Soprano finds his full voice in the voluptuous romantic French opera

Gheorghiu opened the drama further in its second installment, but not before the orchestra, led by Tiberiu Soare, played the intermezzo with some finely expressive cello and viola solos from Act II of “The other Manon“(by Puccini: as he says, a woman like Manon can have more than one lover).

In recitative style sections, Gheorghiu has the ability to bring out expressive intensity at key points and at the end of Cry my eyes from Massenet The Cid she reached a peak of blazing dramatic strength.

The classic melodic form of Song to the Moon de Rusalka de Dvorak limited that a bit. The expressiveness remained, but within the elegant confines of the chorus’s haunting descending arc.

In the second half, in A beautiful di Vedremo from Puccini Madame Papillon, Gheorghiu used masterful vowel control and carefully modulated dynamic control to create a sense of spaciousness.

Vissi of art by the same composer Tosca, captured a comparable feeling of sculptural fullness.

The orchestra presented the music of Bizet Carmen with the opening of Act IV, and the lower range of the nerve lines of the Habanera of this work has demonstrated its control even in the midrange.

To close it was back to Manon (Puccini’s version this time), this time transported to New Orleans for her sins and feeling a little weak because of it.

Sola, perduta, abbandonata provided the opportunity for a final sample of Gheorghiu’s full range of power, color, vocal range and expressive intensity for a multitude of reminders and ovations.


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Carl Maria von Weber’s German romantic opera Der Freischutz (The Marksman) returns to Melbourne

Chundy says, “We took inspiration from films such as Nosferatu and Metropolis, and painters such as van Gogh and Munch, who have given us creative ways to portray horror – the oozes and drips of paint, heavy lighting and shadow, color and gray. “

The magical scenes are in garish colors, the normal world in washed-out grays until the forces of evil are swept away, when a more natural color blends into the landscape, she says. “It’s hard work for Zoe, but it’s a simple theatrical fix.”

Conductor Greg Hocking says Der Freischutz is immensely difficult to stage, not least because “the plot is so laughable. Opera Australia made it to Sydney in the early 2000s and abandoned it because it was such a disaster.

“The tenor role is very demanding and not everyone knows the music or the style. The narration of these folk tales is extremely important for the development of German Romanticism, but when Wagner took over it stopped. “says Hocking.

But its virtues are strong. “It’s very changeable, it never goes beyond its welcome, there is no need to make cuts [to the music – the spoken dialogue has been edited], and we have a great chorus. “

The Melbourne Opera had to turn down choristers, he said, because there were so many more than he could fit on the Athenaeum’s small stage.

Der Freischutz is famous for its overture, the Wolfsglen scene, a bold and brassy chorus of hunters and some lovely tunes for Agathe. The Melbourne Opera has a strong set of principals, with tenor Jason Wasley as Max, bass Steven Gallop as Caspar, Sally Wilson as Agathe and mezzo Andrea Creighton as his parent Annchen.

Wilson, who recently moved to Australia after building her career in the United States and Europe, sings Agathe for the first time. She made the rare but not unprecedented career change from a mezzo soprano to a full lyrical / coloratura soprano, which requires a higher vocal range and great agility.

The old shooting competitions on which the opera is based, known as Schutzenfests, are still popular in Germany, Hocking says. In fact, there will be one in Barossa Valley, South Australia on Saturday, the same day. Der Freischutz opens. “But the prize is no longer a bride,” Hocking said, somewhat reluctantly.

Melbourne opera house Der Freischutz is at the Athenaeum Theater from January 31 to February 14.


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Massenet’s tragic romantic opera ‘Werther’ arrives at the Met: Live in HD

Associated media

Jonas Kaufmann (left) plays the title role in Massenet’s “Werther”, alongside Sophie Koch as Charlotte. The opera will screen at the Met: Live in HD on March 15.

POTSDAM, NY (05/03/2014) (readMedia) – The stunning new Metropolitan Opera production of Jules Massenet’s grim romantic tragedy “Werther” will be shown in theaters worldwide via The Met: Live in HD Saturday, March 15.

The incomparable tenor Jonas Kaufmann plays the title role of the tortured poet, in Massenet’s sublime adaptation of Goethe’s revolutionary and tragic novel. French mezzo-soprano Sophie Koch makes her Met debut as Charlotte, the object of Werther’s unrequited love. The young rising maestro Alain Altinoglu conducts the opera.

The Wall Street Journal called the production a “tense drama of passion, obsession and pursuit.”

“Kaufmann, currently the most demanded, versatile and exciting tenor in opera (…) is ideal in this role. He sings with dark colors, melting warmth, manly intensity and powerful top notes”, the New York Times said. “French mezzo-soprano Sophie Koch … brings a soft, strong voice and painful vulnerability to Charlotte. Mr. Eyre’s production, while largely traditional, uses video imaginatively and has touches of imagery. modern. Mr. Eyre deserves full credit for the detail and implying performances he derives from his cast. “

Massenet’s “Werther” will be screened live from the Metropolitan Opera stage at 12:55 pm on Saturday March 15 at the Roxy Theater in Potsdam. There will be an encore screening at 6:30 p.m. on Sunday April 6.

The opera will be performed in French, with English subtitles. The approximate duration is three hours, including an intermission.

The 2013-14 season of The Met: Live in HD is sponsored in the North Country by SUNY Potsdam’s Crane School of Music and JS Cinemas.

All productions will be broadcast live worldwide on Saturday. There will also be bis presentations offered locally on Sundays. Doors open half an hour before show time and there is immediate seating for advance ticket holders.

In The Met: Live in HD, robotic cameras, strategically placed around and behind the stage, capture the beauty and power of live performance from vivid angles and draw attention to both performance and production. English intervals and subtitles bring the stories to life.

Ticket prices are the lowest available in the country: $ 18 for adults, $ 15 for seniors, $ 12 for students and $ 9 for youth 18 and under.

Tickets are available by calling the Community Performance Series Box Office at (315) 267-2277, or by visiting the Roxy Theater or Northern Music & Video in downtown Potsdam or the CPS Box Office in the lobby of Sara M. Snell Music Theater. You can also book tickets online by visiting www.cpspotsdam.org or www2.potsdam.edu/cps/eventpgs/methd.html.

For more information on the 2013-14 season of The Met: Live in HD, visit the Metropolitan Opera website at www.metopera.org/hdlive.

To learn more about SUNY Potsdam’s Crane School of Music and its award-winning opera program, visit www.potsdam.edu/crane.

Founded in 1886, SUNY Potsdam’s Crane School of Music has a long heritage of excellence in musical education and performance. Life at Crane includes an incredible array of over 300 recitals, lectures and concerts presented by faculty, students and guests each year. The Crane School of Music is the only All-Steinway institution at the State University of New York.

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Not Just a Romantic Opera – The Denver Post

It is hardly surprising that Giacomo Puccini’s creation, “La Bohème,” from 1896, consistently ranks among the most popular operas of all time. It features a classic love story, picturesque Parisian settings and a dramatic end of death by consumption.

Even before it opened on Saturday night, the latest production of Opera Colorado’s work proved to be such a hit with audiences that it added a rare fifth performance, on November 16.

The Denver Post asked production manager Andrew Sinclair three questions about opera and its staging:

Question: To what do you attribute the endless appeal of this opera?

A: Well, it’s probably one of the most romantic music ever written for the lyrical repertoire. There is no doubt that whether people are opera lovers or not, opera lovers or not, they will have heard some of this music. It is also a very well constructed piece. For those of us who know and love him, it constantly amazes us how wonderfully Puccini put him together.

Question: Considering that this piece is performed so frequently, do you feel compelled to find a way to invigorate it?

A: I did a lot of it in the ’80s and early’ 90s and for no particular reason it kind of went out of my repertoire. And it came back in January of this year when I did it in Singapore, and it was really interesting for me to do it again after a long absence, because I thought a little differently about the way I approached some of the characters. There are some things in this production that I have always done the same in others, but there are also a lot of new things.

Question: Can you talk about this production? How do you see opera?

A: What we must try to represent in “Bohème” is not just a romantic opera. We have to try to represent life as it was then. Mimì is truly the only one of the main characters who depends on what she does to stay alive. The four boys have fun pursuing their artistic ideals. They have really nice clothes, but they live in an attic because it’s kind of fun.

Kyle macmillan


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