Table Of Content
Ahn was cast in the lead role of Guang in Stuck Elevator by Byron Au Yong and Aaron Jafferis with the Sundance Institute Theatre Lab 2011 at the Banff Centre, as well as with the Sundance Institute Theatre Lab 2012 at White Oak. He performed the role in the world premiere with the American Conservatory Theatre in San Francisco, which earned him an Award for Outstanding Achievement in Theatre (Principal Actor in a Musical) from the San Francisco Bay Area Theatre Critics Circle. He later reprised the role with the Arts and Ideas Festival in New Haven, Connecticut, and did so again with New York Theatre Workshop. Other operatic highlights include Belcore in L’elisir d’amore, Baron Mirko Zeta in The Merry Widow, Giove in La Calisto, Kecal in The Bartered Bride, Simone in Gianni Schicchi, and Seneca in The Coronation of Poppea. He has also been seen performing selections of Bernstein and Mahler with the CCM Philharmonic, and was the bass soloist in Vaughan Williams’ Serenade to Music with the DePaul University Symphony Orchestra.
t Tier
I can easily see how this cutting-edge and forward-looking show may have influenced such productions as Next to Normal and Jagged Little Pill. Kennedy Center Opera House, located in Washington DC, DC is a versatile venue that hosts a variety of concert and theater events throughout the year. Gianandrea Noseda and the National Symphony Orchestra will take on one of Gustav Mahler’s most challenging and rewarding works. “Chasing the Bus,” the lead single from the new album Ten Fold, riffs on the atmospheric Quiet Storm template, with lyrics of romantic desire doubling as a chronicle of Bey’s struggles in the music industry. Act ThreeThe heralds announce that by order of Princess Turandot, tonight no man shall sleep. Calaf vows to only reveal his name to Turandot once daylight has broken (“Nessun dorma!”).
Check out Hirshhorn's new exhibit, attend Yaya Bey's concert, or listen to a book talk.
Orchestra seats are in a prime location in terms of acoustics, allowing for a clear and balanced audio experience throughout the concert. Princess Turandot will only marry a man who can solve her three riddles; all who fail must die. The kingdom has gathered to witness the execution of the latest to fail, the Prince of Persia. Timur, the deposed King of the Tartars, old and blind, hides among the crowd with his servant girl Liù.
Review: RENT IN CONCERT at The Kennedy Center
Jimmie Herrod’s portrayal of Angel (who comes to a sad end) was spot-on with an engaging quality of naivete at times. Mr. Herrod’s textured and sensitive tones often reminded me of a young Johnny Mathis (this is meant as a supreme compliment). Herrod moved the audience with the emotional song “I’ll Cover You” for his lover Tom Collins (a wonderful performance by Terrance Johnson). Andrew Barth Feldman’s performance and interpretation of the idealistic Mark Cohen was refreshingly very natural and relaxed looking. Feldman’s rendition of “Halloween” was an affecting ode to conflicting thoughts.
James Conlon
When the Opera House was renovated following the 1989 earthquake, he was an integral part of the design of the new theatrical lighting system. He also served as the lighting consultant for the 2006 renovation of the historic St. Mark's Lutheran Church in San Francisco. In the first few years of his professional career, Ashley has become a sought-after vocalist for new works and experimental projects working closely with composers from across the country including, Lewis Pesacov, Rand Steiger, Bruno Louchouarn, Christopher Cerrone, Anne LeBaron and many more. He also appears as Joe in the DVD of the San Francisco Opera production of Show Boat, and in the DVDs of the Metropolitan Opera’s production of Salome and the Aix-en-Provence Festival’s production of Mozart’s Zaide. Her interpretation of Lina in Verdi's Stiffelio was released on DVD in a production from Parma. Guanqun Yu is also familiar with the French repertoire singing Micaëla in Carmen and Mathilde in Guillaume Tell – a role which brought her a great personal triumph in a new production at Hamburg State Opera.
Audra McDonald in Concert
Superior and innovative lighting design by Cory Pattak stood out at the right moments ---shafts of lights in various hues of red and blue hit the stage from overhead and from differing directions in a most effective manner. The ensemble of theatrical talent and vocalists here was tightly knit together and all were at the top of their game but there were certain standouts. I occasionally wished there could have been surtitles-- for the procession of lyrics flew by so fast but, luckily, the talented artists assembled here delivered clear diction so you could hear most every line.
He also frequently collaborates with universities, museums, and other cultural institutions and works with scholars, practitioners, and community members across disciplines. He frequently appears throughout the country as a speaker on a variety of cultural and educational topics. Mr. Conlon is an enthusiastic advocate of public scholarship and cultural institutions as forums for the exchange of ideas and inquiry into the role music plays in our shared humanity and civic life. At LA Opera, he leads pre-performance talks, drawing upon musicology, literary studies, history, and social sciences to contemplate—together with his audience—the enduring power and relevance of opera and classical music in general. Additionally, he frequently collaborates with universities, museums, and other cultural institutions, and works with scholars, practitioners, and community members across disciplines.
Review: MESSAGE IN A BOTTLE at Kennedy Center Opera House - BroadwayWorld
Review: MESSAGE IN A BOTTLE at Kennedy Center Opera House.
Posted: Sat, 13 Apr 2024 07:00:00 GMT [source]
She has also presented solo recitals at the Kennedy Center in Washington, D.C., as well as in Philadelphia, Santa Fe, and Waterford (VA). Mr. Conlon’s extensive discography and videography can be found on the Bridge, Capriccio, Decca, EMI, Erato, and Sony Classical labels. His recordings of LA Opera productions have received four Grammy Awards, two respectively for John Corigliano’s The Ghosts of Versailles and Kurt Weill’s Rise and Fall of the City of Mahagonny.
Turandot recounts the story of Princess Lou-Ling, her ancestor, dragged away by invading Tartars (“In questa reggia”). Hatred for the man who killed her lives on in Turandot’s heart, and no man shall ever possess her. He tells her that if she can discover his name before dawn, he will let her have him executed.
From 2008 to 2011 he was the artistic adviser and principal stage director for Opera Omaha, where he led a cycle of the Mozart-Da Ponte operas. He began directing for the Peabody Conservatory of Johns Hopkins University in 2004, receiving a faculty appointment in 2006. He was on staff at the Aspen Music Festival and School from 1993 and joined the faculty from 1997 until 2019. In 2022 he joins the faculty of University of Texas at Austin’s Butler School of Music as Lecturer in Opera Studies and Stage Director. Additional highlights of his season include returning to the Chicago Symphony Orchestra to lead Mendelssohn’s Elijah, and conducting Wagner’s Lohengrin at Deutsche Oper Berlin.
The crowd cries out for blood, calling on the moon to rise, for that is the moment of execution. Turandot appears to signal the execution and Calaf is captivated by her heavenly beauty. Timur and Liù try to impress upon him that pursuing his infatuation will only end badly as the Prince of Persia is executed, but Calaf will hear none of it.
He also conducts Verdi’s La Traviata—the first opera he led as Music Director of LA Opera—continuing his multi-season focus on the works of the great Italian composer. To date, Conlon has conducted more than 500 international performances of Verdi’s repertoire. Conlon closes his LA Opera season honoring the 100th anniversary of Puccini’s death, conducting Turandot, Puccini’s final opera composed in 1924. Conlon is deeply invested in the role of music in civic life and the human experience. At LA Opera, his popular pre-performance talks blend musicology, literary studies, history, and social sciences to discuss the enduring power and relevance of opera and classical music.
So it’s appropriate that the conclusion of this new adaptation has been conceived by video-game composer Christopher Tin, along with playwright and screenwriter Susan Soon He Stanton. In her new book, The Swans of Harlem, the author tells the story of five Black ballerinas whose groundbreaking history with Dance Theatre of Harlem has long been untold. Valby will be joined by founding company members Lydia Abarca Mitchell (on the left, performing with Derek Williams) and Sheila Rohan, along with later dancers Marcia Lynn Sells and Karlya Shelton-Benjamin. Scene TwoEight wise men appear in the square carrying scrolls with the answers to the three riddles (“Gravi, enormi ed impotenti”). The ancient Emperor, enthroned in venerable majesty, begs Calaf to leave, but the Tartar prince will not yield.
Kitty moves effortlessly between her work in opera, including Roméo et Juliette, La Traviata, Don Carlo, La Rondine, Lucia di Lammermoor and The Tales of Hoffmann for the country’s largest opera houses, to commercials for Target, Adobe MAX, Novartis, Mercedes Benz, Grey Ant and Uniqlo. She finds shifting from high art settings to the demands of pop culture to be incredibly invigorating. Kitty loves working with actors and is known for her ability to draw out organically nuanced performances. She has coached and choreographed for Paz Vega, Julianne Hough, Margaret Cho, Vanessa Williams, Vittorio Grigolo, Lily Tomlin, Anna Netrebko and Rolando Villazón. Conlon opens his 18th season at LA Opera conducting Mozart’s Don Giovanni directed by Kasper Holten.
He also returns to Switzerland’s Bern Symphony, where he is Principal Guest Conductor, to lead three programs including Schubert and Beethoven symphonies, a celebratory New Years Day concert, and a season finale with Shostakovich’s Symphony No. 5. Since his debut that year with La Traviata, he has conducted 67 different operas and more than 455 performances to date with the company. He portrayed Sellem in The Rake’s Progress with Princeton Festival; Bégearss in The Ghosts of Versailles with Aspen Opera Theater Center; and Demo in Cavalli’s Giasone with Chicago Opera Theater.
No comments:
Post a Comment