OPERA LOVERS & WAGNER ENTHUSIASTS!
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I have 2 free tickets for DAS RHEINGOLD stage rehearsal this Saturday 22nd September starting at 3pm.
They will be amphitheatre seats (in the gods) but bear in mind this is a sold out show - remaining tickets are worth £260!) 🎭
Das Rheingold is the first opera of the four parts of Wagner's Ring Cycle at the Royal Opera House. One of the greatest epics, which Tolkien was known to source most of his inspiration when writing 'The Lord of the Rings'. Discover the origins of where greed for wealth in the world was born down in the inky waters where precious gold was once protected by Rhine maidens.
Please DM me if you are a genuine fan of opera & Wagner. This is a rare opportunity and I want to give it to someone who will truly appreciate it.
This was my introduction to the entire Ring (along with Boulez and Chereau), shown over the course of a week on PBS. NYT critic Harold C. Schonberg waxed outrage. I was hooked. “Together, Patrice Chereau and Pierre Boulez created a Centenary Ring in the truest meaning of the word: Simply the finest Nibelungen Ring production in the Centenary production of the work.Even after more than 30 years, the power and freshness of this staging is virtually undiminished. This Centenary Ring creates on of the biggest scandals on the history of the Bayreuth Festival at the 1976 premiere,getting almost booed off stage with tumultuous audience protests. The orchestra threatened to go on strike, disagreeing with Pierre Boulez’ interpretation of the score, officially complaining to Wolfgang Wagner asking to be allowed to lay as they used to (read: Loud as opposed to Boulez’ transparent sound). Time apparently changes everything: at the last performance on 1980, this Ring was hailed as a masterpiece with unprecedented hour-long standing ovations... Chereau made the singers act, he brought genuine theatre drama to the stage. Chereau just has plain sense of theater, combined with the usual French aestheticism. Debated like few other stagings, some critics labeled this a Socialist Ring. Chereau himself was ambiguous on his comments...Pierre Boulez provides a fast-paced, detailed and transparent , crystal clear reading. Boulez is a masterful conductor. Transparency is the operative word... leading to revelatory performances of immense clarity and entirely devoid of sentimentality.” Mostly Opera
Excited to announce that we will be opening @operademontreal ’s Rigoletto with a fabulous cast with performances on September 15,18,20, and 22 @renebarbera @myriamleblanc @jameswestman @carolynsproule @vartangabrielian @brendenfriesen @bethsingsongs @scottbrooks @vanwyckmaximus @rosetrembley @roccorupolo @andienunez @sebastianhaboczki @carlomontanaro @michaelcavanagh
operademontrealNotre saison 2018/18 est lancée !
Au programme : des classiques revisités et des œuvres contemporaines encore jamais présentées au Canada !
#Rigoletto de #Verdi#DasRheingold de #Wagner#Champion de #Blanchard#TwentySeven de #Gordon et @rvavrek
#Carmen de #Bizet#bass#happy#motivation#inspiration#toronto
Auf in den „Ring“! – Heute Abend ist es so weit: DAS RHEINGOLD feiert Premiere. Toi Toi Toi allen Beteiligten!
von Richard Wagner, Dichtung vom Komponisten
Musikalische Leitung: Francesco Angelico, Inszenierung: Markus Dietz, Bühne: Ines Nadler, Kostüme: Henrike Bromber, Dramaturgie: Christian Steinbock
Mit Bjarni Thor Kristinsson (Wotan), Hansung Yoo (Donner), Tobias Hächler (Froh), Lothar Odinius (Loge), Thomas Gazheli (Alberich), Arnold Bezuyen (Mime), Marc-Olivier Oetterli (Fasolt), Rúni Brattaberg (Fafner), Ulrike Schneider (Fricka), Jaclyn Bermudez (Freia), Edna Prochnik (Erda), Elizabeth Bailey (Woglinde), Marie-Luise Dreßen (Wellgunde), Marta Herman (Flosshilde)
Fotos: N. Klinger
Orfeo ed Euridice is an opera composed by Christoph Willibald #Gluck , based on the myth of Orpheus and set to a libretto by Ranieri de' Calzabigi. It belongs to the genre of the azione teatrale, meaning an opera on a mythological subject with choruses and dancing. The piece was first performed at the Burgtheater in Vienna on 5 October 1762, in the presence of Empress Maria Theresa.
#OrfeoedEuridice is the first of Gluck's "reform" operas, in which he attempted to replace the abstruse plots and overly complex music of #operaseria with a "noble simplicity" in both the music and the drama.
The #opera is the most popular of Gluck's works, and was one of the most influential on subsequent German operas. Variations on its plot—the underground rescue-mission in which the hero must control, or conceal, his emotions—can be found in #Mozart 's #DieZauberflöte , #Beethoven 's #Fidelio , and #Wagner 's #DasRheingold .
Though originally set to an Italian libretto, Orfeo ed Euridice owes much to the genre of French opera, particularly in its use of accompanied recitative and a general absence of vocal virtuosity. Indeed, twelve years after the 1762 #premiere , Gluck re-adapted the opera to suit the tastes of a Parisian audience at the Académie Royale de Musique with a libretto by Pierre-Louis Moline. This reworking was given the title #OrphéeetEurydice , and several alterations were made in vocal casting and orchestration to suit French tastes.
A happy 142st to the Bayreuth Festival! On what must have been a very hot August 13 back in 1876, the mystical E-flat opening pedal of the "eve" of DER RING DES NIBELUNGEN, DAS RHIENGOLD, began, and before long, the curtain opened on three Rhine daughters (L to R: Minna Lammert, Lilli Lehmann, and Marie Lehmann) being wheeled about the stage on swimming contraptions. Plenty of mishaps that first night (lost rings, miscued backdrops), but an enterprise and a phenomenon for better (and worse) was born. The audience applauded Wagner for over half an hour, but the composer-director-impresario refused to appear. This was the first full run of the complete RING and of Wagner's aesthetic agenda in the process, really, and the scrutiny was intense. Of the first night cast, only the Alberich of the evening, Karl Hill, had pleased him.
Weia! Waga! Woge, du Welle, walle zur Wiege! Wagala weia! Wallala, weiala weia!