"and 2011 seasons he returned to Düsseldorf as well as making several house debuts, including the Michigan Opera Theatre (as the Duke in ""Rigoletto"") Staasoper Oper in Berlin, Finnish National Opera (as Rodolfo in ""La bohème""), the Royal Swedish Opera (as Alfredo Germont in ""La traviata""), Staatsoper Unter den Linden in Berlin (as Alfredo Germont), and the Hamburg State Opera (as the Duke of Mantua). He also performed at the Szeged Open-Air Festival in Hungary. In 2012 he returned to the Staatsoper Unter den Linden as Lensky on Tchaikovsky's ""Eugene Onegin"" and sang The Duke of Mantua in performances of"
"1910 he joined the roster of the Chicago Grand Opera Company with whom he also toured frequently to the city of Philadelphia for performances at the Philadelphia Metropolitan Opera House. He remained with that company through 1912, performing such roles as Amonasro in ""Aida"", Count di Luna in ""Rigoletto"", Count Gil in ""Il segreto di Susanna"", Lord Enrico Asthon in ""Lucia di Lammermoor"", and Silvio in ""Pagliacci"" among others. He died of nephritis in Naples in 1913. He was married to soprano Isabella Orbellini. Alfredo Costa Alfredo Costa (1874, Rome -1913, Naples) was an Italian operatic baritone who had an"
"Bellini's ""I Capuleti e i Montecchi"" in Spring 1981, ""Norma"" in October 1983 and again in January 1994, along with Donizetti's ""Anna Bolena"" in January 1989 reflect a broad approach to the repertoire. Amongst several of Wagner's operas, ""The Flying Dutchman"" entered the repertory in January/February 1996, while ""Die Walkure"" followed in the fall of 2002 and again in early 2011. Richard Strauss is represented by ""Ariadne auf Naxos"" in 2014, although it was given several times over the earlier years, and there have been several productions of ""Salome"", the next appearing in January/February 2015. ""Elektra"" was given in early"
"Jeanette Scovotti as Adele, Cilea's ""Adriana Lecouvreur"" with Renata Tebaldi in the title role and Franco Corelli as Maurizio, ""La sonnambula"" with Sutherland as Amina and Nicolai Gedda as Elvino, ""Tosca"" with Gabriella Tucci in the title role and Anselmo Colzani as Scarpia, ""The Magic Flute"" with Anna Moffo as Pamina and Gianna D'Angelo as the Queen of the Night, ""Ariadne auf Naxos"" with Gladys Kuchta in the title role and Roberta Peters as Zerbinetta, ""Aida"" with Birgit Nilsson in the title role, ""Don Pasquale"" with Fernando Corena in the title role, ""The Tales of Hoffmann"" with William Dooley playing"
"the State Operas of Vienna and Dresden, and at the opera in Dallas. In 1993 she sang in the amphitheater of Caesarea as Aida and appeared at the Festival of Orange again as Leonora in ""Il Trovatore"" and in Munich as Desdemona in Verdi's ""Othello"". In 1992 she sang at the Lyric Opera of Chicago as Amelia in Verdi's ""Ballo in maschera"". In 1993 she appeared at the Metropolitan Opera in New York as Lina in Verdi's opera ""Stiffelio"", returning there as Donna Anna in ""Don Giovanni"" (1995), Amelia in ""Un Ballo in maschera"" (1995), and as Leonora in ""La"
"where he sang regularly for the next 26 years. He made his first appearance on the Met stage as Ferrando in ""Così fan tutte"" on December 19, 1961 with Teresa Stich-Randall as Fiordiligi, Rosalind Elias as Dorabella, Theodor Uppman as Guglielmo, Roberta Peters as Despina, and Frank Guarrera as Don Alfonso. His other roles at the Met included Alfredo, Anatol in Barber's ""Vanessa"", Arbace, Belmonte, Don Carlos, Cassio in ""Otello"", Cavaradossi in ""Tosca"", Des Grieux in ""Manon"", Des Grieux in ""Manon Lescaut"", the Duke of Mantua, Edgardo, Eisenstein in ""Die Fledermaus"", Elvino in ""La Sonnambula"", Faust, Goffredo in ""Rinaldo"", Grigory"
"demand was such that two more were added. In 1712 she made her last known stage appearances as Oronte in Francesco Gasparini's ""Antioco"" and Veremonda in Gasparini's ""Ambleto"". Her whereabouts and activities beyond 1712 are unknown. Isabella Girardeau Isabella Girardeau (née Calliari?; ? – ?) was an Italian operatic soprano who flourished in London, England from 1709 to 1712. Commonly referred to by the opera going public in London as ""La Isabella"", she is best remembered today for creating the role of Almirena in the momentous premiere of George Frideric Handel's ""Rinaldo"" on 24 February 1711 at the Queen's Theatre"
"at the Royal Opera House in London as Germont in 1967, and his Opéra de Paris debut took place in 1978, as Amonasro. He also appeared at the Vienna State Opera and the Salzburg Festival. He worked with the greatest European conductors of his time (Karajan, Gavazzeni, Abbado, Kleiber) and became one of the finest interpreters of the Italian repertoire. Cappuccilli was highly respected as a ""Verdi baritone"", where his beautiful voice, fine vocal technique, musical elegance and dignified stage presence were shown to their best advantage. He left an impressive discography, he recorded ""Lucia di Lammermoor"" twice, first with"
"Schöne auf dem Lande"", ""Die adelische Schäferin"" and ""Das adelige Landmädchen"". In Vienna it was the most popular opera at the beginning of the 1790s. Adriana Ferrarese and Francesco Benucci, the first Fiodiligi and Guglielmo in Così fan tutte sang the roles of Donna Florida and Don Polibio, in a version that apparently enhanced the importance of Donna Florida, probably through a revision by Lorenzo Da Ponte, Mozart's librettist and Ferrarese's lover. However the later arrival on the scene of Tomeoni (to sing Eurilla) led to the restoration of the original version. Eurilla, the shepherdess is pursued by Marchese Astolpho."
"National Opera, where his roles have included Turridu (""Cavalleria rusticana"") and ""Le comte Ory""; Opera North, where his roles have included Vana (""Katya Kabanova""), Pedrillo (""Die Entführung aus dem Serail"") and Nemorino (""L'elisir d'amore""); and Scottish Opera, where his roles have included Jack (""The Midsummer Marriage""), Narraboth (""Salome"") and Loge (""Das Rheingold""). For Glyndebourne Festival Opera, Bonaventura Bottone has sung Alfed (""Die Fledermaus""), and the Italian Tenor (""Capriccio"") Tzar Berendey (Snow Maiden). Bonaventura Bottone's European engagements include: ""Die Fledermaus"" (Alfred) at the Opéra National de Paris Bastille; ""Der Rosenkavalier"" (Italian Singer) and ""Die Fledermaus"" (Alfred) at the Bayerische Staatsoper München;"
"and Renata Tebaldi. At the time, Birgit Nilsson, who was unique in singing Italian and Wagnerian roles, earned the Met's highest fee, $3,000 a performance. Over the next five seasons, Price added seven more roles at the Met: (in chronological order) Elvira in Verdi's ""Ernani"", Pamina in Mozart's ""The Magic Flute"", Fiordiligi in Mozart's ""Così fan tutte"", Tatyana in Tchaikovsky's ""Eugene Onegin"", Cleopatra in Barber's ""Antony and Cleopatra"", Amelia in ""Un ballo in maschera"", and Leonora in ""La forza del destino"". Her voice and temperament were especially well suited to Verdi's ""middle period"" heroines, noble ladies with high, glowing vocal"
"Aminta. She also performs roles in the lyric repertoire including Manon, Donna Anna, Gretel, Susanna and Pamina. Damrau has furthered her exploration of the bel canto repertoire in recent years with highlights including new productions of Rossini's comic opera ""Le comte Ory"" at the Metropolitan Opera and the title role in Donizetti's ""Linda di Chamounix"" at the Liceu, Barcelona. She has since returned to the Metropolitan Opera as both Adina and Rosina and brought her portrayal of Donizetti's Lucia to Berlin and Vienna. Following the birth of her second child in autumn 2012, Damrau returned to the stage with a"
"in the lives of Adalbert of Italy, his mother Willa of Tuscany (called ""Gismonda"" in the opera), Otto II, and the Byzantine Princess Theophanu, who became the wife of Otto II in a state marriage intended to form an alliance between the Byzantine and Holy Roman empires. 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 form focused overwhelmingly"
"disappeared from the repertory. The opera was revived in Metz in 2011 at the Opéra-Théâtre de Metz Métropole to mark the bicentenary of the composer's birth. Catherine Hunold sang the title role and the was conducted by Jacques Mercier. The action takes place in Hell (prologue and epilogue) and in Rimini at the end of the 13th century. In the prologue, Dante and Virgil meet the lovers Paolo and Françoise in Hell, and Virgil suggest that Dante tell their story. During the four acts, their passionate love unfolds against the background of the battles between the Guelphs and Ghibellines. In"
"most of the opera consists of solo numbers, with only a few brief duets and ensembles. The opera relates the amorous misadventures of a group including the shopkeeper Cardillo (baritone), his sister Rosalina (soprano), the nobles Donna Olimpia (soprano) and Don Flaminio (alto), a Frenchman Monsiu Blò (tenor) and Donna Armida (soprano), the 'fake Parisienne'. La finta parigina La finta parigina (The false Parisienne) is an opera buffa in 3 acts by Domenico Cimarosa with an Italian libretto by Francesco Cerlone. The opera premiered at the Teatro Nuovo in Naples, in 1773. ""La finta parigina"" was composed for Carnival of"
"performing such roles as John Sorel in Gian Carlo Menotti's ""The Consul"" (1981), Albert (1981) in Jules Massenet's ""Werther"", the Music Master in Richard Strauss' ""Ariadne auf Naxos"" (1982), Somarone in Hector Berlioz's ""Béatrice et Bénédict"" (1993), Don Alfonso in ""Così fan tutte"" (2004), and Baron Duphol in ""La traviata"" (2006). In 1979 he starred in a production of George Frideric Handel's ""Atalanta"" at the American Repertory Theater under conductor Herbert von Karajan. In 1980 Maddalena created the title role in Tony Schemmer's pop opera ""Phaust"" at Harvard University's Sanders Theater under the baton of Philip Morehead. That same year"
"turned to the opera ""Sigismondo"" written in 1814; the remaining two were written by a collaborator."" Rossini did not write an overture for the opera because no overture was specified in the contract, and he took little interest in the project. There is no apparent explanation for the eight-year gap between completion and first performance. After the opera's initial première it was not revived again until 1963, when it was performed at the Accademia Chigiana of Siena. It was staged at the Rossini Opera Festival, Pesaro, Italy,in 2018 with Lisette Oropesa in the title role. The music of ""Adina"" has"
"Opera debut in March 2010 as Alfredo in Verdi's ""La traviata"" in a cast that included Angela Gheorghiu and Thomas Hampson, and at the Royal Opera House Covent Garden in the same role in June 2010. His roles include Cavaradossi in ""Tosca"", Don José in ""Carmen"", Don Carlo in ""Don Carlo"", the Duke of Mantua in ""Rigoletto"", Lt. Pinkerton in ""Madama Butterfly"", Maurizio in ""Adriana Lecouvreur"", Edgardo in ""Lucia di Lammermoor"", Werther in ""Werther"" and Doctor Faust in ""Faust"". Valenti is an ambassador for Children International and resides in West Palm Beach, Florida. New York City Opera Renaissance mounted Puccini’s"
"Rondine), Tosca, Madama Butterfly, Ponchielli's ""Gioconda"" (La Gioconda), and Boito's ""Margareta/ Elena"" (Mefistofele) to Tchaikovsky's ""Lisa"" (The Queen of Spades) and Richard Wagner's ""Senta"" (The Flying Dutchman). It contains twelve Verdi-roles: La Traviata, ""Desdemona"" (Otello), Aida, ""Leonora"" (Il Trovatore and La forza del destino), ""Elisabetta"" (Don Carlo), ""Elena"" (I vespri siciliani), ""Amelia"" (Simon Boccanegra), ""Elvira"" (Ernani), ""Lady Macbeth"", ""Abigaille"" (Nabucco), ""Odabella"" (Attila) as well as the Requiem. A central part for her is Bellini's Norma; she has appeared in this role among others at Vienna Volksoper, at the Regio of Turin, in Montreal, Baltimore, Detroit, Denver, Washington, D.C. and at"
"Arnold Rutkowski Arnold Rutkowski is a Polish opera singer who has sung leading tenor roles both in his native country and abroad. He is best known for his performances as Don Josè in ""Carmen"", Rodolfo in ""La bohème"", Alfredo Germont in ""La traviata"", the Duke of Mantua in ""Rigoletto"", and Lt. Pinkerton in ""Madama Butterfly"". Rutkowski was born in Łódź where he received his vocal education the city's Music Academy (1999-2005). While still a student, he made his professional debut as Ferrando in Mozart's ""Così fan tutte"" at the Rønne Theater in Bornholm, Denmark and after graduation sang in Verdi's"
"actually began, but the most commonly cited moment is the second act duet ""Amour sacré de la patrie"". One contemporary account describes what happened in the theater during the duet: The opera is loosely based on the historical uprising of Masaniello against Spanish rule in Naples in 1647. The character of Fenella, the opera's eponymous heroine, was borrowed from Walter Scott's ""Peveril of the Peak"", which features a deaf and dumb dwarf of the same name. ""The square before a chapel"" We witness the wedding of Alfonso, son of the Viceroy of Naples, with the Spanish Princess Elvira. Alfonso, who"
"Opera"" was selected in 1993 for preservation in the National Film Registry by the Library of Congress as being ""culturally, historically, or aesthetically significant"". It is also included in the 2007 update of AFI's 100 Years... 100 Movies, at number 85; and previously in AFI's 100 Years...100 Laughs 2000 showing, at number 12. In Milan, Otis B. Driftwood (Groucho), business manager for wealthy dowager Mrs. Claypool (Margaret Dumont), has stood her up and is having dinner with another woman in the very same restaurant. When she discovers him seated directly behind her, Driftwood joins Mrs. Claypool, and introduces her to"
"Amilcare Ponchielli's ""La Gioconda"", and Pamela in Daniel Auber's ""Fra Diavolo"". Giulia Novelli Giulia Novelli (1859-1932) was an Italian operatic mezzo-soprano. She was married to the famous Spanish dramatic tenor Francisco Viñas (1863-1933). Novelli studied singing in Rome before making her professional opera debut in that city in 1875 as Pierotto in Gaetano Donizetti's ""Linda di Chamounix"". In the 1880s she had a very successful career at an international level. She performed at the Opéra de Monte-Carlo (1884), at the Teatro di San Carlo, Naples (1888, 1891), at the Teatro Colón in Buenos Aires (1888), at the Teatro Municipal in"
"Opera debut on 15 March 2008 singing Musetta in ""La Bohème"" and has returned to The Met during numerous seasons to sing this role, as well as Pamina (2009, 2010), Donna Anna in ""Don Giovanni"" (2012), Fiordiligi in ""Così fan tutte"" (2013, 2014), Antonia in ""Les contes d'Hoffmann"" (2015), and Rosalinde in ""Die Fledermaus"" (2014, 2015, 2016). In 2010 she won the Met's Beverly Sills Award. Over the last decade she has held leading operatic roles at numerous companies such as Lyric Opera of Chicago, Oper Frankfurt, Santa Fe Opera, Boston Lyric Opera, Minnesota Opera, Opera Birmingham, Fort Worth Opera,"
"title role, Justino Díaz as Méphistophélès, and Sherrill Milnes as Valentin in his debut at the Met. In 1966, Caballé made her first appearance with the Philadelphia Lyric Opera Company as Maddalena di Coigny in Giordano's ""Andrea Chénier"" and her Italian debut at the Maggio Musicale Fiorentino as Leonora in Verdi's ""Il trovatore"", followed by Bellini's ""Il pirata"" in 1967. She returned to Philadelphia in 1967 to sing the title roles in Puccini's ""Tosca"" and ""Madama Butterfly"", and to the Met to sing three Verdi heroines: Leonora alongside Richard Tucker as Manrico, Desdemona in ""Otello"" with James McCracken in the"
"Peralta's wide-ranging repertoire included: Leonora in ""Il trovatore"", Violetta in ""La traviata""; Elvira in ""I puritani""; Marie in ""La fille du régiment""; Amina in ""La sonnambula""; Adina in ""L'elisir d'amore""; and the title roles in ""Aida"", ""Dinorah"", ""Linda di Chamounix"", ""Maria di Rohan"", ""Lucia di Lammermoor"", and ""Norma"". She also created the leading female roles in three operas by Mexican composers: ""Ildegonda"" (1866) and ""Gino Corsini"" (1877) by Melesio Morales, and ""Guatimotzin"" (1871) by Aniceto Ortega del Villar. Ángela Peralta Ángela Peralta (6 July 1845 – Mexico City – 30 August 1883, Mazatlán) (baptised María de los Ángeles Manuela Tranquilina"
"on the Operabase list of the most-performed operas worldwide in the five seasons between 2008 and 2013. There are a large number of recordings. It contains the popular tenor aria ""Una furtiva lagrima"", a ""romanza"" that has a considerable performance history in the concert hall. Donizetti insisted on a number of changes from the original Scribe libretto. The best known of these was the insertion of ""Una furtiva lagrima"" and the duet between Adina and Nemorino in the first act, ""Chiedi all'aura lusinghiera"". The melody to the duet ""Io son ricco e tu sei bella"" in act 2, scene 1"
"the 2011 festival season presentations of The Santa Fe Opera. Pinchgut Opera (Sydney) staged four performances November–December 2011 in the City Recital Hall and in Rio de Janeiro Municipal Theatre in June 2012 in concert form with Francesconi, Franco, Nardotto, Bitar, Christensson and Faria conducted by Marco Pace. Two arias from the opera have become popular concert pieces with singers such as Cecilia Bartoli and Simone Kermes. These are ""Agitata da due venti"" from act 2 and ""Dopo un'orrida procella"" from act 3. Years before the action begins, Gualtiero, King of Thessaly, had married a poor shepherdess, Griselda. The marriage"
"in Gioacchino Rossini's opera ""Otello"". She sang regularly in London, Paris, Milan and Naples between 1824 and 1837. In Milan she created three roles which were written for her voice. They were the title role of Donizetti's ""Anna Bolena"" given at the Teatro Carcano in 1830 (and which was that composer's greatest success to date), the Amina in Bellini's ""La sonnambula"" and the protagonist's part of his ""Norma"" (both in 1831), which became three of her major successes. Stendhal had argued persuasively in 1824 for the necessity of a score composed expressly for Pasta. Pasta retired from the stage in"
"married to the soprano Maria Spezia-Aldighieri, who also had an important opera career in Italy. He is the great grandfather of singer George Aaron. Born in Lazise, Aldighieri studied with Domenico Foroni in Verona and Francesco Lamperti in Milan. He made his professional opera debut in 1858 at the Teatro Nuovo di Novara as Germont in Giuseppe Verdi's ""La traviata"". He spent the next two years performing in primarily minor Italian theatres. In 1861 he made his debut at La Scala in the title role of Verdi's ""Nabucco"" opposite his wife as Abigaille. Aldighieri was committed to the Teatro di"
"se refusa"" in ""Platée"". The ballet corps included Marie-Anne Cupis de Camargo. The opera uses an orchestra with the following instrumentation: 2 flutes, 2 oboes, 2 bassoons, 2 musettes, 2 horns, 2 trumpets, timpani and other percussion, strings (with divided violas), harpsichord. An overture in the typical Lullian style precedes the allegorical prologue set in the Forest of Erymanthus where Diane (Diana) and L'Amour (Cupid) are arguing who will rule over the forest dwellers. The quarrel is settled by Jupiter who decrees that Love will reign over their hearts for one day every year. Diane vows to look after Hippolyte"
"Tenda"", and Carlo Coccia's ""Caterina di Guisa"" at the Imperial Regio Teatro degli Avvalorati in Livorno. She made her La Scala debut in 1839, replacing Antonietta Marini-Rainieri, who was found unsuitable in the work's premiere performance, as Leonora in the first production of Giuseppe Verdi's first opera ""Oberto"". Strepponi's performance was considered one of the strongest aspects of this production and one of the main reasons that the work was received well. Other notable roles for Strepponi during the late 1830s include Elaisa in Saverio Mercadante's ""Il giuramento"", Adina in Donizetti's ""L'elisir d'amore"" and Sandrina in Luigi Ricci's ""Un'avventura di"
"world premieres of two works: Karlheinz Stockhausen's ""Momente"" and Samuel Barber's ""Andromache's Farewell"". Arroyo's discography (which also includes an aria recital), though enviable, does not encompass anything like the full range of roles she played on stage. At the Metropolitan Opera alone, these are the operas she performed but never recorded commercially: Verdi's ""Ernani"", ""Macbeth"", ""Il trovatore"", ""Don Carlos"" (the Celestial Voice as well as Elizabeth, both in Italian), and ""; Wagner's ""Lohengrin"" and ""Der Ring des Nibelungen"" (featured roles in all four operas); Ponchielli's ""La Gioconda""; Giordano's ""Andrea Chénier""; and Puccini's ""Madama Butterfly"" and ""Turandot"" (as Liù; she played"