Páginas

quarta-feira, 24 de março de 2004

Ciclo de Piano Gulbenkian - Elisabeth Leonskaja


Elisabeth Leonskaja

30 de Março de 2004
Programa.

Johannes Brahms
Fantasias op.116

György Ligeti
In Memoriam Béla Bartók (Adagio)
Der Zauberlehrling (dos Estudos para Piano II)

Béla Bartók
Sonata para Piano, Sz.80

Franz Schubert
Sonata Nº 20, em Sol Maior, D.894, Fantasia



Elisabeth Leonskaja é considerada uma das maiores artistas do nosso tempo. Nasceu em Tiflis, a capital da Geórgia, tendo os seus pais despertado nela, desde tenra idade, o amor pelo piano. Com apenas onze anos, realizou os primeiros recitais em Tiflis, os quais despertaram grande expectativa e a levaram a prosseguir os estudos de piano com Jacob Milstein, no Conservatório de Moscovo, a partir de 1964. Ainda como aluna do Conservatório, ganhou vários prémios no âmbito de concursos internacionais, realizados em Bucareste, Paris e Bruxelas.

Antes de deixar a União Soviética, em 1978, com o objectivo de estabelecer residência permanente em Viena, Elisabeth Leonskaja realizou diversos concertos em duo com Sviatoslav Richter. Esta experiência teve um papel decisivo no posterior desenvolvimento da sua carreira artística.

Em 1979, a participação de Elisabeth Leonskaja no Festival de Salzburgo marcou o início da sua carreira no Ocidente. Desde então, apresentou-se regularmente em todos os grandes centros musicais internacionais, em recitais e em concertos com as mais importantes orquestras europeias e americanas, incluindo a Filarmónica de Berlim, a Orquestra da Gewandhaus de Leipzig, a Filarmónica Checa, as Orquestras das Rádios de Hamburgo, Colónia e Munique, a Orquestra de Paris, a Filarmónica de Nova Iorque, a Filarmónica de Los Angeles e a Orquestra de Cleveland. É também frequentemente convidada a participar nos mais importantes festivais de verão, como os de Salzburgo, Viena e Lucerna.

Elisabeth Leonskaja é reconhecida como excepcional intérprete de música de câmara, sendo frequentemente solicitada por solistas e agrupamentos, dos quais se destacam Heinrich Schiff e Viktor Tretjakov e os Quartetos de Cordas Alban Berg, Borodin e Guaneri.

Um grande número de gravações para a Teldec, muitas delas distinguidas com prémios da crítica (Grand Prix du Disque, Prémio Caecilia e Diapason d’Or) são também testemunhos da elevada qualidade da intérprete.

sexta-feira, 19 de março de 2004

Sergei Vassilievich Rachmaninoff - O Cavaleiro Avarento


Sergei Vassilievich Rachmaninoff

The Miserly Knight (1903-5)
Duration: 60 minutes
Opera in three scenes

Libretto after Alexander Pushkin (R,E,G)

World Premiere
11-01-1906
Bolshoy Theatre, Moscow
Conductor: Sergei Rachmaninoff
Company: Bolshoy Opera

Scoring
2T,2Bar,B 3(III=picc).2.corA.2.bcl.2-4.3.3.1-timp.p
erc:cyms/BD/tgl/tam-t- harp-strings

Roles
THE BARON Baritone
ALBERT Tenor
THE DUKE Baritone
JEWISH MONEYLENDER Tenor
SERVANT Bass

Time and Place
England in Medieval times

Synopsis
A young knight Albert lives a life of jousting and courtly pleasure, which his father, an extremely rich but miserly baron, refuses to support. As a result Albert is now deeply in debt and unable to appear in high society, so he tries to borrow money once again. The money-lender refuses to provide a loan, but offers poison by means of which Albert can kill his father. Sending the money-lender away in horror at the idea, he decides to appeal to the duke who rules them all. Meanwhile the baron visits his cellars alone to celebrate the fact that he has now amassed enough gold to fill his sixth and last chest. Filled with greedy delight and terror, he lights candles before the chests and opens them to gloat on what they hold. In a powerful monologue, he fluctuates between ecstasy at the sight of all this twinkling gold and despair that he might soon die and then his son would be able to claim it all and spend it. In despair, Albert asks the duke to help. The duke conceals Albert in a nearby room and summons the baron to persuade him to support his son. Cross-questioned by the duke, the baron tries to protect his fortune and accuses his own son of wanting to steal from him. Outraged, Albert leaps from his hiding-place and accuses his own father of lying. The baron challenges his son to a duel, which Albert accepts, provoking the duke to expel him from his court. The strain is too much for the baron’s heart. He dies, calling not for his son, but for the keys to his beloved chests of gold.

Moods
Dramatic

Subjects
Ethics, Relationships, Literary


Expresso 27.03.2004 - Literatura na Ópera
Artigo para utilizadores registados.
...Nenhum dos textos foi escrito para ser representado - muito menos cantado. O Cavaleiro é uma das «Pequenas Tragédias» (1830) de Puchkin; a Tragédia é um fragmento duma peça de Wilde, perdida (ou roubada) quando este se encontrava preso. Talvez por isso as duas óperas sejam literalmente fiéis às tragédias que as inspiraram. Cada uma dura cerca de uma hora, mas são ambas horas suculentas, graças ao rico tratamento orquestral. (Como seria de esperar dum russo discípulo de Taneev e peregrino de Bayreuth, e dum austríaco a compor na esteira de Mahler e Strauss.) A reunião é oportuna, já que os dois são exactos contemporâneos: Rachmaninov (1873-1943) e Zemlinsky (1872-1942)...

Expresso 17.04.2004 - Contador de histórias
Artigo para utilizadores registados.
Paul Curran explica as suas opções no Teatro S. Carlos.



Vida e obra.

Teatro Nacional de São Carlos, Março/Abril de 2004

Ópera em um acto, op. 24, segundo a adaptação de um texto de Puchkin.

Intérpretes

Cavaleiro Avarento
Vladimir Vaneev

Albert
Vsevolod Grivnov

Direcção musical
Jonathan Webb

Encenação
Paul Curran

Cenografia e figurinos
Kevin Knight

Orquestra Sinfónica Portuguesa


A estreia em Portugal de O Cavaleiro Avarento e Eine florentinische Tragödie oferece ao ouvinte dois compositores que, apesar de diferenças evidentes, não aderiram às correntes da vanguarda do início do século XX, nem são nomes muito conhecidos nas temporadas dos teatros de ópera.

O Cavaleiro Avarento, composto por Rakhmaninov com libreto baseado na peça de Puchkin, tem uma trama bastante simples. Albert, filho do barão, devido ao seu despesismo, não concorda de modo algum com a falta de apoio monetário por parte do pai, recorrendo a um usurário judeu que o aconselha a envenenar o pai. No entanto, Albert resolve queixar-se à autoridade local e esta convoca o pai para ser ouvido, que, entretanto, morre de apoplexia. Mas na segunda cena, o barão aparece surpreendentemente no seu cofre a vangloriar a sua fortuna.

Alexander von Zemlinsky - Eine Florentinische Tragodie


Alexander von Zemlinsky

Análise muito completa:
radix.net
(synopsis, Zemlinsky, Wilde)

Excertos:
small talk...
Oscar Wilde began to draft A Florentine Tragedy in 1893. He worked on the play during a visit to Italy the following spring, but soon after his arrest in April 1895 the manuscript vanished from his study. A copy was found amongst his posthumous papers, but it lacked the love-scene for Guido and Bianca with which the drama was evidently intended to open. At the world première, on 12 January 1906 in Berlin, Max Reinhardt prefaced the play with a serenade sung by Guido, while the first London performance, on 10 June 1906, opened with a stustitute scene written by Thomas Sturge Moore. Behind the polished neo-Shakespearean surface of Wilde's blank verse the reader catches an occasional blimpse of the author's own precarious situation. The young prince, extravagant, hedonist, egocentric, is clearly a portrayal of Wilde's lover, Alfred Lord Douglas; a slur on Guido's family (not inlcuded in the opera - "you are the gracious pillar of his house; the flower of a garden full of weeds" - almost certainly refers to the Marquess of Queensberry, against whom Wilde instigated the libel proceedings which were to prove his downfall."

Europa, início do século...
"European painters, writers, and dramatists of the early twentieth century drew frequent inspiration from Renaissance Italy. The cultural splendor and violent intrigue of its city-states suggested a Freudian mirror-image of the modern bourgeois metropolis: fifteenth- and sixteenth-centuiry Florence or Venice offered the historical costume-setting beloved of popular theater, while permitting the treatment of art and psychology as much as of battles and the lessons of political power. The first World War period saw the permieres, in successive years, of four significant operas that mark the climax of popular interest in such material: Schillings' Mona Lisa (1915), Erich Wolfgang Korngold's Violanta (1916), Zemlinsky's Eine florentinische Tragödie (1917) and, most extravagant of all, Schreker's Die Gezeichneten (1918)."

Wilde e Zemlinsky...
"Oscar Wilde's A Florentine Tragedy no doubt attracted Zemlinsky for a number of reasons. First, there was the example of Salome, which he had first conducted on 23 December 1910. This may have suggested the one-act form and the idea of dispensing with the kind of post-Wagnerian libretto that had marred Der Traumgörge. The opera certainly owes something to the claustrophobic chiaroscuro of Elektra and Salome, though its more immediate models may have been Schreker's Die Gezeichneten, Korngold's Violanta and Schilling's Mona Lisa, one of the principal motifs of which is a precursor of Zemlinsky's "death" motif. Eine florentinische Tragödie also has a personal dimension, for the plot mirrors the tragic events surrounding Mathilde Schoenberg's love affair with the painter Richard Gerstl, who committed suicide in 1908 after she had been persuaded to return to her husband. Zemlinsky composed most of the work in the bohemian spa of Königswart in the summer of 1915, completing the orchestration in June 1916. The first perfomance was conducted by Max von Schillings, the parts being created by Rudolf Ritter (Guido), Felix Fleischer (Simone) and Helene Wildbrunn (Bianca)."



gmn.com (biografia)
iclassics.com (biografia e discografia)
karadar.com (vida e obra)
www.biblio-net.com (em Italiano)
www.artis-quartett.at (em Alemão)

Eine Florentinische Tragodie (A Florentine Tragedy)
Opera in one act. 1916.

Libretto by the composer, after the work of the same name by Oscar Wilde, translated by M. Meyerfeld.
First performance at the Hoftheater, Stuttgart, on 30th January 1917.

The Florentine merchant Simone is suspicious of the young Prince Guido, who he suspects has cuckolded him. He offers Guido all he has in his house, after selling him a formal robe, and Guido demands Simone's wife, Bianca. Her husband sets her spinning and when he has left the room she expresses her hatred of him, wishing him dead, sentiments that he overhears, returning to speak of death and adultery. Simone again leaves Guido and Bianca together and they express their love for each other. As Guido is about to leave, Simone gives him his sword and seizing his own, fights against the thief who has stolen from him, eventually overpowering and strangling Guido. Bianca, now understanding the strength of her husband, is reconciled to him.

Teacher and perhaps once the lover of Alma Mahler, teacher also of Schoenberg, his friend and later his brother-in-law, Zemlinsky was an important figure in the musical world of Vienna, particularly in the earlier years of the 20th century. Symphonic in structure, Eine florentinische Tragödie (A Florentine Tragedy) starts with an orchestral overture and makes use of Wagnerian leit-motif techniques.


Expresso 27.03.2004 - Literatura na Ópera
Artigo para utilizadores registados.
...Nenhum dos textos foi escrito para ser representado - muito menos cantado. O Cavaleiro é uma das «Pequenas Tragédias» (1830) de Puchkin; a Tragédia é um fragmento duma peça de Wilde, perdida (ou roubada) quando este se encontrava preso. Talvez por isso as duas óperas sejam literalmente fiéis às tragédias que as inspiraram. Cada uma dura cerca de uma hora, mas são ambas horas suculentas, graças ao rico tratamento orquestral. (Como seria de esperar dum russo discípulo de Taneev e peregrino de Bayreuth, e dum austríaco a compor na esteira de Mahler e Strauss.) A reunião é oportuna, já que os dois são exactos contemporâneos: Rachmaninov (1873-1943) e Zemlinsky (1872-1942)...

Expresso 17.04.2004 - Contador de histórias
Artigo para utilizadores registados.
Paul Curran explica as suas opções no Teatro S. Carlos.




Teatro Nacional de São Carlos, Março/Abril de 2004

Eine florentinische Tragödie
Alexander Zemlinsky
Ópera em um acto, com libreto do compositor, segundo A Florentine Tragedy de Oscar Wilde.

Intérpretes

Bianca
Fredrika Brillembourg

Guido
Jon Ketilsson

Simone
Johann-Verner Prein

Direcção musical
Jonathan Webb

Encenação
Paul Curran

Cenografia e figurinos
Kevin Knight

Orquestra Sinfónica Portuguesa

A estreia em Portugal de O Cavaleiro Avarento e Eine florentinische Tragödie oferece ao ouvinte dois compositores que, apesar de diferenças evidentes, não aderiram às correntes da vanguarda do início do século XX, nem são nomes muito conhecidos nas temporadas dos teatros de ópera.

Eine florentinische Tragödie, com música e libreto de Zemlinsky, é baseada na obra homónima de Oscar Wilde.
A acção começa com o príncipe de Florença em casa de Bianca. Quando Simone, mercador e marido de Bianca, entra no seu lar e se apercebe da estranha presença do Príncipe, toma-o como um cliente. Na verdade, Bianca nutre por Guido um amor forte e intenso, desprezando de certo modo os sentimentos de Simone por ela.
Após várias pistas e situações, Simone entende finalmente qual o motivo da presença do Príncipe e desafia-o para um duelo do qual sai vencedor, reconquistando assim a sua amada que reconhece a bravura do esposo.
A apresentação das duas óperas, de Rakhmaninov e Zemlinsky, representa acima de tudo uma oportunidade para ouvir, em estilos e linguagens diferentes, o fabuloso tratamento e unidade entre as partes instrumentais e vocais, traduzidas em momentos de inigualável beleza.

terça-feira, 16 de março de 2004

Ballet Gulbenkian - 3º Programa


F. C. Gulbenkian - Ballet Gulbenkian
Março de 2004, 21:00 - Grande Auditório

Paulo Ribeiro (direcção artística)

3º Programa

Paradise Practice
Coreografia: Stijn Celis

Monólogos do Oriente
Coreografia: Rui Horta

O céu pode esperar
Coreografia: Juan Carlos Garcia



Expresso 13.03.2004
Artigo para utilizadores registados.

Juan Carlos Garcia:
...«aos intérpretes das minhas peças falo-lhes sempre dos sentidos que o movimento possui e do prazer como ponto de partida para chegar ao mistério que envolve o momento de dançar. É pelo prazer que a realidade, sempre multiforme e sempre por desentranhar, se torna acessível e habitável. Se não fosse pelo prazer, a vida seria profundamente aborrecida. Ou talvez impossível de viver».

Rui Horta:
...«Mais do que falar do prazer, atrai-me observar os estados de ausência do prazer, como que uma longa ponte entre duas margens desejadas. Interessa-me igualmente perceber porque é que nos autolimitamos numa autêntica busca do prazer e nos ficamos pelos mecanismos de substituição, habitualmente os objectos de consumo.»...

Orq. Nac. Russa - Piotr Ilitch Tchaikovsky



Piotr Ilitch Tchaikovsky

Ciclo Grandes Orquestras Mundiais - Gulbenkian: 16 de Março de 2004, Coliseu dos Recreios.
Orquestra Nacional Russa e Coro Gulbenkian,
Mikhail Pletnev (maestro)

Sites:
deccaclassics.com (biografia e obra)
iclassics.com - Sinfonia no. 4 (discografia)
karadar.com (biografia e obra)
mpg.de - Sinfonia no. 4 (biografia e obra)
classical.net (obra)
d-vista.com (vida e obra)
geocities.com (vida e obra)
tchaikovsky.host.sk - Sinfonia no. 4 (vida e obra)
zetnet.co.uk - Sinfonia no. 4 (obra)
ipl.org - the late romantics (biografia)
classical-composers.org (obra)

The Fourth Symphony was begun in May 1877, two months before the composer´s disastrous and short-lived marriage. He and his wife parted after a few months, but at the same time another woman entered his life, though no romantic attachment was involved: the wealthy widow Nadezhda von Meck settled an annuity on him that freed him from financial worries. Their relationship was almost wholly carried on in letters, and yet it was close. It was she to whom the Symphony was dedicated and to whom the composer confided his programme. The first movement, after the "fate" motif, is in sonata form with a wistfully swaying first theme presented by the strings. Its somewhat waltzlike character is shared by the haunting second subject, introduced by the clarinet. But, as Tchaikovsky wrote, "pitiless destiny awakes us . . . we founder in its nothingness", and the tension implicit from the start mounts to a terrifying climax as the "fate" motif is thundered out once again. It is to be heard again even more threateningly before this beautiful yet disturbing movement ends, and indeed a note of despair is unmistakable.

The Andantino that follows is marked "Canzonetta" ("like a song") and brings a gentler mood. Here "memories come crowding back and it is sweet to recall one´s youth . . . it is at once melancholy and delicious to plunge into the past". A beautiful oboe melody is accompanied by plucked strings, and it returns after a contrasting and more lively middle section. Plucked (pizzicato) strings are the main feature of the brilliant Scherzo, which the composer called "visions after drinking wine . . . a drunken peasant, a street song, soldiers marching in the distance". The vivid Finale includes a Russian folk song melody called "A birch tree stood in a field" that begins with four repeated note. "If really you cannot find joy within yourself, look for it among others . . . look how happy they are", wrote the composer. "But Fate is still there and calls you to heel", he added: and sure enough, the dramatic call reappears menacingly, although it is not allowed to overwhelm the merrymaking.

segunda-feira, 15 de março de 2004

Orq. Nac. Russa - Sergei Taneyev



Sergei Ivanovich Taneyev

Ciclo Grandes Orquestras Mundiais - Gulbenkian: 16 de Março de 2004, Coliseu dos Recreios.
Orquestra Nacional Russa e Coro Gulbenkian,
Mikhail Pletnev (maestro)

Sites:
arkivmusic.com (discografia)
recmusic.org (lieder)
prestoclassical.co.uk (discografia)
crisismagazine.com (artigo de opinião)
iclassics.com (discografia)

Sergei Taneyev studied with Tchaikovsky and Rubinstein. As a teacher himself, his students included: Glière, Grechaninov, Medtner and Rachmaninov. He was almost pathologically lacking in self-confidence yet as a composer he was extremely meticulous in his working methods pre-planning his often highly contrapuntal works with great exactitude. His style of composition looked towards the west and indeed, John of Damascus shows influences of Bach through Beethoven and Berlioz to Brahms.

This short choral work, without soloists, is very approachable and fuses Russian folk and liturgical music with strict Bachian counterpoint. Refined four-part fugal writing introduces the first chorus ("I travel along a path that is unknown to me). Thrilling and dread fugal music for "On that day when the trumpet resounds through the dying world…" contrasts with a predominantly mood of relative calm.

sexta-feira, 5 de março de 2004

Orq. Nac. Russa - Sergei Rachmaninov



Sergei Vassilievich Rachmaninoff

Ciclo Grandes Orquestras Mundiais - Gulbenkian: 16 de Março de 2004, Coliseu dos Recreios.
Orquestra Nacional Russa e Coro Gulbenkian,
Mikhail Pletnev (maestro)

Sites:
mpd.de (biografia)
classical.net (obra)
arkivmusic.com - Russian Songs (discografia)
onino.co.uk (discografia)
gmn.com (biografia e obra)
karadar.com (biografia e obra)
deccaclassics.com (biografia e obra)
iclassics.com (biografia e obra)
vor.ru (dedicatória)

Rachmaninov began to study piano with his mother at the age of four.
He continued his studies at the St. Petersburg and Moscow conservatories under Zvereff and Arenski.

He is considered to be one of the greatest pianists of all times, but is also remembered for his compositions and as a conductor.

He fled from Russia, after the Communist Revolution in 1917, and he eventually based himself in the United States where he later became a citizen.

His highly successful, but exhausting career as a concert pianist enabled him to support his family but left little time for composition.

His music remains an indispensable part of Romantic repertory.

Orquestra Nacional Russa



Ciclo Grandes Orquestras Mundiais - F. C. Gulbenkian:
Orquestra Nacional Russa
Coro Gulbenkian
Mikhail Pletnev (maestro)
Coliseu dos Recreios, 16 de Março de 2004 - 21h00

[Sergei Rachmaninov
Três Cantos Populares Russos]

Novo programa
Piotr Ilitch Tchaikovsky
Bela Adormecida op.66 (excertos)

Sergei Taneyev
Cantata op.1, João Damasceno

Piotr Ilitch Tchaikovsky
Sinfonia Nº 4, em Fá menor, op.36



Mikhail Pletnev (maestro)
mikhailpletnev.net
deutschegrammophon.com
iclassics.com

The pianist, conductor, and composer Mikhail Pletnev is an “all-round" musician who defies categorization. He was born in Archangel, Russia, in 1957. His parents were both musicians, and Pletnev displayed exceptional musical talent from an early age. When he was 13, he began to study the piano at the Moscow Conservatory with the famous pianists and teachers Jacob Flier and Lev Vlasenko. In 1978, Pletnev won the Gold Medal at the Tchaikovsky International Piano Competition in Moscow. As a result he was able to make concert tours outside the former Soviet Union throughout Europe, Japan, the USA, and Israel. Over the years Pletnev has also appeared as soloist with Herbert Blomstedt and the San Francisco Symphony and Leipzig Gewandhaus orchestras, Lorin Maazel and the Bavarian Radio Symphony Orchestra, Kent Nagano and the Hallé Orchestra, Carlo Maria Giulini and the Chamber Orchestra of Europe, and others.

quarta-feira, 3 de março de 2004

Werther - São Carlos, Lisboa


-------
27 Fevereiro | 1, 3, 4, 10 Março 20:00h
7 Março 16:00h

Teatro Nacional de São Carlos

Werther
Jules Massenet
Ópera em quatro actos, com libreto de Edouard Blau, Paul Milliet e Georges Hartmann, segundo o romance Os Sofrimentos do Jovem Werther de Goethe.

Direcção musical
Alain Guingal

Encenação
Graham Vick

Cenografia e figurinos
Timothy O’Brien

Desenho de luzes
Robert A. Jones

Intérpretes

Werther
Giuseppe Sabbatini (dias 27 Fev; 1, 4, 7, 10 Mar.)
Leonardo Melani (dia 3 Mar.)

Charlotte
Monica Bacelli (dias 27 Fev; 1, 4, 7, 10 Mar.)
Liubov Sokolova (dia 3 Mar.)

Albert
Jorge Vaz de Carvalho

Le Bailli
Jérôme Varnier

Sophie
Hélène Le Corre

Johann
Luís Rodrigues

Schmidt
Carlos Guilherme

Brühlmann
Ciro Telmo

Käthchen
Ana Margarida Serôdio

Orquestra Sinfónica Portuguesa
Coro feminino do Teatro Nacional de São Carlos

Nova Produção
Teatro Nacional de São Carlos

-------
A ópera Werther foi composta após os grandes sucessos dos trabalhos de Massenet, Manon e Hérodiade, considerada pelos especialistas a partitura mais livre de convenções escrita pelo compositor.

O libreto, da autoria de Edouard Blau, Paul Milliet e Georges Hartmann é baseado na obra de Goethe do ano 1774 Die Leiden des Jungen Werthers, que constituiria uma das personagens adoptadas com bastante agrado pelo romantismo.

Trata-se de uma ópera cara ao público lisboeta que teve a oportunidade de a ouvir, pela última vez, pelas vozes de Alfredo Kraus e Ileana Cotrubas, em Maio de 1990.

A acção de Werther desenrola-se em Frankfurt. Foi numa Primavera, símbolo do amor e da natureza, que o jovem Werther conheceu Charlotte, resultando desse encontro uma paixão muito intensa. Apesar de tão nobres sentimentos os unirem, o seu amor era impossível, uma vez que Charlotte, no leito de morte da sua mãe, prometera casar com Albert.

A temática do suicídio consequente do amor impossível, juntamente com a escrita musical fortemente marcada pelo uso da técnica do leitmotiv traduz-se assim numa agradável combinação de factores que tornam este trabalho numa ópera de culto.

segunda-feira, 1 de março de 2004

Werther - Graham Vick


Ópera "Werther" de Massenet: São Carlos Fevereiro/Março de 2004.

Graham Vick, Encenação

Graham Vick: un regista capace di creare immagini
di Arrigo Quattrocchi

(...) Vick, invece, appartiene a quel novero di registi che riesce a innovare senza tradire. La sua formazione lo porta ad amare profondamente il teatro d’opera, a comprendere il bilanciamento delicatissimo delle sue componenti, scena, parola, musica. La sua capacità è proprio quella di interpretare un testo prescindendo dalla tradizione, rimanendo all’interno di esso, e cercando di metterne in luce tutti gli aspetti meno immediatamente tangibili. (...)

Classical Voice Review

Werther - Alain Guingal



Ópera "Werther" de Massenet: São Carlos Fevereiro/Março de 2004.

Alain Guingal, Direcção musical

-------
Alain Guingal
Conductor

General Director from 1975 to 1981of the Avignon Opera, where he conducted, among others, Der Fliegende Holländer, Thaïs, Simone Boccanegra and La traviata, Alain Guingal has worked regularly with the major Opera Houses in France. In the same time, his international career brought him to the most prestigious theatres within Europe: Bologna, Florence, Turin, Barcelona, Madrid, Vienna and Munich.

In 1988 he made his debut at the Opéra de Paris opening the operatic season with Rigoletto.

His repertoire includes Manon (Orchestre Philarmonique de Radio-France, 1992), Otello (Corégie d’Orange, 1993), Wether (Wiener Staatsoper, 1991; Théâtre Royal de Wallonie, 1993), Iphigénie en Aulide (Wiener Staatsoper, 1991), L’italiana in Algeri (at the Spring Festival in Bayreuth with Bayerische Staatsoper), La traviata (Welsh National Opera in Cardiff).

Since his first invitation in Spain in 1982, Alain Guingal is a regular guest at Madrid Opera, Teatro de Liceu in Barcelona, Bilbao and Santa Cruz.

In Italy he was invited to conduct at the Teatro Regio di Torino (Esclarmonde, 1992; La forza del destino, 1994; Samson et Dalila, 1997), at Teatro Comunale di Firenze (Don Quichotte, 1993; La Voix Humaine with Renata Scotto), at the Teatro dell’Opera di Roma (Don Quichotte, 1997), at the Teatro Verdi di Trieste (Manon, 1998), at the Teatro di San Carlo di Napoli (Roberto Devereux, 1998), at the Teatro Sociale di Como (La colombe, 1998), at the Macerata Opera Festival (Carmen, 1994 and 1998) and in Bologna, Genoa, Parma, Cagliari and Sassari.

In 1998/9 season he returned to the Teatro dell’Opera di Roma for Roméo et Juliette, to the Teatro Verdi di Trieste for Les dialogues des Carmélites and Barbe-Bleu, to the Opéra d’Avignon for I puritani, to the Teatro di San Carlo in Naples for a new production of La traviata.

1999/2000 season brought him on the podium of the Teatro Massimo di Palermo for Faust, of the Japan Opera Foundation for La traviata, to Parma for Roméo et Juliette. More recently, Alain Guingal appeared at the New National Theatre in Tokyo in Don Quichotte and Werther, at the Teatro Verdi di Trieste for La belle Hélène and I Puritani, and at the Teatro Real in Madrid as the conductor of a new production of Faust. He made his prestigious debuts at the Washington Opera with Don Quichotte, a work he also conducted in Nice, at the Opéra Royal de Wallonie de Liège in Ernani, Il trovatore and Don Quichotte, and at the Opéra de Toulon in Werther. Alain Guingal has just led his first La straniera at the Teatro Massimo Bellini di Catania and has returned to Parma for a new successful production of L’elisir d’amore, and to Macerata for Lucia di Lammermoor. In Bilbao, he just led a new production of Carmen.

Highlights of Alain Guingal’s future engagements include Turandot and Un ballo in maschera in Avignon, Simon Boccanegra and La forza del destino at the Théâtre Royal de Wallonie in Liège, Massenet’s Manon at the Deutsche Oper in Berlin, Werther in Lisbon, Turin and Las Palmas.

Werther - Monica Bacelli



Charlotte na Ópera "Werther" de Massenet: São Carlos Fevereiro/Março 2004.

Monica Bacelli (mezzo soprano)

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Studied voice at the Pescala Academy of Music in Italy. In 1986, after having won the grand prize at the A. Belli Competition in Spoleto, Bacelli debuted as Cherubino in Mozart's "Le Nozze di Figaro" and as Dorabella in "Cosi Fan Tutte."

Thereafter, she has sung at major opera houses, including La Scala in Milan, the National Opera House in Vienna, and at the Covent Garden Royal Opera House in London, under such illustrious conductors as Riccardo Muti, Valeri Gergiev, and Nicholas Harnoncourt.

Bacelli is now regarded as one of the best mezzo-soprano singers of Mozart in the world. Beyond that, however, she has sung works by many other composers, such as the world debut performance of a Luciano Berio piece, and performances of some of Monterverdi's madrigal works accompanied on the piano by Maurizio Pollini.