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34 events match your criteria (Show events in United States only)
| Date | Event | Composer/Work |
|---|---|---|
| Saturday 10-Apr-10 19:30 |
 Royal Festival Hall, LondonLondon Philharmonic Orchestra with Yannick Nézet-Séguin |
London Philharmonic Orchestra Yannick Nézet-Séguin, Conductor Lisa Batiashvili, Violin |
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| Royal Festival Hall, London, United Kingdom Saturday 10-Apr-10 19:30 London Philharmonic Orchestra with Yannick Nézet-Séguin Beethoven’s Seventh Symphony has proved many things to many people: a celebratory vision of a rustic wedding for Robert Schumann; ‘the apotheosis of the dance’ for Richard Wagner; ‘a triumph of Bacchic fury’ for the legendary musicologist Donald Francis Tovey; and ‘a continuous, cumulative celebration of joy’ for modern Beethoven scholar David Wyn Jones. It might be preceded by colourful fireworks from the pens of Handel and Stravinsky, but when conductor Yannick Nézet-Séguin lights the blue touch paper of Beethoven’s most blazingly triumphant orchestral work, the Royal Festival Hall will explode with colour and elation! Tickets £9 - £38. London Philharmonic Orchestra Yannick Nézet-Séguin, Conductor Lisa Batiashvili, Violin | ||
| Wednesday 19-May-10 20:00 |
Théâtre des Champs-Élysées, Paris Rotterdam Philharmonic Orchestra |
Various, Arias from Opera (transcribed for flute) Rotterdam Philharmonic Orchestra Yannick Nézet-Séguin, Conductor Emmanuel Pahud, Flute |
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| Théâtre des Champs-Élysées, 75008 Paris, France Wednesday 19-May-10 20:00 Rotterdam Philharmonic Orchestra Various, Arias from Opera (transcribed for flute) Rotterdam Philharmonic Orchestra Yannick Nézet-Séguin, Conductor Emmanuel Pahud, Flute | ||
| Monday 9-Aug-10 18:00 |
Haus für Mozart, Salzburg Don Giovanni Salzburg Festival |
Yannick Nézet-Séguin, Conductor Christopher Maltman, Baritone: Don Giovanni Dimitri Ivaschenko, Bass: The Commendatore Aleksandra Kurzak, Soprano: Donna Anna Joseph Kaiser, Tenor: Don Ottavio Joel Prieto, Tenor: Don Ottavio Dorothea Röschmann, Soprano: Donna Elvira Erwin Schrott, Baritone: Leporello Anna Prohaska, Soprano: Zerlina Adam Plachetka, Bass-baritone: Masetto Vienna Philharmonic Orchestra Vienna State Opera Chorus |
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| Haus für Mozart, 5020 Salzburg, Austria Monday 9-Aug-10 18:00 In the religious drama El Burlador de Sevilla y Convidado de Piedra by Tirso de Molina, the figure of Don Juan first walked the stage in 1613 – however, his origins are uncertain: while some view him as a myth originating in the Spanish folk tradition, other sources cite a real-life model, Don Juan Tenorio from Seville, a careless seducer and man of pleasure from the era of Don Pedro the Cruel, who murdered the governor of Seville and was then lured into a monastery and secretly executed by the monks. Thereafter, a rumor was spread that the statue on the grave of the murdered man had come alive and punished the murderer. For the longest time, the blackguard was justly condemned to hell, to the audiences’ delight and satisfaction, but Mozart gave him a new dimension in his opera. Here, the evildoer almost becomes a sympathetic figure. Of course, Mozart would not be Mozart if he had not discovered a spark of godliness even in this being, and thus, the question remains: is Mozart’s Don Giovanni perhaps not a myth, not a primal force, similar to Eros or Dionysus? Is he merely a human being like the rest of us, aware of his finite existence on earth, and merely wanting to make the most of his brief life span? Yannick Nézet-Séguin, Conductor Christopher Maltman, Baritone: Don Giovanni Dimitri Ivaschenko, Bass: The Commendatore Aleksandra Kurzak, Soprano: Donna Anna Joseph Kaiser, Tenor: Don Ottavio Joel Prieto, Tenor: Don Ottavio Dorothea Röschmann, Soprano: Donna Elvira Erwin Schrott, Baritone: Leporello Anna Prohaska, Soprano: Zerlina Adam Plachetka, Bass-baritone: Masetto Vienna Philharmonic Orchestra Vienna State Opera Chorus | ||
| Tuesday 10-Aug-10 19:30 |
Felsenreitschule, Salzburg Roméo et Juliette Salzburg Festival |
Roméo et Juliette (Gounod) (Renewal) Yannick Nézet-Séguin, Conductor Anna Netrebko, Soprano: Juliette Nino Machaidze, Soprano: Juliette Piotr Beczala, Tenor: Roméo Stephen Costello, Tenor: Roméo Mikhail Petrenko, Bass: Frère Laurent Dimitri Ivaschenko, Bass: Frère Laurent Darren Jeffery, Baritone: Count Capulet Russell Braun, Tenor: Mercutio Cora Burggraaf, Mezzo-soprano: Stéphano Michael Spyres, Baritone: Tybalt Susanne Resmark, Mezzo-soprano: Gertrude, Juliette's nurse David Soar, Bass: Duke of Verona Mathias Hausmann, Baritone: Count Paris Robert Murray, Tenor: Benvolio, nephew of Montaigu Salzburg Mozarteum Orchestra Vienna State Opera Chorus |
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| Felsenreitschule, Salzburg, Austria Tuesday 10-Aug-10 19:30 Shakespeare’s extraordinary play, Romeo and Juliet, was a radical text in the Renaissance. In it, he took new ideas, popular in court among the neo-Platonists, and dramatized them. The neo-Platonists found a path to engage the world through individual love. Shakespeare expanded this to social tragedy, where love heals the public strife of two warring families. Gounod, writing 250 years later, is interested in something completely different. Influenced by Wagner (particularly Tristan), he explores how individual love offers access to the divine, something blasphemous to Shakespeare’s audience. His opera is an emotional dreamscape of the play, and placing it amidst the templar walls of the Felsenreitschule creates the opportunity to experience the ecstasy of falling in love through Gounod’s music. But he pushes this choice further toward the radical implications of two young people finding meaning not only in love, but in death as a path to the divine. That experience and its emotional implications for the society in which they live is the dreamlike journey of Gounod’s opera. Yannick Nézet-Séguin, Conductor Anna Netrebko, Soprano: Juliette Nino Machaidze, Soprano: Juliette Piotr Beczala, Tenor: Roméo Stephen Costello, Tenor: Roméo Mikhail Petrenko, Bass: Frère Laurent Dimitri Ivaschenko, Bass: Frère Laurent Darren Jeffery, Baritone: Count Capulet Russell Braun, Tenor: Mercutio Cora Burggraaf, Mezzo-soprano: Stéphano Michael Spyres, Baritone: Tybalt Susanne Resmark, Mezzo-soprano: Gertrude, Juliette's nurse David Soar, Bass: Duke of Verona Mathias Hausmann, Baritone: Count Paris Robert Murray, Tenor: Benvolio, nephew of Montaigu Salzburg Mozarteum Orchestra Vienna State Opera Chorus | ||
| Thursday 12-Aug-10 15:00 |
Haus für Mozart, Salzburg Don Giovanni Salzburg Festival |
Yannick Nézet-Séguin, Conductor Christopher Maltman, Baritone: Don Giovanni Dimitri Ivaschenko, Bass: The Commendatore Aleksandra Kurzak, Soprano: Donna Anna Joseph Kaiser, Tenor: Don Ottavio Joel Prieto, Tenor: Don Ottavio Dorothea Röschmann, Soprano: Donna Elvira Erwin Schrott, Baritone: Leporello Anna Prohaska, Soprano: Zerlina Adam Plachetka, Bass-baritone: Masetto Vienna Philharmonic Orchestra Vienna State Opera Chorus |
| More Info...Buy tickets! | ||
| Haus für Mozart, 5020 Salzburg, Austria Thursday 12-Aug-10 15:00 In the religious drama El Burlador de Sevilla y Convidado de Piedra by Tirso de Molina, the figure of Don Juan first walked the stage in 1613 – however, his origins are uncertain: while some view him as a myth originating in the Spanish folk tradition, other sources cite a real-life model, Don Juan Tenorio from Seville, a careless seducer and man of pleasure from the era of Don Pedro the Cruel, who murdered the governor of Seville and was then lured into a monastery and secretly executed by the monks. Thereafter, a rumor was spread that the statue on the grave of the murdered man had come alive and punished the murderer. For the longest time, the blackguard was justly condemned to hell, to the audiences’ delight and satisfaction, but Mozart gave him a new dimension in his opera. Here, the evildoer almost becomes a sympathetic figure. Of course, Mozart would not be Mozart if he had not discovered a spark of godliness even in this being, and thus, the question remains: is Mozart’s Don Giovanni perhaps not a myth, not a primal force, similar to Eros or Dionysus? Is he merely a human being like the rest of us, aware of his finite existence on earth, and merely wanting to make the most of his brief life span? Yannick Nézet-Séguin, Conductor Christopher Maltman, Baritone: Don Giovanni Dimitri Ivaschenko, Bass: The Commendatore Aleksandra Kurzak, Soprano: Donna Anna Joseph Kaiser, Tenor: Don Ottavio Joel Prieto, Tenor: Don Ottavio Dorothea Röschmann, Soprano: Donna Elvira Erwin Schrott, Baritone: Leporello Anna Prohaska, Soprano: Zerlina Adam Plachetka, Bass-baritone: Masetto Vienna Philharmonic Orchestra Vienna State Opera Chorus | ||
| Friday 13-Aug-10 15:00 |
Felsenreitschule, Salzburg Roméo et Juliette Salzburg Festival |
Roméo et Juliette (Gounod) (Renewal) Yannick Nézet-Séguin, Conductor Anna Netrebko, Soprano: Juliette Nino Machaidze, Soprano: Juliette Piotr Beczala, Tenor: Roméo Stephen Costello, Tenor: Roméo Mikhail Petrenko, Bass: Frère Laurent Dimitri Ivaschenko, Bass: Frère Laurent Darren Jeffery, Baritone: Count Capulet Russell Braun, Tenor: Mercutio Cora Burggraaf, Mezzo-soprano: Stéphano Michael Spyres, Baritone: Tybalt Susanne Resmark, Mezzo-soprano: Gertrude, Juliette's nurse David Soar, Bass: Duke of Verona Mathias Hausmann, Baritone: Count Paris Robert Murray, Tenor: Benvolio, nephew of Montaigu Salzburg Mozarteum Orchestra Vienna State Opera Chorus |
| More Info...Buy tickets! | ||
| Felsenreitschule, Salzburg, Austria Friday 13-Aug-10 15:00 Shakespeare’s extraordinary play, Romeo and Juliet, was a radical text in the Renaissance. In it, he took new ideas, popular in court among the neo-Platonists, and dramatized them. The neo-Platonists found a path to engage the world through individual love. Shakespeare expanded this to social tragedy, where love heals the public strife of two warring families. Gounod, writing 250 years later, is interested in something completely different. Influenced by Wagner (particularly Tristan), he explores how individual love offers access to the divine, something blasphemous to Shakespeare’s audience. His opera is an emotional dreamscape of the play, and placing it amidst the templar walls of the Felsenreitschule creates the opportunity to experience the ecstasy of falling in love through Gounod’s music. But he pushes this choice further toward the radical implications of two young people finding meaning not only in love, but in death as a path to the divine. That experience and its emotional implications for the society in which they live is the dreamlike journey of Gounod’s opera. Yannick Nézet-Séguin, Conductor Anna Netrebko, Soprano: Juliette Nino Machaidze, Soprano: Juliette Piotr Beczala, Tenor: Roméo Stephen Costello, Tenor: Roméo Mikhail Petrenko, Bass: Frère Laurent Dimitri Ivaschenko, Bass: Frère Laurent Darren Jeffery, Baritone: Count Capulet Russell Braun, Tenor: Mercutio Cora Burggraaf, Mezzo-soprano: Stéphano Michael Spyres, Baritone: Tybalt Susanne Resmark, Mezzo-soprano: Gertrude, Juliette's nurse David Soar, Bass: Duke of Verona Mathias Hausmann, Baritone: Count Paris Robert Murray, Tenor: Benvolio, nephew of Montaigu Salzburg Mozarteum Orchestra Vienna State Opera Chorus | ||
| Sunday 15-Aug-10 18:00 |
Haus für Mozart, Salzburg Don Giovanni Salzburg Festival |
Yannick Nézet-Séguin, Conductor Christopher Maltman, Baritone: Don Giovanni Dimitri Ivaschenko, Bass: The Commendatore Aleksandra Kurzak, Soprano: Donna Anna Joseph Kaiser, Tenor: Don Ottavio Joel Prieto, Tenor: Don Ottavio Dorothea Röschmann, Soprano: Donna Elvira Erwin Schrott, Baritone: Leporello Anna Prohaska, Soprano: Zerlina Adam Plachetka, Bass-baritone: Masetto Vienna Philharmonic Orchestra Vienna State Opera Chorus |
| More Info...Buy tickets! | ||
| Haus für Mozart, 5020 Salzburg, Austria Sunday 15-Aug-10 18:00 In the religious drama El Burlador de Sevilla y Convidado de Piedra by Tirso de Molina, the figure of Don Juan first walked the stage in 1613 – however, his origins are uncertain: while some view him as a myth originating in the Spanish folk tradition, other sources cite a real-life model, Don Juan Tenorio from Seville, a careless seducer and man of pleasure from the era of Don Pedro the Cruel, who murdered the governor of Seville and was then lured into a monastery and secretly executed by the monks. Thereafter, a rumor was spread that the statue on the grave of the murdered man had come alive and punished the murderer. For the longest time, the blackguard was justly condemned to hell, to the audiences’ delight and satisfaction, but Mozart gave him a new dimension in his opera. Here, the evildoer almost becomes a sympathetic figure. Of course, Mozart would not be Mozart if he had not discovered a spark of godliness even in this being, and thus, the question remains: is Mozart’s Don Giovanni perhaps not a myth, not a primal force, similar to Eros or Dionysus? Is he merely a human being like the rest of us, aware of his finite existence on earth, and merely wanting to make the most of his brief life span? Yannick Nézet-Séguin, Conductor Christopher Maltman, Baritone: Don Giovanni Dimitri Ivaschenko, Bass: The Commendatore Aleksandra Kurzak, Soprano: Donna Anna Joseph Kaiser, Tenor: Don Ottavio Joel Prieto, Tenor: Don Ottavio Dorothea Röschmann, Soprano: Donna Elvira Erwin Schrott, Baritone: Leporello Anna Prohaska, Soprano: Zerlina Adam Plachetka, Bass-baritone: Masetto Vienna Philharmonic Orchestra Vienna State Opera Chorus | ||
| Monday 16-Aug-10 19:30 |
Felsenreitschule, Salzburg Roméo et Juliette Salzburg Festival |
Roméo et Juliette (Gounod) (Renewal) Yannick Nézet-Séguin, Conductor Anna Netrebko, Soprano: Juliette Nino Machaidze, Soprano: Juliette Piotr Beczala, Tenor: Roméo Stephen Costello, Tenor: Roméo Mikhail Petrenko, Bass: Frère Laurent Dimitri Ivaschenko, Bass: Frère Laurent Darren Jeffery, Baritone: Count Capulet Russell Braun, Tenor: Mercutio Cora Burggraaf, Mezzo-soprano: Stéphano Michael Spyres, Baritone: Tybalt Susanne Resmark, Mezzo-soprano: Gertrude, Juliette's nurse David Soar, Bass: Duke of Verona Mathias Hausmann, Baritone: Count Paris Robert Murray, Tenor: Benvolio, nephew of Montaigu Salzburg Mozarteum Orchestra Vienna State Opera Chorus |
| More Info...Buy tickets! | ||
| Felsenreitschule, Salzburg, Austria Monday 16-Aug-10 19:30 Shakespeare’s extraordinary play, Romeo and Juliet, was a radical text in the Renaissance. In it, he took new ideas, popular in court among the neo-Platonists, and dramatized them. The neo-Platonists found a path to engage the world through individual love. Shakespeare expanded this to social tragedy, where love heals the public strife of two warring families. Gounod, writing 250 years later, is interested in something completely different. Influenced by Wagner (particularly Tristan), he explores how individual love offers access to the divine, something blasphemous to Shakespeare’s audience. His opera is an emotional dreamscape of the play, and placing it amidst the templar walls of the Felsenreitschule creates the opportunity to experience the ecstasy of falling in love through Gounod’s music. But he pushes this choice further toward the radical implications of two young people finding meaning not only in love, but in death as a path to the divine. That experience and its emotional implications for the society in which they live is the dreamlike journey of Gounod’s opera. Yannick Nézet-Séguin, Conductor Anna Netrebko, Soprano: Juliette Nino Machaidze, Soprano: Juliette Piotr Beczala, Tenor: Roméo Stephen Costello, Tenor: Roméo Mikhail Petrenko, Bass: Frère Laurent Dimitri Ivaschenko, Bass: Frère Laurent Darren Jeffery, Baritone: Count Capulet Russell Braun, Tenor: Mercutio Cora Burggraaf, Mezzo-soprano: Stéphano Michael Spyres, Baritone: Tybalt Susanne Resmark, Mezzo-soprano: Gertrude, Juliette's nurse David Soar, Bass: Duke of Verona Mathias Hausmann, Baritone: Count Paris Robert Murray, Tenor: Benvolio, nephew of Montaigu Salzburg Mozarteum Orchestra Vienna State Opera Chorus | ||
| Wednesday 18-Aug-10 19:30 |
Felsenreitschule, Salzburg Roméo et Juliette Salzburg Festival |
Roméo et Juliette (Gounod) (Renewal) Yannick Nézet-Séguin, Conductor Anna Netrebko, Soprano: Juliette Nino Machaidze, Soprano: Juliette Piotr Beczala, Tenor: Roméo Stephen Costello, Tenor: Roméo Mikhail Petrenko, Bass: Frère Laurent Dimitri Ivaschenko, Bass: Frère Laurent Darren Jeffery, Baritone: Count Capulet Russell Braun, Tenor: Mercutio Cora Burggraaf, Mezzo-soprano: Stéphano Michael Spyres, Baritone: Tybalt Susanne Resmark, Mezzo-soprano: Gertrude, Juliette's nurse David Soar, Bass: Duke of Verona Mathias Hausmann, Baritone: Count Paris Robert Murray, Tenor: Benvolio, nephew of Montaigu Salzburg Mozarteum Orchestra Vienna State Opera Chorus |
| More Info...Buy tickets! | ||
| Felsenreitschule, Salzburg, Austria Wednesday 18-Aug-10 19:30 Shakespeare’s extraordinary play, Romeo and Juliet, was a radical text in the Renaissance. In it, he took new ideas, popular in court among the neo-Platonists, and dramatized them. The neo-Platonists found a path to engage the world through individual love. Shakespeare expanded this to social tragedy, where love heals the public strife of two warring families. Gounod, writing 250 years later, is interested in something completely different. Influenced by Wagner (particularly Tristan), he explores how individual love offers access to the divine, something blasphemous to Shakespeare’s audience. His opera is an emotional dreamscape of the play, and placing it amidst the templar walls of the Felsenreitschule creates the opportunity to experience the ecstasy of falling in love through Gounod’s music. But he pushes this choice further toward the radical implications of two young people finding meaning not only in love, but in death as a path to the divine. That experience and its emotional implications for the society in which they live is the dreamlike journey of Gounod’s opera. Yannick Nézet-Séguin, Conductor Anna Netrebko, Soprano: Juliette Nino Machaidze, Soprano: Juliette Piotr Beczala, Tenor: Roméo Stephen Costello, Tenor: Roméo Mikhail Petrenko, Bass: Frère Laurent Dimitri Ivaschenko, Bass: Frère Laurent Darren Jeffery, Baritone: Count Capulet Russell Braun, Tenor: Mercutio Cora Burggraaf, Mezzo-soprano: Stéphano Michael Spyres, Baritone: Tybalt Susanne Resmark, Mezzo-soprano: Gertrude, Juliette's nurse David Soar, Bass: Duke of Verona Mathias Hausmann, Baritone: Count Paris Robert Murray, Tenor: Benvolio, nephew of Montaigu Salzburg Mozarteum Orchestra Vienna State Opera Chorus | ||
| Thursday 19-Aug-10 15:00 |
Haus für Mozart, Salzburg Don Giovanni Salzburg Festival |
Yannick Nézet-Séguin, Conductor Christopher Maltman, Baritone: Don Giovanni Dimitri Ivaschenko, Bass: The Commendatore Aleksandra Kurzak, Soprano: Donna Anna Joseph Kaiser, Tenor: Don Ottavio Joel Prieto, Tenor: Don Ottavio Dorothea Röschmann, Soprano: Donna Elvira Erwin Schrott, Baritone: Leporello Anna Prohaska, Soprano: Zerlina Adam Plachetka, Bass-baritone: Masetto Vienna Philharmonic Orchestra Vienna State Opera Chorus |
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| Haus für Mozart, 5020 Salzburg, Austria Thursday 19-Aug-10 15:00 In the religious drama El Burlador de Sevilla y Convidado de Piedra by Tirso de Molina, the figure of Don Juan first walked the stage in 1613 – however, his origins are uncertain: while some view him as a myth originating in the Spanish folk tradition, other sources cite a real-life model, Don Juan Tenorio from Seville, a careless seducer and man of pleasure from the era of Don Pedro the Cruel, who murdered the governor of Seville and was then lured into a monastery and secretly executed by the monks. Thereafter, a rumor was spread that the statue on the grave of the murdered man had come alive and punished the murderer. For the longest time, the blackguard was justly condemned to hell, to the audiences’ delight and satisfaction, but Mozart gave him a new dimension in his opera. Here, the evildoer almost becomes a sympathetic figure. Of course, Mozart would not be Mozart if he had not discovered a spark of godliness even in this being, and thus, the question remains: is Mozart’s Don Giovanni perhaps not a myth, not a primal force, similar to Eros or Dionysus? Is he merely a human being like the rest of us, aware of his finite existence on earth, and merely wanting to make the most of his brief life span? Yannick Nézet-Séguin, Conductor Christopher Maltman, Baritone: Don Giovanni Dimitri Ivaschenko, Bass: The Commendatore Aleksandra Kurzak, Soprano: Donna Anna Joseph Kaiser, Tenor: Don Ottavio Joel Prieto, Tenor: Don Ottavio Dorothea Röschmann, Soprano: Donna Elvira Erwin Schrott, Baritone: Leporello Anna Prohaska, Soprano: Zerlina Adam Plachetka, Bass-baritone: Masetto Vienna Philharmonic Orchestra Vienna State Opera Chorus | ||
| Friday 20-Aug-10 19:30 |
Felsenreitschule, Salzburg Roméo et Juliette Salzburg Festival |
Roméo et Juliette (Gounod) (Renewal) Yannick Nézet-Séguin, Conductor Anna Netrebko, Soprano: Juliette Nino Machaidze, Soprano: Juliette Piotr Beczala, Tenor: Roméo Stephen Costello, Tenor: Roméo Mikhail Petrenko, Bass: Frère Laurent Dimitri Ivaschenko, Bass: Frère Laurent Darren Jeffery, Baritone: Count Capulet Russell Braun, Tenor: Mercutio Cora Burggraaf, Mezzo-soprano: Stéphano Michael Spyres, Baritone: Tybalt Susanne Resmark, Mezzo-soprano: Gertrude, Juliette's nurse David Soar, Bass: Duke of Verona Mathias Hausmann, Baritone: Count Paris Robert Murray, Tenor: Benvolio, nephew of Montaigu Salzburg Mozarteum Orchestra Vienna State Opera Chorus |
| More Info...Buy tickets! | ||
| Felsenreitschule, Salzburg, Austria Friday 20-Aug-10 19:30 Shakespeare’s extraordinary play, Romeo and Juliet, was a radical text in the Renaissance. In it, he took new ideas, popular in court among the neo-Platonists, and dramatized them. The neo-Platonists found a path to engage the world through individual love. Shakespeare expanded this to social tragedy, where love heals the public strife of two warring families. Gounod, writing 250 years later, is interested in something completely different. Influenced by Wagner (particularly Tristan), he explores how individual love offers access to the divine, something blasphemous to Shakespeare’s audience. His opera is an emotional dreamscape of the play, and placing it amidst the templar walls of the Felsenreitschule creates the opportunity to experience the ecstasy of falling in love through Gounod’s music. But he pushes this choice further toward the radical implications of two young people finding meaning not only in love, but in death as a path to the divine. That experience and its emotional implications for the society in which they live is the dreamlike journey of Gounod’s opera. Yannick Nézet-Séguin, Conductor Anna Netrebko, Soprano: Juliette Nino Machaidze, Soprano: Juliette Piotr Beczala, Tenor: Roméo Stephen Costello, Tenor: Roméo Mikhail Petrenko, Bass: Frère Laurent Dimitri Ivaschenko, Bass: Frère Laurent Darren Jeffery, Baritone: Count Capulet Russell Braun, Tenor: Mercutio Cora Burggraaf, Mezzo-soprano: Stéphano Michael Spyres, Baritone: Tybalt Susanne Resmark, Mezzo-soprano: Gertrude, Juliette's nurse David Soar, Bass: Duke of Verona Mathias Hausmann, Baritone: Count Paris Robert Murray, Tenor: Benvolio, nephew of Montaigu Salzburg Mozarteum Orchestra Vienna State Opera Chorus | ||
| Sunday 22-Aug-10 18:00 |
Haus für Mozart, Salzburg Don Giovanni Salzburg Festival |
Yannick Nézet-Séguin, Conductor Christopher Maltman, Baritone: Don Giovanni Dimitri Ivaschenko, Bass: The Commendatore Aleksandra Kurzak, Soprano: Donna Anna Joseph Kaiser, Tenor: Don Ottavio Joel Prieto, Tenor: Don Ottavio Dorothea Röschmann, Soprano: Donna Elvira Erwin Schrott, Baritone: Leporello Anna Prohaska, Soprano: Zerlina Adam Plachetka, Bass-baritone: Masetto Vienna Philharmonic Orchestra Vienna State Opera Chorus |
| More Info...Buy tickets! | ||
| Haus für Mozart, 5020 Salzburg, Austria Sunday 22-Aug-10 18:00 In the religious drama El Burlador de Sevilla y Convidado de Piedra by Tirso de Molina, the figure of Don Juan first walked the stage in 1613 – however, his origins are uncertain: while some view him as a myth originating in the Spanish folk tradition, other sources cite a real-life model, Don Juan Tenorio from Seville, a careless seducer and man of pleasure from the era of Don Pedro the Cruel, who murdered the governor of Seville and was then lured into a monastery and secretly executed by the monks. Thereafter, a rumor was spread that the statue on the grave of the murdered man had come alive and punished the murderer. For the longest time, the blackguard was justly condemned to hell, to the audiences’ delight and satisfaction, but Mozart gave him a new dimension in his opera. Here, the evildoer almost becomes a sympathetic figure. Of course, Mozart would not be Mozart if he had not discovered a spark of godliness even in this being, and thus, the question remains: is Mozart’s Don Giovanni perhaps not a myth, not a primal force, similar to Eros or Dionysus? Is he merely a human being like the rest of us, aware of his finite existence on earth, and merely wanting to make the most of his brief life span? Yannick Nézet-Séguin, Conductor Christopher Maltman, Baritone: Don Giovanni Dimitri Ivaschenko, Bass: The Commendatore Aleksandra Kurzak, Soprano: Donna Anna Joseph Kaiser, Tenor: Don Ottavio Joel Prieto, Tenor: Don Ottavio Dorothea Röschmann, Soprano: Donna Elvira Erwin Schrott, Baritone: Leporello Anna Prohaska, Soprano: Zerlina Adam Plachetka, Bass-baritone: Masetto Vienna Philharmonic Orchestra Vienna State Opera Chorus | ||
| Monday 23-Aug-10 19:30 |
Felsenreitschule, Salzburg Roméo et Juliette Salzburg Festival |
Roméo et Juliette (Gounod) (Renewal) Yannick Nézet-Séguin, Conductor Anna Netrebko, Soprano: Juliette Nino Machaidze, Soprano: Juliette Piotr Beczala, Tenor: Roméo Stephen Costello, Tenor: Roméo Mikhail Petrenko, Bass: Frère Laurent Dimitri Ivaschenko, Bass: Frère Laurent Darren Jeffery, Baritone: Count Capulet Russell Braun, Tenor: Mercutio Cora Burggraaf, Mezzo-soprano: Stéphano Michael Spyres, Baritone: Tybalt Susanne Resmark, Mezzo-soprano: Gertrude, Juliette's nurse David Soar, Bass: Duke of Verona Mathias Hausmann, Baritone: Count Paris Robert Murray, Tenor: Benvolio, nephew of Montaigu Salzburg Mozarteum Orchestra Vienna State Opera Chorus |
| More Info...Buy tickets! | ||
| Felsenreitschule, Salzburg, Austria Monday 23-Aug-10 19:30 Shakespeare’s extraordinary play, Romeo and Juliet, was a radical text in the Renaissance. In it, he took new ideas, popular in court among the neo-Platonists, and dramatized them. The neo-Platonists found a path to engage the world through individual love. Shakespeare expanded this to social tragedy, where love heals the public strife of two warring families. Gounod, writing 250 years later, is interested in something completely different. Influenced by Wagner (particularly Tristan), he explores how individual love offers access to the divine, something blasphemous to Shakespeare’s audience. His opera is an emotional dreamscape of the play, and placing it amidst the templar walls of the Felsenreitschule creates the opportunity to experience the ecstasy of falling in love through Gounod’s music. But he pushes this choice further toward the radical implications of two young people finding meaning not only in love, but in death as a path to the divine. That experience and its emotional implications for the society in which they live is the dreamlike journey of Gounod’s opera. Yannick Nézet-Séguin, Conductor Anna Netrebko, Soprano: Juliette Nino Machaidze, Soprano: Juliette Piotr Beczala, Tenor: Roméo Stephen Costello, Tenor: Roméo Mikhail Petrenko, Bass: Frère Laurent Dimitri Ivaschenko, Bass: Frère Laurent Darren Jeffery, Baritone: Count Capulet Russell Braun, Tenor: Mercutio Cora Burggraaf, Mezzo-soprano: Stéphano Michael Spyres, Baritone: Tybalt Susanne Resmark, Mezzo-soprano: Gertrude, Juliette's nurse David Soar, Bass: Duke of Verona Mathias Hausmann, Baritone: Count Paris Robert Murray, Tenor: Benvolio, nephew of Montaigu Salzburg Mozarteum Orchestra Vienna State Opera Chorus | ||
| Tuesday 24-Aug-10 15:00 |
Felsenreitschule, Salzburg Roméo et Juliette Salzburg Festival |
Roméo et Juliette (Gounod) (Renewal) Yannick Nézet-Séguin, Conductor Anna Netrebko, Soprano: Juliette Nino Machaidze, Soprano: Juliette Piotr Beczala, Tenor: Roméo Stephen Costello, Tenor: Roméo Mikhail Petrenko, Bass: Frère Laurent Dimitri Ivaschenko, Bass: Frère Laurent Darren Jeffery, Baritone: Count Capulet Russell Braun, Tenor: Mercutio Cora Burggraaf, Mezzo-soprano: Stéphano Michael Spyres, Baritone: Tybalt Susanne Resmark, Mezzo-soprano: Gertrude, Juliette's nurse David Soar, Bass: Duke of Verona Mathias Hausmann, Baritone: Count Paris Robert Murray, Tenor: Benvolio, nephew of Montaigu Salzburg Mozarteum Orchestra Vienna State Opera Chorus |
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| Felsenreitschule, Salzburg, Austria Tuesday 24-Aug-10 15:00 Shakespeare’s extraordinary play, Romeo and Juliet, was a radical text in the Renaissance. In it, he took new ideas, popular in court among the neo-Platonists, and dramatized them. The neo-Platonists found a path to engage the world through individual love. Shakespeare expanded this to social tragedy, where love heals the public strife of two warring families. Gounod, writing 250 years later, is interested in something completely different. Influenced by Wagner (particularly Tristan), he explores how individual love offers access to the divine, something blasphemous to Shakespeare’s audience. His opera is an emotional dreamscape of the play, and placing it amidst the templar walls of the Felsenreitschule creates the opportunity to experience the ecstasy of falling in love through Gounod’s music. But he pushes this choice further toward the radical implications of two young people finding meaning not only in love, but in death as a path to the divine. That experience and its emotional implications for the society in which they live is the dreamlike journey of Gounod’s opera. Yannick Nézet-Séguin, Conductor Anna Netrebko, Soprano: Juliette Nino Machaidze, Soprano: Juliette Piotr Beczala, Tenor: Roméo Stephen Costello, Tenor: Roméo Mikhail Petrenko, Bass: Frère Laurent Dimitri Ivaschenko, Bass: Frère Laurent Darren Jeffery, Baritone: Count Capulet Russell Braun, Tenor: Mercutio Cora Burggraaf, Mezzo-soprano: Stéphano Michael Spyres, Baritone: Tybalt Susanne Resmark, Mezzo-soprano: Gertrude, Juliette's nurse David Soar, Bass: Duke of Verona Mathias Hausmann, Baritone: Count Paris Robert Murray, Tenor: Benvolio, nephew of Montaigu Salzburg Mozarteum Orchestra Vienna State Opera Chorus | ||
| Wednesday 25-Aug-10 18:00 |
Haus für Mozart, Salzburg Don Giovanni Salzburg Festival |
Yannick Nézet-Séguin, Conductor Christopher Maltman, Baritone: Don Giovanni Dimitri Ivaschenko, Bass: The Commendatore Aleksandra Kurzak, Soprano: Donna Anna Joseph Kaiser, Tenor: Don Ottavio Joel Prieto, Tenor: Don Ottavio Dorothea Röschmann, Soprano: Donna Elvira Erwin Schrott, Baritone: Leporello Anna Prohaska, Soprano: Zerlina Adam Plachetka, Bass-baritone: Masetto Vienna Philharmonic Orchestra Vienna State Opera Chorus |
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| Haus für Mozart, 5020 Salzburg, Austria Wednesday 25-Aug-10 18:00 In the religious drama El Burlador de Sevilla y Convidado de Piedra by Tirso de Molina, the figure of Don Juan first walked the stage in 1613 – however, his origins are uncertain: while some view him as a myth originating in the Spanish folk tradition, other sources cite a real-life model, Don Juan Tenorio from Seville, a careless seducer and man of pleasure from the era of Don Pedro the Cruel, who murdered the governor of Seville and was then lured into a monastery and secretly executed by the monks. Thereafter, a rumor was spread that the statue on the grave of the murdered man had come alive and punished the murderer. For the longest time, the blackguard was justly condemned to hell, to the audiences’ delight and satisfaction, but Mozart gave him a new dimension in his opera. Here, the evildoer almost becomes a sympathetic figure. Of course, Mozart would not be Mozart if he had not discovered a spark of godliness even in this being, and thus, the question remains: is Mozart’s Don Giovanni perhaps not a myth, not a primal force, similar to Eros or Dionysus? Is he merely a human being like the rest of us, aware of his finite existence on earth, and merely wanting to make the most of his brief life span? Yannick Nézet-Séguin, Conductor Christopher Maltman, Baritone: Don Giovanni Dimitri Ivaschenko, Bass: The Commendatore Aleksandra Kurzak, Soprano: Donna Anna Joseph Kaiser, Tenor: Don Ottavio Joel Prieto, Tenor: Don Ottavio Dorothea Röschmann, Soprano: Donna Elvira Erwin Schrott, Baritone: Leporello Anna Prohaska, Soprano: Zerlina Adam Plachetka, Bass-baritone: Masetto Vienna Philharmonic Orchestra Vienna State Opera Chorus | ||
| Friday 27-Aug-10 19:30 |
Felsenreitschule, Salzburg Roméo et Juliette Salzburg Festival |
Roméo et Juliette (Gounod) (Renewal) Yannick Nézet-Séguin, Conductor Anna Netrebko, Soprano: Juliette Nino Machaidze, Soprano: Juliette Piotr Beczala, Tenor: Roméo Stephen Costello, Tenor: Roméo Mikhail Petrenko, Bass: Frère Laurent Dimitri Ivaschenko, Bass: Frère Laurent Darren Jeffery, Baritone: Count Capulet Russell Braun, Tenor: Mercutio Cora Burggraaf, Mezzo-soprano: Stéphano Michael Spyres, Baritone: Tybalt Susanne Resmark, Mezzo-soprano: Gertrude, Juliette's nurse David Soar, Bass: Duke of Verona Mathias Hausmann, Baritone: Count Paris Robert Murray, Tenor: Benvolio, nephew of Montaigu Salzburg Mozarteum Orchestra Vienna State Opera Chorus |
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| Felsenreitschule, Salzburg, Austria Friday 27-Aug-10 19:30 Shakespeare’s extraordinary play, Romeo and Juliet, was a radical text in the Renaissance. In it, he took new ideas, popular in court among the neo-Platonists, and dramatized them. The neo-Platonists found a path to engage the world through individual love. Shakespeare expanded this to social tragedy, where love heals the public strife of two warring families. Gounod, writing 250 years later, is interested in something completely different. Influenced by Wagner (particularly Tristan), he explores how individual love offers access to the divine, something blasphemous to Shakespeare’s audience. His opera is an emotional dreamscape of the play, and placing it amidst the templar walls of the Felsenreitschule creates the opportunity to experience the ecstasy of falling in love through Gounod’s music. But he pushes this choice further toward the radical implications of two young people finding meaning not only in love, but in death as a path to the divine. That experience and its emotional implications for the society in which they live is the dreamlike journey of Gounod’s opera. Yannick Nézet-Séguin, Conductor Anna Netrebko, Soprano: Juliette Nino Machaidze, Soprano: Juliette Piotr Beczala, Tenor: Roméo Stephen Costello, Tenor: Roméo Mikhail Petrenko, Bass: Frère Laurent Dimitri Ivaschenko, Bass: Frère Laurent Darren Jeffery, Baritone: Count Capulet Russell Braun, Tenor: Mercutio Cora Burggraaf, Mezzo-soprano: Stéphano Michael Spyres, Baritone: Tybalt Susanne Resmark, Mezzo-soprano: Gertrude, Juliette's nurse David Soar, Bass: Duke of Verona Mathias Hausmann, Baritone: Count Paris Robert Murray, Tenor: Benvolio, nephew of Montaigu Salzburg Mozarteum Orchestra Vienna State Opera Chorus | ||
| Sunday 29-Aug-10 18:00 |
Haus für Mozart, Salzburg Don Giovanni Salzburg Festival |
Yannick Nézet-Séguin, Conductor Christopher Maltman, Baritone: Don Giovanni Dimitri Ivaschenko, Bass: The Commendatore Aleksandra Kurzak, Soprano: Donna Anna Joseph Kaiser, Tenor: Don Ottavio Joel Prieto, Tenor: Don Ottavio Dorothea Röschmann, Soprano: Donna Elvira Erwin Schrott, Baritone: Leporello Anna Prohaska, Soprano: Zerlina Adam Plachetka, Bass-baritone: Masetto Vienna Philharmonic Orchestra Vienna State Opera Chorus |
| More Info...Buy tickets! | ||
| Haus für Mozart, 5020 Salzburg, Austria Sunday 29-Aug-10 18:00 In the religious drama El Burlador de Sevilla y Convidado de Piedra by Tirso de Molina, the figure of Don Juan first walked the stage in 1613 – however, his origins are uncertain: while some view him as a myth originating in the Spanish folk tradition, other sources cite a real-life model, Don Juan Tenorio from Seville, a careless seducer and man of pleasure from the era of Don Pedro the Cruel, who murdered the governor of Seville and was then lured into a monastery and secretly executed by the monks. Thereafter, a rumor was spread that the statue on the grave of the murdered man had come alive and punished the murderer. For the longest time, the blackguard was justly condemned to hell, to the audiences’ delight and satisfaction, but Mozart gave him a new dimension in his opera. Here, the evildoer almost becomes a sympathetic figure. Of course, Mozart would not be Mozart if he had not discovered a spark of godliness even in this being, and thus, the question remains: is Mozart’s Don Giovanni perhaps not a myth, not a primal force, similar to Eros or Dionysus? Is he merely a human being like the rest of us, aware of his finite existence on earth, and merely wanting to make the most of his brief life span? Yannick Nézet-Séguin, Conductor Christopher Maltman, Baritone: Don Giovanni Dimitri Ivaschenko, Bass: The Commendatore Aleksandra Kurzak, Soprano: Donna Anna Joseph Kaiser, Tenor: Don Ottavio Joel Prieto, Tenor: Don Ottavio Dorothea Röschmann, Soprano: Donna Elvira Erwin Schrott, Baritone: Leporello Anna Prohaska, Soprano: Zerlina Adam Plachetka, Bass-baritone: Masetto Vienna Philharmonic Orchestra Vienna State Opera Chorus | ||
| Monday 30-Aug-10 19:30 |
Felsenreitschule, Salzburg Roméo et Juliette Salzburg Festival |
Roméo et Juliette (Gounod) (Renewal) Yannick Nézet-Séguin, Conductor Anna Netrebko, Soprano: Juliette Nino Machaidze, Soprano: Juliette Piotr Beczala, Tenor: Roméo Stephen Costello, Tenor: Roméo Mikhail Petrenko, Bass: Frère Laurent Dimitri Ivaschenko, Bass: Frère Laurent Darren Jeffery, Baritone: Count Capulet Russell Braun, Tenor: Mercutio Cora Burggraaf, Mezzo-soprano: Stéphano Michael Spyres, Baritone: Tybalt Susanne Resmark, Mezzo-soprano: Gertrude, Juliette's nurse David Soar, Bass: Duke of Verona Mathias Hausmann, Baritone: Count Paris Robert Murray, Tenor: Benvolio, nephew of Montaigu Salzburg Mozarteum Orchestra Vienna State Opera Chorus |
| More Info...Buy tickets! | ||
| Felsenreitschule, Salzburg, Austria Monday 30-Aug-10 19:30 Shakespeare’s extraordinary play, Romeo and Juliet, was a radical text in the Renaissance. In it, he took new ideas, popular in court among the neo-Platonists, and dramatized them. The neo-Platonists found a path to engage the world through individual love. Shakespeare expanded this to social tragedy, where love heals the public strife of two warring families. Gounod, writing 250 years later, is interested in something completely different. Influenced by Wagner (particularly Tristan), he explores how individual love offers access to the divine, something blasphemous to Shakespeare’s audience. His opera is an emotional dreamscape of the play, and placing it amidst the templar walls of the Felsenreitschule creates the opportunity to experience the ecstasy of falling in love through Gounod’s music. But he pushes this choice further toward the radical implications of two young people finding meaning not only in love, but in death as a path to the divine. That experience and its emotional implications for the society in which they live is the dreamlike journey of Gounod’s opera. Yannick Nézet-Séguin, Conductor Anna Netrebko, Soprano: Juliette Nino Machaidze, Soprano: Juliette Piotr Beczala, Tenor: Roméo Stephen Costello, Tenor: Roméo Mikhail Petrenko, Bass: Frère Laurent Dimitri Ivaschenko, Bass: Frère Laurent Darren Jeffery, Baritone: Count Capulet Russell Braun, Tenor: Mercutio Cora Burggraaf, Mezzo-soprano: Stéphano Michael Spyres, Baritone: Tybalt Susanne Resmark, Mezzo-soprano: Gertrude, Juliette's nurse David Soar, Bass: Duke of Verona Mathias Hausmann, Baritone: Count Paris Robert Murray, Tenor: Benvolio, nephew of Montaigu Salzburg Mozarteum Orchestra Vienna State Opera Chorus | ||
| Monday 22-Nov-10 19:00 |
Lincoln Center: Metropolitan Opera House, New York City, NY Don Carlo |
Metropolitan Opera Yannick Nézet-Séguin, Conductor Marina Poplavskaya, Soprano: Elisabetta di Valois, Queen of Spain Anna Smirnova, Mezzo-soprano Roberto Alagna, Tenor: Don Carlos Simon Keenlyside, Baritone: Rodrigo Ferruccio Furlanetto, Bass: Phillip II, King of Spain Eric Halfvarson, Bass |
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| Lincoln Center: Metropolitan Opera House, New York City 10023, United States Monday 22-Nov-10 19:00 Metropolitan Opera “I think Don Carlo is the quintessential Verdi opera,” says director Nicholas Hytner (The History Boys, The Madness of King George), who makes his Met debut with this new production, which was greeted with popular success when it opened in London. “Right through this opera there is, on the one hand, an implacable expression of impending doom and, on the other hand, a succession of the most gloriously open-throated arias, the most fantastically determined music.” Roberto Alagna leads the cast in the title role. Ferruccio Furlanetto, Marina Poplavskaya, Anna Smirnova, and Simon Keenlyside also star in Verdi’s most ambitious opera. “Not one of these characters is prepared to accept his or her own tragic destiny,” Hytner says of this epic tragedy in which romantic desire shapes the course of nations. Yannick Nézet-Séguin, back after his triumphant debut leading Carmen, conducts. Yannick Nézet-Séguin, Conductor Marina Poplavskaya, Soprano: Elisabetta di Valois, Queen of Spain Anna Smirnova, Mezzo-soprano Roberto Alagna, Tenor: Don Carlos Simon Keenlyside, Baritone: Rodrigo Ferruccio Furlanetto, Bass: Phillip II, King of Spain Eric Halfvarson, Bass | ||
| Friday 26-Nov-10 19:00 |
Lincoln Center: Metropolitan Opera House, New York City, NY Don Carlo |
Metropolitan Opera Yannick Nézet-Séguin, Conductor Marina Poplavskaya, Soprano: Elisabetta di Valois, Queen of Spain Anna Smirnova, Mezzo-soprano Roberto Alagna, Tenor: Don Carlos Simon Keenlyside, Baritone: Rodrigo Ferruccio Furlanetto, Bass: Phillip II, King of Spain Eric Halfvarson, Bass |
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| Lincoln Center: Metropolitan Opera House, New York City 10023, United States Friday 26-Nov-10 19:00 Metropolitan Opera “I think Don Carlo is the quintessential Verdi opera,” says director Nicholas Hytner (The History Boys, The Madness of King George), who makes his Met debut with this new production, which was greeted with popular success when it opened in London. “Right through this opera there is, on the one hand, an implacable expression of impending doom and, on the other hand, a succession of the most gloriously open-throated arias, the most fantastically determined music.” Roberto Alagna leads the cast in the title role. Ferruccio Furlanetto, Marina Poplavskaya, Anna Smirnova, and Simon Keenlyside also star in Verdi’s most ambitious opera. “Not one of these characters is prepared to accept his or her own tragic destiny,” Hytner says of this epic tragedy in which romantic desire shapes the course of nations. Yannick Nézet-Séguin, back after his triumphant debut leading Carmen, conducts. Yannick Nézet-Séguin, Conductor Marina Poplavskaya, Soprano: Elisabetta di Valois, Queen of Spain Anna Smirnova, Mezzo-soprano Roberto Alagna, Tenor: Don Carlos Simon Keenlyside, Baritone: Rodrigo Ferruccio Furlanetto, Bass: Phillip II, King of Spain Eric Halfvarson, Bass | ||
| Monday 29-Nov-10 19:00 |
Lincoln Center: Metropolitan Opera House, New York City, NY Don Carlo |
Metropolitan Opera Yannick Nézet-Séguin, Conductor Anna Smirnova, Mezzo-soprano Yonghoon Lee, Tenor: Don Carlos Simon Keenlyside, Baritone: Rodrigo Ferruccio Furlanetto, Bass: Phillip II, King of Spain Eric Halfvarson, Bass |
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| Lincoln Center: Metropolitan Opera House, New York City 10023, United States Monday 29-Nov-10 19:00 Metropolitan Opera “I think Don Carlo is the quintessential Verdi opera,” says director Nicholas Hytner (The History Boys, The Madness of King George), who makes his Met debut with this new production, which was greeted with popular success when it opened in London. “Right through this opera there is, on the one hand, an implacable expression of impending doom and, on the other hand, a succession of the most gloriously open-throated arias, the most fantastically determined music.” Roberto Alagna leads the cast in the title role. Ferruccio Furlanetto, Marina Poplavskaya, Anna Smirnova, and Simon Keenlyside also star in Verdi’s most ambitious opera. “Not one of these characters is prepared to accept his or her own tragic destiny,” Hytner says of this epic tragedy in which romantic desire shapes the course of nations. Yannick Nézet-Séguin, back after his triumphant debut leading Carmen, conducts. Yannick Nézet-Séguin, Conductor Anna Smirnova, Mezzo-soprano Yonghoon Lee, Tenor: Don Carlos Simon Keenlyside, Baritone: Rodrigo Ferruccio Furlanetto, Bass: Phillip II, King of Spain Eric Halfvarson, Bass | ||
| Friday 3-Dec-10 19:30 |
Lincoln Center: Metropolitan Opera House, New York City, NY Don Carlo |
Metropolitan Opera Yannick Nézet-Séguin, Conductor Marina Poplavskaya, Soprano: Elisabetta di Valois, Queen of Spain Anna Smirnova, Mezzo-soprano Yonghoon Lee, Tenor: Don Carlos Simon Keenlyside, Baritone: Rodrigo Ferruccio Furlanetto, Bass: Phillip II, King of Spain Eric Halfvarson, Bass |
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| Lincoln Center: Metropolitan Opera House, New York City 10023, United States Friday 3-Dec-10 19:30 Metropolitan Opera “I think Don Carlo is the quintessential Verdi opera,” says director Nicholas Hytner (The History Boys, The Madness of King George), who makes his Met debut with this new production, which was greeted with popular success when it opened in London. “Right through this opera there is, on the one hand, an implacable expression of impending doom and, on the other hand, a succession of the most gloriously open-throated arias, the most fantastically determined music.” Roberto Alagna leads the cast in the title role. Ferruccio Furlanetto, Marina Poplavskaya, Anna Smirnova, and Simon Keenlyside also star in Verdi’s most ambitious opera. “Not one of these characters is prepared to accept his or her own tragic destiny,” Hytner says of this epic tragedy in which romantic desire shapes the course of nations. Yannick Nézet-Séguin, back after his triumphant debut leading Carmen, conducts. Yannick Nézet-Séguin, Conductor Marina Poplavskaya, Soprano: Elisabetta di Valois, Queen of Spain Anna Smirnova, Mezzo-soprano Yonghoon Lee, Tenor: Don Carlos Simon Keenlyside, Baritone: Rodrigo Ferruccio Furlanetto, Bass: Phillip II, King of Spain Eric Halfvarson, Bass | ||
| Tuesday 7-Dec-10 19:00 |
Lincoln Center: Metropolitan Opera House, New York City, NY Don Carlo |
Metropolitan Opera Yannick Nézet-Séguin, Conductor Marina Poplavskaya, Soprano: Elisabetta di Valois, Queen of Spain Anna Smirnova, Mezzo-soprano Roberto Alagna, Tenor: Don Carlos Simon Keenlyside, Baritone: Rodrigo Ferruccio Furlanetto, Bass: Phillip II, King of Spain Eric Halfvarson, Bass |
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| Lincoln Center: Metropolitan Opera House, New York City 10023, United States Tuesday 7-Dec-10 19:00 Metropolitan Opera “I think Don Carlo is the quintessential Verdi opera,” says director Nicholas Hytner (The History Boys, The Madness of King George), who makes his Met debut with this new production, which was greeted with popular success when it opened in London. “Right through this opera there is, on the one hand, an implacable expression of impending doom and, on the other hand, a succession of the most gloriously open-throated arias, the most fantastically determined music.” Roberto Alagna leads the cast in the title role. Ferruccio Furlanetto, Marina Poplavskaya, Anna Smirnova, and Simon Keenlyside also star in Verdi’s most ambitious opera. “Not one of these characters is prepared to accept his or her own tragic destiny,” Hytner says of this epic tragedy in which romantic desire shapes the course of nations. Yannick Nézet-Séguin, back after his triumphant debut leading Carmen, conducts. Yannick Nézet-Séguin, Conductor Marina Poplavskaya, Soprano: Elisabetta di Valois, Queen of Spain Anna Smirnova, Mezzo-soprano Roberto Alagna, Tenor: Don Carlos Simon Keenlyside, Baritone: Rodrigo Ferruccio Furlanetto, Bass: Phillip II, King of Spain Eric Halfvarson, Bass | ||
| Saturday 11-Dec-10 12:30 |
Lincoln Center: Metropolitan Opera House, New York City, NY Don Carlo |
Metropolitan Opera Yannick Nézet-Séguin, Conductor Marina Poplavskaya, Soprano: Elisabetta di Valois, Queen of Spain Anna Smirnova, Mezzo-soprano Roberto Alagna, Tenor: Don Carlos Simon Keenlyside, Baritone: Rodrigo Ferruccio Furlanetto, Bass: Phillip II, King of Spain Eric Halfvarson, Bass |
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| Lincoln Center: Metropolitan Opera House, New York City 10023, United States Saturday 11-Dec-10 12:30 Metropolitan Opera “I think Don Carlo is the quintessential Verdi opera,” says director Nicholas Hytner (The History Boys, The Madness of King George), who makes his Met debut with this new production, which was greeted with popular success when it opened in London. “Right through this opera there is, on the one hand, an implacable expression of impending doom and, on the other hand, a succession of the most gloriously open-throated arias, the most fantastically determined music.” Roberto Alagna leads the cast in the title role. Ferruccio Furlanetto, Marina Poplavskaya, Anna Smirnova, and Simon Keenlyside also star in Verdi’s most ambitious opera. “Not one of these characters is prepared to accept his or her own tragic destiny,” Hytner says of this epic tragedy in which romantic desire shapes the course of nations. Yannick Nézet-Séguin, back after his triumphant debut leading Carmen, conducts. Yannick Nézet-Séguin, Conductor Marina Poplavskaya, Soprano: Elisabetta di Valois, Queen of Spain Anna Smirnova, Mezzo-soprano Roberto Alagna, Tenor: Don Carlos Simon Keenlyside, Baritone: Rodrigo Ferruccio Furlanetto, Bass: Phillip II, King of Spain Eric Halfvarson, Bass | ||
| Wednesday 15-Dec-10 19:00 |
Lincoln Center: Metropolitan Opera House, New York City, NY Don Carlo |
Metropolitan Opera Yannick Nézet-Séguin, Conductor Marina Poplavskaya, Soprano: Elisabetta di Valois, Queen of Spain Anna Smirnova, Mezzo-soprano Roberto Alagna, Tenor: Don Carlos Simon Keenlyside, Baritone: Rodrigo Ferruccio Furlanetto, Bass: Phillip II, King of Spain Eric Halfvarson, Bass |
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| Lincoln Center: Metropolitan Opera House, New York City 10023, United States Wednesday 15-Dec-10 19:00 Metropolitan Opera “I think Don Carlo is the quintessential Verdi opera,” says director Nicholas Hytner (The History Boys, The Madness of King George), who makes his Met debut with this new production, which was greeted with popular success when it opened in London. “Right through this opera there is, on the one hand, an implacable expression of impending doom and, on the other hand, a succession of the most gloriously open-throated arias, the most fantastically determined music.” Roberto Alagna leads the cast in the title role. Ferruccio Furlanetto, Marina Poplavskaya, Anna Smirnova, and Simon Keenlyside also star in Verdi’s most ambitious opera. “Not one of these characters is prepared to accept his or her own tragic destiny,” Hytner says of this epic tragedy in which romantic desire shapes the course of nations. Yannick Nézet-Séguin, back after his triumphant debut leading Carmen, conducts. Yannick Nézet-Séguin, Conductor Marina Poplavskaya, Soprano: Elisabetta di Valois, Queen of Spain Anna Smirnova, Mezzo-soprano Roberto Alagna, Tenor: Don Carlos Simon Keenlyside, Baritone: Rodrigo Ferruccio Furlanetto, Bass: Phillip II, King of Spain Eric Halfvarson, Bass | ||
| Saturday 18-Dec-10 12:30 |
Lincoln Center: Metropolitan Opera House, New York City, NY Don Carlo |
Metropolitan Opera Yannick Nézet-Séguin, Conductor Marina Poplavskaya, Soprano: Elisabetta di Valois, Queen of Spain Anna Smirnova, Mezzo-soprano Roberto Alagna, Tenor: Don Carlos Simon Keenlyside, Baritone: Rodrigo Ferruccio Furlanetto, Bass: Phillip II, King of Spain Eric Halfvarson, Bass |
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| Lincoln Center: Metropolitan Opera House, New York City 10023, United States Saturday 18-Dec-10 12:30 Metropolitan Opera “I think Don Carlo is the quintessential Verdi opera,” says director Nicholas Hytner (The History Boys, The Madness of King George), who makes his Met debut with this new production, which was greeted with popular success when it opened in London. “Right through this opera there is, on the one hand, an implacable expression of impending doom and, on the other hand, a succession of the most gloriously open-throated arias, the most fantastically determined music.” Roberto Alagna leads the cast in the title role. Ferruccio Furlanetto, Marina Poplavskaya, Anna Smirnova, and Simon Keenlyside also star in Verdi’s most ambitious opera. “Not one of these characters is prepared to accept his or her own tragic destiny,” Hytner says of this epic tragedy in which romantic desire shapes the course of nations. Yannick Nézet-Séguin, back after his triumphant debut leading Carmen, conducts. Yannick Nézet-Séguin, Conductor Marina Poplavskaya, Soprano: Elisabetta di Valois, Queen of Spain Anna Smirnova, Mezzo-soprano Roberto Alagna, Tenor: Don Carlos Simon Keenlyside, Baritone: Rodrigo Ferruccio Furlanetto, Bass: Phillip II, King of Spain Eric Halfvarson, Bass | ||
| Thursday 13-Jan-11 20:00 |
Chicago Symphony Center, Chicago, IL Chicago Symphony Orchestra |
Chicago Symphony Orchestra Yannick Nézet-Séguin, Conductor Renaud Capuçon, Violin |
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| Chicago Symphony Center, Chicago IL 60604, United States Thursday 13-Jan-11 20:00 Chicago Symphony Orchestra Chicago Symphony Orchestra Yannick Nézet-Séguin, Conductor Renaud Capuçon, Violin | ||
| Friday 14-Jan-11 13:30 |
Chicago Symphony Center, Chicago, IL Chicago Symphony Orchestra |
Chicago Symphony Orchestra Yannick Nézet-Séguin, Conductor Renaud Capuçon, Violin |
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| Chicago Symphony Center, Chicago IL 60604, United States Friday 14-Jan-11 13:30 Chicago Symphony Orchestra Chicago Symphony Orchestra Yannick Nézet-Séguin, Conductor Renaud Capuçon, Violin | ||
| Saturday 15-Jan-11 20:00 |
Chicago Symphony Center, Chicago, IL Chicago Symphony Orchestra |
Chicago Symphony Orchestra Yannick Nézet-Séguin, Conductor Renaud Capuçon, Violin |
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| Chicago Symphony Center, Chicago IL 60604, United States Saturday 15-Jan-11 20:00 Chicago Symphony Orchestra Chicago Symphony Orchestra Yannick Nézet-Séguin, Conductor Renaud Capuçon, Violin | ||
| Sunday 16-Jan-11 15:00 |
Chicago Symphony Center, Chicago, IL Chicago Symphony Orchestra |
Chicago Symphony Orchestra Yannick Nézet-Séguin, Conductor Renaud Capuçon, Violin |
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| Chicago Symphony Center, Chicago IL 60604, United States Sunday 16-Jan-11 15:00 Chicago Symphony Orchestra Chicago Symphony Orchestra Yannick Nézet-Séguin, Conductor Renaud Capuçon, Violin | ||
| Wednesday 19-Jan-11 19:30 |
Royal Festival Hall, London Beethoven and Mahler |
London Philharmonic Orchestra Yannick Nézet-Séguin, Conductor Nicholas Angelich, Piano |
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| Royal Festival Hall, London, United Kingdom Wednesday 19-Jan-11 19:30 Beethoven and Mahler Where the darkness of Mahler’s Sixth Symphony (performed on 14 January) seems to end with a resounding ‘No’, its predecessor retains its fighting spirit from the single trumpet fanfare of its opening moments to the cock-a-hoop orchestral flourish of its closing ones. In between is an epic tussle between mourning and rapture. The music is assured, sweeping, changeable and hair-raising. Mahler had come of age. And if his trumpet heralds a new orchestral style, then Beethoven’s Fifth Piano Concerto wrapped up history’s most remarkable cycle of concertos with suitably explosive and emotive power. London Philharmonic Orchestra Yannick Nézet-Séguin, Conductor Nicholas Angelich, Piano | ||
| Saturday 22-Jan-11 19:30 |
Royal Festival Hall, London Franck and Fauré |
London Philharmonic Orchestra Yannick Nézet-Séguin, Conductor Sally Matthews, Soprano Gerald Finley, Baritone London Philharmonic Choir |
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| Royal Festival Hall, London, United Kingdom Saturday 22-Jan-11 19:30 Franck and Fauré After the fire and brimstone of settings by Mozart and Verdi, the contemplative, restful Requiem by Gabriel Fauré seemed to propose a new religious philosophy. Fauré’s work is at its most powerful when at its most calm and reassuring; its clean lines, pure vocal textures and elegant orchestrations feel characteristically French in their understatement. But César Frank created very French music, too, albeit with rather different means. His Symphony in D minor ‘risked a great deal’ in his own words. The expanse of Bruckner, the narrative suggestion of Liszt and the compelling ‘motto’ techniques of Beethoven combined to create Franck’s imposing signature work. London Philharmonic Orchestra Yannick Nézet-Séguin, Conductor Sally Matthews, Soprano Gerald Finley, Baritone London Philharmonic Choir | ||
| Wednesday 16-Feb-11 19:30 |
Royal Festival Hall, London Ravel and Berlioz |
London Philharmonic Orchestra Yannick Nézet-Séguin, Conductor Anna Caterina Antonacci, Soprano |
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| Royal Festival Hall, London, United Kingdom Wednesday 16-Feb-11 19:30 Ravel and Berlioz As a performance of Shakespeare’s Hamlet unfurled before a Paris audience in 1827, one theatregoer got more than he bargained for. He not only ‘glimpsed the whole heaven of art’ on hearing Shakespeare’s text, but also fell madly in love with Harriet Smithson, the young Irish actress playing Ophelia. That audience member was a young composer, Hector Berlioz. Artistic possibility, passionate love and unerring striving fused in him. He became the great Romantic he’s known as today, and set about thrusting all his feelings into a yearning, heartfelt symphony, the Symphonie fantastique. Berlioz’s untouchable, captivating musical language was born. London Philharmonic Orchestra Yannick Nézet-Séguin, Conductor Anna Caterina Antonacci, Soprano | ||
| Saturday 19-Feb-11 19:30 |
Royal Festival Hall, London Mozart and Mahler |
London Philharmonic Orchestra Yannick Nézet-Séguin, Conductor Stefan Jackiw, Violin Richard O'Neill, Viola Sarah Connolly, Mezzo-soprano Toby Spence, Tenor |
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| Royal Festival Hall, London, United Kingdom Saturday 19-Feb-11 19:30 Mozart and Mahler 1908, and the broken, vilified Mahler was forced to resign his directorship of the Vienna Court Opera. At this dusk of his compositional life he turned to his most cherished textural combination: voice and orchestra. The result was his Song of the Earth – an allegory of life and death; a summation of man’s existence on the planet; a final marrying of song and symphony. And Mahler achieves something in this music that Mozart had two centuries earlier in his Sinfonia Concertante. He lets us glimpse his own soul. Like Mozart had before him, he lays himself bare with the most achingly personal music imaginable.   Mozart, Wolfgang Amadeus (1756-1791), Sinfonia Concertante for Violin and Viola in E flat major, K364 (K320d)London Philharmonic Orchestra Yannick Nézet-Séguin, Conductor Stefan Jackiw, Violin Richard O'Neill, Viola Sarah Connolly, Mezzo-soprano Toby Spence, Tenor | ||
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