T.H.A.M.O.S. – Salzburg
La Fanciulla del West – Teatro San Carlo Napoli
Turandot – Teatro Regio Torino
Wozzeck – Salzburg Festival 2017
YOUNG SYRIAN LENSES
MEDIA ATTIVISTI AD ALEPPO
Maggio 2014. Dall’inizio della Rivoluzione Siriana i ribelli di Aleppo liberata, continuano instancabili il loro lavoro di reporter nel network televisivo HalabNews.com. L’idea di Enea Discepoli di organizzare una mostra fotografica nel centro storico di Aleppo, con i media-attivisti di Halab News, è la fonte di ispirazione di questo documentario.
Approdati in Siria con le stampe fotografiche sotto braccio però, si manifesta subito l’impossibilità di effettuare la mostra. Da qui inizia il racconto che vuole ugualmente mettere in luce i giovani media-attivisti e nel contempo vedere con i loro occhi, come media, per raccontare la tragedia che si protrae in Siria dal 2011.
Il racconto è sviluppato attraverso interviste con opinioni e testimonianze dei media-attivisti, alternate però da episodi vissuti direttamente dalla macchina da presa, in prima persona, che catapultano lo spettatore direttamente nella realtà quotidiana al fianco dei ragazzi.
Il regista, Ruben Lagattolla vive e racconta la situazione in un costante stato di lucida paura, che si trasmette nelle immagini. Immagini non celebrative, di una persona occidentale che, solo con lo sguardo, fa riflessioni e confronti tra la nostra società apparentemente sicura e quella siriana infangata in uno stato di violenta anarchia. Riflessioni che vanno a preferire uno sguardo sulla condizione umana della popolazione civile piuttosto che una ricerca di immagini di impatto giornalistico sulle strategie e le operazioni militari. Questo taglio si sviluppa anche grazie alla co-regia di Filippo Biagianti.
Le immagini sono esclusive, partendo dal presupposto che all’epoca del viaggio (30 aprile – 9 maggio 2014), i due reporter erano gli unici stranieri ad Aleppo libera.
YOUNG SYRIAN LENSES ENGLISH VERSION
MELODRAMMA IN FOUR ACTS (1847/1865)
MUSIC BY: Giuseppe Verdi
TEXT BY: Francesco Maria Piave additions by Andrea Maffei according to »The Tragedy of Macbeth« by William Shakespeare in the Italian translation by Carlo Rusconi
After winning in battle, Commander Macbeth receives a prophesy that he will one day become King of Scotland. Influenced by the whisperings of his wife, he literally stops at nothing to fulfil the prophesy. But racked by guilt, the Macbeths soon sink into delusions and become victims of their own thirst for power.
MEFISTOFELE – BAYERISCHE STAATSOPER
Opera in four acts and epilogue
Composer Arrigo Boito · Libretto by the composer after Johann Wolfgang von Goethe’s “Faust”
In Italian with English and German surtitles | New Production
TOSCA – Osterfestspiele Salzburg
LOHENGRIN – Semperoper Dresden
Lohengrin
Richard Wagner
Romantic opera in three acts
Cosmoprof On Hair Show – Autumn edition 2017
JÉRUSALEM – Teatro Regio di Parma
JÉRUSALEM
Opera in quattro atti di Alphonse Royer e Gustave Vaëz
Musica
GIUSEPPE VERDI
Edizione critica a cura di Jürgen Selk
The University of Chicago Press, Chicago e Casa Ricordi, Milano
| Personaggi | Interpreti |
| Gaston, Vicomte de Béarn | RAMON VARGAS |
| Le comte de Toulouse | PABLO GÁLVEZ |
| Roger, son frère | MICHELE PERTUSI
MIRCO PALAZZI (20/10) |
| Hélène, fille du comte | ANNICK MASSIS
SILVIA DALLA BENETTA (20/10) |
| Isaure, confidante d’Hélène | VALENTINA BOI |
| Adhémar de Monteil, Légat | DEYAN VATCHKOV |
| Raymond, l’écuyer | PAOLO ANTOGNETTI |
| L’émir de Ramla | MASSIMILIANO CATELLANI |
| Un officier de l’émir | MATTEO ROMA |
| Un hérauld | FRANCESCO SALVADORI |
| Un soldat | FRANCESCO SALVADORI |
FALSTAFF – Teatro Regio di Parma
FALSTAFF
Commedia lirica in tre atti, libretto di Arrigo Boito
Musica
GIUSEPPE VERDI
| Personaggi | Interpreti |
| Sir John Falstaff | ROBERTO DE CANDIA MIKHEIL KIRIA (15/10) |
| Ford, marito di Alice | GIORGIO CAODURO |
| Fenton | JUAN FRANCISCO GATELL |
| Dott. Cajus | GREGORY BONFATTI |
| Bardolfo, seguace di Falstaff | ANDREA GIOVANNINI |
| Pistola, seguace di Falstaff | FEDERICO BENETTI |
| Mrs. Alice Ford | AMARILLI NIZZA |
| Nannetta, figlia d’Alice e Ford | DAMIANA MIZZI |
| Mrs. Quickly | SONIA PRINA |
| Mrs. Meg Page | JURGITA ADAMONYTE |
10th European Aerobic Gymnastics Championships – Ancona
Ariodante – Salzburg Festival 2017
George Frideric Handel – Ariodante
Georg Friedrich Händel/Ariodante/Gianluca Capuano:Musikalische Leitung/Christof Loy:Regie/Johannes Leiacker:Bühne/Ursula Renzenbrink:Kostüme//Nathan Berg:Der König von Scottland, Kathryn Lewek:Ginevra, Kristofer Lundin:Odoardo, Christophe Dumaux:Polinesso
La Bohème – Festival Puccini, Torre del Lago
La Bohème
Scene liriche in quattro quadri su libretto di Giuseppe Giacosa e Luigi Illica
Musica di Giacomo Puccini
(prima rappresentazione 1 febbraio 1896, Teatro Regio, Torino)
| Maestro concertatore e Direttore | James Meena (21-28 luglio) / Mārtiņš Ozoliņš (11 agosto) |
| Regia | Maurizio Scaparro |
| Costumi | Cristina Da Rold |
| Scene | Jean Michel Folon |
| Disegno Luci | Davide Ronchieri |
| Mimì | Karine Babajanyan (21 e 28 luglio) / Olivera Mercurio (11 agosto) |
| Musetta | Elisabetta Zizzo (21 luglio) / Alessandra Mella (28 luglio) / Marina Zyatkova (11 agosto) |
| Rodolfo | Piotr Beczala (21 e 28 luglio) / Raffaele Abete (11 agosto) |
| Marcello | Raffaele Raffio |
| Schaunard | Francesco Baiocchi |
| Colline | Gianluca Breda |
| Benoit | Claudio Ottino |
| Alcindoro | Armando Ariostini |
| Parpignol | Francesco Napoleoni |
| Sergente dei doganieri | Andrea Del Conte |
| Un doganiere | Alessandro Biagiotti |
| Assistente alla regia | Luca Ramacciotti |
| Orchestra del Festival Puccini | |
| Coro del Festival Puccini | |
| direttore M° Salvo Sgrò | |
| Coro delle Voci Bianche del Festival Puccini | |
| direttore M° Viviana Apicella | |
by Peter Tchaikovsky
in Russian with German supertitles
Tchaikovsky‘s Pique Dame is based on a Alexander Pushkin story by the same name. Similar to the contemporary Dostojewsky with his novels, Tschaikowsky succeeds in transposing into his opera – a delirious psychological profile – motives of Pushkin’s novel into his own present time.
Herman feels haunted by the ghost of a duchess who during her younger years at the French Court, was known and celebrated as the „Muscovite Venus“ and who was then bestowed with the secret of three infallible playing cards. In Herman’s soul, the envisioned victory in gambling more and more replaces the erotic fulfillment of his love for Lisa, until he is finally lead straight into a deadly embrace with the old Duchess.
Ludwig van Beethoven
Sinfonia n. 9 in re minore per soli, coro e orchestra Op. 125
Orchestra e Coro del Teatro di San Carlo
diretti da Zubin Mehta
Julianna Di Giacomo, soprano
Lilly Jørstad, mezzo-soprano
Burkhard Fritz, tenore
Liang Li, basso-baritono
CENDRILLON OU LA PETITE PANTOUFLE DE VERRE – Theater Freiburg
DIE WALKÜRE – Osterfestspiele Salzburg
Erster Tag des Bühnenfestspiels
Der Ring des Nibelungen
Re-Creation: New production in the reconstructed stage design from the Salzburg Easter Festival’s first opera production from 1967
Christian Thielemann Conductor
Vera Nemirova Director
Günther Schneider-Siemssen Stage designer
Jens Kilian Reconstruction of the original stage design from the year 1967; Costume designer
Olaf Freese Lighting designer
rocafilm Video
Peter Seiffert Siegmund
Georg Zeppenfeld Hunding
Vitalij Kowaljow Wotan
Anja Harteros Sieglinde
Anja Kampe Brünnhilde
Christa Mayer Fricka
Johanna Winkel Gerhilde
Brit-Tone Müllertz Ortlinde
Christina Bock Waltraute
Katharina Magiera Schwertleite
Alexandra Petersamer Helmwige
Stepanka Pucalkova Siegrune
Katrin Wundsam Grimgerde
Simone Schröder Roßweiße
Operetta Die lustige Witwe (The Merry Widow) – NCPA Beijing
La bella dormente nel bosco – Teatro Lirico di Cagliari
fiaba musicale in tre atti
libretto Gian Bistolfi, dalla fiaba omonima di Charles Perrault
musica Ottorino Respighi
personaggi e interpreti
La Regina/La Rana/La vecchietta Veta Pilipenko (3, 5, 8, 10, 12)/Marina Ogii (4, 7, 11)
La Principessa Angela Nisi (3, 5, 8, 10, 12)/Barbara Massaro (4, 7, 11)
Il Principe Aprile Antonio Gandìa (3, 5, 8, 10, 12)/Davide Giusti (4, 7, 11)
Il Re/L’Ambasciatore Vincenzo Taormina (3, 5, 8, 10, 12)/Filippo Fontana (4, 7, 11)
La Fata azzurra Shoushik Barsoumian (3, 5, 8, 10, 12)/Leslie Visco (4, 7, 11)
La Fata verde Lara Rotili (3, 5, 8, 10, 12)/Martina Serra (4, 7, 11)
Il Gatto/La Duchessa/Il Cuculo Lara Rotili (3, 5, 8, 10, 12)/Martina Serra (4, 7, 11)
Il Fuso/L’Usignolo Claudia Urru (3, 5, 8, 10, 12)/Martina Bortolotti (4, 7, 11)
Mister Dollar/Il Buffone Enrico Zara
Un Boscaiolo Nicola Ebau
I Quattro Medici Nicola Ebau, Francesco Leone, Marco Puggioni, Enrico Zara
maestro concertatore e direttore Donato Renzetti
Orchestra e Coro del Teatro Lirico di Cagliari
maestro del coro Gaetano Mastroiaco
regia Leo Muscato
scene Giada Abiendi
costumi Vera Pierantoni Giua
luci Alessandro Verazzi
video Fabio Massimo Iaquone, Luca Attilii
coreografia Luigia Frattaroli
nuovo allestimento del Teatro Lirico di Cagliari
XERXES
GEORG FRIEDRICH HÄNDEL 1685-1759
Opera in three acts
Text based on a libretto by Silvio Stampiglia
First performed April 15th 1738, King’s Theatre Haymarket, London
ca. 3hrs 20 mins including one interval (after 2 hours)
Sung in Italian with German surtitles
The king loves a tree – but adores women too. And he knows how to rule. The opera begins with his declaration of love for a plane tree, Ombra mai fu – one of the most beautiful arias ever written. At the centre of this confusing tragicomedy is a royal eccentric, Xerxes. The lovesick king and his level-headed brother Arsamene are as different as chalk and cheese. Arsamene always does what it right. Xerxes always wants what he can’t get. He plans to build a huge bridge for his army so that they can conquer Europe, and win over his brother’s beloved Romilda. But the king is already engaged to Amastre, a king’s daughter who, disguised as a soldier, is secretly, and furiously, watching everything. Love, envy and jealousy, wrongly delivered letters and misleading promises lead to all sorts of confusion. In the end Xerxes is forced to accept that he cannot rule people’s emotions. Might he find happiness again with his beloved plane tree?
Xerxes was one of Handel’s last operas. It bears witness to the polished and virtuoso late style of the by then marked by illness composer. The unusual opening aria sung by Xerxes is not the only pointer to a new musical dramaturgy – there are no da capo arias, the switching between recitatives and arias is rapid and the opera takes on a dizzying tempo. Handel’s late work is a vicious persiflage about the longings, doubts, quirks and (self)destructive megalomania of a ruler.
Adapted from a Scottish historical legend, Shakespeare’s five-act tragedy Macbeth tells the story about a brave Scottish general named Macbeth killing the king and usurping the throne. This drama is respected “four tragedies” written by Shakespeare with Hamlet, King Lear, and Othello.
In 1847, based on an Italian libretto by F.M.Piave, Giuseppe Verdi put Macbeth on opera stage, which is his first opera work adapted from Shakespeare’s dramas, with strong dramatic music to show characters’ selfishness, desire, greed and fear, and present a series of scenes in the original work such as “knocking sound” and “sleepwalking”.
To memorize the 400th Anniversary of Shakespeare’s death, NCPA will stage this opera production of Macbeth with Plácido Domingo playing the leading role, well-known maestro Daniel Oren as conductor and worldly renowned opera director Hugo de Ana in charge of the direction, set and costume design of this opera.
Credits
Composer: Giuseppe Verdi
Librettist: Francesco Maria Piave
Premiere: March 10, 1847 at the Teatro della Pergola, in Florence
Conductor: Daniel Oren
Director & Set Designer & Costume Designer: Hugo de Ana
Charles Gounod Faust
Opéra in five acts by Charles Gounod (1818–1893)
Text by Jules Barbier (1825–1901) and Michel Carré (1821–1872)
after Faust Part One by Johann Wolfgang von Goethe (1749–1832)
CREATIVE TEAM
Alejo Pérez, Conductor
Reinhard von der Thannen, Director, Sets and Costumes
Giorgio Madia, Chorographer and Staging Collaborator
Franck Evin, Lighting
Birgit von der Thannen, Dramaturgy and Conceptual Collaboration
Katrin Hauer, Set Design Collaborator
Alexander Fahima, Staging Collaborator
Adriana Mortelliti, Assistant Choreographer
Walter Zeh, Chorus Master
CAST
Piotr Beczala, Faust
Ildar Abdrazakov, Méphistophélès
Maria Agresta, Marguerite
Alexey Markov, Valentin
Tara Erraught, Siébel
Paolo Rumetz, Wagner
Marie-Ange Todorovitch, Marthe
Philharmonia Chor Wien
Vienna Philharmonic
Female Dancers
Francesca Maria Amante
Adi Hanan
Aleksandra Krajewska
Denise Noack
Veselina Handzhieva
Ya-Chun Tsai
Male Dancers
Steven Forster
Meita Joseph Haim Besson
Giovanni Nicolella
Björn Christer Nilsson
Axe Sebastian Pena Inchausti
Michael Schneider
Miguel Collado Sanchez
Miming Actors
Augustin Alriq, Thomas Pfertner
Orchestral Organ
Michaela Aigner
LA FOVORITE – BAYERISCHE STAATSOPER
Opéra in four acts
Composer Gaetano Donizetti · Libretto by Alphonse Ryoyer, Gustav Vaëz and Eugène Scribe
In French with German and English surtitles | New Production
LA CAMPANA SOMMERSA – Teatro Lirico di Cagliari
opera in quattro atti
libretto Claudio Guastalla, dal poema drammatico Die versunkene Glocke di Gerhart Hauptmann
musica Ottorino Respighi
UN BALLO IN MASCHERA – BAYERISCHE STAATSOPER
Melodramma in three acts
Composer Giuseppe Verdi · Libretto by Antonio Somma
In Italian with English and German surtitles | New Production
I DUE FOSCARI – Teatro alla Scala Milano
Giuseppe Verdi
Coro e Orchestra del Teatro alla Scala
Allievi della Scuola di Ballo dell’Accademia
Nuova produzione Teatro alla Scala
STILLES MEER – Staatsoper Hamburg
Toshio Hosokawa
A hill. The view broadens. The sea. Claudia stands here often recently, ever since her husband Takashi and her son Max died. Lanterns bobbing on the sea for the souls of the dead mean: everybody lost somebody in the tsunami. Claudia’s former boyfriend, the father of her son, entreats her: “Just face reality.” However, her reality are the dead whom the sea has never released – any search was prevented by the need for evacuation. A ritual is meant to allow Claudia to see the soul of her dead child, for she cannot set him free. However, the image disintegrates in her arms. “Let us go home, each to our own home,” she says. To Toshio Hosokawa, nature is reflected in audible symbolic forms. Thus, each tone, each silence holds spiritual evidence. As in Voiceless voice in Hiroshima, Japanese history provides the inspiration for his compositions – in this case, the atomic catastrophe in Fukushima.
Director: Oriza Hirata
Set Designer: Itaru Sugiyama
Costume Designer: Aya Masakane
Lighting Designer: Daniel Levy
Dramaturgy: Janina Zell
Premiere: 24.01.2016
SIMON BOCCANEGRA – NCPA Beijing
Simon Boccanegra is an opera with a prologue and three acts by Giuseppe Verdi to an Italian libretto by Francesco Maria Piave, based on the play Simón Bocanegra (1843) by Antonio García Gutiérrez. It was first performed at Teatro La Fenice, Venice on 12 March 1857. Given the difficulties with the original plot, a revised version, with text changes by Arrigo Boito, was first performed at La Scala, Milan on 24 March 1881. It is this version, with its Council Chamber scene as the finale to Act 1, that is usually given today.
UN BALLO IN MASCHERA – NCPA Beijing
The Un Ballo in Maschera is adapted based on the story of assassination of King Gustav III of Sweden in the 18th century. Through fictional odd story, the opera reveals Amelia’s ambivalence when pursuing extramarital romantic love and safeguarding her husband’s dignity, and rolls out the real high life of Italy in the 18th century. Un Ballo in Maschera, La forza del destino and Don Carlo are crowned as the three major masterpieces created by Verdi in his mid-life. Un Ballo in Maschera can be described as one of Verdi’s most talented works in terms of music, which not only consists of many classical arias, but also achieves the culmination of the Romantic opera from the perspective of art. This work truly achieves grand and magnificent realm in view of drama contents and musical charm.
The NCPA opera Turandot is the first western opera the NCPA launched since its inauguration. Puccini Festival Foundation, as the specially invited partner in the NCPA’s production, has rendered full support from opera creation to rehearsal. HAO Weiya, the Chinese young composer, entrusted by NCPA, becomed the third composer of the world and also the first Chinese artist to complete Puccini’s Turandot. Until now, Turandot has staged eight rounds. In January 2011, NCPA opera Turandot were staged as the opening performance for the 2011-2012 season of Korean National Opera in Seoul.
Opera in cinque atti
Libretto di Jules Barbier e Michel Carré
dall’omonimo poema di Johann Wolfgang von Goethe
Musica di Charles Gounod
Per la prima volta la rappresentazione dell’opera all’interno di una Cattedrale
1835 – melodramma sacro in quattro atti
in forma semiscenica
Libretto di Luigi Balocchi e Étienne de Jouy
Traduzione di Calisto Bassi
IL TROVATORE – BERLIN Staatsoper im Schiller Theater
Opéra en quatre actes by Étienne de Jouy and Hippolyte Bis
FEURSNOT – Teatro Massimo Palermo
Musica di Richard Strauss
Libretto di Ernst von Wolzogen
Nuovo allestimento del Teatro Massimo
OTELLO – Palazzo Ducale Venezia
Dramma lirico in quattro atti su libretto di ARRIGO BOITO, da Shakespeare
Musica
GIUSEPPE VERDI
SIEGFRIED – Palau de les Arts Valencia
The third opera in Wagner’s epic Ring cycle, Siegfried stands on its own as great spectacle, masterful storytelling, and electrifying music.
The conniving dwarf Mime has raised the naïve and fearless boy Siegfried in hopes that he will obtain the all-powerful ring and turn it over to him. But with the help of a mysterious Wanderer—the god Wotan in disguise— Siegfried reforges his father’s powerful sword and uses it to claim the ring for himself. The balance of power is changing: the power of the gods continues to diminish as Siegfried’s journey culminates in the discovery of his destined bride, Brünnhilde.
A co-production of Palau de les Arts Reina Sofia, Valencia, and Maggio Musicale, Florence