“Lady Macbeth of Mtsensk” in Norway

logonorwayAn Opera by Dmitri Shostakovich
8 productions From September 4. to October 3.
Performed in Russian Texted in Norwegian and English
3 hours and 15 minutes

At the Den Norske opera & Ballet Thater in Oslo

macbeth2A starkly cold fishing village in Northern Norway, a male-dominated society, a loveless marriage, an absent husband, a warm and willing lover, a quick-tempered father-in-law, a poisoned meal, a hidden body, a surprising return, a wedding with complications and a woman with sensational dynamism. These are the main ingredients of Dmitri Shostakovich’s tragic satire Lady Macbeth of Mtsensk, staged here in a new production by Ole Anders Tandberg.

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The opera is based on an 1865 novel by Nikolai Leskov. Inspired by Shakespeare’s Macbeth it depicts an unscrupulous woman who kills both her father-in-law and husband in order to follow her desires and satisfy her lusts. But Shostakovich’s music gives her a depth that makes her more sympathetic. The composer justified this choice thus: «To Leskov the woman is a murderer. I see her as a complex, tragic force of nature. She is a woman full of love, a deeply sensitive woman, in no way without feelings.» The result is a fascinating woman: strong and weak, affectionate and ambitious, sensitive and brutal, uncertain and unscrupulous, warm and cool, calculating and unpredictable. With the story of this dynamic woman, Shostakovich moves in the area between tragedy and comedy. The music is a blend of grotesque, beautiful, lyrical, dramatic, ironic and humorous – like a little scary laughter in the cold darkness.

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Lady Macbeth of Mtsensk is a co-production with Deutsche Oper Berlin, and has its Berlin premiere on 25 January 2015.

Premiere discussion one week before the premiere / free introduction one hour before the performance

Original title : Ledi Makbet Mtsenskogo Uyezda
Music : Dmitri Shostakovich
Libretto : Alexander Preis and Dmitri Shostakovich
Conductor: Oleg Caetani
Direction : Ole Anders Tandberg
Choreographer: Jeanette Langert
Set design : Erlend Birkeland
Costumes : Maria Geber
Lighting design : Ellen Ruge
Cast: The Opera Chorus, The Opera Orchestra

CAST: Main roles

Svetlana_Sozdateleva3

Svetlana Sozdateleva

Svetlana Sozdateleva as

Katerina Lvovna Izmajlova

Svetlana Sozdateleva has been a leading soloist at Helikon Opera Moscow since 1999 and performed Katerina Izmailova in Lady Macbeth of Mtsensk, Liza in The Queen of Spades, Maria in Mazeppa, Lady Macbeth in Macbeth, Abigaille in Nabucco, Emilia Marty in The Makropulos Case, Carmen, Madame Lidoine in Dialogues des
Carmelites, Dvořák’s Rusalka, Stefanie in Giordano’s Siberia, and Isabella in Wagner’s Das Liebesverbot. She also sang Katerina in Lady Macbeth of Mtsensk (Radio France Festival, Montpelier, Ravenna Festival 2003), Abigaille in Nabucco
(Dijon, Mariinsky Theatre St. Petersburg, Shalyap in Opera Festival Kazan, Russia, Eva Marton Festival Miskolc,Hungary), Renata in The Fiery Angel (La Monnaie Brussels, Komische Oper Berlin), Lady Macbeth in Macbeth (Glyndebourne Festival),
Isolde, cover and Kostelnička in Jenufa (both Glyndebourne), Tosca (Latvian National Opera Riga), Sieglinde in Die Walküre (Russian National Orchestra, Kent Nagano), Shostakovich’s 14th Symphony (Russian National Orchestra, Sir Mark Elder).Upcoming engagements include Renata in The Fiery Angel (Deutsche Oper am Rhein), Amelia in Un Ballo in Maschera (Helikon Opera Moscow), and Fevronia in The Legend of the invisible city of Kitezh (Gran Teatre del Liceu, Barcelona) among others. Sozdateleva is nominated for the award DER FAUST in 2014.

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Alexey Kosarev

Alexey Kosarev as Sergej

The Moscow born tenor Alexey Kosarev graduated from the Gnessin State Musical College.

He made his debut as Harlequin in Pagliacci in Helikon Opera Theatre in Moscow where he sang for 10 years main tenor parts such as Alfredo in La Traviata, Lykov in The Tsar’s Bride, Alfred in Die Fledermaus, Lensky in Eugene Onegin, Duca in Rigoletto, Macduff in Macbeth, and Sergey in Lady Macbeth Of The Mtsensk District.

Other engagements include Sergey in Lady Macbeth Of The Mtsensk District (Musiktheater im Revier Gelsenkirchen, Staatsoper Hannover, Oldenburgisches Staatstheater, Theater Freiburg, Festival Internacional de Santander, and Festival de Radio France et Montpellier), Macduff in Macbeth and Manrico in Il Trovatore (Landestheater Detmold), Prince Vasiliy Golitsin in Khovanshchina (Deutsche Nationaltheater and Staatskapelle Weimar), Vodemon in Iolanta (Deutsche Kammerphilharmonie Bremen), Alfredo in La Traviata, Manrico in Il Trovatore, Cavaradossi in Tosca and Radames in Aida (Oldenburgisches Staatstheater), Pinkerton in Madama Butterfly (Oldenburgisches Staatstheater and Staatstheater Mainz), the title role in G. Kingsley & M. Kunze‘s Raoul (Theater Bremen), Herr Hermann in Hindemith’s Neues vom Tage (Landestheater Linz), Calaf in Turandot, Macduff in Macbeth, Prinz in Dvorak’s Rusalka, Radames in Aida, the title role in Don Carlo, Rodolfo in La bohème, Hans in The Bartered Bride, and Tambourmajor in Wozzeck (Freiburg), Hoffmann in Les contes d’Hoffmann (Freiburg and Theater Flensburg), Hermann in The Queen of Spades (St-Pölten Festspiele), Lykov in The Tsar’s Bride (Opernhaus Zürich), Husar in Mavra (Opéra National de Paris), and Alfred in Die Fledermaus (Rostropovich Festival Evian)

Recent and upcoming engagements are Boris in Katja Kabanova (Opéra de Dijon), Sergey in Lady Macbeth Of The Mtsensk District (Pfalztheater Kaiserslautern), and
Manrico in Il Trovatore (Landestheater Detmold), among others.

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Magne Fremmerlid

Magne Fremmerlid as

Boris Timofeevich Izmajlov

«Exceptional», «clear as ever» and «one of his finest performances ever» are just some phrases critics have used to describe Magne Fremmerlid in the past couple of years.

A member of the Norwegian National Opera soloist ensemble since 1997, Fremmerlid’s diverse repertoire includes roles as Scarpia in Tosca, Sarastro in The Magic Flute, Colline in La Bohème, the Commendatore in Don Giovanni, Fafner in Das Rheingold, Hagen in Götterdämmerung, the Water Goblin in Rusalka, King Mark in Tristan und Isolde, Hermann in Tannhäuser, Stuart in Around the World in 80 Days and Time/Neptune in The Return of Ulysses to his Homeland. In September 2012 he gave a solo recital in the Second House with Boris Schäfer.

Fremmerlid’s stylistic range is extensive, including both the opera Querini on the island of Røst and the jazz opera Storkaren (The High Flyer) as part of the Fjord Cadenza Festival.

He is also a sought-after concert and oratorio singer, and has been a soloist a number of times with Oslo Philharmonic Orchestra, Bergen Philharmonic Orchestra and Stavanger Symphony Orchestra.

Marius-Roth-Christensen-Gjestesolist

Marius Roth Christensen

Marius Roth Christensen as Zinovij Borisovich Izmajlov

Marius Roth Christensen has a versatile career. He first became known as the guitarist and vocalist of the rock band Seigmen. He later studied at Østlandet Music Conservatory and the National Academy of Operatic Art.

Roth Christensen made his debut at the Norwegian National Opera in 2006, in the role of Tamino in The Magic Flute. He has been a member of the soloist ensemble since 2013, and we have seen him in roles likelike Beppe in Pagliacci, Alfredo in La traviata, the White Minister in Le Grand Macabre and Der Steuermann in The Flying Dutchman.

His roles on opera stages around Norway include Rodolfo in La Bohème, Tamino in The Magic Flute, Rinuccio in Gianni Schicci, Bastien in Bastien und Bastienne and Turiddu in Cavalleria rusticana. He has also sung in several musicals, including West Side Story, Jesus Christ Superstar, Carousel and Fiddler on the Roof. In 2012 he had his debut at the Lyric Opera Dublin in the role of Pinkerton in Madama Butterfly.

Earlier this year he sang Don Ottavio in Don Giovanni – a role he will do again this fall. In addition he will do Zinovij Borisovich Izmajlov in Lady Macbeth of Mtsensk and Alfredo in La Traviata.

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Knut Skram

Knut Skram as Gammel tvangsarbeider

 

 

 

Other roles

Aksinja
Hege Høisæter

Lærer
Svein Erik Sagbråten

Politibetjent/formann
Per Andreas Tønder

Politikommissær
Jens-Erik Aasbø

Prest
Ketil Hugaas

Sersjant/gårdskar/fengselsvakt
Halvor Melien

Sonetka, tvangsarbeiderinne
Tone Kummervold

Tvangsarbeiderinne
Oksana Myronchuk

Ynkelig mann
Thor Inge Falch

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Andrzej Czajkowski’s THE MERCHANT OF VENICE in Poland

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Sun 6:00pm October 26, 2014

Moniuszko Auditorium

The Grand Theatre – National Opera in Warsaw, Plac Teatralny 1, Warszawa, POLAND

polandlogo2THE MERCHANT OF VENICE

Opera in three acts
Libretto: John O’Brien after William Shakespeare’s play

World premiere: Bregenzer Festspiele, Austria, 18/07/2013
Polish premiere: 24/10/2014
In the original English with Polish surtitles

Conductor: Lionel Friend
Director: Keith Warner
Set and Costume Designer: Ashley Martin-Davis
Choreography: Michael Barry
Lighting Designer: Davy Cunningham
Chorus Master: Bogdan Gola
Chorus Master of the children’s choir: Danuta Chmurska

Chorus and Orchestra of Teatr Wielki – Polish National Opera,
Władysław Skoraczewski “Artos” Children’s Choir, extras

Co-production: Bregenzer Festspiele
Adam Mickiewicz Institute, Warsaw

Poster designed by Adam Żebrowski

Cast:

Jessica – Marisol Montalvo
Portia – Sarah Castle
Nerissa – Verena Gunz
Antonio – Christopher Robson
Bassanio – Charles Workman
Shylock – Lester Lynch
Lorenzo – Jason Bridges
Salerio – Adrian Clarke
Solanio – Rafał Pawnuk
Gratiano – Philip Smith
Duke of Venice – Dariusz Machej
Boy – Katarzyna Trylnik
Duke of Marocco – Gregory Lockett
Duke of Arragon/Freud – Juliusz Kubiak

His appearance in the piano firmament almost 60 years ago was compared with the exploding stardom of Glenn Gould. Claiming that the globe had at least 150 virtuosos better than him and only a few better composers, André Tchaikowsky was wrong in one thing: that such a numerous group played the piano better than he did. The score of The Merchant of Venice was written with an awareness of the existence of many musical languages. Probably the most important among them was Alban Berg’s style, but one can also sense an affinity with the sound world of Aribert Reimann’s operas. The Merchant of Venice delights with its brilliant musical dramaturgy and its characters; written in all seriousness, it can also surprise with a musical joke – for instance in the famous Shakespearian scene of choosing a bride which includes an ironic quotation of the fate motif from Tchaikovsky’s (Pyotr Tchaikovsky’s!) Symphony No. 4. The world premiere of The Merchant, delayed by over 30 years, directed brilliantly by Keith Warner (the pr sent show is a co-production with the Bregenz Festival), received the prestigious International Opera Award in April 2014. One could feel totally pleased about this if not for the fact that the projects defeated by Tchaikowsky included Paweł Szymański’s Qudsja Zaher staged by the Polish National Opera in 2013.

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Daphne in Bruxelles

At the La Monnaie / De Munt Theater

In this Daphne – the ‘bucolic tragedy’ about the beautiful Daphne, who is loved both by the simple shepherd Leukippos and the god Apollo – director Guy Joosten sets the world of an ecologically-inspired ‘hipster’ on the fringes of the mainstream against a hard economic reality. Apollo kills his rival and leaves Daphne inconsolable, after which he immortalises her in the form of a laurel tree. Daphne’s sad story, as described by Ovid and given shape to by Bernini and Chassériau in the plastic arts, inspired Richard Strauss to write his thirteenth opera, which quite possibly contains his finest music. ‘ The metamorphosis of Daphne is set in a total union with the music, whereby the words become superfluous and Daphne becomes just a voice that resounds out of the moonlit treetop’ – this is how the librettist Joseph Gregor characterised the ultimate moment in the opera.

New production Production La Monnaie / De Munt With the support of Belfius

-Chantal-Anderson

Daphne: CAST

Music direction ¦ Lothar Koenigs
Director ¦ Guy Joosten
Set design ¦ Alfons Flores
Costumes ¦ Moritz Junge
Lighting ¦ Manfred Voss
Video ¦ Franc Aleu
Choreography ¦ Aline David
Chorus direction ¦ Martino Faggiani
Peneios ¦ Iain Paterson
Gaea ¦ Birgit Remmert
Daphne ¦ Sally Matthews
Leukippos ¦ Peter Lodahl
Apollo ¦ Eric Cutler
Erste Magd ¦ Tineke Van Ingelgem
Zweite Magd ¦ Maria Fiselier
Schäfer ¦ Matt Boehler
Gijs Van der Linden
Kris Belligh
Justin Hopkins

Orchestra & chorus ¦ La Monnaie Symphony Orchestra & Men’s Chorus

09, 11, 14, 16, 18, 21, 23, 25, 27 & 30 September

Sung in German
Surtitles in French / Dutch

Approximate running time: 1hour 45′ (no interval)

Pre-performance talks half an hour before the start of the performances by Jacqueline Guisset (in French) in the Grand Foyer and by Reinder Pols (in Dutch) in the Foyer Alechinsky.

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Remembering the Great Licia Albanese

Written By: Linda Ann Lo Schiavo, as it appeared on L’Idea Magazine (NY), August 27. 2014

My father introduced me to Licia Albanese. I was wearing a bib and enjoying strained bananas, while he was savoring the strains of the glorious love duet from “La Boheme.”
“Licia Albanese is the world’s best soprano,” my Dad explained to me. He nudged my mother, hovering over my highchair. “Listen, honey, and you’ll hear Toscanini humming along!”
“Yes, dear,” agreed my multi-tasking Mom. “I’ve heard Jan Peerce sing with her before.”
Eventually, I learned that this prized performance, captured in 1946, celebrated the 50th anniversary of the world premiere of Puccini’s opera in Turin, led by Arturo Toscanini on February 1, 1896.
Thirteen years later, in July 1909, Felicia Albanese hit her first high C in Torre a Mare near Bari. The 25-year-old made her unofficial debut at Teatro Lirico, replacing a soprano in Puccini’s “Madama Butterfly.” At that magnificent Milanese moment, did this newcomer suspect her voice would take her far, and that she would be in demand for years at Metropolitan Opera, top-billed on leading world stages, and sought after for studio albums? She rose to prominence between 1940 and 1966, appearing in a variety of operas with Jussi Bjorling, Tito Schipa, Franco Corelli, Beniamino Gigli, and Giacinto Prandelli.

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Soprano Licia Albanese sang the title role in Puccini’s Madama Butterfly 72 times at the Metropolitan Opera.

Soprano Licia Albanese sang the title role in Puccini’s Madama Butterfly 72 times at the Metropolitan Opera.
Buying Met tickets or those extravagant sets of a complete opera with a libretto were beyond the budget of a municipal employee supporting a family and paying off a mortgage. But my father had two buddies who were opera buffs and bachelors, Augie and Larry. During their visits, they would regale us with the highlights of a live Met performance such as the one on February 15, 1958, when Licia Albanese reprised her role as Mimi, partnered by Carlo Bergonzi as Rodolfo, and conducted by Thomas Schippers.

Claudio Bergonzi

Claudio Bergonzi

Carlo Bergonzi [1924—2014] caught my attention when I learned that he had first trained as a baritone, but retrained as a tenor. By 1958, I was singing in a church choir, shamed by my miserable alto, aware that the prized solos only went to a soprano. I hoped that my weak voice could be upgraded ——like Bergonzi’s ——but my parents dismissed my pleas for coaching as totally ridiculous.
albanese4Taking pity on my LP-less Dad, Augie and Larry bought him “La Boheme,” reissued by RCA Victor. My father played it often, always on Sunday morning when my mother was at Mass and I was putting away my choir books and setting the table. Like Toscanini, he hummed along, especially when his prized nightingale had an aria. I heard Licia Albanese’s recording enough times to memorize the score.
At 17 years old, when I got my first fulltime job, I squirreled away a $5 bill each week and bought my father his second opera set: “Madama Butterfly” starring his idol as the doomed Geisha. In the course of 40 years, Licia would sing this role about 300 times.
To keep herself fresh, despite her frequently repeated performances, Licia had her own approach. During a 2004 interview with Allan Ulrich, music critic of the San Francisco Chronicle, she said, “I always changed every performance. I was never boring, and I am against copying. What I learned from the great singers was not to copy, but that the drama is in the music.”

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When I moved to Greenwich Village, Licia followed me. Italian restaurants and the salumerias along Bleecker Street displayed her photo, outfitted in an elaborate kimono. Any time there was an interesting anecdote behind that autographed picture, I would share it with my father.
In 1974, the retired diva founded the Licia Albanese-Puccini Foundation to support young singers. In 1995, President Bill Clinton presented her with the National Medal of Honor for the Arts. Encouraged by my friend Elsie Cardia to cover the Puccini Foundation’s aspiring singers, I did so, reporting on their annual concert for L’IDEA and others. During my first interview with this lifelong star, we had our picture taken together. When I mailed the article to my father, he was astounded. “She’s still active,” he marveled, “and she looks just the way I remembered.”
Her activities included teaching a master class. Grateful students and other admirers often sent gifts. One day Licia phoned her longtime friend Aldo Mancuso to tell him the Venice Opera House delivered a brick. “So what do I do with a BRICK?” According to him, it was cradled in a beautiful red-velvet case, wearing a bronze tag of authenticity, and is now on display in his Caruso Museum. He also acquired some of her exotic personal memorabilia.

About ten years ago, after Licia had accompanied Mr. and Mrs. Mancuso to a remembrance Mass for Enrico Caruso at St. Patrick’s Cathedral, she invited them to her apartment on East 72nd Street and Third Avenue. After trying on four different Cio-Cio-San costumes, Licia asked Aldo which was his favorite. He pointed to a gold-threaded kimono from a San Francisco Opera performance; she donated the complete ensemble (with headdress and shoes) to his Caruso Museum in Brooklyn, New York.
“Licia Albanese and I attended many events together,” recalled Mancuso, “because I was her ‘wheels’ for more than 20 years.” He explained that she didn’t like anyone to try to help her into or out of a car, priding herself on her capability and independence. “Wherever we went, she was the life of the party,” he recalled, “often joking, dancing, and breaking into song. She was used to late hours and I would gently remind her at 11 o’clock that my bed was calling me.” The last evening they spent together was in December 2013 at a holiday party for the Gerda-Lissner Foundation when Licia was 104. “On that occasion, I whispered in her ear that surely her bed was calling her.”
Licia Albanese died in her apartment on Friday, August 15, 2014, and her son, Joseph Gimma Jr. commented to the press, “My mom had a wonderful, wonderful life and great career.” She was 105.

Alfredo Vecchio, a frequent member of the audience at her performances, gave the following tribute to the career of Licia Albanese at New York City’s Columbus Club in 1986:
Like all great artists, Licia’s specific ingenuity as a singer, the originality of her art, lay in the fact that technique for this artist at least was always a means to an end and never an end in itself — — for the salient features of all great art is the ability to connect technique to the emotions. Any other approach would have been for Albanese contrary to the musical sense with which she was born, contrary to musical training she acquired, and, if such exists, contrary to her musical morality. It was this, Licia’s uniqueness and musical mastery which drew me, which drew us, into the world of Mimi, Cio-Cio-San, Manon, Liu, and Violetta, week after week, year after year, inviting me to a place and places I had never been before. It is for all these reasons that Virgil Thomson was able to write of Licia’s first Violetta: ‘She did not sing the role — — she recreated it for our times.’ As we all know, Albanese’s art is capable of the widest range of effects from the tragic to the comedic, from dramatic repertoire to the lyrical and even soubrette. And for anyone fortunate enough to have heard her rendition of operetta pieces, she leaves no doubt in the mind that she was born to the operetta form as well as to the rest.

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Opera fans around the world are grieving for the loss of famed soprano Licia Albanese, who died on August 15, 2014, at the age of 105, in her home in Manhattan.

Licia-Albanese3-300x202Born Felicia Albanese in Torre a Mare near Bari, Italy, in 1909, she debuted in Milan in 1934, replacing another soprano in Puccini’s Madama Butterfly. In forty years, she sang more than 300 performances of Cio-Cio-San, a role for which she became famous for.
Albanese made her Metropolitan Opera debut on February 9, 1940. She had an immediate success, and Albanese stayed at the Met for twenty-six seasons, singing at the same time at the San Francisco Opera. During her career, besides performing widely in recitals, concerts, and opera, she participated in benefits, entertained the troops, had her own weekly radio show, was a guest on other broadcasts and telecasts, and recorded frequently.
Her voice had a distinctive character which the Italians call a lirico spinto, marked by its quick vibrato, incisive diction, intensity of attack and unwavering emotional impact. albanese4During her career she performed with many of the contemporary greats of opera—Beniamino Gigli, Claudia Muzio, Jussi Björling, and Franco Corelli. She worked with some of the best conductors of her time, but it is her work with Toscanini that has endured.
In 1995, President Bill Clinton presented her with the National Medal of Honor for the Arts. She received awards and honorary degrees from Marymount Manhattan College, Montclair State Teachers College, Saint Peter’s College, New Jersey, Seton Hall University, University of South Florida, Fairfield University, Siena College, Caldwell College, and Fairleigh Dickinson University.
licia-albanese-4-211x300In 2000, Rudolph Giuliani presented her with the prestigious Handel Medallion, the highest official honor given by the City of New York to individuals for their contributions to the city’s cultural life.
Albanese was chairman of the The Licia Albanese-Puccini Foundation, founded in 1974 and dedicated to assisting young artists and singers. She also served as a trustee of the Bagby Foundation. She worked with the Juilliard School of Music, the Manhattan School of Music, and Marymount Manhattan College, and conducted master classes throughout the world.
Licia Albanese, who was interview by our magazine a few years ago, was also present at many events within the Italian American and operatic communities.

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Google Glasses For Turandot In Cagliari

Google Glasses were showcased at the Teatro Lirico di Cagliari to create a new, thrilling and interactive live opera experience.

The audience was finally able to see the show through the troupe’s eyes. The Teatro Lirico di Cagliari was the first to use Google Glasses to allow the audience to interact with Puccini’s Turandot, from July 30 – August 16, 2014, one of the most powerful masterpieces of italian opera, in an extraordinary production, directed by Pier Francesco Maestrini with scenes designed by Pinuccio Sciola, the most visionary and charismatic sardinian artist of contemporary art scene, defined as the poet of sounding stones.

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Until today, going the opera has meant listening to words and music and observing gestural expression and images from a single point of view.
Now, thanks to the app developed for Google Glasses by TSC Labs, a partner of the Teatro Lirico di Cagliari MediaLab and a Google Enterprise Partner, the audience will be able to see the performance from multiple points of view – from the soprano’s to the stagehand’s.
The project of the Teatro Lirico di Cagliari is highly innovative. It is the first Opera House to host a Research and Technology Centre. Moreover it is the first to use Google Glasses during a live opera performance.
The public only needs to check the Teatro Lirico di Cagliari social media sites to get the most up-to- the-minute photos and videos.
The Teatro Lirico di Cagliari’s Turandot is a new and innovative production. Mauro Meli, Teatro Lirico Intendant, chose Sardinian artist Pinuccio Sciola to design the sets and Google Glasses and Social Networks to provide a totally new and immersive opera experience.

googleglasses

GOOGLE GLASSES

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“Il Viaggio a Reims” in Cape Town

 

Rossini’s Il Viaggio a Reims

Presented by Cape Town Opera in collaboration with the

University of Cape Town College of Music

FLIRTATION OBSESSION PANIC

Baxter Theatre
26-30 August 2014 (5 performances)
Presented by Cape Town Opera

Cape Town Opera and the UCT Opera school are proud to bring this critically acclaimed zany comic opera (which played to full houses at the Baxter Theatre in 2010) back to the opera stages.

They obsess, they flirt, they fight, they panic, they faint, they drink, fourteen Fashion-loving B-list celebrities find themselves stranded in a chic airport hotel lobby. The boredom of waiting in transit has never been more nuanced and entertaining than in this opera.

IL-V_0412 IL-V_0686 IL-V_0887 IL-V_1184sml IL-V_1258 IL-V_2150

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