorus"), a chorus from act 2, scene 1 of Giuseppe Verdi's 1853 opera Il trovatore. It depicts Spanish Gypsies striking their anvils at dawn - hence its English name - and singing the praises of hard work, good wine, and Gypsy women.
She was awarded the title of an Austrian Kammersängerin in 1934, a Prussian Kammersängerin in 1935. She gave her farewell in 1953 in Wiesbaden in Der Rosenkavalier. She was appointed professor at the Salzburg Mozarteum in 1964. The soprano recorded for Deutsche Grammophon in 1933, 1936, and 1943, with excerpts from Arabella, Le nozze di Figaro, Tosca, Turandot, Der Rosenkavalier, Il trovatore, and Capriccio, as well as two Lieder of Strauss.
In 1931 he became the Old Vic company's leading tenor when it moved to Sadler's Wells Theatre. His roles at Sadler's Wells included Fra Diavolo, Manrico of Il trovatore, Radames of Aida, Cavaradossi of Tosca, and Otello. In 1936 he made his Metropolitan Opera debut as Canio in Pagliacci. He remained at the Metropolitan until 1946, creating the role of Nolan in Damrosch's The Man Without a Country in 1937.
Gilmour was invited to conduct the London Mozart Players' prestigious Mozart Bicentenary Tour of the Far East in 1991, and recorded a commemorative disc of the tour in Taiwan that featured major Asian soloists on traditional Chinese instruments. In 1992, Gilmour became the Principal Conductor of the Bulgarian State Opera, where he conducted Il trovatore, Aida, Don Carlo, La traviata, Macbeth, L’italiana in Algeria and Il barbiere di Siviglia.
The following year she was first in Paris in Umberto Giordano's Siberia, then in Madrid in L'Africaine and La Gioconda. In 1906, in Santiago de Chile, she performed in Otello, Il trovatore and Les Huguenots. She retired from the stage in Madrid in 1916, after appearing in La Gioconda, Tristan and Isolda and Die Walküre Amelia Pinto died in Palermo on 21 June 1946 after a serious illness.
After engagements in both Vienna and Budapest, using the name of Almati, she made her operatic début as Azucena in Il trovatore, performing the role in Berlin, Copenhagen and Hamburg. Thereafter she returned to Stockholm in 1886, where she played Carmen at the Royal Theatre. Apart from a study trip to Italy in 1889, she continued to perform there until her retirement in 1897. She then moved abroad.
These included Azucena in Il trovatore, Valentine in Les Huguenots and Pamina in The Magic Flute. She also gave concerts in Finland, Sweden, Norway and Germany and in 1878 sang at the opera in Gothenburg as a guest star. She is also remembered for her work as a voice teacher over a period of 40 years from 1874. In the early 1880s, she studied further in Dresden under Eugen Hildach.
The opera house denied the arrangement. In 1982, Price returned to the Met as Leonora in Il Trovatore, a role she hadn't sung in the house since 1969. She also sang a televised concert of duets and arias with Marilyn Horne and conductor James Levine, later released on record by RCA. In 1983, she hosted two televised performances of "In Performance from the White House," with President and Mrs.
Operas are staged in The Coade Hall theatre at the school, and touring productions are also staged elsewhere. In 2011, Tosca and Otello were performed; in 2012, Il trovatore, Suor Angelica, and Le Carrosse du Saint-Sacrament by Lord Berners. Operas presented in 2013 were La traviata, directed by Jonathan Miller, and The Flying Dutchman, as well as a reduced version of La bohème staged by Dutch National Touring Opera.
Other famous operas that he appeared in included, among others, William Tell, Il pirata, Il trovatore, La forza del destino, Andrea Chénier, Manon Lescaut and Pagliacci. His portrayal of Otello became world-famous, as was his interpretation of Calaf in Turandot. In 1938, he participated in a complete recording of the latter work, together with Gina Cigna and Magda Olivero. He also made numerous recordings of opera arias.
Internationally, too, he sang a good deal of Verdi: at Her Majesty's Theatre in 1847 where he took part in the first London performance of I due Foscari; in 1863 at Madrid, where he sang in La forza del destino; and the following autumn at the Théâtre Italien in Paris, where he appeared in Un Ballo in Maschera Ernani, and Il Trovatore, as well as in Lucia di Lammermoor and Poliuto.
In 1887, she toured South America.Emma Turolla, La Voce Antica. She was especially known for singing the title role in Aida and Leonora in Il Trovatore, among other parts. "La voce della Turolla è sonora e potente, senza stridi nè durezze, uniforme dai bassi agli acuti" (The voice of Turolla is sonorous and powerful, without harshness or hardness, uniform from bass to treble), commented one critic of the time.
By the end of the year, St. John had joined Charles Durand's English Opera Company on tour, where she began to use her married name on stage.Sharp, p. 5 With Durand, she began to play roles such as Clorinda, one of the stepsisters in Gioachino Rossini's Cinderella; in Luigi Ricci's The Brewer of Preston (Il birraio di Preston); as Azucena in Il Trovatore; and as Lazarillo in Maritana.Sharp, p.
Other roles in Guéymard's repertoire included Arnold in William Tell, Jean de Leyde in Le prophète, both Manrico and Ruiz in Il trovatore, Rodolfo in Luisa Miller, Tebaldo in I Capuleti e i Montecchi, and the title role in Robert le diable. Guéymard married Belgian opera singer Pauline Guéymard-Lauters in 1858, but the marriage ended in divorce in 1868. He died in Corbeil-Essonnes at the age of 57.
See Gänzl, Kurt. "Mademoiselle Clary: Sparkeion of Croydon", Kurt of Gerolstein, 9 June 2018 :Nicemis – Constance Loseby :Pretteia – Rose Berend :Daphne – Annie TremaineGänzl, Kurt. "Three times a star: from Thespis to Trovatore", Kurt of Gerolstein, 7 June 2018 :Cymon – Miss L. Wilson :Principal dancers: Mlle. Esta, Misses Lizzie Wright and Smithers Chorus of aged deities and thespians; Gaiety Corps de Ballet The first performance was conducted by Arthur Sullivan.
In 1866, she performed at Covent Garden singing Violetta in Verdi's La traviata and the title roles in Donizetti's Lucia di Lammermoor and Friedrich von Flotow's Martha. She also appeared in the German cities of Leipzig, Dresden, and Hanover. In 1872 she appeared in Vienna, and in 1873, in Munich where she performed the roles of Leonora in Verdi's Il trovatore, Amina in La sonnambula, and Valentine in Meyerbeer's Les Huguenots.
These coloratura effects are not required for the character after the first act. The lengthy and crucial duet between the elder Germont and Violetta in act 2 is multi-sectioned with the music following the changing dramatic situation. La traviata is the only one of Verdi's many operas to be set entirely indoors. Unlike Il trovatore, which was composed simultaneously, La traviata is an intimate piece, full of tender lyricism.
With the Träume production, Gierster gave guest performances at the Wiener Festwochen, as well as in Berlin, Munich and Frankfurt; with Intollerenza 70 at the Maggio Musicale Fiorentino. As opera director he engaged numerous acting directors to the Nuremberg opera house, among others Hans Neuenfels (1974 for Il trovatore), Hansgünther Heyme (season 1974/75 for Wozzeck, with Dunja Vejzovic as Marie), Hans Hollmann, , Luca Ronconi, Alfred Kirchner and .
Forbes, Elizabeth. "Graziani" in Sadie (2001). Graziani also appeared at the Salle Ventadour with the Théâtre-Italien from 1853 to 1861, where he particularly excelled in the operas of Verdi, creating for Paris the role of Count di Luna in Il trovatore and also singing Germont in La traviata, the title role in Rigoletto, and Renato in Un ballo in maschera.Forbes, Elizabeth, "Graziani, Francesco" in Sadie (1992) 2: 522. In the summer of 1854, he performed with Max Maretzek's Italian opera company at Castle Garden in New York City. Francesco Graziani, 1855 He appeared at the Royal Opera House, Covent Garden from 1855 to 1880. His debut was on April 26 as Carlos in Verdi's Ernani, followed by Count di Luna in Verdi's Il Trovatore on May 10, Riccardo in Bellini's I puritani on May 17, Alfonso in Donizetti's La favorita on May 24, and Iago in Rossini's Otello on August 7. He performed the role of Nelusco in the 1865 London premiere of Giacomo Meyerbeer's L'Africaine.
When Toscanini died three years later, he left his protégée his baton in his will. In 1948, Nelli sang in Genoa (La Gioconda, conducted by Tullio Serafin) and at the Teatro alla Scala. At the latter theatre, she participated in the "Serata Commemorativa di Arrigo Boito" (excerpts from Mefistofele and Nerone, conducted by Toscanini) and starred in performances of Aida (with Mirto Picchi and Elena Nicolai, conducted by Antonino Votto). From 1949, the glamorous dramatic soprano performed with the New Orleans Opera Association: Aida (with the young Norman Treigle as the King of Egypt), Otello (1954), Aida again (1955), and Il trovatore (with Leonard Warren, directed by Armando Agnini, 1958). She was also often heard in Philadelphia (from 1946 to 1959), in Aïda, La Gioconda (with Ebe Stignani), Cavalleria rusticana, Norma, Il trovatore (with Enzo Mascherini), Otello, La forza del destino, Puccini's Tosca (conducted by Eugene Ormandy), and Un ballo in maschera.
Following an incident in which Mme Tietjens accidentally struck Giuglini on the nose with a drumstick when sounding a gong during a performance of Norma, causing the tenor's nose to bleed on stage, Giuglini conceived a hatred for that opera and swore a solemn oath never to appear in it again. However, during a breakdown in a series of Il trovatore, owing to the indisposition of the contralto, Mapleson was obliged to stage Norma and engaged another tenor, knowing Giuglini's objection, and that this performance was supernumerary to his contract. Having attempted to extort additional fees, Giuglini at the last minute had the rival forcibly divested of his costume backstage, and sang the role himself, but to little financial advantage, and without the drumstick.Mapleson 1888, I, 47-57. The 1863 season opened with Il trovatore, and in May was the premiere of Schira's opera Niccolo de' Lapi with Giuglini as Lamberto, Tietjens, Zélia Trebelli and Santley.
He also sang the role in a Madison Square Garden Red Cross benefit concert in 1944, in which only the final act of the opera was featured. Jan Peerce again sang the Duke, but Zinka Milanov was Gilda, and the NBC Symphony Orchestra was conducted by Arturo Toscanini. This Rigoletto excerpt was later released on records and CD by RCA Victor, and the entire concert was available years later on various unofficial CD releases. His other published complete opera recordings include La traviata with Rosanna Carteri, Cesare Valletti, and conductor Pierre Monteux; Tosca, Aida, and Il trovatore, each with Zinka Milanov and Jussi Björling; La forza del destino with Milanov, Giuseppe Di Stefano, Rosalind Elias and Giorgio Tozzi; a second recording of Il trovatore with his final tenor co-star, Richard Tucker, featuring a young Leontyne Price in her Met debut role of Leonora; and Verdi's Macbeth, with Leonie Rysanek and Carlo Bergonzi.
May 1851 brought an offer for a new opera from the Venice authorities, and it was followed by an agreement with the Rome Opera company to present Trovatore during the 1852/1853 Carnival season, specifically in January 1853. By November Verdi and Strepponi left Italy to spend the winter of 1851/52 in Paris, where he concluded an agreement with the Paris Opéra to write what became Les vêpres siciliennes, his first grand opera, although he had adapted his earlier I Lombardi into Jérusalem for the stage. Including work on Trovatore, other projects consumed him, but a significant event occurred in February, when the couple attended a performance of Alexander Dumas fils's The Lady of the Camellias. What followed is reported by Verdi's biographer Mary Jane Phillips-Matz who states that the composer revealed that, after seeing the play, he immediately began to compose music for what would later become La traviata.
Accademia di Santa Cecilia/Skira. She appeared again at La Scala later that season in the title role of Verdi's Aida. During the course of her career her other Verdian roles included Amelia in Un ballo in maschera, Leonora in La forza del destino, and Leonora in Il trovatore. In the later years of her career, Bruschi-Chiatti also appeared at the Teatro Real in Madrid, notably in an acclaimed performance La Juive in 1887.
His stage roles have included Escamillo in Carmen by Bizet, Tonio in I Pagliacci by Leoncavallo, Aleko in Aleko by Rachmaninov, Genghis Khan in Genghis Khan by Sharav, Onegin in Eugene Onegin by Tchaikovsky, Prince Yeletsky in The Queen of Spades by Tchaikovsky, Amonasro in Aida by Verdi, Count di Luna in Il Trovatore by Verdi, Giorgio Germont in La Traviata by Verdi the title role in Nabucco and in Rigoletto, both by Verdi.
There he sang among other roles Guglielmo in Così fan tutte, Figaro in The Barber of Sevilla', Count Luna in Il trovatore, the title role in Rigoletto and Wolfram von Eschenbach in Tannhäuser. In 1944 Günter was drafted again into the Wehrmacht; until 1948 he was in Soviet captivity after the war where he learned Russian and appeared at concerts. After the war he resumed his stage career at the (1949/1950 season).
She also starred in Gluck's Orfeo ed Euridice, Verdi's Il trovatore and Aida and in Wagner's operas. In Finland, she performed in Oskar Merikanto's opera Elinan surma in 1910 and in Carmen in 1912. Tervani retired from the Dresden Opera in 1932 and moved with her family to Berlin where she died on 29 October 1936. She had been married with the theatre director Paul Wiecke since 1916 and had two children.
That relationship also ended in divorce some years later. He later married a former voice student of Mario's, opera star Rose Bampton in 1937. From 1919–1922 Pelletier was the rehearsal pianist and assistant conductor for Antonio Scotti's touring company the Scotti Opera Company where he worked under conductors Gennaro Papi and Carlo Peroni. With this company he conducted his first complete opera performance, Giuseppe Verdi's Il trovatore on 21 May 1920 in Memphis, Tennessee.
In 1987-1988 Sweet appeared at the Staatsoper in Hamburg as Elisabetta in Verdi's Don Carlos, Leonora in Il Trovatore, and Elisabeth in Tannhauser. She sang at the Staatstheater Braunschweig in 1988 as Desdemona in Verdi's Othello. At the 1987 Salzburg Festival she was heard as a soloist in the Stabat Mater by Dvorak. That same year she sang the "Gurrelieder" by A. Schoenberg in Munich under the baton of Zubin Mehta.
Elena da Feltre is an opera in three acts by 19th-century Italian composer Saverio Mercadante from a libretto by Salvatore Cammarano, well known as librettist of Donizetti's Lucia di Lammermoor and Verdi's Il trovatore. The premiere took place at the Teatro San Carlo in Naples on 1 January 1839 as part of the Carnival Season. While not successful at the time, the opera was revived at La Scala in 1843 with twenty performances.
Klose was born (as Frida Klose) and died in Berlin. She lost her father early in life and had to earn her living as a secretary, until a colleague recommended her to the Klindworth-Scharwenka conservatory, where she got a thorough musical education. Klose made her début in 1926 at Ulm theatre in a supporting role of Emmerich Kálmán's operetta Countess Maritza. Her next role was Azucena in Giuseppe Verdi's Il trovatore.
Once the 1862-63 season was over, Santley paid a visit to Paris and saw Mme Carvalho perform in Gounod's Faust, which Mapleson had obtained for the 1863 season in London. In the new season (begun with Il trovatore), Carvalho and Santley appeared together in the premiere of Schira's Niccolo de' Lapi, Santley creating the title-role. He also played the elder Germont in La traviata. The first performance of Faust in England followed.
From 1994 to 2000, he was Generalmusikdirector and director of opera at the Mannheim National Theatre. In the U.S. he made his Metropolitan Opera conducting debut in February 1999 with Il trovatore, and returned in December 2000 with Turandot. In 2005, Märkl became music director of the Orchestre National de Lyon (ONL). With the ONL, he has conducted several recordings for the Naxos label, including music of Claude Debussy, Maurice Ravel, and Olivier Messiaen.
Erminia Borghi-Mamo, from an 1883 publication. Erminia Borghi-Mamo was born in Paris, the daughter of Michele Mamo and Adelaide Borghi-Mamo, both Italian opera singers. She was literally born into the theatre: Adelaide Borghi-Mamo finished a performance of Verdi's Il Trovatore, then gave birth to Erminia hours later, in a room within the theatre of the Comédie-Italienne. She was named for soprano Erminia Frezzolini, a friend of Adelaide's.
The following year, again in Salzburg, Hermanis presented Harrison Birtwistle's opera Gawain. In 2014 he was responsible for a production of Il trovatore with Anna Netrebko, Marie-Nicole Lemieux, Francesco Meli and Plácido Domingo. Hermanis transformed the Great Festival Hall into a gigantic museum with moving walls and the singers into museum custodians and personalities from the paintings shown. In 2015 Hermanis cancelled a production with the Thalia Theater planned for spring 2016.
It had remarkable flexibility, which was enhanced by Thomas's energy and expressiveness, particularly in his repertoire of popular material. In operatic work, however, this skill could be shown to good effect in trills and runs. Notable examples of his technical expertise are displayed his versions of "Il balen" from Il trovatore, and the "Drinking Song" from Hamlet. In common with a lot of singers of his inter-war generation, Thomas's voice was highly distinctive.
They had two children, Nina and Maxim. In June 2015 Hvorostovsky announced that he had been diagnosed with a brain tumour and cancelled all his performances through August. Family representatives said that he would be treated at London's cancer hospital Royal Marsden. In spite of his illness, Hvorostovsky returned to the stage at the Metropolitan Opera in September as Count di Luna in Il trovatore for a run of three performances opposite Anna Netrebko.
She was particularly noted for having sung the title role in Carmen more than four hundred times, and she also appeared notably as the gypsy Azucena in Il Trovatore. She performed in Italian motion pictures in the early 1930s. In the United States she sang on radio and even experimental television broadcasts in the 1930s for CBS. She dubbed the voices of several leading Hollywood actresses in the late 1930s and early 1940s.
In the Summer of 1963 he sang his first Manrico in Verdi's Il trovatore with Lucine Amara as Leonora for his debut with Central City Opera. This was followed by his first Don Alvaro in Verdi's La forza del destino in November with New Orleans Opera. In 1964 he debuted with the San Francisco Opera as Max in Der Freischütz and returned to Cincinnati Opera to sing his first Baron von Eisenstein in Die Fledermaus.
To commemorate the Verdi centennial in 2001, Klein produced and toured Viva Verdi! show with partner Particia Murray-Bett in the United Kingdom and Ireland featuring excerpts from Nabucco, Rigoletto, Il Trovatore and other Verdi operas. In 2002, Klein brought West Side Story to Italy again in 2002 performing in Ravenna, Palermo and Pistoia. In 2002 he arranged the Arad Philharmonic of Romania to a US and Canada tour, Maestro Dorin Frandes conducting.
66 a success due to Verdi's work over the previous three years. It began with his January 1850 approach to Cammarano with the idea of Il trovatore. There followed, slowly and with interruptions, the preparation of the libretto, first by Cammarano until his death in mid-1852 and then with the young librettist Leone Emanuele Bardare, which gave the composer the opportunity to propose significant revisions, which were accomplished under his direction.Budden, p.
Phillips-Matz, p. 307 Composer and librettist met in Rome around 20 December 1852 and Verdi began work on both Trovatore and La traviata. His main aim, having changed his mind about the distribution of characters in the opera, was to enhance the role of Leonora, thus making it "a two-women opera"Budden, pp. 65–66 and he communicated many of these ideas ahead of time via letters to De Sanctis over several months.
Teatro Regio di Parma Archives She also performed at La Scala, the Teatro Regio di Torino, the Teatro Comunale di Bologna, the Teatro Grande di Trieste and several other Italian theatres. Outside Italy, she sang in Paris, Barcelona, Vienna (where she made her debut in 1843 as Abigaille in Nabucco conducted by Verdi himself),Rescigno (2001) pp. 473 and London (where she made her debut in 1858 at the Theatre Royal, Drury Lane as Leonora in Il trovatore).
Born in a family of musicians in Tirgu Jiu, Martinoiu discovered his vocal gift in his high school years, when he sang with various school choirs. After high school, he became a student at the Cornetti Conservatoire in Craiova. Three years later he moved to the Music Academy in Iași, from which he graduated in 1958. In 1959, Martinoiu made a successful debut at the Musical Theatre in Galați as Count di Luna in Il trovatore.
Other major Italian roles include Amelia Un Ballo in Maschera, Maddalena Andrea Chénier, Leonora Il Trovatore and Lady Macbeth. Highlights of her performances on the concert stage include Gustav Mahler's 8th Symphony (Soprano 1) at the Beethoven Festival in Bonn and Cologne, La Terre for soprano, piano and orchestra by Zygmunt Krauze for Radio France in Paris, Arnold Schoenberg’s Gurrelieder in Darmstadt and Bratislava, Richard Wagner’s Wesendonck Lieder as well as the Vier letzte Lieder by Richard Strauss.
She was also known for singing the title role in Verdi's Aïda and Leonora in Il trovatore, among others. Roselle returned to the United States late in 1929, and sang at Carnegie Hall. The New York Times reported that "her higher tones are usually produced with fine resonance and color and absolute fidelity to the pitch". In 1931, she starred in the first United States performance of Wozzeck, with the Philadelphia Orchestra, under the direction of Leopold Stokowski.
In 1913 Ingram was committed to the Montreal Opera. That same year she married the theatrical manager Karl G. MacVitty in Chicago. She toured the United States in concert in 1914–1915. From 1915–1919 she sang with the Chicago Opera Association where she was heard as Amneris in Aida, Azucena in Il trovatore, Brangäne in Tristan und Isolde, La Cieca in La Gioconda, Orfeo in Orfeo ed Euridice, Suzuki in Madama Butterfly, and the title role in Carmen.
Kelsey met his wife, soprano Marjorie Owens, originally from Chesapeake, Virginia, when both were resident at the Ryan Opera Center in Chicago.Sarah Bryan Miller, "Soprano Marjorie Owens takes the title role in Ariadne", St. Louis Post-Dispatch, 28 May 2016. Retrieved 5 January 2020. Chicago remains their home base, but the couple have occasionally sung together on tour, performing Il trovatore in DresdenLouise T. Guinther, "Girls of Summer", Opera News, vol. 76, no. 12 (June 2012).
It's an Honour She was a Sessional Lecturer in Voice at the Queensland Conservatorium and taught at The Hong Kong Academy for Performing Arts.Queensland Conservatorium She was awarded an honorary doctorate from the University of Queensland in 1986. In 1990, she appeared as Azucena in Il trovatore for Queensland Lyric Opera. In 2002 she returned to the stage once more, as Mamma Lucia in Cavalleria rusticana for Opera Queensland where she was an honorary life member.
In 1954, he created the role of Abner in Darius Milhaud's David, and in 1965 he took part in the first performance of Piero Manzoni's controversial stage work Atomted. He can be heard in a number of live recordings, notably Parsifal (as Klingsor), Il trovatore, Lucia di Lammermoor (conducted by Herbert von Karajan), La sonnambula (conducted by Leonard Bernstein), and Norma opposite Maria Callas. He was also part of the first recordings of Linda di Chamounix, Oberto, and Médée.
In 1967 Atherton was founder of the London Sinfonietta and, as its Music Director, a position he held until 1973, gave the first performance of many important contemporary works. It is now widely regarded as one of the world's leading chamber orchestras. Also in 1967 he was invited to join the music staff of the Royal Opera House, Covent Garden, by Sir Georg Solti. In 1968 he became the youngest conductor ever to appear there, conducting Il trovatore.
Augusta Öhrström (1883) Augusta Öhrström-Renard (16 February 1856 – 4 November 1921) was a Swedish mezzo-soprano opera singer who performed at the Royal Theatre in Stockholm (1881–1883) and gave concerts in France and North America. Her operatic roles included Azucena in Il trovatore, Bergadrottningen in Den bergtagna and Marta in the Swedish première of Mefistofele in 1883. From 1897 she lived in New York where she was engaged by the Metropolitan Opera for a five-year period.
Born in Härnösand, Wellander moved to Stockholm when she was 15 to study music with support from Lilly Bächström. She completed her education abroad in 1879 under Lilli Lehmann (1848–1929) and Mathilde Marchesi (1821–1913). After returning to Sweden after performing in various opera used in Germany, she performed at the Royal Theatre from 1885 to 1888. Her roles included Ortrud in Lohengrin, Bergadrottningen in Den bergtagna, Martha in Faust and Asuzena in Il trovatore.
Carlos Maria Guichandut (November 4, 1914 - September 27, 1990) was an Argentinian baritone, and later tenor, particularly associated with heroic roles. Born in Buenos Aires, he studied first philosophy and then singing with Alfredo Bontà Biancardi. He began his career as a baritone in 1938 singing zarzuela. He made his operatic debut at the Teatro Colon in 1945, in the title role of Rigoletto, followed by Luna in Il trovatore, Iago in Otello, and Scarpia in Tosca.
Among his work in Münster were productions of Wagner's Ring cycle (1999–2001), other repertoire works by Wagner and Verdi, and modern works. He became associated with the music of Azio Corghi, with whom he has worked on four operas. Among other contemporary composers with whom he is associated are György Ligeti, Krzysztof Penderecki, Luigi Nono, Hans Werner Henze and Wolfgang Rihm. Humburg has conducted complete recordings of La bohème, Il barbiere di Siviglia, Il trovatore and Falstaff.
In July 1859, she made her operatic debut as Mathilde in Rossini's William Tell. On 23 February 1861, she created the role of Maria in Anton Rubinstein's opera Die Kinder der Heide at the Kärntnertor Theatre. She sang in Vienna until 1867, her other roles there including Anna in Boieldieu's La dame blanche and Valentine in Meyerbeer's Les Huguenots. Her French debut came in Paris on 6 April 1867 at the Theatre-Italien, as Leonora in Verdi's Il trovatore.
Ntshebe was first exposed to classical music and opera music as a child. His mother used to take him to work with her cleaning houses."Mom can't believe opera star is gone", Ndabeni, K., Daily Dispatch, 28 May 2010 Ntshebe began singing in the church choir where his grandfather was a Methodist preacher. Ntshebe was scouted at 16 at the Port Elizabeth Opera House when he sang in his first Italian opera, Il trovatore by Verdi.
She made her European debut the following year at the Teatro Alfieri in Turin as Leonore in Giuseppe Verdi's Il trovatore to a warm reception. It was at this time that she adopted the "italianized" version of her name that she used for the rest of her career. After her European debut, invitations from major opera houses throughout Europe came pouring in to Roberti. In 1958 she sang Abigaille in Verdi's Nabucco for her La Scala debut.
"I told > him it was one act long and could fit on any sort of bill, in any kind of > house." She brought clippings and box office statements from the record- > setting London premiere with her. "You are certainly a businesslike woman", > Grau said. Smyth's opera was presented at the Metropolitan Opera on 12 March 1903 with Johanna Gadski, Luise Reuss-Belce, David Bispham and Eugène Dufriche, conducted by Alfred Hertz, Der Wald was followed by Verdi’s Il trovatore.
In 1955 Glossop was appointed as a company principal. During the next five years he sang most of the leading Verdi baritone roles, and was especially known for the title role in Rigoletto and for Di Luna in Il trovatore. In 1961 Glossop won the gold medal at the International Operatic Competition in Sofia and was engaged by the Royal Opera House. His début at Covent Garden was as Demetrius in Britten's A Midsummer Night's Dream.
While there she notably portrayed the role of Dalila in the world premiere of Camille Saint-Saëns's Samson et Dalila on 2 December 1877 under the direction of Eduard Lassen. Her other roles in Weimar included Azucena in Giuseppe Verdi's Il trovatore, Frau Reich in Carl Otto Nicolai's The Merry Wives of Windsor, Fricka in both Richard Wagner's Das Rheingold and Die Walküre, and Floßhilde in Wagner's Götterdämmerung among others.Biography of Auguste von Müller on Operissimo.com (in German).
Among the many roles Vodička has performed on stage are Alfredo in La Traviata, Calàf in Turandot, Cavaradossi in Tosca, Dick Johnson in La fanciulla del West, Don José in Carmen, Jenik in The Bartered Bride, Laca in Jenůfa, Manrico in Il trovatore, Radames in Aida, Rodolfo in La bohème, Sťáhlav in Bedřich Smetana's Libuše, Turiddu in Cavalleria rusticana, Walther in Die Meistersinger von Nürnberg, and the title roles in Dimitrij, Don Carlos, Faust and Otello among other roles.
He sang Zacharie in Meyerbeer's Le prophète in 1851. He performed at the Paris Opera again 1856-1857, notably singing d'Aminta in the world premiere of Emanuele Biletta's La rose de Florence and Ferrando in Verdi's Il trovatore. After 1857 Dérivis' stage appearances became more rare. He performed at the Teatro Comunale di Bologna in 1862 where he was heard as Samuel in Un ballo in maschera, Sparafucile in Verdi's Rigoletto and as Calistene in Donizetti's Poliuto.
Born in Nelson, New Zealand in 1932, Begg studied in Auckland with Sister Mary Leo and at the New South Wales State Conservatorium, during which time she won the 1955 Sydney Sun Aria contest. She was engaged as a principal mezzo-soprano with the National Opera of Australia from 1954–56. Her professional debut was as Azucena in Verdi's Il trovatore. She went to London in 1957 to attend the UK's National School of Opera on a musical scholarship.
The same year, she sang in many Verdi operas on radio broadcast (RAI) to commemorate 50th anniversary of Verdi's death. Many of these broadcasts have been released by the record company Cetra, notably, Nabucco, Ernani, Attila, La battaglia di Legnano, Il trovatore, and Aïda. She sang mostly in Italy, notably as Anaide in Mosè in Egitto in Florence (1955), and as Amelia in Il duca d'Alba, in Verona (1956). She made occasional appearances in France and Spain.
In the early 1950s, he became known throughout Italy, as a highly competent heldentenor, singing Siegfried at the Verona Arena and Lohengrin in Rome. He also partnered the new diva Maria Callas in Norma, Macbeth, Il trovatore and Medea, in various theatres in Italy. In 1951, his career took an international turn. He appeared at the Paris Opéra, the Liceo in Barcelona, the Monte Carlo Opera, the Metropolitan Opera in New York, and the Royal Opera House in London.
Anthony was born in New Orleans, Louisiana, the child of immigrants from Sicily. He studied music at Loyola University New Orleans, where he studied under Dorothy Hulse, also the teacher of Audrey Schuh and Harry Theyard; he graduated in 1951. The tenor sang the role of the Messenger in Il trovatore, at the New Orleans Opera Association, in 1947. At the age of twenty-two, he auditioned under his birth name for the Metropolitan Opera's Auditions of the Air.
In 1971, she sang the Queen of the night at the Festival d'Aix-en- Provence. In 1970 her international career began: Metropolitan Opera of New York, La Scala of Milan (in 1977 she sang Marguerite in Gounod's Faust), Geneva, Rio de Janeiro, Liceu of Barcelone, including Roméo et Juliette and Madame Butterfly in the Verona Arena. A coloratura at first, she became a lyric soprano (La traviata, Il trovatore) and finally a dramatic soprano (Tosca). She recorded Bellini's Norma.
At that time this particular Mozart opera was rarely performed and the production, directed by Jean Pierre Ponnelle, received high acclaim from music critics internationally. In 1975 she sang a brilliant Eboli in the Cologne Opera's production of Verdi's "Don Carlos". She also sang with Welsh National Opera to great acclaim in roles such as Azucena in Trovatore. Over the next decade she sang a wide number of roles at this theatre and other German houses.
In 2009 Blythe debuted at the San Francisco Opera portraying the role of Azucena in Il Trovatore. San Francisco Opera Archives In 2010 she made her debut at the Lyric Opera of Chicago as Ulrica, and was also seen in Chicago that season as Katisha in The Mikado. The Chicago Sun-Times review of the latter performance stated, "Blythe explodes onto stage ... an enormous woman with enormous talent, a big, powerful voice and an elastic comic face".Steinberg, Neil.
Philip W. Silver, Ruin and restitution: reinterpreting romanticism in Spain (1997) p. 13 The plays of Antonio García Gutiérrez were adapted to produce Giuseppe Verdi's operas Il trovatore and Simon Boccanegra. Spanish Romanticism also influenced regional literatures. For example, in Catalonia and in Galicia there was a national boom of writers in the local languages, like the Catalan Jacint Verdaguer and the Galician Rosalía de Castro, the main figures of the national revivalist movements Renaixença and Rexurdimento, respectively.
This drew attention to him as a composer, and a productive period followed. In 1834 at age 26 Limmer was invited to accept the post of conductor at the German Theater in Timișoara by its director, Theodor Müller. The theater ran up to 15 opera productions a year, including local premieres of Beethoven's Fidelio and Verdi's Ernani, Macbeth, Il Trovatore and Othello. He wrote his Grand Quintuor for piano, violin, viola, violoncello and double bass, op.
Rosina Penco sang in operas by Rossini, Bellini and Donizetti in various German theatres in 1850. She was praised for her fiery stage temperament and her virtuosic singing, in particular for an excellent trill. In Italy she appeared in the title role of Verdi's "Luisa Miller" in Naples in 1851 and created roles in operas by Errico Petrella and Giovanni Bottesini. In 1853 she created the leading soprano role of Leonora in Giuseppe Verdi's hugely successful opera "Il trovatore".
When Paoli was young, his parents would often take him to operas at Ponce's La Perla Theater located a block from their residence. They saw a performance of Giuseppe Verdi's Il Trovatore, sung by Italian tenor, Pietro Baccei. At that moment, Paoli decided what he wanted to become. His parents were very supportive of his ambition and guided him on this route during his youth, enrolling him in a school of "voice" directed by Ramon Marin.
This was the original so-called "Flight of Cruvelli", and for the time being put an end to her London appearances. Yet when Verdi wanted to cast Cruvelli as Violetta for the première of La traviata, which was presented with a different singer in Venice in March 1853, he was unable to do so because she was still under contract to Lumley.Julian Budden, Le Opere di Verdi: Dal trovatore alla forza del destino (EDT srl 1986), p. 127.
The musical and theatrical influences of the opera can be felt in, amongst others, Liszt's monumental Fantasy and Fugue on the chorale "Ad nos, ad salutarem undam" for organ which is based on the Anabaptists' chorale, the duet between mother and lost child in Giuseppe Verdi's Il trovatore, and the catastrophic finale of Richard Wagner's Götterdämmerung. The tremendous success of Le prophète at its Paris première also provoked Wagner's anti-Jewish attack on Meyerbeer, Das Judenthum in der Musik.
Furthermore, the management insisted that the opera be given a historical, not a contemporary setting. The premiere in March 1853 was indeed a failure: Verdi wrote: "Was the fault mine or the singers'? Time will tell." Subsequent productions (following some rewriting) throughout Europe over the following two years fully vindicated the composer; Roger Parker has written "Il trovatore consistently remains one of the three or four most popular operas in the Verdian repertoire: but it has never pleased the critics".
166 the Ring cycle; Der Rosenkavalier;Royal Opera House programme, 19 November 1971 Semele; La traviata;Royal Opera House programme, 19 December 1994 Il trovatore; Otello; and Wozzeck.The Musical Times, April 1975, p. 353 Among modern operas at Covent Garden, Knight appeared in Peter Maxwell Davies's Taverner;Royal Opera House programme, 12 July 1972 Hans Werner Henze's We Come to the River; Nicholas Maw's Sophie's Choice; Michael Tippett's King Priam;Royal Opera House programme, 31 May 1972 and Alexander Zemlinsky's The Dwarf.
Green returned to the Met in 2016 as Colline. In 2014 Green became a member of the Vienna State Opera. His roles there included Angelotti in Tosca, Sparafucile in Rigoletto, Basilio in The Barber of Seville, a Jew in Salome, Fouquier-Tinville in Andrea Chénier, a Monk in Don Carlos, Titurel in Parsifal, the King in Aida, Timur in Turandot, and Varlaam in Boris Godunov. He appeared as guest artist in Opéra de Lille's 2016 production of in Il trovatore as Ferrando.
Later in 2014, he debuted as the Conte di Luna in Il trovatore in Berlin. The following season, he sang di Luna again at the Salzburg Festival with Anna Netrebko as Leonora, Marie-Nicole Lemieux as Azucena and Francesco Meli as Manrico. He first sang the title role of Verdi's Nabucco at Covent Garden in March–April 2013Hugo Shirley, "Plácido Domingo's Operalia Winners", Opera, London, September 2012, pp. 1153–1154. and has since reprised it in St. Petersburg, Beijing, Verona, and Vienna.
She was later heard with the company as Leonora in Verdi's Il trovatore to her husband's Manrico. In 1882 she joined Bartolomeo Merelli's traveling opera troupe with whom she performed in Berlin (1882) and Prague (1883). From 1887–1890 she was committed to the Palais Garnier where she notably created the role of the Duchesse d'Étampes in the world premiere of Camille Saint-Saëns' Ascanio (1890). In 1893 Adini sang Brünnhilde in the Italian premiere of Richard Wagner's Die Walküre at La Scala.
On 22 August, the troupe arrived in the port city of Mazatlán, where they were to perform Il trovatore and Aida. The city of Mazatlán prepared an elaborate welcome for her. Her boat docked at a pier decorated with garlands of flowers, and she was greeted by a band playing the Mexican National Anthem. When her carriage arrived, her admirers unhitched the horses and pulled it themselves to the Hotel Iturbide, where she once again saluted the crowds from her balcony.
Thomas Baker wrote Il Trovatore Quadrille (1855) for piano, which includes a movement based on this chorus. Similarly, pianist/composer Charles Grobe wrote variations on the Anvil Chorus for piano in 1857. A swing jazz arrangement by Jerry Gray for the Glenn Miller Orchestra in 1941 reached #3 on the U.S. Billboard charts. The melodic theme also served as the inspiration for "Rockin' the Anvil" for swing jazz ensemble and accordion on John Serry Sr.'s 1956 album Squeeze Play.
He made his name in such famous Wagner roles as Wotan in the Ring cycle, Hans Sachs in Die Meistersinger and as the Dutchman in the Flying Dutchman. In Britain this part was often referred to as Vanderdacken, though Wagner never used that name. In 1883 he sang in Il Trovatore in the Gaiety Theatre, Dublin. A prototype telephone carried the performance to Earlsfort Terrace, Dublin, half a mile away, where an astonished audience was able to hear the singers and orchestra.
In 1988 she appeared at the Vienna State Opera as Elisabeth in Tannhauser and in Brussels as Norma in a concert performance of Bellini's opera. In 1989 Sweet made her USA debut at the San Francisco Opera as Aida. In 1990 she was a guest performer at the Arena di Verona as Aida and in 1991 in Montpellier as Leonora in Il Trovatore. In 1992 she appeared at the State Operas of Vienna and Dresden, and at the opera in Dallas.
She was even more successful as Ingeborg in Johann Hartmann's Liden Kirsten and was able to release the full potential of her talents as Orsini in Donizetti's Lucrezia Borgia. After Charlotte Bournonville's rather disappointing performances of Azucena in Il trovatore, she was entrusted with the role. In 1869, on Gade's recommendation, she left the theatre to sing in Leipzig where she presented works by Peter Heise to great acclaim. Zinck's last performances were in 1871, both at the Royal Theatre and Musikforeningen.
Her acting abilities, as well as the richness of her voice, made her a sought after mezzo for composition roles (character roles), a trend she followed for the next decade of her career. Equally important, Cortez was able to sing in her native country again, after 20 years of exile. She appeared in numerous benefit galas and concerts and gave recitals in Bucharest and Iasi, as well as opera performances ("Carmen" in Iasi - 1991, "Il Trovatore" at the National Opera in Bucharest - 1992).
She first joined the chorus of the Paris Opera, where she was also given a few small roles as in Fauré's Pénélope. She left the Paris Opera and began a solo career in her own right. During the 1944-1945 season she sang Werther (Charlotte), with José Luccioni and Margared in Le Roi d'Ys beside her former Professor Saint-Cricq at the Nice Opera. In French theatres she achieved success as Dalila, Orpheus, Azucena (Il trovatore), Léonore (La Favorite), Vénus (Lohengrin), etc.
The chief purpose of the sirventes may be to mourn the lost culture of Languedoc before the Albigensian Crusade and the "lord" of the story is probably a stereotype meant to represent that culture.Graham-Leigh, 32. It can therefore be viewed as representative of a genre of anti-Crusading verse prevalent in the trovatore traditions of Italy at the time. On the other hand, it is said to convey a "sense of personal loss" and not "opposition to the expedition".
The following season, she renewed her partnership with Karajan in a performance of Brahms' Requiem, with the Berlin Philharmonic at Carnegie Hall. She appeared more rarely in Europe. In the early 1970s, she sang Aida and a single Forzain Hamburg and returned to London's Covent Garden in Trovatore and Aida. She sang more often in recitals, in Hamburg, Vienna, Paris, and at the Salzburg Festival. At the latter she became a special favorite, appearing there in 1975, 1977, 1978, 1980, 1981, and 1984.
In 1978, Carter invited her to sing a nationally televised recital from the East Room of the White House. In 1982, she sang "The Battle Hymn of the Republic" before a Joint Meeting of Congress on the 100th anniversary of the birth of President Franklin Roosevelt. She also sang for Presidents Reagan, George H. W. Bush, and Clinton. In 1977, she made nostalgic returns to Vienna and Salzburg in Il trovatore, in the famous production from 1962, once again under Karajan.
She was much praised for her Arsace in Semiramide in 1965, Azucena (Verdi's Il trovatore) opposite Donald Smith and Elizabeth Fretwell and later with Kenneth Collins and Joan Sutherland in the Moshinsky/Nolan production. Between 1958 and 1973 she sang in five Royal Command performances. In 1970 she sang in Verdi's Requiem with an all- Australian cast of soloists, at the Royal Festival Hall, London, conducted by Charles Mackerras, marking the 200th anniversary of James Cook's charting of the east coast of Australia.
She was a member of the Civic Grand Opera Company in Philadelphia between 1937-1938 where she sang such roles as Ines in Il trovatore and the title role in Aida. She was also active with the New Opera Company in New York City during the late 1930s and early 1940s. Kirk went on to perform with several important American orchestras and opera companies during the 1940s. She performed for many years as a leading artist with the Charles L. Wagner Opera Company.
Jessie Bartlett Davis Dies; PDF; May 15, 1905, The New York Times; Retrieved January 18, 2008 Her most famous role was as Alan a-Dale in the 1890 opera Robin Hood by Reginald De Koven and Clement Scott. She introduced the song "Oh Promise Me" which became very popular.Enduring American Song Hits, Part 1, page 1 at parlorsongs.com, accessed 14 July 2008 She starred in grand operas, including Les Huguenots, Martha, The Merry Wives of Windsor, Il trovatore and Dinorah.
She became particularly associated with the title role in Georges Bizet's Carmen, a role she portrayed more than 300 times during her career in multiple languages. Her first portrayal of Carmen was in 1949 at the Royal Swedish Opera. Her other signature roles were Amneris in Giuseppe Verdi's Aida and Azucena in Verdi's Il trovatore. Although she appeared in operas and toured throughout Europe and North America, Gustavson spent much of her career performing with the Norwegian National Opera in Oslo.
While her singing was highly appreciated, she was less proficient as an actress, although she improved with experience. Known primarily as a mezzo-soprano, she also sang a number of soprano parts in Mozart's operas, such as Donna Anna, Donna Elvia and Almaviva, as well as Leonora in Il trovatore and Beethoven's Fidelio. She also performed in several Wagnerian operas. In 1888, together with Fanny Gætje, she founded Kjøbenhavns Sang- og Musikkonservatorium for Damer (Copenhagen's Song and Music Conservatory for Ladies).
Born in Turin in 1850, Scalchi studied voice with Augusta Boccabadati. In 1866, she made her stage debut in Mantua as Ulrica in Giuseppe Verdi's Un ballo in maschera. Her first major international success came at the Royal Opera House, Covent Garden, where on November 5, 1868, she made her London debut as Azucena in Il trovatore, also by Verdi. She appeared with the Covent Garden company thereafter until 1890, performing most of the standard lower-pitched female operatic roles.
Apart from the already mentioned Norma, other Bellinian operas sung by him included Il Pirata, and Beatrice di Tenda. An early tenore di forza, he created several Verdian roles, beginning with Zamoro in Alzira in 1845. He was also the first Corrado in Il corsaro (1848), Arrigo in La battaglia di Legnano (1849), the title role in Stiffelio (1850), and Riccardo in Un ballo in maschera (1859). He also sang in Oberto, Ernani, I Lombardi, I masnadieri, Luisa Miller, and Il trovatore.
Being able to attend his uncle's rehearsals and performances in Chicago furthered the younger musician's education. It was there, in 1955, that he first watched the complex undertaking of assembling an opera production (and first heard Maria Callas in a piano rehearsal with his uncle conducting Il trovatore). As a teenager, he graduated to playing rehearsal piano for his uncle and others like Gianandrea Gavazzeni. Rescigno attended a neighborhood parochial school, St. Mary's Nativity, and studied piano nearby with Prof.
Breitenfeld was born in Reichenberg (now in the Czech Republic) and made his debut in 1897 as Count Luna in Verdi's Il trovatore in Cologne. In 1912, he sang the role of the count in Act II of Franz Schreker's Der ferne Klang in its world premiere at the Frankfurt Opera. The contralto Magda Spiegel, also of the Frankfurt Opera, was murdered in Auschwitz.F. C. DeCoste, Bernard Schwartz, The Holocaust's ghost: writings on art, politics, law, and education, 80, 2000.
Menachem Golan and Yoram Globus of Cannon Films worked out a deal with popular operatic tenor Plácido Domingo to finance him in a film version of an opera. They wanted the singer to appear in an adaptation of Verdi's Il trovatore. Domingo, however, suggested instead that they film Otello, his signature role. While working with Italian director Franco Zeffirelli on a stage production of Tosca at the Metropolitan Opera, Domingo discussed the possibility of collaborating again on another opera movie.
Graduating with honors, she immediately received an engagement at the theater in Altenburg. Her principal roles at this time were in Gluck's Orfeo ed Euridice, Azucena in Il trovatore, and Nancy in Martha. In 1875, she went to Leipzig at the invitation of Friedrich Hasse, then manager of the Stadttheater there, and after her debut, was at once permanently engaged. Here she remained for 12 years, singing with extraordinary success under three successive managers, Hasse, Angelo Neumann, and Max Staegemann.
She has also sung in many other key Russian operas: Tatiana in Eugene Onegin, Lisa in The Queen of Spades, Iolanta, Mazeppa, Ruslan and Lyudmila. The Maid of Pskov and Fevroniya in The Invisible City of Kitezh. She has also sung the Italian repertoire, Cio-Cio San in Madama Butterfly the opera in which she made her Metropolitan Opera debut in 1995, Aida, Elisabeth de Valois in Don Carlo, the Leonoras in Il trovatore and La forza del destino, Tosca, and Norma.
In 1932 and 1933 Jacobo performed at the Monte Carlo Opera as Aida, Amelia in Verdi's Un ballo in maschera and as the title heroine in Lucrezia Borgia by Donizetti. In the early thirties, she was the great prima donna of Italian opera in the Netherlands. The Dutch audience admired her, among other things as Leonora in "La forza del destino" and in Il trovatore, as Tosca, as the title heroine in La Gioconda, and as Santuzza in Cavalleria rusticana.
Many of the cast and orchestra are English, and the performances are surtitled in both English and French. In recent years the festival has drawn an audience of 2,500-3,000 to the town, including large numbers who travel from England. The 2019 season will feature performances of Die Zauberflöte (The Magic Flute) (Mozart), Il trovatore (Verdi) and Alfonso und Estrella (Schubert). The opera is noted for its authentic performances, with a full orchestra and chorus in support of fully staged productions.
She appeared at the Deutsche Oper Berlin as Azucena in Verdi's Il trovatore and as Laura in Ponchielli's La Gioconda. She sang at the Cologne Opera Klytämnestra in Elektra by Richard Strauss and as Ortrud in Wagner's Lohengrin. She was a guest at the Paris Opera and the Metropolitan Opera, among others. She took two parts in Dvořák's Rusalka at the Vienna State Opera in the 1980s, the mezzo part of the witch and the soprano part of the foreign princess.
In 1950, he appeared to great acclaim in Mexico, as Radames in Aida, and as Cavaradossi in Tosca, opposite the young Maria Callas. Other notable roles included; Manrico in Il trovatore, Arrigo in I vespri siciliani, Alvaro in La forza del destino, Calaf in Turandot. Filippeschi made several recordings, notably Pollione in Norma, opposite Maria Callas, and Carlo in Don Carlos, opposite Tito Gobbi and Boris Christoff. Filippeschi also appeared in film versions of Lucia di Lammermoor and Rigoletto, in 1946.
Also in 2015, she made her professional opera debut in 2015 as Musetta in La Bohème with the Michigan Opera Theatre. Later that year she performed the role of Leonora in Verdi's Il trovatore with Musica Viva in Hong Kong, and appeared in concert with Andrea Bocelli. In February 2016 she sang in a concert of Puccini's music with the Allentown Symphony Orchestra. In March 2016 she was the soprano soloist in Verdi's Requiem at the Municipal Theatre of Santiago.
At that time he changed his professional name to Bernabé Martí. He has since appeared in France, Germany, Buenos Aires, Mexico City, Lima, Caracas and Santiago de Chile, in operas such as Carmen, Werther and Manon Lescaut. His Carnegie Hall debut was in Il pirata, followed by Il trovatore, Rigoletto, Tosca, Werther, Turandot, Pagliacci, Carmen and Norma, in American cities such as San Antonio (Texas), Washington DC, Dallas, Houston and Kansas. He sang Gabriele Adorno in "Simon Boccanegra" in Philadelphia.
After graduation, she worked with the Iași Philharmonic Orchestra, and as prima donna at the Iași Romanian National Opera. She also taught at the George Enescu University of Arts of Iași. Mioara Cortez performed in various roles, among others as Norma (Norma (opera)), Poppaea (L'incoronazione di Poppea), Martha (Tiefland), Micaëla (Carmen), Iphigénie (Iphigénie en Tauride), Mimi (La bohème), Amelia (Un ballo in maschera), Leonora (Il trovatore), Leonora (La forza del destino), Elvira (Ernani), Floria Tosca (Tosca), Sister Angelica (Suor Angelica).
During the summer of 1850 Maretzek produced opera in Castle Garden Theatre, New York, producing Verdi's Luisa Miller for the first time in America. The Academy of Music was opened in 1854 with Giulia Grisi and Giuseppe Mario under Maretzek and his company. In 1855, Il Trovatore was produced by him, also for the first time in America, with Pasquale Brignoli as Manrico. He suffered a temporary setback with the arrival of Jenny Lind to America, as he lost audiences to her concerts.
In 1857 his company performed Il trovatore for the inauguration of the Academy of Music in Philadelphia. In 1860 he returned to the Astor Place Opera House, and worked at Niblo's Garden in New York, the Crosby's Opera House in Chicago, and in Mexico and Havana. For a period in the late 1860s he managed the American career of newly arrived Czech actress Fanny Janauschek who early in her career spoke no English. In 1889, his golden jubilee as opera director was held.
Walsh TJ. Second Empire Opera – The Théâtre-Lyrique Paris 1851-1870. John Calder Ltd, London, 1981, Appendix A. Her Paris Opera debut was on 12 January 1857 in the premiere of the revised French version of Verdi's Il Trovatore, Le Trouvère (Léonore). She also created the roles of Lilia in 'Herculanum' (4 March 1859) by Félicien David, Laura in Pierre de Médicis (9 March 1860) by Prince Joseph Poniatowski, and Queen Balkis in La reine de Saba (28 February 1862) by Charles Gounod.
Zinka Milanov (; May 17, 1906 – May 30, 1989) was an American operatic dramatic soprano who had a major career centered on the Metropolitan Opera in New York City. After finishing her education in Zagreb, Milanov made her debut in 1927 in Ljubljana as Leonora in Giuseppe Verdi's Il Trovatore. From 1928 to 1936, she was the leading soprano of the Croatian National Theatre. In 1937, Milanov performed at the Metropolitan Opera for the first time, where she continued to sing until 1966.
She was a student at Santurce Central High School when she auditioned and participated in school productions of "The Magic Flute", "Il trovatore", "Rigoletto", "Lucia di Lammermoor" and "Aida" (Ms. Rivera believes these were the first operas ever produced by a high school anywhere in the world). She delighted audiences in Puerto Rico with her soprano voice in concerts which she organized. She planned to use the money obtained from these concerts to pay for her studies at the Juilliard School of Music in New York City.
In 1999 she reprised the title role in Tosca in the great hall of the Saint Petersburg Philharmonia and at International Chaliapin Festival in Kazan. In November of the same year she performed in Otello and Il trovatore conducted by Zurab Sotkilava at the Opera House, Riga and in December she performed Richard Strauss's Four Last Songs with the Jerusalem Symphony Orchestra conducted by Uriel Segal. She has also recorded two CDs, one in 1992 published by Sony Music Entertainment and another in 1994 published by Melodiya.
Later that year, António and his brother were contracted by the opera house in Aix-les-Bains, with António singing to great success as Manrico in Il trovatore, Gennaro in Lucrezia Borgia, and the title roles in Faust and Marchetti's Ruy Blas. The impresarios of the Teatro Comunale in Trieste and the Teatro Regio in Turin had offered him lucrative contracts for the 1885 season, but a serious outbreak of cholera in Italy led both brothers to return to Lisbon instead.Kutsch, Karl-Josef; Riemens, Leo (2003).
Her work in Australia included roles in The Magic Flute, Don Giovanni, Maria Stuarda, Norma, La traviata, Il trovatore, La bohème, Tosca, Faust, The Tales of Hoffmann, Turandot and others. Internationally she sang the Marschallin in Der Rosenkavalier and Ellen Orford in Peter Grimes. In 2004, she was Sieglinde in the first modern Australian production of Wagner's Ring Cycle, by the State Opera of South Australia. Riedel was diagnosed with cancer in 1999, but she continued working until close to her death, on 8 January 2009.
Neri-Baraldi c. 1860 Pietro Neri-Baraldi (1828 – 29 June 1902) was an Italian opera singer who sang leading tenor roles throughout Europe. He was born in Minerbio, a small town near Bologna and made his debut at the Teatro Comunale di Bologna in 1850. By 1853 he was engaged as the leading tenor at the Teatro del Corso where he sang in the first performances in Bologna of Il trovatore (as Manrico), Rigoletto (as the Duke of Mantua), and Elena da Feltre (as Ubaldo).
After his university studies for literature and psychology in Tirana, Hushi was noted for his tenor voice. He studied at the Albanian Academy of Arts in Tirana from which he graduated in 1991. From 1991-1992 he was principal tenor with the Albanian State Opera, where he performed in Tosca, Cavalleria Rusticana and Il Trovatore. From 1992-1995 he continued his postgraduate studies at the Franz Liszt Academy of Music in Budapest where, in parallel with vocal studies, he specialized in pedagogy of singing.
It may not be coincidental that all six Verdi operas written in the period 1849–53 (La battaglia, Luisa Miller, Stiffelio, Rigoletto, Il trovatore and La traviata), have, uniquely in his oeuvre, heroines who are, in the opera critic Joseph Kerman's words, "women who come to grief because of sexual transgression, actual or perceived". Kerman, like the psychologist Gerald Mendelssohn, sees this choice of subjects as being influenced by Verdi's uneasy passion for Strepponi. Verdi and Strepponi moved into Sant'Agata on 1 May 1851.
A significant 1958 Royal Opera House (London) production of Verdi's five-act Italian version of Don Carlos (with Jon Vickers) followed, along with a Macbeth in Spoleto in 1958 and a famous black-and-white Il trovatore with scenery and costumes by Filippo Sanjust at the Royal Opera House in 1964. In 1966 Visconti's luscious Falstaff for the Vienna State Opera conducted by Leonard Bernstein was critically acclaimed. On the other hand, his austere 1969 Simon Boccanegra with the singers clothed in geometrical costumes provoked controversy.
She appeared there as Freia and Gutrune in Der Ring des Nibelungen, recorded in 1957. The performances were conducted by Rudolf Kempe, with Hans Hotter as Wotan, Birgit Nilsson as Brünnhilde, Wolfgang Windgassen as Siegfried, and Joan Sutherland as Wellgunde. In 1958 she took part in a staged performance at the Royal Opera House of Handel's oratorio Saul.Covent Garden poster / Handel's Samson Victoria and Albert Museum In 1956, she appeared as Leonora in Verdi's Il trovatore at both the Staatsoper Berlin and the Staatsoper Dresden.
In 1929 he gained special acclaim with Ernani and Il trovatore, often alongside Lauri-Volpi. In December, he debuted in Respighi's La campana sommersa. His last performances at the Metropolitan (February 1932) were alongside Georges Thill in Faust and Lily Pons in Les contes d'Hoffmann. He also took part in the first American performance(s?) of Pizzetti's Fra Gherardo (March 21, 1929), Rimsky-Korsakov's Sadko (January 25, 1930), Lattuada's Le preziose ridicole (December 10, 1930) and Montemezzi's La notte di Zoraima (December 2, 1931).
She made her Met debut on 28 November 1888 as Valentine in Les Huguenots. She went on to sing there as Leonore in Fidelio, Sélika in L'Africaine, Brünnhilde in both Siegfried and Die Walküre, Fricka in Das Rheingold, Fidès in Le Prophète, Azucena in Il trovatore, and Amneris in Aida. In 1896 she began an intense period of several years as a guest singer both in Germany and abroad. She sang in the opera houses of the Netherlands, Denmark, England, Poland, Budapest, Prague, and Russia.
The score parodies several composers, most conspicuously Verdi. "Come, friends, who plough the sea" and "You triumph now" are burlesques of Il trovatore,Hulme, David Russell. "The Pirates of Penzance". The New Grove Dictionary of Opera, Grove Music Online, Oxford Music Online, accessed 30 June 2010 and one of the best-known choral passages from the finale to Act I, "Hail Poetry", is, according to the Sullivan scholar, Arthur Jacobs, a burlesque of the prayer scene, "La Vergine degli Angeli", in Verdi's La forza del destino.
Late in her career, she recorded an album of Schubert and Strauss lieder for EMI, and, for London-Decca, an slbum of Verdi arias with the Israel Philharmonic, conducted by Zubin Mehta. In 1996, RCA-BMG released a limited-edition 11-CD boxed collection of Price's recordings, with an accompanying book, titled The Essential Leontyne Price. Meanwhile, achival recordings of several important live performances have been released on CD. Deutsche Grammophon has issued Salzburg performances of "Missa Solemnis" (1959) and Il trovatore (1962), both conducted by Karajan.
He specialised in the demanding lead tenor roles of such 19th-century French grand operas as La Juive, Les Huguenots, La favorite, L'Africaine, Faust and Hérodiade. In these particular works, his excitingly powerful and ringing high notes could be exhibited to great advantage. He was also admired in a number of Italian operatic works, including Il trovatore, Aida, Cavalleria rusticana and Pagliacci. His voice declined somewhat in power and his career therefore began to falter in the mid-1960s and he returned to the provincial circuit.
She spent her last few years on the stage performing at the Berlin State Opera and the Oper Frankfurt. Among the many roles she sang on stage were Azucena in Verdi's Il trovatore, Fidès in Giacomo Meyerbeer's Le prophète, Frau Reich in The Merry Wives of Windsor, Gertrude in Ambroise Thomas's Hamlet, Maddalena in Verdi's Rigoletto, and Sieglinde in The Ring Cycle. After retiring from the stage in the early 1890s, Schefsky taught singing in Munich. She died there in 1912 at the age of 69.
She sang with the Manhattan Opera House from 1909 to 1913. She was committed to the Metropolitan Opera in 1910–1911, where she performed the roles of Azucena in Il trovatore, Fricka in Das Rheingold, Lola in Cavalleria Rusticana, Naoia in Frederick Converse's Iolan, Or, the Pipe of Desire, and Venus in Tannhäuser, Her voice changed from contralto to dramatic soprano while she was in Europe. She sang the part of Brunnhilde in Bayreuth in 1914. She married J. Frank Aldrich on April 18, 1901.
Di Giacomo made her debut at the Metropolitan Opera in November 2007 at Clotilde in Bellini's Norma with Dolora Zajick as Adalgisa and Hasmik Papian as Norma. In 2008 she made her debut with Opera Grand Rapids as Countess Almaviva in The Marriage of Figaro. In 2009 she made her first appearance at La Scala as Lucrezia Contarini in I due Foscari under the baton of Stefano Ranzani. In 2010 Di Giacomo returned to the Met as Lina in Stiffelio and Leonora in Il trovatore in 2010.
An Italian biographer has pointed out Fraschini's role in extending the longevity of Donizetti's operas, while at the same time accelerating the ascent of Verdi's repertory. He was indeed the most prominent singer who facilitated the transition from Donizetti to Verdi. Fraschini sang over one hundred roles and Verdi placed him at the top of his favorite tenors' list and described him as a "natural Manrico" for his Il trovatore. Fraschini also played a pivotal role in the success of many operas by Pacini and Mercadante.
Penno lost his voice during a Trovatore at the Met in 1956. He was barely able to continue the performance. Though he appeared once more that season as a last minute replacement for Kurt Baum after the latter cancelled a Forza del destino following act two, it was the end of his American career and it would seem the end of his career on the major opera house circuit. He seems to have continued in smaller opera houses in Italy for a few more seasons.
There, he sang roles in the operas Rigoletto, Un ballo in maschera, and many others. The big jump in his career happened two years later when he got the main role as Count Luna in Il trovatore, by Giuseppe Verdi. After a great performance and success many doors opened to him in the opera world. As Claudio in Montero's Virginia, and roles in L'amico Fritz, Carmen, Aida, Pagliacci, Madama Butterfly, and Bastien und Bastienne had become part of Iriarte's wide music repertoire full of success.
In 1972, Moldoveanu made his first international appearance as Manrico in Il trovatore at the Regensburg Opera. Then, in Amsterdam, he was Rodolfo (La bohème), followed by Il Duca di Mantova (Rigoletto) at the St. Gallen Opera. His debut at the Vienna State Opera was Alfredo (La traviata) in 1973; he returned in 1987 as Des Grieux (Manon Lescaut). In 1973, he also appeared for the first time as Don Carlos in Verdi's homonymous opera, a role he would sing more than 75 times during his career.
"Burrian, Carl". Retrieved 13 January 2013 . Burian made his professional opera debut as Jeník in Bedřich Smetana’s The Bartered Bride at the opera house in Brno on 28 March 1891. The very next day he portrayed the title role in Smetana's Dalibor to such outstanding success that he was offered a long- term contract with the Brno Opera. However, he sang only one other major role with the company, Manrico in Giuseppe Verdi's Il trovatore, before joining the opera house in Reval for the 1892-1893 season.
Born on 18 December 1880 in Lyon, Marie Louise Charbonnel studied music theory, piano and voice at the Lyon Conservatory. At the Lyon Opera, she performed contralto roles in Gluck's Orphée et Euridice, Carmen, Amneris in Aida, and Azucena in Il trovatore. On 24 February 1906 at the Monte Carlo Opera, she played Vanina at the première of Saint-Saëns' L'ancêtre. She also sang at the Paris Opera, playing the First Norn in the French première of Götterdämmerung (1908) and Erda in the première of Das Rheingold.
Schmitt-Walter was born in Germersheim. He studied in Nuremberg with Gustav Landauer, and made his debut there in 1921. He subsequently appeared at provincial opera houses in Oberhausen, Saarbrücken, Dortmund and Wiesbaden, building a reputation for vocal excellence as he went along. Schmitt-Walter made his key debut at the Berlin State Opera in 1935, as Luna in Il trovatore, which led to a long association with this important theatre, where he would sing wide repertory of lyric parts for the baritone voice.
Outside Italy he appeared in Berlin, Lisbon, London, Buenos Aires, Rio de Janeiro, Madrid, and Cairo. He made his American debut in 1954 at the Lyric Opera of Chicago, and at the Metropolitan Opera of New York in 1970. He took part in the creation of contemporary works including Lazzaro in Pizzetti's La figlia di Jorio, Naples, 1954. He was mostly known for his Verdi portrayals in operas such as Nabucco, I due Foscari, Attila, Macbeth, Il trovatore, I vespri siciliani, La forza del destino, and Aida.
This was followed by a performance of Britten's War Requiem with the San Antonio Symphony. In 1966 Cassily returned to the San Francisco Opera to sing Grigoriy in Boris Godunov and Aegisth in Elektra. In April 1967 he made his Seattle Opera debut singing Manrico to Eileen Farrell's Leonora and Sherrill Milnes's Count DiLuna in Verdi's Il Trovatore. That summer he performed at Lincoln Center in Washinginton D.C. with the Hamburg State Opera's transport productions of Mathis der Maler (as the Archbishop) and Jenůfa.
She had appeared in Trieste the previous year as Azucena in "Il trovatore" by Francesco Cortesi, based on the same Spanish play as Verdi's opera. Verdi prized her for her combination of vocal agility with fervid dramatic commitment. The composer recommended her for the leading soprano roles of his subsequent operas "La traviata" and "Un ballo in maschera", saying that Penco had much spirit and a good stage presence. She subsequently appeared as Amelia in "Un ballo in maschera" at Covent Garden and the Théâtre Italien, Paris.
She went on to the great dramatic Verdi roles including Abigaile in Nabucco, Lady Macbeth, Leonora in Il trovatore, Amelia in Un ballo in maschera, and Elena in I vespri siciliani. Other roles which were captured in commercial recordings include Giselda in I Lombardi and Odabella in Attila. Finally, she sang the title roles in Cherubini's Médée and Puccini's Turandot. Deutekom decided to end her stage career on the last day of 1986, after suffering heart problems during a performance of the opera Amaya in Bilbao.
Verdi around 1850 For Verdi, the years 1851 to 1853 were filled with operatic activity. First, he had agreed with the librettist Salvadore Cammarano on a subject for what would become Il trovatore, but work on this opera could not proceed while the composer was writing Rigoletto, which premiered in Venice in March 1851. In addition, personal affairs in his home town limited his activities that spring, but after Rigolettos success in Venice, an additional commission was offered by Brenna, the secretary of La Fenice.
He appeared as Don José in Carmen, Cavaradossi in Tosca, Pinkerton in Madama Butterfly, Samson in Samson and Delilah by Camille Saint- Saëns, Rudolpho in La bohème, Manrico in Il trovatore, Canio in Pagliacci and Dick Johnson in La fanciulla del West. In Norway, he frequently appeared in more operetta-like productions, such as Das Land des Lächelns by Franz Lehár. Bjørn Talén had military training and reached the rank of captain. With the German invasion of Norway in 1940, he was chief of air defence at Kongsvinger Fortress in Hedmark, Norway.
Hempel was born in Leipzig and studied first at the Leipzig Conservatory and afterwards at the Stern Conservatory, Berlin, where she was a pupil of Selma Nicklass-Kempner. Her earliest appearances were in Breslau, singing Violetta, the Queen of the Night and Rosina. She made a debut in Schwerin in 1905, and was engaged there for the next two years, singing also Gilda, Leonora (Il trovatore) and Woglinde. She made such a success that the Kaiser Wilhelm II requested the Schwerin authorities to release her to sing also in Berlin.
Dent, pp. 10, 16-17. "I have to thank my father for the good fortune that he kept me strictly to the study of Bach in my childhood," Busoni wrote in the epilogue to the Collected Edition, > and that in a country in which the master was rated little higher than a > Carl Czerny. My father was a simple virtuoso on the clarinet, who liked to > play fantasias on Il Trovatore and the Carnival of Venice; he was a man of > incomplete musical education, an Italian and a cultivator of the bel canto.
Gertrud Kappel (sometimes Gertrude) (September 1, 1884 – April 3, 1971) was a German soprano. Born in Halle, Kappel studied in Leipzig before making her debut in Il trovatore in Hanover in 1903. She was active in many major opera houses during her career, and was on the roster in Munich from 1927 until 1931; she also sang at the Metropolitan Opera from 1928 until 1936, the San Francisco Opera from 1933 until 1937, and the Royal Opera House. She was known for her interpretations of the works of Richard Wagner and Richard Strauss.
Born in Munich, Hofstetter studied organ, piano and conducting at the Richard Strauss Conservatory in his hometown. He worked as Kapellmeister at the Staatstheater Wiesbaden. He was the chief conductor of the festival Ludwigsburger Schlossfestspiele from 2005 to 2012, where he performed and recorded rarely played operas, including Salieri's opera Les Danaïdes in 2006, and in 2008 the premiere of E. T. A. Hoffmann's Liebe und Eifersucht which was never performed in the composer's lifetime. He performed there Verdi's Il trovatore in a 2011 production with period instruments.
Moresco was conductor for New York's Richmond Opera, a short-lived Statten Island-based opera company that was active during the late 1950s. With that company he notably led Eileen Farrell in her first performance in a staged opera production in NYC at the St. George Theatre to an audience of roughly 3,000 people. The young soprano gave a highly lauded portrayal of Leonora in Giuseppe Verdi's Il trovatore to the Manrico of Giovanni Consiglio and Azucena of Margery Mayer. In 1960 he conducted performances of Aida and La bohème at the Cincinnati Opera.
In 1915, she married the violinist Leif Halvorsen. Halvorsen worked for Oslo's Opera Comique from 1918 to 1921, where among other roles she played Delilah in Samson and Delilah, Rachel in La Juive, Elisabeth in Tannhäuser, and Azucena in Il trovatore. She performed in Norway, Sweden, Denmark, and Germany, and appeared with the Berlin State Opera and at the Kiel Opera House. Halvorsen gave the debut performances of several works by Norwegian composers, including Fartein Valen's Ave Maria (opus 4) and Mignon – Zwei Gedichte von Goethe (opus 7).
Verdi had no pupils apart from Muzio and no school of composers sought to follow his style which, however much it reflected his own musical direction, was rooted in the period of his own youth. By the time of his death, verismo was the accepted style of young Italian composers. The New York Metropolitan Opera frequently staged Rigoletto, Trovatore and Traviata during this period and featured Aida in every season from 1898 to 1945. Interest in the operas reawakened in mid-1920s Germany and this sparked a revival in England and elsewhere.
Born in Catania, Sicily, Scuderi made her debut at the Teatro Lirico Coccia in Novara playing Leonora in Il Trovatore (November 1925). Scuderi studied under Matteo Adernò. She was engaged in a seven-year contract with Milan's Teatro Alla Scala, where she received high praise and partnered with the most famous male artists of her time, including Benjamino Gigli and Galliano Masini. Her interpretations of Tosca are particularly celebrated, with the 1937 production at the Terme di Caracalla, with Benjamino Gigli and Luigi Montesanto being among the best known.
In 1942, she received good notices for the role of Mrs. Page in The Merry Wives of Windsor. Other roles followed for her, with the New Opera Company of New York under Emil Cooper, at San Francisco Opera and elsewhere, in Macbeth, The Fair at Sorochyntsi, The Queen of Spades, Cavalleria rusticana, Carmen, La forza del destino, The Girl of the Golden West, the title role in Roberta, Azucena in Il trovatore and Maddalena in Rigoletto.Kentucky Stars profile of Christine Johnson Smith During this period, she also sang at New York's Town Hall.
By now she was an established and highly esteemed performer. Her greatest triumphs occurred in 1945-1948 at the Teatro San Carlo in Naples, where she sang in Ballo in maschera, Forza del destino, Cavalleria rusticana, Tosca, Madama Butterfly, Traviata, Manon, Manon Lescaut, Faust, Mefistofele, Miseria e Nobilta`, La Boheme, Falstaff, and Trovatore. She also won considerable acclaim in the title role in Gluck's Iphigénie en Aulide, and as Octavian in Der Rosenkavalier. During the celebration of Verdi's 50th death anniversary in 1951, she sang on Italian radio the role of Amalia in I masnadieri.
Crosby's Opera House was scheduled to open April 17, 1865. The conductor Jules Grau would lead the inaugural series of Italian operas, performed by a company from New York City's Academy of Music featuring Clara Louise Kellogg. However, the assassination of Abraham Lincoln forced a three- day delay in the house's opening. Il trovatore was the first performance, followed by a four-week season with Lucia di Lammermoor, Il Poliuto, Martha, Norma, Faust, Linda di Chamounix, La sonnambula, I puritani, Un ballo in maschera, Dom Sébastien, Lucrezia Borgia, Ernani, and Fra Diavolo.
By 1875, Tiberini's voice began showing signs of decline, and shortly afterwards he also began showing symptoms of mental illness. He spent his final days in a sanatorium in Reggio Emilia where he died at the age of 54. An inscription on a lithograph in the in Milan states that he died believing he was Manrico, the protagonist of Il trovatore. However, according to Denise Gallo writing in The Cambridge Verdi Encyclopedia, there is no mention of this delusion in the records of the asylum, and it may well be a theatrical legend.
Ekaterina Semenchuk studied at the Rimsky-Korsakov Saint Petersburg State Conservatory. She made her debut with the Mariinsky Opera in 2000 and has performed numerous roles with that company. Her international career has taken her to many of the world's leading opera houses, including The Royal Opera, London, where she first appeared in 2008 as Olga in Eugene Onegin and has since returned as Azucena in Il trovatore and Princess Eboli in Don Carlos. In 2005 she sang at the wedding of Prince Charles and Camilla, Duchess of Cornwall.
She graduated from The Juilliard School with The Artist Diploma in Opera Studies in 2016. Recent operatic roles have included Azucena from new production of Il Trovatore in Oper Frankfurt, Giovanna Seymour in new production of Anna Bolena in Badisches Staatstheater Karlsruhe, Maddalena from new production of Rigoletto in Oper Frankfurt and Mary from new production of Der Fliegende Hollander in Oper Frankfurt. She has also appeared with the Munich Radio Orchestra and the Nuremberg Symphony Orchestra. She made her first appearance at the Carnegie Hall in 2013.
In February 1977, Maestro António Fortunato de Figueiredo handed over the directorship of Western Music wing of Goa Kala Academy and the conductorship of Goa Symphony Orchestra to Lourdino Barreto. During his tenure as Director of Western Music for Goa Kala Academy, Barreto formed the Goa Philharmonic Choir. His choir interpreted western, Indian and Goan choral music, as well as staged a few operettas, Broadway musicals and a full-length opera, Verdi's Il Trovatore. At his urging, music was for the very first time introduced as a subject at the Higher Secondary Education in Goa.
With José Carreras, she sang Andrea Chénier at Covent Garden and recorded La forza del destino for Deutsche Grammophon. With Plácido Domingo she has performed Il trovatore and Die Walküre at Covent Garden. With Luciano Pavarotti she performed Aida at Covent Garden and a gala concert for 25,000 at the Arena of Verona. She sang Cherubini's Medée at the Buxton Festival, Lyon, Lausanne, The Royal Opera House, Covent Garden and Athens. Plowright also performed Norma in Montpelier, Pittsburgh (1985), Lyon, Santiago di Chile and Paris (1987) and in Oviedo and Bonn (1988).
His colorful life and his bloody death ordered by the powerful Lomellini family provided the basis for biographical operas such as Il cantore di Venezia by Virginio Marchi (1835), Stradella by Louis Niedermeyer (Paris, 1837), Stradella by César Franck (1841, unfinished), Alessandro Stradella by Friedrich von Flotow (Hamburg, 1844), Alessandro Stradella by Adolf Schimon (1846), Stradella il trovatore by Vincenzo Moscuzza (1850), Alessandro Stradella by Giuseppe Sinico (1864). American novelist F. Marion Crawford also produced a highly romanticized novel of Stradella's affair and flight from Venice, titled Stradella (Macmillan 1909).
He studied at the New South Wales State Conservatorium in Sydney,Forbes, Elizabeth. "Obituary: John Cameron", The Independent, 4 April 2002 and by the late 1940s he was performing in the concert hall, and in opera, including Il trovatore in 1947."Theatres", The Sydney Morning Herald, 8 November 1947 In 1948 after a nationwide singing competition Cameron and a fellow prize-winner, Joan Sutherland, sang under the baton of Eugene Goossens at a concert in Sydney."Advertising", The Sydney Morning Herald, 21 May 1948 With Goossens's encouragement, Cameron moved to Britain in 1949.
They can be heard in the form of re-engineered digital transfers, together with all of her Victor recordings, on a Romophone CD release (catalogue number 81001-2). In addition to Tosca and Romeo et Juliette, Eames' repertoire featured a comparatively small but stylistically diverse group of operas, ranging from works composed by Mozart, through Verdi and Wagner, to Mascagni. They included, among others, Aida, Otello, Il trovatore, Un ballo in maschera, Lohengrin, Die Meistersinger, Die Walküre, Faust, Werther, Cavalleria rusticana, The Magic Flute, Le nozze di Figaro and Don Giovanni.
Sereni enjoyed a long and steady career at the Metropolitan Opera. In twenty-seven seasons, he sang most of the important baritone roles of the Italian repertory in operas such as Ernani, Luisa Miller, Il trovatore, La traviata, Un ballo in maschera, La forza del destino, Don Carlo, and Aida. He also sang in La Gioconda, Cavalleria rusticana, Manon Lescaut, La bohème, and Madama Butterfly, as well as L'elisir d'amore and Lucia di Lammermoor. Sereni was also a regular guest at the opera houses of Chicago, San Francisco and Dallas.
The most frequent duets they sang were "Là ci darem la mano" from "Don Giovanni" where they could be outwardly playful and sexy. The Act IV duet from "Il Trovatore" was often given at the end of the printed program. It is fascinating that they often sang after the first half of a concert a duet from Verdi's "Luisa Miller," giving Raisa an opportunity to do some flashy coloratura and ending on a high C. She often closed her recitals with the Yiddish song "Eili, Eili".Mintzer, Rosa Raisa, pg. 286.
Sharon Sweet (born August 16, 1951 in Gloversville, NY) is an American dramatic soprano. Sharon Sweet has appeared in leading roles in several major venues in Europe and the United States and has made notable contributions to several recordings, in particular Lohengrin, Der Freischütz, Don Giovanni, and Il Trovatore. In 1999, she accepted a full-time teaching position at Westminster Choir College of Rider University. In a column in Opera News, Sweet stated that she made the move out of frustration with the current operatic scene which emphasized physical appearance over voice.
Born in Istanbul, Turkey to a family of Armenian descent, Jaklin was introduced to opera at an early age by her father, Jirayr Çarkçı, who was one of the first soloists of the Istanbul State Opera theater. She is a graduate of the Liceo Italiano school in Istanbul. Jaklin Çarkçı's career began with a 1988 debut as Azuncena in Giuseppe Verdi's Il trovatore at the Istanbul State Opera. As a result of her success as a soloist, the State Opera Ballet selected her to become a part of its soloist staff.
She then settled in Copenhagen where she was engaged by the Royal Danish Theatre, receiving a permanent appointment until 1884. There she first appeared in Vaudeville operettas before taking mezzo-soprano parts in opera. Her roles included Azucena in Il trovatore, Diana in Les diamants de la couronne, Mme Bertrand in Le maçon, fru Ragnhild in Ivar Hallström's Den bergtagna, Marthe in Faust and Marguerite in La dame blanche. Although she performed well, Bournonville was rivalled by the mezzo-soprano Josephine Zinck whose good looks she lacked, causing her to appear increasingly less frequently.
The 1852–1853 season found her in Jassy (now a city in Romania), where again she proved very popular. She returned to Jassy in the 1855 season to appear in four more operas, including Il trovatore where she sang the role of Leonora with the Italian tenor Corrado Miraglia as Manrico. She married Miraglia in 1857 and retired from the stage five years later. Her last performances were at the Teatro Carlo Felice in Genoa where she sang Isabelle in Robert le diable, Delizia in Ricci's Corrado d'Altamura, and Amina in La sonnambula.
In 1990, Dunn made her debut with the Metropolitan Opera as Leonora in Verdi's Il trovatore and her Carnegie Hall debut with the Opera Orchestra of New York as Elena in Verdi's I vespri siciliani. In 1991, Dunn made her Cologne Opera debut as Amelia in Verdi's Simon Boccanegra. In 1992, Dunn made her debut at London's Albert Hall with the London Symphony Orchestra. Dunn continued to be a prominent figure on the opera stage until the mid-1990s when she decided to take a teaching position at Duke University.
She made her debut in Cagliari as Santuzza in Cavalleria rusticana in 1934. Within a year, she joined the Teatro alla Scala in Milan as Meg Page in Verdi's Falstaff. Soon she was given the part of Azucena in Il trovatore, which quickly became her signature role and was her debut role at the Metropolitan Opera in 1947. Other roles there included Santuzza, Ulrica in Un ballo in maschera, Mrs Quickly in Falstaff—the latter she recorded in 1950, opposite Giuseppe Valdengo—and Herva Nelli, with Arturo Toscanini conducting.
The next season, she sang her first performances of Verdi's Il Trovatore in San Francisco, with the great Swedish tenor Jussi Bjoerling. Then she returned to Vienna to sing Aida and her first onstage Pamina, and repeated Aida at Covent Garden. In London, she also gave a BBC TV recital of American songs with Gerald Moore and a concert of operatic scenes by Richard Strauss for BBC Radio, conducted by Peter Herman Adler. In Vienna, she made her first full opera recording for RCA, singing Donna Elvira in Don Giovanni under Erich Leinsdorf.
Born Franz Friedemann, Ferenczy studied singing at the Milan Conservatory under renowned teacher Francesco Lamperti from 1853-1854. He continued to study further in Vienna from 1855-1858 before making his professional opera debut in 1859 under the name Franz Ferenczy as Manrico in Verdi's Il trovatore at the opera house in Graz. He appeared in several smaller regional houses for the next three years and then joined the Berlin State Opera in 1862. While in Berlin he became acquainted with lauded opera composer Giacomo Meyerbeer who became a fan of his singing.
She made her début at a concert in Helsinki in 1868. In November 1970, she played Leonora in Il trovatore in the first full-length opera to be performed in Finnish. In the 1870s, she performed in operas in Finland where together with Emmy Achté she was one of the principal attractions, but she also gained prominence in Sweden (1876) and Great Britain (1877). Key roles included Zerlina in Don Giovanni, Rosina in The Barber of Seville, Norina in Don Pasquale, Violetta in La Traviata and Maragrata in Faust.
These were twice repeated at the residence of Lord Ward in Park Lane, London. Santley appeared in English opera for Mapleson at Her Majesty's Theatre in the 1860–61 season. Mapleson mounted a new opera, George Alexander Macfarren's Robin Hood, featuring a cast led by Sims Reeves and stage- debutante Helen Lemmens-Sherrington, under the direction of Charles Hallé. In the same season Santley sang (for Pyne and Harrison) Fra Diavolo, La Reine Topaze, The Bohemian Girl (with Mme Parepa), Il trovatore and Wallace's The Amber Witch, which later transferred to Drury Lane.
G. Davidson, Opera Biographies (Werner Laurie, London 1955), 267. George Bernard Shaw, who first saw him on stage as Di Luna in Il trovatore, considered that Santley's dramatic powers were 'blunt, unpractised, and prone to fall back on a good- humoured nonchalance in his relations with the audience, which was highly popular, but which destroyed all dramatic illusion. He was always Santley, the good fellow with no nonsense about him, and a splendid singer.... The nonchalance was really diffidence....'G. B. Shaw, Music in London, 1890-94 (Constable, London 1932), II, 195.
Rafał Siwek mainly performs major dramatic bass roles by Verdi, Wagner and Russian composers. His repertoire includes numerous parts in Verdi’s operas: Philip II and Grand Inquisitor (Don Carlo), Attila (Attila), Zaccaria (Nabucco), Wurm (Luisa Miller), Il Padre Guardiano (La forza del destino), Silva (Ernani), Ferrando (Il trovatore), Fiesco (Simon Boccanegra), and Massimiliano (I masnadieri); Wagner’s operas: Daland (Der fliegende Holländer), Heinrich (Lohengrin), King Marke (Tristan und Isolde) and Russian operas: Boris Godunov (Boris Godunov), Galitsky and Konchak in Prince Igor, and Tsar Ivan the Terrible in The Maid of Pskov.
Jalovcová is a graduate of the Prague Conservatory where she studied voice under Brigita Šulcová. In 2004 she joined the roster of principal artists at the , singing roles there for two years. During this time she also worked as a guest artist at the National Theatre in Prague and the . Among the roles she portrayed during these years were Azucena in Verdi's Il trovatore, Ulrica in Verdi's Un ballo in maschera, Preziosilla in Verdi's La forza del destino, Siebel in Gounod's Faust, and Fyodor in Mussorgsky's Boris Godunov.
In 1898 Cucini traveled to Russia where she sang in several operas in Saint Petersburg and portrayed the role of Gertrude in Ambroise Thomas's Hamlet in Odessa. In 1901 and 1902 she sang at the Teatro Colón in Buenos Aires and the Solís Theatre in Montevideo, notably portraying Amneris in Giuseppe Verdi's Aida and as Azucena in Verdi's Il Trovatore. This was the beginning of a fruitful career in South America that lasted until 1910. In 1903 Cucini made an extensive tour of South America with lauded soprano Hariclea Darclée.
The orchestra was conducted on English nights by Charles Hallé. The duet with Reeves, "When lovers are parted" and Marian's song "True love, true love in my heart" (the theme of which ran through the whole score) were "exquisitely warbled" and received enthusiastic applause. It was so successful that Reeves and Sherrington got a better box office even than Thérèse Tietjens and Antonio Giuglini on the alternate nights in Il trovatore and Don Giovanni.J. Sims Reeves, The Life of Sims Reeves, Written by Himself (Simpkin, Marshall, London 1888), 220–228.
After a string of 42 successful performances she went to Vienna as a guest artist and sang on August 16, 1864 in Verdi's Il Trovatore. Her period in Vienna closed on August 10, 1873 in a farewell performance, in which she played Ophelia in the very first performance of Ambroise Thomas' Hamlet at the Vienna Court Opera. Her most noted roles included the Queen of the Night in Mozart's The Magic Flute and Lucia di Lammermoor. She also sang the roles of Dinorah and Isabella in Robert le Diable.
For Welsh Opera he directed Berlioz's Béatrice et Bénédict, Cavalleria rusticanna. For Scottish Opera he directed La bohème and La forza del destino. At English National Opera in 1982, he directed the British premiere of Le Grand Macabre as well as Die Meistersinger von Nürnberg and The Bartered Bride. Other engagements have included Wozzeck for the Adelaide Festival, A Midsummer Night's Dream, Boris Goudonov, Il trovatore, The Barber of Seville, Rigoletto, La traviata, Don Carlo with Opera Australia, Sicilian Vespers in Geneva and Benvenuto Cellini at the Maggio in Florence.
Durlovski was born in Bitola, SR Macedonia, part of SFR Yugoslavia, now North Macedonia, in 1977. He graduated from the Faculty of Music at Ss. Cyril and Methodius University in Skopje. He made his debut in 1999 and from 2000 to 2002 sang with the Macedonian Opera in many productions including Lucia di Lammermoor, Il trovatore, Don Giovanni, Turandot, Il barbiere di Siviglia, La forza del destino, Rigoletto, and Aida. He made his international debut at the Wiener Kammeroper in 2001 as Nonacourt in Nino Rota's Il cappello di paglia di Firenze.
Born in Tacoma, Washington, Reitan graduated from Stadium High School in 1946. He then studied voice at the University of Puget Sound while simultaneously working for an appliance store. He began his career with the San Francisco Opera, making his professional debut as the First Officer in Dialogues of the Carmelites in 1957. In 1959 Reitan won the Metropolitan Opera National Council Auditions. He was offered a contract at the Met, making his debut with the company in October 1959 as the Gypsy in Il trovatore under conductor Fausto Cleva.
Kaestner was singing in Vienna when World War I began, and she returned to the United States. She toured North America with the San Carlo Opera Company for three seasons, from 1914 to 1917, singing leading roles in Aïda, Cavalleria rusticana, Lohengrin, Pagliacci, Tosca, Faust, Il trovatore, and La Gioconda."Mary Kaestner Wins Laurels as San Carlo Star" Musical America (February 10, 1917): 39. "Mary Kaestner is one of those artists who has proved at eacch appearance that certainty and poise are her assets," commented a reviewer in 1917.
In 1937 Coates made her Covent Garden debut, but did not become a member of the company until a decade later. In 1947 she returned to the house to portray the title role in Georges Bizet's Carmen in the company's first full-scale production since the house was closed during World War II. She remained a member of the Royal Opera for the next two decades, initially portraying leading roles like Azucena in Il trovatore, Fricka in Die Walküre, and Amneris in Aida. She eventually gravitated to character roles in the 1950s.
Other notable performances include leading roles in Puccini's Madama Butterfly and Verdi's Trovatore and Forza del Destino. While she ended her international career playing Magda in La Rondine and Tosca from the famous opera by Puccini, during the 1990s she performed again in the Teatro Regio di Torino in the role of Francesca da Rimini. In the late 90s, while still in good vocal health, Elena Mauti Nunziata left the opera scene with a farewell concert in Brescia, where she performed the end of Act 1 of Traviata.
She was an early performer on television, performing to pleasant reviews on WBKB in Chicago. In 1948 she was performing Il Trovatore while touring with the Chicago Opera Artists Association, in the role of Azucena. Here her voice was reviewed as “big, warm, dramatic”. The next year she was with the “Grand Opera Company of New York” performing in the opera Taras Bulba. The opera itself received a scathing review, but Data was again praised as someone who could “make a poor aria sound like a fairly good one”.
The daughter of Saverio Angri (originally from Naples) and Maria Vitturi di Giovanni, her real name was Nazarena Mattia Elena Catterina. She was baptised on 10 June 1821 at the Roman Catholic Cathedral of St James and St Christopher in Corfu, Greece. During the 1855 and 1856 season at the Teatro Regio in Turin, she performed in La Cenerentola (as Angelina), The Barber of Seville (as Rosina), and Il trovatore (as Azucena). Later in 1856, she performed for the first time in New York City, accompanied by the pianist and composer Sigismond Thalberg.
Lázaro built his career primarily on verismo roles, Verdi operas. He performed in Rigoletto, Aida, and Il trovatore, Bizet's Carmen, some bel canto roles such as La favorite, I puritani, and Les Huguenots and Spanish zarzuela (Arrieta's Marina, in particular). He created the tenor roles in Mascagni's Parisina (1913, La Scala) and Il piccolo Marat (1921, Costanzi), and Romani's Fedra (1915, Costanzi). While in Philadelphia in 1924, he received a letter from Umberto Giordano, asking him to create the tenor role in his next opera, La cena delle beffe.
She sang works in six languages, including French, German, Polish and Russian. Lyric operas were her specialty, and she performed in Puccini's La bohème, Verdi's La traviata, and both Manon and Werther by Jules Massenet. Some of her best-known roles were Constanza in Mozart's Die Entführung aus dem Serail, Marguerite de Valois in Meyerbeer's Les Huguenots, Leila in Bizet's Les pêcheurs de perles, the title role in Moniuszko's The Countess, and Leonora in Verdi's Il Trovatore. Her final performance was as Moniuszko's Countess in September 1961 at the Grand Theatre of Warsaw.
She made rapid progress and by the early 1850s was signed to various northern Italian opera houses as the prima donna assoluta. She had a triumphant debut at the Teatro Regio in Turin in 1854 in the title role of Donizetti's Gemma di Vergy. Later in her career she also sang the title roles in his La Favorita, Lucrezia Borgia, and Anna Bolena. She went on to sing many leading roles in Verdi's operas, including some of the earliest performances of his La traviata (as Violetta), Rigoletto (as Gilda) and Il trovatore (as Leonora).
At this time the soprano Giulia Grisi was still singing in London: Tietjens was to inherit parts of Grisi's London repertoire and of that of Giuditta Pasta. In 1860, E.T. Smith, manager of Her Majesty's, attempted to seize the market in both English and Italian opera by having two companies alternating. The Italian opera began with Il trovatore, with Tietjens, Mme Lemaire, Giuglini and the baritone Vialetti, and the team then progressed to Don Giovanni, while the English opera premiered George Alexander Macfarren's Robin Hood with Sims Reeves.
In 1857 he portrayed Casimiro in the premiere of Emanuele Muzio's La sorrentina at the Teatro Comunale di Bologna. From 1854-55, Mirate performed with great success at La Scala, notably singing Manrico in Verdi's Il trovatore to the approval of the composer. He sang in Boston and New York in 1856 and then at the Teatro Colón in Buenos Aires during that house's first season in 1857. He returned to Buenos Aires in 1860, also making appearances in Montevideo and Rio de Janeiro while he was in South America.
In 1985, Carducci published her first collection of poetry Les Héliotropes and a collection of short stories Nouvelles en couleurs. In 1988, she received the Prix San Giuliano (Milan) for L'Ultima Fede (The Last Faith, Italian) and the Prix Anne de la Vigne from the Société culturelle Québec-Normandie. In 1990, Carducci received the Prix Il Trovatore (Sicily) for Vorrei and, in 1992, the Prix Città di Ragusa for Amore di porcellana. In 1993, she received first prize of the Grand Prix littéraire de Laval for Une lettre.
Over a number of few years, Francesco Anile's repertory has gradually grown enriched by major roles, such as: Cavaradossi (Tosca), Pinkerton (Madama Butterfly), Luigi (Tabarro), Ishmael (Nabucco), Manrico (Il trovatore), Duke of Mantua (Rigoletto), and Radamès (Aida). His vocal timbre has recently improved, changing him into a lyric and dramatic tenor. He has reached a heavier vocal weight, enabling his voice to be "pushed" to dramatic climaxes without strain. It is the reason why he now prefers roles such as Calaf (Turandot), Cavaliere Des Grieux (Manon Lescaut), Canio (Pagliacci), Pollione (Norma) and Otello.
In 2005 she made her debut at the Opéra national du Rhin as Dorabella in Così fan tutte. In 2006 she portrayed Ines in Il trovatore at the Bregenzer Festspiele, and the Composer in Ariadne auf Naxos at Tulsa Opera. In 2007 Meek created the role of Ma Joad in the world premiere of Ricky Ian Gordon's The Grapes of Wrath at the Minnesota Opera. That same year she appeared as Bianca in Alexander von Zemlinsky's Eine florentinische Tragödie at the Bard Music Festival with conductor Leon Botstein and the American Symphony Orchestra.
She appeared as Leonora in the British premiere of Verdi's Il trovatore at Covent Garden, and also appeared at the same location with Karl Formes in Fidelio in 1852. After working in Vienna until 1853 (when her mother died) she moved to Dresden, where she developed into an artist of European reputation at the Dresden Königliches Opernhaus, which incidentally burned down shortly after her retirement. Her engagement in Dresden followed in the footsteps of the notable soprano Wilhelmine Schröder-Devrient. Among her roles in Dresden were Pamina in Mozart's The Magic Flute.
In 1993 he was invited by the Armenian Diaspora of Sydney Australia to work with the Komitas Choir and the Sydney Symphony Orchestra. Since 1994, Sargsyan has been a principal choirmaster of the Armenian National Opera Theater.Opera Under his direction the opera choir has performed in Moscow (1995), USA (1999), Spain (1999, 2000), Lebanon (2001) and elsewhere. During his work at the Theatre Sargsyan has conducted operas including Otello, Il Trovatore and La Traviata by Giuseppe Verdi, Poliuto by Gaetano Donizetti, Pagliacci by Ruggero Leoncavallo, Anush by Armen Tigranian, and Arshak II by Tigran Chukhajian.
Many of their collaborations (together with other regular partners Giuseppe di Stefano, Boris Christoff, Tito Gobbi, Rolando Panerai, and Serafin) were recorded by Fonit Cetra ("La Gioconda", 1952) and EMI. Her most famous portrayals included Amneris in Aïda, with Jussi Björling, Azucena in Il trovatore, Quickly in Falstaff, Eboli in Don Carlo, and Ulrica in Un ballo in maschera. Her 1951 performance of the Verdi Requiem, with Herva Nelli, di Stefano and Cesare Siepi, conducted by Arturo Toscanini, was issued by RCA. Barbieri can be seen and heard in several operas issued on DVD, e.g.
Rosina Penco was praised for her sweetness of voice combined with highly dramatic acting and vocal agility. Her success in the leading role of Leonora in the enormously popular opera "Il trovatore" led to further engagements in the top opera houses in London, Paris, Berlin, Madrid and Saint Petersburg. In 1858 however Verdi lamented that Penco had lost the fire that had distinguished her earlier appearances and had retreated into an old-fashioned manner of singing and performance like that of thirty years earlier. Penco retired from the stage in 1875.
Howard did not make as many opera recordings during the acoustical era as did her contemporaries Geraldine Farrar and Mary Garden, and thus was not as well known. Her few recordings were vertical-cut discs for Edison Records, playable only on Edison Disc Phonographs; and for the American branch of Pathé Frères in 1918, which received limited distribution. Among them are Harry Burleigh's arrangement of the spiritual "Deep River", arias from Charles Gounod's Faust and Giuseppe Verdi's Il Trovatore (in English), and the "Barcarolle" from Jacques Offenbach's Les contes d'Hoffmann with Claudia Muzio (in French).
During her two-year stay the parts of Cio-Cio-San, Tosca, Aida, and Leonora in Il Trovatore were prepared. Her stay in Milan coincided with her participation in major international competitions. In 1966 she became a prize-winner at the Third International Tchaikovsky Competition, and in 1967 in Tokyo she won first prize and honorary ‘Gold Cup’ prize, and won the title ‘Best Cio-Cio-San in the World’ at the First International Competition in Memory of Miura Tamaki. After Maria Bieșu's success at the Tokyo competition, her name gained widespread recognition.
At the New York City Opera, Weede also sang in Pagliacci and in the world premiere of William Grant Still's Troubled Island, opposite Marie Powers, Marguerite Piazza and Robert McFerrin. In Mexico City, the baritone appeared with Maria Callas in 1950, in Aïda and Tosca. Later, he sang again with Callas in Chicago, in Il trovatore and Madama Butterfly. In 1956, he scored a great success on Broadway as Tony Esposito in the original production of Frank Loesser's The Most Happy Fella, which was recorded by Columbia Records.
She also sang in Barcelona in 1845 as Abigaille in Nabucco and in 1846 as Elvira in Ernani.The extension of her vocal range and the dark timbre of her voice ultimately led her to the mezzo-soprano repertoire, and in 1853 she created the role of Azucena in the world premiere of Verdi's Il trovatore at the Teatro Apollo in Rome, reprising the role later that year in Florence and then in Turin and Naples in 1854 and in Pisa in 1856.Springer, Christian (2013). Giuseppe Verdi: Leben, Werke, Interpreten, p. 462.
In 1955 he made his first appearance at the Teatro Nacional Sao Carlos in Lisbon as Alfio. In 1956 he made his American debut at the San Francisco Opera as Count di Luna in Verdi's Il trovatore. He sang several more roles with that house that season including Amonasro in Verdi's Aida, Gianciotto in Zandonai's Francesca da Rimini, Sharpless in Puccini's Madama Butterfly, and Scarpia in Puccini's Tosca.San Francisco Opera Archives In 1957 he made his first appearance with the Vienna State Opera as Iago in Verdi's Otello.
In 1964, Coleman was appointed Senior Producer, Music and Arts at the newly launched BBC 2. He produced a wide range of specials and series, including Shakespeare and Music, Solti on Conducting and Peter Ustinov on Peter Ustinov. He recorded II Trovatore in Rome which was shown as live, an original idea at the time, and later applied the same treatment to Monteverdi's Vespers from Venice. Coleman moved to become Head of Religious, Children's and Education Programmes at London Weekend Television in 1968, during which time he won the first Japan Prize for education.
Grover-Friedlander, p. 33. Luchino Visconti used a performance of Il trovatore at La Fenice opera house for the opening sequence of his 1954 film Senso. As Manrico sings his battle cry in "Di quella pira", the performance is interrupted by the answering cries of Italian nationalists on the upper balcony who shower the stalls area below with patriotic leaflets. In Italian Film in the Light of Neorealism, Millicent Marcus proposes that Visconti used this operatic paradigm throughout Senso, with parallels between the opera's protagonists, Manrico and Leonora, and the film's protagonists, Ussoni and Livia.
In 1922 she was in the cast of Massenet's Manon in New York, with Tito Schipa and Edith Mason."Farewell Week Notable for Muratore's Return" Musical Leader (March 2, 1922): 195. She toured with the Chicago Civic Opera's productions of Namiko-San (1925) in Chicago, with Tamaki Miura, La Traviata (1926, 1927, 1928, 1929, 1930) with Claudia Muzio and Tito Schipa, Rigoletto (1926, 1927, 1928) with Charles Hackett and Devora Nadworney, Lucia di Lammermoor (1926, 1930, 1931), and Il trovatore (1927, 1928, 1930).Margaret Ross Griffel, Opera in English: A Dictionary (Scarecrow Press 2012): 338.
Trespidi first met Franco Zeffirelli in 1995 during the staging of Carmen at the Arena di Verona. Trespidi has since regularly served on the directorial productions teams in collaboration with Zeffirelli on various productions at the Arena Di Verona, such as Il Trovatore (2001), Aida (2002), Madama Butterfly (2004), Turandot (2010), and Pagliacci' (2010). January, 2019, Stefano Trespidi became artistic director of the Arena di Verona. Trespidi made his US opera directorial debut at LA Opera in Los Angeles with a revival of the Franco Zeffirelli production of Pagliacci (alongside Gianni Schicchi as directed by Woody Allen) in September 2015.
In 1952 she married Igor Semiletoff (the marriage was later dissolved). She had a long association with Eugene Iskoldoff, the impresario of the Italian Opera Company, who became her manager. She went to Italy to try her luck, and in 1954 sang Donna Anna in Dargomyzhky's The Stone Guest in Florence, and Tosca in Rome, Piacenza and Genoa, usually with success. She also sang Santuzza in '’Cavalleria rusticana'’ with Gigli as Turiddu at Rome. During the last years of the Italian Opera Company, which ended in 1956, Vayne sang Violetta in '’La traviata'’, Leonora in '’Il trovatore'’ and Tosca.
Casei's performances have been captured on record with conductors such as Leonard Bernstein, Martin Turnovský, Heinz Wallberg, Nello Santi, Hans Swarowsky, Milan Munclinger and Gianfranco Rivoli. Her opera recordings include Cavalleria Rusticana, Leoncavallo's La Bohème, Rigoletto, Il Trovatore and Madame Butterfly. Her other recordings include Beethoven's Missa Solemnis, Mozart's Great Mass in C Minor, J.S. Bach's Magnificat in D Major (BWV 243), Haydn's Nelson Mass and Zelenka's Lamentationes Jeremiae Prophetae. Casei was an advocate of legislation supporting the performing arts and classical artists including work on tax reform, health insurance and copyright laws for performing artists.
During his travels throughout the United States he performed programs of sacred music at many churches and seminaries. Fredericks's operatic repertoire of over 30 roles included Lt. Pinkerton in Puccini's Madama Butterfly, Pollione in Bellini's Norma, Cassio in Verdi's Otello, Canio in Leoncavallo's Pagliacci, Ismaele in Verdi's Nabucco, Alfredo in Verdi's La traviata, Don Jose in Bizet's Carmen, Manrico in Verdi's Il trovatore, and Avito in Montemezzi's L'amore dei tre re. Fredericks started the annual Christmas Carolfest on the Music Pier in Ocean City, New Jersey, in the mid-1970s and directed it for several years until his death.
In 1977, she sang at the Hamburg State Opera, in the role of the Empress in Richard Strauss's Die Frau ohne Schatten, and made her San Francisco Opera debut in the title role of Verdi's Aida. In 1978, Marton made her debut at La Scala in Milan as Leonora in Verdi's Il trovatore. She debuted at the Lyric Opera of Chicago in 1979 as Maddalena in Giordano's Andrea Chénier.Marton Éva hivatalos honlapja In 1981, she performed at the Munich Opera Festival in the title role of Die ägyptische Helena by Richard Strauss with Wolfgang Sawallisch conducting.
Later in the Victorian era, burlesque mixed operetta, music hall and revue, and some of the large-scale burlesque spectacles were known as extravaganzas.For example, H. J. Byron's 1863 Il trovatore parody, which was labelled "a burlesque extravaganza": see Marvin, Roberta Montemorra. "Verdian Opera Burlesqued: A Glimpse into Mid-Victorian Theatrical Culture", Cambridge Opera Journal, Vol. 15, No. 1 (March 2003), p. 42, Cambridge University Press, accessed 2 February 2011 The English style of burlesque was successfully launched in New York in the 1840s by the manager and comedian William Mitchell, who had opened his Olympic Theatre in December 1839.
Mirella Parutto (born 1936) is an Italian operatic soprano and later mezzo- soprano. She began her career at the Teatro alla Scala in Milan, as Elena in Boito's Mefistofele, in 1958, and the following year, appeared for the first time at the Teatro dell'Opera di Roma, as Amelia in Verdi's Un ballo in maschera. She then sang widely in Italy, appearing in Florence, Naples, Parma, Genoa, Palermo, Trieste, Venice, Cagliari, Catania, etc. Her roles included Matilde in Guglielmo Tell, Abigail in Nabucco, Leonora in both Il trovatore and La forza del destino, the title role in Aida, Maddalena in Andrea Chénier, etc.
In 1887 he joined the roster at La Scala, Milan, remaining there for three seasons and singing a variety of leading baritone roles. Most notably, he appeared as the character Frank in the world premiere of Puccini's second opera, Edgar, in 1889. A year later, he performed his first Count Di Luna in Verdi's Il trovatore at La Scala. This part became an especial favourite of his, and he reprised it in numerous houses during the remainder of his career. Between 1888 and 1891, Magini-Coletti sang to acclaim in Spain, Portugal, Germany, Austria and France.
Proscenium and stall of the Ángela Peralta Theater in Mazatlán Ángela Peralta was the daughter of Manuel Peralta and Josefa Castera de Peralta.García Cortés, Adrián (2001). Década Sinaloense: Diez Historias Para Replicar. p. 61. Universidad de Occidente She showed an early talent for singing and music. At the age of 8, she sang a cavatina from Belisario by Gaetano Donizetti with great success, and went on to study at the Conservatorio Nacional de Música in Mexico City. At 15 she made her operatic debut as Leonora in Giuseppe Verdi's Il trovatore at the Teatro Nacional in Mexico City.
Rosalind Plowright was awarded an OBE in the 2007 Queen's Birthday Honours list for services to music. She won first prize in the 7th International Singing Competition, Sofia and a SWET award (now Laurence Olivier Award) in 1979. She was awarded the Prix Fondation Fanny Heldy for her performance as Leonora in the 1984 recording of Verdi's Il trovatore with Domingo, Brigitte Fassbaender, Giorgio Zancanaro, Yevgeny Nesterenko and the Choir and Orchestra dell'Accademia Nazionale di Santa Cecilia under Carlo Maria Giulini. (Deutsche Grammophon code 423-858-2.) Also in 1984 she was nominated for her second Laurence Olivier Award.
The "Centennial Concert Hall", as part of the Manitoba Centennial Centre is the performing home of the Winnipeg Symphony Orchestra, the Manitoba Opera and the Royal Winnipeg Ballet Manitoba Opera is an opera company in Winnipeg, Manitoba that was founded in 1969. Its first production was a concert version of Giuseppe Verdi's Il Trovatore in 1972. Manitoba Opera is one of several western Canadian opera companies that flourished under the so-called "father of opera in Western Canada," Irving Guttman. He has been instrumental in the development of many young Canadian singers, including Winnipeg native Tracy Dahl (soprano) and Winkler's Phillip Ens (bass).
Next to Mimì in La bohème, her most frequently heard roles were Gilda, Violetta and the Trovatore Leonora. Her last performance at the great theatre in the Ringstraße, where so many of her triumphs had been acclaimed by two generations of opera lovers from all over Europe and the world, took place on February 12, 1927. This appearance, as Rosina in The Barber of Seville, closed one of the most glorious operatic careers in the twentieth century. Her very last public appearance occurred in September 1932 at the baptism of Archduke Stefan (1932–1998), son of Archduke Anton and Princess Ileana of Romania.
Still, as the contracts were signed five years in advance, she had to sing. She was forced to cancel some L'Hérodiade performances in Avignon, some others in Marseille, and she searched for support besides her family and her vocal trainer. Recovering, she returned to the stage after a couple of months, more cautious, more balanced, decided to abandon the tremendous turmoil of the past. She became quite selective in arranging her schedule. For almost four years, she was rarely in Europe, due to her long-term Metropolitan engagements (Samson et Dalila - 1981, Il Trovatore, Les Contes d'Hoffmann, Adriana Lecouvreur - 1982, 1983, 1984).
In the August 1973 he made his first appearance at the Arena di Verona Festival, returning there again in the summer of 1974. He sang the title role in Verdi's Otello for the first time at Covent Garden in 1974, a role which became one of his signature parts during the next decade. He also made his Moscow debut that year as Radames during a European tour with La Scala. In 1975 Cossutta sang Manrico in Verdi's Il trovatore at the Palais Garnier, returning there in 1979 to sing Ismaele in Verdi's Nabucco, both with Viorica Cortez.
During a hero's welcome in New York, the stowaways' true identities are discovered and they hide out in Driftwood's hotel room, pursued by police sergeant Henderson (Robert Emmett O'Connor). Meanwhile, Ricardo is reunited with Rosa after climbing in the window of her hotel room. Ricardo has an altercation with Lassparri, which results in both Rosa and Driftwood being fired from the opera company by Gottlieb. The boys decide to seek revenge by sabotaging the opening night performance of Il trovatore climaxing with the abduction of Lassparri, which forces Gottlieb into substituting Ricardo and Rosa in his place.
She has also had her critics. In his book The American Opera Singer, Peter G. Davis writes that Price had "a fabulous vocal gift that went largely unfulfilled," criticizing her reluctance to try new roles, her Tosca for its lack of a "working chest register", and her late Aidas for a "swooping" vocal line. Others criticized her lack of flexibility in coloratura, and her occasional mannerisms, including scooping or swooping up to high notes, gospel-style. Karajan took her to task for these during rehearsals for the 1977 Il trovatore, as Price herself related in an interview in Diva, by Helena Matheopoulos.
Santley took on three new roles: Papageno in Mozart's Magic Flute, Creonte in Cherubini's Médée and Pizarro in Beethoven's Fidelio (opposite Tietjens). In September there was a short touring season, in which he played Don Giovanni (with Mario) for the first time, at Manchester. He also sang Caspar in Der Freischütz in London in October. Santley then went on to appear in a season at La Scala, Milan, where Il trovatore was staged for his debut there as de Luna (he alone of all the cast was not hooted by the audienceIllustrated London News, 3 March 1866, p.
Santley's wish to play Wolfram in Tannhäuser also remained unrealised. He disliked the prominence of the Wagnerian orchestra and regretted the innovation which saw orchestral players being relegated to a pit beneath the opera stage. However, in 1875 Carl Rosa tempted him back to the stage for a season at the Princess's Theatre, London, in which he played in Le nozze di Figaro, Il trovatore, The Siege of Rochelle (as Michel), Cherubini's The Water Carrier (Mikelì) and The Porter of Havre (Martin). In Figaro he was cast as Almaviva, but was transferred to the role of Figaro, singing with Sig.
The company notably presented three classic Verdi operas in their United States premieres at that house: Rigoletto (1855), Il trovatore (1855), and La traviata (1866). The company also performed for the inauguration of the Academy of Music in Philadelphia on February 25, 1857, and presented an annual season of opera at that theater as well through 1873. In 1855 Maretzek's company toured to The Boston Theatre to perform a season of opera which included the Boston premiere of Rigoletto on June 8, 1855. The company also performed that work for its San Francisco premiere in 1860.
"Faking Francesco: a cross-eyed curriculum vitae", Kurt of Gerolstein, July 28, 2019, accessed July 29, 2019 The following year, in Dublin, he repeated his Figaro and played Count di Luna in Il trovatore and Valentine in Faust. He was the first leading baritone of the Carl Rosa Opera Company in 1875, touring with that company in England. Rosa hired Mottino largely because of his mastery of the English language, which enabled him to sing Italian operas in English with excellent pronunciation and diction. With that company, he reprised his Luna and Valentine and sang the title role in Don Giovanni.
Luise Jaide in 1875 Luise Jaide (also Louise Jaide-Schlosser) (26 March 1842 – 2 January 1914) was a German operatic mezzo-soprano who had an active career during the latter half of the 19th century. Among her signature roles were Amneris in Aida, Azucena in Il trovatore, Frau Reich in The Merry Wives of Windsor, Idamante in Idomeneo, Irmentraud in Der Waffenschmied, and Mary in The Flying Dutchman. She is best remembered today for playing several roles in the first complete presentation of Richard Wagner's The Ring Cycle at the very first Bayreuth Festival in 1876.Jaide, Luise Biography at operissimo.
Born in Bergamo, Vanelli studied at the Donizetti Conservatory in his native city and with Dante Lari in Milan. He made his professional opera debut in Bergamo in 1917 as Perichaud in Giacomo Puccini's La Rondine at the Teatro Donizetti. In 1919 he portrayed Barone Douphol in Giuseppe Verdi's La traviata and the Count di Luna in Verdi's Il trovatore at the Teatro Olimpia in Bassano del Grappa. In 1920 he sang the role of Don Carlos in Verdi's La forza del destino in Lodi and the role of Lescaut in Puccini's Manon Lescaut at the Teatro Sociale in Casalmonferrato.
Her first assignments at the house were Isabella in Giacomo Meyerbeer's Robert le diable, the Queen of the Night in Wolfgang Amadeus Mozart's The Magic Flute, and Leonora in Giuseppe Verdi's Il trovatore. On 10 June 1865 she created the role of Brangäne in Wagner's Tristan und Isolde under the baton of Hans von Bülow. She also created the role of Helmwige (one of the Valkyries) in Richard Wagner's Die Walküre on 26 June 1869. While performing in Munich, Deinet met actor Ernst von Possart (1841–1921) and began a romantic relationship with him in the mid-1860s.
This same audience fell silent during Antonio's opening aria "Ambo nati in queste valle" and gave him a unanimous, colossal applause after the cadenza, demanding a bis. That performance assured his place on the scene and revealed him to be an absolute master of his art—technically, stylistically, and dramatically. Consequently, this became one of Cotogni's signature roles, one by which he made great impressions on all the great theaters of Europe and even the most sullen critics. In Nice, he followed Linda with Gemma di Vergy, Rigoletto, La favorita, Traviata, Trovatore, Don Pasquale, Roberto Devereux, Don Sebastiano, and Il barbiere di Siviglia.
During the 1970 student music festival in Bayreuth conducted by Pierre Boulez, Svetlev was discovered by Boulez's assistant, Bernhard Lang, General Music Director in Passau, Germany. This led to Svetlev's engagement there, where in 1971 he began his operatic career singing the leading tenor role of Manrico in Verdi's "Il Trovatore." A few months later, Svetlev began a 3-year contract with the Gärtnerplatztheater in Munich, where he sang the leading opera tenor roles and operettas. In the next few years, he expanded his repertoire as an Italian tenor and performed in many German opera houses, including Augsburg, Bremen, Stuttgart, Mannheim, and Düsseldorf.
She performed the role of Erda in von Karajan's recording of Wagner's Ring with the Berlin Philharmonic. She recorded also Vivaldi's Juditha triumphans (under Alberto Zedda). Her other recordings, mainly live performances, include Aida, La Gioconda (La Cieca), Il tabarro, Un ballo in maschera, Trovatore, Tippett's Midsummer Marriage (Madame Sosostris), Verdi's Requiem, Mozart's Requiem, Rossini's Petite messe solennelle, De Falla's El amor brujo, Mahler's Das Lied von der Erde, Brahms's Alto Rhapsody. She recorded Carmen (excerpts, in German) and a recital of arias (Donizetti, Rossini, Cilea, Verdi) made early in her career by Deutsche Grammophon which has been reissued.
Kabaretti's operatic experience includes productions at the Maggio Musicale Fiorentino ( Die Entführung aus dem Serail, Macbeth, Il Trovatore, Gianni Schicchi, Il viaggio a Reims), Teatro Real in Madrid ( Cenerentola, Die Walküre ), The Israeli Opera ( Fidelio, Manon Lescaut ), Lausanne Opera ( Nino Rota's Il Cappello di Paglia di Firenze, Die Fledermaus), Avenches Opera Festival Nabucco, The Barber of Seville, Madama Butterfly) and The New National Theatre in Tokyo (The Barber of Seville). He also conducted The Diary of Anne Frank by Fried, a visiting production of the Vienna State Opera, at both the Bregenz Festival and at Expo 2000 in Hannover.
Jānis Liepiņš (born August 7, 1988 in Riga, Latvia) is a Latvian conductor. Since 2014 he has been the conductor at the Latvian National Opera and Ballet (LNO). For the LNO, he has conducted productions of Il trovatore (2014), Le Villi and Gianni Schicchi (2015), Eugene Onegin (2016), Romeo and Juliet (2014), Scheherazade And Her Tales (2016), and La Bayadère (2012), and was both the conductor and musical director for the ballet Raymonda (2015) and operetta Die Fledermaus (2015). He has been the artistic director and chief conductor of youth choir Kamēr... since 2012, which he joined as assistant conductor in 2006.
2006 she sang the role Frauenschatten in Erwin Schulhoff's Flammen. Two trouser roles followed, Hansel (Hansel and Gretel, Volksoper Wien) and Ramiro (La finta giardiniera, National Opera Tokyo and Bruckner Festival Linz). 2009 she first sang Magdalene (Die Meistersinger von Nürnberg), 2012 Brangäne (Tristan und Isolde) and 2013 Azucena (Il Trovatore) at the Tyrolian Festival Erl and Gertrud/Mother, (Hansel and Gretel at the Graz Opera House. 2013 she debuted as Floßhilde (Rheingold) in the Sala Santa Cecilia in Rome and made 2014 her debut as Fricka in Das Rheingold and Die Walküre at the Tyrolian Festival Erl, Austria.
In 2004 Di Giacomo joined the Young Artist Program at the Santa Fe Opera. Her first career break came in 2006 when she replaced an indisposed Pamela Armstrong as Fiordiligi in Mozart's Così fan tutte at the New York City Opera. She returned to the NYCO the following year in a much lauded portrayal of Elvira in Don Giovanni. She also received positive reviews in 2007 for her performance of Fiora in L'amore dei tre re with the Opera Orchestra of New York at Carnegie Hall and for her portrayal of Leonora in Giuseppe Verdi's Il trovatore at the Caramoor International Music Festival.
She also began assuming such roles as Norma, Medea, Abigaille and Gioconda. She first sang Norma in 1977 in Martina Franca, Italy; the following year, she sang both Norma and Adalgisa in the same production at Covent Garden, first as the younger priestess opposite Montserrat Caballé as Norma; later, as Norma, with Josephine Veasey as Adalgisa. As an interpreter of lieder she often performed with the German pianist Sebastian Peschko. Other noted soprano roles in her career have included: Chimène (in Le Cid), Elisabeth (in Tannhäuser), Elvira (in Ernani), Leonora (both Il trovatore and La forza del destino).
In 1977 she made her debut with the Opera Company of Philadelphia portraying Senta in Wagner's The Flying Dutchman and in 1979 made her debut with Michigan Opera Theatre as Lenora in Il trovatore. She remained very busy in the world's major opera houses through 1979 singing mostly Verdi, Puccini, and Strauss heroines and other roles from the lirico-spinto repertoire. Arroyo portrayed herself in an episode of The Odd Couple titled "Your Mother Wears Army Boots", which originally aired on January 16, 1975. The episode also featured Howard Cosell who is portrayed to be a big fan of hers.
She appeared as Leonora both in Verdi's Il trovatore and his La forza del destino, as Dorabella in Mozart's Così fan tutte, Irene in Wagner's Rienzi and the Composer in Ariadne auf Naxos by Richard Strauss, among 42 roles at the house. In Suppé's operetta Boccaccio, she sang the role of Beatrice. In Wagner's Tannhäuser, she was Venus, conducted by Fritz Busch. Bokor created the role of Zdenka in Arabella by Richard Strauss, premiered on 1 July 1933 in Dresden, conducted by Clemens Krauss, and performed the role also in the U.K. premiere at the Royal Opera House in London a year later.
His role repertoire includes: Léandro (The Love for Three Oranges), Ferrando (Il trovatore), Masetto (Don Giovanni), Angelotti (Tosca), Colline (La Bohème) and Agamemnon (Iphigénie en Aulide) among others. In 2014 he appeared together with his wife in Lotte de Beer's much discussed production of Les pêcheurs de perles in Theater an der Wien.Nicolas Teslé (Opera online)Lyricography (Olryx) Nicolas Testé, bass-baritone (Operabase) Testé is also active as a song and concert singer. In this respect he has worked with conductors such as John Eliot Gardiner, Emmanuel Krivine, Charles Mackerras, Heiko Mathias Förster and Pinchas Steinberg.
Bohuslav Martinů composed his Field Mass for Tauský and his regimental band, but the fall of France prevented them from giving the premiere. He continued as a band and choir leader in the UK. From 1945 to 1949, Tauský was musical director of the Carl Rosa Opera Company. He was music director of Welsh National Opera from 1951 to 1956. On 26 December 1953 he became possibly the only conductor to conduct two operas on the same day, with a performance of Humperdinck's Hansel and Gretel in the afternoon at Sadler's Wells and Giuseppe Verdi's Il trovatore at Covent Garden in the evening.
He sang widely in Italy and Europe in the standard Italian repertory, earning a reputation for being "one of the most reliable baritone in the business". In 1956, Protti appeared with the New York City Opera, in Rigoletto (with Norman Treigle as Sparafucile), Tosca (in Vladimir Rosing's staging), and the company premiere of Il trovatore (with Pier Miranda Ferraro). He made a belated debut at the Metropolitan Opera, as Rigoletto, in John Dexter's production, in 1985, at the age of sixty-five. He was particularly appreciated in Verdi roles, especially Rigoletto, his greatest role, but also as Alfio, Tonio, Gérard, Scarpia, etc.
Here she met Marietta von LeClair, a retired opera singer, who agreed to give her voice lessons. In 1876, Ernestine gave her first professional performance (age 15) as alto soloist in Beethoven's Ninth Symphony in Graz. Her operatic debut was on 15 October 1878 at Dresden's Royal Opera House, where for four seasons she played the role of Azucena in Il trovatore Shawe-Taylor, Desmond, Schumann-Heink, Ernestine, in Sadie, Stanley (editor), The New Grove Dictionary of Opera, New York, Grove (Oxford University Press), 1997, Volume Four, p. 255, ，and served as principal contralto when she was 17.
Fashion designer Karl Lagerfeld also created the costumes for some of Ronconi's stagings (Les Troyens). His operatic productions also included Carmen (with Mignon Dunn and Franco Corelli, 1970), Das Rheingold (1979), Nabucco (1977), Il trovatore (1977), Norma (with Renata Scotto, 1978), Macbeth (1980), La traviata (1982), L'Orfeo (1985 and 1998), Don Giovanni (1990 and 1999), The Turn of the Screw (1995), Il ritorno d'Ulisse in patria (1998), Lohengrin (1999), L'incoronazione di Poppea (2000), and Intolleranza (2011). In 1998, he was the recipient of the Europe Theatre Prize. Maestro Ronconi died in Milan on 21 February 2015, at the age of 81.
He left an impressive discography, he recorded Lucia di Lammermoor three times, first with Maria Callas in 1959, then with Margherita Guglielmi and finally with Beverly Sills in 1970. Other notable recordings include; Rigoletto, opposite Ileana Cotrubas and Plácido Domingo, under Carlo Maria Giulini, Macbeth, opposite Shirley Verrett, and Simon Boccanegra, opposite Mirella Freni and Nicolai Ghiaurov, both under Claudio Abbado. He had previously recorded Simon Boccanegra under Gavazzeni, opposite Katia Ricciarelli. He also recorded Don Carlo, Il trovatore and Aida under Herbert von Karajan Cappuccilli sang until his mid-sixties; an automobile accident in 1992 ended his stage career.
That year, two city-council members advised Keller not to install pinball machines at the club since Portland then had an anti-pinball ordinance which was being contested in court. A Mary's Club team played in the Multnomah League of the Portland Basketball Association during the 1955-56 season with teams sponsored by Interstate Hauling, Kent's Keg, Il Trovatore, Frolic Inn, and the Portland Air Base, among others. Marquee in 2014 Singers, comics, and piano players performed at the club. A 1958 newspaper advertisement announced its opening act as Tiny Watson, "200 pounds of mirth and merriment", and compared her to Sophie Tucker.
In four seasons at the Met, she sang Santuzza in Cavalleria rusticana, Eboli in Don Carlos, Azucena in Il trovatore, and Dalila. She was a versatile artist, singing with equal success the French, Italian and German repertories. She enjoyed a very long career singing well into her 60s and 70s and her last role was as the Countess in Tchaikovsky's The Queen of Spades which she performed in the summer of 2007 in Ghent and Antwerp. Gorr believed that 'trouser-roles' did not suit her; she did however sing Lel in The Snow Maiden in 1955 in concert and Octavian in 1958.
He co- starred with Amy Sherwin in an amateur performance of Il trovatore, and was leader of the St Joseph's Church Choir for 30 years. He moved to Brisbane in 1888 where he opened an architectural firm with his former apprentice Leslie Corrie. Upon his departure a farewell dinner was organised by builders and architects of Hobart, attended by the Lord Mayor of Hobart, Premier of Tasmania and the state Attorney General. During his time in Brisbane he remained a prominent architect, being President of the Queensland Institute of Architects in 1890 and Vice President in 1891.
John Charles Thomas left a large pool of audio recordings, many of which sold extremely well in their day and have been transferred in recent times to compact disc. Only a handful of these recordings, however, are devoted to opera arias. His operatic voice is probably best appreciated in commercial offerings such as "Nemico della patria" from Andrea Chénier, and "C’en est fait… Salomé demande" from Hérodiade. Live broadcast recordings of "Per me giunto" from Don Carlos, "Vien Leonora" from La favorite and "Il balen" from Il trovatore display his brilliant top notes and bel canto capabilities.
Lumley's 1858 season did not begin until after Easter, and for its launch, when the future was very uncertain, he gave a lavish production for the London debut of Thérèse Tietjens, with Giuglini, in Les Huguenots. Even during rehearsal there was tremendous interest, when Tietjens' artistic efforts called forth a response from her Raoul: Tietjens and Giuglini next sang Il trovatore, and both productions, attended by the Queen and court, had wildly enthusiastic receptions.Lumley Reminiscences, 438. On 3 June 1858, for Lumley, he appeared as Rodolfo in the first UK performance of Verdi's Luisa Miller, opposite Piccolomini.
She moved to New York in 1918 and sang in local churches and synagogues before being hired by the Metropolitan Opera. She debuted with the company in 1920 as the Singer in Puccini's Manon Lescaut. She went on to sing many other roles as one of the company's leading mezzo-sopranos until 1931. Among her regular roles were Brangane in Wagner's Tristan und Isolde and Mary in his The Flying Dutchman, and Lola in Mascagni's Cavalleria Rusticana. She also appeared a few times as Princess Eboli in Verdi's Don Carlos (1920–21) and Azucena in his Il trovatore (1923–24).
He had also been on the ship with her when she sailed to New York on her way to Cuba in 1867. Zenoni performed in Australia through the 1875 season appearing as Griselda in I Lombardi, Leonora in Il trovatore, Paolina in Poliuto, Amelia in Un ballo in maschera, and in the title roles of La Juive, Norma, Lucrezia Borgia, and Anna Bolena. Her next stop was South Africa where Cagli had begun producing opera seasons for Cape Town in 1876. For the 1877 season his latest venture was al fresco opera in the gardens of the Good Hope Masonic Lodge.
In a Jugendkonzert (Concert for young people) in the Marienkirche, offering music by Bach, Marcello and Purcell, she performed on 22 November 1965 Bach's solo cantata Ich bin vergnügt mit meinem Glücke, BWV 84, conducted by . In the 1968/69 season, she performed Leonora in Verdi's Il trovatore as a guest artist. She also performed as a guest artist in leading roles with the Berlin State Opera, the Cologne Opera, the Oper Frankfurt, the Hamburg State Opera and the Vienna State Opera. She returned to the US in 1969 to teach at the Florida State University.
Following the bel canto era, a more direct, forceful style was rapidly popularized by Giuseppe Verdi, beginning with his biblical opera Nabucco. This opera, and the ones that would follow in Verdi's career, revolutionized Italian opera, changing it from merely a display of vocal fireworks, with Rossini's and Donizetti's works, to dramatic story-telling. Verdi's operas resonated with the growing spirit of Italian nationalism in the post-Napoleonic era, and he quickly became an icon of the patriotic movement for a unified Italy. In the early 1850s, Verdi produced his three most popular operas: Rigoletto, Il trovatore and La traviata.
Anna Yuryevna Netrebko (; born 18 September 1971) is a Russian-Austrian operatic soprano. Discovered and promoted by Valery Gergiev, she began her career at the Mariinsky Theatre, collaborating with the conductor in the theater and performances elsewhere. She was noticed globally after playing Donna Anna in Mozart's Don Giovanni at the 2002 Salzburg Festival. She had been known for her rendition of lyric and coloratura soprano roles, most notably Donna Anna and Violetta in Verdi's La traviata, and proceeded into heavier 19th-century romantic roles, such as Leonora in Il trovatore and the role of Lady Macbeth in Macbeth.
Her performance as Lady Macbeth in the Metropolitan's 2014 fall season's production of Macbeth, a revival of Adrian Noble's 2007 production, drew critical praise and demonstrated her voice is still expanding in range and volume. She continued her expansion into heavier Verdi roles at the Met the following year, singing the role of Leonora in Il trovatore to acclaim from both critics and audiences. In April 2016, Netrebko announced her withdrawal from productions of Bellini's Norma at the Royal Opera House's 2016/17 season and the Metropolitan Opera's 2017/18 season due to the change in her voice.
Subsequently, Carsen staged Der Ring des Nibelungen by Richard Wagner in Cologne, Eugene Onegin at the Metropolitan Opera, Il Trovatore in Bregenz, Capriccio by Richard Strauss, Alcina by Handel and Rusalka at the Opera Bastille with Renée Fleming, The Magic Flute in Baden-Baden, La Traviata at La Fenice, Mefistofele at the San Francisco Opera and Der Rosenkavalier at the Salzburg Festival. He directed seven Puccini operas in Belgium and Verdi's Shakespearean trilogy of (Macbeth, Falstaff and Otello) in Germany. In addition, Carsen directed Sunset Boulevard and The Soldier's Tale with Sting, Vanessa Redgrave and Ian McKellen.
Among the roles she sang there were Abigaille, Bice in Errico Petrella's Marco Visconti, Elvira in Ernani, Leila in Giuseppe Apolloni's L'ebreo, Leonora in Il trovatore, Rosina in The Barber of Seville, Violetta, and the title role in Maria di Rohan. In 1857 she performed the role of Inez in Donizetti's La favorita at Her Majesty's Theatre in London opposite Antonio Giuglini. That same year she made her debut at La Scala as Valentine in Giacomo Meyerbeer's Les Huguenots. She returned to that house in 1858 to portray the role of Mathilde in the world premiere of Stefano Ronchetti- Monteviti's Pergolese.
Francesco Meli and Plácido Domingo in Il trovatore, Salzburg Festival 2014 Francesco Meli (born 15 May 1980 in Genoa) is an Italian operatic tenor particularly associated with the bel canto repertoire. He began his vocal studies at age 17 with Norma Palacios at the Conservatorio di Musica "Niccolò Paganini" in Genoa. He later became a pupil of mezzo-soprano Franca Mattiucci. In 2002 he debuted in Verdi's Macbeth and as the tenor soloist in Rossini's Petite Messe Solennelle and Puccini's Messa di Gloria, broadcast by RAI (the Italian state broadcasting company) from the Festival dei Due Mondi in Spoleto.
On April 30, 1977, Betty Stone, a member of the Met chorus, was killed in an accident offstage during a tour performance of Il trovatore in Cleveland."Met Singer Killed in Backstage Elevator in Cleveland", The New York Times, May 2, 1977. On July 23, 1980, Helen Hagnes Mintiks, a Canadian-born violinist, was murdered by stagehand Craig Crimmins during the intermission of a performance of the Berlin Ballet."Dance of Death", TIME August 4, 1980 On January 5, 1996, tenor Richard Versalle died while playing the role of Vitek during the production of Leoš Janáček's The Makropulos Case.
Erb opened triumphantly (October 1908) in Lohengrin. He maintained a sober existence, but gravitated to the social circle of Ida Boy- Ed, where he mixed with Hermann Abendroth, Wilhelm Furtwängler and others. He travelled to Hamburg to see Caruso and Edith Walker in Tosca. Greatly inspired, he added Lionel (Martha), Manrico (Il trovatore), Gomez (Das Nachtlager in Granada (Kreutzer)), Froh (Das Rheingold), Florestan (Fidelio), Alessandro Stradella in Friedrich von Flotow's opera, the Duke of Mantua (Rigoletto), Turiddu (Cavalleria rusticana), Fenton (Die lustigen Weiber von Windsor (Carl Otto Nicolai)), Hoffmann in Jacques Offenbach's opera, and Alfred in Die Fledermaus to his repertoire.
He was buried in his Otello costume. Although Otello was his best role, throughout his career, Del Monaco sang a number of other roles with great acclaim, for example: Canio in Pagliacci (Leoncavallo), Radames in Aida (Verdi), Don Jose in Carmen (Bizet), Chenier in Andrea Chénier (Giordano), Manrico in Il trovatore (Verdi), Samson in Samson and Delilah (Saint-Saëns), and Don Alvaro in La forza del destino (Verdi). Del Monaco made his first recordings in Milan in 1948 for HMV. Later, he was partnered by Renata Tebaldi in a long series of Verdi and Puccini operas recorded for Decca.
While there was the occasional performance by the Metropolitan Opera Co, the Chicago Opera Company and other companies that were lesser known during the time, had made appearances in the Chattanooga area, there was no real support of the opera until the CSO was founded. The company gave its first performance in February 1943, a production of Il Trovatore. The cast consisted primarily of local singers, but the Wolffs were well-connected in the opera world and attracted a number of renowned performers to Chattanooga as guest artists. Guest artists included Beverly Sills, Jon Vickers, Norman Treigle, Phyllis Curtin, and Norman Scott.
She has the distinction of having been Australia's first Adalgisa in Bellini's opera Norma (1852, Royal Victoria Theatre, Sydney) beside the Norma of Sara Flower. Her husband, having received a pardon from the Italian government, went to Italy in 1870, but died at Modena of gastric fever and inflammation of the lungs soon after his arrival. Madame Carandini continued to sing in concerts for some years in Australia and New Zealand, with visits to the United States and India. In November 1858 Carandini sang Leonora in Verdi's Il trovatore in a twenty-seven performance season at the Princess Theatre, Melbourne.
Although recognized as one of the leaders of the Romantic movement in Spain, his plays were not immediately lucrative, and García Gutiérrez emigrated to Spanish America, working as a journalist in Cuba and Mexico, until 1850, when he returned to Spain. After his return to Spain in 1850, however, García Gutiérrez became known all over Europe through Giuseppe Verdi's opera Il trovatore (1853), adapted from El trovador. Verdi then adapted Simón Bocanegra into the opera Simon Boccanegra (1857). The best works of his later period are a zarzuela titled El grumete (1853), La venganza catalana (1864), and Juan Lorenzo (1865).
In 1990 Day performed at the Opéra de Nice and made her debut at the Seattle Opera as Venus in Tannhäuser. She has returned to Seattle many times since, portraying such roles as Giulietta in The Tales of Hoffmann (1990), Leonore in Fidelio (1991), Ortrud in Lohengrin (1994), Azucenna in Il trovatore (1997), and Ulrica in Un ballo in maschera (2002). In 1992 she was the soprano soloist in Rossini's Petite messe solennelle with the Philadelphia Singers. She returned to the OTSL as Kabanicha in Káťa Kabanová (1998) and Marcellina in The Marriage of Figaro (1999).
He was a regular guest at the Vienna State Opera, where he first appeared in 1956 as Enrico in Lucia di Lammermoor in a performance from La Scala with Maria Callas in the title role. His last performance there was as Dulcamara in 1998. Panerai often partnered in recordings as on stage with Maria Callas and Giuseppe Di Stefano, as in Il trovatore, Mascagni's Cavalleria rusticana with him as Alfredo, Leoncavallo's Pagliacci (singing Silvio), Bellini's I puritani and Puccini's La bohème. He also recorded a notable Sharpless alongside Renata Scotto and Carlo Bergonzi, and Germont alongside Beverly Sills and Nicolai Gedda.
Giovanni Guicciardi Giovanni Guicciardi (12 January 1819 – 4 October 1883) was an Italian opera singer who sang leading baritone roles in the opera houses of Italy and Portugal. He is most remembered today for having created the role of Count di Luna in Verdi's Il trovatore, although he created several other leading roles in operas by lesser known Italian composers. He accumulated a considerable fortune during the course of his career. After his retirement from the stage, he taught without payment in music schools in his native city, Reggio Emilia, and presided over a charity for orphaned musicians.
Opera performances released under his direction included Salome, Don Giovanni, Boris Goduno, Il trovatore, Otello, Rigoletto, Cavalleria rusticana, Gianni Schicchi, L'elisir d'amore, The Queen of Spades, The Fiery Angel, The Love for Three Oranges, Duenj, Abesalom and Eteri, and Music for the living. In 1989, Kakhidze founded a new hall for symphony music in Tbilisi, which included the Tbilisi Center for Music and Culture. He established the first professional boys' choir in Tbilisi at this center in 2000, further developing the classical performing arts in Georgia. In 1993, Kakhidze founded the new Tbilisi Symphony Orchestra, and led it until his death in 2002.
The new house opened on 3 March 1966, to serve as a venue for operas, ballets, concerts, and for plays which require a large stage. The inaugural performance was Richard Strauss's Der Rosenkavalier, an opera first performed in 1911, shortly after its premiere; Wilhelm Schüchter conducted the Dortmunder Philharmoniker. Teresa Żylis-Gara appeared as Octavian, along with guest artist Elisabeth Grümmer as the Marschallin, Liselotte Hammes as Sophie and Kurt Böhme as Ochs. In the short remaining part of the season, Verdi's Il trovatore, with Fedora Barbieri as Azucena, Mozart's Die Zauberflöte, Hindemith's Mathis der Maler, and Johann Strauss' Der Zigeunerbaron were performed.
Born in Zagreb, Croatia as Zinka Kunc (), she studied with the Wagnerian soprano Milka Ternina and her assistant Marija Kostrenčić. She also studied in Milan with Carpi and in Berlin with Stückgolt. On October 29, 1927, she made her operatic debut as Leonora in Giuseppe Verdi's Il Trovatore in Ljubljana, Slovenia, at age 21. Her debut in her native Croatia, at the National Theatre in Zagreb, took place five weeks later as Marguerite in Charles Gounod's Faust. After an early debut in Dresden (November 5, 1928, also as Leonora), her teacher, Ternina, was not pleased and much work commenced to perfect her technique.
Il trovatore ('The Troubadour') is an opera in four acts by Giuseppe Verdi to an Italian libretto largely written by Salvadore Cammarano, based on the play El trovador (1836) by Antonio García Gutiérrez. It was Gutiérrez's most successful play, one which Verdi scholar Julian Budden describes as "a high flown, sprawling melodrama flamboyantly defiant of the Aristotelian unities, packed with all manner of fantastic and bizarre incident."Budden, p. 59 The premiere took place at the Teatro Apollo in Rome on 19 January 1853, where it "began a victorious march throughout the operatic world,"Budden, p.
Outside of Italy, Capuana performed in operas in Barcelona, Lisbon, Cairo, Argentina, Chile, France, and South Africa during the 1920s and 1930s. She was a much loved Amneris at the Teatro Colón in 1925. In 1935 she toured France as a recitalist. Capuana's performance career ceased around the outbreak of World War II. Other roles she performed on stage included Adalgisa in Norma, Azucena in Il trovatore, Cerinto in Nerone, Charlotte in Werther, Laura in La Gioconda, Leonora in La favorite, Maffio Orsini in Lucrezia Borgia, Marguerite in La damnation de Faust, Princess Eboli in Don Carlos, and the Old Woman in L'amore dei tre re.
In 1858 he became an assistant to E. T. Smith, manager of the opera at the Haymarket Theatre until 1861 when Smith retired from the promotion of Italian opera. In 1861 Mapleson took over management of the Lyceum Theatre, presenting in his first year Il trovatore and the English premiere of Un ballo in maschera, both with Thérèse Tietjens, who performed with his companies for the rest of her career. One of Mapleson's early stars was Adelina Patti. Between 1862 and 1867 he managed Her Majesty's, presenting Italian, French and also German opera, and promoting such singers as De Murska, Mario, Giulia Grisi and Christina Nilsson.
Born Marie Pölzl, she first studied voice with Louise Weinlich-Tipka in her native city of Graz and later in Berlin with Rosa de Ruda. She debuted in 1882 in Graz as Azucena in Verdi's Il trovatore, filling in for another singer, and was engaged there until 1884. The following season (1884–1885) she sang at the German Theatre in Prague. After making guest appearances in the title roles of Bizet's Carmen and Ambroise Thomas' Mignon at the Berlin Hofoper in 1885, she became a member of that company from 1885 to 1888 and sang there in the premiere of Heinrich Hofmann's Donna Diana on 15 November 1886.
After leaving D'Oyly Carte, Talbot appeared on tour with Tagliapietra's Opera Company in the US in such operas as Il Trovatore, Faust and Martha. He next joined the Blanche Roosevelt English Opera Company as Epitmethius in an unsuccessful production of B. C. Stephenson and Alfred Cellier's The Masque of Pandora in Boston in 1881. Again performing as Signor Ugo Talbo, he then joined an opera company, organized by Max Strakosch Clarence Hess, for a few weeks, in Faust and Mefistofele. After this, in August 1881, he moved to San Francisco, California, where he joined Inez Fabbri's opera company in Carmen and La Dame blanche, but the season was a failure.
A native of Berlin, Margarethe Ober studied singing in Berlin with Benno Stolzenberg and Arthur Arndt, the latter of whom she eventually married in 1910.Biography of Margarethe Arndt-Ober at operissimo.com (in German) Ober made her professional opera debut as Azucena in Giuseppe Verdi's Il trovatore at the Opern- und Schauspielhaus Frankfurt in 1906. After a short stint at the opera in Stettin, she became a principal singer with the Berlin State Opera in 1907, remaining with that company for over 35 years. In 1908 she had her first major success in Berlin singing Amneris in Verdi's Aida with Enrico Caruso as Radames.
McGuire recalls, "He was astonished by Lili's voice, but he had nothing in mind for her at the time." However, two years later Schippers wanted "that extraordinary Adalgisa from Arkansas" for a concert performance of Prokofiev's Alexander Nevsky with the New York Philharmonic. However, he could not remember her name and was unable to track her down until a chance meeting with Sheldon Soffer tipped him off that she was working with the Baltimore Opera Company under Rosa Ponselle. Chookasian had spent the last year studying under Ponselle and had created her second opera role on stage with the company, Azucena in Verdi's Il trovatore in 1960.
The theatre was frequently visited by Sultans Abdülaziz and Abdülhamid II, and hosted Giuseppe Verdi's play Il Trovatore before the opera houses of Paris. The majority of the opera plays that were performed at the Naum Theatre were composed by Vincenzo Bellini, Gaetano Donizetti and Gioachino Rossini. In a letter to his mother, Gustave Flaubert wrote that he watched a play by Donizetti at the Naum Theatre in Istanbul the day following his arrival to the city. Michel and Joseph Naum were the sole owners in Istanbul of the rights to display many European theatre and opera plays, and brought many foreign troupes to Istanbul.
L. Macy (Accessed 31 January 2009), (subscription access) She also appeared in Venice in November 1866. In 1867 Wilt returned to Austria to join the roster at the Vienna Hofoper where she sang roles for the next decade. Her first role at the opera house was Leonora in Verdi's Il trovatore. She notably portrayed the role of Donna Elvira in Mozart's Don Giovanni for the opening of Vienna's new opera house in 1869. She also sang the title role in Verdi's Aida for the Austrian premiere of that opera in 1874 and portrayed the role of Sulamith in the world premiere of Karl Goldmark's Die Königin von Saba in 1875.
She has sung more than sixty roles, including the title role in Carmen in three productions, Octavian in Der Rosenkavalier, Azucena in Il trovatore, Amneris in Aida and Ulrica in Un ballo in maschera. She has sung in Sweden, Denmark, Finland, Germany, Scotland, England and the USA and performed many oratorios and concerts, and sung on Radio and TV. Her repertoire of more than twenty works includes Bach's Mass in B Minor, Händel’s Messiah, Brahms’ Alto Rhapsody, Beethoven’s 9th Symphony and Elgar’s Sea Pictures. Torhild Staahlen has established her own scholarship for singers, musicians and composers. It was awarded for the first time on 17 May 1997.
Following her appearances as Musetta in La bohème and Gilda in Rigoletto in youth productions at the Teatro Regio in Parma and as Leonora Il trovatore in a concert performance at the Sarzana Opera Festival, Yeo made her debut as Cio-Cio-San in Madama Butterfly in 2013 at the theatres in Salsomaggiore Terme, Vigevano and Fiorenzuola d'Arda. She also sang her first Lady Macbeth in Macbeth directed by Cristina Mazzavillani Muti at the Ravenna Festival in 2013. At Savonlinna Opera Festival in Finland she performed Lady Macbeth during summer 2016. She made her role debuts as Fiordiligi in Così fan tutte and as Liù in Turandot in 2014.
The first opera performed there was the western hemisphere premiere of Giuseppe Verdi's Il Trovatore, on February 25 of the same year. The Academy of Music is the oldest existing opera house in the United States and was declared a National Historic Landmark in 1963; it remains the principal opera house for the city and is the home of the Pennsylvania Ballet. It was the principal concert hall in Philadelphia until the opening of the Kimmel Center for the Performing Arts in 2001. Many first American performances were given there, including Charles Gounod's Faust (in German, 1863), Richard Wagner's Der fliegende Holländer (in Italian, 1876) and Arrigo Boito’s Mefistofele (1880).
Verna made her American debut at the Academy of Music in Philadelphia with the Philadelphia Civic Grand Opera Company on May 14, 1952 in the title role of Giuseppe Verdi's Aida with Ramón Vinay as Radamès, Claramae Turner as Amneris, and Giuseppe Bamboschek conducting. Later that year she portrayed the same role for he debut at the San Francisco Opera. She made her debut at the New York City Opera, as Donna Anna, in 1954, and at the Metropolitan Opera in 1957, as Leonora in Il Trovatore. Her other roles at the Met included Aida, Leonora (La forza del destino), Elisabetta (Don Carlo), Santuzza (Cavalleria rusticana), Tosca and Turandot.
In June, his third complete opera Il trovatore was released. In July, he played the part of Mario Cavaradossi in Tosca at the 50th Puccini Festival in Torre del Lago, and he took part in the International Olympic Committee (IOC) global campaign for the 2004 Summer Olympics in Athens. In September, he performed his "Once in a Lifetime" tour in Australia with concerts in Sydney and Melbourne and one concert in Christchurch, New Zealand, where he was joined on stage by New Zealand soprano Hayley Westenra. On 15 October, he performed at the People Conference Hall in Beijing, China, and on 17 October at the Great Hall in Shanghai.
Named after the French socialist Gustave Hervé, she was born in Florence, where she attended a convent school. At the age of ten, however, she and her family left Italy for the United States, settling in Pittsburgh, Pennsylvania, where she later studied at the Pittsburgh Music Institute. In 1937, the soprano made her operatic debut with Brooklyn's Salmaggi Opera, as Santuzza in Mascagni's Cavalleria rusticana. In ensuing seasons, she gained experience with that ensemble, presenting roles that would form the core of her repertoire, including Leonora in Verdi's La forza del destino (with Sydney Rayner as Don Alvaro, 1943) and another Leonora in Verdi's Il trovatore.
Nancy Shade (born May 31, 1946, in Rockford, Illinois) is an American spinto soprano, best known as a singing-actress. She made her formal debut as Leonora in Il trovatore, in Louisville, in 1967. In 1971, she made her first of many appearances at the New York City Opera, as Musetta in La bohème. She also sang there in Mefistofele (directed by Tito Capobianco), Madama Butterfly (opposite José Carreras), Pagliacci, Susannah, and Die tote Stadt (in Frank Corsaro's production). In 1973, Shade sang the title role of Manon Lescaut (opposite Harry Theyard) at the Spoleto Festival, under the direction of Luchino Visconti conducted by Thomas Schippers.
Dutch music critic Paul Korenhof wrote of Brouwenstijn: :Her gifts were even more evident in seemingly passive roles such as Verdi’s two Leonoras (Il Trovatore and La Forza del destino) and Desdemona. When Gré Brouwenstijn sang these roles, she was more than a soprano who sang her arias beautifully but was otherwise little more than a decorative element in the drama being presented by the tenor and baritone. As a contemporary of Callas, Olivero, Rysanek, Varnay and Mödl and influenced by many great conductors and directors of the fifties, she realized that beautiful singing alone did not make an opera, but that the singing must emanate from the character being portrayed.
Born as Catiuscia Maria Stella Ricciarelli in Rovigo, Veneto, to a very poor family, she struggled during her younger years when she studied music. She studied at the Benedetto Marcello Conservatory in Venice, won several vocal competitions in 1968, and made her professional debut as Mimì in La bohème in Mantua in 1969, followed by a 1970 appearance in Il trovatore in Parma. In the following year, she won RAI's "Voci Verdiane" award. Between 1972 and 1975, engagements followed in the major European and American opera houses, including Lyric Opera of Chicago (1972); Teatro alla Scala (1973); Royal Opera House, Covent Garden (1974); and the Metropolitan Opera in 1975.
Heinrich Knote as Siegfried Heinrich Knote (November 26, 1870 - January 15, 1953) was an outstanding German dramatic tenor with an international reputation. Born in Munich, he studied in that Bavarian city with Emmanuel Kirschner before joining the Munich Opera in 1892, debuting in Lortzing's Der Waffenschmied. Munich remained his base for the rest of the 19th century, although he did also appear at other German opera houses during this period. Gradually Knote's voice, which had begun as a light lyric tenor, grew in size and stamina. By 1900, he was able to undertake Manrico in Verdi's Il trovatore as well as heavy Wagner roles.
After Wen’s successful debut of La Bohème with the renowned vocal artists Boiko Zvetanov (as Rodolfo) and Zvetelina Vassileva (as Mimì) at the National Theatre in Belgrade, he was immediately appointed Principal Guest Conductor. The operas he was scheduled to conduct during his tenure include: Salome, Tosca, La Traviata, Don Carlo, Il Trovatore, Rigoletto and Carmen. In November 2006, he was invited to guest conduct the New Japan Philharmonic Orchestra and work with the soloist Emmanuel Pahud, Principal Flautist of Berlin Philharmonic Orchestra. For the 2007/08 season, Mr. Wen was invited as a guest conductor for the Saint Petersburg Academic Symphony Orchestra (St.
True to its title, the film includes adaptations of some real opera scenes from I Pagliacci and Il Trovatore, featuring the Miserere duet sung by Kitty Carlisle and Allan Jones. The opera setting also allowed MGM to add big production song numbers (which were one of this studio's specialties), such as the song Alone, with the departure of the steamship, and the song Cosi Cosa with the Italian buffet and dancing. Carlisle and Jones were both trained in operatic singing and provided their own singing voices in the film. Walter Woolf King was a trained baritone, but he portrayed a tenor in the film.
Ferdinando Previtali (1955) Fernando Previtali (16 February 1907 Adria, Italy - 1 August 1985, Rome, Italy) was an Italian conductor, particularly associated with the Italian repertory, especially Verdi operas. He studied at the Giuseppe Verdi Music Conservatory in Turin, and later with Franco Alfano. He began his career as assistant conductor to Vittorio Gui in Florence from 1928 to 1935, and later in Genoa from 1935 to 1936. He was artistic director of the RAI National Symphony Orchestra from 1936 until 1953, and conducted the Verdi cycle in 1951, to commemorate the composer's 50th death anniversary, and left recordings of Nabucco, Ernani, La battaglia di Legnano, Il trovatore, and Don Carlo.
In the first years after his return to England, Santley used often to sing buffo duets (for example 'Che l'antipatica vostra figura' from Ricci's Chiara di Rosemberg) with Giorgio Ronconi and Giovanni Belletti, at parties held by the influential critic H. F. Chorley. In 1859 he made his debut at Covent Garden as Hoel in Meyerbeer's opera Dinorah.C. Santley, 'The Art of Singing and Vocal Declamation' (Macmillan and Co., London 1908), pp. 15-17. In the same season he sang in the English Il trovatore (Di Luna), The Rose of Castille, Satanella, La sonnambula, and as Rhineberg in Wallace's Lurline, with William Harrison and Louisa Pyne.
Vicente (Vicenç) Sardinero (12 January 1937 – 9 February 2002), né Sardinero- Puerto, was a Spanish operatic lyric baritone. Born in Barcelona, he made his debut at the Gran Teatre del Liceu in his native city in the 1964–65 season, as Escamillo in Carmen. His first appearance at the Teatro alla Scala was in 1967, as Enrico in Lucia di Lammermoor, opposite Renata Scotto, subsequently appearing there in Il trovatore (1978), I due Foscari (1980), and Falstaff (as Ford, conducted by Lorin Maazel, and directed by Giorgio Strehler, 1981). Sardinero also sang at London's Covent Garden (Marcello in La bohème, 1976) and was often heard in zarzuela.
The Max Maretzek Italian Opera Company (sometimes referred to as the Italian Opera Company, the Italian Grand Opera Company, or Academy of Music Opera Company) was a touring American opera company that performed throughout the United States from 1849 to 1878.Schonberg pg. 222 The first major opera company in Manhattan and one of the first important companies in the United States, it had a long association with the Academy of Music in New York City where it presented an annual season of opera from 1854 until the company's demise in 1878. There the company performed the United States premieres of Rigoletto, Il trovatore, and La traviata among other works.
Giuseppe Verdi played an important part in the glory of the Paris opera. He had first performed Nabucco in Paris in 1845 at the Théâtre-Italien, followed by Luisa Miller and Il trovatore He signed a new contract with the Paris Opera in 1852, and wanted absolute perfection for his next Parisian project, Les Vêpres siciliennes He complained that the Paris orchestra and chorus were unruly and undisciplined, and rehearsed them an unheard-of one hundred an sixty-one times before he felt they were ready. His work was rewarded; the opera was a critical and popular success, performed 150 times, rather than the originally proposed forty performances.
Mark has designed the lighting for many productions that have toured extensively in Australia and overseas. “Cloudstreet”, which Howett won the Robert Helpmann Award for Lighting Design 2002, toured to New York at the Brooklyn Academy of Music, National Theatre London and The Kennedy Centre Washington, Zurich, and nationally in Australia. Mark designed the lighting for the Royal Opera at Convent Garden’s production of “Sweeney Todd”. Mark’s lighting for Opera Australia’s production of “For the Love of Three Oranges”, directed by Francesca Zambello, toured in 2007. Redesigning the set and Lighting Design of “Il Trovatore” for Opera Australia was a chance to work with the paintings of Sydney Nolan.
Besides his musical life Granforte was also a successful businessman, inventing a kind of rotating or swiveling lamp in the process. Along with business partner Luigi Devizzi he owned the factory that produced these lamps, as well as a farm, both situated at a large villa in the Milan suburb of Gorgonzola, where he died on June 11, 1975. Granforte can be heard on HMV early-electrical 78-rpm recordings of Il trovatore, Otello, Pagliacci and Tosca. He also recorded 78-rpm discs of individual arias and duets in the 1920s and 1930s, and the best of these have been reissued on a Preiser CD anthology.
He made his debut at the Metropolitan Opera House on December 28, 1933 as Don Pedro in L'Africaine. Other roles he sang at the Met included Alvise in La Gioconda, Archibaldo, Colline, Count Rodolfo, Don Basilio, Dr. Bartolo in Mozart's The Marriage of Figaro, Ferrando in Verdi's Il trovatore, Leporello, Lothario in Mignon by Ambroise Thomas, Oroveso in Bellini's Norma, the Prefect in Linda di Chamounix, Raimondo Bidebent, Ramfis, Samuel in Verdi's Un ballo in maschera, Simone in Puccini's Gianni Schicchi, Sparafucile, Talpa in Puccini's Il tabarro, and Varlaam in Mussorgsky's Boris Godunov. His final performance at the Met was as Leporello to Paolo Silveri's Don Giovanni on December 5, 1950.
He participated in various nationalist activities, including the revolutions that shook the Italian peninsula in 1821. Thereafter, he lived in exile, primarily in Britain, until returning to Italy to take part in the revolutions of 1848. His works include Il trovatore, Il romito del Cenisio, and, most famously, I profughi di Parga (1821). Lettera semiseria (Half- serious letter) presents the translations (written by Berchet) of two poems by Gottfried August Bürger as an example of a new kind of poetry, and expresses the author's thought about contents and language that can reach a new public: that is, no longer a public of academic readers, but the so-called "third class", i.e.
Her discography includes recordings of Il trovatore (as Azucena, opposite Katia Ricciarelli, José Carreras and Yury Mazurok, conducted by Sir Colin Davis, 1980) and Prokofiev's War and Peace (with Galina Vishnevskaya, conducted by Mstislav Rostropovich, 1986). She has also recorded the Polish songs by Frédéric Chopin, with Janusz Olejniczak. Toczyska's performance as Amneris in Aida at Los Angeles Opera was published on DVD. Her latest roles include King Roger (Warsaw, 2004), Salome (Herodias, Warsaw 2005), Haunted Manor (Czesnikova, Warsaw 2007), Prokofiev's The Gambler (as Babulenka, in Berlin, 2008)Berenboim in Berlin (note on Toczyska) and Mamma Lucia in Cavalleria rusticana (Paris 2012, Salzburg 2015).
Born in Gallese on 30 August 1868, she debuted in 1895 as Willie in Pietro Mascagni's Guglielmo Ratcliff. The same year, at La Scala, she played Anne Boleyn in Saint-Saëns' Henry VIII, while in 1896 she played Dalila in Saint-Saëns' Samson et Dalila, Margherita in Ratcliff and Gertrude in Ambroise Thomas' Hamlet at the same theatre. She made a guest appearance in 1896 at the Academy of Music in New York as Madelon in Giordano's Andrea Chénier. In 1897, she sang in Lisbon at the Teatro Nacional de São Carlos where she appeared as Ortuda in Lohengrin and Azucena in Il trovatore.
The name of Nelda Garrone is familiar to 78RMPs collectors, as she is known to have recorded five comprimaria parts in three early HMV complete opera sets included in the La Scala series conducted by Carlo Sabajno. They are Maddalena and Giovanna in Verdi's Rigoletto (1916, with Giuseppe Danise, Ayres Borghi-Zerni and Carlo Broccardi); Marthe in Charles Gounod's Faust (1920, with Giuliano Romagnoli, Gemma Bosini and Fernando Autori) and Contessa di Coigny and Mulatta Bersi in Giordano's Andrea Chénier (1921, with Luigi Lupato, Valentina Bartolomasi and Adolfo Pacini). Garrone's other recordings include two fragments from Rigoletto and Il trovatore made for the Lyrophon label.
She sang in the world premieres of two works: Karlheinz Stockhausen's Momente and Samuel Barber's Andromache's Farewell. Arroyo's discography (which also includes an aria recital), though enviable, does not encompass anything like the full range of roles she played on stage. At the Metropolitan Opera alone, these are the operas she performed but never recorded commercially: Verdi's Ernani, Macbeth, Il trovatore, Don Carlos (the Celestial Voice as well as Elizabeth, both in Italian), and ; Wagner's Lohengrin and Der Ring des Nibelungen (featured roles in all four operas); Ponchielli's La Gioconda; Giordano's Andrea Chénier; and Puccini's Madama Butterfly and Turandot (as Liù; she played the title role in Toronto).
Critic Bernard Holland noted that her "Ozean, du Ungeheuer", a long sequence from Weber's Oberon, brightened the mood and elevated the gala. He complimented her performance as "the Tucker gala's most satisfying". Two months later Holland, reviewing her substitution for Aprile Millo at the Met, said that her attractive singing in the opening sequence as Leonora in Verdi's Il trovatore "reached out and settled comfortably in every corner of this big hall", but said she did not fully immerse herself in the passion of the heroine. In May 2003, Voigt sang and recorded (for DG) the role of Isolde at the Vienna State Opera.
Riccardo Massi is an Italian operatic tenor who has performed at the prestigious Italian theaters Giuseppe Verdi Theatre and La Scala. He became known for his role as Mario Cavaradossi in Tosca, which he performed in autumn of 2011 at the Bavarian State Opera and performed again at the Berlin Opera Theatre in November of that year. His United States debut was in February 2012 as Radames in Aida at the Metropolitan Opera following by another summer performance that year. In the autumn of 2012, he sang in Il trovatore staged by the Canadian Opera in Toronto and in February 2013 sang Calaf in Turandot produced by the Royal Swedish Opera.
The following year, on December 18, 1970, she made her debut at the Metropolitan Opera in New York, as Cio-Cio-San in Madama Butterfly, and remained at the Met until 1984. Her roles there included; Nedda, Violetta, Manon Lescaut, Suor Angelica, Tosca, Aida, Elisabeth de Valois, Desdemona, Amelia, both Verdi's Leonoras, from Il trovatore and La forza del destino. She also appeared at the opera houses of Chicago, Houston, Dallas, San Francisco, New Orleans, Boston, Philadelphia, Baltimore, etc. She also appeared in Europe, making her debut at the Royal Opera House in London in 1972, and La Scala in Milan in 1973, both as Aida.
Developing into the "spinto" and later the "dramatic" repertoire, she sang most of the Verdi heroines, such as Aida, Leonora in Il Trovatore, Desdemona in Otello, Leonora in La Forza del Destino, and Alice in Falstaff, as well as Puccini's Tosca and Giorgetta in Il Tabarro. She has embodied all three Janáček heroines, Katya Kabanova, Jenufa, and Emilia Marty in The Makropoulos Case. Ventures into modern repertoire included Fevronia in Rimsky-Korsakov's The Legend of the Invisible City of Kitezh, Marie in Alban Berg's Wozzeck, and Die Dame in Hindemith's Cardillac. Rare departures into traditionally mezzo soprano repertoire were Mélisande in Debussy's Pelléas et Mélisande and Judith Weir's Blond Eckbert.
In the 2004/05 season, she made four role debuts at the Bavarian State Opera, including Desdemona (Otello), Arabella (Arabella), Alice Ford (Falstaff), and the title role in a new production of Händel's Alcina as a part of the Munich Opera Festival. In February 2011, she debuted in Leonora in concert performances of Verdi's Il trovatore at the Kölner Philharmonie. Withdrawing from the planned debuting performances as the Marschallin in Strauss' Der Rosenkavalier in San Diego, she assumed the role in Munich and then in Vienna later in the year. In 2015, Harteros with Jonas Kaufmann and Antonio Pappano collaborated on a studio recording of Verdi's Aida.
Meanwhile, Mapleson had also recruited Adelina Patti, but she was immediately poached by Gye for Covent Garden. The Lyceum company opened on 8 June 1861 with Il trovatore with Giuglini and Tietjens, Alboni, Enrico Delle Sedie (who had sung with Giuglini in Milan) and Édouard Gassier, under Luigi Arditi. The second night was Lucrezia Borgia, with the same cast, Tietjens' greatest role. Soon afterwards Giuglini led a cast in the very successful first London production of Un ballo in maschera, just beating Covent Garden to it, after all-night rehearsals for weeks through productions of Les Huguenots, Lucrezia Borgia and Norma (Giuglini as Pollione, opposite Tietjens), all with Arditi conducting.
Igor Arturovich Dronov (; born 1 January 1963) is a Moscow-born Russian conductor and Honoured Artist of Russia who graduated from the Moscow Conservatory where he studied under Boris Tevlin and Dmitry Kitaenko. From 1991 to 1996 he worked as a conductor at the Bolshoi Theatre, where he conducted music for such productions as Aleko, Faust, both The Fallen Woman and Giuseppe Verdi's Il Trovatore, Miserly Knight and Eugene Onegin. In 1992 he became professor of conducting at the same place he graduated from and is still works there. Currently he works as principal conductor at the Studio for New Music where he records his CDs.
Other Verdi roles she was admired for at that house were Aida, Amelia in Un ballo in maschera, Elvira in Ernani, Leonara in Il trovatore, and Odabella in Attila. She also appeared as a guest artist at the Teatro dell'Opera di Roma, the Teatro di San Carlo, the Teatro Carlo Felice, La Fenice, the Teatro Regio di Parma, the Teatro Massimo, the Teatro Regio di Torino, the Teatro Comunale di Bologna, and the Teatro Comunale Giuseppe Verdi. She was a regular performer at the Arena di Verona Festival where she sang in 1968–1969 and 1971–1972. She also made several appearances at the Baths of Caracalla in Rome.
She essayed in many new productions: Ernani, Turandot, and Aida. Some other roles at the Met were: Micaela, Manon from Manon Lescaut, Leonora from La forza del destino and Il trovatore, Amelia from Un ballo in maschera, Delilah from Handel's Samson, Pamina, Madama Butterfly, Mimi and Musetta from La bohème, Lauretta, and Madame Lidoine in French and English. She has also appeared with major symphony orchestras including those in London, Japan, New York, Los Angeles, Israel, Chicago, Monte Carlo, Philadelphia, Edinburgh, Florence, Pittsburg and Cleveland. Mitchell has performed recitals in Hong Kong, Australia, Japan, Spain, Canada, Sardinia, Korea and all across the United States.
Krilovici had a successful United States career as well, making her debut there in 1972 at the San Francisco Opera as Aïda. From 1972–1974, she sang at the Lyric Opera of Chicago as Mimi, the tragic heroine of Puccini's La bohème, and as Cio-Cio-San. She sang at the Opera House of New Orleans in 1975 as Tosca and appeared at Miami Opera in 1979 as Élisabeth in Don Carlos. In the seasons 1973–1974 and 1975–1977 she was engaged at the New York Metropolitan Opera where she sang Cio-Cio-San, Giorgetta in Puccini's Il tabarro, and Leonora in Verdi's Il trovatore.
He returned to La Scala in 1962, for a revival of Meyerbeer's Les Huguenots, opposite Joan Sutherland, and that same year appeared as Manrico in a lauded production of Il trovatore at the Salzburg Festival under Herbert von Karajan and opposite Leontyne Price, Giulietta Simionato, and Ettore Bastianini. Also in 1962 he made his first appearance with the Philadelphia Lyric Opera Company as Mario Cavaradossi. He returned to Philadelphia almost every year through 1971 portraying close to a dozen different roles.Free Library of Philadelphia: Box: Phila. Lyric Opera Company: 782.1 P5326p Bal Two [1968 – 1975] He made his debut at the Paris Opéra in 1964 opposite Callas in Tosca and Norma.
Milan honoured him with the Honorary Citizenship Medal, and Sony offered him an exclusive recording contract. A performance of Il trovatore, recorded and issued by Sony, opened the 2000/2001 season at La Scala and the centennial of Verdi's death, the Anno Verdi. The opera had not been performed at La Scala in 22 years, and controversy ensued after Muti, who was the conductor and who had personally hand-picked Licitra for the role of Manrico, forbade his tenor to sing the traditional, interpolated high C of the 3rd act cabaletta "Di quella pira". There was an uproar in the audience, who booed the maestro's decision.
He sang in Paris (Palais Garnier), in may 1976, as Alvaro in Forza del Destino. This performance earned him several more contracts with the house in the big Italian repertory: Macbeth, Don Carlo, Il trovatore, Pagliacci and Tosca in the next few years. It was only after this success that he made his first Covent Garden appearance in 1980 (Fanciulla del West). Particular performances of note include his participation in the world premiere of Marco Tutino's La Lupa in Livorno in 1990 where he sang the role of Nanni, and his Des Grieux at the hundred-anniversary of the premiere of Puccini's Manon Lescaut at the Teatro Reggio di Torino.
During the early 1950s, along with Busk Margit Jonsson and Daisy Schörling she formed the three-woman vocal group the 'Melody Girls', which made several recordings.Swedish radio listings featuring the Melody Girls accessed 18 April 2020. Her debut was at the Royal Swedish Opera in 1952 as Azucena in Verdi's Il trovatore, with Set Svanholm, 34 years her senior, playing her son Manrico, followed soon by the title role of Bizet's Carmen, in a brand new “starkly realistic” production at the house, in Swedish, which used the original dialogue for the first time in Sweden and where Meyer played a major role in its huge success.
He sang both Colonel Fairfax and Leonard Meryll in The Yeomen of the Guard (1907 for G&T;) and Ralph Rackstraw in the 1908 (Gramophone Company) recording of H.M.S. Pinafore. Ernest Pike (standing, fourth from left, counting the conductor) at one of the recording sessions for The Pirates of Penzance in 1920 Between 1908 and 1910 Pike sang on a small series of grand opera recordings which were released on the Zonophone white label, for example he recorded "Miserere" from Il Trovatore in 1908 and "La Donna è Mobile" from Rigoletto in 1910, both by Verdi and both recorded with Eleanor Jones-Hudson as Alveena Yarrow.
The following year he entered the Opéra National de Paris as Principal Tenor and played the role of An Italian Singer in Der Rosenkavalier, performing with Elisabeth Schwarzkopf. By 1972 he had performed roles in Rigoletto, Carmen, Tosca, Faust, Tannhäuser, Falstaff, Tristan and Isolde, La Bohème, Les Contes d'Hoffmann, I Pagliacci, Cavalleria rusticana, Il trovatore, Aïda, Der Fliegende Holländer, Lucia di Lammermoor and Prométhée, and sang in Verdi's Requiem, and Beethoven's Ninth Symphony.Gourret, Jean (1987); Dictionnaire des Chanteurs de l'Opéra de Paris du 17e siècle à nos jours p. 254; Albatros Pottier taught voice in Paris music conservatories at Longjumeau, Viry- Châtillon, Palaiseau and La Celle-Saint-Cloud.
Verdi to de Sanctis, 29 April 1851 It was not what he received from his librettist, but he certainly demonstrated his total mastery over this style. Osborne's take on 'Il trovatore is that "it is as though Verdi had decided to do something which he had been perfecting over the years, and to do it so beautifully that he need never to do it again. Formally, it is a step backward after Rigoletto". Budden describes one of the musical qualities as the relationship between the "consistent dramatic impetus" of the action being caused by the "propulsive quality" of the music which produces a "sense of continuous forward motion".
He also made appearances at the Aix-en-Provence and Aldeburgh Festivals. Although most of his performances were in Europe, Ferraro did make a handful of appearances in North and South America. He notably portrayed Cavaradossi and Manrico at the New York City Opera in 1956 and starred in productions of Don Carlo, La forza del destino and Il trovatore at the San Francisco Opera in 1958. In 1959, Ferraro sang the role of Gualtiero of Vincenzo Bellini’s Il pirata with Maria Callas as Imogene in a concert version presented by the American Opera Society at Carnegie Hall. That performance, long prized by collectors, was "officially”" released on CD by EMI in 1997.
After the war Vayne toured Scandinavia, singing at China Variety Theatre in Stockholm, the Tivoli Gardens in Copenhagen and elsewhere. In 1947, she appeared as the singer in the filmThe White Unicorn.The White Unicorn film on IMDb In 1949 she was invited to sing Fevronia in '’The Legend of the Invisible City of Kitezh'’ by Rimsky-Korsakov at the Liceu in Barcelona. In 1951 she sang Leonora in '’Il trovatore'’ for Welsh National Opera, and in autumn 1952 Vayne sang her first Tosca, to the Scarpia of Tito Gobbi in the Italian Opera Company's production. The company returned in May 1953, when she sang Leonora in '’La forza del destino'’ with Carlo Bergonzi as Don Alvaro.
These concerts have been televised and have been released internationally on CD and video. In 1991, she partnered Pavarotti in Verdi's Luisa Miller at the Met and in 1993, she appeared in the Met Gala celebrating the 25th anniversary of Pavarotti and Plácido Domingo at the house. She sang Desdemona to Pavarotti's Otello and Leonora in Il trovatore with Pavarotti and Domingo both singing Manrico. She also sang Cio-Cio-san in Madama Butterfly in 2004, a role she first performed for the Nederlandse Opera in Amsterdam in 2002 as well as for New Orleans Opera, Opera Carolina in Charlotte, and the Nashville Opera as well as concerts in Johnstown, Memphis, Tennessee, and Mexico City.
The couple stayed in Paris until January 1857 to deal with these proposals, and also the offer to stage the translated version of Il trovatore as a grand opera. Verdi and Strepponi travelled to Venice in March for the premiere of Simon Boccanegra, which turned out to be "a fiasco" (as Verdi reported, although on the second and third nights, the reception improved considerably). With Strepponi, Verdi went to Naples early in January 1858 to work with Somma on the libretto of the opera Gustave III, which over a year later would become Un ballo in maschera. By this time, Verdi had begun to write about Strepponi as "my wife" and she was signing her letters as "Giuseppina Verdi".
From June to August 1880, Mahler took his first professional conducting job, in a small wooden theatre in the spa town of Bad Hall, south of Linz. The repertory was exclusively operetta; it was, in Carr's words "a dismal little job," which Mahler accepted only after Julius Epstein told him he would soon work his way up. In 1881, he was engaged for six months (September to April) at the Landestheater in Laibach (now Ljubljana, in Slovenia), where the small but resourceful company was prepared to attempt more ambitious works. Here, Mahler conducted his first full-scale opera, Verdi's Il trovatore, one of 10 operas and a number of operettas that he presented during his time in Laibach.
At the Teatro Real in Madrid he has conducted performances of Madama Butterfly and The Barber of Seville. In concert he has conducted the Tonhalle Orchester Zurich, Orchestra della Svizzera Italiana, Orquesta Sinfónica de Madrid, Südwestdeutsche Philharmonie, Hallé Orchestra, Royal Liverpool Philharmonic, Orchestre de Chambre de Lausanne, London Symphony (Discovery Scheme), London Philharmonic, Philharmonia (International Conductors’ Academy) and the Bournemouth Symphony Orchestras. In December 2007 Philippe Bach was appointed first Kapellmeister and Stellvertretender Generalmusikdirektor (Deputy music director) at the Theater Lübeck, where he conducted Rigoletto, Andrea Chénier, Eugene Onegin, Il trovatore, Das Rheingold, and Othmar Schoeck's Penthesilea. From the 2010/11 season is Bach music director at South Thuringia State Theatre in Meiningen and director of Meiningen Court Orchestra.
She made her American debut at the Dallas Opera, as Giovanna in Anna Bolena, in 1968, and appeared at the Teatro Colón in Buenos Aires, as Eboli in Don Carlo, in 1971. Throughout her career, Parutto worked with some of the greatest conductors such as Tullio Serafin, Gabriele Santini, Antonino Votto, Herbert von Karajan, Lovro von Matačić, Gianandrea Gavazzeni, Vittorio Gui, Nino Sanzogno, Oliviero De Fabritiis. She can be heard on a few "live recordings" which attest of her wide-ranging voice and dramatic capabilities, notably as Leonora in Il trovatore (1961), opposite Franco Corelli and Ettore Bastianini, under De Fabritiis. After retiring from the stage, she turned to teaching with her husband Antonio Boyer.
Some of the other roles she has performed on stage include Abigail in Nabucco, Amelia in Verdi's Un ballo in maschera, Elvira in Bellini's I puritani, Hélène in Verdi's Jérusalem, Julia in Gaspare Spontini's La vestale, Lady Macbeth in Verdi's Macbeth, Leonora in Verdi's Il trovatore, Leonora in Verdi's La forza del destino, Madame Herz in Mozart's Der Schauspieldirektor, Minnie in Puccini's La fanciulla del West, Odabella in Verdi's Attila, Paolina in Gaetano Donizetti's Poliuto, Santuzza in Pietro Mascagni's Cavalleria Rusticana, Viclinda in Verdi's I Lombardi alla prima crociata, and the title roles in Donizetti's Anna Bolena, Amilcare Ponchielli's La Gioconda, Donizetti's Lucia di Lammermoor, Luigi Cherubini's Médée, Puccini's Suor Angelica, and Puccini's Tosca.
Her early Covent Garden roles included Maddalena (Rigoletto), Mrs Sedley (Peter Grimes), Feodor (Boris Godunov), Rosette (Manon), Flosshilde (Das Rheingold), Siegrune (Die Walküre), Azucena (Il trovatore), Pauline (The Queen of Spades), Mercedes (Carmen) and the Voice of Antonia's Mother (The Tales of Hoffmann). She can be heard as the voice of Nicklaus in the 1951 Powell and Pressburger film The Tales of Hoffmann. She made her Glyndebourne debut in 1954 in the comic role of Ragonde in the first British performance of Rossini's Le comte Ory. There she also sang Berta (The Barber of Seville), Marcellina (The Marriage of Figaro), Dryade (Ariadne auf Naxos), and Queen Henrietta (I puritani, with Joan Sutherland).
She has also studied singing with Arturo Sergey, Lorus Gai, James Lomis, Gondola Novak, Kurt Raft and Tolandro Rousseau. She has performed with the orchestra in Altenburg, Germany, Orchestra of Macedonian Philharmonic, a small chamber orchestra in Paris, France, Days of Macedonian Music, Stip Cultural Summer, Skopje cultural Summer, Ohrid cultural Summer, first performance of Wagner with Macedonian Philharmonic - conductor Tim Tchashel, 7 December 1998, 28 May 1999. She debuted at Macedonian opera scene at 27 May Opera Evenings with the small role of Ines in the opera Trovatore. In 2001, she became a member of the Macedonian Opera and Ballet with leading roles in the operas Cavalleria Rusticana, Carmen, Tosca and Turandot.
Leonora in Il trovatore, Tosca, Margherita in Mefistofele, and Lo Schiavo were added to her role list in Latin America. In Chicago she added Maddalena in Andrea Chénier, Zina in de Gounzberg's Le Vieil Aigle, Isabeau in the North American premiere of Mascagni's opera, Maliella in 'I gioielli della Madonna, La Gioconda, Basiliola in Montemezzi's La Nave, Puccini's Suor Angelica, Elisabeth in Tannhäuser, Minnie in La Fanciulla del West, Leonora in La forza del destino, Cio-Cio-San in Madama Butterfly (at the Ravinia Festival outside Chicago, also Giordano's Fedora at Ravinia), Toinette in Frank Harling's jazz opera A Light From Saint Agnes, Rosalinde in an English-language Die Fledermaus, and Conchita in Zandonai's opera of the same name.
In 1993 she sang in the amphitheater of Caesarea as Aida and appeared at the Festival of Orange again as Leonora in "Il Trovatore" and in Munich as Desdemona in Verdi's Othello. In 1992 she sang at the Lyric Opera of Chicago as Amelia in Verdi's Ballo in maschera. In 1993 she appeared at the Metropolitan Opera in New York as Lina in Verdi's opera Stiffelio, returning there as Donna Anna in Don Giovanni (1995), Amelia in Un Ballo in maschera (1995), and as Leonora in La forza del destino (1996). In 1994 Sweet made her debut at Covent Garden Opera London as Turandot by Puccini, and was there in 1995 as Aida and again in 1996 as Turandot.
Gustav Mahler, music director of the Vienna Imperial and Royal Court Opera, heard Kurz in Frankfurt towards the end of 1898 and asked her to audition for him. He immediately offered her a contract and she made her début at the theatre that would become her artistic and spiritual home, also as Mignon, on September 3, 1899. Her success in Vienna was swift and total, and lasted to the end of her musical career, thirty years later. Mahler himself, hearing her perfect trill and wonderfully placed high notes in Leonora's Act IV aria in Il trovatore, suggested that she ought to study the Hochkoloratur repertory, in which she would become the Hofoper's prima donna assoluta.
Tanner has since starred in a variety of leading roles in major opera houses, including Pagliacci in La Monnaie, Brussels, "Cavaradossi" in the Minnesota Orchestra production of Tosca, and Radames (alongside soprano Angela Brown) in Opera Pacific's Aida. After performances with the Washington National Opera in their 2004-2005 season productions of Samson and Delilah and Il Trovatore, he returned to Santa Fe to sing "Calaf" in Turandot during the company's 2005 summer season. Tanner has also sung Calaf at many major opera houses in Germany plus, in 2006, he sang the role at the Maggio Musicale Fiorentino under the direction of Zubin Mehta and toured with that festival organization to Japan for several more performances.
Steam rollers have had an influence on popular music, for example, the group Buffalo Springfield named themselves after (the manufacturer of) a steam roller parked outside the house. The song Steamroller Blues was written and performed by James Taylor in 1970 and subsequently became a favourite of live concerts by Elvis Presley. Verdi's Il Trovatore Anvil Chorus is associated with steamrolling and power in some parts of the world. The name of American music group Mannheim Steamroller is the result of blending the word "steamroller" with "Mannheim roller", an 18th-century German musical technique characterized by a crescendo passage having a rising melodic line over an ostinato bass line, popularized by the Mannheim school of composition.
Dunn made several other debuts in 1988 including the role of Leonora in Verdi's Il trovatore with San Diego Opera, Leonora in Verdi's La forza del destino with Lyric Opera of Chicago, and Elisabetta in Verdi's Don Carlo with Dallas Opera. Dunn also sang with James Conlon and the Orchestra of the Maggio Musicale at the 1988 Edinburgh International Festival. In 1989, Dunn made her debut with the Vienna State Opera as Amelia in Verdi's Un ballo in maschera and reprised the role later that year in her debut with the Houston Grand Opera. Dunn also recorded Verdi's Requiem with Robert Shaw and the Atlanta Symphony that year which went on to win a Grammy Award.
Reviewing her televised farewell opera performance at the Met in 1985, as Aida, one critic described Price's voice as "vibrant," "soaring" and "a Price beyond pearls." Time magazine called her voice "Rich, supple and shining, it was in its prime capable of effortless soaring from a smoky mezzo to the pure soprano gold of a perfectly spun high C." A lirico spinto (Italian for "pushed lyric") soprano, she was considered especially well suited to the heroines of Verdi's "middle period" operas: Aida, the Leonoras of Il trovatore and La forza del destino. and Amelia in Un ballo in maschera. She also was noted for her interpretations of leading roles in operas by Giacomo Puccini and Wolfgang Amadeus Mozart.
In his autobiography, William Warfield quotes Adler as saying, "Leontyne is to be a great artist. When she makes her debut at the Met, she must do it as a lady, not a slave." The Met agreed to her manager's insistence that she make her debut as Leonora in Il Trovatore,a traditionally white role. Shortly before her debut, Bing extended her first-season contract to include two roles recently added to her repertoire, Liu and Butterfly, for a total of five roles. He also invited her to sing Minnie in Puccini's La fanciulla del West on opening night of the 1961–62 season, an honor rarely given to an artist who had not yet sung with the company.
While her Met star rose, Price remained busily engaged in Vienna, Milan, and Salzburg. She sang a famous production of Il Trovatore in Salzburg in 1962 and 1963, and gave performances of Tosca in Vienna in 1963 and 1964, all under Karajan. Karajan also chose her as his soprano soloist in many performances of the Verdi Requiem. After her first Met season, Price added seven roles to her Met repertoire over the next five years (in chronological order): Elvira in Verdi's Ernani, Pamina in Mozart's The Magic Flute, Fiordiligi in Mozart's Così fan tutte, Tatyana in Tchaikovsky's Eugene Onegin, Amelia in Un ballo in maschera, Cleopatra in Barber's Antony and Cleopatra, and Leonora in La forza del destino.
He made his debut with The Royal Opera in 1997 and has since sung over fifteen principal roles there including Don Carlo di Vargas, La forza del destino, Conte di Luna, Il trovatore, Enrico, Lucia di Lammermoor, Papageno, Die Zauberflöte, Count Almaviva, Le nozze di Figaro, Guglielmo, Così fan tutte, the Forester, The Cunning Little Vixen, and Lescaut, Puccini's Manon Lescaut. He currently enjoys an international career in the great opera houses of Europe and North America specialising in Italian dramatic baritone repertoire, most especially the role of Rigoletto. In 2015 he separated from his first wife, Leigh Woolf and was divorced in 2019. The same year he became engaged to the French conductor and pianist, Audrey Saint-Gil.
In 1951, Robert Merrill and Björling did a series of duet recordings, including a noted recording of "Au fond du temple saint" from the opera Les pêcheurs de perles by Georges Bizet. One of Björling's first LP sets was a 1952 studio recording of the complete Il trovatore, with Zinka Milanov, for RCA Victor. In 1953, he recorded the roles of Turiddu and Canio in complete versions of Cavalleria rusticana and Pagliacci for RCA Victor. Bust of Björling in Stockholm In the summer of 1954 Björling recorded Puccini's Manon Lescaut in Rome with Licia Albanese as Manon, and in 1955 he recorded the role of Radames in Verdi's Aida opposite Milanov in the title role.
Given the troubles that Callas was causing for him in Italy, Pola and his wife decided to accept the offer and the family spent the next three years in the Philippines. Among the roles Pola sang with the Manila Opera were Canio in Pagliacci, Manrico in Il trovatore, Rodolfo in La bohème, and Turiddu in Cavalleria rusticana. In 1954, Pola returned to Italy with the hopes of reviving his opera career in Italy; an attempt which never gained much momentum. That year, he was approached by a baker named Fernando Pavarotti who wanted to know whether the tenor voice of his 19-year-old son, Luciano, was good enough for training as a professional opera singer.
Worn out by this busy season, Santley decided to turn his attention to Italian opera, and, armed with a letter from Michael Costa, paid a visit to Rossini in Paris. This meeting proved disappointing; but he made an Italian début at Covent Garden in 1862 when he sang the role of di Luna in Il trovatore for three nights at Covent Garden, 'in place of Graziani, to oblige Mr. Gye':Santley, 'The Art of Singing' (1908), p. 18. that was with the English soprano Fanny Gordosa, Constance Nantier-Didiée, the Italian dramatic tenor Enrico Tamberlik and the Franco-Italian bass-baritone Joseph Tagliafico. Santley's performances were received rapturously by the Covent Garden audience.
In the Italian season, from mid-March to the end of April, he was with Mme Parepa-Rosa, Adelaide Phillips and the tenor Theodore Wachtel (1823–1893), and with Karl Formes, who sang Marcel in Les Huguenots with Santley (Saint-Bris), at the Academy of Music in New York under Adolph Neuendorff.'Adolph Neuendorff dead', The New York Times 5 December 1897 Santley was also particularly proud to have sung once in that season with his friend and idol, Giorgio Ronconi, who was Leporello to Santley's Don Giovanni. The company also played Il trovatore, Rigoletto, Lucrezia Borgia, Martha and Guglielmo Tell. The houses and receipts were enormous, and they sailed to England well pleased in early May 1872.
Part of Merola's southern strategy was to augment his company's home season with run-out performances at the Shrine Auditorium in Los Angeles. He had been a partner in the formation of Los Angeles Grand Opera, which had a successful run from 1924 to 1931. With the opening of the War Memorial in October 1932, Merola entered into a business agreement with the Los Angeles arts impresario L.E. Behymer to present stars of the San Francisco Opera in an abbreviated season of locally produced operas. So it was that L.A. audiences heard Muzio and Bonelli in La traviata and Il trovatore and Pons in Lucia and Rigoletto just days before their War Memorial debuts.
Anda-Louise Bogza maintains an active international career as a freelance artist. She has sung Aida at the Vienna State Opera, the Berlin State Opera, the Deutsche Oper Berlin, and the Opera Leipzig. She has portrayed Tosca at the Maggio Musicale Fiorentino, the Bavarian State Opera, Oper Frankfurt, Grand Théâtre de Bordeaux, the New Israeli Opera, the Grand Théâtre de Luxembourg, the Slovak National Theatre, in Japan, the Romanian National Opera, and at the Salzburg Festival. Another signature role, Leonora in Il Trovatore, has brought her to the stages of the Hamburg State Opera, the Hungarian State Opera, the Royal Danish Theatre, the Teatro de la Maestranza, and to opera houses in the United States.
She appeared in operas throughout Italy over the next fifteen years, including performances in Rome, Genoa, Modena, Naples, Turin, and Brescia. Her repertoire included such roles as Mathilde in Rossini's Guillaume Tell, Paolina in Donizetti's Poliuto, Sélika in Meyerbeer's L'Africaine, Marguerite in Gounod's Faust, and Elsa in Wagner's Lohengrin. She also was known for her portrayals of Verdi heroines including: Leonora in both Il trovatore and La forza del destino, Amelia in Un ballo in maschera, Elisabeth de Valois in Don Carlos and the title role in Aida. In 1874 Pantaleoni sang the role of Isabella in the world premiere of Antônio Carlos Gomes' Salvator Rosa at the Teatro Carlo Felice in Genoa.
The theatre stages around seventeen opera titles (both own productions and co-productions with other major opera houses in Europe and South America) per year, as well as two or three major ballets and several recitals, from September to July. The most popular operas at the Teatro Real have included Verdi's Rigoletto (given 387 performances), followed by Aida with 361 and Il trovatore with 342. Two works by Meyerbeer L'Africaine (with 268) and Les Huguenots (with 243) have been shown to draw audiences, although the former work has not been performed since the 1920s, being no longer considered mainstream repertory. Donizetti's Lucrezia Borgia has been given some 218 performances since its debut in the house in 1919.
In the following year he appeared as Henri in Les vêpres siciliennes. He sang Amenophis in Moïse, played Daniel in Boulanger’s Le Docteur Magnus, sang Guillaume in Auber's Le Philtre and appeared as 'a shepherd' in the 1864 premier of Mermet's Roland à Roncevaux and sang in Meyerbeer's L'Africaine. In 1865 he married the young dance student Marie-Ann Léger; they would remain together until her death in 1904. Warot was committed to La Monnaie from 1868–1876 where he portrayed such parts as Riccardo in Un ballo in maschera, Manrico in Il trovatore, Erik in The Flying Dutchman, the title role in Tannhäuser, Raoul in Les Huguenots, Eléazar in La Juive, and John of Leyden in Le prophète.
She traveled with the La Scala Opera to Moscow and Tokyo, participating in performances that have been documented in live recordings. A versatile singer and an accomplished actress, Tucci was able to tackle a wide range of operas from the bel canto of Bellini's I puritani to verismo works.. Her repertoire encompassed eighty roles in total, including in English, French, German and Russian. Tucci made only two commercial recordings, Pagliacci in 1959, opposite Mario Del Monaco, and Il trovatore in 1964, opposite Franco Corelli, but she can be heard in a number of live performances, including in Cherubini's Medea and in Donizetti's Il Furioso al Isola di Santo Domingo. Tucci also appeared in concert.
Stone, David. "Durward Lely", Who Was Who in the D'Oyly Carte Opera Company, 17 August 2001, accessed 25 November 2009 He studied with Francesco Lamperti and others for five years, after which he adopted the middle name Durward and sang for three years in Italy under the stage name Durvardo Leli. In December 1874, he sang in concert in Rome, at the Teatro Argentina. He spent a season in Sardinia in 1876–77, where he sang tenor roles in such operas as La sonnambula, Il barbiere di Siviglia, L'elisir d'amore, La favorite, Don Pasquale, Maria di Rohan, Faust and Il trovatore. In 1878, back in England, Lely toured with J. H. Mapleson in concerts.
After studying with Joachim and Wilhelmj in Berlin, he returned home and played with various orchestras, becoming concertmaster of the Metropolitan Opera Orchestra in 1883, a position he retained until 1907. On November 30, 1904, he made his debut as conductor with the company, leading Le Nozze di Figaro—the first native-born American to conduct with the company. Other works Franko conducted were Roméo, Faust, Zigeunerbaron, Die Fledermaus, Hansel und Gretel, Il Trovatore, Don Giovanni, and two ballets, Coppélia and Bayer's Puppenfee, as well as numerous Sunday-evening concerts. He conducted 68 performances at the Met, and 33 performances with the company elsewhere. He conducted approximately 67 opera performances and 9 dance works.
St. John had a wide vocal range "as well as considerable histrionic versatility,"Article on Mirette and St. John and in these small touring companies, she often had to play contralto roles. The couple soon joined the Rose Hersee Opera Company, which included Richard Temple. The Company gave a series of ten different operas at The Crystal Palace in August 1877, and St. John appeared in such roles as Cherubino in Mozart's The Marriage of Figaro, Urbano in Les Huguenots by Giacomo Meyerbeer, the title role in Maritana, Lelia in Satanella, the title role in La Cenerentola, Adalgisa in Norma, Lady Allcash in Fra Diavolo, and Azucena in Il Trovatore, among others.Pascoe, Charles Eyre.
She took a part in opera music festivals: Festival Arena di Verona, Sferisterio Macerata, Martina Franca, Benevento, Malalatestiana Fano, RAI Roma, Paris Musique, Festival Budapest, Schwetzingen Festival, Menotti Festival dei Due Mondi: Spoleto-Charleston, Festival Internazionale Musica Sacra Virgo Lauretana. She has in her repertoire 60 major operatic main soprano parts, a. o. Bellini's Norma and La Straniera, Donizetti's Tudor Queens – Maria Stuarda, Anna Bolena, Roberto Devereux (Elisabeth I), Parisina, many Verdi's parts: Traviata, Aida, Attila (Odabella), Il Trovatore (Leonora), Macbeth (Lady Macbeth), Falstaff (Alice), Rigoletto (Gilda), Simon Boccanegra (Amelia), Ballo in maschera (Amelia), Stiffelio, Luisa Miller, Nabucco (Abigaille). She created Rossinian repertoires: Il barbiere di Siviglia, Semiramide, La gazza ladra, Tancredi, Il turco in Italia.
Among Moscona's commercial recordings are La bohème (with Sayão and Tucker, 1947) and Il trovatore (opposite Björling, Milanov, Fedora Barbieri, and Warren, conducted by Renato Cellini, 1952). Under the baton of Arturo Toscanini, he sang Concert Versions of Fidelio (as Don Fernando, with Rose Bampton, Peerce, and Steber, 1944), La bohème (with Albanese, Peerce, Anne McKnight, and Frank Valentino, 1946), Otello (as Lodovico, with Nelli, Vinay, and Giuseppe Valdengo, 1947), and Un ballo in maschera (as Samuel, with Nelli, Peerce, and Robert Merrill, 1954), which were later issued by RCA Victor. After his retirement, Moscona taught at the Academy of Vocal Arts in Philadelphia, the city in which he died, six days before his sixty-eighth birthday.
Pertile made recordings from 1922 to 1942 (the final three items consisting of excerpts from Otello with Gina Cigna as Desdemona). Numerous CDs containing selections of Pertile's solo recordings and examples of his work in complete operas have been issued by various record companies since the 1980s. In 1995, a comprehensive anthology of his recordings were issued in an album (with the accompanying monograph, La voce e l'arte di Aureliano Pertile) from TIMAClub. His three complete operatic recordings, namely Aïda (with Dusolina Giannini in the title role, 1928), Il trovatore (1930) and Carmen (in Italian translation, 1932), were not included in the 1995 release but they are available on other CD labels.
He appeared there as Tonio in the first production at the house of Leoncavallo's Der Bajazzo in 1882. He created the role of Johannes Freudhofer in Wilhelm Kienzl's Der Evangelimann in 1895, and the title of Kienzl's Don Quixote in 1898. At the Vienna State Opera, he appeared as Escamillo in Bizet's Carmen, Wolfram in Tannhäuser, Luna in Verdi's Il trovatore, and in the title roles of Zar und Zimmermann and Wagner's Der fliegende Holländer. Bulß performed title roles such as Mozart's Don Giovanni, Marschner's Hans Heiling, , Rossini's Barber, and roles such as Wolfram in Wagner's Tannhäuser, the Prince in Das Nachtlager von Granada and Renato in Verdi's Un ballo in maschera.
In 1965, she became a member of the Zurich Opera where she stayed to 1981. Her roles there included Geneviève in Debussy's Pelléas et Mélisande, Santuzza in Mascagni's Cavalleria rusticana, Czipra in Der Zigeunerbaron by Johann Strauss, Giulietta in Offenbach's Les Contes d'Hoffmann, the Countess in Tchaikovsky's Pique Dame, Ortrud in Wagner's Lohengrin, Brangäne in his Tristan und Isolde, and Maria in Gershwin's Porgy and Bess. Her stage presence served also contemporary opera, including the role of Pythia in Reimann's Melusine and the title role in Othmar Schoeck's Penthesilea. She sang Verdi's leading roles Eboli in Don Carlos, Amneris in Aida, and Azucena in Il Trovatore, and also Maddalena in Rigoletto, Ulrica in Un Ballo in maschera and Mrs.
In 2006, he made an appearance in an episode of Extras, and portrayed the servant Adam in Kenneth Branagh's 2006 Shakespeare adaptation, As You Like It. He made a cameo appearance as a dying recluse in the 2008 Torchwood episode "A Day in the Death". On 17 December 2000, Briers was the guest on BBC Radio 4’s Desert Island Discs. Among his musical choices were "Di quella pira" from Il trovatore by Giuseppe Verdi, "I Feel A Song Coming On" by Al Jolson and "On the Sunny Side of the Street" by Louis Armstrong. His favourite piece was the Organ Concerto in F major "The Cuckoo and the Nightingale" by George Frideric Handel.
1888 she sang the role of Loretta in the world premiere of Alberto Franchetti's Asrael at Teatro Municipale in Reggio Emilia. In 1891 she sang the role of Eutibide in the premiere of Pietro Platania's Spartaco at the Teatro di San Carlo. In 1892 she took the role of Anacoana in the world premiere of Franchetti's Cristoforo Colombo at the Teatro Carlo Felice. Her other operatic roles included Leonora in Donizetti's La favorita, Maddalena in Giuseppe Verdi's Rigoletto, Azucena in Verdi's Il trovatore, Amneris in Verdi's Aida, Eboli in Verdi's Don Carlos, Ulrica in Verdi's Un ballo in maschera, Laura in Amilcare Ponchielli's La Gioconda, and Pamela in Daniel Auber's Fra Diavolo.
Born in Pi County in the outskirts of Chengdu, Sichuan Province, Liao was trained by vocal pedagogue Zhou Xiaoyan and tenor Luo Wei at the Shanghai Conservatory of Music from which he graduated in 1995. In 1996 and 1997 he won three major international singing competitions which catapulted his career: the Operalia, The World Opera Competition, the French International Toulouse Singing Competition, and the Queen Sonja International Music Competition. That same year he was a featured soloist in concert with the Oslo Philharmonic Orchestra with Queen Sonja of Norway in attendance. In 2000 Liao made his debut at the Washington National Opera as the Count di Luna in Verdi's Il trovatore at the Kennedy Center with Plácido Domingo conducting.
Barbara Dever (born December 25, 1951) is an American mezzo-soprano opera singer who has appeared with Luciano Pavarotti, Plácido Domingo, Zubin Mehta, Nello Santi and James Levine. Dever made her Metropolitan Opera debut in 1994, as Amneris in Aida. Other roles at the Met include Azucena in Il Trovatore, Ulrica in Un Ballo in Maschera, Eboli in Don Carlo, and Fricka in Die Walküre (1993 Japan tour under James Levine). She has sung at the Washington Opera, New National Theater (Tokyo), Michigan Opera Theatre, Teatro Lirico di Cagliari, Teatro Massimo (Palermo; Grand Reopening), La Scala, Vienna State Opera, Berlin State Opera, Teatro Colón, Arena di Verona, Virginia Opera, and the Cincinnati Opera.
Interior, Philadelphia Academy of Music National Historic Landmark Plaque An architectural competition for the Academy's design was announced in October 1854 and was won by the Philadelphia firm of Napoleon LeBrun and Gustavus Runge. A style of architecture that originated in Runge's native Germany now known as Rundbogenstil ("round arch style") was used for the exterior here and in a number of American buildings of the Civil War Era. The groundbreaking ceremony was held on June 18, 1855, with President Franklin Pierce in attendance and the venue opened with a grand ball on January 26, 1857. The first opera performed there was the Western Hemisphere premiere of Giuseppe Verdi's Il Trovatore, on February 25 of the same year.
Born and raised in Yantai, Shandong, Yu graduated from the before going on to study at the Shanghai Conservatory of Music with Fugen Wei and Zhou Xiaoyan. She then became a member of the Young Artist Program at the Teatro Comunale di Bologna where she made her professional opera debut as Elettra in Idomeneo; a role she has subsequently performed at the Teatro Comunale Ferrara, the Teatro Comunale Modena, and the Teatro Municipale in Reggio Emilia. In 2010 she performed the role of Margarete in Arthur Honegger’s Jeanne d'Arc au bûcher at the Musikverein in Vienna under the baton of Bertrand de Billy. In 2011 she portrayed Leonora in Verdi's Il trovatore at the Teatro Giuseppe Verdi.
Worked with Maestro Zubin Mehta in Tel Aviv and Jerusalem performing the role of Alfredo in Verdi's La Traviata. Made his debut as Radames in Aida and Manrico in Il Trovatore in 2010 at the Stadttheater Klagenfurt. His roles and venues include: Don Jose in Carmen at Deutsche Oper Berlin and at Tokyo National Theater, the title role in Don Carlo at the Staatsoper Berlin, Alfredo in La Traviata at Palm Beach Opera, Rodolfo in Luisa Miller at Aalto Theater EssenGaston Rivero at Aalto-Musiktheater Essen, Mario Cavaradossi in Tosca at Oper Leipzig, Radames in Aida at Opéra national de Paris Bastille, Théâtre Royal de La Monnaie Bruxelles and Arena di Verona.
Born in Utica, New York, he debuted as a singer in Scranton, Pennsylvania, as the Conte di Luna in Il trovatore, in 1940. As director, his first production was of Die Fledermaus, for the Pittsburgh Opera, in 1944. Alexander sang with companies in Latin and North America and Europe, including Bayreuth (Sixtus Beckmesser in Wieland Wagner's Die Meistersinger, 1963 and 1964). Operas in which he appeared include Lulu, Il prigioniero, Moses und Aron, Der fliegende Holländer, Lohengrin, Parsifal (as Amfortas), Der Ring des Nibelungen (as Wotan), and Tristan und Isolde. In 1947, the baritone appeared in Ariadne auf Naxos (as the Major-Domo) and Salome (as Jochanaan) at the New York City Opera.
In addition to pirate and radio recordings, Graziella Sciutti’s records include excerpts from Mozart (French HMV), Ines in Il Trovatore, Tebaldo in Don Carlo and Barbarina in Le nozze di Figaro (Cetra), Nanetta in Falstaff (CBS), Norina in Don Pasquale (Decca), Rita (Cetra), Mozart arias and concert arias (Decca), Rosina in Il barbiere di Siviglia (Delysé), Giulia in La scala di seta (RCA), Livietta in Livietta e Tracollo (Fonit), Carolina in Il matrimonio segreto (Columbia), Marzellina in Fidelio (Decca), Lisette in La Rondine (RCA), Amor in Orfeo ed Euridice (DG), Morgana in Alcina (Decca), Ginevra in Ariodante (RCA), Zerlina in Don Giovanni (Philips and HMV), Susanna in Le nozze di Figaro (HMV), and Despina in Così fan tutte (Philips).
In 1968, she appeared at Carnegie Hall in New York, in the American premiere of Verdi's Alzira. She sang regularly at the Metropolitan Opera, first in 1970 in the title role of Puccini's Turandot, stepping in on short notice for Birgit Nilsson, alongside Franco Corelli as Calaf and Pilar Lorengar as Liu. A reviewer for The New York Times wrote: She also appeared at the Met as Donna Anna in Mozart's Don Giovanni, in the title role of Verdi's Aida, as Amelia in Un ballo in maschera, Elisabetta in Don Carlo, Lady Macbeth in Macbeth, Leonora in Il trovatore, Puccini's Tosca and Turandot, Ponchielli's Gioconda, and Santuzza in Mascagni's Cavalleria rusticana. Ross also enjoyed a successful international career.
By 1925 it had been performed around 150 times, making it a record among Canadian operas. Among the works that parodied other operas was George Broughall's The Tearful and Tragical Tale of the Tricky Troubadour; or The Truant Tracked (1886) that satirically adapted Verdi's Il trovatore. A parody based on Canadian politics of that time as well as on Arthur Sullivan's H.M.S. Pinafore was William Harry Fuller's HMS Parliament, or, The Lady Who Loved a Government Clerk (1879). Other Canadian operas written during the nineteenth century include Frederick W. Mills's Maire of St Brieux (1875), Susie Frances Harrison's three-act comic opera Pipandour (1884) and Arthur Clappé's Canada's Welcome: A Masque (1897).
Already during her studies, in 1991 Małgorzata Walewska debuted as Aza in Manru at the Polish National Opera. Her next engagements included Bremen Theater and the Vienna State Opera where she deubted as Polina in The Queen of Spades followed by performances of Carmen, Maddalena in Rigoletto, Olga in Eugene Onegin, Pierotto in Linda di Chamounix'. There, for the first time, she worked with such great artists as Luciano Pavarotti and Plácido Domingo. Following years brought her engagements at the Semperoper in Dresden, where she performed the part of Ms. Quickly in Falstaff, and Ulrica in Un ballo in maschera (1999), and at the Deutsche Oper Berlin, again as Ms. Quickly, as Amneris in Aida, and for the first time as Azucena in Il trovatore.
An earlier scene shows Harpo and Chico abusing a cash register while whistling the Anvil Chorus from Il trovatore, a piece also referenced in several other Marx Brothers films. Immediately following the revelation that an injustice has been done to Polly's original suitor, Bob Adams, Mr. Adams himself comes in saying there's a man outside asking for Mr. Hammer: it's tycoon John W. Berryman, who's about to buy Bob's architectural designs for Cocoanut Manor, and asking if the hotel can accommodate 400 guests for the weekend. The Marxes immediately beat a hasty retreat, and Mrs Potter declares the wedding will take place "exactly as planned, with the exception of a slight change," announcing that Mr. Robert Adams will be the bridegroom.
Her operatic début was, by her own account, at Bologna in 1934 in the role of Maddalena in Andrea Chénier, (though other accounts mention a performance in Piacenza in 1932). She sang Tosca at the Teatro di San Carlo in Naples which inaugurated a long partnership with the tenor Giacomo Lauri-Volpi. In 1937 she was offered a three-year contract at Rome Opera House by Tullio Serafin, and she found herself making a sudden début as Aida. It was as Aida that she also made her first appearance at the Metropolitan Opera in New York in 1941, and she continued to sing there throughout the 1940s in the Italian repertoire: Il trovatore, Otello, Un ballo in maschera, Cavalleria rusticana, La Gioconda, Tosca.
Radakovic's first role as a member of the National Theatre was Abigaille in Verdi's Nabucco. Praised in reviews, her Abigaille interpretation has been in significant and steady demand ever since – during 2019 alone she had 29 Nabucco performances.Performance schedule OperaBase Soon after her debut, she received invitations to perform as a guest artist at other opera houses, and expanded her repertoire singing Rosalinde in Die Fledermaus by Johann Strauss II in 2004 and Odabella in Verdi's Attila in 2005 at the Serbian National Theatre, and Marguerite in Gounod's Faust in 2006 at the Maribor Slovene National Theatre. In the following year she added the roles of Leonora in Verdi's Il Trovatore, Sylvia in Kálmán's Die Csárdásfürstin and the soprano soloist in Beethoven's 9th Symphony.
The song was originally a march, whose melody was composed in early 1916 by an architecture student in Montevideo, an 18-year- old man named Gerardo Hernán "Becho" Matos Rodríguez, the son of Montevideo's Moulin Rouge nightclub proprietor Emilio Matos. On 8 February 1916, Matos Rodríguez had his friend Manuel Barca show orchestra leader Roberto Firpo the music in the cafe called La Giralda. Firpo looked at the music and quickly determined that he could make it into a tango. As presented to him it had two sections; Firpo added a third part taken from his own little-known tangos "La gaucha Manuela" and "Curda completa", and also used a portion of the song "Miserere" by Giuseppe Verdi from the opera Il trovatore.
Visconti was also a celebrated theatre and opera director. During the years 1946 to 1960 he directed many performances of the Rina Morelli-Paolo Stoppa Company with actor Vittorio Gassman as well as many celebrated productions of operas. Visconti's love of opera is evident in the 1954 Senso, where the beginning of the film shows scenes from the fourth act of Il trovatore, which were filmed at the Teatro La Fenice in Venice. Beginning when he directed a production at Milan's Teatro alla Scala of La vestale in December 1954, his career included a famous revival of La traviata at La Scala in 1955 with Maria Callas and an equally famous Anna Bolena (also at La Scala) in 1957 with Callas.
He made guest appearances at the Opéra de Monte-Carlo, Vienna State Opera (Il trovatore, Rigoletto, and Tosca, in 1955 and 1956), Arena di Verona, and Covent Garden (Tosca, in 1956 and 1958), as well as the Aix-en-Provence Festival and the Bregenz Festival. Colombo also sang many of the great baritone roles of the Italian repertory: Rigoletto, Count di Luna, Giorgio Germont, Count Almaviva, Don Giovanni, Guglielmo, Lescaut, Marcello, etc. In 1957, the singing-actor sang the Baron Scarpia to Magda Olivero's first Floria Tosca, for RAI (a performance published on Compact Discs, by Opera Depot). In 1956, the baritone portrayed Ford in a film of Falstaff for RAI, with Giuseppe Taddei in the name part, Tullio Serafin conducting, and Herbert Graf directing.
Anne Midgette, "Domingo will not renew D.C. opera contract", The Washington Post, 28 September 2010 Domingo (center right) as the baritone in Il trovatore at the 2014 Salzburg Festival with Francesco Meli (far left, with sword) Domingo attempted to quash criticism in East Coast newspapers that he was taking on too much when the singer gave an interview in the Los Angeles Times in which he restated his long-time motto, "When I rest, I rust".Reed Johnson, "Plácido Domingo's juggling act: The superstar rejects recent suggestions that his busy life is affecting L.A. Opera and his other commitments" The Los Angeles Times, 21 February 2010 In October 2019, Domingo resigned as general director of the Los Angeles Opera amid accusations of sexual harassment.
She won the 1977 Drama Desk Award for Outstanding Actress in a musical and a Tony nomination. She won an In 1977 she performed as a soloist with the New York Philharmonic in the premiere of Leonard Bernstein's Songfest in Washington D.C. In 1978, she won a Grammy Award for best Opera Performance for the Porgy & Bess soundtrack. In 1980 she sang at a gala concert celebrating the 35th anniversary of the United Nations. Later that year, she sang the roles of Giulietta and Antonia in Les Contes d'Hoffmann for her debut at the Opéra national du Rhin, Nedda for her debut with the Opera Company of Philadelphia, and both the title role in Aida and Leonora in Il Trovatore at the opera house in Bogotá, Colombia.
Born in Cluj, Agache was trained at the Cluj Conservatory. He made his professional opera debut in 1979 at the Cluj-Napoca Romanian National Opera as Silvano in Giuseppe Verdi's Un ballo in maschera. He was active at that house throughout the 1980s, singing roles like the Count di Luna in Verdi's Il trovatore, Germont in Verdi's La traviata, Iago in Verdi's Otello, Malatesta in Gaetano Donizetti's Don Pasquale, Posa in Verdi's Don Carlos, Sharpless in Giacomo Puccini's Madama Butterfly, Schaunard in Puccini's La bohème, and the title roles in Wolfgang Amadeus Mozart's Don Giovanni and Verdi's Nabucco. In 1987, Agache toured to Tokyo, Japan with the Berlin State Opera where he performed the role of Count Almaviva in Mozart's The Marriage of Figaro.
Cura continued his stellar run of Verdi productions into 2002, when he starred as Manrico in the ROH (ROH) production of Il Trovatore, reprised Otello in Zurich, and brought his Moor to Warsaw for a special, one-time-only performance. He also appeared in Tokyo in Tosca, Vienna in Pagliacci, and London in Samson et Dalila in a concert version at the Barbican Centre under the baton of Sir Colin Davis. Other important concerts in 2002 included four outdoor venues: Dalhalla, Sweden; Lodz, Poland; Herod Atticus, Athens, Greece; and Hyde Park, London, where Cura entertained an audience estimated at 40,000. Other notable venues included the National Concert Hall in Taipei, the Pavilhao Atlantico in Lisbon, and the Kremlin in Moscow.
Palatchi debuted in the Gran Teatre del Liceu in Barcelona, in 1986. He also performed in Turandot, when the Liceu was reopened in 1999, following the fire which had destroyed the theatre five years earlier. He has taken part in several hundred performances of more than thirty operas from a wide repertoire, in particular operas by Giuseppe Verdi and Giacomo Puccini, and those from the bel canto repertoire including: Rigoletto, Aida, Turandot, Il trovatore, La bohème, Macbeth, Lucia di Lammermoor, La forza del destino and Il barbiere di Siviglia, Samson et Dalila, and Thaïs. He has sung in world premières of Cristóbal Colón, by Leonardo Balada (with Montserrat Caballé and José Carreras), Gaudí, by Joan Guinjoan and Joc de Mans by Alberto García Detesters.
While living in the Washington D.C. area, Robinson had occasionally sung at social events, in 1997 his wife Denise arranged a successful tryout with the Choral Arts Society of Washington. After moving to New Hampshire to accept a new job he enrolled in a continuing education course at the New England Conservatory of Music and performed in weekend productions. His singing attracted the attention of Associate Professor Sharon Daniels at the Boston University Opera Institute, who encouraged him to apply; he entered the program in 1999. That same year he made his operatic debut with the Boston Lyric Opera as the King of Egypt in Aida; subsequent engagements included The Marriage of Figaro, Madama Butterfly, Don Giovanni, Il trovatore and Salome.
From May 1863 to March 1864, she sang thirty-seven performances at the Wiener Hofoper in roles which included Elvira and Leonore in Verdi's Ernani and Il Trovatore, Raquel in Halévy's La Juive, and Alice and Berthe in Meyerbeer's Robert le diable and Le Prophète. From 1864–1871 they lived in Frankfurt am Main where Fabbri was engaged to sing at the Stadttheater in roles which included Elisabeth in Wagner's Tannhäuser. She was described by critics at this time as a soprano with a strong, clear voice suitable for both coloratura and dramatic roles. After a guest performance at the Royal Opera, Covent Garden, she returned to New York in 1872 for an engagement with the Habelmann- Formes opera company.
Domingo (right) as the Conte di Luna in Il trovatore with Riccardo Zanellato at the 2014 Salzburg Festival Spanish tenor Plácido Domingo has sung 151 roles in Italian, French, German, English, Spanish and Russian.Review: In his 151st role, Plácido Domingo plays the ‘wild cat’ as old lionDomingo's 151st roleOfficial repertoire list His main repertoire however is Italian (Otello, Cavaradossi in Tosca, Don Carlo, Des Grieux in Manon Lescaut, Dick Johnson in La fanciulla del West, Radames in Aida), French (Faust, Werther, Don José in Carmen, Samson in Samson et Dalila), and German (Lohengrin, Parsifal, and Siegmund in Die Walküre). Domingo currently continues to add more operas to his repertoire. Since 2009, he has moved substantially into the baritone repertoire, especially focusing on Verdi baritone roles.
At the same time, his career continued to expand internationally with leading roles at the San Francisco Opera (1968 debut as the Count di Luna in Il trovatore) and the Royal Opera, London (1969 debut in the title role of Eugene Onegin). He continued to appear at major opera houses throughout the remainder of his career, including performances with the Berlin State Opera, the Glyndebourne Festival Opera, the Lyric Opera of Chicago, the Metropolitan Opera, the New Orleans Opera, the Opera Company of Boston, Opéra de Nice, the Paris Opera, and the Santa Fe Opera among others. His final opera appearance was in 2000 at the Salzburg Festival as Calchas in La Belle Hélène. Braun died of Shy–Drager syndrome at the age of 65 in 2001.
Yohalem notes that "it was canny of impresario Maurice Grau to use a brilliantly-cast Trovatore with Lillian Nordica, Louise Homer, Emilio De Marchi, Giuseppe Campanari [and Marcel Journet] as bait to lure an audience to the new work." ' was a popular and financial success for the Met, although critical reaction was not uniformly positive. A second performance, given on 20 March with the same cast, was paired with La fille du régiment with Marcella Sembrich, and the pairing earned more than La fille had done during the previous year when it was presented alongside Pagliacci. Der Wald remained the only opera by a woman composer to be performed at the Metropolitan Opera until 2016 when Kaija Saariaho's opera L'amour de loin was first performed there.
Next year, she won the Great "Kathleen Ferrier" Prize at the International Vocal Competition in ´s-Hertogenbosch. She made her debut in Saint-Saëns' Samson et Dalila opposite Ludovic Spiess in Cluj and then in Toulouse the same year, and she returned as Carmen one year later. Cortez then established herself as one of the most respected and recognized young Romanian opera singers, though in her native country she appeared mostly in concerts and recitals. After being hired by the Romanian National Opera in Bucharest in 1967, this changed, as she toured the country and Europe (the former Yugoslavia, France, Greece and especially Ireland), making her debut in Ambroise Thomas' Mignon, Giuseppe Verdi's Don Carlo, Aida and Il trovatore, Gaetano Donizetti's La Favorita and Jules Massenet's Werther.
Ferenczy spent much of his career singing French grand opera and German Romantic opera, particularly in operas by Meyerbeer and Richard Wagner, although his repertoire also encompassed a handful of bel canto roles and Verdi roles. Among the many Meyerbeer roles he portrayed are both Jean de Leyde and Jonas in Le prophète, Raoul de Nangis in Les Huguenots, and Vasco da Gama in L'Africaine among others. His Wagner roles included Loge in Das Rheingold, the title role in Lohengrin, Siegmund in Die Walküre, and the title role in Tannhäuser. Ferenczy was also admired for his performances of Adolar in Carl Maria von Weber's Euryanthe, Arnoldo in Rossini's William Tell, Eleazar in Fromental Halévy's La Juive, and Manrico in Verdi's Il Trovatore.
Charles Santley, 1863 Mapleson won Santley back for his own Italian opera company, and in the 1862-63 season at Majesty's, he performed in Il trovatore (as Di Luna), The Marriage of Figaro (as Almaviva) and Les Huguenots (as de Nevers). He returned to Covent Garden for the English Opera, however, appearing in the Lily of Killarney, Dinorah, and Balfe's The Armourer of Nantes. In defence of his decision to move to Italian opera, Santley notes that since 1859-60 he had been singing about 110 opera performances per season, in addition to fulfilling concurrent concert engagements. With Mapleson's Italian Opera he joined some of the 19th century's most celebrated singers, including Thérèse Tietjens, Marietta Alboni, Antonio Giuglini and Zelia Trebelli.
Born in Sušice, Márová studied at the Academy of Performing Arts in Prague with Přemysl Kočí, Josef Frýdl, Štěpánka Štěpánová, and Michael Zabejda. She made her professional opera debut in 1965 at the Divadlo Josefa Kajetána Tyla in Plzeň as Azucena in Giuseppe Verdi's Il Trovatore. In 1969 Márová was appointed to the Prague National Theatre where she quickly became one of the theatre's most important artists. On stage she excelled in the dramatic Czech repertoire, portraying such roles as Donna Isabella in The Bride of Messina, Fanny in The Excursions of Mr. Brouček to the Moon and to the 15th Century, Martinka in The Kiss, Varvara in Káťa Kabanová, Vlasta in Šárka, and the title role in Jiří Pauer's Zuzana Vojiřovà.
Associated Press. Retrieved 30 January 2013. Her recent performances include roles of La Cieca in La Gioconda, Bertarido in Handel's Rodelinda, the title role in Rossini's Tancredi, the title role in Handel's Giulio Cesare, Isabella in Rossini's L'italiana in Algeri, Erda in Wagner's Ring Cycle (at the Seattle Opera), Klytämnestra in Richard Strauss's Elektra (with the Canadian Opera Company), Madame de la Haltière in Massenet's Cendrillon (at London's Royal Opera House), and the title role in Rossini's Ciro in Babilonia (in the work's US premiere at the Caramoor International Music Festival in July 2012 and at the Rossini Opera Festival in Pesaro, Italy, in August 2012). Podleś was scheduled to sing Azucena in Verdi's Il trovatore at the Atlanta Opera in 2009, but withdrew.
Anda-Louise Bogza studied music at the George Enescu Conservatory, the Academy Music of Bucharest and at the Academy of Performing Arts in Prague(piano, singing and harpsichord). She began her career performing at the State Opera and the National Theatre in Prague. She remains committed to both of those houses to this day. Among the roles which she has portrayed in Prague are Abigaille in Nabucco, Amelia in Un ballo in maschera, Donna Anna in Don Giovanni, Desdemona in Otello, Elisabetta in Don Carlo, Giorgetta in Il Tabarro Katerina in Káťa Kabanová, Leonora in Il Trovatore, Lisa in Pique Dame, Minnie in La Fanciulla del West, Sina in Hans Krása's Verlobung im Traum, and the title roles in Aida, Jenůfa, Manon Lescaut, Tosca, and Turandot.
After a break, she returned for Psyché (Eros) by Thomas on 26 January 1857.S. Wolff: Un demi- siècle d'Opéra-Comique (1900–1950) (Paris: André Bonne, 1953). She sang in Auber's L’enfant prodigue in London in 1851. At the Paris Opéra she sang Alice in Robert le diable in 1851 and Leonora in Il Trovatore (1858).J. Gourret: Dictionnaire des cantatrices de l'Opéra de Paris (Paris: Éditions Albatros, 1987). In 1858, she made her debut at the Théâtre Lyrique, where she sang Suzanne in Les Noces de Figaro, Carabosse Mélodine in La Fée Carabosse by Massé (28 February 1859), Blondine in L’Enlèvement au Sérail (1859), Martine in Ma tante dort (21 Jan 1860), and the title role in Gil Blas (24 March 1860).
On 16 September 1979 she made her American stage debut in the San Francisco Opera, as Laura in La GiocondaToczyska's San Francisco debut (with Renata Scotto and Luciano Pavarotti), which was telecast "live" around the world. She made her first appearance at Royal Opera House in 1983 (as Amneris in Aïda), and also sang at the Teatro Colón, in Buenos Aires. In 1988, Toczyska made her Metropolitan Opera debut, as Marfa in Mussourgsky's Khovanshchina.Khovanshchina in New YorkKhovanshchina in New York She went on to sing there in Aida, Il trovatore, La Gioconda, Boris Godunov (as Marina Mnichek), Un ballo in maschera (as Ulrica), Rusalka (as Jezibaba) and Adriana Lecouvreur (as the Principessa di Bouillon), with her last performance there, in 1997.
By 1868 Bentham, often performing as Signor Bentami, had become a professional singer in Europe and was appearing in Copenhagen, in Il Trovatore and Rigoletto, where his performance of the former was described as "a great surprise … a soft, sonorous, sympathetic voice ... intonation as pure as the sound of a silver bell". In October of that year, he was in Amsterdam, where English reports called him the "primo tenore in the opera of the city", and later that year he was a leading tenor at the Royal Swedish Opera in Stockholm for ten weeks. He next appeared in Italy. George Bentham as Alexis (left) and Giulia Warwick as Aline in The Sorcerer (1878) He returned to Britain and signed a three-year contract with James Henry Mapleson.
He directed Pelleas et Melisande, by Claude Debussy, at the Semperoper Dresden in 2015, and later Il Trovatore, by Giuseppe Verdi, a staging inspired by World War I, co-produced by De Nederlandse Opera in Amsterdam and the Opéra National de Paris. On February 2016, this production was rebroadcast live to 180 European cinemas during its representations in Opéra de la Bastille in Paris. In September he opened the season at The Royal Opera House in London with Vincenzo Bellini‘s Norma, a show that was broadcast live in more than100 European cinemas. In October he has premiered La Bohème by Giacomo Puccini in the Teatro Regio Torino, to celebrate the 120th anniversary of its release, a co-production with the Teatro dell'Opera di Roma.
This success paved his way for a long lasting career in German speaking theatre, starting in Frankfurt and at the Ruhrtriennale, then in Berlin, Zürich and Vienna. He continuously works at the Burgtheater, Austria's national theatre, where he presented Arthur Schnitzler's ' in 2011 and a new version of Gogol's The Government Inspector in 2015. In 2012 Swiss culture magazine ' surveyed theatre experts from 20 different countries and included Hermanis on the list of the ten most influential European theatre personalities of the past decade. Hermanis' Il trovatore at the Salzburg Festival, 2014 Since 2012, Hermanis also directs and creates sets for opera productions – first being invited by the Salzburg Festival to stage Bernd Alois Zimmermann's Die Soldaten conducted by Ingo Metzmacher.
A critic for The Sunday Times described her as "the greatest exponent of Carmen I have ever seen".Quoted in McHugh, Dominic, "Sally Burgess: 'Art is an Adventure", Musicalcriticism, 13 September Carmen is a role with which she has a particular affinity and is one she has sung all over the world. Her other roles include Azucena in Il trovatore, Amneris in Aida, Hanna Glawari in The Merry Widow, Judith in Bluebeard's Castle, Kabanicha in Káťa Kabanová, Ottavia in L'incoronazione di Poppea, Delilah in Samson and Delilah, and Herodias in Salome. Burgess appears on many recordings including several with Chandos Records (Judith in Bluebeard's Castle Herodias in Salome, Florence Pike in Albert Herring, and the Sorceress Dido and Aeneas); Paul McCartney's Liverpool Oratorio, and three jazz albums.
He sang opposite Jeritza in many other operas at the VSO, including Bacchus to her Ariadne in Ariadne auf Naxos and Paul to her Marie in Die tote Stadt. His other roles in Vienna included Cavaradossi in Tosca, Don José in Carmen, Manrico in Il trovatore, Pedro in Tiefland, Pinkerton in Madama Butterfly, Siegmund in Die Walküre, Tamino in The Magic Flute, Walther in Die Meistersinger von Nürnberg, and the title roles in Lohengrin, Parsifal, Tannhäuser, and The Tales of Hoffmann. While working at the VSO he married Ines Burmeister Geswein, with whom he had two childrens, Maren Ine and Olaf, Then years later he separeted from her and married the soprano Maria Rajdl. Their daughter, Lillemari Østvig, had a career as a concert and opera soprano.
There is also a complete Madama Butterfly (in French) from the Opéra Comique de Paris conducted Albert Wolff from 1957 with Lance as Pinkerton, and scenes from Hérodiade conducted by Georges Prêtre from 1963 with Lance as Jean alongside the Salomé of Régine Crespin and Hérodiade of Rita Gorr. EMI has published the kinescope of the 1958 Paris debut of Maria Callas, "La Grande Nuit de l'Opéra," in which Lance appeared, on DVD. He is heard in an excerpt from Il trovatore, and is seen in a staged Act II of Tosca, opposite Callas and Tito Gobbi, conducted by Georges Sébastian. In March 2011, the French opera community announced that Lance would be the first Australian to be the President of the Paris Opera Jubilee.
Patti, however, turned into a conservative singer in the final phase of her operatic and concert career. She knew what suited her aging voice to perfection and she stuck to it. Typically, her recital programmes during the 1890s featured an array of familiar, often sentimental, not-too-demanding popular tunes of the day, which were sure to appeal to her adoring fans. But during her mature prime in the 1870s and '80s, Patti had been a more enterprising singer, proving to be an effective actress in those lyric roles that required the summoning forth of deep emotions, such as Gilda in Rigoletto, Leonora in Il trovatore, the title part in Semiramide, Zerlina in Don Giovanni and Violetta in La traviata.
She was to sing regularly at La Scala until 1945, quickly establishing herself as one of the leading Italian dramatic soprano alongside Maria Caniglia in operas such as Il Trovatore, Un ballo in maschera, La forza del destino, Aida, Andrea Chénier, and Tosca. She recorded Norma in 1937 and Turandot, opposite Francesco Merli, with Magda Olivero as Liù, in 1938, both for Cetra Records. She sang at the Paris Opéra, the Royal Opera House in London, the Lyric Opera of Chicago, the San Francisco Opera, and the New York Metropolitan Opera, where she made her debut on 6 February 1937 as Aida. Cigna's career came to a halt in 1948 when she was involved in a serious car accident and suffered a heart attack.
She also designed the Brazilian pavilion at the Expo 2000 in Hanover, Germany, and organized the Grande Sertão: Veredas expo in 2006, which celebrated the 50th anniversary of the publication of João Guimarães Rosa's eponymous novel, at the newly inaugurated Museu da Língua Portuguesa. In 2002 she directed the music videos for synthpop band Metrô's tracks "Mensagem de Amor" and "Achei Bonito"; her husband serves as the band's drummer. In 2010 she directed an adaptation of Giuseppe Verdi's opera Il trovatore, which premiered at the reopening of the Municipal Theater of Rio de Janeiro after its extensive restoration process. In the same year she was hired by the Ministry of Culture to organize the ceremony of the Order of Cultural Merit.
However, Sadie (1992) p. 1168 and Kuhn (2000) give the spelling as "Ubridz" She made her stage debut in 1882 in Magdeburg as Azucena in Il trovatore and went on to sing in Basle, Düsseldorf, Dresden, and Schwerin, where in 1886 she sang the title role of Gluck's Iphigénie en Aulide for the inauguration of the Mecklenburgisches Staatstheater. In 1889, she became a permanent member of the Dresden Royal Opera (Hofoper). Amongst her early performances, there were Lenore in Fidelio and Senta in The Flying Dutchman. While at Dresden, she also sang in several world premieres, including Penelope in August Bungert's Odysseus' Heimkehr (Odysseus' Return) (1896), Ulana in Paderewski's Manru (1901), and most famously the title role of Richard Strauss' Salome (1905).
That year she also sang Nancy in Martha and Amneris in Aida. Her other teachers were Anna Eugénie Schön-René (a pupil of Pauline Viardot),Songs and Duets of Garcia, Malibran and Viardot Louis Bachner in Berlin, and Enrico Rosati in New York.Bach Cantatas She sang at the Royal Theatre 1913-18, and at the Berlin State Opera from 1920 to 1934, where she created the role of the Nurse in the Berlin première of Die Frau ohne Schatten under the composer, Richard Strauss,Historic Opera and was also heard as Azucena (Il trovatore), Laura (La Gioconda), Fides (Le prophète), Dalila (Samson et Dalila) and Carmen.Access My Library She also appeared at the Royal Opera, Covent Garden in 1935, 1937 and 1938.
"That Rare Vocal Bird, a True Verdi Mezzo", The New York Times, February 11, 1990. She graduated from the University of Nevada with a Bachelor's and a Master's degree in music before going to New York for further music studies at the Manhattan School of Music. In 1982 she won the Bronze Medal at the 7th International Tchaikovsky Competition in Moscow, the only non-Soviet medalist that year and the first American musician to place in the contest in over twelve years. After this and graduating from the Manhattan School of Music, she was offered a place in the San Francisco Opera's Merola Program, she debuted with the San Francisco Opera as Azucena in Il Trovatore in 1986, which launched her to international acclaim.
He began an international career in the early 1970s, with debut at the Vienna State Opera, the Salzburg Festival, the Paris Opéra, the Metropolitan Opera, etc., and began expanding his repertory to include more dramatic roles, notably Arnold, Don José, Manrico, Radames, Otello, Cavaradossi, Calaf, etc. In his later career he became known for excessively long-held high notes (such as in "Di quella pira" and "Nessun dorma") and temperamental or bizarre behaviour, on and off stage. He caused a major scandal in 1978 when, after throwing his prop sword at the conductor Herbert von Karajan, furiously left the stage just before the famous cabaletta "Di quella pira" during a public dress rehearsal of Il Trovatore at the Vienna State Opera.
Mohr made his operatic debut at the Lübeck Opera in 1984 as Silvio in Leoncavallo's Pagliacci. He was engaged as a baritone at the Theater Bremen (1985 to 1997) and Nationaltheater Mannheim, and then moved to the Oper Bonn in 1990, where he collaborated with notable directors such as Giancarlo del Monaco, Jürgen Rose, Werner Schroeter, András Fricsay and . His roles there included Luna in Verdi's Il trovatore, Germont in Verdi's La traviata, Eisenstein in Die Fledermaus by Johann Strauss, Peter in Humperdinck's Hänsel und Gretel, Almaviva in Mozart's Le nozze di Figaro and Papageno in Die Zauberflöte. He took part in the world premiere of Manfred Trojahn's Enrico at the 1991 Schwetzingen Festival with the ensemble of the Bavarian State Opera.
Cover of Ricordi's first publication in 1808 Piano and vocal score for Verdi's Il trovatore Giovanni Ricordi, a violinist, leader of a small orchestra in Milan, as well as "a genius and positive force in the history of Italian opera," in 1803 had a firm, a copisteria, which specialized in producing manuscript copies of music for local music groups, and very quickly, he became official copyist for two theatres. He entered into what became a short-term partnership with Felice Festa, an engraver and music seller, but that ended in June 1808. The first work, which the new company published in 1808, was a guitar piece by Antonio Nava. This was followed in 1814 by the first catalogue, which contained 143 items.
Gossett 2006, p. 100 As business expanded, it became clear to Giovanni that also producing string and choral parts, for which there would be great demand by opera house orchestras, was another means of expanding the firm's involvement and also assuring composers that there would be uniformity.Gossett 2006, p. 101 However, although Ricordi began to publish full scores from the 1850s, they were never made available for sale, only for rent to opera houses. Quite quickly, as Verdi's operas became more and more popular, this approach extended to producing all of the orchestral parts for each opera, most especially the three great successes of the 1850s, Rigoletto, Il trovatore, and La traviata, and those that followed when Tito Ricordi headed the firm.
Caricature of Hervé with an arrow "right in his eye" The operetta was a great success with 345 performances in its first year. Among the hit tunes of the lively and witty score were the duet the "Légende de la langouste atmospherique" (the story of the atmospheric lobster); a number for the gendarme imitating drum sounds; and a yodeling song for Alexandrivoire. A review of the original production said Hervé's music was "spiritual, joyous, really crazy, really Parisian... and wise!" Carl Maria von Weber's opera Der Freischütz and Rossini's Guillaume Tell, which both feature archery contests, are parodied, as is Verdi's Il trovatore, with Dindonette doing a take-off of the "Miserere" from that opera as her beloved is imprisoned in a dungeon.
He sang on French Radio in 1964, in Rameau's Hippolyte et Aricie, and made his debut at the Aix-en-Provence Festival in 1965, as Pluton in Monteverdi's L'Orfeo. The same year he made his debut at the Opéra- Comique, as Colline, in La Bohème, and at the Palais Garnier, as Mephisto in Gounod's Faust. On the international scene, he appeared at the Wexford Festival in La jolie fille de Perth, and at the Edinburgh Festival as Don Giovanni, a role he became closely associated with, singing it at Aix-en- Provence, Munich, Vienna, Florence, Chicago, New York. Other notable roles include; Ferrando in Il trovatore, Procida in Les vêpres siciliennes, Titurel in Parsifal, Rangoni in Boris Godunov, Pope Clement in Benvenuto Cellini, etc.
Salvadore Cammarano Salvadore Cammarano (also Salvatore) (born Naples, 19 March 1801 – died Naples 17 July 1852) was a prolific Italian librettist and playwright perhaps best known for writing the text of Lucia di Lammermoor (1835) for Gaetano Donizetti. For Donizetti he also contributed the libretti for L'assedio di Calais (1836), Belisario (1836), Pia de' Tolomei (1837), Roberto Devereux (1837), Maria de Rudenz (1838), Poliuto (1838), and Maria di Rohan (1843), while for Giuseppe Persiani he was the author of Ines de Castro. For Verdi he wrote Alzira (1845), La battaglia di Legnano (1849) and Luisa Miller (1849), but after he died in July 1852, Verdi worked with Leone Emanuele Bardare to complete the libretto for Il trovatore (1853).Budden, Vol.
Encanto del Mar is a 2014 album of Mediterranean songs by Plácido Domingo.Por una infección de vejiga y en las vías respiratorias Plácido Domingo, obligado a suspender sus funciones de "Il trovatore"Hola Plácido Domingo lanzará en octubre un nuevo disco "Con una portada en la que se le ve con sudadera, muy bronceado y sobre un fondo azul, Plácido Domingo, que tuvo que cancelar sus actuaciones en Salzburgo de este fin de semana por un proceso febril, sacará nuevo disco el próximo 7 de octubre, titulado Encanto del Mar y dedicado a canciones mediterráneas...." Singing in the baritone range, Domingo performs songs from diverse countries and regions around the Mediterranean Sea in eleven different languages, typically with simple accompaniments.
In Italian as Il trovatore Tenor Carlo Baucardé sang Manrico Soprano Rosina Penco sang Leonora Mezzo Emilia Goggi sang Azucena Baritone Giovanni Guicciardi sang di Luna The opera's immense popularity – albeit a popular success rather than a critical one – came from some 229 productions worldwide in the three years following its premiere on 19 January 1853, and is illustrated by the fact that "in Naples, for example, where the opera in its first three years had eleven stagings in six theaters, the performances totalled 190". First given in Paris in Italian on 23 December 1854 by the Théâtre-Italien at the Salle Ventadour,Pitou, p. 1333. the cast included Lodovico Graziani as Manrico and Adelaide Borghi-Mamo as Azucena.Budden, p. 107.
In 1976, Knie abruptly left a production of The Ring after clashes with producer Patrice Chéreau and poor audience reaction to the then-controversial updating of the opera's setting to the Industrial Revolution. She was inducted into the Oklahoma Hall of Fame in 1982. Although known for Wagner roles, she could perform the full gamut of the dramatic soprano repertoire. High points in her stage career include Senta in The Flying Dutchman, Elsa in Lohengrin, Sieglinde and several of the Valkyries in Die Walküre, Donna Anna in Mozart's Don Giovanni, Elettra in Mozart's Idomeneo, the Marschallin in Strauss's Der Rosenkavalier, Liza in Tschaikowsky's The Queen of Spades, and Leonore in both La forza del destino and Il trovatore, among other roles.
Kari Nurmela (born Viipuri May 26, 1933; died Helsinki January 21, 1984) was a Finnish dramatic baritone of note. Born in Viipuri, Finland, Nurmela made his operatic debut as the Conte di Luna, in Il trovatore, at Helsinki, in 1961. He went on to appear at Prague, Marseille, Nancy, Frankfurt, Hamburg, Munich, Stuttgart, Bologna, Florence, Genoa, Palermo, Venice, Trieste, Lisbon, Geneva, Zurich, Seattle, and San Diego, as well as the Festival at Orange. He was heard in the leading baritone roles of Curlew River, Don Pasquale, Roberto Devereux, Pagliacci (as Tonio), Cavalleria rusticana, L'Orfeo, Don Giovanni, Le nozze di Figaro (as the Conte Almaviva), La bohème, Madama Butterfly, Il tabarro, Tosca, Elektra, Un ballo in maschera, Don Carlos, Ernani, Falstaff (as Ford), La forza del destino, Nabucco, Otello, La traviata, Tannhäuser, etc.
The Royal Danish Theatre, where Melchior made his operatic debut One night, while on tour, Melchior helped an ailing soprano performing in Il trovatore by singing a high C in the Act IV Leonora-di Luna duet. The Azucena of that performance, the American contralto Mme Charles Cahier, was impressed by the tone she had heard and gave her young colleague sound advice: he was no baritone, but a tenor "with the lid on." She even wrote to the Royal Opera pleading that Melchior be given a sabbatical and a stipend to restudy his voice. This he did between 1917 and 1918, taking lessons from the noted Danish tenor Vilhelm Herold (1865–1937) who had sung Wagnerian roles in Covent Garden, Chicago and elsewhere from 1900 to 1915.
Giannattasio has worked with many renowned international conductors including Maurizio Benini, Semyon Bychkov, Roland Boer, Sir Colin Davis, Plácido Domingo, Dan Ettingerá, Asher Fisch, Riccardo Frizza, Daniele Gatti, Michel Plasson, René Jacobs, Riccardo Muti, Daniel Oren, Zubin Mehta, Myung-whun Chung, Antonio Pappano, Michele Mariotti, and David Parry. In 2012, she made her Royal Opera House, Covent Garden debut as Mimi in John Copley's production of La boheme and her Metropolitan Opera, New York, debut as Leonora in David McVicar's production of Il trovatore. In the same year she also had a debut at Arena di Verona in Zeffirelli's production of Mozart's Don Giovanni starring Ildebrando D'Arcangelo. In december 2012 she was acclaimed in Naples as Violetta in La Traviata under the direction of turkish cinema director Ferzan Ozpetek.
For full argumentation please see page 7 of the definitive Battistini biography Mattia Battistini, King of Baritones and Baritone of Kings, 2009 (The Scarecrow Press, Lanham, Md, USA), translation by E. Thomas Glasow; also to be found on page 17 of the author's original French edition Battistini, le dernier divo, 1996 (Editions Romillat, Paris). During the first three years of his professional career he toured Italy, honing his voice and gaining invaluable experience by singing principal rôles in such varied operas as La forza del destino, Il trovatore, Rigoletto, Il Guarany, Gli Ugonotti, Dinorah, L'Africana, I Puritani, Lucia di Lammermoor, Aïda, and Ernani. He participated, too, in several operatic premières. In 1881 he went to Buenos Aires for the first time, touring South America for more than 12 months.
He also conducted Tosca at the Metropolitan in New York, Adriana Lecouvreur in Rome, Naples; Manon, Werther and Nabucco in Trieste, Il Trovatore in Palermo, Aida and Nabucco at the Arena di Verona, Manon Lescaut, Madama Butterfly and The Sleepwalker in Florence. He conducted Carmen at the Royal Opera House in Covent Garden's opera, Andrea Chenier at the Carlo Felice in Genoa, Rigoletto at the Royal Opera House in Covent Garden, London, Tosca in Tel Aviv Opera, Aida and Turandot in Verona and Andrea Chénier and La Bohème Opera Bastille (Paris). At Covent Garden in London he conducted Romeo and Juliet, Rigoletto and Carmen. After the success of Nabucco, Oren returned to the Festival Opera of Masada in June 2011 with Aida, repeated at the Arena of Verona.
The fact that this is "the one opera of Verdi's which focuses on a mother rather than a father" is perhaps related to her death. In the winter of 1851–52 Verdi decided to go to Paris with Strepponi, where he concluded an agreement with the Opéra to write what became Les vêpres siciliennes, his first original work in the style of grand opera. In February 1852, the couple attended a performance of Alexander Dumas fils's play The Lady of the Camellias; Verdi immediately began to compose music for what would later become La traviata. After his visit to Rome for Il trovatore in January 1853, Verdi worked on completing La traviata, but with little hope of its success, due to his lack of confidence in any of the singers engaged for the season.
His other notable roles with the company included Manrico in Verdi's Il trovatore (1859), the Duke of Mantua in Verdi's Rigoletto (1860), Riccardo in Verdi's Un ballo in maschera (1866), and Vasco da Gama in Meyerbeer's L'Africaine (1866) among others. Walter also periodically performed in opera houses in Germany and Bohemia. He sang with the Munich Court Opera in 1868, with Oper Frankfurt in numerous operas between 1864–1882, the Wiesbaden Opera House in 1874–75, the opera house in Brno in 1875, and the National Theatre in Prague in 1885. Some of the roles he sang in these houses include Raoul de Nangis in Meyerbeer's Les Huguenots, George Brown in Boïeldieu's La dame blanche, Tamino in Mozart's Die Zauberflöte, Florestan in Beethoven's Fidelio, and the title role in Gounod's Faust.
Pons made his international début in 1980 at the Teatro alla Scala of Milan with Falstaff, staged by Giorgio Strehler and conducted by Lorin Maazel. Since then, he has been a guest of the most important theatres all over the world, including the Metropolitan Opera House of New York, the Vienna Staatsoper, Covent Garden in London, the Opéra of Paris, Zürich, the Liceo in Barcelona and the Arena of Verona. His repertoire includes all the main baritone roles. Besides Falstaff, a role he played in 1993 at the La Scala under Riccardo Muti on the occasion of the centennial anniversary of its first performance, he has interpreted many of Verdi's most important baritone roles in Il trovatore, Aida, Ernani, Un ballo in maschera, Rigoletto, La forza del destino, La traviata, Simon Boccanegra and Macbeth.
From the 1960s until the early 1970s, his speciality was music of 18th and early 19th century, mostly in bel canto repertoire of Rossini, Bellini and Donizetti. Bonynge then gradually added also middle Verdi (La traviata, Rigoletto, Il trovatore), Offenbach (Les Contes d'Hoffmann), then also Massenet (Esclarmonde and Werther). Bonynge has recorded extensively in the ballet genre: Delibes's three ballets – La Source, Coppélia, Sylvia; Riccardo Drigo's The Magic Flute and Le Réveil de Flore; Jacques Offenbach's Le papillon; Friedrich Burgmüller's La Péri; and Tchaikovsky's three ballets – Swan Lake, The Sleeping Beauty, The Nutcracker. One of Bonynge's most valuable contributions to ballet music is a 10 CD "Compendium of Ballet Rarities" which have been rarely recorded but are often performed by established ballet companies, such as several famous Pas de deux and ballets performed in operas.
However, none of the works mentioned qualifies as belles-lettres. Ernesto il disingannato (1873-1874)the first part, titled Il passato e il presente ossia Ernesto il disingannato, was serialized in a Naples daily Il Trovatore between August and November 1873; the second one went to print as La fine di Ernesto il disingannato and was published between June and September 1874; both were combined in a 2017 edition titled Ernesto il disingannato was a novel written by a so far unidentified Italian author; formatted as “political romance” it advanced the Traditionalist and Carlist cause.considered “il primo romanzo “borbonico” scritto a Napoli ed è il primo romanzo italiano a parlare di Carlismo”, it was set in Naples and in Spain between 1858 and 1873, Gianandrea de Antonellis, Introduzione.
She studied singing in Liverpool with Edwin Francis and later in London with Redvers Llewellyn and Clive Carey. She joined the Sadler's Wells Opera Company in 1957, and sang in the chorus with them for two years before touring with the Carl Rosa Opera Company. She then obtained a grant from the Countess of Munster Trust, which made it possible for her to study for a year with Dame Eva Turner. After this she went back to the Company as a principal, where her roles included Senta in The Flying Dutchman, Musetta in La bohème, Odabella in Attila, Fata Morgana in The Love for Three Oranges, Donna Anna in Don Giovanni, Amelia in A Masked Ball, Santuzza in Cavalleria rusticana, Elizabeth in Don Carlos and Leonora in Il trovatore.
Marta Moretto is an Italian operatic lyric mezzo-soprano, who was born in Padua. A graduate of the Conservatorio "Cesare Pollini," in her native city, Moretto made her formal debut in 1990, as Maddalena in Rigoletto, in Mexico City. She has appeared in Berlin (Verdi Requiem, 1990), Lucca (Santuzza in Cavalleria rusticana, and Suzuki in Madama Butterfly, 1991), Venice (in Busoni's Turandot, directed by Achim Freyer, 1994, and the Zia Principessa in Suor Angelica, 1996), Savona (Azucena in Il trovatore, 1995), Rouen (Ulrica in Un ballo in maschera, 1996), Marseille and Lyon (Fenena in Nabucco, 1996), Parma (Ortrud in Lohengrin, 2000, and Rigoletto, 2001), and Messina (Leokadja Begbick in Aufstieg und Fall der Stadt Mahagonny, 2001). In 2001, the Centennial of Giuseppe Verdi's death, Moretto sang Amneris, in Aïda, in Pavia, Pisa, Rovigo, and Trento.
She has appeared frequently at almost every major opera house in the world, including the Vienna State Opera, the Zurich Opera, the Royal Opera House, Covent Garden, the Bayerische Staatsoper, the San Francisco Opera, the Deutsche Oper Berlin, the Paris Opéra, the Teatro alla Scala, the Los Angeles Opera, the Metropolitan Opera, the Gran Teatre del Liceu, the Grand Théâtre de Genève, the Lyric Opera of Chicago, as well as many prominent opera and music festivals. She made her debut at Teatro alla Scala as Leonora in Il Trovatore on 4 April 1967. She returned to La Scala as the title role of Salome in January 1974. On 24 November 1972, she made her debut at the Metropolitan Opera House of New York as Sieglinde in Die Walküre.
Her appearances ranged from Boston to Mexico City and Havana, where she remained a principal in the company under Giovanni Bottesini around 1850 with whom she was involved in the second performance of the National Anthem of Mexico in September 1854. She sang in the American premiere of Il trovatore at the Academy of Music in New York, sharing the roles of Leonora and Ines in the production. On her return from Cuba in 1855, when she played Lucrezia Borgia in the opera, The New York Times called her "one of the few worth welcoming back again"; but critic Richard Grant White wrote that her voice had deteriorated into "a bewildered shriek". She continued her career in Europe, appearing in Vienna in 1859 and Naples in 1860–61, where she created Errico Petrella's Morosina.
She was also seen at the NYCO that season as Santuzza in Mascagni's Cavalleria rusticana. In April 1944 Resnik won the Metropolitan Opera Auditions of the Air, performing "Ernani, involami", and was offered a contract with that company for the 1944/45 season. Her debut at the Met was doubly dramatic – on one day's notice she substituted on December 6, 1944, for Zinka Milanov as Leonora in Il trovatore eliciting acclaim from the public, the critics noting that all the vocal "virtuosity" and her stage presence as an actress were very impressive. During the next decade, she offered twenty heroines: Donna Elvira and Donna Anna (Don Giovanni), Fidelio, Sieglinde (Die Walküre), Gutrune (Götterdämmerung), Chrysothemis (Elektra), Rosalinda and Eboli (Don Carlos), Aida, Alice Ford (Falstaff), Tosca, Madama Butterfly and Musetta (La bohème).
As a recipient of the Dame Eva Turner Awards, she studied on a scholarship at the Royal Northern College of Music and completed her studies at the National Opera Studio in London in 1999. During her studies, she performed as the Queen of the Night in Mozart's The Magic Flute at the Opera of Northern Ireland in 1998 and the Welsh National Opera. She repeated the role when she sang at the English National Opera for the first time in 2000. She became a member of the Nationaltheater Weimar in 2001, where she first performed roles such as Mimi in Puccini's La Bohème, Elisabeth in Wagner's Tannhäuser, Leonore in both Beethoven's Fidelio and Verdi's Il trovatore, Senta in Wagner's Der Fliegende Holländer, Abigaille in Verdi's Nabucco and Elektra in Mozart's Idomeneo.
Concert of Charles Dutoit and Philadelphia Orchestra in Tianjin Every year, more than 300 performances are staged in the grand theatre, including operas, dances, musicals, symphonies, Chinese modern dramas, Chinese operas. Since the establishment of the theatre in April 2012, about 10 high-toned operas have been performed annually. For example, Puccini's Tosca, Tchaikovsky’s Eugene Onegin carried out by Stanislavski Russian Theatre, Béla Bartók’s Bluebeard's Castle, Giuseppe Verdi’s Rigoletto, Il trovatore, Aida performed by Hungarian State Opera House, Mozart’s The Marriage of Figaro by Deutsche Oper am Rhein, and La traviata of Giuseppe Verdi. In June 2012, Concert of Charles Dutoit and Philadelphia Orchestra was staged in the theatre. 296 performances have been staged and 270,000 visitors have been served till the first anniversary of the theatre’s inauguration ceremony.
The 19th century Çiçek Pasajı (literally Flower Passage in Turkish, or Cité de Péra in French, opened in 1876) on İstiklal Avenue can be described as a miniature version of the famous Galleria in Milan, Italy, and has rows of historic pubs, winehouses and restaurants. The site of Çiçek Pasajı was originally occupied by the Naum Theatre, which was burned during the great fire of Pera in 1870. The theatre was frequently visited by Sultans Abdülaziz and Abdülhamid II, and hosted Giuseppe Verdi's play Il Trovatore before the opera houses of Paris. After the fire of 1870, the theatre was purchased by the local Greek banker Hristaki Zoğrafos Efendi, and architect Kleanthis Zannos designed the current building, which was called Cité de Péra or Hristaki Pasajı in its early years.
She starred in some, star-directed productions in Paris (Nabucco, alongside Grace Bumbry and Sherrill Milnes - 1979, Jorge Lavelli's Oedipus Rex - 1979, Joseph Losey's Boris Godunov - 1980 or Sonja Frissell's Un ballo in maschera, alongside José Carreras - 1981). In 1984, she was a vehement Klitemnestra in Regina Resnik's San Francisco Opera production of Elektra. She sang in Denver, Rio de Janeiro, Madrid, Bagdad, Tokyo, Osaka, and Amsterdam, but she also returned to stages such as L'Arena di Verona (La Gioconda and Aida - 1988), Grand Opera, Paris (Herodias in Richard Strauss' Salome in the fascinating mise-en-scene of her dear Jorge Lavelli), Gran Teatre del Liceu, Barcelona (Il Trovatore, La Gioconda, Les Contes d'Hoffmann, Il Matrimonio Segreto - 1986, 1987, 1988, 1989), Teatro Comunale di Bologna (Un Ballo in maschera with Luciano Pavarotti - 1989).
His concert repertoire ranges from Mozart to Penderecki, and from Beethoven to Mahler. He debuted in 1976 at the Vienna State Opera as Ferrando (Il trovatore). From there he went on to sing Colline (La bohème), Pimen (Boris Godunov), Grand Inquisitor (Don Carlo), Commendatore (Don Giovanni), Osmin (Die Entführung aus dem Serail), Rocco (Fidelio), Daland (The Flying Dutchman), Roger (Jérusalem), King Henry (Lohengrin), Raimondo (Lucia di Lammermoor), Geronte (Manon Lescaut), Talbot (Maria Stuarda), Veit Pogner (Die Meistersinger von Nürnberg), Bartolo (The Barber of Seville), Titurel and Gurnemanz (Parsifal), Sparafucile (Rigoletto), Fasolt (Das Rheingold), Hunding (Die Walküre), Fafner (Siegfried), Hagen (Götterdämmerung), Ochs (Der Rosenkavalier) Morosus (Die schweigsame Frau), Landgraf (Tannhäuser), Claggart (Billy Budd) and Sarastro (The Magic Flute). Rydl studied in the U.S. as an exchange student and is fluent in English.
In 1944 Björling was appointed hovsångare by the Swedish King, Gustaf V. In 1945 Björling returned to the US and appeared frequently at the Metropolitan Opera. He sang many major tenor roles in operas in the French and Italian repertoire, including Il trovatore, Rigoletto, Aida, Un ballo in maschera, Cavalleria rusticana, Faust, Roméo et Juliette, La bohème, Madama Butterfly, Tosca and Manon Lescaut. He appeared as Don Carlo in the opening of the 1950–1951 season, but the relationship with Rudolf Bing was strained, and as a consequence he was absent for a couple of seasons in the mid 1950s. Meanwhile Björling appeared with other American opera companies such as Lyric Opera of Chicago and San Francisco Opera. Björling appeared at La Scala in 1946 in Rigoletto and 1951 in Un ballo in maschera.
Her Metropolitan Opera debut came in 1908 with an acclaimed performance of Aida, after she was released from her contract with the Berlin Court Opera. Two years later at the Met, she created the role of Minnie in the premiere of Puccini's La fanciulla del West, again opposite Caruso, and under the direction of Arturo Toscanini. Memorial of Emmy Destinn near Třeboň While she was highly successful in the lighter roles of Wagner's operas, her spinto voice—although large in size, with a ringing top register—was better suited to German music of a less declamatory type. She also excelled in the French part of Carmen, in which she was said to rival Calvé, and in the Italian roles of Aida, Madama Butterfly and Leonora (in Il trovatore).
Born on 19 April 1864 in Bjergsted in the north east of Zealand, Elisabeth Dons was the daughter of the landowner Captain Julius Dons (1830-1908) and Augusta Mariane Sievers (1833-1908). On the recommendation of a family friend, her parents enrolled her in the Royal Music Conservatory where she studied under two of the best singers of the times, Leocadie Gerlach and Sophie Keller. After hearing her sing one evening, Johan Svendsen, who headed the Royal Danish Orchestra, invited her to complete her studies at the Royal Theatre where she was taught by Emil Poulsen (1842–1911). When only 21, she made her début in the demanding role of Azucena in Il trovatore, immediately gaining acclaim in the newspapers for the ease with which she moved from one register to another.
She sang widely in Italy, Genoa, Venice, Parma and notably in Turin in 1973, as Elena in I vespri siciliani, in the only production ever directed by Maria Callas. In 1962, she made her debuts at both the Royal Opera House in London, as Desdemona in Verdi's Otello, and the Metropolitan Opera in New York, as Nedda. She went on performing at the Bolshoi Theatre in Moscow, the Teatro Colón in Buenos Aires, the Paris Opéra, the Vienna State Opera, the Budapest Opera, the Lyric Opera of Chicago, the San Francisco Opera, the Dallas Opera, the Teatro dell'Opera di Roma, etc. She also appeared in a few opera films, notably Pagliacci, opposite Jon Vickers in 1968, Il trovatore, opposite Franco Bonisolli, in 1975, and Tosca, opposite Plácido Domingo, in 1976.
Singers represented on the Romophone label include Frances Alda, Lucrezia Bori, Edmond Clement, Léon David, Emma Calvé, Emmy Destinn, Emma Eames, Kirsten Flagstad, Amelita Galli-Curci, Mary Garden, Beniamino Gigli, Lotte Lehmann, Giovanni Martinelli, Edith Mason, John McCormack, Nellie Melba, Claudia Muzio, Pol Plançon, Rosa Ponselle, Elisabeth Rethberg, Tito Schipa, Elisabeth Schumann, Ernestine Schumann-Heink, Luisa Tetrazzini, Marcella Sembrich, Mattia Battistini, Mario Ancona and Leonard Warren among others. Two complete opera recordings from La Scala - Il Trovatore (1930) and Madama Butterfly (1929/30) - are in the catalogue, as well as collections including Wagner en Français, America the Beautiful, The Century's Greatest Singers in Puccini and Christmas From a Golden Age. Romophone won a Gramophone Award for Best Historical Recording in 1996, for a volume of recordings by Lucrezia Bori, remastered by Ward Marston.
He established his career in the UK for six years, before returning to Australia in 1967 to sing with the Australian Opera in major roles including Canio, Manrico (Il trovatore), Bob Boles (Peter Grimes), the Duke of Mantua (Rigoletto), Dick Johnson (The Girl of the Golden West), Cavaradossi (Tosca), Radames (Aida), and King Gustavus (Un ballo in maschera). He also sang the Germanic operatic repertoire, including Florestan in Fidelio and Eric in The Flying Dutchman. During the 1970s, Smith and his son Robin Donald, also a tenor, made operatic history together, alternating singing the role of Eric in The Flying Dutchman, in performance with the Australian Opera Company (now Opera Australia). Robin also sang the role of The Steersman in performances on other occasions, when Donald was singing the role of Eric.
He quickly sang widely in Italy and various European opera houses, as well as in South America, before making his debut on November 29, 1957, at the Metropolitan Opera in New York, as Alvaro in La forza del destino, where he sang thirteen roles in eight seasons, including Alfredo in La traviata, Manrico in Il trovatore, and Radamès in Aïda. In 1959, he sang at the New York City Opera as Calaf in Puccini's Turandot (conducted by Julius Rudel) and Rodolfo in La bohème (opposite Chester Ludgin as Marcello). He also appeared at the San Francisco Opera, and the opera houses of Philadelphia, Houston, and New Orleans. Other important debuts were at the Royal Opera House in London, and the Palais Garnier in Paris, both as Radamès in Aïda in 1959.
Her more notable roles at the Met included Amore in Gluck's Orfeo ed Euridice, Giannetta in Donizetti's L'elisir d'amore, Guadalena in Offenbach's La Périchole, Micaela in Bizet's Carmen, Oscar in Verdi's Un ballo in maschera, Yniold in Debussy's Pelléas et Mélisande, and Zerlina in Mozart's Don Giovanni. She also portrayed a number of smaller supporting roles, including Annina in La Traviata to the Violettas of Licia Albanese, Maria Callas, and Victoria de los Angeles and the role of Ines in Il Trovatore to Lucine Amara's Leonora . Her last performance at the Met was on April 2, 1962 as the Crowned Child in Verdi's Macbeth with Anselmo Colzani in the title role and Irene Dalis as Lady Macbeth.Metropolitan Opera archives During her years at the Met, Allen also occasionally sang roles with other companies.
These were sung in Italian as was the custom of the time. The first performances of Il trovatore (1854) and La traviata (1855) led to the crowning of Giuseppe Verdi as the king of opera. In 1866 Mozart was staged at the Liceu for the first time with Don Giovanni. 1883 is a landmark when Wagner's Lohengrin is first performed. From there, and especially from the 1880s to 1950s, Wagner become one of the most beloved and highly regarded composers at Liceu. The theatre had the first staged performance of Parsifal outside Bayreuth on December 31, 1913, after the Bayreuth monopoly ended (although performance started 30 minutes before the deadline of 00:00 on January 1, 1914) with Francesc Viñas in the title role and conducted by Franz Beidler.
Other important steps in her career are the opening of La Scala with Luisa Miller in 1969 (replacing Montserrat Caballé) and I masnadieri at the Maggio Musicale Fiorentino under the direction of Riccardo Muti. She covers a wide repertoire ranging from Handel's Giulio Cesare to verismo, with a preference for Verdi's Aida in over 500 performances, as well as performing in Il trovatore, Un ballo in maschera, La traviata and in the already mentioned Luisa Miller and La forza del destino. She also interprets various titles of the first Verdi: Attila, I masnadieri, Nabucco, La battaglia di Legnano, I due Foscari, Ernani. From Puccini's repertoire, she performs La bohème, Manon Lescaut, Tosca, Madama Butterfly, Suor Angelica, Turandot (Liù), and works by other verismo composers such as Andrea Chénier, Cavalleria rusticana, and Francesca da Rimini.
Amongst her pupils was the Australian dramatic soprano Margherita Grandi. Boninsegna possessed a rich, resonant voice with a wide compass that was particularly suited to Verdi's music. In Italy in the 1900-1920 period, she was considered to be one of the finest interpreters of several Verdi heroines, including the title role in Aïda, Amelia in Un ballo in maschera, and Leonora in both Il trovatore and La forza del destino. Critics particularly admired her relatively smooth vocal delivery and the dignity and refinement that she gave to the vocal lines of the music at hand, although—as the opera commentator and record reviewer Michael Scott details in The Record of Singing (Duckworth, London, 1977)—her technique was not impeccable, with her ripe lowest register not fully integrated with the upper parts of her voice.
Corelli made his debut at New York's Metropolitan Opera on 27 January 1961 as Manrico in Il trovatore, opposite soprano Leontyne Price as Leonora who was also making her house debut at the Met that evening. He would sing to great acclaim at the Met until 1974 in roles such as Calaf (with Birgit Nilsson as Turandot), Cavaradossi, Maurizio, Ernani, Rodolfo and Edgardo. He also undertook French parts in new productions of Roméo et Juliette and Werther. He sang at a number of historic nights at the Met including: the closing gala at the old Met, the concert honoring Sir Rudolf Bing's retirement, and Callas's legendary comeback Tosca. His last performance at the Met was on December 28, 1974 as Calàf with Ingrid Bjoner, also singing her last performance at the Met, as Turandot.
Silja began her operatic career at a very early age, with her grandfather, Egon Friedrich Maria Anders van Rijn, as her voice teacher. She sang Rosina in Rossini's The Barber of Seville at Braunschweig in 1956, following this with Micaëla in Carmen and Zerbinetta in Ariadne auf Naxos. The important part of her career began in 1959, when she sang the Queen of Night in Mozart's Die Zauberflöte at the Vienna State Opera (under Karl Böhm) and at the Aix-en-Provence Festival. France-Soir dubbed her "a second Callas." Other early roles included Leonora in Il trovatore, Santuzza in Cavalleria rusticana, the four heroines of Les contes d'Hoffmann, Konstanze in Die Entführung aus dem Serail,"Frankfurt City Opera" (November 1963). The Musical Times, 104 (1449): pp. 798–802.
She has performed in many prestigious theaters worldwide, such as Carnegie Hall, Central Park in New York, Teatro Antico di Taormina, Teatro de Bellas Artes, Teatro Amazonas, National Centre for the Performing Arts (China), and Teatro Solís. She has performed with opera stars including Cristina Gallardo-Domâs, Ramón Vargas, Plácido Domingo, Walter Fraccaro, George Petean and Elena Maximova. Her operatic repertoire includes Elisabeth of Valois in Don Carlo, Leonora in Il trovatore, Lady Macbeth, Lucrezia Borgia, Abigaille in Nabucco, Floria Tosca, Manon Lescaut, Aida, Margherita/Elena in Mefistofele, Floria Tosca, Donna Anna in Don Giovanni, and Micaela in Carmen, as well as Senta in Der Fliegende Hollander, Sieglinde in Die Walküre, and Elisabeth in Tannhäuser. In 2012, she represented USA and Italy in Placido Domingo's Operalia, The World Opera Competition in Beijing, China.
Throughout the rest of his career, Mike Murphy would remain one of O'Mara's signature roles. O'Mara and his wife returned to London for a series of concert engagements, but in the Autumn of 1897, they travelled again to America where O'Mara created the tenor lead in Reginald De Koven's The Highwayman. O'Mara gave many private concerts at the beginning of the new century, but happily returned to opera as leading tenor with the Moody-Manners Opera Company in London from 1902 to 1908, performing in Maritana, Cavalleria, Faust, Lohengrin, Pagliacci, Il trovatore, Carmen, Charles Gounod's Roméo et Juliette, and the first English-language production of Puccini's Madame Butterfly (1907),"The History of Madame Butterfly", Music With Ease, accessed 16 February 2010 also performing extensively in Ireland with the company.
Hjördis Schymberg as Fiordiligi with Hugo Hasslo as Guglielmo in Così fan tutte Hugo Hasslo (16 May 1911 Bohuslän - 20 January 1994 Stockholm) was a Swedish operatic baritone. Hasslo studied in Stockholm with Hjaldis Ingebjart and Joseph Hislop and made his debut at the Stockholm Opera, as Guglielmo in Cosi fan tutte, in 1940, where he remained until 1964, quickly establishing himself as first baritone. He was particularly admired in the Italian repertory singing roles such as Figaro in Il barbiere di Siviglia, Belcore in L'elisir d'amore, Malatesta in Don Pasquale, the title role in Macbeth and Rigoletto, di Luna in Il trovatore, Riccardo in Un ballo in maschera, Marcello in La boheme, etc. He also sang in Mozart and Wagner operas, and attempted the tenor role of Cavaradossi in Tosca, in 1943.
From 1937-1941, Vaghi was a regular performer at the Teatro Colón in Buenos Aires. In 1945 he signed a contract with the Metropolitan Opera, making his debut at the house on 18 February 1946 as Colline in La bohème with Dorothy Kirsten as Mimì, Jan Peerce as Rodolfo, Frances Greer as Musetta, John Brownlee as Marcello, and Cesare Sodero conducting. He remained committed to that house for the next two and a half years, portraying Alvise in La Gioconda, Don Basilio in The Barber of Seville, Ferrando in Il trovatore, Nilakantha in Lakmé, Raimondo in Lucia di Lammermoor, Ramfis in Aida, Samuel in Un ballo in maschera, and Sparafucile in Rigoletto.Metropolitan Opera Archives In 1950 he appeared at the Maggio Musicale Fiorentino as Antigono in Gaspare Spontini's Olimpie.
Other US companies Ginsberg performed with during her career were Cincinnati Opera, Fort Worth Opera, Houston Grand Opera, Pittsburgh Opera, San Diego Opera, Santa Fe Opera, Utah Opera, and the Washington National Opera. On the international stage she made appearances with, among others, the Opéra de Nice, the Opéra Royal de Wallonie, the Scottish Opera and the Welsh National Opera. Some of the other roles she performed on stage were Abigaille in Nabucco, Amelia in Un ballo in maschera, Cio-Cio-San in Madama Butterfly, Desdemona in Otello, Donna Anna in Don Giovanni, Elvira in Ernani, Lady Macbeth in Macbeth, Leonora in Il trovatore, Leonora in La forza del destino, Magda in La Rondine, Nedda in Pagliacci, and the title heroines in Aida, Manon Lescaut, Norma and Tosca.
CITEM Whatever his problems in Mantua, he went on to a career singing many more leading tenor roles, albeit largely in provincial Italian theatres. These included Nemorino in L'elisir d'amore, Idreno in Semiramide, Ramiro in La Cenerentola, Fernando in La favorita, and the title roles in Ernani and Robert le diable.Resigno, Eduardo (2012). "Miraglia, Corrado", Vivaverdi: dalla A alla Z Giuseppe Verdi e la sua opera, pp. 1799–1800. BUR/Rizzoli Of the major Italian opera houses, he appeared at the Teatro San Carlo in Naples in the 1850 season singing the title role in Vincenzo Moscuzza's Stradella il trovatore, Lindoro in L'italiana in Algeri, and Ernesto in Don Pasquale, and appeared at the Teatro Regio in Turin in the 1853 carnival season singing Aménophis in Mosè in Egitto and the title role in Pacini's Buondelmonte.
New York Philharmonic Archives She also joined the roster of singers at the Lyric Opera of Chicago where she sang for two highly acclaimed seasons. She made her debut with the company on November 11, 1955 as Enrichetta to Maria Callas's Elvira in Vincenzo Bellini's I puritani. This was followed by a portrayals of Inez to Callas's Leonora in Verdi's Il Trovatore and Suzuki to Callas's Cio- Cio-San in Giacomo Puccini's Madama Butterfly. Other roles she sang with the company during the 1955-1956 season included, Marthe in Charles Gounod's Faust with Jussi Björling in the title role, Lucia in Cavalleria rusticana with Giuseppe di Stefano and Carlo Bergonzi alternating in the role of Turiddu, and the Old Woman in Italo Montemezzi's L'amore dei tre re with Dorothy Kirsten as Fiora and Robert Weede as Manfredo.
She also performed in several Italian opera houses, including the Teatro dell'Opera di Roma, Teatro Regio di Torino and La Fenice in Venice. Invitations to North America took her to the San Francisco Opera, Lyric Opera of Chicago and Washington National Opera and to Mexico City. In South America she performed at the Teatro Colón of Buenos Aires and the Rio de Janeiro Opera. A tour by the Deutsche Oper Berlin also brought her to Japan. She was a regular guest at the Vienna State Opera from 1965 to 1988, where she appeared as Herodias, the Nurse, Ortrud, Brangäne, Magdalene, Fricka and Waltraute, Eboli, as well as Amneris in Verdi's Aida, Azucena in his Il trovatore, Maddalena in his Rigoletto and Preziosilla in his La forza del destino, Giulietta in Offenbach's Les contes d'Hoffmann and Burija in Janáček's Jenůfa.
She opened the Metropolitan Opera's 2017/18 season, as Norma in a new production. At the Liceu Opera, Barcelona, on 24 March 2018, after receiving a prolonged ovation for her performance of the aria La mamma morta in the opera Andrea Chénier, she and the conductor granted the audience an encore, a practice which is now exceedingly rare. On 4 July 2018, she repeated the aria D'amor sull'ali rosee during a performance of Il trovatore at the Opéra Bastille in Paris, the first woman - and only the third singer - to ever do so since the house's opening in 1989. In concert, Radvanovsky has performed Beethoven's Ninth with James Levine and the Boston Symphony Orchestra, Rossini's Stabat Mater with the Orchestra of the Age of Enlightenment, and the Verdi Requiem with David Zinman and the Chicago Symphony Orchestra and the Vienna Symphony.
She debuted as a soloist in 1996 with the Carlos Chávez Symphonic Orchestra. She debuted with the Bellas Artes Opera in 2002 as Santuzza in Cavalleria rusticana by Mascagni and appeared again in 2004 in Il prigioniero by Dallapiccola and as Elvira in the world premier of the work Ambrosio by Mexican composer José Antonio Guzmán. In 2007, she sang the role of Madame Lidoine in Dialogues des Carmelites by Poulenc, the first time in fifty years the play was performed in Mexico. Some of her other opera appearances include Un ballo in Maschera, Il Trovatore, Simon Boccanegra and Macbeth by Verdi; Don Giovanni, Così fan tutte and Le Nozze di Figaro by Mozart; Iphigénie en Tauride by Glück, Il barbiere di Siviglia by Rossini, I pagliacci by Leoncavallo, as well as Suor Angelica, La bohème, Tosca and Turandot by Puccini.
Highlights of that second season included productions of Giacomo Puccini's Tosca with Martha Attwood in the title role and Pietro Mascagni's Cavalleria rusticana with Lisa Roma as Santuzza. Highlights of the 1928-1929 season included Franco Leoni's L’oracolo with as Uin-Sci and Adamo Didur as Cim-Fen, Camille Saint-Saëns's Samson et Dalila with Sample as Samson and Madame Cahier as Dalila, Jules Massenet's Manon with Hope Hampton in the title role and Ralph Errolle as Des Grieux, Eleanor Painter as Carmen, Il trovatore with Frances Peralta as Leonora, and The Barber of Seville with Josephine Lucchese as Rosina. In 1929 a major windfall came to the PGOC when Mary Louise Curtis Bok offered to support the company in exchange for using the company as an outlet for opera talent in the Curtis Institute of Music.
Jones came to prominence in 1964 when she stood in for Leontyne Price as Leonora in Verdi's Il trovatore at the Royal Opera House, Covent Garden. Her career then developed rapidly, and she met with success as Aïda, Leonore (in Fidelio), Desdemona (in Otello), Elisabeth (in Don Carlos), Donna Anna (in Don Giovanni), Cio-cio-san (in Madama Butterfly), Lady Macbeth (in Verdi's Macbeth), Santuzza (in Cavalleria rusticana), Octavian (in Der Rosenkavalier), Médée (in the Italian version) and Tosca. From these, she gradually proceeded to heavier roles such as Chrysothemis (in Elektra), Salome, the Marschallin (in Der Rosenkavalier), Eva (in Die Meistersinger von Nürnberg), Senta (in Der fliegende Holländer), Kundry (in Parsifal), both Venus and Elisabeth (in Tannhäuser), Helena (in Strauss's Die ägyptische Helena), Ariadne (in Ariadne auf Naxos) and Sieglinde, as well as Brünnhilde (in Die Walküre).
After her return to Chicago in 1916, Raisa along with Mary Garden, Edith Mason, Claudia Muzio and Amelita Galli-Curci were the lead sopranos around which the repertoire of the company revolved. Essentially Raisa was the company's dramatic soprano, Mary Garden the French-repertory soprano, Galli-Curci the light coloratura, Edith Mason a lyric, and Claudia Muzio a spinto soprano. Of all these, Claudia Muzio was the only one to share some roles with Raisa (Leonora in Il trovatore, Desdemona in Otello, Aida, Santuzza, and Tosca). Raisa was the company's only Maliella in Wolf-Ferrari's I gioielli della Madonna (Jewels of the Madonna), Gioconda, Amelia in Un ballo in maschera (always billed as Masked Ball in Chicago), Rachel in La Juive (always announced as The Jewess in Chicago), and of course the Mount Olympus in opera for sopranos, Norma in Bellini's opera.
She took part in premieres, appearing on 2 May 1926 as the sister-in-law in Milhaud's Les malheurs d'Orphee; on 28 December 1927 in the title role of Honegger's Antigone; and in 1929 in Sergei Prokofiev's Le Joueur. She appeared in the first stagings of several operas at La Monnaie, including Kseniya's nurse in Modest Mussorgsky's Boris Godunov (1921), Khivria in Mussorgsky's The Fair at Sorochyntsi (1925), Tkatchikha in Nikolai Rimsky-Korsakov's The Tale of Tsar Saltan (1926), The Mother / The Dragonfly, and the Chinese Cup in Maurice Ravel's L'enfant et les sortilèges (1926), Dèbora in Ildebrando Pizzetti's Dèbora e Jaéle (1929), and Orsola in Zandonai's La farsa amorosa (1933). Her about 70 parts included Azucena in Verdi's Il trovatore, Dalila in Samson et Dalila by Saint-Saens, and the title role in Massenet's Hérodiade.
Apart from Otello, the operas from which he elected to record arias, in multiple takes, were Il trovatore, Guillaume Tell (Guglielmo Tell), Le prophète (Il profeta), Samson et Dalila (Sansone e Dalila), Hérodiade, Messaline and Andrea Chénier. When he stepped before the recording horn, Tamagno was in poor health and semi-retirement after a long and demanding career. Consequently, his voice, although still astonishingly powerful and kept under firm technical control, was no longer at its peak, though the recording technology of the time was almost certainly not equal to the task of capturing the full breadth of Tamagno's ability at the time. Potter pays tribute to Tamagno's vocal attributes in his book about the history of tenor singing, averring that his "recorded legacy" is "a priceless connection with Verdi" while Steane, writing in The Grand Tradition (pp.
Siwek made his opera debut in 2000 at Wrocław Opera (Ferrando in Verdi's Il trovatore). For a few years since 2001 he was a soloist of Warsaw Chamber Opera, where he sang the parts of Sarastro (Die Zauberflöte), Basilio (Il barbiere di Siviglia), Seneca (L'incoronazione di Poppea) and Il Commendatore (Don Giovanni). In 2002, he made his debut at Polish National Opera as Gremin in Eugene Onegin, later appearing also in Die Zauberflöte (Sarastro), Lucia di Lammermoor (Raimondo), Nabucco (Zaccaria), Rigoletto (Sparafucile), Turandot (Timur), and The Haunted Manor (Zbigniew). In 2003, he performed at Thėâtre du Chatelet in Paris in Szymanowski's King Roger. The same year he sang the part of Tibault d’Arc in The Maid of Orleans in Concertgebouw in Amsterdam and Il Commendatore in Don Giovanni at Théâtre Royal de la Monnaie in Brussels.
She immediately became a favorite singer at that house portraying mostly Verdi heroines and the Met became her principal home from that point up until 1978. Her other roles at the Met during these thirteen years included Aida, Amelia in Verdi's Un ballo in maschera, Cio-Cio-San in Giacomo Puccini's Madama Butterfly, Donna Anna in Mozart's Don Giovanni, Elvira in Verdi's Ernani, Lady Macbeth in Verdi's Macbeth, Leonora in Verdi's Il trovatore, Leonora in Verdi's La forza del destino, Liù in Puccini's Turandot, Maddalena in Umberto Giordano's Andrea Chénier, Santuzza in Pietro Mascagni's Cavalleria rusticana, and the title role in Amilcare Ponchielli's La Gioconda among others. She was also notably the first black person to portray the role of Elsa in Wagner's Lohengrin in 1968, not just at the Met, but in all of opera history.
The Opera Theatre was developed in 1871 by Antonio Pestalardo under the name of Teatro de la Opera, an Italian businessman who foresaw a need for popular theatre catering to the city's booming population in subsequent years. The original Beaux-Arts style theatre was opened in 1872 on what today is Corrientes Avenue, then a narrow street along Buenos Aires' northern outskirts, and premiered with a performance of Giuseppe Verdi's Il Trovatore. Specializing in operas, the theatre was an early success and enjoyed a reputation of being among the most technically advanced at the time, becoming the first in Latin America to possess in-house generators, for instance.buenosaires.com The theatre entrance The massive widening of Corrientes Street led to the theatre's demolition in 1935, however, following which the establishment was sold to Clemente Lococo, who had the Opera Theatre rebuilt.
While in New Orleans Cellini conducted performances of many operas, including Otello (with Ramón Vinay and Nelli), Tosca (with Inge Borkh and Robert Weede), Lakmé, Amelia al ballo (with Schuh), Elektra, L'amore dei tre re, Falstaff (with Warren), Werther, La cenerentola, Boris Godunov (with Boris Christoff), Il trovatore, Turandot, Norma, Don Giovanni (with Treigle), Tannhäuser, La Gioconda, Manon (with Phyllis Curtin and Nicolai Gedda), Un ballo in maschera, Orfeo ed Euridice, Der Rosenkavalier, Rigoletto (with Cornell MacNeil) and La forza del destino (with Eileen Farrell and Richard Cassilly). In 1964, in failing health, Cellini conducted for the last time (Aïda). He died on March 25, 1967 (Holy Saturday), in New Orleans at the age of 54, and is buried in Metairie Cemetery. In 2004 his widow, Giuseppina "Pinuccia," moved from New Orleans to Tennessee; she died in 2015.
Classic examples include "Non più mesta" from La Cenerentola by Rossini (1817), "Vien diletto, è in ciel la luna" from I puritani by Bellini (1835), and "Di quella pira" from Verdi's Il trovatore (1853). In later parlance, cabaletta came to refer to the fast final part of any operatic vocal ensemble, usually a duet, rather than just a solo aria. For example, the duet between Gilda and Rigoletto in Act 1, Scene 2 of Rigoletto ends with a relatively slow cabaletta, whereas the cabaletta for their duet in the finale of Act 2 is quite rousing. The cabaletta is often used to convey strong emotions: overwhelming happiness (Linda's famous cabaletta "O luce di quest'anima" from Donizetti's Linda di Chamounix), great sorrow (Lucia's "Spargi d'amaro pianto" from Lucia di Lammermoor), or timeless love (Lindoro's short cabaletta from Rossini's L'italiana in Algeri).
6 From 1859 to 1865, she appeared in opera at both Royal Opera House in Covent Garden and at Her Majesty's Theatre, becoming known for such roles as Leonora in Il trovatore, Zerlina in Fra Diavolo and Elvira in La muette de Portici. During this time, she participated in two operatic premieres, creating the title role in Alfred Mellon's Victorine in 1859 and the role of Mabel in George Alexander Macfarren's opera Helvellyn in 1864. She also was a successful oratorio and concert soloist, in constant demand in Britain and beyond. She sang with Charles Santley at the opening of the Oxford Music Hall in 1861, appeared before the Royal Philharmonic Society in Schumann's Paradise and the Peri and participated in the 19th-century English revival of the music of Handel, performing at the Handel festivals of 1862 and 1865, and in Germany.
One of the features of his tenure at the company was the introduction of a Verdi Festival, with two operas presented each summer, one generally a late composition, the other an early work from the composer's "galley years". Beginning in 1976 with Otello as part of the regular season, the festival continued in the summers of 1978 with Verdi's Requiem and Aida; in 1979 with I Lombardi; in 1980 with Il trovatore and Giovanna d'Arco; in 1981 with Un giorno di regno plus the Requiem and 1982 saw stagings of Il corsaro and Un ballo in maschera. Capobianco left the company in 1983, but his successor was able to present I masnadieri (with Sutherland) along with Simon Boccanegra while the festival concept ended in March 1985 with Oberto (with Ferruccio Furlanetto and Susanne Marsee). San Diego Opera's "Performance History" page on sdopera.
Simon Boccanegra () is an opera with a prologue and three acts by Giuseppe Verdi to an Italian libretto by Francesco Maria Piave, based on the play Simón Bocanegra (1843) by Antonio García Gutiérrez, whose play El trovador had been the basis for Verdi's 1853 opera, Il trovatore. Simon Boccanegra was first performed at Teatro La Fenice in Venice on 12 March 1857. Given the complications of the original plot and the generally poor popular response – although the critical one was more encouraging – the opera dropped out of favour after 1866. Finally, 23 years later, Verdi's publisher persuaded the composer to revise the opera, with text changes to be prepared by Arrigo Boito, the librettist who aspired to work with the aging composer on a project which eventually became a new opera, Otello, but to which Verdi had not totally committed at that time.
Today, almost all performances use the Italian version and it is one of the world's most frequently performed operas. In French as Le trouvère After the successful presentation of the opera in Italian in Paris, François-Louis Crosnier, director of l'Opéra de Paris, proposed that Verdi revise his opera for the Paris audience as a grand opera, which would include a ballet, to be presented on the stage of the major Paris house. While Verdi was in Paris with Giuseppina Strepponi from late July 1855, working on the completion of Aroldo and beginning to prepare a libretto with Piave for what would become Simon Boccanegra, he encountered some legal difficulties in dealing with Toribio Calzado, the impresario of the Théâtre des Italiens, and, with his contacts with the Opėra, agreed to prepare a French version of Trovatore on 22 September 1855.
He instituted the innovation of testing the film's script before live audiences before filming began, to perfect the comic timing, and to retain jokes that earned laughs and replace those that did not. Thalberg restored Harpo's harp solos and Chico's piano solos, which had been omitted from Duck Soup. The Three Marx Brothers by Yousuf Karsh, 1948 The first Marx Brothers/Thalberg film was A Night at the Opera (1935), a satire on the world of opera, where the brothers help two young singers in love by throwing a production of Il Trovatore into chaos. The film—including its famous scene where an absurd number of people crowd into a tiny stateroom on a ship—was a great success, and was followed two years later by an even bigger hit, A Day at the Races (1937), in which the brothers cause mayhem in a sanitarium and at a horse race.
Pirazzini was born in Castelfranco Veneto, Treviso, Veneto in 1918. Opposite Maria Callas, Pirazzini appeared as Amneris in Aïda, at Rovigo (1948), Reggio Calabria (1951) and the Verona Arena (directed by G.W. Pabst, 1953); in the oratorio San Giovanni Battista at Perugia (1949); as Azucena in Il trovatore at the Teatro dell'Opera, Rome (1953); and Neris in Medea (the Italian version of Luigi Cherubini's Médée) in Venice (1953), as well as on the first studio recording of Cherubini's masterpiece. She was also the Adalgisa (replacing the indisposed Fedora Barbieri) in the infamous Norma at Rome in 1958, when the performance was cancelled after Callas sang Act I and felt unable to continue; she kept the role partnering Anita Cerquetti, who replaced Callas for the remaining performances. She appeared at the Teatro alla Scala in 1951, as Maffio Orsini in Lucrezia Borgia, opposite Caterina Mancini, Mirto Picchi, and Nicola Rossi Lemeni.
Also in the cast were Martina Arroyo as Vitellia, David Lloyd as Titus, Beverly Wolff as Sextus, Margaret Kalil as Servilia, and David Clatworthy as Publius. In August Allen portrayed the Female Chorus in Benjamin Britten's The Rape of Lucretia with Lili Chookasian in the title role, William Greene as the Male Chorus, Joan Caplan as Bianca, Joan Gavoorian as Lucia, Ara Berberian as Collatinus, David Clatworthy as Tarquinius, and Ron Bottcher as Junius. Allen had a major triumph in 1964 as Jocasta in Stravinsky's Oedipus Rex at the Teatro Colón in Buenos Aires. She made her San Francisco Opera debut two years later as Azucena in Il trovatore with McHenry Boatwright as the Count di Luna, later reprising that role with the company in 1971.San Francisco Opera archives Engagements soon followed at the Canadian Opera Company (1971), the Palacio de Bellas Artes (1971), and the Washington National Opera (1972).
Born in Udine, he studied in his native city and later in Milan with Alfredo Starno, where he made his debut at the Teatro Nuovo in 1957. After singing with success in various opera houses in Italy, he made his American debut in Cincinnati, as Basilio in Il barbiere di Siviglia, in 1959. The following year, on 12 October 1960,Archiv of the Metropolitan Opera he made his debut at the Metropolitan Opera in New York, and remained with the company for 25 years, singing some 30 roles in over 300 performances, most often as Raimondo in Lucia di Lammermoor, Ramfis in Aida, Timur in Turandot. Other roles included Padre Guardiano in La forza del destino, Phillip II in Don Carlo, Ferrando in Il trovatore, Count Walter in Luisa Miller, Zaccaria in Nabucco, Giorgio in I puritani, Alvise in La Gioconda, King Heinrich in Lohengrin, etc.
She used to sing duets with her mother, a skilful amateur, and she had been instructed by mezzosoprano Rosa Mazzarelli, and later trained with Pietro Romani (1791–1877), one of the first professional singing teachers in Italy.Camata (Dizionario Biografico degli Italiani) It was under his guidance that she debuted at Florence's Teatro La Pergola in January 1752, taking the title role of Donizetti's Lucrezia Borgia and later also appearing in Crispino e la comare by Luigi and Federico Ricci. In November 1752 she was engaged at Rome's Teatro Argentina, where she performed in Donizetti's Poliuto, Antonio Cagnoni’s Don Bucefalo and Verdi's I masnadieri and I Lombardi alla prima crociata. In Pisa in 1853, she sang, among others, the title role in Luisa Miller, in Reggio Emilia, the same year, Leonora in Il trovatore, and in Turin, in 1855, Violetta in La Traviata, a role in which she became especially famous.
Canadian Opera Company's web site She has had success in recent years as Leonora, notably in David McVicar's production of Il trovatore at the Metropolitan Opera. In 2011, she hosted the Metropolitan Opera Live in HD, which was broadcast in movie theaters around the world. In addition to her specialty in Verdi heroines, she has also sung the title roles in Suor Angelica, Tosca, Susannah, Rusalka, and Norma, among others."Los Angeles Opera web site" During the 2014/15 season, Radvanovsky sang the title role in Norma, which she called a "perfect role vocally and temperamentally" in an interview with The New York Times, at the San Francisco Opera. She made her Norma debut at the Teatro Campoamor with Ópera de Oviedo in the 2011/12 season and received critical and popular acclaim in the role during the 2013/14 season at the Metropolitan Opera.
The Opéra de Marseille Cross-section, drawing by the architect Charles Joachim Bénard, 1784 The Opéra de Marseille, known today as the Opéra Municipal, is an opera company located in Marseille, France. In 1685, the city was the second in France after Bordeaux to have an opera house which was erected on a tennis court. However, the first real theatre, the Grand-Théâtre or Salle Bauveau was constructed in 1787. During its period of great opulence following the Revolution, it was the site of many major opera presentations, including Verdi’s Rigoletto and Il Trovatore in 1860 and performances in 1866 of Lucia di Lammermoor and Il Barbiere di Siviglia by the famous soprano, Adelina Patti. Also, French premieres of major operatic works were given in the theatre: these include Aida (1877), La Fanciulla del West (1912), and an historic performance by Dame Nellie Melba in Ambroise Thomas’ Hamlet in 1890.
In 1854 she sang in another premiere at the Teatro di San Carlo: the role of Tremacoldo in Errico Petrella's Marco Visconti. In 1857 Borghi-Mamo sang the role of Azucena in the French premiere of Il trovatore at the Théâtre-Italien in Paris. She was committed to that theatre through 1856 where she was particularly admired in three roles in operas by Gioachino Rossini: the Contessa d'Arco in Matilde di Shabran, Rosina in The Barber of Seville, and the title role in La Cenerentola. In 1856 she made her debut at the Paris Opera as Leonor de Guzmán in Gaetano Donizetti's La favorite. She remained committed to that house for the next four years where she notably created roles in the world premieres of Fromental Halévy's La magicienne (1858, Mélusine), Félicien David's Herculanum (1859, Olympia), and Gaetano Braga's Margherita la mendicante (1859, Margherita).
She has also performed in these houses roles including Leonora (Il trovatore, with Rizzi), La forza del destino, Fidelio, Amelia (Un ballo in maschera), Madeleine de Coigny (Andrea Chénier), Aida (with Zubin Mehta), Tosca, Ariadne (Ariadne auf Naxos) and Chrysothemis (Elektra). She made her role debut as Die Kaiserin (Die Frau ohne Schatten) under Simone Young at the 1996 Melbourne International Arts Festival. Recent seasons have seen Lisa Gasteen return to the Staatsoper Berlin to perform Chrysothemis, Brünnhilde (Siegfried) in Stuttgart, Leonora (Fidelio), her role debut as Isolde (Tristan und Isolde) for Opera Australia, for which she was the recipient of a Helpmann Award, Brünnhilde at the Meiningen Festival in her first complete Ring Cycle, making her Australia's first Brünnhilde for some sixty years, her debut at the Royal Opera House, Covent Garden as Isolde under Bernard Haitink, Chrysothemis at the Staatsoper Berlin and further performances of Brünnhilde (Siegfried) in Stuttgart.
Some of the Verdi roles which he has sung in Frankfurt are Amonasro in Aida, the Count di Luna in Il trovatore, Ezio in Attila, Germont, Guy de Montfort in Les vêpres siciliennes, and Renato in Un ballo in maschera. Other roles which he has sung with that opera company are The Duke of Nottingham in Donizetti's Roberto Devereux, Count Almaviva in Wolfgang Amadeus Mozart's The Marriage of Figaro, Eugene Onegin, Lescaut in Giacomo Puccini's Manon Lescaut, Marcello in Puccini's La bohème, Michonnet in Francesco Cilea's Adriana Lecouvreur, Prince Ivan- Korolevich in Nikolai Rimsky-Korsakov's Kashchey the Deathless, Sharpless in Puccini's Madama Butterfly, and Simone in Mozart's La finta semplice among others. Lučić has also appeared as a guest artist with numerous major opera houses internationally. He made his debut at the De Nederlandse Opera in 2002 in the roles of Guy de Montfort and Marcello.
He has returned to the Met several times in numerous Verdi operas, singing the Count Di Luna in Il trovatore opposite Sondra Radvanovsky as Leonora (2002), Renato to Aprile Millo's Amelia in Un ballo in maschera (2005), the Miller to Veronica Villarroel's Luisa in Luisa Miller (2006), and the title roles in Rigoletto (2006) and Macbeth (2008). In 2003, he received Spain's Premio Nacional de Música for interpretation. Although Álvarez was scheduled to sing Don Carlo di Vargas and Simon Boccanegra at the Vienna State Opera, Ford at the Teatro dell'Opera di Roma, Ezio in Attila at the Metropolitan Opera, Boccanegra at both La Scala and Madrid's Teatro Real, and the title role in Ambroise Thomas's Hamlet at the Washington National Opera in 2010, he withdrew from several of those engagements (including Attila, Hamlet, and Simon Boccanegra in Madrid). Álvarez sang Iago in Otello for the Royal Opera in December 2019.
Anitùa initially studied singing in her native city, moving afterward to Mexico City, and later to Rome. She debuted at Teatro Nazionale in Rome in 1910, singing the role of Orfeo from the eponymous Christoph Willibald Gluck opera. She often sang at Teatro alla Scala in Milan, especially in Sigfried (1910–11 season), Etra in the first edition of Ildebrando Pizzetti's Fedra (1914–15 season), Konciakovna in Borodin's Prince Igor (1915–16 season), and besides Gluck's Orfeo, Giuseppe Verdi's Il Trovatore and Un Ballo in Maschera (1923–26 seasons). She sang in other important Italian theaters, including Teatro Rossini in Pesaro and Teatro Regio in Parma, performing Il barbiere di Siviglia (1916) and La Cenerentola (1920), and very often in South American theaters such as Teatro Colón in Buenos Aires, especially as Olga in Tchaikovsky's Eugene Onegin (1911) and as Amneris Verdi's Aida (1939).
Almost twenty years later, Macbeth was revised and expanded in a French version and given in Paris on 19 April 1865. After the success of Attila in 1846, by which time the composer had become well established, Macbeth came before the great successes of 1851 to 1853 (Rigoletto, Il trovatore and La traviata) which propelled him into universal fame. As sources, Shakespeare's plays provided Verdi with lifelong inspiration: some, such as an adaption of King Lear (as Re Lear) were never realized, but he wrote his two final operas using Othello as the basis for Otello (1887) and The Merry Wives of Windsor as the basis for Falstaff (1893). The first version of Macbeth was completed during the time which Verdi described as his "galley years," which ranged over a period of 16 years,Verdi to Clara Maffei, 12 May 1858, in Phillips-Matz, p. 379.
Outside of Romania she sang at La Scala, the New York Metropolitan Opera, Opéra National de Paris, Bolshoi Theatre, Gran Teatre del Liceu in Barcelona, La Monnaie in Brussels, and the Palacio de Bellas Artes in Mexico City. She made her Metropolitan Opera debut on 17 March 1965 as Dalila in Samson et Dalila. She performed with the company from 1965 to 1968 where in addition to Dalila, she sang Amneris in Aida, Maddalena in Rigoletto, Princess di Bouillon in Adriana Lecouvreur, and the title role in Carmen. Other roles which she sang during her career included: Azucena in Il trovatore, Clytemnestra in Iphigénie en Aulide, Arsace in Semiramide, Rosina in The Barber of Seville, Ulrica in Un ballo in maschera, Princess Eboli in Don Carlos, Laura and La Cieca in La Gioconda, Cherubino in Le nozze di Figaro, Jocaste in Œdipe, and Orfeo in Orfeo ed Euridice.
Mariotti conducted Don Pasquale at the Teatro Regio di Torino in 2009, Il barbiere di Siviglia at the Teatro alla Scala in Milan in 2010, and, for his first performances in Spain, in 2011, L’italiana in Algeri at Bilbao's Palacio Euskalduna. Elsewhere in Europe, he has led opera at the Teatro di San Carlo in Naples, the Teatro Alighieri in Ravenna, the Teatro Massimo in Palermo, the Teatro Comunale in Florence, the Teatro Verdi in Busseto (Il trovatore in concert in 2011), and at the Sferisterio di Macerata. In 2013 he conducted La donna del lago at the Royal Opera House in London and I puritani at the Opéra Bastille in Paris. In the area of symphonic music, he has guest-conducted the Leipzig Gewandhaus Orchestra, the Orchestre National de France, the Orchestra Sinfonica Nazionale della RAI in Turin, and the house orchestra of the Teatro Real in Madrid.
In 2009 she starred in "A Celebration of Greek Music" presented at Sanders Theatre at Harvard University. She specializes in the dramatic roles of Verdi, such as Lady Macbeth, which she has recorded in Poland with the Polish National Radio Orchestra, with Maestro William Yannuzzi conducting, the roles of Abigaille (Nabucco), Elisabetta (Don Carlos), Leonora (Trovatore and Forza del destino), Puccini's Turandot and Tosca, and the Wagnerian heroines. Considered by her colleagues a Master Trainer, she has been invited by many institutions to hold master classes on vocal technique and interpretation of standard operatic repertory and to perform rarely performed song cycles such as Berlioz's "Nuits d'Ete," Wagner's "Wesendonck Lieder," Richard Strauss's "Vier letzte Lieder," Kalomiris's "Magic Herbs," etc. Karvelas, who resides on the island of Lesvos, Greece, is the Director of "Opera Lesvos" which she established in 2000, a truly pioneering venture for a Greek province.
New York Times critic James Huneker wrote: "...what a promising debut! Added to her personal attractiveness, she possesses a voice of natural beauty that may prove a gold mine; it is vocal gold, anyhow, with its luscious lower and middle tones, dark, rich and ductile, brilliant in the upper register." In addition to Leonora, Ponselle's roles in the 1918/19 season included Santuzza in Cavalleria rusticana, Rezia in Weber's Oberon, and Carmelita in the (unsuccessful) world premiere of Joseph Carl Breil's The Legend. In the following Met seasons, Ponselle's roles included the lead soprano roles in La Juive (opposite Caruso's Eléazar, his last new role before he died), William Tell, Ernani, Il trovatore, Aida, La Gioconda, Don Carlos, L'Africaine, L'amore dei tre re, Andrea Chénier, La vestale, and in 1927 the role that many considered her greatest achievement, the title role in Bellini's Norma.
Wolfgang Brendel grew up in Wiesbaden, where he took singing lessons with Rolff Sartorius during his time at the conservatory. In 1971, he debuted at the Pfalztheater in Kaiserslautern as Guglielmo in Così fan tutte. His artistic home for the greater part of his career was the Bayerische Staatsoper in Munich, where in 1977 he became the youngest Kammersänger in the company's history. In some sense taking up the mantle of Josef Metternich, who had retired in 1971, Brendel established his primacy as the star Munich baritone of his era across an extraordinary range of roles, from Mozart (not only Guglielmo but Count Almaviva in Le nozze di Figaro, Papageno in Die Zauberflöte, the title role in Don Giovanni) to Verdi (Germont in La traviata, Posa in Don Carlo, Renato in Un ballo in maschera, Carlo in La forza del destino, and di Luna in Il trovatore) and beyond.
Haroutounian's operatic appearances have included Adriana Lecouvreur in concert for La Monnaie, Brussels, Hélène in Frankfurt and Bilbao, Elena (I vespri siciliani) in Athens, Amelia Grimaldi (Simon Boccanegra) for the Metropolitan Opera, New York, with Plácido Domingo and James Levine, Elisabetta (Don Carlos) for the Metropolitan Opera, in Zürich with Fabio Luisi, at the Verbier Festival with Daniel Harding and at the Annecy Classic Festival, Desdemona (Otello) for Teatro Real, Madrid, in Bilbao, with Nicola Luisotti at the Teatro San Carlo, Naples, and in Sydney, Tosca with Riccardo Frizza and Cio-Cio-San, (Madama Butterfly) in San Francisco and Gran Teatre del Liceu in Barcelona, and Leonora (Il trovatore) in Naples with Luisotti. Haroutounian performs widely in recital and in concert, her repertory including Verdi's Requiem, Rossini's Stabat Mater and Petite Messe solennelle, Poulenc's Stabat Mater and Mozart's Requiem. She has won prizes in many international competitions.
In the same season Tietjens created the role of Selvaggia in Niccolo de' Lapi by Francesco Schira (conductor at Drury Lane), also with Trebelli, Giuglini and Santley (Niccolo). (This work was revived with far greater success as Selvaggia in Milan 1875.) There was more Il trovatore, a Norma (one of Tietjens's finest roles) with Désirée Artôt (making her debut that year also as Violetta and Marie) (mezzo) as Adalgisa, and Weber's Oberon with Sims Reeves (Huon), Marietta Alboni (Fatima), Trebelli (Puck), the tenor Alessandro Bettini (Oberon), Gassier (Babekan) and Santley (Scherasmin). That autumn she went with the Mapleson tour to Dublin to appear in Faust with Reeves, Trebelli and Santley, and for herself also made a tour in Paris. In 1867 he was a soloist in the premiere of the Sacred Cantata Woman of Samaria by William Sterndale Bennett at the 1867 Birmingham Music Festival conducted by the composer.
She also appeared at the Munich State Opera and the Berlin State Opera. She made guest appearances at the Royal Opera House in London (from 1950 to 1953; the title roles of Aida and Tosca, Lisa in The Queen of Spades, Leonora in Il Trovatore, Contessa Almaviva in Le Nozze di Figaro), the Glyndebourne Festival and the Holland Festival, at the Paris Opéra, La Monnaie in Brussels, La Scala in Milan, and the Maggio Musicale Fiorentino, the Bolshoi Theatre in Moscow, etc. Zadek in April 2015 at age 97 Zadek made her debut at the Metropolitan Opera in New York as Donna Anna in Don Giovanni on 26 November 1952. Beside Donna Anna (4 performances), at the Met she sang Eva in Die Meistersinger von Nürnberg (2 performances), Elsa in Lohengrin (1 performance), and the title role of Aida (1 performance on 14 January 1953, her last at the Met).
Netrebko as Leonora in Alvis Hermanis's production of Il trovatore at the Salzburg Festival 2014In October and November 2010, she sang the role of Norina in Don Pasquale at New York's Metropolitan Opera House under conductor James Levine. The matinee performance on 13 November was broadcast nationwide by PBS. On 2 April 2011, she sang the title role of Gaetano Donizetti's Anna Bolena at the Vienna State Opera for a sold-out premiere there, and the repeat performance on 5 April 2011 was broadcast live to cinemas around the world. On 7 December 2011, she opened the new season at La Scala in Milan, making her house debut, as Donna Anna in Don Giovanni. She has the distinction of being invited to appear in three consecutive opening night new productions at the Metropolitan Opera: Anna Bolena in 2011, L'elisir d'amore in 2012, and Eugene Onegin in 2013.
As well as previously mentioned works, his La Scala repertory included the title role in Lohengrin, Stolzing in Die Meistersinger von Nürnberg (in Italian), Edgardo in Lucia di Lammermoor, with Toti dal Monte, Alfredo in La traviata, Osaka in Iris, Rodolfo in La bohème, the title part in Andrea Chénier, Manrico in Il trovatore, Riccardo in Un ballo in maschera, Pinkerton in Madama Butterfly, Il Duca in Rigoletto, Alvaro in La forza del destino, Pollione in Norma, Loris in Fedora, Werther, Maurizio in Adriana Lecouvreur, Fernand in La Favorite, and the title part in Fra Diavolo. He also created the leading tenor parts in Boito's Nerone, in 1924, Wolf-Ferrari's Sly, in 1927, and Mascagni's Nerone, in 1935. In all his La Scala roles, Pertile achieved compelling dramatic results despite possessing a voice that was not especially suave or beautiful. It was sometimes even described by critics as "brutta" (ugly).
During that season, McDonall sang many performances of Constanze in The Abduction from the Seraglio by Mozart. In following seasons she performed Fiordiligi from Così fan tutte, the Countess in Le nozze di Figaro, Roselinda in Die Fledermaus, Antonia in The Tales of Hoffmann, Leonora in Il trovatore, Freia in Das Rheingold, Hanna in The Merry Widow, the title role in Massenet's Manon, Marschallin in Der Rosenkavalier, Violetta in La traviata, Miss Jessel in The Turn of the Screw and she created the title role in Iain Hamilton's Anna Karenina. Lois McDonall spent 14 years as a resident artist with the English National Opera.Lois McDonall In addition to her tenure at the ENO, McDonall made appearances at the Scottish Opera, the Welsh National Opera, Opera North and the Royal Opera House, Covent Garden, where she made her debut in 1975 in Richard Strauss' Die Frau ohne Schatten.
She also appeared in two United States premieres at the Met; singing the roles of Baba the Turk in Igor Stravinsky's The Rake's Progress (1953) and Adelaide in Richard Strauss' Arabella (1955). Other roles she performed at the Met included Adalgisa in Norma, Azucena in Il trovatore, Dalila in Samson and Delilah, Eboli in Don Carlos, Geneviève in Pelléas et Mélisande, Giulietta in The Tales of Hoffmann, Herodias in Salome, Klytämnestra in Elektra, Laura Adorno in La Gioconda, Marfa in Khovanshchina, Marina in Boris Godunov (1956) ,Opera News, Volume XX: Number 18: March 5, 1956 the Old Baroness in Vanessa, Orlofsky in Die Fledermaus, and the title roles in Carmen and Mignon. Her final performance at the Met was as the Countess in Pyotr Ilyich Tchaikovsky's The Queen of Spades on March 6, 1967. That was the only production that she appeared in at the then newly built Metropolitan Opera House at Lincoln Center.
Photograph by André-Adolphe-Eugène Disdéri Tamberlik succeeded Gaetano Fraschini (1816–1887) as Italy's leading tenore robusto, and he ranked behind only the more lyrical-voiced Giovanni Matteo Mario as the most celebrated Italian tenor of the middle decades of the 19th century. (Indeed, he and Mario actually sang together in a production of Meyerbeer's Robert le diable at Covent Garden.) According to contemporary accounts of his singing, Tamberlik possessed a big, incisive voice with a pervasive vibrato (for which he was criticised by some English music critics) and ringing top notes—including a potent top C-sharp delivered in full chest voice. These virile vocal attributes, coupled with an imposing appearance, made him an exceptionally exciting interpreter of dramatic roles, especially such parts as Jean in Le prophète, Arnoldo in Guglielmo Tell and Manrico in Il trovatore. Other notable roles of his included (Rossini's) Otello, Pollione, Arturo, Ernani, Robert le diable, Faust, Don Ottavio, Florestan, Max, Poliuto and Cellini.
Bartoletti later played in the orchestra of the Maggio Musicale Fiorentino, and subsequently became a staff pianist with the Teatro Comunale Florence, at its centre of vocal training. He was an assistant to such conductors as Artur Rodzinski, Dimitri Mitropoulos, Vittorio Gui and Tullio Serafin. In particular, Serafin encouraged Bartoletti to study conducting. In December 1953, Bartoletti made his professional conducting debut at the Teatro Comunale with Rigoletto. In 1957, he became resident conductor of the Maggio Musicale Fiorentino, where his work included conducting the Italian premiere of Shostakovich's The Nose. Subsequently, Bartoletti was artistic director of the Rome Opera from 1965 to 1973. He returned to the Maggio Musicale Fiorentino as its artistic director from 1985 to 1991. Elsewhere in Europe, Bartoletti served as principal conductor of the Royal Danish Opera from 1957 to 1960. Bartoletti made his US conducting debut with Lyric Opera of Chicago in 1956, conducting Il trovatore, as a replacement for the indisposed Serafin.
Stagno (real name Vincenzo Andrioli) was born in Palermo, Sicily, into a family with connections to the minor nobility. He studied in Milan in Northern Italy and made his operatic debut in Lisbon, Portugal, in 1862. His career breakthrough came three years later, however, when he substituted successfully for Italy's most celebrated dramatic tenor, Enrico Tamberlik, in a Madrid performance of Robert le diable. During the next three decades, Stagno performed in a variety of operas at major opera houses in Spain, Italy, France and Russia, building and then consolidating his reputation as one of Europe's leading tenors. Stagno was popular, too, in Argentina, where he appeared initially in 1879, and he also performed for one entire season (1883–84) in the United States, at the New York Metropolitan Opera where he sang leading roles in the company premieres of several core works of the Italian repertory including Il trovatore, I puritani, Rigoletto, and La Gioconda.
Harshaw made her professional opera debut with the Philadelphia Operatic Society as Azucena in Giuseppe Verdi's Il trovatore on April 30, 1934. That same year she sang the Voice of the Mother of Antonia in The Tales of Hoffmann and the shepherd boy in Tosca with the Philadelphia Orchestra under conductor Alexander Smallens. She performed in a few more operas with the orchestra the following year, singing Giovanna in Rigoletto, Mamma Lucia in Cavalleria rusticana, and Katisha in The Mikado. She also portrayed Dame Hannah in Gilbert & Sullivan's Ruddigore with The Savoy Company on May 10, 1935 at the Academy of Music.Free Library of Philadelphia: Bound folders on the Philadelphia Orchestra and the Academy of Music In 1935 Harshaw won the National Federation of Music Clubs singing competition which gave her a $1,000 cash prize and led to her New York City concert debut on July 21 of that year at Lewisohn Stadium under conductor José Iturbi.
Villa Verdi at Sant'Agata, as it looked between 1859 and 1865Verdi was committed to the publisher Giovanni Ricordi for an opera—which became Stiffelio—for Trieste in the Spring of 1850; and, subsequently, following negotiations with La Fenice, developed a libretto with Piave and wrote the music for Rigoletto (based on Victor Hugo's Le roi s'amuse) for Venice in March 1851. This was the first of a sequence of three operas (followed by Il trovatore and La traviata) which were to cement his fame as a master of opera. The failure of Stiffelio (attributable not least to the censors of the time taking offence at the taboo subject of the supposed adultery of a clergyman's wife and interfering with the text and roles) incited Verdi to take pains to rework it, although even in the completely recycled version of Aroldo (1857) it still failed to please. Rigoletto, with its intended murder of royalty, and its sordid attributes, also upset the censors.
She sang briefly with the Chicago Opera Association, and in 1920 made her first appearance at the New York Metropolitan Opera as Elena in Arrigo Boito's Mefistofele, on Christmas Day, the day after Enrico Caruso's last performance there. She sang regularly at the Met until 1926, portraying such roles as Alice Ford in Falstaff, Dorabella in Così fan tutte, Elizabeth in Don Carlo, Ginevra in 'La cena delle beffe and Mona Lisa, Giulietta in The Tales of Hoffmann, Leonora in Il trovatore and La Forza del Destino, Maddalena in Andrea Chénier, Mathilde in William Tell, Santuzza in Cavalleria Rusticana, Sélika in L'Africaine, Venus in Tannhäuser, and the title roles in Aida, La Gioconda, Franco Leoni's L'Oracolo, and Tosca among others. Peralta was diagnosed with cancer in early 1927, and only occasionally appeared at the Met thereafter. Her last stage appearance appears to have been at Bryant Park in Manhattan on 13 September 1931.
In these years Basiola's activity reached its maximum intensity, with debuts of even more new roles, performances with all the greatest Italian singers of the day, in all the major theaters of Italy. In 1939 he made two tours abroad, being invited to Cairo for Massenet's Thaïs and to Covent Garden in London for revivals of Tosca, Trovatore and Traviata. He can be heard on live recordings of the latter two, with Jussi Björling and Beniamino Gigli, respectively, as well as on a recording of an EIAR radio broadcast of the Leoncavallo rarity Edipo Re. The 1939–40 season was his last at La Scala, where he took part in a famous revival of Donizetti's Linda di Chamounix, the baritone role of old Antonio having been one of the most famous interpretations of Basiola's old teacher Cotogni. The start of World War II took him back to singing for wounded soldiers as he did in World War I earlty in his career.
Willis-Sørensen performs a wide variety of repertoire ranging from Mozart to Wagner. She is most well known for her interpretation of Donna Anna (Don Giovanni), Marschallin (Der Rosenkavalier), and the title role in Rusalka. Roles included in her repertoire include: Elettra (Idomeneo]), Licenza (Il sogno di Scipione), Vitellia (La clemenza di Tito), Countess Almaviva (The Marriage of Figaro), Fiordiligi (Cosi fan tutte), Hélène (Les vêpres siciliennes), Eva (Die Meistersinger von Nürnberg), Elsa von Brabant (Lohengrin), Gutrune (Götterdämmerung), Rosalinda (Die Fledermaus), Agathe (Der Freischütz), Hanna Glawari in The Merry Widow, Diemut (Feuersnot), Leonore (Fidelio), Ariadne (Ariadne auf Naxos), Mimì (La bohème), Leonora (Il trovatore), Masha (Pique Dame), Governess (The Turn of the Screw), and Marguerite (Faust). She made her professional debut as the High Priestess (Aida) at the Utah Opera Festival in 2008, and was accepted into the Houston Grand Opera Studio the following season, where she made several debuts and covered multiple roles.
After making A Modern Hero (1934) in the USA and Street of Shadows (1937) in France, Pabst (who was planning to emigrate to the United States) was caught in France in 1939 whilst visiting his mother, when war was declared, and was forced to return to Nazi Germany. Under the auspices of propaganda minister, Josef Goebbels, Pabst made two films in Germany, during this period; The Comedians (1941) and Paracelsus (1943). Pabst directed four opera productions in Italy in 1953: La forza del destino for the Maggio Musicale Fiorentino in Florence (conducted by Dimitri Mitropoulos, the cast included Renata Tebaldi, Fedora Barbieri, Mario del Monaco, Aldo Protti, Cesare Siepi), and a few weeks later, for the Arena di Verona Festival, a spectacular Aïda, with Maria Callas in the title role (conducted by Tullio Serafin, with del Monaco), Il trovatore and again La forza del destino. He directed The Last Ten Days (1955), the first post-war German feature film to feature Adolf Hitler as a character.
The Vokes Family returned to the USA (without Rosina Vokes who had married in 1877) in April 1881 when they appeared at the Globe Theatre in Boston and returned to England in June 1882 but without Fred Vokes; the family returned to the USA in Autumn 1882. They made their last appearance in New York at the Mount Morris Theatre in Harlem in January 1883, returning to England (again without brother Fred) in June 1883.Thomas Allston Brown, A History of the New York stage from the First Performance in 1732 to 1901, Dodd, Mead and Company, New York (1903) – Google Books pg. 146 Jessie Vokes’s clever recitations and dancing were appreciated, but she was not so prominent in the cast as her siblings Victoria and Fred, who were especially happy in their rendering of the tower scene from Il trovatore, or as Rosina Vokes, who was regarded by the young men as the flower of the family.
Cianella made more than one hundred appearances at the Met over the next nine seasons, with his signature roles at the house being Alfredo, Rodolfo in Puccini's La Bohème and the title role in Verdi's Don Carlo. His other roles with the company included Des Grieux in Puccini's Manon Lescaut, the Italian Singer in Richard Strauss's Der Rosenkavalier, Macduff in Verdi's Macbeth, Manrico in Verdi's Il trovatore, Pinkerton in Puccini's Madama Butterfly, and Rinuccio in Puccini's Gianni Schicchi. He also gave several performances of Verdi's Requiem with the company alongside fellow soloists Johanna Meier, James Morris, and Florence Quivar in 1981. After leaving the Met in 1986, Ciannella returned to the house only one more time during his career for a 1996 production of Puccini's Turandot. His final and 112th performance at the Met was as Prince Calàf to Ruth Falcon's Turandot on June 14, 1996.Metropolitan Opera Archives Ciannella was also a regular performer with the Lyric Opera of Chicago during the 1980s.
He participated in the premiere of Verdi's Italian-language version of Don Carlos when it was staged at La Scala in 1884, singing the eponymous role of the Infante of Spain. Five other operas in which Tamagno created leading roles were Carlos Gomes' Maria Tudor (in 1879), Amilcare Ponchielli's Il figliuol prodigo (1880) and Marion Delorme (1885), Ruggero Leoncavallo's I Medici (1893) and Isidore de Lara's Messaline (1899). He was lauded for his performances of such established parts as Manrico in Il trovatore, Don Alvaro in La forza del destino, the title roles in Ernani and Poliuto, Arnold in Guillaume Tell, John of Leyden in Le prophète, Raoul in Les Huguenots, Vasco in L'Africaine, Robert in Robert le diable and Eleazar in La Juive. He excelled in the newer dramatic parts of Radames in Aida, Samson in Samson et Dalila, Alim in Le roi de Lahore and John the Baptist in Hérodiade.
In 2002, RCA released a long shelved tape of her 1965 Carnegie Hall recital debut in its "Rediscoveries" series. It includes a rare performance of Brahms' Zigeunerlieder. In 2005, the complete Library of Congress recital with Samuel Barber was released, on Bridge, and includes her only recorded performance of Henri Sauguet's La Voyante, as well as songs by Poulenc and the world premiere of Barber'sHermit Songs A 1952 broadcast of a Berlin performance of Porgy and Bess with Price and Warfield was discovered in the German radio archives and released on CD. In 2011, Sony launched its series of historic live broadcasts from the Met with Il trovatore (1961) and Tosca (1962), both with Price and Corelli, and, the next year, add d an Ernani (1962) with Price and Carlo Bergonzi. In 2017, a broadcast Aida (1967), with Bergonzi and Bumbry, was released separately and in a boxed set of live performances from the company's first season at Lincoln Center.
Her other roles with the company included Amarante in La fille de Madame Angot, Barbarina in Le Nozze di Figaro, Donna Elvira in Don Giovanni, Eleanora in Le Donne Curiose, Eurydice in Monteverdi's Orfeo, Flowermaiden in Parsifal, Frasquita in Carmen, Geltrude in Il maestro di cappella, Gertrud in Hänsel und Gretel, Giulietta in Les Contes d'Hoffmann, Gutrune in Götterdämmerung, Helmwige in Die Walküre, the Innkeeper's Daughter in Königskinder, Leonora in Il Trovatore, Marianne in Der Rosenkavalier, Marzelline in Fidelio, Nedda in Pagliacci, Pepa in Tiefland, Poussette in Manon, the Priestess in Aida, Rosina in Il Barbiere di Siviglia, Santuzza in Cavalleria Rusticana, the Second Lady in Die Zauberflöte, the Shepherd in Tannhäuser, Siebel in Faust, Stéphano in Roméo et Juliette, and Wellgunde in Das Rheingold among others. Her last performance at the Met was in her most celebrated role, Suzuki in Madama Butterfly, on April 7, 1922. According to her friend and colleague, renowned singer Geraldine Farrar, Fornia began experiencing health problems in 1915.
That same year he sang the role of Marcello in La bohème at the Opera Company of Philadelphia opposite Pavarotti as Rodolfo. Mijailovic's career quickly took off, and by 2000 he had already sung leading parts at La Scala, La Fenice, the Kirov Opera, the Festival della Valle d'Itria, the Festival de Ópera de Las Palmas, the Festival de Radio France et Montpellier, the Festival Settimane Musicali di Stresa, the Prolirica in Lima, and the National Theatre in Belgrade among others. He has continued to sing roles at major opera houses internationally, in such parts as Alphonse XI in La favorite, the Count di Luna in Il trovatore, Don Carlo di Vargas in La forza del destino, Erensto in Il pirata, Escamillo in Carmen, Ford in Falstaff, Germont in La traviata, Leandro in The Love for Three Oranges, Orest in Elektra, Rodrigue in Don Carlos, and the title roles in Eugene Onegin and Macbeth among others.
Bilgili made his Metropolitan Opera debut on 7 May 2004, when he sang Leporello without either a "full-stage or orchestra rehearsal"Simon, National Public Radio, 15 May 2004 in the final performance of Don Giovanni that season. When he took his solo bow at the end of the performance, the audience roared in appreciation. Metropolitan Opera performance record He returned to the company in 2009 as Ferrando in Il trovatore. Between 2005 and 2006 he added several new roles to his repertoire including Timur in Turandot at the Gran Teatre del Liceu in Barcelona and New York City Opera, both in 2005; Mefistopheles in Faust for Virginia Opera in 2005; Banquo in Macbeth, first sung with the Canadian Opera Company in 2005, followed by performances of the role at Vancouver Opera and Seattle Opera in 2006; and Escamillo in Carmen at Den Norske Opera in Oslo and the Savonlinna Opera Festival, both in 2006.
She had made her debut at the Royal Opera House, Covent Garden in 1953, where she likewise appeared regularly between 1963 and 1965. Simionato made her United States opera debut in 1953 as Charlotte in Jules Massenet's Werther at the San Francisco Opera with Cesare Valletti in the title role. In 1959 she made her debut at the Metropolitan Opera, as Azucena in Il Trovatore, with Carlo Bergonzi, Antonietta Stella, and Leonard Warren."Italy mezzo-soprano Giulietta Simionato dies at 99", Associated Press, 2010 Simionato also appeared at the Edinburgh Festival (1947), the San Francisco Opera (1953), the Teatro Nacional de São Carlos (1954), the Lyric Opera of Chicago (1954–1961), the Vienna State Opera (from 1956), and the Salzburg Festival. In 1957, she sang in Anna Bolena with Maria Callas."Giulietta Simionato, star scaligera, muore a 99 anni a Roma", Reuters Italia, 5 May 2010 (Italian) In 1961, she withdrew from three performances at the Metropolitan Opera, with Trigeminal Neuralgia.
She reportedly actively supported the partisans, helping to smuggle Allied airmen to safety in Switzerland. Returning to Britain following the Second World War, she sang at the Royal Opera House from 1947 to 1950, as Donna Anna in Mozart's Don Giovanni, Leonora in Il trovatore and the title role in Puccini's Tosca, and there she created the role of Diana in Arthur Bliss's The Olympians. She sang Lady Macbeth at the 1947 Edinburgh Festival, since issued on CD. In 1948, she recorded the Sleepwalking Scene from Macbeth conducted by Sir Thomas Beecham, but the scene's final floated high D-flat was "ghost-sung" by the English coloratura soprano Dorothy Bond.Smetana/Verdi - The Beecham Collection by Alan Blyth, Gramophone, March 2001 When news of this emerged shortly afterwards, Grandi announced that this note was not yet beyond her, and she would be singing it herself in a forthcoming concert at the Albert Hall, which she did.
Walt Whitman went even farther likening "Alboni in the children's scene in Norma" to a marvel of Nature, such as "the wild sea-storm" he had once seen "one winter day, off Fire island", or "night- views … on the field, after battles in Virginia, or the peculiar sentiment of moonlight and stars over the great Plains, western Kansas" (Seeing Niagara to advantage, in Complete Prose Works, Kila MT/US, Kessinger Publishing, 2004, pp. 179–180, ) Nevertheless, she scored a real triumph in 1850, when she made her operatic debut at the Paris Opéra performing the tragic role of "Fidès" in Meyerbeer's Le prophète, which had been created the year before by no less than Pauline Viardot.Pougin, 2001, pp. 57–67. Furthermore, she was able to cope with such dramatic roles as "Azucena" and "Ulrica" in Verdi's Il trovatore and Un ballo in maschera, and even with the baritone role of "Don Carlo" in Ernani (London, 1847).Ciliberti; Celletti, pp. 243–244.
Appearing regularly as Micaëla in Carmen, Cio-Cio-San in Madama Butterfly, and Tatiana in Eugene Onegin, Antonia in Les contes d'Hoffmann, Donna Elvira in Don Giovanni, Nedda in Pagliacci, Mimi in La bohème, her repertoire also included Leonora in Il trovatore and Aida. In the mid-1970s, Amara was given only a "cover" contract – essentially a contract to be a stand-by for an indisposed singer – and was scheduled for fewer and fewer performances. In 1976 at the age of 51, she successfully sued the Met for age discrimination, but sang only sporadically with the company after that, and was absent from the roster from 1977 until 1981. In the last years of her Met career, she sang only one or two performances a season (one performance each in 1985, 1986, 1988, 1989 and 1991, and two in 1987; the 1985 performance took place at the Kennedy Center where the Met was on tour; the 1986 performance was presented by the Met in Brooklyn's Prospect Park).
On the invitation of Ole Bull, he came to the United States with Maurice Strakosch in 1855, and soon attained a popularity that lasted almost to the end of his life. His American debut was as Edgardo in Lucia di Lammermoor (12 March 1855)Boston Symphony Orchestra, (1920-1921) Programme of the First Afternoon and Evening Concerts and soon thereafter he sang Manrico in the first American production of Il Trovatore (2 May 1855). Other permière American performances in which he appeared were La Traviata (1856), I vespri siciliani (1859) and Un ballo in maschera (1861), conducted by Brignoli's friend, Emanuele Muzio at the New York Academy of Music,Dougan: George C.D. Odell (1931) 'Annals of the New York Stage 7: 347 as well as Luigi Arditi's La Spia (1855)Dougan: Luigi Arditi (1896) My Reminiscenses and Betly (1861) at the Philadelphia Academy of Music. Brignoli's first appearance in Boston was on May 25, 1855, as Gennaro in Lucrezia Borgia.
He sang a wide repertoire ranging from bel canto roles such as Alphonse in La favorita, Severo in Poliuto, Figaro in Il barbiere di Siviglia, and Iago in Rossini's Otello to Verdian roles which included the title role in Nabucco, Miller in Luisa Miller, Conte di Luna in Il trovatore, Guido di Monforte in I vespri siciliani, and Rolando in La battaglia di Legnano. Crivelli also created a number of roles in the world premieres of now-forgotten operas such Tristano in Federico Ricci's Griselda. Beginning in the 1850s, he essayed several bass-baritone roles including Oroveso in Norma and the title role in Mosè in Egitto (both at the Theatre Royal, Malta in 1850), Assur in Semiramide (Teatro Regio di Parma in 1859), and Oberthal in Le prophète (Teatro Regio di Torino in 1862). Crivelli composed a number of art songs and published two books on the art of singing, Metodo di canto and Grammatica musicale.
In 1981 Gilmore made his debut at the Metropolitan Opera as Hunchback in Strauss' Die Frau ohne Schatten with Birgit Nilsson as The Dyer's Wife, Éva Marton as the Empress, and Gerd Brenneis as the Emperor. He appeared in nearly 200 more performances at the Met over the next eleven years, portraying such roles as Andres in Wozzeck, Archer in Francesca da Rimini, Count Elemer in Arabella, the Count of Lerma in Don Carlo, Eisslinger in Die Meistersinger von Nürnberg, Malcolm in Macbeth, the Messenger in Aida, Normanno in Lucia di Lammermoor, Prince Shuisky in Boris Godunov, Ruiz in Il trovatore, Scaramuccio in Ariadne auf Naxos, the Shepherd in Oedipus rex, and the Steersman in The Flying Dutchman among others. His last appearance at the Met was on January 10, 1992 as the Man with Lather in The Ghosts of Versailles. In 1987 Gilmore toured South Korea in performances with the Seoul Philharmonic Orchestra and was a soloist with the Wilmington Symphony Orchestra.
From 1965 to 1968 Berberian was committed to the San Francisco Opera, making his debut with the company in the title role of Béla Bartók's Bluebeard's Castle with Beverly Wolff as Judith and Gerhard Samuel conducting on May 25, 1965. Other roles he sang with the company included Alvise Badoero in La Gioconda, Biterolf in Wagner's Tannhäuser, The Bonze in Madama Butterfly, both Charles V and the Friar in Don Carlos, Ferrando in Il trovatore, Inspector in The Visitation, Narbal in Hector Berlioz's Les Troyens, Orest's tutor in Elektra, Pimen in Boris Godunov, A rag picker in Louise, Samuel in Un ballo in maschera, The Speaker in The Magic Flute, the Wise Man in Christophe Colomb, and Man in the United States premiere of Kurt Weill's Royal Palace. In 1966 Berberian portrayed the role of the Traveller in Britten's Curlew River at the Caramoor International Music Festival. In 1977 he made his debut at the Santa Fe Opera as Arkel in Pelléas et Mélisande.
She also had success at the Met in Meyerbeer's Le prophète, Ponchielli's La gioconda, as Vitellia in Mozart's La clemenza di Tito. Moving into the heavier Verdi repertoire in the 1970s, she sang Elisabetta in Don Carlo, Luisa Miller, Lady Macbeth, Leonora in Il trovatore and the Requiem, all under the baton of the Met's music director James Levine. In the late part of her career, Scotto took on the roles of Fedora (Barcelona, 1988), Charlotte in Massenet's Werther, the Marschallin in Der Rosenkavalier (Charleston Spoleto Festival, 1995 and Catania), Kundry in Parsifal (Schwerin, 1995), Elle in La voix humaine (Florence, 1993; Amsterdam and Barcelona, 1996; Torino, 1999), Madame Flora in The Medium (Torino, 1999) and Klytemnestra in Elektra (Baltimore, 2000 and Sevilla, 2002). Her later concert appearances included Berlioz's Les nuits d'été, Lieder of Mahler and Strauss, as well as Schoenberg's Erwartung with the Accademia di Santa Cecilia Orchestra and RAI Orchestra of Torino.
Tobiasson attended Adolf Fredrik's Music School (Swedish: Adolf Fredriks Musikklasser), a school in Stockholm known for its song and choral curriculum. She received the Jussi Björling stipend in 2001 and was appointed Hovsångerska by Carl XVI Gustaf of Sweden in 2000. Tobiasson was employed at the Royal Swedish Opera in 1988, where she has sung numerous roles, including Carmen, a critically acclaimed Elisabetta in Donizetti's Maria Stuarda with guest appearances at the Teatro de la Maestranza in Seville, Omega in The Bacchae by Börtz, Gatekeeper in A Dream Play by Lidholm, Santuzza in Cavalleria rusticana, Ortrud in Lohengrin, Amneris in Aida, Kundry in Parsifal, Azucena in Il trovatore, Mistress Quickly in Falstaff, Klytemnestra in Elektra, Eboli in Don Carlos and the Countess in The Queen of Spades. The operatic repertoire also includes roles such as Brigitta in Die tote Stadt, the Hostess in Boris Godunov, Adalgisa in Norma and Fricka in Das Rheingold.
She portrayed many other roles at the Seattle Opera during her career, including Albine in Massenet's Thaïs, Azucena in Verdi's Il trovatore, Filippyevna in Tchaikovsky's Eugene Onegin, Grandmother Burja in Janáček's Jenůfa, Herodias in Strauss' Salome, Klytämnestra in Strauss' Elektra, Mama McCourt in Moore's The Ballad of Baby Doe, Marthe Schwerlein in Gounod's Faust, Mistress Quickly in Verdi's Falstaff, Mother Jeanne in Poulenc's Dialogues of the Carmelites, and the Nurse/Innkeeper in Mussorgsky's Boris Godunov. Decker made her debut at the Lyric Opera of Chicago in 1978 as Mamma Lucia in Mascagni's Cavalleria rusticana. On December 17, 1980 she sang the same role for her debut at the Metropolitan Opera with Grace Bumbry as Santuzza and David Stivender conducting. She was a regular presence on the Met stage for six seasons, portraying such roles as Gertrud in Humperdinck's Hansel and Gretel, Gertrude in Gounod's Roméo et Juliette (with Placido Domingo conducting), Grandmother Burja in Jenůfa, and Schwertleite in Die Walküre among others.
Cole, p174Murray Rowlands, Aldershot in the Great War: The Home of the British Army, Pen & Sword Military (2015) - Google Books - p32 The English Opera Company appeared here in March 1914 in The Bohemian Girl, Il Trovatore, Don Giovanni and Cavalleria Rusticana, among other works.Playbill for the English Opera Company - March 1914 at the Theatre Royal, Aldershot - Glenn Christodoulou Collection In 1917 the curtain raiser Ida Collaborates by Noël Coward and Esmé Wynne-Tyson was performed at the theatre.Noël Coward (Ed. Barry Day), The Letters of Noël Coward, Bloomsbury (2007) - Google Books pg38Paul H. Vickers, Aldershot Through Time, Amberley Publishing (2013) - Google Books This new theatre was very small on a small site and could only seat 881 in total, with 197 in the stalls, 220 in the pit, 84 in the Dress Circle, and 350 in the gallery at the rear of the dress circle with its own entrance from Gordon Road.
Share of the American Academy of Music, issued 15. October 1856 The Academy of Music held an inaugural ball on January 26, 1857. At the time The New York Times described the theater as "magnificently gorgeous, brilliantly lighted, solidly constructed, finely located, beautifully ornamented" but went on to lament "all that lacks is a few singers to render it 'the thing'." The theatre had its first opera production, and what was billed as its formal opening, a month later on February 25, 1857, with a performance by the Max Maretzek Italian Opera Company of Verdi's Il trovatore starring Marietta Gazzaniga as Leonora, Alessandro Amodio as Count di Luna, Zoë Aldini as Azucena, Pasquale Brignoli as Manrico, and Max Maretzek conducting. Maretzek, who was already presenting operas at the Academy of Music in New York City and at the Chestnut Street Theatre in Philadelphia since 1850, brought his company back annually to the Academy of Music in Philadelphia through 1873.
From 1998 to 2003, Konoshchenko was a member of the Bavarian State Opera, where he performed Colline (La bohème), Masetto (Don Giovanni), Il Re (Aida), Lodovico (Otello), Angellotti (Tosca), Nettuno (Il ritorno d'Ulisse in patria), Zuniga (Carmen) and many other roles. In 2005, Konoshchenko became a member of the National Opera Theater of Mannheim, where he has sung Padre Guardiano (La forza del destino), Leporello (Don Giovanni), Raimondo (Lucia di Lammermoor), Ferrando (Il trovatore), Bartolo (Le nozze di Figaro) and Fiesco (S. Boccanegra). Since autumn 2008 he has been working as an independent artist. His successful career has led him to guest appearances at the Ukrainian National Opera in Kyiv, Bregenz Opera Theater, Deutsche Oper Berlin, Volksoper Wien, Théâtre Royal de la Monnaie in Brussels, Anhaltisches Theater in Dessau, Festspielhaus Baden-Baden, the Gran Teatro del Liceo in Barcelona, Staatstheater Stuttgart, and the Opera Theatre of Toulon,Theater Dortmund, Staatstheater Hannover, R. Strauss Festival in Garmisch-Partenkirchen.
Meliciani began his career in the mid-1950s performing with a touring Italian opera company in Great Britain. In the 1958-1959 season he was committed to the Teatro Nuovo di Torino, performing such roles as Amonasro in Aida and Don Carlo in Ernani. In 1959 he joined the roster of singers at La Scala, making his debut at that opera house as Ping in Giacomo Puccini's Turandot. He remained a regular performer there up into the late 1970s, performing such roles as Alfio in Cavalleria Rusticana, Alfonso XI of Castile in La favorite, Amonasro, the Count di Luna in Il trovatore, Czernikowski in Boris Godunov, Don Carlo in Ernani, Don Carlo di Vargas in La forza del destino, Renato in Un ballo in maschera, Enrico in Lucia di Lammermoor, Posa in Don Carlos, Scarpia in Tosca, Sonora in La fanciulla del West, Stárek in Jenůfa, and the title roles in Nabucco and Rigoletto.
Remembering that the composer's initial suggestion to Cammarano was that he wanted to name the opera after her, Budden notes that this character "is the first of a glorious line" and he names Ulrica (from Ballo), Eboli (from Don Carlos), and Amneris (from Aida) as followers in the same vocal range and with the same expressive and distinct qualities which separate them from the other female role in the opera in which they feature. He quotes from a letter which Verdi wrote to Marianna Barbieri- Nini, the soprano who was due to sing the Leonora in Venice after the premiere, and who expressed reservations about her music. Here, Verdi emphasizes the importance of the role of Azucena: :..it's a principal, the principal role; finer and more dramatic and more original than the other. If I were a prima donna (a fine thing that would be!), I would always rather sing the part of the Gypsy in Il trovatore.
Donna Anna in Mozart's Don Giovanni was her new role for 2012, in a production that went on European tour, with performances in Timisoara, Munich, Dortmund, Wolfsburg, Saarbrucken, and Frankfurt. In the same year, as a soprano soloist, she sang at several opera festivals and concerts in Timisoara, Sibiu, Constanța, Hunedoara, Tilburg, Brugge, Breda, and The Hague.Radaković – Donna Anna, "... seduced by Don Giovanni, in Timisoara", Timis Online, 10 February 2012 In 2013, she appeared as Bellini's Norma at the Croatian National Theatre in Osijek and as Desdemona in Verdi's Otello in Craiova.Radakovic as Norma in the premiere of Norma, Culturenet 24 May 2013Radakovic – Desdemona Otello directed by Rareș Zahariaon on TV in Craiova, 17 February 2013Radakovic as Desdemona Opera Craiova on 8 October 2013 During that year she performed her roles at opera halls in Europe, at Opera Timișoara as Leonora in Il Trovatore, at the Summer Festival in Schwerin as Abigaille in Nabucco, in the Giuseppe Verdi 200th anniversary concert with the Zurich Kammerphilharmonie and debuted as a soprano soloist in Mozart's Requiem at the Athenaeum.
Richard Fredricks made his first appearance with the Met in 1976, when they toured to Wolf Trap Farm Park, as Don Carlo, in La forza del destino, in John Dexter's production. The following year, the baritone was seen at the House in La traviata, with Rita Shane. His in-house debut was as Athanael in Thaïs (with Sills), followed by Don Giovanni in Don Giovanni, Barnaba in “La Gioconda,” the Four Villains in Les contes d'Hoffmann, Escamillio in Carmen, Sharpless in Madama Butterfly, and Ostasio in Francesca da Rimini with Renata Scotto. Fredricks has appeared at most of the major theatres in the Americas, as well as in Hamburg, Frankfurt, Venice, Israel, Brussels, Mexico and numerous performances in Canada. He sang the Count de Luna in ‘Il trovatore” (Montreal), “Rigoletto” in Toronto and Quebec City, Scarpia in “Tosca” in Winnipeg and the North American premier as Demetrius in “Midsummer Night’s Dream,” by Britten in Vancouver. In 1971, he played himself on ABC’s primetime comedy, "The Odd Couple" starring Tony Randall and Jack Klugman.
Noticed by Sergio Segalini,Sergio Segalini on ForumOpera she is invited to sing Azucena in Verdi's Il trovatore at the Martina Franca Festival. On this occasion, an Italian critic wrote of her: "Verdi has finally found her Azucena, Sylvie Brunet is currently one of the rare Verdian singers, as much for her dramatic potential as for the breadth of her voice". Sylvie Brunet collaborates with the French conductor Marc Minkowski who invites her to sing the title role of Carmen in Paris and Grenoble as well as for productions of l’Incoronazione di Poppea at the Aix- en-Provence Festival and Vienna directed by Klaus Michael Gruber, and The Tales of Hoffmann at the Lausanne Opera. Sylvie Brunet has sung in concert, among others Verdi's Requiem at Monte-Carlo under the direction of Georges Prêtre, Beethoven's Symphony No. 9 with the Orchestre National de France under the direction of Kurt Masur as well as the cantata ' by Lili Boulanger with the Orchestre philharmonique de Radio France and the Berliner Philharmonie.
He went on to sing for the company as its resident Principal Tenor in roles that included Alfredo in La traviata, The Duke of Mantua in Rigoletto, Rodolfo in La bohème, Cavaradossi in Tosca, and the title roles in The Tales of Hoffmann, Ernani and Il trovatore. He has since sung these roles in the opera houses of Europe, Australia, and North America. Gavin has appeared in over ten productions for Opera Australia, including Romeo in Gounod's Roméo et Juliette for which he won the 2006 Green Room Award for Best Male Principal in an opera performance.Gill (10 April 2006) His North American appearances have included Hoffmann in The Tales of Hoffmann (Washington National Opera 2001),Broun (17 September 2001) p. C.5 Gustavo in Un ballo in maschera (Boston Lyric Opera 2007),Eichler (31 March 2007) and Dick Johnson in La fanciulla del West (Opéra de Montréal 2008).Gingras (22 September 2008) In October 2010, he made his role debut as Radames in Verdi's Aida for Opera Queensland.
He began his operatic career in 1967 as a principal character tenor with the Australian Opera (now known as Opera Australia), and retired from singing in 1974 following the first season in the Sydney Opera House. He moved into management as Senior Music Officer for the Australia Council from 1974 to 1976, and later became General Manager of the State Opera of South Australia in Adelaide from 1976 to 1982. In 1982 he joined the Metropolitan Opera in New York as Assistant Artistic Administrator before becoming the General and Artistic Director, CEO of San Diego Opera in 1983. His stage directing credits include La bohème (1981) and The Tales of Hoffmann (1982) for the State Opera of South Australia; Cavalleria rusticana and Pagliacci for Santa Barbara Grand Opera (1999). For San Diego Opera he has staged Falstaff (1999), Il trovatore (2000), Tosca (2002), Katya Kabanova (2004) with Patricia Racette, La traviata (2004) with Anja Harteros singing her first Violetta, La bohème (2005) with Richard Leech, and Don Quichotte (2009) with Ferruccio Furlanetto and Denyce Graves.
Concurrently, in 1997 he was appointed Conductor of the Cleveland/San Jose Ballet, with which he conducted more than twenty performances each season, including the annual Nutcracker production. Meena was appointed General Director & Principal Conductor of Opera Carolina in 2000. He has also maintained an active career as guest conductor of opera and concerts in the United States and abroad, having conducted the New York City Opera, the National Symphony ROC, the KBS Symphony Orchestra (Seoul), the Cairo Philharmonic, Orchestra Regionale Toscana (Italy) and the orchestra of Teatro Massimo Bellini in Sicily, as well as L’Opera de Montreal, Portland Opera, Washington Opera as well as the opera companies in Modena (Italy), Livorno (Italy), Lucca (Italy), Ravenna (Italy), Pisa (Italy), Phoenix, Sarasota, and Edmonton, Ottawa and Winnipeg (Canada) where he led the world premiere performances of Victor Davies’ The Transit of Venus, which was broadcast nationally over the CBC. His performances of Verdi’s Il Trovatore, Gounod’s Faust and Tchaikovsky’s Eugene Onegin have been recorded and broadcast over National Public Radio's World of Opera.
At La Scala, he has performed the roles of as Amonasro Giuseppe Verdi's Aida, Hidraot in Christoph Willibald Gluck's Armide, and the title role in Verdi's Macbeth. Other roles he has performed on stage include Varlaam in Boris Godunov, Basilio in Rossini's The Barber of Seville, Count Monterone in Verdi's Rigoletto, Don Carlo in Verdi's Ernani, Don Fernando in Beethoven's Fidelio, Escamillo in Georges Bizet's Carmen, Ferrando in Verdi's Il trovatore, Iago in Verdi's Otello, Jack Rance in Giacomo Puccini's La fanciulla del West, Jochanaan in Richard Strauss' Salome, Nourabad in Bizet's Les pêcheurs de perles, Timur in Puccini's Turandot, Valentin in Charles Gounod's Faust, and the title role in Verdi's Nabucco, Trinity Moses in Weill's Rise and Fall of the City of Mahagonny, and the title role in Louis Gruenberg's The Emperor Jones. Albert has also had an active career as a concert singer. He has sung in concerts with the Chicago Symphony Orchestra, the Los Angeles Philharmonic, the Minnesota Orchestra, the St. Paul Chamber Orchestra, and the New York Philharmonic among others.
Some of the parts she performed at the Met included Annina in La traviata, both the Aunt and Barena in Janáček's Jenůfa, Barbarina and Marcellina in The Marriage of Figaro, Berta in The Barber of Seville, Countess Ceprano in Rigoletto, the Dew Fairy and the Sandman in Hansel and Gretel, Feklusa in Káťa Kabanová, the First Lady in The Magic Flute, the Flower Seller in Britten's Death in Venice, Frasquita in Carmen, Gerhilde in Die Walküre, Giannetta in L'elisir d'amore, Helen in Mourning Becomes Electra, Ines in Il trovatore, Jouvenot in Adriana Lecouvreur, Kate Pinkerton in Madama Butterfly, Laura in Luisa Miller, Lauretta in Gianni Schichi, Lisa in La sonnambula, Marianne in Der Rosenkavalier, Marthe in Faust, Musetta in La bohème, Oscar in Un ballo in maschera, Samaritana in Francesca da Rimini, Woglinde in both Das Rheingold and Götterdämmerung, Xenia in Boris Godunov, Zerlina in Don Giovanni, and title role in Lucia di Lammermoor. In 1991 she created the role of the Woman with Child in the world premiere of John Corigliano's The Ghosts of Versailles.
Jessie, Rosina and Victoria Vokes The piece that most successfully carried an audience by storm was The Belles of the Kitchen, in which the Vokes Family made its debut in the United States at the Union Square Theatre in New York on 15 April 1872. The family then embarked on a six month tour of the United States before returning to Britain where in October 1872 they performed Fun in a Fog. They returned to New York in April 1873 at Niblo's Garden and remained in America for the next year and nine months before returning to England. Their next season in America was at the Fifth Avenue Theatre in New York where they remained for three months. Older sister Jessie Vokes’s clever recitations and dancing were appreciated, but she was not so prominent in the cast as her siblings Victoria and Fred, who were especially happy in their rendering of the tower scene from Il trovatore, or as Rosina Vokes, who was regarded by the young men as the flower of the family.
Their next season in America was at the Fifth Avenue Theatre in New York where they remained for three months. The Vokes Family returned to the USA (without Rosina Vokes who had married in 1877) in April 1881 when they appeared at the Globe Theatre in Boston and returned to England in June 1882 but without Fred Vokes; the family returned to the US in autumn 1882. They made their last appearance in New York at the Mount Morris Theatre in Harlem in January 1883, returning to England (again without Fred) in June 1883.Thomas Allston Brown, A History of the New York stage from the First Performance in 1732 to 1901, Dodd, Mead and Company, New York (1903) - Google Books pg. 146 Jessie Vokes's clever recitations and dancing were appreciated, but she was not so prominent in the cast as her siblings Victoria and Fred, who were especially happy in their rendering of the tower scene from Il trovatore, or as Rosina Vokes, who was regarded by the young men as the flower of the family.
Her secure technique enabled her to interpret both light coloratura roles as well as dramatic parts. Her vast repertory included more than 80 roles such as Abigaile in Nabucco, both Agathe and Ännchen in Der Freischütz, Cio-Cio-San in Madama Butterfly, Donna Anna in Don Giovanni, Elisabetta in Don Carlos, Elsa in Lohengrin, Fiordiligi in Così fan tutte, Gilda in Rigoletto, Konstanze in Die Entführung aus dem Serail, Lady Macbeth in Macbeth, Leonora in Il trovatore, Lisa in The Queen of Spades, Lyudmila in Ruslan and Lyudmila, Marguerite in Faust, Micaëla in Carmen, both Mimì and Musetta in La bohème, Pamina in The Magic Flute, Santuzza in Cavalleria rusticana, Sieglinde in Die Walküre, Tatyana in Eugene Onegin, Violetta in La traviata, and the title roles in Louise, Tosca, and Turandot. But above all, she excelled in portraying roles from Czech operas by Smetana, Dvořák and Janáček including the title roles of Libuše, Rusalka and Jenůfa, Mařenka in Prodaná nevěsta (The Bartered Bride) and Emilia Marty in Věc Makropulos (Makropulos Case).
During the next few weeks she appeared as the title role in Wallace's opera Maritana, Leonora in Il Trovatore, and in other leading parts in Fanny Simonsen's troupe. Proceeding to America in 1879 she created the part of Marguerite in the first performance in America of Hector Berlioz's work, The Damnation of Faust, in 1880. She studied under several masters both in America and in Europe, and appeared at the promenade concerts in London in 1883. In 1885 she sang at Covent Garden and afterwards with the Carl Rosa Opera Company. From 1887 to 1889, she toured Australia, New Zealand, Japan, America and Germany with much success, in 1896 had a tour in South Africa, was in Australia again from 1897 to 1898 and in 1902 and 1903, she toured with Kubelik. She subsequently revisited Australia, and in her later years taught singing at London where she died on 20 September 1935. She married musical agent Hugo Heinrich Ludwig Gorlitz in 1878Source Citation New Zealand, Marriage Index, 1840-1937; Source Information Ancestry.com. New Zealand, Marriage Index, 1840-1937 [database on- line].
In fourteen seasons at the Met, his roles included Radames, Dick Johnson opposite Renata Tebaldi's Minnie, Calaf in Turandot, another signature role, Pinkerton in Madama Butterfly, Stolzing in Die Meistersinger von Nürnberg, Max in Der Freischütz, Erik in Der Fliegende Holländer, Cavaradossi in Tosca, and a much appreciated Edgardo in Lucia di Lammermoor, which he sang in a new 1964 production, opposite Joan Sutherland. Lohengrin was once again his debut role at the London's Royal Opera House, Covent Garden, in 1963. Gifted with a shining, spinto instrument, Kónya had an easy top register placing him the category known as "jugendlicher heldentenor" while affording him the full plangency of the Italian roles as well. Kónya left only a small number of commercial recordings, including a 1963 Die Fledermaus, under Oskar Danon; a 1965 Lohengrin, under Erich Leinsdorf, both for RCA Victor, an aria recital for Deutsche Grammophon (Il Trovatore, Meistersinger, Lohengrin, L'elisir d'amore, Martha, etc.), and a recital of songs by Wagner and Verdi, with Otto Guth at the piano (MCA).
Saccani appeared regularly as guest conductor with many important symphony orchestras including the Bavarian Radio Orchestra (Munich), the Czech Philharmonic, the Irish National Symphony, the Tokyo Philharmonic and Yomiuri Symphonies, the Oslo Philharmonic, the Madrid and Bilbao Orchestras, the Gurzenisch Orchestra (Cologne), the Orchestre de chambre de Genève (Geneva Chamber Orchestra), the Hungarian National State Philharmonic, the Mannheim National Theater Orchestra, the Marseilles Opera Orchestra and the Franz Liszt Chamber Orchestra. Maestro Saccani also appeared at the Hamburg State Opera, the Lyon Opera, the Monte-Carlo Opera, the Arena de Nîmes Festival, the Paris Opéra Comique, Rome, Dresden and Cologne Operas. Saccani made his Metropolitan Opera debut in Il trovatore and was re-engaged for the first international radio broadcast of Traviata and Aida. He also conducted at the Teatro San Carlo (Naples), the Arena di Verona (Rigoletto), the Houston Grand Opera, the Puccini Festival Torre del Lago (Turandot), the Teatro Bellini di Catania (La Favorite and I puritani) as well as the Maggio Musicale Fiorentino, the Avenches Swiss Festival and the Santander Summer Music Festival in Spain.
In 1951, he performed the title role of Verdi's Simon Boccanegra in Bergamo, and the role of Sharpless in Puccini's Madama Butterfly at La Scala in Milan. He sang in many rarely performed Verdi operas on radio for RAI in 1951, (commemorating the 50th anniversary of Verdi's death), such as Giovanna d'Arco, La battaglia di Legnano, and Aroldo. He later sang most of the great Verdi baritone roles, including Rigoletto, Count De Luna in Il trovatore, Giorgio Germont in La traviata, Marquis of Posa in Don Carlos, and Amonasro in Aida. Panerai had more than 150 operas in his repertoire, but became best-known for comic roles: Ford in Verdi's Falstaff (his signature role), Figaro in Mozart's Le nozze di Figaro, Leporello in Don Giovanni, and both Guglielmo and Alfonso in Così fan tutte, Figaro in Rossini's Il barbiere di Siviglia, both Belcore and Dulcamara in Donizetti's L'elisir d'amore, and Malatesta and the title role in Don Pasquale. He was an exponent of Puccini's Gianni Schicchi for many years, singing the role in Genoa as late as 2011, at the age of 87.
Among the concert cycles for violin and orchestra without a conductor: five concerts by Mozart, all compositions for violin and orchestra of Beethoven and Tchaikovsky. Also among the projects: Paganiniana, Spanish violin, Magyar violin, French virtuoso violin music, Wieniawski and Polish violin art, Tchaikovsky and Russian violin tradition, Offenbach-gala. In addition, the Orchestra was remembered for such opera productions as Tannhäuser by R. Wagner, Turandot, Tosca and Manon Lescaut by G. Puccini, Il Trovatore by D. Verdi, Die Fledermaus by I. Strauss, Le Nozze di Figaro by V.A. Mozart, etc. The hallmark of the orchestra became marathons, which are held annually since the creation of the team. The following were played in one evening: six Tchaikovsky symphonies (2014), all Brahms symphonies (2015), from spring to autumn 2016 — all Mozart symphonies, and within the framework of the final marathon — 12 most iconic (2016); all Beethoven symphonies (2017), for which the orchestra was included in the Russian Book of Records as “the longest philharmonic concert with a programme from the works of one author performed by one symphony orchestra under the direction of one conductor”; all Liszt’s symphonic poems (2018).
The original series of one thousand titles (numbered 39000-39999) was issued in the 27cm or ten and three-quarter inch format. (Disc xPH 1, issued as 39003, was cut in 1904 by the great La Scala baritone Giuseppe Pacini, who sings the operatic aria "Il balen" from Verdi's Il Trovatore). Unlike the Gramophone Company's more refined numbering system, Fonotipia's system agglomerated male, female and ensemble artists, with piano accompaniments, on an indiscriminate basis. This original series was complete by 1907 when a new 27cm series, 62000, was begun, also with piano accompaniment. From late 1907, it ran in tandem with the 27cm 92000 series, which had orchestral accompaniments. In 1905, the 69000 series was introduced. It featured a large disc of 35cm (13 and three-quarter inches); but it ran to only 22 titles before being discontinued as unpopular with the consumer market, owing to the format. However this short series had the distinction of including the only known commercial records by the great Polish tenor Jean de Reszke, namely the titles 69000, "Scene du tombeau" (from Roméo et Juliette, by Gounod), and 69001, "Ô Souverain, Ô Juge, Ô Père" (from Le Cid, by Massenet).
Thomas Allston Brown, A History of the New York stage from the First Performance in 1732 to 1901, Dodd, Mead and Company, New York (1903) - Google Books pg. 146 Jessie Vokes’s clever recitations and dancing were appreciated, but she was not so prominent in the cast as her siblings Victoria and Fred, who were especially happy in their rendering of the tower scene from Il trovatore, or as Rosina Vokes, who was regarded by the young men as the flower of the family.'JESSIE VOKES DEAD. THE FIRST ONE TO DIE OF THE FAMOUS FAMILY OF COMEDIANS' - The New York Times, New York, Friday, 8 August 1884, p. 5b The Vokes Family in Little Red Riding Hood at Her Majesty's Theatre (Christmas 1883) For about ten years (with the exception of 1873, when they were touring abroad) the Vokes Family were regulars in the annual Christmas pantomime at Drury Lane, including Humpty Dumpty (1868); Beauty and the Beast! or, Harlequin and Old Mother Bunch (1869); The Dragon of Wantley; or, Harlequin or Old Mother Shipton (1870); Tom Thumb; or, King Arthur and the Knights of the Round Table (1871), and Children in the Wood (1872).
He made his debut at the Metropolitan Opera House on 20 November 1905 as Isèpo in Amilcare Ponchielli's La Gioconda with Lillian Nordica in the title role. He sang in many productions at the Met over the next year and a half, including Baron Rouvel in Fedora, Borsa in Rigoletto, the Dancing Master in Manon Lescaut, Don Curzio in The Marriage of Figaro, Gastone in La traviata, a Jew in Salome, the Messenger in Aida, Normanno in Lucia di Lammermoor, the Notary in La sonnambula, Parpignol in La bohème, Ruiz in Il trovatore, the Sergeant in The Barber of Seville, Spoletta in Tosca, and the Usher in L'Africaine. His final appearance at the Met was on 22 February 1907 as Yamadori in Madama Butterfly with Geraldine Farrar as Cio-Cio-San and Enrico Caruso as Pinkerton. During his long career, Paroli also worked as a guest artist at the Academy of Music in Philadelphia, the Cairo Opera House, the Chicago Grand Opera Company, the Mariinsky Theatre, the Paris Opera, the Royal Opera House in London, the Teatro Colón, the Teatro Comunale di Bologna, and the Teatro Municipal (Rio de Janeiro) among others.
Mulligan has garnered much critical acclaim in his career, particularly for his performances of Sweeney Todd and Richard Nixon in Nixon in China, both with San Francisco Opera, Enrico in the David Alden production of Lucia di Lammermoor at Canadian Opera Company, English National Opera, and Washington National Opera, the title role of Hamlet at Minnesota Opera and Valentin in Faust at the Metropolitan Opera, Opernhaus Zürich, and San Francisco Opera. Other roles include Di Luna in Il trovatore at Oper Frankfurt, Renato in Un ballo in maschera and Chorebe in Les Troyens both at San Francisco Opera, Thérèse at Wexford Festival Opera, Hansel and Gretel at Lyric Opera of Chicago, Carmina Burana with the Cleveland Orchestra and Peter Grimes at the Aspen Music Festival. Mulligan has also appeared at the Ravinia Festival, Spoleto Festival USA and the Saito Kinen Festival in Japan. Brian Mulligan has performed with many of the finest orchestras in America, including the Cleveland Orchestra (A Sea Symphony), the San Francisco Symphony Orchestra (Das klagende Lied), the Chicago Symphony Orchestra (Songs for Adam), the Houston Symphony (Paulus) and the Los Angeles Philharmonic (Mahler Symphony #8).
Their next season in America was at the Fifth Avenue Theatre in New York where they remained for three months. The Vokes Family returned to the USA (without Rosina Vokes who had married in 1877) in April 1881 when they appeared at the Globe Theatre in Boston and returned to England in June 1882 but without Fred Vokes; the family returned to the USA in Autumn 1882. Fred Vokes with sister Jessie Vokes as Fatima in Bluebeard - The Illustrated London News 10 January 1880 They made their last appearance in New York at the Mount Morris Theatre in Harlem in January 1883, returning to England (again without brother Fred) in June 1883.Thomas Allston Brown, A History of the New York stage from the First Performance in 1732 to 1901, Dodd, Mead and Company, New York (1903) - Google Books pg. 146 Jessie Vokes’s clever recitations and dancing were appreciated, but she was not so prominent in the cast as her siblings Victoria and Fred, who were especially happy in their rendering of the tower scene from Il trovatore, or as Rosina Vokes, who was regarded by the young men as the flower of the family.
Her husband was in the Air Force in North Africa, and she was engaged to give a solo concert on the Mediterranean coast, in an open-air theater forty miles outside Tripoli. "Imagine", says Rankin, "Libya was still a kingdom then, and King Idris had a piano flown in from Egypt, while an American cruiser was stationed near the shore to illuminate the stage. The whole thing was unreal and unforgettable." Although Rankin made appearances with several major companies throughout her career, she spent most of her time in New York City performing at the Metropolitan Opera between 1951 and 1976; there she sang the role of Carmen, the Princess di Bouillon in Cilea's Adriana Lecouvreur, Madelon in Giordano's Andrea Chénier, Santuzza in Mascagni's Cavalleria rusticana, Marina in Mussorgsky's Boris Godunov (in English), Giulietta in Offenbach's Les Contes d'Hoffmann, Herodias in Richard Strauss's Salome, Maddalena in Verdi's Rigoletto, Azucena in Verdi's Il trovatore, Princess Eboli in Verdi's Don Carlo, Ulrica in Verdi's Un ballo in maschera, Brangäne in Wagner's Tristan und Isolde, Gutrune in Wagner's Götterdämmerung, Fricka in Wagner's Die Walküre and Ortrud in Wagner's Lohengrin among others.
A History of the United States Marine Band, by Col. John R. Bourgeois Scala was an extremely prolific musician and arranger, and he improved and enlarged the repertoire of the ensemble. Applying his training and experience in European classical music and Italian opera, he guided the Marine Band toward a more concertistic approach, as opposed to solely military, parade and pomp services. Under the direction of Scala, the young John Philip Sousa started his own apprenticeship in the Band (where his father already played) on June 9, 1868.A History of the United States Marine Band, by Col. John R. Bourgeois Scala ended his term as Marine Band director on December 13, 1871. He lived the rest of his life in Washington, D.C., in his house on South Carolina Avenue. When he died on April 18, 1903, the Marine Band played his preferred hymn Nearer My God to Thee during his funerals from his house and the Catholic church of St. Peter, and while in the church, it played the arrangement written by Scala for the funeral tune from Il Trovatore by Giuseppe Verdi.
There he sang among others Jochanaan in Salome, Hans Sachs in Die Meistersinger von Nürnberg (1963; conductor: Hans Gierster) and Jago in Otello. Imdahl also had a guest contract with the Opernhaus Zürich, where he appeared in 1955 as Amonasro in Verdi's Aida, later as Count Luna in Il trovatore, Pizarro in Beethoven's Fidelio and Scarpia in Tosca. Between 1961 and 1970 he appeared regularly at the Vienna State Opera; he made his debut there as Olivier in Capriccio in January 1961. He performed the roles of Pizarro in 1970, the Speaker in Mozart's Die Zauberflöte, and the music teacher in Ariadne auf Naxos by Richard Strauss. His Wagner roles there included the title role in Der fliegende Holländer (The Flying Dutchman), first sung in 1966 and repeated at the Hamburg State Opera and Santiago de Chile Opera. He also appeared in Vienna as Telramund in Lohengrin from 1966, Kurwenal in Tristan und Isolde from 1964, Hans Sachs in Die Meistersinger von Nürnberg from 1964, Wotan in Die Walküre in 1969 and Amfortas in Parsifal in 1968.Role list by Heinz Imdahl in Chronik der Wiener Staatsoper 1945-2005, .
She returned almost annually to this house through 1971 in such roles as Anna in Les Troyens, Azucena in Il trovatore, Berta in The Barber of Seville, Clairon in Strauss's Capriccio, Countess de Coigny in Andrea Chénier, Countess Geschwitz in Lulu, the First Norn in Götterdämmerung, Fricka in Das Rheingold, Herodias in Salome, The innkeeper in Boris Godunov, Marcellina in The Marriage of Figaro, The Marquise of Birkenfeld in La fille du régiment, Marthe Schwertlein in Faust, Mistress Quickly in Falstaff, the Mother in Louise, Mother Goose in The Rake's Progress, Prince Orlofsky, Rossweisse in Die Walküre, Tisbe in La Cenerentola, and the Woman in the United States premiere of Gunther Schuller's The Visitation. After a nine-year absence, Červená returned to San Francisco in 1980 to portray Countess Waldner in Arabella, Flora in La traviata, Mamma Lucia in Cavalleria Rusticana, and Starenka Buryjovka in Jenůfa. Červená has made several appearances at the Bayreuth Festival, including Floßhilde in The Ring Cycle (1960), Rossweisse (1966–67), and a Flower Maiden in Parsifal (1962–63 and 1966–67). She portrayed Clairon at the 1963 and 1964 Glyndebourne Festivals.
At the Royal Performance in October, she sang Natasha in Prokofiev's War and Peace.Bravo! Celebrating 50 Years of Opera in Australia Her career with OA saw her sing such other roles as Tosca and Madama Butterfly many times, as well as Marguérite (Faust), Gilda (Rigoletto), Queen Elizabeth (Maria Stuarda; opposite Deborah Riedel in the title role), Desdemona (Otello), Leonora (Il trovatore and La forza del destino), Violetta (La traviata), Tatiana (Eugene Onegin), Mimi (La bohème), most of the Mozart heroines, including Donna Anna and Elvira (Don Giovanni), the Countess (The Marriage of Figaro), Fiordiligi (Così fan tutte), Vitellia (La clemenza di Tito), plus Richard Strauss's Feldmarschallin (Der Rosenkavalier), Ellen Orford (Peter Grimes), the four heroines performed in English and then French, in The Tales of Hoffmann, Eva (Die Meistersinger von Nürnberg), Alice Ford (Falstaff), Elisabetta (Don Carlos), and the title roles in Lakmé, Alcina, Adriana Lecouvreur and Suor Angelica. She also sang a concert repertoire including Verdi's Requiem, appearing with Sydney Philharmonia and other ensembles. Overseas, she sang Gilda (Rigoletto) at Covent Garden in 1974, Donna Anna (Don Giovanni) at the 1977 Glyndebourne Festival (in the production by Sir Peter Hall) and with the Metropolitan Opera in 1978.
She also sang Suzuki in the Met premiere of Puccini's Madama Butterfly in the presence of the composer on February 11, 1907. She left the Met at the end of March 1919, but returned to the company in late 1927. Homer sang a varied repertoire at the Met which encompassed parts from a variety of musical periods and languages. Some of the many roles she appeared in on the Met stage were Azucena in Il trovatore, Brangäne in Tristan und Isolde, Dalila in Samson and Delilah, Emilia in Otello, Erda in Siegfried, Fidès in Le prophète, both Flosshilde and Waltraute in Götterdämmerung, both Fricka and Schwertleite in Die Walküre, Laura in La Gioconda, Lola in Cavalleria rusticana, Maddalena in Rigoletto, Magdalene in Die Meistersinger von Nürnberg, Marguerite in La dame blanche, both Marta and Pantalis in Mefistofele, Mistress Quickly in Falstaff, Nancy in Martha, Naoia in Frederick Converse's The Pipe of Desire, Orfeo in Orfeo ed Euridice, Ortrud in Lohengrin, the Second Lady in The Magic Flute, Siebel in Faust, Urbain in Les Huguenots, Ulrica in Un ballo in maschera, Venus in Tannhäuser, and the Witch in Hansel and Gretel.
Nancy Yuen Miu Fun was born in Hong Kong, reportedly in 1967. She is a top graduate of the Royal Academy of Music, London, and has based her career in the United Kingdom and Singapore. She has made Cio-cio-san (Madama Butterfly) her signature role, winning great international critical acclaim. Immediately upon graduation, she made her operatic debut with the Welsh National Opera in this demanding Puccini title role, and has since repeated the role all over the world, notably with the English National Opera, West Australian Opera, Opera Queensland, Northern Ireland Opera, Singapore Lyric Opera, the 1994 New Zealand International Festival of Arts, the 1995 Barbados Opera Festival and the Royal Albert Hall productions by David Freeman in 1998, 2000 and 2003. Yuen's other operatic roles include Romilda (Xerxes), Violetta (La Traviata), Aida, Gilda (Rigoletto), Titania (A Midsummer Night’s Dream), Rosalinda (Die Fledermaus), Nedda (Pagliacci), Siok Imm (Bunga Mawar), Leonora (Il trovatore), the title role of Tosca, Liza (The Queen of Spades), Mimi (La bohème), Jenny (Mahagonny-Songspiel), Micaela (Carmen), Pamina (The Magic Flute) with Opera Queensland, Donna Anna (Don Giovanni) and Liu (Turandot).
Quickly in Verdi's Falstaff in August 1996 and was awarded the title of Kammersängerin in 2006. Roles performed included Azucena in Verdi's Il Trovatore conducted by Nicola Luisotti, and Arnalta in Monteverdi's L'incoronazione di Poppea conducted by Nicholas Kok, Eboli in Verdi' Don Carlo, Widow Begbick in Weill's Rise and Fall of the City of Mahagonny, Venus in Tannhäuser, Giulietta in Ogffenbach's The Tales of Hoffman, Fricka in Wagner's Die Walküre, Waltraute in Götterdämmerung and Erda in Das Rheingold and Siegfried. Her discography in Stuttgart includes the Stuttgart Opera Ring cycle filmed for DVD distribution by Euro Arts and recorded for Naxos. From 2010 to 2018 Vaughn was a principal artist in the ensemble of the Semperoper where she was heard as Azucena conducted by Daniel Oren, Venus conducted by Asher Fisch, Ortrud in Wagner's Lohengrin, Herodias, Eboli, Jezibaba in Stefan Herheim's production of Rusalka, Orlofsky in Die Fledermaus by Johann Strauss, Isabella in Rossini's L'Italiana in Algeri, Suzuki in Puccini's Madama Butterfly, Grand Vestale in La Vestale conducted by Gabriele Ferro, Cornelia in Handel's Giulio Cesare, the Mother in Il Prigioniero, Brigitta in Korngold's Die Tote Stadt among others.
Plácido Domingo has made hundreds of opera performances, music albums, and concert recordings throughout his career as an operatic tenor. From his first operatic leading role as Alfredo in La traviata in 1961, his major debuts continued in swift succession: Tosca at the Hamburg State Opera and Don Carlos at the Vienna State Opera in 1967; Adriana Lecouvreur at the Metropolitan Opera, Turandot in Verona Arena and La bohème in San Francisco in 1969; La Gioconda in 1970; Tosca in Royal Opera House, Covent Garden in 1971; La bohème at the Bavarian State Opera in 1972; Il trovatore at the Paris Opéra in 1973 and Don Carlo at the Salzburg Festival in 1975, Parsifal in 1992 at the Bayreuth Festival; and the list continues until today; the same role is often recorded more than once. Other than full-length opera performance recordings, Domingo has also made many music albums, recording opera arias, live opera performances and concerts, and crossover songs in solo and duet. His albums have simultaneously appeared on Billboard charts of best-selling classical and crossover recordings; contributing to many gold and platinum records and nine Grammy awards.
Over the years, he built a reputation as one of the most versatile figures in Australian opera, performing in all the major comic roles, from the title role in Don Pasquale and Bartolo in The Marriage of Figaro, to The Italian Girl in Algiers to bel canto roles such as Lucia di Lammermoor and Norma, to the key dramatic roles, particularly in Wagner heavyweights such as Tannhäuser, Lohengrin, Die Meistersinger von Nürnberg (singing the bass role of Pogner) and Tristan und Isolde. He sang in Lucia di Lammermoor, Il trovatore and Norma with Dame Joan Sutherland, La bohème with Luciano Pavarotti, and Banquo in Macbeth with Sherrill Milnes. Other roles he became associated with were Zaccharia in Nabucco, Rocco in Fidelio, Osmin in The Abduction from the Seraglio, Boris in Boris Godunov, Timur in Turandot, Ramphis in Aida, Pistol in Falstaff, Kekal in The Bartered Bride, Baron Ochs in Der Rosenkavalier, Nourabad in The Pearl Fishers, the Commendatore in Don Giovanni, and a major role in Leoš Janáček's The Cunning Little Vixen. He created the role of The Maestro in Alan John's 1995 opera The Eighth Wonder at the Sydney Opera House.
Zajick, performing one of her signature roles, the gypsy woman Azucena in Il Trovatore, Berlin, July 2016 In addition to the role of Azucena, Zajick is well known for her interpretations of Amneris and Eboli (in Verdi's Aida and Don Carlos respectively). Zajick has also performed in other Verdi roles, including Ulrica in Un ballo in maschera and Lady Macbeth in Macbeth. She has also appeared as the Princess in Cilèa's Adriana Lecouvreur, Marfa in Moussorgsky's Khovanshchina, Ježibaba in Dvořák's Rusalka, Joan of Arc in Tchaikovsky's The Maid of Orleans, Santuzza in Mascagni's Cavalleria rusticana, Adalgisa in Bellini's Norma, Dalila in Saint-Saëns' Samson et Dalila, the title role in Massenet's Hérodiade and Léonor in Donizetti's La favorite. In 2005, she created the role of Elvira Griffiths in Tobias Picker's An American Tragedy at the Metropolitan Opera, New York. In recent years, while continuing to sing her established repertoire, she has added the roles of the Countess in Tchaikovsky’s The Queen of Spades, La Zia Principessa in Puccini's Suor Angelica, made her Wagner debut as Ortrud in Lohengrin, her Poulenc debut as Madame de Croissy in Dialogues des Carmélites), and her Britten debut as Mrs.
Eugenio Cavallini (16 June 1806 — 11 April 1881) was an Italian conductor, composer, violinist, and violist. In 1833 he became first violinist of the orchestra at La Scala, a post he held through 1855. He also served as a conductor at La Scala, notably leading the world premieres of Gaetano Donizetti's Lucrezia Borgia (1833), Donizetti's Gemma di Vergy (1834), Donizetti's Maria Stuarda (1835), Saverio Mercadante's Il giuramento (1837), Mercadante's Il bravo (1839), Giuseppe Verdi's Oberto (1839), Verdi's Un giorno di regno (1840), Donizetti's Maria Padilla (1841), Verdi's Nabucco (1842), Verdi's I Lombardi alla prima crociata (1843), Verdi's Giovanna d'Arco (1845), Federico Ricci's Estella di Murcia (1846), and Domenico Ronzani's Salvator Rosa (1854). At La Scala Cavallini also conducted performances of Vincenzo Bellini's La sonnambula (1834), Donizetti's L'elisir d'amore (1834), Bellini's I puritani (1835), Daniel Auber's La muette de Portici (1838), Donizetti's Lucia di Lammermoor (1839), Donizetti's La fille du régiment (1840), Donizetti's Don Pasquale (1843), Donizetti's Linda di Chamounix (1844), Verdi's Ernani (1844), Verdi's Attila (1846), Verdi's Jérusalem (1850), Verdi's Rigoletto (1853), Verdi's Il trovatore (1853), Giacomo Meyerbeer's Les Huguenots (1854), Donizetti's Maria di Rohan (1855), Gioachino Rossini's The Barber of Seville (1855), Errico Petrella's Marco Visconti (1855), and Rossini's Otello (1855).
In 1984 she became a member of the Vienna State Opera, making her debut with the company that year as Aida. She remained committed to that opera house through 1991 where she was particularly admired for her portraysls of Puccini and Verdi heroines. While working primarily in Vienna, Troitskaya appeared as a guest artist at the Opéra National de Paris (1985, Amelia in Verdi's Un ballo in maschera), the Staatsoper Stuttgart (1985, Elisabetta in Verdi's Don Carlos), the Teatro dell'Opera di Roma (1985, the title role in Francesco Cilea's Adriana Lecouvreur), the Arena di Verona Festival (1985–1986, Aida and Amelia), the Hamburg State Opera (1986–1988, Amelia, Elisabetta, Leonora in Verdi's Il trovatore, Nedda in Pagliacci, and the title heroine of Puccini's Manon Lescaut), the Royal Opera, London (1986, Tosca), the Luxor Temple (1987, Aida), the Deutsche Oper Berlin (1988–1989, Desdemona in Verdi's Otello and Tosca), the Teatro Nacional de São Carlos (1989, Desdemona), the Bavarian State Opera (1989, Adriana Lecouvreur), the Washington National Opera (1989, Lisa in Tchaikovsky's The Queen of Spades, and the Los Angeles Opera (1990, Elisabetta) among others. She died in Moscow in 2006 at the age of 55 after a long bout with serious illness.
Blythe made her professional opera debut at the Metropolitan Opera as the Voice from Above in Wagner's Parsifal on April 14, 1995. Her career was transformed the following season when she stood in for Marilyn Horne at the Metropolitan opera as Mistress Quickly in Falstaff and received rave reviews. She has subsequently achieved critical success in a variety of roles at the Met, including Amneris in Aida (2012), Auntie in Peter Grimes (1997, 2003), Azucena in Il trovatore (2013), Baba the Turk in The Rake's Progress (1998), Berta in The Barber of Seville (1995), Cornelia in Handel's Giulio Cesare (1999), Eduige in Rodelinda (2004-2006, 2011), Fricka in Die Walküre (2008, 2011-2013) and Das Rheingold (2010-2013), Frugola in Il tabarro (2007), Gertrud in Hansel and Gretel (1997, 2001-2002), Jezibaba in Rusalka (2009), Jocasta in Oedipus Rex (2003-2004), Ludmila in The Bartered Bride (1996), Madelon in Andrea Chénier (1996), Mama Lucia in Cavalleria rusticana (1997), Mother Marie in Dialogues des Carmélites (2002-2003), Orfeo in Orfeo ed Euridice (2009), the Princess in Suor Angelica (2007), Ulrica in Un Ballo in Maschera (2007-2008, 2012) and Zita in Gianni Schicchi (2007) among other roles.Metropolitan Opera Archives In 2000 Blythe made her debut with the Seattle Opera as Fricka and the Second Norn in Wagner's Ring Cycle.

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