#Liv Redpath

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they did not have to serve this hard but they did

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liv redpath lucia di lammermoor my absolute beloved........

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Giuseppe Verdi UN BALLO IN MASCHERE Performance from October 27, 2023

Carlo Rizzi

Charles Castronovo, Angela Meade, Quinn Kelse, Liv Redpath, Olesya Petrova

98.9 - All Classical Portland

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Liv Redpath and Joshua Hopkins in ‘Christmas Oratorio’. Photo: Stephanie BergerIn December, concert halls and churches ring with baroque music, especially Handel’s. But this year along with the composer’s ubiquitous Messiah, the American Symphony Orchestra lovingly revived his oratorio Judas Maccabaeus for Hanukkah, and the English Concert’s annual visit brought an unusually gripping Rodelinda to Carnegie Hall, where the Orchestra of St. Luke’s embraced Bach with a rare complete Weihnachtsoratorium.  Though Messiah is most often heard at Christmas, it rightly should be performed near Easter. However, one is more likely to encounter Bach at Easter when his two great Passions dominate, yet his lovely Christmas Oratorio is regularly offered. The Oratorio is made up of six cantatas: one each for the first three days of Christmas, followed by one for the first Sunday after the New Year and for the Feasts of Christ’s Circumcision and the Epiphany. Each cantata lasts twenty to thirty minutes and consists of choruses, chorales, arias and duets and, like the Passions, is narrated by a tenor Evangelist. SEE ALSO: Last-Minute Gifts for the Art Lovers On Your List The Orchestra of St. Luke’s well-known devotion to Bach includes an annual June festival dedicated to the composer; therefore, the excellence of its Christmas Oratorio on December 4 under Principal Conductor Bernard Labadie came as no surprise. In addition to four fine vocal soloists, the concert featured La Chapelle de Québec, the superb thirty-member Canadian chorus founded by Labadie nearly forty years ago. Effortlessly filling Carnegie’s large auditorium, it sang with exemplary precision and clarity accompanied by the alertly vivid orchestra. Particularly outstanding in their frequent obbligati were concertmaster Krista Bennion Feeney and first oboist Melanie Field. Andrew Hajj with his brightly candid tenor excelled as the Evangelist though the fiendishly challenging coloratura of his arias once or twice threatened to elude his grasp. Joshua Hopkins brought a vigorously forthright baritone to his many duties, while the enveloping warmth of Avery Amereau’s contralto made one wish she had more to do. Fresh from her successful Metropolitan Opera debut as Oscar in Verdi’s Un Ballo in Maschera, soprano Liv Redpath once again stepped up to replace the originally announced Lauren Snouffer. Redpath’s glowing soprano grew even more radiant as it rose, and she partnered affectingly with the robust Hopkins in their duets. One was grateful to OSL for offering a complete Weihnachtsoratorium. The repetitive structure of its six cantatas made one understand why usually only the first three are performed. Lucy Crowe in ‘Rodelinda’. Photo: Steve J. ShermanAs London audiences grew weary of the Italian opera seria that brought Handel fame and fortune, the composer turned to English oratorios. Unlike Messiah, nearly all resemble his operas in presenting dramatis personae in conflict, and Saul, Jephtha and Theodora stand with the operas as compelling music dramas. However, Judas Maccabaeus is more of a pageant in which just two of its characters—Judas and his brother Simon—are named. Judas, greatly popular during the 18th and 19th Centuries, appears less frequently these days perhaps due to its occasionally uninspired score as well as its stolid, uninvolving libretto, originally conceived to stir up nationalistic fervor during the mid-1740s, a particularly trying time for the English monarchy. Described in the Apocrypha, Israel’s underdog victory over the Seleucids proved an outstanding parallel for Handel’s nationalistic audiences who were especially taken with the infectious smash hit “See the conquering hero,” which the composer snatched from his earlier Joshua. Soprano Brandie Sutton began uncertainly but soon warmed to a charmingly stylish, if lowkey account of the anonymous Israelitish Woman. As her male counterpart, Deborah Nansteel brought winning authority along with an uncertain grasp of Handel’s idiom, so her frequent duets with Sutton failed to bloom. Tenor Jack Swanson’s irresistibly virile Judas excelled in his rousing warmongering. His challengingly florid lines, however, sometimes lacked the smooth and easy flow that one heard from bass William Guanso Su as a gravely sonorous Simon. The American Symphony Orchestra’s music director and principal conductor Leon Botstein excels at resurrecting long-forgotten 19th- and 20th-century works rarely venturing into the pre-Romantic repertoire. However, he led Judas with a grand yet often lively touch, though Botstein’s methodical reading framed the work in discrete blocks rather in urgent sequences. Prepared by James Bagwell, the combined forces of the Bard Festival Chorale and the Choir of Riverside Church (where the December 14 concert took place) sang the collective Israelites’s at-first mournful then jubilant music with enviable unanimity and thrilling majesty. The English Concert brought along the Clarion Choir when it presented Solomon at Carnegie Hall in March, but for this season’s Handel there, just six singers assembled for Rodelinda which conductor Harry Bicket had led less than two years ago at the Met. The last time the English Concert presented an opera in New York, Serse appeared as if the singers had been left to their own devices and lacked dramatic focus. Rodelinda proved consistently more involving as the performers (all using scores placed on the music stands in front of them) still interacted with fiery commitment. They were aided by Bicket’s intensely propulsive guidance, and his skilled players on period instruments wielded with their accustomed polish. Brandon Cedel sounded as if his brash bass-baritone has been growing and may soon find Garibaldo’s villainous coloratura less easy, but for the December 10 matinee he plotted with suavely devilish glee. While Christine Rice delighted in her character’s predicaments, her dark mezzo consistently found her Eduige’s music a bit too low for comfort. Though he conspicuously relied on his score more than the others, Aryeh Nussbaum Cohen as Unulfo showed off the beautifully seamless countertenor that European opera houses have recently been enjoying. His music also was sometimes a bit too low for him, but he wisely seized any chance to ornament his arias upwards. Their characters pale next to the dangerous royal love triangle that dominates Rodelinda, the third of the remarkable trio of masterpieces, also including Giulio Cesare and Tamerlano, that Handel premiered in less than a year. Nicola Haym’s taut libretto revolves around the usurper Grimoaldo’s efforts to win Rodelinda, whose husband Bertarido he ordered murdered. But Bertarido survived and returns to reclaim his wife, child and throne. Grimoaldo must be Handel’s most complex bad boy, whose biting outbursts are contrasted with exquisite arias of longing. Eric Fenning invested his doomed wooing of the mourning, yet defiant widow with a hypnotic urgency, yet his high, edgy tenor still commanded our sympathy. After Orlando and Rinaldo, Iestyn Davies returned for his third and most successful opera seria with the English Concert. If his countertenor again lacked heroic excitement, he sounded fresher and more involved than he has recently, and time stood still during his ravishing entrance aria “Dove sei, amato bene?” Lucy Crowe proved a frustrating Rodelinda, the opera’s resilient heroine. Long associated with Handel and the English Concert, Crowe thoughtfully wielded a brightly burnished soprano that in many ways was absolutely right for the role. Yet as in other recent performances and recordings, she often indulged in over-the-top ornamentation that invariably took her up to shrieky high notes and caused her to contort her face and body. By the final act, I dreaded every cadence or da capo repeat. In stark contrast, her Rodelinda colleagues added only exceedingly modest decoration to their arias. However, Crowe and Davies blended exquisitely in the opera’s only duet which closed the second act sublimely. [embed]https://www.youtube.com/watch?v=hmB8By4dc7o[/embed] While the Met reportedly has co-productions of Handel’s Alcina, Ariodante and Semele waiting in the wings, one hopes the English Concert will return next season with Tamerlano which, like Rodelinda, was a pandemic casualty. In the meantime, noted Czech mezzo-soprano Magdalena Kožená performs arias from Alcina at Zankel Hall with La Cetra on April 24 followed on May 6 by the Oratorio Society of New York’s rendition of Samson. !function(f,b,e,v,n,t,s) if(f.fbq)return;n=f.fbq=function()n.callMethod? n.callMethod.apply(n,arguments):n.queue.push(arguments); if(!f._fbq)f._fbq=n;n.push=n;n.loaded=!0;n.version='2.0'; n.queue=[];t=b.createElement(e);t.async=!0; t.src=v;s=b.getElementsByTagName(e)[0]; s.parentNode.insertBefore(t,s)(window, document,'script', 'https://connect.facebook.net/en_US/fbevents.js'); fbq('init', '618909876214345'); fbq('track', 'PageView'); #Messiah #Handel #Bach #Resound #Holidays

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La ópera camina en Múnich sobre el alambre | Cultura

La ópera camina en Múnich sobre el alambre | Cultura

Octavian (Samantha Hankey) y Sophie (Liv Redpath) tras la llegada del primero en una carroza de plata conducida por un viejo Cupido.Wilfried Hösl Los buenos aficionados a la ópera saben bien que acudir a Múnich en verano ofrece la posibilidad de, sea cual sea el marco temporal que se elija, asistir día tras día a un buen número de representaciones con un altísimo nivel de calidad asegurado. Una…

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Olivia Vote as The Composer and Liv Redpath as Zerbinetta at Cincinnati Opera’s 2019 Ariadne auf Naxos by Strauss. PC Philip Groshong

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Bayerische Staatsoper 2021/22 - Der Rosenkavalier

Bayerische Staatsoper 2021/22 – Der Rosenkavalier

Foto ©Wilfried Hösl Il ritorno alla normalità della vita musicale tedesca procede a grandi passi e finalmente il pubblico della Bayerische Staatsoper ha potuto assistere di persona al nuovo allestimento di Der Rosenkavalier (more…)

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#Repost @operaliacomp • • • • • • We are proud to announce the singers who will participate in the Operalia Competition in Prague this summer . . . Angelina Akhmedova, soprano, Uzbekistan, 24 Germán Alcántara, baritone, Argentina, 31 Xabier Anduaga, tenor, Spain, 24 Mario Bahg, tenor, South Korea, 29 Dominic Barberi, bass, United Kingdom, 30 Claire Barnett-Jones, mezzo-soprano, United Kingdom, 29 Guadalupe Barrientos, mezzo-soprano, Argentina, 32 Lada Bočková, soprano, Czech Republic, 27 Amanda Lynn Bottoms, mezzo-soprano, USA, 27 Piotr Buszewski, tenor, Poland, 26 Neven Crnić, baritone, Bosnia and Herzegovina, 25 Lauren Decker, contralto, USA, 29 Otgonbat Erdene, baritone, Mongolia, 29 Adriana Gonzalez, soprano, Guatemala, 27 Alyona Guz, soprano, Ukraine, 30 Samuel Hasselhorn, baritone, Germany, 29 Maria Kataeva, mezzo-soprano, Russia, 32 Gihoon Kim, baritone, South Korea, 27 Sungho Kim, tenor, South Korea, 29 Bongani Justice Kubheka, baritone, South Africa, 28 Mykhailo Malafii, tenor, Ukraine, 28 Héloïse Mas, mezzo-soprano, France, 31 Luvuyo Mbundu, baritone, South Africa, 26 Felicia Moore, soprano, USA, 31 Julia Muzychenko, soprano, Russia, 25 Maria Nazarova, soprano, Russia, 30 Christina Nilsson, soprano, Sweden, 29 Daniel Noyola, bass, Mexico, 27 Aryeh Nussbaum Cohen, countertenor, USA/Germany, 25 Igor Onishchenko, baritone, Ukraine, 26 Christian Pursell, bass-baritone, USA, 28 Damir Rakhmonov, tenor, Uzbekistan, 30 Liv Redpath, soprano, USA, 27 Gabriella Reyes, soprano, USA/Nicaragua, 27 Mario Rojas, tenor, Mexico/Spain, 25 Carlos Enrique Santelli, tenor, USA, 27 Anna Shapovalova, soprano, Russia, 31 Grigorii Shkarupa, bass, Russia, 29 Carolyn Sproule, mezzo-soprano, Canada, 31 Robert Watson, tenor, USA, 31 Matthew White, tenor, USA, 27 . . . . #operalia #operalia2019 #theworldoperacompetition #participantsannounced #placidodomingo @narodnidivadlo_opera #prague #prague2019 #opera #operasingers #youngoperasingers @placido_domingo https://www.instagram.com/p/BwkSFx5hs5L/?utm_source=ig_tumblr_share&igshid=1ng21v1yahmji

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the perfect thing to dream away to…

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Classical Music News of the Week, August 25, 2018

LA Master Chorale to Open 2018/19 Season with the Mozart Requiem

The Los Angeles Master Chorale will open its 2018/19 concert season in Walt Disney Concert Hall with two performances of the Mozart Requiem on Saturday, September 22 at 2 PM and Sunday, September 23 at 7 PM.

The performances will feature the full 100-voice Master Chorale and Orchestra, and will be conducted by Grant Gershon, Kiki & David Gindler Artistic Director. Guest soloists for the Requiem are Liv Redpath (soprano), J'Nai Bridges (mezzo-soprano), David Portillo (tenor), and Rod Gilfry (baritone). The concerts will open with Shawn Kirchner's Songs of Ascent--a setting of the Psalms sung by pilgrims journeying to Jerusalem--commissioned and premiered by the Master Chorale in 2015 when Kirchner was the Swan Family Composer-in-Residence. These performances will include three Psalms Kirchner has since added to the piece.

To read the complete Classical Music News of the Week, click here:

https://classicalcandor.blogspot.com/2018/08/classical-music-news-of-week-august-25.html

John J. Puccio, Classical Candor

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Celebrate Valentine’s Day with opera soprano Liv Redpath at Casa Romantica

http://dlvr.it/Qyrlf9

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New Post has been published on https://vacationsoup.com/free-concert-in-palm-springs-opera-in-the-park-2__trashed/

Free Concert in Palm Springs: Opera in the Park

The Palm Springs Opera Guild puts on their 20th annual “Opera in the Park” on Sunday April 8, 2018. This annual event is a favorite amongst locals and tourists, and is just a wonderful day out.

The event is 1 – 4pm at Sunrise Park, and will include Food Trucks, booths from local restaurants, beer & wine, and free water from Desert Water Agency.

The cast for this year’s concert includes Liv Redpath, Alyssa Wills and Sunmi Shin, sopranos, Erin Gonzalez, mezzo-soprano, Jesús León, Carlos Enrique Santelli and Joshua Wheeker, tenors and Ben Lowe, baritone.

For more information, the website is at http://palmspringsoperaguild.org/oitp-3

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Amanda Majeski as the Composer and Liv Redpath as Zerbinetta in Strauss’ Aridne auf Naxos, Santa Fe Opera 2018

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2018’s Oscar-Nominated Composers Dazzle at L.A. Philharmonic Concert

https://styleveryday.com/2018/03/02/2018s-oscar-nominated-composers-dazzle-at-l-a-philharmonic-concert/

2018’s Oscar-Nominated Composers Dazzle at L.A. Philharmonic Concert

The Academy of Motion Pictures Arts and Sciences and the L.A. Philharmonic presented the Oscar Concert, a stirring and lively celebration of film music — and this year’s five nominated scores — on Feb. 28 at Walt Disney Concert Hall.

The concert hall has always had a love/hate relationship with film music. Unlike the classical repertory, film scores always have one definitive performance to model: What’s heard in the film, either through repeated viewings or album listening, becomes the example to emulate for any subsequent performance, making interpretation a potential minefield — especially for devotees who, through repeated viewings or album listening, have this music committed to memory.

But hearing this often iconic music performed live has its own thrills, and Wednesday’s lavish multi-media celebration of Oscar-nominated scores (and the emotions film music can inspire) at Los Angeles’ Walt Disney Concert Hall delivered those in spades.

In a surprisingly star-studded evening (Paul Thomas Anderson! John Williams! Michelle Rodriguez?), the Motion Picture Academy and the Los Angeles Philharmonic, led by conductor Thomas Wilkins, presented ensembles of movie score moments performed under montages by editors Scott Draper, Kellie Cunningham and Mark DelForte, all organized by curators and music Academy branch luminaries Michael Giacchino, Laura Karpman and Charles Bernstein. By matching scores to specific concepts and movie shots to the music, the concert made a strong argument for the universality of this idiom while striking themes of inclusion and uplift.

Composer Michael Giacchino and Wilkins opened the concert with an effective and instructive comedy routine that had Giacchino demanding Wilkins make changes on the fly to his finale music from Pixar’s Up, and Wilkins presenting three different versions for Giacchino’s approval.

The program proper then began by mixing Rachel Portman’s gentle evocation of Victorian England in her Nicholas Nicklebyscore, Nino Rota’s breezy, nostalgic Amarcord score and A.R. Rahman’s propulsive world music from Slumdog Millionaire as “The Sound of Home,” demonstrating that home could be any place or any culture on earth. For “The Sound of Love,” Wilkins presented Erich Wolfgang Korngold’s hushed, trembling romantic music from The Adventures of Robin Hood (a concert detour from Korngold’s more familiar Golden Age fanfares), Luis Bacalov’s wistful accordion from Il Postino and the soulful, yearning erhu from Tan Dun’s Crouching Tiger, Hidden Dragon with a montage presenting every possible cinematic coupling from Bogie and Bergman to the cowboys from Brokeback Mountain.

Composers Charles Bernstein and Michael Abels (Get Out) presented “The Sound of Fear,” beginning with the pitch-bending strings of Mica Levi’s Jackie (although why not Levi’s even creepier Under the Skin?). That was followed by a bone-rattling, bravura treatment of Quincy Jones’ grim, harrowing In Cold Blood score, an acoustic treatment of John Carpenter’s minimalist Halloween theme on piano and finally John Williams’ wicked dance from The Witches of Eastwick (just slightly lethargic compared to Williams’ original film performance).

Michelle Rodriguez was the surprising but appropriate choice to introduce “The Sound of the Chase,” which opened with Dave Grusin’s quirky piano score for The Firm before a bravura take on Lalo Schifrin’s classic car-chase-buildup music fromBullitt. With trombones revving and Schifrin himself in attendance, the sublime Bullitt music proved every bit as cool playing under Rodriguez’s car chases from The Fast and the Furious as it did underscoring Steve McQueen’s iconic, muscle-car cat-and-mouse game on the streets of San Francisco. Propelling the chase montage’s finale was a rare treat: Jerry Goldsmith’s buoyant and witty end title from The Great Train Robbery, as rousing playing under scenes of the truck chase footage from Raiders of the Lost Ark as it was to Victorian locomotives.

Composer and trumpet impresario Terence Blanchard arrived to perform a piercingly expressive solo to open his Malcolm Xscore for “The Sound of Courage.” Both Malcolm X and Alex North’s Spartacus (with the humble nobility of its slave theme rising as if out of the dust left by its opening, clashing Roman fanfares) relied on a low, martial pulse of tubas to conjure the idea of political struggle for freedom and human rights; meanwhile, Joe Hisaishi’s lyrical piano-into-strings melody for the animated Spirited Away spoke to a more innocent, child-like bravery in the face of the unknown. 

The second half of the program dropped the montages but amped the star power with directors of the Oscar-nominated scores from 2017 introducing their composers (live in most cases) to conduct excerpts from their works. Martin McDonagh introduced Carter Burwell via video, and Burwell conducted his music for Three Billboards Outside Ebbing, Missouri — which, like much of his distinctive music for the Coen Bros. films, makes a kind of majesty out of a molehill, opening with a feeling of quiet regret before spaghetti western-like chimes and Liv Redpath’s eerie soprano performance add an epic quality.

Guillermo del Toro (cheekily introducing himself as Michael Moore) welcomed Alexandre Desplat, whose The Shape of Water music conjured up a romantic French atmosphere with accordion, Nick Orlando’s organ performance, whistling harmonies that hinted at sci-fi theremins and droplet-like flute notes. All the elements gathered into a rhapsodic yet melancholy dance melody.

After an introduction from Paul Thomas Anderson explaining how he asked composer Jonny Greenwood to write music in the vein of Nelson Riddle for Phantom Thread, Thomas Wilkins conducted the result. The piece played a bit like the underpinnings for a romantic ballad that Sinatra never performed, with a sinuous piano line moving like a seamstress’ needle over strings until, taken up by the strings themselves, it becomes the music’s fabric itself, with just the hint ofVertigo-like obsession.

The evening ended with two rock stars who straddled both film music’s roots (for everyone who believes film music began with Star Wars) and its current direction. Rian Johnson struggled to introduce John Williams without gushing, and Williams smoothly conducted his “The Rebellion Is Reborn” music from The Last Jedi, effortlessly earning a standing ovation from the Disney Concert Hall audience.

Then Hans Zimmer and fellow keyboardist Benjamin Walfisch entered after Christopher Nolan’s video introduction to perform Zimmer’s enveloping and unnerving music from Dunkirk. Unveiling a giant computer control panel that looked like it had been hijacked from the Jupiter 2, Zimmer added his alarm claxon-like, blaring synthesizer figure to trembling orchestral performances conducted by Wilkins. The approach built to a soothing, Elgar-like sense of accomplishment by way of Emerson, Lake & Palmer—and earned Zimmer his own standing O. 

Now all that remains is for the Academy to pick a winner.

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Liv Redpath in Master Class with Renee Fleming

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because L’étoile du nord is awesome and there's like nothing about it, here's a principal cast I now want to see for it:

Catherine: Lisette Oropesa

Peters: Gabor Bretz

Prascovia: Ying Fang (alternatively: Regula Mühlemann)

Georges: Juan Diego Flórez (he’s already done it! and even though it was a super-long time ago...)

Danilowitz: Lawrence Brownlee

Gritzenko: Alexandre Duhamel

Natalie: Liv Redpath

Ékimona: Adèle Charvet