Нью-йоркская опера использует в новой постановке 3D-спецэффекты
18.02.2011 13:44
3D-технологии, начинающие приобретать все большую популярность в фильмах и на телевидении, найдут применение и в театре. Один из ведущих оперных театров в мире, Metropolitan Opera в Нью-Йорке планирует использовать трехмерные проекции в следующем сезоне оперы Siegfried ("Зигфрид") из театралогии "Кольцо Нибелунга" режиссера Роберта Лепейджа.
Лепейджу удалось создать технологию на основе сложных математических формул, благодаря которой зрителям не требуется надевать специальные 3D-очки, чтобы увидеть стереоскопические эффекты, говорится в статье The New York Times. 3D-изображения, которые проецируют декорации, позволят взаимодействовать и двигаться вместе с актерами и певцами на сцене.
Тем не менее, 3D-эффекты лишь добавят в постановку Лепейджа визуальные элементы, а не заменят игру актеров, заявил руководитель оперного театра Metropolitan Питер Гелб. "Технология находится на службе у искусства", - отметил он.
Трехмерные эффекты в театральной постановке "Кольца Нибелунга" работают по совершенно иному принципу, нежели в фильмах. Согласно изданию, технология Лейпеджа использует множество проекторов, камер захвата движения и моделирования изображений на компьютере.
The Metropolitan Opera Announces the 2014-15 Season
February 12, 2014 The Met’s 2014-15 Season Will Feature 26 Operas, Including Three Met Premieres, In Six New Productions and 18 Revivals
The season includes the first-ever Met performances of John Adams’s The Death of Klinghoffer, Rossini’s La Donna del Lago, and Tchaikovsky’s Iolanta
Met Music Director James Levine leads six operas this season, including the opening night new production of Mozart’s Le Nozze di Figaro, directed by Richard Eyre, premiering on September 22
On New Year’s Eve, Susan Stroman makes her Met debut directing a new production of Lehar’s The Merry Widow, with Renee Fleming in the title role and Andrew Davis conducting
Two double bills of one-act operas receive new productions this season: Iolanta, with Anna Netrebko in the title role,and Bartok’s Duke Bluebeard’s Castle, conducted by Valery Gergiev and directed by Mariusz Treliński, premieres January 26, 2015
Mascagni’s Cavalleria Rusticana and Leoncavallo’s Pagliacci, conducted by Met Principal Conductor Fabio Luisi and directed by David McVicar, receives its first new Met production in 45 years on April 14, 2015
The ninth season of The Met: Live in HD
will feature 10 live transmissions,
beginning October 11 with Verdi’s Macbeth,
starring Anna Netrebko as Lady Macbeth
New York, NY
—The Metropolitan Opera’s 2014-15 season will feature 26 operas, three of them company premieres, in six new productions and 18 revivals showcasing the talents of the world’s leading singers, conductors, and theater artists. The three operas that will have their first-ever Met performances, each staged by a director making his Met debut, are John Adams’s
The Death of Klinghoffer,
conducted by
David Robertson
and directed by
Tom Morris
, opening October 20; Rossini’s
La Donna del Lago,
conducted by
Michele Mariotti
and directed by
Paul Curran
, opening February 16, 2015; and Tchaikovsky’s one-act opera
Iolanta,
conducted by
Valery Gergiev
and directed by
Mariusz Treliński
.
Iolanta
will be presented in a double bill with a new staging of Bartok’s one-act
Duke Bluebeard’s Castle,
also conducted by Gergiev and directed by Treliński.
Met Music Director James Levine,back to full strength,will resume his typical schedule of six operas in the 2014-15 season. His first opera will be Richard Eyre’s new production of Mozart’s Le Nozze di Figaro, which opens the Met season on September 22. Levine also conducts five revivals next season, leading Offenbach’s Les Contes d’Hoffmann; Stravinsky’s The Rake’s Progress;Verdi’s Ernani, which he has not conducted at the Met since 1983,and Un Ballo in Maschera;and Wagner’s Die Meistersinger von Nurnberg. Levine will also conduct all three concerts in the MET Orchestra at Carnegie Hall series.
On New Year’s Eve, Tony Award-winning director Susan Stroman will make her Met debut with a new production of Lehar’s The Merry Widow, conducted by Andrew Davis. The final new production of the season will be another double bill, Mascagni’s Cavalleria Rusticana and Leoncavallo’s Pagliacci, led by Met Principal Conductor Fabio Luisi and directed by David McVicar.
The 2014-15 season was announced by Met General Manager Peter Gelb and Met Music Director James Levine.
“With a mix of new offerings, a few repertory rarities, and solid casting of our mainstay revivals, this should prove to be a stimulating season for the Company and for our audience,” said Gelb. “Jim’s return to a full slate of operas is the ideal icing on our cake.”
“My return to the company has been one of the most joyful experiences of my life, and I’m delighted to resume a full working schedule of six operas next season for the first time in several years,” said James Levine.
The ninth season of The Met: Live in HD, which is the world’s leading alternative cinema content series and currently reaches more than 2,000 theaters in 65 countries, will open on October 11 with Verdi’s Macbeth. The performance, conducted by Fabio Luisi, will star Željko Lučić as Macbeth and Anna Netrebko in the vocally and dramatically demanding role of Lady Macbeth. Nine additional matinee performances, including all six new productions, will be transmitted over the course of the season.
New Productions
Le Nozze di Figaro – Wolfgang Amadeus Mozart
Opening Night Gala
Opening: September 22, 2014 Conductor: James Levine/Edo de Waart Production: Richard Eyre Set and Costume Design: Rob Howell Lighting Design: Paule Constable Choreographer: Sara Erde Live in HD: October 18, 2014
The season opens with a new production of Mozart’s elegant masterpiece of marital discord, Le Nozze di Figaro. James Levine conducts the new staging by Richard Eyre, whose Met credits include the 2011 hit production of Carmen and the current season’s Werther. Eyre’s staging of the opera, in which the romantic bonds of two couples are tested over the course of one eventful day, is set in a stately manor in 1920s Seville.
Ildar Abdrazakov, star of this season’s Prince Igor and an acclaimed Figaro at the Met in the past, sings the title role in the premiere performances. The opening night cast also includes Marlis Petersen as Figaro’s quick-witted bride-to-be, Susanna; Peter Mattei in one of his most acclaimed roles as Count Almaviva; Marina Poplavskaya in her role debut as Almaviva’s wife, the long-suffering Countess; and Isabel Leonard as the boisterous page Cherubino.
A second cast, led by Edo de Waart, takes the leading roles starting December 4. Three artists who have sung their roles to acclaim in past Met seasons— Erwin Schrott as Figaro, Danielle de Niese as Susanna, and Mariusz Kwiecien as Count Almaviva—star opposite two debuting artists, American soprano Amanda Majeski as the Countess and Italian mezzo-soprano Serena Malfi as Cherubino.
The Death of Klinghoffer – John Adams
Met Premiere
Opening: October 20, 2014 Conductor: David Robertson Production: Tom Morris Set Design: Tom Pye Costume Design: Laura Hopkins Lighting Design: Jean Kalman Video Design: Finn Ross Sound Design: Mark Grey Choreographer: Arthur Pita Live in HD: November 15, 2014
John Adams’s meditative work, based on the 1985 hijacking of the cruise ship Achille Lauro and the subsequent murder of an American Jewish passenger, has its Met premiere. The Death of Klinghoffer is the third Adams opera to be presented at the Met in recent seasons, following the success of Doctor Atomic and Nixon in China. The Met premiere, a co-production with English National Opera, is directed by Tom Morris,whose other credits include the international theatrical hit War Horse.
David Robertson, who led the 2013 Met premiere of Nico Muhly’s Two Boys, conducts the opera, which will star Paulo Szot as the Captain of the Achille Lauro; Alan Opie as the title character; Michaela Martens as Klinghoffer’s wife, Marilyn; Sean Pannikar as Molqi; Aubrey Allicock in his Met debut as Mamoud; and Ryan Speedo Green as “Rambo.”
The Merry Widow – Franz Lehar Opening: December 31, 2014 Conductor: Andrew Davis/Fabio Luisi Production: Susan Stroman Set Design: Julian Crouch Costume Design: William Ivey Long Lighting Design: Paule Constable Choreographer: Susan Stroman English Translation: Jeremy Sams Live in HD: January 17, 2015
Broadway director and choreographer Susan Stroman, whose many credits include the Tony Award-winning musicals Crazy For You,Contact, and The Producers, makes her Met debut with a lavish new staging of Lehar’s effervescent operetta The Merry Widow. The operettawill be performed in English, in a translation by Jeremy Sams. Lehar’s best-known composition has been an audience favorite since its 1905 premiere and features a great deal of well-known music, including “Vilja,” “You’ll Find Me at Maxim’s,” and “The Merry WidowWaltz.”
As Hanna, the widowed Parisian millionairess, Renee Fleming will add a new character to her wide-ranging Met repertory of 22 roles. Andrew Davis will conduct a cast that also includes Nathan Gunn as Hanna’s lover, Danilo; Alek Shrader as the young nobleman, Camille de Rosillon; Thomas Allen as the scheming Baron Zeta; and soprano Kelli O’Hara, currently starring on Broadway in the new musical The Bridges of Madison County, in her Met debut as the Baron’s coquettish wife, Valencienne.
In April, Fabio Luisi leads a new cast in the principal roles, headed by Susan Graham as Hanna, a role she sang at the Met to acclaim in 2004. The cast also includes Rod Gilfry as Danilo, Stephen Costello as Camille, Alan Opie as Baron Zeta, and Danielle de Niese as Valencienne.
Iolanta – Peter Tchaikovsky
Met Premiere Duke Bluebeard’s Castle – Béla Bartok Opening: January 26, 2015 Conductor: Valery Gergiev/Pavel Smelkov Production: Mariusz Treliński Set Design: Boris Kudlicka Costume Design: Marek Adamski Lighting Design: Marc Heinz Video Projection Design: Bartek Macias Choreographer: Tomasz Wygoda Live in HD: February 14, 2015
Mariusz Treliński, artistic director of Warsaw’s Polish National Opera, makes his Met debut with a double bill of two rarely performed one-act works: Tchaikovsky’s romantic fairy tale Iolanta, about the psychological awakening of a blind princess, and Bartook’s harrowing Duke Bluebeard’s Castle, in which newlywed Judith must open seven locked doors to discover the full depths of her husband’s dark secrets. Valery Gergiev conducts the double bill, which is a co-production with Teatr Wielki-Polish National Opera.
Anna Netrebko stars as the title character in Iolanta, in her second Tchaikovsky role at the Met; she opened the 2013-14 season to great acclaim as Tatiana in his Eugene Onegin. Piotr Beczala and Alexey Markov sing Tristan Vaudemont and Robert, rivals for Iolanta’s love; baritone Elchin Azizov makes his Met debut as the physician Ibn-Hakia; and Alexei Tanovitski sings King Rene, Iolanta’s protective father.
Nadja Michael, who made her Met debut as Verdi’s Lady Macbeth in 2012, sings the central role of Judith in Duke Bluebeard’s Castle, with Mikhail Petrenko as her mysterious and menacing new husband.
La Donna del Lago– Gioachino Rossini
Met Premiere
Opening: February 16, 2015 Conductor: Michele Mariotti Production: Paul Curran Set and Costume Design: Kevin Knight Lighting Design: Duane Schuler Projection Design: Driscoll Otto Live in HD: March 14, 2015
Joyce DiDonato stars in the virtuosic title role of the bel canto rarity La Donna del Lago, Rossini’s adaptation of Sir Walter Scott’s epic poem The Lady of the Lake. Juan Diego Florez sings his fifth Rossini hero at the Met as Giacomo, the benevolent king of Scotland whose life unexpectedly intersects with the destiny of the lady of the lake.
Michele Mariotti conducts debuting Scottish director Paul Curran’s production of the opera, a co-production with Santa Fe Opera, where it premiered in 2013. The cast also includes Daniela Barcellona in the trouser role of Malcolm, John Osborn as Rodrigo, and Oren Gradus as Duglas.
Pagliacci – Ruggero Leoncavallo
Opening: April 14, 2015 Conductor: Fabio Luisi Production: David McVicar Set Design: Rae Smith Costume Design: Moritz Junge Lighting Design: Paule Constable Choreographer: Andrew George Vaudeville Consultant: Emil Wolk Live in HD: April 25, 2015
Fabio Luisi conducts and David McVicar directs the first new Met production of the popular verismo double bill in 45 years. McVicar’s staging will highlight the contrast between the repressed, ritualistic morality of Cavalleria Rusticana and the glitzy volatility of Pagliacci’s twisted farce.
Marcelo Alvarez makes his company role debuts in both the leading tenor parts: the unrepentant seducer Turiddu and the jealous clown Canio. Eva-Maria Westbroek will sing Santuzza, the abandoned woman at the heart of Cavalleria Rusticana, with Željko Lučić as Alfio. Patricia Racette will star as Canio’s ill-fated wife, Nedda, in Pagliacci, with George Gagnidze in his first Met performances as Tonio.
Casting News
Marcelo Alvarez is one of many stars making significant Met role debuts this season. The others include Aleksandrs Antonenko as Don Jose in Bizet’s Carmen;Piotr Beczala as Gustavo in Un Ballo in Maschera and Vaudemont in Iolanta; Diana Damrau as the title character in Massenet’s Manon;Joyce DiDonato as Elena in La Donna del Lago;Placido Domingo in the baritone role of Don Carlo in Ernani; Gerald Finley as Nick Shadow in The Rake’s Progress; Renee Fleming as Hanna, the title character in The Merry Widow; Juan Diego Florez as Giacomo in La Donna del Lago;Vittorio Grigolo as the Chevalier des Grieux in Manon and the title character in Les Contes d’Hoffmann;Thomas Hampson as the Four Villains in Les Contes d’Hoffmann;Anna Netrebko as Lady Macbeth in Macbeth and the title character in Iolanta;Susanna Phillips as Antonia in Les Contes d’Hoffmann; Matthew Polenzani as the title character in Les Contes d’Hoffmann;Marina Poplavskaya as the Countess in Le Nozze di Figaro;Paulo Szot as the Captain in The Death of Klinghoffer;Violeta Urmana as Amneris in Verdi’s Aida;and Eva-Maria Westbroek as Katerina Ismailova in Shostakovich’s Lady Macbeth of Mtsensk and Santuzza in Cavalleria Rusticana.
Many Met artists will return to favorite roles in the coming season, reprising popular interpretations with new colleagues or in new productions. These artists include Ildar Abdrazakov in the title role of Le Nozze di Figaro and Escamillo in Carmen;Roberto Alagna and Aleksandrs Antonenko as Don Jose in Carmen; Stephanie Blythe as Baba the Turk in The Rake’s Progress; Olga Borodina as Amneris in Aida;Johan Botha as Walther in Die Meistersinger von Nurnberg; Lawrence Brownlee as Count Almaviva in Rossini’s Il Barbiere di Siviglia; Joseph Calleja as Macduff in Macbeth and Edgardo in Donizetti’s Lucia di Lammermoor; Danielle de Niese as Susanna in Le Nozze di Figaro;Barbara Frittoli as Elisabeth de Valois in Verdi’s Don Carlo; Ferruccio Furlanetto as Philip II in Don Carlo; Elīna Garanča in the title role of Carmen; Angela Gheorghiu as Mimi; in Puccini’s La Boheme; Marcello Giordani as Radames in Aida;Susan Graham as Hanna in The Merry Widow; Dmitri Hvorostovsky as Anckarstrom in Un Ballo in Maschera; Jonas Kaufmann as Don Jose in Carmen;Simon Keenlyside as Rodrigo in Don Carlo; Mariusz Kwiecien as Count Almaviva in Le Nozze di Figaro and Marcello in La Boheme; Isabel Leonard as Cherubino in Le Nozze di Figaro and Rosina in Il Barbiere di Siviglia;Kate Lindsey as Zerlina in Don Giovanni and Nicklausse in Les Contes d’Hoffmann;Željko Lučić in the title role of Macbeth;Peter Mattei as Count Almaviva in Le Nozze di Figaro and in the title role of Mozart’s Don Giovanni; Angela Meade as Elvira in Ernani; Rene Pape as Sarastro in Mozart’s Die Zauberflote and Banquo in Macbeth; Patricia Racette as Nedda in Pagliacci;Sondra Radvanovsky as Amelia in Un Ballo in Maschera;Christine Schefer as Gretel in Humperdinck’s Hansel and Gretel;Erwin Schrott in the title role of Le Nozze di Figaro; Ramon Vargas as Rodolfo in La Boheme; and Dolora Zajick as Ulrica in Un Ballo in Maschera.
Numerous rising stars who made important Met debuts in recent seasons will return to the company in 2014-15. These artists include Paul Appleby, who sings Tom Rakewell in The Rake’s Progress; Layla Claire, Anne Trulove in The Rake’s Progress; Hibla Gerzmava, the four heroines of Les Contes d’Hoffmann; Bryan Hymel, Rodolfo in La Boheme; Brandon Jovanovich, Sergei in Lady Macbeth of Mtsensk; Yonghoon Lee, the title role in Don Carlo; Nadja Michael, Judith in Bluebeard’s Castle; Liudmyla Monastyrska and Latonia Moore, the title role in Aida; Kristine Opolais, Mimi in La Boheme; Anita Rachvelishvili, the title role in Carmen; Marina Rebeka, Violetta in La Traviata; Albina Shagimuratova, the title role in Lucia di Lammermoor; Pretty Yende, Pamina in Die Zauberflote; and Sonya Yoncheva, Musetta in La Boheme.
Met Debuts
Met debuts this season, in chronological order, include Greek soprano Myrto Papatanasiu as Musetta in La Boheme (September 23); Macedonian soprano Ana Durlovski as Queen of the Night in Die Zauberflote (October 6); American bass-baritone Aubrey Allicock as Mamoud in The Death of Klinghoffer (October 20); Italian baritone Alessio Arduini as Schaunard in La Boheme (November 14); German baritone Johannes Martin Kranzle as Beckmesser in Die Meistersinger von Nurnberg (December 2); American soprano Amanda Majeski as the Countess in Le Nozze di Figaro (December 4); Italian mezzo-soprano Serena Malfi as Cherubino in Le Nozze di Figaro (December 4); English mezzo-soprano Christine Rice as Hansel in Hansel and Gretel (December 18.); Italian tenor Francesco Demuro as Alfredo in La Traviata (December 30); American soprano Kelli O’Hara as Valencienne in The Merry Widow (December 31); Azerbaijani baritone Elchin Azizov as Ibn-Haki in Iolanta (January 26); Russian tenor Dmitry Korchak as Don Ottavio in Don Giovanni (February 4); Czech bass-baritone Adam Plachetka as Masetto in Don Giovanni (February 4); Hungarian bass-baritone Gabor Bretz as Escamillo in Carmen (February 6); American soprano Ailyn Perez as Micaela in Carmen (February 6); Armenian soprano Lianna Haroutounian as Elisabeth de Valois in Don Carlo (April 15); Bulgarian mezzo-soprano Nadia Krasteva as Eboli in Don Carlo (April 15); and English bass Brindley Sherratt as Trulove in The Rake’s Progress (May 1).
Repertory
The Met’s 2014-15 season features 18 revivals of works by 12 composers in a variety of operatic styles, ranging from Mozart to Shostakovich.
Two rarely heard operas will receive Met revivals in the 2014-15 season. In October, James Conlon conducts Shostakovich’s searing Lady Macbeth of Mtsensk, starring Eva-Maria Westbroek as the headstrong heroine, Brandon Jovanovich as Sergei, Raymond Very as Zinovy, and Anatoli Kotscherga as Boris. The opera was last performed at the Met in 2000.
In May, James Levine leads Stravinsky’s only full-length opera, The Rake’s Progress. The cast includes Paul Appleby as Tom Rakewell, Layla Claire as Anne Trulove, Stephanie Blythe as Baba the Turk, and Gerald Finley as the diabolical Nick Shadow.
Levine will also conduct next season’s Ernani, with Placido Domingo adding a role to his extensive Met repertory as Don Carlo, opposite Angela Meade as Elvira, Francesco Meli in the title role, and Dmitri Belosselskiy as de Silva. In April, Levine leads a revival of Un Ballo in Maschera, with three original cast members of David Alden’s production—Sondra Radvanovsky (Amelia), Dolora Zajick (Ulrica), and Dmitri Hvorostovsky (Anckarstrom)—joined by Piotr Beczala as Gustavo and Heidi Stober as Oscar.
In December, Levine leads Wagner’s grand human comedy Die Meistersinger von Nurnberg in its first Met performances since 2007. Johan Reuter stars as Hans Sachs, with Johan Botha as Walther, Annette Dasch as Eva, Karen Cargill as Magdalene, Paul Appleby as David, Johannes Martin Kranzle in his Met debut as Beckmesser, and Hans-Peter Konig as Pogner.
Levine will also conduct some February and March performances of Offenbach’s Les Contes d’Hoffmann, starring Matthew Polenzani in the title role and Audrey Luna (Olympia), Susanna Phillips (Antonia), and Elena Maximova (Giulietta) as three of the women Hoffmann unsuccessfully romances. These performances also feature Karine Deshayes and Laurent Naouri in their first Met performances of Nicklausse and the Four Villains, respectively. Earlier performances of the opera, beginning in January, will be conducted by Yves Abel and star Vittorio Grigolo in the title role, with Hibla Gerzmava singing all four heroines, Kate Lindsey as Nicklausse, and Thomas Hampson as the Four Villains.
Franco Zeffirelli’s popular staging of La Boheme returns with multiple casts, including Angela Gheorghiu, Kristine Opolais, and Ekaterina Scherbachenko as Mimi; opposite Ramon Vargas and Bryan Hymel as Rodolfo. Myrto Papatanasiu (in her Met debut), Susanna Phillips, and Sonya Yoncheva sing Musetta, and Mariusz Kwiecien, Quinn Kelsey, and Luca Salsi share the role of Marcello. Riccardo Frizza conducts all performances of La Boheme at the Met this season.
Fabio Luisi leads a revival of Verdi’s Macbeth, with Anna Netrebko in her first North American performances as Lady Macbeth. Željko Lučić sings the title role in a revival of Adrian Noble’s 2007 production, with Joseph Calleja as Macduff and Rene Pape as Banquo.
Richard Eyre’s production of Carmen returns with two casts, each led by an acclaimed Carmen of recent Met seasons. Anita Rachvelishvili sings the title role in the opera’s fall performances, with Aleksandrs Antonenko and Anita Hartig in their company role debuts as Don Jose and Micaela, and Massimo Cavalletti and Ildar Abdrazakov as Escamillo. Beginning in February, Elīna Garanča returns to the role she sang in the premiere of Eyre’s production, opposite her original co-star Roberto Alagna as Don Jose. Jonas Kaufmann takes the role of the military officer destroyed by his love for Carmen for some performances in March. American soprano Ailyn Perez makes her Met debut as Micaela in the spring cast, as does Hungarian bass Gabor Bretz as Escamillo. Pablo Heras-Casado and Louis Langree conduct this season’s performances.
This season will include the first full-length German performances of Die Zauberflote at the Met since 2010. The cast for Julie Taymor’s production will include Toby Spence as Tamino, Pretty Yende and Miah Persson as Pamina, Ana Durlovski (in her Met debut) and Kathryn Lewek as Queen of the Night, Markus Werba as Papageno, and Rene Pape and Franz-Josef Selig as Sarastro. Adam Fischer conducts.
Marco Armiliato will conduct both La Traviata and Aida this season, with Placido Domingo leading some performances of the latter opera. Marina Rebeka, who made a notable Met debut as Donna Anna in the 2011 new production premiere of Don Giovanni, sings her first Met performances of Violetta in Traviata, with Stephen Costello and Ludovic Tezier in company role debuts as Alfredo and Giorgio Germont. Later in the run, Marina Poplavskaya reprises her Violetta, which she sang in the new production premiere of Willy Decker’s staging, opposite the Alfredo of debuting Italian tenor Francesco Demuro.
Aida will star Liudmyla Monastyrska and Latonia Moore, both of whom made acclaimed Met debuts as the Ethiopian princess in 2012, with Oksana Dyka assuming the role later in the season. Olga Borodina reprises her celebrated Amneris, sharing the role with Violeta Urmana, who sings her first Met performances as the jealous princess. Marcello Giordani and Marco Berti sing the hero Radames, and Željko Lučić and Andrzej Dobber sing Amonasro, Aida’s father.
Michele Mariotti conducts Isabel Leonard as Rosina and Lawrence Brownlee as Count Almaviva in Bartlett Sher’s production of Il Barbiere di Siviglia, which features Christopher Maltman in his first Met performances of the title role.
The Met’s holiday presentation will be Richard Jones’s fanciful staging of Hansel and Gretel, conducted by Andrew Davis. Christine Schefer reprises her Gretel, with debuting mezzo-soprano Christine Rice as Hansel and Robert Brubaker returning to the role of the evil Witch. The opera, performed in English, will feature lower ticket prices and weekday matinee performances.
Alan Gilbert returns to the Met for the first time since his 2008 debut to conduct Don Giovanni, starring Peter Mattei in the title role. Elza van den Heever makes her company role debut as Donna Anna, with Emma Bell as Donna Elvira, Kate Lindsey as Zerlina, Luca Pisaroni as Leporello, Dmitry Korchak in his Met debut as Don Ottavio, and James Morris as the Commendatore.
Diana Damrau adds a new title character to her Met repertory when she takes on the starring role in Massenet’s Manon, opposite Vittorio Grigolo as the Chevalier des Grieux. Emmanuel Villaume conducts the revival of Laurent Pelly’s production, which also stars Russell Braun as Lescaut and Nicolas Teste as the Comte des Grieux.
Albina Shagimuratova, an acclaimed Queen of the Night at the Met earlier this season, makes her company role debut as the title character in Lucia di Lammermoor. Maurizio Benini conducts a cast that also includes Joseph Calleja as Edgardo and Fabio Capitanucci as Enrico.
Yannick Nezet-Seguin leads Don Carlo, which he also conducted to acclaim at the 2010 new production premiere of Nicholas Hytner’s staging. The cast includes Yonghoon Lee in the title role, Barbara Frittoli as Elisabeth de Valois, Ekaterina Gubanova and Nadia Krasteva (in her Met debut) as Eboli, Simon Keenlyside as Rodrigo, Ferruccio Furlanetto as Philip II, and James Morris as the Grand Inquisitor.
Rene Pape Recital
Rene Pape will take the Met stage for a solo recital on Sunday, September 28, joined by pianist Camillo Radicke. The program will feature works by Dvořak, Beethoven, Ravel, and Mussorgsky. Pape, one of the most acclaimed artists on the Met roster, has sung 22 roles with the company and will sing both Banquo in Macbeth and Sarastro in Die Zauberflote in the 2014-15 season. Pape will be the first bass to sing a recital on the Met stage since Martti Talvela in 1984.
The MET Orchestra at Carnegie Hall
The MET Orchestra continues its highly acclaimed annual series at Carnegie Hall with three Sunday afternoon concerts conducted by James Levine. The program for the October 12 concert, will include Mozart’s Piano Concerto No. 21 in C, K. 467, featuring soloist Maurizio Pollini, and Mahler’s Symphony No. 9.
On February 8, the program will include Beethoven’s Symphony No. 2 in D, Op. 36; Berg’s “Seven Early Songs,”with soloist Elīna Garanča; Carter’s Three Illusions; and Schumann’s Symphony No. 2 in C, Op. 61.
The final concert of the season, on May 17, will begin with Brahms’s Piano Concerto No. 1 in D Minor, Op. 15, featuring soloist Yefim Bronfman, and conclude with Berlioz’s Symphonie Fantastique, Op. 14.
For tickets and additional information on the MET Orchestra concerts at Carnegie Hall, the public may visit www.carnegiehall.org or call (212) 247-7800.
The Met: Live in HD 2014-15
The 2014-15 season of The Met: Live in HD will feature 10 live transmissions of select Saturday matinees to movie theaters around the world. The HD season opens on October 11 with Macbeth and continues with Le Nozze di Figaro (October 18.) , Carmen (November 1), The Death of Klinghoffer (November 15), Die Meistersinger von Nurnberg (December 13), The Merry Widow (January 17), Les Contes d’Hoffmann (January 31), Iolanta and Duke Bluebeard’s Castle (February 14), La Donna del Lago (March 14), and Cavalleria Rusticana and Pagliacci (April 25).
The Peabody and Emmy Award-winning series of live transmissions into movie theaters, which enters its ninth season in 2014-15, currently reaches more than 2,000 theaters in 65 countries. The Met’s groundbreaking series launched in 2006 and quickly became the world’s leading alternative cinema content provider. More than 14 million tickets have been sold since the series’ inception.
Tickets for the 10 transmissions in the 2014-15 Live in HD season will go on sale in August in the U.S. and Canada, with Met Members offered priority before tickets are made available to the general public. International ticket sales dates and details on ordering tickets for the 2014-15 Live in HD series vary from country to country and will be announced separately by individual distributors.
The Met: Live in HD series is made possible by a generous grant from its founding sponsor, The Neubauer Family Foundation. Global corporate sponsorship of The Met: Live in HD is provided by Bloomberg. Transmission of The Met: Live in HD in Canada is made possible thanks to the generosity of Jacqueline Desmarais, in memory of Paul G. Desmarais Sr.
Within months of their initial live transmissions, the Live in HD programs are shown on PBS. The PBS series, Great Performances at the Met, is produced in association with PBS and WNET, with support from Toll Brothers, America’s luxury home builder®. Additional funding is provided by the National Endowment for the Arts.
Ticket Information and Accessibility Programs
Subscriptions for the 2014-15 season are available now, and single tickets will go on sale to the general public on August 10, 2014.
There will be minor price increases in some tickets for the 2014-15 season, with an overall average increase of 2% from last season’s prices. The average price of a Met ticket in the 2014-15 season, $160, is significantly lower than the average price of a ticket in the 2012-13 season, which was $174. Approximately one-third of the 835,000 tickets available next season will be priced at $100 or below.
Subscription tickets will be significantly less expensive than single tickets, with a minimum discount of 15% versus single-sale prices for evening subscriptions, and a minimum discount of 10% for Saturday matinee subscriptions. New subscriber benefits introduced in recent seasons, including the elimination of exchange fees, will continue in the coming season.
Three popular programs that provide free or dramatically reduced tickets to opera lovers will return in the 2014-15 season. The Met’s Open Rehearsal series will give away thousands of free tickets to the general public via lottery by opening the final dress rehearsals of three productions. Met Opera Students, the company’s free program for full-time college and graduate students, will again offer $25 weeknight tickets and $35 weekend tickets to its members. Finally, the Met’s Rush Tickets program will return for its ninth season in 2014-15, once again making more than 30,000 seats in prime locations available to the general public for $20-$25. Rush Tickets will be available for every performance in the season, excluding the Opening Night and New Year’s Eve galas.
In keeping with a tradition begun on Opening Night in 2006, the September 22 premiere performance of Le Nozze di Figaro will be transmitted live to numerous large screens in Times Square and on Lincoln Center’s Josie Robertson Plaza. Attendance will be free at both locations; information on ticket distribution will be released at a later date. The Times Square relay of the Opening Night Gala is presented in cooperation with the City of New York and the Times Square Alliance. The live transmissions to Times Square and the Josie Robertson Plaza at Lincoln Center are made possible with the cooperation of the City of New York, with leadership support provided by Bloomberg and the Metropolitan Opera Guild. This program is also supported in part by an award from the National Endowment for the Arts, Art Works, and by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.
In Summer 2014, two free programs that further expand the Met’s programming beyond the auditorium will return. The Summer Recital series will again present Met artists in recital in each of the five boroughs, and the Summer HD Festival will show operas from the Live in HD series on a large screen at Lincoln Center Plaza to an audience of approximately 3,000 people per night. Together, the Met’s summer programs are expected to allow approximately 50,000 New Yorkers to experience the Met for free.
Media Releases
The Met will continue to release performances from its vast archive of current and historic performances on CD, DVD, Blu-Ray, and digital platforms in the 2014-15 season, with the trademark artistic and production quality that has earned the company three consecutive Grammy Awards for Best Opera Recording.
More than 60 titles are currently available for purchase through the iTunes store, including 29 video performances, 17 audio performances, and 16 ringtones built from Met audio. In addition, 10 full-length videos from the Live in HD series are available through Amazon Instant. All four operas in Wagner’s Ring cycle as well as Wagner’s Dream, the accompanying documentary about the staging of Robert Lepage’s recent Met production, will be released to Amazon Instant in early March.
Met Opera on Demand
The Met’s online subscription streaming service now features nearly 500 full-length Met performances, available worldwide for anytime access through the Met’s website and the Met Opera on Demand iPad app. This online catalogue includes more than 70 presentations from the Live in HD series, as well as hundreds of other telecasts and radio broadcasts dating back to 1935.
Earlier this season, the Met expanded the reach of this online catalogue with the launch of Met Opera on Demand: Student Access, a new offering that allows university and college libraries to make this unparalleled digital resource from the Met accessible through their online collections. Student Access, which offers exclusive educational resources to students and faculty along with access to the full library of Met Opera on Demand performances, is already used by more than 30 schools around the world.
The Met on the Radio and the Web
The Met’s 84th consecutive Saturday Matinee Radio Broadcast season kicks off on December 6 with a live broadcast of Il Barbiere di Siviglia and continues through the May 9 matinee of The Rake’s Progress.The broadcast season will once again be heard live over the Toll Brothers-Metropolitan Opera International Radio Network. Margaret Juntwait returns for her eleventh season as host and Ira Siff returns for his eighth season as commentator for the broadcasts, which feature a range of dynamic intermission features, live backstage interviews with artists, and the ever-popular Opera Quiz. The 2014-15 Metropolitan Opera Saturday matinee radio broadcast season will be sponsored by Toll Brothers, America’s luxury homebuilder®, with generous long-term support from The Annenberg Foundation, The Neubauer Family Foundation, and the Vincent A. Stabile Endowment for Broadcast Media, and through contributions from listeners worldwide.
Metropolitan Opera Radio on SiriusXM Channel 74 will present its ninth season as the country’s premier subscription radio channel dedicated to opera. Up to three live performances will be broadcast each week during the season, hosted by Margaret Juntwait with commentator William Berger, as well as historic broadcasts from the Met’s vast collection. “This Month at the Met,” an hour-long program, features lively interviews and previews of upcoming Met performances. The live broadcast season begins with the Met’s Opening Night performance of Le Nozze di Figaro on September 22. Metropolitan Opera Radio on SiriusXM is available to subscribers in the United States and Canada.
The Met will continue to stream one live performance per week during the 2014-15 season on its website at metopera.org. The Met website also features artist interviews, video and audio clips, photo galleries, and other information about Met productions and initiatives.
The Metropolitan Opera/Lincoln Center Theater New Works Program
The Met/LCT New Works Program continues in 2014-15 with one work in development and three new composers added to the program. Composer Ricky Ian Gordon is beginning work on Intimate Apparel, which Lynn Nottage has adapted from her acclaimed play about an African-American seamstress in turn-of-the-century New York. The play follows her pursuit of a better life, through a letter-writing relationship with a laborer working on the Panama Canal, and her interactions with a cross-section of New York City denizens.
Matthew Aucoin, David T. Little, and Joshua Schmidt, three critically heralded young composers,have signed on to develop new operas through the program. Each has achieved renown in recent years. Matthew Aucoin is the youngest assistant conductor in the history of the Met, and is currently finishing his third opera, which has been commissioned by the American Repertory Theater. David T. Little’s operas include Dog Days, which premiered in 2012, and a forthcoming commission for the Fort Worth Opera currently titled JFK. Joshua Schmidt won considerable acclaim as the composer of the musical Adding Machine, an off-Broadway success in 2008, and A Minister’s Wife, his musical adaptation of Shaw’s Candida, which was produced by Lincoln Center Theater in 2011. For the Met/LCT program, Schmidt will collaborate with librettist Dick Scanlan, a Tony nominee whose Broadway credits include Thoroughly Modern Millie and Everyday Rapture.
The Met/LCT New Works Program is funded by a generous gift to the Met from the Francis Goelet Charitable Trusts.
Educational and Audience Development Initiatives
The Met’s HD Live in Schools program will continue for its eighth season, offering free opera transmissions to New York City schools in partnership with the New York City Department of Education. The program will now enter its seventh season nationally, partnering with 34 school districts across the country to bring the Met’s live HD transmissions to students and teachers. The Met’s HD education program includes backstage visits for students, where they learn how costumes and scenery are constructed; Q&As with artists; access to final dress rehearsals; in-school workshops; and teacher training workshops. Program and curriculum guides are created for in-school use in conjunction with HD screenings. Major funding for HD Live in Schools is made possible by Bank of America, with program support provided through a partnership with the New York City Department of Education.
Met Opera Students, the Met’s popular initiative for full-time college and graduate students, will return in 2014-15. The program offers students access to steeply discounted tickets, invitations to artist lectures, discounts at the Met Opera Shop, and the opportunity to mingle with other young opera lovers at special pre-performance events.
The MetTalks series of panel discussions with the stars and creative teams of new productions will return for a fifth season in 2014-15.
The Arnold and Marie Schwartz Gallery Met
During the 2014-15 season, the contemporary art space located in the Met’s south lobby will present two new exhibitions. The gallery will present two shows during the season, one in Fall 2014 and one in Spring 2015, in conjunction with productions from the opera season. Participating artists and subject matter will be announced at a later date. Admission is free and Gallery Met is open to the public six days a week; the hours are Monday through Friday from 6 p.m. through the last intermission, and Saturdays from noon through the last intermission of the evening performance. For more information, visit metopera.org/gallerymet.
2014-15 Season Repertory and Casting Casting as of February 12, 2014 *Met Debut
NEW PRODUCTIONS LE NOZZE DI FIGARO New Production/Opening Night Gala
Premiere: September 22, 2014
Composer: Wolfgang Amadeus Mozart
Libretto by: Lorenzo Da Ponte
Conductor: James Levine/Edo de Waart
Production: Richard Eyre
Set & Costume Designer: Rob HowellLighting Designer: Paule Constable
Choreographer: Sara Erde
Countess Almaviva: Marina Poplavskaya/Amanda Majeski*
Susanna: Marlis Petersen/Danielle de Niese
Cherubino: Isabel Leonard/Serena Malfi*
Count Almaviva: Peter Mattei/Mariusz Kwiecien
Figaro: Ildar Abdrazakov/Erwin Schrott
September 22, 25, 27, October 2, 7, 10, 14, 18 mat, 22, 25, December 4, 8, 12, 15, 20 mat Production a gift of Mercedes T. Bass, and Jerry and Jane del Missier
THE DEATH OF KLINGHOFFER Metropolitan Opera Premiere: October 20, 2014 Co-production of the Metropolitan Opera and English National Opera
Composer: John Adams
Libretto: Alice Goodman
Conductor: David Robertson
Production: Tom Morris*
Set Designer: Tom Pye
Costume Designer: Laura Hopkins*
Lighting Designer: Jean Kalman
Video Designer: Finn Ross
Sound Designer: Mark Grey
Choreographer: Arthur Pita*
Marilyn Klinghoffer: Michaela Martens
Molqi: Sean Panikkar
The Captain: Paulo Szot
Leon Klinghoffer: Alan Opie
Mamoud: Aubrey Allicock*
“Rambo”: Ryan Speedo Green
October 20, 24, 29, November 1, 5, 8, 11, 15 mat
THE MERRY WIDOW New Year’s Eve Gala/New Production
Premiere: December 31, 2014
Composer: Franz Lehar
Libretto by: Viktor Leon and Leo Stein
English Translation: Jeremy Sams
Conductor: Andrew Davis/TBA/Fabio Luisi
Production: Susan Stroman*
Set Designer: Julian Crouch
Costume Designer: William Ivey Long*
Lighting Designer: Paule Constable
Choreographer: Susan Stroman*
Hanna Glawari: Renee Fleming/Susan Graham
Valencienne: Kelli O’Hara*/Danielle de Niese
Danilo: Nathan Gunn/Rod Gilfry
Camille de Rosillon: Alek Shrader/Stephen Costello
Baron Mirko Zeta: Thomas Allen/Alan Opie
December 31, January 3, 6, 9, 13, 17 mat, 20, 23, 28, 31, April 24, 27, 30, May 7 Production a gift of The Sybil B. Harrington Endowment Fund
IOLANTA/DUKE BLUEBEARD’S CASTLE Metropolitan Opera Premiere (Iolanta only):
New Production Premiere: January 26, 2015 Co-production of the Metropolitan Opera and Teatr Wielki-Polish National Opera
Conductor: Valery Gergiev/Pavel Smelkov
Production: Mariusz Treliński*
Set Designer: Boris Kudlicka*
Costume Designer: Marek Adamski*
Lighting Designer: Marc Heinz*
Choreographer: Tomasz Wygoda*
Video Proejction Designer: Bartek Macias* IOLANTAComposer: Peter Tchaikovsky
Libretto by: Modest Tchaikovsky
Iolanta: Anna Netrebko
Count Tristan Vaudemont: Piotr Beczala
Robert: Alexey Markov/Maksim Aniskin*
Ibn-Hakia: Elchin Azizov*
Rene: Alexei Tanovitski DUKE BLUEBEARD’S CASTLEComposer: Bela Bartok
Libretto: Bela Balazs
Judith: Nadja Michael/Michaela Martens
Bluebeard: Mikhail Petrenko
January 26, 29, February 3, 7, 10, 14 mat, 18, 21 Production a gift of Ambassador and Mrs. Nicholas F. Taubman Additional funding from Dr. Magdalena Berenyi, in memory of Dr. Kalman Berenyi
LA DONNA DEL LAGO Metropolitan Opera Premiere: February 16, 2015 Co-production of the Metropolitan Opera and the Santa Fe Opera
Composer: Gioachino Rossini
Libretto by: Andrea Leone Tottola
Conductor: Michele Mariotti
Production: Paul Curran*
Set and Costume Designer: Kevin Knight*
Lighting Designer: Duane Schuler
Projection Designer: Driscoll Otto*
Elena: Joyce DiDonato
Malcolm Groeme: Daniela Barcellona
Giacomo V : Juan Diego Florez
Rodrigo di Dhu: John Osborn
Douglas d'Angus: Oren Gradus
February 16, 20, 25, 28 mat, March 3, 7, 10, 14 mat Production a gift of Betsy and Edward Cohen/Arete Foundation Fund for New Productions & Revivals, and Dominique and Frederic Laffont
CAVALLERIA RUSTICANA/PAGLIACCI : New Production Premiere: April 14, 2015
Conductor : Fabio Luisi
Production : David McVicar
Set Designer: Rae Smith*
Costume Designer: Moritz Junge*
Lighting Designer: Paule Constable
Choreographer: Andrew George
Vaudeville Consultant: Emil Wolk* CAVALLERIA RUSTICANAComposer: Pietro Mascagni
Libretto: Giovanni Targioni-Tozzetti and Guido Menasci
Santuzza: Eva-Maria Westbroek
Turiddu: Marcelo Alvarez/Carl Tanner
Alfio: Željko Lučić PAGLIACCIComposer: Ruggero Leoncavallo
Libretto: Ruggero Leoncavallo
Nedda: Patricia Racette
Canio: Marcelo Alvarez/Carl Tanner
Tonio: George Gagnidze
Silvio: Lucas Meachem
April 14, 18, 21, 25 mat, 29, May 2, 5, 8 Production a gift of M. Beverly and Robert G. Bartner Major funding from Rolex Additional funding from the Estate of Anne Tallman, John J. Noffo Kahn and Mark Addison, and Paul Underwood.
REPERTORY AIDA Season Premiere: October 30, 2014
Composer: Giuseppe Verdi
Libretto by: Antonio Ghislanzoni
Conductor: Marco Armiliato/Placido Domingo Production: Sonja Frisell
Set Designer: Gianni Quaranta
Costume Designer: Dada Saligeri
Lighting Designer: Gil Wechsler
Choreographer: Alexei Ratmansky
Aida: Liudmyla Monastyrska/Latonia Moore/Marjorie Owens*/Oksana Dyka
Amneris: Olga Borodina/Violeta Urmana
Radames: Marcello Giordani/Antonello Palombi*/Carl Tanner/Marco Berti
Amonasro: Željko Lučić/Andrzej Dobber
Ramfis: Dmitry Belosselskiy/Štefan Kocan
The King: Soloman Howard*/Ievgen Orlov
October 30, November 4, 7, 12, 15, 19, 22, December 26, 29, January 2, 5, 10 mat, April 9, 13, 17, 20 Production a gift of Mrs. Donald D. Harrington
UN BALLO IN MASCHERA: Season Premiere: April 23, 2015
Composer: Giuseppe Verdi
Libretto by: Antonio Somma
Conductor: James Levine
Production: David Alden
Set Designer: Paul Steinberg
Costume Designer: Brigitte Reiffenstuel
Lighting Designer: Adam Silverman
Choreographer: Maxine Braham
Amelia: Sondra Radvanovsky
Oscar: Heidi Stober
Ulrica Arvidsson: Dolora Zajick
Gustavo III: Piotr Beczala
Count Anckarstrom: Dmitri Hvorostovsky/Alexey Markov
April 23, 28, May 2 mat, 6, 9 Production a gift of the Betsy and Edward Cohen/Arete Foundation Fund for New Productions and Revivals, and Daisy and Paul Soros Additional funding from The Gilbert S. Kahn & John H. Noffo Kahn Foundation, and Mr. and Mrs. William R. Miller Revival a gift of the Metropolitan Opera Club
IL BARBIERE DI SIVIGLIA Season Premiere: November 18, 2014
Composer: Gioachino Rossini
Libretto by: Cesare Sterbini
Conductor: Michele Mariotti
Production: Bartlett Sher
Set Designer: Michael Yeargan
Costume Designer: Catherine Zuber
Lighting Designer: Christopher Akerlind
Rosina: Isabel Leonard
Count Almaviva: Lawrence Brownlee
Figaro: Christopher Maltman
Dr. Bartolo: Maurizio Muraro
Don Basilio: Paata Burchuladze
November 18, 22 mat, 26, 29, December 3, 6 mat Production a gift of The Sybil B. Harrington Endowment Fund Revival a gift of Rolex LA BOHÈME Season Premiere: September 23, 2014
Composer: Giacomo Puccini
Libretto: Giuseppe Giacosa and Luigi Illica
Conductor: Riccardo Frizza
Production: Franco Zeffirelli
Set Designer: Franco Zeffirelli
Costume Designer: Peter J. Hall
Lighting Designer: Gil Wechsler
Mimi: Ekaterina Scherbachenko/Kristine Opolais/Angela Gheorghiu
Musetta: Myrte Papatanasiu*/Susanna Phillips/Sonya Yoncheva
Rodolfo: Bryan Hymel/Ramon Vargas/TBA
Marcello: Quinn Kelsey/Luca Salsi/Mariusz Kwiecien
Schaunard: Alexey Lavrov/Alessio Arduini*
Colline: David Soar/Matthew Rose/Oren Gradus
Benoit/Alcindoro: Donald Maxwell/John Del Carlo
September 23, 26, 29, October 4, November 14, 20, 24, 28, December 1, 5, 10, 13, January 15, 19, 24 mat Production a gift of Mrs. Donald D. Harrington
CARMEN Season Premiere: September 30, 2014
Composer: Georges Bizet
Libretto by: Henri Meilhac and Ludovic Halevy
Conductor: Pablo Heras-Casado/Louis Langree
Production: Richard Eyre
Set & Costume Designer: Rob Howell
Lighting Designer: Peter Mumford
Choreographer: Christopher Wheeldon
Micaela: Anita Hartig/Hei-Kyung Hong/Ailyn Perez*
Carmen: Anita Rachvelishvili/Elīna Garanča
Don José: Aleksandrs Antonenko/Roberto Alagna/Jonas Kaufmann
Escamillo: Massimo Cavalletti/Ildar Abdrazakov/Gábor Bretz*
September 30, October 4 mat, 9, 13, 17, 23, 28, November 1 mat, February 6, 9, 13, 19, 23, 26, March 4, 7 mat Production a gift of Mrs. Paul Desmarais Sr. Revival a gift of Rolex
LES CONTES D’HOFFMANNSeason Premiere: January 12, 2015
Composer: Jacques Offenbach
Libretto: Jules Barbier and Michel Carre
Conductor: Yves Abel/James Levine
Production: Bartlett Sher
Set Designer: Michael Yeargan
Costume Designer: Catherine Zuber
Lighting Designer: James F. Ingalls
Choreographer: Dou Dou Huang
Olympia: Hibla Gerzmava/Audrey Luna
Antonia/Stella: Hibla Gerzmava/Susanna Phillips
Giulietta: Hibla Gerzmava/Elena Maximova
Nicklausse/The Muse: Kate Lindsey/Karine Deshayes/Jennifer Johnson Cano
Hoffmann: Vittorio Grigolo/Matthew Polenzani
Four Villains: Thomas Hampson/Laurent Naouri
January 12, 16, 22, 27, 31 mat, February 5, 28, March 5, 11, 14, 18, 21 Production a gift of the Hermione Foundation, Laura Sloate, Trustee; and the Gramma Fisher Foundation, Marshalltown, Iowa Additional funding from the Estate of Helen F. Kelbert, and Mr. and Mrs. William R. Miller
DON CARLO Season Premiere: March 30, 2015 Co-production of the Metropolitan Opera, Royal Opera House Covent Garden, and the Norwegian National Opera and Ballet
Composer: Giuseppe Verdi
Libretto by: Camille du Locle and Joseph Mery, translated by Achille de Lauzieres
Conductor: Yannick Nezet-Seguin
Production: Nicholas Hytner
Set & Costume Designer: Bob Crowley
Lighting Designer: Mark Henderson
Elisabeth de Valois: Barbara Frittoli/Lianna Haroutounian*
Princess Eboli: Ekaterina Gubanova/Nadia Krasteva*
Don Carlo: Yonghoon Lee/Ricardo Tamura
Rodrigo, Count of Posa: Simon Keenlyside
Philip II: Ferruccio Furlanetto
Grand Inquisitor: James Morris
March 30, April 2, 6, 11 mat, 15, 18 mat, 22, 25 Production a gift of Mr. and Mrs. William R. Miller
DON GIOVANNI Season Premiere: February 4, 2015
Composer: Wolfgang Amadeus MozartLibretto by: Lorenzo Da Ponte
Conductor: Alan Gilbert
Production: Michael Grandage
Set and Costume Designer: Christopher Oram
Lighting Designer: Paule Constable
Choreographer: Ben Wright
Donna Anna: Elza van den Heever
Donna Elvira: Emma Bell/Jennifer Check
Zerlina: Kate Lindsey
Don Ottavio: Dmitry Korchak*
Don Giovanni: Peter Mattei
Leporello: Luca Pisaroni
Masetto: Adam Plachetka*
Commendatore: James Morris/Ievgen Orlov
February 4, 7 mat, 11, 14, 17, 21 mat, 24, 27, March 2, 6 Production a gift of the Richard and Susan Braddock Family Foundation, and Sarah and Howard Solomon Additional funding from Jane and Jerry del Missier, and Mr. and Mrs. Ezra K. Zilkha
ERNANI Season Premiere: March 20, 2014
Composer: Giuseppe Verdi
Libretto by: Francesco Maria Piave
Conductor: James Levine/TBA
Production: Pier Luigi Samaritani
Set Designer: Pier Luigi Samaritani
Costume Designer: Peter J. Hall
Lighting Designer: Gil Wechsler
Elvira: Angela Meade
Ernani: Francesco Meli/Luc Robert*
Don Carlo: Placido Domingo
De Silva: Dmitry Belosselskiy
March 20, 23, 26, 31, April 4 mat, 8, 11 Production a gift of the Gramma Fisher Foundation, Marshalltown, Iowa
HANSEL AND GRETEL: Season Premiere: December 18, 2014
Holiday Presentation/Sung in English Originally created for Welsh National Opera and Lyric Opera of Chicago
Composer: Engelbert Humperdinck
Libretto by: Adelheid Wette
Translation: David Pountney
Conductor: Andrew Davis
Production: Richard Jones
Set & Costume Designer: John Macfarlane
Lighting Designed by: Jennifer Tipton
Choreographer: Linda Dobell
Gretel: Christine Schefer/Andriana Chuchman
Hansel: Christine Rice*/Jennifer Johnson Cano
Gertrude: Michaela Martens
The Witch: Robert Brubaker
Peter: Dwayne Croft
December 18, 23 mat, 27, 30 mat, January 1, 3 mat, 8 Production a gift of the Gramma Fisher Foundation, Marshalltown, Iowa; and Karen and Kevin Kennedy Additional funding from Dr. Coco Lazaroff, and Joan Taub Ades and Alan M. Ades
LADY MACBETH OF MTSENSK Season Premiere: November 10, 2014
Composer: Dmitri Shostakovich
Libretto by: Alexander Prei
Conductor: James Conlon
Production: Graham Vick
Set & Costume Designer: Paul Brown
Lighting Designer: Nick Chelton
Choreographer: Ron Howell
Katerina Ismailova: Eva-Maria Westbroek
Sergei: Brandon Jovanovich/Frank van Aken
Zinovy Ismailov: Raymond Very
Boris Ismailov: Anatoli Kotscherga
November 10, 13, 17, 21, 25, 29 mat
LUCIA DI LAMMERMOORSeason Premiere: March 16, 2015
Composer: Gaetano Donizetti
Libretto: Salvadore Cammarano
Conductor: Maurizio Benini
Production: Mary Zimmerman
Set Designer: Daniel Ostling
Costume Designer: Mara Blumenfeld
Lighting Designer: T.J. Gerckens
Choreographer: Daniel Pelzig
Lucia: Albina Shagimuratova
Edgardo: Joseph Calleja
Enrico: Fabio Capitanucci
Raimondo: Alastair Miles/Oren Gradus
March 16, 19, 24, 28 mat, April 1, 4, 7, 10 Production a gift of The Sybil B. Harrington Endowment Fund
MACBETH: Season Premiere: September 24, 2014
Composer: Giuseppe Verdi
Libretto by: Francesco Maria Piave
Conductor: Fabio Luisi
Production: Adrian Noble
Set & Costume Designer: Mark Thompson
Lighting Designer: Jean Kalman
Choreographer: Sue Lefton
Lady Macbeth: Anna Netrebko
Macduff: Joseph Calleja
Macbeth: Željko Lučić
Banquo: Rene Pape
September 24, 27 mat, October 3, 8, 11 mat, 15, 18 Production a gift of Mr. and Mrs. Paul M. Montrone Additional funding from Mr. and Mrs. William R. Miller; Hermione Foundation, Laura Sloate, Trustee; and The Gilbert S. Kahn & John J. Noffo Kahn Endowment Fund
MANON Season Premiere: March 9, 2015 Co-production of the Metropolitan Opera; the Royal Opera House, Covent Garden, London; Teatro alla Scala, Milan; and Thetre du Capitole de Toulouse.
Composer: Jules Massenet
Libretto by: Henri Meilhac and Philippe Gille
Conductor: Emmanuel Villaume
Production: Laurent Pelly
Set Designer: Chantal Thomas
Costume Designer: Laurent Pelly
Lighting Designer: Joel Adam
Choreographer: Lionel Hoche
Manon: Diana Damrau
Chevalier des Grieux: Vittorio Grigolo
Lescaut: Russell Braun/Michael Todd Simpson
Comte des Grieux: Nicolas Teste
March 9, 12, 17, 21 mat, 25, 28 Production a gift of The Sybil B. Harrington Endowment Fund
DIE MEISTERSINGER VON NuRNBERG Season Premiere: December 2, 2014
Composer: Richard Wagner
Libretto by: Richard Wagner
Conductor: James Levine
Production: Otto Schenk
Set Designer: Gunther Schneider-Siemssen
Costume Designer: Rolf LangenfassLighting Designer: Gil Wechsler
Choreographer: Carmen de Lavallade
Eva: Annette Dasch
Magdalene: Karen Cargill
Walther von Stolzing: Johan Botha
David: Paul Appleby
Hans Sachs: Johan Reuter
Beckmesser: Johannes Martin Kranzle*
Pogner: Hans-Peter Konig
Nightwatchman: Matthew Rose
December 2, 6, 9, 13 mat, 17, 20, 23 Production a gift of Mrs. Donald D. Harrington Revival a gift of Mr. and Mrs. Corbin R. Miller, and Mr. and Mrs. Charles Scribner III
THE RAKE’S PROGRESS Season Premiere: May 1, 2015
Composer: Igor Stravinsky
Libretto by: Chester Kallman and W. H. Auden
Conductor: James Levine
Production: Jonathan Miller
Set Designer: Peter J. Davison
Costume Designer: Judy Levin
Lighting Designed by: Jennifer Tipton
Anne Trulove: Layla Claire
Baba the Turk: Stephanie Blythe
Tom Rakewell: Paul Appleby
Nick Shadow: Gerald Finley
Trulove: Brindley Sherratt*
May 1, 4, 9 mat Production a gift of the Edgar Foster Daniels Foundation
LA TRAVIATASeason Premiere: December 11, 2014 Original production of the Salzburger Festspiele; with thanks to Dutch National Opera, Amsterdam
Composer: Giuseppe Verdi
Libretto by: Francesco Maria Piave
Conductor: Marco Armiliato
Production: Willy Decker
Set & Costume Designer: Wolfgang Gussmann
Lighting Designer: Hans Toelstede
Choreographer: Athol Farmer
Violetta Valéry: Marina Rebeka/Marina Poplavskaya
Alfredo Germont: Stephen Costello/Francesco Demuro*
Giorgio Germont: Ludovic Tézier
December 11, 16, 19, 22, 27 mat, 30, January 7, 10, 14, 17, 21, 24 Production a gift of Karen and Kevin Kennedy, and Mr. and Mrs. Paul M. Montrone Revival a gift of The NPD Group, Inc.
DIE ZAUBERFLÖTE Season Premiere: October 6, 2014
Composer: Wolfgang Amadeus Mozart
Libretto: Emanuel Schikaneder
Conductor: Adam Fischer
Production: Julie Taymor
Set Designer: George Tsypin
Costume Designer: Julie Taymor
Lighting Designer: Donald Holder
Puppet Designers: Julie Taymor and Michael Curry
Choreographer: Mark Dendy
Pamina: Pretty Yende/Miah Persson
Queen of the Night: Ana Durlovski*/Kathryn Lewek
Tamino: Toby Spence
Papageno: Markus Werba
Speaker: Ryan McKinny
Sarastro: René Pape/Franz-Josef Selig
October 6, 11, 16, 21, 25 mat, 27, 31, November 3, 8 mat Production a gift of Mr. and Mrs. Henry R. Kravis Additional funding from John Van Meter, The Annenberg Foundation, Karen and Kevin Kennedy, Bill Rollnick and Nancy Ellison Rollnick, Mr. and Mrs. William R. Miller, Agnes Varis and Karl Leichtman, and Mr. and Mrs. Ezra K. Zilkha
Привет из Нью–Йорка: две наши красавицы–певицы, Кристине Ополайс и Марина Ребека, поют главные партии в «Богеме» Пуччини на главной музыкальной сцене мира — в театре Metropolitan Opera.
Снимок, сделанный в перерыве между репетициями, Кристине выложила на своей страничке в социальных сетях, подписав: «Латвийская мафия в Мет» (и добавив, конечно, смайлик — значок с улыбкой).
А более чем серьезное издание The Wall Street Journal посвятило латвийскому феномену статью, полную восторга и удивления. «Страна, в которой живет меньше народу, чем в одном районе Нью–Йорка — Квинсе, поставляет поразительное число исполнителей.
В Metropolitan Opera наступила очень латвийская зима. Госпожа Ребека только что отпела в «Травиате», а уже 15 января будет Мюзеттой в «Богеме» — причем роль Мими в этой же постановке играет ее подруга и соотечественница Кристине Ополайс. Но и это не все: 6 февраля меццо–сопрано Элина Гаранча открывает в Мет серию спектаклей «Кармен». Следующий же сезон начнется «Отелло» Верди с тенором Александром Антоненко…» Далее корреспондент перечисляет других латвийских звезд — великого танцора Михаила Барышникова, скрипача Гидона Кремера, виолончелиста Мишу Майского, певицу Инесе Галанте, молодого дирижера Андриса Нелсонса, возглавляющего сейчас симфонический оркестр Бостона…
Читать это очень приятно. А еще приятней то, что наши знаменитости не жалеют теплых слов о родине и постоянно радуют публику Риги и других городов страны своими выступлениями. Ребеку и Антоненко мы увидим уже 4 апреля — они примут участие в концертном исполнении «Турандот» Пуччини на сцене Латвийской Национальной оперы.
Дорогая Маша Насардинова... Сделайте доброе дело: убейтесь о стену...
P.S. Я понимаю, что Латвия не провинция мира и не задворки Европы... Но пока я читаю такие тексты, никаких других мыслей об этой прекрасной прибалтийской стране у меня в сознании не возникает...
Дорогая Маша Насардинова... Сделайте доброе дело: убейтесь о стену...
P.S. Я понимаю, что Латвия не провинция мира и не задворки Европы... Но пока я читаю такие тексты, никаких других мыслей об этой прекрасной прибалтийской стране у меня в сознании не возникает...
26 мая 2020, 10:0 «Чтобы опера смогла выжить после пандемии, надо расширять репертуар»
Генеральный менеджер Метрополитен-оперы Питер Гелб — о гигантизме «Мет», социальной дистанции в театре и радикальных режиссерах
Фото: Getty Images/Astrid Stawiarz
ТЕАТРЫ ОПЕРА
Питер Гелб продолжает сотрудничество с Большим театром, делает всё, что пожелает Анна Нетребко, называет Дмитрия Чернякова «гением», а себя — «солдатом музыки», который спасает оперу во время COVID-19. Об этом генеральный менеджер Метрополитен-оперы рассказал в эксклюзивном интервью «Известиям».
— Как «Мет» переживает нынешний кризис? — Оперные театры всего мира находятся сейчас в одинаковом положении. Ждем, когда можно будет безопасно возобновить представления и публике вернуться в залы. Мы работаем на такой же основе, как и другие ведущие оперные дома Европы — Парижская опера, Ла Скала или Большой театр. Предложения некоторых европейских институций давать представления только для небольшой аудитории не реалистичны. «Мет» располагает залом в 3,8 тыс. мест, и если для социального дистанцирования нам бы даже удалось сократить их до 400–500, остаются другие вопросы: как публика станет входить в театр, добираться до своих мест, не соприкасаясь друг с другом, пользоваться туалетами? Как разместить оркестр в яме, а певцов и хор на сцене? «Эпоха умопомрачительных гонораров звезд закончилась»
Гендиректор Пермской Оперы Андрей Борисов — о том, что ждет музыкальный театр после пандемии
— Возможна ли для «Мет» такая модель с экономической точки зрения? — Нет. В Америке мы не имеем правительственных субсидий и зависим от пожертвований. Они составляют около половины нашего ежегодного бюджета в $300 млн. Остальное поступает от продажи билетов. Если ограничить аудиторию несколькими сотнями мест на каждое представление, мы не сможем найти необходимые финансовые средства. Так или иначе, главное — это здоровье и безопасность публики.
— Какие шансы на открытие вашего нового сезона по графику — 21 сентября 2020 года? — Он откроется, когда будут решены эти проблемы. У меня нет магического кристалла, поэтому не знаю, когда это произойдет. В данный момент мы по-прежнему планируем начать сезон в конце сентября. Не думаю, что можно обеспечить безопасность путем социального дистанцирования. Нужно справиться с эпидемией любым способом — лечением, иммунитетом или, скорее всего, с помощью вакцины. Знаю, что в этой области достигнут большой прогресс. Но когда она будет готова?
Метрополитен-опера в апреле 2020 годаФото: Getty Images/John Lamparski
— Я не был бы столь категоричен — только белое или черное. В самом Нью-Йорке значительная часть населения уже переболела коронавирусом. В любом случае, я не думаю, что должен быть источником медицинской информации. Ясно, что предстоящий сезон в опасности. Но его начало не зависит только от того, удастся ли получить вакцину.
— Значит, в ближайшем будущем общение «Мет» с публикой останется виртуальным? — В 1931 году, во времена Великой депрессии, с которой часто сравнивают в экономическом плане COVID-19, «Мет» первым начал радиотрансляцию своих спектаклей. Таким был его ответ на тогдашний кризис. Возглавив «Мет» в 2006 году, я начал трансляцию наших спектаклей в кинотеатрах. Мы получили самую большую оперную аудиторию в мире — миллионы людей в разных странах, включая Россию. Когда в марте 2020 года нам пришлось отменить представления, мы предложили зрителям онлайн-трансляцию — около тысячи часов наших программ. Это помогает «Мет» поддерживать тесные контакты с публикой. Поскольку люди настроены по отношению к нам позитивно, ряды наших доноров пополнились 19 тыс. новых членов из разных стран. Когда снова откроем театр, мы, возможно, на что-то посмотрим иначе, но связь «Мет» с аудиторией будет сильнее. «На российском искусстве хорошо отразится экономический кризис»
Известные театральные деятели о будущем театра после коронавируса
— Как долго собираетесь продолжать онлайн-трансляции? — Всё время. Прекратим, как только начнем показывать спектакли в самом театре. Цивилизованное общество не может существовать без культуры. И мы даем такую возможность. Некоторые люди впервые смотрят оперу во время пандемии. Думаю, что, когда она закончится, они придут в театр. Публика обретет свободу, и ей захочется увидеть настоящие спектакли на сцене. Мы всегда пытаемся не только сохранить старых зрителей, но и привлечь новых.
— Как обстоят дела с тремя вашими совместными постановками с Большим театром — «Аидой», «Саломеей» и «Лоэнгрином»? В каждой из них главную партию должна исполнять Анна Нетребко. — Мы продвигаемся вперед со всеми тремя копродукциями, которые создаются для двух театров. Но если «Мет» осенью не откроется, мы не сможем показать «Аиду» первыми, как это было намечено, и тогда премьера пройдет в Большом. Что касается «Саломеи» и «Лоэнгрина», то они запланированы в «Мет» на следующий сезон.
Питер Гелб и Анна НетребкоФото: Getty Images/Jared Siskin
— Анна Нетребко остается одной из крупнейших звезд вашего театра на протяжении десятилетия. Почему она, на ваш взгляд, так популярна во всем мире? — Она одна из величайших певиц современности, потрясающая артистка с большим сердцем, храброй душой и божественным голосом, прекрасная в любой роли. Ее обожает публика. Когда Анна Нетребко на сцене, вы забываете обо всем и думаете только о ней, ее голосе и персонаже. В истории оперы было лишь несколько певцов, которые смогли достичь столь головокружительных высот. Анна всегда очень отважно выстраивала свою карьеру и репертуар. Начав с легкого сопрано, она стала одним из выдающихся драматических сопрано всех времен. Оперная публика знает: когда выступает Анна, она слышит то, чего никогда не слышала раньше.
— Могу сказать, что поставил специально для нее много опер. В каждой новой постановке исхожу из комбинации нескольких факторов, важнейшим из которых является кастинг. Поскольку «Мет» огромный театр, для некоторых опер, особенно больших драматических, бывает трудно подобрать состав. Очень немногие певцы могут выступать в них на нашей сцене. Что же касается Анны, всё главным образом зависит от того, что она хотела бы петь. Она из тех редчайших певиц в мире, для которой я готов сделать всё, что она пожелает. Сейчас она репетирует главную партию в «Набукко».
— Она счастлива тем, что вы так трепетно к ней относитесь? — Для успеха должны быть счастливы обе стороны. Главное, что благодаря Анне счастливой чувствует себя публика «Мет».
— Какое место в вашем репертуаре занимают русские оперы? — Их не так много, как мне бы хотелось. Назову «Хованщину», «Войну и мир», «Евгения Онегина», «Игрока», «Пиковую даму» с фантастической норвежской сопрано Лиз Дэвидсен. Американская аудитория любит русскую оперу и русских певцов. Не только Анну Нетребко.
Опера «Пиковая дама» в Метрополитен-опереФото: Getty Images/Jack Vartoogian
— Горжусь, что показал «Князя Игоря», который никогда не шел на нашей сцене. Черняков — настоящий визионер, гениальный постановщик. Я послал Дмитрию видеопоздравление на его 50-летие, которое он только что отметил. Меня всегда увлекала красота музыки «Князя Игоря». Трудность заключалась в ее сюжете. Дмитрий предложил нечто фантастическое. Он переосмыслил всё произведение. В результате опера стала прежде всего мощной психологической драмой и в меньшей степени фольклорной вещью, которую обычно видят в ней в России.
— У вас к опере скорее консервативный подход? — Всё зависит от того, что вы имеете в виду под этим словом. Я себя консерватором не считаю. Я против позиции некоторых постановщиков, которые думают, что публика всё примет, и фокусируют внимание на деконструкции произведения. А это необязательно хорошо для зрителей. Сама идея сценического искусства заключается в установлении отношений между сценой и аудиторией. И если ты оскорбляешь аудиторию тем, что считаешь смелым или радикальным, для меня это неправильный подход. Правильный в том, чтобы быть оригинальным и соблюдать верность замыслу композитора. Это не означает, что ты не можешь менять время действия. Но история должна быть абсолютно ясной, чтобы публика могла ее понять и оценить. Лучшие постановщики в мире — те, которые знают, как это сделать. Сдули былинку: героям «Садко» в Большом устроили квест и психоанализ
В новой постановке Дмитрий Черняков обратился к истокам
— Публика ходит в ваш театр слушать замечательные голоса, оценить новые постановки или увидеть великие произведения Моцарта, Доницетти, Верди, Чайковского, Вагнера? — Всё это вместе. Когда в театре так много мест, их заполняет различная публика. В нынешнем сезоне, который нам пришлось остановить в марте, с точки зрения бокс-офиса главными хитами стали «Эхнатон» Филипа Гласса и «Порги и Бесс» Джорджа Гершвина.«Эхнатона» ставят редко, и традиционная аудитория ее плохо знает. Но ее мистический, почти ритуальный стиль покорил нью-йоркскую публику — в том числе ту, которая обычно ходит на Моцарта, Верди или Пуччини. На все спектакли билеты были распроданы. Репертуар надо расширять, чтобы опера смогла выжить в мире, который наступит после пандемии. Для этого необходимо привлекать новую публику, в том числе совсем молодую. Наряду с онлайн-трансляцией в эти кризисные дни мы представляем и образовательную программу для школьников. Поскольку опера отсутствует в американской системе образования, нам надлежит нести сей факел просвещения.
Опера «Порги и Бесс» в Метрополитен-опереФото: Getty Images/Jack Vartoogian
— Тем, что мне удается сохранять оперу живой, поддерживать к ней интерес. Всю свою жизнь я занимался музыкой. Всегда чувствовал, что должен сражаться за то, чтобы классика оставалась в центре общественного интереса. В 1980-е годы я был менеджером знаменитого русского пианиста Владимира Горовица, убедил его поехать на гастроли в Москву в 1986 году. О его историческом возвращении и о его концерте снял фильм («Владимир Горовиц: последний романтик». — «Известия»), который посмотрели миллионы людей. Я всегда стремлюсь крепить связь музыки с публикой. Именно этим больше всего горжусь.
— Есть ли у вас какие-либо сожаления? — Они появляются каждый день. Мы все ошибаемся, но ошибки дают нам возможность учиться. Об этом я напоминаю тем, кто работает со мной. Не страшно совершать ошибки, важно их понимать и извлекать опыт. Возможно, моей самой заметной постановкой в «Мет» оказалась новая «Тоска» — мрачно-реалистическая версия Люка Бонди, поставленная в 2009 году. Она заменила роскошный спектакль Франко Дзеффирелли. Публика отнеслась к ней крайне негативно. Потом я понял, что в тот момент это было слишком смелым поступком с моей стороны. Я не смог убедить консервативных зрителей в том, что не каждая опера должна быть внешне красивой с точки зрения постановки. Ну и сам извлек для себя урок. Убедился, что можно иногда ставить оперы, которые в глазах публики визуально красивы и одновременно радикальны. «Романсы требуют интимного тембра»
Оперный бас Ильдар Абдразаков — о нюансах голоса, любви к Верди и праздниках для зрителя
— В 1991 году еще до прихода в «Мет» вы создали фильм «Солдаты музыки: Ростропович возвращается в Россию», удостоенный премии Emmy. Наверное, непросто было его снять? — Это одно из величайших событий в моей жизни, прекрасно помню его, словно всё было вчера. Благодаря этому фильму я очень многое узнал — прежде всего о гражданском мужестве Славы и Галины, о том, как они храбро выстояли, защищая Солженицына. Во время съемок я не отходил от Ростроповича. Он, как мне казалось, никогда не спал и пил галлонами водку. Мне очень нравится название этого фильма, в котором я использовал слова Шостаковича: «Мы все солдаты музыки». Они стали моим собственным кредо. Мне нравится считать себя солдатом, который не перестает сражаться за то, чтобы музыка и опера продолжали жить. Мстислав Ростропович выступает с Национальным симфоническим оркестром США на сцене Большого зала Московской консерватории, 1990 год
Фото: РИА Новости/Владимир Вяткин — Какой вам представляется опера через 20–30 лет? — Она будет жить, если при ней буду я (смеется). Хотя, может быть, я не проживу так долго. Как бы то ни было, вижу свою миссию именно в том, чтобы опера оставалась с нами и продвигалась вперед с точки зрения креативности. Может быть, изменится ее экономическая модель. Сейчас она не очень хороша — постановки стоят слишком дорого. Не знаю, смогут ли существовать огромные оперные дома через два-три десятилетия. Но творческий дух музыкального театра никогда не умрет.
СПРАВКА «ИЗВЕСТИЙ»:Питер Гелб родился в семье бывшего главного редактора газеты New York Times. Подростком подрабатывал билетером в Метрополитен-опере. Начал карьеру посыльным у известного музыкального продюсера и импресарио Сола Юрока, который работал с видными советскими исполнителями. Для телевидения готовил программы оперных трансляций. Возглавлял Бостонский симфонический оркестр, был президентом Sony Classical Records. В 2008 году журнал Time включил его в список ста самых влиятельных людей мира. Его жена — дирижер Кери-Линн Уилсон — на протяжении многих лет выступала в России. https://iz.ru/1015124/iurii-kovalenk...tm_source=smi2
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Программа:
I отделение
Глазунов
«Времена года» — музыка балета
II отделение...
Социальные закладки