Performer: Béatrice Uria-MonzonFrom today| Date | Event | Composers, Works, Performers |
|---|---|---|
| Thursday 20-Jun-13 08:00pm |
 Opéra de MarseilleCléopâtre |
Opéra de Marseille Lawrence Foster, Conductor Charles Roubaud, Director Béatrice Uria-Monzon, Mezzo-soprano: Cléopâtre Jean-François Lapointe, Baritone: Marc Antoine Luca Lombardo, Tenor: Spakos Philippe Ermelier, Baritone: Ennius Jean-Marie Delpas, Bass: Sévérus |
| More info... | ||
| Opéra de Marseille, 2 rue Molière, 13001 Marseille, France Thursday 20-Jun-13 08:00pm Lawrence Foster, Conductor Charles Roubaud, Director Béatrice Uria-Monzon, Mezzo-soprano: Cléopâtre Jean-François Lapointe, Baritone: Marc Antoine Luca Lombardo, Tenor: Spakos Philippe Ermelier, Baritone: Ennius Jean-Marie Delpas, Bass: Sévérus | ||
| Sunday 23-Jun-13 02:30pm |
Opéra de Marseille Cléopâtre |
Opéra de Marseille Lawrence Foster, Conductor Charles Roubaud, Director Béatrice Uria-Monzon, Mezzo-soprano: Cléopâtre Jean-François Lapointe, Baritone: Marc Antoine Luca Lombardo, Tenor: Spakos Philippe Ermelier, Baritone: Ennius Jean-Marie Delpas, Bass: Sévérus |
| More info... | ||
| Opéra de Marseille, 2 rue Molière, 13001 Marseille, France Sunday 23-Jun-13 02:30pm Lawrence Foster, Conductor Charles Roubaud, Director Béatrice Uria-Monzon, Mezzo-soprano: Cléopâtre Jean-François Lapointe, Baritone: Marc Antoine Luca Lombardo, Tenor: Spakos Philippe Ermelier, Baritone: Ennius Jean-Marie Delpas, Bass: Sévérus | ||
| Friday 12-Jul-13 07:00pm |
Opéra de Marseille Les Troyens - in concert |
Opéra de Marseille Lawrence Foster, Conductor Béatrice Uria-Monzon, Mezzo-soprano: Cassandra Marie Kalinine, Mezzo-soprano: Ascanius Clémentine Margaine, Mezzo-soprano: Anna Roberto Alagna, Tenor: Aeneas Marc Barrard, Baritone: Chorebus Alexandre Duhamel, Bass: Pantheus |
| More info... | ||
| Opéra de Marseille, 2 rue Molière, 13001 Marseille, France Friday 12-Jul-13 07:00pm Les Troyens - in concert Lawrence Foster, Conductor Béatrice Uria-Monzon, Mezzo-soprano: Cassandra Marie Kalinine, Mezzo-soprano: Ascanius Clémentine Margaine, Mezzo-soprano: Anna Roberto Alagna, Tenor: Aeneas Marc Barrard, Baritone: Chorebus Alexandre Duhamel, Bass: Pantheus | ||
| Monday 15-Jul-13 07:00pm |
Opéra de Marseille Les Troyens - in concert |
Opéra de Marseille Lawrence Foster, Conductor Béatrice Uria-Monzon, Mezzo-soprano: Cassandra Marie Kalinine, Mezzo-soprano: Ascanius Clémentine Margaine, Mezzo-soprano: Anna Roberto Alagna, Tenor: Aeneas Marc Barrard, Baritone: Chorebus Alexandre Duhamel, Bass: Pantheus |
| More info... | ||
| Opéra de Marseille, 2 rue Molière, 13001 Marseille, France Monday 15-Jul-13 07:00pm Les Troyens - in concert Lawrence Foster, Conductor Béatrice Uria-Monzon, Mezzo-soprano: Cassandra Marie Kalinine, Mezzo-soprano: Ascanius Clémentine Margaine, Mezzo-soprano: Anna Roberto Alagna, Tenor: Aeneas Marc Barrard, Baritone: Chorebus Alexandre Duhamel, Bass: Pantheus | ||
| Saturday 8-Mar-14 08:00pm |
Opéra de Marseille Colomba |
Opéra de Marseille Claire Gibault, Conductor Charles Roubaud, Director Pauline Courtin, Soprano: Lydia Béatrice Uria-Monzon, Mezzo-soprano: Colomba Cécile Galois, Soprano: Miss Victoria Jacques Lemaire, Tenor: Barricini Father Stanislas de Barbeyrac, Tenor: Orso Jean-Philippe Lafont, Baritone: Colonel Nevil Cyril Rovery, Baritone: Giocanto Castriconi Francis Dudziak, Baritone: The Prefect |
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| Opéra de Marseille, 2 rue Molière, 13001 Marseille, France Saturday 8-Mar-14 08:00pm Colomba (Petit, Jean-Claude (b. 1943)) (World Première) The portrait and struggles of a far-from ordinary Mediterranean heroine, target of an insatiable desire for vengeance, a merciless vendetta.
Commissioned by the City of Marseille, World Première Image credit: BNF Claire Gibault, Conductor Charles Roubaud, Director Pauline Courtin, Soprano: Lydia Béatrice Uria-Monzon, Mezzo-soprano: Colomba Cécile Galois, Soprano: Miss Victoria Jacques Lemaire, Tenor: Barricini Father Stanislas de Barbeyrac, Tenor: Orso Jean-Philippe Lafont, Baritone: Colonel Nevil Cyril Rovery, Baritone: Giocanto Castriconi Francis Dudziak, Baritone: The Prefect | ||
| Tuesday 11-Mar-14 08:00pm |
Opéra de Marseille Colomba |
Opéra de Marseille Claire Gibault, Conductor Charles Roubaud, Director Pauline Courtin, Soprano: Lydia Béatrice Uria-Monzon, Mezzo-soprano: Colomba Cécile Galois, Soprano: Miss Victoria Jacques Lemaire, Tenor: Barricini Father Stanislas de Barbeyrac, Tenor: Orso Jean-Philippe Lafont, Baritone: Colonel Nevil Cyril Rovery, Baritone: Giocanto Castriconi Francis Dudziak, Baritone: The Prefect |
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| Opéra de Marseille, 2 rue Molière, 13001 Marseille, France Tuesday 11-Mar-14 08:00pm Colomba (Petit, Jean-Claude (b. 1943)) (World Première) The portrait and struggles of a far-from ordinary Mediterranean heroine, target of an insatiable desire for vengeance, a merciless vendetta.
Commissioned by the City of Marseille, World Première Image credit: BNF Claire Gibault, Conductor Charles Roubaud, Director Pauline Courtin, Soprano: Lydia Béatrice Uria-Monzon, Mezzo-soprano: Colomba Cécile Galois, Soprano: Miss Victoria Jacques Lemaire, Tenor: Barricini Father Stanislas de Barbeyrac, Tenor: Orso Jean-Philippe Lafont, Baritone: Colonel Nevil Cyril Rovery, Baritone: Giocanto Castriconi Francis Dudziak, Baritone: The Prefect | ||
| Thursday 13-Mar-14 08:00pm |
Opéra de Marseille Colomba |
Opéra de Marseille Claire Gibault, Conductor Charles Roubaud, Director Pauline Courtin, Soprano: Lydia Béatrice Uria-Monzon, Mezzo-soprano: Colomba Cécile Galois, Soprano: Miss Victoria Jacques Lemaire, Tenor: Barricini Father Stanislas de Barbeyrac, Tenor: Orso Jean-Philippe Lafont, Baritone: Colonel Nevil Cyril Rovery, Baritone: Giocanto Castriconi Francis Dudziak, Baritone: The Prefect |
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| Opéra de Marseille, 2 rue Molière, 13001 Marseille, France Thursday 13-Mar-14 08:00pm Colomba (Petit, Jean-Claude (b. 1943)) (World Première) The portrait and struggles of a far-from ordinary Mediterranean heroine, target of an insatiable desire for vengeance, a merciless vendetta.
Commissioned by the City of Marseille, World Première Image credit: BNF Claire Gibault, Conductor Charles Roubaud, Director Pauline Courtin, Soprano: Lydia Béatrice Uria-Monzon, Mezzo-soprano: Colomba Cécile Galois, Soprano: Miss Victoria Jacques Lemaire, Tenor: Barricini Father Stanislas de Barbeyrac, Tenor: Orso Jean-Philippe Lafont, Baritone: Colonel Nevil Cyril Rovery, Baritone: Giocanto Castriconi Francis Dudziak, Baritone: The Prefect | ||
| Sunday 16-Mar-14 02:30am |
Opéra de Marseille Colomba |
Opéra de Marseille Claire Gibault, Conductor Charles Roubaud, Director Pauline Courtin, Soprano: Lydia Béatrice Uria-Monzon, Mezzo-soprano: Colomba Cécile Galois, Soprano: Miss Victoria Jacques Lemaire, Tenor: Barricini Father Stanislas de Barbeyrac, Tenor: Orso Jean-Philippe Lafont, Baritone: Colonel Nevil Cyril Rovery, Baritone: Giocanto Castriconi Francis Dudziak, Baritone: The Prefect |
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| Opéra de Marseille, 2 rue Molière, 13001 Marseille, France Sunday 16-Mar-14 02:30am Colomba (Petit, Jean-Claude (b. 1943)) (World Première) The portrait and struggles of a far-from ordinary Mediterranean heroine, target of an insatiable desire for vengeance, a merciless vendetta.
Commissioned by the City of Marseille, World Première Image credit: BNF Claire Gibault, Conductor Charles Roubaud, Director Pauline Courtin, Soprano: Lydia Béatrice Uria-Monzon, Mezzo-soprano: Colomba Cécile Galois, Soprano: Miss Victoria Jacques Lemaire, Tenor: Barricini Father Stanislas de Barbeyrac, Tenor: Orso Jean-Philippe Lafont, Baritone: Colonel Nevil Cyril Rovery, Baritone: Giocanto Castriconi Francis Dudziak, Baritone: The Prefect | ||
| Sunday 30-Mar-14 04:00pm |
Deutsche Oper, Berlin The Trojans (Les Troyens) |
Deutsche Oper Berlin Paul Daniel, Conductor David Pountney, Director Johan Engels, Set Designer Ronnita Miller, Mezzo-soprano: Anna Siobhan Stagg, Soprano: Ascanius Ildiko Komlosi, Mezzo-soprano: Cassandra Béatrice Uria-Monzon, Mezzo-soprano: Dido Hulkar Sabirova, Soprano: Hecuba Roberto Alagna, Tenor: Aeneas Clemens Bieber, Tenor: Helenus Alvaro Zambrano, Tenor: Hylas Joel Prieto, Tenor: Iopas Markus Brück, Baritone: Chorebus Seth Carico, Bass-baritone: Pantheus Stephen Bronk, Bass: Ghost of Hector Tobias Kehrer, Bass: Narbal Lenus Carlson, Baritone: Priam |
-Matthias-Horn.jpg "Image credit: Matthias Horn") | ||
| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Sunday 30-Mar-14 04:00pm The Trojans (Les Troyens) In French language with German surtitles.
“I love the Ancients, regardless of their merits and deficits, because they are not like modern people, because they are new” explained Hector Berlioz, writing in September 1850 in Le journal des débats. A present-day sceptic, he was enthralled by ancient history from an early age and developed his own contemporary perspective on these tales of antiquity, seeing them as a constantly repeated round of victories and defeats. In his double opera THE TROJANS, a huge, sweeping panorama, he weaves a web of individual destinies while creating overarching perspectives and ageless formats. Berlioz presents the horror of war, harnesses insight and helplessness as the twin drivers of a cruel epic, tells of love and renunciation, of guileless guilt and inexorable fate. Shrieks of Trojan joy open this work that is so difficult to categorise, but appearances deceive. Cassandra warns in vain of the »gift of the gods«. She foresees catastrophe for Troy, a disaster linked to the wooden horse, but is powerless to prevent it. The spirit of Hector urges Aeneas to abandon Troy, overrun by the Greeks, and found a new nation in a distant land. While he and his men flee the burning city the women, on the instigation of Cassandra, commit suicide. The “ownfall of Troy” is followed by the second part of the story, an episode of transition that looks to the future: “The Trojans in Carthage”. The surviving male Trojans lands in Carthage, where they give military assistance to the Carthaginians and thwart the attack of King Iarbas. This alliance is reflected on a personal level, too. Dido and Aeneas discover their love for each other, but their happiness is short-lived. The ghosts of the dead Trojans appeal to Aeneas to sally forth again and fulfil his mission as set out by Hector. When Dido realises that she cannot persuade her beloved Aeneas to stay, she climbs onto the pyre and kills herself. Before she dies she proclaims her vision of the future, conjuring up a never-ending bloodbath between Carthage and the descendants of Aeneas. This work, created between 1856 and 1858 and erratic in its refusal to submit to the artistic parameters of its time, draws heavily on Virgil and Shakespeare. It is not the intention of this retrospective work to reproduce what has gone before but rather to point up new facets and cause the tales and forms of an earlier age to bear fruit in the present day. Although baroque and bel canto opera have left their mark on this work, Berlioz considers the conflict between gods - counterpointing the struggles of the mortals - to be irrelevant to his times and decidedly baroque in character and consequently leaves it out of THE TROJANS. Berlioz throws his lot in with conservative musical credos such as consonance, melody and closed form, yet he also clashes with convention by employing unusual rhythms and tonality. Despite its echoes of grand opéra, the work does not belong to the genre. The music is ever changing and developing; one hardly ever sees the repetition that one encounters in grand opéra. Here, too, Berlioz anticipates modern compositional principles. THE TROJANS insist on autonomy that, while it is open to a plethora of ideas, seeks enlightenment and form precisely through wrestling with these ideas. It is precisely these characteristics that equip them for the present. Image credit: Matthias Horn Paul Daniel, Conductor David Pountney, Director Johan Engels, Set Designer Ronnita Miller, Mezzo-soprano: Anna Siobhan Stagg, Soprano: Ascanius Ildiko Komlosi, Mezzo-soprano: Cassandra Béatrice Uria-Monzon, Mezzo-soprano: Dido Hulkar Sabirova, Soprano: Hecuba Roberto Alagna, Tenor: Aeneas Clemens Bieber, Tenor: Helenus Alvaro Zambrano, Tenor: Hylas Joel Prieto, Tenor: Iopas Markus Brück, Baritone: Chorebus Seth Carico, Bass-baritone: Pantheus Stephen Bronk, Bass: Ghost of Hector Tobias Kehrer, Bass: Narbal Lenus Carlson, Baritone: Priam | ||
| Wednesday 2-Apr-14 05:00pm |
Deutsche Oper, Berlin The Trojans (Les Troyens) |
Deutsche Oper Berlin Paul Daniel, Conductor David Pountney, Director Johan Engels, Set Designer Ronnita Miller, Mezzo-soprano: Anna Siobhan Stagg, Soprano: Ascanius Ildiko Komlosi, Mezzo-soprano: Cassandra Béatrice Uria-Monzon, Mezzo-soprano: Dido Hulkar Sabirova, Soprano: Hecuba Roberto Alagna, Tenor: Aeneas Clemens Bieber, Tenor: Helenus Alvaro Zambrano, Tenor: Hylas Joel Prieto, Tenor: Iopas Markus Brück, Baritone: Chorebus Seth Carico, Bass-baritone: Pantheus Stephen Bronk, Bass: Ghost of Hector Tobias Kehrer, Bass: Narbal Lenus Carlson, Baritone: Priam |
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| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Wednesday 2-Apr-14 05:00pm The Trojans (Les Troyens) In French language with German surtitles.
“I love the Ancients, regardless of their merits and deficits, because they are not like modern people, because they are new” explained Hector Berlioz, writing in September 1850 in Le journal des débats. A present-day sceptic, he was enthralled by ancient history from an early age and developed his own contemporary perspective on these tales of antiquity, seeing them as a constantly repeated round of victories and defeats. In his double opera THE TROJANS, a huge, sweeping panorama, he weaves a web of individual destinies while creating overarching perspectives and ageless formats. Berlioz presents the horror of war, harnesses insight and helplessness as the twin drivers of a cruel epic, tells of love and renunciation, of guileless guilt and inexorable fate. Shrieks of Trojan joy open this work that is so difficult to categorise, but appearances deceive. Cassandra warns in vain of the »gift of the gods«. She foresees catastrophe for Troy, a disaster linked to the wooden horse, but is powerless to prevent it. The spirit of Hector urges Aeneas to abandon Troy, overrun by the Greeks, and found a new nation in a distant land. While he and his men flee the burning city the women, on the instigation of Cassandra, commit suicide. The “ownfall of Troy” is followed by the second part of the story, an episode of transition that looks to the future: “The Trojans in Carthage”. The surviving male Trojans lands in Carthage, where they give military assistance to the Carthaginians and thwart the attack of King Iarbas. This alliance is reflected on a personal level, too. Dido and Aeneas discover their love for each other, but their happiness is short-lived. The ghosts of the dead Trojans appeal to Aeneas to sally forth again and fulfil his mission as set out by Hector. When Dido realises that she cannot persuade her beloved Aeneas to stay, she climbs onto the pyre and kills herself. Before she dies she proclaims her vision of the future, conjuring up a never-ending bloodbath between Carthage and the descendants of Aeneas. This work, created between 1856 and 1858 and erratic in its refusal to submit to the artistic parameters of its time, draws heavily on Virgil and Shakespeare. It is not the intention of this retrospective work to reproduce what has gone before but rather to point up new facets and cause the tales and forms of an earlier age to bear fruit in the present day. Although baroque and bel canto opera have left their mark on this work, Berlioz considers the conflict between gods - counterpointing the struggles of the mortals - to be irrelevant to his times and decidedly baroque in character and consequently leaves it out of THE TROJANS. Berlioz throws his lot in with conservative musical credos such as consonance, melody and closed form, yet he also clashes with convention by employing unusual rhythms and tonality. Despite its echoes of grand opéra, the work does not belong to the genre. The music is ever changing and developing; one hardly ever sees the repetition that one encounters in grand opéra. Here, too, Berlioz anticipates modern compositional principles. THE TROJANS insist on autonomy that, while it is open to a plethora of ideas, seeks enlightenment and form precisely through wrestling with these ideas. It is precisely these characteristics that equip them for the present. Image credit: Matthias Horn Paul Daniel, Conductor David Pountney, Director Johan Engels, Set Designer Ronnita Miller, Mezzo-soprano: Anna Siobhan Stagg, Soprano: Ascanius Ildiko Komlosi, Mezzo-soprano: Cassandra Béatrice Uria-Monzon, Mezzo-soprano: Dido Hulkar Sabirova, Soprano: Hecuba Roberto Alagna, Tenor: Aeneas Clemens Bieber, Tenor: Helenus Alvaro Zambrano, Tenor: Hylas Joel Prieto, Tenor: Iopas Markus Brück, Baritone: Chorebus Seth Carico, Bass-baritone: Pantheus Stephen Bronk, Bass: Ghost of Hector Tobias Kehrer, Bass: Narbal Lenus Carlson, Baritone: Priam | ||
| Sunday 6-Apr-14 04:00pm |
Deutsche Oper, Berlin The Trojans (Les Troyens) |
Deutsche Oper Berlin Paul Daniel, Conductor David Pountney, Director Johan Engels, Set Designer Ronnita Miller, Mezzo-soprano: Anna Siobhan Stagg, Soprano: Ascanius Ildiko Komlosi, Mezzo-soprano: Cassandra Béatrice Uria-Monzon, Mezzo-soprano: Dido Hulkar Sabirova, Soprano: Hecuba Roberto Alagna, Tenor: Aeneas Clemens Bieber, Tenor: Helenus Alvaro Zambrano, Tenor: Hylas Joel Prieto, Tenor: Iopas Markus Brück, Baritone: Chorebus Seth Carico, Bass-baritone: Pantheus Stephen Bronk, Bass: Ghost of Hector Tobias Kehrer, Bass: Narbal Lenus Carlson, Baritone: Priam |
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| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Sunday 6-Apr-14 04:00pm The Trojans (Les Troyens) In French language with German surtitles.
“I love the Ancients, regardless of their merits and deficits, because they are not like modern people, because they are new” explained Hector Berlioz, writing in September 1850 in Le journal des débats. A present-day sceptic, he was enthralled by ancient history from an early age and developed his own contemporary perspective on these tales of antiquity, seeing them as a constantly repeated round of victories and defeats. In his double opera THE TROJANS, a huge, sweeping panorama, he weaves a web of individual destinies while creating overarching perspectives and ageless formats. Berlioz presents the horror of war, harnesses insight and helplessness as the twin drivers of a cruel epic, tells of love and renunciation, of guileless guilt and inexorable fate. Shrieks of Trojan joy open this work that is so difficult to categorise, but appearances deceive. Cassandra warns in vain of the »gift of the gods«. She foresees catastrophe for Troy, a disaster linked to the wooden horse, but is powerless to prevent it. The spirit of Hector urges Aeneas to abandon Troy, overrun by the Greeks, and found a new nation in a distant land. While he and his men flee the burning city the women, on the instigation of Cassandra, commit suicide. The “ownfall of Troy” is followed by the second part of the story, an episode of transition that looks to the future: “The Trojans in Carthage”. The surviving male Trojans lands in Carthage, where they give military assistance to the Carthaginians and thwart the attack of King Iarbas. This alliance is reflected on a personal level, too. Dido and Aeneas discover their love for each other, but their happiness is short-lived. The ghosts of the dead Trojans appeal to Aeneas to sally forth again and fulfil his mission as set out by Hector. When Dido realises that she cannot persuade her beloved Aeneas to stay, she climbs onto the pyre and kills herself. Before she dies she proclaims her vision of the future, conjuring up a never-ending bloodbath between Carthage and the descendants of Aeneas. This work, created between 1856 and 1858 and erratic in its refusal to submit to the artistic parameters of its time, draws heavily on Virgil and Shakespeare. It is not the intention of this retrospective work to reproduce what has gone before but rather to point up new facets and cause the tales and forms of an earlier age to bear fruit in the present day. Although baroque and bel canto opera have left their mark on this work, Berlioz considers the conflict between gods - counterpointing the struggles of the mortals - to be irrelevant to his times and decidedly baroque in character and consequently leaves it out of THE TROJANS. Berlioz throws his lot in with conservative musical credos such as consonance, melody and closed form, yet he also clashes with convention by employing unusual rhythms and tonality. Despite its echoes of grand opéra, the work does not belong to the genre. The music is ever changing and developing; one hardly ever sees the repetition that one encounters in grand opéra. Here, too, Berlioz anticipates modern compositional principles. THE TROJANS insist on autonomy that, while it is open to a plethora of ideas, seeks enlightenment and form precisely through wrestling with these ideas. It is precisely these characteristics that equip them for the present. Image credit: Matthias Horn Paul Daniel, Conductor David Pountney, Director Johan Engels, Set Designer Ronnita Miller, Mezzo-soprano: Anna Siobhan Stagg, Soprano: Ascanius Ildiko Komlosi, Mezzo-soprano: Cassandra Béatrice Uria-Monzon, Mezzo-soprano: Dido Hulkar Sabirova, Soprano: Hecuba Roberto Alagna, Tenor: Aeneas Clemens Bieber, Tenor: Helenus Alvaro Zambrano, Tenor: Hylas Joel Prieto, Tenor: Iopas Markus Brück, Baritone: Chorebus Seth Carico, Bass-baritone: Pantheus Stephen Bronk, Bass: Ghost of Hector Tobias Kehrer, Bass: Narbal Lenus Carlson, Baritone: Priam | ||
| Thursday 10-Apr-14 07:30pm |
Deutsche Oper, Berlin Carmen |
Deutsche Oper Berlin Giuseppe Finzi, Conductor Soren Schuhmacher, Director Pier Luigi Samaritani, Set Designer Elena Tsallagova, Soprano: Micaela Béatrice Uria-Monzon, Mezzo-soprano: Carmen Roberto Alagna, Tenor: Don José Bastiaan Everink, Baritone: Escamillo Siobhan Stagg, Soprano: Frasquita Katarina Bradić, Mezzo-soprano: Mercédès Paul Kaufmann, Tenor: Le Remendado Jörg Schörner, Tenor: Le Dancaïre John Chest, Baritone: Moralès Ben Wager, Bass: Zuniga |
-Bettina-Stöß.jpg "Image credit: Bettina-Stöß") | ||
| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Thursday 10-Apr-14 07:30pm In French with German surtitles.
Sensuous, offensive and devoid of all civic sense of morality: CARMEN, Georges Bizet’s story of a fatal love triangle, scandalised the audience at its premiere at the Paris Opéra Comique in 1875 and spent years playing to small, fringe audiences as a result - unimaginable today, the work being the household name among operas. The tale of Carmen and Don José, at once banal and existential, ends with an inevitably tragic murder. Carmen’s absolute need for freedom and her insistence on relationships based on complete independence and equality make her irresistible to Don José, who nonetheless proves unable to tolerate her urge to defend her liberty. A victim of his own desire, he is finally driven to destroy his lover and himself with her. To convey this tragic material Bizet succeeded in using the medium of an opéra comique that presents us with all the emotions and traits of the human condition – levity, drabness, silliness and stoniness, seduction and playfulness, cruelty and destiny. Of all the familiar features of the work, perhaps the best known is the original Cuban »habanera« used by the tobacco worker Carmen to attract the attention of Don José. The music of the opera, filled with catchy melodies, is dominated by dance routines and Spanish rhythms. The savage, romantic country beyond the Pyrenees enthralled Georges Bizet among many others, and »Carmen« is today considered the central work expressing French yearnings for their unknown, idealised neighbour to the south. In 19th-century Paris this operatic depiction of fated lovers, with its erotic overtones and its tension between absolute devotion and undiluted liberty, could only be performed where bourgeois boundaries, both spatial and ideological, had been rejected. Image credit: Bettina-Stöß Giuseppe Finzi, Conductor Soren Schuhmacher, Director Pier Luigi Samaritani, Set Designer Elena Tsallagova, Soprano: Micaela Béatrice Uria-Monzon, Mezzo-soprano: Carmen Roberto Alagna, Tenor: Don José Bastiaan Everink, Baritone: Escamillo Siobhan Stagg, Soprano: Frasquita Katarina Bradić, Mezzo-soprano: Mercédès Paul Kaufmann, Tenor: Le Remendado Jörg Schörner, Tenor: Le Dancaïre John Chest, Baritone: Moralès Ben Wager, Bass: Zuniga | ||
| Sunday 13-Apr-14 06:00pm |
Deutsche Oper, Berlin Carmen |
Deutsche Oper Berlin Giuseppe Finzi, Conductor Soren Schuhmacher, Director Pier Luigi Samaritani, Set Designer Elena Tsallagova, Soprano: Micaela Béatrice Uria-Monzon, Mezzo-soprano: Carmen Roberto Alagna, Tenor: Don José Bastiaan Everink, Baritone: Escamillo Siobhan Stagg, Soprano: Frasquita Katarina Bradić, Mezzo-soprano: Mercédès Paul Kaufmann, Tenor: Le Remendado Jörg Schörner, Tenor: Le Dancaïre John Chest, Baritone: Moralès Ben Wager, Bass: Zuniga |
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| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Sunday 13-Apr-14 06:00pm In French with German surtitles.
Sensuous, offensive and devoid of all civic sense of morality: CARMEN, Georges Bizet’s story of a fatal love triangle, scandalised the audience at its premiere at the Paris Opéra Comique in 1875 and spent years playing to small, fringe audiences as a result - unimaginable today, the work being the household name among operas. The tale of Carmen and Don José, at once banal and existential, ends with an inevitably tragic murder. Carmen’s absolute need for freedom and her insistence on relationships based on complete independence and equality make her irresistible to Don José, who nonetheless proves unable to tolerate her urge to defend her liberty. A victim of his own desire, he is finally driven to destroy his lover and himself with her. To convey this tragic material Bizet succeeded in using the medium of an opéra comique that presents us with all the emotions and traits of the human condition – levity, drabness, silliness and stoniness, seduction and playfulness, cruelty and destiny. Of all the familiar features of the work, perhaps the best known is the original Cuban »habanera« used by the tobacco worker Carmen to attract the attention of Don José. The music of the opera, filled with catchy melodies, is dominated by dance routines and Spanish rhythms. The savage, romantic country beyond the Pyrenees enthralled Georges Bizet among many others, and »Carmen« is today considered the central work expressing French yearnings for their unknown, idealised neighbour to the south. In 19th-century Paris this operatic depiction of fated lovers, with its erotic overtones and its tension between absolute devotion and undiluted liberty, could only be performed where bourgeois boundaries, both spatial and ideological, had been rejected. Image credit: Bettina-Stöß Giuseppe Finzi, Conductor Soren Schuhmacher, Director Pier Luigi Samaritani, Set Designer Elena Tsallagova, Soprano: Micaela Béatrice Uria-Monzon, Mezzo-soprano: Carmen Roberto Alagna, Tenor: Don José Bastiaan Everink, Baritone: Escamillo Siobhan Stagg, Soprano: Frasquita Katarina Bradić, Mezzo-soprano: Mercédès Paul Kaufmann, Tenor: Le Remendado Jörg Schörner, Tenor: Le Dancaïre John Chest, Baritone: Moralès Ben Wager, Bass: Zuniga | ||
| Saturday 10-May-14 08:00pm |
Opéra de Marseille Le Roi D'ys |
Opéra de Marseille Lawrence Foster, Conductor Jean-Louis Pichon, Director Alexandre Heyraud, Set Designer Inva Mula, Soprano: Rozenn Béatrice Uria-Monzon, Mezzo-soprano: Margared Florian Laconi, Tenor: Mylio Philippe Rouillon, Baritone: Prince Karnac Nicolas Courjal, Bass: The King of Ys Marc Scoffoni, Baritone: Jahel Patrick Delcour, Baritone: St Corentin |
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| Opéra de Marseille, 2 rue Molière, 13001 Marseille, France Saturday 10-May-14 08:00pm The tragedy of two sisters in love with the same man, but above all a splendid and essential milestone in French music, soaring to great heights of power and invention.Image credit: Cyrille Sabatier Lawrence Foster, Conductor Jean-Louis Pichon, Director Alexandre Heyraud, Set Designer Inva Mula, Soprano: Rozenn Béatrice Uria-Monzon, Mezzo-soprano: Margared Florian Laconi, Tenor: Mylio Philippe Rouillon, Baritone: Prince Karnac Nicolas Courjal, Bass: The King of Ys Marc Scoffoni, Baritone: Jahel Patrick Delcour, Baritone: St Corentin | ||
| Tuesday 13-May-14 08:00pm |
Opéra de Marseille Le Roi D'ys |
Opéra de Marseille Lawrence Foster, Conductor Jean-Louis Pichon, Director Alexandre Heyraud, Set Designer Inva Mula, Soprano: Rozenn Béatrice Uria-Monzon, Mezzo-soprano: Margared Florian Laconi, Tenor: Mylio Philippe Rouillon, Baritone: Prince Karnac Nicolas Courjal, Bass: The King of Ys Marc Scoffoni, Baritone: Jahel Patrick Delcour, Baritone: St Corentin |
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| Opéra de Marseille, 2 rue Molière, 13001 Marseille, France Tuesday 13-May-14 08:00pm The tragedy of two sisters in love with the same man, but above all a splendid and essential milestone in French music, soaring to great heights of power and invention.Image credit: Cyrille Sabatier Lawrence Foster, Conductor Jean-Louis Pichon, Director Alexandre Heyraud, Set Designer Inva Mula, Soprano: Rozenn Béatrice Uria-Monzon, Mezzo-soprano: Margared Florian Laconi, Tenor: Mylio Philippe Rouillon, Baritone: Prince Karnac Nicolas Courjal, Bass: The King of Ys Marc Scoffoni, Baritone: Jahel Patrick Delcour, Baritone: St Corentin | ||
| Wednesday 14-May-14 07:30pm |
Staatsoper at Schiller Theater, Berlin Tosca |
Staatsoper Berlin Stefano Ranzani, Conductor Carl Riha, Director Wolfgang Bellach, Set Designer Béatrice Uria-Monzon, Mezzo-soprano: Floria Tosca Jorge de Leon, Tenor: Mario Cavaradossi Florian Hoffmann, Tenor: Spoletta Egils Silins, Baritone: Baron Scarpia Arttu Kataja, Bass: Cesare Angelotti Raimund Nolte, Bass: Sacristan Staatskapelle Berlin Staatsopernchor Berlin Kinderchor der Staatsoper Unter den Linden |
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| Staatsoper at Schiller Theater, Berlin, Bismarckstraße 110, 10625 Berlin, Germany Wednesday 14-May-14 07:30pm In Italian language with German surtitles2:50 h | including 2 intervals Tickets 20 to 84 EUR Stefano Ranzani, Conductor Carl Riha, Director Wolfgang Bellach, Set Designer Béatrice Uria-Monzon, Mezzo-soprano: Floria Tosca Jorge de Leon, Tenor: Mario Cavaradossi Florian Hoffmann, Tenor: Spoletta Egils Silins, Baritone: Baron Scarpia Arttu Kataja, Bass: Cesare Angelotti Raimund Nolte, Bass: Sacristan Staatskapelle Berlin Staatsopernchor Berlin Kinderchor der Staatsoper Unter den Linden | ||
| Thursday 15-May-14 08:00pm |
Opéra de Marseille Le Roi D'ys |
Opéra de Marseille Lawrence Foster, Conductor Jean-Louis Pichon, Director Alexandre Heyraud, Set Designer Inva Mula, Soprano: Rozenn Béatrice Uria-Monzon, Mezzo-soprano: Margared Florian Laconi, Tenor: Mylio Philippe Rouillon, Baritone: Prince Karnac Nicolas Courjal, Bass: The King of Ys Marc Scoffoni, Baritone: Jahel Patrick Delcour, Baritone: St Corentin |
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| Opéra de Marseille, 2 rue Molière, 13001 Marseille, France Thursday 15-May-14 08:00pm The tragedy of two sisters in love with the same man, but above all a splendid and essential milestone in French music, soaring to great heights of power and invention.Image credit: Cyrille Sabatier Lawrence Foster, Conductor Jean-Louis Pichon, Director Alexandre Heyraud, Set Designer Inva Mula, Soprano: Rozenn Béatrice Uria-Monzon, Mezzo-soprano: Margared Florian Laconi, Tenor: Mylio Philippe Rouillon, Baritone: Prince Karnac Nicolas Courjal, Bass: The King of Ys Marc Scoffoni, Baritone: Jahel Patrick Delcour, Baritone: St Corentin | ||
| Sunday 18-May-14 02:30pm |
Opéra de Marseille Le Roi D'ys |
Opéra de Marseille Lawrence Foster, Conductor Jean-Louis Pichon, Director Alexandre Heyraud, Set Designer Inva Mula, Soprano: Rozenn Béatrice Uria-Monzon, Mezzo-soprano: Margared Florian Laconi, Tenor: Mylio Philippe Rouillon, Baritone: Prince Karnac Nicolas Courjal, Bass: The King of Ys Marc Scoffoni, Baritone: Jahel Patrick Delcour, Baritone: St Corentin |
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| Opéra de Marseille, 2 rue Molière, 13001 Marseille, France Sunday 18-May-14 02:30pm The tragedy of two sisters in love with the same man, but above all a splendid and essential milestone in French music, soaring to great heights of power and invention.Image credit: Cyrille Sabatier Lawrence Foster, Conductor Jean-Louis Pichon, Director Alexandre Heyraud, Set Designer Inva Mula, Soprano: Rozenn Béatrice Uria-Monzon, Mezzo-soprano: Margared Florian Laconi, Tenor: Mylio Philippe Rouillon, Baritone: Prince Karnac Nicolas Courjal, Bass: The King of Ys Marc Scoffoni, Baritone: Jahel Patrick Delcour, Baritone: St Corentin | ||
| Saturday 24-May-14 07:30pm |
Staatsoper at Schiller Theater, Berlin Tosca |
Staatsoper Berlin Stefano Ranzani, Conductor Carl Riha, Director Wolfgang Bellach, Set Designer Béatrice Uria-Monzon, Mezzo-soprano: Floria Tosca Jorge de Leon, Tenor: Mario Cavaradossi Florian Hoffmann, Tenor: Spoletta Egils Silins, Baritone: Baron Scarpia Arttu Kataja, Bass: Cesare Angelotti Raimund Nolte, Bass: Sacristan Staatskapelle Berlin Staatsopernchor Berlin Kinderchor der Staatsoper Unter den Linden |
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| Staatsoper at Schiller Theater, Berlin, Bismarckstraße 110, 10625 Berlin, Germany Saturday 24-May-14 07:30pm In Italian language with German surtitles2:50 h | including 2 intervals Tickets 20 to 84 EUR Stefano Ranzani, Conductor Carl Riha, Director Wolfgang Bellach, Set Designer Béatrice Uria-Monzon, Mezzo-soprano: Floria Tosca Jorge de Leon, Tenor: Mario Cavaradossi Florian Hoffmann, Tenor: Spoletta Egils Silins, Baritone: Baron Scarpia Arttu Kataja, Bass: Cesare Angelotti Raimund Nolte, Bass: Sacristan Staatskapelle Berlin Staatsopernchor Berlin Kinderchor der Staatsoper Unter den Linden | ||
| Sunday 1-Jun-14 07:30pm |
Staatsoper at Schiller Theater, Berlin Tosca |
Staatsoper Berlin Stefano Ranzani, Conductor Carl Riha, Director Wolfgang Bellach, Set Designer Béatrice Uria-Monzon, Mezzo-soprano: Floria Tosca Jorge de Leon, Tenor: Mario Cavaradossi Florian Hoffmann, Tenor: Spoletta Egils Silins, Baritone: Baron Scarpia Arttu Kataja, Bass: Cesare Angelotti Raimund Nolte, Bass: Sacristan Staatskapelle Berlin Staatsopernchor Berlin Kinderchor der Staatsoper Unter den Linden |
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| Staatsoper at Schiller Theater, Berlin, Bismarckstraße 110, 10625 Berlin, Germany Sunday 1-Jun-14 07:30pm In Italian language with German surtitles2:50 h | including 2 intervals Tickets 20 to 84 EUR Stefano Ranzani, Conductor Carl Riha, Director Wolfgang Bellach, Set Designer Béatrice Uria-Monzon, Mezzo-soprano: Floria Tosca Jorge de Leon, Tenor: Mario Cavaradossi Florian Hoffmann, Tenor: Spoletta Egils Silins, Baritone: Baron Scarpia Arttu Kataja, Bass: Cesare Angelotti Raimund Nolte, Bass: Sacristan Staatskapelle Berlin Staatsopernchor Berlin Kinderchor der Staatsoper Unter den Linden | ||
