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He performs in concerts and recitals at the leading world’s concert halls, in the repertory ranging from Verdi’s Requiem to Russian songs and Schubert’s Winterreise. He has made numerous recordings of opera on CD and DVD, and his performances were broadcasted internationally over the radio and television. He feels equally at home at many opera houses such as La Scala in Milan, London's Royal Opera House, the Vienna State Opera, the Opera National de Paris, and the Metropolitan Opera as well in Rome, Turin, Florence, Bologna, Palermo, Buenos Aires, Los Angeles, San Diego, and Moscow. At the Mariinsky Theatre in St. Petersburg, he has become the first Italian bass to appear in the title role of Boris Godunov.
Production
In 2011, Jason collaborated with director Joel Ivany and designer Camellia Koo to conceive a production of I Capuleti e i Montecchi that placed third in the biennial European Opera-Directing Prize. He has been nominated eight times for Dora Awards for Outstanding Lighting Design, and is a protégé recipient of the prestigious Siminovitch Prize in Theatre. He has won a Montreal English Theatre Award for his lighting of the NAC/Centaur co-production of The Adventures of a Black Girl in Search of God.
Fight & Intimacy Director
It was in an early Lyon production of Berlioz’s Béatrice et Bénédict that Ms. Graham scored particular raves from the international press, and a triumph in the title role of Massenet’s Chérubin at Covent Garden sealed her operatic stardom. Further invitations to collaborate on French music were forthcoming from many of its preeminent conductors, including Sir Colin Davis, Charles Dutoit, James Levine and Seiji Ozawa. New productions of Gluck’s Iphigénie en Tauride, Berlioz’s La damnation de Faust and Massenet’s Werther were mounted for the mezzo in New York, London, Paris, Chicago, San Francisco and beyond. She recently made title role debuts in Offenbach’s comic masterpieces La belle Hélène and The Grand Duchess of Gerolstein at Santa Fe Opera, as well as proving herself the standout star of the Met’s star-studded revival of Les Troyens, which was broadcast live to cinema audiences worldwide in the company’s celebrated “Live in HD” series.
Stage Director / Movement
Act I Scene 1 – In a forestPrince Golaud of Allemonde has been out hunting but is now lost. Golaud gradually learns that she too is lost, having fled an unknown place, and that her name is Mélisande. The Tony and Olivier Award winning lighting designer, Paule Constable, is one of the most recognized artists in her field today. Mr. Furlanetto made his LA Opera debut in 2006 as King Philip II in Don Carlo, a role he reprised in 2018.
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A familiar face at New York’s Metropolitan Opera, she also maintains a strong international presence at such key venues as Paris’s Théâtre du Châtelet, Santa Fe Opera and the Hollywood Bowl. She won a Grammy Award for her collection of Ives songs, and has also been recognized throughout her career as one of the foremost exponents of French vocal music. Although a native of Texas, she was awarded the French government’s prestigious “Chevalier de la Légion d’Honneur,” both for her popularity as a performer in France and in honor of her commitment to French music. Despite some prestigious productions and sumptuous casts, the Opera declined slowly until 1970, when major reforms were instituted. Whilst the troupe was dissolved and the theatre was closed, Roilf Liebermann was appointed managing director of the Paris Opera, with Georg Solti serving for a time as musical advisor.
Il Primo Omicidio - National Opera of Paris (
She immediately began booking traveling shows to appear, and by the turn of the century the big-time entertainers came. The grand opening at the Opera House featured Hamilton’s Royal Australian Minstrels, which played to a packed house. Iago brings Cassio and they converse frivolously about Cassio's mistress Bianca. Otello watches, just out of earshot; he observes their humorous banter and assumes they are laughing about Desdemona. Cassio describes finding a mysterious handkerchief in his quarters and shows it to Iago, who makes sure that Otello sees it also.
Company
While working toward a Masters in Music at Florida State University under the direction of Douglas Fisher and voice teacher David Okerlund, Mr. Ciaramitaro performed the roles of Alfredo in La Traviata, Charles II in Carlisle Floyd’s Prince of Players, and Don Ramiro in La Cenerentola. Mr. Ciaramitaro earned a Bachelor of Arts degree from Rollins College and studied with tenor Richard Owens. Having studied at the Moscow Academy of the Choral Arts with Dmitry Vdovin, Mr. Golovatenko was awarded first prize at the St. Petersburg Three Centuries of Classical Romance Competition and second prize at Dresden's International Competizione dell'Opera. A leading baritone at the Bolshoi Opera, Igor Golovatenko will return there this season as Shchelkalov in Boris Godunov, Malatesta in Don Pasquale, Lescaut in Manon Lescaut, Rodrigo in Don Carlo, and Robert in Iolanta. He has previously appeared at the Bolshoi as Germont in La Traviata, Posa in Don Carlo and Marcello in La Boheme.
The History of Paris Ballet & Opera
It continued on as France's most prestigious opera house right through the World Wars and into the 1960s. Perrin converted the Bouteille tennis court, located on the Rue des Fossés de Nesles (now 42 Rue Mazarine),[8] into a rectangular facility with provisions for stage machinery and scenery changes and a capacity of about 1200 spectators. Academy artists, led by conductor Yshani Perinpanayagam and director Ted Huffman, delve into Kurt Weill's “American opera” and reveal its resonance today. The Paris Opera offers you the possibility to discover the backstage world of this modern theatre, whose dimensions are impressive, created in 1989 by Carlos Ott. Beyond the Rotonde des Abonnés, the Bassin de la Pythia leads to the Grand Escalier with its magnificent thirty-meter-high vault. Built of marble of various colours, it is home to the double staircase leading to the foyers and the various floors of the theatre.
More recently, she made title role debuts in Offenbach’s comic masterpieces La belle Hélène and The Grand Duchess of Gerolstein at Santa Fe Opera, as well as proving herself the standout star of the Met’s star-studded revival of Les Troyens, which was broadcast live to cinema audiences worldwide in the company’s celebrated “Live in HD” series. Such great cantatas and symphonic song cycles as Berlioz’s La mort de Cléopâtre and Les nuits d’été, Ravel’s Shéhérazade and Chausson’s Poème de l’amour et de la mer provide opportunities for collaborations with the world’s leading orchestras, and she makes regular appearances with the New York Philharmonic, Boston Symphony, Orchestre de Paris and London Symphony Orchestra. Career highlights from stages across Europe include her critically acclaimed role and house debut as Rusalka with the Glyndebourne Festival, which was recorded live and released on the Glyndebourne label. She returned to Glyndebourne in the leading role of Paolina in the United Kingdom’s first professionally staged performances of Donizetti’s Poliuto, also recorded live and released on DVD. She made her debut at Teatro Colon in Buenos Aires as Rusalka, and her debut with the Opera National de Paris as Amelia in a new production of Simon Boccanegra, returning as the title role in a new production of Luisa Miller, as Mimi in La Bohème, and for her role debut as Antonia in The Tales of Hoffmann.
He pretends to have heard Cassio having an erotic dream about Desdemona and also to have seen Desdemona’s handkerchief in Cassio’s possession—introducing the handkerchief strategy only minutes after Otello has handled it himself. Despite his apparent devotion to his master, Iago hates Otello because he has promoted Cassio to captain instead of him. Roderigo, a Venetian nobleman, is in love with Desdemona; Iago offers to help him to woo her away from her husband. When the wine begins to flow, he next shames the young Cassio into drinking too much. Cassio is very close to Otello, having acted as his go-between in the courtship of Desdemona.
In 1969, the theatre was given new electrical facilities and, during 1978, part of the original Foyer de la Danse was converted into new rehearsal space for the Ballet company by the architect Jean-Loup Roubert. This consisted of modernizing the stage machinery and electrical facilities, while restoring and preserving the opulent décor, as well as strengthening the structure and foundation of the building. Charles Garnier's project was one of about 170 submitted in the first phase.[48] Each of the entrants was required to submit a motto that summarised their design. On 30 December 1860 the Second Empire of Emperor Napoleon III officially announced an architectural design competition for the design of the new opera house.
And Rinaldo, while also serving as the stage combat instructor for the Bonfils-Stanton Foundation Artists Training Program. His directing credits include productions of Macbeth (Minnesota Opera), Carmen (Vancouver Opera), The Tales of Hoffmann (Edmonton Opera), Gavin Bryars’ Marilyn Forever (Adelaide Festival, Australia) and The Marriage of Figaro (revival at Norwegian National Opera). He is the author of seven (and counting) original librettos for companies such as the Vancouver Symphony Orchestra and the Canadian Opera Company.
Due to its size, the auditorium is frequently—and unfavourably—called a "vessel", and, compared to other world-class opera houses, the acoustics have been described as at best disappointing. One technical feature destined to make it better is that the floor of the orchestra pit is actually a small elevator, which makes it possible to adapt the pit to the requirements of the performance, elevating it for a smaller orchestra and lowering it for a larger and louder one; in its largest configuration, the pit has room for 130 players. Demonstrating strong repertoire versatility in recent seasons, Rihab Chaieb debuted as Charlotte in Werther at Opera Vlaanderen under Giedrė Šlekytė, at Houston Grand Opera in the world premiere of Tarik O’Regan’s The Phoenix, as Rosina (The Barber of Seville) at Cincinnati Opera and as Offenbach’s Fantasio at Opéra de Montpellier. For Dutch National Opera, Chaieb sang Lola in Robert Carsen’s new staging under Lorenzo Viotti, Dorabella at Teatro Santiago de Chile, Kasturbai in Philip Glass’ Satyagraha at Opera Vlaanderen, and received unanimous acclaim for her first Carmen in Lydia Steier’s intense new production for Oper Köln. Celebrated by Opera News as a “masterful musician” with an “instrument of striking finish, smooth and solid throughout its range,” Meachem’s recent performances include Sharpless in Madama Butterfly at Royal Opera House, Marcello in La Bohème at the Metropolitan Opera, and the title role in Nabucco at Oper im Steinbruch. Additionally, Meachem’s Teatro alla Scala debut in Massenet’s Thaïs was acclaimed as the “most impressive performance of the evening” (Opera Online), with his portrayal of Athanaël, alongside Marina Rebeka’s Thaïs, described as “possibly one of the great duos experienced at La Scala in recent decades” (Beckmesser).
French fashion designer Christian Lacroix studied at the University of Montpellier and at the at the École du Louvre. He has been a major force in the international fashion world since opening his own haute couture house in 1975. Verdi’s Macbeth has become a signature role, serving as Colclough’s debut at the Metropolitan Opera, Lyric Opera of Chicago, Bayerische Staatsoper and Luxembourg Opera.
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