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verdi
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ConductorZubin Mehta
DirectorPeter Stein
AIDAScalaallaTeatro
StarringKristin LewisAnita RachvelishviliFabio SartoriMatti Salminen
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Mlada Khudoley | Riccardo Massi | Michael Ryssov | Manuel von Senden | Guanqun Yu
Director Marco Arturo Marelli Conductor Paolo CarignaniPUCCINI
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conductor Franz Welser-Möst director Sven-Eric BechtolfErwin Schrott | Malin Hartelius | Martina Janková | Michael Volle | Judith Schmid | Irène Friedli
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Nicola LuisottiDirector
Claus Guth
Quinn Kelsey Michael Fabiano Olga Peretyatko
Rafal SiwekVesselina Kasarova
Starring
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il trovatoreIN CINEMA
Conductor
Daniele Callegari Director
Alex Ollé Hui He | Marcelo Alvarez | Ludovic Tézier | Ekaterina Semenchuk
May 28 - Noon
DIE ZAUBERFLÖTE(THE MAGIC FLUTE)
Wolfgang Amadeus Mozart
Opera in two actsSung in German
From Bregenz FestivalRecorded July 2013
Three enormous, 27-metre-high fire-spewing “dragon dogs”, a Queen of the Night costume to break all records, three mythi-cal creatures for the three ladies operated by puppeteers, and dozens of stunt artists rushing around the stage: in his staging for the Bregenz Festival, David Pountney offers “a spectacle of the highest caliber” (NeueZürcherZeitung), while providing new answers to the eternal questions surrounding The Magic Flute. The Kuriernewspaper called it “a visually mind-blowing fairy tale”, with Die Welt adding “a colorful as well as smart Magic Flute”.The vocal ensemble leaves nothing to be desired either: Ana Durlovski (voted Singer of the Year by Opernwelt magazine) is captivating as the Queen of the Night with her “flawless coloraturas” (Der Standard), while Norman Reinhardt sings an “outstanding Tamino” (Deutschlandradio) and EikeWilm Schulte is a deluxe casting as Second Knight. Patrick Summers conducts Mozart’s score with the impeccable Vienna Symphony Orchestra.
June 4 - Noon
AIDAGiuseppe Verdi
Opera in four actsSung in Italian
From Teatro Alla Scala di MilanoRecorded in February 2015
After two traditional productions of Aida staged by Zeffirelli in the last decade, this new production of Verdi’s magnificent op-era is presented by two great masters - conductor Zubin Mehta and director Peter Stein. The acclaimed German director (and a naturalized Italian), has promised “eine ganz intime Aida”, a “totally intimate Aida”. He is joined by the renowned Zubin Mehta, who returns the podium of La Scala for Verdi’s quintes-sential lyric opera.
July 2 - Noon
IL TROVATOREGiuseppe Verdi
Opera in 4 actsSung in Italian
Opera de Paris (Opéra Bastille)LIVE February 11, 2016 at 19h30 (Paris time)
In the aftermath of Rigoletto, Verdi’s sole desire was to do something new. However, he became impatient, angry even, when the project to adapt El Trovador, the play by the Span-ish dramatist Antonio García Gutiérrez, aroused only guarded enthusiasm from Salvatore Cammarano, his librettist, and the man to whom Donizetti owed in part the success of Lucia di Lammermoor. Was it due to the libretto’s inordinately improbable storyline or the illness that would ultimately consume him that the poet left the libretto unfinished? Despite the urgings of the irrepressible Verdi, Cammarano would not yield. Herein lays the paradox of Il Trovatore: in the eyes of its detractors it was the epitome of melodrama and yet the formal constraints imposed by Camma-rano fanned the flames of the composer’s passions. Rather than true characters – excepting perhaps Azucena the Gypsy, who guards the secret that will destroy them all – the music por-trays almost abstract figures consumed by passion. Originally intended by Verdi to be a secondary role, Leonora takes on the status of a sacrificial heroine. Her fourth-act cavatina “D’amor sull’ali rosee” is not so much a farewell as an Assumption. Hui He carries this enraptured music to new heights. She is accompanied by Ekaterina Semenchuk, Marcelo Alvarez and Ludovic Tézier, in a new production by Alex Ollé.
July 16- Noon
LE NOZZE DI FIGARO(THE MARRIAGEOF FIGARO)Wolfgang Amadeus Mozart
Opera in four actsSung in Italian
From Zurich Opera HouseRecorded in 2007
Mozart and da Ponte’s very first collaboration resulted in a mas-terpiece – Le nozze di Figaro – that represents a highlight in the entire history of opera.
In his stage play on which the opera is based, Beaumarchais broached the topic of the class struggle between the Count and his servant on the eve of the French Revolution. However, only the brilliance with which Mozart captured the character of each and every figure made the work a classic: “Each one changes, is changed, ground, threshed, torn apart and sewn back together again, until he finally stands before himself as himself and, as-tonished and rejoicing, finds himself again as a completely new person,” says Sven-Eric Bechtolf, who has set his production in the 1930s, thus bringing the plot closer to our own time.
July 30 - NoonTURANDOT
Giacomo Puccini
Opera in 3 actsSung in Italian
Bregenz FestivalRecorded live July 2015
No man shall ever possess her – the Chinese princess Turan-dot sets three riddles for every man that comes to woo her. So far none have been able to solve the riddles, and have paid with their heads. Then an unknown prince achieves the impossible: he correctly answers all three questions. But Turandot is still unwilling to surrender to him. So the Prince is ready to lay down his life if she can find out his name by morning. Through-out the night, no one may sleep: everyone must try to discover his name...
It is this aria sung by Calaf, ‘Nessun dorma‘, that made Gi-acomo Puccini‘s opera Turandot world famous. On the Bregenz stage it‘s delivered against the imposing backdrop of a dragon-shaped wall on Lake Constance. Marco Arturo Marelli‘s stage set makes use of Chinese symbols of power. The stage wall is inspired by the world‘s longest man-made structure, the Great Wall of China. The Bregenz wall is criss-crossed by detach-ments of terracotta warriors, over two hundred in all, some of them sky-high, others half-submerged in the water.
There are Chinese elements in the music, too. Puccini was inspired by tunes from music boxes that a diplomat friend brought back from China. But however Chinese Puccini‘ s last opera might appear, the plot is adapted from a Persian tale and the score is full-blown Italian opera. The powerful Turandot is contrasted with the self-sacrificing Liù, who loves Prince Calaf and knows his name but movingly takes the secret to her grave. The populace mourns her death as passionately as previously it relished the spectacle of Turandot‘s suitors being beheaded.
Fire artists, dancers and soldiers accompany Turandot‘s entrance in Act Two. Before she sets the Prince her riddles, she reveals why she is so hardhearted: long ago a female ancestor of hers was abused and murdered by a man.
Finally, however, Calaf‘s love is able to break the mask of Turandot‘s ancestress. As Puccini wanted, the two of them ‘de-scend through love to the level of mankind, and this love must at the end take possession of the whole stage‘.
August 13 - NoonRIGOLETTO
Giuseppe Verdi
Opera in 3 actsSung in Italian
Opera de Paris (Opéra Bastille)Recorded Spring 2016
“Oh! Victor Hugo’s Le Roi s’amuse is the greatest subject, and perhaps the greatest drama of modern times. It’s a work worthy of Shakespeare!” A few months before he wrote those words to Francesco Maria Piave urging him to “turn Venice upside down and persuade the Censor to authorise the subject” – no easy matter given that moral values would be easily offended – Verdi was working on an adaptation of King Lear.
No doubt, he was already imbued with the play by his revered master, Shakespeare, when he read Victor Hugo’s drama. On discovering in the works of the French writer to whom he would owe Ernani, the greatest triumph of his “difficult years”, a parallel with the triangle formed by the King, his daughter and the jester, it was “like a thunderbolt, an inspiration”. Be-tween the frivolous, licentious Duke, and Gilda, a victim of the ignorance which holds her captive, stands the double-faceted character of the hunchback, both buffoon and curse-obsessed father. Monstrous and heartrending, grotesque and sublime, the title role reaches its apogee in the aria “Cortigiani, vil razza dannata”, whose descending movement, from the explosion of rage to the moment of entreaty, confirms the composer’s ability to adapt a form inherited from bel canto to theatrical realism.
Under the baton of Nicola Luisotti, this new production of Rigoletto marks director Claus Guth’s first collaboration with the Paris Opera.
bizet
© Serg Zastavkin / Shutterstock Images. © Mario Cutreneo / Teatro Antico Taormina.
Carmenancient theatre of taormina
ElEna MaxiMova
director enrico castiglione conductor Myron Michailidis
CHoRUS, oRCHESTRa anD CoRPS DE BallET oF THE TEaTRo MaSSiMo Di PalERMo
in cinema
5/28 The Three Tenors Concert6/4 The Magic Flute6/18 Aida7/2 Il Trovatore7/16 The Marriage of Figaro7/30 Turandot8/13 Rigoletto8/27 The Flying Dutchman9/10 Pavarotti & Friends Duets9/24 Tosca10/10 Carmen
2016Opera Series
at theMovie Picture Showhouse
719-422-83733600 East Main Street
Trinidad, CO 81082
127 Carson Valley WaySanta Fe, New Mexico 87508
505-983-6527www.highsierrahteatres.com
© Cylla von Tiedemann
LegendsFinally on the big screen
THE
THREETENORS
CONCERT
Recorded at
Caracalla, Rome
P R E S E N T E D B Y
SEE BOX OFFICE FOR DETAILS
ConductorZubin Mehta
Pavarotti’s legendaryNessun Dorma
LucianoPavarotti
PlácidoDomingo
JoséCarreras
three_tenors_poster_lrg_1.1.indd 1 04/07/2011 17:57
The Three Tenors 1990Recorded at their first magical concert at the Baths ofCaracalla in Rome in 1990
Magic was created in July 1990, when Luciano Pavarotti, Placido Domingo and José Carreras met onstage at the Baths of Caracalla in Rome and became the Three Tenors. This greatest musical event ever is an awe-inspiring orgy of the greatest hits for the tenor voice. Zubin Mehta exquisitely captures the largeness of this bonanza through the grandiose orchestra.
Concert Program1. José Carreras - Il Lamento Di Federico - Andrea Bocelli 2. Placido Domingo - Beau Paradis - Giacomo Meyerbeer (L’Africaine)3. Luciano Pavarotti - Recondita Armonia - Giacomo Puccini (Tosca) 4. Placido Domingo - Dein Ist Mein Ganzes Herz - Franz Lehar (Das Land des Lächelns)5. Luciano Pavarotti - Rondine Al Nido - Vincenzo de Crescenzo 6. José Carreras - Core’ngrato - Alessandro Sisca7. I Vespri Siciliani Sinfonia8. Luciano Pavarotti - Torna A Surriento - Ernesto De Curtis 9. José Carreras – Granada - Agustín Lara 10. Placido Domingo - No Puede Ser - Pablo Sorozabal11. José Carreras – Improvviso - Umberto Giordano (Andrea Chénier)12. Placido Domingo - E Lucevan Le Stelle - Giacomo Puccini (Tosca)13. Luciano Pavarotti - Nessun Dorma - Giacomo Puccini (Turandot)
FINALE MEDLEY: José Carreras, Placido Domingo, Luciano Pavarotti14. Maria - Tonight - ‘O paese d’ ‘o sole - Cielito lindo Memory - Ochi tchorniye - Caminito - La Vie en Rose Mattinata - Wien, Wien, nur du allein - Amapola - ‘O sole mio
Encore:15. José Carreras, Placido Domingo, Luciano Pavarotti - ‘O sole mio16. José Carreras, Placido Domingo, Luciano Pavarotti - Nessun dorma
August 27 - NoonDER FLIEGENDE
HOLLÄNDER(The Flying Dutchman)
Richard Wagner
Opera in three actsSung in German
From Zurich Opera HouseRecorded December 2012
Acclaim for Zürich’s Dutchman – Bryn Terfel’s first recording of the role in any medium: ‘Terfel achieves almost supernatu-ral stage presence...One has no wish to experience any other Dutchman...Gripping, passionate music theatre’ Oper aktuell‘A truly titanic experience’ Financial Times“She (Anja Kampe) has the purity of tone and openness of visage that we associate with Senta, and she phrased her music on a large scale, with unfailing emotional generosity.” Stephen Hastings - Opera News
“Much of the credit for setting that up had to go to the instantly sympathetic Kampe as Senta, a visionary able to make her dream real in a rock-solid ballad. Her answering phrases in the duet only heightened the magic set up by Terfel.” David Nice - TheArtsDesk.com
© Toni Suter / T+T Fotografie / Opernhuas Zurich. Unsplash: ©Josefa Holland Merton, ©F. Romero, ©Sean McAuliffe
Andreas HomokiCONDUCTOR
Alain AltinogluDIRECTOR
Bryn Terfel
Matti SalminenAnja Kampe
wagner
September 10 - Noon
PAVAROTTI & FRIENDS: The DUETS
Concert
Pavarotti annually hosted the “Pavarotti and Friends” concerts in his home town of Modena in Italy, joining with singers from all parts of the music industry to raise money for several humanitarian causes.
Artists:Luciano Pavarotti, James Brown, Sting, Elton John, Eric Clap-ton, Andrea Bocelli, Bono, The Edge, Brian Eno, Eurythmics, Sheryl Crow, Celine Dion, Mariah Carey, Lionel Richie, Zuc-chero, Bryan Adams.
© Terry O’Neill
PAVAROTTI& friendsFeaturing Bryan Adams, Andrea Bocelli,
Bon Jovi, Bono, The Edge, Brian Eno, James Brown, Mariah Carey, Eric Clapton, Sheryl Crow, Celine Dion, Eurythmics, Elton John, Lionel Richie, Sting and Zucchero IN CINEMA
September 24 - NoonTOSCA
Giacomo Puccini
Opera in 3 actsSung in Italian
Opéra Royal de Wallonie - LiègeRecorded in January 2015
Puccini’s fifth opera, Tosca marksan important transition in Puccini’s work. His previous opera, La Bohème, considered by many to be his first masterpiece, is at the same time, the last of Puccini’s work portray the struggles and dreams of society’s lower classes.
With Tosca, Puccini returns to the purest tragedy, focusing on the violent and tragic downfall of three historic figures. Tosca is a highly focused opera, concentrated around the complex and fully developed psychologies of its three main characters. Inspired by the riveting performance of Sarah Bernhardt in the play by Victorien Sardou, Puccini artfully crafted the jealousy, turmoil and despair of the entrancing Floria Tosca. After a period of tormented and stormy writing with his librettists, Puccini finalized his composition just days before the opera’s premiere on January 14, 1900 at Teatro Constanzi in Rome.
Paolo Arrivabeni, musical director of the Royal Opera of Wallonie-Liège conducts this new production directed by Claire Servais.
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Barbara Haveman
MARC LAHORuggero Raimondi
Director
CLAIRE SERVAIS
Conductor
PAolO ARRIVABENI
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Opéra royal de wallonie, liège
October 10 - NoonCARMEN
Georges Bizet
Opera in 4 acts
From Euro Mediterranean Festival
The opera was first performed at the Opera Comique of Paris, on 3 March 1875, and at first was not particularly successful. Its 36 performances, before the conclusion of which Bizet died suddenly, and thus knew nothing of the opera’s later celebrity.
The music of Carmen has been widely acclaimed ever since for its brilliance of melody, harmony, atmosphere and orchestration, and for the skill with which Bizet musically represented the emotions and suffering of his characters. After the composer’s death the score was subject to significant amendment, including the introduction of recitative place of the original dialogue; there is no standard edition of the opera, and different views exist as to what versions best express Bizet’s intentions. The opera has been recorded many times since the first acoustical recording in 1908, and the story has been the subject of many screen and stage adaptations.
This one comes now from the ancient Greek Theater of Taormina as a new production staged by Enrico Castiglione considered, on today’s international scenario, as one of the best-known and respected musi-cal theatre directors and set designer of his generation.
