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Approximate 150 mins (No intermissions)About
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Il Barbiere di Siviglia is an opera buffa in two acts by Gioachino Rossini with a libretto by Cesare Sterbini. The libretto was based on Pierre Beaumarchais's comedy Le Barbier de Séville (1775). It is said that Rossini wrote the opera in only two weeks.
Since its premiere at the Teatro Argentina, Rome, in 1816, Rossini's Il Barbiere di Siviglia has proven to be one of the greatest masterpieces, and still holds the spotlights across the major opera houses worldwide. Ludwig van Beethoven once noted that it would be played as long as Italian opera existed, and Giuseppe Verdi in 1898 remarked Rossini's accomplishment directly in a letter, 'For abundance of ideas, comic verve, and truth of declamation, Il Barbiere di Siviglia is the most beautiful opera buffa in existence.' It has found favor with many singers, such as Luciano Pavarotti and Leo Nucci.
Il Barbiere di Siviglia is a humorous comic opera with dozens of gags and vivid portrait of characters. The story takes place in Seville during the 17th century. Figaro, a clever barber, devises a variety of ways for the young Count Almaviva and the beautiful girl Rosina to meet, talk and ultimately become a wonderful happy couple.
Rossini is well known for being remarkably productive, and good at portraying character and digging for humanity's origins. His talents are fully displayed in this opera. The world is obsessed with its music which combines sparkling wits with the brilliance of humanity and intertwines lively melodies with complex tempo fluctuations. According to Schopenhauer, it was only when he heard the music of this opera that he really understood the power of music. Many beautiful arias of the opera have made a lasting impression in the mind of the audience. Figaro's aria, Largo Al Factotum, with a good sense of rhythm and real power, has become one of the most familiar melodies to the audience.
Maestro Maazel's 2010-11 season was highlighted by productions of Aida and his own opera 1984 at the Palau de les Arts; two concerts with the newly formed resident orchestra of China's National Centre for the Performing Arts in Beijing, and return appearances with the Royal Concertgebouw Orchestra and the Boston Symphony Orchestra. He embarked on a Mahler cycle in London with the Philharmonia (for the Mahler centennial year of 2011) .In March 2011, he took two Castleton Festival Opera productions to Berkeley, California (Cal Performances) for the West Coast debut of the company, with Britten's Rape of Lucretia and Albert Herring.
Lorin Maazel is a second-generation American born in Paris. He studied with Vladimir Bakaleinikoff, and appeared publicly for the first time at age eight. Between ages nine and fifteen, he conducted most of the major American orchestras, including the NBC Symphony at the invitation of Toscanini.In 1951 he made his European conducting debut.He quickly established himself as a major artist, appearing at Bayreuth in 1960 (the first American to do so), with the Boston Symphony in 1961, and at the Salzburg Festival in 1963.
In seventy-two years on the podium, Maestro Maazel has conducted nearly two hundred orchestras in no fewer than seven thousand opera and concert performances. He has made over three hundred recordings, including symphonic cycles/complete orchestral works of Beethoven, Brahms, Debussy, Mahler, Schubert, Tchaikovsky, Rachmaninoff, and Richard Strauss, winning 10 Grands Prix du Disques.Maestro Maazel has been music director of the Symphony Orchestra of the Bavarian Radio (1993?2002), music director of the Pittsburgh Symphony (1988–96); general manager, artistic director and principal conductor of the Vienna State Opera (1982–84) — the first American to hold that position; music director of The Cleveland Orchestra (1972–82); and artistic director and chief conductor of the Deutsche Oper Berlin (1965–71). His close association with the Vienna Philharmonic includes 11 internationally televised New Year's Concerts from Vienna.
Alongside his prodigious performing activity, Maestro Maazel has found time to work with and nurture young artists. Through his Chateauville Foundation, in Castleton, Virginia, he has created a new Festival and training program for young artists, bringing together aspiring singers, instrumentalists and conductors to work in an intensive, collaborative environment, with guidance from senior artists/mentors.
He has worked as assistant and associate director at the Royal Shakespeare Company, the National Theatre and the Almeida Theatre, Glyndebourne Festival, the Royal Opera House Covent Garden, Opera North, Scottish Opera, Buxton Festival and Welsh National Opera. He has directed Mozart's Il Re Pastore and La Finta Semplice at the Royal Opera House Linbury Studio and Donizetti's La Fille du Regiment at Opera Holland Park. For British Youth Opera he has directed Eugene Onegin, Albert Herring and Rake’s Progress and Le Nozze di Figaro.
Among his many theatre productions he has directed award-winning world premieres of new plays. He has directed many productions in music colleges and drama schools, among them at the Royal Academy of Music, the Guildhall School of Music and Drama and the Royal Conservatoire of Scotland.He has broadcast many times for BBC Radio 4 and Radio 3 and written for The Independent on Sunday, the Sunday Telegraph and The Guardian.
Mr. Howe has also designed for productions across the globe, including productions in Canada, Slovakia, Germany, Monaco, Malaysia, Ireland, Denmark and Sweden. Mr. Howe has designed the operas The Rape of Lucretia, The Marriage of Figaro, Eugene Onegin, La Boheme, Rossini Double Bill, The Rakes Progress, The Magic Flute, Albert Herring for British Youth Opera and La Serva Padrona for The Royal Opera House Convent Garden.
Associate lighting designer credits on Broadway, the West End, and internationally include Hair, Lord of the Rings, The Woman in White, Hamlet, Humble Boy, Into the Woods, Carousel, etc.
He received the following awards for his set and stage designs: 2005 NYC Fringe Award, the 2005 USITT Oren Parker Award and was a selected artist to participate on the US exhibit at the 2007 Prague Quadrennial.Nick maintains an ongoing performance in installation art collaboration with Jake Margolin and they are currently developing A Marriage in residence at the HERE Arts Center in NYC.
Mr. Nelson also has a wide range of operatic experience. During successive seasons with Ohio Light Opera he sang Sancho in Man of La Mancha, Matthew in Maytime, Dr. Blind in Die Fledermaus, Pietro in The Firefly, Philipe in New Moon, and Mr. Collins in the world premier of Pride and Prejudice. Arts blog CoolCleveland.com commented: "Tyler Nelson, as that erstwhile clergyman, could steal the show if he tried. As it was, he nearly brought down the house with I Aim to Please." Opera News, reviewing the same performances, called his singing "mellifluous".
His international debut was in Mazatlan, Mexico, performing the role of Shallow in Gordon Getty's Plump Jack, under the direction of the composer. Robert Commanday of San Francisco Classical Voice said of Mr. Nelson's performance: "Tyler Nelson, a young tenor living in Florida, did a captivating number on Justice Shallow. His diction was impeccable and his animation as the silly, ridiculous squire won for him alone laughs that were independent of the lines. His bright, keenly focused, vibrant tenor invites Mozart. He has a big future."
Recent seasons have included debuts with Chicago Opera Theater in the role of Delfa for their production of Giasone, and a return this season for their production of Medee. Of his performance in Giasone, Mark Thomas Ketterson of Opera News commented: Tyler Nelson was hilarious as a travesti Delfa, managing the passaggio of his tenor with notable skill and looking for all the world like Mollie Sugden's Mrs. Slocombe on Are You Being Served?" Venus Zarris of Chicago Stage Review in a review of the production stated that: "Tyler Nelson commits comic operatic highway robbery by embodying all that is hysterical about drag, as Delfa the maidservant to Medea, while simultaneously delivering some of the production's most superb singing."
This year, Mr. Nelson will debut in the role of Count Almaviva in Rossini's Il Barbiere di Siviglia, with the national Center for the Performing Arts in Beijing China, under that baton of Maestro Lorin Maazel, and join the Wasatch Choral as the Tenor soloist in Carmina Burana.
Future engagements include her European debut as Violetta in La Traviata with the Welsh National Opera, her recording debut with OPERA RARA as Antonina in Donizetti's Belisario, Violetta with the Knoxville Opera, Mimi with Opera Lyra, and Musetta with the Canadian Opera Company. In concert she will perform Beethoven's Missa Solemnis with the Münchner Philharmoniker, and Bruckner's Te Deum and Beethoven’s 9th Symphony with the Baltimore Symphony. Last season she performed Mozart's Requiem at Carnegie Hall and the role of Lauretta in Gianni Schicchi and Suor Angelica with Maestro Lorin Maazel at the Castleton Festival. Miss El-Khoury was heard as Pamina in Die Zauberfl?te with Opera Lyra Ottawa in the fall of 2009 and performed in recital with the Metropolitan Opera "Met in the Parks" Recital Series 2009.
She is a First Prize winner of the Opera Index Competition, First Prize winner of the George London Foundation, Second Prize winner in the Gerda Lissner International Voice Competition, and International Semi-Finalist in Plácido Domingo's Operalia Competition. She was also the First Prize winner in the Mario Lanza Vocal Competition.She was the recent Second Prize winner at the Palm Beach Atlantic Vocal Competition, and winner of the 2005 Brian Law Opera Scholarship. Miss El-Khoury was also the Third Prize winner of the Orchèstre Symphonique de Montréal National Competition, Galaxy Rising Star of the CBC Award, and the Vivian Asfar Memorial Award for Vocal Excellence from Opera Lyra Ottawa.
Liao Changyong's footprints spread all over the world. He has cooperated with more than a dozen of world-renowned orchestras and opera masters such as Placido Domingo, Jose Carreras and Ruth Ann Swansm to perform successful operas and dozens of concerts. In 2002, New York Opera House Symphony Orchestra and Carnegie Hall awarded Liao Changyong with 'Distinguished Artist Award', and specifically held his solo concert in Carnegie Hall. Afterwards, he cooperated with New York Opera House Symphony Orchestra, Michigan Opera, Washington National Opera, Royal Opera House (the Netherlands) and other organs to stage such operas as Attila, Il Pirata, Trovatore, Un Ballo In Maschera, La Traviata, Il barbiere di Siviglia, Don Carlo and Carmen. Liao Changyong is praised by local media as 'the most outstanding artist'. The New York Times and Opera Magazine speak highly of Liao Changyong's performance and singing.
Liao Changyong is Vice President of Chinese Musicians Association, Vice President of Shanghai Musicians Association and Dean of Vocal Music Department in Shanghai Conservatory of Music.
Mr. Turner has performed in several of the European opera houses, including: Opernhaus Zurich, Stadttheater St. Gallen, Landestheater Linz, Kammeroper in Vienna, Opera de Monte-Carlo, Stadttheater Bielefeld, Staatstheater Darmstadt, Opera di Roma, Teatro Regio di Torino and the Manoel Theatre in Malta.
In 2005 he performed the role of Cosroe in Handel's Siroe for the Oper der Zeit Festival in Voralberg Austria. He returned to Italy for the title role of Don Giovanni at the Teatro Verdi, Pisa, later singing the Duke de Rothsay in Bizet's La Jolie fille de Perth at the castle of Hallwyl in Switzerland. In 2008 he began as a guest artist with Staatstheater Darmstadt including such roles as Billy Bigelow in Carousel and Konrad Nachtigall in Die Meistersinger von Nürenberg.
Mr. Turner is also in demand as a concert and oratorio artist. For the Festival Wien Modern, he sang Dallapicola's Iob, with the Tonhalle Orchester Zürich he interpreted Suter's Le Laudi, Beethoven's 9th Symphony with the Camerata Strumentale Prato, and Szymanowski's Stabat Mater with the Sinfonica Nazionale della RAI. He sang the rediscovered oratorio La caduta di Gerico of Hasse with the Orchester Musica Rara Milano. His oratorio repertoire includes numerous works by composers including Handel, Haydn, Mozart and Bach.
Randal Turner was born and raised on a farm near Crawfordsville, Indiana, and currently lives in Zurich. He began studying music and ballet at the Interlochen Arts Academy in Michigan. He then studied voice at Oberlin under Richard Miller and subsequently at Indiana University with Dale Moore and Margaret Harshaw and is a former member the International Opera Studio in Zurich.
Corey was recently heard at the Castleton Festival in the title role of Gianni Schicchi and as Marcello in La bohème under the baton of Lorin Maazel. For the Lyric Opera of Chicago he has previously performed Belcore in L'elisir d'amore, Yamadori in Madama Butterfly, and Larkens in La fanciulla del West. Also an alumnus of Florida Grand Opera's young-artist program, Corey has been heard on their mainstage as Schaunard in La boheme.
A two-time national semi-finalist in the Metropolitan Opera National Council Auditions and a finalist in Houston Grand Opera's Eleanor McCollum Competition for Young Singers, Corey took fourth prize in the Florida Grand Opera Young Patronesses of the Opera Voice Competition. He is an alumnus of the Artist Diploma program at the University of Cincinnati College-Conservatory of Music; as well as of the University of Kentucky (M.M.) and Murray State University (B.M.).
Huang Ronghai has got many important prizes in competitions. In 2005, he becomes the winner of the pre-selection rounds in China of the Don Giovanni International Singing Competition, in the roles of both Don Giovanni and Leporello. He was the participator in the semi-final selection round in Verona, Italy. In 2008, he won the fourth prize in Mondial Chinese Vocalist Concours Taipei 2008. In 2009, he is the winner of the pre-selection rounds in China of the 6th Mirjam Helin International Singing Competition and participated in the semi-final selection round in Helsinki. In 2010, he won the second runner-up in the 1st Singapore International Vocal Competition.
In 2002, Huang Ronghai becomes the principal soloist of Shanghai Opera House. He take part in the opera compositions such as: La Bohème, La Traviata, Don Giovanni, Il Barbiere di Siviglia, Tosca, Turandot, Carmen, Die Zauberflote, Rigoletto, Gianni Schicchi, Le Nozze di Figaro and so on.
In the current season, Mr. Handley will make his Asian debut in Beijing, China at the National Centre for the Perfomring Arts as Basilio in Il barbiere di Siviglia, conducted by Lorin Maazel. He will make his Severance Hall and Carnegie Hall debuts with The Cleveland Orchestra in performances of Salome with Franz Welser-Most.
A fervent proponent of contemporary composers, Handley has delivered several world premieres, including the music of Scott Gendel and Dan Black with the Madison Contemporary Orchestra. He has been a guest artist with the Houston Symphony, the National Symphony with Leonard Slatkin, and the Chicago Symphony at Ravinia with James Conlon.
In April 2009, she entered the Centre de Perfeccionamiento Placido Domingo at the Palau de les Arts of Valencia (Spain) and took part in many events presented there: in a production of La scala di seta of Rossini conducted by Alberto Zedda she sang the role of Lucilla. She covered the role of Suzuki in Madama Butterfly conducted by Maestro Lorin Maazel and sang it on short notice to great success. She sang the part of Flora in all the performances of La Traviata, also conducted by Maestro Maazel.
In November 2010, Ms. Metlova won first prize in the International Singing Competition of Bilbao (Spain),under whose auspices she then sang in Seoul (Korea).
In 2011 she sang the principal role of Lucretia in Britten's The Rape of Lucretia in Berkeley (USA). In the Castleton Festival Production and at the Black Creek Festival in August 2011, with the London Symphony Orchestra, she sings Beethoven Symphony No. 9.
In September 2005 Dong Jun entered the Royal Academy of Music with a Kobler Award Scholarship as a Postgraduate singing student of Glenville Hargreaves and is coached by Jonathan Papp. He won the prestigious Richard Lewis/Jean Shanks Award in 2006 and joined Royal Academy Opera in the same year. In March this year he sang the role of Robert in the RAO production of Tchaikovsky's Iolanta. As a member of the RAM Opera Circle he took part in several concerts during the 2006-07 series receiving superlative reviews for his accounts of songs by Tchaikovsky and Rachmaninov.
His operatic roles have included Germont in La Traviata, Silvio in Leoncavallo's I Pagliacci and in 2004, in the Beijing premiere of Donizetti's Lucia di Lammermoor, he sang the role of Enrico. His concert performances have included the baritone solo in Beethoven's Ninth Symphony and the Brahm's Requiem.
He was chosen to sing the role of Count Almaviva in the RAO's Le nozze di Figaro directed by John Copley and conducted by Sir Colin Davis and during the summer of 2008 sang Jake in Stephen Medcalf's new production of Faniciulla del West for Grange Park Opera with the English Chamber Orchestra conducted by Rory Macdonald. Since September 2008, Wang Dongjun has become the Member of the Opera Studio, Oper Frankfurt.
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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.