Performer: Paolo Arrivabeni| Date | Event | Composers, Works, Performers |
|---|---|---|
| Sunday 25-Aug-13 03:00pm |
 Palais Opéra, LiègeWagner Gala |
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| Palais Opéra, Liège, Espace Bavière, Boulevard de la Constitution, 4020 Liège, Belgium Sunday 25-Aug-13 03:00pm Wagner Gala | ||
| Friday 31-Jan-14 08:00pm |
Palais Opéra, Liège Fidelio |
Opéra Royal de Wallonie Paolo Arrivabeni, Conductor Mario Martone, Director Sergio Tramonti, Set Designer Deborah Voigt, Soprano: Leonore Cinzia Forte, Soprano: Marzelline Zoran Todorovich, Tenor: Florestan Yuri Gorodetski, Tenor: Jaquino Thomas Gazheli, Bass-baritone: Don Pizarro Laurent Kubla, Baritone: Don Fernando Franz Hawlata, Bass: Rocco Orchestre de l'Opéra Royal de Wallonie Choir of Opéra Royal de Wallonie |
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| Palais Opéra, Liège, Espace Bavière, Boulevard de la Constitution, 4020 Liège, Belgium Friday 31-Jan-14 08:00pm New coproduction of Opéra Royal de Wallonie-Liège and Teatro Regio de Turin.
Commande du baron von Braun, propriétaire du Theater an der Wien, Fidelio est l’unique opéra écrit par Beethoven. Il fut d’ailleurs l’objet de plusieurs adaptations afin qu’il rencontre le succès escompté. Fidelio est l’un des rares exemples dans l’histoire de l’opéra, où la femme n’est ni une victime soumise ni l’instrument perfide de la fatalité. L’héroïne, Leonore, qui utilise le subterfuge à des fins positives et encourt des risques majeurs, est un caractère d’une force exceptionnelle, incarnation victorieuse de tous les idéaux du compositeur. Paolo Arrivabeni, Conductor Mario Martone, Director Sergio Tramonti, Set Designer Deborah Voigt, Soprano: Leonore Cinzia Forte, Soprano: Marzelline Zoran Todorovich, Tenor: Florestan Yuri Gorodetski, Tenor: Jaquino Thomas Gazheli, Bass-baritone: Don Pizarro Laurent Kubla, Baritone: Don Fernando Franz Hawlata, Bass: Rocco Orchestre de l'Opéra Royal de Wallonie Choir of Opéra Royal de Wallonie | ||
| Sunday 2-Feb-14 03:00pm |
Palais Opéra, Liège Fidelio |
Opéra Royal de Wallonie Paolo Arrivabeni, Conductor Mario Martone, Director Sergio Tramonti, Set Designer Deborah Voigt, Soprano: Leonore Cinzia Forte, Soprano: Marzelline Zoran Todorovich, Tenor: Florestan Yuri Gorodetski, Tenor: Jaquino Thomas Gazheli, Bass-baritone: Don Pizarro Laurent Kubla, Baritone: Don Fernando Franz Hawlata, Bass: Rocco Orchestre de l'Opéra Royal de Wallonie Choir of Opéra Royal de Wallonie |
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| Palais Opéra, Liège, Espace Bavière, Boulevard de la Constitution, 4020 Liège, Belgium Sunday 2-Feb-14 03:00pm New coproduction of Opéra Royal de Wallonie-Liège and Teatro Regio de Turin.
Commande du baron von Braun, propriétaire du Theater an der Wien, Fidelio est l’unique opéra écrit par Beethoven. Il fut d’ailleurs l’objet de plusieurs adaptations afin qu’il rencontre le succès escompté. Fidelio est l’un des rares exemples dans l’histoire de l’opéra, où la femme n’est ni une victime soumise ni l’instrument perfide de la fatalité. L’héroïne, Leonore, qui utilise le subterfuge à des fins positives et encourt des risques majeurs, est un caractère d’une force exceptionnelle, incarnation victorieuse de tous les idéaux du compositeur. Paolo Arrivabeni, Conductor Mario Martone, Director Sergio Tramonti, Set Designer Deborah Voigt, Soprano: Leonore Cinzia Forte, Soprano: Marzelline Zoran Todorovich, Tenor: Florestan Yuri Gorodetski, Tenor: Jaquino Thomas Gazheli, Bass-baritone: Don Pizarro Laurent Kubla, Baritone: Don Fernando Franz Hawlata, Bass: Rocco Orchestre de l'Opéra Royal de Wallonie Choir of Opéra Royal de Wallonie | ||
| Tuesday 4-Feb-14 08:00pm |
Palais Opéra, Liège Fidelio |
Opéra Royal de Wallonie Paolo Arrivabeni, Conductor Mario Martone, Director Sergio Tramonti, Set Designer Deborah Voigt, Soprano: Leonore Cinzia Forte, Soprano: Marzelline Zoran Todorovich, Tenor: Florestan Yuri Gorodetski, Tenor: Jaquino Thomas Gazheli, Bass-baritone: Don Pizarro Laurent Kubla, Baritone: Don Fernando Franz Hawlata, Bass: Rocco Orchestre de l'Opéra Royal de Wallonie Choir of Opéra Royal de Wallonie |
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| Palais Opéra, Liège, Espace Bavière, Boulevard de la Constitution, 4020 Liège, Belgium Tuesday 4-Feb-14 08:00pm New coproduction of Opéra Royal de Wallonie-Liège and Teatro Regio de Turin.
Commande du baron von Braun, propriétaire du Theater an der Wien, Fidelio est l’unique opéra écrit par Beethoven. Il fut d’ailleurs l’objet de plusieurs adaptations afin qu’il rencontre le succès escompté. Fidelio est l’un des rares exemples dans l’histoire de l’opéra, où la femme n’est ni une victime soumise ni l’instrument perfide de la fatalité. L’héroïne, Leonore, qui utilise le subterfuge à des fins positives et encourt des risques majeurs, est un caractère d’une force exceptionnelle, incarnation victorieuse de tous les idéaux du compositeur. Paolo Arrivabeni, Conductor Mario Martone, Director Sergio Tramonti, Set Designer Deborah Voigt, Soprano: Leonore Cinzia Forte, Soprano: Marzelline Zoran Todorovich, Tenor: Florestan Yuri Gorodetski, Tenor: Jaquino Thomas Gazheli, Bass-baritone: Don Pizarro Laurent Kubla, Baritone: Don Fernando Franz Hawlata, Bass: Rocco Orchestre de l'Opéra Royal de Wallonie Choir of Opéra Royal de Wallonie | ||
| Thursday 6-Feb-14 08:00pm |
Palais Opéra, Liège Fidelio |
Opéra Royal de Wallonie Paolo Arrivabeni, Conductor Mario Martone, Director Sergio Tramonti, Set Designer Deborah Voigt, Soprano: Leonore Cinzia Forte, Soprano: Marzelline Zoran Todorovich, Tenor: Florestan Yuri Gorodetski, Tenor: Jaquino Thomas Gazheli, Bass-baritone: Don Pizarro Laurent Kubla, Baritone: Don Fernando Franz Hawlata, Bass: Rocco Orchestre de l'Opéra Royal de Wallonie Choir of Opéra Royal de Wallonie |
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| Palais Opéra, Liège, Espace Bavière, Boulevard de la Constitution, 4020 Liège, Belgium Thursday 6-Feb-14 08:00pm New coproduction of Opéra Royal de Wallonie-Liège and Teatro Regio de Turin.
Commande du baron von Braun, propriétaire du Theater an der Wien, Fidelio est l’unique opéra écrit par Beethoven. Il fut d’ailleurs l’objet de plusieurs adaptations afin qu’il rencontre le succès escompté. Fidelio est l’un des rares exemples dans l’histoire de l’opéra, où la femme n’est ni une victime soumise ni l’instrument perfide de la fatalité. L’héroïne, Leonore, qui utilise le subterfuge à des fins positives et encourt des risques majeurs, est un caractère d’une force exceptionnelle, incarnation victorieuse de tous les idéaux du compositeur. Paolo Arrivabeni, Conductor Mario Martone, Director Sergio Tramonti, Set Designer Deborah Voigt, Soprano: Leonore Cinzia Forte, Soprano: Marzelline Zoran Todorovich, Tenor: Florestan Yuri Gorodetski, Tenor: Jaquino Thomas Gazheli, Bass-baritone: Don Pizarro Laurent Kubla, Baritone: Don Fernando Franz Hawlata, Bass: Rocco Orchestre de l'Opéra Royal de Wallonie Choir of Opéra Royal de Wallonie | ||
| Saturday 8-Feb-14 08:00pm |
Palais Opéra, Liège Fidelio |
Opéra Royal de Wallonie Paolo Arrivabeni, Conductor Mario Martone, Director Sergio Tramonti, Set Designer Deborah Voigt, Soprano: Leonore Cinzia Forte, Soprano: Marzelline Zoran Todorovich, Tenor: Florestan Yuri Gorodetski, Tenor: Jaquino Thomas Gazheli, Bass-baritone: Don Pizarro Laurent Kubla, Baritone: Don Fernando Franz Hawlata, Bass: Rocco Orchestre de l'Opéra Royal de Wallonie Choir of Opéra Royal de Wallonie |
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| Palais Opéra, Liège, Espace Bavière, Boulevard de la Constitution, 4020 Liège, Belgium Saturday 8-Feb-14 08:00pm New coproduction of Opéra Royal de Wallonie-Liège and Teatro Regio de Turin.
Commande du baron von Braun, propriétaire du Theater an der Wien, Fidelio est l’unique opéra écrit par Beethoven. Il fut d’ailleurs l’objet de plusieurs adaptations afin qu’il rencontre le succès escompté. Fidelio est l’un des rares exemples dans l’histoire de l’opéra, où la femme n’est ni une victime soumise ni l’instrument perfide de la fatalité. L’héroïne, Leonore, qui utilise le subterfuge à des fins positives et encourt des risques majeurs, est un caractère d’une force exceptionnelle, incarnation victorieuse de tous les idéaux du compositeur. Paolo Arrivabeni, Conductor Mario Martone, Director Sergio Tramonti, Set Designer Deborah Voigt, Soprano: Leonore Cinzia Forte, Soprano: Marzelline Zoran Todorovich, Tenor: Florestan Yuri Gorodetski, Tenor: Jaquino Thomas Gazheli, Bass-baritone: Don Pizarro Laurent Kubla, Baritone: Don Fernando Franz Hawlata, Bass: Rocco Orchestre de l'Opéra Royal de Wallonie Choir of Opéra Royal de Wallonie | ||
| Tuesday 11-Feb-14 08:00pm |
Palais Opéra, Liège Fidelio |
Opéra Royal de Wallonie Paolo Arrivabeni, Conductor Mario Martone, Director Sergio Tramonti, Set Designer Deborah Voigt, Soprano: Leonore Cinzia Forte, Soprano: Marzelline Zoran Todorovich, Tenor: Florestan Yuri Gorodetski, Tenor: Jaquino Thomas Gazheli, Bass-baritone: Don Pizarro Laurent Kubla, Baritone: Don Fernando Franz Hawlata, Bass: Rocco Orchestre de l'Opéra Royal de Wallonie Choir of Opéra Royal de Wallonie |
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| Palais Opéra, Liège, Espace Bavière, Boulevard de la Constitution, 4020 Liège, Belgium Tuesday 11-Feb-14 08:00pm New coproduction of Opéra Royal de Wallonie-Liège and Teatro Regio de Turin.
Commande du baron von Braun, propriétaire du Theater an der Wien, Fidelio est l’unique opéra écrit par Beethoven. Il fut d’ailleurs l’objet de plusieurs adaptations afin qu’il rencontre le succès escompté. Fidelio est l’un des rares exemples dans l’histoire de l’opéra, où la femme n’est ni une victime soumise ni l’instrument perfide de la fatalité. L’héroïne, Leonore, qui utilise le subterfuge à des fins positives et encourt des risques majeurs, est un caractère d’une force exceptionnelle, incarnation victorieuse de tous les idéaux du compositeur. Paolo Arrivabeni, Conductor Mario Martone, Director Sergio Tramonti, Set Designer Deborah Voigt, Soprano: Leonore Cinzia Forte, Soprano: Marzelline Zoran Todorovich, Tenor: Florestan Yuri Gorodetski, Tenor: Jaquino Thomas Gazheli, Bass-baritone: Don Pizarro Laurent Kubla, Baritone: Don Fernando Franz Hawlata, Bass: Rocco Orchestre de l'Opéra Royal de Wallonie Choir of Opéra Royal de Wallonie | ||
| Wednesday 4-Jun-14 07:30pm |
Deutsche Oper, Berlin Maria Stuarda |
Maria Stuarda (Donizetti) (in concert) Deutsche Oper Berlin Paolo Arrivabeni, Conductor Joyce DiDonato, Mezzo-soprano: Maria Stuarda Christina Sidak, Mezzo-soprano: Anna Carmen Giannattasio, Soprano: Elisabetta Joseph Calleja, Tenor: Earl of Leicester Davide Luciano, Baritone: Cecil Marko Mimica, Bass: Talbot |
| More info...Buy tickets! | ||
| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Wednesday 4-Jun-14 07:30pm Maria Stuarda (Donizetti, Gaetano (1797-1848)) (in concert) In Italian language with German surtitles.
In the years of the “Risorgimento”, the Italian independence movement in the first half of the 19th century, the idea of an opera being banned because of the effect it had on the public hardly raised an eyebrow. Just as Giuseppe Verdi often had to deal with the demands of a narrow-minded Office of Censorship, so Gaetano Donizetti, 16 years his senior, was dogged by the same problems. His opera MARIA STUARDA, based on Friedrich Schiller's “Maria Stuart”, was particularly subject to the attention of the censor. The story goes that the Queen of the two Sicilies, Maria Christina of Naples, attending a performance of the opera, was so affected by the confession scene at the end of the last act that she fainted, leading to the summary banning of the work. Even if the tale is no more than a legend – and a clever one at that – the opera's story-line is no less emotive and delicate for it. A queen who is executed at the end of the story was not considered an appropriate figure for an opera heroine in a country struggling desperately to achieve national unity while suffering occupation by one foreign country after another. Donizetti reworked his opera from scratch but still witnessed it failing to ignite the public. Over a year later, in December 1835, MARIA STUARDA premiered at the Scala, Milan, in the original version – to equally poor reception. Not until the end of the 1950s was MARIA STUARDA rediscovered. Ever since then, prima donnas such as Joan Sutherland, Montserrat Caballé, Edita Gruberova and Janet Baker have played their part in establishing the opera as an outstanding example of bel canto. In the concert performances of the work at the Deutsche Oper Berlin Joyce DiDonato, fresh from her triumphant turn as Mary Stuart at the New York Metropolitan Opera, will sing the title role. Paolo Arrivabeni, Conductor Joyce DiDonato, Mezzo-soprano: Maria Stuarda Christina Sidak, Mezzo-soprano: Anna Carmen Giannattasio, Soprano: Elisabetta Joseph Calleja, Tenor: Earl of Leicester Davide Luciano, Baritone: Cecil Marko Mimica, Bass: Talbot | ||
| Saturday 7-Jun-14 07:30pm |
Deutsche Oper, Berlin Maria Stuarda |
Maria Stuarda (Donizetti) (in concert) Deutsche Oper Berlin Paolo Arrivabeni, Conductor Joyce DiDonato, Mezzo-soprano: Maria Stuarda Christina Sidak, Mezzo-soprano: Anna Carmen Giannattasio, Soprano: Elisabetta Joseph Calleja, Tenor: Earl of Leicester Davide Luciano, Baritone: Cecil Marko Mimica, Bass: Talbot |
| More info...Buy tickets! | ||
| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Saturday 7-Jun-14 07:30pm Maria Stuarda (Donizetti, Gaetano (1797-1848)) (in concert) In Italian language with German surtitles.
In the years of the “Risorgimento”, the Italian independence movement in the first half of the 19th century, the idea of an opera being banned because of the effect it had on the public hardly raised an eyebrow. Just as Giuseppe Verdi often had to deal with the demands of a narrow-minded Office of Censorship, so Gaetano Donizetti, 16 years his senior, was dogged by the same problems. His opera MARIA STUARDA, based on Friedrich Schiller's “Maria Stuart”, was particularly subject to the attention of the censor. The story goes that the Queen of the two Sicilies, Maria Christina of Naples, attending a performance of the opera, was so affected by the confession scene at the end of the last act that she fainted, leading to the summary banning of the work. Even if the tale is no more than a legend – and a clever one at that – the opera's story-line is no less emotive and delicate for it. A queen who is executed at the end of the story was not considered an appropriate figure for an opera heroine in a country struggling desperately to achieve national unity while suffering occupation by one foreign country after another. Donizetti reworked his opera from scratch but still witnessed it failing to ignite the public. Over a year later, in December 1835, MARIA STUARDA premiered at the Scala, Milan, in the original version – to equally poor reception. Not until the end of the 1950s was MARIA STUARDA rediscovered. Ever since then, prima donnas such as Joan Sutherland, Montserrat Caballé, Edita Gruberova and Janet Baker have played their part in establishing the opera as an outstanding example of bel canto. In the concert performances of the work at the Deutsche Oper Berlin Joyce DiDonato, fresh from her triumphant turn as Mary Stuart at the New York Metropolitan Opera, will sing the title role. Paolo Arrivabeni, Conductor Joyce DiDonato, Mezzo-soprano: Maria Stuarda Christina Sidak, Mezzo-soprano: Anna Carmen Giannattasio, Soprano: Elisabetta Joseph Calleja, Tenor: Earl of Leicester Davide Luciano, Baritone: Cecil Marko Mimica, Bass: Talbot | ||
| Sunday 20-Jul-14 07:00pm |
National Theatre, Munich Lucrezia Borgia |
Bavarian State Opera Paolo Arrivabeni, Conductor Christof Loy, Director Henrik Ahr, Set Designer Edita Gruberová, Soprano: Lucrezia Borgia Silvia Tro Santafé, Mezzo-soprano: Maffio Orsini Andrea Borghini, Baritone: Ascanio Petrucci Tareq Nazmi, Bass: Astolfo Pavol Breslik, Tenor: Gennaro Dean Power, Tenor: Rustighello John Relyea, Bass-baritone: Duke Alfonso Christian Rieger, Bass: Gazella Goran Juric, Bass: Gubetta |
 Wilfried Hösl.jpg "Image credit: © Wilfried Hösl") | ||
| National Theatre, Munich, Munich, Germany Sunday 20-Jul-14 07:00pm Lucrezia Borgia, brewer of poisons, adulteress and murderer, does her best to live up to an image of womankind created by men, and just as passionately she does whatever she can to find a new identity. Her son Gennaro falls in love at first sight with her – unaware that she is his mother. Overzealous, in the circle of his young friends, he disgraces her name. For this, he must repent: Don Alfonso, her husband, is determined to put his putative rival out of the way. Poison comes into play. But Gennaro is rescued – by her. Then poison is served up a second time, this time by her, indiscriminately, to the whole group of men. She doesn’t notice Gennaro’s presence until it is too late, and too late she confesses that she is his mother. Gennaro is dead. What remains is a pitiless trauma for the survivors.
Sung in Italian with German surtitles Image credit: © Wilfried Hösl Paolo Arrivabeni, Conductor Christof Loy, Director Henrik Ahr, Set Designer Edita Gruberová, Soprano: Lucrezia Borgia Silvia Tro Santafé, Mezzo-soprano: Maffio Orsini Andrea Borghini, Baritone: Ascanio Petrucci Tareq Nazmi, Bass: Astolfo Pavol Breslik, Tenor: Gennaro Dean Power, Tenor: Rustighello John Relyea, Bass-baritone: Duke Alfonso Christian Rieger, Bass: Gazella Goran Juric, Bass: Gubetta | ||
| Sunday 27-Jul-14 07:30pm |
National Theatre, Munich Lucrezia Borgia |
Bavarian State Opera Paolo Arrivabeni, Conductor Christof Loy, Director Henrik Ahr, Set Designer Edita Gruberová, Soprano: Lucrezia Borgia Silvia Tro Santafé, Mezzo-soprano: Maffio Orsini Andrea Borghini, Baritone: Ascanio Petrucci Tareq Nazmi, Bass: Astolfo Pavol Breslik, Tenor: Gennaro Dean Power, Tenor: Rustighello John Relyea, Bass-baritone: Duke Alfonso Christian Rieger, Bass: Gazella Goran Juric, Bass: Gubetta |
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| National Theatre, Munich, Munich, Germany Sunday 27-Jul-14 07:30pm Lucrezia Borgia, brewer of poisons, adulteress and murderer, does her best to live up to an image of womankind created by men, and just as passionately she does whatever she can to find a new identity. Her son Gennaro falls in love at first sight with her – unaware that she is his mother. Overzealous, in the circle of his young friends, he disgraces her name. For this, he must repent: Don Alfonso, her husband, is determined to put his putative rival out of the way. Poison comes into play. But Gennaro is rescued – by her. Then poison is served up a second time, this time by her, indiscriminately, to the whole group of men. She doesn’t notice Gennaro’s presence until it is too late, and too late she confesses that she is his mother. Gennaro is dead. What remains is a pitiless trauma for the survivors.
Sung in Italian with German surtitles Image credit: © Wilfried Hösl Paolo Arrivabeni, Conductor Christof Loy, Director Henrik Ahr, Set Designer Edita Gruberová, Soprano: Lucrezia Borgia Silvia Tro Santafé, Mezzo-soprano: Maffio Orsini Andrea Borghini, Baritone: Ascanio Petrucci Tareq Nazmi, Bass: Astolfo Pavol Breslik, Tenor: Gennaro Dean Power, Tenor: Rustighello John Relyea, Bass-baritone: Duke Alfonso Christian Rieger, Bass: Gazella Goran Juric, Bass: Gubetta | ||
