NCPA Opera Festival 2020
Venue
Dates
Duration
Approximate 165 mins (Intermission Included)About
Synopsis
Artist
Presenter
Pier Francesco Maestrini made his NCPA debut as the revival director of Il Barbiere di Siviglia. He has been the director of NCPA's Don Pasquale.
Born in Firenze, Italian opera director Pier Francesco Maestrini started his career in 1993, at Tokyo's Bunkamura Orchard Hall, with Rossini's masterpiece Il Barbiere di Siviglia, starring Angelo Romero, Rockwell Blake and Alfonso Antoniozzi. By then, he staged over 80 productions in Italy and around the world, from baroque repertoire to Italian verismo. In 2013, opens with Otello in Modena, Pavarotti and Freni's hometown, where expert opera fans and qualified reviewers acclaimed the production. 2012 saw his vampire version of Don Giovanni having a huge impact on Chilean audience, where stunning sets and costumes matched the strong concept behind the unusual but logical parallel between two eternal myths: Mozart's libertine and Bram Stoker's Dracula. In the same year his Rigoletto in Rio de Janeiro, delivered a desperate and suffered portrayal of Verdi's hunch backed.
In June 2012, L'elisir d'amore in Maribor was a huge success entertaining a surprised audience with an unexpected Country-western version of Donizetti's masterpiece, that was considered one of the best operas staged in their Slovenian National Theatre. In 2011 again in Maribor for La Forza del Destino. The movie-like production earned great consents among audience and critics, and has been restaged in April, 2013 in Liege, Belgium.
Another landmark was achieved in 2010 with Attila at the Verdi Opera Festival of Parma, played in the small theatre of Busseto, Verdi's hometown. As for the previous Il Barbiere di Siviglia, the production has animated movie projections especially featured in 3D computer graphic, in a fantasy like style for the great response from the audience that led the production to be considered the best of the year.
2010 was the year of a large project, Il Barbiere di Siviglia, that was performed over 100 times in Brasil, in every major town, produced by the Companhia Brasileira de Opera. His idea of animated cartoons interacting with the singers was highly entertaining either for adults and children, and gained large popularity even in a country where opera is considered only a happening for a selected audience.
Born in Jerez de La Frontera, Spain, Juan Guillermo Nova graduated in the former Escola de Arte de Santo Domingo in Art History and technical and artistic drawing; and in Escuela Trazos, in digital post-production and 3D projection. He started his career at Teatro Real de Madrid and collaborated with maestro Hugo de Ana's opera productions as scenic assistant. Later on he started working on his own set designs. He worked in Fausto's production at the Teatro Regio di Parma; Tosca at Arena di Verona; La Bohème at Teatro Colón; Don Quixote's ballet, A Viúva Alegre e L'Elisir d'Amore in Slovenia; and La Forza del Destino in ópera Royal de Wallonie. In 2012 he worked as set designer in Don Giovanni at Teatro Municipal de Santiago, Chile. In 2013 he became technical director at Theatro Municipal de Sao Paulo, where he also designed sets for Jupyra/Cavalleria Rusticana and Don Giovanni. In 2014 he was the set designer for L'italiana in Algeri at the Maribor Slovene National Theatre; and for Carmen and Cavalleria/ Pagliacci at the Theatro Municipal de Sao Paulo, where he will be designing his following works: Manon Lescaut and Cosi fan tutte.
From 2011 to 2013, Vinicio Cheli has been the lighting designer for NCPA productions of Tosca, Der Fliegende Hollander, Un Ballo in Maschera, Lohengrin, Otello and L'Italiana in Algeri.
From 1974 to 1979, Vinicio Cheli works at the 'Maggio Musicale Fiorentino' involved in all productions. Since 1979 he joined the 'Piccolo Teatro' of Milan and became the light collaborator of Giorgio Strehler , he making the entire production of Piccolo until 1989. Since 1987, for four years, he worked with the 'Rossini Opera Festival' to produce shows with several directors.
At the same time since 1989 he worked at the Salzburg Festival, Theatre Champs-Elysees, Chalet Theatre in Paris with the set design by Pier Luigi Pizzi, then respondeed to the La Scala in Milan. Recollaborated some years with the Teatro La Fenice in Venice.
The 90s of the last century saw himwork in the Opera Bastille, National Theatre of Prague,Festival of Aix en Provance, Ravenna Festival, the Opera of Monte Carlo, Opera of Geneva, Maggio Musical Fiorentino, Baroque Festival of Versailles, Opera Garnier in Paris, Easter Festival in Salzburg, Teatro Liceu in Barcelona, Atticus Theater in Athens, Ginza Saison Theater in Tokyo, Theatre of the axes of Brussels, Amsterdam Opera, Teatro Comunale of Bologna, Teatro dell'Opera in Rome, Opera of Toulouse, National Theatre of Catalunya in Barcelona,Teatro Real Madrid, Metropolitain in New York, and collaborated with P.L.Pizzi,Ezio, Frigerio, Hugo de Ana, KM Gruber, Henning Brockaus, Claudio Abbado, Riccardo Muti, to name just a few.
In the new miennium, Vinicio Cheli continued to expand his collaboration with Ezio Frigerio, Hugo de Ana, F. Zeffirelli, V. Gergiev, Claudio Abbado, Nicola Joel, Quirino Conti, Mario Gas, in productions covering a vast realm of the opera repertoire.
In 2010, he set up La donna del lago of Rossini direqued by Luis Pasqual with scenes by Ezio Frigerio and costumes by Franca Squarciapino; Boris Godunojv directed by Andrei Konchalovsky
In the beginning of 2011, he worked in Senso a new opera directed scenes and costumes by Hugo De Ana. July 2011 'Medea' directed by Theodorakis in Syros Festival of the Aegean. In November of 2011, he worked in 'The sleeping beauty', first ballet of reopening of Bolshoi Theater. Vinicio Cheli also taught theatrical lighting at the New Academy of Fine Arts in Milan and at the Professional School of La Scala.
Box officeNorth Gate of NCPA, No. 2 West Chang'an Avenue, Xicheng District, Beijing, China
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9:30-18:00 (CST) for days without performance
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Booking hours9:30-18:00 (CST) Monday to Friday
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Dedicated to the staging of epic operas, ballets and dance dramas, the golden Opera House is considered the centerpiece of the NCPA. Its main tone is golden color, which looks glamorous and splendid. In the auditorium are the stalls and three higher levels of balconies, which can seat an audience of 2,207, including the venue of SRO. It is equipped with a modern stage that can be moved up/down/backward/forward or rotated, a ballet stage that can slant, and a rising orchestra pit for the triple winds orchestra. All the cutting-edge staging mechanism provides artists with enormous possibilities of creative performance.
Dedicated to the staging of epic operas, ballets and dance dramas, the golden Opera House is considered the centerpiece of the NCPA. Its main tone is golden color, which looks glamorous and splendid. In the auditorium are the stalls and three higher levels of balconies, which can seat an audience of 2,207, including the venue of SRO. It is equipped with a modern stage that can be moved up/down/backward/forward or rotated, a ballet stage that can slant, and a rising orchestra pit for the triple winds orchestra. All the cutting-edge staging mechanism provides artists with enormous possibilities of creative performance.