Yende made her debut in New York City on 17 January 2013, in the role of Adèle in 's opera , as a substitute for Nino Machaidze. Yende and Camarena play the lead roles of Marie and Tonio, with Stephanie Blythe as the Marquise of Berkenfield, and Alessandro Corbelli and Maurizio Muraro sharing the role of Sulpice. The company did its first performances of the opera in 1883 and it immediately caught on; between 1903 and 1972, it was never gone for more than a season. We also offer gift wrapping and will ship almost anywhere in the world. In 2015 she portrayed Susanna in Mozart's at the.
Amour, ranime mon courage - Yende, Pretty 5:58 6. Dates Mar 22 — May 10 2018 Premiere: Teatro San Carlo, Naples, 1835. Turner plays the non-singing role of Duchess of Krakenthorp, joining a list of distinguished actors to take on the role at the Met, including Jane White 1983 , Bea Arthur 1994 , and 2008. The source for this opera was The Bride of Lammermoor, a novel by Sir Walter Scott 1771—1832. J Gerckens Set Designer — Daniel Ostling Choreographer — Daniel Pelzig Costume Designer — Mara Blumenfeld Setting The tale is set in Scotland, which, to artists of the Romantic era, signified a wild landscape on the fringe of Europe, with a culture burdened by a French-derived code of chivalry and an ancient tribal system.
I assume that assistant stage directors Sarah Ina Meyers and Daniel Rigazzi couldn't help rein him in. Yende did very well vocally, though she didn't always make the coloratura emotionally meaningful. It looks like nobody has dusted it since it was new. In 2012, she sang the role of Musetta in 's opera at in Milan. Peter Mattei and Pretty Yende in ll Barbiere di Siviglia. Her younger sister, Nombulelo Yende, is also an opera singer. The production, which stars Pretty Yende and Javier Camarena as its star-crossed lovers, will also be transmitted live to movie theatres March 2.
Yende was well partnered in duets and ensembles by Mr. . Dates Jan 16 — 17 Feb 2018 World premiere: Teatro Cannobiana, Milan, 1832. Revival stage director Sarah Ina Meyers relied too much on the original static choral tableaux, and gave the principals little more than stock operatic gestures and unimaginative movements to work with. Lucia di Lammermoor, Act I, No. That changed when Maria Callas took it on, back in the early '50s, and made the drama as important as the singing or more so. Simply fill out the form and a Met Opera Shop Specialist will contact you within 48 hours.
Its ending is as much a foregone conclusion as it would be in a romantic comedy film today—the joy is in the journey, and Donizetti created one of his most instantly appealing scores for this ride. Unfortunately, it became an opportunity for Fabiano to bounce around the stage often with a manic glint in his eye. Yende made her Met debut in 2013 as Countess Adèle in Rossini's Le Comte Ory. Camerena, who tossed off tenor high Cs and D-flats with limitless security and aplomb. None of the role was transposed down I believe this was the first time since Edita Gruberova and Chris Merritt sang it in 1991 , and so the high C sharps and Ds were all in place — only the high F in the last act aria was ducked, thank heavens.
What action there is takes place between the arias and ensembles in longish stretches of recitative — musical declamation tailored to the rhythms of Italian speech. Ah, la pena in lor piombò - Yende, Pretty 12:36 4. With his powerful voice and staggering stage presence, Kelsey made you understand why Lucia was scared of him and why the threat to his family made him somewhat unhinged. Her replacement in the leading role of Elvira was 32-year-old South African soprano Pretty Yende, who did some quite spectacular singing on short notice. And Alexey Markov sounded indisposed as Riccardo. The latter piece replaces the previously announced Brahms No.
Some early editions indicate a location in Basque country. The character of Lucia has become an icon in opera and beyond, an archetype of the constrained woman asserting herself in society. Vien, diletto, è in ciel la luna! Would she become a songbird or a diva? Though musically inclined, ten years ago she had never heard of opera. He finds in Rodolfo a core of anger and desperation that seems to cry out against social injustice. Bel canto opera, essentially the serious works of 19th-century composers Rossini, Bellini and Donizetti, relies on the beauties of the human voice above all other elements. Special kudos for th e harp solo from Emmanuel Ceysson and the glass harmonica solo in the Mad Scene from Friedrich Heinrich Kern.
The concert, directed by Met Music Director Emeritus James Levine, will feature Yende as the soprano soloist in Mozart's Exsultate, jubilate and in Mahler's No. Next season, she will sing her first Met performances of both Adina in Donizetti's L'Elisir d'Amore and the title role in Donizetti's Lucia di Lammermoor. For this season's revival, the Metropolitan Opera assembled soprano Diana Damrau, tenor Javier Camarena, baritone Luca Pisaroni and bass Alexey Markov. It's long been a favorite at the Met, with the current performances the third cast of the season, starring soprano Pretty Yende, tenor Michael Fabiano and baritone Quinn Kelsey. The Laurent Pelly production is conducted by Enrique Mazzola.
Please tell us what you need. Related Articles View More Opera. Markov were both vocally accomplished and comfortable on stage, though not quite in the Damrau-Camarena class. She went on to complete post graduate studies in Opera, also at the University of Cape Town, and later graduated from the Accademia Teatro alla Scala, in Milan, Italy. They can also place orders for hard-to-find music while guiding you to the best recordings available. Damrau, the lineup is not quite as starry as when this production, by Sandro Sequi, was new in 1976 — Joan Sutherland, Luciano Pavarotti, Sherrill Milnes and James Morris — but it's an impressive assemblage designed to draw aficionados of good singing. Our personal shoppers have great gift ideas for every occasion.