City Oper In The Shadow Of The Metropolitan Opera

The Magic Flute is one of the performance from the Metropolitan Opera. According to the book (The art of Listening Music), The Magic Flute is a German opera that has some serious with comic implications. It was performed on December 30, 2006. Wolfgang Amadeus Mozart (1756-1791) was the fantastic composer of this stunning piece. He created this song as a fairy tale. The librettist is Emanuel Schikaneder. The Magic Flute is performed by not only an orchestra but also a chorus. The show is a musical theater. They created it to bring Mozart’s fairy tale to light. The opera contains two act scenes. The approximate amount of running time is a total of a hour and fifty-two minutes. The cast of the opera and their vocals are Tamino, a prince (tenor), Papageno, the bird catcher (baritone), the queen of the night (coloratura soprano), Pamina, her daughter (soprano), Sarastro, high priest of Isis (bass), Monostatos, chief slave of the temple (baritone), Papagena (soprano), three ladies, attendants to the queen (sopranos, mezzo-soprano), three spirits, boys (treble, alto, mezzo-soprano), speaker of the temple (bass-baritone), three priests

I understand how difficult it is not to portray certain elements in a opera that were meant to be conveyed through story. Things like the ocean were portrayed on a projection screen and the shore of the captains home was also the same as the the setting for the ship. This for me, made it a little harder to interpret what was going on from act to act. I did enjoy the music performance, but I felt that the performance took what would have happened in two short conversations and turned it into a three hour opera. I don’t think it is fair to assume that this opera represents all operas, and I believe I will attend another opera potentially in English so I do not feel that I am watching a teleprompter for the majority of the performance instead of absorbing the

A lot has changed in theatre during the Renaissance era and today. Things that have changed between the Renaissance era and today's drama include staging , language, and topics. In the Renaissance era, theatre performances were hosted in: Inn-yards, Amphitheatres and Indoor Playhouses. In the 20th century, producers use movie sets and digital production. Scripts were written in Old English during the Renaissance era , while our current language has evolved.

Music is my life. Specifically, my vocal specialization is Tenor, which is the highest range a male voice can attain. I perform Classical repertoire written in the languages: English, French, German, Italian, and Spanish. I love singing in various languages, for it significantly enhances my ability to vocalize. Currently, I am only involved in Nevada Chamber Singers, but I will be participating in Nevada Chamber Opera this spring. With respect to my academics, I am a double major in Music and Marketing, and I will pursue getting my master’s degree in Arts Administration.

Its first location was erected on Broadway and 39th Street. Due to inadequate stage facilities, it has since moved to its current location at the Lincoln Center. In September of 1966, the Met opened, completely revamped with much more technical capabilities, at the Lincoln Center. It underwent several trials in its early stages, such as completely performing all works in Italian and then German before finally stabilizing with the policy of performing most works in their original languages. However, “Met Titles” were implemented in 1995, which offer translation on computerized screens for patrons who would like to utilize them. Function The Metropolitan Opera serves as a performing arts showcase. Its roster of singers is among the world’s most famous artists. Moreover, its productions are among the most famous operas of all time as well. In addition, everything hosted at the Met is from the highest in the field, even down to the choreographers, directors, and designers. The Met also helps pave the way to success for many artists through its young artists programs, such as the children’s

The opera Rigoletto at the Metropolitan Opera was conducted by Pablo Heras Casado. The three principal singers were Piotr Beczala as the Duke, Zeljko Lucic as Rigoletto and Olga Peretyatko as Gilda. This being my first opera, I was surprised by how large and grandiose the house was, which is in sharp contrast to my typical experience when I see musicals.The production decided to place a modern twist on the setting of the opera, rather than the original setting of 16th century Italy, the story is placed in Las Vegas in the 20th century. The set is constructed to reflect that in the first act with a casino scene complete with neon lights, card tables and roulette. In my opinion, this all seemed to distract the viewer from the story and the change in setting didn’t enhance the production itself. Rather it made me think about how out of place this all was instead of focusing on the opera itself. The first act was fairly difficult for me to suspend disbelief and get into the plot of the opera. This had much to do with me being initially turned off by the casino as the setting for this opera. Although in later acts I was able to move past the modern set that was only because this set became less pronounced in the second and third acts.

Opera is a timeless music that transcends the generations. I would like to go out on a limb, and suggest that the average young person does not really give much thought to opera. However, it is a music that will last much longer than the popular tunes that they listen to on their music player today. The great thing about going to the opera is the opportunity to experience classical music at its best. Actually, there is something very soothing and seductive about pure classical music set to a stage filled with actors acting out the human condition in some form. One of the perks concerning living in the Fort Worth area is the number of wonderful opera performances that are available to the general public.

The paper at hand is a music appreciation of The New York Philharmonic’s performance of Gustav Holst’s The Planets at Avery Fisher Hall, New York, on 7th July 2013 at 3:00 p.m. This tenth season of Summertime Classics, presented by The New York Philharmonic, features Bramwell Tovey, who has been the host as well as the conductor of this series since its commencement in 2004 (Gilbert, 2013, p.1). Tovey, a Grammy-winning conductor is renowned all around the world as a highly versatile musician due to his “artistic depth” as well as “charismatic personality” that reflects in his works as a composer and pianist (p.1). On the other hand, The New York Philharmonic is an orchestra group that is comprised of highly talented musicians who by playing musical instruments such as violins, piccolo, cellos, trombones etc are able to bring in the essence of the works done by original composers (Keller, 2012, p.7).

The most impressive aspect of the Stony Brook opera’s performance of La Boheme was most definitely the quality of the singers’ voices. The fantastic opera singing of the actors was simply a sight to behold. Compared to the recorded version of La Boheme, I think that the Stony Brook opera did an even better job and left a more lasting impression. Finally, between Rent and La Boheme, I have the opinion that the musical setting of La Boheme suited the tragic story perfectly and was simply better than Rent. I have seen live performances of Rent in the past and I believe that Stony Brook’s rendition of the opera trump those easily. Also, the disparity of the poorest quarters in Bohemian Paris of 1830 created a better setting for the final tragedy that concludes the story. Lastly, seeing this performance has only solidified my respect for Stony Brook’s musical department. Next time I have the chance, I will definitely be visiting the Staller Center main stage for another

Director of this play is Marie Allyn King. There are many characters in this opera, but some important characters are Aaron Stepanek (Eisenstein), Alyson Golladay (Rosalinda), Brittany Jereffy (Orlovsky), Rachel Martin (Adele), Chy Billings (Flake) and many other characters are there in this show.

Jean Pierre and François were constant companions and business partners throughout their lives. They spent a great deal of time in New Orleans on business and while there, they attended The French Opera on the corner of Bourbon and Toulouse whenever possible. The French Opera House, designed by James Gallier Jr. opened in 1859 and closed briefly during the Civil War. The Vigueries may have been in the audience for the American premieres of Carmen and Aida. Family members recalled that the brothers had beautiful singing voices and would bring home librettos from the operas and sing the whole scores.

When students study to sing Italian bel canto opera, it’s better to use the work which performed by people who is original singer to imitate and practice. However, there are still a series of problems will happen for non-Italian students when they are study singing the opera, for example Semiramide. Bel raggio lusinghier. Even according to the video soundtrack to imitate, the overall effect artistic and performances is not satisfactory. The problems are pronunciation hesitation, slurred speech, unknown the meaning of the text. All of these problems will reduce the bel canto opera artistry.

The Utah Symphony (USO) and the Utah Opera (UOC) Merger was a union that was brought forth by the leadership committee at the USO in Salt Lake City. The proposal was an opportunity to strengthen a struggling symphony with a financially sound opera company. Although mergers between opera and symphony companies in the United States had been successfully in the past, the merging of a two major companies had yet to materialize (Delong & Ager, 2005, p. 2). William Bailey, Chairman of the Board for the Utah Opera Company had motivation to move forward with the merger. Successfully combining the two companies the size of Utah’s Opera and Symphony Orchestra would be a first in the nation, and set

The first objective is to gain generous contributions. The amount per donator, ration between new donators and new contacts (collection rate) and the total amount of the donators and contributions are ways to measure how this aspect is doing. Incentives for the staff should also be incorporated into these objectives, especially ones that steer the process towards multi-year support programs.

Donald Grout defines opera in his text, A Short History of Opera, as “a drama in music: a dramatic action, exhibited on stage with scenery by actors in costume, the words conveyed entirely or for the most part by singing, and the whole sustained and amplified by orchestral music” (4). A literal translation of the word opera is simply work, and although the term opera was not coined until 1634, one of the first known operas was performed in 1597 (Grout 1). Grout explains that there are two types of opera. The first type is when the main emphasis is on the music (Grout 6). Examples of this type of opera can be seen in the works of Lully and Wagner (Grout 7). The second type of opera is characterized by the music and other factors being of