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In both 2019 and 2021, she appeared at the Metropolitan Opera in the role of Clara in their celebrated new production of Porgy and Bess in which she’d previously appeared at Dutch National Opera. At Lyric Opera of Chicago she sang the role of Ilia in Idomeneo and at Cincinnati Opera she appeared as Susanna in The Marriage of Figaro. In her artistic home at LA Opera, she sang the role of Servilia in La Clemenza di Tito, a role she previously sang at Dutch National Opera. She recently travelled to the Royal Opera House Covent Garden for revival performances of Pamina in The Magic Flute and sang the role of Liù in Turandot at Lyric Opera of Chicago. He regularly appears at the Metropolitan Opera, where he is a graduate of the Lindemann Young Artist Program. He debuted there in a production of Fidelio and has since appeared as Sarastro in The Magic Flute (both in the original production and in the children’s English version), Ferrando in Il Trovatore, the King in Aida, and in roles in Nabucco, Tannhäuser, and the new productions of Les Troyens and Salome.
Il Primo Omicidio - National Opera of Paris (
In the summer of 2022, he joined the Frank R. Brownell III Apprentice Program at Des Moines Metro Opera, where he sung the role of Theseus in A Midsummer Night’s Dream and covered the role of the Lawyer in Porgy and Bess. Future seasons include appearances in Berlin, London, Toronto, Chicago, Houston, New York, and Washington, D.C. Click here to learn about James Conlon's personal history with the opera.
La Clemenza di Tito - Opéra National de Paris (...
She joined Washington National Opera as Liù in Turandot and Cio-Cio San, and she made her debut with Santa Fe Opera as Fiordiligi in Così fan tutte, returning there as Rosina in a new production of The Barber of Seville, Donna Elvira in Don Giovanni, Mimi in La Bohème, as Cio-Ci-San, and as the title role in Carmen. Additional leading roles in the United States have taken her for multiples seasons to the stages of Opera de Puerto Rico, Dallas Opera, and Florida Grand Opera, among many others. Mr. Ketelsen made his Lyric Opera of Chicago debut as Masetto in Don Giovanni conducted by Christoph Eschenbach, followed by performances as the title role in The Marriage of Figaro and Méphistophélès in Faust, both conducted by Sir Andrew Davis. In addition, he made role debuts as Nick Shadow at the Royal Opera House Covent Garden and as Alidoro in La Cenerentola at the Canadian Opera Company. He has also performed at other leading opera houses including the Teatro Real in Madrid, New York City Opera, Boston Lyric Opera, Glimmerglass Festival, Washington National Opera, and Opera Theatre of St. Louis.
Paris Opera faces questions over lack of women, Russian conductor - Hurriyet Daily News
Paris Opera faces questions over lack of women, Russian conductor.
Posted: Fri, 22 Mar 2024 07:00:00 GMT [source]
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His opera productions have been seen throughout Europe, North America and Australia, and he has also worked extensively in theater, television, film and major festivals. Recent productions include The Marriage of Figaro for Garsington Opera, Thaïs for the Metropolitan Opera and Cosi fan tutte for the Lyric Opera of Chicago. As Music Director of LA Opera, Conlon has led more operas than any other conductor in company history. His musical theater credits include the title role in the national tour of Charlie and the Chocolate Factory; Colin in The Secret Garden (Broadway at Music Circus in Sacramento); Michael in Billy Elliot (Music Theater Works); Oliver in Oliver! (Marriott Theatre); Ernie in The Secret of My Success (Paramount Theatre); and Tiny Tim in A Christmas Carol (Raue Center for the Arts). This was the period when Baron Haussmann, under the direction of emperor Napoleon III, undertook the modernization of Paris — demolishing existing buildings, rues, and avenues; replacing them with straight, broad streets, flanked by uniform five-story buildings.
Ariodante - Opéra National de Paris - Palais Ga...
He made his Metropolitan Opera debut as Valzacchi in Der Rosenkavalier, opposite Renee Fleming, Susan Graham and Sir Thomas Allen. He originated the roles of Ong Chi Seng in Paul Moravec’s The Letter at Santa Fe Opera, as well as Anthony Candolino in Terrence McNally and Jake Heggie’s Great Scott at Dallas Opera, which starred Joyce DiDonato and Frederica von Stade, conducted by Patrick Summers. Tunisian-born Rihab Chaieb is a graduate of the Metropolitan Opera’s Lindemann Young Artist Program where she appeared in numerous productions, including L’Italiana in Algeri (Zulma), Luisa Miller (Laura), Cavalleria Rusticana (Lola) and Hänsel und Gretel (Sandman). Returning since as a guest in Don Giovanni (Zerlina) under Cornelius Meister, she appears there this season as Nefertiti in Phelim McDermott’s unforgettable production of Philip Glass’ Akhnaten, conducted by Karen Kamensek. Janai Brugger, the 2012 winner of Operalia and of the Metropolitan Opera National Council Auditions, made her television debut in 2020 when she sang a specially-written requiem composed by Laura Karpman for an episode of HBO’s renowned Lovecraft Country.
Pasadena doctor accused of trying to kill family by plunging car off Highway 1 seeks diversion program
The Auditorium is the heart of the Opera Garnier, where the performances take place. The theater has a horseshoe shape, so-called for how the seats are arranged to see and be seen. A surprisingly number of the Paris ballet houses were destroyed by fire — others have simply outlived their usefulness and been razed. For instance, there was the Théâtre de la Porte Saint-Martin built for Marie Antoinette in 1781, abandoned during the Revolution, and destroyed in a fire during the Commune of 1871. Luckily for us, however, Palais Garnier, the grandest example of them all, still exists and it as glorious as ever. Palais Garnier became the center of Paris cultural life during the Belle-Époque period of the late 19th and early 20th centuries.
He trained a highly structured troupe and virtually banned foreign artists from the stage. The Opera, which incidentally produced quite decent performances, was however cut off from the international opera world. His concert performances include collaborations with many of the world’s leading conductors including James Levine, Riccardo Muti, James Conlon, Colin Davis, Bernard Haitink, Charles Mackerras, Christoph von Dohnányi, Jeffrey Tate, Christoph Eschenbach, Ivor Bolton, and Marc Minkowski. Among his discography are commercial recordings of Don Giovanni and Die Zauberflöte with Arnold Östman (Decca) and Schreker’s Die Gezeichneten (Deutsche Grammophon).
Palais Garnier – The Belle Époque Ballet & Opera House of Paris
The building was always designed to be an extravagant experience, with a lush, richly decorated space incorporating excessive elements such as a six-ton central chandelier, bronze busts of composers, and multiple columns, friezes and statues. In 1881 electric lighting was installed.[68] In the 1950s new personnel and freight elevators were installed at the rear of stage, to facilitate the movement of employees in the administration building and the moving of stage scenery. Act IIISusanna and the Countess have created a new plan in which Susanna is to promise to meet the Count, but instead the Countess will go in disguise and reveal the Count’s infidelities. Susanna arranges the supposed rendezvous, but her efforts are nearly ruined when the Count overhears an exchange between her and Figaro. Then Antonio, the gardener arrives, outraged that someone has jumped from the window into his flowers.
Pina Bausch's Bluebeard: Opéra National de Paris
For Joel Ivany and AtG, Jason has lit La Bohème, Turn of the Screw, Figaro’s Wedding, Pelléas et Mélisande, Death and Desire, #UncleJohn, AtG’s Messiah, A Little Too Cozy, Bound, and Kopernikus. He has built a reputation for developing innovative lighting designs for site-specific productions with Against the Grain and Tapestry New Opera. His passion is creating the lighting for large-scale musicals and operas, and for new works.
Russian baritone Igor Golovatenko quickly made a name for himself on both the concert platform and operatic stage after his debut in the 2006 Russian premiere of Delius' Eine Messe des Lebens with the Russian National Philharmonic Orchestra. She has also worked on the stages of the Old Vic, the Royal Shakespeare Company, London’s National Theatre and Complicité Theatre Company and Chicago’s Goodman Theatre, as well as for the Channel 4 television network (Howard Goodall’s Great Dates). She has also worked as revival director on numerous opera productions in Rome, San Francisco, Oslo, Palermo and London (Royal Opera House and English National Opera). He was born in Glasgow and trained at the Glasgow School of Art and the Royal Scottish Academy of Music and Drama as an actor, designer and director.
Jason has lit productions at several of Canada’s largest opera companies including the Canadian Opera Company and Vancouver Opera (Carmen), Edmonton Opera (The Tales of Hoffmann). He has worked with acclaimed directors Tim Albery (Imeneo, Dido and Aeneas, M’Dea Undone), Paul Curran (The Rape of Lucretia) and Tom Diamond (The Marriage of Figaro, Oksana G.). Recent mainstage directing credits include Dead Man Walking at Minnesota Opera and Orphée⁺, a multiple award-winning re-imagining of Gluck's opera, with Opera Columbus, AtG and Banff Centre. He has directed productions for the Canadian Opera Company (Hansel and Gretel, Carmen), Toronto Symphony Orchestra (Mozart’s Requiem, Kurt Weill’s The Seven Deadly Sins), the Canadian Children’s Opera Company (Brundibár), Vancouver Opera (Carmen, Dead Man Walking), and Claude Vivier’s Kopernikus (AtG and Banff Centre). Recent highlights include the worldwide critically acclaimed film Messiah/Complex (AtG) and directing the Governor General’s Performing Arts Awards for CBC Television.
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