#Festival de Glyndebourne

[princesssarisa]

Opera on YouTube, Part 2

Le Nozze di Figaro (The Marriage of Figaro)

Glyndebourne Festival Opera, 1973 (Knut Skram, Ileana Cotrubas, Kiri Te Kanawa, Benjamin Luxon; conducted by John Pritchard; English subtitles)

Jean-Pierre Ponnelle studio film, 1976 (Hermann Prey, Mirella Freni, Kiri Te Kanawa, Dietrich Fischer-Dieskau; conducted by Karl Böhm; English subtitles) – Acts I and II, Acts III and IV

Tokyo National Theatre, 1980 (Hermann Prey, Lucia Popp, Gundula Janowitz, Bernd Weikl; conducted by Karl Böhm; Japanese subtitles)

Théâtre du Châtelet, 1993 (Bryn Terfel, Alison Hagley, Hillevi Martinpelto, Rodney Gilfry; conducted by John Eliot Gardiner; Italian subtitles)

Glyndebourne Festival Opera, 1994 (Gerald Finley, Alison Hagley, Renée Fleming, Andreas Schmidt; conducted by Bernard Haitink; English subtitles)

Zürich Opera House, 1996 (Carlos Chaussón, Isabel Rey, Eva Mei, Rodney Gilfry; conducted by Nikolaus Harnoncourt; English subtitles)

Berlin State Opera, 2005 (Lauri Vasar, Anna Prohaska, Dorothea Röschmann, Ildebrando d'Arcangelo; conducted by Gustavo Dudamel; French subtitles)

Salzburg Festival, 2006 (Ildebrando d'Arcangelo, Anna Netrebko, Dorothea Röschmann, Bo Skovhus; conducted by Nikolas Harnoncourt; English subtitles) – Acts I and II, Acts III and IV

Teatro all Scala, 2006 (Ildebrando d'Arcangelo, Diana Damrau, Marcella Orasatti Talamanca, Pietro Spagnoli; conducted by Gérard Korsten; English and Italian subtitles)

Salzburg Festival, 2015 (Adam Plachetka, Martina Janková, Anett Fritsch, Luca Pisaroni; conducted by Dan Ettinger; no subtitles)

Tosca

Carmine Gallone studio film, 1956 (Franca Duval dubbed by Maria Caniglia, Franco Corelli, Afro Poli dubbed by Giangiacomo Guelfi; conducted by Oliviero de Fabritiis; no subtitles)

Gianfranco de Bosio film, 1976 (Raina Kabaivanska, Plácido Domingo, Sherrill Milnes; conducted by Bruno Bartoletti; English subtitles)

Metropolitan Opera, 1978 (Shirley Verrett, Luciano Pavarotti, Cornell MacNeil; conducted by James Conlon; no subtitles)

Arena di Verona, 1984 (Eva Marton, Jaume Aragall, Ingvar Wixell; conducted by Daniel Oren; no subtitles)

Teatro Real de Madrid, 2004 (Daniela Dessí, Fabio Armiliato, Ruggero Raimondi; conducted by Maurizio Benini; English subtitles)

Royal Opera House, Covent Garden, 2011 (Angela Gheorghiu, Jonas Kaufmann, Bryn Terfel; conducted by Antonio Pappano; English subtitles)

Finnish National Opera, 2018 (Ausrinė Stundytė, Andrea Carè, Tuomas Pursio; conducted by Patrick Fournillier; English subtitles)

Teatro alla Scala 2019 (Anna Netrebko, Francesco Meli, Luca Salsi; conducted by Riccardo Chailly; Hungarian subtitles)

Vienna State Opera, 2019 (Sondra Radvanovsky, Piotr Beczala, Thomas Hampson; conducted by Marco Armiliato; English subtitles)

Ópera de las Palmas, 2024 (Erika Grimaldi, Piotr Beczala, George Gagnidze; conducted by Ramón Tebar; no subtitles)

Don Giovanni

Salzburg Festival, 1954 (Cesare Siepi, Otto Edelmann, Elisabeth Grümmer, Lisa della Casa; conducted by Wilhelm Furtwängler; English subtitles)

Giacomo Vaccari studio film, 1960 (Mario Petri, Sesto Bruscantini, Teresa Stich-Randall, Leyla Gencer; conducted by Francesco Molinari-Pradelli; no subtitles)

Salzburg Festival, 1987 (Samuel Ramey, Ferruccio Furlanetto, Anna Tomowa-Sintow, Julia Varady; conducted by Herbert von Karajan; no subtitles)

Teatro alla Scala, 1987 (Thomas Allen, Claudio Desderi, Edita Gruberova, Ann Murray; conducted by Riccardo Muti; English subtitles)

Peter Sellars studio film, 1990 (Eugene Perry, Herbert Perry, Dominique Labelle, Lorraine Hunt Lieberson; conducted by Craig Smith; English subtitles)

Teatro Comunale di Ferrara, 1997 (Simon Keenlyside, Bryn Terfel, Carmela Remigio, Anna Caterina Antonacci; conducted by Claudio Abbado; no subtitles) – Act I, Act II

Zürich Opera, 2000 (Rodney Gilfry, László Polgár, Isabel Rey, Cecilia Bartoli; conducted by Nikolaus Harnoncourt; English subtitles)

Festival Aix-en-Provence, 2002 (Peter Mattei, Gilles Cachemaille, Alexandra Deshorties, Mirielle Delunsch; conducted by Daniel Harding; no subtitles)

Teatro Real de Madrid, 2006 (Carlos Álvarez, Lorenzo Regazzo, Maria Bayo, Sonia Ganassi; conducted by Victor Pablo Pérez; English subtitles)

Festival Aix-en-Provence, 2017 (Philippe Sly, Nahuel de Pierro, Eleonora Burratto, Isabel Leonard; conducted by Jérémie Rohrer; English subtitles)

Madama Butterfly

Mario Lanfranchi studio film, 1956 (Anna Moffo, Renato Cioni; conducted by Oliviero de Fabritiis; no subtitles)

Jean-Pierre Ponnelle studio film, 1974 (Mirella Freni, Plácido Domingo; conducted by Herbert von Karajan; English subtitles)

New York City Opera, 1982 (Judith Haddon, Jerry Hadley; conducted by Christopher Keene; English subtitles)

Frédéric Mitterand film, 1995 (Ying Huang, Richard Troxell; conducted by James Conlon; English subtitles)

Arena di Verona, 2004 (Fiorenza Cedolins, Marcello Giordani; conducted by Daniel Oren; Spanish subtitles)

Sferisterio Opera Festival, 2009 (Raffaela Angeletti, Massimiliano Pisapia; conducted by Daniele Callegari; no subtitles)

Vienna State Opera, 2017 (Maria José Siri, Murat Karahan; conducted by Jonathan Darlington; no subtitles)

Wichita Grand Opera, 2017 (Yunnie Park, Kirk Dougherty; conducted by Martin Mazik; English subtitles)

Teatro San Carlo, 2019 (Evgenia Muraveva, Saimir Pirgu; conducted by Gabriele Ferro; no subtitles)

Rennes Opera House, 2022 (Karah Son, Angelo Villari; conducted by Rudolf Piehlmayer; French subtitles)

[behindthemirrorofmusic]

For #womenshistorymonth a look at some of the most important women in the history of The Phantom of the Opera.

Number 17. Rebecca Caine

Rebecca Caine joined the original cast of The Phantom of the Operaas alternate (performing 2 shows a week) when original Christine Sarah Brightman left the show and was replaced by the original alternate, Claire Moore.

She then went on to originate the role in the Canadian production which premiered on September 20, 1989, at the restored Pantages Theatre. The show broke then box office records for advance ticket sales, and ran for just over ten years.

Rebecca Caine's career has been divided between opera and musical theatre. She made her West End debut at the age of 19 in the role of Laurey in Oklahoma!. She then sang the role of Eliza in My Fair Lady on a national tour. While making her debut at Glyndebourne as Amor in L'incoronazione di Poppea, she was asked to join the Royal Shakespeare Company where she created the role of Cosette in Les Misérables.

Over the years she performed in many musicals and Operas including: Salad Days, The Sound of Music, The Magic Flute, Lulu, Cosi Fan Tutte, Rigoletto, Carmen, La Boheme, Faust and Le Nozze de Figaro.

Rebecca performed the role of Margaret Johnson in The Light in the Piazza at Central City Opera in Colorado in 2022 and premiered the role of Magda in Propaganda: A New Musical at the Lyric Theatre as part of the 2022 Belfast International Arts Festival.

[lboogie1906]

Roberta Alexander (born March 3, 1949) is an operatic soprano. She began her career as a leading soprano in 1975 and spent the next three decades performing principal roles with opera houses internationally. She has performed secondary character roles on stage, including performances at the Grand Théâtre de Provence in 2013, La Scala in 2014, and La Monnaie in 2015. She performed the 5th maid in Strauss’s Elektra at the Metropolitan Opera in 2016 and Curra in Verdi’s La Forza del Destino at the Royal Opera House, Covent Garden, in 2019.

She studied music at Central State University, the University of Michigan at Ann Arbor, and the Royal Conservatory of The Hague.

She moved to the Netherlands at age 23. She made her debut at the Netherlands Opera in 1975 in La cambiale di matrimonio. She created the role of Bubikopf in the world premiere of Viktor Ullmann’s Der Kaiser von Atlantis.

In 1980 she made her American debut as Pamina in The Magic Flute with the Houston Grand Opera. She was an apprentice singer with Santa Fe Opera and made her feature role debut with Santa Fe Opera under conductor John Crosby in the title role of Strauss’ Daphne in 1981. Her Metropolitan Opera debut was in 1983 as Zerlina in Don Giovanni. In 1984 she made her debut at The Royal Opera, London, as Mimì in La bohème. In 1989 she gave a lauded portrayal of the title role in Jenůfa at the Glyndebourne Festival. She has recorded for the Dutch label Etcetera Records, in addition to selected recordings for such labels as Philips. #africanhistory365 #africanexcellence #womenhistorymonth

[sonyclasica]

SUMMER NIGHT CONCERT 2024

SUMMER NIGHT CONCERT 2024: FILARMÓNICA DE VIENA, ANDRIS NELSONS Y LISE DAVIDSEN

Sony Classical se complace en anunciar el Summer Night Concert 2024 con la Filarmónica de Viena, dirigida por Andris Nelsons ycon la soprano Lise Davidsen. Este concierto único estará disponible en CD, DVD, Blu-ray y formato digital el 12 de julio.

Resérvalo AQUÍ

El Summer Night Concert se llevó a cabo el 7 de junio. Se trata de un evento anual al aire libre, que se celebra desde 2004 en el mágico marco del Palacio de Schönbrunn, en Viena (Austria). Los ilustres directores que han dirigido anteriormente la orquesta en este evento son Georges Prêtre, Daniel Barenboim, Franz Welser-Möst, Lorin Maazel, Christoph Eschenbach, Zubin Mehta, Semyon Bychkov, Gustavo Dudamel, Daniel Harding, Yannick Nézet-Séguin y Andris Nelsons.

Gracias a su entorno, declarado Patrimonio de la Humanidad por la UNESCO, en el parque barroco de Schönbrunn con el palacio como telón de fondo, el Concierto Nocturno de Verano añade a su magnífica calidad musical un gran encanto visual. La idea de poner la música clásica en su máxima expresión al alcance de todo el mundo y hacer así un regalo a todos los amantes de la música sigue caracterizando el evento hoy en día. Millones de espectadores y oyentes de más de 80 países pueden seguir el concierto por Internet, televisión y radio.

El programa de este año se centró en obras populares de los siglos XIX y XX procedentes del rico patrimonio musical europeo. Bedřich Smetana, uno de los compositores checos más importantes, fue homenajeado con tres obras con motivo del 200º aniversario de su nacimiento. Andris Nelsons dirigió el concierto por segunda vez, mientras que la cantante noruega de ópera y lieder Lise Davidsen debutaba con la orquesta. Cantó dos arias: de Tannhäuser, de Richard Wagner, y de La forza del destino, de Giuseppe Verdi.

La soprano noruega Lise Davidsen irrumpió en la escena internacional en 2015 al ganar múltiples premios en los concursos Operalia, Queen Sonja y Hans Gabor Belvedere. A estos les siguieron rápidamente debuts triunfales en la Metropolitan Opera, la Royal Opera House de Covent Garden, el Teatro alla Scala de Milán, la Bayerische Staatsoper, la Wiener Staatsoper y los Festivales de Aix-en-Provence y Glyndebourne. En verano de 2021 apareció en dos producciones del Festival de Bayreuth (Elisabeth en Tannhäuser y Sieglinde en Die Walküre). Ese mismo año fue galardonada como Cantante Femenina del Año por los Premios Internacionales de la Ópera. Recitalista y concertista habitual, Davidsen ha realizado giras con muchas de las principales orquestas y directores del mundo. En marzo de este año, Lise Davidsen hizo su aclamado debut en la Ópera Metropolitana como Leonora en La forza del destino.

Andris Nelsons es director musical de la Orquesta Sinfónica de Boston y Gewandhauskapellmeister en Leipzig. Estos dos cargos, además de liderar una alianza pionera entre ambas instituciones, han consolidado firmemente a Nelsons, ganador de un premio Grammy, como uno de los directores más renombrados e innovadores de la escena internacional actual, con compromisos con las orquestas y teatros de ópera más importantes del mundo. Nacido en Riga en 1978 en el seno de una familia de músicos, Andris Nelsons comenzó su carrera como trompetista en la Orquesta de la Ópera Nacional de Letonia mientras estudiaba dirección de orquesta. Fue director musical de la Orquesta Sinfónica de la Ciudad de Birmingham de 2008 a 2015, director principal de la Nordwestdeutsche Philharmonie de Herford (Alemania) de 2006 a 2009 y director musical de la Ópera Nacional de Letonia de 2003 a 2007. En 2020, Nelsons fue también el célebre director del legendario Concierto de Año Nuevo de la Filarmónica de Viena.

La antigua tradición de 182 años de la Filarmónica de Viena se remonta a 1842, cuando Otto Nicolai dirigió un Gran Concierto con todos los miembros del imperial "Hof-Operntheater".  Este evento se llamó originalmente "Academia Filarmónica" y se considera el origen de la orquesta.  Desde su fundación, la orquesta ha sido gestionada por el comité administrativo -un órgano elegido democráticamente- y trabaja con autonomía artística, organizativa y financiera. Todas las decisiones se toman de forma democrática durante la asamblea general de todos los miembros.

Programa

1       RICHARD WAGNER Die Walküre: Der Walkürenritt

2       RICHARD WAGNER Tannhäuser: “Dich, teure Halle, grüß ich wieder”

3       BEDŘICH SMETANA The Moldau

4       BEDŘICH SMETANA The Two Widows: Polka

5       BEDŘICH SMETANA La novia vendida: Baile de los comediantes

6–7   GIUSEPPE VERDI La forza del destino: Obertura – “Pace, pace, mio Dio!”

8       AUGUSTA HOLMÈS La Nuit et l’Amour

9       ARAM KHACHATURIAN Sabre Dance

10     DMITRI SHOSTAKOVICH Suite para orquesta de variedades: Waltz No. 2

Website Vienna Philharmonic

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Website Andris Nelsons

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Twitter Andris Nelsons

Website Lise Davidsen

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Facebook Lise Davidsen

[oblivion-soave]

Currently watching...

20/09/2018

Robert Bresson’s Procès de Jeanne d'Arc, Festival d’Aix-en-Provence’s production of Igor Stravinsky’s The Rake’s Progress and Georg Friedrich Händel’s Alcina, Glyndebourne’s production of Samuel Barber’s Vanessa, Jean-Gabriel Périot’s De la joie dans ce combat for l'Opéra national de Paris, BBC’s Modern Minimalists, John Schlesinger’s Sunday Bloody Sunday, Barbara Seiler’s I’m a creative animal – Barbara Hannigan for Accentus Music, Mathieu Amalric’s John Zorn 2016 – 2018 and Federico Fellini’s Prova d’orchestra.

[joaquimblog]

Hamlet (Allan Clayton) Fotografia de Richard Hubert Smith gentilesa del Festival de Glyndebourne

Hamlet Glyndebourne 2017 Polonius (Kim Begley) and Ophelia (Barbara Hannigan).Fotografia de Richard Hubert Smith gentilesa del Festival de Glyndebourne

Claudius (Rod Gilfry) and Gertrude (Sarah Connolly) al Hamlet a Glyndebourne Fotografia de Richard Hubert Smith gentilesa del Festival de Glyndebourne

Ophelia (Barbara Hannigan) Fotografia de Richard Hubert Smith gentilesa del Festival de Glyndebourne

Horatio (Jacques Imbrailo), Gravedigger (John Tomlinson) i Hamlet (Allan Clayton) Acte 2on Hamlet Fotografia de Richard Hubert Smith gentilesa del Festival de Glyndebourne

Hamlet, producció de Neil Armfield Acte 1er Fotografia de Richard Hubert Smith gentilesa del Festival de Glyndebourne

El Festival de Glyndebourne va encarregar al compositor australià Brett Dean (Brisbane 23 d’octubre de 1961) una nova òpera per l’edició del 2017 i aquesta ha acabat sent un nou Hamlet de Shakespeare, en l’enèsim intent per acabar tenint la versió de referència de la cabdal obra de l’escriptor anglès. Aquesta és la seva segona òpera després que l’any 2010 estrenés al teatre de l’òpera de Sindney una versió de l’obra de  Peter Care, Bliss.

Per aquest Hamlet ha comptat amb el llibret de Matthew Jocelyn que ha concentrat tota l’acció en dos actes i 13 personatges.

A Glyndebourne no han estalviat recursos per aquesta estrena després de 20 anys de la darrera Misper de John Lunn (1997). La direcció musical ha anat  a càrrec del director musical del mateix festival des de 2001 fins a 2013, el rus Vladimir Jurowski (des de 2014 el director és Robin Ticciati), mentre que la direcció escènica ha anat a càrrec del director teatral australià Neil Armfield, responsable de les produccions operístiques de l’òpera de Sidney:  Jenůfa, The Eighth Wonder, Tristan und Isolde, Billy Budd i un nou cicle complert del Ring wagnerià.

La proposta intel·ligent d’Armfield reelabora escenes, talla, canvia de lloc i tot queda perfectament explicat, insisteixo que amb una font de inspiració tan teatralment immillorable, és difícil esgarrar res. L’acabat és elegant en el disseny escenogràfic i de vestuari, i brillant en el treballs amb els cantants i actors.

Pel que fa a l’equip vocal, reuneix un bon grapat cantants de prestigi, la sempre estratostèrica Barbara Hannigan que està en totes les estrenes de prestigi, Clayton, Connolly, Begley Tomlinson, Imbrailo (sensacional Billy Budd a Glyndebourne l’any 2010), els dos genials contratenors Rupert Enticknap i Christopher Lowrey.

La música de Brett Dean no és fàcil, però tampoc impossible, utilitza un ventall amplíssim d’efectes sonors i efectes electrònics en escenes concretes (com l’aparició del fantasma) repartits per la sala i com que la producció funciona perquè el llibret es fonamenta en una obra excepcional que sembla mentida que no hagi tingut més sort en la història de l’òpera, la música en moltes ocasions sembla una banda sonora perquè acompanya amb encert l’adaptació del llibret Hi ha moments lírics molt interessants i com acostuma a passar en l’òpera contemporània, es valora per el gran treball orquestral i l’exigència vocal, però el cant em sembla massa sovint poc interessant, deu ser per el gran bagatge operístic del gran repertori que va del segle XVIII als inicis del XX i que forma un deliciós encotillament, difícil de superar.

Barbara Hannigan brilla enmig d’un repartiment extraordinàriament ben treballat i amb resultats esplèndids. La soprano canadenca desplega els seus imponents mitjans  amb resultats enlluernadora, i la gran escena d’Ofèlia és un dels grans moments de l’òpera i tot sembla girar al seu entorn, però també estan perfectes Clayton, Connolly o el caduc Tomlinson,

Hi ha un treball imponent, en una producció important, però em temo que continuarem esperant la versió operística del Hamlet shakesperià.

Brett Dean HAMLET Òpera en 2 actes, llibret de Matthew Jocelyn

Hamlet Allan Clayton Claudius Rod Gilfry Laertes David Butt Philip Ophelia Barbara Hannigan Polonius Kim Begley Horatio Jacques Imbrailo Marcellus/Player 4 James Newby Gertrude Sarah Connolly Ghost of Old Hamlet/Gravedigger/Player 1 John Tomlinson Rosencrantz Rupert Enticknap Guildenstern Christopher Lowrey Player 2 John Findon Player 3 Anthony Osborne Accordionist james Crabb

Actors: Ashley Bain, Lucy Burns, Maddy Brennan, Russel Fine, Anthony Kurt Gabel, Ralf Higgins, Adrien Mastrosimone, Mark Ruddick, Colm Seery, Sirena Tocco

The Glyndebourne Chorus Director del cor Jeremy Bines London Philharmonic Orchestra Director musical: Vladimir Jurowski

Director d’escena: Neil Armfield Escenografia: Ralph Myers Sisseny de vestuari: Alice Babidge Moviment escènic Denni Sayers Disseny de llums: Jon Clark Director de lluites Nick Hall So: Myles Eastwood Dramatúrgia Cori Ellison

Electronic sounds Percussion Timothy Constable, Cello Benjamin Schwartz Clarinet Francesco Celata, Sound Technician Bob Scott

Glyndebourne Festival, 6 de juliol de 2017

Sé que molts del que visiteu el blog diàriament no sou gaire amants de la música contemporània i per tant hagués estat més fàcil per a mi parlar-vos d’una altra Carmen, ara a París amb Garanca i Alagna, però aquí sempre m’ha agradat portar l’actualitat i si no parlem de la música que es fa ara estem condemnats al fracàs.

GLYNDEBOURNE 2017: HAMLET DE BRETT DEAN (Clayton-Connolly-Hannigan-Gilfry-Begley-Tomlinson;Armfield-Jurowsky) El Festival de Glyndebourne va encarregar al compositor australià Brett Dean (Brisbane 23 d'octubre de 1961) una nova òpera per l'edició del 2017 i aquesta ha acabat sent un nou Hamlet de Shakespeare, en l'enèsim intent per acabar tenint la versió de referència de la cabdal obra de l'escriptor anglès.

[joansutherlandfan]

"New Triumph for Joan Sutherland: LONDON, Wednesday - Australian soprano Joan Sutherland, received ecstatic praise from The Daily Express critic for her performance in the opera I Puritani at the opening of the Glyndebourne Festival in Sussex last night. The critic said Miss Sutherland's performance brought 'rare splendor' to the festival opening. Her purity of tone and expressive color specially made de aria 'Qui la voce' something long to treasure." The Canberra Times, May 26, 1960. • Joan and tenor John Alexander sings an excerpt of "Vieni fra queste braccia". *Stick till the end for a surprise. SPOILER: High notes!

[infinitelytheheartexpands]

10 favorite new-to-you productions discovered in 2021 of operas you had seen before this year?

here we go!:

the San Francisco Opera's 2016 staging of Don Carlo

the Paris Opéra's 2021 staging of Faust

the Bayerische Staatsoper's 2019 production of Die tote Stadt

the Glyndebourne Festival's 1989 production of Jenufa

the Staatsoper Hamburg's 2021 staging of Les contes d'Hoffmann

the Opéra de Lille's 2021 staging of Tosca

the Bayerische Staatsoper's 2018 staging of Otello

La Monnaie de Munt's 2011 staging of Les Huguenots

the Opéra de Monte-Carlo's 2017 staging of Tannhäuser

the Teatro alla Scala's 1992 staging of La traviata

[opera-ghosts]

Carl Günther (1885-1958) and Vera Schwarz (1888-1964) as Don José and Carmen at the Stadttheater Hamburg in 1916.

Carl Günther (Tenor) (Ottensen 1885 - Hamburg 1958) He made his debut in 1912 at the Opera House in Hamburg as Florestan in ‘’Fidelio’’ and remained up to the end of his stage career a member of this opera house. Here he appeared on 2. 11. 1920 in the premiere of the Clemens von Franckenstein's opera ‘’Li-Tai-Pe’’ (‘’Des Kaisers Dichter’’)  and on 7.10.1927  in the premiere of the opera ‘’Das Wunder der Heliane’’ of Erich Wolfgang Korngold. In 1926 at Hamburghe sang with great success in G. Verdi’s ‘’Don Carlo’’. He made guest appearances at the Städtischen Oper Berlin, in 1924 and 1927 at the Wien Staatsoper,in 1926 at the Opera House in Hague as Max in ‘’Freischütz’’. During the Second World War he still appeared on the stage; then worked as a vocal pedagogue at Hamburg.

Vera Schwarz (10 July 1888 - 4 December 1964) was an Austrian soprano, known primarily for her operetta partnership with Richard Tauber. She studied in Vienna with Philipp Forstén and gave her debut in 1908 at the Theater an der Wien. From 1908 to 1912 she was a member of the Grazer Oper, and from 1911 to 1913 she sang at the Johann Strauß-Theater in Vienna. After performing in Karlsbad she came to the Hamburger Stadttheater in 1914. From 1918 to 1922 she was an ensemble member of the Staatsoper Unter den Linden in Berlin. From 1921 to 1930 Schwarz appeared often as a guest in Vienna, performing the title roles of Tosca and Carmen, Eva in Die Meistersinger von Nürnberg, Sieglinde in Die Walküre, Countess in The Marriage of Figaro and Rachel in La Juive, receiving the title "Kammersängerin"". From 1929 to 1933 Schwarz was a member of the Metropol-Theater Berlin ensemble, returning in 1931 to 1933 to the Staatsoper Unter den Linden. She became well known as Richard Tauber's operetta partner, and sang often in this genre, almost always with Tauber. She appeared with Tauber in the Berlin Premiere of Lehar's operetta Paganini in January 1926 at the Deutsches Künstlertheater, and in a new production at the Theater des Westens in April 1930, both conducted by the composer. She and Tauber appeared, again under the composer's baton, in the October 1929 premiere of Das Land des Lächelns at the Metropol Theater in Berlin. Schwarz and Tauber had first appeared together in Carmen at the Berliner Staatsoper in May 1921, and were often to appear together in operas such as Die Tote Stadt, Un Ballo in Maschera, Tosca, and Die Fledermaus at the Wiener Staatsoper. It was here they last appeared together in Das Land des Lächelns in February 1938. She appeared in the opera houses of Amsterdam, Budapest, London, Munich, and Paris, where she performed Tosca in 1928 at the Opéra-Comique Paris. In 1929 she sang Octavian in Rosenkavalier at the Salzburger Festspiele. One of her last roles was as Verdi's Lady Macbeth at the 1939 Glyndebourne Festival.

[verdiprati]

Looking Ahead

[NOTE: this post is now out of date. Check the schedule tag on my blog for the most recent version of this list.]

Hello, Tumblr friends. 

I have been, for a while now, hesitating to continue my customary series of posts chronicling the future public performance plans of my favorite singer, Dame Sarah Connolly. 

I have decided to keep compiling and updating the list, but I also want to share some of my thoughts on the matter. Discussion, followed by list of performances, after the jump.

As you will probably have heard by now, Dame Sarah announced in July that she had been diagnosed with breast cancer and would have to withdraw from certain performances while undergoing treatment. She also expressed at the time a hope to fulfill all her other concert and recording commitments.

In the weeks since that announcement, Dame Sarah has made a few further alterations to her performing schedule while also maintaining some scheduled appearances: I myself heard her sing beautifully at concerts in Exeter and London earlier this month. A recent blog post by Jessica Duchen, written after that London concert, mentions that Dame Sarah now faces “a new journey, through chemotherapy.” Chemo protocols and how well individuals tolerate them can be really variable; the soprano Erin Wall has written about how she managed to keep performing between chemo treatments, but chemo can bring on a host of side effects that can make it extremely difficult to carry on one’s normal activities for the duration of treatment, which may take months. (Frankly, just reading that list from the American Cancer Society makes me feel sympathetically ill.)

I am sure you can see the delicacy of maintaining a public list of Dame Sarah’s scheduled performances. There is a lot that Dame Sarah herself probably does not know yet about her own treatment experience and how it will affect her availability (and desire) for work, and we the public may not know whether she is going ahead with any given engagement until relatively late. 

I do not want to prematurely write off the next several months of Dame Sarah’s work, and I would still encourage anyone who lives near one of her performance venues to consider buying a ticket. It is a bit of a gamble, but if you can afford the risk of disappointment, go ahead and give yourself the possibility of hearing this wonderful singer. 

At the same time, I think ticket buyers for whom Dame Sarah’s participation would be essential to the enjoyment of a concert should be aware that the likelihood of her withdrawal for health reasons is higher than usual in the next several months. What I provide below is the best information available through public channels; I’ll make an effort to update the list if and when I learn of any changes, but editing this list is not exactly my full-time job, and if there is a performance date that you care about, I would urge you to monitor the sponsor’s website and social media feeds for yourself.

Finally, and most delicately, although I consider this blog to be a fairly obscure corner of the internet, I would not want to embarrass Dame Sarah or damage her future employability by chronicling cancellations that might arise from her illness. No singer really wants to be associated with a record of frequent cancellations, however good the reasons for them might be. This consideration has been my greatest point of hesitation. I have, however, concluded that: (a) the circumstance of her illness is already well known in the industry, by her choice; (b) I really hope prospective employers will be understanding of her current circumstances and optimistic about her post-treatment future onstage; ( c ) I am only compiling information that is publicly available elsewhere; and (d) the intended audience for this list is fellow fans who, like me, want to keep tabs on possible opportunities to hear Dame Sarah perform live. 

So. Here is the latest edition of my list: 

Upcoming Performances by Dame Sarah Connolly 

Those of you in Britain might catch a performance in London, Cheltenham, Chipping Campden, or Buxton. Those on the Continent might see Dame Sarah in Madrid, Barcelona, Paris, Amsterdam, Vienna, Hamburg, Köln, Rotterdam, Basel, or Vilabertran. An as-yet-unconfirmed performance may be on the horizon in New York.

The usual disclaimers:

This is not an authoritative list. These are the upcoming performances by Dame Sarah Connolly that I have been able to learn about from Dame Sarah’s new website, Dame Sarah’s agent's website (Askonas Holt), Operabase, Bachtrack, Dame Sarah's Twitter, and generally ferreting around the web.

I sometimes list concerts that are not yet officially confirmed; you should of course check official sources before making plans and be aware that cast changes and cancellations can happen at any time.

I have added links to venue, ticketing, and broadcast information where available. Tips on new information are always welcome! Please contact me via email (verdiprati [at] selveamene [dot] com), Tumblr messaging, or ask box (plain prose only in the ask box; anything with links or an email address will get eaten by Tumblr filters) with corrections or additions.

Recital with Julius Drake at Temple Church, London, November 25, 2019. The repertoire includes Robert Schumann’s Frauenliebe und -leben, Gedichte der Königin Maria Stuart, Judith Bingham’s Adieu Solace, and “songs by Alma and Gustav Mahler.” The Judith Bingham piece is apparently based on the life of Mary Queen of Scots, as are Schumann’s Gedichte.

Elgar, Sea Pictures with the London Symphony Orchestra at the Barbican, London, December 12, 2019. In a concert conducted by Sir Antonio Pappano that also includes instrumental works by Tippett and Vaughn Williams. UPDATE: as explained in a note on the LSO’s website, Dame Sarah has had to withdraw from the concert due to her treatment for breast cancer. Karen Cargill is scheduled to sing Sea Pictures instead.

[New! Deferred broadcast] Bob Chilcott, A Christmas Oratorio (Mary), on BBC Radio 3, December 19, 2019. World premiere performance recorded live during the Three Choirs Festival on August 1 of this year, at Gloucester Cathedral. The other vocal soloists include Nick Pritchard (Evangelist) and Neal Davies (Simeon). The Philharmonia Players are conducted by Adrian Partington, and the combined cathedral choirs that give the festival its name also participate. The recording should be available for listening on demand for about a month after the broadcast.

Wagner, Die Walküre (Fricka) at the Teatro Real, Madrid, February 12, 16, 21, 23, 25, and 28, 2020. Co-stars include Tomasz Konieczny (Wotan), Ricarda Merbeth (Brünnhilde), and Stuart Skelton (Siegmund). (James Rutherford, Ingela Brimberg, and Christopher Ventris appear in the roles respectively on the 23rd.) Pablo Heras-Casado conducts; the production by Robert Carsen is a revival from Oper Köln. Single tickets go on sale November 4, 2019 if I read the Teatro Real website correctly. UPDATE: Although Dame Sarah’s name still appeared on the Teatro Real website well into December 2019, she replied to a fan on Twitter on November 3, “sadly I won’t be singing Fricka in Madrid this time. Waltraute in [Autumn] 2020, Paris is still on!” (Note that as of February 21, 2020, this is no longer the case: Dame Sarah has been replaced by Michaela Schuster in the Paris cast.) In late December, the Teatro Real announced that Dame Sarah had canceled her participation and Daniela Sindram would sing the role of Fricka

Oskar Fried, Verklärte Nacht with the BBC Symphony Orchestra at the Barbican, London, March 13, 2020. From the Barbican website: “Dame Sarah Connolly is currently undergoing treatment for breast cancer and regrets that she must withdraw from this performance. BBC SO are grateful to Christine Rice for replacing her and wish Dame Sarah well in her recovery.”

Recital at Wigmore Hall, London, March 19, 2020. From the Wigmore Hall website: "As Dame Sarah Connolly continues a period of treatment and recovery following her breast cancer diagnosis, she needs to limit her schedule and therefore has had to withdraw from the above concert. We are grateful to Fatma Said (soprano) for taking her place.”

Conversation with Mahan Esfahani at Sir John Lyon’s Theatre, London, March 20, 2020. Per the RPS: "With regret, Dame Sarah has had to withdraw from the event and we wish her all the very best at the current time.” Esfahani is still booked for the event; he will engage in conversation with the conductor François-Xavier Roth.

Appearance at “Bringing the House Down” charity concert at Glyndebourne, Lewes, April 5, 2020. Update: Dame Sarah’s name has been quietly removed from the list. 

Mahler, Symphony No. 2, Resurrection, with the Sinfonieorchester Basel, Basel Minster, April 22, 2020. Update: Catriona Morrison is now the listed mezzo soloist.

Mahler, Das Lied von der Erde with the Philharmonia Orchestra, Royal Festival Hall, London, April 30, 2020. Update: a statement on the Philharmonia’s website reads, “Dame Sarah Connolly has had to withdraw from this performance due to ongoing treatment for breast cancer. We are grateful to Claudia Mahnke for stepping in. Dame Sarah intends to return to performing later this year.”

[Canceled] Mahler, Symphony No. 2, Resurrection with the Rotterdams Philharmonisch Orkest, De Doelen, Rotterdam, May 14, 15, and 17, 2020. Chen Reiss sings the soprano part; Lahav Shani conducts. UPDATE: As of this writing on April 6, the orchestra’s website now explains that “Following the government decision regarding COVID-19, this concert cannot take place on the planned dates.” 

[Canceled] Recital with Ashley Riches, Joseph Middleton, and Tony Robb at the Chipping Campden International Music Festival, May 22, 2020. The recital was originally billed as a collaboration between Connolly and Middleton only, with repertoire TBA. Now that Riches and Robb have been added to the group, the program has been listed with repertoire by Duparc, Debussy, Ravel, Saint-Saëns, Caplet, and Fauré. The Festival website explains, “Following treatment for breast cancer Dame Sarah has made changes to this programme to reduce her workload while her recovery continues. She hopes very much the audience will enjoy the variety these changes afford.” UPDATE: As of March 23, the entire festival has been canceled due to the COVID-19 pandemic. 

[Canceled] Mahler, Symphony No. 2, Resurrection with the Rotterdams Philharmonisch Orkest, Köln Philharmonie, May 27, 2020. Chen Reiss sings the soprano part; Lahav Shani conducts. (A repeat of the program from Rotterdam, above.) UPDATE: See the note on the May 14-17 concerts, above.

[Canceled] Recital at the Musée d’Orsay, Paris, June 6, 2020. With Malcolm Martineau. The program includes Ravel’s Shéhérazade, Elgar’s Sea Pictures, Debussy’s Trois chansons de Bilitis, and various works by Hugo Wolff, Alexander von Zemlinsky, Charles Villiers Stanford, and Cecile Chaminade. UPDATE: as of this writing on April 14, I am now observing the word “Annulé” at the bottom of the concert information page (below the word “Tarifs”), which I take to mean that the concert has been canceled.

[Canceled] Mahler, Symphony No. 8, Symphony of a Thousand with the Wiener Symphoniker at the Musikverein, Vienna, June 12 and 13, 2020. Three Vienna choirs add their forces; Philippe Jordan conducts. The other scheduled vocal soloists are Camilla Nylund, Irène Theorin, Martina Janková, Michaela Schuster, Burkhard Fritz, Iain Paterson, and John Relyea. UPDATE: Although the informational pages for these concerts do not mention their cancellation, the Wiener Symphoniker website has a news post explaining that the Austrian government has canceled all indoor events with more than 100 participants through the end of June, and thus the orchestra’s public performances will not take place during this time period.

[Canceled] Duruflé, Requiem with the Choir of St Catharine’s College, Cambridge, at Ferrandou Musique in Beaulieau-sur-Dordogne, Turenne, and Carennac, France, June 20-22, 2020. UPDATE: this series of concerts is now marked with a “CANCELED” banner on the Ferrandou Musique website.

[Canceled] Mahler, Das Lied von der Erde (in a chamber arrangement) at the Proms at St Jude’s, Hampstead Garden Suburb, July 2, 2020. With Andrew Staples and the Aurora Chamber Orchestra conducted by Nicholas Collon. The orchestra played the same arrangement, with the same vocalists, in 2017; here’s the (very positive) Bachtrack review. UPDATE: Although, oddly, I can find no direct reference to the cancellation of this concert or of the whole festival on the Proms’ website, a tweet from the Proms at St Judes on March 24 announced the cancellation of the 2020 festival.

[Canceled] Mahler, Das Lied von der Erde (in a chamber arrangement) at the Cheltenham Music Festival, July 3, 2020. With Andrew Staples and the Aurora Chamber Orchestra conducted by Nicholas Collon. UPDATE: On April 7, the Senior Management Board of the Cheltenham Festivals announced that the 2020 Cheltenham Music Festival is canceled (along with its sister Jazz and Science Festivals). 

[Canceled] Recital at the Buxton International Festival, July 11, 2020. With Joseph Middleton. Songs by Poulenc, Duparc, Mahler, and Schumann. Note the noon hour and the short duration of this performance. UPDATE: Although I am late to pick up the news, cancellation of the Buxton International Festival was apparently announced on March 18.

[Canceled] Mahler, Das Lied von der Erde (in a chamber arrangement) at Wigmore Hall, London, July 17, 2020. With Andrew Staples and the Aurora Chamber orchestra conducted by Nicholas Collon. UPDATE: On March 30, Wigmore Hall announced that it would close for the remainder of the ’19- ’20 season and all performances through July 31 would be canceled.

[Canceled] Recital at Schubertíada Vilabertran, August 21, 2020. With Malcolm Martineau. Songs by Mendelssohn, Liszt, Elgar, Debussy, Ravel, and Chaminade. UPDATE: Although the Schubertíada announced on June 10 that it would go ahead with a schedule of live concerts, Dame Sarah’s has been eliminated. The Spanish newspaper La Vanguardia reports that “[el] concierto con Sarah Connolly ha caído por cuestiones de salud de la mezzo británica” (the concert with Sarah Connolly has fallen due to the British mezzo’s health concerns). 

[Canceled] Mahler, Symphony No. 2, Resurrection, with the MDR Rundfunkchor and Sinfonieorchester Basel, in Basel, August 26, 2020. Christina Landshamer sings the soprano solo and Yoel Levi conducts. Part of a concert with a work called “Epitaph” by Andrea Lorenzo Scartazzini. UPDATE: I am not sure on what date the concert was deep-sixed, but the MDR website now marks it as “abgesagt” (canceled).

[New details!] Recital at Wigmore Hall, London, September 30, 2020. With Roderick Williams and Julius Drake; the first concert of the Wigmore’s Mendelssohn and Liszt series. 

Recital at Sant Pau Recinte Modernista, Barcelona, October 2, 2020. With Julius Drake. Part of the LIFE Victoria series of recitals; originally announced for November 27, 2019, but postponed due to Dame Sarah’s treatment for breast cancer. Songs by Brahms, Wolf, Debussy, Alma Mahler, Gustav Mahler, and Zemlinsky. As of April 30, LIFE Victoria has issued a press release indicating that they still plan to go ahead with recitals scheduled for the fall of 2020.

Wagner, Götterdämmerung (Waltraute, Zweite Norn) at the Opéra national de Paris, November 13, 17, 21, and 28, and December 6, 2020. Update: the roles of Waltraute and Zweite Norn are now assigned to Michaela Schuster, one of a handful of casting changes reported by OperaWire on February 21, 2020.

[New details!] Handel, Agrippina (title role) at the Dutch National Opera, January 17-27, 2021. Finally, a year and a half after the news started leaking on Twitter, we get the official announcement, complete with a bizarre (even by DNO marketing department standards) video of a rubber-covered woman dancing in a ball pit. The production is Barrie Kosky’s (previously seen at the Bayerische Staatsoper and the ROH, and later moving on to the Staatsoper Hamburg). Ottavio Dantone conducts; co-stars include Ying Fang (Poppea), Franco Fagioli (Nerone), Gianlucca Buratto (Claudio), and Tim Mead (Ottone). If I read the DNO website correctly, tickets go on sale June 3, 2020.

[New!] Stravinsky, Oedipus Rex (Jocaste) at the Dutch National Opera, March 10-27, 2021. In a double bill with the new commission From ‘Antigone’ by Samy Moussa. Other singers in the Oedipus cast include Sean Panikkar (Oedipus), Bastiaan Everink (Creon), Rafał Siwek (Tiresias), and Ramsey Nasr (Speaker). Erik Nielsen conducts; Wayne McGregor directs. If I read the DNO website correctly, tickets go on sale November 17, 2020.

[New!] Stravinsky, Oedipus Rex (Jocaste) with the NDR Elbphilharmonie Orchester, Hamburg, April 10 and 11, 2021. Even though these concert performances follow on the heels of Dame Sarah’s engagement for the same opera in Amsterdam, the two gigs appear to be administratively and artistically unrelated. Her co-stars in Hamburg include Brenden Gunnell (Oedipus), Tomasz Konieczny (Creon), and Sir John Tomlinson (Tiresias); the MDR Rundfunkchor Leipzig supplies the men’s chorus. Alan Gilbert conducts. The program also includes Le sacre du printemps. Tickets can be ordered starting May 26, 2020, with payment due six weeks before the concert. There’s some background information on the NDR website.

[New!] Recital at the Concertgebouw, Amsterdam, May 18, 2021. With Julius Drake. Songs by Mendelssohn, Liszt, Elgar, Debussy, Ravel, and Chaminade. Tickets go on sale June 1, 2020. 

[New!] Elgar, The Dream of Gerontius with the Berliner Philharmoniker, Berlin, May 27, 28, and 29, 2021. With Allan Clayton and Roderick Williams, as well as the Rundfunkchor Berlin; Simon Rattle conducts.

[Livestream] The concert on the 29th will be livestreamed on the Berliner Philharmoniker’s Digital Concert Hall platform.

[Unconfirmed / details TBA] Brett Dean, Hamlet (Gertrude) at the Metropolitan Opera, New York, sometime in 2021-22. Allan Clayton, who starred in the title role of Brett Dean’s Hamlet at Glyndebourne in 2017, mentioned in an interview with the Telegraph that he would be reprising the role at an unspecified date and venue in the US. When prompted on Twitter, Dame Sarah indicated that she would be participating in the revival, too (“I shall be misunderstanding my confused boy again”). In a later interview with Opera News, Clayton reportedly specified that he would reprise Hamlet at the Met. The Future Met Wiki places the production at the Met in the 2021-2022 season (as does this New York Times article). Hat tip to Christopher Lowrey, who sang Guildenstern in the original production at Glyndebourne, whose tweet praising Allan Clayton brought the Telegraph interview to my attention. (No indication whether Lowrey will also be cast in the American revival.) Additional hat tip to the Tumblrer who submitted information on this topic via the ask box.

Previous versions of this list can be found under the schedule tag on this blog. This list published October 29, 2019. Updated November 2 to reflect Dame Sarah’s withdrawal from the LSO Sea Pictures. Updated November 3 to reflect her self-declared withdrawal from the Teatro Real Walküre. Edited November 21 to add Das Lied at Cheltenham. Edited November 23 to add the radio broadcast of Chilcott’s Christmas Oratorio. Edited December 15 to add Das Lied at Wigmore Hall. Edited December 20 to update the casting information for the Teatro Real Walküre. Edited December 15 to add the Proms at St Jude’s performance of Das Lied. Edited January 24 to reflect Dame Sarah’s withdrawal from concerts on March 13 and 19 due to ongoing cancer treatment. Edited January 28 to add the Wigmore Hall recital in September 2020. Edited February 10 to cross off the “Bringing the House Down” charity concert. Edited February 22 to reflect Dame Sarah’s withdrawal from the Royal Philharmonic Society event, the Basel Mahler 2 in April, and the Paris Götterdämmerung. I also updated the link for the Philharmonia Das Lied von der Erde / Song of the Earth and added newly-available details for the Chipping Campden recital, the Proms at St Jude’s performance of Das Lied von der Erde, and the Schubertíada Vilabertran recital. Edited February 29, 2020 to add the two Dutch National Opera engagements, the Concertgebouw recital, and the Buxton recital. Edited March 10 to reflect Dame Sarah’s withdrawal from Das Lied von der Erde with the Philharmonia Orchestra. Edited March 23 to add the Ferrandou Musique dates, to reflect the first round of COVID-19 cancellations, and to add cautionary notes for concerts up through July 11. Edited April 6 to reflect the cancellation of the Wiener Symphoniker’s Mahler 8 as well as the Proms at St Jude’s and Wigmore Hall performances of Das Lied von der Erde; to add a link to the Cheltenham Music Festival’s announcement changing its ticket sale dates; and to confirm and clarify the cancellation of the Rotterdam Phil’s Mahler 2 concerts. Updated April 7 with the cancellation of the Cheltenham Music Festival and the Buxton International Festival, and to update the link to the Wigmore recital on September 30, 2020. Edited April 14 to indicate the cancellation of the Musée d’Orsay recital. Edited April 22 to add the Berlin Gerontius. Edited May 6 to update repertoire details for the LIFE Victoria recital and add the Hamburg Stravinsky concerts and the Basel Mahler 2 in August. Edited May 8 to reflect the cancellation of the Ferrandou Musique concerts. Edited June 19 to reflect the cancellation of Dame Sarah’s recital at the Schubertíada Vilabertran and the second (August) Basel Resurrection. I may continue to edit this list as I receive new information.

[cybermediaglobal]

ORFEO ED EURIDICE, an opera by Cristoph Willibald Glück, presented by the London Philharmonic at the Glyndebourne Opera Festival, with original text by Ranieiri De' Calzabigi, produced by Peter Hall, choreographies by Stauart Hopps and directed by Raymond Leppard. This version was filmed in 1982 and edited for video.

ORFEO ED EURIDICE, an opera by Cristoph Willibald Glück, presented by the London Philharmonic at the Glyndebourne Opera Festival, with original text by Ranieiri De’ Calzabigi, produced by Peter Hall, choreographies by Stauart Hopps and directed by Raymond Leppard. This version was filmed in 1982 and edited for video.

[princesssarisa]

Opera on YouTube 5

Nabucco

Teatro alla Scala, 1987 (Renato Bruson, Ghena Dimitrova; conducted by Riccardo Muti; no subtitles)

Teatro di San Carlo, 1997 (Renato Bruson, Lauren Flanigan; conducted by Paolo Carognani; no subtitles)

Ankara State Opera, 2006 (Eralp Kıyıcı, Nilgün Akkerman; conducted by Sunay Muratov; no subtitles)

St. Margarethen Opera Festival, 2007 (Igor Morosow, Gabriella Morigi; conducted by Ernst Märzendorfer; English subtitles)

Rome Opera, 2011 (Leo Nucci, Csilla Boross; conducted by Riccardo Muti; English and German subtitles)

Teatro Comunale di Bologna, 2013 (Vladimir Stoyanov, Anna Pirozzi; conducted by Michele Mariotti; Italian subtitles)

Rome Opera, 2013 (Luca Salsi, Tatiana Serjan; conducted by Riccardo Muti; no subtitles)

Gran Teatro Nacional, Perú, 2015 (Giuseppe Altomare, Rachele Stanisci; conducted by Fernando Valcárcel; Spanish subtitles)

Metropolitan Opera, 2017 (Plácido Domingo, Liudmyla Monastyrska; conducted by James Levine; Spanish subtitles)

Arena di Verona, 2017 (George Gagnidze, Susanna Branchini; conducted by Daniel Oren; English subtitles)

La Cenerentola (Cinderella)

Jean-Pierre Ponnelle studio film, 1981 (Frederica von Stade, Francisco Araiza, Paolo Montarsolo; conducted by Claudio Abbado; English subtitles)

Glyndebourne Festival Opera, 1983 (Kathleen Kuhlmann, Laurence Dale, Claudio Desderi; conducted by Donato Renzetti; no subtitles)

Salzburg Festival, 1988 (Ann Murray, Francisco Araiza, Walter Berry; conducted by Riccardo Chailly; English subtitles)

Tokyo Bunka Kaikan, 1991 (Lucia Valentini-Terrani, Toshiro Gorobe, Domenico Trimarchi; conducted by Antonello Allemandi; Japanese subtitles) – Act I, Act II

Houston Grand Opera, 1995 (Cecilia Bartoli, Raúl Giménez, Enzo Dara; conducted by Bruno Campanella; no subtitles)

Rossini Opera Festival, 2000 (Sonia Ganassi, Juan Diego Flórez, Bruno Praticó; conducted by Carlo Rizzi; Italian subtitles)

Gran Teatre del Liceu, 2008 (Joyce DiDonato, Juan Diego Flórez, Bruno de Simone; conducted by Patrick Summers; German subtitles)

Romeo Opera, 2015 (Serena Malfi, Juan Francisco Gatell, Alessandro Corbelli; conducted by Alejo Pérez; Italian and English subtitles)

Lille Opera, 2016 (Emily Fons, Taylor Stayton, Renato Girolami; conducted by Yves Parmentier; English subtitles)

Boboli Gardens, Florence, 2020 (Svetlina Stoyanova, Josh Lovell, Daniel Miroslaw; conducted by Sándor Károlyi; no subtitles)

Lucia di Lammermoor

Tokyo Bunka Kaikan, 1967 (Renata Scotto, Carlo Bergonzi; conducted by Bruno Bartoletti; English subtitles)

Mario Lanfranchi film, 1971 (Anna Moffo, Lajos Kosma; conducted by Carlo Felice Cillario; English subtitles)

Bregenz Festival, 1982 (Katia Ricciarelli, José Carreras; conducted by Lamberto Gardelli; no subtitles) – Part I, Part II

Opera Australia, 1986 (Joan Sutherland, Richard Greager; conducted by Richard Bonynge; English subtitles)

Teatro Carlo Felice, 2003 (Stefania Bonfadelli, Marcelo Álvarez; conducted by Patrick Fournillier; Japanese subtitles)

San Francisco Opera, 2009 (Natalie Dessay, Giuseppe Filianoti; conducted by Jean-Yves Ossonce; English subtitles)

Amarillo Opera, 2013 (Hanan Alattar, Eric Barry; conducted by Michael Ching; English subtitles)

Gran Teatre del Liceu, 2015 (Elena Mosuc, Juan Diego Flórez; conducted by Marco Armiliato; French subtitles)

Teatro Real de Madrid, 2018 (Lisette Oropesa, Javier Camerana; conducted by Daniel Oren; English subtitles)

Vienna State Opera, 2022 (Lisette Oropesa, Benjamin Bernheim; conducted by Evelino Pidó; English subtitles)

Il Trovatore

Claudio Fino studio film, 1957 (Mario del Monaco, Leyla Gencer, Fedora Barbieri, Ettore Bastianini; conducted by Fernando Previtali; English subtitles)

Wolfgang Nagel studio film, 1975 (Franco Bonisolli, Raina Kabaivanska, Viorica Cortez, Giorgio Zancanaro; conducted by Bruno Bartoletti; Japanese subtitles)

Vienna State Opera, 1978 (Plácido Domingo, Raina Kabaivanska, Fiorenza Cossotto, Piero Cappuccilli; conducted by Herbert von Karajan; no subtitles)

Opera Australia, 1983 (Kenneth Collins, Joan Sutherland, Lauris Elms, Jonathan Summers; conducted by Richard Bonynge, English subtitles)

Metropolitan Opera, 1988 (Luciano Pavarotti, Eva Marton, Dolora Zajick, Sherrill Milnes; conducted by James Levine; no subtitles)

Bavarian State Opera, 2013 (Jonas Kaufmann, Anja Harteros, Elena Manistinta, Alexey Markov; conducted by Paolo Carignani; English subtitles)

Temporada Lirica a Coruña, 2015 (Gregory Kunde, Angela Meade, Marianne Cornetti, Juan Jesús Rodriguez; conducted by Keri-Lynn Wilson; no subtitles)

Opéra Royal de Wallonie-Liége, 2018 (Fabio Sartori, Yolanda Auyanet, Violeta Urmana, Mario Cassi; conducted by Daniel Oren; French subtitles)

Arena di Verona, 2019 (Yusif Eyvazov, Anna Netrebko, Dolora Zajick, Luca Salsi; conducted by Pier Giorgio Morandi; German subtitles)

Teatro Verdi di Pisa, 2021 (Murat Karahan, Carolina López Moreno, Victória Pitts, Cesar Méndez; conducted by Marco Guidarini; no subtitles)

[classiquehd-blog]

Ce soir sur @francemusique l'opéra "Così fan tutte" de Mozart ! Orchestre du festival de @glyndebourne John Brownlee, Luise Helletsgruber, Ina Souez, Koloman von Pataky, Salvatore Baccaloni, Audrey Midmay, Roy Henderson. Coucou @DitaOpera 🌹 #ClassicalMusic #ClassicalOpera #klassiekemuziek #OperaNews #KlassischeMusik #クラシック音楽 #Glyndebourne #Mozart (à Glyndebourne Festival Opera) https://www.instagram.com/p/BrulHVrF4q0/?utm_source=ig_tumblr_share&igshid=r4fatq7fy4hx

[lboogie1906]

George Irving Shirley (born April 18, 1934) is an operatic tenor and was the first African-American tenor to perform a leading role at the Metropolitan Opera in New York City.

He earned a BS in Music Education from Wayne State University and was drafted into the Army, where he became the first African American member of the Army Chorus. He was the first African American hired to teach music in Detroit high schools.

He moved to New York and began his professional career as a singer. His debut was with a small opera group in Woodstock as Eisenstein in Strauss’s Die Fledermaus and his European debut in Italy as Rodolfo in Puccini’s La bohème. He won a National Arts Club scholarship competition, and the following April he was the first African American singer to win the Metropolitan Opera National Council Auditions scholarship competition. He is the first African American tenor and the second African American male to sing leading roles for the Metropolitan Opera. He sang there for 11 seasons.

He has appeared at The Royal Opera, London; the Deutsche Oper Berlin; the Teatro Colón in Buenos Aires; the Dutch National Opera in Amsterdam; Opéra de Monte-Carlo; the New York City Opera; the Scottish Opera; the Lyric Opera of Chicago; the Washington National Opera; the Michigan Opera Theatre; the San Francisco Opera; and the Santa Fe Opera and Glyndebourne Festival summer seasons, as well as with numerous orchestras in the US and Europe. He has sung more than 80 roles.

He was on the faculty of the University of Maryland when he moved to the University of Michigan School of Music, Theatre & Dance, where he was Director of the Vocal Arts Division. He serves as the Joseph Edgar Maddy Distinguished University Professor of Music and still maintains a studio at the school. #africanhistory365 #africanexcellence

[architectnews]

The Rady Shell at Jacobs Park, San Diego

The Rady Shell at Jacobs Park, San Diego Waterfront Building, South Embarcadero Park Architecture

The Rady Shell at Jacobs Park

August 1, 2021

Design: Tucker Sadler Architects ; performance shell design: Soundforms

Location: Jacobs Park, 222 Marina Park Way, Embarcadero, San Diego waterfront, California, USA

The Rady Shell at Jacobs Park, the new permanent outdoor home of the San Diego Symphony, to open August 6, 2021

Scenic Waterfront Venue Seating Up to 10,000 Premieres with a Weekend Celebration Featuring Stars of Classical Music, Broadway, Soul, Pop, and More

More images online soon

The Rady Shell at Jacobs Park, San Diego Embarcadero

WHAT

The Rady Shell at Jacobs Park—a spectacular new year-round venue with 360-degree views of San Diego’s downtown, marina, and bay—will open with a weekend celebration as the first permanent outdoor home of the San Diego Symphony. Designed to host more than 100 concerts and events year-round, The Rady Shell is the centerpiece of the 3.7-acre public Jacobs Park on the city’s scenic Embarcadero. The venue is an unprecedented resource for the Symphony’s diverse schedule of outdoor classical concerts programmed by Music Director Rafael Payare, and a variety of other musical and cultural programs.

WHEN

Opening August 6-8, 2021

OPENING WEEKEND CELEBRATION

The Rady Shell will officially open on August 6 with Rafael Payare conducting the San Diego Symphony in the world premiere of a new work for orchestra and turntable by Mason Bates and performances featuring cellist Alisa Weilerstein, bass-baritone Ryan Speedo Green, and pianist Jean-Yves Thibaudet. Opening weekend continues with “The Best of Broadway” on August 7, featuring the Symphony conducted by renowned musical theatre director Rob Fisher, showcasing Broadway luminaries Megan Hilty, Norm Lewis, Kelli O’Hara, and Adrienne Warren. The opening celebration concludes on August 8 with seven-time GRAMMY-winner Gladys Knight and special guest Naturally 7.

DESIGN

The Rady Shell at Jacobs Park is designed by San Diego firm Tucker Sadler Architects, led by CEO and Design Principal Greg Mueller, with performance shell design by London-based Soundforms. Soundforms’ award-winning 2012 mobile acoustic performance shell (MAPS) was expanded by Tucker Sadler Architects to accommodate a large orchestra with chorus and soloists and to be a permanent structure on the Embarcadero Marina Park South site.

The performance shell features concentric, widening, oval rings as its canopy, a structure that reaches a height of 57 feet and a width of 92 feet at the front of the stage. The gentle slopes and terraced, flexible seating of the 55,000- square-foot audience area are defined around their edges by a low-lying fence, buffered by plantings and a perimeter walkway, on the coast of San Diego Bay within the 3.7-acre Jacobs Park.

TICKETS

Tickets for the opening weekend are available at theshell.org.

Located in South Embarcadero Park, San Diego, California, USA

About Rafael Payare, Music Director One of today’s most sought-after conductors, renowned for his profound musicianship, technical brilliance, and charismatic presence, Rafael Payare assumed the leadership of the San Diego Symphony Orchestra as its Music Director on July 1, 2019.

Mr. Payare served as Principal Conductor and Music Director of the Ulster Orchestra from 2014 through 2019 and was named Conductor Laureate in recognition of his artistic contributions. He also has served as Principal Conductor of the Castleton Festival and Honorary Conductor of the Sinfonietta Cracovia.

In 2022, Mr. Payare will assume the role of Music Director of the Orchestre symphonique de Montréal. As a guest conductor, he has led many of the world’s great orchestras, including the Vienna Philharmonic, Cleveland Orchestra, Chicago Symphony Orchestra, Boston Symphony Orchestra, Los Angeles Philharmonic, Mahler Chamber Orchestra, London Symphony Orchestra, Munich Philharmonic, and Symphonieorchester des Bayerischen Rundfunks. As an opera conductor, Mr. Payare made his acclaimed debut at the Glyndebourne Festival in 2019 and has conducted at the Royal Swedish Opera and Malmo Opera.

Born in Venezuela in 1980 and a graduate of El Sistema, Mr. Payare began his formal conducting studies in 2004 with José Antonio Abreu. He has conducted all the major orchestras in Venezuela, including the Simón Bolívar Orchestra, in which he served as Principal Horn and took part in many tours and recordings with conductors including Giuseppe Sinopoli, Claudio Abbado, Sir Simon Rattle, and Lorin Maazel. In May 2012, Rafael Payare was awarded first prize at the Malko International Conducting Competition.

About San Diego Symphony

Founded in 1910, the San Diego Symphony is the oldest orchestra in California and one of the largest and most significant cultural organizations in San Diego. The Orchestra performs for more than 250,000 people each season, offering a wide variety of programming at its two much-loved venues, Copley Symphony Hall in downtown San Diego and The Rady Shell at Jacobs Park on San Diego Bay.

In early 2018, the San Diego Symphony announced the appointment of Rafael Payare as music director. Payare leads the orchestra’s 82 full-time musicians, graduates of the finest and most celebrated music schools in the United States and abroad. The San Diego Symphony also serves as the orchestra for the San Diego Opera each season, as well as performing at several regional performing arts and community centers.

For more than 30 years, the San Diego Symphony has provided comprehensive learning and community engagement programs reaching more than 65,000 students annually and bringing innovative programming to San Diego’s diverse neighborhoods and schools. For more information, visit www.sandiegosymphony.org.

Address: 222 Marina Park Way, San Diego, CA 92101, United States Phone: +1 619-235-0804

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Formation Installations, San Diego, CA, USA Artist Mark Reigelman photography : Pablo Mason / Mark Reigelman II Formation Installations at San Diego International Airport

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Amenities Building at the Pacific Center Campus Development Design: BNIM architects photography : Nick Merrick, Hedrich Blessing Pacific Center Campus Amenities Building

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University of California Housing Design: Carrier Johnson + CULTURE University of California San Diego Housing

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Orum Residence, Bel-Air, Los Angeles, California, USA Design: SPF:architects photo © Matthew Momberger New Residence in Bel-Air

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Alcina Handel

French soprano Patricia Petibon sings one of the biggest handelian arias. Her voice in this recording is just amazing, and she adds a lot of dramatism. Handel’s Alcina Handel’s Alcina ● by Chris Lynch This February, Indiana University Opera will present Handel’s fantasy opera Alcina in a new production designed by Robert Perdziola, directed by Chas Rader-Shieber, and conducted by Arthur Fagen. On musical grounds, this is a more-than-competent reading of Handel's classic opera, with some fine singing throughout. Naglestad is a lovely Alcina, and other principles are strong (notable standout is Mahnke's Oberto). Conductor Hacker coaxes a good reading out of the Stuttgart forces. Handel: Alcina / Curtis, DiDonato, Rensburg, Beaumont Release Date: Label: Archiv Produktion (Dg) Catalog #: 4777374 Spars Code: n/a Composer: George Frideric Handel Performer: Kobie van Rensburg, Vito Priante, Joyce DiDonato, Sonia Prina.

Mio Bel Tesoro Handel Pdf

Quite possibly Handel's most magnificent opera, Alcina is filled with extraordinary musical riches & a lot of magnificent magic. Two exceptional women lie at the heart of the story: Alcina is a potent sorceress, which Bradamante counters with her self-confidence and determination on her quest to rescue her lover Ruggiero from Alcina's spells. If she succeeds, they will escape and no doubt live happily ever after. However, if not, Ruggiero will be transformed into the newest trophy in Alcina's enormous gallery of former lovers. Which will it be? Can he resist her magic?

Now in his fourth season as music director of Orchestra Seattle and the Seattle Chamber Singers, Clinton Smith also maintains a position on the music staff of Santa Fe Opera, where he most recently served as cover conductor for Leonard Slatkin on a production of Samuel Barber’s Vanessa. During the 2017–2018 season, he will make three company debuts, conducting Il barbieri de Siviglia at Dayton Opera, Le nozze di Figaro at Tacoma Opera and Alcina at Fargo-Moorhead Opera. He will also return to Pacific Northwest Opera to conduct Turandot, and to Atlanta Opera to prepare The Seven Deadly Sins. Clinton’s recent conducting credits include The Mikado for Kentucky Opera, Hansel und Gretel and Norma for Pacfic Northwest Opera, Il barbieri di Sivigliafor the University of Michigan Opera Theater, and La finta giardiniera for Baldwin Wallace University.

He has served on the music staff of Santa Fe Opera, Juilliard Opera, Minnesota Opera, Atltanta Opera, Portland Opera, Kentucky Opera and Ash Lawn Opera. Other recent posts include four seasons as artistic director and principal conductor of the St. Cloud Symphony, assistant conductor and chorus master for San Francisco Opera’s Merola Opera Program, assistant conductor for Glimmerglass Opera’s productions of Tolomeo and The Tender Land, music director of Western Ontario University’s Canadian Operatic Arts Academy, and guest coach at the National University of Taiwan.

For four seasons, Minnesota Opera engaged Clinton as cover conductor and chorus master, where he led mainstage performances of La traviata and Madama Butterfly and covered the St. Paul Chamber Orchestra and Minnesota Opera Orchestra in over 20 productions. During 2011, Clinton conducted a workshop and prepared the world premiere of Kevin Puts’ opera Silent Night, which subsequently won the 2012 Pulitzer Prize in Music. For Minnesota Opera’s New Works Initiative, and as an avid fan of new music, Clinton prepared workshops of Douglas J. Cuomo’s Doubt, Ricky Ian Gordon’s The Garden of the Finzi-Continis and the North American premiere of Jonathan Dove’s The Adventures of Pinocchio, as well as Dominick Argento’s Casanova’s Homecoming and Bernard Herrmann’s Wuthering Heights.

Patrick Hansen continues his unique career throughout North American as an operatic stage director, conductor, and vocal coach. His stagings have garnered praise in both Canada and the United States. Opera Canada wrote, ' Patrick Hansen captured the opera's bohemian vitality - the city of Paris itself was the characterful backdrop to the action. When he ran out of space in Act II, the crowd simply spilled down into the auditorium . . the comic business was well handled . . . The acting, indeed, was a strong point throughout.'

Mr. Hansen has been on the musical staffs of the Lyric Opera of Chicago, Pittsburgh Opera, Tulsa Opera, Opera Memphis, Des Moines Metro Opera, Ash Lawn Opera, The Juilliard Opera Center, Fargo-Moorhead Opera, and Glimmerglass Opera as well as being the Director of Artistic Administration for Florida Grand Opera during the opening of the Miami Arts Centre.

At ease in opera and musical theatre, his stage directing credits encompass the entire spectrum of repertoire now being presented in opera companies; Alcina, Orfeo ed Eudridice, Cosi fan tutte, Die Zauberflute, L'elisier d'amore, La traviata, Dialogue des Carmelites, Albert Herring, Hansel and Gretel, La Boheme as well as the musicals Camelot and Trouble in Tahiti.

Alcina Handel Opera

Currently the director of Opera McGill in Montreal at McGill University, Mr. Hansen is the former director of the Young American Artist Program at Glimmerglass Opera, and has presented masterclasses and coachings with the Young Artists of Virginia Opera and for many years served as the stage director at the Kennedy Center with the Washington Chorus' Essential Verdi. Mr. Hansen returns to Fargo-Moorhead after successful stagings of Fille du Regiment, Suor Angelica/Gianni Schicchi, and The Magic Flute in previous seasons.

Miriam Khalil is an acclaimed Lebanese-Canadian soprano specializing in opera and concert performance. She has been lauded as a 'skilled, versatile artist' with a “signature warm lyrical voice” by Musical Toronto and described as 'dark, dangerous and alluring” by Opera Going Toronto. Miriam is a graduate of the prestigious Canadian Opera Company Ensemble Studio, the Steans Institute for Young Artists (Ravinia) and the Britten-Bears Young Artist Programme in England. While in her last year of the COC Ensemble Studio, she advanced to the semi-finals of the Metropolitan Opera Council auditions and represented the Great Lakes Region on the Met stage, during which she was featured in the documentary film The Audition.

Miriam has appeared on numerous opera stages across Canada and Europe, including a stint at the renowned Glyndebourne Festival Opera in the United Kingdom. Notable roles include Mimi in La bohème (Minnesota Opera, Opera Hamilton & Against the Grain Theatre); Musetta in La bohème (Edmonton Opera); Donna Elvira in Don Giovanni (Opera Tampa & Against the Grain Theatre/The Banff Centre/Ottawa International Chamber Music Festival); Mélisande in Pelléas et Mélisande (Against the Grain Theatre); the Governess in The Turn of the Screw (Against the Grain Theatre); Cleopatra in Giulio Cesare (Glyndebourne Festival Opera, U.K.); Almirena in Rinaldo (Glyndebourne Festival Opera, U.K.); and Susanna in Le Nozze di Figaro (Pacific Opera Victoria, Opera Lyra Ottawa & Against the Grain Theatre).

Holly Flack is a coloratura soprano praised for “wielding an impressive range, effortlessly reaching higher than high notes” with her unique vocal extension beyond an octave above high C.

Ms. Flack has performed with the Bel Canto Opera Festival, Astoria Opera Festival, and Operafestival di Roma. She made her debut at the Trentino Music Festival in Mezzano, Italy singing the role of the Vixen in Leos Janacek’s The Cunning Little Vixen. She was most recently seen on the FM Opera stage last season as the Queen of the Night in The Magic Flute.

Additional roles include Serpetta (La Finta Giardiniera), Frasquita (Carmen), Despina (Cosi fan Tutte), and Peep-Bo in The Mikado. In 2015, Holly was part of the Gate City Bank Young Artist program where she covered the role of Marie in Daughter of the Regiment with FM Opera.

Originally from Portland, Oregon, Ms. Flack holds a Bachelors degree in Vocal Performance from St. Olaf College, and a Masters degree in Vocal Performance from The University of Kentucky, where she studied with soprano Cynthia Lawrence.

Lyric mezzo-soprano Holly Janz is a versatile singing actress with a voice that is evenly blended with clarity, richness and warmth. She has performed with opera companies across the country including Skylark Opera, Fargo-Moorhead Opera, Wichita Grand Opera, and Union Avenue Opera Theatre (St. Louis). Past credits comprise a variety of characters from the trouser roles of Cherubino, Hansel and Prince Orlofsky, to the ingénue roles of Nancy (Albert Herring) and Valencienne (The Merry Widow), to the more dramatic roles of Carmen and The Secretary (The Consul).

In addition to her operatic stage credits, Ms. Janz is a compelling concert artist in both oratorio and recital. Orchestral credits include the Indianapolis Chamber Orchestra, the Indianapolis Philharmonic Orchestra, the Greater Grand Forks Symphony, the Fargo-Moorhead Symphony as well as the Central Wisconsin Symphony Orchestra.

Ms. Janz, a native of Marshfield, WI, is an alumna of the University of Wisconsin – Stevens Point (BM). She has also received degrees from the University of Colorado (MM) and the University of Kansas (DMA, with honors), and is an associate professor of voice at Concordia College in Moorhead, MN.

Called “winningly wily and dauntless” by Boston Classical Review, American Mezzo-soprano, Kate Jackman, is multifaceted musician and actress who excels in a variety of musical expression. As a2017 Gate City Bank Young Artist, Kate was seen as the Waitress in “Speed Dating Tonight!” as well as the Sergeant of Police in FM Opera’s recent production of “The Pirates of Penzance”. She also sang the role of Giovanna this summer in Ash Lawn Opera’s production of “Rigoletto”. Other roles that Kate has performed include the lead role in Oliver Knussen’s “Higglety Pigglety Pop” at the Tanglewood Festival of Contemporary Music, Hansel in “Hansel and Gretel”, the title role in “Carmen”, Dorabella in “Cosi fan tutte”, Bloody Mary in “South Pacific”, and Dinah in Bernstein’s “Trouble in Tahiti”.

An avid performer of new works, Kate has premiered roles in “Piecing It Apart” by Paul Matthews and “Lux et Tenebrae” by Douglas Buchanan for The Figaro Project’s Contemporary Opera Trio. She also premiered the role of Megan 2 in Robert Patterson’s “The Whole Truth” with Urban Arias, and Patricia Hutton in Joshua Bornfield’s“Camelot Requiem”, in which she “expressed emotional intensity with the weight of her soothing mezzo-soprano voice” (Maureen L. Mitchell, Opera Today)

Ms. Jackman holds a Master of Music Degree from the Peabody Institute and a Bachelor of Music Degree from the University of North Texas.

Alcina Opera

Tenor Jianghai Ho has appeared most recently as tenor soloist in the DePaul Symphonic Choir’s presentation of Rossini’s Stabat Mater, Rinuccio in Puccini’s Gianni Schicchi, Nerone in Monteverdi’s L'incoronazione di Poppea, Orfeo in Monteverdi’s L’Orfeo, Abraham Kaplan in Kurt Weill’s Street Scene, and Dr. Blind in Johann Strauss Jr’s Die Fledermaus with DePaul Opera Theater. He has also performed with the Duke Vespers Ensemble in Dietrich Buxtehude’s rarely-performed Membra Jesu Nostri at the Boston Early Music Festival, as well as the Chicago Symphony Chorus.

Born in Johor Bahru, Malaysia, Jianghai first discovered his passion for opera under the tutelage of Professor Susan Dunn at Duke University, where he graduated with a B.S. in music and biology. He graduated in vocal performance from DePaul University, where he studied with David Alt and Michael Sylvester.

Mark Billy is a lyric baritone and Native American (Choctaw tribe) from Finley, Oklahoma. Mark’s undergraduate studies in voice at the University of Oklahoma were under the mentorship of baritone Richard Anderson. Mark has also had additional study with the legendary mezzo-soprano Marilyn Horne.

Mark made his operatic debut as IlCommendatore in 2012 with OU Opera Theatre's production of Mozart’s “Don Giovanni”. The following season he appeared as Thoas in Gluck's “Iphigénieen Tauride”. In 2014 Mark appeared as Simon in OU’s choreographed production of Haydn’s oratorio “Die Jahreszeiten” and in 2016 Mark was featured as Moralès in “Carmen” with Indiana University.His graduate studies at Indiana were with soprano Carol Vaness.

Handel Operas Youtube

Mark most recently concluded a traveling production at OU opera theatre of John Davies mash-up children’s opera: “The Billy Goats Gruff” where he played the role of Osmin, the bully billy goat; this brought opera to Norman, OK area schools and carried the important message against bullying. In the Spring of 2017 Mark placed first in the Oklahoma NATS competition graduate level division. This past summer Mark sang Melisso in Handel’s “Alcina” as well as covering the role of Marcello in “La bohème” for the Red River Lyric Opera Festival. As a 2018 Gate City Bank Young Artist with the Fargo Moorhead Opera Mark will be reprising the role of Melisso in Handel’s “Alcina”as well as the role of the bartender in Michael Ching’s comic one act opera “Speed Dating Tonight!”