#Rinat Shaham

[joaquimblog]

LICEU 2022/2023: 7 DEATHS OF MARIA CALLAS

Marina Abramović a 7 Deaths of Maria Callas. Foto de David Ruano, gentilesa del Gran Teatre del Liceu. Departament de Premsa La proposta de Marina Abramović  per aquest projecte, ella diu operístic, però caldria dir audiovisual, sobre el dia de la mort de Maria Callas, és interessant, visualment molt atractiva i per a mi, de poc calat operístic. 7 àries, algunes tan poc emblemàtiques en la seva…

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Don Giovanni La Monnaie 2014 - or, my nomination for the worst Don Giovanni production to ever exist

Let me be clear: do not watch this prod.

Director - Krzysztof Warlikowski Leporello - Andreas Wolf Donna Anna - Barbara Hannigan Don Giovanni - Jean-Sebastien Bou Il Commendatore - Willard White Don Ottavio - Topi Lehtipuu* Donna Elvira - Rinat Shaham Zerlina - Julie Mathevet Masetto - Jean-Luc Ballestra

Content warning: this prod exists solely for shock value, so it contains just about every disturbing thing possible. Notably: rape/sexual coercion, domestic violence, incest, blackface.

*You ever notice that this was one of the last stage productions Topi ever did before he became a full-time conductor?

The overarching issue with this production is that it focuses on being shocking and disturbing to the point of incoherence. This can be traced to misogyny - all of the female characters are sex addicts and/or insane. This is exaggerated so much that neither the "rape" (it's not a rape) nor murder at the beginning of the performance is Don Giovanni's fault, basically defeating the entire purpose of the play.

There is never a moment that isn't sexually explicit, lest you forget that the director knows what sex is, guys. Sometimes the characters have sex or sexual moments on stage during scenes (Non mi dir is happening during oral sex), while at other times half-naked background dancers appear seemingly randomly to, I guess, fulfill the naked people quota that every regie prod needs. Also, one of them is in full-body blackface. Just for fun.

Probably the most typical character in this interpretation is Elvira. This is a low bar to cross. She is portrayed as an overly emotional, unstable stalker, but these traits are just her original text being portrayed in the least charitable manner possible. There isn't any contradiction with the original story, which is what the best case scenario is here.

Instead of being a young, poor couple, Zerlina and Masetto are a prostitute and her pimp, respectively. This also completely removes the class dynamics at play between the characters. Masetto is very rich and rather emotionally detached from Zerlina, which means his aria makes no sense. He isn't even angry, just mildly peeved. After all, if they're not in a relationship, and Giovanni is one of his clients, none of this should upset him.

Both of these examples can be chalked up to typical director edginess, but this production's portrayal of Anna is simply a demonization of the character due to misogyny. Not only is she portrayed as responsible for the rape in the first scene, but she is the one forcing herself onto Don Giovanni, instead of the other way around. The production goes on to imply that she had an incestuous relationship with her father. Meanwhile, Ottavio is depicted as the victim of her emotional, physical, and sexual abuse. Throughout the show, she threatens him with a gun; after the epilogue, she shoots him.

:v

If you want to depict abuse in Don Giovanni, there's plenty of options. Obviously, the relationship between the Don and Leporello is very controlling. One could also make the point that Zerlina and Masetto have an unhealthy dynamic, such as in Peter Sellars's production. However, Ottavio? Ottavio is, textually, in no such position. He is (besides Giovanni himself), the most powerful character because he is an upper-class man. Even in a modern setting, this shouldn't change. By making Anna the instigator of all the violence in the plot, it completely does away with the commentary on misogyny while instead demonizing the women.

Also the singing is bad.

In conclusion, Ottavio look out! Oh no he has airpods in he can't hear us

[princesssarisa]

Opera on YouTube 3

Il Barbiere di Siviglia (The Barber of Seville)

Mario Lanfrachi studio film, 1965 (Sesto Bruscantini, Valeria Mariconda, Ugo Benelli; conducted by Alberto Zedda; no subtitles)

Jean-Pierre Ponnelle studio film, 1974 (Hermann Prey, Teresa Berganza, Luigi Alva; conducted by Claudio Abbado; English subtitles)

New York City Opera, 1976 (Alan Titus, Beverly Sills, Henry Price; conducted by Sarah Caldwell; English subtitles)

Arena Sferisterio, 1980 (Leo Nucci, Marilyn Horne, Ernesto Palacio; conducted by Nicola Rescingo; no subtitles)

Teatro Real de Madrid, 2005 (Pietro Spagnoli, Maria Bayo, Juan Diego Flórez; conducted by Gianluigi Gelmetti; Arabic subtitles)

Teatro la Fenice, 2008 (Roberto Frontali, Rinat Shaham, Francesco Meli; conducted by Antonino Fogliani; Italian subtitles)

Royal Opera House, Covent Garden, 2009 (Pietro Spagnoli, Joyce DiDonato, Juan Diego Flórez; conducted by Antonio Pappano; English subtitles)

Vienna State Opera, 2019 (Rafael Fingerlos, Margarita Gritskova, Juan Diego Flórez; conducted by Evelino Pidó; English subtitles)

Arena di Verona, 2022 (Leo Nucci, Nino Machaidze, Dmitry Korchak; conducted by Daniel Oren; English subtitles)

Garsington Opera, 2023 (Johannes Kamler, Katie Bray, Andrew Stenson; conducted by Douglas Boyd; English subtitles)

Rigoletto

Wolfgang Nagel studio film, 1977 (Rolando Panerai, Franco Bonisolli, Margherita Rinaldi; conducted by Francesco Molinari-Pradelli; Japanese subtitles)

Metropolitan Opera, 1977 (Cornell MacNeil, Plácido Domingo, Ileana Cotrubas; conducted by James Levine; no subtitles)

Metropolitan Opera, 1981 (Cornell MacNeil, Luciano Pavarotti, Christiane Eda-Pierre; conducted by James Levine; no subtitles)

Jean-Pierre Ponnelle film, 1982 (Ingvar Wixell, Luciano Pavarotti, Edita Gruberova; conducted by Riccardo Chailly, English subtitles)

English National Opera, 1982 (John Rawnsley, Arthur Davies, Marie McLaughlin; conducted by Mark Elder, sung in English)

La Monnaie, Brussels, 1999 (Anthony Michaels-Moore, Marcelo Álvarez, Elizabeth Futral; conducted by Vladimir Jurowski; no subtitles)

Arena di Verona, 2001 (Leo Nucci, Aquiles Machado, Inva Mula; conducted by Marcello Viotti; Italian subtitles)

Zürich Opera house, 2006 (Leo Nucci, Piotr Beczala, Elena Mosuc; conducted by Nello Santi; no subtitles)

Paris Opera, 2016 (Quinn Kelsey, Michael Fabiano, Olga Peretyatko; conducted by Nicola Luisotti; English subtitles)

Teatro Massimo, 2018 (George Petean, Ivan Ayon Rivas, Grazia Schiavo; conducted by Stefano Ranzani; English subtitles)

Così Fan Tutte

Vaclav Kaslik studio film, 1969 (Gundula Janowitz, Christa Ludwig, Luigi Alva, Hermann Prey; conducted by Karl Böhm; English subtitles)

Jean-Pierre Ponnelle studio film, 1988 (Edita Gruberova, Delores Ziegler, Luis Lima, Ferruccio Furlanetto; conducted by Nikolaus Harnoncourt; English subtitles) – Act I, Act II

Teatro alla Scala, 1989 (Daniela Dessì, Delores Ziegler, Josef Kundlak, Alessandro Corbelli; conducted by Riccardo Muti; Italian subtitles) – Act I, Act II

Théâtre du Châtelet, 1992 (Amanda Roocroft, Rosa Mannion, Rainer Trost, Rodney Gilfry; conducted by John Eliot Gardiner; English subtitles)

Vienna State Opera, 1996 (Barbara Frittoli, Angelika Kirschlager, Michael Schade, Bo Skovhus; conducted by Riccardo Muti; English and Italian subtitles)

Teatro Comunale di Ferrara, 2000 (Melanie Diener, Anna Caterina Antonacci, Charles Workman, Nicola Ulivieri; conducted by Claudio Abbado; no subtitles)

Zürich Opera House, 2000 (Cecilia Bartoli, Liliana Nikiteanu, Roberto Saccá, Oliver Widmer; conducted by Nikolaus Harnoncourt; no subtitles) – Act I, Act II

Opera Lyon, 2007 (Maria Bengtsson, Tove Dahlberg, Daniel Behle, Vito Priante; conducted by Stefano Montanari; French subtitles)

Salzburg Festival, 2009 (Miah Persson, Isabel Leonard, Topi Lehtipuu, Florian Boesch; conducted by Adam Fischer; English subtitles)

Zürich Opera House, 2009 (Malin Hartelius, Anna Bonitatibus, Javier Camarena, Ruben Drole; conducted by Frans Welser-Möst; English subtitles)

Aïda

San Francisco Opera, 1981 (Margaret Price, Luciano Pavarotti; conducted by Luis Garcia Navarro; no subtitles)

Metropolitan Opera, 1985 (Leontyne Price, James McCracken; conducted by James Levine; English subtitles) – Act I, Act II, Act III, Act IV

Teatro alla Scala, 1986 (Maria Chiara, Luciano Pavarotti; conducted by Lorin Maazel; English subtitles)

Metropolitan Opera, 1989 (Aprile Millo, Plácido Domingo; conducted by James Levine; English subtitles)

Teatro Comunale di Busseto, 2001 (Adina Aaron, Scott Piper; conducted by Massimiliano Stefaneli; Italian subtitles)

St. Margarethen Opera Festival, 2004 (Eszter Szümegi, Konstantin Andreev; conducted by Ernst Marzendorfer; English subtitles)

Metropolitan Opera, 2012 (Liudmyla Monastyrska, Roberto Alagna; conducted by Fabio Luisi; Russian subtitles)

Tbisili State Opera, 2017 (Maqvala Aspanidze, Franco Tenelli; conducted by Marco Boemi; Russian subtitles)

Teatro Colón, 2018 (Latonia Moore, Riccardo Massi; conducted by Carlos Vieu; Spanish subtitles)

Teatro la Fenice, 2019 (Roberta Mantegna, Francesco Meli; conducted by Riccardo Frizza; French subtitles)

[lesser-known-composers]

Psaumes de David : Benedetto Marcello Salmo XVIII intonation et Aria -Largo Salmo XXI chanté par Rinat Shaham viole de gambe : Jay Bernefd, Ariane Maurette violoncelle : Susie Napper harpe : Françoise Johannel théorbe : Mike Frentross clavecin : Skip Sempé

[barbarasomogyiova]

Giovedì 3 settembre - "...SENZA FRONTIERE" Insieme a JASMINE CHOI suoneranno il violinista SILVIO BRESSO (solista con l’orchestra da camera di Mantova in Europa, Asia e America, professore al Conservatorio G. Verdi di Torino), il violoncellista MANUEL ZIGANTE (primo violoncello presso alcune tra le più importanti orchestre, collabora in formazione jazz con il saxofonista Claudio Chiara e in duo con il trombettista Giorgio Licalzi, docente di Quartetto presso il Conservatorio G.Verdi di Torino), la cantante slovacca BARBARA SOMOGYIOVA (solista a “I concerti del Quirinale”, protagonista nella Stagione Concertistica di Trento, al Rome Festival e in altre importanti rassegne musicali), la violista GIORGIA LENZO (violista del Quartetto Echos, vincitore del Premio “Piero Farulli” della Critica Musicale “Franco Abbiati” 2017), suonerà la pianista nippo-americana e direttrice artistica di “S|E|E|D 2020” MIWA GOFUKU (laureata dall’Indiana University, ha collaborato con grandi musicisti come Caroline Campbell, Gilles Apap, Jun Iwasaki, Rinat Shaham, Will Ferguson, Monique McDonald), e per finire, una (piccola) grande sorpresa! #SEED2020 #International #Music #Festival Info e prenotazioni: info@villasimeom.it oppure online al link https://www.eventbrite.it/e/biglietti-seed-music-festival-2020-116705301699?utm-medium=discovery&utm-campaign=social&utm-content=attendeeshare&aff=escb&utm-source=cp&utm-term=listing) S|E|E|D Music Festival 2020 #openyourmind #changeyourlife #life #singer #singerlife #music #musicstyle #voce #art #stage #event #villasimeon #concert #lirica #operalirica #barbarasomogyiovalife 🎼💃😘😊🎙💯 (presso Villa Simeom) https://www.instagram.com/p/CEloNRgqHHq/?igshid=1lmjeuckb5uxx

[bereite-dich-zu-leben]

Sa, 18. Mär 2017 | 19:45 Uhr

Philharmonie Berlin

BARTÓK Herzog Blaubarts Burg Sz 48

Judith | Rinat Shaham

Herzog Blaubart | Gábor Bretz

Sprecher | Ulrich Noethen

Berliner Philharmoniker

Simon Rattle | Dirigent

[a-moorcita]

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em geral... mozart é maçante, mas nessa récita interpretada pela mezzo-soprano, rinat shaham, torna as coisas um pouco mais interessantes.

[joaquimblog]

LICEU 2021/22: WOZZECK

Creia que havia vist 2 produccions de Wozzeck al Liceu abans de  de la que ahir va tornar a pujar a l’escenari, però no, gràcies a la cronologia que acompanya el programa de mà virtual, he pogut recordar que n’havia vist tres: la de la temporada 1977-1978 cantada en txec i de la que no en tinc record (segur que no em va agradar i no vaig gosar dir-ho), la de la temporada 1983/1984 amb dos noms…

[palimadar]

‘Il core vi dono’ from Mozart’s Così fan tutte sung by Rinat Shaham and Luca Pisaroni

[operarox]

Today’s listening: mezzos Rinat Shaham and Sophie Marilley singing the duet from Massenet’s Cendrillon. They are so cute!

[operasrsly]

La Cieca interviews Rinat Shaham on parterre.com

[bereite-dich-zu-leben]

Fr, 17. Mär 2017 | 20:45 Uhr

Philharmonie Berlin

BARTÓK Herzog Blaubarts Burg Sz 48

Judith | Rinat Shaham

Herzog Blaubart | Gábor Bretz

Sprecher | Ulrich Noethen

Berliner Philharmoniker

Simon Rattle | Dirigent

[joaquimblog]

LICEU 2021/2022: RIGOLETTO (Maltman, Peretyatko,Bernheim,Callegari, Wagemakers)

Acte !er Rigoletto, producció de Monique Wagemakers. Fotografia de David Ruano, gentilesa del departament de premsa del Gran Teatre del Liceu I després de les excel·lències de l’inici de temporada (amb els seus matisos) ha arribat la quotidianitat de les representacions dels grans títols coneguts i reconeguts pel gran públic, propensos al desencís i a la controvèrsia, ja que qui més qui menys té…

[cantationem]

I've been coaching a lot of girls on this aria lately, and I seem to always have it on the brain.  So for your morning listening...

W. A. Mozart, "Voi che sapete" (The Marriage of Figaro) Rinat Shaham as Cherubino, Royal Opera House

I'd fall for that Cherubino.  Just sayin'.

[digitaltheatre]

ROH COUNTDOWN: Exclusive video clip of Rinat Shaham as the lovestruck Cherubino in the Royal Opera's production of Le Nozze di Figaro. Available to watch now on Digital Theatre.

Four new Royal Opera House productions will join Digital Theatre Collections on Wednesday 12th March. Explore our Royal Opera House collection here.