
Radamisto with Opera Lafayette in Washington and New York City
Caitlin Hulcup, Radamisto, son of King Farasmane
Hagar Sharvit, Zenobia, Radamisto’s wife
Dominique Labelle, Polissena, Radamisto’s sister, daughter of Farasmane, wife of Tiridate
Robin Yujoong Kim, Tiridate, King of Armenia, married to Polissena, but in love with his sister-in-law Zenobia
Alex Rosen, Farasmane, King of Thrace
Véronique Filloux, Tigrane, Prince, general of Tiridate, in love with Polissena
Nola Richardson, Fraarte, sibling/general of/for Tiridate, in love with Zenobia
The Opera Lafayette Orchestra
Andrew Appel and Loretta O’Sullivan, continuo
Seán Curran Dance Company
Ryan Brown, conductor
Seán Curran, director
Emma Jaster, assistant director
Diana Balmori, scenic designer
Amanda Shafran, costume designer
Rob Siler, lighting designer
Donizetti: L'elisir d'amore
Nemorino - Robin Kim
Adina - Ania Vegry / Athanasia Zöhrer
Belcore - Matthias Winckhler
Dr Dulcamara - Tobias Schabel / Frank Schneiders
Giannetta - Karine Minasyan / Anna-Doris Capitelli
Conductor: Daniel Klein Director: Tobias Ribitzki
Set Designs: Florian Parbs Costumes: Rebekka Zimlich Elana SiberskiLighting:
Das Land des lächelns in stadttheater Klagenfurt - ORF
ORF Broadcast about the premiere of Das land des lächelns
MUSIKALISCHE LEITUNG - Giedrė Šlekytė REGIE - Aron Stiehl
BÜHNE UND KOSTÜME - Friedrich Eggert CHOREOGRAPHIE - Matthew Couvillon
CHOREINSTUDIERUNG - Günter Wallner DRAMATURGIE - Rebecca Graitl
LISA - Margarita Vilsone PRINZ SOU-CHONG - Robin Yujoong Kim
MI - Amelia Scicolone GRAF GUSTAV VON POTTENSTEIN - Erwin Belakowitsch
TSCHANG - Jisang Ryu OBEREUNUCH - Ralph Morgenstern
EIN DIENER - Gerhard Kuschej EIN KIND - Dylan Hu
TANZENSEMBLE - Maja Sonc, Mateja Zeleznik, Lukas Zuschlag, Thomas Hart, Tibor Nagy, Anja Möderndorfer
Mainly Mozart Festival 2016 'Bastien und Bastienne'
Mainly Mozart’s very first opera performance, Mozart’s Bastien und Bastienne, a one-act Singspiel written in 1768 when the composer was only twelve.
Mainly Mozart Festival Orchestra
Michael Francis, conductor
Christine Taylor Price, soprano
Yujoong Kim, tenor
Daniel Miroslaw, bass
Cynthia Stokes, opera director
A new company, Venture Opera, succeeded in entertaining a crowd rich in young people (if peppered with industry veterans) at its Don Giovanni on November 8 at the Lower East Side’s Angel Orensanz Center, a splendidly colorful Gothic Revival synagogue.

First performed in Milan on Boxing Day in 1830, Anna Bolena is cited as the one among the composer’s 73 operas that marked the start of his international success. The story of King Henry VIII’s preference for his Queen’s lady-in-waiting, Jane Seymour, is based on Tudor history. The guileful King goes to lengths to bring his Queen into a compromising position, even bringing back her former lover, Lord Percy, from exile in hopes that she will be tempted to commit adultery. That plot fails, but Henry and members of his closest entourage cunningly stage a “crime” that ultimately leads to the deaths of the innocent, but that also clears the way for Jane Seymour as his next consort.
Jede der zwei Welten aus Mozarts «Zauberflöte» hat in Hallwyl ihre eigene Bühne. Nur Tamino und Papageno schreiten von einer zur anderen. Alles umschliesst der mächtige Schlosshof und nimmt für einen unvergesslichen Abend lang den ganzen Kosmos ein. Mozarts unsterbliche Musik, vom Argovia Philharmonic lebendig und feinfühlig gespielt, ist betörend. Es überrascht nicht, dass die «Zauberflöte» nach wie vor eine der weltweit beliebtesten und meist aufgeführten Opern ist.
Juilliard Opera's new Don Giovanni (seen Apr. 29) departed from the version of the score that is considered standard. It made cuts, dispensing entirely with "Il mio tesoro" and the final sextet, and added "Per queste tue manine," a dramatically inconsequential duet for Leporello and Zerlina. Director Stephen Wadsworth and conductor Gary Thor Wedow thus adopted, more or less, the Giovanni as modified by Mozart for Vienna in 1788, although there is no evidence that the composer ever deleted the ensemble at the opera's end
‘As big as the iconic story’: Ambitious ‘R&J’ full of passion but nearly buckles under its own weight
Mozart’s “Don Giovanni” usually concludes these days with a moralizing sextet: after the rogue Giovanni has descended to hell, his fed-up servant Leporello, the women he wronged and the fiancées he enraged proclaim, “Questo è il fin di chi fa mal” (“Such is the end of the evildoer”). The sextet was usually omitted until the mid-20th century, and an artistic argument can certainly be made for its exclusion, since the opera ends on a note of heightened drama with Giovanni’s fiery death.