Sunday, April 23, 2017
Several questions kept occurring to me during Saturday evening’s Eugene Onegin at the Met: Is there a more gorgeous male voice before the public today than Peter Mattei’s? Has Anna Netrebko ever sounded better? Is this not one of the greatest operas ever written? I remember not being crazy about Deborah Warner’s ENO production when it premiered at the Met at the beginning of the 2013-14 season. Warner withdrew due to illness and her long-time collaborator Fiona Shaw was invited to mount the Met version. However, it turned out that Shaw wasn’t available during a substantial portion of the understandably fraught rehearsal period. Unsurprisingly, this Onegin was tepidly received on Opening Night perhaps also due to nostalgia for the much-admired Robert Carsen production that had been dumped to make way for Warner’s. When that season’s casts were announced I was dismayed that Netrebko was paired with Marius Kwiecien for the opening, while a later series starred Marina Poplavskaya and Mattei. I saw both couples but I couldn’t help wishing that Netrebko and Mattei had sung together instead, although Poplavskaya in her last (ever?) Met portrayal was a compellingly wounded if vocally wayward Tatyana. But due to the unfortunate continued illness of Dmitri Hvorostovsky who had originally been scheduled for this season’s revival, I finally got my wish and the team of Netrebko and Mattei did not disappoint. Onegin must be one of the saddest operas in the repertoire—no one is happy for very long in this adaptation of Pushkin’s famous poem. Tchaikovsky’s soaring, heart-breaking music plunges its listeners directly into the hearts of these unfortunate souls. The shy, bookish Tatyana’s “love at first sight” for Onegin is brusquely rebuffed by the worldly roué who only awakens to her allure after she is married to another. His introverted friend Lenski loves Tatyana’s sister Olga, but Lenski’s foolish jealousy prompts him to get into a duel with Onegin during which, of course, the poet is mortally wounded. When Netrebko first took on the role of Tatyana it was reported that she didn’t feel a great kinship for the lovelorn country girl, but I wonder if she hasn’t rethought that stance. Her portrayal several years ago seemed unfocused and tentative but has since deepened considerably. The voice has continued to grow and darken, but on Saturday she kept it light for the first scene before flooding the theater with radiant sound in an exceptional Letter Scene. However, I continue to dislike the overly-histrionic staging of that crucial episode—with Tatyana traipsing about the stage frantically scribbling pages in a notebook and then scattering them all over the floor. Needless to say she looked stunning in her striking red gown when she appeared as the Princess struggling to maintain her composure upon seeing Onegin again. Warner sets the opera’s final scene outdoors as snow falls and there Netrebko infused a controversial long silent kiss with intriguing ambiguity. Was this Tatyana’s one chance to kiss the man she had loved for years or was it an opportunity to torture this man who had once broken her heart but was now desperate for her love? His portrayal less harsh and less effete than Kwiecien’s, the strikingly tall Mattei proved an excellent foil to Netrebko. His delivery of the “sermon” in response to the young girl’s impetuous letter was surprisingly warm and benevolent making his eventual turnabout more credible. The baiting of Lenski at the birthday party started playfully until it whirled out of control resulting in a duel that he had little stomach for. His distraught embrace of his dead friend’s body brought the second act to a wrenching conclusion. Mattei convincingly captured a difficult duality in the scene at the ball in St. Petersburg where he is gobsmaked by the “new” Tatyana. He invited the audience to wonder whether he really loved her or whether she was simply his latest attempt to distract himself from his empty and melancholic existence. Usually cool and elegant, Mattei’s Onegin becomes frighteningly kinetic after his encounter with the Gremins running after Tatyana and repeatedly falling to his knees at her feet before collapsing in despair at the final curtain. Apparently Mattei was ill during his appearances as Rossini’s Figaro at the Met earlier this year (which I missed), but he was in superb voice Saturday. His buttery mahogany sound flows effortlessly enveloping the listener, and one wondered how Tatyana didn’t melt during his chastisement as it was ravishingly done capped by an exquisite soft high note (Kwiecien took a lower option on the broadcast of the first performance of this run). Sometimes one forgets the voice’s power but Onegin’s cry of anguish at the very end rang out magnificently. Elena Maximova who had made her debut as Olga in 2013 opposite Poplavskaya and Mattei returned with a vivacious and well-sung portrayal, as did Elena Zaremba as a dithering Mme Larina. Veteran Larissa Diadkova’s subtle and compassionate Filippevna made one look forward to each of her appearances. If Tony Stevenson’s Triquet missed the wistful elegance that others like Michel Sénéchal had brought to the role, he looked happy to be out of his Rosenkavalier Innkeeper’s drag for a night. Richard Bernstein’s Zaretski grabbed one’s attention despite his distracting entering and exiting during Lenski’s aria. Alexey Dolgov might have seemed a controversial choice for Lenski but I enjoyed his modest, nebbishy interpretation sung with a pleasingly plaintive tenor. For once his aria sounded like a poet’s cry from the heart rather than a superstar tenor’s chance to grab big applause. I hadn’t enjoyed Štefan Kocán’s Gremin several years ago, but this time it was better, sung with some gravity although his insistent vibrato can be grating. Joel Revzen, in his Met debut, deputized well for the ailing Robin Ticciati conducting an intense, impassioned performance and drawing sumptuous playing from his orchestra. There were only a few coordination problems, mostly in the choral passages during the party scene, but otherwise he supported his singers beautifully and the many dance numbers bloomed thrillingly. Tom Pye’s controversial sets vary from the evocative Larin estate and desolate plain for the duel to a puzzlingly bare stage containing only large pillars for both scenes of the third act. Warner’s production, as revived by Paula Williams, struck me as more effective, less awkward this time although odd details still jar such as using rifles for the duel, but this committed, attuned cast made the best of it and the result was a gripping music drama. Although many will be disappointed at missing the Netrebko-Hvorostovsky pairing, I predict this Saturday’s HD of Onegin will be a great event. And, yes, it is one of the very greatest operas. For those who can’t wait until Saturday one take a listen to a wonderful live Onegin I posted last year from the Bolshoi’s visit to the Met in 1975. Photo: Ken Howard/Metropolitan Opera.
Gather, cher public, for discussion of today’s broadcast and HD of Eugene Onegin, live from the Met at 1:00 PM. And in the meantime, enjoy the gaiety of Anna Netrebko, Zac Posen and Peter Clark examining (and trying on!) archival costumes of the Met’s great Tosca performers of the past.
Given the events currently playing out on the world stage and the fact that this week marks holidays for Christians, Jews, and Muslims, it seems like a good time for something topical, introspective, and non-liturgical: Benjamin Britten’s War Requiem with Anna Netrebko, Ian Bostrdge, and Thomas Hampson in an incredibly moving performance from the 2013 Salzburger Festspiele. It also provides a respite for those of you who might be bombarded with Der Rosenkavalier this week. And ardent, lifelong pacifist, Britten penned this work in 1961 using as texts nine poems by British soldier Wilfred Owen who was killed in World War I interspersed with traditional Latin requiem texts. The work premiered in 1962 to commemorate the consecration of the new Coventry Cathedral, which was built after the original structure was destroyed in a World War II bombing raid. It was conceived for a Russian soprano (Galina Vishnevskaya), an English tenor (Peter Pears), and a German baritone (Dietrich-Fischer Dieskau), but politics got in the way: Vishnevskaya was denied a visa to leave the USSR so Heather Harper jumped in for her at the premiere. Vishnevskaya was later able to travel to London for the Decca recording conducted by Britten. This legendary recording was used as the soundtrack for Derek Jarman’s 1989 film War Requiem, which stars Laurence Olivier as an ageing war veteran in his final screen appearance, and Tinda Swinton as a nurse. I highly recommend you seek this out on DVD if you haven’t yet experienced it. Britten said of his music, “I hope it’ll make people think a bit.” On the title page of the score he quoted Wilfred Owen: My subject is War, and the pity of War. The Poetry is in the pity … All a poet can do today is warn.
Almost ten years ago, Charles McGrath had an article in the NY Times about Anna Netrebko that irritated me so much that I think I stopped reading somewhere on the first page, after he stated or implied that before the modern era, no opera singers could act. Okay, maybe Callas? But otherwise, acting was an art discovered only by recent singers. Now he's got a big gushy piece about Renée Fleming. I have to note that alone of the three pieces that were published this week about her, his more or less says that her upcoming Met appearances as the Marschallin will be her last stage appearances. Well, that's been the rumor for the last year or two, plus the other articles say she will continue to appear in recital. And if you look at her own schedule, you'll see that they are her only stage appearances there. Otherwise, it's concerts, galas, and recitals as far as the eye can see. There's an awful lot to disagree with in the Fleming article: her departure is only a watershed if you think she sells out every ticket in the house (I am not convinced) or if you think she is an extremely important singer. Well, look at the repertory she has sung, which has been central lyric roles, very little of it unusual. She has sung little new or contemporary music. She hasn't had the huge and varied repertory that some singers have. There's a photo of her singing "Ain't it a pretty night" from Susannah - did she ever appear in the complete opera? I'm willing to bet not, especially since the article states outright that in the 90s she and her management team made a decision for her to limit her repertory. Netrebko and Kaufmann sell out the house, no doubt, especially Kaufmann (though we will probably never see him in the US again). I'm pretty sure that it was Fleming's own publicists who managed to tag her as "the people's diva," and who managed to get her on the Super Bowl and lots of TV shows. That's they're job, after all. McGrath mentions Fleming's "early talent" in jazz. This was certainly a road not taken; I have personally never thought Fleming had much of a feel for swinging rhythm and can't quite imagine her relaxing enough to really let down her hair in jazz. And by not much of a feel, I mean, not much in the way of rubato in her opera singing. Then there's this appallingly ignorant statement, in the list of her roles: ...the title role in Dvorak’s “Rusalka” (an opera that was practically unheard-of until Ms. Fleming brought it back into the repertory)...First thing is, Rusalka has never been out of the repertory in Czech-speaking areas. Second thing, it has never been in, or brought back into, the repertory (that is, a piece that is regularly performed) in the US. (Take a look at the opera's recent and forthcoming performance history at Operabase.) Thus, McGrath's phrasing is simply bizarre. Fleming sang around 20 performances of it at the Met and another half-dozen or so at SF. The SF performances were around 20 years ago, too; the Met 20 were scattered over 2 or 3 runs or the opera over the years. I do not know which other companies she sang it with, but not enough to drag it into the repertory, let alone "back into" the repertory, where it never was: the first Met performances were with Gabriela Benackova, in 1993, and at SF with Fleming. SF hasn't revived it and doesn't own a production. But the big problem here is that McGrath is giving her credit for something she doesn't have any real responsibility for. She could have been an advocate for Czech opera in the US, but she hasn't been. I think McGrath might be confused here: Ms. Fleming doesn’t have much interest in becoming a figure like Adelina Patti, the hugely popular 19th- and early-20th-century opera star who went around, like Cher, giving farewell concerts for 20 years after she “retired.”I'm really pretty sure that he's thinking of Nellie Melba,
The month of March 2017 on parterre box can be summed up in three topics: Anna Netrebko, Jonas Kaufmann and religious Cretans. The top ten postings for the month: Donna son io, signore, ed in mia casa Broadcast: La traviata (March 11) Beyond the sea Start the revolution with me Questa donna conoscete? What dreams may come Broadcasts: Guillaume Tell / Andrea Chénier Broadcast: Idomeneo (March 25) Conspicuous consumption Broadcast: Idomeneo (March 6) Photo: Marty Sohl/Metropolitan Opera
Antonio Pappano © Sim Canetty-Clarke/ROH 2011 Details of The Royal Opera's 2017/18 Season have been announced. The full production list is as follows: La bohème NEW PRODUCTION 11 September–10 October 2017, 16 June–20 July 2018 (Live in cinemas 3 October 2017) Music: Giacomo Puccini Director: Richard Jones Conductors: Antonio Pappano / Paul Wynne Griffiths / Nicola Luisotti Richard Jones directs a new production of Puccini’s passionate opera of love and death in 19th-century Paris. Mimì – Nicole Car / Simona Mihai / Maria Agresta / Ekaterina Siurina Rodolfo – Michael Fabiano / Benjamin Bernheim / Matthew Polenzani / Atalla Ayan Marcello – Mariusz Kwiecień / Alessio Arduini / Andrei Bondarenko Musetta – Nadine Sierra / Danielle de Niese / Vlada Borovko Schaunard – Florian Sempey / Gyula Nagy / Duncan Rock / Rodion Pogossov Colline – Luca Tittoto / Fernando Javier Radó / In Sung Sim Benoît – Jeremy White Alcindoro – Wyn Pencarreg Die Zauberflöte 12 September—14 October 2017 (Live in cinemas 20 September 2017) Music: Wolfgang Amadeus Mozart Director: David McVicar Conductors: Julia Jones / Richard Hetherington Julia Jones conducts The Royal Opera’s gorgeous production of Mozart’s The Magic Flute with two wonderful casts including Roderick Williams as Papageno and Janai Brugger as Pamina. Pamina – Siobhan Stagg / Janai Brugger Tamino – Mauro Peter / Tuomas Katajala Papageno – Roderick Williams / Florian Sempey Sarastro – Mika Kares / In Sung Sim Queen of the Night – Sabine Devieilhe / Christina Poulitsi First Lady – Rebecca Evans / Jennifer Davis Second Lady – Angela Simkin Third Lady – Susan Platts / Gaynor Keeble Monostatos – Peter Bronder / Peter Hoare Papagena – Christina Gansch / Haegee Lee Speaker of the Temple – Sebastian Holecek / Darren Jeffery Les Vêpres siciliennes 12 October–4 November 2017 Music: Giuseppe Verdi Director: Stefan Herheim Conductor: Maurizio Benini Verdi’s spectacular grand opera is conducted by Maurizio Benini with a cast including Malin Byström and Rachele Stanisci, Bryan Hymel, Michael Volle and Erwin Schrott. Hélène – Malin Byström / Rachele Stanisci Henri – Bryan Hymel Jean Procida – Erwin Schrott Guy de Montfort – Michael Volle Ninetta – Michelle Daly Daniéli – Nico Darmanin Thibault – Neal Cooper Robert – Jihoon Kim Mainfroid – Samuel Sakker Le Sire de Béthune – Simon Shibambu Le Comte de Vaudemont – Jeremy White Lucia di Lammermoor 30 October–27 November 2017 Music: Gaetano Donizetti Director: Katie Mitchell Conductor: Michele Mariotti Donizetti’s opera of a woman forced to breaking point is conducted by Michele Mariotti with a cast including Lisette Oropesa, Charles Castronovo and Christopher Maltman, in Katie Mitchell’s powerful production. Lucia – Lisette Oropesa Edgardo – Charles Castronovo / Ismael Jordi Enrico Ashton – Christopher Maltman Raimondo Bidebent – Michele Pertusi Normanno – Andrew Tortise Arturo Bucklaw – Konu Kim Alisa – Rachael Lloyd La Tragédie de Carmen NEW PRODUCTION 3–14 November 2017 (Wilton’s Music Hall) Music: Georges Bizet Director: Gerard Jones Conductor: James Hendry The youthful stars of the Jette Parker Young Artists Programme perform Peter Brook’s radical reworking of Georges Bizet’s opera in the intimate setting of Wilton’s Music Hall. Carmen – Aigul Akhmetshina Don José – Thomas Atkins Escamillo – Gyula Nagy Micaela – Francesca Chiejina Semiramide NEW PRODUCTION 19 November—16 December 2017 Music: Gioachino Rossini Director: David Alden Conductors: Antonio Pappano / Christopher Willis Antonio Pappano conducts Rossini’s epic tragedy with a cast including Joyce DiDonato, Ildebrando D’Arcangelo, Daniela Barcellona and Lawrence Brownlee in a new production by David Alden. Semiramide – Joyce DiDonato Assur – Ildebrando D'Arcangelo Arsace – Daniela Barcellona Idreno – Lawrence Brownlee Azema – Jacquelyn Stucker Oroe – Bálint Szabó Mitrane – Konu Kim Nino's Ghost – Simon Shibambu Cavalleria rusticana / Pagliacci 29 November 2017—13 January 2018 Music: Pietro Mascagni / Ruggero Leoncavallo Director: Damiano Michieletto Conductor: Daniel Oren Catch this classic double bill of Italian opera in The Royal Opera’s Olivier Award-winning production, with Daniel Oren conducting two excellent casts. Santuzza – Elīna Garanča / Anna Pirozzi Turiddu – Bryan Hymel Mamma Lucia – Elena Zilio Alfio – Dimitri Platanias Lola – Martina Belli Canio – Fabio Sartori Tonio – Simon Keenlyside / Roberto Frontali Nedda – Carmen Giannattasio / Simona Mihai Silvio – Andrzej Filończyk / Samuel Dale Johnson Beppe – Luis Gomes Rigoletto 14 December 2017—16 January 2018 (Live in cinemas 16 January 2018) Music: Giuseppe Verdi Director: David McVicar Conductor: Alexander Joel Alexander Joel conducts two excellent casts led by Dmitri Hvorostovsky and Dimitri Platanias in David McVicar’s acclaimed production of Verdi’s potent and tragic opera. Duke of Mantua – Michael Fabiano / Ivan Magrì Rigoletto – Dmitri Hvorostovsky / Dimitri Platanias Gilda – Sofia Fomina / Lucy Crowe Sparafucile – Andrea Mastroni Maddalena – Nadia Krasteva Giovanna – Sarah Pring / Kathleen Wilkinson Count Monterone – James Rutherford / Darren Jeffery Marullo – Dominic Sedgwick Matteo Borsa – Thomas Atkins Count Ceprano – Simon Shibambu Countess Ceprano – Francesca Chiejina / Jacquelyn Stucker Salome 8–30 January 2018 Music: Richard Strauss Director: David McVicar Conductor: Henrik Nánási Malin Byström takes on the title role in Richard Strauss’s searing opera, as featured in the V&A exhibition Opera: Passion, Power and Politics. Salome – Malin Byström Jokanaan – Michael Volle Herod – John Daszak Herodias – Michaela Schuster Narraboth – David Butt Philip Page of Herodias – Christina Bock First Jew – Dietmar Kerschbaum Second Jew – Thomas Atkins Third Jew – Hubert Francis Fourth Jew – Konu Kim Fifth Jew – Jeremy White First Soldier – Levente Páll Second Soldier – Alan Ewing First Nazarene – Kihwan Sim Second Nazarene – Dominic Sedgwick Cappadocian – John Cunningham The Return of Ulysses NEW PRODUCTION 10–21 January 2018 (Roundhouse) Music: Claudio Monteverdi Director: John Fulljames Conductor: Christian Curnyn The Royal Opera returns to the Roundhouse with Monteverdi’s great late work, in a new production directed by John Fulljames starring Christine Rice and Roderick Williams, sung in English. Ulysses – Roderick Williams Penelope – Christine Rice Telemachus – Samuel Boden Minerva – Catherine Carby Eurycleia – Susan Bickley Melantho – Francesca Chiejina Eurymachus – Andrew Tortise Eumaeus – Mark Milhofer Irus – Stuart Jackson Amphinomus – Nick Pritchard Peisander – Tai Oney Antinous – David Shipley Tosca 15 January—3 March 2018 (Live in cinemas 7 February 2018) Music: Giacomo Puccini Director: Jonathan Kent Conductors: Dan Ettinger / Plácido Domingo Three casts, led by Adrianne Pieczonka, Angela Gheorghiu and Martina Serafin and conducted by Dan Ettinger and Plácido Domingo, star in The Royal Opera’s production of Puccini’s thriller. Floria Tosca – Adrianne Pieczonka / Angela Gheorghiu / Martina Serafin Mario Cavaradossi – Joseph Calleja / Riccardo Massi / Massimo Giordano Baron Scarpia – Gerald Finley / Marco Vratogna Spoletta – Aled Hall / Hubert Francis Cesare Angelotti – Simon Shibambu Sacristan – Jeremy White Sciarrone – Jihoon Kim Carmen NEW PRODUCTION 6 February—16 March 2018 (Live in cinemas 6 March 2018) Music: Georges Bizet Director: Barrie Kosky Conductors: Jakub Hrůša / Christopher Willis Barrie Kosky directs Bizet’s much-loved opera, with Jakub Hrůša and Christopher Willis conducting two casts led by Anna Goryachova and Gaëlle Arquez in the title role. Carmen – Anna Goryachova / Gaëlle Arquez Don José – Francesco Meli / Andrea Carè Escamillo – Kostas Smoriginas / Alexey Markov Micaëla – Anett Fritsch / Susanna Hurrell Zuniga – David Soar / David Shipley Frasquita – Jacquelyn Stucker / Haegee Lee Mercédès – Angela Simkin / Aigul Akhmetshina Le Dancaïre – Pierre Doyen Moralès – Gyula Nagy / Dominic Sedgwick Le Remendado – Jean-Paul Fouchécourt From the House of the Dead NEW PRODUCTION 7–24 March 2018 Music: Leoš Janáček Director: Krzysztof Warlikowski Conductor: Teodor Currentzis Janáček’s final work receives its Royal Opera premiere in a new production directed by Krzysztof Warlikowski, with Teodor Currentzis conducting an excellent cast including Johan Reuter and Willard W. White. Alexandr Petrovic Gorjancikov – Willard W. White Aljeja – Pascal Charbonneau Luka Kuzmic – Štefan Margita Skuratov – Ladislav Elgr Šiškov/Priest – Johan Reuter Prison Governor – Alexander Vassiliev Big Prisoner/Nikita – Nicky Spence Small Prisoner/Cook/Cekunov – Grant Doyle Elderly Prisoner – Graham Clark Voice – Konu Kim Drunk Prisoner – Jeffrey Lloyd-Roberts Šapkin – Peter Hoare Prisoner/Kedril – John Graham-Hall Prisoner/Don Juan/Brahmin – Aleš Jenis Young Prisoner – Florian Hoffmann Prostitute – Rinat Shaham Cerevin – Alexander Kravets Macbeth 25 March—10 April 2018 (Live in cinemas 4 April 2018) Music: Giuseppe Verdi Director: Phyllida Lloyd Conductor: Antonio Pappano Antonio Pappano conducts Verdi’s opera on Shakespeare’s tragedy, with a magnificent cast including Anna Netrebko and Anna Pirozzi, Željko Lučić and Ildebrando D’Arcangelo. Macbeth – Željko Lučić Lady Macbeth – Anna Netrebko / Anna Pirozzi Banquo – Ildebrando D'Arcangelo Macduff – Yusif Eyvazov / David Junghoon Kim Lady-in-waiting – Francesca Chiejina Malcolm – Konu Kim Doctor – Simon Shibambu Coraline WORLD PREMIERE 27 March—7 April 2018 (Barbican Theatre) Music: Mark-Anthony Turnage Director: Aletta Collins The world premiere of Mark-Anthony Turnage’s opera based on Neil Gaiman’s much-loved story, in a production at the Barbican directed by Aletta Collins. 4.48 Psychosis Dates TBC Music: Philip Venables Director: Ted Huffman Philip Venables’s award-winning opera is inspired by Sarah Kane’s extraordinary final play. Lady Macbeth of Mtsensk 12–27 April 2018 Music: Dmitry Shostakovich Director: Richard Jones Conductor: Antonio Pappano Richard Jones’s critically acclaimed production returns after more than a decade, with Antonio Pappano conducting a cast led by Eva-Maria Westbroek in Shostakovich’s masterpiece. Katerina Ismailova – Eva-Maria Westbroek Sergey – Brandon Jovanovich Boris Ismailov – John Tomlinson Zinovy Ismailov – John Daszak Sonyetka – Aigul Akhmetshina Aksinya – Rosie Aldridge Shabby Peasant – Peter Bronder Priest – Wojtek Gierlach Police Inspector – Mikhail Svetlov Teacher – Thomas Atkins Old Convict – Paata Burchuladze Female Convict – Miranda Keys Sentry – Simon Shibambu Coachman/Second Workman – Hubert Francis Lessons in Love and Violence WORLD PREMIERE 10–26 May 2018 Music: George Benjamin Director: Katie Mitchell Conductor: George Benjamin George Benjamin conducts the world premiere of his new collaboration with Martin Crimp – a hotly anticipated work from the creators of Written on Skin, with an excellent, hand-picked cast. Samuel Boden Stéphane Degout Jennifer France Barbara Hannigan Peter Hoare Gyula Orendt Andri Björn Róbertsson Krisztina Szabó Tansy Davies and Nick Drake WORLD PREMIERE June 2018 (Printworks) Music: Tansy Davies Director: Lucy Bailey The latest opera from composer Tansy Davies and librettist Nick Drake, the award-winning team behind Between Worlds. Mamzer Bastard WORLD PREMIERE June 2018 Music: Na'ama Zisser The Royal Opera presents the world premiere of a new work by exciting young composer Na’ama Zisser, in a soundworld that thrillingly unites contemporary idioms with the music of Orthodox Hasidic Judaism. Lohengrin NEW PRODUCTION 7 June—1 July 2018 Music: Richard Wagner Director: David Alden Conductor: Andris Nelsons Wagner’s great romantic opera is conducted by Andris Nelsons with a cast including Klaus Florian Vogt, Kristine Opolais and Christine Goerke in a new production directed by David Alden. Lohengrin – Klaus Florian Vogt Elsa von Brabant – Kristine Opolais Ortrud – Christine Goerke Friedrich von Telramund – Thomas J. Mayer Heinrich I – Georg Zeppenfeld Herald – Kostas Smoriginas First Noble of Brabant – Konu Kim Second Noble of Brabant – Thomas Atkins Third Noble of Brabant – Gyula Nagy Fourth Noble of Brabant – Simon Shibambu Don Giovanni 29 June—17 July 2018 Music: Wolfgang Amadeus Mozart Director: Kasper Holten Conductor: Marc Minkowski In Mozart’s dazzling tragicomic opera, Marc Minkowski conducts a world-class cast led by Mariusz Kwiecień with Ildebrando D’Arcangelo, Rachel Willis-Sørensen, Pavol Breslik and Hrachuhi Bassenz. Don Giovanni – Mariusz Kwiecień Leporello – Ildebrando D'Arcangelo Donna Anna – Rachel Willis-Sørensen Don Ottavio – Pavol Breslik Donna Elvira – Hrachuhi Bassenz Zerlina – Chen Reiss Masetto – Anatoli Sivko The Commendatore – Willard W. White Falstaff 7–21 July 2018 Music: Giuseppe Verdi Director: Robert Carsen Conductor: Nicola Luisotti Robert Carsen’s production of Verdi’s masterful comic opera is filled with wit, humour and sheer joie de vivre. Sir John Falstaff – Bryn Terfel Alice Ford – Ana María Martínez Ford – Simon Keenlyside Nannetta – Anna Prohaska Fenton – Frédéric Antoun Mistress Quickly – Marie-Nicole Lemieux Meg Page – Pamela Helen Stephen Dr Caius – Carlo Bosi Bardolfo – Michael Colvin Pistol – Craig Colclough Jette Parker Young Artists Summer Performance 2018 15 July 2018 The Jette Parker Young Artists return to the main stage in their annual summer performance. L'Ange de Nisida in concert 18–21 July 2018 Music: Gaetano Donizetti Conductor: Mark Elder Opera Rara gives the world premiere of Donizetti’s opera – some of which is familiar from La Favorite – in a concert performance starring Joyce El-Khoury and conducted by Mark Elder. Sylvia – Joyce El-Khoury Leone de Casaldi – David Junghoon Kim King Fernand of Naples – Ludovic Tézier Don Gaspar – Laurent Naouri Monk – Evgeny Stavinsky What are you most looking forward to in the 2017/18 Season? Let us know in the comments below or using the #ROH201718 hashtag on Twitter.
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