This week on Rhode Island Public television,
WSBE: (Comcast 294, Cox 808, Full Channel 109, and Verizon 478)
*All links below are live
Hamlet
Great Performances at the Met
|
Saturday, March 30 -- 8:00pm; Sunday, March 31 -- 3:00 am; Monday, April 1 -- 12:00am
Hamlet
The Ambroise Thomas opera "Hamlet," based on the Shakespeare play, starring baritone Simon Keenlyside as the prince and soprano Marlis Petersen as Ophélie. Mezzo-soprano Jennifer Larmore is Hamlet's mother, Gertrude, and James Morris is Claudius.
The Ambroise Thomas opera "Hamlet," based on the Shakespeare play, starring baritone Simon Keenlyside as the prince and soprano Marlis Petersen as Ophélie. Mezzo-soprano Jennifer Larmore is Hamlet's mother, Gertrude, and James Morris is Claudius.
DURATION: 180 MIN
DETAILS: [CC] [STEREO]
GENRE: PARENTS PICKS
Simon Keenlyside, baritone, interviewed on
Classic Talk from the Heart of Manhattan with Bing and Dennis
Part 1.
Part 2.
http://www.youtube.com/watch?v=quNeo7R178Y
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OPERA ON WGBH TV
THIS WEEK!
Otello
Synopsis:
Verdi's "Otello," about a Moorish
general (Johan Botha) who comes to suspect his wife (Renée Fleming) of
infidelity due to seeds of doubt sowed by a treacherous aide (Falk Struckmann).
Sunday, March 31, 2013, 2:30pm
On WGBH 2
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OPERA ON THE INTERNET
WITH
DAVE D' AGUANNO
This Saturday (March 30), opera on internet radio is
dominated by the LIVE broadcast from the Met of Verdi's "La
Traviata." After seeing (and hearing) soprano Diana Damrau's wonderful
performance in the HD-transmission of "Rigoletto" last month, it's no
wonder that many opera fans would be anxious to hear her in another Verdi role,
and those interested in listening to Placido Domingo's take on the elder
Germont won't want to miss this one either.
(www.wrti.org/)
Aside from the "Traviata" broadcast, there
isn't much else going on this weekend; however, those of you who just can't
seem to get enough of Wagner's "Parsifal" may want to tune in to ORF
(Austrian radio) and catch the March 23 performance of this opera, featuring
tenor Johan Botha (recently seen as Otello at the Met) in the title role.
(http://oe1.orf.at/)
Speaking of "Otello" -- The Met's free LIVE
audio-stream this evening will feature this Verdi masterpiece at 7:25 p.m. with
totally different singers (in the main roles) from the ones who were featured
in the HD-transmission earlier this season, tenor Jose Cura taking on the role
of Otello this time around.
(www.metopera.org/)
Enjoy!
DAVE
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2013-14 Live in HD
Season Preview
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The Met radio broadcast,
March 23, 2013 @ 12:30pm
Giuseppe Verdi's
LA TRAVIATA
Listen to the Met Opera Saturday afternoon
broadcasts on Harvard Radio, 95.3 in the Boston area or live-streaming online at http://www.whrb.org
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Some interesting articles
Tenor Bryan Hymel Wins Beverly Sills Award - WQXR
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2013-14 Live in HD Season Schedule
Costuming Mary Magdalene: An Overview
SFClassicalVoice has uploaded Costuming Mary Magdalene: Research (Part 1)
Inside the Metropolitan’s Stage
Ahead of renovations, a look at the interior workings of the Metropolitan Opera
Operavore Preview: Matthew Epstein on Artist Cancellations
Scenes From Two Days at the Met
The Epic Ups and Downs of Peter Gelb
Mezzo-Soprano Risë Stevens Dies at 99
International Fansite for Joseph Calleja, The Maltese Tenor
Bach in the Subways Day Returns For Third Year
'Anna Nicole' is Coming to City Opera in September
New Royal Opera House Chief Brings Administrative Savvy
Gergiev Fund Embezzlement Case Postponed
Behind The Vienna Philharmonic's Nazi Past
Does Bach Need 'Rescuing' from Period Instruments?
In recent months, symphony orchestras have returned to the music of J.S. Bach with a vengeance. Are they on the right track or should Bach be the domain of early-music specialists?
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from Dave D'Aguano:
In view of the fact that the opera company in Brussels (La Monnaie) usually offers FREE video-streams of their operas on their website, I thought I would call your attention to next season's line-up, with the fervent hope that we'd at least be able to watch many of these on our computers.
"La Clemenza di Tito" (Mozart)
"Hamlet" (Thomas)
"Les Mamelles de Tiresias" (Poulenc)
"Jenufa" (Janacek)
"Au Monde" (Boesmans) (world premiere)
"Rigoletto" (Verdi)
"Orphee & Eurydice" (Gluck)
Also, Mernier's new opera "La Dispute" (recently given its world premiere performance) will be streamed some time around the beginning of next month!
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Star tenor Rolando Villazón has his Tigers in check
The Mexican star tenor Villazon appears several times in
Berlin. In an interview with the Berliner Morgenpost he talks about Berlin. His
voice and the dangers of good art.
Rolando Villazón can laugh so wonderfully about himself on
his website! The Mexican star tenor placed his own hand-drawn cartoons there.
They show him in great times, and at times in clownish poses. On the opera
stage Villazón is famous as a lover-type, as a passionate seducer . He has
already become calmer, he said in an interview.
After a vocal crisis in 2009, the singer found his way back to the
stage. Now he is appearing on-stage in Berlin several times. Volker sheet has
spoken to him.
Berliner Morgenpost: Mr. Villazón, an opera tenor has to wonder, in this double anniversary year: Do you prefer Verdi or Wagner?
Rolando Villazón: They are both fantastic composers, but of course for me as a singer, Verdi is more important. I sang only two small Wagner roles early in my career. I have sung many Verdi operas, however, I'm just back to singing Alfredo in "La Traviata".
Berliner Morgenpost: Which of the many opera characters that you have sung, is more human than any other?
Rolando Villazón: I feel a closeness to Don Carlo. He is not easy to play. He is an anti-hero, he's trying to make things happen. Great operatic roles must never work with stereotypes, they should always wake up together with conductors and directors. I always try not to define roles. Verdi needs a singer, whose technicue is intelligent and beyond the actions, dramatically complex. And of course, full of emotion. Verdi always speaks directly with the feelings of the actors, so it is very modern. I think the audience feels more in Verdi than in Wagner.
Berliner Morgenpost: Tenors often include the lover roles. They say that the tenor must always be somewhat onstage or the whole opera will not work. Is that true?
Rolando Villazón: (Laughs) No, but you have to love the art and the partner as an artist. It happens sometimes that you are working with colleagues, where the chemistry is not right. As human beings we may have little to say backstage and yet it can be fantastic on stage.
Berliner Morgenpost: Daniel Barenboim is conducting at festivals where you are appearing three times. How important is Berlin to your career?
Rolando Villazón: The Staatsoper Unter den Linden was one of the first theaters in my career. The first time I was here in 2000 in a Verdi production. It was a "Macbeth" production from former director Peter Mussbach. My friendship with Maestro Barenboim plays a big role. I love to be in Berlin, also in the Philharmonic Concert Hall, I have made television appearances there. I have also sung in the German Opera and will do it in future. Berlin can give everything to energy that makes a metropolis, while having the security of a village.
Berliner Morgenpost: In the city you are very well known. Are you often approached on the street?
Rolando Villazón: Yes, and the people are always very friendly and decent. But I can also be private.
Berliner Morgenpost: Where are you spotted the most?
Rolando Villazón: In Germany, Austria, France, Spain. And also in the UK, after I had gone through in a TV reality show.
Berliner Morgenpost: Star conductor Daniel Barenboim has promoted you from career start. Can you still remember some of his advice?
Rolando Villazón: Yes. He told me, you'll be famous but fame is not just vanity to look in the mirror; it helps one to artistic freedom. I've taken this to heart. If you are famous, you can take more risks, try out new repertoire or other things. I've written a book, I make my productions, I like drawing cartoons. Somehow it is always assumed with what you are doing. And one can also do much good. I go for example with red noses here in Berlin as a clown doctor in the hospital for children to bring some joy.
Berliner Morgenpost: Are you scheduled to appear in an opera in Berlin?
Rolando Villazón: Yes, there is a project in two years, but I'll let the Opera House reveal it .
Berliner Morgenpost: You are the artist who has had to deal with a life-changing crisis with your voice. That was four years ago. What have you learned?
Rolando Villazón: After the surgery, I knew I wanted to sing it. At what level, I did not care, I just wanted to sing. You need to know: My childhood was not always easy. Singing always gave me a place where I could be free to dive into alternate realities. Suddenly this cyst was discovered on my vocal cords, it was genetic, and 15 doctors said there was nothing to be done, and the operation could have cost me my speaking voice. I consider it a gift that I got another chance. I distinctly remember the day when I could sing a lullaby to my children again, I knew I had made it. Singing is not a hobby for me, but a true profession. Certainly I sing today less than five years ago, about 50 performances and concerts. Then there are the other projects.
Berliner Morgenpost: How does it feel to present your voice?
Rolando Villazón: In singing I feel a lot of power and a lot of joy. But I have to breathe in between and focus to overcome my fears. I have to fight it. But that's okay.
Berliner Morgenpost: You are out slowly growing out of the role the young lover . Are you becoming temperamentally calmer?
Rolando Villazón: 41 is not the same as 30 The one implies the body. But for me there is only one way to be an artist. And the passion is just part. But one can not always let out only the tiger. Eventually, the brain needs to see what the Tigers one has faced. Sometimes good art is dangerous.
© Berliner Morgenpost 2013 - All rights reserved
https://www.youtube.com/watch?v=ZD6hM5_clG8
Rolando Villazon: Singing a lullaby helped
regain voice - BBC World
Celebrated Mexican tenor Rolando Villazon has
described how he feared he might never be able to sing again after he underwent
throat surgery on one of his vocal chords. He recalls the joy he felt when he
first began to use his voice again by singing a lullaby to his children and
explains why singing for others is such an important part of his life.
In a special recording of BBC Radio 4's Start
the Week, presenter Andrew Marr explores the power of the human voice.
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