Io t'abbraccio from Rodelinda, regina de' Longobardi, opera seria by George Frideric Handel, that premiered at the King's Theatre in the Haymarket in London on 13 February 1725, at the height of his career. This duet is sung between Rodelinda, Queen of Lombardy and Bertarido, the usurped King; the role of a king was originally sung by alto castrato while today it is sang by countertenors.
Lucy Crowe (Rodelinda) / Bejun Mehta (Bertarido)
Philippe Jaroussky (Bertarido) / Nuria Rial (Rodelinda)
Renée Fleming (Rodelinda) / Andreas Scholl (Bertarido)
The Habanera is the aria Carmen sings when she first appears on stage. It is also known as 'L'amour est un oiseau rebelle'.
Carmen was based on a popular novella of the same name by Prosper Mérimée, which enticed French readers with exotic tales of Spain. Its heady combination of passion, sensuality and violence initially proved too much for the stage and Georges Bizet's opera was a critical failure on its premiere in 1875. Bizet died shortly after, never learning of the spectacular success Carmen would achieve -- it has been staged over 500 times at Covent Garden alone.
Carmen contains many well-loved numbers, such as Carmen's seductive Habanera and Escamillo's rousing Toreador's song, in which he celebrates the thrill of the bullfight. Richly coloured designs capture the sultry heat of the Spanish sun, while ranks of soldiers, crowds of peasants, gypsies and bullfighters bring 19th-century Seville alive. This combination of memorable music, vivid setting and dramatic story have made Carmen one of the most popular operas in the world.
Aria ''Dove sono i bei momenti' from opera Le nozze di Figaro by Wolfgang Amadeus Mozart Kiri Te Kanawa - soprano Metropolitan Opera Orchestra, Conductor : James Levine The Metropolitan Opera Centennial Gala, 1983
E Susanna non vien!
And Susanna hasn't come!
Sono ansiosa di saper
I'm anxious to know
come il Conte accolse la proposta.
How the Count took the proposition.
Alquanto ardito il progetto mi par,
The plan seems to me a little rash,
E ad uno sposo si vivace e geloso!
And against such a quick and jealous husband!
Ma che mal c'è?
But what harm is there in it?
Cangiando i miei vestiti con quelli
To change my clothes with
E suoi co'miei
And hers with mine
al favor della notte.
Under cover of night.
Oh, cielo! a qual umil stato fatale
Oh, Heaven! What a fatal comedown
io son ridotta da un consorte crudel!
I'm reduced to by a cruel husband!
Che dopo avermi con un misto inaudito
Who, after he had me, [gave me] an unheard-of mixture
'Porgi Amor' from a wonderful "Le Nozze di Figaro" conducted by Georg Solti at Paris Opera Garnier in 1980. The very famous stage production by Giorgio Strelher. Fabulous cast : Jose Van Dam (Figaro), Lucia Popp (Susanna), Gundula Janowitz (Contessa Almaviva), Gabriel Bacquier (Almaviva), Federica Von Stade (Cherubino), Jane Berbié (Marcellina).
‘One fine day, we’ll meet again‘, sings Cio-Cio-San, longing for the return of her husband. US marine officer Pinkerton chose her, a young Japanese girl, to become his wife when he arrived in Nagasaki. For him, she renounced her family and her religion, and she gave birth to his son. But once Pinkerton’s ship returns to the port of Nagasaki, Cio-Cio-San’s hopes of a happy future together are shattered…
MADAMA BUTTERFLY is one of the most performed operas in the world. Puccini drew inspiration from traditional Japanese music for his adaptation of the short novella by John Luther Long and composed one of his most refined opera scores. His heroine Cio-Cio-San is a woman torn between two civilisations; caught between Eastern and Western culture, between tradition and modernisation.
Director Mario Gas sets his new interpretation of the opera on the stage of Madrid’s Teatro Real in a 1930’s film studio where they are working on a film adaptation of Puccini’s opera. Gas opens the opera’s plot up by adding a film crew, offering two interpretations simultaneously: the acting in front of the camera and the actual film.
Soprano Ermonela Jaho is no stranger to the audience at the Teatro Real and of THE OPERA PLATFORM. In 2015, she dazzled as Violetta Valéry in LA TRAVIATA and in 2016 in the role of Desdemona in OTELLO. Now, she returns to Madrid as Cio-Cio-San. Alongside Jaho, Jorge de León takes the role of Benjamin Franklin Pinkerton. Marco Armiliato, a most experienced conductors of the Italian repertoire, will lead the orchestra of the Teatro Real through one of the most unforgettable scores ever written for the opera stage.
Baritone Dmitiri Hvorostovsky, who has been battling a brain tumor that forced a hiatus, surprised the 2017 Metropolitan Opera Gala audience with a performance of “Cortigiani, vil razza dannata" from Verdi's "Rigoletto."
Pyotr Il’yich Tchaikovsky’s best-loved opera, Eugene Onegin, is based on Alexander Pushkin’s verse novel of the same name. It provided Tchaikovsky with an opportunity to present everyday and authentic experiences on the stage, in contrast to the epic narratives that characterized much European opera of the time. After initial consternation that Tchaikovsky should set to music this pinnacle of Russian literature, Eugene Onegin quickly became a firm favourite with Russian audiences. Within a decade of its 1879 premiere it had been performed over one hundred times in St Petersburg.
Tchaikovsky’s deep sympathy for his heroine Tatyana is shown in the tenderness of her music. Her yearning string motif opens the opera and it gains full expression in her letter aria in Act I – one of the most intense solo scenes ever written for the soprano voice. In Kasper Holten’s production, the turbulence of Tatyana and Onegin’s youth is contrasted with the self-realization they gain in later life. The staging foregrounds the power of memory and the futile desire to rewrite the past.