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: 

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’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.