#anna respighi

[nakamopapina]

Thank you for tagging me @madam-of-lithuania

I tag @obbicrystaleo and @marsinout and @allbeendonebefore no pressure, only do it if you want to!

tagged by @silenthillmutual!! if u saw me screw up the poll no u didnt

rules: list your favorite characters from four different pieces of media and let everyone vote on who matches your vibe best

tagging @doomednarrative @adrianicsea @dykexenomorph @franofthedead and anybody else who wants to do this!!

[hotwaterandmilk]

Series: Battle Athletes Daiundoukai Artist: Makino Ryuuichi Publication: Anime-V Magazine (12/1996) Source: Scanned from personal collection

[fuckyeahanimebirthdays]

Anna Respighi (Battle Athletess Daiundoukai)  » August 7

[kurayamineko]

“The Grand Games will restart from here.”

[female-malice]

Do you have a list of non boring orchestral pieces? Ones that are dramatic and exciting?

Yes. 99% of orchestral pieces are not boring lol

You need to take a deep breath and skip the classical period. Just listen to everything before and after the classical period. It's only 50 years of music. Just skip it. Just think of the classical period as a pretentious meme propagated by the infamous fuckboy Mozart. And just skip that meme. Listen to everything before 1750 and everything after 1800.

Literally just listen to everyone who isn't Mozart or Haydn. Just skip that 1% of orchestral music and listen to the other 99%. Von Bingen, Vivaldi, Bach, Beethoven, Tchaikovsky, Brahms, Mendelssohn, Respighi, Saint-Saens, Holst, Mahler, Dvorak, Shostakovich, Stravinsky, Bartok, Sibelius, Britten, Vaughan Williams, Ravel, Barber, Copland, Rautavaara, Tan Dun, John Luther Adams, Caroline Shaw, and hundreds of others.

If you don't have the attention span for 30 minutes of music, yes you do. Get off Tiktok. Just sit and look out the window and listen.

I promise you music was not boring for 400 years. Just open your ears and see what happens. There is music that was written hundreds of years ago that is more mystifying and soul-disturbing than anything written today.

Renaissance and Baroque music was about having a good time while innovating and developing musical instruments and theory. I could do a whole separate post about music between 1400 and 1750. But I feel like this has a little bit of everything. Fun, dance, old instruments, and fugue pattern theory.

Then there was the classical period 1750-1800 and we're skipping that. Basically the only important thing they did was develop instrumental musician technique. A lot of this music is actually very fun and challenging to play. But it doesn't grab the heart of every listener.

And then there was Beethoven.

Beethoven wrote this quartet in 1825, 2 years before his death. What were you and I doing in 1825? We were just dirt and dust when he wrote this.

He put everything into this quartet. He didn't hold anything back here. If he wasn't destitute, hungry, and financially dependent on Viennese music critics, his symphonies would've all been like this quartet. Still, even though he was holding back in his symphonies, they still managed to change the course of music history. So many musicians and composers fell in love with the romantic popular style of his symphonies. And they all made incredible, fun, exciting music. And I genuinely enjoy that romantic period.

But it took 100 years after Beethoven's death before anyone really understood his final compositions. The person who really understood what Beethoven was doing in his final years was Stravinsky. Stravinsky had wrestled with and won his own battles with critics. So he had the financial support to be more experimental. And he could take what Beethoven was doing in string quartets and expand that to a full orchestra. More than just an orchestra. A ballet. Stravinsky took the legacy of Beethoven's final years and turned that into full ballet productions. The Rite of Spring, the Firebird, Orpheus, Pulcinella, Petrushka, etcetera. It's all great fun.

This isn't a ballet. I just like this little Stravinsky piece from 1938. It sounds like something Beethoven would've written if he wasn't constrained by critics.

And now, 100 years after Stravinsky, contemporary music has come full circle. We're back to a lot of the same thinking and perspectives of the renaissance and baroque era. Having a good time while innovating and developing musical instruments and theory. Many popular contemporary composers like Caroline Shaw are extremely neo-baroque. Also, a lot of baroque music observed and emulated nature. And now we have Anna Thorvalsdottir and John Luther Adams doing exactly that.

If Vivaldi ever did LSD he would probably write something like this.

[lesser-known-composers]

Ottorino Respighi (1879-1936) - Marie Victoire, P. 100, Act I Scene 6: Eh bien, voila ce grand courage?

Artist: Takesha Meshe Kizart Artist: Markus Brück Artist: German Villar Artist: Simon Pauly Artist: Stephen Bronk Artist: Jorn Schumann Artist: Martina Welschenbach Artist: Gregory Warren Artist: Nicole Piccolomini Artist: Yosep Kang Artist: Tomislav Lucic Artist: Thomas Blondelle Artist: Anna Schoeck Artist: Christophe Fel Artist: Krzysztof Szumański Artist: Nathan De'Shon Myers Artist: Andrew Ashwin Artist: Hyung-Wook Lee

Choir: Berlin Deutsche Opera Chorus Orchestra: Orchester der Deutschen Oper Berlin Conductor: Michail Jurowski

[oblivion-soave]

Rules: list 10 songs that you’re currently obsessed with and tag 10 people

I was tagged by three exquisite ladies (and my absolute favorites) @dearorpheus, @provst and @echymosis to do this. Thank you, darlings!

i. Vincenzo Bellini’s aria Tu sola, o mia Giulietta ... Deh! tu, bell’anima from I Capuleti e i Montecchi (Joyce DiDonato, Riccardo Minasi, Orchestre de l’Opéra Nationial de Lyon) ii. Nick Cave and the Bad Seeds' God Is in the House from the album No More Shall We Part iii. Lucilla Galeazzi’s Quante stelle nel cielo con la luna iv. Jean-Philippe Rameau’s Prélude from Hippolyte et Aricie’s third act (Christophe Rousset, Les Talens Lyriques) v. The entirety of Ottorino Respighi’s Trittico Botticelliano, and in particular the sensuous third movement, La nascida di Venere (Salvatore di Vittorio, Chamber Orchestra of New York) vi. Claude Debussy’s Mes longs cheveux from Pelléas et Mélisande (Barbara Hannigan, Esa-Pekka Salonen, Philharmonia Orchestra) vii. Roccu Mambrini’s Lamentu di Ghjesu (sopra La Follia) (Barbara Furtuna, L’Arpeggiata) viii. Leonard Cohen’s Joan of Arc from the album Songs of Love and Hate ix. Claudio Monteverdi’s aria Addio Roma from L’incoronazione di Poppea (Jennifer Larmore, René Jacobs) x. Luciano Berio’s arrangement of Azerbaijan Love Song from the song cycle Folk Songs (Anna Stéphany, Labyrinth Ensemble)

Bonus: Wolfgang Amadeus Mozart’s Domine Jesu from his Requiem in D minor, K. 626 (recording of my own performance with the Choir and Orchestra Gulbenkian)

I tag: @sainterly, @lessthansix, @parmandil, @barcarole, @mostlydeparted, @likeniobe, @womenlikeher, @abernatty, @mothersofmyheart, @twoclaws, @blazeofgold​, @antigonick​, @violentwavesofemotion​, @objetpetita​, @eclogues​

[lampioneditrieste]

04/08/22 - "Duo Molaro-Chiarato" - Carniarmonie - Pieve S.ta Maria di Gorto - Ovaro (UD)

04/08/22 – “Duo Molaro-Chiarato” – Carniarmonie – Pieve S.ta Maria di Gorto – Ovaro (UD)

Vi informiamo che giovedì 04/08/22, ore 20.30, presso Pieve Santa Maria di Gorto – Ovaro (UD), vi sarà l’esibizione del “Duo Molaro-Chiarato”, nell’ambito del festival Carniarmonie. dettagli DUO MOLARO-CHIARATO Ovaro Pieve di Santa Maria di Gorto Giovedì 4 Agosto 2022 – Ore 20:30 Anna Molaro violoncelloElisabetta Chiarato pianoforte L. van Beethoven Sonata n. 1 op. 5O. Respighi Adagio…

[fedelando]

MADDALONI: AUTUNNO MUSICALE, IL NUOVO APPUNTAMENTO SULLE NOTE DEL PIANISTA DAVIDE CABASSI

Sarà il pianista Davide Cabassi il protagonista del prossimo appuntamento di “Autunno Musicale-Suoni e luoghi d’arte” in programma domenica 5 dicembre 2021 (ore 18) nel Museo archeologico di Calatia di Maddaloni. Nell’ambito della sezione Pianofestival della rassegna, l’artista eseguirà al pianoforte brani di Beethoven e di Schumann.

Cabassi è top-prize winner al Van Cliburn International Piano Competition 2005. Dopo il debutto con l'Orchestra Sinfonica della Rai di Milano, all'età di 13 anni, ha intrapreso una brillante carriera esibendosi con le maggiori orchestre europee ed americane, collaborando con vari direttori di fama internazionale. Ha tenuto recital in Europa, Stati Uniti, Argentina, Cina e Giappone, ospite di importanti sale.

Ha registrato per Radio Tre, Radio Popolare, Radio Svizzera Italiana, Radio France, Rai Uno, Rai Tre e Classica Sky ed è uno dei protagonisti del film In the heart of Music, realizzato in occasione del Concorso van Cliburn 2005, trasmesso negli Stati Uniti e in Europa.

Ha registrato vari cd con musiche, tra gli altri, di Debussy, Schumann, Bach, Beethoven, Brahms, Cervantes, Clementi, Cherubini, Respighi, Martucci, Mozart, Rossini, per varie etichette, ottenendo anche il Premio della Critica della Rivista Classic Voice.

Si è diplomato al Conservatorio di Milano e si è perfezionato alla International Piano Foundation di Cadenabbia. Insegna nei conservatori italiani dal 2003 e i suoi studenti sono vincitori di importanti concorsi nazionali ed internazionali.

È spesso invitato nelle giurie di concorsi internazionali, nonché a tenere masterclass in tutto il mondo. È artist in residence del Tiroler Festspiele Erl e membro del Comitato Artistico del Concorso Internazionale Ferruccio Busoni.

Il concerto rientra nella rassegna “Autunno Musicale - Suoni & Luoghi d’arte” organizzata dall’associazione “Anna Jervolino” e dall’Orchestra da Camera di Caserta, sotto la direzione artistica di Antonino Cascio.

La rassegna Autunno Musicale - Suoni & Luoghi d’arte è realizzata con il contributo del Mic – Direzione Generale Spettacolo e dalla Regione Campania ai sensi del DM 27 Luglio 2017 e della ex LR 6/2007, fa parte del network culturale nazionale e regionale di Aiam e Med; si avvale della collaborazione della Direzione Regionale Musei Campania e del Museo archeologico di Calatia di Maddaloni. Prevendita presso il Museo Archeologico di Calatia (in concomitanza con i concerti).

I concerti al Museo Archeologico di Maddaloni prevedono l’obbligo di Green Pass e mascherina. Il costo dei biglietti è di 6,00 euro Intero; 3,00 euro ridotto (per giovani fino a 30 anni).

Per info su abbonamenti e altro:

Segreteria organizzativa

0823 361801 – 339 170 2906

www.autunnomusicale.com

info@autunnomusicale.com

f - autunno musicale

[todayclassical]

April 26 in Music History

1567 Birth of composer Nicolas Forme.

1603 Birth of composer Francesco Nigetti.

1762 Birth of French tenor Pierre-Jean Garat in Bordeaux. 

1783 At 13 years of age Beethoven is appointed keyboard performer court orchestra in Bonn.

1783 FP of M. Arne's "Tristram Shandy" in London.

1784 FP of Salieri's "Les Danaïdes" in Paris.

1796 Birth of composer Auguste-Matthieu Panseron.

1802 FP of Isouard's "La Statue ou Femme avare" in Paris.

1806 Birth of composer Ludwig Friedrich Hetsch.

1821 Birth of American composer John Gordon McCurry. 

1822 Birth of composer Jan Albert van Eyken.

1824 FP of Carafa's "L'Auberge supposée" in Paris.

1829 Birth of Italian baritone Francesco Graziani in Fermo.

1834 Birth of composer Horatio Richmond Palmer.

1847 Birth of English composer Sir Alfred Scott Gatty.

1854 Birth of German bass Georg Sieglitz in Mainz. 

1856 FP of Halévy's "Valentine d'Aubigny" in Paris.

1860 FP of Campana's "Almina" in London.

1862 FP of Suppe's "Die Kartenaufschlägerin" in Vienna.

1863 Birth of French tenor Emile Scaremberg in Besançon. 

1865 Birth of Costa Rican composer Alejandro Monestel.

1875 Birth of American composer Natalie Curtis Burlin. 

1879 Birth of Danish baritone Albert Høeberg in Copenhagen. 

1881 Birth of Yugoslavian composer Alexander Savine in Belgrade.  1884 Birth of Norwegian soprano Eide Norena in Horten, nr Oslo. 

1891 Russian composer Peter Tchaikovsky arrives in New York City.

1894 Birth of Australian soprano Florence Austral.

1897 Death of Italian tenor Roberto Stagno in Genoa. 

1899 FP of original version of Jean Sibelius' First Symphony. Composer conducting in Helsinki. The final version was FP by the Helsinki Philharmonic in Stockholm.

1900 Birth of American violinist Joseph Fuchs in NYC. 

1901 Death of Russian mezzo-soprano Anna Yakovlevna Vorobyeva-Petrova.

1901 FP of Hüe's "Le Roi de Paris" in Paris.

1906 Birth of composer Leopold Spinner in Lwow Austria. 

1910 Birth of composer Erland von Koch. 1910 Birth of composer Ernst Tittel.

1914 Birth of British composer Professor Wilfrid Mellers. 1915 FP of Paul Hindemith's String Quartet No. 1 in C, Op. 2, at Hoch's Conservatory in Frankfurt.

1916 Birth of composer Arnoldus Christian Vlok van Wyk.

1920 Birth of composer Juan C Lampe, Aruba.

1921 Birth of German mezzo-soprano Marga Hoffgen in Mulheim. 

1922 Birth of composer Paul-Andre Gaillard.

1923 FP of Respighi's "Belfagor" in Milan. 

1925 Birth of Austrian soprano Wilma Lipp in Vienna.  1926 Birth of composer Oldrich Frantisek Korte.

1926 FP in USAmerica of Monteverdi's opera L'Incoronazione di Poppea (1642)'The Coronation of Poppea', at Smith College in Northampton, MA.

1930 FP of Vittadini's "La Sagredo" La Scala.

1934 Birth of Yugoslavian soprano Olivera Miljakovic.

1935 Birth of American composer Conrad Susa. 

1936 FP of Grisar's "Sarah" in Paris.

1943 Death of German soprano Else Gentner-Fischer. 

1950 Birth of Belgian composer Michel Bero in Melin.

1951 Death of American composer John Alden Carpenter in Chicago.

1951 FP of Ralph Vaughan Williams opera The Pilgrim's Progress Covent Garded, London.

1953 Birth of English soprano Patrizia Kwella.

1955 Birth of conductor Gisele Ben-Dor.

1959 Birth of Swedish baritone David Aler in Stockholm.

1961 Birth of Canadian baritone Mark Tinkler in Toronto. 

1965 Death of German bass-baritone Michael Bohnen. 

1965 FP of Charles Ives' 4th Symphony. Posthumously under conductors Leopold Stokowski, Jose Serebrier and David Katz, leading the American Symphony Orchestra and members of the Schola Cantorum.

1966 Birth of American composer Jerilyn Sykes.

1966 Final performance at MET Opera by soprano Licia Albanese.

1967 Death of American bass-baritone James Pease. 

1968 Birth of Polish-American composer Laura Andel.

1972 Birth of Russian pianist Nikolai Lugansky in Moscow.

1990 FP of John Harbison's Concerto for Double Brass Choir and Orchestra. Los Angeles Philharmonic, André Previn conducting in L.A., CA.

1991 Death of French-born American composer and arranger Leo Noël Arnaud.

2002 FP of Michael Hersch's Symphony No. 2. Pittsburgh Symphony, Mariss Jansons conducting.

2003 FP of Joan Tower's Incandescent. Emerson String Quartet, Annandale-on-Hudson, NY.

[kurayamineko]

[allnews24]

Vandali al giardinetto del Respighi. Amici del Facsal: “Vogliamo le telecamere”

Vandali al giardinetto del Respighi. Amici del Facsal: “Vogliamo le telecamere”

Atti vandalici nel giardinetto del liceo Respighi sul Pubblico Passeggio a Piacenza. A segnalarlo è Anna Maria Rossetti, presidente di Amici del Facsal che denuncia: “Il giardinetto, da anni, è vittima di ignoti che tante volte hanno distrutto il marmo delle sedute e il fontanino,per poi colpire gli alberi piantumati negli anni scorsi che faticosamente cercano di crescere. Due alberelli…

[lesser-known-composers]

Ottorino Respighi (1879 - 1936) - Il Tramonto

Jeanne Gérard , soprano Raphaëlle Moreau , violon Anna Egholm , violon Clémence de Forceville , violon Violaine Despeyroux , alto Aurélien Pascal , violoncelle

[viendiletto]

Oh! I'd also be interested in any opera or instrumental music you enjoy, I'm trying to be more rounded in music and find new things to listen to

This is a unnecessarily long list of my favourite Italian opera composers and some of their most important works:

–Alfredo Catalani (La Wally, Loreley)

–Amilcare Ponchielli (La Gioconda, I Lituani)

–Arrigo Boito (Mefistofele)

–Claudio Monteverdi (L'Orfeo, Il Ritorno di Ulisse in Patria, L'Incoronazione di Poppea)

–Francesco Cilea (Adriana Lecouvreur, L'Arlesiana)

–Gaetano Donizetti (Lucia di Lammermoor, Anna Bolena, Lina di Chamounix, L'Elisir d'Amore, Don Pasquale, Maria Stuarda, Roberto Devereux, Lucrezia Borgia, La Figlia del Reggimento, La Favorita, Poliuto, Pia de’ Tolomei)

–Gaspare Spontini (La Vestale, Agnese di Hohenstaufen)

–Giacomo Puccini (Tosca, Madama Butterfly, Manon Lescaut, Turandot, La Rondine, La Bohème, Il Trittico)

–Gioacchino Rossini (Il Barbiere di Siviglia, L'Assedio di Corinto, Maometto II, L'Italiana in Algeri, Il Turco in Italia, La Cenerentola, La Gazza Ladra, Armida, Semiramide, La Donna del Lago, Guglielmo Tell)

–Giuseppe Verdi (La Traviata, Il Trovatore, Rigoletto, Aida, Un Ballo in Maschera, Ernani, I Vespri Siciliani, Don Carlo, Otello, Macbeth, La Forza del Destino, Giovanna d'Arco, La Battaglia di Legnano, Luisa Miller)

–Luigi Cherubini (Medea)

–Nicola Vaccaj (Giulietta e Romeo)

–Pietro Mascagni (Cavalleria Rusticana, L'Amico Fritz, Iris)

–Riccardo Zandonai (Giulietta e Romeo, Francesca da Rimini)

–Ruggero Leoncavallo (Pagliacci, La Bohème)

–Saverio Mercadante (La Vestale, Didone Abbandonata)

–Umberto Giordano (Andrea Chénier, Fedora, Siberia, La Cena delle Beffe)

–Vincenzo Bellini (Norma, I Puritani, La Sonnambula, I Capuleti e i Montecchi, Beatrice di Tenda)

Regarding non-operatic classical music (even though most of them composed operas as well), I mostly listen to:

–Alessandro Scarlatti

–Antonio Salieri

–Antonio Vivaldi (he composed about twenty operas, the most famous being Griselda)

–Arcangelo Corelli

–Benedetto Marcello

–Giovanni Battista Pergolesi

–Giulio Caccini

–Francesca Caccini

–Isabella Leonarda

–Ottorino Respighi

–Nino Rota

–Bianca Maria Meda

–Domenico Scarlatti

–Carlotta Ferrari

–Niccolò Paganini

–Giacomo Carissimi

–Giuseppe Giordani

–Barbara Strozzi

–Maddalena Laura Sirmen

[loosealcina]

OTTORINO RESPIGHI, GABRIEL FAURÉ, REYNALDO HAHN AND FRANCIS POULENC AT LA SCALA, JUNE 17, 2018

If you're a singer, a recital comes with a lot of responsibility (it's literally nothing but your voice, and a piano). But it comes with a lot of freedom, too. In this late spring/virtually summer showing, Anna Caterina Antonacci—accompanied by Donald Sulzen—took that very freedom and turned it into a spectacular display, a memorable little parade of music, poems, landscapes, some humans here and there, and magical creatures. (Plus a complete opera!). The first half of the night was a tale of two languages: Italian and French. I wouldn't call it a journey through Italy and France because it mostly led to fanciful/imaginary places. As an opener, we were given Ottorino Respighi's Deità silvane. It's a five-song cycle written in 1917 that deals with—I'm translating the title here—gods who live in the woods. Fairy music is a genre with its own classics (Felix Mendelssohn-Bartholdy, Franz Schubert, Gustav Mahler… There are many you can throw in); yet these tunes dedicated to streams, pixies, nymphs, fauns, etc. sounded different from that lineage. Anna Caterina Antonacci went with a crisp, argentine tone that created a distinct cabaret/music hall atmosphere. The general effect was undoubtedly modern, and at the same time quite persuasive as far as the reality of the supernatural is concerned. (I'd pick Susanna Clarke's books as a literary counterpart of that).

After a graver, and more melancholic appendix to the Respighi section (Sopra un'aria antica [1920, words by Gabriele D'Annunzio]), it was time for another five-piece ride: Gabriel Fauré's L'horizon chimérique Op.118 (1921). An essay in daydreaming (of being) at sea, positively packed with gems. I loved the three-note recurring figure that suggested the rocking of a boat in Je me suis embarqué. In the middle of Diane, Séléné, the breathtaking apostrophe «Ô lune, je t'en veux de ta limpidité/Injurieuse au trouble vain des pauvres âmes». And the stark finale of the last song: «Mais votre appel, au fond des soirs, me désespère,/Car j'ai de grands départs inassouvis en moi». The following number—a slightly abridged version of Venezia (1901) by Reynaldo Hahn—was way too comedic to suit my mood. This was the end of the first half. Then, after a well-deserved intermission (also marked by the switch from an emerald dress to a black one), Anna Caterina Antonacci was ready to deliver a spellbinding, meticulous, and ultimately desolate version of Francis Poulenc and Jean Cocteau's La voix humaine (1959). I was serious about that—a complete opera within a recital.

It's a Paris apartment we're in. An unnamed young woman is talking by telephone (not without technology-related interferences, and interruptions) to her equally unnamed ex-lover, who has just abandoned her and is adamant their relationship is gone for good, and even wants his letters back as soon as possible. (We can't hear anybody but the protagonist, thus we've got to fill the gaps going by what she says). Now how can i describe it? It was bewildering good. It was so good I feel like sharing a couple of problems I had. First, the sneaky poison that every concert performance of an opera seems to carry: the better the artist(s), the more painful the absence of a stage production will get. Second, I think Donald Sulzen's piano should have played more of a prominent/obtrusive role, instead of providing the voice with a discreet, but fairly unexciting backdrop throughout. The encore—a slow, velvety, impossibly deep, and absolutely menacing «L'amour est un oiseau rebelle» from Georges Bizet's Carmen—wasn't really an encore. It was an epilogue. Anna Caterina Antonacci's crucial postscript to La voix humaine. If Francis Poulenc's opera came off as the sadistic depiction of a woman who is mistreated by a man (in other words, Madama Butterfly adapted for the age of the telephone), there was a tailpiece to be added. It was as if Carmen herself, smiling like some mysterious superhero, had materialized on stage and told the audience, with a wink, OK everyone. This is the revenge of woman. The hand gesture that illustrated the line «Tu crois l'éviter, il te tient!» was something I'm likely to remember for a long time.

[londontheatre]

AIDA

Aida is a timeless story of duty, love and betrayal amid the clash of war. This is opera on a grand scale, in which ENO’s award-winning Chorus and Orchestra will demonstrate their full power.

Following his recent Akhnaten for ENO, Improbable’s Olivier Award-winning director Phelim McDermott stages this distinctive new production. Keri-Lynn Wilson conducts Verdi’s score which contrasts swaggering military marches with tender lyricism.

Sharing the title role are two sopranos – Latonia Moore and Morenike Fadayomi – both of whom are making their ENO debuts. As Radames, we welcome back the popular ENO artist Gwyn Hughes Jones.

AIDA Booking Period 28 September – 2 December 2017 Running Time: To be confirmed Age Recommendation: No under 5s

The Barber Of Seville

Jonathan Miller’s classic production of The Barber of Seville is a feast of frivolous fun. Enjoy Figaro’s mischievous escapades as he assists Count Almaviva in prising the beautiful Rosina away from her lecherous guardian, Dr Bartolo. Rossini’s comic masterpiece fizzes with memorable melodies in an entertaining production that unites the theatrical worlds of Italian commedia dell’arte and Whitehall farce. Making his role debut as Dr Bartolo is Alan Opie, a long-standing and much-loved ENO artist. Former ENO Harewood Artist Sarah Tynan sings Rosina, while baritone Morgan Pearse and tenor Eleazar Rodriguez reprise their highly acclaimed roles as the barber Figaro and Count Almaviva respectively. British conductor Hilary Griffiths makes his ENO debut.

THE BARBER OF SEVILLE Booking Period: 5 – 30 October 2017 Running time: To be confirmed Age Recommendation: No under 5s

Rodelinda

Rodelinda is a dramatic tale of power, anguish and love. When Grimoaldo takes Bertarido’s throne, Bertarido flees abroad, leaving behind his grieving wife Rodelinda. The usurper tries to force Rodelinda to love him, but when the exiled king returns in disguise, everyone is put to the test.

One of Handel’s finest operas, Rodelinda is filled with intense drama told through ravishingly beautiful music. Award-winning director Richard Jones brings his distinctive theatrical imagination to this production, which sets Handel’s bitter political drama in Fascist Italy.

Heading the cast is Rebecca Evans, whose performance of the title role in 2014 was hailed as ?perfection’ (Daily Telegraph). Also returning for this first revival is Susan Bickley and Baroque-specialist conductor Christian Curnyn. Tim Mead, regarded as one of the UK’s finest countertenors, adds Bertarido to his roster of ENO roles.

RODELINDA Booking Period: 26 October – 15 November 2017 Running Time: To be confirmed Age Recommendation: No under 5s

Marnie

Marnie is a compelling psychological thriller set in England during the late 1950s. A young woman makes her way through life by embezzling from her employers, before she moves on and changes her identity. When her current boss Mark Rutland catches her red-handed, he blackmails her into a loveless marriage. Marnie is left with no choice but to confront the hidden trauma from her past.

Following Two Boys in 2011, this is composer Nico Muhly’s second world premiere for ENO. With a libretto by Nicholas Wright, Marnie is based on Winston Graham’s novel and inspired by the screenplay. It examines the cost of freedom, the limitations of forgiveness and the impossibility of escaping the past, in music that is direct and powerful.

Tony Award-winning director Michael Mayer makes his UK opera debut, collaborating with ENO Music Director Martyn Brabbins. Grammy Award-winning mezzo Sasha Cooke sings the title role, while acclaimed bass-baritone Daniel Okulitch sings Mark Rutland. They are joined by ENO favourite Lesley Garrett.

London Coliseum, Various dates Saturday 18th November to 3rd December 2017

Amore / Svetlana Zakharova

The three faces of Amore presented by the sublime Svetlana Zakharova in her brand new triple bill are passion, ambiguity and playfulness. She is joined on stage by top Bolshoi male artists, including Mikhail Lobukhin, Denis Rodkin and Denis Savin. Live music will be provided by the Orchestra of English National Opera under the direction of Pavel Sorokin.

The evening opens with Yuri Possokhov’s masterpiece Francesca da Rimini. Set to Tchaikovsky’s symphonic poem, it tells the story of the tragic lovers from Dante’s Inferno condemned to eternal punishment.

Rain before it falls, choreographed by Patrick de Bana is a ballet which concerns the struggle with the choice between darkness and light. It is set to classical sounds by Bach and Respighi decorated with modern electronic music tapestry by Pina-Quintana.

The third piece features Svetlana Zakharova supported by five male dancers. Set to Mozart’s Symphony No.40, Strokes Through the Tail is a humorous piece choreographed by Marguerite Donlon, providing the perfect ending to the evening. Part of the fun is costumes by fashion designer Igor Chapurin who also created the costumes for the unforgettable Francesca.

AMORE / SVETLANA ZAKHAROVA Booking Period: 20 – 25 November 2017 Running Time: To be confirmed

Men In Motion

MEN IN MOTION Award-winning dancers Matthew Ball, Irek Mukhamedov, Daniel Proietto and Edward Watson are among those joining dancer and producer Ivan Putrov in a new production of his thrilling and illuminating exploration of the changing role of the male dancer over the last century. Men in Motion pays homage to the great dancers and choreographers of the past and showcases some of the most exciting artists at work today.

Booking Period 22 & 23 November 2017 7.30pm. Age restrictions: Under 5s will not be admitted.

Nutcracker

Over 100 dancers and musicians bring Nutcracker to life.

On a sparkling Christmas Eve in a frost-dusted Edwardian London, Clara and her enchanted Nutcracker doll discover a magical world, where she battles with the Mouse King and meets a handsome stranger. As the air grows colder, Clara and her valiant Nutcracker take a hot air balloon ride across London to the glistening Land of Snow where her adventure really begins.

From the sound of the orchestra tuning up, to the final bows and cheers, a trip to English National Ballet’s Nutcracker is an unforgettable Christmas treat.

NUTCRACKER Booking Period: 13 December 2017 – 6 January 2018 Running Time: To be confirmed Children under 5 are not allowed in the auditiorium except at family-friendly performances (only available via venue) Schools Matinees: 15th December 2.30pm and 4th January 2.30pm

Song Of The Earth/La Sylphide

Inspired by Mahler’s haunting song cycle Das Lied von der Erde, MacMillan brings music, poetry and choreography together to capture the fragility of life, and its constant renewal. Three central figures portray the bittersweet reality of love, loss, and mortality: a Woman, a Man and an enigmatic Messenger.

First performed in 1965, Song of the Earth was a point of departure for MacMillan’s choreography, surprising and captivating audiences and critics. English National Ballet is honoured to add this revered MacMillan work to its repertoire.

La Sylphide On the morning of his wedding to his sweet fiancée Effy, James awakens from a dream to see a mysterious and tantalising Sylphide before him. His obsession with her sets off a fateful sequence of events where joy turns to sorrow, love to betrayal and infatuation to tragedy.

August Bournonville’s classic Romantic ballet is devotedly recreated by Eva Kloborg and Frank Andersen in this captivating production, and is accompanied by an enchanting score, played live by English National Ballet Philharmonic.

SONG OF THE EARTH/LA SYLPHIDE Booking Period: 9-13 January 2018 Age Restriction: Children under 5 will not be allowed in the auditorium, except for at Family-Friendly performances.

Le Jeune Homme Et La Mort/La Sylphide

English National Ballet returns with a double bill featuring Roland Petit’s Le Jeune Homme et la Mort and Frank Andersen’s recreation of the beloved classic La Sylphide.

Le Jeune Homme et la Mort

Last performed by English National Ballet in 2013, Roland Petit’s Le Jeune Homme et la Mort follows a young man hopelessly in love with a cruel and faithless mistress. He waits desperately for her, but when she finally arrives, she torments him. Distraught and confused, the young man succumbs to his despair. Performed to Bach’s Passacaglia and Fugue in C Minor, with a libretto by Jean Cocteau, Petit’s ballet is a searing display of unrequited love and its tragic consequences.

La Sylphide

On the morning of his wedding to his sweet fiancée Effy, James awakens from a dream to see a mysterious and tantalising Sylphide before him. His obsession with her sets off a fateful sequence of events where joy turns to sorrow, love to betrayal and infatuation to tragedy.

August Bournonville’s classic Romantic ballet is devotedly recreated by Eva Kloborg and Frank Andersen in this captivating production, and is accompanied by an enchanting score, played live by English National Ballet Philharmonic.

LE JEUNE HOMME ET LA MORT/LA SYLPHIDE Booking Period: 16-20 January 2018 Age Restriction: 5+ Schools Matinee: 18th January 2018 2.30pm

Satyagraha

Satyagraha is composer Philip Glass’s meditation on Gandhi’s early years in South Africa, tracing the progress of his concept of non-violent protest as a positive force for change.

First staged in 2007, Phelim McDermott’s highly acclaimed, spectacularly theatrical production is a visual feast. Glass’s use of repetitive musical structures – ?minimalism’- creates a mesmerising soundscape, quite unlike traditional operas.

Following the Olivier Award-winning run of Akhnaten in 2016, McDermott is reunited with Glass-specialist conductor Karen Kamensek. Distinguished British tenor Toby Spence sings Gandhi for the first time, and is joined by sopranos Charlotte Beament (Miss Schelesen) and Anna-Clare Monk (Mrs Naidoo).

SATYAGRAHA Booking Period: 1 – 27 February 2018 Running Time: To be confirmed Age Recommendation: No under 5s

Iolanthe

Iolanthe is a brilliantly funny, satirical fantasy, revealing a typically Gilbert & Sullivan topsy-turvy worldview. Phyllis and Strephon wish to marry, but as Phyllis is a ward of court she requires the Lord Chancellor’s permission. The Lord Chancellor, however, wants her for himself.

Matched by Sullivan’s ever-melodious score, Gilbert not only targets peers of the realm, but also offers thinly disguised portraits of Queen Victoria, John Brown (her personal servant and ?close companion’), Lord Randolph Churchill (reformist Tory) and William Gladstone (Liberal PM of the day).

Cal McCrystal (One Man, Two Guvnors) directs a production that embraces the chaotic physical comedy and irreverence that are his hallmarks. Outstanding young mezzo-soprano and ENO Harewood Artist Samantha Price leads a cast of ENO favourites, including Andrew Shore as the Lord Chancellor.

IOLANTE Booking Period: 13 February – 7 April 2018 Running Time: To be confirmed Age Recommendation: No under 5s

A Midsummer Nights Dream

Based on Shakespeare’s popular comedy, Britten’s opera follows the consequences of a falling-out between the fairy-king Oberon and his queen, Tytania. Mistaken identities, confused lovers and alarming transformations are the result.

Returning to ENO, Robert Carsen’s production explores the blurred relationships between reality and dreams, the natural and supernatural, and sexual desire.

From the sliding string chords of the magic wood to the rustics’ well-intentioned entertainment, Britten’s ear for beguiling orchestration and melodic invention will enchant and entice you.

Leading the cast as Oberon and Tytania are counter-tenor Christopher Ainslie and soprano Soraya Mafi. The roles of the lovers are taken by a quartet of rising stars – Eleanor Dennis as Helena, Clare Presland as Hermia, David Webb as Lysander, and Matthew Durkan as Demetrius. Young British conductor Alexander Soddy makes his ENO debut.

A MIDSUMMER NIGHT’S DREAM Booking Period: 1 March – 15 March 2018 Running Time: To be confirmed Age Recommendation: No under 5s

La Traviata

La traviata tells the story of the tragic love between the courtesan Violetta and the romantic Alfredo Germont. Played out against the hypocrisy of upper-class fashionable society, Alfredo and Violetta’s love threatens to shame his family. When his father directly appeals to Violetta to relinquish her one chance of happiness, Violetta submits and her act of self-sacrifice leads to her paying the ultimate price.

In his debut production as ENO Artistic Director, Daniel Kramer directs a production which contrasts spectacular party scenes with tender, intimate moments. Verdi’s masterpiece features one of the most iconic, romantic and tragic scores of all time.

Singing Violetta is outstanding young soprano, Claudia Boyle. She is joined by rising tenor Lukhanyo Moyake as Alfredo, in his UK debut. Conductor Leo McFall makes his ENO debut in a production that showcases the award-winning ENO Chorus and Orchestra.

Various dates Friday 16th March 2018 to Friday 13th April 2018

The Marriage Of Figaro

As the day of Figaro and Susanna’s wedding arrives, it becomes clear that their master, Count Almaviva, is hell-bent on seducing Susanna before the ceremony can take place. Susanna and Figaro conspire with the forsaken Countess to outwit her husband and teach him a lesson in fidelity. But when the teenage Cherubino involves himself in their plans, relationships become severely strained through a series of ever-more confusing twists and turns.

Mozart’s masterpiece reveals much about the human condition through consummate wit, grace and joyous musical invention. ENO Music Director Martyn Brabbins conducts this second revival of Director Fiona Shaw’s critically acclaimed production.

The cast includes Lucy Crowe, as the despondent Countess, and bass-baritone Ashley Riches, as the philandering Count. ENO Harewood Artist Rhian Lois is the ever-resourceful Susanna, alongside Dutch baritone Thomas Oliemans as Figaro, while Harewood Artist Katie Coventry sings her first Cherubino.

THE MARRIAGE OF FIGARO Booking Period: 29 March – 14 April 2018 Running time: To be confirmed Age Recommendation: No under 5s

Kiss Me, Kate

Opera North’s award-winning production of Cole Porter’s Broadway comedy classic comes to London for the very first time.

The full-scale Orchestra and Chorus of Opera North bring the magical sound of Broadway to the Coliseum.

Set both on and off-stage during the production of a musical version of The Taming of the Shrew, Kiss Me, Kate revolves around the tempestuous love lives of actor-manager Fred Graham and his leading lady and ex-wife, Lilli Vanessi. Throw in Fred’s current paramour Lois Lane, her gambler boyfriend Bill – and a couple of gangsters who somehow get caught up in the show – and the stage is set for a funny and farcical battle of the sexes!

A charming homage to the sparkling wit of Shakespeare and an irresistible celebration of the joy and madness of working in theatre, Cole Porter’s witty, jazz-inflected score features hit after hit, with show-stopping numbers including ‘Another Op’nin’ Another Show,’ ‘Brush Up Your Shakespeare,’ ‘Always True to You in My Fashion’ and ‘Too Darn Hot.’

Bringing together performers from the worlds of both opera and the West End, with the incredible sound of the Orchestra and Chorus of Opera North the magical sound of Broadway and the golden age of MGM musicals springs back to life on the Coliseum stage.

A co-production with Welsh National Opera

Music and lyrics by Cole Porter Book by Bella and Samuel Spewack Critical Edition by David Charles Abell and Seann Alderking

KISS ME, KATE Booking Period: 20th June – 30th June 2018 Running Time: To be confirmed Age Recommendation: under 5s will not be admitted

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