|
|
|
| | Arts Calendar / October 29 / Opera |
|
|
|
|
|
Giacomo Puccini's opera in four acts. Adults only. Libretto by Domenico Oliva, Marco Praga, Giuseppe Giacosa, Luigi Illica, Ruggero Leoncavallo, and Giulio Ricordi based on the novel L’histoire du chevalier des Grieux et de Manon Lescaut by Abbé Prévost. Music Director: Jader Bignamini. Director: Adolf Shapiro. Chief Chorus Master: Valery Borisov. Choreographer: Tatiana Baganova. Right from its first night - at Turin’s Teatro Regio, on lst February 1893, Manon Lescaut won the hearts of its audiences. The première was a triumph for the composer: according to contemporary accounts, “all of Italy raved” about the opera. It was also in 1893, in St. Petersburg, that Russia made Manon’s acquaintance. And two years later it was produced by Moscow Private Opera Company, at the Shelaputin Theatre. According to critics, the Company gave a well-integrated and harmonious performance which is hardly surprising – for the conductor, Alessandro Pomè, and the singer of the title role, Cesira Ferrari, had taken part in the Turin première. The fact that the music publisher, Pyotr Jurgenson, issued a piano score in the Russian language immediately after the Moscow première, is an indication of the opera’s popularity. But, surprisingly enough, in the future Manon Lescaut was to be a rare guest at Russian opera houses. Today, remember, the Bolshoi Theatre is producing this opera for the very first time (!) The Bolshoi’s Manon Lescaut is produced by Adolf Shapiro, the eminent theatre director. This will be Shapiro’s third work in opera. Manon was proceeded by his two successful productions at Moscow’s K.S. Stanislavsky and Vl. I Nemirovich-Danchenko’s Musical Theatre - Donizetti’s Lucia di Lammermoor and Lehár’s The Merry Widow.
Bolshoi Theater  |
|
|
|
|
|
|
Opera production. USA 2017, 210 min. New production of Vincenzo Bellini's opera. Conductor Carlo Rizz. Directed by Sir David McVicar. Set designer – Robert Jones. Costume designer – Moritz Junge. Lighting designer – Paule Constable. “Ponselle, Milanov, Sutherland, Callas … after last night, Radvanovsky can add her name to the list,” declared the Huffington Post when Sondra Radvanovsky made her Met role debut as Norma in 2013. The 2017–18 season opens with a new production of Bellini’s masterpiece, starring Radvanovsky as the Druid priestess and Joyce DiDonato as her archrival, Adalgisa—a casting coup for bel canto fans. Tenor Joseph Calleja is Pollione, Norma’s unfaithful husband, and Carlo Rizzi conducts. Sir David McVicar’s evocative production sets the action deep in a Druid forest where nature and ancient ritual rule. Premiere: Teatro alla Scala, Milan, 1831. This opera is an extraordinary fusion of sublime melody, vocal challenge, and dramatic power. It examines an ageless and archetypal situation: a powerful woman compromises her ideals for love, only to find herself betrayed by her lover. But equally gripping is her relationship with the younger woman who is the new object of her former lover’s attention and in whom Norma sees both a rival and a second self. The title role demands dramatic vocal power combined with the agility and technique of a coloratura singer. It is a daunting challenge that few can rise to: those who have are part of operatic lore. Norma is perhaps the archetypal bel canto opera, a style of singing that flourished in Italy in the 18th and early 19th centuries. Its principal features are beauty of tone, legato phrasing, and the delivery of florid ornamentation. The score of Norma is characterized by extraordinary melody punctuated by sharp moments of raw drama. The primary functions of the clear orchestral writing are to move the drama along with vigorous rhythm and to inform certain moments with feeling and emotion.
Formula Kino Lubyanka |
|
|
|
|
|
|
Opera production. USA 2017, 210 min. New production of Vincenzo Bellini's opera. Conductor Carlo Rizz. Directed by Sir David McVicar. Set designer – Robert Jones. Costume designer – Moritz Junge. Lighting designer – Paule Constable. “Ponselle, Milanov, Sutherland, Callas … after last night, Radvanovsky can add her name to the list,” declared the Huffington Post when Sondra Radvanovsky made her Met role debut as Norma in 2013. The 2017–18 season opens with a new production of Bellini’s masterpiece, starring Radvanovsky as the Druid priestess and Joyce DiDonato as her archrival, Adalgisa—a casting coup for bel canto fans. Tenor Joseph Calleja is Pollione, Norma’s unfaithful husband, and Carlo Rizzi conducts. Sir David McVicar’s evocative production sets the action deep in a Druid forest where nature and ancient ritual rule. Premiere: Teatro alla Scala, Milan, 1831. This opera is an extraordinary fusion of sublime melody, vocal challenge, and dramatic power. It examines an ageless and archetypal situation: a powerful woman compromises her ideals for love, only to find herself betrayed by her lover. But equally gripping is her relationship with the younger woman who is the new object of her former lover’s attention and in whom Norma sees both a rival and a second self. The title role demands dramatic vocal power combined with the agility and technique of a coloratura singer. It is a daunting challenge that few can rise to: those who have are part of operatic lore. Norma is perhaps the archetypal bel canto opera, a style of singing that flourished in Italy in the 18th and early 19th centuries. Its principal features are beauty of tone, legato phrasing, and the delivery of florid ornamentation. The score of Norma is characterized by extraordinary melody punctuated by sharp moments of raw drama. The primary functions of the clear orchestral writing are to move the drama along with vigorous rhythm and to inform certain moments with feeling and emotion.
Cinema Park Metropolis |
|
|
|
|
|
|
The virtual community for English-speaking expats and Russians
