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2007/9/13 Mitsuko Uchida Plays MozartNew York Philharmonic, Avery Fisher Hall, Lincoln Center， NYCWed, May 3, 2006, 7:30 PMProgram:Mozart:
- La clemenza di Tito Overture - Ch'io mi scordi di te...Non temer, amato bene, K 505 - Piano Concerto in D, K. 537, "Coronation" Sibelius:
- Luonnotar - Symphony No. 3 Featured Artists:Sir Colin Davis, Conductor - Mitsuko Uchida, Piano - Soile Isokoski, Soprano
About the Program:WOLFGANG AMADEUS MOZART (1756-1791)
Overture to La clemenza di Tito, K. 621 (1791)
In August of 1791 (just three months before his death) Mozart was on his way to Prague, to the coronation of Emperor Leopold II as King of Bohemia. He still hadn’t completed the commission for the opera in honor of the occasion, La Clemenza di Tito, and brought along an assistant to help finish it. Many of Mozart’s works were performed during the festivities, but this opera did not find favor. Today, we usually hear this wonderful overture. “Ch’io mi scordi di te?” Scene with Rondo for soprano, orchestra and piano obbligato, K. 505 (1786)
Mozart composed this dazzling aria for the 1787 farewell concert by Anna (Nancy) Storace, who had been concertizing on the continent. Mozart himself at the keyboard accompanied the charming English mezzo—for whom he had a deep affection. The dedication on the score reads “from your servant and friend,” and the text sums up Mozart’s feelings: “How could I forget you? …Don’t fear, beloved, my heart will always be yours.” Piano Concerto No. 26, K. 537, “Coronation” (1788) Despite its name, this concerto was not performed at the official coronation ceremonies of Leopold II as Emperor of the Holy Roman Empire. Mozart was not asked to attend. In hopes of an invitation, he traveled to Frankfurt and organized his own performance of this style gallant work—graceful, spirited, brilliant. He wrote to his wife: “It was a splendid success from the point of view of honor and glory, but a failure as far as money was concerned.” JEAN SIBELIUS (1865-1957)
Luonnotar (1913) Finland’s national epic, the Kalevala, weaves a magical creation myth. The maiden Luonnotar plunges into the river that flows through the cosmos, and soon a golden-eyed duck approaches her to seek a nesting site on her knees. When three brooded eggs accidentally fall into the water, the yolks, whites, and broken shells become the sun, moon and stars. Sibelius captures nature at its most elemental and haunting in this vocal score. Symphony No. 3 (1904-07) When Sibelius got away from the lures of the “big city,” Helsinki, and moved his family to a new home, named “Ainola” in honor of his wife, he could finally resume his creative activities. Invigorated by the change, he also began to speak with a different symphonic voice in his Third Symphony—one in which “a profound logic … creates an inner connection between its various motives.” 2007/9/12 Stiffelio难忘的伦敦之旅，难忘的嘉文花园，难忘的皇家歌剧院......
Royal Opera House, Covent Garden, LondonMay 2, 2007Conductor: Mark Elder
Cast: José Cura, Sondra Radvanovsky, Roberto Frontali, Andrew Sritheran, Alastair Miles, Nikola Matisic, Liora Grodnikaite
Director: Elijah Moshinsky
Verdi’s 1850 opera hit the buffers of Italian censorship and was withdrawn after a few productions. Then it disappeared for more than a century, though the composer made a radically revised version called Aroldo, which never caught on. The plot tells of a Protestant minister whose wife, Lina, has had an affair. This throws their community into turmoil, until in a moment of divine inspiration he publicly forgives her by reading the gospel story of the woman taken in adultery during a church service. Almost all of these plot elements were considered explosive when Verdi wrote the piece. Set in the American Bible Belt in the late 19th-century, Elijah Moshinsky’s 1993 production, imaginatively designed by Michael Yeargan and Peter J. Hall, creates a credible ambience for the piece and is clear and effective in getting the drama over. His cast is solid, with Jose Cura a tower of strength as the preacher Stiffelio and Sondra Radvanovsky grand if vocally unyielding as the troubled Lina. Roberto Frontali gets under the skin with his boldly sung account of Lina’s father, Stankar, who eventually exacts a fatal revenge on Raffaele, her seducer, played by Reinaldo Macias. Conductor Mark Elder leads a dynamic performance, though ironically the piece itself, for all the fascination of its unusual plot and even more unusual stage history, registers least strongly as a musical experience; the score is not one of the composer’s best. Die Meistersinger von NürnbergThe Metropolitan Opera House at Lincoln Center, NYC
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Il Barbiere di Siviglia
The Metropolitan Opera House at Lincoln Center, NYC
Monday, November 27, 2006, 8:00 pm - 11:10 pm
Cast
Conductor: Maurizio Benini
Rosina: Diana Damrau
Count Almaviva: Juan Diego Flórez
Figaro: Peter Mattei
Dr. Bartolo: John Del Carlo
Don Basilio: Samuel Ramey
Conductor: Maurizio Benini
Rosina: Diana Damrau
Count Almaviva: Juan Diego Flórez
Figaro: Peter Mattei
Dr. Bartolo: John Del Carlo
Don Basilio: Samuel Ramey
Lawrence Brownlee, 2006 Tucker Award and Marian Anderson Award winner, makes his eagerly anticipated Met debut as Count Almaviva, opposite star mezzo Joyce DiDonato as the feisty Rosina. Russell Braun is Figaro, John Del Carlo is Dr. Bartolo, and Samuel Ramey is Don Basilio.
Directed by Bartlett Sher and designed by Michael Yeargan (both of the Tony Award®-winning The Light in the Piazza), this is a Barbiere that is light on its feet, with mobile sets that allow the comic action to swirl from stage to audience and back again. Maurizio Benini conducts.
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