best wishes from!
Friday, December 25, 2009
Thursday, December 3, 2009
Poptropica How To Have A The Lip Without The Mole
Rome Opera here is the 2010 calendar
Mayor Alemanno announced: finished the commissioner takes office today
the new board of directors of
Opera "Falstaff" opens the 2010 bill with Fisch and Zeffirelli
The great Italian repertoire: Verdi Boito, Donizetti to Puccini, Cilea
order to "Tosca" rebuilt the preparation original 1900
Estate at Caracalla in the name of "Aida" and "Rigoletto"
Oren and BARTOLETTI between the Directors. DIRECTOR OF CRIVELLI Vizioli
AND SING AND DESS Massis, NICE AND SERAFIN,
Ganassi E Vassileva, Bruson and Anastassov, Jordan and Armiliato
"Giselle" and "Don Quixote" "Romeo and Juliet" and "Sylvia"
and the first Soviet ballet "The Red Poppy" ever seen in Italy
you dance with the National Chopin, Béjart, Daniel Lombardi, Leo Ferre and Tolstoy
new work by Adriano Guarnieri OVER by Massimo Cacciari E
December 3 2010 Riccardo Muti opens the 2010-2011 season
The mayor Giovanni Alemanno has announced eight months after the end of the receivership, and the launch of the new board of directors, the very day on which the Rome Opera Theater presents the 2010 season. The foundation and then finds a natural institutional framework in the afternoon are provided for the appointment of the first summit meeting of the board set in the Capitol at 15. The wait then all will be focused on the future relationship with Riccardo Muti, whose terms will be established in the coming weeks. But it is already decided that the teacher will return to the podium just a year Costanzi, December 3, 2010, to inaugurate the next season 2010-2011: an ancient tradition that the theater will resume scanning the arts calendar is no longer based on the solar . The poster
2010 enhances the commitment of the Orchestra, the Choir by Andrea Giorgi, the corps de ballet directed by Carla Fracci, technicians and workers, first of all with the great Italian repertoire that marks the range of opera: three titles Verdi (Falstaff opens January 23, Aida and Rigoletto in Caracalla) two of Puccini (Madama Butterfly and Tosca), then Boito (Mefistofele), Donizetti (Roberto Devereux) and Cilea (Adriana Lecouvreur), which combines Massenet's Manon. In some cases these products away from Rome for decades. The dance on the back wheel of three masterpieces (Giselle, Don Quixote, Romeo and Juliet), the new edition of a timeless classic (Sylvia), on a rare Soviet choreography (the red poppy) and six designs on the agenda at the National Theatre. Where to include a new work or Adriano Guarnieri (Tenebrae) on texts by Massimo Cacciari. A total of 11 works (78 performances) and 14 ballets (84 performances), plus two concerts. From now until December 12 at the box office space for neoabbonati, from December 15 tickets on sale the shows.
are currently nine companies in 2010 will support the Teatro dell'Opera in Rome: American Express, Mercedes Benz, Banca Etruria, Rome Chamber of Commerce, Group sitcoms, Roma Uno, Sound Dimension Two, Roma Uno, Dimension Dance Hotel Quirinale.
Opera at the Opera House / Teatro Costanzi
will close the 2009 season with a record Traviata, will again have the spotlight for the opening of the 2010 season: Franco Zeffirelli (in 1963-64 he formed a memorable edition) signed the scenes and the director of Falstaff on the bill by 23 to Jan. 31 for eight performances. The last opera composed dall'ottuagenario Giuseppe Verdi, who saw the representation 1893, missing in the capital for two decades. On the podium is the Israeli Asher Fisch, contested by the major musical temples of Europe and America, which in 2008 directed the opera at the Opera Journey to the End-event of the millennium with the book writer Abraham B. Yehoshua. Two evenings will be entrusted to the rod Andriy Yurkevych.Costumi Millenotti copyright of Mauritius, the acclaimed and award-winning world cinema. Renato Bruson guide a company to which stands surrounded Daniela Dessi, among others, by interpreters of the rank of Ruggero Raimondi, Juan Pons and Carlos Alvarez to debut in Rome. New construction. Orchestra and Chorus of La Scala.
From March 16 to 23, after an absence half a century, the opera Mephistopheles reappears by the versatile musician and writer Arrigo Boito wrote that in 1868 and revised dramatically in 1875, depicting the struggle between good and evil, between the ideal and reality. He directs the master Renato Palumbo. The director is in the expert hands of Filippo Crivelli. The scene is based on sketches by Camillo Parravicini, the dean of Italian scenery, which just started at the Rome Opera, and developed a distinguished career. International cast: the Bulgarian bass Orlin Anastassov the American tenor Stuart Neill, our soprano Amaryllis Nice. Seven performances. New construction. Orchestra, Choir and Ballet Theatre.
nine performances for the wait Tosca by Giacomo Puccini on the boards of its Costanzi was born January 14, 1900: we will see a version that reconstructs the original first run with sets and costumes designed by the German painter and designer Adolf Hohenstein (much to the advertising graphics in Italy ) which will give back the form and Maurizio Varamo Anna Biagiotti, the two pillars of the Laboratories and the tailoring of the Theatre. On the podium Fabrizio Maria Carminati. Directed by Andrejs Žagars, who heads the National Opera in Riga stands out among the singers supple, handsome Bulgarian Svetla Vassileva. From 1st to 11th April. Orchestra and Chorus of La Scala.
It jumps to 18 May for the second title of Puccini, with the premiere of Madama Butterfly: Daniel Oren returns to the podium, a podium where is home for some time, to direct ten performances until day 28. Scenes of Aldo Rossi, costumes by Marie Anne Heinreich. The production is designed by Stefano Vizioli, musician and director of opera among the most popular of his generation, also very active abroad. Among the items the soprano Xiu Wei Sun Setting up the City of Bologna. Orchestra and Chorus of La Scala. Last
title Opera before moving to the Baths of Caracalla for the summer, by Jules Massenet Manon will be seven performances June 17 to 24. It is for the baton of French master Alain Guingal. Paola Moro scenes, costumes by Anna Biagiotti. Directed by Jean-Louis Grinda. The opera-comique missing masterpiece of French composer in Rome from 1983-84. The soprano Annick Massis is the star of the company in the role of languid and rebellious character. In coproduction with the Opera of Monte Carlo. In the original language, sovratitoli in Italian. Orchestra, Choir and Ballet Theatre.
Al Teatro Costanzi resumes in the fall with another who is absent for more than twenty years on October 1, it is up to Roberto Devereux by Gaetano Donizetti (five performances are scheduled up to six days) that is intended for the expert direction of Maestro Bruno Bartoletti. The director Joseph Franconi Lee draws Fassini edition of Albert, a student-assistant to Luchino Visconti, who died in 2005, which is part of the heritage construction "doc" of the Theatre. Sets and costumes by David Walker. Performers main Gian Luca Terranova, Carmela Remigio, Alberto and Sonia Ganassi Gazale that returns to the Theatre where he launched his career. Orchestra and Chorus of La Scala.
Last event of the year (December 3, as mentioned, Riccardo Muti will open with Moïse et Pharaon, the next season 2010-2011) scans of the calendar back so old - is from 4 to 11 November to attend Adriana Lecouvreur Francesco Cilea. Directs Maurizio Arena. The construction dates back to the version prepared by renowned director Mauro Bolognini. The scenes are up to Hector Rondon, costumes, Maria De Matteis. And Martina Serafin, the charismatic Austrian, the big attraction in the guise of a famous actress of the Comédie Française. The artist combines the value of Giovanna Casolla. Tenor Marcello Giordani star. Six performances. Orchestra, Choir and Ballet Theatre.
Opera at the Baths of Caracalla
will be the immortal genius of Giuseppe Verdi to capture the international audience of the summer season in the monumental site of Caracalla for sweet evenings in the moonlight. Aida, to the spa since 1938, will be conducted by Daniel Oren. It is a home-made production, making use of the talents and experience of those who worked for years at the Opera: Andrea Miglio edited scenes, Anna Biagiotti costume (partially reconstructed from historical Luigi Sapelli, aka Caramba), directed by Maurizio Di Mattia. The couple Daniela Dessi / Fabio Armiliato protagonist, with Giovanna Casolla in the role of Amneris. Nine performances between July 15 and August 5. Orchestra, Chorus and Ballet.
From July 28 to August 8, will alternate with seven performances of Rigoletto, Aida, entrusted to the direction of maestro Steven Mercurio. It is since 1991 that the opera at La Fenice in Venice baptized in 1851 is absent from Caracalla. The last shot was in '95 at the Villa Borghese, Piazza di Siena in the frame, in a time when the baths were off-limits for all events. New construction. Orchestra and Chorus of La Scala.
the National Theatre Opera
Two titles scheduled at the National in autumn 2010, alongside seven of the Opera House and the two Caracalla. From October 16 to 20 saw the debut of new creation by Adriano Guarnieri and director Cristina Mazzavillani Muti in Rome in 2007 led the jasper. In co-production with the Ravenna Festival have now Tenebrae. Disiecta States, whose texts are excerpts from some works of the philosopher Massimo Cacciari (who already collaborated with Luigi Nono) and dall'Officium Tenebrarum. The work, real videoratorio with a soundstage to 360 degrees, is dedicated to the Prince and sixteenth-century composer Gesualdo. Virtual set Ezio Antonelli. Live electronics edited by Luigi Ceccarelli. The cast Caiello Ada, Sonia Visentin, Andrew Watts. Four performances.
Two weeks later, on November 2 to 10, a happy return: The legend of the flower of flax, musicals with animals as characters, designed for children of all ages, applauded the National in 2001 and 2003. It is a creature out by the imagination and verve Art Adriana Del Giudice (signature music) and Rosa Cabinet (the texts). The stage adaptation, directing, choreography and lighting design by David Haughton, Michele Della Cioppa scenes and costumes by Anna Biagiotti.
□ □ □ □ □
Ballet at the Opera / Teatro Costanzi
The Ballet forged by Carla Fracci is over the scene Friday, February 12 for the long-awaited reconstruction of the three-act ballet The red poppy, made in 1927 the Ukrainian Glière Reinhold, never seen in Italy and much of rarely in Europe. The story, romantic flavor, is set in China '20s: a bond of love by a Chinese cabaret dancer and a Russian ship captain revolutionary landed in China. Inevitable differences and similarities of the game with the role and the profile assumed by the Asian giant in the world today. Five performances through day 17 for the title that laid the foundations of Soviet-style choreography: the signature Nikolay Androsov inspired by the triad-Lavronsky Lashchilin-Tikhomirov. Andrey Anikhanov will be on the podium. The sets and costumes are due to Elena Puliti, directed & eg rave; Beppe Menegatti. Oksana and Igor Yebra Kucheruk pair of guest artists. New construction.
few days and breaks Giselle by Adolphe Adam, the pride of the corps de ballet. Carla Fracci is to put the seal on the choreography is by Coral, Perrot, Petipa and Dolin. The conductor is the German Dieter Rossberg. Anna Anni, madame of the Italian theater, designing sets and costumes. Artist Ashley Bouder American guests (it's prima ballerina at the New York City Ballet) and the Russian Evgenia Obraztsova (pupil of the Mariinsky). Shines étoile Roman Laura Comi. Six performances: 23-28 February.
will instead ten performances of Don Quixote on the agenda between April 22 and May 5 on the notes made by the composer Ludwig Minkus Habsburg Empire in 1869. The version chosen for this new production favors the original choreography by Marius Petipa and Alexander Gorsky, taken from Mikhail Krapivin. On the podium Marzio Conti. Set and costume designer Francesco Zito and entrusted to Antonio Conte. Four pairs of super guests: Ekaterina Borchenko and Tamas Nagy, Evegnia Obraztsova and Andrian Fadeyev, Irma Nioradze and Anton Korsakov, Nelson Madrigal and Lorna Feijóo. Participating students from the School of Dance Theatre.
At the end of the study, 8 and July 9 will see the Opera House for the usual full-Wise School of Dance with students Paola Jorio keep alive a story that began in 1928.
After the summer season at Caracalla, shooting with six performances in mid-October 15-21 in three acts of the ballet Sylvia, which relies on the sublime music of Léo Delibes.Nelle rediscover six performances choreographed by Frederick Ashton, and the baronet English dancer, filmed by Christopher Newton and Anna Trevien. Conductor David LaMarche. Set up by Menegatti, Roberto Ferri scenes, costumes by Giuseppe Palella. Shine Aslhey Bouder and Lisa-Maree Cullum.
Ballet at the Baths of Caracalla
Tap again Dance to open the season on July 1: the choice fell on a title that almost coincides with the career of Carla Fracci. Romeo and Juliet by Sergei Prokofiev plasma notes scespiriano the drama. The choreography by Fracci studied with the help of Gillian Witthingham dates from various sources: Loris Gai, Rudolf Nureyev in the balcony scene, Eric Bruhn in the scene of farewell. He directs the orchestra Finnish Jari Hämäläinen. Cristian Biasci scenes, costumes, Anna Maria Morelli Menegatti created and directed by the construction. Two pairs of dancers of success: Kucheruk Oksana and Igor Yebra, Gaia Straccamore and Andrian Fadeyev. Six performances through July 6.
Ballet Theatre
National Ballet impresses its mark on the 2010 season with eight National titles, almost all news, hoping that budget problems and technical work does not deprive the fans of a place back in the limelight for some years. The debut is 3 to 12 February at the School of Dance with the triptych composed by Sergei Prokofiev on Classical choreography by Massimiliano Volpini, rhymes with famous Italian folk songs and choreography by Paola Jorio, Graduation Ball by Johann Strauss jr. on choreography by David Lichine. Nine performances, including seven reserved for schools. L'heure
exquise masterpiece by Maurice Béjart made with Carla Fracci (on stage with Micha van Hoecke) will take us from February 26 to March 2, for four performances. Inspired Happy Days by Samuel Beckett, led to the Torino Danza 1998 Festival, alternative music of Mozart and von Webern, Mahler and Lehár. To the great Frenchman who died two years fadeve directing and choreography, seen here by Yoko Wakabayashi. Staging by Roger Bernard, costumes by Luisa Spinatelli.
The pianist, composer and visual artist Daniel Lombardi is the author of The Bad Boys of floor: four performances (one for schools) to the music of Arthur Vincent Lourie, Franco and George Antheil Casavola that the Florentine master performs evoking the atmosphere of the "enfants terribles" of the last century, contemporary of Futurism. Choreography by Ileana Citaristi, Tadashi Endo, Fredy Franzutti, Mario Piazza, Luca Veggetti. Franco Pure draws the scenic architecture, Anna Biagiotti costumes. Carla Fracci will perform with Olimpia Carlisi, Ileana Citaristi, Italo Dall'Orto, Tadashi Endo, Massimo Garon and soprano Susanna Rigacci. Advice Music and directed by Francesco Sodini Menegatti.
Chopin Chopin says is a tribute to Polish genius in the bicentenary of the birth. The source is the novel of the pianist and critic Piero Rattalino (has trained generations of students) in the literary fiction that is her life story by the same musician. I love that (a compatriot el'anticonformista French writer George Sand) inspired choreography by Paul Chalmer, director of the Leipzig Ballet. Six performances from March 26 to April 1 (two schools).
April puts pressure on new students of the School of Dance that reproduce Coppélia, ballet pantomime by Léo Delibes, 13-18 in six plays, four of the schools. The choreography from the original version of Alicia Alonso and Enrique Martinez has been adapted by Ofelia Gonzalez, Pablo Moret and Paola Jorio. The scenes are of Roberto Lagana Manoli.
From May 14 to 23 the Corps de Ballet of the Opera is engaged with one another birth Beppe Menegatti: The vagaries of Marianna. The comedy of the French writer Alfred de Musset (tormented lover of George Sand like Frederic Chopin) provides an opportunity to play a game based on the unstable relationships of the characters, the choreography by Luciano Cannito, scenes and costumes by Anna Maria Morelli. Gaia Straccamore Mattatrice the prima ballerina, paired with Alessandro Riga Chopin puts the chamber music, De Musset lyrics. Nine performances, the "first" for schools.
uncomfortable with the figure of the intellectual love of France in turmoil Sixty-eight, who died in Tuscany in 1993, is dedicated to Léo Ferré 24 songs on stage from September 29 to October 3. Poet, songwriter, composer, conductor and writer, the anarchist Ferre created songs using texts by Paul Verlaine and Arthur Rimbaud, the giants of opera second half of the 800 taken from a hot link, which give the subtitle to the ballet Manicone edited by Cosimo and Francesco Sodini. The choreography is by Luc Bouy, the sets and costumes by Maria Filippi. Dance Rubinald Pronk and Erik Underwood. Five performances. New construction.
Finally, 19 to 25 November, Resurrection: another tribute in the form of dance for a hundred years after the death of Lev Nikolayevich Tolstoy, whose latest novel is called there. Chamber music of Pyotr Ilyich Tchaikovsky and songs on texts by Alexei Tolstoy Kostantinovič. Choreography by Fredy Franzutti. Sets and costumes Elena Mannini. Back Letizia Giuliani, prima ballerina at the Maggio Danza, which was part of the School and then the Ballet Opera House. Six performances (one per school) with the musical ensemble "Voces intimae. New construction.
Concerts: The Orchestra of the Opera House will be involved in the June 2 concert on the occasion of Republic Day. The Youth Orchestra of the Opera, now tried and tested by a series of performances and concerts within and outside, held on June 30 its third annual essay. Country
subscriptions
box office open until December 12 for new subscribers. From December 15 tickets on sale of the shows. With the classic "Grand Theatre", "Light," "Fantasia", three new types subscription: "Mini", "4 You" for under 30 and "Special" for companies and individuals. The titles to choose from are the preferred solution Falstaff, Mephistopheles, Tosca, Madama Butterfly, Manon, Roberto Devereux, Adriana Lecouvreur, papapavero The Red Giselle, Don Quixote, Sylvia.
PRESS OFFICE 
Mayor Alemanno announced: finished the commissioner takes office today
the new board of directors of
Opera "Falstaff" opens the 2010 bill with Fisch and Zeffirelli
The great Italian repertoire: Verdi Boito, Donizetti to Puccini, Cilea
order to "Tosca" rebuilt the preparation original 1900
Estate at Caracalla in the name of "Aida" and "Rigoletto"
Oren and BARTOLETTI between the Directors. DIRECTOR OF CRIVELLI Vizioli
AND SING AND DESS Massis, NICE AND SERAFIN,
Ganassi E Vassileva, Bruson and Anastassov, Jordan and Armiliato
"Giselle" and "Don Quixote" "Romeo and Juliet" and "Sylvia"
and the first Soviet ballet "The Red Poppy" ever seen in Italy
you dance with the National Chopin, Béjart, Daniel Lombardi, Leo Ferre and Tolstoy
new work by Adriano Guarnieri OVER by Massimo Cacciari E
December 3 2010 Riccardo Muti opens the 2010-2011 season
The mayor Giovanni Alemanno has announced eight months after the end of the receivership, and the launch of the new board of directors, the very day on which the Rome Opera Theater presents the 2010 season. The foundation and then finds a natural institutional framework in the afternoon are provided for the appointment of the first summit meeting of the board set in the Capitol at 15. The wait then all will be focused on the future relationship with Riccardo Muti, whose terms will be established in the coming weeks. But it is already decided that the teacher will return to the podium just a year Costanzi, December 3, 2010, to inaugurate the next season 2010-2011: an ancient tradition that the theater will resume scanning the arts calendar is no longer based on the solar . The poster
2010 enhances the commitment of the Orchestra, the Choir by Andrea Giorgi, the corps de ballet directed by Carla Fracci, technicians and workers, first of all with the great Italian repertoire that marks the range of opera: three titles Verdi (Falstaff opens January 23, Aida and Rigoletto in Caracalla) two of Puccini (Madama Butterfly and Tosca), then Boito (Mefistofele), Donizetti (Roberto Devereux) and Cilea (Adriana Lecouvreur), which combines Massenet's Manon. In some cases these products away from Rome for decades. The dance on the back wheel of three masterpieces (Giselle, Don Quixote, Romeo and Juliet), the new edition of a timeless classic (Sylvia), on a rare Soviet choreography (the red poppy) and six designs on the agenda at the National Theatre. Where to include a new work or Adriano Guarnieri (Tenebrae) on texts by Massimo Cacciari. A total of 11 works (78 performances) and 14 ballets (84 performances), plus two concerts. From now until December 12 at the box office space for neoabbonati, from December 15 tickets on sale the shows.
are currently nine companies in 2010 will support the Teatro dell'Opera in Rome: American Express, Mercedes Benz, Banca Etruria, Rome Chamber of Commerce, Group sitcoms, Roma Uno, Sound Dimension Two, Roma Uno, Dimension Dance Hotel Quirinale.
Opera at the Opera House / Teatro Costanzi
will close the 2009 season with a record Traviata, will again have the spotlight for the opening of the 2010 season: Franco Zeffirelli (in 1963-64 he formed a memorable edition) signed the scenes and the director of Falstaff on the bill by 23 to Jan. 31 for eight performances. The last opera composed dall'ottuagenario Giuseppe Verdi, who saw the representation 1893, missing in the capital for two decades. On the podium is the Israeli Asher Fisch, contested by the major musical temples of Europe and America, which in 2008 directed the opera at the Opera Journey to the End-event of the millennium with the book writer Abraham B. Yehoshua. Two evenings will be entrusted to the rod Andriy Yurkevych.Costumi Millenotti copyright of Mauritius, the acclaimed and award-winning world cinema. Renato Bruson guide a company to which stands surrounded Daniela Dessi, among others, by interpreters of the rank of Ruggero Raimondi, Juan Pons and Carlos Alvarez to debut in Rome. New construction. Orchestra and Chorus of La Scala.
From March 16 to 23, after an absence half a century, the opera Mephistopheles reappears by the versatile musician and writer Arrigo Boito wrote that in 1868 and revised dramatically in 1875, depicting the struggle between good and evil, between the ideal and reality. He directs the master Renato Palumbo. The director is in the expert hands of Filippo Crivelli. The scene is based on sketches by Camillo Parravicini, the dean of Italian scenery, which just started at the Rome Opera, and developed a distinguished career. International cast: the Bulgarian bass Orlin Anastassov the American tenor Stuart Neill, our soprano Amaryllis Nice. Seven performances. New construction. Orchestra, Choir and Ballet Theatre.
nine performances for the wait Tosca by Giacomo Puccini on the boards of its Costanzi was born January 14, 1900: we will see a version that reconstructs the original first run with sets and costumes designed by the German painter and designer Adolf Hohenstein (much to the advertising graphics in Italy ) which will give back the form and Maurizio Varamo Anna Biagiotti, the two pillars of the Laboratories and the tailoring of the Theatre. On the podium Fabrizio Maria Carminati. Directed by Andrejs Žagars, who heads the National Opera in Riga stands out among the singers supple, handsome Bulgarian Svetla Vassileva. From 1st to 11th April. Orchestra and Chorus of La Scala.
It jumps to 18 May for the second title of Puccini, with the premiere of Madama Butterfly: Daniel Oren returns to the podium, a podium where is home for some time, to direct ten performances until day 28. Scenes of Aldo Rossi, costumes by Marie Anne Heinreich. The production is designed by Stefano Vizioli, musician and director of opera among the most popular of his generation, also very active abroad. Among the items the soprano Xiu Wei Sun Setting up the City of Bologna. Orchestra and Chorus of La Scala. Last
title Opera before moving to the Baths of Caracalla for the summer, by Jules Massenet Manon will be seven performances June 17 to 24. It is for the baton of French master Alain Guingal. Paola Moro scenes, costumes by Anna Biagiotti. Directed by Jean-Louis Grinda. The opera-comique missing masterpiece of French composer in Rome from 1983-84. The soprano Annick Massis is the star of the company in the role of languid and rebellious character. In coproduction with the Opera of Monte Carlo. In the original language, sovratitoli in Italian. Orchestra, Choir and Ballet Theatre.
Al Teatro Costanzi resumes in the fall with another who is absent for more than twenty years on October 1, it is up to Roberto Devereux by Gaetano Donizetti (five performances are scheduled up to six days) that is intended for the expert direction of Maestro Bruno Bartoletti. The director Joseph Franconi Lee draws Fassini edition of Albert, a student-assistant to Luchino Visconti, who died in 2005, which is part of the heritage construction "doc" of the Theatre. Sets and costumes by David Walker. Performers main Gian Luca Terranova, Carmela Remigio, Alberto and Sonia Ganassi Gazale that returns to the Theatre where he launched his career. Orchestra and Chorus of La Scala.
Last event of the year (December 3, as mentioned, Riccardo Muti will open with Moïse et Pharaon, the next season 2010-2011) scans of the calendar back so old - is from 4 to 11 November to attend Adriana Lecouvreur Francesco Cilea. Directs Maurizio Arena. The construction dates back to the version prepared by renowned director Mauro Bolognini. The scenes are up to Hector Rondon, costumes, Maria De Matteis. And Martina Serafin, the charismatic Austrian, the big attraction in the guise of a famous actress of the Comédie Française. The artist combines the value of Giovanna Casolla. Tenor Marcello Giordani star. Six performances. Orchestra, Choir and Ballet Theatre.
Opera at the Baths of Caracalla
will be the immortal genius of Giuseppe Verdi to capture the international audience of the summer season in the monumental site of Caracalla for sweet evenings in the moonlight. Aida, to the spa since 1938, will be conducted by Daniel Oren. It is a home-made production, making use of the talents and experience of those who worked for years at the Opera: Andrea Miglio edited scenes, Anna Biagiotti costume (partially reconstructed from historical Luigi Sapelli, aka Caramba), directed by Maurizio Di Mattia. The couple Daniela Dessi / Fabio Armiliato protagonist, with Giovanna Casolla in the role of Amneris. Nine performances between July 15 and August 5. Orchestra, Chorus and Ballet.
From July 28 to August 8, will alternate with seven performances of Rigoletto, Aida, entrusted to the direction of maestro Steven Mercurio. It is since 1991 that the opera at La Fenice in Venice baptized in 1851 is absent from Caracalla. The last shot was in '95 at the Villa Borghese, Piazza di Siena in the frame, in a time when the baths were off-limits for all events. New construction. Orchestra and Chorus of La Scala.
the National Theatre Opera
Two titles scheduled at the National in autumn 2010, alongside seven of the Opera House and the two Caracalla. From October 16 to 20 saw the debut of new creation by Adriano Guarnieri and director Cristina Mazzavillani Muti in Rome in 2007 led the jasper. In co-production with the Ravenna Festival have now Tenebrae. Disiecta States, whose texts are excerpts from some works of the philosopher Massimo Cacciari (who already collaborated with Luigi Nono) and dall'Officium Tenebrarum. The work, real videoratorio with a soundstage to 360 degrees, is dedicated to the Prince and sixteenth-century composer Gesualdo. Virtual set Ezio Antonelli. Live electronics edited by Luigi Ceccarelli. The cast Caiello Ada, Sonia Visentin, Andrew Watts. Four performances.
Two weeks later, on November 2 to 10, a happy return: The legend of the flower of flax, musicals with animals as characters, designed for children of all ages, applauded the National in 2001 and 2003. It is a creature out by the imagination and verve Art Adriana Del Giudice (signature music) and Rosa Cabinet (the texts). The stage adaptation, directing, choreography and lighting design by David Haughton, Michele Della Cioppa scenes and costumes by Anna Biagiotti.
□ □ □ □ □
Ballet at the Opera / Teatro Costanzi
The Ballet forged by Carla Fracci is over the scene Friday, February 12 for the long-awaited reconstruction of the three-act ballet The red poppy, made in 1927 the Ukrainian Glière Reinhold, never seen in Italy and much of rarely in Europe. The story, romantic flavor, is set in China '20s: a bond of love by a Chinese cabaret dancer and a Russian ship captain revolutionary landed in China. Inevitable differences and similarities of the game with the role and the profile assumed by the Asian giant in the world today. Five performances through day 17 for the title that laid the foundations of Soviet-style choreography: the signature Nikolay Androsov inspired by the triad-Lavronsky Lashchilin-Tikhomirov. Andrey Anikhanov will be on the podium. The sets and costumes are due to Elena Puliti, directed & eg rave; Beppe Menegatti. Oksana and Igor Yebra Kucheruk pair of guest artists. New construction.
few days and breaks Giselle by Adolphe Adam, the pride of the corps de ballet. Carla Fracci is to put the seal on the choreography is by Coral, Perrot, Petipa and Dolin. The conductor is the German Dieter Rossberg. Anna Anni, madame of the Italian theater, designing sets and costumes. Artist Ashley Bouder American guests (it's prima ballerina at the New York City Ballet) and the Russian Evgenia Obraztsova (pupil of the Mariinsky). Shines étoile Roman Laura Comi. Six performances: 23-28 February.
will instead ten performances of Don Quixote on the agenda between April 22 and May 5 on the notes made by the composer Ludwig Minkus Habsburg Empire in 1869. The version chosen for this new production favors the original choreography by Marius Petipa and Alexander Gorsky, taken from Mikhail Krapivin. On the podium Marzio Conti. Set and costume designer Francesco Zito and entrusted to Antonio Conte. Four pairs of super guests: Ekaterina Borchenko and Tamas Nagy, Evegnia Obraztsova and Andrian Fadeyev, Irma Nioradze and Anton Korsakov, Nelson Madrigal and Lorna Feijóo. Participating students from the School of Dance Theatre.
At the end of the study, 8 and July 9 will see the Opera House for the usual full-Wise School of Dance with students Paola Jorio keep alive a story that began in 1928.
After the summer season at Caracalla, shooting with six performances in mid-October 15-21 in three acts of the ballet Sylvia, which relies on the sublime music of Léo Delibes.Nelle rediscover six performances choreographed by Frederick Ashton, and the baronet English dancer, filmed by Christopher Newton and Anna Trevien. Conductor David LaMarche. Set up by Menegatti, Roberto Ferri scenes, costumes by Giuseppe Palella. Shine Aslhey Bouder and Lisa-Maree Cullum.
Ballet at the Baths of Caracalla
Tap again Dance to open the season on July 1: the choice fell on a title that almost coincides with the career of Carla Fracci. Romeo and Juliet by Sergei Prokofiev plasma notes scespiriano the drama. The choreography by Fracci studied with the help of Gillian Witthingham dates from various sources: Loris Gai, Rudolf Nureyev in the balcony scene, Eric Bruhn in the scene of farewell. He directs the orchestra Finnish Jari Hämäläinen. Cristian Biasci scenes, costumes, Anna Maria Morelli Menegatti created and directed by the construction. Two pairs of dancers of success: Kucheruk Oksana and Igor Yebra, Gaia Straccamore and Andrian Fadeyev. Six performances through July 6.
Ballet Theatre
National Ballet impresses its mark on the 2010 season with eight National titles, almost all news, hoping that budget problems and technical work does not deprive the fans of a place back in the limelight for some years. The debut is 3 to 12 February at the School of Dance with the triptych composed by Sergei Prokofiev on Classical choreography by Massimiliano Volpini, rhymes with famous Italian folk songs and choreography by Paola Jorio, Graduation Ball by Johann Strauss jr. on choreography by David Lichine. Nine performances, including seven reserved for schools. L'heure
exquise masterpiece by Maurice Béjart made with Carla Fracci (on stage with Micha van Hoecke) will take us from February 26 to March 2, for four performances. Inspired Happy Days by Samuel Beckett, led to the Torino Danza 1998 Festival, alternative music of Mozart and von Webern, Mahler and Lehár. To the great Frenchman who died two years fadeve directing and choreography, seen here by Yoko Wakabayashi. Staging by Roger Bernard, costumes by Luisa Spinatelli.
The pianist, composer and visual artist Daniel Lombardi is the author of The Bad Boys of floor: four performances (one for schools) to the music of Arthur Vincent Lourie, Franco and George Antheil Casavola that the Florentine master performs evoking the atmosphere of the "enfants terribles" of the last century, contemporary of Futurism. Choreography by Ileana Citaristi, Tadashi Endo, Fredy Franzutti, Mario Piazza, Luca Veggetti. Franco Pure draws the scenic architecture, Anna Biagiotti costumes. Carla Fracci will perform with Olimpia Carlisi, Ileana Citaristi, Italo Dall'Orto, Tadashi Endo, Massimo Garon and soprano Susanna Rigacci. Advice Music and directed by Francesco Sodini Menegatti.
Chopin Chopin says is a tribute to Polish genius in the bicentenary of the birth. The source is the novel of the pianist and critic Piero Rattalino (has trained generations of students) in the literary fiction that is her life story by the same musician. I love that (a compatriot el'anticonformista French writer George Sand) inspired choreography by Paul Chalmer, director of the Leipzig Ballet. Six performances from March 26 to April 1 (two schools).
April puts pressure on new students of the School of Dance that reproduce Coppélia, ballet pantomime by Léo Delibes, 13-18 in six plays, four of the schools. The choreography from the original version of Alicia Alonso and Enrique Martinez has been adapted by Ofelia Gonzalez, Pablo Moret and Paola Jorio. The scenes are of Roberto Lagana Manoli.
From May 14 to 23 the Corps de Ballet of the Opera is engaged with one another birth Beppe Menegatti: The vagaries of Marianna. The comedy of the French writer Alfred de Musset (tormented lover of George Sand like Frederic Chopin) provides an opportunity to play a game based on the unstable relationships of the characters, the choreography by Luciano Cannito, scenes and costumes by Anna Maria Morelli. Gaia Straccamore Mattatrice the prima ballerina, paired with Alessandro Riga Chopin puts the chamber music, De Musset lyrics. Nine performances, the "first" for schools.
uncomfortable with the figure of the intellectual love of France in turmoil Sixty-eight, who died in Tuscany in 1993, is dedicated to Léo Ferré 24 songs on stage from September 29 to October 3. Poet, songwriter, composer, conductor and writer, the anarchist Ferre created songs using texts by Paul Verlaine and Arthur Rimbaud, the giants of opera second half of the 800 taken from a hot link, which give the subtitle to the ballet Manicone edited by Cosimo and Francesco Sodini. The choreography is by Luc Bouy, the sets and costumes by Maria Filippi. Dance Rubinald Pronk and Erik Underwood. Five performances. New construction.
Finally, 19 to 25 November, Resurrection: another tribute in the form of dance for a hundred years after the death of Lev Nikolayevich Tolstoy, whose latest novel is called there. Chamber music of Pyotr Ilyich Tchaikovsky and songs on texts by Alexei Tolstoy Kostantinovič. Choreography by Fredy Franzutti. Sets and costumes Elena Mannini. Back Letizia Giuliani, prima ballerina at the Maggio Danza, which was part of the School and then the Ballet Opera House. Six performances (one per school) with the musical ensemble "Voces intimae. New construction.
Concerts: The Orchestra of the Opera House will be involved in the June 2 concert on the occasion of Republic Day. The Youth Orchestra of the Opera, now tried and tested by a series of performances and concerts within and outside, held on June 30 its third annual essay. Country
subscriptions
box office open until December 12 for new subscribers. From December 15 tickets on sale of the shows. With the classic "Grand Theatre", "Light," "Fantasia", three new types subscription: "Mini", "4 You" for under 30 and "Special" for companies and individuals. The titles to choose from are the preferred solution Falstaff, Mephistopheles, Tosca, Madama Butterfly, Manon, Roberto Devereux, Adriana Lecouvreur, papapavero The Red Giselle, Don Quixote, Sylvia.
PRESS OFFICE
Thursday, October 1, 2009
How Does Mirtazapinework
reclaim an opera!
Opera Turandot
In collaboration with Maestro Silvano Screen
promotes the project
"Getting a Work!" There are books
for too many years that no one can hear, lost in the maze of time, forgotten by historical and cultural routes that have unjustly relegated to silence.
Opera Turandot, the blog dedicated to opera, in collaboration with the Master Screen is working to offer the public, the world premiere of a work for over a century, no fan can be heard:
Maruzza
Pietro Floridia
How can you help us?
Contact us and we will explain everything.
Opera needs YOU!
------------------------------------------------ -
This section will update from time to time, the state funds, so that everyone is visible progress, although sometimes they can be Minini. See you soon with new information. 
Opera Turandot In collaboration with Maestro Silvano Screen
promotes the project
"Getting a Work!" There are books
for too many years that no one can hear, lost in the maze of time, forgotten by historical and cultural routes that have unjustly relegated to silence.
Opera Turandot, the blog dedicated to opera, in collaboration with the Master Screen is working to offer the public, the world premiere of a work for over a century, no fan can be heard:
Maruzza
Pietro Floridia
How can you help us?
Contact us and we will explain everything.
Opera needs YOU!
------------------------------------------------ -
This section will update from time to time, the state funds, so that everyone is visible progress, although sometimes they can be Minini. See you soon with new information.
Sunday, September 27, 2009
Garretts Popcorn Promo
Interview with Maestro Silvano Screen
few days ago we heard the Leoncavallo's Chatterton, directed by Maestro Silvano Screen. From the review published in the pages of Opera Turandot Master was put in touch with us and we took advantage for us to explain some aspects of his work, mainly dedicated to the discovery of long-forgotten works from mass production.
Here's the wonderful interview that the grandmaster has granted us.
------------------------------------------------- -----------
Thank you, Master, for his availability. We came to this interview through a review of Leoncavallo's Chatterton she rightly felt it had "ammoridire. Before the questions, I would like to make a clarification. He was able to get myself noticed that the work of Leoncavallo was made after many years of silence, of absence from the scene and record production. This aspect has been overlooked in the review and instead deserved a greater depth. We love the work we would like all the works were rediscovered and listen to all offers. A few years ago, we rediscovered by Wolf-Ferrari's Sly, first with Carreras, Domingo then. In these days we found a lost manuscript of Mercadante, who will create the Maestro Muti. His work with the Chatterton enter into this strand and for that I owe a thank you on behalf of us all. Clearly the careful restoration is the first of many other considerations and that before any other aspect we should be grateful to you for allowing us to hear what in effect is the first work by Ruggiero Leoncavallo.
We come to the questions now.
Opera Turandot
in the insert of the box we have read some simple information, but not too much. Tell us how you did this project, the reason for the choice of this work, the difficulties encountered, perhaps in the libretto or the score.
Maestro Silvano Screen
The choice fell on Leoncavallo for my interest in discovering new works of the past and symphonic poems, and my proposal to the publisher Bongiovanni containing countless music he has chosen Leoncavallo also under that ZAZA than two years before he had a fair sales results.
My proposals contain at least 10-15 different songs and the publisher chooses according to its criteria. In the score
no problem being encountered was taken at the conservatory in Bologna, published in print by Germans.
SOME PROBLEMS Photocopiers (made by the scribe to write everything by hand), which inevitably contains errors then write Devons identified during the tests by making challenges for the Director, who is running for the first time. But this is a valid issue in all editions of the first performance.
TLT
In parallel with this work the record Chatterton was also brought to the stage?
Maestro SF
Unfortunately not. I offered to various institutions but nobody wants to spend on new production if the proposal is made in a disinterested manner if it was done by customary institutions that are special to donate proceeds from here and there, then it would be much easier.
But I do not belong in this round. However I am working to take it to the end of 2010 in a concert in Poland, Belgium and Italy.
Fit stage is possible if some body or sponsor to help me.
TLT
Tell us about the interpreters. As to the selection process? Participate in a project like this could be a great opportunity, do you?
Maestro SF
soloists fact, precisely because of the opportunity to show off in a record production of a great composer, they all came for free without receiving anything (they were reimbursed by the publisher, the cost of trips and full-day stay required), which is very productive because people who work for free means that it is interested in music as such and work where everyone identifies herself in her role not for money but for cultural interest is much better than when you are working mainly for money. In fact, some felt soloists belonging to agencies working in the Public Lyrical, had a refusal to participate in spite of the positive interest of the singer.
It required a search to an area of \u200b\u200bgreat soloists that contains entries unknown to agencies, but musically sound, almost a transaction Talent Scaut to each soloist.
TLT
Chatterton is the first work by Leoncavallo, written when he was young. The lack of maturity of the composer at times you feel. She has recovered comuqnue an important piece of Italian opera. As has been placed before the score? He made a faithful version, (taking advantage of the fact that there were other interpretations to mediate), or left the same a certain freedom of interpretation, to himself as the interpreters?
Maestro SF
I'm used to interpret works of music ever made and today, my record production with over 80 cd is 80% in the first round the world, and this is a great satisfaction because the timing, interpretation, etc.. is given only by a careful reading of the score that contains within it the answer to every problem interpreter, just knowing how to read well and everything is clear.
My ambition, outdated, and that will remain with me in the grave, would be to record some music (symphonic and operatic) common habitual repertoire for the sole purpose of revolutionizing many prevailing practices in performance practice today that are clearly in conflict with the essence of such intimate music that would be made a certain way, but no one has the courage to depart from the tradition of most. I remember my teacher
S. Celibidache in 1978 when I said "a director must have the courage to change the score if the type of composition writing demands it, because the composer is a man and can be mistaken for routine, to fatigue, to hurry etc.etc. is always the music that is performed to decide how and habits of other directors ... "
TLT
How long have you worked on this project?
Maestro SF
About a year between retrieval score, photocopying, recording the orchestra, the chorus of soloists, editing, mixing, editing.
TLT
Tell us about future projects. There will be other news? other works to be recovered?
Maestro SF
I recall many other works also ready in the drawer (eg Maruzza of P. Floridia , which was antagonistic to Puccini as the successor to Verdi at the Ricordi) and others, but the market is in sharp decline and my usual publisher no longer wishes to proceed (for now) because the CD market has been significantly reduced after the entry of the DVD. And a first look at the economic side publisher.
I made many attempts to bring my skills to new registrations in many other publishers record specifying the cost of operation (having very low cost because it interests me above all do) but no one has even responded to an initial phase trattavia, silence .
Each new CD that I produced for me is like a child born at that moment, and I want to be as prolific, but the economic conditions of the publishers do not. Neither the state shall facilitate such initiatives by promoting the production of rare historical recoveries, and cc.ecc. It seems that nobody is interested in any of this. Sometimes I think that's just me and you, as fans, and some others, we live in a virtual way, but as we enter the real world are setbacks.
TLT
Leave aside for a moment the work on Chatterton. Tell us about you, Maestro.
Maestro SF
I usually say it is not the person who should talk about (I'm the best, most competent and so on. Etc.) But the others have to talk to me if they deem it useful and valid. Only in this way wins a prestige not ephemeral. I often say to myself as a friend: "I am a mediocre director" because of conscious and aware of the goals and achievements of great value as Celibidache, Walter, Solti , etc.. But he immediately adds: "But I have seen around in too many opera companies, far worse than me" (D. Rubboli stated in his review after the recording of Chatterton "a little-known director, but so many of our directors . opera houses are not even worthy of the pages revolve "Sic!
However, I believe that the demand is for illustration of getting things done rather than making judgments on the merits.
would explain my business very long 60 years to come, however summarize:
musical studies with 4 qualifications and the thing I'm most proud of, having been a pupil of S. Celibidache at the end of 70 years and have had strong encouragement from him and appreciation for the "Italian innate talent," he said.
The study started in the direction of conservatism in the '70s was so bad that we could manage only 5 minutes every 2 weeks, all the rest theory. So much so that I did this argument, having found that the direction we learn almost only with practice. I join some contest of direction (even though she was, then, is still not prepared) and in the screening test to prove I have an orchestra with at least 30 minutes or the equivalent of 12 weeks of academy or three months. I went there (Aidem, Besancon, Ravello, etc..) Aware of being deleted right away (and it did) but at least I had worked with the orchestra to the extent appropriate. Then I started to manage alone without going into the Italian opera houses, the door is closed unless you are well presented by someone, and I began to organize tours of orchestras in eastern Italy with the primary purpose of learning the conducting as I am a manager and director.
A bit 'like old times in the nineteenth century which was also manager of the musician himself (Mozart, Bottesini, etc.. Etc...) And then I started a professional ascent has given me many rewards, knowing that direct an Otello at La Scala or in a small town in the province, as the difference there was only the economic side (huge in the first, almost nil in the second) but as a commitment to music is the same.
In 1983 I began my collaboration with the editor Bongiovanni with the first LP (symphonies with works by Spontini) and since then I have continued with the recording of more than 90 CDs in almost all first world recovery. It was the first director of many compositions on various authors ( Busoni, Bellini, Mercadante , Cimarosa, Bottesini , Smareglia , Floridia, Leoncavallo, Ponchielli and finally Catalani referred to in these days is out of the biography in which P. Petronius quotes quote: "A special thanks goes to M ° S. Screen, it is difficult to say what should the Italian musical culture to this teacher, who with his precious recordings has created a genuine rediscovery of much of Italian symphonic music and opera 800 , fall into oblivion as ever, even rediscovering many symphonic works unpublished Catalani [...]. Trieste in July 2009). All this has given me great satisfaction, greater cachet of a high that I could get in official institutions.
However, we are in a crisis of culture and in recent times the job has fallen a lot and I am planning to mo 'recovery, to produce some works Leoncavallo, Ponchielli and rare, as part of European funding for culture, but even here if you are not protected hopes are slim.
Now if you allow me I would like to ask a question to you:
Banks, private sponsors, foundations of all kinds are interested in restoring works of art, archaeological sites, etc.. why do not you put promoters in this area not only architectural monuments but also the music / culture?
What difference does a church to be restored or an opera by (I quote at random a) E. Muzio (only student G. Verdi) that no one knows? Me neither! And if Green has the only student chosen as a motivator will be valid as well.
Obtaining sponsorship to enable us to continue in this rediscovery of past works, the costs of which it is produced in the form of private law (as I always have) are 7.8 times lower than market costs of an institutional record.
Your journal could be the promoter of the initiative (with the help of my best advice and collaboration) announced a competition for the roles of the work, etc.etc. 12-14 months time and could leave the work CD.Magari recorded in the booklet showing all the names of those who contributed to this discovery and I believe that not a few lovers of opera are potentially interested in tying their names to be important Music appreciation.
It 's a challenge !!!!!! (answer here, briefly, we think, we like challenges and it is likely that this will be accepted!)
TLT
His favorite composer? And the work?
Maestro SF
is difficult to say, almost everyone has attractive features, but I can say the best work Verdi's Otello and La Bohème in the alternative, you know why? When I run I will (always) in some passages the chills and goose bumps, which does not happen very rarely and with other titles.
TLT
To close, we return to Chatterton. Bring out the points strength of this production. We will listen again, because it has a value that goes beyond the single production, but we want you to try to explain to others what listeners will find closer to its realization.
Maestro SF
THE STRENGTHS ARE linearietà the composition, behavior that takes hours idyllic hour dramatic, tragic hours in the best tradition of Italian opera. With a compositional writing "classical" but then-oriented style that will be typical of Leoncavallo, having already within the seeds for Pagliacci.
The orchestration, beautifully made, and the melodic line "Italian" in no way inferior to other more famous works. Note the tenor aria "Addio tranquil haven" that would be enough to verify the years of writing than "Farewell ASIL" the Butterfly to deduce who is the inspired and the inspiration of Leoncavallo and Puccini. "You only stay with me" to find all content of the seeds of later realism.
TLT
We can do is thank you once again for the time he has spent. We admire his commitment to the rediscovery of works by opera lovers out of print and we will do everything to back up such initiatives, encouraging, where possible, the best possible visibility. 
few days ago we heard the Leoncavallo's Chatterton, directed by Maestro Silvano Screen. From the review published in the pages of Opera Turandot Master was put in touch with us and we took advantage for us to explain some aspects of his work, mainly dedicated to the discovery of long-forgotten works from mass production. Here's the wonderful interview that the grandmaster has granted us.
------------------------------------------------- -----------
Thank you, Master, for his availability. We came to this interview through a review of Leoncavallo's Chatterton she rightly felt it had "ammoridire. Before the questions, I would like to make a clarification. He was able to get myself noticed that the work of Leoncavallo was made after many years of silence, of absence from the scene and record production. This aspect has been overlooked in the review and instead deserved a greater depth. We love the work we would like all the works were rediscovered and listen to all offers. A few years ago, we rediscovered by Wolf-Ferrari's Sly, first with Carreras, Domingo then. In these days we found a lost manuscript of Mercadante, who will create the Maestro Muti. His work with the Chatterton enter into this strand and for that I owe a thank you on behalf of us all. Clearly the careful restoration is the first of many other considerations and that before any other aspect we should be grateful to you for allowing us to hear what in effect is the first work by Ruggiero Leoncavallo.
We come to the questions now.
Opera Turandot
in the insert of the box we have read some simple information, but not too much. Tell us how you did this project, the reason for the choice of this work, the difficulties encountered, perhaps in the libretto or the score.
Maestro Silvano Screen
The choice fell on Leoncavallo for my interest in discovering new works of the past and symphonic poems, and my proposal to the publisher Bongiovanni containing countless music he has chosen Leoncavallo also under that ZAZA than two years before he had a fair sales results.
My proposals contain at least 10-15 different songs and the publisher chooses according to its criteria. In the score
no problem being encountered was taken at the conservatory in Bologna, published in print by Germans.
SOME PROBLEMS Photocopiers (made by the scribe to write everything by hand), which inevitably contains errors then write Devons identified during the tests by making challenges for the Director, who is running for the first time. But this is a valid issue in all editions of the first performance.
TLT
In parallel with this work the record Chatterton was also brought to the stage?
Maestro SF
Unfortunately not. I offered to various institutions but nobody wants to spend on new production if the proposal is made in a disinterested manner if it was done by customary institutions that are special to donate proceeds from here and there, then it would be much easier.
But I do not belong in this round. However I am working to take it to the end of 2010 in a concert in Poland, Belgium and Italy.
Fit stage is possible if some body or sponsor to help me.
TLT
Tell us about the interpreters. As to the selection process? Participate in a project like this could be a great opportunity, do you?
Maestro SF
soloists fact, precisely because of the opportunity to show off in a record production of a great composer, they all came for free without receiving anything (they were reimbursed by the publisher, the cost of trips and full-day stay required), which is very productive because people who work for free means that it is interested in music as such and work where everyone identifies herself in her role not for money but for cultural interest is much better than when you are working mainly for money. In fact, some felt soloists belonging to agencies working in the Public Lyrical, had a refusal to participate in spite of the positive interest of the singer.
It required a search to an area of \u200b\u200bgreat soloists that contains entries unknown to agencies, but musically sound, almost a transaction Talent Scaut to each soloist.
TLT
Chatterton is the first work by Leoncavallo, written when he was young. The lack of maturity of the composer at times you feel. She has recovered comuqnue an important piece of Italian opera. As has been placed before the score? He made a faithful version, (taking advantage of the fact that there were other interpretations to mediate), or left the same a certain freedom of interpretation, to himself as the interpreters?
Maestro SF
I'm used to interpret works of music ever made and today, my record production with over 80 cd is 80% in the first round the world, and this is a great satisfaction because the timing, interpretation, etc.. is given only by a careful reading of the score that contains within it the answer to every problem interpreter, just knowing how to read well and everything is clear.
My ambition, outdated, and that will remain with me in the grave, would be to record some music (symphonic and operatic) common habitual repertoire for the sole purpose of revolutionizing many prevailing practices in performance practice today that are clearly in conflict with the essence of such intimate music that would be made a certain way, but no one has the courage to depart from the tradition of most. I remember my teacher
S. Celibidache in 1978 when I said "a director must have the courage to change the score if the type of composition writing demands it, because the composer is a man and can be mistaken for routine, to fatigue, to hurry etc.etc. is always the music that is performed to decide how and habits of other directors ... "
TLT
How long have you worked on this project?
Maestro SF
About a year between retrieval score, photocopying, recording the orchestra, the chorus of soloists, editing, mixing, editing.
TLT
Tell us about future projects. There will be other news? other works to be recovered?
Maestro SF
I recall many other works also ready in the drawer (eg Maruzza of P. Floridia , which was antagonistic to Puccini as the successor to Verdi at the Ricordi) and others, but the market is in sharp decline and my usual publisher no longer wishes to proceed (for now) because the CD market has been significantly reduced after the entry of the DVD. And a first look at the economic side publisher.
I made many attempts to bring my skills to new registrations in many other publishers record specifying the cost of operation (having very low cost because it interests me above all do) but no one has even responded to an initial phase trattavia, silence .
Each new CD that I produced for me is like a child born at that moment, and I want to be as prolific, but the economic conditions of the publishers do not. Neither the state shall facilitate such initiatives by promoting the production of rare historical recoveries, and cc.ecc. It seems that nobody is interested in any of this. Sometimes I think that's just me and you, as fans, and some others, we live in a virtual way, but as we enter the real world are setbacks.
TLT
Leave aside for a moment the work on Chatterton. Tell us about you, Maestro.
Maestro SF
I usually say it is not the person who should talk about (I'm the best, most competent and so on. Etc.) But the others have to talk to me if they deem it useful and valid. Only in this way wins a prestige not ephemeral. I often say to myself as a friend: "I am a mediocre director" because of conscious and aware of the goals and achievements of great value as Celibidache, Walter, Solti , etc.. But he immediately adds: "But I have seen around in too many opera companies, far worse than me" (D. Rubboli stated in his review after the recording of Chatterton "a little-known director, but so many of our directors . opera houses are not even worthy of the pages revolve "Sic!
However, I believe that the demand is for illustration of getting things done rather than making judgments on the merits.
would explain my business very long 60 years to come, however summarize:
musical studies with 4 qualifications and the thing I'm most proud of, having been a pupil of S. Celibidache at the end of 70 years and have had strong encouragement from him and appreciation for the "Italian innate talent," he said.
The study started in the direction of conservatism in the '70s was so bad that we could manage only 5 minutes every 2 weeks, all the rest theory. So much so that I did this argument, having found that the direction we learn almost only with practice. I join some contest of direction (even though she was, then, is still not prepared) and in the screening test to prove I have an orchestra with at least 30 minutes or the equivalent of 12 weeks of academy or three months. I went there (Aidem, Besancon, Ravello, etc..) Aware of being deleted right away (and it did) but at least I had worked with the orchestra to the extent appropriate. Then I started to manage alone without going into the Italian opera houses, the door is closed unless you are well presented by someone, and I began to organize tours of orchestras in eastern Italy with the primary purpose of learning the conducting as I am a manager and director.
A bit 'like old times in the nineteenth century which was also manager of the musician himself (Mozart, Bottesini, etc.. Etc...) And then I started a professional ascent has given me many rewards, knowing that direct an Otello at La Scala or in a small town in the province, as the difference there was only the economic side (huge in the first, almost nil in the second) but as a commitment to music is the same.
In 1983 I began my collaboration with the editor Bongiovanni with the first LP (symphonies with works by Spontini) and since then I have continued with the recording of more than 90 CDs in almost all first world recovery. It was the first director of many compositions on various authors ( Busoni, Bellini, Mercadante , Cimarosa, Bottesini , Smareglia , Floridia, Leoncavallo, Ponchielli and finally Catalani referred to in these days is out of the biography in which P. Petronius quotes quote: "A special thanks goes to M ° S. Screen, it is difficult to say what should the Italian musical culture to this teacher, who with his precious recordings has created a genuine rediscovery of much of Italian symphonic music and opera 800 , fall into oblivion as ever, even rediscovering many symphonic works unpublished Catalani [...]. Trieste in July 2009). All this has given me great satisfaction, greater cachet of a high that I could get in official institutions.
However, we are in a crisis of culture and in recent times the job has fallen a lot and I am planning to mo 'recovery, to produce some works Leoncavallo, Ponchielli and rare, as part of European funding for culture, but even here if you are not protected hopes are slim.
Now if you allow me I would like to ask a question to you:
Banks, private sponsors, foundations of all kinds are interested in restoring works of art, archaeological sites, etc.. why do not you put promoters in this area not only architectural monuments but also the music / culture?
What difference does a church to be restored or an opera by (I quote at random a) E. Muzio (only student G. Verdi) that no one knows? Me neither! And if Green has the only student chosen as a motivator will be valid as well.
Obtaining sponsorship to enable us to continue in this rediscovery of past works, the costs of which it is produced in the form of private law (as I always have) are 7.8 times lower than market costs of an institutional record.
Your journal could be the promoter of the initiative (with the help of my best advice and collaboration) announced a competition for the roles of the work, etc.etc. 12-14 months time and could leave the work CD.Magari recorded in the booklet showing all the names of those who contributed to this discovery and I believe that not a few lovers of opera are potentially interested in tying their names to be important Music appreciation.
It 's a challenge !!!!!! (answer here, briefly, we think, we like challenges and it is likely that this will be accepted!)
TLT
His favorite composer? And the work?
Maestro SF
is difficult to say, almost everyone has attractive features, but I can say the best work Verdi's Otello and La Bohème in the alternative, you know why? When I run I will (always) in some passages the chills and goose bumps, which does not happen very rarely and with other titles.
TLT
To close, we return to Chatterton. Bring out the points strength of this production. We will listen again, because it has a value that goes beyond the single production, but we want you to try to explain to others what listeners will find closer to its realization.
Maestro SF
THE STRENGTHS ARE linearietà the composition, behavior that takes hours idyllic hour dramatic, tragic hours in the best tradition of Italian opera. With a compositional writing "classical" but then-oriented style that will be typical of Leoncavallo, having already within the seeds for Pagliacci.
The orchestration, beautifully made, and the melodic line "Italian" in no way inferior to other more famous works. Note the tenor aria "Addio tranquil haven" that would be enough to verify the years of writing than "Farewell ASIL" the Butterfly to deduce who is the inspired and the inspiration of Leoncavallo and Puccini. "You only stay with me" to find all content of the seeds of later realism.
TLT
We can do is thank you once again for the time he has spent. We admire his commitment to the rediscovery of works by opera lovers out of print and we will do everything to back up such initiatives, encouraging, where possible, the best possible visibility.
Friday, September 25, 2009
Can Tylenol Make My Baby Constipated?
Chatterton, R. Leoncavallo (S. Screen, Bongiovanni, 2008)
Title Chatterton
composer Ruggiero Leoncavallo
Director Silvano Screen
Label Bongiovanni
Price € 36.90
Chatterton is undoubtedly a work that should be heard. Why? The main reason: the first consisting of Leoncavallo, although the various problems have overshadowed for 20 years. And so we approached listening to this product, interested in different aspects. A director who is not your typical director. The same goes for the performers and the label. A product out of the usual things, in fact. Some
account of the work in general, first of all.
We have said that is the first of Leoncavallo. And it feels, it is to admit it. Also in this work, as in many other occasions, the composer is also the author of the book and we have to admit that maybe is not really his forte. Something is missing, and you notice right away. Lacks the ability to make something that even poetic prose works fine. And we realize it in the melodies, which can not follow the text to go with the harmony. It all seems a bit 'loose, as if music and words to go forward at different times. Quite different to the discourse general orchestration at the highest level, with the best times reserved the duets where Leoncavallo lets go his talent and the melodic vein that distinguishes the best work.
The story is one that suffers most. Everything seems too rushed. We are already in the drama but most do not live it, but the original text, by Alfred de Vigny is famous for its emotional charge, the strong characterization. Here is lacking a bit 'of it all and the story is told simply, without high peaks of emotion, without wrapping the listener. Out of place we found the presence of Henry, the child. Little interest in carrying out the plot, and difficult to make (that is, the soprano Enrica Bassano certainly did not shine with its interpretation).
on quality, but sufficient as a whole, we must say that the three acts are very well end this level and help to move forward. A play that does not overwhelm, but not bored. You could do better, of course. But always remember that it is the work of onset.
Interpreters. We must say that everyone is defending well enough and maybe it helps in the recording studio. Bassano's already mentioned (and specify that it is very good, but suffers from a role that perhaps this quote is a bit 'forced). Good performance by Maurizio Zanchetti and Fabrizio Blacks, in the roles of George and Lord Clifford, and Tiziana Scaciga Della Silva in the role of Jenny, while negative note for Renato Zuin , tenor in the lead role. We felt it was in difficulties in interpretation. Lots of voice, of course, but always poorly dosed with little nuances and changes suddenly when we expected growth curves are more controlled. Affected by other evidence, but rejected this interpretation, definitely.
not perfect choices to handle the volume, with some items that sometimes jump on the others and in this study could certainly manage better. Do not read the excellent letter from Chatterton (but read Zuin? It was not clear, like a voice mail). The lowest moment of the whole work, perhaps through no fault of Leoncavallo, but the post-production work, no doubt.
Booklet. Very little information. A little 'story of the composer and his work and text in two languages \u200b\u200b(but this is of little interest to us, after all was the Italian version). Hard compredere why the characters are the Dictionary of the work do not coincide with the names of the booklet of this release. Chosen by the composer? Yes, but when? One of the many versions? Why this choice? We are left with dozens of questions that no one breaks up.
Final comment. Opera
not excellent. But there may be. Interpreters
not all in form, but overall levels of sufficiency.
thin booklet.
seems strange, but overall it's mouth around this product. Then we
price. Almost € 40. And then something does not come back. In fact if you really want to find a weakness that is what we think. Excellent overall work of the director who, we later discovered, is very attentive to the rediscovery of works fell into oblivion. That said, given the situation and "funds" Italian, you could not wait for a first class product. The resources were well spent, and so we could listen to a work that would otherwise have been lost over time. Thanks then to the Master Screen. For the future we want a little effort publisher, record label. The price is too often the balance. Imagine that many people have decided not to buy this right because they are too greedy. Maybe with something less than the service opera was finished. Not so. Putting his hand to the overall vote, enough to give a good product, because thanks to the kindness of the Master we have explored the difficulties of such a realization. Eventually, as we have been pointed out, we could hear the Chatterton. Before undertaking Silvano Screen would not have been possible. So thank you Master.
Rating: 6.5 
Title Chatterton composer Ruggiero Leoncavallo
Director Silvano Screen
Label Bongiovanni
Price € 36.90
Chatterton is undoubtedly a work that should be heard. Why? The main reason: the first consisting of Leoncavallo, although the various problems have overshadowed for 20 years. And so we approached listening to this product, interested in different aspects. A director who is not your typical director. The same goes for the performers and the label. A product out of the usual things, in fact. Some
account of the work in general, first of all.
We have said that is the first of Leoncavallo. And it feels, it is to admit it. Also in this work, as in many other occasions, the composer is also the author of the book and we have to admit that maybe is not really his forte. Something is missing, and you notice right away. Lacks the ability to make something that even poetic prose works fine. And we realize it in the melodies, which can not follow the text to go with the harmony. It all seems a bit 'loose, as if music and words to go forward at different times. Quite different to the discourse general orchestration at the highest level, with the best times reserved the duets where Leoncavallo lets go his talent and the melodic vein that distinguishes the best work.
The story is one that suffers most. Everything seems too rushed. We are already in the drama but most do not live it, but the original text, by Alfred de Vigny is famous for its emotional charge, the strong characterization. Here is lacking a bit 'of it all and the story is told simply, without high peaks of emotion, without wrapping the listener. Out of place we found the presence of Henry, the child. Little interest in carrying out the plot, and difficult to make (that is, the soprano Enrica Bassano certainly did not shine with its interpretation).
on quality, but sufficient as a whole, we must say that the three acts are very well end this level and help to move forward. A play that does not overwhelm, but not bored. You could do better, of course. But always remember that it is the work of onset.
Interpreters. We must say that everyone is defending well enough and maybe it helps in the recording studio. Bassano's already mentioned (and specify that it is very good, but suffers from a role that perhaps this quote is a bit 'forced). Good performance by Maurizio Zanchetti and Fabrizio Blacks, in the roles of George and Lord Clifford, and Tiziana Scaciga Della Silva in the role of Jenny, while negative note for Renato Zuin , tenor in the lead role. We felt it was in difficulties in interpretation. Lots of voice, of course, but always poorly dosed with little nuances and changes suddenly when we expected growth curves are more controlled. Affected by other evidence, but rejected this interpretation, definitely.
not perfect choices to handle the volume, with some items that sometimes jump on the others and in this study could certainly manage better. Do not read the excellent letter from Chatterton (but read Zuin? It was not clear, like a voice mail). The lowest moment of the whole work, perhaps through no fault of Leoncavallo, but the post-production work, no doubt.
Booklet. Very little information. A little 'story of the composer and his work and text in two languages \u200b\u200b(but this is of little interest to us, after all was the Italian version). Hard compredere why the characters are the Dictionary of the work do not coincide with the names of the booklet of this release. Chosen by the composer? Yes, but when? One of the many versions? Why this choice? We are left with dozens of questions that no one breaks up.
Final comment. Opera
not excellent. But there may be. Interpreters
not all in form, but overall levels of sufficiency.
thin booklet.
seems strange, but overall it's mouth around this product. Then we
price. Almost € 40. And then something does not come back. In fact if you really want to find a weakness that is what we think. Excellent overall work of the director who, we later discovered, is very attentive to the rediscovery of works fell into oblivion. That said, given the situation and "funds" Italian, you could not wait for a first class product. The resources were well spent, and so we could listen to a work that would otherwise have been lost over time. Thanks then to the Master Screen. For the future we want a little effort publisher, record label. The price is too often the balance. Imagine that many people have decided not to buy this right because they are too greedy. Maybe with something less than the service opera was finished. Not so. Putting his hand to the overall vote, enough to give a good product, because thanks to the kindness of the Master we have explored the difficulties of such a realization. Eventually, as we have been pointed out, we could hear the Chatterton. Before undertaking Silvano Screen would not have been possible. So thank you Master.
Rating: 6.5
Thursday, September 24, 2009
I Need A Facemask For Basketball
"Pelleas et Melisande" - From October 2 to 9
From October 2 to 9 Opera
Debussy back twenty-five years
with "Pelleas et Melisande"
founder of the opera of the twentieth century
Gianluigi Gelmetti
DIRECTED THE ORCHESTRA AND CHORUS OF TEATRO
Scene of the sculptor Anish Kapoor,
directed by Pierre Audi and lighting by Jean Kalman
back after five decades Rome in the work of the watershed of the opera 900: Pelleas et Melisande, the key title of symbolism, one music drama completed by Claude Debussy, goes on stage 2 to 9 October at the Teatro dell'Opera. Gianluigi Gelmetti is to conduct the Orchestra for a decade entrusted to his hands and Chorus prepared by Andrea Giorgi, in co-production a year ago he opened the season at the Theatre Royal de la Monnaie in Brussels. The exhibition bears the stamp of the original three strong personalities on the world stage: the Franco-Lebanese director Pierre Audi, the sculptor Anish Kapoor and Anglo-Indian, the Parisian Jean Kalman, a maker of expensive lights to masters such as Brook, Carsen and Stein. The vision of the audience is captured by a huge red object that changes its position and thanks to a turntable during the course of history, multiplying sensuality and magic, and from which the performers enter and exit. Kapoor's work - the tribute in London these days with a large retrospective exhibition of the homage due to one of the most significant contemporary visual artists - is an attractive more for a performance-event: Pelléas et Mélisande was seen in the Capitoline temple in fact seven times in a century.
The opera in five acts and twelve paintings debuted at the Opéra Comique in Paris on April 30, 1902: it was a performance marked by the bitter dispute incited by the Belgian playwright Maurice Maeterlinck, whose eponymous prose with some cut Debussy became the booklet, offended by a refusal to choose his former partner as a soprano role. It was not much better then 28 March 1909 in the first performance at the Teatro Costanzi in Rome, recalled for the final whistle and shouting continued. But elsewhere Pelleas et Melisande had become an alcoholic acclaimed, overcoming the opposition of the most fanatical Wagnerian.
costumes by Patrick Kinmonth. Didier Kerstens works director, Agostino Angelini to the design of the lights. Entries ranking Italian and international scene, including an imposing three main roles Monica Pods and Nathalie Manfrino, Massimiliano Gagliardo and Jean-François Lapointe, Enzo Capuano and Jean-Philippe Lafont. Seven plays, in the original language sovratitoli. The "first" Friday, October 2 at 20:30 (subscribers shift A), Saturday 3 to 18 (session D), Sunday 4 to 17 (session E), Tuesday, 6 (session B), Wednesday, 7 (non-subscription), Thursday, 8 ( C round) and Friday 9 (non-subscription) always 20.30.
PRESS OFFICE
Press and Public Relations
tel. 0648160217/228 - fax 064818847
e-mail: ufficiostampa@operaroma.it 
From October 2 to 9 Opera
Debussy back twenty-five years
with "Pelleas et Melisande"
founder of the opera of the twentieth century
Gianluigi Gelmetti
DIRECTED THE ORCHESTRA AND CHORUS OF TEATRO
Scene of the sculptor Anish Kapoor,
directed by Pierre Audi and lighting by Jean Kalman
back after five decades Rome in the work of the watershed of the opera 900: Pelleas et Melisande, the key title of symbolism, one music drama completed by Claude Debussy, goes on stage 2 to 9 October at the Teatro dell'Opera. Gianluigi Gelmetti is to conduct the Orchestra for a decade entrusted to his hands and Chorus prepared by Andrea Giorgi, in co-production a year ago he opened the season at the Theatre Royal de la Monnaie in Brussels. The exhibition bears the stamp of the original three strong personalities on the world stage: the Franco-Lebanese director Pierre Audi, the sculptor Anish Kapoor and Anglo-Indian, the Parisian Jean Kalman, a maker of expensive lights to masters such as Brook, Carsen and Stein. The vision of the audience is captured by a huge red object that changes its position and thanks to a turntable during the course of history, multiplying sensuality and magic, and from which the performers enter and exit. Kapoor's work - the tribute in London these days with a large retrospective exhibition of the homage due to one of the most significant contemporary visual artists - is an attractive more for a performance-event: Pelléas et Mélisande was seen in the Capitoline temple in fact seven times in a century.
The opera in five acts and twelve paintings debuted at the Opéra Comique in Paris on April 30, 1902: it was a performance marked by the bitter dispute incited by the Belgian playwright Maurice Maeterlinck, whose eponymous prose with some cut Debussy became the booklet, offended by a refusal to choose his former partner as a soprano role. It was not much better then 28 March 1909 in the first performance at the Teatro Costanzi in Rome, recalled for the final whistle and shouting continued. But elsewhere Pelleas et Melisande had become an alcoholic acclaimed, overcoming the opposition of the most fanatical Wagnerian.
costumes by Patrick Kinmonth. Didier Kerstens works director, Agostino Angelini to the design of the lights. Entries ranking Italian and international scene, including an imposing three main roles Monica Pods and Nathalie Manfrino, Massimiliano Gagliardo and Jean-François Lapointe, Enzo Capuano and Jean-Philippe Lafont. Seven plays, in the original language sovratitoli. The "first" Friday, October 2 at 20:30 (subscribers shift A), Saturday 3 to 18 (session D), Sunday 4 to 17 (session E), Tuesday, 6 (session B), Wednesday, 7 (non-subscription), Thursday, 8 ( C round) and Friday 9 (non-subscription) always 20.30.
PRESS OFFICE
Press and Public Relations
tel. 0648160217/228 - fax 064818847
e-mail: ufficiostampa@operaroma.it
Monday, August 10, 2009
Does Womens North Face Denali Come In Petite
Video Opera: Carmen - Caracalla 2009 (Bizet)
A beautiful scene from Carmen was staged in the past few days at the Baths of Caracalla, Rome. For further information you can read the post before this, but for now Take a little time listening.
A beautiful scene from Carmen was staged in the past few days at the Baths of Caracalla, Rome. For further information you can read the post before this, but for now Take a little time listening.
Thursday, August 6, 2009
Incitation To Birthday Mothers Surprise
August 2009: Carmen
August 4: Tosca .
August 5: Carmen .
so I spent two wonderful evenings Roman (ignoring the beautiful Trovatore enjoyed Saturday at the theater in Ostia Antica), lulled by the sweet first jealousy of Floria Tosca, and Carmen from the mischievous, in a voyage in the nineteenth century, full of suggestions from charm, between two ways of doing the work, that of George Bizet and Puccini innovation.
Caracalla is a very attractive scenario, although listening to opera in a theater is something else, without microphones croak, without the wind that pushes the tunes playfully removing them, without the planes that occasionally pass to remind you that you are not nineteenth century, no.
Fortunately, however, the song remains the same, a spell that captures and holds you there, suspended between two worlds.
And always, fortunately, when the Opera House has organnizzare such events, interpreters are a guarantee. Not that elsewhere there are not singers at. Not that the organization sometimes does not pull any dirty trick (such as the presence of non-presence Domingo to directions, such as the presence of non-presence Gheorghiu Alagna and his wife in a beam advertised everywhere). But, usually, everything runs smoothly. With good satisfaction of us enthusiasts, avid music lovers.
And so I left to drive from the beautiful voices of Fabio Armiliato , Vittoria Todisco, Giorgio Surian, Elina Garance, Valter Borin, Carlo Colombara and many others. And for a few hours I was really elsewhere. What
Opera comes close winner from this comparison?
Tosca and Carmen, to love two women, two works by love. A draw, certainly when it comes to emotions, when it comes to melodies or interpreters.
triumphs at the Carmen consideraioni if \u200b\u200bwe pause to the most banal, but not negligible: the scenery.
I was disappointed, Tosca, deeply, with all the mania to modernize, to be outrageous at all costs, as if it is not so wonderful to take a trip in 1800, so simply have to. No, no need to overdo it with minimalism modern left me somewhat perplexed that I was not allowed to be in history, not quite, at least. Cold and tasteless, the map of Rome and those printed on the inclined panels of light that always seemed too little to give the idea together. They tried, as in the Aida a few years ago. I hope they do this again. Wonderful
instead the scene of Carmen, but a simple refinement Incredi capable with little change to drag the listener in a different place each time, between the tables as a tavern in the mountains or out of an arena. Color and elegance, to accompany the best that Bizet thought as a vast panorama. Enjoyable evening, great performers. With a little less wind, an evening of praise.
Tonight is staged Nabucco, back to Ostia Antica.
jump, this time, just to other commitments. But I would have liked to be there because the Roman theater is a thousand times more fascinating than Caracalla, and in structure and austica. A place created for the performances, and the difference is apparent.
Luckily I still have the melodies in my head of Tosca and Carmen.
Tonight, at least, will accompany me. 
August 4: Tosca . August 5: Carmen .
so I spent two wonderful evenings Roman (ignoring the beautiful Trovatore enjoyed Saturday at the theater in Ostia Antica), lulled by the sweet first jealousy of Floria Tosca, and Carmen from the mischievous, in a voyage in the nineteenth century, full of suggestions from charm, between two ways of doing the work, that of George Bizet and Puccini innovation.
Caracalla is a very attractive scenario, although listening to opera in a theater is something else, without microphones croak, without the wind that pushes the tunes playfully removing them, without the planes that occasionally pass to remind you that you are not nineteenth century, no.
Fortunately, however, the song remains the same, a spell that captures and holds you there, suspended between two worlds.
And always, fortunately, when the Opera House has organnizzare such events, interpreters are a guarantee. Not that elsewhere there are not singers at. Not that the organization sometimes does not pull any dirty trick (such as the presence of non-presence Domingo to directions, such as the presence of non-presence Gheorghiu Alagna and his wife in a beam advertised everywhere). But, usually, everything runs smoothly. With good satisfaction of us enthusiasts, avid music lovers.
And so I left to drive from the beautiful voices of Fabio Armiliato , Vittoria Todisco, Giorgio Surian, Elina Garance, Valter Borin, Carlo Colombara and many others. And for a few hours I was really elsewhere. What
Opera comes close winner from this comparison?
Tosca and Carmen, to love two women, two works by love. A draw, certainly when it comes to emotions, when it comes to melodies or interpreters.
triumphs at the Carmen consideraioni if \u200b\u200bwe pause to the most banal, but not negligible: the scenery.
I was disappointed, Tosca, deeply, with all the mania to modernize, to be outrageous at all costs, as if it is not so wonderful to take a trip in 1800, so simply have to. No, no need to overdo it with minimalism modern left me somewhat perplexed that I was not allowed to be in history, not quite, at least. Cold and tasteless, the map of Rome and those printed on the inclined panels of light that always seemed too little to give the idea together. They tried, as in the Aida a few years ago. I hope they do this again. Wonderful
instead the scene of Carmen, but a simple refinement Incredi capable with little change to drag the listener in a different place each time, between the tables as a tavern in the mountains or out of an arena. Color and elegance, to accompany the best that Bizet thought as a vast panorama. Enjoyable evening, great performers. With a little less wind, an evening of praise.
Tonight is staged Nabucco, back to Ostia Antica.
jump, this time, just to other commitments. But I would have liked to be there because the Roman theater is a thousand times more fascinating than Caracalla, and in structure and austica. A place created for the performances, and the difference is apparent.
Luckily I still have the melodies in my head of Tosca and Carmen.
Tonight, at least, will accompany me.
Sunday, July 5, 2009
Milena Velba Vital Statistics
Caracalla between Tosca and Turandot: a mixed blessing Italian Opera (Chapter 11)
11. Famous arias
Up to now we discussed the work as a whole, focusing mainly the analysis of Puccini's characters and gimmicks to create the overall atmosphere. But the moments that remain etched in memory are generally those of the great arias sung by the main protagonists.
As we have said we do not find in the so-called cavatinas Puccini, moments in which a character, isolated from the general context was performing in your piece, very melodic moments, but these are embedded in an organic way in the general context of the work. The main
arias, the most famous precisely, are generally interpreted by the protagonists of the story (in fact many of these are for tenor and soprano) and sometimes can be significant to an analysis of this data to make proper account of particular importance given by the composer role. Without even a mention
soffermaci Puccini, you can mention many famous arias of the most significant characters in "Di quella pira (Il Trovatore, Verdi)," Casta diva (Norma, Bellini), "La donna e mobile" (Rigoletto, Verdi), "Una furtiva lagrima (L'Elisir d'Amore, Donizetti). Even in
Turandot arias are of the highest level (and no doubt the "no sleep" is the most famous aria in the world) and to emphasize the discussion so far carried out is interesting to note that the characters involved are always the same: Liu , Calaf, Turandot. The first major air
we find that it is for the voice of small Liù, this is highlighted once again the major role played by the young slave. Calaf has decided to tackle the puzzle of the princess. No one can dissuade it. There is still a test with a moving prayer flies Liù:
Lord, hear! Ah, sir, listen!
Liu does not hold anymore, it breaks my heart!
Alas, how much progress with your name in,
with your name on the lips!
But if your fate will be decided tomorrow,
we die on the path of exile. He will lose
his son, I am the shadow of a smile.
Liu does not hold anymore! Ah!
A prayer sweet and low, still remember that smile of his master, long time ago. But Calaf has now decided to try and alleviate the pain of the young, asking her to stay with his father, who after his death shall have no one in the world:
Do not cry, Liu!
If a distant day I smiled at you,
for that smile, my sweet child, hear me
your lord will be tomorrow, perhaps alone in the world ...
do not leave, take it away with you!
[...]
exile easier for him!
This, my poor Liu,
your little heart that does not fall,
asks him who smiles no more!
And the first act ends with a tangle of emotions sung by many voices from all the characters entered the scene. A final grand and memorable as the famous aria, with the audience breathless and overwhelmed by the emotional power of music.
The second act opens, as previously mentioned, with the trio of three ministers, but the crucial moment begins when he enters the emperor, with the splendid chorus of jubilation for an assistant and then when it takes the word Turandot. With the way that characterizes it, the princess begins with a cold tone, but little by little the beautiful melodies of his song hypnotize and icy cold immobility of the spectator wins:
In this palace, I'll be a thousand years and much,
a desperate cry rang out.
And that cry, across race and race
took refuge here in my soul!
Princess Lou-Ling, ava sweet and serene
gloomy silence that reigns in your
in pure joy, and inflexible and safe sfidasti
the harsh rule, now relive in me!
[...]
Pure remember that each time,
was shock and roar of terror and weapons.
Reign won! E-Ling Lou,
my ancestress, driven by a man like you,
foreigner like you, there in the cruel night
where he died on her young voice!
[...]
or principle, which in long caravans
from all over the world come here
to try your luck,
I take revenge on you, on you that purity,
that cry and that death!
never possess me no!
the horror of the killing live in my heart!
No, no! No one will ever possess me!
Ah, is reborn in me the pride of such purity!
Stranger! Do not try your luck!
The riddles are three, death is one!
In an endless crescendo the princess arrives at the end of the story and its voice is joined by the exuberant warmth of Calaf:
The riddles are three, one is the life!
The two join voices and wonder when you reach the set repeat the last verse, the one emphasizing the aspect macabre, the more optimism. The riddle of princess
close part of the second act. Turandot is defeated by the unknown stranger, but not resigned. Puccini anticipated at this point, the most famous air and it does so by Calaf:
Three puzzles hast proposed, and three of them broke up.
only one to do you propose: The
not know my name. Tell me my name.
Tell me my name before dawn, and dawn will die
triumphantly reach the third act of the opera. The moment of transformation of the Princess is near, but for the moment is still willing to throw against the unknown prince's wrath. He wants to know the stranger's name and ordered that "no one sleeps in Beijing." Everyone must try to discover the name. Calaf observes everything to do with aloof, sure of his victory:
Nessun dorma! Nessun dorma!
You too, Princess,
in your cold room, watch the stars
that tremble with love and hope ...
But my secret is hidden within me,
my name no one will know!
No, no, I'll say it on your lips,
when the light shines ... And my
kiss will dissolve the silence that makes you mine.
[...]
this night! Set, stars!
I will win! I win!
And so we proceed towards the end. There is still time for beautiful moments of high tension drama. The viewer will suffer the death of the little Liu ("You who gel six belt, won by so much the flame, the love of it!") And will suffer in the final moments looking down the beautiful princess, in a series of duets and recurrent leitmotiv until the final joyful, yet this abnormal and a source of much discussion. 
11. Famous arias
Up to now we discussed the work as a whole, focusing mainly the analysis of Puccini's characters and gimmicks to create the overall atmosphere. But the moments that remain etched in memory are generally those of the great arias sung by the main protagonists.
As we have said we do not find in the so-called cavatinas Puccini, moments in which a character, isolated from the general context was performing in your piece, very melodic moments, but these are embedded in an organic way in the general context of the work. The main
arias, the most famous precisely, are generally interpreted by the protagonists of the story (in fact many of these are for tenor and soprano) and sometimes can be significant to an analysis of this data to make proper account of particular importance given by the composer role. Without even a mention
soffermaci Puccini, you can mention many famous arias of the most significant characters in "Di quella pira (Il Trovatore, Verdi)," Casta diva (Norma, Bellini), "La donna e mobile" (Rigoletto, Verdi), "Una furtiva lagrima (L'Elisir d'Amore, Donizetti). Even in
Turandot arias are of the highest level (and no doubt the "no sleep" is the most famous aria in the world) and to emphasize the discussion so far carried out is interesting to note that the characters involved are always the same: Liu , Calaf, Turandot. The first major air
we find that it is for the voice of small Liù, this is highlighted once again the major role played by the young slave. Calaf has decided to tackle the puzzle of the princess. No one can dissuade it. There is still a test with a moving prayer flies Liù:
Lord, hear! Ah, sir, listen!
Liu does not hold anymore, it breaks my heart!
Alas, how much progress with your name in,
with your name on the lips!
But if your fate will be decided tomorrow,
we die on the path of exile. He will lose
his son, I am the shadow of a smile.
Liu does not hold anymore! Ah!
A prayer sweet and low, still remember that smile of his master, long time ago. But Calaf has now decided to try and alleviate the pain of the young, asking her to stay with his father, who after his death shall have no one in the world:
Do not cry, Liu!
If a distant day I smiled at you,
for that smile, my sweet child, hear me
your lord will be tomorrow, perhaps alone in the world ...
do not leave, take it away with you!
[...]
exile easier for him!
This, my poor Liu,
your little heart that does not fall,
asks him who smiles no more!
And the first act ends with a tangle of emotions sung by many voices from all the characters entered the scene. A final grand and memorable as the famous aria, with the audience breathless and overwhelmed by the emotional power of music.
The second act opens, as previously mentioned, with the trio of three ministers, but the crucial moment begins when he enters the emperor, with the splendid chorus of jubilation for an assistant and then when it takes the word Turandot. With the way that characterizes it, the princess begins with a cold tone, but little by little the beautiful melodies of his song hypnotize and icy cold immobility of the spectator wins:
In this palace, I'll be a thousand years and much,
a desperate cry rang out.
And that cry, across race and race
took refuge here in my soul!
Princess Lou-Ling, ava sweet and serene
gloomy silence that reigns in your
in pure joy, and inflexible and safe sfidasti
the harsh rule, now relive in me!
[...]
Pure remember that each time,
was shock and roar of terror and weapons.
Reign won! E-Ling Lou,
my ancestress, driven by a man like you,
foreigner like you, there in the cruel night
where he died on her young voice!
[...]
or principle, which in long caravans
from all over the world come here
to try your luck,
I take revenge on you, on you that purity,
that cry and that death!
never possess me no!
the horror of the killing live in my heart!
No, no! No one will ever possess me!
Ah, is reborn in me the pride of such purity!
Stranger! Do not try your luck!
The riddles are three, death is one!
In an endless crescendo the princess arrives at the end of the story and its voice is joined by the exuberant warmth of Calaf:
The riddles are three, one is the life!
The two join voices and wonder when you reach the set repeat the last verse, the one emphasizing the aspect macabre, the more optimism. The riddle of princess
close part of the second act. Turandot is defeated by the unknown stranger, but not resigned. Puccini anticipated at this point, the most famous air and it does so by Calaf:
Three puzzles hast proposed, and three of them broke up.
only one to do you propose: The
not know my name. Tell me my name.
Tell me my name before dawn, and dawn will die
triumphantly reach the third act of the opera. The moment of transformation of the Princess is near, but for the moment is still willing to throw against the unknown prince's wrath. He wants to know the stranger's name and ordered that "no one sleeps in Beijing." Everyone must try to discover the name. Calaf observes everything to do with aloof, sure of his victory:
Nessun dorma! Nessun dorma!
You too, Princess,
in your cold room, watch the stars
that tremble with love and hope ...
But my secret is hidden within me,
my name no one will know!
No, no, I'll say it on your lips,
when the light shines ... And my
kiss will dissolve the silence that makes you mine.
[...]
this night! Set, stars!
I will win! I win!
And so we proceed towards the end. There is still time for beautiful moments of high tension drama. The viewer will suffer the death of the little Liu ("You who gel six belt, won by so much the flame, the love of it!") And will suffer in the final moments looking down the beautiful princess, in a series of duets and recurrent leitmotiv until the final joyful, yet this abnormal and a source of much discussion.
Tuesday, May 26, 2009
How Can You Tell If Titleist Ap2 Are Fake
THE LORD OF THE HAND OF ANDREA FRANCO
A novel was born from a passion for Opera!
al'ajis In the world of magic is still very powerful, and is dominated by Canto. Gone are the days when magicians of all kinds ran the arcane powers for less than noble purposes.
Magic is controlled by di'erendis, the only guardians of ancient secrets.
When the Lady of Song, the ethereal Halædris, realizes the incredible power of a boy, Jamis, can upset the foundations of the rigid society does everything to prevent, restrict the ability.
But love for the young talented di'erendis Èlhear will be difficult to be braked. Jamis succeed in breaking the rule again and reach his beloved, relegated in the most secret of the school? Will its power to shatter the foundations of that society whose rules are dictated by the Lady of Song?
Andrea Franco
The Lord of Song
Delos Books, 2009
p. 109. € 6.90
CLICK HERE TO BUY THE BOOK! 
A novel was born from a passion for Opera! al'ajis In the world of magic is still very powerful, and is dominated by Canto. Gone are the days when magicians of all kinds ran the arcane powers for less than noble purposes.
Magic is controlled by di'erendis, the only guardians of ancient secrets.
When the Lady of Song, the ethereal Halædris, realizes the incredible power of a boy, Jamis, can upset the foundations of the rigid society does everything to prevent, restrict the ability.
But love for the young talented di'erendis Èlhear will be difficult to be braked. Jamis succeed in breaking the rule again and reach his beloved, relegated in the most secret of the school? Will its power to shatter the foundations of that society whose rules are dictated by the Lady of Song?
Andrea Franco
The Lord of Song
Delos Books, 2009
p. 109. € 6.90
CLICK HERE TO BUY THE BOOK!
Friday, May 22, 2009
Skidoo Tundra For Sale Vermont
Turandot: Opera mixed blessing Italian (Chapter 10)
The transformation of Princess Turandot
often speaks of Puccini's last opera we stressed the fact that in some respects the anomalies and broken with the previous tradition are many.
In this chapter, we explore another element in a particular way brings out another very unique aspect of Turandot.
We mentioned earlier the transformation of the icy princess, and we put in relation to the small Liù first, then we have emphasized the special singularity when we said the strong characterization of the character, so static, rigidly sacred, yet extremely abrupt change in its final.
Well, the emotional changes that involve the beautiful princess can somehow be taken out of context and highlighted as a plot in the plot.
In fact, the event featuring more pronounced the whole work is its de-icing which is subject to the princess. If we wanted to focus our attention only on you could see a process from the beginning of the second act (when they enter the scene really Turandot) until the end of the third port to a complete and gradual (albeit with some overhang) transformation.
The character from which it is taken home, and here we always refer to the original by Carlo Gozzi, it was not cloaked in the tragedy of Puccini's Turandot. Order to make the character the Master had to make a long work of characterization. In the final part of the work conducted the same process, but following the path to the contrary, to return part of humanity that the princess had stolen.
But to achieve its objective, the composer has not only worked on the character. The transformation was not so obvious and effective if it had not been supported by several significant points from the beginning of the work.
The process leading to the gradual humanization of the protagonist is made evident by a series of conflicts that appear clearly from the outset: sunset and sunrise, moon and sun, love and hatred, cruelty and enslavement. But those opposed could be counted to infinity in a work such as Turandot: life and death, victory and defeat, cold and heat. All these elements make clear the contrast affecting the same princess, who, in the new dawn, illuminated by sunlight, it turns human and ardent love.
Turandot could then be raised to the very fabric of the work, and in fact everything revolves around her figure, so physically static, but fluid and contested within. Puccini can lead us beyond the formal aspect of a character without trivializing idealized and makes us partakers of his most intimate disputes.
a more complex than it may seem at first listen, the Turandot. A work that comes from a fairy tale and who knows how to bring up strong emotions more effectively and unstable man in an uninterrupted sequence of transformations and a continuous alternation of love and hate, fear and joy. 
The transformation of Princess Turandot
often speaks of Puccini's last opera we stressed the fact that in some respects the anomalies and broken with the previous tradition are many.
In this chapter, we explore another element in a particular way brings out another very unique aspect of Turandot.
We mentioned earlier the transformation of the icy princess, and we put in relation to the small Liù first, then we have emphasized the special singularity when we said the strong characterization of the character, so static, rigidly sacred, yet extremely abrupt change in its final.
Well, the emotional changes that involve the beautiful princess can somehow be taken out of context and highlighted as a plot in the plot.
In fact, the event featuring more pronounced the whole work is its de-icing which is subject to the princess. If we wanted to focus our attention only on you could see a process from the beginning of the second act (when they enter the scene really Turandot) until the end of the third port to a complete and gradual (albeit with some overhang) transformation.
The character from which it is taken home, and here we always refer to the original by Carlo Gozzi, it was not cloaked in the tragedy of Puccini's Turandot. Order to make the character the Master had to make a long work of characterization. In the final part of the work conducted the same process, but following the path to the contrary, to return part of humanity that the princess had stolen.
But to achieve its objective, the composer has not only worked on the character. The transformation was not so obvious and effective if it had not been supported by several significant points from the beginning of the work.
The process leading to the gradual humanization of the protagonist is made evident by a series of conflicts that appear clearly from the outset: sunset and sunrise, moon and sun, love and hatred, cruelty and enslavement. But those opposed could be counted to infinity in a work such as Turandot: life and death, victory and defeat, cold and heat. All these elements make clear the contrast affecting the same princess, who, in the new dawn, illuminated by sunlight, it turns human and ardent love.
Turandot could then be raised to the very fabric of the work, and in fact everything revolves around her figure, so physically static, but fluid and contested within. Puccini can lead us beyond the formal aspect of a character without trivializing idealized and makes us partakers of his most intimate disputes.
a more complex than it may seem at first listen, the Turandot. A work that comes from a fairy tale and who knows how to bring up strong emotions more effectively and unstable man in an uninterrupted sequence of transformations and a continuous alternation of love and hate, fear and joy.
Saturday, May 16, 2009
Make Your Own Wrestling Belt Free
Video: Yes, they call me Mimi (Puccini, La Bohème)
continue with another outstanding performer, the soprano Angela Gheorghiu.
What can I say: good listening.
continue with another outstanding performer, the soprano Angela Gheorghiu.
What can I say: good listening.
Friday, May 8, 2009
How Long Before Seeing Results With Zumba
Video: Libiamo it 'merry glasses (Verdi, La Traviata)
inaugurate a new section, which will offer video taken each time from a different work, ranging between performers and composers are always different.
start with one of the most famous arias, the toast of La Traviata, with the exception of two items: Netrebko and Villazon. Enjoy.
inaugurate a new section, which will offer video taken each time from a different work, ranging between performers and composers are always different.
start with one of the most famous arias, the toast of La Traviata, with the exception of two items: Netrebko and Villazon. Enjoy.
Friday, April 17, 2009
Laser Change Blaupunkt Homebuilt
Coppélia, from tomorrow at the Teatro Nazionale, Rome
from tomorrow to Friday 24
School of Dance Opera
with "Coppélia"
returns to National Theatre
four performances
RESERVED FOR STUDENTS WITH THE MASTERPIECE OF BALLET Leo Delibes
And next Sunday at 19:30 on the square of the exhibition
Campiglio for "Christmas in Rome 2009"
The liveliness, humor, the beauty of music and choreography are still the keys to the success of a ballet from 1870 is not far stopped to capture the audience here Coppélia back on the stage of National Theatre, tomorrow, Saturday 18 until Friday, April 24, with the verve and passion of students and pupils of the School of Dance Opera, under the gaze of affectionate and demanding director Paola Jorio.
The pantomime ballet in two acts with music by Léo Delibes, libretto by Charles Nuitter and Arthur Saint-Leon debut at the Opéra National de Paris a few months before it exploded, the Franco-Prussian War. The last big part of the choreography Alps century, differs significantly from the melancholy of a tradition or a Sylphide Giselle, despite being based on a story (Der Sandmann, The Sandman) by ETA Hoffmann, who is one of European Romanticism of the most widely read and loved. The version of the Opera School of Dance brings to the fore is based on original choreography by Alicia Alonso and Enrique Martinez, readjusted by Ofelia Gonzalez, Pablo Moret and Paola Jorio. The scenes retrieved and reviewed for the National Theatre by Roberto Lagana Manoli, counseling musical Joseph Annese and lighting design by Patrick Maggi.
The "first" is thus set for tomorrow at 18. Replicates 17 and Sunday 19 to Tuesday 21, Wednesday 22, Thursday 23 and Friday 24 (always at 11) for schools.
The story of Coppélia, or The girl with enamel eyes. In a small village in Galicia, Swanilda and Franz are coming to the wedding. But the young man falls for a girl who has seen behind the window of the Coppelius, half and half magician toy manufacturer. Swanilda, jealous, for the National Theatre enters the house and discovers that Coppélia is only a doll. But Coppelius, which I think I managed to give birth to her doll, girl falls in love. However, comes the happy ending.
Next Sunday April 19 at 19:30 twenty students and pupils of average prices of the School of Dance will perform on the Capitol Square as part of the artistic "Christmas in Rome 2009" sponsored by the City. The program "The big mazurka" comes from "Coppelia.
PRESS OFFICE 
from tomorrow to Friday 24
School of Dance Opera
with "Coppélia"
returns to National Theatre
four performances
RESERVED FOR STUDENTS WITH THE MASTERPIECE OF BALLET Leo Delibes
And next Sunday at 19:30 on the square of the exhibition
Campiglio for "Christmas in Rome 2009"
The liveliness, humor, the beauty of music and choreography are still the keys to the success of a ballet from 1870 is not far stopped to capture the audience here Coppélia back on the stage of National Theatre, tomorrow, Saturday 18 until Friday, April 24, with the verve and passion of students and pupils of the School of Dance Opera, under the gaze of affectionate and demanding director Paola Jorio.
The pantomime ballet in two acts with music by Léo Delibes, libretto by Charles Nuitter and Arthur Saint-Leon debut at the Opéra National de Paris a few months before it exploded, the Franco-Prussian War. The last big part of the choreography Alps century, differs significantly from the melancholy of a tradition or a Sylphide Giselle, despite being based on a story (Der Sandmann, The Sandman) by ETA Hoffmann, who is one of European Romanticism of the most widely read and loved. The version of the Opera School of Dance brings to the fore is based on original choreography by Alicia Alonso and Enrique Martinez, readjusted by Ofelia Gonzalez, Pablo Moret and Paola Jorio. The scenes retrieved and reviewed for the National Theatre by Roberto Lagana Manoli, counseling musical Joseph Annese and lighting design by Patrick Maggi.
The "first" is thus set for tomorrow at 18. Replicates 17 and Sunday 19 to Tuesday 21, Wednesday 22, Thursday 23 and Friday 24 (always at 11) for schools.
The story of Coppélia, or The girl with enamel eyes. In a small village in Galicia, Swanilda and Franz are coming to the wedding. But the young man falls for a girl who has seen behind the window of the Coppelius, half and half magician toy manufacturer. Swanilda, jealous, for the National Theatre enters the house and discovers that Coppélia is only a doll. But Coppelius, which I think I managed to give birth to her doll, girl falls in love. However, comes the happy ending.
Next Sunday April 19 at 19:30 twenty students and pupils of average prices of the School of Dance will perform on the Capitol Square as part of the artistic "Christmas in Rome 2009" sponsored by the City. The program "The big mazurka" comes from "Coppelia.
PRESS OFFICE
Thursday, March 12, 2009
Scholarships For Thyroid Disease
Rome: "The king naked
Monday 16 at the Opera 12
press conference
the show "The Naked King"
On stage at the National Theatre March 20 to 31
Music by Luca Lombardi and directed by Dmitry Bertman
Elio is the main character, Enrique Mazzola
directs the world premiere commissioned by the
OPERA MUSIC PUBLISHING
RAITRADE
Next Monday March 16 at 12 am will be held at the Opera the press conference to present the show that bare the king will be staged at the National Theatre - world premieres - from Friday 20 to Tuesday, March 31, for a total of six performances with the Orchestra and Chorus of the Teatro dell'Opera.
opera commissioned by Opera Theatre, Music Publisher RaiTrade. Entertainment in two acts, music by Luca Lombardi, Sandro Cappelletto book loosely based on the play of the same name Yevgeny Schwarz. Conductor Enrique Mazzola. Master of the Choir Andrea Giorgi. Directed by Dmitry Bertman. Sets and costumes by Lena Lukjanova. Edvald mimic movements of Smirnov. Lighting design by Patrick Maggi. Among the performers
Elio, Danilo Cheese, Paolo Coni, Sonia Visentin.
meeting with reporters attended by the superintendent Francesco Ernani, the artistic director Nicola Sani, managing director of RaiTrade Carlo Nardello, Luca Lombardi, Enrique Mazzola, Dmitry Bertman, Sandra Cap, Lena Lukjanova, Edvald Smirnov, helium and the other artists of the company.
PRESS OFFICE
Press and Public Relations
tel. 0648160217/228 - fax 064 818 847
e-mail: ufficiostampa@operaroma.it 
Monday 16 at the Opera 12
press conference
the show "The Naked King"
On stage at the National Theatre March 20 to 31
Music by Luca Lombardi and directed by Dmitry Bertman
Elio is the main character, Enrique Mazzola
directs the world premiere commissioned by the
OPERA MUSIC PUBLISHING
RAITRADE
Next Monday March 16 at 12 am will be held at the Opera the press conference to present the show that bare the king will be staged at the National Theatre - world premieres - from Friday 20 to Tuesday, March 31, for a total of six performances with the Orchestra and Chorus of the Teatro dell'Opera.
opera commissioned by Opera Theatre, Music Publisher RaiTrade. Entertainment in two acts, music by Luca Lombardi, Sandro Cappelletto book loosely based on the play of the same name Yevgeny Schwarz. Conductor Enrique Mazzola. Master of the Choir Andrea Giorgi. Directed by Dmitry Bertman. Sets and costumes by Lena Lukjanova. Edvald mimic movements of Smirnov. Lighting design by Patrick Maggi. Among the performers
Elio, Danilo Cheese, Paolo Coni, Sonia Visentin.
meeting with reporters attended by the superintendent Francesco Ernani, the artistic director Nicola Sani, managing director of RaiTrade Carlo Nardello, Luca Lombardi, Enrique Mazzola, Dmitry Bertman, Sandra Cap, Lena Lukjanova, Edvald Smirnov, helium and the other artists of the company.
PRESS OFFICE
Press and Public Relations
tel. 0648160217/228 - fax 064 818 847
e-mail: ufficiostampa@operaroma.it
Friday, March 6, 2009
Clipart Of Respiration
"Iphigenie en Aulis," Gluck
Tuesday, March 10 at 12
press conference to present the show
"Iphigenie en Aulis," Gluck
IN SCENE FROM THE OPERA 17 to 29 March
ON THE PODIUM RICCARDO MUTI DIRECTION
, sets and costumes Yannis Kokkos
□ □ □
Monday, March 16 at 12
press conference
show "The Naked King" by Luca Lombardi
IN THE NATIONAL SCENE FROM 20 TO 31 MARCH
DIRECTED Enrique Mazzola, DIRECTOR Dmitry Bertman
FIRST WORLD WITH HELIUM
Two press conferences at the Teatro dell'Opera, in the coming days, two highlights of the 2009 season.
next Tuesday March 10 to 12 in the gray room of the Opera House will be held the press conference to present the show Iphigenie en Aulis, tragedie works with music by Christoph Willibald Gluck, who will be staged on March 17 to 29 for a total of seven performances with the Orchestra and Chorus of the Teatro. Riccardo Muti on the podium. Master of the Choir Andrea Giorgi. Direction, sets and costumes by Yannis Kokkos. Assistant director Lorenza Cantini. Marco Berriel choreographic movements. Lighting design by John Mantovanini. New production in the original language sovratitoli in Italian.
Monday, March 16 to 12 in the gray room of the Opera House will be held the press conference to present the show The King nude entertainment in two acts, with music by Luca Lombardi, which will be staged on March 20 to 31 to National Theatre for a total of six performances with the Orchestra and Chorus of the Teatro dell'Opera. Director Enrique Mazzola. Master of the Choir Andrea Giorgi. Directed by Dmitry Bertman. Sets and costumes by Lena Lukjanova. Edvald mimic movements of Smirnov. Lighting design by Patrick Maggi. Commissioned by the Teatro dell'Opera di Roma, for Edizioni Musicali RAI Trade, in world premiere. Among the performers Elio.
PRESS OFFICE
Press and Public Relations
tel. 0648160217/228 - fax 064818847
e-mail: ufficiostampa@operaroma.it 
Tuesday, March 10 at 12
press conference to present the show
"Iphigenie en Aulis," Gluck
IN SCENE FROM THE OPERA 17 to 29 March
ON THE PODIUM RICCARDO MUTI DIRECTION
, sets and costumes Yannis Kokkos
□ □ □
Monday, March 16 at 12
press conference
show "The Naked King" by Luca Lombardi
IN THE NATIONAL SCENE FROM 20 TO 31 MARCH
DIRECTED Enrique Mazzola, DIRECTOR Dmitry Bertman
FIRST WORLD WITH HELIUM
Two press conferences at the Teatro dell'Opera, in the coming days, two highlights of the 2009 season.
next Tuesday March 10 to 12 in the gray room of the Opera House will be held the press conference to present the show Iphigenie en Aulis, tragedie works with music by Christoph Willibald Gluck, who will be staged on March 17 to 29 for a total of seven performances with the Orchestra and Chorus of the Teatro. Riccardo Muti on the podium. Master of the Choir Andrea Giorgi. Direction, sets and costumes by Yannis Kokkos. Assistant director Lorenza Cantini. Marco Berriel choreographic movements. Lighting design by John Mantovanini. New production in the original language sovratitoli in Italian.
Monday, March 16 to 12 in the gray room of the Opera House will be held the press conference to present the show The King nude entertainment in two acts, with music by Luca Lombardi, which will be staged on March 20 to 31 to National Theatre for a total of six performances with the Orchestra and Chorus of the Teatro dell'Opera. Director Enrique Mazzola. Master of the Choir Andrea Giorgi. Directed by Dmitry Bertman. Sets and costumes by Lena Lukjanova. Edvald mimic movements of Smirnov. Lighting design by Patrick Maggi. Commissioned by the Teatro dell'Opera di Roma, for Edizioni Musicali RAI Trade, in world premiere. Among the performers Elio.
PRESS OFFICE
Press and Public Relations
tel. 0648160217/228 - fax 064818847
e-mail: ufficiostampa@operaroma.it
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