She has fallen in love with Rudolfo and he with her. Movie theaters representing several different chains carry the Live in HD performances. Only the Saturday performance is broadcast live but the video shown on Wednesday is exactly what the audiences saw on Saturday, plus the best seats sell out quickly on Saturday and the remaining seat selection for Wednesday is usually better.
In fact, Luisa Miller is actually quite good Verdi. For me, LM is a story where everyone wears their emotions on their sleeves and the final tragedy seems a little too familiar after having seen quite a few other tragic operas with similar and stronger plot lines and endings.
I suspect this is why it is not performed more often, but it has enough plot twists to be engaging. Having said that, you do get the Verdi chorus in the beginning and each lead character gets their own beautiful Verdi arias, and there are also great duets and ensemble singing. Placido Domingo sings the baritone role of Miller. In his later years, he switched from tenor to baritone roles. His voice draws gentle criticism from professional critics for its condition today, but at the same time, he is praised for adding excitement to the production.
The cast around Placido is outstanding, especially the currently very hot diva, soprano Sonya Yoncheva, playing Luisa; and the the excellent tenor Piotr Beczala as Rodolfo,. Met Opera Archive photo taken from Placido Domingo's website. You can try a neat experiment: Do you like Placido better in the tenor role or the baritone role? Go see the current version where Placido plays Miller, then watch the Met video of the production of Luisa Miller , which starred Placido at age 38 in the tenor role of Rodolfo.
In the video, you get to see a dashing, still young Placido with golden curls singing opposite the great Renata Scotto my personal all-time favorite soprano singing in the role of Luisa, a duo of historic opera dimensions.
You can take your popcorn, candy, and soda into the movie theater, unlike opera houses. Reviews : The reviews are generally favorable with special praise for the aura provided by Placido and the performance of Ms. Links to individual reviews are in the right side bar. For a summary of the reviews click on this link. Etching is in public domain; accessed via Wikipedia. The story takes place in 17th century Scotland, a time of wars and religious conflicts, often setting families against families in lethal feuds.
Historical novels about that period were popular in Europe of the 19th century. Lucia is a young woman who falls in love with Edgardo, the remaining head of a rival family in conflict with her own family, but she is then manipulated by her brother Enrico to save him from peril by agreeing to marry Arturo from a different family. Each of the major characters is compelled to act by dire circumstances and their own natures, honorable or not.
Lucia becomes more and more isolated and pressured until she becomes undone. When I first saw that this opera was on the schedule for , I was uncertain if I wanted to see it again. But in truth, I have only seen one previous version of Lucia and that was a video of a Metropolitan Opera production from starring the fabulous Natalie Dessay as Lucia. Even watching it as a video on television, the opera was deeply affecting and such a satisfying gem I have not felt the desire to see another performance.
But then I saw that Rachele Gilmore is playing Lucia, and I read about her coloratura soprano voice and the opportunity to see her version of the famous mad scene caused the opera to grow in appeal. I chatted with Director Lang by phone to learn more about how this production came to be. The conductor of an opera has primary responsibility for what you hear, but the director has primary responsibility for what you see.
He explained that generating costumes and sets for an entirely new production of an opera is very expensive, and today, most operas are performed using rental costumes and sets from previous productions.
Finding rental sets for Lucia that fit with the dimensions of the Harrison Opera House in Norfolk appeared problematic, so he made the decision to begin with costumes and re-purpose existing VA Opera sets as needed. He knew that the costumes for that production had been prepared by award winning designer, Catherine Zuber and were historically accurate. Zuber has been nominated for twelve Tony awards and has won six times.
The costumes were designed in the cavalier style of the 17th century. Think silks, taffetas, brocades, and velvet, sashes and doublets for the men and double skirts for the women; think romantic. Lang and VA Opera costume manager Pat Seyller were tasked with creating a costume for that character. Also, a character in Lucie , missing in Lucia , allowed a costume switch for Normanno in Lucia. However, Director Lang chose not to use the abstract version of blood in the Groag production.
He prefers the real thing, or at least the stage version of the real thing. So, the red lace and rose petals of Glimmerglass mad scene dress have become the wet, blood stained Lang version. This required creating a copy of the rented costume that was then permanently stained iteratively with blood and Ms. Gilmore gets an extra splashing before her appearance each night; this requires washing the blood out of the dress after every performance. Director Lang believes the blood is critical to achieving full dramatic impact of this scene.
All very tastefully done, of course.
Read PDF Puccinis Suor Angelica: Opera Journeys Mini Guide Series
I wondered if hauling the sets from venue to venue might be a problem, but Mr. Lang indicated that getting the floor moved and reinstalled was a bit of a challenge but packing up and moving did not present too many challenges. A much greater challenge resulted from the inherent difficulty in staging bel canto operas. Lucia is iconic for bel canto opera, especially coloratura singing.
This is difficult dramaturgically because one needs to keep the story moving forward. Director Lang examines every line since movement on stage is dictated by the text.
His background also helps in staging movements for the chorus members, an important part of Lucia. Lucia played by Rachele Gilmore in the mad scene. I asked Mr. Lang what he hoped the audience would take away from his Lucia di Lammermoor. He believes people will remember the beautiful singing. He says this production has a cast of outstanding singers who produce the vocal fireworks that Donizetti intended. He also thinks that the audience will find that their emotional connection to Lucia is stronger than for most other operas, that they may find that they identify with the characters more than in other operas, and that this will help them put their own lives in greater perspective.
You will start to find favorites among those contributors as well. Looked at that way, the price of a ticket is very good value indeed. Tickets can be purchased through this link. To enhance your understanding and appreciation for Lucia , I recommend the series of blog posts written by Dr.
Winters also presents the pre-opera talk given prior to each performance; get there early if you want to get a seat.
This post is a follow up report to my March 15 preview on background for the Requiem. It is a requiem. It is also a beautiful piece of music with equally beautiful choral and soloist parts. It is a religious work and experience. It is dramatic and can be considered an opera or an oratorio. It is a great work of art, and for these performances, it was also a cultural happening capped by an outstanding performance.
Side view of conductor, orchestra, soloists, and chorus. The audience was crammed with people and the stage was crammed with performers, instruments, and expectations trumpets at one point even appeared in the side wings of the concert hall. To call this a performance by the National Symphony Orchestra is accurate but not complete. It was also a happening because Maestro Noseda was introducing his Washington audience to one of his signature works.
Even though I am not religious, I once visited the Vatican Museum in Rome to view the great paintings of Michelangelo on the ceiling of the Cistine Chapel. For me it was undertaken as an arts experience, but viewing the ceiling felt like a spiritual one. One can approach the Requiem the same way, but it is impossible to overlook its religious nature. The handout program for the Requiem contained the text in Latin and English for the mass that serves as the libretto for the Requiem.
Flute Libretto 80 page.pmd
I wanted to just listen, but I also wanted to see how the music and singing were supporting the text, so I followed along as best I could. The music and singing for the Dies Irae , the wrath of God on judgment day, did raise the hair on the back of my neck as had been advertised. This was Verdi music I did not recognize. However, if I had heard this work without knowing it was Verdi, I would not have guessed it. It had soft parts in addition to the hair raising parts with pounding bass drums and shimmering trumpets; it had beautiful, melodic parts, as well has as voices stressed by emotional pleading.
Yet somehow to me, it always seemed reverential, and in the end, it too felt spiritual; the program book felt like a hymnal. Performances were uniformly excellent by all involved, and I feel no desire to draw distinctions, preferring to remember this as a performance of the whole; check the professional reviews linked below, all laudatory, for individual comments. I will comment on Conductor Noseda. He was the person who pulled all of these extraordinary resources together and pushed the results towards magnificence.
One senses that Mr. Noseda is going to bring a host of new fans to National Symphony Orchestra performances. I am examining my calendar now. Downey - Midgette - Weisman. I was especially delighted to spot several mother-young daughter combinations in the crowd. I think Moby Dick is okay for most kids who are old enough to sit through a three-hour show including intermission.
كلمة دالة بحث
I wonder if the parent-child pairs had read the book already; it is highly recommended for school book reports. Few of us have not heard of the book, but few have read it and still fewer finished this titanic novel; I admit to not having read it. How likely is it that those daughters went home happy and perhaps moved by an artistic experience?