"elements and traditional fairy-tale themes (see ""Libretto of The Magic Flute""). Schikaneder took the role of Papageno—a character reflecting the Hanswurst tradition, and thus suited to his skills—at the premiere. According to the dramatist Ignaz Franz Castelli, Schikaneder also may have given advice to Mozart concerning the musical setting of his libretto: The late bass singer Sebastian Mayer told me that Mozart had originally written the duet where Papageno and Papagena first see each other quite differently from the way in which we now hear it. Both originally cried out ""Papageno!"", ""Papagena!"" a few times in amazement. But when Schikaneder"
"him, then tells the sad, although misleading, tale of Pamina's abduction by Sarastro, and finally makes a stirring plea to Tamino to rescue her daughter. As the aria ends, the Queen and the Three Ladies leave the stage, leaving the astonished Tamino to ponder his task and gather his resolve. A performance takes about five minutes. The verse to which the aria was set was written by the opera's librettist Emanuel Schikaneder. Schikaneder was the impresario for whom the opera was written as well as the first performer of the role of Papageno. <poem lang=""de"" style=""float:left;""> O zittre nicht, mein"
"""Libretto of the Magic Flute"". In 1968, the Swedish poet Alf Henrikson prepared a Swedish-language version of the libretto for the purpose of a performance by the Royal Swedish Opera, which Bergman adopted as the basis of his script. However, Bergman altered the libretto in a number of respects: Sarastro is Pamina's father, trios in Act 2 are omitted, and ""Ein Mädchen oder Weibchen"" is sung by Papageno just before he sees Papagena. Instead of his usual costume of plumage, Papageno wears conventional clothing. The roles of the Three Slaves, originally spoken roles assigned to adult actors, are given to"
"He asks Antigone and Haemon to forgive his harshness. The opera ends with a marriage ceremony for the two rescued lovers. Antigona Antigona (""Antigone"") is an opera in three acts in Italian by the composer Tommaso Traetta. The libretto, by Marco Coltellini, is based on the tragedy ""Antigone"" by Sophocles. But there is also an opera ""Antigona"" by Josef Mysliveček. ""Antigona"" received its premiere at the Imperial Theatre, Saint Petersburg, Russia on 11 November 1772. The background to the opera is the myth of Oedipus. Oedipus has been expelled from Thebes, the city where he was king, after it was"
"Antigona Antigona (""Antigone"") is an opera in three acts in Italian by the composer Tommaso Traetta. The libretto, by Marco Coltellini, is based on the tragedy ""Antigone"" by Sophocles. But there is also an opera ""Antigona"" by Josef Mysliveček. ""Antigona"" received its premiere at the Imperial Theatre, Saint Petersburg, Russia on 11 November 1772. The background to the opera is the myth of Oedipus. Oedipus has been expelled from Thebes, the city where he was king, after it was revealed he had killed his father and married his mother. He left four children: Eteocles, Polynices, Antigone and Ismene. Creon, Oedipus'"
"ideals of Sarastro's community and seeks to join it. Separately, then together, Tamino and Pamina undergo severe trials of initiation, which end in triumph, with the Queen and her cohorts vanquished. The earthy Papageno, who accompanies Tamino on his quest, fails the trials completely but is rewarded anyway with the hand of his ideal female companion Papagena. The opera was the culmination of a period of increasing involvement by Mozart with Schikaneder's theatrical troupe, which since 1789 had been the resident company at the Theater auf der Wieden. Mozart was a close friend of one of the singer-composers of the"
"of Chicago. Cabell's repertoire includes Pamina (""Die Zauberflöte""), Juliette (""Roméo et Juliette""), The Countess (""Le nozze di Figaro""), Adina (""L'elisir d'amore""), The Vixen (""The Cunning Little Vixen""), Musetta (""La bohème""), Lauretta and La Ciesca (""Gianni Schicchi""), Clara (""Porgy and Bess""), La Princesse in Ravel's ""L'enfant et les sortilèges"", La Femme in Poulenc's ""La voix humaine"", Miss Jessel in ""The Turn of the Screw"" and Arsamenes in ""Xerxes"". She has recently added the role of Ilia in Mozart's ""Idomeneo"" and will be performing the role of Micaëla in ""Carmen"" at the Chicago Lyric Opera in the 2010–2011 season. Her concert repertoire"
"Anna Christy Anna Christy is an American soprano opera singer. She studied at Rice University's Shepherd School of Music and University of Cincinnati College-Conservatory of Music and made her debut in 2000 at New York City Opera as Papagena. Christy sings a variety of lyric roles, such as Susanna, Papagena and Cleopatra, but especially coloratura roles such as Cunegonde in ""Candide"" and Oscar in ""Un ballo in maschera"". She made her Metropolitan Opera debut in the 2004/5 season, and has sung with the Santa Fe Opera in Bright Sheng's ""Madame Mao"", Lyric Opera of Chicago, San Francisco Opera, L'Opéra National"
"singing hundreds of performances throughout the world. He has been seen in the title roles of ""Eugene Onegin"", Figaro (""Il barbiere di Siviglia""), Joseph De Rocher (""Dead Man Walking"") and ""Don Giovanni"", as well as in the roles of Conte Almaviva (""Le nozze di Figaro""), Valentin (""Faust""), Marcello (""La bohème""), Papageno (""Die Zauberflöte""), Robert (""Iolanta""), The Captain (""The Death of Klinghoffer"") and Zurga (""The Pearl Fishers""), among many others. He has performed at opera houses throughout the world including the Semperoper Dresden, Bayerische Staatsoper, Santa Fe Opera, Opera Theatre of St. Louis, English National Opera, Teatro di San Carlo, Teatro"
"Nice, the title role in Monteverdi's ""Orfeo"" at Opéra d'Avignon, and Frère Lèon in Messaien's ""Saint François d'Assise"" at Opéra National de Paris. He has sung numerous roles with Flanders Opera, including Guglielmo in Mozart's ""Così fan tutte"", Albert in Massenet's ""Werther"", and the Steward in Jonathan Dove's ""Flight"". In his native Canada, Polegato has sung Papageno in Mozart's ""Die Zauberflöte"", Figaro in Rossini's ""Il barbiere di Siviglia"", and Zurga in Bizet's ""Les pêcheurs de perles"" with Vancouver Opera. In the United States, he has sung with New York City Opera, Houston Grand Opera, and Michigan Opera Theatre as well"
"Rosetta Pampanini Rosetta Pampanini (2 September 1896 – 2 August 1973) was an Italian soprano, particularly associated with Puccini roles, especially Madama Butterfly. Pampanini was born in Milan. She began singing as a child, and later studied with Emma Malajoli. She made her stage debut in 1920, at the Teatro Nazionale in Rome, as Micaela, and in Turin in 1921, as Siebel. After further studies, she made her debut at the Teatro San Carlo in Naples, as Desdemona, in 1923, and sang the following year Elsa in Bergamo. Noticed by conductor Arturo Toscanini, she made her debut at the Teatro"
"performances of Giuseppe Verdi's ""La traviata"". She was also a pupil of Toti dal Monte in Venice (1955–1957), Ferdinand Grossmann in Vienna (1957), Lawrence Fehenberger in Munich (1963), and in New York City with Rosa Bok (1967–1970) and Oren Brown (1975–1976). She made her European opera debut in 1955 as Papagena in Wolfgang Amadeus Mozart's ""The Magic Flute"" at the Teatro di San Carlo. That same year she won the Siena International Singing Competition and in 1957 she won the singing competition at the Salzburg Mozarteum. In the late 1950s, Protero made appearances at the Bielefeld Opera, the Oper der"
"Robert Carsen’s new production of Prokofiev’s ""The Love for Three Oranges"" (2012 and 2015), Roggiero in ""Tancredi"" (2012), and several Mozart heroines (Pamina (2008, 2009, 2010, 2011, 2012, 2016, 2017), Susanna (2009, 2012, 2014), Zerlina (2011), and Donna Elvira (2018)). In 2010 she made her debut at the San Francisco Opera (SFO) as Mozart's Susanna. She has since returned to the SFO numerous times for performances of Sophie in ""Werther"" (2010), Atalanta in ""Serse"" (2011), Pamina (2012), Nannetta (2013), Magnolia Hawks in ""Show Boat"" (2014), Oscar (2014), Johanna in """" (2015), Norina (2016), and Zdenka in ""Arabella"" (2018). She made"
"it was there that it was suggested to him by Jules Janin, the newly appointed director of the ""Théâtre-Italien"", that he might compose a new opera for that house. Janin prepared a formal proposal on 27 September, but while no specific subject nor title was mentioned, Janin suggested that it should be a new ""opera buffa"" tailored to the talents of some major singers including Giulia Grisi, Antonio Tamburini, and Luigi Lablache. In the tradition of opera buffa, the opera makes reference to the stock characters of the ""commedia dell'arte"". Pasquale is recognizable as the blustery Pantalone, Ernesto as the"
"Håkan Hagegård Nils Olov Håkan Hagegård (born 25 November 1945 in Karlstad, Sweden) is a Swedish operatic baritone. Hagegård studied at the Royal College of Music in Stockholm and has performed on stages around the world, including Carnegie Hall, the London Royal Opera House, La Scala, the Metropolitan Opera, the Sydney Opera House, the Deutsche Oper Berlin, the Vienna State Opera (""Così fan tutte"" conducted by Nikolaus Harnoncourt), and the Royal Swedish Opera in Stockholm. He played the role of Papageno in Ingmar Bergman's acclaimed film version of Mozart's ""Die Zauberflöte"" (""Trollflöjten"", 1975). He sang the baritone solos in choral"
"Lisa Otto Lisa Otto (14 November 1919 – 18 September 2013) was a German operatic soprano, particularly associated with soubrette and light coloratura roles. Born in Dresden, she studied there at the Musikhochschule with Susanne Steinmetz-Prée. She made her debut in Beuthen, as Sophie in ""Der Rosenkavalier"", in 1941, where she remained until 1944. She then sang in Nuremberg (1944–45), Dresden (1945–51), and joined the Berlin State Opera in 1951, where she was to remain until 1985. She is best known for soubrette roles such as Blondchen, Susanna, Zerlina, Despina, and Papagena in Mozart's operas. Other notables roles included the"
"season ended, it had been sung to fifteen full houses"". For Rubini, ""it marked the defining performance for the tenor"", and the newspaper reviews which followed all agreed with the composer's own assessment. After its Milanese debut, the opera received very successful performances in Vienna in February 1828 and also in Naples three months later. Both productions starred Rubini, Tamburini, and—in the role of Imogene—Rubini's wife, Adelaide Comelli-Rubini, about whom Bellini had initial misgivings, although it appears that she acquitted herself very well. By this time, Bellini had begun to achieve international fame. After ""Il pirata"", Bellini remained in Milan"
"her career, and where she appeared for many years. In 1988, she appeared for the first time, when she starred in the opera, ""L'enfant et les sortilèges"". She returned as Papagena, Nanetta, Susanna and Zerlina and also joined at the Glyndebourne Touring Opera as Varvara and Despina. In 1986, she made her debut as 1st flower girl in Richard Wagner's ""Parsifal"" at the Royal Opera House, Covent Garden, and appeared there in ""Peter Grimes"" and ""Falstaff"". She has appeared as Susanna in Mozart's ""Le nozze di Figaro"" in Paris, London, Munich, Toronto, Glyndebourne, Ludwigsburg and Venice, and has recorded this"
"Romilda Pantaleoni Romilda Pantaleoni (1847 – 20 May 1917) was an Italian soprano who had a prolific opera career in Italy during the 1870s and 1880s. She sang a wide repertoire that encompassed bel canto roles, Italian and French grand opera, verismo operas, and the German operas of Richard Wagner. She became particularly associated with the roles of Margherita in Boito's ""Mefistofele"" and the title role in Ponchielli's ""La Gioconda""; two roles which she performed in opera houses throughout Italy. She is best remembered today for originating the roles of Desdemona in Giuseppe Verdi's ""Otello"" (1887) and Tigrana in Giacomo"
"Parisina (Mascagni) Parisina is a ""tragedia lirica"", or opera, in four acts by Pietro Mascagni. Gabriele D'Annunzio wrote the Italian libretto after Byron's poem ""Parisina"" of 1816. It was first performed at the Teatro alla Scala in Milan on 15 December 1913. Mascagni (b. Livorno, 7 Dec 1863; d. Rome, 2 Aug 1945) achieved success early on in his compositional life with one of his most famous operas, ""Cavalleria Rusticana"". With this opera he overcame at least 70 rival composers to win the Sonzogno competition in 1888. The ensuing fame encouraged a prolific career remembered for the vibrant melodies first"
"Verme. He met with Giovanni Fontana. Alessandro Manzoni made Francesco Bussone the subject of a poetical drama, ""Il Conte di Carmagnola"" (1820). An opera ""Le Comte de Carmagnola"" with book by Eugène Scribe and music by Ambroise Thomas was produced at the Paris Opéra on 19 April 1841. A soprano showpiece from the opera has been recorded by Elizabeth Vidal on Talent DOM 2910 77. Carmagnola is a character in Rafael Sabatini's ""Bellarion"", though he is portrayed as swaggering and self-important, and becomes a minor antagonist. Francesco Bussone da Carmagnola Francesco Bussone, often called Count of Carmagnola (c. 1382 –"
"in the events. She made several records. Lillie Claus Lillie Claus-Dostal (1905–2000) was an Austrian lyric coloratura opera and operetta singer. She received a musical education in her youth (vocals, piano, dance school). When she was 16 she entered the Vienna Academy of Music. She debuted as Papagena in Mozart's Magic Flute at the Vienna State Opera. After engagements at several theatres, she returned to the Vienna State Opera. There, she heard the composer Nico Dostal was in search a leading singer for his operetta ""Clivia"". On 23 December 1933, she took part in the premiere in the Berlin theatre"
"de Paris, and the Royal Opera House, London. She has also performed Bianca in Rossini’s ""Bianca e Falliero"" with the Washington Concert Opera. In February 2010 she reprised her original 2008 interpretation of the title role in Donizetti's ""Lucia di Lammermoor"" for English National Opera. Anna Christy Anna Christy is an American soprano opera singer. She studied at Rice University's Shepherd School of Music and University of Cincinnati College-Conservatory of Music and made her debut in 2000 at New York City Opera as Papagena. Christy sings a variety of lyric roles, such as Susanna, Papagena and Cleopatra, but especially coloratura"
"Cattanei, who tries to warn him of the conspiracy against his family. But she is killed by Montesecco, a murderer hired by Pope Sixtus V. Giuliano is killed by the conspirators, but Lorenzo de' Medici escapes with the help of the poet Poliziano. He then wins the support of the people, who lynch the conspirators. A recording of the opera released in 2010 on Deutsche Grammophon featuring Plácido Domingo as Giuliano de' Medici, Carlos Álvarez as Lorenzo de' Medici, Vitaly Kovalkov as Francesco de' Pazzi, Daniela Dessì as Simonetta Cattanei (Simonetta Vespucci née Cattaneo ) and Renata Lamanda as Fioretta"
"Aglaja Orgeni Aglaja Orgeni, real name Anna Maria von Görger St. Jörgen (17 December 1841 – 15 March 1926), was a Hungarian operatic coloratura soprano. Orgeni was born in Rimászombat, Galicia (now Rimavská Sobota, Slovakia). She studied with Pauline Viardot in Baden-Baden and Mathilde Marchesi. She became a member of the Hofoper Berlin (1865–1866), making her debut as Amina in Bellini's ""La sonnambula"". In 1866, she performed at Covent Garden singing Violetta in Verdi's ""La traviata"" and the title roles in Donizetti's ""Lucia di Lammermoor"" and Friedrich von Flotow's ""Martha"". She also appeared in the German cities of Leipzig, Dresden,"
"grandiose. This rage aria is often referred to as the ""Queen of the Night's Aria"", although the Queen sings another distinguished aria earlier in the opera, """". The words were written by Emanuel Schikaneder, who also authored the rest of the ""Magic Flute"" libretto, headed the theater troupe that premiered the work, and created the role of Papageno. <poem lang=""de"" style=""float:left;"">Der Hölle Rache kocht in meinem Herzen, Tod und Verzweiflung flammet um mich her! Fühlt nicht durch dich Sarastro Todesschmerzen, so bist du meine Tochter nimmermehr. Verstoßen sei auf ewig, verlassen sei auf ewig, zertrümmert sei'n auf ewig alle Bande"
"Papageno, Figaro, the Count and Don Giovanni. He made his New York City debut at the Metropolitan Opera on January 24, 1998 in the role of Papageno in ""Die Zauberflöte"". He has subsequently performed the title role of ""Don Giovanni"", Marcello in Puccini's ""La bohème"", and the title role of ""Rossini""'s ""Guillaume Tell"" at the Metropolitan Opera. In addition to his success with Mozart, Finley has been active in contemporary opera. He has created a number of roles including J. Robert Oppenheimer in the world premiere of John Adams' opera ""Doctor Atomic"" at the San Francisco Opera on October 1,"
"The opera's orchestration calls for a lirone, and somewhat remarkably for the period the cast does not require a castrato. The piece is balanced towards higher voices, with six sopranos, two altos, seven tenors, and only one bass, as well as a trio of recorders. A compositional scheme is used within the work that associates flat keys with the feminine (the female protagonist Alcina and her attendants) and sharp keys with the masculine (the male protagonist Ruggiero and the other male roles). The sorceress Melissa, who also appears in male disguise, is presented in the key of C major. Alcina"
"he had performed. The premiere, given on 27 October 1827, was ""an immediate and then an increasing, success. By Sunday, December 2, when the season ended, it had been sung to fifteen full houses"". For Rubini, ""it marked the defining performance for the tenor"", and the newspaper reviews which followed all agreed with the composer's own assessment. After its Milanese debut, the opera received very successful performances in Vienna in February 1828 and also in Naples three months later. Both productions starred Rubini, Tamburini, and—in the role of Imogene—Rubini's wife, Adelaide Comelli-Rubini, about whom Bellini had initial misgivings, although it"
"Virginia Opera's ""Samson and Delilah, as Abimelech in Samson and Delilah with Dallas Opera, as Baron Scarpia in Tosca with Opera de Puerto Rico, as Giorgio Germont in Washington National Opera's La Traviata, and as Iago in Otello with Austin Opera. Internationally, Chioldi has appeared in the title role of ""Der fliegende Holländer"" at Germany's Pforzheim Opera, with Toronto's Opera Atelier as Figaro in ""Le nozze di Figaro"", as Méduse in Lully's ""Persée"", and in the title role in ""Don Giovanni"". He has also appeared in Japan with Seiji Ozawa and the New Japan Philharmonic as Papageno in a touring"
"children, who are silent. Evidon suggests that the characters of Frid and Petra in Bergman's 1955 film ""Smiles of a Summer Night"", and Johan and Alma in his ""Hour of the Wolf"" (1968) pre-figure his conception of Papageno and Papagena, and Tamino and Pamina respectively in ""The Magic Flute"". The latter film includes a puppet-theatre sequence of part of Act 1 of the opera. Evidon also sees a parallel between Bergman's treatment of Sarastro and Amfortas in ""Parsifal"". In producing the opera, Bergman sought to fulfill his early dream (see above) of a production in the Drottningholm Palace Theatre (one"
"Susanna (10 performances) and Barbarina (8 performances), she has sung Zerlina in ""Don Giovanni"" (29 performance), Despina in ""Così fan tutte"" (14 performances), Servilia in ""La clemenza di Tito"" (11 performances), Pamina in ""Die Zauberflöte"" (9 performances), and Ilia in ""Idomeneo"" (9 performances). Among the roles she has sung (but not at the Met), are the title role in Massenet's ""Manon"", Musetta in ""La bohème"", Tatyana in ""Eugene Onegin"" and Leila in ""Les pêcheurs de perles"". Although the Met has been her main stage since her debut, after giving birth to her third child she began to sing in Europe"
"is the central figure of the opera: ""It is his fate rather than Carmen's that interests us"". The music characterizes his gradual decline, act by act, from honest soldier to deserter, vagabond and finally murderer. In act 1 he is a simple countryman aligned musically with Micaëla; in act 2 he evinces a greater toughness, the result of his experiences as a prisoner, but it is clear that by the end of the act his infatuation with Carmen has driven his emotions beyond control. Dean describes him in act 3 as a trapped animal who refuses to leave his cage"