#ana netrebko

[ketrindoll]

Why we should “quarantine” russian culture

Long read, but good if you want actual arguments.

Ever since the start of the Ukrainian war, there has been a lot of re-evaluation of our relationship with “the great russian culture.” Dostoyevsky and Tolstoi, Tschaikovsky, etc. Unfortunately, a lot of russians used that as an excuse as to why we should look away from Bucha and Irpin and just focus on the pretty things. Look, over there, Ana Netrebko!

The recent re-naming of the “Russian Drama Theatre” in Vilnius to “Old Vilnius Theatre” also left many russians crying about “destroyed culture,” with notable theatre director Georgyi Yefremov calling the decision “infantile, borderline insane.” He wondered why to suddenly change the original name that most people have grown accustomed to. To that, notable Lithuanian author Kristina Sabaliauskaite - an art and Vilnius historian - educated him on the theatre’s real history.

That it used to be called Pohulanka theatre, and the building of it was commissioned by the local Polish community with the funds raised by Vilnius citizens themselves. Many famous Polish and local actors performed in it. Until the Soviets came in the 1940s, placed the performers in NKVD (KGB) prisons, tortured some of them, and finally sent them to Siberia, where many of them died. That’s how the Pohulanka theatre got its russian name. Afterward, it was known as the russification epicenter, with various sub-par performers from the Soviet Union arriving to give local russian colonists a show. But according to russia, they “gave” us, a “small, uneducated, uncultured” country, a taste of true culture.

Well, quoting Sabaliauskaite: This imaginary, but unsubstantiated, morbid and complex "Russian cultural superiority" is nothing new. It has characterised Russian-Lithuanian relations since the end of the 18th century and the era of the partitions of the Polish-Lithuanian Commonwealth. Let me remind you: at that time, russia occupied the Grand Duchy of Lithuania, a country which, by all objective criteria, had a much older and more developed culture: operas, theatres, European literary and scientific bestsellers, and, most importantly, a university a few hundred years before Russia. Despite this, the Russians were already trying to explain about the "bringing of culture" to Lithuania. Maybe they will try to explain that the russians brought professional theatre to Lithuania? Let me remind you: in Vilnius, as early as 1636, royal baroque operas were being staged and Italians were touring, while in Russia, for 130 years (until 1766), the only "theatres" (apart from the amateur home productions organised by Peter the Great's sister, Natalia) were the somersaults of the skomorokhs and the balagans in the marketplaces.

And here is the reason why we should put russian culture on hold: a very simple Russian proverb: на силу мил не будешь, can’t force love (can’t be dear to someone through force). Ironically, russians very rarely remember this proverb themselves. You do not win respect and love by angrily stomping your feet and calling others madmen and infants. Respect and love are earned through good deeds. Respect and love are either there or they are not. When it is there, and without feet tapping or soldiers armed with machine guns threatening us, we pay our respects with names: that is how Sugihara Square, Sakharov Square on Liberty Avenue, and the Street of the Heroes of Ukraine came about in Vilnius.

In the current climate of events, many people do not feel love for russia - because we are not suffering from Stockholm syndrome, we are not slaves, we are healthy and free people. It is therefore natural that, even with the best of intentions and the most sober mind, russian culture now often produces an involuntary reaction of rejection. Is it any wonder that we do not want to see Polunin on stage with a tattoo of Putin on his chest, or listen to Netrebko and Gergiev? That we find them repulsive? That we do not want to read russian literature at the moment? It is a reaction of self-preservation and a sign of a desire to protect one's mental health.

People are not masochists, and that is why many now want to keep Russian culture not banned or "cancelled", but simply in "mental quarantine" until this terrible, beastly, inhuman, bloody, Ukrainian-killing, Ukrainian-abusing, Ukrainian-attacking, russian disease passes. I sincerely hope that the quarantine of self-defence will one day no longer be necessary. But obviously not yet... Sviatlana Aleksievich during her visit in Vilnius said: "But after Bucha, after Irpin, after Izium, it is no longer the same Dostoevsky, the same Tolstoy." I agree with the Nobel Prize winner: after Bucha, after Irpin, after Izium, free and thoughtful Europeans read Dostoyevsky, Tolstoy and others differently. We read their works in an attempt to find answers as to how Russia came to be the way it is. We now read them without much pleasure, rather biopsically - searching their words like cancer cells for the causes of this centuries-long national pathological tumour of Russian brutality, contempt for others, and self-loathing. We are trying to understand which Russian classics have already suffered from this disease and which have not... And Dostoyevsky, unfortunately, is full of metastases of this terrible disease, of lunatic messianism, moral masochism and hatred for other nationalities.

It is understandable why many russians today feel pain and discomfort. For them, it is painful because of the renamed theatre, but it is even more painful for Ukrainians who are being murdered, tortured, and raped by the russians. And that context is often omitted from the russian narrative. Zero empathy, zero compassion. Their own image, their own offensiveness, their own theatre - that is the most important thing. Don't be fooled, but russian pain on this scale is simply despicable. Why are so many russians so blind and, in the face of the tragedy of others, always see only themselves and their own image?

When it comes to the responsibility of the eternally "wronged" russians, it is standard russian whataboutism, pointing the finger at others, at the British Empire, at nazi Germany (which, by the way, repented after the war), at Spain. Lithuanians are certainly no saints either, and there are stains in our history which we repent for; I believe we are aware of them and we are trying to prevent them from happening again. But has there ever been a public repentance and apology from the russians for the occupations, for the deportations to Siberia? No... After all, the russians are never guilty or responsible for anything, they are so 'spiritual', so cultured, and how come nobody loves them?

Well, на силу мил не будешь. And russians need to learn that first before trying to “educate” others.

[the-tenth-arcanum]

happy valentine's this is my current favourite operatic love duet and I love it a normal amount

[princesssarisa]

Opera on YouTube

I've shared links to complete opera performances before, but I love to share them, so I thought I'd make a few masterposts.

These list are by no means the only complete filmed performances of these operas on YouTube, but I decided that ten links for each opera was enough for now.

By the way, some of the subtitles are just a part of the video, while others require you to click CC to see them.

Die Zauberflöte (The Magic Flute)

Hamburg Philharmonic State Opera, 1971 (Nicolai Gedda, Edith Mathis, William Workman, Christina Deutekom, Hans Sotin; conducted by Horst Stein; English subtitles)

Ingmar Bergman film, 1975 (Josef Köstlinger, Irma Urrila, Håkan Hagegård, Birgit Nordin, Ulrik Cold; conducted by Eric Ericson; sung in Swedish; English subtitles)

Salzburg Festival, 1982 (Peter Schreier, Ileana Cotrubas, Christian Bösch, Edita Gruberova, Martti Talvela; conducted by James Levine; Japanese subtitles)

Bavarian State Opera, 1983 (Francisco Araiza, Lucia Popp, Wolfgang Brendel, Edita Gruberova, Kurt Moll; conducted by Wolfgang Sawallisch; English subtitles)

Metropolitan Opera, 1991 (Francisco Araiza, Kathleen Battle, Manfred Hemm, Luciana Serra, Kurt Moll; conducted by James Levine; English subtitles)

Paris Opera, 2001 (Piotr Beczala, Dorothea Röschmann, Detlef Roth, Desirée Rancatore, Matti Salminen; conducted by Ivan Fischer; no subtitles)

Royal Opera House, Covent Garden, 2003 (Will Hartman, Dorothea Röschmann, Simon Keenlyside, Diana Damrau, Franz Josef Selig; conducted by Colin Davis; no subtitles) – Act I, Act II

La Monnaie, Brussels, 2005 (Topi Lehtipuu, Sophie Karthäuser, Stephan Loger, Ana Camelia Stefanescu, Harry Peeters; conducted by René Jacobs; French subtitles)

Kenneth Branagh film, 2006 (Joseph Kaiser, Amy Carson, Benjamin Jay Davis, Lyubov Petrova, René Pape; conducted by James Conlon; sung in English)

San Francisco Opera, 2010 (Piotr Beczala, Dina Kuznetsoca, Christopher Maltman, Erika Miklósa, Georg Zeppenfeld; conducted by Donald Runnicles; English subtitles)

La Traviata

Mario Lanfrachi studio film, 1968 (Anna Moffo, Franco Bonisolli, Gino Bechi; conducted by Giuseppe Patané; English subtitles)

Glyndebourne Festival Opera, 1987 (Marie McLaughlin, Walter MacNeil, Brent Ellis; conducted by Bernard Haitink; Italian and Portuguese subtitles)

Teatro alla Scala, 1992 (Tiziana Fabbricini, Roberto Alagna, Paolo Coni; conducted by Riccardo Muti; English subtitles)

Royal Opera House, Covent Garden, 1994 (Angela Gheorghiu, Frank Lopardo, Leo Nucci; conducted by Georg Solti; Spanish subtitles)

Teatro Giuseppe Verdi, 2003 (Stefania Bonfadelli, Scott Piper, Renato Bruson; conducted by Plácido Domingo; Spanish subtitles)

Salzburg Festival, 2005 (Anna Netrebko, Rolando Villazón, Thomas Hampson; conducted by Carlo Rizzi; no subtitles)

Los Angeles Opera, 2006 (Renée Fleming, Rolando Villazón, Renato Bruson; conducted by James Conlon; English subtitles)

Opera Festival St. Margarethen, 2008 (Kristiane Kaiser, Jean-Francois Borras, Georg Tichy; conducted by Ernst Märzendorfer; English subtitles)

Teatro Real di Madrid, 2015 (Ermonela Jaho, Francesco Demuro, Juan Jesús Rodríguez; conducted by Renato Palumbo; English subtitles)

Teatro Massimo, 2023 (Nino Machiadze, Saimir Pirgu, Roberto Frontali; conducted by Carlo Goldstein; no subtitles)

Carmen

Herbert von Karajan studio film, 1967 (Grace Bumbry, Jon Vickers; conducted by Herbert von Karajan; English subtitles)

Vienna State Opera, 1978 (Elena Obraztsova, Plácido Domingo; conducted by Carlos Kleiber; English Subtitles)

Francisco Rosi film, 1982 (Julia Migenes, Plácido Domingo; conducted by Lorin Maazel; English subtitles)

Metropolitan Opera, 1987 (Agnes Baltsa, José Carreras; conducted by James Levine; English subtitles)

London Earls Court Arena, 1989 (Maria Ewing, Jacque Trussel; conducted by Jaques Delacote; English subtitles)

Royal Opera House, Covent Garden, 1991 (Maria Ewing, Luis Lima; conducted by Zubin Mehta; English subtitles) – Acts I and II, Acts III and IV

Arena di Verona, 2003 (Marina Domashenko, Marco Berti; conducted by Alain Lombard; Italian subtitles)

Royal Opera House, Covent Garden, 2006 (Anna Caterina Antonacci, Jonas Kaufmann; conducted by Antonio Pappano; English subtitles) – Acts I and II, Acts III and IV

Metropolitan Opera, 2010 (Elina Garanca, Roberto Alagna; conducted by Yannick Nézet-Séguin; English subtitles) – Acts I and II, Acts III and IV

Opéra-Comique, 2023 (Gaëlle Arquez, Frédéric Antoun; conducted by Louis Langrée; English subtitles)

La Bohéme

Franco Zeffirelli studio film, 1965 (Mirella Freni, Gianni Raimondi; conducted by Herbert von Karajan; English subtitles)

Metropolitan Opera, 1977 (Renata Scotto, Luciano Pavarotti; conducted by James Levine; no subtitles)

Teatro alla Scala, 1979 (Ileana Cotrubas, Luciano Pavarotti; conducted by Carlos Kleiber; no subtitles)

Opera Australia, 1993 (Cheryl Barker, David Hobson; conducted by Julian Smith; Brazilian Portuguese subtitles)

Teatro Regio di Torino, 1996 (Mirella Freni, Luciano Pavarotti; conducted by Daniel Oren; Italian subtitles)

Teatro alla Scala, 2003 (Cristina Gallardo-Domâs, Marcelo Alvarez; conducted by Bruno Bartoletti; Spanish subtitles)

Zürich Opera House, 2005 (Cristina Gallardo-Domâs, Marcello Giordani; conducted by Franz Welser-Möst; no subtitles)

Robert Dornhelm film, 2009 (Anna Netrebko, Rolando Villazón; conducted by Bertrand de Billy; no subtitles)

Opera Australia, 2011 (Takesha Meshé Kizart, Ji-Min Park; Shao-Chia Lü; no subtitles)

Sigulda Opera Festival, 2022 (Maija Kovalevska, Mihail Mihaylov; conducted by Vladimir Kiradjiev; English subtitles)

[zoevaldes]

Anna Netrebko, recital con Plácido Domingo y renacer sexual | Celebrities Origen: ELMUNDO

[zanimljivaekonomija]

Besplatan koncert soprana Marije Jelic u velikoj sali Kolarceve zaduzbine sa gostima iz Italije

Koncert "Opera zauvek", na kom će nastupiti naša priznata operska umetnica, sopran Marija Jelić i poznati italijanski tenor Dario di Vietri održaće se u velikoj sali Kolarčeve zadužbine 8. juna 2022. u 20 časova, uz orkestar i hor Ministarstva odbrane - umetnički ansambl "Stanislav Binički" kojim će dirigovati italijanski dirigent, Maestro Marko Boemi. Na programu koncerta naći će se najlepše arije i dueti iz Pučinijevih i Verdijevih opera. Koncert se realizuje uz podršku Italijanskog instituta za kulturu, a ulaz je slobodan.

Marija Jelić, jedna od najistaknutijih srpskih operskih zvezda, u prethodnoj godini nastupala je sa Plasidom Domingom, Elinom Garančom, Hozeom Kurom, održala je solistički koncert u Karnegi holu, debitovala je sa ulogom Aide u Srpskom narodnom pozorištu. Otvorila je festival Ohridsko leto 2020. godine, nastupala je širom sveta, između ostalog na Ljubljanskom festivalu, na koncertima u Rusiji, Kini, Argentini, Azerbejdžanu, Bugarskoj, Hrvatskoj,...

Dario di Vietri je jedan od najznačajnijih italijanskih tenora koji je nastupao u Veronskoj areni, na Pučini festivalu Tore del Lago, u Kairskoj operi, operi u Dubaiju, kao i mnogim teatrima u Italiji. Dirigent Marko Boemi je priznati italijanski dirigent koji je radio sa mnogim najistaknutijim operskim umetnicima kao što je Lučano Pavaroti, Ana Netrebko, Edita Gruberova, Plasido Domingo. Dirigovao je na mnogim svetskim scenama poput Milanske skale, Rimske opere, Berlinske koncertne dvorane,...

Povodom predstojećeg  koncerta Marija Jelić je izjavila: "Ovaj koncert će biti divna prilika da sa sjajnim ansamblom i fantastičnim umetnicima kao što su Dario i Maestro Boemi, publika uživa u izvođenju italijanskih arija i dueta."

Ulaznice se mogu preuzeti na blagajni Kolarčeve zadužbine.

Fotografije: Marija Jelić – fotograf: Nebojša Babić

[shit-before-the-shovel]

Omg you know Elina Garanca and Ana Netrebko too, this blog is getting better and better like I swear you know every middle aged woman I'm in love with

girl, opera is literally my whole life, i don't know how i'd be able to breathe without it!!

also, sorry for assuming you're a girl. literally used the word girl more as an expression than gender identificator

[demoura]

AVASSALADORA SAISON 2019/20 DA ÓPERA DE PARIS;

A FRANÇA SUPERPODER DA CULTURA ! : Stephen Lisser despede-se « en grandeur «  19 óperas muitas novas produções elencos com as principais estrelas .mundiais e dois ciclos completos do Anel de Wagner com solistas de luxo , Alem dos 100:milhões de euros do Ministerio da Cultura Francês admiro o trabalho colossal para programar algo desta dimensão . Transcrevo o programa difundido pela Ópera Wire

« The Opéra National de Paris has announced its 2019-20 seasons which will feature a total of 19 operas and the entire Ring Cycle in an all-new production.

Bellini’s “I Puritani” opens the season in a production by Laurent Pelly. Elsa Dreisig takes the leading role with Javier Camarena and Francesco Demuro sharing the role of Arturo. Riccardo Frizza conducts the production which also stars Igor Golovatenko and Alexander Tsymbalyu

Performance Dates: Sept. 7-Oct. 5, 2019

Pretty Yende and Nino Machaidze headline a new production of Verdi’s “La Traviata” by Simon Stone. Benjamin Bernheim and Atalla Ayan alternate as Alfredo, while Ludovic Tézier and Jean‑François Lapointe share the role of Germont. Michele Mariotti conducts.

Performance Dates: Sept. 12-Oct. 16, 2019

Ana Maria Martínez and Dinara Alieva share the title role in Puccini’s “Madama Butterfly” with Giorgio Berrugi and Dmytro Popov alternating as Pinkerton. Marie-Nicole Lemieux and Eve Hubeaux share the role of Suzuki with Giacomo Sagripanti conducting.

Performance Dates: Sept. 14-Nov. 13, 2019

Rameau’s “Les Indes Galantes” gets a new production with Clément Cogitore directing and Victor García-Alarcón conducting. Sabine Devieilhe, Jodie Devos, Julie Fuchs, Mathias Vidal, Stanislas de Barbeyrac, Alexandre Duhamel, Edwin Crossley-Mercer, and Florian Sempey star in the production.

Performance Dates: Sept. 27-Oct. 15, 2019

Roberto Alagna, Aleksandra Kurzak, Anita Rachvelishvili, Étienne Dupuis, Vitalij Kowaljow, and René Pape headline a revival of Verdi’s “Don Carlo.” Nicole Car and Michael Fabiano also star in the leading roles with Fabio Luisi conducting.

Performance Dates: Oct. 25-Nov. 23, 2019

Reimann’s “Lear” returns with Bo Skovhus in the title role, Evelyn Herlitzius as Goneril, Gidon Saks as Frankreich, and Annette Dasch as Cordelia. Fabio Luisi conducts.

Performance Dates: Nov. 21-Dec. 7, 2019

Barrie Kosky directs a new production of Borodin’s “Prince Igor” with Philippe Jordan conducting. Elena Stikhina, Anita Rachvelishvili, Pavel Černoch, and Evgeny Nikitin lead the all-star cast.

Performance Dates: Nov. 28-Dec. 26, 2019

Sondra Radvanovsky stars in Bellini’s “Il Pirata” alongside Michael Spyres and Ludovic Tezier. Bel Canto specialist Riccardo Frizza conducts the concert performance.

Performance Dates: Dec. 16-19, 2019

Lisette Oropesa headlines a revival of Rossini’s “Il Barbiere di Siviglia” with Xabier Anduaga, Florian Sempey, Andrzej Filonczyk, and Krzysztof Bączyk. Carlo Montanaro conducts Damiano Michieletto’s production.

Performance Dates: Jan. 11-Feb. 12, 2020

Ravel’s “L’Enfant et les sortileges” will be showcased with Debussy’ ballet “L’Apres-midi d’un Faune.” The opera will be part of the Academie showcase.

Performance Dates: Jan. 20-29, 2020

Robert Carsen’s classic production of “Les Contes d’Hoffmann” will star Michael Fabiano in the title role. He is accompanied by Jodie Devos, Ailyn Perez, and Veronique Gens as his three muses and Gaelle Arquez as Nickclausse. Laurent Naouri plays the four villains, while Mark Elder conducts.

Performance dates: Jan. 21-Feb. 14, 2020

Boesmans’ “Yvonne Princesse de Bourgogne” will star Beatrice Uria-Monzon, Laurent Naouri, and Dörte Lyssewski in the title role. Susanna Mälkki conducts the production by Luc Bondy.

Performance Dates: Feb. 26-March 8, 2020

Pretty Yende and Sofia Fomina star in a new production of Massenet’s “Manon” directed by Vincent Huguet. Benjamin Bernheim and Stephen Costello share the role of Des Greiux with Ludovic Tézier and Roberto Tagliavini rounding out the cast. Dan Ettinger conducts.

Performance Dates: Feb. 29-April 10,2020

Mozart’s “Don Giovanni” stars Luca Pisaroni, Jacquelyn Wagner, Stéphanie d’Oustrac, Philippe Sly, Zuzana Marková, and Alexander Tsymbalyuk. Philippe Jordan conducts the production by Ivo van Hove.

Performance Dates: March 21-April 24, 2020

Anna Netrebko stars in David McVicar’s production of “Adriana Lecouvreur” alongside Yusif Eyvazov and Ekaterina Semenchuk. Giacomo Sagripanti conducts a cast that also includes Zeljko Lucic. Elena Stikhina also stars in the title role for two performances.

Performance Dates: April 27-May 12, 2020

“Boris Godunov” takes the stage with René Pape in the iconic title role. Other cast members include Evdokia Malevskaya, Rusan Mantashyan, Elena Zaremba, and Andreas Conrad among others. Michael Schønwandt conducts a production by Ivo van Hove.

Performance Dates: May 23-June 14, 2020

Verdi’s “Rigoletto” will feature Frédéric Antoun as the Duke, Zeljko Lucic as Rigoletto, and Elsa Dreisig as Gilda. Speranza Scappucci conducts a production by Claus Guth.

Performance Dates: June 2-June 21, 2020

Ermonela Jaho, Elena Stikhina, and Marina Costa-Jackson will rotate the role of Mimì in “La Bohème.” As Rodolfo, audiences will get a chance to see Francesco Demuro, Vittorio Grigolo, and Benjamin Bernheim. Julie Fuchs and Elena Tsallagova will each be Musetta while Lucas Meachem and Gabriele Viviani will be Marcello. Lorenzo Viotti conducts the production by Claus Guth.

Performance Dates: June 13-July 5, 2020

Mozart’s “Così Fan Tutte” will feature Jacquelyn Wagner, Stephanie Lauricella, Stephen Costello, Philippe Sly, Paulo Szot, and Ginger Costa-Jackson. Antonello Manacorda conducts.

Performance Dates: June 19-June 28

Ring Cycle

Ring Cycle

Calixto Bieto is set to direct a new production of Wagner’s Ring Cycle with an all-star cast.

“Das Rheingold” will star Iain Paterson as Wotan, Lauri Vasar as Donner, Ekaterina Gubanova as Fricka, Anna Gabler as Freia, while “Die Walkure” will be headlined by Jonas Kaufmann as Siegmund, Eva-Maria Westbroek as Sieglinde, Martina Serafin in the role of Brünnhilde, Ekaterina Gubanova as Fricka, Paterson as Wotan, and John Relyea as Hunding.

In the third installment, “Siegfried,” Paterson will take on the Wanderer with Julie Fuchs as the Waldvogel, Martina Serafin as Brünnhilde, and Andreas Schager in the title role.

“Gotterdämmerung” will star Anna Gabler as Gutrune, Ricarda Merbeth as Brünnhilde, Sarah Connolly as Waltraute, Johannes Martin Kränzle as Gunther, and Schager as Siegfried.

Philippe Jordan conducts the entire Ring Cycle.

Das Rheingold: April 2-15, 2020

Die Walkure: May 5-27, 2020

Siegfried: Oct. 10-18, 2020

Gotterdämmerung: Nov. 13-21, 2020

Complete Cycles: Nov. 23-28, 2020 & Nov. 30-Dec. 6, 2020

Concerts

Jordan and Nina Stemme will team up for a concert performance that features Wagner’s Wesendonck Lieder and the Prelude and Liebestod from “Tristan und Isolde.”

Performance Date: Oct. 24, 2019 & Oct. 25, 2019

Matthias Goerne sings Mahler’s Ruckert Lieder with Philippe Jordan conducting. The program also includes Mahler’s fifth symphony.

Performance Date: March 11, 2020

folder_openTagged in: 2019-20 season, Ailyn Perez, Aleksandra Kurzak, ana maria martinez, Anita Rachvelishvili, anna netrebko, Beatrice Uria-Monzon, Elsa Dreisig, Ermonela Jaho, Francesco Demuro, Gaëlle Arquez, javier camarena, Jonas Kaufmann, Julie Fuchs, Lisette Oropesa, Ludovic tezier, marie-nicole lemieux, Michael Fabiano, nicole car, Nina Stemme, Nino Machaidze, Opera de Paris, Paulo Szot, Pretty Yende, Rene Pape, Roberto Alagna, Sabine Devieilhe, Veronique Gens, vittorio grigolo, yusif eyvazov »

[gardanotizie]

 Un cast che alterna grandi star internazionali, habitué dei più prestigiosi palchi del mondo, nomi affermati e grandi conoscitori della complessa realtà dell’Arena, a giovani emergenti a cui non può mancare nel proprio curriculum il battesimo, temuto e sognato, del magniloquente palco areniano.

Ma questo è anche un cast che fotografa assai bene la diffusione davvero globale dell’opera lirica, ormai non più solo appannaggio della cultura occidentale, ma vera passione di tanti territori emergenti come Cina e Russia, ben rappresentati anche dal pubblico dell’Arena, da sempre il più internazionale al mondo per pubblico e interpreti.

Nel meraviglioso Trovatore firmato da Zeffirelli, dopo le tre recite pressoché sold out con la divina Anna Netrebko, avremo la bella voce italiana di Anna Pirozzi, “straordinario soprano drammatico di coloritura”. Protagonista maschile Jusif Eyvazov, il tenore azerbaigiano che insieme alla compagna Anna Netrebko porta la loro storia d’amore anche a Verona.

La 97ma edizione del Festival lirico inaugura il 21 giugno con il nuovo allestimento firmato da Zeffirelli de La Traviata verdiana, somma sintesi di 60 anni di meditazione sull’amato soggetto, vedrà sul palcoscenico il soprano polacco Aleksandra Kurzak, finissima musicista oltre che cantante e voce contesa dai migliori teatri del mondo; quindi l’americana Lisette Oropesa, vera star dell’ultimo festival rossiniano di Pesaro, la croata Lana Kos, molto legata al palco areniano dove debuttò nel 2011 con La Traviata di Hugo de Ana, e che ascolteremo anche in Carmen, quindi la russa Irina Lungu, più volte applaudita dal pubblico veronese: un quartetto di grandi voci e grande presenza scenica, assolutamente necessarie per un palco che, meglio di ogni altro, sa esaltare la nouvelle vague dell’opera, così attenta alla recitazione e così vicina  all’immaginario cinematografico.

Per il trucco della nuova Traviata, il team creativo si avvale di un’importante collaborazione: le face chart per i personaggi principali sono state create dal make-up designer Michele Magnani, global senior artist di M.A.C. Cosmetics.

E in tal senso sapranno essere all’altezza nella première di Carmen la bellissima uzbeka Ksenia Dudnikova e la giovane e talentuosa spagnola Ruth Iniesta, quest’ultima anche nei Carmina Burana.

L’altra grande Prima il 22 giugno sarà Aida di Verdi, magnificamente ideata dal regista Gianfranco de Bosio nel 1982 reinterpretando il progetto originale della prima Aida in Arena creata da Ettore Fagiuoli nel 1913, che quest’anno proporrà qualche interessante elemento di novità.

Sul palco dell’Aida storica vedremo ancora Anna Pirozzi, la statunitense Tamara Wilson “vera forza della natura”, la spagnola Saioa Hernandez, personalità artistica e intrigante madrilena, già apprezzata nell’Attila della Scala, la cinese Hui He grande amica del palco areniano che si alternerà con la Hernandez anche in Tosca, e la bella georgiana Svetlana Kasyan, molto apprezzata nel nostro paese e nel mondo: cinque importanti voci e figure femminili che sapranno dominare l’allestimento senza tempo e le attese dell’immenso pubblico. Prima ballerina l’étoile Petra Conti, Principal Dancer del Los Angeles Ballet.

Tra i cantanti non mancheranno certo presenze importanti sia in termini di voci sia sotto il profilo scenico e attoriale, dal giovane bielorusso Pavel Petrov, Alfredo della première de La Traviata, il trasversale e turbolento Vittorio Grigolo, reduce dalla sua esibizione agli Oscar e vera star del Metropolitan di New York, e il tenore americano Stephen Costello che calca i migliori palcoscenici del mondo. Per l’edizione storica di Aida vedremo Murat Karahan affermatosi in Arena fin dal suo debutto, Erwin Schrott in Carmen, artista poliedrico e trasversale, il grande Luca Salsi ne Il Trovatore e il baritono per eccellenza Leo Nucci.

Un cast davvero intrigante per la presenza di veri protagonisti del jet set internazionale, adatto a soddisfare le aspettative dei melomani e ad incuriosire il nuovo pubblico dell’Opera a cui Arena è stata destinata per vocazione sin dalla prima rappresentazione d’opera il 10 agosto 1913 con Aida, titolo simbolo del Festival areniano.

Il più grande spettacolo operistico del mondo sta per iniziare grazie anche alla professionalità apprezzata in tutto il mondo dei complessi artistici e tecnici della Fondazione Arena di Verona con i numerosi mimi e figuranti.

Il Sindaco e Presidente della Fondazione Arena Federico Sboarina dichiara:

“Presento questa stagione con grande orgoglio, la seconda dopo il rilancio che abbiamo fortemente voluto. Verona ha due grandi gioielli, la Fondazione Arena che in estate dà vita al suo glorioso festival lirico e l’Arena, che oltre ad essere il monumento simbolo della città, è il più grande palcoscenico all’aperto conosciuto a livello mondiale. Le particolari doti acustiche dell’anfiteatro e la professionalità di Fondazione Arena insieme costituiscono un unicum in grado di portare l’immagine di Verona e la musica di qualità in tutto il mondo. Per questo ringrazio il Sovrintendente e tutto il Consiglio d’Indirizzo per l’ottimo lavoro fatto, risultato di grande passione e capacità. Un grazie anche a tutti gli artisti che faranno parte dei cast e ai lavoratori, l’anima di ogni Festival”.

Cecilia Gasdia, Sovrintendente e Direttore Artistico della Fondazione Arena, esprime la sua personale soddisfazione per l’offerta artistica del 97° Opera Festival: “Trepidazione, esultanza, ma anche batticuore mi pervadono senza eccezione all’approssimarsi dell’eccitante colpo di gong che consacra e consegna il nostro anfiteatro veronese al mondo dell’Opera come ogni estate da più di cento anni. Vi presento un’edizione che vedrà esibirsi sul palcoscenico areniano stelle di fama internazionale, a fianco di giovani promettenti al loro esordio. Sarà un festival ricco di importanti conferme, attesi debutti e felici ritorni per un cast davvero stellare”.

Un ringraziamento speciale a tutti gli sponsor dell’Arena di Verona Opera Festival che con il loro prezioso e immancabile contributo sostengono la mission di Fondazione Arena e il suo prestigioso Festival.

    Presentata a Verona la 97a Arena di Verona Opera Festival 2019  Un cast che alterna grandi star internazionali, habitué dei più prestigiosi palchi del mondo, nomi affermati e grandi conoscitori della complessa realtà dell’Arena, a giovani emergenti a cui non può mancare nel proprio curriculum il battesimo, temuto e sognato, del magniloquente palco areniano.

[icono-posicionamiento]

CDC Grandes Eventos presenta "La Traviata"

CDC Grandes Eventos presenta “La Traviata”

“La Traviata

(Festival de Salzburgo 2005)”

El estreno de La Traviata de Verdi, protagonizada por la soprano rusa Ana Netrebko y el tenor mexicano Rolando Villazón en una puesta en escena del alemán Willy Decker, es sin duda historia. Uno de los momentos culminantes del Festival de Salzburgo.

EDICIONES ICONO y CDC Grandes Eventos de Centro Digital de Convencionestienen desde su foro digital el…

[ojosdetabano]

ojosdetabano:

Maybe "the couple" in modern times in Opera, Ana Netrebko and Rolando Villazón. In the video interpreting O soave Fanciulla of Giacomo Puccini's La Bohéme. I love the voice of both of them, great performers and always with so many passion. ¡Enjoy it!

Eduardo Orozco

[zoevaldes]

«La forza del destino»: Jonas Kaufmann y Anna Netrebko se miden en el Covent Garden Recibida por la crítica como «el acontecimiento operístico de la década», la versión de Christof Loy de la obra de Verdi triunfa en Londres Origen: «La forza del destino»: Jonas Kaufmann y Anna Netrebko se miden en el Covent Garden

[carolinesoprano]

Here is a picture of me singing "Meine Lippen sie Küssen so Heiss" !

[demoura]

PUSKIN , TCHAIKOWSKY E A MAGNÍFICA NETREBKO NO EUGENE ONEGIN DO MET , Regressado de Lisboa e a ver o mar novamente . Subscrevo desta vez inteiramente a crítica de Jorge Calado e as *****.Aliás encontrei-o e disse-me que apesar de ter assistido ao vivo se mais transmissões existissem lá estaria . O seu fascinio pela voz de Netrebko é absoluto .tal como o meu . Mas também o poeta e o músico russo me fascinam .A sumptuosidade vocal de Anna Netrebko iluminou toda a opera de Tchaikovsky. O único senão da soprano russa , agora, balzaquiana de formas generosas ,e ser menos convincente no primeiro Acto enquanto jovem Tatiana . ( Lembrei-me da esquálida Netrebko que vi fazer D. Ana em Salzburgo , 2002....) . Mas o esplendor vocal varre tudo. Tivemos a sorte de ter ontem Peter Mattei como protagonista . O grande barítono sueco, a cuja estreia no MET assisti ( como D. Giovanni) tem recursos vocais e cênicos francamente superiores a Mariusz Kwiecień que cantou o papel nas primeiras récitas . "Peter Mattei domine le plateau. Vocalement, son interprétation raffinée est une véritable leçon de chant, théâtralement, toutes les facettes du personnage sont exprimées avec pertinence, hâbleur et méprisant lorsqu’il entre en scène, son Onéguine ne laisse pas que d’émouvoir lorsqu’il étreint le corps de Lenski qu’il vient de tuer ou lorsqu’il se jette aux genoux de Tatiana avec des accents poignants de sincérité".Não faz no entanto esquecer o Onegin signature de Dmitri Hvorostovsky .... Um elenco quase todo russo contribuiu para o sucesso .embora a voz de Dolgov seja pequena para o papel de Lenski . A produção de Warner e tradicional luxuosa a maneira de Zeffirelli . Valeu a pena

[ojosdetabano]

ojosdetabano:

The Elixir of Love (L’elisir de amore). Netrebko and Villazón at stage. Comic Opera (Opera Gioccosa) by Italian composer Gaetano Donizetti. A very funny duet with Adina and Nemorino

Eduardo Orozco