Le Nozze di Figaro in Vienna.







Premiere April 11, 2015, 7 PM




















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L’ELISIR D’AMORE at the Teatro Regio in Parma


Playful melodrama in two acts, libretto by FELICE ROMANI


Sunday 22nd, March 2015, at 20.00 turn A
Thursday 26th March 2015, at 20.00 turn B
Sunday 29th March 2015, at 15.30 turn D
Tuesday 31st March 2015, at 20.00 turn C

RegioParmaLogoOpen spaces and soft colours, a large tree, a hot air balloon, a painted backdrop: “Listen, listen”, Doctor Dulcamara’s Elisir d’Amore is returning to the Teatro Regio. Directed by Marcello Grigorov, Donizetti’s love potion returns to ensnare capricious hearts in the 1988 production created by Francesca Zambello with scenes and costumes by Nica Magnani. A framework of purity for the voices of Jessica Nuccio, Celso Albelo, and Roberto de Candia with the Orchestra Regionale dell’Emilia Romagna and the Chorus of the Teatro Regio in Parma directed by Francesco Cilluffo.

Characters Cast
Il dottor Dulcamara ROBERTO DE CANDIA




Scenes and costumes


Chorus Master

Settings by Teatro Regio di Parma

Coproduction with
Fondazione Teatro Comunale di Modena

With overtitles

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Boris Godunov in Moscow at the Bolshoi

BolschoigodunovtPremiered on October 16, 1948.

Sung in Russian.
Presented with three intervals.
Running time: 4 hours.

Libretto by Modest Mussorgsky,
based on Alexander Pushkin’s play of the same name
Version and orchestration by Nikolai Rimsky-Korsakov
Orchestration of “At St. Basil Cathedral” scene by Mikhail Ippolitov-Ivanov

1948 production
Music Director: Nikolai Golovanov
Stage Director: Leonid Baratov
Designer: Fyodor Fedorovsky
Choreographer: Leonid Lavrovsky

2011 revival
Conductors: Vassily Sinaisky, Pavel Sorokin
Director: Igor Ushakov
Designer of scenery revival: Alyona Pikalova
Designer of costumes revival: Elena Zaytseva
Choreography revival: Ekaterina Mironova
Lighting Designer: Sergei Shevchenko
Chorus Master: Valery Borisov

godunov1   godunov514/15 march 2015

Conductor Alexander Polyanichko
Boris Godunov Mikhail Kazakov
Xenia, his daughter Oxana Gorchakovskaya
Fyodor, his son Yulia Mazurova
Xenia’s Nurse Evgenia Segenyuk
Prince Vasily Ivanovich Shuisky Marat Gali
Andrei Shchelkalov, secretary to the Duma Andrei Grigoriev
Pimen, hermit chronicler Alexander Naumenko
Pretender, the false Dimitri, Grigory Otrepiev Eduard Martynyuk
Marina Mnishek, daughter of the Sandomierz commander Svetlana Shilova
Varlaam Valery Gilmanov
Missail, a vagabond Yuri Markelov
Innkeeper Irina Rubtsova
Simpleton Stanislav Mostovoy
Nikitich, police officer Vladimir Krasov
Mityusha, a peasant Pavel Tchervinsky
Court Boyar Vadim Tikhonov
Boyar from Kromy Vadim Tikhonov
Two Women Oxana GorchakovskayaIrina Udalova

godunov6 godunov7Synopsis

Scene 1
A crowd throngs by the high walls of the Novodevichy Monastery in Moscow. The boyar, Boris Godunov, has withdrawn to the monastery after the death of Tsar Fyodor, who did not leave an heir. That Boris will be elected to the throne is a foregone conclu­sion, but he makes a show of refusing the crown so that he is not suspected of wishing to seize power. At the order of a police offi­cer, the people beg Godunov to accept election to the throne:
“Do not abandon us, Father,
Do not leave us helpness!”

But Shchelkalov, secretary of the Duma, announces that Boris is implacable.

Scene 2
Square in front of the Cathedral of the As­sumption in the Kremlin. A majestic pealing of bells — Boris has given his consent and is being crowned. But Tsar Boris is not happy, he is weighed down by anxiety:
“My soul is heavy,
Some instinctive fear
With ominous foreboding
Rivets my heart…”

In the Kremlin the bells are pealing and the people break out again into acclamation.

godunov8 godunov9Act I
Scene 1

Late at night. A cell in the Chudov Monaste­ry. By the light of an icon-lamp, the wise monk Pimen is writing a truthful chronicle of the history of the Russian state. In his chronicle, Pimen reveals the secret of the murder, by Boris Godunov, of Tsarevitch Dimitri who had stood between him and the throne. Grigory, a young novice, sharing Pimen’s cell, wakes up. He listens to the holy man’s tale and a storm of anxieties, passions and vainglorious ambitions breaks into the peace of the night. The idea comes to Grigo­ry of calling himself the Tsarevitch and of doing battle with Boris for the throne.

“Boris! Boris! All tremble before you,
No one dares to remind you
Of the fate of the hapless infant…
But meanwhile a hermit in a dark cell
Is writing a terrible denunciation against you.
And you shall not escape human judgment,
As you shall not escape the judgment of heaven!”

Scene 2
An inn near the Lithuanian frontier. Three va­gabond monks, Varlaam, Missail and Grigory, have dropped in on the sprightly, merry mistress of the establishment. Varlaam, a drunkard and glutton, sings a song about the capture of Kazan. Grigory, questions the mi­stress of the inn on the best route to Lithuania. A police officer comes into the inn: on the Tsar’s orders he is searching for the run­away monk, Grigory Otrepiev. After an un­successful attempt to deflect the suspicion from himself, Grigory leaps through the win­dow and makes good his escape.

godunov10Act II
Scene 3

The Tsar’s private apartment in the Kremlin. Tsarevitch Fyodor is looking at the “Book of the Big Drawing”, the first map of Russia. Ksenia, Boris’ daughter, is grieving before a portrait of her dead fiancй, the heir to the Danish throne. In an attempt to cheer her up, her old nurse tells her a funny story. Boris comes in and talks tenderly to his children, he is pleased to see his son gleaning wis­dom from a book. But even here, with his children, Boris is tormented by anguish. Russia has been visited by a terrible famine. “Peop­le affected with the plague wander about like wild animals”,and the common people bla­me the Tsar for all their troubles: “in the squ­ares they curse the name of Boris”. Some­thing approaching a groan breaks out from deep down inside the Tsar:
“All around is darkness and impenetrable gloom,
O, for a fleeting glimpse of a ray of joy!..
Some secret anxiety,
One inconstantly expecting disaster!..”

The boyar, Shuisky, comes in, a cunning courtier and leader of a group of boyars with seditious intentions. He brings bad news: a pretender has raised his head in Lithuania, having taken the name of the Tsarevitch Dimi­tri. He has the support of the King of Poland, the Polish nobles and the Pope. Boris requires Shuisky to tell him the truth: is he certain that the babe who was killed in the town of Uglich was the Tsarevitch Dimitri? Shuisky, enjoying the Tsar’s torment, descri­bes the deep wound on the Tsarevitch’s neck, and the angelic smile on his lips…
“It seemed, that in his cradle
He was peacefully sleeping…”

Shuisky departs, having aroused with new force the fears and agitation which grip Bo­ris: the latter now thinks he sees an appari­tion of the murdered Dimitri.

godunov11Act III
Scene 4
A ball in the garden of Mnishek, the Governor of Sandomir. The Polish nobles are preparing to march on Moscow. They mean to place their protйgй on the Russian throne: Grigory, the runaway monk from the Chudov monaste­ry, who has taken the name of the murdered Tsarevitch Dimitri. In this they will be helped by the ambitious plans of the Governor’s daugh­ter, the beautiful Marina, who dreams of beco­ming the wife of the future king of Russia. The long-awaited (by the Pretender) rendez­vous between Marina and Dimitri who is in love with her takes place. However, Marina’s abrupt and calculating speech, and her de­termination, which she makes no attempt to conceal, to sit on the Russian throne discon­cert the Pretender for a brief moment. Reali­zing this, Marina wins him over by false pro­testations of her love for him. The Jesuit, Rangoni, celebrates his victory.

Scene 5
An early winter’s morning. A square in front of the Cathedral of St. Basil the Blessed in Moscow. A crowd of starving people are discussing the Pretender’s victories over the forces of Boris. A Simpleton comes running into the Square. Urchins surround him and take a kopek from him . The Tsar comes out of the Cathedral. “Bread, bread! Give the starving bread! Give us bread, father, for the sake of Christ!” cries the crowd. Goaded by the urchins, the Simple­ton addresses the Tsar: “Order them to be killed, as you killed the little Tsarevitch”. Boris tells the boyars not to seize the Simpleton:
“Let him be! Pray for me, simple person…”
But the Simpleton replies:
No, Boris! It can not be done!
How can one pray for a Tsar Herod?
Our Lady does not allow it…”

godunov12 godunov13Act IV
Scene 6

A clearing in the forest near Kromy. Night-­time. The peasants, who are in revolt, lead in a Kromy boyar whom they have taken pris­oner. They make fun of the boyar, reminding him of all their grudges:
“You trained us the right way,
In storms and bad weather, and when roads were impassable,
You exploited us,
And whipped us with a slender lash…”

The arrival of the monks, Varlaam and Missail, who denounce the sins of Boris, the regicide, stirs up the crowd’s anger even more. They break out into a threatening song:
“A dashing young force is on the rampage,
The Cossack blood is all aflame!
A great subversive power has risen from the depths…”

Jesuit priests, the Pretender’s emissaries, appear. But the arrival of these foreigners arouses the crowd’s indignation. The peas­ants drag the Jesuits into the forest to be hanged.

The Pretender, rides into the clearing, sur­rounded by troops, Polish gentry and Jesu­its. He frees the Kromy boyar. By promising his favor and protection, the Pretender per­suades the peasants to march on Moscow. The sky lights up with the glow of a fire. The alarm bell is rung. The Simpleton appears, looking round him in fear. His prophetic words of the new troubles that await the Russian people are spoken in anguish and pain:
“Flow, flow, bitter tears,
Cry, cry, Russian Orthodox soul!
Soon the enemy will come and darkness will fall,
Black, impenetrable darkness…”

godunov2Scene 7
The Granovitaya Chamber, in the Kremlin. A session of the Duma is in progress. The boyars are discussing what punishment sho­uld be meted out to the Pretender should he be caught. Shuisky appears. He describes the scene in the Tsar’s private apartment, when Boris drove off the apparition of the murdered Tsarevitch Dimitri. At this point, Boris comes running in, shouting: “Away, away, child!” Catching sight of the boyars, he regains his self-control and asks them for advice and help. At this, Shuisky suggests to the Tsar that he listen to a holy man who has come to tell them of a great secret. Boris ag­rees. Pimen is brought in. Pimen’s tale of the miraculous cure of a sick man at the gra­ve of the murdered Tsarevitch Dimitri, in Uglich, is more than Boris can take and he falls senseless to the floor. Regaining conscious­ness, the dying Tsar gives his son advice on how to protect his kingdom:
“Don not trust the slander of the seditious boyars,
Keep a vigilant watch over their secret dealings with Lithuania,
Punish treason without mercy, without charity punish it,
Listen carefully to what the people say –
for their judgement is not hypocritical…”

To the pealing of the funeral bell and the chanting of a choir of monks, the Tsar dies. The shocked Tsarevitch Fyodor, having paid his last respects to his father, rises to his feet…And immediately, Shuisky who, unse­en, had crept ahead of him, blocks his way to the throne.

godunov4Commentary: Boris Godunov at the Bolshoi

Ever since Fyodor Chaliapin’s triumphant appearance in the role at the Paris Opera, Boris Godunov is unqualifiedly consid­ered by Russian and world audiences to be the chief personage of Russian opera and its leading potentate. For the whole world today Mussorgsky’s opera is a key work on the abstract nature of power in general, with no need for concrete historical associations or the literal reproduction of realia. Mussorgsky’s music, with its impetuous boldness, tangible back-to-the-soil solidity and incisive characterization, is of itself sufficient explanation for the tenacity of life of Boris Godunov. But for a longtime it was these very qualities which got in the way of the opera’s production, forcing the compos­er to compromise, rewrite the score, in an attempt to squeeze his epos into the canon of the usual historical drama. However, the Directorate of the Imperial Theatres rejected both his first and second revisions, passing but separate frag­ments of the work for performance. It was only Rimsky-Korsakov’s “smoothed down” version which enabled Boris Godunov to become a repertory work — but the whole of the opera’s following performance history is the story of a “return to sources”, of new editions of the score containing the latest musicological research, and, accordingly, the story of chang­ing accents in the staging. However the placing of accents also depends on the per­sonality of the interpreter of the main role. Thus, it is well known, that one of the initiators of the Moscow 1888 pre­miere of the opera was Pavel Khokhlov, who sang the role of Boris alternating with Bogomir Korsov: the intuitive psycho­logical tension of the first-named was in contrast to the pro­fessional melodramatic training of the second-.

godunov3But the real triumph was, without doubt, the production with Chaliapin. A worthy foil to Chaliapin here was Leonid Sobinov in the part of The Pretender: the personal drama of the Tsar-infanticide was played out with a soul-chilling authenticity. In the 20’s and 30’s the emphasis was put on the people’s drama: given for the first time at the Bolshoi, was the scene by St. Basil’s Cathedral, with Ivan Kozlovsky as The Simpleton. Each age has produced its great Borises: Grigory and Alexander Pirogov, Alexander Ognivtsev, Ivan Petrov, Yevgeny Nesterenko, and Vladimir Matorin have excelled in this role at the Bolshoi and abroad. Boris Godunov at the Bolshoi Theatre attracted no less attention from the authorities than did Ivan Susanin. Morals and conscience, relations between the authorities and the people, the seething of emotion, love and ambition, atmos­pheric genre scenes — each age accentuated something of its own. However, regardless whether it is interpreted as a polit­ical parable or a miracle-play-drama, Boris Godunov remains one of the symbols of Russian music and Russian

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“L’Elisir d’Amore” in Israel


L’elisir d’amore

Gaetano Donizetti

A magical Mediterranean love story in which Adina enjoys teasing Nemorino until she finally does say “I do”. Omri Nitzan’s beloved, colorful and very genuine production returns to the stage after a long absence.

From the repertoire | Sung in Italian | Duration: Two hours and 45 minutes

Libretto: Felice Romani


Conductor Omer M. Wellber
Eithan Schmeisser
Director Omri Nitzan
Revival Director Gadi Shechter
Choreography Ophir Lavie
Set & Costume Designer Ruth Dar
Lighting Revival Eyal Levi

Among the soloists

Adina Hila Baggio
Alla Vasilevitsky
Nemorino Stefan Pop
Alexey Dolgov
Belcore Andrei Bondarenko
Riccardo Novaro
Dulcamara Bruno de Simone
Vladimir Braun
Gianetta Efrat Ashkenazi
Anat Czarny
Mrs. Dulcamara Yael Levita
Photographer, Notary Eyal Seri
Adina as an adolescent Hadas Jacobi
Nemorino as an Adolescent Ofir Lavie
Adina as a Child Ori Manor
Tamar Armel
Nemorino as a Child Yonatan Glazer
Shahar Levi

The Israeli Opera Chorus
Chorus Master: Ethan Schmeisser

The Opera Orchestra – The Israel Symphony Orchestra Rishon LeZion

English & Hebrew Surtitles
Translation: Israel Ouval

Day Date Hour Back Stage Tours Opera Talkback
* WED 11.3.15 20:00
** FRI 13.3.15 13:00 The performance is dedicated in loving memory of Dr. Israel (Rolly) Yovel
SAT 14.3.15 20:00
SUN 15.3.15 20:00 18:30 After the show
MON 16.3.15 20:00
TUE 17:3.15 20:00
THU 19.3.15 20:00 18:30 After the show
FRI 20.3.15 13:00
SAT 21.3.15 20:00
SUN 22.3.15 20:00 18:30 After the show

** Towards Opening – SAT 7.3.15, 11:00
*** A pre-performance lecture (in Hebrew) is held one hour before every performance. Free admission for tickets holders.



L’elisir d’amore

Two strangers intrude upon the serenity of the closed community of a pastoral village. They are the sergeant Belcore, a womanizing braggart soldier and Dulcamara, a charlatan doctor. They stir up emotions in the peaceful village in an ever-widening plot, and eventually succeed in bringing Nemorino and Adina together, helping them fulfill their love, while overcoming the emotional and social drawbacks which had characterized their relations twenty-four hours earlier.

Scene i
The curtain rises revealing a pastoral landscape of a provincial village. Farmers are resting in the field, and in the background, Adina, a rich and capricious lass, is sitting under a tree, reading a book. Nemorino, one of the villagers, a simple and shy youth, looks at Adina yearningly, contemplating how he could make her fall in love with him. After all she is rich and learned while he is considered to be a good-for-nothing. Suddenly, Adina bursts out laughing and recounts to the villagers the legend of the miraculous love elixir which helped Tristan conquer Isolde’s heart. A military march heralds the approach of soldiers, led by Belcore, a sergeant full of his own importance and manly charm who immediately proposes to Adina. Stunned, Nemorino is amazed by this unexpected rival, and confesses his love to Adina, but she refuses him, explaining that she is simply unable to return anybody’s love.

Scene ii
The entire village is excited by the arrival of Dr. Dulcamara, a garrulous charlatan, traveling salesman offering various elixirs and especially an antidote for all ailments. Upon Nemorino‘s request, the “doctor” prepares a love potion for him, explaining that it takes effect only after 24 (ample time for Dulcamara to leave the village). Nemorino drinks the love potion, hours he potion, unaware that it is nothing but Bordeaux wine, and becomes tipsy, believing, in his naivete, that tomorrow all his sufferings will come to an end as Adina will be bound to return his love. Adina, surprised by Nemorino’s changed behavior, and wanting to aggravate him, agrees to marry Belcore in six days time. Nemorino ,who is certain that potion will work within twenty-four hours, causing Adina to love him forever, is not worried. But as Belcore suddenly receives an order to leave the village immediately, Adina decides to marry him on the spot. Her provocation has turned into a dangerous adventure. Nemorino’s despair is total and all the villagers ridicule the lovesick simpleton fool.

shikuycACT II
Scene i
The villagers gather at Adina and Belcore’s wedding reception, all except Nemorino. But Adina’s revenge cannot be complete without his being there, and so she postpones the final signature of the nuptial agreement. Nemorino is searching for Dulcamara and when he finds him, pleads for an additional potion. Dulcamara indeed offers another potion which might help, but Nemorino does not have the money to pay for it. In his total despair and in order to get the necessary funds, he decides to join the army. Belcore willingly offers Nemorino the enlistment grant, believing that this is his opportunity to get rid of this ridiculous pestering rival. In his naivete, Nemorino believes that the additional potion will make Adina love him.

Scene ii
News spread through the village that Nemorino has inherited a fortune from his rich uncle has died. The ridiculed simpleton suddenly becomes a most sought after bachelor and believes that it is the result of the love potion. Adina is surprised when Dulcamara tells her that Nemorino has joined the army, and realizes that his love for her is strong and sincere. She if profoundly moved by the fact that he was actually willing to sacrifice his freedom for her and all her emotional barriers and shattered. She realizes that she truly loves Nemorino. Adina buys back Nemorino’s enlistment papers from Belcore and presents them to Nemorino, confessing her love for him. After all the trials and tribulations, Nemorino and Adina make peace with each other and with themselves. Dulcamara, who is about to leave the provincial village, informs everybody about Nemorino’s new fortune and takes advantage of the situation to market his new potion which he claims makes women love the men who love them. Belcore, confident of his male charm, leaves for another village searching for new love, while Nemorino and Adina hurry to the marriage canopy.

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Wagner’s “Lohengrin” in Croatia


Richard Wagner


Conductor Nikša Bareza
Director Kurt Josef Schildknecht

March 2015


Wagner’s Lohengrin, partly a fairy-tale, partly a historical myth and partly a tragic love story, raises a serious issue: can absolute trust and unconditional love exist in a world in which the absolute does not exist and in which almost everything is pre-determined? This opera written after a mediaeval legend about Lohengrin, the knight of the Holy Grail, is considered to be one of the most beautiful works of German romanticism in which music, through a hypnotically unbroken flow of sounds, unites the soloists, choir and orchestra into a unique and unrepeatable artistic expression. After the demanding production of Parsifal, this is again a co-production of the CNT in Zagreb and the Mainfranken Theatre Würzburg. With the opening night of the equally challenging Lohengrin, we shall mark the Wagner Year.


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Wagner’s “Die Meistersinger von Nürnberg” in Finland

logofinlandThe Finnish National Opera Presents:

wagnerDie Meistersinger von Nürnberg

Richard Wagner

Young Walther finds himself compelled to win a singing competition, because the prize is the hand of Eva in marriage. Entrants need to be well versed in the ancient rules of the mastersingers to even be allowed to enter the competition, but Walther is inspired to sing of love in a new style. Die Meistersinger von Nürnberg is a grandiose opera by Wagner setting a good-humoured story about the encounter of old and new worlds.

In this opera, Wagner depicts young love and laughter instead of the epic canvases for which he is better known. For all its light-heartedness, the story is also a serious exploration of the tensions between freedom and strict rules in art. Harry Kupfer, who previously directed the impressive Parsifal, sets the Medieval tale in war-torn Germany in the modern era.

Duration 5 h 30 min, 2 intermissions
Performed in German, surtitles in Finnish, Swedish and English.
  • Conductor Michael Güttler
  • Director Harry Kupfer
  • Sets Hans Schavernoch
  • Costumes Yan Tax
  • Lighting design Jürgen Hoffmann
  • Choreography Derek Gimpel

    Upcoming performances

    Main auditorium

    • Fri 13/03/2015 5:00 pm
    • Tue 17/03/2015 5:00 pm
    • Wed 25/03/2015 5:00 pm
    • Sat 04/04/2015 2:00 pm
    • Sat 11/04/2015 2:00 pm
    • Sat 18/04/2015 2:00 pm


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Faust at the Opera National de Paris



Opéra Bastille – First performance on 2 March 2015 – 7:30PM


Performed in French

New version

The emblematic French opera, one of its greatest successes and, at the same time, in a way, its memory. Gounod recalled having the book by Goethe by his side throughout his youth, even in the gardens of the Villa Medici where he was a “pensionnaire.” Twenty years later, Carvalho finally agreed to commission Gounod and he had good reason to: Faust brought prosperous times to the Théâtre-Lyrique and then to the Opéra. From there, the work became famous throughout the world and the Metropolitan in New York chose it for its inaugural opening evening on 22 October 1883, where the greatest singers made their mark. Jean de Reszké and Muratore as Faust, Faure – the creator –, Maurel, Delmas and Marcoux as Méphisto and, for Marguerite, Christine Nilsson, Patti, Melba, Farrar, Garden… Few works have been so loved and respected as this Faust… And indeed, the work, more faithful than we might imagine to Goethe, inspired in Gounod a youthful, turbulent lyricism, pleasures and unforgettable trepidation.
Piotr Beczala and Krassimira Stoyanova embody the legendary doomed lovers.

Michel Plasson Conductor
Jean-Romain Vesperini Stage director
Johan Engels Sets
Cédric Tirado Costumes
François Thouret Lighting
Selin Dündar Choreography
José Luis Basso Choruses master
Artist Note Rôle
Piotr Beczala
Michael Fabiano
(25, 28 March)
Ildar Abdrazakov
Jean-François Lapointe
Damien Pass
Krassimira Stoyanova
Anaïk Morel
Doris Lamprecht
Dame Marthe
Paris Opera Orchestra and Chorus
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