"I am certain that after the dust of centuries has passed over our cities, we, too, will be remembered not for our victories or defeats in battles or in politics, but for our contribution to the human spirit"
John F. Kennedy
The Kennedy Center
The historic Malibran Theatre in Venice has reopened--two decades its closure for restoration.
Italy's President attended a gala concert of works by Verdi, Bolini, Wagner, attended by some 900 people, including politicians, cultural figures and Italian celebrities.
The Malibran will house the Venice Opera Company, which has been without a home since La Fenice was destroyed by fire in 1996.
La Fenice wiil be rebuild in 2003.
24 May, 2001
Premiere Performance of new opera "Moses" during visit of Pope John Paul II to Ukraine.
Lviv Opera and Ballet Theater in the name of Sofia Krushelnytska
The Lviv Theater celebrated its centennial in the fall of 2000. The Theater is a majestic, classical building decorated in a lavish style with detailed interior, which rises to a stunning hand, painted ceiling and an elaborate chandelier. The beautiful building. whose constaction began in 1896, dominates the Lviv central square. It is truly a marvellous work of architecture in which to have the world premiere of "Moses".
Polish News 20 June 2001
The fall 2001 seasons of the opera companies in San Francisco and Los Angeles opened their productions.
The Wall Street Journal wrote:"There are many opera fans for whom beautiful
singing is enough; I prefer good singers who can act. I enjoed the fine voices of Placido Domingo, Galina Gorchakova, Vladimir Chernov and Sergey Leiferkus in "The Queen of Spades" by Tchaikovsky, but as I
might have at a concert performance. My pleasure would have been far
greater if they had been better able to get inside Pushkin/Tchaikovsky's
fascinating characters and persuaded me that they cared about one another.
Sergey Larin and--especially--Olga Borodina (where would opera in America
be today without the Russians?) sang the roles of Samson and Dalila very
Baritone Timothy Noble, as the Philistine High Prist, and chorus sang
with geater emotional conviction than anyone else on stage.
Tchaikovsky's aging Countess and Wagner's evil Ortrud are frequently taken
on by sopranos past their prime: The parts are so juicy they hard to destroy. Even with broad wobbles, ugly sounds and off-target notes, both singers ....... managed to incarnate these two monstres sacrees with genuene gueso.
At the other extreme, I found almost nothing to fault musically in the Los Angeles "Lohengrin". Kent Nagano (conducting his first onstage Wagner) and the orchestra were sublime, the chorus all one could hope for.
Gosta Winbergh was the finest Wagnerian tenor I've heard in 20 years.
by David Littlejohn
"The Wall Street Journal"
October 9, 2001
The New York City Opera's production of Hendel's "Agrippina"
"Sly" and "Agrippina"
With more than 100 roles in his repertoire, Placido Domingo didn't need to add the additional, rather sparse scalp of Ermanno Wolf-Ferrari's "Sly" (1927) to his belt.
The Metropolitan Opera imported the production, staged not coincidentally by the star
tenor's wife Marta, from Washington Opera. This warmed-over, uneasy marrige of comedy and verismo falls short on both counts, and its music is neither dramatic nor alluring. Marco Armiliato was the competent conductor. Mrs.Domingo's obvious, visually dark production (sets and costumes by Michael Scott) remained clunky, generalized and amateurish, the caliber of the directing epitomized by the group of men in long duster coats who leaped up and down in unison during the tavern scene.
Compare this thoroughgoing mediocrity to Handel's ...."Agrippina" (1709). It's kind of Feydeau farce set in imperial Rome, but in its move from Glimmerglass to the New York City Opera, the Lillian Groag (director) and John Conklin (set design) production has pushed the comedy into vulgarity. In Mr. Conklin's familiar style, classical statues and architectural elements coexist with a modern lawn chair and cocktail shaker, and Jess
Goldstein's eye-caching costumes are contemporary luxe, but it all looked thrown together.
The show was substantially recast for New York. One improvement was Brenda Harris, whose rich dramatic soprano gave weight to the nasty, conniving Agrippina. Also impressive was Gregory Reinhart, making his company debut.
The orchestra, buttressed by a period instrument continuo ensemble and conducted by Jane Glover, was elegant.
"Sly" and Imperial Rome
by Heidi Waleson
The Wall Street Journal
17 April, 2002
A Salute to Franco Corelli
The Metropoliten Opera Guild's 68th Annual Luncheon Celebrates Franco Corelli
April 25, 2003 12:15 PM
The Waldorf-Astoria, NYC
Join celebration in the Grand Ballroom of New York's Waldof-Astoria on Friday,
April 25 for "Celebrate Corelli" a salute to the legendary tenor.
"Celebrate Corelli" will feature not only the celebrated tenor himself, but an impressive contingent of the wonderful artists who appeared at the Met with him.
Paying a spoken tribute to Franco Corelli will be Leontyne Price, who shared her 1961 Met debut with him.
The afternoon will also include a film tribute, featuring historic film clips of Corelli performances.
International Richard Wagner festival in Baureuth, Germany began Friday (July, 25, 2003) with opera
Politicians and celebrities were among the 2, 000 guests who head one of Wagner's most accessible work. The festival is held every summer in the southern town of Bayreuth where Richard Wagner lived.
190th anniversary of birth of the greatest composer of German opera
Richard Wagner's grandson Wolfgang Wagner with his family
at the opening ceremony of the 92nd Richard Wagner Festival.
The month-long festival will run until August 25, 2003.
The magnificent Franco Corelli
(1921 - 2003)
The magnificent Franco Corelli died at 82 in Milan last week.
First of all, he had a voice of truly sensual beauty, its ardent warmth like that of the Mediterranean sun. He looked as good as he sounded - his muscular physique and chiseled fratures made him the perfect
Born in Ancona, the son of an Italian naval shipbuilder, he grew up intending to become a maritime engineer. But once Mr. Corelli entered a Florence singing contest. To his astonishment, he took a prize, and was seriously encouraged to study voice.
Mr. Corelli debuted in Bizet's "Carmen" at Spoleto in 1951. Three
years later he bowed at La Scala, opposite Maria Callas, in landmark stagingof Gasparo Spontini's "La Vestale". la Scala became an operatic home, the Metropolitan Opera another: After his sensational 1961 debut there in "IlTrovatore", opposite another debutante, Leontyne Price, he became a pillar of the company for the next decade, singing major Verdi and Pucciniroles, not the least of them Calaf in "Turandot" - he and Bergit Nilsson would regularly raise the roof in that one.
Mr.Corelli sang with a rapid, fine-grained vibrato, the natural pulsation like that a violin or cello, typical of earlier 20th - century singers like Caruso. And it lent a flamelike urgency to his singing. In that veim, he would ,also, like Caruso , glide on his vibratobetween the notes of a melodic phrase -an expresive technique caled portamento. Mr.Corelli
knew how to impart additional pathos to a phrase with a weep in the voice. But he was never a lachrymose singer. And of course, there are the gleaming Corelli high notes, the top C in "Di quella pira" from "Il Trovatore" and the top C and final B-flat in the beautiful "Bianca al par" in the Italian version of Meyerbeer's "Les Huguenots". I treasure a pirate recording of his incendiary 1962 La Scala performance of this opera as I do his noble 1960 La Scala performance of Donizetti's Poliuto, opposite Callas.
..in the warmth of the spotlight, Mr.Corelli would instantly transform himself into the musical god his audiences adored.
..he was an extremely deliberate technician whose rock-solid technique enable him to sing the end of "Celeste Aida" with
full-throated attack of the final B-flat before miraculously diminishing the tone to a dulcet pianissimo. And he spent his life perfecting
his instument, taping each performance so he could listen and improve upon it.
He also taught privately. One student during the 1980s was the American tenor Neil Shicoff, who sings the formidable role of Eleazar in the Met's new production of Jacques Fromental Halevy's grand opera "La Juive" this week. "I did not work with him on particular music, but purely on vocal technique", recalls Mr.Shicoff.
Mr. Shicoff acknowledges that' I have heard wonderful tenors in my lifetime, with wonderful voices and high notes. But nobody, nobody
I ever heard live was like Franco Corelli.
The Wall Streer Journal,
4 November 2003
Barrymore Laurence Scherer
Metropolitan Opera honored the life and career of Franco Corelli
Ancona onora il suo Grande Tenore Franco Carelli
Dal 21 marzo fino al 12 aprile al Teatro delle Muse sara possibile
visitare la mostra multimediale sul tenore dorico Franco Corelli:l'esposizione comprende materiali di archivio della Rai, registrazioni, filmati, interviste, fotografie, locandine e manifest.
Le Muse per Corelli
Le Muse per Corelli, a tribute by the city Ancona in which Franco Corelli was born and the theatre
Teatro delle Muse which he inaugureted in 2002 when it reopened, promises to be one of the most significant celebration out of all those organised around the world to commemorate this unforgettable artist.
The commission for the first "Franci Corelli" International Award awarded prize to master Corrado Rovaris, for the level of the deep and intelligent contribution given to the Mozartian interpretation in the musical direction of the opera Il Re pastore, which opened the 2003-2004 Lyrical Season in
Ancona. Over and above considering the staging of the opera in its various constituting elements, the Award has anothe Impotant peculiarity: the winner receives an original sculpture which is crafted specially for the occasion by a great artist and which is different every year. Eliseo Mattiacci, one of the prominent figures of the renewwal of art since the Sixties, sculpted the piece for the first edition of the "Franco Corelli" International Award.
The second edition of the "Franco Corelli" International Award awarded the prize to soprano Carmela Remigio. She will have the concert in Teatro delle Muse on 26 April, 2006 in occasion of the Ceremony of delivery of the second edition of the International Prize assigned to the soprano for her interpretation of role Adalgisa "Norma" in Lyric Season 2004-2005
The winner will receive also a sculpture by Valeriano Trubbiani.
Carmela Remigio as Adalgise "Norma"
Teatro delle Muse, Ancona, Italy
Events that dedicates to Franco Corelli In Teatro delle Muse ( Ancona, Italy) will be until 05/7/2006
In season 2012 , La Scala presented Zefferelli's production of opera "Aida".
At the premiere, after the performance, the audience three times greeted with applause the participants of the opera, wonderful Jorge De Leon as Radames, Luciana D'Intino as passionate Amneris,
Ambrogio Maestri as Amanasro, and Oksana Dyka as Aida.
Magnificient Verdi's opera was show in all its glory.
Arena di Verona. The 90th Festival 2012
On July 28 and August 2, 2012 Placido Domingo was conducting opera "Aida" at the 90th Festival 2012 at Arena di Verona with cast: Aida - Oksana Dyka, Radames-Walter Froccaro, Amneris- Tichina Vaughn, Amonasro- Ambrogio Maesri.
The Puccini Festival 2012 in Torre del Lago, Italy.
Oksana Dyka as Tosca, opera "Tosca" at the Puccini Festival 2012.
On November 27, 2012 in Rome, Riccardo Muti opened the season dedicated to Giuseppe Verdi, ahead of the 200th Anniversary of the birth of Italian composer, which will be celebrated in October 2013, with a performance of opera "Baccanegra" at the stage of opera di Roma. Italian government officials have attended the performance.
Michael Mayer's new production of opera "Rigoletto" at Metropolitan Opera.
It seems that Mayer does not like Verdi very much. After this kind of production Verdi could only ask about Mayer - "Does know this water-fly?" (from "Hamlet")