Metropolitan Opera Don Giovanni with Hvorostovsky Jan 9

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Metropolitan Opera Don Giovanni with Hvorostovsky Jan 9 Powered By Docstoc
					               THE                                                              Thursday Evening, January 9, 2003, 8:OO-I 1:25


           METROPOLITAN                                                   The 466th Metropolitan Opera pel-forrnance of

                                                                                          WOLFGANG AMADEUS MOZART

                    Joseph Volpe
                   General Manager
                                                                                      Don Giovanni
                     James Levine                                                         Conductor: Sylvain Cainbreling
                    Artistic Director                                                     Production: Franco Zeffirelli
                                                                                          Staging by: Stephen Lawless
                                                                                        Set Designer: Franco Zeffirelli
                                                                                  Costu~ne Designers: Anna Anni and Sylvia Nolan
                                                                                   Lighting Designer. Wayne Chouinard
         WOLFGANG AMADEUS MOZART                                                      Stage Director. Gregory Keller
                                                                                      Choreographer: Andrew George
          Don Giovanni                                                                                    of
                                                                                       Characters in or~icr vocal appearance:

                                                                                          Leporello            Richard Bernstein
                OPERA T W O
                    IN              ACTS
                                                                                       Donna Anna              Barbara Frittoli
             Libretto by Lorenzo da Ponte                                             Don Giovanni             Dmitri Hvorostovsky
                                                                                 The Commendatore              Kurt Moll
                                                                                       Don Ottavio             Michael Schade
                                                                                      Donna Elvira             Carol Vaness
                                                                                           Zerlina             Rebecca Evans
                                                                                           Masetto             Oren Gradus

                                                                             Harpsichord Continuo: Kevin Murphy
                                                                                    Mandolin Solo: Joyce Balint

This production of Don Giovanni was made possible )y
      a generous and deeply appreciated gift from
         MRS. DONALD D. HARRINGTON

                                                                         The revival of this production is made possible by
                                                                         a generous gift from the Sybil B. Harrington Trust.


                                                       Yimaha is the official piano of thc Metropolitan Opera. Latecomer.; will not br admittrd during the pcrformancr
               Before the performance begins, please switch off                                1   Program Notes
                your cell phones a n d other electronic devices.                           1   I
                                                                                               !
                        Chorus Master: Raymond Hughes                                                                          SYNOPSIS OF SCENES
                        Fight Director: B.H. Barry                                                                            Spain, Seventeenth Century
                   Musical Preparation: Susan Webb, Kevin Murphy,
                                         John Churchwell, a n d Joel Revzen                                   ACT I, Scene 1: T h e Commendatore's palace
               Assistant Stage Director: Sharon Thomas                                                                     Scene 2: A street
                Slnge Band Conductor: Jeffrey Goldberg                                                                     Scene 3: A wooded glade near Don Giovanni's palace
                              Prompter: Susan Webb                                                                         Scene 4: Outside the palace
                             Met Titles: Cori Ellison                                                                      Scene 5: T h e interior o f t h e palace
     Scenery, properties and electrical
     props constructed and painted in: Metropolitan Opera Shops
               Additional Painting by: Half M o o n Productions, Inc.
                                                                                               I              ACT 11, Scene 1: A street
                                                                                                                                       Intermission

                                                Messmore a n d Damon, Inc.                                                Scene 2: T h e Commendatore's palace
   Assistant to the Scenic Designer.            Luigi Marchione                                                           Scene 3: A cemetery
            Assistant f i r Properties:         Carlo Centolavigna                                                        Scene 4: Another part of t h e Commendatore's palace
 Assistant to the Costume Designer:             Elena Puliti                                                              Scene 5: Don Giovanni's palace
              Costumes executed by              Metropolitan Opera Costume
                                                 Department                                                          ACT I                       neither the first nor the last woman to
                        Wigs executed by        Metropolitan Opera Wig Department                      Outside the palace of the                 fall victim to Don Giovanni. Leporello
                                                Rocchetti-Carboni                                  Commendatore, Leporello grumbles              shows her the catalogue he carries with
                                                                                                   about his duties as servant to Don            him always, in which he has inscribed
              This perfornlance is made possible in part with public funds                         Giovanni ("Notte e giorno faticar").          the name of every woman his master has
                     from the New York State Council on the Arts.                                  Suddenly, the Commendatore's daugh-           seduced ("Madamina! I1 catalog0 i.
                                                                                                   ter, Donna Anna, emerges struggling           questo").
     Delta Air Lines is t h e Official Airline of T h e Metropolitan Opera.                        with the masked Giovanni ("Non sperar,            In a wooded glade, peasants celebrate
                                                                                                   se non m'uccidi"). In answer to her cries,   the marriage of Masetto and Zerlina.
                                                                                                   Anna's father arrives, demands that           Giovanni, attracted to Zerlina and wish-
                                                                                                   Giovanni duel with him, and is lulled in     ing to be left alone with her, sends
                                    MET TITLES                                                     [he ensuing fight. Anna flees for help       Masetto and the other peasants with
                                                                                                   and returns with her fiance, Don             Leporello to a party at his palace.
         To activate Met Titles, press the red hiitton t o the right of the screen once.           Ottavio. She discovers her father's body.    Masetto only grudgingly agrees to go,
                  To turn the tlisplay off, press the reti button once again.
                                                                                                   Anna makes Ottavio swear to avenge her       and upbraids Zerlina for being taken in
                                                                heginning of c-ac:hact.
         Use the same procedure to aclivato Mct 'I'it1e.s at ~ht,                                  lather's death ("Fuggi, crudele").           by the nobleman's advances ("Ho capi-
                  [f you choose not to use Met Titles, no action is necessary.
                                                                                                      On a street, early in the morning,        to"). Alone with Zerlina, Giovanni tells
                                                                                                   Giovanni and Leporello accidentally          her she is destined for a more gracious
                Displays in some of the hoxes are adjltqtahle for optitnum vlewing.                encounter one of Giovanni's former           life, and promises to make her his wife
        P l e ~ ~ be aware that thew displays have pre-determmetl ranges 01 movcrnent.
                  se
                                                                                                   conquests, Donna Elvira, who is pas-         ("La ci darem la mano"). As they go off
        Il you have questilms about yonr sereen, please ask an ushrr at intermission.              sionately lamenting his betrayal of her      to his palace, Elvira discovers them and
        Yleasc remernher that there will hc rnon~en~s  wlu:re titles are no1 appropriate           ("Ah! chi mi dice main). Giovanni push-      vehemently warns Zerlina about her
                               and your screen w i l l he dark.                                       Leporello forward to offer his excuses.   new suitor ("Ah! fuggi il traditor!"), then
                                                                                                   I.cporello tells Elvira the truth: she is    leads her away. Anna and Ottavio enter
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P4
Program Notes                                                                                 Program Notes
and request Giovanni's assistance. Just ultimately enticing her to an adjoinin:                   Leporello finds Giovanni in a desert-      he had brought with him and probably a
then, Elvira returns and is convinced room. Zerlina cries for help and f i n d ,              ed cemetery, where a statue of the slain       nearly-new piano concerto. The city had
that she has stumbled onto yet another escapes back into the ballroor                         Commendatore warns Giovanni of his             talcen Figaro to its heart. "Here:' he wrote
seduction. She denounces Giovanni as a Giovanni blames the lucldess Leporellr                 doom. Giovanni forces the terrified            to a friend back in Vienna, "they talk
heartless deceiver. Giovanni explains as the seducer of Zerlina, but Giovanni'~               Leporello to invite the statue to dinner       about nothing but Figaro. Nothing is
that she is demented. Anna and Ottavio ruse fails to deceive anyone. Anna                     ( " 0 statua gentilissima"). The statue        played, sung or whistled but Figaro. No
are at a loss to know whom to believe Elvira, and Ottavio all now denounc.                    accepts.                                       opera is drawing but Figaro.. .Certainly a
("Quartet: "Non ti fidar, o misera").      him, and, along with Zerlina anc
                                                                                                  In Anna's palace, Ottavio urges his        great honor for me!"
    Elvira runs off, and Giovanni says he Masetto, warn of his impending doom.                fiancee to stop grieving and accept his            It is not surprising, then, that the
must follow and keep an eye on the                                                            love, but she implores him to wait until       Prague opera impresario promptly com-
unfortunate girl. Anna suddenly recog-                      ACT I1
                                                                                              her father's death is avenged ("Non mi         missioiled for him to write another
nizes his voice as that of her father's       Leporello is threatening to resign hi..         dir").                                         opera for production there. Mozart, it
murderer. She describes to Ottavio the service to Giovanni, but when offerecl                     In Giovanni's banquet hall, Leporello      seems, was asked to compose it to an
events that preceded her father's death money is convinced to stay on. In th ,                serves supper. Elvira arrives and begs         existing libretto, by Giovanni Bertati, on
and calls on him anew to avenge her shadows beneath Elvira's balcony, tl;                 %

                                                                                              Giovanni to change his ways, but her           the Don Giovanni story. It had been set
honor ("Or sai chi l'onore"). Left alone, men exchange hats and cloaks, so th; r              plea falls on deaf ears. As Elvira runs off,   shortly before by Giuseppe Gazzaniga
Ottavio contemplates how he can return Leporello can attract Elvira i r                       Leporello discovers that the invited stat-     (1743-1818) and given in Venice in
peace of mind to his beloved, for his love Giovanni's guise and lead her away, leas           ue has indeed arrived at the palace.           February 1787, the thirty-fifth of
is such that he shares her every joy and ing Giovanni free to serenade Elvir; '\              Giovanni greets the statue, which bids         Gazzaniga's 47 operas. Mozart took the
sorrow ("Dalla sua pace").                 maid ("Deh, vieni alla finestra"). Wha 11
                                                                                              him to repent ("Don Giovanni, a cenar          text to his co-creator of Figaro, the abbe
    At the palace, meanwhile, Leporello Masetto arrives with a band of peasal 1 5             teco"). Faced even with the tortures of        Lorenzo da Ponte - born Emanuele
has been getting the peasant guests tipsy. bent on killing Giovanni, the disguir .(I          hell, Giovanni refuses to repent and is        Conegliano in the Venteo. Da Ponte lat-
When Giovanni returns he is in a care- Don divides them into search part            (,\
                                                                                              drawn to his doorn.                            er reported in a pre-published version of
free mood and tells Leporello to get and sends them off in all directions. ; I(.                  Elvira, Anna, Ottavio, Zerlina,            part of his memoirs, that Mozart had
ready for a feast with drinking, dancing, then beats up Masetto and leav8.5.                  Masetto, and Leporello contemplate their       insisted on having the libretto rewritten
wine, and women ("Fin ch'han dal Zerlina enters to find the bruis ~l                          futures, and the sad fate of an immoral        by him, and no one else, out of regard
vino").                                    Masetto and promises the perfect ren I.
                                                                                              man ("Questo 6 il fin di chi fa mal").         for his unique abilities. (That he elirni-
    Zerlina begs Masetto to forgive her dy for his wounds ("Vedrai, carino").
                                                                                                                                             nated these observations in the final text
apparent infidelity ("Batti, batti, o be1     Later that night, Leporello, s ill
                                                                                                                                             speaks neither for their truth or their fal-
Masetto"), but becomes nervous at the believed by Elvira to be her belo: X I
                                                                                                                                             sity.) A likelier reason may sinlply be
 sound of Giovanni's voice. Masetto's Giovanni, is surprised by Anna, Ottal, :o.                         NOTES ON                            that the Bertati text was too short as it
 suspicions return. As a minuet is played Zerlina, and Masetto. Mistaking the : I
                                                                                                       DON GIOVANNI                          stood; Gazzaniga's opera was in only a
within the palace, Giovanni leads vant for his master, they denounce
                                                                                                                                             single act, whereas Mozart was required
 Zerlina and Masetto inside. Anna, supposed Don, despite Elvira's protc. I:.
                                                                                                  f Mozart had doubts as to whether          to produce a whole evening's music.
 Elvira, and Ottavio appear, and Fearing for his life, Leporello unm:? .I,,,
                                                                                                  he was duly appreciated in Vienna,             Da Ponte, with a laowledge of Italian
 Giovanni instructs Leporello to invite and ultimately escapes. Ottavio p ( 1
                                                                                                  he certainly had none about Prague.        literature appropriate to a man who was
 the masked revelers to the party. Before claims his resolve to have revenge 1 1 1 1
                                                                                              He paid his first visit to the Bohemian        later (in 1825) to be Professor of Italian
 entering the palace, the three masked Giovanni and urges the others to cl        JII

                                                                                              capital in the early days of 1787. Le Nozze    at Colurnbia University, was amply
 nobles pray for protection and retribu- sole his beloved ("I1 mio tesoro"). Ell II .I
                                                                                              di Figaro had just begun an enormously         familiar with the Don Giovanni legend,
 tion (Trio: "Protegga il giusto cielo").  reflects on her betrayal by Gioval I I I ,
                                                                                              successful run there; he acted as guest        which had been the subject of popular
    In the ballroom, Leporello distracts whom, in spite of all, she loves and pl  I(,,.
                                                                                              director for one performance, and gave a       dramas for more than a century.
 Masetto as the host dances with Zerlina, ("Mi tradi quell'alma ingrata").
                                                                                              concert that included the new syrnphony        Bertati's plot moved directly from Don
Program Notes                                                                                      Program Notes
                                                                                           I
Giovanni's attempted seduction of the        suggests a far greater disturbance in her.            vant, to whom Giovanni sings his sere-       too seriously. The music of her opening
peasant girl to the cemetery scene;          Both, perhaps, have implications about        ('      nade in Act 11.) Certainly Zerlina is        number becomes "real" only when
almost everything between these in           what we are supposed to think actually                diverted by Elvira at what seems to be       Giovanni and Leporello are exchanging
Mozart's opera was invented by Da            happened when Giovanni entered her                    the likeliest moment. But then, at the       comments on her. She is, of course,
Ponte or drawn by him from other ver-        room. In the Bertati text, her prompt                 beginning of the Act I finale, after she     thoroughly deflated by learning from
sions of the story. Nor did the original     departure for a convent might well be                 has quieted Masetto's jealous fears, she     Leporello's Catalogue Aria, which fol-
text have the strong central female char-    taken to imply some sense of guilt, such              provokes them again by her over-anx-         lows, that she is in fact only Spanish No.
acter, a counterpart to Giovanni, provid-    as sexual participation or pleasure that              ious reaction at Giovanni's return; yet if    1003. (Or perhaps 999, or even less: it
ed by Da Ponte in Donna Anna, whose          the encounter might have provoked. In                 she is so drawn to Giovanni, why does        depends on how much time has elapsed
passion for vengeance propels much of        which case we inay wonder whether, as                 she scream when, at the ball, the            since she and Giovanni met in Burgos.)
the action. Bertati's Anna in fact retires   she says, she truly imagined the intruder             moment comes?What did Da Ponte and           When she returns to the attack, to warn
to a convent after the opening scene.        to be her betrothed. In the Da Ponte text,            Mozart have in mind in these situations?     Zerlina of Giovanni, it is again in a
Thus the crucial pulling together of dif-    Anna is altogether more complex. Guilt                Can we say that we understand the            strange musical language: "Ah fuggi il
ferent strands in the plot in the Act I      is still in question -not only because of             music of this enigmatic opera when,          traditor," using pompous dotted
quartet "Non ti fidar," is wholly Da         the delay, but also in the light of her               twice over, we cannot be certain what        rhythms, has an old-fashioned, almost
Ponte's invention; so too in Act I are the   vengeful feelings and her anxiety to                  Mozart is telling us about so crucial a      Handelian ring. So when, during the
placating of the irate Masetto by Zerlina    postpone her marriage to Ottavio. Some                relationship between a man and a             great quartet that follows, "Non ti fidar,
and Giovanni's resumed seduction             of this may be a relic of a feature in the            woman?                                       o misera:' Giovanni assures his friends
attempt, as well as the entire finale,       much earlier play on the subject by                       Questions of a rather different kind     Donna Anna and Don Ottavio that the
including the ball scene. In Act 11, the     Carlo Goldoni, which must have been                   surround Donna Elvira, the remaining         poor girl is a little mad ("la povera
mock seduction of Elvira is of Da            known to both librettists. There Anna                 woman in the opera. (In Gazzaniga            ragazza i: pazza, amici miei"), he is not
Ponte's devising, along with Giovanni's      feels actual antipathy towards the man            1   there is a fourth, Donna Ximena, whom        simply trying to mislead them. He is at
serenade, the attempted revenge of           she is to marry. Certainly there is scarce-       I     )
                                                                                                   La Ponte absorbed into the others.)          worst plausible, at best telling the truth
Leporello and his friends, and the for-      ly a flicker of warmth towards him            r       lJossiblywe do not interpret her in quite    - and her hectic, fast-moving music in

gathering of the characters in pursuit of    expressed in Mozart's opera.                          (he way that Mozart and Da Ponte             the quartet, different in texture from
Giovanni in the scene that culminates in         If there is ambiguity in the relation-            intended. The figure of a woman              everyone else's, tends to bear out his
the sextet.                                  ship between Giovanni and Anna, the                   hetrayed by a man and pursuing him           words.
    None of these sections in Mozart's       same may be said of that between him                  was seen in the 18th century less as            At the beginning of Act 11, Elvira is
opera is in fact essential to the progress   and Zerlina. Not ill the Gazzaniga origi-             pathetic than as ridiculous. In this dram-   the victim of a prank. Giovanni and
of the coherence of the basic plot. All,     nal; there Maturina (as the peasant girl is           lna giocosa, a type of comic opera           Leporello exchange cloaks so that
however, add depth to the characters         called), after Giovanni's wooing and                  tlevised primarily by Goldoni and mix-       Giovanni can woo her maid while
and force to the action. To take one         promises, sings a joyful aria and leads               ing serious, semi-serious, and purely        Leporello takes Elvira off. To today's sus-
example: in the earlier opera Anna tells     him off into her house. Nothing is quitc'             comic characters, Elvira is certainly no     ceptibilities, Giovanni's reviving of her
Ottavio the tale of Giovanni's invasion      so clear in Mozart. The occasional inter-             Inore than semi-serious. Her music pro-      hopes seems almost unbearably cruel. In
of her room immediately after her            preter who has argued a successfu!                    claims as much. She enters to an exag-       Mozart's day, it was the stuff of comedy.
father's body is borne away; in Mozart's     seduction has had to depend on thc                    gerated series of flourishes; sharp con-     Yet the soft warm textures and the grace-
this is delayed not only until Anna has      assumption that (as it were) time stands                      of
                                                                                                   ~l.nsts loud and soft, dashing scales;       ful yearning lines of her music - here
required Ottavio to take an oath of          still, or that "musical time" and "real               ,lild indignant dotted rhythms. Mozart's     set in A major, the traditional key for
vengeance but also until she has             time" do not correspond - and that is                 ;111dience recognized, as we may not, that   love duets - surely indicate not only
regained some equanimity and, more-          difficult to accept. (The same mighl                  Ilc was parodying the music of the opera     that Mozart is now taking her emotions
over, has reason to suspect that Giovanni    equally be applied, and indeed has been,          '   wria heroine, and thus implying that her     seriously but also that he cannot help
is the intruder. This delay immediately      to the encounter with Elvira's maidser-               I1ig11-flownemotion was not to be taken      sympathizing. We have to laugh and cry
                                                                                               I
1   Program Notes                                                                                 Meet the Artists
                                                                                                  SYLVAIN CAMBRELING is principal                 Clemenza di Tito, Sophie in Der
    at the same time. The only point at             charming philanderer, not Mozart's
                                                                                                  conductor of the SWR Symphony                   Rosenkavalier, and Susanna for the
    which Elvira is treated wholly seriously        demonic baritone. Nothing in the earlier
                                                                                                  Orchestra of Baden-Baden and Freiburg           Bavarian State Opera, Nanetta for Paris'
    is in her aria later in Act 11, "Mi tradi       opera invites us, as Don Giovanni con-
                                                                                                  and principal guest conductor of                Ch;telet, and Hero in Beatrice and
    quell'alma ingrata." Rut this is not part       stantly does, to speculate on the psychol-
                                                                                                  Klangforum Vienna. Current and future           Benedict for Welsh National Opera. She
    of Don Giovanni as Mozart conceived it.         ogy of compulsive womanizing. Yet in
                                                                                                  engagements include Don Giovanni this           has sung Adele in Die Flederlnaus with
    It was written a year later, as an addi-        Gazzaniga's single act, Giovanni enjoys,
                                                                                                  season at the Met, Kaia Kabanova at             Lyric Opera of Chicago, Susanna with
    tional item for the singer of Elvira when       at the least, the favors of both Donna
                                                                                                  Brussels' La Monnaie, JenGfa at Paris'          Santa Fe Opera, and Anne Trulove in
    the opera was given in Vienna. In the lat-      Ximena and Maturina; and though in
                                                                                                  Chatelet, The Makropulos Case in                The Rake's Progress, Adina in L'Elisir
    er additions to his operas, Mozart was a        Mozart's he contemplates (in the
                                                                                                  Stuttgart, and the world premiere of            d'Amore, and Zerlina with San Francisco
    child of his time; here, as with the Figaro     Champagne Aria) adding ten names to
                                                                                                  Georg Friedrich Haas' Das Pendel at the         Opera.
    revival of 1799, he supplied simply what        his catalogue by morning, none of his
                                                                                                  Bregenz Festival. Further in the future
    was needed for the singer, irrespective of      attempts -as we have seen - is appar-
                                                                                                  are St. Fran~ois d'Assise, Pelltas et           BARBARA FRITTOLI, a native of
    the broader considerations of style and         ently consummated. We do, however,
                                                                                                  Me'lisande, ~ a i aKabanova, and La             Milan, is heard this season as Donna
    character that had dictated its original        hear him exercising his seductive powers,
                                                                                                  Clemenza di Tito at the Paris Opera.            Anna in Don Giovanni and Desdemona
    composition.                                    in different accents to suit the subject,
                                                                                                  Born in Amiens, France, he has also led         in Otello at the Met, Vitellia in La
        The men of Don Giovanni, the central        with Zerlina, Elvira (even if insincerely),
                                                                                                  Le Nozze di Figaro, Pelle'as et Mtlisande,      Clemenza di Tito and Luisa Miller at
    one apart, are less problematic. In any ver-    and Elvira's maid. Commentators on the
                                                                                                  and Les Troyens at the Salzburg Festival,       Covent Garden, Amelia in Simon
    sion, Leporello is the typical servant who      opera have offered numerous interpreta-
                                                                                                  The Rake's Progress at the Glyndebourne         Boccanegra at Paris' Bastille Opera, and
    tries to ape his master and can be bought       tions of Giovanni and the sources of his
                                                                                                  Festival, Les Contes d ' H o f i a n n at the   Desdemona in Cagliari. Last season she
    off for ready cash whenever he becomes          motivation, as Mozart, consciously or
                                                                                                  Met, and Wozzeck, Fidelio and Wagner's          sang 1,uisa Miller at the Met and in
    difficult. Like Papageno, he offers the         otherwise, perceived them. All one can
                                                                                                  Ring cycle in Frankfurt. Later this season      Valencia, the Countess in Le Nozze di
    common man's observations on the big            say is that his awareness of sexuality, its
                                                                                                  he will conduct Messiaen's three largest        Figaro and Desdemona at La Scala,
    events taking place around him. Ottavio is      force and its centrality in our lives, its
                                                                                                  works - Turangalila Symphony, Eclairs           Fiordiligi in Cosi fan tutte and Donna
    something of a cipher, dramatically             darkness and its joys, gleams through
                                                                                                  sur l'Au-dela, and La Transfiguration de        Anna at the Vienna Festival, and Maria
    speaking, in each version a "melodious          every page of this score. This may per-
                                                                                                  Notre Seigneur Jtsus Christ with the            Stuarda at the Edinburgh Festival. Other
    nitwit," as one writer has called him. He       haps help to explain why Don Giovanni
                                                                                                  SWR Symphony Orchestra.                         roles in her repertory include Elettra in
    belongs in a tradition of opera seria lovers,   remains one of the most alarming, as
                                                                                                                                                  Idomeneo (Edinburgh, Dresden), Donna
    usually played by castrati, who have little     well as the most beloved, of operas.
                                                                                                  REBECCA EVANS, who is heard here                Elvira in Don Giovanni (Salzburg
    to do besides sing beautifully. Masetto             The current Met production received
                                                                                                  this season as Zerlina in Don Giovanni,         Festival, Vienna State Opera),Alice Ford
    (Biagio in Gazzaniga) is somewhat fdled         its premiere on March 22, 1990, with
                                                                                                  made her Met debut in 1999 as Sophie in         in Falstaff (La Scala, Covent Garden,
    out. In the earlier opera he retires to be      Carol Vaness as Donna Anna, IZarita
                                                                                                   Werther and returned last season as            Florence), Leonora in I1 Trovatore (La
    cuckolded, with a push and a box on the         Mattila in her Met debut as Donna
                                                                                                  Susanna in Le Nozze di Figaro. Future           Scala), Lih in Turandot (Paris' Bastille
    ear from Giovanni, and is not seen again,       Elvira, Dawn Upshaw as Zerlina, Jerry
                                                                                                  engagements include Romilda in Xerxes           Opera), and Marguerite in Faust
    whereas Da Ponte and Mozart draw a              Hadley as Don Ottavio, Samuel Ramey
                                                                                                  at the English National Opera, Nannetta         (Genoa). She made her Met debut in
    sharp picture of a peasant in a pre-revolu-     as Don Giovanni, Ferruccio Furlanetto
                                                                                                   in Falstaff at Covent Garden, Ilia in          1995 as Micaela in Carmen, and has also
    tionary age.                                    as Leporello, Kurt Moll as the
                                                                                                   Idomeneo at the Netherlands Opera, and         been heard here as Mimi in La Bohdme.
        Don Giovanni himself is another             Commendatore, Julien Robbins as
                                                                                                  :I new production of Handel's Saul at
    matter. Gazzaniga cast him as a tenor --        Masetto, and James Levine conducting.
                                                                                                   Munich's Bavarian State Opera. The             CAROL VANESS is heard this season as
    the same tenor, as it happens, as was to
                                                                             -Stanley Sadie        Welsh soprano's recent engagements             Donna Elvira in Don Giovanni at the
    sing Mozart's Ottavio. He is there a
                                                                                                   include Susanna for the Netherlands            Met, Lady Macbeth in Macbeth with the
                                                                                                   Opera, Zdenka in Arabella, Servilia in La      Netherlands Opera, and Tosca with
Meet the Artists                                                                          Meet the Artists
Berlin's Deutsche Oper. The San Diego        Symphony No. 9 with the Charlotte            Upcoming engagements for the Russian       with Munich's Bavarian State Opera, the
native joined the Met in 1984 as Armida      Symphony Orchestra. Other recent             baritone include Le Nozze di Figaro        Pope in Palestrina at Covent Garden,
in Rinaldo, and has since appeared here      highlights include Alidoro in La             (Count Almaviva) with Paris' Bastille      King Marlte in Tristan und Isolde on tour
in more than 180 performances of nine-       Cenerentola and Figaro with Los Angeles      Opera, I1 Trovatore (Count di Luna)        with the Bavarian State Opera in Tokyo,
teen roles, including three telecasts (the   Opera, Figaro with the Bavarian State        with Washington Opera, Un Ballo in         Gurnemanz with the San Francisco
Countess in Le Nozze di Figaro, Donna        Opera, and the Four Villains in Les          Maschera (Renato) with Lyric Opera of      Opera and Paris' Bastille Opera, and
Anna in Don Giovanni, Fiordiligi in Cosi     Contes d'Hofmann with the Michigan           Chicago, and Don Carlo (Rodrigo) with      Baron Ochs with the Hamburg State
fan tutte), one company premiere (the        Opera Theater.                               the Vienna State Opera. He recently        Opera.
Israelite and Philistine Women in                                                         appeared in the title role of Rigoletto
Handel's Samson), and two additional         OREN GRADUS is a native of Brooklyn          with the Houston Grand Opera and in        MICHAEL SCHADE's engagements
new production premieres (Marguerite         and is heard here this season as the         Moscow, as Germont at Covent Garden        this season include Don Ottavio in Don
in Faust, Desdemona in Otello).              Guardian of Orest in Elektra for his         and with the Munich State Opera,           Giovanni at the Met; the title role in the
Upcoming engagements include Lady            debut and Masetto in Don Giovanni.           Prince Yeletsky at Covent Garden,          Canadian Opera Company's production
Macbeth in San Francisco, Tosca at           Season's highlights also include Colline     Rodrigo with Madrid's Teatro Real, and     of Oedipus Rex both in Toronto and at
Barcelona's Liceu, and Salome at the         in La Bolrbme and the King of Scotland       Gryaznoy in The Tsar's Bride with the      the Edinburgh Festival; Tamino in Die
Vienna State Opera. Recently she sang        in Ariodnnte with the Houston Grand          San Francisco Opera.                       Zauberjlote, Alfred in Die Fledermaus,
Tosca at Covent Garden and in Dallas,        Opera, Masetto with the Dallas Opera,                                                   Alfredo in La Traviata, and Almaviva
Elizabeth in Don Carlo in Vienna, Alice      Figaro in Le Nozze di Figaro in Marseille,   KURT MOLL made his Met debut in            in I1 Barbiere di Siviglia at the
in Falstaffin Toulouse, Salome with the      and T i m ~in rTurandot for the 2003 Met
                                                         ~                                1978 as the Landgrave in Tannhaiiser       Vienna State Opera; concerts with the
 Pittsburgh Opera, Amelia in Un Ballo in     in the Parlts concert series. This past      and has since been heard here in over      New York Philharmonic and Vienna
Maschera in Seattle, and Hanna Glawari       summer he sang the Old Hebrew in             100 performances of 10 roles, including    Philharmonic; a solo recital tour; and
in The Merry Widow in Los Angeles.           Samson et Dalila with the Houston            ~elecasts of Otello (Lodovico), Der        joint recitals with baritone Russell
                                             Grand Opera, Sarastro in Die                 1Cosenkavalier (Baron Ochs), Die           Braun. The German-Canadian tenor
RICHARD BERNSTEIN'S engagements              Zauberjlote for his debut with Opera         Walkure (Hunding), and Parsifal            made his Met debut in 1993 as Jaquino
this season include Don Giovanni             Theatre of St. Louis, and Frank              (Gurnemanz) as well as new produc-         in Fidelio, and has also been heard here
(Leporello), La Bohbme (Colline) and         Maurrant in Street Scene and Ariodante       lions of Die Entfiihrung aus dein Serail   as Tamino, Almaviva, and Alfred.
the company premiere of A View fiom          in Xerxes with the Wolf Trap Opera.          (Osmin), Don          Giovanni     (the    Notable recent engagements include
the Bridge (Marco) at the Met, Le Nozze      Appearances with the Houston Grand           I:ommendatore), and Die Zauberflote        David in Die Meistersinger von Niirnberg
di Figaro (Figaro) with the Atlanta          Opera include Prince Greinin in Eugene       (Sarastro). This season at the Met he      at the San Francisco Opera, Tamino at
Opera, and L'ltaliana in Algeri (Mustafa)    Onegin, Sparafucile in Rigoletto, Don        ~.cturns to the roles of the               Los Angeles Opera, Henry Morosus in
with the Central City Opera in               Alfonso in Cosi fan tutte, Seneca in           :ommendatore and Osmin. He recently      Die Schweigsame Frau at the Vienna
Colorado. The New York native has been       L'lncoronazione di Poppea, and the King      sang Act I of Die Walkure on tour with     State Opera, Idomeneo for Canadian
heard at the Met as Masetto in Don           in Aida.                                     (IIC MET Orchestra in Salzburg, and        Opera Company, Ferrando in Cosi fan
Giovanni,Angelotti in Tosca, Figaro, and                                                  o ~ h e r notable engagements for the       tutte at Paris' Palais Garnier, and Don
Zuniga in Carmen for his 1995 debut.         DMITRI HVOROSTOVSKY joined the               (icrman bass include Rocco in Fidelio      Ottavio at the Salzburg Festival.
He recently sang Laurent in the world        Met in 1995 as Prince Yeletsky in The
premiere of Picker's Thdrbse Raquin at       Queen of Spades and has returned to sing
the Dallas Opera, Leporello in Don           Prince Andrei in the company premiere
Giovanni with the Opera Company of           of War and Peace, Rodrigo in Don Carlo,
Philadelphia, Sancho Panza in Don            Germont in La Traviata, and Belcore in
Quichotte at Vienna's Klangbogen             L'Elisir d'Ainore. He returns here this
Festival and was a soloist in Beethoven's    season in the title role of Don Giovanni.

				
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