Composer: Donizetti| Date | Event | Composers, Works, Performers |
|---|---|---|
| Saturday 27-Jul-13 06:00pm |
 Centre Culturel René d'Anjou, Baugé-en-AnjouFestival 2013 Opéra de Baugé |
Alexander Pidgen, Tenor: Nemorino Rebecca Dale, Soprano: Adina Stephen Kennedy, Bass: Dulcamara Peter Brooke, Baritone: Belcore John Andrews, Conductor Bernadette Grimmett, Producer |
| More info... | ||
| Centre Culturel René d'Anjou, Baugé-en-Anjou, place de l'Orgerie, 49150 Baugé-en-Anjou, France Saturday 27-Jul-13 06:00pm Festival 2013 Alexander Pidgen, Tenor: Nemorino Rebecca Dale, Soprano: Adina Stephen Kennedy, Bass: Dulcamara Peter Brooke, Baritone: Belcore John Andrews, Conductor Bernadette Grimmett, Producer | ||
| Tuesday 30-Jul-13 07:00pm |
Centre Culturel René d'Anjou, Baugé-en-Anjou Festival 2013 Opéra de Baugé |
Alexander Pidgen, Tenor: Nemorino Rebecca Dale, Soprano: Adina Stephen Kennedy, Bass: Dulcamara Peter Brooke, Baritone: Belcore John Andrews, Conductor Bernadette Grimmett, Producer |
| More info... | ||
| Centre Culturel René d'Anjou, Baugé-en-Anjou, place de l'Orgerie, 49150 Baugé-en-Anjou, France Tuesday 30-Jul-13 07:00pm Festival 2013 Alexander Pidgen, Tenor: Nemorino Rebecca Dale, Soprano: Adina Stephen Kennedy, Bass: Dulcamara Peter Brooke, Baritone: Belcore John Andrews, Conductor Bernadette Grimmett, Producer | ||
| Friday 2-Aug-13 06:00pm |
Centre Culturel René d'Anjou, Baugé-en-Anjou Festival 2013 Opéra de Baugé |
Alexander Pidgen, Tenor: Nemorino Rebecca Dale, Soprano: Adina Stephen Kennedy, Bass: Dulcamara Peter Brooke, Baritone: Belcore John Andrews, Conductor Bernadette Grimmett, Producer |
| More info... | ||
| Centre Culturel René d'Anjou, Baugé-en-Anjou, place de l'Orgerie, 49150 Baugé-en-Anjou, France Friday 2-Aug-13 06:00pm Festival 2013 Alexander Pidgen, Tenor: Nemorino Rebecca Dale, Soprano: Adina Stephen Kennedy, Bass: Dulcamara Peter Brooke, Baritone: Belcore John Andrews, Conductor Bernadette Grimmett, Producer | ||
| Sunday 4-Aug-13 06:00pm |
Centre Culturel René d'Anjou, Baugé-en-Anjou Festival 2013 Opéra de Baugé |
Alexander Pidgen, Tenor: Nemorino Rebecca Dale, Soprano: Adina Stephen Kennedy, Bass: Dulcamara Peter Brooke, Baritone: Belcore John Andrews, Conductor Bernadette Grimmett, Producer |
| More info... | ||
| Centre Culturel René d'Anjou, Baugé-en-Anjou, place de l'Orgerie, 49150 Baugé-en-Anjou, France Sunday 4-Aug-13 06:00pm Festival 2013 Alexander Pidgen, Tenor: Nemorino Rebecca Dale, Soprano: Adina Stephen Kennedy, Bass: Dulcamara Peter Brooke, Baritone: Belcore John Andrews, Conductor Bernadette Grimmett, Producer | ||
| Friday 20-Sep-13 07:00pm |
National Theatre, Munich L'Elisir D'Amore |
Bavarian State Opera Carlo Montanaro, Conductor David Bösch, Director Patrick Bannwart, Set Designer Ekaterina Sadovnikova, Soprano: Adina Giuseppe Filianoti, Tenor: Nemorino Levente Molnár, Baritone: Belcore Nicola Alaimo, Baritone: Dulcamara Iulia Maria Dan, Soprano: Giannetta |
 Wilfried Hösl.jpg "Image credit: © Wilfried Hösl") | ||
| National Theatre, Munich, Munich, Germany Friday 20-Sep-13 07:00pm Variety is a scarce commodity in the glum little village depicted by Gaetano Donizetti and his librettist Felice Romani – the only prospects beyond the stifling confines of this backwater seem to be the illusion of a hero’s life as a soldier, even if it might lead to an untimely death.
But what wonders a little bottle of Bordeaux can work! Shrinking violet Nemorino really turns up the volume courting Adina after just a couple of sips of the love elixir he purchased from miracle doctor, Dulcamara. And the potion promptly takes effect. Nemorino turns into a daredevil, preferring to die in battle rather than see his beloved Adina fall into the hands of strapping Sergeant Belcore. The ambitious Adina cannot resist the charms of the bold Nemorino – and even Dulcamara is flabbergasted at the energy and transformation released by his deception: this woebegone world of dolorous yearning is suddenly filled with color and fantasy.
And the listeners are left with the hope that this music might be able to transform them, too.
Italian with German surtitles
Prices I: 100 / 88 / 73 / 56 / 40 / 25 / 12 / 9Image credit: © Wilfried Hösl Carlo Montanaro, Conductor David Bösch, Director Patrick Bannwart, Set Designer Ekaterina Sadovnikova, Soprano: Adina Giuseppe Filianoti, Tenor: Nemorino Levente Molnár, Baritone: Belcore Nicola Alaimo, Baritone: Dulcamara Iulia Maria Dan, Soprano: Giannetta | ||
| Wednesday 25-Sep-13 07:00pm |
National Theatre, Munich L'Elisir D'Amore |
Bavarian State Opera Carlo Montanaro, Conductor David Bösch, Director Patrick Bannwart, Set Designer Ekaterina Sadovnikova, Soprano: Adina Giuseppe Filianoti, Tenor: Nemorino Levente Molnár, Baritone: Belcore Nicola Alaimo, Baritone: Dulcamara Iulia Maria Dan, Soprano: Giannetta |
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| National Theatre, Munich, Munich, Germany Wednesday 25-Sep-13 07:00pm Variety is a scarce commodity in the glum little village depicted by Gaetano Donizetti and his librettist Felice Romani – the only prospects beyond the stifling confines of this backwater seem to be the illusion of a hero’s life as a soldier, even if it might lead to an untimely death.
But what wonders a little bottle of Bordeaux can work! Shrinking violet Nemorino really turns up the volume courting Adina after just a couple of sips of the love elixir he purchased from miracle doctor, Dulcamara. And the potion promptly takes effect. Nemorino turns into a daredevil, preferring to die in battle rather than see his beloved Adina fall into the hands of strapping Sergeant Belcore. The ambitious Adina cannot resist the charms of the bold Nemorino – and even Dulcamara is flabbergasted at the energy and transformation released by his deception: this woebegone world of dolorous yearning is suddenly filled with color and fantasy.
And the listeners are left with the hope that this music might be able to transform them, too.
Italian with German surtitles
Prices I: 100 / 88 / 73 / 56 / 40 / 25 / 12 / 9Image credit: © Wilfried Hösl Carlo Montanaro, Conductor David Bösch, Director Patrick Bannwart, Set Designer Ekaterina Sadovnikova, Soprano: Adina Giuseppe Filianoti, Tenor: Nemorino Levente Molnár, Baritone: Belcore Nicola Alaimo, Baritone: Dulcamara Iulia Maria Dan, Soprano: Giannetta | ||
| Saturday 28-Sep-13 07:00pm |
National Theatre, Munich L'Elisir D'Amore |
Bavarian State Opera Carlo Montanaro, Conductor David Bösch, Director Patrick Bannwart, Set Designer Ekaterina Sadovnikova, Soprano: Adina Giuseppe Filianoti, Tenor: Nemorino Levente Molnár, Baritone: Belcore Nicola Alaimo, Baritone: Dulcamara Iulia Maria Dan, Soprano: Giannetta |
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| National Theatre, Munich, Munich, Germany Saturday 28-Sep-13 07:00pm Variety is a scarce commodity in the glum little village depicted by Gaetano Donizetti and his librettist Felice Romani – the only prospects beyond the stifling confines of this backwater seem to be the illusion of a hero’s life as a soldier, even if it might lead to an untimely death.
But what wonders a little bottle of Bordeaux can work! Shrinking violet Nemorino really turns up the volume courting Adina after just a couple of sips of the love elixir he purchased from miracle doctor, Dulcamara. And the potion promptly takes effect. Nemorino turns into a daredevil, preferring to die in battle rather than see his beloved Adina fall into the hands of strapping Sergeant Belcore. The ambitious Adina cannot resist the charms of the bold Nemorino – and even Dulcamara is flabbergasted at the energy and transformation released by his deception: this woebegone world of dolorous yearning is suddenly filled with color and fantasy.
And the listeners are left with the hope that this music might be able to transform them, too.
Italian with German surtitles
Prices I: 100 / 88 / 73 / 56 / 40 / 25 / 12 / 9Image credit: © Wilfried Hösl Carlo Montanaro, Conductor David Bösch, Director Patrick Bannwart, Set Designer Ekaterina Sadovnikova, Soprano: Adina Giuseppe Filianoti, Tenor: Nemorino Levente Molnár, Baritone: Belcore Nicola Alaimo, Baritone: Dulcamara Iulia Maria Dan, Soprano: Giannetta | ||
| Wednesday 2-Oct-13 07:15pm |
Wales Millennium Centre, Cardiff Roberto Devereux |
Welsh National Opera Daniele Rustioni, Conductor Alessandro Talevi, Director Madelein Boyd, Costume Designer Matthew Haskins, Lighting Designer Leonardo Capalbo, Tenor: Robert Devereux Alexandra Deshorties, Soprano: Elisabetta Leah-Marian Jones, Mezzo-soprano: Sara, Duchessa di Nottingham David Kempster, Baritone: Duca di Nottingham William Robert Allenby, Bass: Sir Gualtiero Raleigh Geraint Dodd, Tenor: Lord Cecil |
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| Wales Millennium Centre, Cardiff, Bute Place, Cardiff, Cardiff CF10 5AL, United Kingdom Wednesday 2-Oct-13 07:15pm Roberto Devereux Daniele Rustioni, Conductor Alessandro Talevi, Director Madelein Boyd, Costume Designer Matthew Haskins, Lighting Designer Leonardo Capalbo, Tenor: Robert Devereux Alexandra Deshorties, Soprano: Elisabetta Leah-Marian Jones, Mezzo-soprano: Sara, Duchessa di Nottingham David Kempster, Baritone: Duca di Nottingham William Robert Allenby, Bass: Sir Gualtiero Raleigh Geraint Dodd, Tenor: Lord Cecil | ||
| Sunday 6-Oct-13 04:00pm |
Wales Millennium Centre, Cardiff Roberto Devereux |
Welsh National Opera Daniele Rustioni, Conductor Alessandro Talevi, Director Madelein Boyd, Costume Designer Matthew Haskins, Lighting Designer Leonardo Capalbo, Tenor: Robert Devereux Alexandra Deshorties, Soprano: Elisabetta Leah-Marian Jones, Mezzo-soprano: Sara, Duchessa di Nottingham David Kempster, Baritone: Duca di Nottingham William Robert Allenby, Bass: Sir Gualtiero Raleigh Geraint Dodd, Tenor: Lord Cecil |
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| Wales Millennium Centre, Cardiff, Bute Place, Cardiff, Cardiff CF10 5AL, United Kingdom Sunday 6-Oct-13 04:00pm Roberto Devereux Daniele Rustioni, Conductor Alessandro Talevi, Director Madelein Boyd, Costume Designer Matthew Haskins, Lighting Designer Leonardo Capalbo, Tenor: Robert Devereux Alexandra Deshorties, Soprano: Elisabetta Leah-Marian Jones, Mezzo-soprano: Sara, Duchessa di Nottingham David Kempster, Baritone: Duca di Nottingham William Robert Allenby, Bass: Sir Gualtiero Raleigh Geraint Dodd, Tenor: Lord Cecil | ||
| Friday 11-Oct-13 07:00pm |
Swansea Grand Theatre Roberto Devereux |
Welsh National Opera Daniele Rustioni, Conductor Alessandro Talevi, Director Madelein Boyd, Costume Designer Matthew Haskins, Lighting Designer Leonardo Capalbo, Tenor: Robert Devereux Alexandra Deshorties, Soprano: Elisabetta Leah-Marian Jones, Mezzo-soprano: Sara, Duchessa di Nottingham David Kempster, Baritone: Duca di Nottingham William Robert Allenby, Bass: Sir Gualtiero Raleigh Geraint Dodd, Tenor: Lord Cecil |
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| Swansea Grand Theatre, Swansea SA1 6BP, United Kingdom Friday 11-Oct-13 07:00pm Roberto Devereux Daniele Rustioni, Conductor Alessandro Talevi, Director Madelein Boyd, Costume Designer Matthew Haskins, Lighting Designer Leonardo Capalbo, Tenor: Robert Devereux Alexandra Deshorties, Soprano: Elisabetta Leah-Marian Jones, Mezzo-soprano: Sara, Duchessa di Nottingham David Kempster, Baritone: Duca di Nottingham William Robert Allenby, Bass: Sir Gualtiero Raleigh Geraint Dodd, Tenor: Lord Cecil | ||
| Friday 18-Oct-13 07:15pm |
New Theatre, Oxford Roberto Devereux |
Welsh National Opera Daniele Rustioni, Conductor Alessandro Talevi, Director Madelein Boyd, Costume Designer Matthew Haskins, Lighting Designer Leonardo Capalbo, Tenor: Robert Devereux Alexandra Deshorties, Soprano: Elisabetta Leah-Marian Jones, Mezzo-soprano: Sara, Duchessa di Nottingham David Kempster, Baritone: Duca di Nottingham William Robert Allenby, Bass: Sir Gualtiero Raleigh Geraint Dodd, Tenor: Lord Cecil |
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| New Theatre, Oxford, Oxford OX1 2AG, United Kingdom Friday 18-Oct-13 07:15pm Roberto Devereux Daniele Rustioni, Conductor Alessandro Talevi, Director Madelein Boyd, Costume Designer Matthew Haskins, Lighting Designer Leonardo Capalbo, Tenor: Robert Devereux Alexandra Deshorties, Soprano: Elisabetta Leah-Marian Jones, Mezzo-soprano: Sara, Duchessa di Nottingham David Kempster, Baritone: Duca di Nottingham William Robert Allenby, Bass: Sir Gualtiero Raleigh Geraint Dodd, Tenor: Lord Cecil | ||
| Friday 25-Oct-13 07:15pm |
Liverpool Empire Theatre Roberto Devereux |
Welsh National Opera Daniele Rustioni, Conductor Alessandro Talevi, Director Madelein Boyd, Costume Designer Matthew Haskins, Lighting Designer Leonardo Capalbo, Tenor: Robert Devereux Alexandra Deshorties, Soprano: Elisabetta Leah-Marian Jones, Mezzo-soprano: Sara, Duchessa di Nottingham David Kempster, Baritone: Duca di Nottingham William Robert Allenby, Bass: Sir Gualtiero Raleigh Geraint Dodd, Tenor: Lord Cecil |
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| Liverpool Empire Theatre, Liverpool LJ1 1JE, United Kingdom Friday 25-Oct-13 07:15pm Roberto Devereux Daniele Rustioni, Conductor Alessandro Talevi, Director Madelein Boyd, Costume Designer Matthew Haskins, Lighting Designer Leonardo Capalbo, Tenor: Robert Devereux Alexandra Deshorties, Soprano: Elisabetta Leah-Marian Jones, Mezzo-soprano: Sara, Duchessa di Nottingham David Kempster, Baritone: Duca di Nottingham William Robert Allenby, Bass: Sir Gualtiero Raleigh Geraint Dodd, Tenor: Lord Cecil | ||
| Friday 8-Nov-13 07:15pm |
Bristol Hippodrome Roberto Devereux |
Welsh National Opera Daniele Rustioni, Conductor Alessandro Talevi, Director Madelein Boyd, Costume Designer Matthew Haskins, Lighting Designer Leonardo Capalbo, Tenor: Robert Devereux Alexandra Deshorties, Soprano: Elisabetta Leah-Marian Jones, Mezzo-soprano: Sara, Duchessa di Nottingham David Kempster, Baritone: Duca di Nottingham William Robert Allenby, Bass: Sir Gualtiero Raleigh Geraint Dodd, Tenor: Lord Cecil |
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| Bristol Hippodrome, Bristol BS1 4UZ, United Kingdom Friday 8-Nov-13 07:15pm Roberto Devereux Daniele Rustioni, Conductor Alessandro Talevi, Director Madelein Boyd, Costume Designer Matthew Haskins, Lighting Designer Leonardo Capalbo, Tenor: Robert Devereux Alexandra Deshorties, Soprano: Elisabetta Leah-Marian Jones, Mezzo-soprano: Sara, Duchessa di Nottingham David Kempster, Baritone: Duca di Nottingham William Robert Allenby, Bass: Sir Gualtiero Raleigh Geraint Dodd, Tenor: Lord Cecil | ||
| Friday 15-Nov-13 07:15pm |
Birmingham Hippodrome Roberto Devereux |
Welsh National Opera Christian Capocaccia, Conductor Alessandro Talevi, Director Madelein Boyd, Costume Designer Matthew Haskins, Lighting Designer Leonardo Capalbo, Tenor: Robert Devereux Alexandra Deshorties, Soprano: Elisabetta Leah-Marian Jones, Mezzo-soprano: Sara, Duchessa di Nottingham David Kempster, Baritone: Duca di Nottingham William Robert Allenby, Bass: Sir Gualtiero Raleigh Geraint Dodd, Tenor: Lord Cecil |
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| Birmingham Hippodrome, Birmingham B5 4TB, United Kingdom Friday 15-Nov-13 07:15pm Roberto Devereux Christian Capocaccia, Conductor Alessandro Talevi, Director Madelein Boyd, Costume Designer Matthew Haskins, Lighting Designer Leonardo Capalbo, Tenor: Robert Devereux Alexandra Deshorties, Soprano: Elisabetta Leah-Marian Jones, Mezzo-soprano: Sara, Duchessa di Nottingham David Kempster, Baritone: Duca di Nottingham William Robert Allenby, Bass: Sir Gualtiero Raleigh Geraint Dodd, Tenor: Lord Cecil | ||
| Friday 22-Nov-13 07:15pm |
Venue Cymru, Llandudno Roberto Devereux |
Welsh National Opera Christian Capocaccia, Conductor Alessandro Talevi, Director Madelein Boyd, Costume Designer Matthew Haskins, Lighting Designer Leonardo Capalbo, Tenor: Robert Devereux Alexandra Deshorties, Soprano: Elisabetta Leah-Marian Jones, Mezzo-soprano: Sara, Duchessa di Nottingham David Kempster, Baritone: Duca di Nottingham William Robert Allenby, Bass: Sir Gualtiero Raleigh Geraint Dodd, Tenor: Lord Cecil |
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| Venue Cymru, Llandudno, Llandudno LL30 1BB, United Kingdom Friday 22-Nov-13 07:15pm Roberto Devereux Christian Capocaccia, Conductor Alessandro Talevi, Director Madelein Boyd, Costume Designer Matthew Haskins, Lighting Designer Leonardo Capalbo, Tenor: Robert Devereux Alexandra Deshorties, Soprano: Elisabetta Leah-Marian Jones, Mezzo-soprano: Sara, Duchessa di Nottingham David Kempster, Baritone: Duca di Nottingham William Robert Allenby, Bass: Sir Gualtiero Raleigh Geraint Dodd, Tenor: Lord Cecil | ||
| Friday 29-Nov-13 07:15pm |
Mayflower, Southampton Roberto Devereux |
Welsh National Opera Christian Capocaccia, Conductor Alessandro Talevi, Director Madelein Boyd, Costume Designer Matthew Haskins, Lighting Designer Leonardo Capalbo, Tenor: Robert Devereux Alexandra Deshorties, Soprano: Elisabetta Leah-Marian Jones, Mezzo-soprano: Sara, Duchessa di Nottingham David Kempster, Baritone: Duca di Nottingham William Robert Allenby, Bass: Sir Gualtiero Raleigh Geraint Dodd, Tenor: Lord Cecil |
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| Mayflower, Southampton, Southampton SO15 1GE, United Kingdom Friday 29-Nov-13 07:15pm Roberto Devereux Christian Capocaccia, Conductor Alessandro Talevi, Director Madelein Boyd, Costume Designer Matthew Haskins, Lighting Designer Leonardo Capalbo, Tenor: Robert Devereux Alexandra Deshorties, Soprano: Elisabetta Leah-Marian Jones, Mezzo-soprano: Sara, Duchessa di Nottingham David Kempster, Baritone: Duca di Nottingham William Robert Allenby, Bass: Sir Gualtiero Raleigh Geraint Dodd, Tenor: Lord Cecil | ||
| Thursday 9-Jan-14 07:30pm |
Lincoln Center: Metropolitan Opera House, New York City, NY L'Elisir d'Amore |
Metropolitan Opera Maurizio Benini, Conductor Bartlett Sher, Director Anna Netrebko, Soprano: Adina Ramón Vargas, Tenor: Nemorino Nicola Alaimo, Baritone: Belcore Erwin Schrott, Bass: Dulcamara |
| More info... | ||
| Lincoln Center: Metropolitan Opera House, New York City, NY, New York City, 10023, United States Thursday 9-Jan-14 07:30pm Maurizio Benini, Conductor Bartlett Sher, Director Anna Netrebko, Soprano: Adina Ramón Vargas, Tenor: Nemorino Nicola Alaimo, Baritone: Belcore Erwin Schrott, Bass: Dulcamara | ||
| Monday 13-Jan-14 07:30pm |
Lincoln Center: Metropolitan Opera House, New York City, NY L'Elisir d'Amore |
Metropolitan Opera Maurizio Benini, Conductor Bartlett Sher, Director Anna Netrebko, Soprano: Adina Ramón Vargas, Tenor: Nemorino Nicola Alaimo, Baritone: Belcore Erwin Schrott, Bass: Dulcamara |
| More info... | ||
| Lincoln Center: Metropolitan Opera House, New York City, NY, New York City, 10023, United States Monday 13-Jan-14 07:30pm Maurizio Benini, Conductor Bartlett Sher, Director Anna Netrebko, Soprano: Adina Ramón Vargas, Tenor: Nemorino Nicola Alaimo, Baritone: Belcore Erwin Schrott, Bass: Dulcamara | ||
| Friday 17-Jan-14 08:00pm |
Lincoln Center: Metropolitan Opera House, New York City, NY L'Elisir d'Amore |
Metropolitan Opera Maurizio Benini, Conductor Bartlett Sher, Director Anna Netrebko, Soprano: Adina Ramón Vargas, Tenor: Nemorino Nicola Alaimo, Baritone: Belcore Erwin Schrott, Bass: Dulcamara |
| More info... | ||
| Lincoln Center: Metropolitan Opera House, New York City, NY, New York City, 10023, United States Friday 17-Jan-14 08:00pm Maurizio Benini, Conductor Bartlett Sher, Director Anna Netrebko, Soprano: Adina Ramón Vargas, Tenor: Nemorino Nicola Alaimo, Baritone: Belcore Erwin Schrott, Bass: Dulcamara | ||
| Tuesday 21-Jan-14 07:30pm |
Lincoln Center: Metropolitan Opera House, New York City, NY L'Elisir d'Amore |
Metropolitan Opera Maurizio Benini, Conductor Bartlett Sher, Director Anna Netrebko, Soprano: Adina Ramón Vargas, Tenor: Nemorino Nicola Alaimo, Baritone: Belcore Erwin Schrott, Bass: Dulcamara |
| More info... | ||
| Lincoln Center: Metropolitan Opera House, New York City, NY, New York City, 10023, United States Tuesday 21-Jan-14 07:30pm Maurizio Benini, Conductor Bartlett Sher, Director Anna Netrebko, Soprano: Adina Ramón Vargas, Tenor: Nemorino Nicola Alaimo, Baritone: Belcore Erwin Schrott, Bass: Dulcamara | ||
| Saturday 25-Jan-14 01:00pm |
Lincoln Center: Metropolitan Opera House, New York City, NY L'Elisir d'Amore |
Metropolitan Opera Maurizio Benini, Conductor Bartlett Sher, Director Anna Netrebko, Soprano: Adina Ramón Vargas, Tenor: Nemorino Nicola Alaimo, Baritone: Belcore Erwin Schrott, Bass: Dulcamara |
| More info... | ||
| Lincoln Center: Metropolitan Opera House, New York City, NY, New York City, 10023, United States Saturday 25-Jan-14 01:00pm Maurizio Benini, Conductor Bartlett Sher, Director Anna Netrebko, Soprano: Adina Ramón Vargas, Tenor: Nemorino Nicola Alaimo, Baritone: Belcore Erwin Schrott, Bass: Dulcamara | ||
| Wednesday 29-Jan-14 08:00pm |
Lincoln Center: Metropolitan Opera House, New York City, NY L'Elisir d'Amore |
Metropolitan Opera Maurizio Benini, Conductor Bartlett Sher, Director Anna Netrebko, Soprano: Adina Ramón Vargas, Tenor: Nemorino Nicola Alaimo, Baritone: Belcore Erwin Schrott, Bass: Dulcamara |
| More info... | ||
| Lincoln Center: Metropolitan Opera House, New York City, NY, New York City, 10023, United States Wednesday 29-Jan-14 08:00pm Maurizio Benini, Conductor Bartlett Sher, Director Anna Netrebko, Soprano: Adina Ramón Vargas, Tenor: Nemorino Nicola Alaimo, Baritone: Belcore Erwin Schrott, Bass: Dulcamara | ||
| Saturday 1-Feb-14 08:00pm |
Lincoln Center: Metropolitan Opera House, New York City, NY L'Elisir d'Amore |
Metropolitan Opera Maurizio Benini, Conductor Bartlett Sher, Director Anna Netrebko, Soprano: Adina Ramón Vargas, Tenor: Nemorino Nicola Alaimo, Baritone: Belcore Erwin Schrott, Bass: Dulcamara |
| More info... | ||
| Lincoln Center: Metropolitan Opera House, New York City, NY, New York City, 10023, United States Saturday 1-Feb-14 08:00pm Maurizio Benini, Conductor Bartlett Sher, Director Anna Netrebko, Soprano: Adina Ramón Vargas, Tenor: Nemorino Nicola Alaimo, Baritone: Belcore Erwin Schrott, Bass: Dulcamara | ||
| Monday 3-Mar-14 07:30pm |
Royal Opera House, Covent Garden, London La fille du régiment |
Royal Opera Yves Abel, Conductor Laurent Pelly, Director Patrizia Ciofi, Soprano: Marie Juan Diego Flórez, Tenor: Tonio Pietro Spagnoli, Bass: Sulpice Ewa Podleś, Mezzo-soprano: Marquise de Birkenfeld Dame Kiri Te Kanawa, Spoken word: The Duchess of Krakenthorp |
| More info... | ||
| Royal Opera House, Covent Garden, London, Bow Street,, Covent Garden, London WC2E 9DD, United Kingdom Monday 3-Mar-14 07:30pm Yves Abel, Conductor Laurent Pelly, Director Patrizia Ciofi, Soprano: Marie Juan Diego Flórez, Tenor: Tonio Pietro Spagnoli, Bass: Sulpice Ewa Podleś, Mezzo-soprano: Marquise de Birkenfeld Dame Kiri Te Kanawa, Spoken word: The Duchess of Krakenthorp | ||
| Thursday 6-Mar-14 07:30pm |
Royal Opera House, Covent Garden, London La fille du régiment |
Royal Opera Yves Abel, Conductor Laurent Pelly, Director Patrizia Ciofi, Soprano: Marie Juan Diego Flórez, Tenor: Tonio Pietro Spagnoli, Bass: Sulpice Ewa Podleś, Mezzo-soprano: Marquise de Birkenfeld Dame Kiri Te Kanawa, Spoken word: The Duchess of Krakenthorp |
| More info... | ||
| Royal Opera House, Covent Garden, London, Bow Street,, Covent Garden, London WC2E 9DD, United Kingdom Thursday 6-Mar-14 07:30pm Yves Abel, Conductor Laurent Pelly, Director Patrizia Ciofi, Soprano: Marie Juan Diego Flórez, Tenor: Tonio Pietro Spagnoli, Bass: Sulpice Ewa Podleś, Mezzo-soprano: Marquise de Birkenfeld Dame Kiri Te Kanawa, Spoken word: The Duchess of Krakenthorp | ||
| Sunday 9-Mar-14 03:00pm |
Royal Opera House, Covent Garden, London La fille du régiment |
Royal Opera Yves Abel, Conductor Laurent Pelly, Director Patrizia Ciofi, Soprano: Marie Juan Diego Flórez, Tenor: Tonio Pietro Spagnoli, Bass: Sulpice Ewa Podleś, Mezzo-soprano: Marquise de Birkenfeld Dame Kiri Te Kanawa, Spoken word: The Duchess of Krakenthorp |
| More info... | ||
| Royal Opera House, Covent Garden, London, Bow Street,, Covent Garden, London WC2E 9DD, United Kingdom Sunday 9-Mar-14 03:00pm Yves Abel, Conductor Laurent Pelly, Director Patrizia Ciofi, Soprano: Marie Juan Diego Flórez, Tenor: Tonio Pietro Spagnoli, Bass: Sulpice Ewa Podleś, Mezzo-soprano: Marquise de Birkenfeld Dame Kiri Te Kanawa, Spoken word: The Duchess of Krakenthorp | ||
| Wednesday 12-Mar-14 07:30pm |
Royal Opera House, Covent Garden, London La fille du régiment |
Royal Opera Yves Abel, Conductor Laurent Pelly, Director Patrizia Ciofi, Soprano: Marie Juan Diego Flórez, Tenor: Tonio Pietro Spagnoli, Bass: Sulpice Ewa Podleś, Mezzo-soprano: Marquise de Birkenfeld Dame Kiri Te Kanawa, Spoken word: The Duchess of Krakenthorp |
| More info... | ||
| Royal Opera House, Covent Garden, London, Bow Street,, Covent Garden, London WC2E 9DD, United Kingdom Wednesday 12-Mar-14 07:30pm Yves Abel, Conductor Laurent Pelly, Director Patrizia Ciofi, Soprano: Marie Juan Diego Flórez, Tenor: Tonio Pietro Spagnoli, Bass: Sulpice Ewa Podleś, Mezzo-soprano: Marquise de Birkenfeld Dame Kiri Te Kanawa, Spoken word: The Duchess of Krakenthorp | ||
| Saturday 15-Mar-14 07:30pm |
Deutsche Oper, Berlin Lucia di Lammermoor |
Deutsche Oper Berlin Guillermo Garcia Calvo, Conductor Filippo Sanjust, Director Aleksandra Kurzak, Soprano: Lucia Katarina Bradić, Mezzo-soprano: Alisa Matthew Newlin, Tenor: Arturo Celso Albelo, Tenor: Edgardo Thomas Blondelle, Tenor: Normanno Bastiaan Everink, Baritone: Enrico Marko Mimica, Bass: Raimondo |
-Bettina-Stöß.jpg "Image credit: Bettina Stöß") | ||
| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Saturday 15-Mar-14 07:30pm In Italian with German surtitles.
Enrico wishes to marry off his sister Lucia to the mighty Lord Arturo Bucklaw in order to save himself from ruin. Lucia has sworn eternal loyalty to Edgardo Ravenswood, Enrico's mortal foe, who is citing ancient laws in support of his claim as the rightful owner of Enrico's lands. Enrico forges a letter in which Edgardo is accused of infidelity and Lucia held responsible for the family ruin. Enrico manages to persuade Lucia to marry Lord Bucklaw. Edgardo appears at the wedding and curses Lucia. She kills her husband. Edgardo challenges Enrico to a duel. Lucia is stricken by a madness that leads to her death. Upon hearing the death knell Edgardo stabs himself. Based on Sir Walter Scott's famous novel of 1819 The Bride of Lammermoor, this is perhaps Donizetti's most popular tragic opera. In his libretto Salvatore Cammarano has chosen a radical path: not only has he relegated the politics of the conflict between the Ashtons and Ravenswoods to the background, and reduced the preceding events to hints in the dialogue; he has also limited the complex entanglement of relationships in the novel to the conflicts between Enrico Ashton, his sister Lucia and her lover Edgardo. Director and set designer Filippo Sanjust's production is set around the period that the work was written (1835). An interim curtain depicting a billowing royal blue curtain and the ghostly, fluttering dress of a girl is the device used to suggest the romantic theatrical space. The stage images remind us of reprint editions of ancient tomes. The black costumes, red sashes, white collars, plumes and gauntlets of the Scotsmen form an opulent contrast and a befitting frame for one of the major works of Italian bel canto. It was Maria Callas who gave a new lease of life to the works of Donizetti, works that had also been neglected in Italy. We know Callas' intense, vibrato-free expression of feeling from vinyl recordings. Just as she did for many roles in the high dramatic Coloratura genre, Callas set a benchmark for the interpretation of Lucia. Extreme passions dictate the actions of the protagonists - on the one hand Enrico's hatred of Edgardo (Cavatina “Cruda … funesta smania'” Act 1), and of Lucia, who opposes his plans; on the other hand Lucia's love for Edgardo (Cavatina “Regna nel silenzio”, Act 1). That this love will be Lucia's downfall is masterfully portrayed by Donizetti’s music: the same Coloratura that describes how overwhelmed she is by love in Act 1 become indicators of her madness in her insanity aria at the climax of the opera. Another moment of high emotional drama comes in the sextet “Chi mi frena in tal momento” in Act 2. Giacomo Puccini wrote: “In one respect we Italians surpass the German composers: we are capable of expressing immeasurable sadness in the Major Key. Edgardo and Lucia are in despair, so much so that Lucia finally goes mad and Edgardo commits suicide; and what do we find in the vocal part? Sugared plums! Honeyed sweetness! – Although Lucia is singing: “I have been abandoned by heaven and earth! I would cry, but there are no tears for me. Desperation consumes my heart.” This sextet is rightfully seen as the most famous ensemble melody ever written for an opera – it is a polyphonic masterpiece …” Image credit: Bettina Stöß Guillermo Garcia Calvo, Conductor Filippo Sanjust, Director Aleksandra Kurzak, Soprano: Lucia Katarina Bradić, Mezzo-soprano: Alisa Matthew Newlin, Tenor: Arturo Celso Albelo, Tenor: Edgardo Thomas Blondelle, Tenor: Normanno Bastiaan Everink, Baritone: Enrico Marko Mimica, Bass: Raimondo | ||
| Saturday 15-Mar-14 07:30pm |
Royal Opera House, Covent Garden, London La fille du régiment |
Royal Opera Yves Abel, Conductor Laurent Pelly, Director Patrizia Ciofi, Soprano: Marie Juan Diego Flórez, Tenor: Tonio Pietro Spagnoli, Bass: Sulpice Ewa Podleś, Mezzo-soprano: Marquise de Birkenfeld Dame Kiri Te Kanawa, Spoken word: The Duchess of Krakenthorp |
| More info... | ||
| Royal Opera House, Covent Garden, London, Bow Street,, Covent Garden, London WC2E 9DD, United Kingdom Saturday 15-Mar-14 07:30pm Yves Abel, Conductor Laurent Pelly, Director Patrizia Ciofi, Soprano: Marie Juan Diego Flórez, Tenor: Tonio Pietro Spagnoli, Bass: Sulpice Ewa Podleś, Mezzo-soprano: Marquise de Birkenfeld Dame Kiri Te Kanawa, Spoken word: The Duchess of Krakenthorp | ||
| Tuesday 18-Mar-14 07:30pm |
Royal Opera House, Covent Garden, London La fille du régiment |
Royal Opera Yves Abel, Conductor Laurent Pelly, Director Patrizia Ciofi, Soprano: Marie Frédéric Antoun, Tenor: Tonio Pietro Spagnoli, Bass: Sulpice Ewa Podleś, Mezzo-soprano: Marquise de Birkenfeld Dame Kiri Te Kanawa, Spoken word: The Duchess of Krakenthorp |
| More info... | ||
| Royal Opera House, Covent Garden, London, Bow Street,, Covent Garden, London WC2E 9DD, United Kingdom Tuesday 18-Mar-14 07:30pm Yves Abel, Conductor Laurent Pelly, Director Patrizia Ciofi, Soprano: Marie Frédéric Antoun, Tenor: Tonio Pietro Spagnoli, Bass: Sulpice Ewa Podleś, Mezzo-soprano: Marquise de Birkenfeld Dame Kiri Te Kanawa, Spoken word: The Duchess of Krakenthorp | ||
| Wednesday 19-Mar-14 07:30pm |
Deutsche Oper, Berlin Lucia di Lammermoor |
Deutsche Oper Berlin Guillermo Garcia Calvo, Conductor Filippo Sanjust, Director Aleksandra Kurzak, Soprano: Lucia Katarina Bradić, Mezzo-soprano: Alisa Matthew Newlin, Tenor: Arturo Celso Albelo, Tenor: Edgardo Thomas Blondelle, Tenor: Normanno Bastiaan Everink, Baritone: Enrico Marko Mimica, Bass: Raimondo |
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| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Wednesday 19-Mar-14 07:30pm In Italian with German surtitles.
Enrico wishes to marry off his sister Lucia to the mighty Lord Arturo Bucklaw in order to save himself from ruin. Lucia has sworn eternal loyalty to Edgardo Ravenswood, Enrico's mortal foe, who is citing ancient laws in support of his claim as the rightful owner of Enrico's lands. Enrico forges a letter in which Edgardo is accused of infidelity and Lucia held responsible for the family ruin. Enrico manages to persuade Lucia to marry Lord Bucklaw. Edgardo appears at the wedding and curses Lucia. She kills her husband. Edgardo challenges Enrico to a duel. Lucia is stricken by a madness that leads to her death. Upon hearing the death knell Edgardo stabs himself. Based on Sir Walter Scott's famous novel of 1819 The Bride of Lammermoor, this is perhaps Donizetti's most popular tragic opera. In his libretto Salvatore Cammarano has chosen a radical path: not only has he relegated the politics of the conflict between the Ashtons and Ravenswoods to the background, and reduced the preceding events to hints in the dialogue; he has also limited the complex entanglement of relationships in the novel to the conflicts between Enrico Ashton, his sister Lucia and her lover Edgardo. Director and set designer Filippo Sanjust's production is set around the period that the work was written (1835). An interim curtain depicting a billowing royal blue curtain and the ghostly, fluttering dress of a girl is the device used to suggest the romantic theatrical space. The stage images remind us of reprint editions of ancient tomes. The black costumes, red sashes, white collars, plumes and gauntlets of the Scotsmen form an opulent contrast and a befitting frame for one of the major works of Italian bel canto. It was Maria Callas who gave a new lease of life to the works of Donizetti, works that had also been neglected in Italy. We know Callas' intense, vibrato-free expression of feeling from vinyl recordings. Just as she did for many roles in the high dramatic Coloratura genre, Callas set a benchmark for the interpretation of Lucia. Extreme passions dictate the actions of the protagonists - on the one hand Enrico's hatred of Edgardo (Cavatina “Cruda … funesta smania'” Act 1), and of Lucia, who opposes his plans; on the other hand Lucia's love for Edgardo (Cavatina “Regna nel silenzio”, Act 1). That this love will be Lucia's downfall is masterfully portrayed by Donizetti’s music: the same Coloratura that describes how overwhelmed she is by love in Act 1 become indicators of her madness in her insanity aria at the climax of the opera. Another moment of high emotional drama comes in the sextet “Chi mi frena in tal momento” in Act 2. Giacomo Puccini wrote: “In one respect we Italians surpass the German composers: we are capable of expressing immeasurable sadness in the Major Key. Edgardo and Lucia are in despair, so much so that Lucia finally goes mad and Edgardo commits suicide; and what do we find in the vocal part? Sugared plums! Honeyed sweetness! – Although Lucia is singing: “I have been abandoned by heaven and earth! I would cry, but there are no tears for me. Desperation consumes my heart.” This sextet is rightfully seen as the most famous ensemble melody ever written for an opera – it is a polyphonic masterpiece …” Image credit: Bettina Stöß Guillermo Garcia Calvo, Conductor Filippo Sanjust, Director Aleksandra Kurzak, Soprano: Lucia Katarina Bradić, Mezzo-soprano: Alisa Matthew Newlin, Tenor: Arturo Celso Albelo, Tenor: Edgardo Thomas Blondelle, Tenor: Normanno Bastiaan Everink, Baritone: Enrico Marko Mimica, Bass: Raimondo | ||
| Sunday 23-Mar-14 06:00pm |
Deutsche Oper, Berlin Lucia di Lammermoor |
Deutsche Oper Berlin Guillermo Garcia Calvo, Conductor Filippo Sanjust, Director Aleksandra Kurzak, Soprano: Lucia Katarina Bradić, Mezzo-soprano: Alisa Matthew Newlin, Tenor: Arturo Celso Albelo, Tenor: Edgardo Thomas Blondelle, Tenor: Normanno Bastiaan Everink, Baritone: Enrico Marko Mimica, Bass: Raimondo |
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| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Sunday 23-Mar-14 06:00pm In Italian with German surtitles.
Enrico wishes to marry off his sister Lucia to the mighty Lord Arturo Bucklaw in order to save himself from ruin. Lucia has sworn eternal loyalty to Edgardo Ravenswood, Enrico's mortal foe, who is citing ancient laws in support of his claim as the rightful owner of Enrico's lands. Enrico forges a letter in which Edgardo is accused of infidelity and Lucia held responsible for the family ruin. Enrico manages to persuade Lucia to marry Lord Bucklaw. Edgardo appears at the wedding and curses Lucia. She kills her husband. Edgardo challenges Enrico to a duel. Lucia is stricken by a madness that leads to her death. Upon hearing the death knell Edgardo stabs himself. Based on Sir Walter Scott's famous novel of 1819 The Bride of Lammermoor, this is perhaps Donizetti's most popular tragic opera. In his libretto Salvatore Cammarano has chosen a radical path: not only has he relegated the politics of the conflict between the Ashtons and Ravenswoods to the background, and reduced the preceding events to hints in the dialogue; he has also limited the complex entanglement of relationships in the novel to the conflicts between Enrico Ashton, his sister Lucia and her lover Edgardo. Director and set designer Filippo Sanjust's production is set around the period that the work was written (1835). An interim curtain depicting a billowing royal blue curtain and the ghostly, fluttering dress of a girl is the device used to suggest the romantic theatrical space. The stage images remind us of reprint editions of ancient tomes. The black costumes, red sashes, white collars, plumes and gauntlets of the Scotsmen form an opulent contrast and a befitting frame for one of the major works of Italian bel canto. It was Maria Callas who gave a new lease of life to the works of Donizetti, works that had also been neglected in Italy. We know Callas' intense, vibrato-free expression of feeling from vinyl recordings. Just as she did for many roles in the high dramatic Coloratura genre, Callas set a benchmark for the interpretation of Lucia. Extreme passions dictate the actions of the protagonists - on the one hand Enrico's hatred of Edgardo (Cavatina “Cruda … funesta smania'” Act 1), and of Lucia, who opposes his plans; on the other hand Lucia's love for Edgardo (Cavatina “Regna nel silenzio”, Act 1). That this love will be Lucia's downfall is masterfully portrayed by Donizetti’s music: the same Coloratura that describes how overwhelmed she is by love in Act 1 become indicators of her madness in her insanity aria at the climax of the opera. Another moment of high emotional drama comes in the sextet “Chi mi frena in tal momento” in Act 2. Giacomo Puccini wrote: “In one respect we Italians surpass the German composers: we are capable of expressing immeasurable sadness in the Major Key. Edgardo and Lucia are in despair, so much so that Lucia finally goes mad and Edgardo commits suicide; and what do we find in the vocal part? Sugared plums! Honeyed sweetness! – Although Lucia is singing: “I have been abandoned by heaven and earth! I would cry, but there are no tears for me. Desperation consumes my heart.” This sextet is rightfully seen as the most famous ensemble melody ever written for an opera – it is a polyphonic masterpiece …” Image credit: Bettina Stöß Guillermo Garcia Calvo, Conductor Filippo Sanjust, Director Aleksandra Kurzak, Soprano: Lucia Katarina Bradić, Mezzo-soprano: Alisa Matthew Newlin, Tenor: Arturo Celso Albelo, Tenor: Edgardo Thomas Blondelle, Tenor: Normanno Bastiaan Everink, Baritone: Enrico Marko Mimica, Bass: Raimondo | ||
| Friday 25-Apr-14 07:30pm |
Deutsche Oper, Berlin L'Elisir d'Amore |
Deutsche Oper Berlin Roberto Rizzi Brignoli, Conductor Irina Brook, Director Noëlle Ginefri, Set Designer Heidi Stober, Soprano: Adina Alexandra Hutton, Soprano: Giannetta Dimitri Pittas, Tenor: Nemorino Simon Pauly, Baritone: Belcore Nicola Alaimo, Baritone: Dulcamara |
-Simon-Pauly.jpg "Image credit: Simon Pauly") | ||
| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Friday 25-Apr-14 07:30pm In Italian with German surtitles.
Gaetano Donizetti himself described his ELIXIR OF LOVE, which premiered in 1832, as an “opera buffa”, yet there is little to laugh about in this supposedly comic opera. No different from his DON PASQUALE, composed a decade later, ELIXIR OF LOVE is a work whose mirth is rooted in gentle melancholy. Despite the happy end, the chance that things might have taken a turn for the worse is ever-present, as is the threat that the misunderstandings and coincidences that pepper the narrative of ELIXIR OF LOVE do not always turn out all right in real life. The story recounted by Donizetti and his librettist Felice Romani is a simple one: Adina and Nemorino are in love, yet neither can pluck up the courage to confess their love for the other person. Not until he recalls a single tear in Adina's eye, the famous “furtiva lagrima”, does Nemorino realise that his love is requited, triggering one of the most famous tenor arias in the history of opera. This production of ELIXIR OF LOVE at the Deutsche Oper Berlin is in the capable hands of a director who has repeatedly served notice of her proficiency in mounting operatic and theatrical works based on more lightweight material. Irina Brook has staged works such as Rossini's LA CENERENTOLA and Händel's GIULIO CESARE for the Théâtre des Champs-Elysées in Paris and was recently contracted for the Salzburg Festival with a new production of Ibsen's “Peer Gynt” and Shakespeare's “The Tempest”. Image credit: Simon Pauly Roberto Rizzi Brignoli, Conductor Irina Brook, Director Noëlle Ginefri, Set Designer Heidi Stober, Soprano: Adina Alexandra Hutton, Soprano: Giannetta Dimitri Pittas, Tenor: Nemorino Simon Pauly, Baritone: Belcore Nicola Alaimo, Baritone: Dulcamara | ||
| Wednesday 30-Apr-14 07:30pm |
Deutsche Oper, Berlin L'Elisir d'Amore |
Deutsche Oper Berlin Roberto Rizzi Brignoli, Conductor Irina Brook, Director Noëlle Ginefri, Set Designer Heidi Stober, Soprano: Adina Alexandra Hutton, Soprano: Giannetta Dimitri Pittas, Tenor: Nemorino Simon Pauly, Baritone: Belcore Nicola Alaimo, Baritone: Dulcamara |
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| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Wednesday 30-Apr-14 07:30pm In Italian with German surtitles.
Gaetano Donizetti himself described his ELIXIR OF LOVE, which premiered in 1832, as an “opera buffa”, yet there is little to laugh about in this supposedly comic opera. No different from his DON PASQUALE, composed a decade later, ELIXIR OF LOVE is a work whose mirth is rooted in gentle melancholy. Despite the happy end, the chance that things might have taken a turn for the worse is ever-present, as is the threat that the misunderstandings and coincidences that pepper the narrative of ELIXIR OF LOVE do not always turn out all right in real life. The story recounted by Donizetti and his librettist Felice Romani is a simple one: Adina and Nemorino are in love, yet neither can pluck up the courage to confess their love for the other person. Not until he recalls a single tear in Adina's eye, the famous “furtiva lagrima”, does Nemorino realise that his love is requited, triggering one of the most famous tenor arias in the history of opera. This production of ELIXIR OF LOVE at the Deutsche Oper Berlin is in the capable hands of a director who has repeatedly served notice of her proficiency in mounting operatic and theatrical works based on more lightweight material. Irina Brook has staged works such as Rossini's LA CENERENTOLA and Händel's GIULIO CESARE for the Théâtre des Champs-Elysées in Paris and was recently contracted for the Salzburg Festival with a new production of Ibsen's “Peer Gynt” and Shakespeare's “The Tempest”. Image credit: Simon Pauly Roberto Rizzi Brignoli, Conductor Irina Brook, Director Noëlle Ginefri, Set Designer Heidi Stober, Soprano: Adina Alexandra Hutton, Soprano: Giannetta Dimitri Pittas, Tenor: Nemorino Simon Pauly, Baritone: Belcore Nicola Alaimo, Baritone: Dulcamara | ||
| Saturday 3-May-14 07:30pm |
Deutsche Oper, Berlin L'Elisir d'Amore |
Deutsche Oper Berlin Roberto Rizzi Brignoli, Conductor Irina Brook, Director Noëlle Ginefri, Set Designer Heidi Stober, Soprano: Adina Alexandra Hutton, Soprano: Giannetta Dimitri Pittas, Tenor: Nemorino Simon Pauly, Baritone: Belcore Nicola Alaimo, Baritone: Dulcamara |
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| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Saturday 3-May-14 07:30pm In Italian with German surtitles.
Gaetano Donizetti himself described his ELIXIR OF LOVE, which premiered in 1832, as an “opera buffa”, yet there is little to laugh about in this supposedly comic opera. No different from his DON PASQUALE, composed a decade later, ELIXIR OF LOVE is a work whose mirth is rooted in gentle melancholy. Despite the happy end, the chance that things might have taken a turn for the worse is ever-present, as is the threat that the misunderstandings and coincidences that pepper the narrative of ELIXIR OF LOVE do not always turn out all right in real life. The story recounted by Donizetti and his librettist Felice Romani is a simple one: Adina and Nemorino are in love, yet neither can pluck up the courage to confess their love for the other person. Not until he recalls a single tear in Adina's eye, the famous “furtiva lagrima”, does Nemorino realise that his love is requited, triggering one of the most famous tenor arias in the history of opera. This production of ELIXIR OF LOVE at the Deutsche Oper Berlin is in the capable hands of a director who has repeatedly served notice of her proficiency in mounting operatic and theatrical works based on more lightweight material. Irina Brook has staged works such as Rossini's LA CENERENTOLA and Händel's GIULIO CESARE for the Théâtre des Champs-Elysées in Paris and was recently contracted for the Salzburg Festival with a new production of Ibsen's “Peer Gynt” and Shakespeare's “The Tempest”. Image credit: Simon Pauly Roberto Rizzi Brignoli, Conductor Irina Brook, Director Noëlle Ginefri, Set Designer Heidi Stober, Soprano: Adina Alexandra Hutton, Soprano: Giannetta Dimitri Pittas, Tenor: Nemorino Simon Pauly, Baritone: Belcore Nicola Alaimo, Baritone: Dulcamara | ||
| Thursday 8-May-14 07:30pm |
Deutsche Oper, Berlin L'Elisir d'Amore |
Deutsche Oper Berlin Roberto Rizzi Brignoli, Conductor Irina Brook, Director Noëlle Ginefri, Set Designer Heidi Stober, Soprano: Adina Alexandra Hutton, Soprano: Giannetta Dimitri Pittas, Tenor: Nemorino Simon Pauly, Baritone: Belcore Nicola Alaimo, Baritone: Dulcamara |
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| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Thursday 8-May-14 07:30pm In Italian with German surtitles.
Gaetano Donizetti himself described his ELIXIR OF LOVE, which premiered in 1832, as an “opera buffa”, yet there is little to laugh about in this supposedly comic opera. No different from his DON PASQUALE, composed a decade later, ELIXIR OF LOVE is a work whose mirth is rooted in gentle melancholy. Despite the happy end, the chance that things might have taken a turn for the worse is ever-present, as is the threat that the misunderstandings and coincidences that pepper the narrative of ELIXIR OF LOVE do not always turn out all right in real life. The story recounted by Donizetti and his librettist Felice Romani is a simple one: Adina and Nemorino are in love, yet neither can pluck up the courage to confess their love for the other person. Not until he recalls a single tear in Adina's eye, the famous “furtiva lagrima”, does Nemorino realise that his love is requited, triggering one of the most famous tenor arias in the history of opera. This production of ELIXIR OF LOVE at the Deutsche Oper Berlin is in the capable hands of a director who has repeatedly served notice of her proficiency in mounting operatic and theatrical works based on more lightweight material. Irina Brook has staged works such as Rossini's LA CENERENTOLA and Händel's GIULIO CESARE for the Théâtre des Champs-Elysées in Paris and was recently contracted for the Salzburg Festival with a new production of Ibsen's “Peer Gynt” and Shakespeare's “The Tempest”. Image credit: Simon Pauly Roberto Rizzi Brignoli, Conductor Irina Brook, Director Noëlle Ginefri, Set Designer Heidi Stober, Soprano: Adina Alexandra Hutton, Soprano: Giannetta Dimitri Pittas, Tenor: Nemorino Simon Pauly, Baritone: Belcore Nicola Alaimo, Baritone: Dulcamara | ||
| Saturday 10-May-14 07:30pm |
Deutsche Oper, Berlin L'Elisir d'Amore |
Deutsche Oper Berlin Roberto Rizzi Brignoli, Conductor Irina Brook, Director Noëlle Ginefri, Set Designer Heidi Stober, Soprano: Adina Alexandra Hutton, Soprano: Giannetta Dimitri Pittas, Tenor: Nemorino Simon Pauly, Baritone: Belcore Nicola Alaimo, Baritone: Dulcamara |
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| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Saturday 10-May-14 07:30pm In Italian with German surtitles.
Gaetano Donizetti himself described his ELIXIR OF LOVE, which premiered in 1832, as an “opera buffa”, yet there is little to laugh about in this supposedly comic opera. No different from his DON PASQUALE, composed a decade later, ELIXIR OF LOVE is a work whose mirth is rooted in gentle melancholy. Despite the happy end, the chance that things might have taken a turn for the worse is ever-present, as is the threat that the misunderstandings and coincidences that pepper the narrative of ELIXIR OF LOVE do not always turn out all right in real life. The story recounted by Donizetti and his librettist Felice Romani is a simple one: Adina and Nemorino are in love, yet neither can pluck up the courage to confess their love for the other person. Not until he recalls a single tear in Adina's eye, the famous “furtiva lagrima”, does Nemorino realise that his love is requited, triggering one of the most famous tenor arias in the history of opera. This production of ELIXIR OF LOVE at the Deutsche Oper Berlin is in the capable hands of a director who has repeatedly served notice of her proficiency in mounting operatic and theatrical works based on more lightweight material. Irina Brook has staged works such as Rossini's LA CENERENTOLA and Händel's GIULIO CESARE for the Théâtre des Champs-Elysées in Paris and was recently contracted for the Salzburg Festival with a new production of Ibsen's “Peer Gynt” and Shakespeare's “The Tempest”. Image credit: Simon Pauly Roberto Rizzi Brignoli, Conductor Irina Brook, Director Noëlle Ginefri, Set Designer Heidi Stober, Soprano: Adina Alexandra Hutton, Soprano: Giannetta Dimitri Pittas, Tenor: Nemorino Simon Pauly, Baritone: Belcore Nicola Alaimo, Baritone: Dulcamara | ||
| Wednesday 4-Jun-14 07:30pm |
Deutsche Oper, Berlin Maria Stuarda |
Maria Stuarda (Donizetti) (in concert) Deutsche Oper Berlin Paolo Arrivabeni, Conductor Joyce DiDonato, Mezzo-soprano: Maria Stuarda Christina Sidak, Mezzo-soprano: Anna Carmen Giannattasio, Soprano: Elisabetta Joseph Calleja, Tenor: Earl of Leicester Davide Luciano, Baritone: Cecil Marko Mimica, Bass: Talbot |
-Sheila-Rock.jpg "Image credit: Sheila Rock") | ||
| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Wednesday 4-Jun-14 07:30pm Maria Stuarda (Donizetti, Gaetano (1797-1848)) (in concert) In Italian language with German surtitles.
In the years of the “Risorgimento”, the Italian independence movement in the first half of the 19th century, the idea of an opera being banned because of the effect it had on the public hardly raised an eyebrow. Just as Giuseppe Verdi often had to deal with the demands of a narrow-minded Office of Censorship, so Gaetano Donizetti, 16 years his senior, was dogged by the same problems. His opera MARIA STUARDA, based on Friedrich Schiller's “Maria Stuart”, was particularly subject to the attention of the censor. The story goes that the Queen of the two Sicilies, Maria Christina of Naples, attending a performance of the opera, was so affected by the confession scene at the end of the last act that she fainted, leading to the summary banning of the work. Even if the tale is no more than a legend – and a clever one at that – the opera's story-line is no less emotive and delicate for it. A queen who is executed at the end of the story was not considered an appropriate figure for an opera heroine in a country struggling desperately to achieve national unity while suffering occupation by one foreign country after another. Donizetti reworked his opera from scratch but still witnessed it failing to ignite the public. Over a year later, in December 1835, MARIA STUARDA premiered at the Scala, Milan, in the original version – to equally poor reception. Not until the end of the 1950s was MARIA STUARDA rediscovered. Ever since then, prima donnas such as Joan Sutherland, Montserrat Caballé, Edita Gruberova and Janet Baker have played their part in establishing the opera as an outstanding example of bel canto. In the concert performances of the work at the Deutsche Oper Berlin Joyce DiDonato, fresh from her triumphant turn as Mary Stuart at the New York Metropolitan Opera, will sing the title role. Image credit: Sheila Rock Paolo Arrivabeni, Conductor Joyce DiDonato, Mezzo-soprano: Maria Stuarda Christina Sidak, Mezzo-soprano: Anna Carmen Giannattasio, Soprano: Elisabetta Joseph Calleja, Tenor: Earl of Leicester Davide Luciano, Baritone: Cecil Marko Mimica, Bass: Talbot | ||
| Saturday 7-Jun-14 07:30pm |
Deutsche Oper, Berlin Maria Stuarda |
Maria Stuarda (Donizetti) (in concert) Deutsche Oper Berlin Paolo Arrivabeni, Conductor Joyce DiDonato, Mezzo-soprano: Maria Stuarda Christina Sidak, Mezzo-soprano: Anna Carmen Giannattasio, Soprano: Elisabetta Joseph Calleja, Tenor: Earl of Leicester Davide Luciano, Baritone: Cecil Marko Mimica, Bass: Talbot |
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| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Saturday 7-Jun-14 07:30pm Maria Stuarda (Donizetti, Gaetano (1797-1848)) (in concert) In Italian language with German surtitles.
In the years of the “Risorgimento”, the Italian independence movement in the first half of the 19th century, the idea of an opera being banned because of the effect it had on the public hardly raised an eyebrow. Just as Giuseppe Verdi often had to deal with the demands of a narrow-minded Office of Censorship, so Gaetano Donizetti, 16 years his senior, was dogged by the same problems. His opera MARIA STUARDA, based on Friedrich Schiller's “Maria Stuart”, was particularly subject to the attention of the censor. The story goes that the Queen of the two Sicilies, Maria Christina of Naples, attending a performance of the opera, was so affected by the confession scene at the end of the last act that she fainted, leading to the summary banning of the work. Even if the tale is no more than a legend – and a clever one at that – the opera's story-line is no less emotive and delicate for it. A queen who is executed at the end of the story was not considered an appropriate figure for an opera heroine in a country struggling desperately to achieve national unity while suffering occupation by one foreign country after another. Donizetti reworked his opera from scratch but still witnessed it failing to ignite the public. Over a year later, in December 1835, MARIA STUARDA premiered at the Scala, Milan, in the original version – to equally poor reception. Not until the end of the 1950s was MARIA STUARDA rediscovered. Ever since then, prima donnas such as Joan Sutherland, Montserrat Caballé, Edita Gruberova and Janet Baker have played their part in establishing the opera as an outstanding example of bel canto. In the concert performances of the work at the Deutsche Oper Berlin Joyce DiDonato, fresh from her triumphant turn as Mary Stuart at the New York Metropolitan Opera, will sing the title role. Image credit: Sheila Rock Paolo Arrivabeni, Conductor Joyce DiDonato, Mezzo-soprano: Maria Stuarda Christina Sidak, Mezzo-soprano: Anna Carmen Giannattasio, Soprano: Elisabetta Joseph Calleja, Tenor: Earl of Leicester Davide Luciano, Baritone: Cecil Marko Mimica, Bass: Talbot | ||
| Sunday 20-Jul-14 07:00pm |
National Theatre, Munich Lucrezia Borgia |
Bavarian State Opera Paolo Arrivabeni, Conductor Christof Loy, Director Henrik Ahr, Set Designer Edita Gruberová, Soprano: Lucrezia Borgia Silvia Tro Santafé, Mezzo-soprano: Maffio Orsini Andrea Borghini, Baritone: Ascanio Petrucci Tareq Nazmi, Bass: Astolfo Pavol Breslik, Tenor: Gennaro Dean Power, Tenor: Rustighello John Relyea, Bass-baritone: Duke Alfonso Christian Rieger, Bass: Gazella Goran Juric, Bass: Gubetta |
 Wilfried Hösl.jpg "Image credit: © Wilfried Hösl") | ||
| National Theatre, Munich, Munich, Germany Sunday 20-Jul-14 07:00pm Lucrezia Borgia, brewer of poisons, adulteress and murderer, does her best to live up to an image of womankind created by men, and just as passionately she does whatever she can to find a new identity. Her son Gennaro falls in love at first sight with her – unaware that she is his mother. Overzealous, in the circle of his young friends, he disgraces her name. For this, he must repent: Don Alfonso, her husband, is determined to put his putative rival out of the way. Poison comes into play. But Gennaro is rescued – by her. Then poison is served up a second time, this time by her, indiscriminately, to the whole group of men. She doesn’t notice Gennaro’s presence until it is too late, and too late she confesses that she is his mother. Gennaro is dead. What remains is a pitiless trauma for the survivors.
Sung in Italian with German surtitles Image credit: © Wilfried Hösl Paolo Arrivabeni, Conductor Christof Loy, Director Henrik Ahr, Set Designer Edita Gruberová, Soprano: Lucrezia Borgia Silvia Tro Santafé, Mezzo-soprano: Maffio Orsini Andrea Borghini, Baritone: Ascanio Petrucci Tareq Nazmi, Bass: Astolfo Pavol Breslik, Tenor: Gennaro Dean Power, Tenor: Rustighello John Relyea, Bass-baritone: Duke Alfonso Christian Rieger, Bass: Gazella Goran Juric, Bass: Gubetta | ||
| Sunday 27-Jul-14 07:30pm |
National Theatre, Munich Lucrezia Borgia |
Bavarian State Opera Paolo Arrivabeni, Conductor Christof Loy, Director Henrik Ahr, Set Designer Edita Gruberová, Soprano: Lucrezia Borgia Silvia Tro Santafé, Mezzo-soprano: Maffio Orsini Andrea Borghini, Baritone: Ascanio Petrucci Tareq Nazmi, Bass: Astolfo Pavol Breslik, Tenor: Gennaro Dean Power, Tenor: Rustighello John Relyea, Bass-baritone: Duke Alfonso Christian Rieger, Bass: Gazella Goran Juric, Bass: Gubetta |
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| National Theatre, Munich, Munich, Germany Sunday 27-Jul-14 07:30pm Lucrezia Borgia, brewer of poisons, adulteress and murderer, does her best to live up to an image of womankind created by men, and just as passionately she does whatever she can to find a new identity. Her son Gennaro falls in love at first sight with her – unaware that she is his mother. Overzealous, in the circle of his young friends, he disgraces her name. For this, he must repent: Don Alfonso, her husband, is determined to put his putative rival out of the way. Poison comes into play. But Gennaro is rescued – by her. Then poison is served up a second time, this time by her, indiscriminately, to the whole group of men. She doesn’t notice Gennaro’s presence until it is too late, and too late she confesses that she is his mother. Gennaro is dead. What remains is a pitiless trauma for the survivors.
Sung in Italian with German surtitles Image credit: © Wilfried Hösl Paolo Arrivabeni, Conductor Christof Loy, Director Henrik Ahr, Set Designer Edita Gruberová, Soprano: Lucrezia Borgia Silvia Tro Santafé, Mezzo-soprano: Maffio Orsini Andrea Borghini, Baritone: Ascanio Petrucci Tareq Nazmi, Bass: Astolfo Pavol Breslik, Tenor: Gennaro Dean Power, Tenor: Rustighello John Relyea, Bass-baritone: Duke Alfonso Christian Rieger, Bass: Gazella Goran Juric, Bass: Gubetta | ||
