Ópera Nacional De Bucarest Vídeos
- Bucarest
- Rumania
Última actualización
2024-05-09
Actualizar
Mikis Theodorakis Lungu Haja Munteanu Gabriela Sima Opera Națională București 2022
Jurnal de Festival Bucharest Opera Festival 27.06.2022 „Zorba” de Mikis Theodorakis Opera Națională Română Cluj-Napoca Distribuție: Dirijor: Vladimir Lungu Coregrafia, libretul și conceptul scenografic: Lorca Massine (invitat) Pregătirea coregrafică: Dan Haja Adaptarea scenografică: Valentin Codoiu Preluarea scenografică: Magdy Hawash Dirijor cor: Corneliu Felecan Zorba: Dan Haja John: Mircea Munteanu Marina: Andreea Jura Manolio: Augustin Gribincea Madam Hortance: Gabriela Sima Ansamblul de Balet al Operei Naționale Române Cluj-Napoca Marina: Iulia Merca Orchestra și Corul Operei Naționale Române Cluj-Napoca Video: Virgil Oprina/ Opera Națională București
Una Hale Hale André Turp Puccini Tales Hoffmann Lennox Berkeley Richard Strauss Carl Rosa Opera Company English Opera Group Covent Garden Romanian National Opera 1922 1946 1949 1954 1956 1958 1960 1961 1962 1963 1964
The Australian soprano, Una Hale was born in Adelaide on November 18th 1922 and, in 1946, won the South Australia ABC Concerto and Vocal Competition in Adelaide. Her family moved to London and she was awarded a two-year scholarship at the Royal College of Music and was soon singing leading roles with the Carl Rosa Opera. She appeared with the Carl Rosa Opera Company from 1949 to 1954.Her début at the Royal Opera House, Covent Garden, was as a guest in the first post-war production of Carmenand she joined their full-time ensemble in 1954, appearing in fifteen major roles, and many minor ones. In her second season there, she sang fifty-six performances! It is universally accepted that her finest role was as the Marschallin in Der Rosenkavalier (her début in the role was in 1958) but she was also particularly noted for her portrayals of Ellen Orford in Peter Grimes, Eva in Die Meistersinger von Nürnberg, Countess Almaviva in The Marriage of Figaro, Elisabeth in Tannhäuser, Mimi and Musetta in La bohème, Madame Lidoine in Dialogues of the Carmelites, Antonia in The Tales of Hoffmann, Micaëla in Carmen, Liu in Turandot and Cressida in Walton’s Troilus and Cressida. She repeated her Marschallin during her last season there in 1961. In 1956, she portrayed Naomi in the world première of Lennox Berkeley’s opera, Ruth, mounted by the English Opera Group. In 1962, Hale returned to Australia as a guest for the Elizabethan Trust Opera and sang the title role in the Australian première of Richard Strauss’s Ariadne on Naxos on March 23rd of that year. That same season, she also portrayed Donna Anna in Don Giovanni and Alice Ford in Falstaff. Returning to the UK, she sang Ellen Orford in a new production of Peter Grimes. The production opened in April 1963 in Oxford, arriving at Sadler’s Wells Theatre on 16 October. It was a memorable night in the theatre – where the opera had been premiered eighteen years before – with the composer in the audience and fellow Australian tenor Ronald Dowd as Grimes. From 1963 to 1964, she sang Ellen Orford and Tosca with the Sadler’s Wells Opera, and Tosca and the Marschallin with the Romanian National Opera. From a BBC broadcast on June 8th, 1960, we hear Una Hale in the Act One duet from Puccini's TOSCA (sung in English) with the Canadian tenor André Turp. The BBC Variety Orchestra is conducted by Paul Fenoulhet.
Traian Grozăvescu Steiner Caruso Maschera Assad Saba Bern Bizet Romanian National Opera Vienna Volksoper Odeon Staatsoper 1876 1895 1896 1920 1923 1924 1926 1927 1954 1958
Traian Grozăvescu +••.••(...)) was a gifted Austro-Hungarian (later Romanian) tenor whose promising career was cut short by his tragic and untimely death. Born in Lugoj to a choral singer and his wife, Grozăvescu enrolled in law school in Budapest, but soon switched his focus to music. His studies were interrupted by the outbreak of WWI and the aspiring singer found himself at the European front serving as an artillery officer. Grozăvescu was captured as an enemy spy and spent a year in a POW camp. After his release, he made his way to Cluj, where he resumed his studies and began singing in the chorus of the newly formed Romanian National Opera. The tenor’s solo debut with the company occurred on Christmas Day, 1920 as Pinkerton in Madama Butterfly. Grozăvescu spent the next three seasons in Cluj, singing a variety of roles including Cavaradossi in Tosca, Don José in Carmen, the title role in Faust, Canio in Pagliacci and Turiddu in Cavalleria Rusticana. It was the last pair of roles that led to Grozăvescu leaving the National Opera in 1923. When management expected him to sing both roles in the same evening (for the same pay as a single role!), the tenor refused to appear, creating quite a scandal. Although Grozăvescu remained popular with the public in Cluj, he never sang with Romanian National Opera again. After the scandal in Cluj, Grozăvescu travelled to Vienna to pursue further vocal studies with baritone Franz Steiner +••.••(...)). He accepted an offer from the Vienna Volksoper and made his debut there as Canio in Pagliacci on July 10, 1923. In March of the following year, he was engaged by the Vienna Staatsoper, making his debut there as Rodolfo in La Bohème. By now, Grozăvescu was married to Nelly Kövesdy +••.••(...)), daughter of business magnate Teodor Kövesdy. Unfortunately, the tenor’s wife was a manipulative woman who insisted on controlling every aspect of his life. Nelly Grozăvescu was also a jealous woman who frequently accused her husband of extramarital affairs. Grozăvescu eventually realized that the marriage was a mistake but, in order to maintain peace, passively allowed his wife to handle his professional and personal business. When things became intolerable at home, the tenor sought refuge in his work…and in Viennese nightlife. After most performances, Grozăvescu would relieve his stress by eating, drinking and carousing at his favorite cafes. Although this excessive behavior caused the formerly trim and handsome young artist to grow rather portly, he still enjoyed the company of his adoring female fans, giving his wife Nelly even more reason to suspect him of infidelity. In spite of his domestic woes, Grozăvescu built an impressive career and was even hailed as the successor to Caruso. He continued to add roles to his repertoire including Vasco in L’Africaine, Radames in Aïda, Riccardo in Un Ballo in Maschera, Edgardo in Lucia di Lammermoor, Assad in Die Königin von Saba and the title roles in Andrea Chénier, L’Amico Fritz and Ernani. Frequent guest appearances in Bucharest, Salzburg, Bern, Prague, Budapest, Oslo and Berlin helped to establish him as a major star. By late 1926, the tenor had caught the attention of the Met in New York, who offered him a contract for the following season. Tragically, it was not to be. Grozăvescu grew tired of his wife’s suffocating presence and informed her that he wished to travel to New York without her. The two quarreled bitterly, with Nelly again accusing him of infidelity. The tenor sang what would prove to be his final performance, the Duke in Rigoletto, at the Staatsoper on February 14, 1927. The next day, as he was preparing to leave for New York, Nelly pulled a revolver and fired a single bullet into his head, killing him instantly. Traian Grozăvescu was only 31. Despite ample evidence of a premeditated act, Nelly Grozăvescu literally got away with murder. In the sensational trial that followed, the tenor’s widow used the “crime of passion” defense and, with the help of her influential father, was found not guilty. In a career that lasted barely six years, Traian Grozăvescu managed to establish himself as a major European star. Sadly, it was an ill-advised union with a controlling woman (not to mention his antagonizing said woman with his infidelity) that proved to be his downfall. What a tragic and senseless waste of an extraordinary talent. Grozăvescu’s catalogue of recordings, all made in Berlin for the Odeon label in 1924, capture a youthful artist on the brink of an international career that never came to fruition…a sad reminder of what could have been. These recordings showcase a rich lirico-spinto instrument with a fine sense of artistry. In this recording, Grozăvescu sings a German language version ("Hier an dem Herzen treu geborgen") of The Flower Song from Bizet's Carmen.
Teodora Gheorghiu Gheorghiu Gheorghe Dima Ambroise Thomas Jules Barbier Shakespeare Romanian National Opera Opera Comique Vienna State Opera 1500 1866 1978 2003 2004 2007 2014
THE SONGBIRD: Teodora Gheorghiu was born in Brașov, Romania in 1978. She studied the flute before pursuing voice studies at the Academia de Muzică Gheorghe Dima in Cluj-Napoca. Her debut came in 2003 at the Romanian National Opera in Bucharest, singing the Queen of the Night. She was engaged in Brussels, Nancy, Geneve, Lausanne and at Theatre des Champs-Élysées in Paris. In 2007, Gheorghiu joined the Vienna State Opera with roles including Adele, Nanetta, Fiakermilli, Adina, Eudoxie, and Sophie in "Werther." Gheorghiu made her debut at Glyndebourne in 2014 as Sophie in "Der Rosenkavalier." THE MUSIC: Ambroise Thomas composed the opera-comique "Mignon" to a French libretto by Jules Barbier and Michel Carré, based on Goethe's novel. It was a big success upon its Paris premiere in 1866 and had racked up 1,500 performances at that theater within just over 50 years. The work features one of opera's most flamboyant coloratura arias as the glamorous actress Philine dazzles a crowd of adoring fans after her performance (off stage) as Titania, the queen of the fairies, in Shakespeare's "A Midsummer Night's Dream." She is Titania, she announces / "Je suis Titania!" It's a true vocal showpiece, an exuberant polonaise, with extravagant coloratura trickery packed into nearly every measure. The highest note in the score, a single High E-flat, comes in the written final cadenza.
o
- mapa: Teatros de ópera - Europa
- Índices (por orden alfabético): �...