"has gravity and depth, due both to Bizet and to Shchedrin's interventions."" Carmen, ""a gypsy woman"" Don José, ""corporal of Dragoons"" Escamillo, ""a bullfighter (toreador)"" Zúñiga, ""captain of Dragoons"" Fate Magistrate Alonso’s scenario centers on Carmen, Don José and the bullfighter Escamillo. Carmen is a passionate, free-spirited woman in contrast to the temperamental and fickle Don José. Fate, a ballerina dressed in black and a representation of Carmen’s alter ego, tells Carmen's fortune with a deck of cards. A fight with tobacco dealers leads to Carmen's arrest by Captain Zúñiga. In jail, she seduces Don José and convinces him to"
"Giacomo Rimini Giacomo Rimini (March 22, 1887 – March 6, 1952) was an Italian-born, naturalized-American operatic baritone. He was most admired for his interpretations of the works of Giuseppe Verdi. Giacomo Rimini was born and raised in Verona, Italy. His father, Riccardo Rimini, descended from Sephardic Jews long resident in Verona; his mother, Giulia Sottopera, was Catholic. Rimini studied at the Verona Music Conservatory with Amelia Conti Foroni. He began his operatic career in Italy in his early twenties. His first lead role was as Escamillo in Bizet's ""Carmen"" at the age of 22. In 1910 he sang the role"
"""Mefistofele"", Escamillo in ""Carmen"", Mephistopheles in ""Faust"", Zaccaria in ""Nabucco"", Leporello in ""Don Giovanni"", Raimondo in ""Lucia di Lammermoor"", the High Priest in ""Samson et Dalila"", Jaroslav Prus in ""The Makropulos Case"", Jochanaan in ""Salome"", Amonasro in ""Aida"", Mustafa in ""L’Italiana in Algeri"", Thoas in ""Iphigénie en Tauride"", Alidoro in ""La Cenerentola"" (Cinderella), Argante in ""Rinaldo"", Scarpia in ""Tosca"", among others. In the course of his career, Doss has performed with operatic artists such as Plácido Domingo, Renée Fleming and Denyce Graves. Doss made his debut at Milan's La Scala in 2004 in the role of Escamillo in ""Carmen"". Since"
"Father in ""Louise"". Giraldoni made a number of recordings prior to World War I, some of which have been reissued on CD. Eugenio Giraldoni Eugenio Giraldoni (20 May 1871, Marseille – 23 June 1924, Helsinki) was an Italian operatic baritone who enjoyed a substantial international career. In 1900, he created the role of Baron Scarpia in Giacomo Puccini's ""Tosca"". He was the son of another leading baritone, Leone Giraldoni, and the soprano and violinist Carolina Ferni. His mother gave him voice lessons and he made his opera debut in Barcelona, as Escamillo in ""Carmen"", in 1891. Giraldoni consolidated his career"
"Il Trespolo tutore Il Trespolo tutore (""Trespolo the Tutor"") is a comic opera in three acts by the Italian composer Alessandro Stradella with a libretto by Giovanni Cosimo Villifranchi. It was first performed at the Teatro Falcone, Genoa on 30 or 31 January, 1679. It is considered one of the first Italian comic operas. Artemisia is in love with her tutor Trespolo but he is too dull-witted to realise this and is in love with the serving-maid Despina instead. Two brothers, Ciro and Nino, are in love with Artemisia; one of them goes mad and the other, who has been"
"insane, is cured. The plot becomes more and more farcically complicated until, in the end, Trespolo marries Despina and Artemisia marries Ciro. Il Trespolo tutore Il Trespolo tutore (""Trespolo the Tutor"") is a comic opera in three acts by the Italian composer Alessandro Stradella with a libretto by Giovanni Cosimo Villifranchi. It was first performed at the Teatro Falcone, Genoa on 30 or 31 January, 1679. It is considered one of the first Italian comic operas. Artemisia is in love with her tutor Trespolo but he is too dull-witted to realise this and is in love with the serving-maid Despina"
"Jacques Bouhy Jacques-Joseph-André Bouhy (18 June 1848 – 24 January 1929) was a Belgian baritone, most famous for being the first to sing the ""Toreador Song"" in the role of Escamillo in the opera ""Carmen"". Bouhy was born in Pepinster. After studying at the Liège Conservatory of Music, he made his début at the Paris Opéra as Méphistophélès (""Faust"") in 1871. He performed at the Opéra-Comique as Figaro (""Le Nozze di Figaro""), Escamillo (""Carmen"") in 1875. At the Comique he also created the role of ""Don César de Bazan"" in 1872. In 1882 he appeared at Covent Garden singing in"
"the Trocadero Theater, Philadelphia in March 1982 with John Gilmore in the title role. The opera makes a reference to the castrati in during Pasquale's Act 2 aria ""Ecco spiano"", during which he sings """"Ah, che un musico castrato come me non canta affé"""" (Even a castrato cannot sing as well as me). The same aria is also notable for requiring the tenor to go into falsetto to hit some of the high notes. Scene 1 – A mountainous landscape. The shepherdess Eurilla and her father Licone are alarmed by the appearance of a threatening knight, searching for Angelica and"
"dates, just to be replaced, on 1 December, by a revival of Giovanni Alberto Ristori’s ""Orlando furioso"" (), a work that the Vivaldi """"impresa"""" had very successfully staged in 1713. Ersilla dedicates a sword to the destruction of Orlando, and entrusts the sword and mission to Argillano, who secretly loves her. Ersilla’s enemies, Brandimarte, Grifone and Origille spy on the rituals. As the ceremony ends, Tigrinda, priestess of potions, tries unsuccessfully to tell Argillano she loves him. Grifone follows Tigrinda, who he in turn secretly loves. Argillano challenges Grifone, who is protected by Origille – she pretends that he is"
"thus there is little written record or correspondence relating to the beginning of the collaboration. The libretto was prepared in accordance with the conventions of ""opéra comique"", with dialogue separating musical numbers. It deviates from Mérimée's novella in a number of significant respects. In the original, events are spread over a much longer period of time, and much of the main story is narrated by José from his prison cell, as he awaits execution for Carmen's murder. Micaëla does not feature in Mérimée's version, and the Escamillo character is peripheral—a picador named Lucas who is only briefly Carmen's grand passion."
"Eugenio Giraldoni Eugenio Giraldoni (20 May 1871, Marseille – 23 June 1924, Helsinki) was an Italian operatic baritone who enjoyed a substantial international career. In 1900, he created the role of Baron Scarpia in Giacomo Puccini's ""Tosca"". He was the son of another leading baritone, Leone Giraldoni, and the soprano and violinist Carolina Ferni. His mother gave him voice lessons and he made his opera debut in Barcelona, as Escamillo in ""Carmen"", in 1891. Giraldoni consolidated his career by appearing at various operatic venues in Italy and, in 1898, visiting South America. Then, in 1900, he earned a place in"
"is tormented by remorse and flees to the palace garden, hoping to find a peaceful spot where he can seek solace in sleep (Aria:""""Pastorello d'un povero armento""""). Garibaldo, finding him unprotected, decides to kill him. Bertarido appears and kills the intended assassin; Grimoaldo, however, he spares (Aria:""""Vivi, tiranno!""""). Grimoaldo renounces his claim to the throne of Milan, and pledges himself once again to Eduige. He offers the throne back to Bertarido who accepts it once he is assured that his wife and son will be returned to him. There is general rejoicing. The opera's libretto is by Nicola Francesco Haym,"
"Madrid, in his sixty-fifth year. Vicente Sardinero Vicente (Vicenç) Sardinero (12 January 1937 – 9 February 2002), né Sardinero-Puerto, was a Spanish operatic lyric baritone. Born in Barcelona, he made his debut at the Gran Teatre del Liceu in his native city in the 1964–65 season, as Escamillo in ""Carmen"". His first appearance at the Teatro alla Scala was in 1967, as Enrico in ""Lucia di Lammermoor"", opposite Renata Scotto, subsequently appearing there in ""Il trovatore"" (1978), ""I due Foscari"" (1980), and ""Falstaff"" (as Ford, conducted by Lorin Maazel, and directed by Giorgio Strehler, 1981). Sardinero also sang at London's"
"increases the role of other characters, such as the Dancaïre, who is only a minor character in the story; the Remendado, who one page after he is introduced is wounded by soldiers and then shot by Carmen's husband to keep him from slowing the gang down; and Lucas (renamed Escamillo and promoted to matador), who is seen only in the bull ring in the story. The opera's female singing roles other than Carmen—Micaëla, Frasquita, and Mercédès—have no counterparts in the novella. Carmen knows her fate not from reading cards but from interpreting such omens as a hare running between José's"
"Vicente Sardinero Vicente (Vicenç) Sardinero (12 January 1937 – 9 February 2002), né Sardinero-Puerto, was a Spanish operatic lyric baritone. Born in Barcelona, he made his debut at the Gran Teatre del Liceu in his native city in the 1964–65 season, as Escamillo in ""Carmen"". His first appearance at the Teatro alla Scala was in 1967, as Enrico in ""Lucia di Lammermoor"", opposite Renata Scotto, subsequently appearing there in ""Il trovatore"" (1978), ""I due Foscari"" (1980), and ""Falstaff"" (as Ford, conducted by Lorin Maazel, and directed by Giorgio Strehler, 1981). Sardinero also sang at London's Covent Garden (Marcello in ""La"
"of them fell in love with each other. They moved to Chicago, Illinois in 1916 where they would both establish a long association with the Chicago City Opera Company, the Chicago Civic Opera, and the Ravinia Festival. Rimini had been married once previously to a woman from Rome, Raffaella Bettei. Rimini and Raisa married in 1920 after moving to Chicago and became naturalized citizens of the United States in 1923. Rimini and Raisa had one daughter, Rosa Giulietta (Jolly) Segala, who was born in July 1931. In addition to Falstaff and Escamillo, Rimini was admired for his portrayals of the"
"is mortified to believe she loves her enemy. Orlando vows to abandon such deception in favour of honourable confrontation. Argillano rejects Tigrinda, who then drinks her own potion. Grief-stricken, Grifone, too poisons himself. Origille, seeing the corpse of her beloved, vows revenge. Orlando smashes his fetters, releases Brandimarte, and by destroying Ersilla’s castle, breaks all her spells. Grifone, Tigrinda, and all her other victims reawaken and are cured, Tigrinda is united with Argillano, Origille with Grifone, and all ends happily. Notes Sources Orlando finto pazzo Orlando finto pazzo (; ""Orlando, the Fake Madman"") is an opera (""dramma per musica"") in"
"fight, first with swords, then with daggers, before Simone finally overcomes Guido and strangles him. Bianca, admiring her husband's strength, rushes to embrace him and the two are reconciled as the curtain falls. [Conductor/Bianca/Guido/Simone] Notes Sources Eine florentinische Tragödie , Op. 16, is an opera in one act by Alexander von Zemlinsky to a libretto adapted by the composer from a German translation by of Oscar Wilde's unfinished play ""A Florentine Tragedy"". The opera was premiered at the Staatsoper Stuttgart on 30 January 1917 under the direction of Max von Schillings. The last production during Zemlinsky's lifetime was in Brno"
"Steven B. Jepson Steven B. Jepson is an American opera singer, a baritone. In addition to his work in opera he has appeared in musical theater and film. He is best known for his interpretation of Escamillo in ""Carmen"", a role he has played with several companies in the United States and Europe. He was nominated by both Creative Loafing Magazine and the Metrolina Theatre Association as best actor for his portrayal of Emile De Becque in South Pacific. He also has performed as principal singer for Norwegian Cruise Line on board the Norwegian Sky. Jepson is also a teacher,"
"Scipione Scipione (HWV 20) - or Publio Cornelio Scipione - is an opera seria in three acts, with music composed by George Frideric Handel for the Royal Academy of Music (1719) in 1726. The librettist was Paolo Antonio Rolli. Handel composed ""Scipione"" whilst in the middle of writing ""Alessandro"". It was based upon the life of Roman General Scipio Africanus. Its slow march is the regimental march of the Grenadier Guards and is played at London Metropolitan police passing out ceremonies. ""Scipione"" had its premiere on 12 March 1726 at The King's Theatre, Haymarket. Handel revived the opera in 1730,"
"traviata""), Milan La Scala (""Falstaff"", ""Rigoletto"", ""La traviata""), New York Metropolitan Opera (""Attila"", ""La bohème"", ""Il barbiere di Siviglia"", ""La Cenerentola"","" L'elisir d'amore"", ""Lucia di Lammermoor"", ""Rigoletto"", ""Der Rosenkavalier""), Madrid Teatro Real (""Werther""), Paris Opéra-Bastille (""Rigoletto, La traviata""), San Francisco Opera (""Un ballo in maschera, L'elisir d'amore, Lucia di Lammermoor""), Vienna State Opera (""La bohème"", ""L'elisir d'amore"", ""La favorita"", ""Lucia di Lammermoor"", ""Manon"", ""Maria Stuarda"", ""Rigoletto"", ""Roberto Devereux"", ""Werther""), Verona Arena (""Il barbiere di Siviglia"", ""Rigoletto""), and others. In addition to his operatic career, he is also an accomplished concert singer, with an extensive repertoire ranging from Italian classical songs"
"of 'The Legend of Hagoromo'. Mark Stone (baritone) Mark Stone is a British baritone appearing in concerts, recitals, and opera. Born in London 12 June 1969, he studied at Wilson's School, Wallington before going up to King's College, Cambridge to read Mathematics. After graduating in 1990, he worked as a Chartered Accountant and as an investment banker before studying singing at the Guildhall School of Music and Drama, London from 1995 to 1998. He made his operatic debut in 1998, singing the role of Escamillo for Opera North, since when he has also appeared in the UK at the Royal"
"Arminio (Biber) Arminio or ""Chi la Dura la Vince"" is an opera (""Dramma musicale"") – and the earliest extant opera composed in Salzburg – in three acts about the Germanic military hero Arminius, and the only surviving opera composed by Heinrich Ignaz Franz Biber, composed ca. 1690–1692 with an Italian libretto probably by Francesco Maria Raffaelini. The manuscript score is kept in the Carolino Augusteum of Salzburg. The opera is about the story of the wife of Arminius, Thusnelda (Segesta) who becomes prisoner of Germanicus. H.I.F. Biber: ""Arminio"", Salzburger Hofmusik, Il Dolcimelo. Gotthold Schwarz / Bernhard Landauer / Irena Troupova"
"Zanni, Moschino"" etc.) are introduced into this 'serious' context. The use of the term ""comedia musicale"" in the printed score might go back to Dante's ""Divine Comedy"" (completed 1320), merely addressing a happy ending story. The opera was first performed at the Palazzo Barberini, Rome on 12 February 1637. The surviving score is a revised version dating from 1639. The impoverished Egisto is in love with the young widow Alvida. She rejects his advances unless he destroys the things dearest to him: a tower he has inherited and his favourite falcon. He does so and Alvida is so impressed by"
"amphitheatre"" Zuniga, Frasquita and Mercédès are among the crowd awaiting the arrival of the bullfighters (""Les voici ! Voici la quadrille!""). Escamillo enters with Carmen, and they express their mutual love (""Si tu m'aimes, Carmen""). As Escamillo goes into the arena, Frasquita and Mercedes warn Carmen that José is nearby, but Carmen is unafraid and willing to speak to him. Alone, she is confronted by the desperate José (""C'est toi ! C'est moi !""). While he pleads vainly for her to return to him, cheers are heard from the arena. As José makes his last entreaty, Carmen contemptuously throws down"
"Francisco Asenjo Barbieri Francisco Asenjo Barbieri (3 August 1823 – 19 February 1894) was a well-known composer of the popular Spanish opera form, ""zarzuela."" His works include: ""El barberillo de Lavapiés"", ""Jugar con fuego"", ""Pan y toros"", ""Don Quijote"", ""Los diamantes de la corona"", and ""El Diablo en el poder"". He was born and died in Madrid, appropriately, since the themes are characters of his operas are often distinctly Spanish and Madrilenian. Among the characters featured by Barbieri are bullfighters, ""manolos"" and ""manolas"", and even (in ""Pan y toros"") the famous Spanish painter, Francisco Goya. The character of much of"
"provides a distinct contrast to José's increasing desperation. The final act is prefaced with a lively orchestral piece derived from Manuel García's short operetta ""El Criado Fingido"". After the opening crowd scene, the bullfighters' march is led by the children's chorus; the crowd hails Escamillo before his short love scene with Carmen. The long finale, in which José makes his last pleas to Carmen and is decisively rejected, is punctuated at critical moments by enthusiastic off-stage shouts from the bullfighting arena. As José kills Carmen, the chorus sing the refrain of the Toreador Song off-stage; the fate motif, which has"
"struggle for supremacy, Jerusalem falls to Goffredo; Argante is overcome and captured by Rinaldo, while Armida is taken by Eustazio. Rinaldo and Almirena celebrate their love and forthcoming marriage. Armida, accepting her defeat, breaks the wand which is the source of her evil power and together with Argante embraces Christianity. Goffredo expresses his forgiveness to his beaten foes and sets them free, before victors and vanquished join in a chorus of reconciliation. Revisions, 1717 and 1731 The opera was frequently revised, most particularly in 1717 and in 1731; modern performances are usually a conflation of the versions available. Up to"
"Music. Francisco Asenjo Barbieri Francisco Asenjo Barbieri (3 August 1823 – 19 February 1894) was a well-known composer of the popular Spanish opera form, ""zarzuela."" His works include: ""El barberillo de Lavapiés"", ""Jugar con fuego"", ""Pan y toros"", ""Don Quijote"", ""Los diamantes de la corona"", and ""El Diablo en el poder"". He was born and died in Madrid, appropriately, since the themes are characters of his operas are often distinctly Spanish and Madrilenian. Among the characters featured by Barbieri are bullfighters, ""manolos"" and ""manolas"", and even (in ""Pan y toros"") the famous Spanish painter, Francisco Goya. The character of much"
"Mark Stone (baritone) Mark Stone is a British baritone appearing in concerts, recitals, and opera. Born in London 12 June 1969, he studied at Wilson's School, Wallington before going up to King's College, Cambridge to read Mathematics. After graduating in 1990, he worked as a Chartered Accountant and as an investment banker before studying singing at the Guildhall School of Music and Drama, London from 1995 to 1998. He made his operatic debut in 1998, singing the role of Escamillo for Opera North, since when he has also appeared in the UK at the Royal Opera House, English National Opera,"
"opera was presented at the Teatro Rossini in Lugo, Italy, as part of the Lugo Opera Festival which has been held since the mid-1980s. ""Scene 1: Ubaldo's house"" Ubaldo's entourage cannot understand why he is so melancholic They leave when his friend Guido enters. Guido asks Ubaldo to help him: Boemondo (Ezzelino's henchman) wishes him to marry his daughter Imberga, but his heart belongs to another. Ubaldo points out that, if Guido defies Boemondo, his chances of regaining the position once held by his ancestors will be ruined. Guido, nevertheless, is prepared to renounce everything for love. He reveals that"
"a long-standing relationship with The Metropolitan Opera in New York, where he has performed more than 180 times since his debut in 1989 in the role of Almaviva in ""Il barbiere di Siviglia"". He has appeared there as Tamino, Rodolfo in ""La bohème"", Alfredo in ""La traviata"", the Duke in ""Rigoletto"", Edgardo in ""Lucia di Lammermoor"", Tonio in ""La fille du régiment"", Nemorino in ""L'elisir d'amore"", Don Ottavio in ""Don Giovanni"", Idreno in ""Semiramide"", Ferrando in ""Così fan tutte"", and Fenton in ""Falstaff"". He has made appearances with various North American opera companies, including the Lyric Opera of Chicago, Los"
"his change of mind and heart. He accepts the ransom offer from Ernando and frees Berenice, saying that she may marry Lucejo. Furthermore, he gives the ransom to the couple as a wedding present. All present praise Scipione's generosity, and Lucejo vows loyalty to Rome for himself and his subjects. The German-born Handel, after spending some of his early career composing operas and other pieces in Italy, settled in London, where in 1711 he had brought Italian opera for the first time with his opera ""Rinaldo"". A tremendous success, ""Rinaldo"" created a craze in London for Italian opera seria, a"