"Bonn, and Resonanzen Vienna. She has also performed with notable orchestras, including Gewandhaus Orchestra, Symphonic Orchestra of Prague, Venice Baroque Orchestra, Classical Orchestra of Madrid, Staatskapelle Dresden, Orchestra of the Comunale of Bologna, Orchestra regionale Toscana, Complesso Barocco, and Orchestra of the Fiandre. On the opera stage she has portrayed numerous Handel heroines, including Adelaide in ""Lotario"", Asteria in ""Tamerlano"", Merab in ""Saul"", and the title roles in ""Alcina"", ""Deidamia"", and ""Rodelinda"". She appeared in Mozart operas, as Konstanze in ""Die Entführung aus dem Serail"", Fiordiligi in ""Così fan tutte"" and Donna Anna in ""Don Giovanni"". Her roles have included"
"reported that their critic had been reassured by the company that Mozart's music would remain unaltered and his ""work will not be disparaged by exchanging the glass beads of Da Ponte for a diamond of Shakespeare."" The ""revival"" had its first performance on 31 March 1863, and Marie Cabel sang the role of Rosine (Dorabella in the original, although she also sang the new words to the music of Fiordiligi's aria ""Per pietà""). Adolphe Deloffre was the conductor. Much of Mozart's music had been rearranged to fit the new plot, and the recitatives were replaced with spoken dialogue. Perhaps it"
"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."
"(1746–1825), was an important singing master and composer in Edinburgh. Her cousin Sophia Dussek (née Corri) was a famous soprano. Corri-Paltoni studied singing first with her father and then with Angelica Catalani and John Braham in London. She toured Continental Europe with Catalani in 1815–1816. She was committed to the King's Theatre in London between 1818–1820, making her professional opera debut at the theatre as the Countess in ""Le Nozze di Figaro"" on 17 January 1818. She earned rave reviews in London for her several other portrayals of Mozart heroines, including Donna Anna in ""Don Giovanni"", Dorabella in ""Cosi fan"
"text made for the 1770 performance of Mysliveček's opera are not attributable. All of Mysliveček's operas are of the serious type in Italian language referred to as opera seria. The opera was first performed at the Teatro Nuovo Pubblico in Bologna on 29 April 1770, a month after Mysliveček first made the acquaintance of Wolfgang Amadeus Mozart and his father Leopold the previous month in the same city. From the correspondence of the Mozart family, it is known that the singer Caterina Gabrielli was engaged originally to be the prima donna for the production, but she did not come up"
"act 2, scene 13, just before the finale; this melodic phrase is also quoted in the overture to the opera. Da Ponte had used the line ""Così fan tutte le belle"" earlier in ""Le nozze di Figaro"" (in act 1, scene 7). The first performance of Mozart's setting took place at the Burgtheater in Vienna on 26 January 1790. It was given only five times before the run was stopped by the death of the Emperor Joseph II and the resulting period of court mourning. It was performed twice in June 1790 with the composer conducting the second performance, and"
"Theatre in Vienna. Here he also found a patron in the banker Raimund Wetzlar von Plankenstern, benefactor of Wolfgang Amadeus Mozart. As court poet and librettist in Vienna, he collaborated with Mozart, Salieri and Vicente Martín y Soler. Da Ponte wrote the libretti for Mozart's most popular Italian operas, ""The Marriage of Figaro"" (1786), ""Don Giovanni"" (1787), and ""Così fan tutte"" (1790), and Soler's ""Una cosa rara"", as well as the text on which the cantata ""Per la ricuperata salute di Ofelia"" (collaboratively composed in 1785 by Salieri, Mozart and Cornetti) is based. All of Da Ponte's works were adaptations"
"Ludmilla Azova Ludmilla Azova is a soprano opera singer who studied at the New York College of Music and has appeared as a soloist with the New York Philharmonic and the National Orchestra Association, and performed the role of Fiordiligi in Mozart's ""Così fan tutte"" with the Bermuda Festival Theatre. Other operatic roles performed in New York include Mimì in ""La bohème"", ""Madama Butterfly"" and Marguerite in ""Faust"". In 1966, she appeared as Anna Gomez in a production of Gian Carlo Menotti's ""The Consul"" at New York City Opera. Azova has also been an active recitalist. In a review, dated"
"and her husband, who is also her agent, live in Boulder, Colorado, USA. Emily Magee Emily Magee (born October 31, 1965) is an American operatic soprano. Born in New York City, Magee studied music at Westminster Choir College, from which she graduated in 1987. She continued her studies at the Jacobs School of Music of Indiana University Bloomington, where her teachers included Margaret Harshaw. In 1995, Magee made her operatic debut at the Lyric Opera of Chicago, singing the role of Fiordiligi in Mozart's ""Così fan tutte"". Her international debut came in 1996 at the Berlin State Opera, under the"
"Minkowski; at the Aix-en-Provence Festival as Cherubino in Mozart's ""Le nozze di Figaro""; at the Dutch National Opera as Cleopatra in Handel's ""Giulio Cesare""; and at the Salzburg Festival as Zerlina in Mozart's ""Don Giovanni"" under Nicolaus Harnoncourt. She sang the centenary performance of ""Pelléas et Mélisande"" at the Opéra-Comique in Paris under Minkowski and most recently Cleopatra in ""Giulio Cesare"" under Minkowski. Recent engagements include the roles of Idamante in Mozart's ""Idomeneo"" at the Glyndebourne and Salzburg Festivals, Cherubino for both the Bavarian State Opera in Munich and the Metropolitan Opera in New York, Dorabella in Mozart's ""Cosi fan"
"of 1785, Mozart moved away from keyboard writing and began his famous operatic collaboration with the librettist Lorenzo Da Ponte. 1786 saw the successful premiere of ""The Marriage of Figaro"" in Vienna. Its reception in Prague later in the year was even warmer, and this led to a second collaboration with Da Ponte: the opera ""Don Giovanni"", which premiered in October 1787 to acclaim in Prague, but less success in Vienna in 1788. The two are among Mozart's most important works and are mainstays of the operatic repertoire today, though at their premieres their musical complexity caused difficulty for both"
"Emily Magee Emily Magee (born October 31, 1965) is an American operatic soprano. Born in New York City, Magee studied music at Westminster Choir College, from which she graduated in 1987. She continued her studies at the Jacobs School of Music of Indiana University Bloomington, where her teachers included Margaret Harshaw. In 1995, Magee made her operatic debut at the Lyric Opera of Chicago, singing the role of Fiordiligi in Mozart's ""Così fan tutte"". Her international debut came in 1996 at the Berlin State Opera, under the direction of Daniel Barenboim. Magee's selected recordings, on CD and DVD, include: Magee"
"passed up on the formal auditions for the Bavarian State Opera during her summer at Glimmerglass, her audition was requested by Florian Scholz (director of Stadttheater Klagenfurt). Brower joined the Bavarian State Opera in Munich in 2009 in its Opera Studio and then from 2010 through 2016 in its ensemble. In 2009, she earned the Munich Opera Festival Prize for her portrayal of Dorabella in Mozart's ""Così fan tutte"". In her performance as Cherubino in his ""Le nozze di Figaro"", she was part of a cast conducted by Yannick Nézet-Séguin that resulted in a 2017 Grammy Awards nomination in the"
"Fenena in ""Nabucco"", Maddalena in ""Rigoletto"", Preziosilla in ""La forza del destino"", Mozart’s Dorabella in ""Così fan tutte"", Cherubino and Marcellina in ""Le nozze di Figaro"" and Sesto in ""La clemenza di Tito"", Rossini’s Berta in ""Il barbiere di Siviglia"", Tchaikovsky’s Olga in ""Eugene Onegin"", Bizet’s Mercedes in ""Carmen"", Mascagni‘s Lola in ""Cavalleria rusticana"", Martinů’s Filoména in ""Alexander Twice"", Gluck’s Orpheus in ""Orpheus and Eurydice"", Dvořák’s Witch in ""Rusalka"" and Kate in ""The Devil and Kate"", Smetana’s Radmila in ""Libuše"" and Háta in ""The Bartered Bride"", Handel’s Ulysses in ""Deidamia"", Purcell’s Witch in ""Dido and Aeneas"", Britten’s Miss Jessel in"
"Ensemble, Alexis P. Fekula (conductor). Label: ESP 1065 Ludmilla Azova Ludmilla Azova is a soprano opera singer who studied at the New York College of Music and has appeared as a soloist with the New York Philharmonic and the National Orchestra Association, and performed the role of Fiordiligi in Mozart's ""Così fan tutte"" with the Bermuda Festival Theatre. Other operatic roles performed in New York include Mimì in ""La bohème"", ""Madama Butterfly"" and Marguerite in ""Faust"". In 1966, she appeared as Anna Gomez in a production of Gian Carlo Menotti's ""The Consul"" at New York City Opera. Azova has also"
"The opera was premiered in Vienna on 30 September 1791 at the suburban Freihaus-Theater auf der Wieden. Mozart conducted the orchestra, Schikaneder himself played Papageno, while the role of the Queen of the Night was sung by Mozart's sister-in-law Josepha Hofer. On the reception of the opera, Mozart scholar Maynard Solomon writes: As Mozart's letters show, he was very pleased to have achieved such a success. Solomon continues: The opera celebrated its 100th performance in November 1792, though Mozart did not have the pleasure of witnessing this milestone, as he had died 5 December 1791. The opera was first performed"
"La cifra La cifra is an opera by Antonio Salieri in two acts, set to an Italian libretto by Lorenzo Da Ponte. The work, a dramma giocoso, is set in Scotland, and was written for Adriana Ferrarese del Bene, the first Fiordiligi in Mozart's ""Così fan tutte"". The opera was first performed in Vienna on 9 December 1789. This was followed by a production in Dresden on 13 October 1790. It went on to receive several productions both in Germany and Austria between 1789 and 1805. ""La cifra"" received a recent performance in Cologne in June 2006, in a production"
"The Marriage of Figaro The Marriage of Figaro (, ), K. 492, is an opera buffa (comic opera) in four acts composed in 1786 by Wolfgang Amadeus Mozart, with an Italian libretto written by Lorenzo Da Ponte. It premiered at the Burgtheater in Vienna on 1 May 1786. The opera's libretto is based on a stage comedy by Pierre Beaumarchais, ""La folle journée, ou le Mariage de Figaro"" (""The Mad Day, or The Marriage of Figaro""), which was first performed in 1784. It tells how the servants Figaro and Susanna succeed in getting married, foiling the efforts of their philandering"
"attributed to Andrea Cicognini. The most immediate forerunner (premiering in 1787, a few months before Mozart's ""Don Giovanni"") was the opera ""Don Giovanni, o sia Il convitato di pietra"" composed by Giuseppe Gazzaniga to a libretto by Giovanni Bertati. In Gazzaniga's opera, the aria in which Don Giovanni's servant, Pasquariello, describes his master's catalogue of lovers to Donna Elvira begins: Kierkegaard discusses the aria in the section ""The Immediate Stages of the Erotic, or Musical Erotic"" of his ""Either/Or."" He conjectures that the number 1003, the number of Spanish women seduced by Don Giovanni, might be a last remnant of"
"season included debuts with Washington National Opera as Dorabella in Mozart's ""Così fan tutte"", with De Nederlandse Opera as Sesto in Handel's ""Giulio Cesare"", with Opéra National de Paris as Rosina in Rossini's ""Il barbiere di Siviglia"", and with Bavarian State Opera as Cherubino in Mozart's ""Le nozze di Figaro"" under the baton of Zubin Mehta. Also, she returned to the Santa Fe Opera to perform the role of Annio in Mozart's ""La clemenza di Tito"" and made several concert appearances, including those with Riccardo Muti conducting the La Scala Orchestra in Vivaldi's ""Gloria"" and the Ensemble Orchestral de Paris's"
"and the Seattle Opera; later returning to the latter company in 1991 as Giovanna Seymour in Donnizetti's ""Anna Bolena"". In 1984 Ziegler made her debut at the Glyndebourne Festival Opera as Dorabella during the festival's 50th anniversary season; performed the role of Idamantes in Mozart's ""Idomeneo"" at the Mostly Mozart Festival; and made her debut at La Scala as Dorabella. She reprised the role of Idamante at several opera houses, including La Scala (1985), the Vienna State Opera (1987), and the Maggio Musicale Fiorentino (1989). Other major European engagements during the 1980s included performances at the Bavarian State Opera (debut"
"1890; Jules Massenet ""Manon"" (Manon); Jules Massenet ""Thaïs"" (Thaïs); Giacomo Meyerbeer ""L’Africaine"" (Selika); Giacomo Meyerbeer ""Les Huguénots"" (Regina, Valentine) – the première for Romania at Bucharest National Theatre in 1897; Wolfgang Amadeus Mozart ""Don Giovanni"" (Zerlina); Giovanni Pacini ""Saffo"" (Saffo) – première for Teatro dell’Opera of Rome on 28 October 1911; Ubaldo Pacchierotti ""Eidelberga mia"" (Catina) – opera composed for her voice and interpreted in prima assoluta at Teatro Colón of Buenos Aires in 1909; Ettore Panizza ""Aurora"" (Aurora) – opera composed for her voice and interpreted in prima assoluta at Teatro Colón of Buenos Aires in 1909; Giacomo Puccini"
"such venues as Merkin Hall, Carnegie Hall, New York's Town Hall, Emmanuel Music, and Monadnock Music, while singing major roles in eight premiere Handel recordings on CD for Albany, Newport Classic, and Vox. Other major roles have been created with companies such as Glimmerglass (Beatrice in Berlioz' ""Beatrice and Benedict"")ʌ, Kentucky Opera (artist-in-residence, Maddalena in ""Rigoletto"", and Dido in ""Dido and Aeneas""), Connecticut Grand Opera (Rosina in ""Il Barbiere di Siviglia""), Opera San Jose (Sarah in Mollicone's ""Hotel Eden""), Rochester Opera (Siébel in ""Faust"" and Dorabella in ""Così fan tutte""), Florida Grand Opera (Dorabella), and the Boston Lyric Opera on"
"Drottningholm Palace Theatre she sang the role of Linnaeus's Daughter ""Lisa Stina"" in Jonas Forssell’s ""The Garden"". Tove Dahlberg's repertoire as concert and oratory singer includes Mozart's ""Great Mass in C minor"" and ""Requiem"", Bach's ""Christmas Oratorio"", ""Mass in B minor"" and ""St John Passion"", Rossini's and Pergolesi's ""Stabat mater"" and Vivaldi's ""Gloria"". Both the French music television channel Mezzo and SVT have shown the Lyon Opera production of Mozart's ""Cosi fan tutte"" with Dahlberg in the role of ""Dorabella"". On the BBC music channel Radio 3 she has participated in a number of solo performances. She was also one"
"""Idomeneo"" (1781); he was going against precedent at the time to write the ballet music himself rather than delegating it to another composer. ""The Marriage of Figaro"" (1786) includes a crucial dance scene in which Susanna passes a feigned love note to Count Almaviva during a fandango. The dance scene was one resisted by the theatrical management at the premiere, and Mozart and his librettist Lorenzo Da Ponte prevailed only with difficulty in including it. Perhaps the most elaborate dance scene in Mozart's operas is a party scene at the end of the first act of ""Don Giovanni"" (1787): guests"
"the daughter of a nobleman. She and Fideling are reunited and all ends happily in the finale. There is no known studio recording of the complete opera, However, ""The Salieri Album"", (Cecilia Bartoli with the Orchestra of the Age of Enlightenment, conducted by Ádám Fischer, Decca 475 100-2) has two excerpts: La cifra La cifra is an opera by Antonio Salieri in two acts, set to an Italian libretto by Lorenzo Da Ponte. The work, a dramma giocoso, is set in Scotland, and was written for Adriana Ferrarese del Bene, the first Fiordiligi in Mozart's ""Così fan tutte"". The opera"
"Mozart's ""Le Nozze di Figaro"", the title role in Strauss's ""Arabella"", Adina in ""L'elisir d'amore"", and the Marschallin in ""Der Rosenkavalier"". As a result of this vocal progression, Popp sang various roles in the same opera at different stages in her career, including Zdenka and Arabella in Richard Strauss's ""Arabella""; Susanna and the Countess in Mozart's ""The Marriage of Figaro""; Queen of the Night and Pamina in Mozart's ""The Magic Flute""; Zerlina, Donna Elvira, and later Donna Anna in Mozart's ""Don Giovanni""; Adele and Rosalinde in Johann Strauss II's ""Die Fledermaus""; Ännchen and Agathe in Weber's ""Der Freischütz""; and Sophie"
"Figaro and Susanna in Mozart's The Marriage of Figaro. It reached London in 1786, where, as in many other European cities, it enjoyed great success. Franz Joseph Haydn composed two insertion arias for the work, one lost, the surviving aria, Dice benissimo, for bass & orchestra, H. 24b/5. The plot of the opera involves love intrigues, attempted seductions and provocations to jealousy between members of the three different social strata: the aristocracy, the bourgeoisie and the working class. The role of the Lieutenant is a close parallel to that of Don Alfonso in Mozart's Così fan tutte. La scuola de'"
"of 106. Her daughter, Fulvia, continued corresponding with Verdi for several years afterwards. In Louise Marley's 2010 novel ""Mozart's Blood"", Saporiti is the main protagonist, turned into a vampire (along with Mozart) during the preparations for ""Don Giovanni""'s premiere. Most of the novel, however, portrays her in the 21st century, and the sections portraying Saporiti's historical career are largely inconsistent with the record. Teresa Saporiti Teresa Saporiti (1763 – 17 March 1869) was an Italian operatic soprano and composer most remembered today for creating the role of Donna Anna in Mozart's opera ""Don Giovanni"". She was born in Milan and"
"has sounded within Vienna's walls."" Adriana Ferrarese del Bene Adriana Ferrarese del Bene (born c. 1755 in Ferrara - died after 1804 in Venice) was an Italian operatic soprano. She was one of the first performers of Susanna in Mozart's ""Le Nozze di Figaro"" and the first performer of Fiordiligi in ""Così fan tutte"". She has been known under a variety of names. The 1979 edition of the ""Concise Oxford Dictionary of Opera"" lists her as born Adriana Gabrieli and later known La Ferrarese (presumably from the city of her birth). However, ""Grove Dictionary of Music and Musicians"" notes that"
"Rossini's ""Il Barbiere di Siviglia"", Dorabella in Mozart's ""Così fan tutte"", Mélisande in Debussy's ""Pelléas et Mélisande"", Meg Page in Verdi's ""Falstaff"", Marcellina in ""The Marriage of Figaro"". She has also appeared at Lyric Opera of Chicago, the San Francisco Opera, the Houston Grand Opera, La Scala, Covent Garden, Vienna State Opera, the Cologne Opera the Opéra de Paris and at the Salzburg Festival. Besides the roles she has sung at the Metropolitan Opera, her operatic reportory includes Zerlina in Mozart's ""Don Giovanni"", the title role of Rossini's ""La Cenerentola"", Dido in Purcell's ""Dido and Aeneas"", Adalgisa in Bellini's ""Norma"""
"sembiante"" for Almaviva, and a finale for act one. In 1788 the opera was given in Berlin, followed by London and Paris (1789); Lisbon (1791); Brussels (1793); Stockholm (1797); and New Orleans (1801) In 1789 Mozart dedicated the aria "" ""Schon lacht der holde Frühling"""" (K. 580) to his sister-in-law Josepha Hofer as a substitute for Rosina's original act 3 aria (""Già riede primavera""). Although it is missing only the closing ritornello, the incomplete orchestration suggests it was never used. The opera proved to be Paisiello's biggest success. Even after the 1816 premiere of Gioachino Rossini's own version of ""The"
"Fiordiligi, in Mozart's ""Così fan tutte"" under Erich Leinsdorf (recorded in London in 1967, released in 1968, and winner of the Grammy Award for Best Opera Recording in 1969). She went on to sing Cherubino in Karl Böhm's recording of Mozart's ""The Marriage of Figaro"", the title role in Bizet's ""Carmen"" for Sir Georg Solti (she was described in the Penguin classical record guide as ""quite simply the subtlest Carmen on record ... Troyanos' singing is delicately seductive too""), the Composer in ""Ariadne"" for both Böhm ""and"" Solti, Dido in Purcell's ""Dido and Aeneas"" for both Charles Mackerras and Raymond"