Venue
Dates
Duration
Approximate 210 mins (Intermission Included)About
Synopsis
Conductor
Artist
Presenter
Le Nozze di Figaro is one of the most famous operas created by Mozart in 1786 during the summit of his composing life. The libretto was adapted by the court poet Lorenzo Da Ponte from the same-title novel written by the French comedy writer Pierre Beaumarchais. The Enlightenment writer has written three comedies setting the background in Spain, The Barber of Seville, Le Nozze di Figaro and Sinful Mothers, the major roles and the plot of which are consistent. Le Nozze di Figaro was written in a witty and ironic tone to reflect the raising social status of the French civilians, who were in the third class at that time. The fresh, humorous and vivid plot extols the triumph between the people and the hypocritical aristocrats. The whole story is written in a bright humor with a circuitous and lively plot, which expresses its anti-feudal attitude while colored with strong and flexible comedy effect.
It takes Mozart two years to compose the work painstakingly. The whole opera features witty and brisk tones, retaining the artistic style of its original novel. The story sets its music on the sharp contrast between the folly and dissipated noble and the smart servant Figaro, molding such vivid roles as vibrant and witty Figaro, elegant and implicit Countess Rosina, intelligent and cute Susanna, and so on. The music in this opera, like the overture, Figaro's aria Non Piu Andrai, Rosina's aria, as well as the duo, all have become unfading classics thriving through years.
Le Nozze di Figaro premiered at Vienna Burg Theater on May 1st 1786, the conductor was Mozart himself. A theme being too vanguard for the social culture at that time, some nobles resented it and even the Vienna Emperor asked him to revise the plot under high pressures, despite the fact that the Emperor loved the work very much. The German version of the opera was put on in Berlin in 1790.
NCPA's production of Le Nozze di Figaro will premiere on August 15th 2013. The director Mr.Jose Luis Castro, who comes from Seville where the story happens and thoroughly understands the local history and culture, will definitely enrich the opera by adding some original elements of Seville city . The director substitutes the theme of love for rights and politics. The elements of love are embodied through the roles and lie in every corner of the stage. Different patterns of love are shifting and sublimating among roles as the story continues, which surpasses the limit of the time and space and brings the audience an endless aftertaste.
Figaro, a servant of the Count Almaviva and Susanna, a maid of the Countess Rosina are to get married. When Figaro is happily preparing for their wedding, Susanna tells him that the Count has an evil intent in giving them the new wedding room; it seems he has been making advances toward her and plans on exercising his 'droit du seigneur', the purported feudal right of a lord to bed a servant girl on her wedding night before her husband can sleep with her. The Count had the right abolished when he married Rosina, but he now wants to reinstate it. A light breaks in upon Figaro after he knows this, and they plan to expose his scheming. Marcellina, the old housekeeper has all the way been longing to marry Figaro since Figaro once promised to marry her if he should default on a loan she had made to him, and she intends to enforce that promise. This idea is proposed by Dr. Bartolo who is seeking revenge against Figaro for thwarting his plans to marry Rosina himself ten years ago. Cherubino, a young beau in the residence of the Count, flirts with all the women he meets, describing his emerging infatuation with them all day long; Basilio, the slimy music teacher, gossips anywhere and anytime; besides, there are also a muddle-headed judge, a drunken gardener, and of course the Countess Rosina who is always alone at night. All kinds of roles appear one after another, and the match between the noble and the mass begins. At last, the lower class who is cleverer and braver triumph and manage to embarrass the Count in the presence of all.
Lu Jia is the opera director of NCPA, principal conductor of NCPA Orchestra, music director & chief conductor of the Macao Orchestra, and artistic director of Santa Cruz de Tenerife Symphony Orchestra, Spain. Mr. Lu has been the Music Director of the Arena di Verona, the world's largest open-air opera theater, and principal conductor for the Trieste Opera, Tuscany Regional Orchestra in Florence, Lazio Chamber Orchestra in Rome, and Sweden's Norrkoping Symphony Orchestra. He has also been a frequent guest conductor with the Hallé Orchestra and Bournemouth Symphony Orchestra in England, the Dortmund Opera House in Germany, and the Milan Giuseppe Verdi Symphony Orchestra in Italy.
Mr. Lu has conducted two thousand concerts and operas in Europe and the Americas, and has cooperated with more than one hundred opera houses and orchestras, including the Bayerische Staatsoper in Munich, the Deutsche Oper Berlin, and La Scala in Milan, as well as opera houses in Lausanne, Turin, Rome, Naples, Verona, Venice, Florence, Frankfurt and Stuttgart. He has also worked with the Berlin Broadcasting Symphony Orchestra, Hamburg Radio Symphony Orchestra, Leipzig Gewandhaus Orchestra, Munich Philharmonic, Bamberg Symphony, Chicago Symphony Orchestra, Italy's RAI National Symphony Orchestra, Rome's Orchestra dell'Accademia Nazionale di Santa Cecilia, England's City of Birmingham Symphony Orchestra, Norway's Oslo Philharmonic, Lyon National Orchestra in France, Finnish Radio Symphony Orchestra, all the major orchestras in Australia, and the Hong Kong Philharmonic Orchestra.
Opera has always played a special role in Lu Jia's career. In Italy and Germany, homelands of the European opera tradition, he has directed nearly fifty operas. As the first Asian conductor to serve as director of a nationally-recognized opera company in Italy, he was praised by one Italian music critic as 'a conductor who understands Italian opera even better than Italians do'. In September of 1989, he won First Prize and the Judges' Prize in the 'Antonio Perdrotti' International Conducting Competition in Italy, which is his entrée into a conducting career. In 1998, he conducted Giuseppe Verdi's classic opera La Traviata, which was recognized as the best conducting performance in Italy's Macerata Opera Festival. In 2005, in recognition of Lu Jia's prominent contribution to Italy's music culture, he was awarded the President's Cup by the President of the Italia, Giorgio Napolitano. In 2008, the La Gazza Ladra conducted by Lu Jia was named Best Opera of the Year in the Rossini Opera Festival in Pesaro in Italy.
From 1994 to 2004, he was in charge of the direction work of the Arsenal Theatre. Since 1996, he has directed several operas describing the city of Seville in the Arsenal Theatre, including Rossini’s Il Barbiere di Siviglia and Mozart's Le Nozze di Figaro, which have been staged in all the major theatres in Spain, France, Switzerland, Italy and USA afterwards.
While still a young Academy student he started working as assistant set designer in various opera productions for Italian theatres such as the Teatro dell’Opera in Roma, the Teatro Massimo in Palermo and the Teatro G. Verdi in Trieste.
Since 1994 he has designed the scenery for numerous productions ranging from opera to theatre and from dance to musicals. Among his works for the opera he has designed the scenes for Madama Butterfly at the Palacio de Festivales in Santander, La Traviata at the Teatro Verdi in Pisa and Les Contes d’Hoffmann at the Festival de Perelada directed by Lindsay Kemp, and La Voixe Humaine at the Opera de Tenerife directed by Roman Calleja. Notable plays include Sleuth by Antony Shaffer, directed by Glauco Mauri for the Teatro Valle in Rome and Copenhagen by Michael Frayn, directed by Roman Calleja at the Teatro Clasico in Madrid. Among his designs for dance he opened the ballet season at the Teatro San Carlo of Naples with The Sleeping Beauty choreographed by Dominic Walsh. He created the scenes for Zayed and the Dream for the Caracalla Dance Theatre and for the Ballet Flamenco de Andalucía he designed the scenes for Viaje al Sur choreographed by Cristina Hoyos, which was opened at the Gran Teatro di Cordoba. His designs for musicals include Hair by Golt MacDermot, James Rado and Gerome Ragni, directed by Ned Grujic, at the Theatre Le Trianon in Paris, and Gian Burrasca by Nino Rota and Lina Wertmüller, directed by Bruno Fornasari, which was opened at theTeatro Fraschini in Pavia, Italy.
Since 1989 he has worked with Ezio Frigerio, with whom he has designed sets for over thirty productions in major international theatres such as the Opéra de Paris, the Mariinsky Theatre of St. Petersburg, the Royal Opera House, the Gran Teatro del Liceu, Teatro alla Scala in Milan, and the Metropolitan in New York.
For director José Luis Castro, in addition to Le Nozze di Figaro, he has designed the scenery for La Bohéme by Giacomo Puccini and L'état de siège by Albert Camus.
In addition to designing scenery for the theatre, he is also involved in exhibition design, most recently for "Rudolf Nureyev: A Life in Dance" for the Fine Arts Museum of San Francisco.
The 90s of the last century saw him work in The Opera Bastille, National Theatre of Prague, Festival of Aix En Provance, Ravenna Festival, the Opera of Monte Carlo, Opera of Geneva, Maggio Musicale Fiorentino, Festival Baroque de Versailles, Opera Garnier in Paris, Easter Festival in Salzburg, Teatro Liceu in Barcelona, Atticus Theater in Athens, Ginza Saison Theater in Tokyo, Arena di Verona, Venice Biennale Theatre section, Theater of the axes of Brussels, Amsterdam Opera, Teatro Comunale di Bologna, Teatro dell'Opera in Rome, National Theatre of Catalunya in Barcelona, Opera of Toulouse, Teatro Real Madrid, Metropolitan in New York and collaboration 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 millennium, 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. Last year, he set up La donna del lago.
of Rossini directed by Luis Pasqual with scenes by Ezio Frigerio and costumes by Franca Squarciapino; Boris Godunov of Teatro Regio di Torinon directed by Andrei Konchalovsky.In the beginning of 2011, he worked in Senso, a new opera of Teatro Massimo di Palermo directed, scenes and costumes by Hugo de Ana. Vinicio Cheli also taught theatrical lighting at the New Academy of Fine Arts in Milan and at the Professional School of La Scala.
Having studied classic and modern dance in the famous Teatro alla Scala in Milan, Alessandra Panzavolta continued her study in and graduated from Royal Academy of Dance in London under the artistic direction of Ms. Margot Fonteyn. While studying music, she also obtained the bachlor’s degree in foreign langauge and the humanities. She became a solo dancer when she was 15, and debuted in Tavolo Verde of Joss in Teatro Filarmonico. She has performed in many events and tours in foreign countries in three years mainly including theatres in Italy and Europe. In 1990, she was recommended by the Ministry of Cultural Heritage and Activities of Italy to perform as the dance representative of Italy in tours from Milan, Rome to Morocco, New York, Moscow and Tokyo. She started her career as a choreographer in Rome Opera House where she cooperated with such artists as Pistoni, North, Kokkos, Pieralli, Pizzi and Laganá. In 1995, she co-authored El Retablo di Maese Pedro and Il Cordovano in Reggio Emilia with Sagi, and re-staged Massenet's opera Werther in the same place. From 1996 to 1997, she was invited to attend the Rossini Opera Festival in Pesaro and Wexford Opera Festival, and directed Carmen for tour performance. In 1998, she participated in Macbeth directed by Riccardo Muti to celebrate the 220 years' inauguration of Teatro alla Scala. In 1999, she re-staged I Capuleti e i Montecchi for Politeama Theatre in Lecce and Il Barbiere di Siviglia and Le Nozze di Figaro under the cooperation with José Luis Castro and Maestranza Theatre in Siviglia. Between 1995 and 1999, she worked as the Artistic Director of Italy Professional Dance School and a sign language teacher in the mime and drama department of Universitá Cattolica in Milan. Since 2001, she has been the production director of Maestranza Theatre in Siviglia, and involved in direction and chereography. She recently worked in Teatro Olimpico in Vicenza, Teatro Real in Madrid, Teatro Comunale in Modena and Teatro La Fenice in Venice.
Alessandra Panzavolta has been the head of the corps de ballet since September, 2010.
He is a fine interpreter of Rossini and Donizetti operas. Recent highlights include Dandini in La Cenerentola in Nancy, Haly in L'Italiana in Algeri with the Bayerische Rundfunk Orchester Munich under Marcello Viotti, Taddeo in Lille and Montpellier, Raimbaud in Le Comte Ory at the Royal Concertgebouw, Don Alvaro in Il Viaggio a Reims at La Monnaie, Germano in La Scala di Seta with Freiburger Barockorchester under Cremonesi.
Also a notable performer of Baroque repertoire, he has sung Testo in Monteverdi's Combattimento di Tancredi e Clorinda for the Berlin Staatsoper and Florian Gassmann's opera L'opera Seria at the Théatre des Champs-Elysées in Paris, both under René Jacobs, Giove in Il Ritorno di Ulisse in Patria and Achilla in Giulio Cesare in Lausanne.
Highlights of his forthcoming engagements include Count for Opéra de Rouen, Haly in L'Italiana in Algeri and Dandini in La Cenerentola for Opéra National de Paris and Taddeo in L’Italiana in Algeri for Opéra National de Bordeaux.
Upcoming engagements include Frau Fluth in Die Lustigen Weiber von Windsor with Opera de Lausanne Switzerland, Beethoven's C-Dur Messe and Bach's Cantatas with the Bachakademie Stuttgart, a return to Royal Scottish National Orchestra for Mahler Symphony No. 2with Maestro Peter Oundjian, and Cleopatra in a new production of Handel's Giulio Cesare at the Komische Oper Berlin.
Zhou ZhengZhong joined the Jette Parker Young Artists Programme at the Royal Opera House Covent Garden in September 2010, where roles included Marullo in Rigoletto, Paris in Roméo et Juliette, Runner in Anna Nicole, Bruehlmann in Werther, Sciarrone in Tosca, Yamadori in Madama Butterfly, Valentin in Faust, Second Nazarene in Salome and Gelsomino and Zefirino in Il viaggio a Reims. ZhengZhong also covered Mercutio in Roméo et Juliette, Albert in Werther, Count Almaviva in Le nozze di Figaro, Marcello in La bohème and Il Barone di Trombonok in Il viaggio a Reims at Covent Garden. He sang Des Grieux in Le Portrait de Manon in Meet the Young Artists Week 2011 and Fauré Requiem for The Royal Ballet.
Operatic engagements outisde ROH include Morales in Carmen and Count in Le nozze di Figaro for Shanghai Conservatory of Music, Ambrogio in Il Barbiere di Siviglia in China and Japan, Un Conte de No l for CNIPAL at the opera houses of Avignon, Marseille and Toulon and Lackey in Der Rosenkavalier for Opéra de Marseille.
After leaving the JPYAP Programme, Zhou ZhengZhong won 3rd prize in the Toulouse singing competition and joined the Deutsche Oper Berlin at the start of the 12/13 season. Plans this season and beyond include Flemish Deputy in Don Carlo for Covent Garden and Opéra de Toulouse, Sir Riccardo Forth in I Puritani and Poet in Il Turco in Italia for Opera de Santiago, Silvio in I Pagliacci in Monte Carlo and Count Almaviva in Le nozze di Figaro for NCPA.
The Italian baritone made his debut in 2002 at the Teatro del Giglio in Lucca (Beaupertuis in Il Cappello di paglia di Firenze of Nino Rota) and afterwards, he has played several roles with a particular predilection for Mozart's, Rossini's and Donizetti's operas.
His recent activities – season 2012-13 - have included Roméo et Juliette (Mercutio) at the Carlo Felice in Genoa (conductor Fabio Luisi; recorded on CD and DVD by Decca) ; Il barbiere di Siviglia (Figaro) at the Opera di Roma; L'elisir d'amore (Belcore) at the Teatro la Fenice in Venice ; L'heure espagnole and L'enfant et les sortilèges at the Teatro Massimo in Palermo; Il Trovatore (Conte di Luna) at the Ravenna Festival and Ernani (Don Carlo) at the Teatro Ponchielli in Cremona.
He also has just given his role debut in Don Giovanni (title role) at the Teatro Comunale in Florence under the baton of Zubin Mehta.
Other engagements include Don Pasquale (Malatesta) at the Teatro Real in Madrid (conductor Riccardo Muti) and at the Opera di Roma.
Her repertoire includes: Cimarosa's Matrimonio Segreto (the Ravenna Festival), Martin y Soler's Una cosa rara (the Konzerthaus in Vienna), Mozart’s Don Giovanni as Elvira (San Francisco Opera and La Fenice in Venezia), Le nozze di Figaroas Contessa (Teatro Massimo di Palermo, Stadt Theatre di Klagenfurt), La Clemenza di Titoas Vitellia (Stadt Theatre in Klagenfurt, Graz), Cherubini’s Medea(the Massimo Bellini in Catania). She also performed Rossini's Semiramideat the San Carlo di Napoli and at the Liceu in Bacelona.
From the early XIX Italian composers she performed in several Donizetti′s operas like Olivo e Pasquale (Tokyo and the Teatro Sociale di Como), Lucrezia Borgia at La Scala in Milano, Maria Stuardaas Maria at the Sterisferio in Macerata, Opera di Montecarlo, Wiesbaden, and Staastoper in Berlino, and as Elisabettaat La Scala, La Fenice and Bellini in Catania, Roberto Devereuxat the Teatro Municipal in Santiago, Liceu in Barcelona, Auditorium Baluarte in Pamplona, Opera di Lyon and Théatre des Champs-Elysées in Paris, and Anna Bolenaat the Liceu in Barcelona, and Lleida.
She also performed Bellini's operas Beatrice di Tenda as Agnese at La Scala, and Norma at Teatro dell'Opera in Roma (Caracalla), Teatro Colon in Buenos Aires, Palm Beach in Florida, Teatro Comunale di Bologna, Teatro Municipal inSantiago, Teatro Argentino in La Plata, Teatro Principal di Mallorca, Opéra de Vichy, Opera de Massy, Teatro Comunale di Messina, and San Pablo in Brazil.
As for Verdi's operas, she performed Simone Boccanegra at the Teatro Colon in Buenos Aires and Teatro Lirico di Cagliari, Don Carlo at the Colon, Municipal Santiago (Chile) and the Nederlandese Opera in Amsterdam; Il Trovatore at Teatro Petruzzelli di Bari, Liceu di Barcellona, Teatro Llotja de Lleida, Teatro Muncipal in Lima (Peru), Un ballo in maschera, La Forza del destino (at the Teatro Colon di Buenos Aires and the Liceu di Barcellona) and Aida(Teatro Municipal di Lima).
From the later Italian XIX and XX century, Liuin Puccini's Turandot, Mimi inLa Boheme at the Teatro Cervantes in Malaga, and Tosca at the Teatro Solis in Montevideo, Teatro Comunale Pavarotti in Modena, Teatro Comunale Ferrara, Teatro Comunale in Piacenza. Mascagni's Guglielmo Ratcliff at the Teatro Grande di Livorno, Lucca and Sociale di Mantova, and Andrea Chénier at the Teatro Argenino in La Plata. She also sung Prokofiev's Maddalenaat the Accademia di Santa Cecilia in Rome, la Petite Messe Solenelle and the Cantate per I Borboni at the Rossini Opera Festival in Pesaro, Schubert's Mass in C Minor at the Teatro Filarmonico di Verona, Richard Strauss's Four Last Songs and Mahler's Fourth Symphony at the Toscanini Foundation in Parma, Beethoven's IX Symphony, Mendelsshon's Lobegesang at the Teatro Comunale di Cagliari and Verdi's Messa di Requiem at the Teatro Colon in Buenos Aires.
Maria Pia Piscitelli has worked with first rate conductors and stage directors as Jordi Savall, Evelino Pidò, Yves Abel, Renato Palumbo, Pier'Alli, Hugo de Ana, Jonathan Miller, Pierluigi Pizzi.
Ms. Xu made her Met debut in 2010 as the First Priestess in the Met HD TV broadcast production of Iphigénie En Tauride, where she performed with such artists as Plácido Domingo and Susan Graham. She also performed Echo in Ariadne auf Naxos with Fabio Luisi conducting. Ms. Xu's engagements in 2011 with the Met include Dew Fairy in Hansel And Gretel and covering the role of Helena in the new production of Enchanted Island in December. In 2012, Ms. Xu appeared on the Met stage as the First Bridesmaid in Le Nozze di Figaro, A singer in La Rondine and A flower maiden in the new production of Wagner's Parsifal, sharing the stage with such artists as Jonas Kaufmann and Réne Pape.
From Auguest 2010 until January 2011, Ms. Xu performed Pamina in the legendary stage director Peter Brook's production of Mozart's Une Flute Enchantée in Paris at the Théatre des Bouffes du Nord. In the summer of 2011, Ms. Xu sang Barbaria in Le Nozze di Figaro with James Conlon conducting the Chicago Symphony at the Ravinia Festival. She was also scheduled to perform with James Colon again to sing Papagena in Die Zauberfloete in the summer of 2012. In the same summer, Ms. Xu performed the role Blanche de la Force in Les dialougues des Carmélites in Tel Aviv IVAI summer festival.
Ms.Xu made her Avery Fisher Hall debut in 2012, where she performed Berlioz's Les Nuits D'été with Emmanuel Villiaum. Her Alice Tully Hall debut was in 2010, where she performed Handel's 'Salve Regina' (HWV 241) with William Christie. Her recital works also include a performance in Miami with pianist Ken Noda and clarinetist Alexsander Fiterstein at Friends of Chamber Music in may 2011. This very concert has been reviewed the best concert of the year by 'South Florida Classical'.
Ms. Xu's future engagement includes the leading role Diana in composer Huang Ruo's opera Bound in Houston Grand Opera 2014 season for the world premiere; Norina in Don Pasquale, Role debut in Beijing National Centre of performing arts; Messiah with Nashville Symphony Orchestra; Mozart requiem with Santa Cruz Orchestra and Vier Lezte Lieder with Busan Symphony Orchestra in Korea.
Between 2000 and 2002, trained as a voice teacher in Bratislava. In 2002, scholarship from the University of Music and Drama in Graz. In Graz that she also took her first step on the operatic stage, singing 2nd Lady in The Magic Flute and Ramiro in La Finta Giardiniera at the city's 'Theater im Palais'. 2005/06 member of Bavarian State Opera's Young Artists Programme. 2006/07 to 2008/09 member of the opera ensemble at the theatre in Heidelberg. Roles in Heidelberg included Cherubino in Le Nozze di Figaro, Charlotte in Werther, Sesto in La Clemenza di Tito, Idamante in Idomeneo, Rosina in Il Barbiere di Siviglia as well as Vivaldi roles (Ramiro in Motezuma, Megacle in L'Olimpiade, Lucio in Tito Manlio). Since 2009/10 company member at the Deutsche Oper Berlin. Roles in Berlin include Rosina, Cherubino, Fenena in Nabucco, Hansel in Hansel und Gretel, Mercédès in Carmen, Flora in La Traviata, Zerlina in Don Giovanni, Mélisande in Pelléas et Mélisande, Ascagne in Les Troyens. In January 2011 she sang Idamante at the National Theatre in Prague; in March 2011 Cherubino at the Badisches Staatstheater Karlsruhe.
Regular concert appearances have taken her to the Heidelberger Schlossfestspiele, the Philharmonie Essen, the Queen Elisabeth Hall in Antwerp amongst others.
Ever since its establishment, the Chorus has actively performed in more than 20 operas of NCPA production, such as NCPA's original operas Xi Shi, The Chinese Orphan, and The Ballad of Canal, as well as other classical operas in and out of China: The White-Haired Girl, The Red Guards on Honghu Lake, Le Nozze di Figaro, Il Barbiere di Siviglia, L'italiana in Algeri, Rigoletto, La Traviata, Otello, Der Fliegende Hollander, Lohengrin, Carmen, Turandot, Tosca, etc. Its artistic quality receives rave acclaims from both the critics and the audience.
Besides operas, the Chorus has participated in many grand vocal works and themed concerts, such as Beethoven's Symphony No. 9, Mahler's Symphony No.2 and No.8, and the grand music and dance epic Road to Revive, etc. As NCPA's resident chorus, it has been to Singapore, South Korea, Hong Kong and Japan to participate in performances and arts exchange, both to wide acclaims.
The Chorus has cooperated with many well-known artists ever since its establishment, receiving high praises from them all. Plácido Domingo once said it was his honor to cooperate with these talented young artists; Lorin Maazel ever praised it "a chorus full of passion", so and so forth. On the stage of NCPA, the Chorus has cooperated with such directors as Francesca Zambello, Giancarlo Del Monaco, Chen Xinyi, Cao Qijing, Liao Xianghong, such conductors as Lorin Maazel, Daniel Oren, Lu Jia, Li Xincao, Zhang Guoyong, such singers as Plácido Domingo, Leo Nucci, Inva Mula, Brandon Jovanovich, Dai Yuqiang, Wei Song, Warren Mok, He Hui, Dilbèr, Zhang Liping, to name just a few. With more than a hundred performances each year, the Chorus is surely to play an active role in the further development of NCPA.
The NCPA Orchestra demonstrates an abiding commitment to high levels of artistic excellence and prides itself on its long-term collaborations with the finest musicians of our day. Artists associated with the orchestra in the past two years include Lorin Maazel, Christoph Eschenbach, Vladimir Ashkenazy, Yan Pascal Tortelier, Gunter Herbig, Gilbert Varga, Lang Lang, Stephen Kovacevich, Leo Nucci, Wang Yuja and Han-Na Chang. Maestro Lorin Maazel praised the orchestra as 'a hard-working excellence with great passion' after a series of concerts and the NCPA's new La Traviata in June 2010.
In its first season of 2011, China NCPA Orchestra gained critical acclaim for its performances in NCPA's new productions of Tosca (Directed by Giancarlo Del Monaco), Il Barbiere di Siviglia (co-produced with Castleton Festival), Die Fledermaus, and a new composed opera The Chinese Orphan. Apart from that, the orchestra was also deeply involved in NCPA's 2011 Gustav Mahler Project. Under the batons of maestros including Christoph Eschenbach, Yoel Levi, Jun Maerkl and Chen Zuohuang, the orchestra completed Mahler's Symphonies No. 1, 2, 3, 8 and 10.
In the season of 2012, China NCPA Orchestra won a highly successful acclaim for two NCPA's new productions: Der Fliegende Hollander and Lohengrin, both Wagner’s operas were Chinese premiere. It continually collaborates with prominent musicians around the world for concert programs, including Maestro Vladimir Ashkenazy, Yan Pascal Tortelier and the legendary pianist Rudolf Buchbinder.
In addition to its extensive domestic performances, the NCPA Orchestra also received a widespread international praise in 2012. The orchestra was invited by Kissingen Summer Music Festival and Schleswig-Holstein Musik Festival in July 2012, and kicked off his first German tour in Nürnberg, Hamburg and Berlin under the baton of Christoph Eschenbach and Chen Zuohuang. This was followed by a successful concert at the Sydney Opera House with Maestro Chen Zuohuang in November.
In the season of 2013, the NCPA orchestra presents colorful programs on the commemoration of Wagner, Verdi and Britten, highlighting the Ring without words with 12 principals from Berlin Philharmonic under the baton of Lorin Maazel. NCPA’s new opera productions that the orchestra is involved include Les Contes d’Hoffmann, Otello and Nabucco, which features her second successful collaboration with Placido Domingo.
The NCPA orchestra aims to build up a world-class orchestra with operation and management conforming to global practices while incorporating Chinese characteristics. Devoted to educational and outreach activities, the Orchestra also has presented a series of Weekend Matinee Concerts since its establishment. With specially selected repertoire, performances of high quality and extremely low ticket prices, these concerts have won great acclaim from both audience and critics. The orchestra is now embarking on a similar path with the complete Beethoven symphonies with Maestro Lu Jia.
Box officeNorth Gate of NCPA, No. 2 West Chang'an Avenue, Xicheng District, Beijing, China
Tickets collection hours9:30-19:30 (CST) on performance day
9:30-18:00 (CST) for days without performance
Booking line+86 10 6655 0000
Booking hours9:30-18:00 (CST) Monday to Friday
We make every effort to ensure the accuracy of the information, however the hours, prices, and program details may vary due to last minute changes.
WHAT'S ON
CALENDAR Full Calendar
GENREOperaConcertDance & BalletTheatreChinese Traditional Opera
Festivals & Series* NCPA May Festival 2024* NCPA Piano Virtuosos 2024* Charm of China—Maestros of Chinese Traditional Music
PRODUCTION
ProductionsRepertoireFilmsVideos
Resident CompaniesChina NCPA OrchestraChina NCPA Chorus
VISIT
Explore NCPA Buildings Exhibitions
Visit Info Opening Hours Guided Tours Services Getting Here
Dine&Shop Western Cuisine NCPA Café Arts Gifts
EXCHANGE & EDUCATION
NCPA & The World The Moment Arts Exchange Events World Music Series Co-operative Organizations
Education & Outreach Weekend Concert Classic Arts Lecture Enter the World of Record Taihu Weekly Concert Outreach
ABOUT US
THE NCPA Facilities Membership Philosophy Leadership Contact Us Operation
Tickets and Information:8610-6655 0000
No.2 West Chang'an Avenue,
Xicheng District,
Beijing, P. R. China
© Copyright 2024 China NCPA
Search
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.