October 26 & 28 & 31
Opera national de Paris: La Fille de neige(2017)
Snegúrochka was born in times of old in Tsar Berendey’s mythical kingdom, the fruit of the union between Spring Beauty and Grandfather Frost. Protected by her parents from the jealousy of the Sun god Yarilo, (who vowed to warm her heart when she gets older and falls in love), Snegúrochka’s fate is entrusted to a wood sprite. Ten years after its creation, Rimsky‑Korsakov wrote: “anyone who fails to love The Snow Maiden understands nothing of my works nor of myself”. A masterpiece of popular Slavic literature, The Snow Maiden brings to the stage a magical fantasy of love and mythical renewal. Aida Garifullina sings the role of Snegúrochka whilst the production and musical direction have been left in the capable hands of two other Russian artists: the young conductor Mikhail Tatarnikov and director Dmitri Tcherniakov. Conductor Mikhail Tatarnikov Staged by Dmitri Tcherniakov Sets Dmitri Tcherniakov Costumes Elena Zaitseva Lighting design Gleb Filshtinsky Chorus Master José Luís Basso Orchestra and Chorus of the Opéra de Paris Sung in Russian with English subtitles From Opéra de Paris (Opéra Bastille) Recorded April 25, 2017 at 18:45 (Paris time) Running Time: 4 h 00 min (including 1 intermission of 30 min) Detailed running time: Act 1: 80 min | Act 2: 115 min
November 8 & 11 & 12
A movie musical adaptation of Michael John LaChiusa's celebrated 1994 Off-Broadway/Lincoln Center produced musical, Hello Again, (inspired by Arthur Schnitzler's La Ronde) explores 10 fleeting love affairs across 10 periods in New York City history through 10 ten lust-fueled episodes.
November 9 & 11 & 14
Bayerische Staatsoper: La Favorite(2017)
Donizetti’s La Favorite at the Bayerische Staatsoper presents a cast of outstanding bel canto singers: star mezzo-soprano Elīna Garanča as the seductive Léonor de Guzman, Matthew Polenzani as her desperate lover Fernand, and Mariusz Kwiecień as King Alphonse. Numerous myths surround the historical figure of Léonore de Guzman, mistress of King Alfons XI of Castile, who becomes embroiled within an intrigue-laced political power play. Léonore, whose love for the King is revealed to be a farce, flings herself upon the young Fernand, who, for her sake, has eschewed the life of a monk in Santiago de Compostela. Yet, he is unaware of her status as a mistress, thus allowing the pair to become victims of a conspiratorial trial of strength between church and state, which in the end denies the couple even the hope of a joint future after death. Amélie Niermeyer transforms the tragedy of the female role torn between spiritual and secular values into “a concentrated and intense drama […] with high acting quality” (Münchner Merkur). This contrast is highlighted by enormous architectural box structures that continually transport the characters between the convent and the royal palace, emphasizing the influence each party has on the current scene. The “fabulous Elīna Garanča […] sings beautifully and emotionally restrained, leaving the audience deeply moved during her dying scene”, while Matthew Polenzani, in his debut as Fernand, scores with superb singing and acting, “reaching high tones with ease” (Süddeutsche Zeitung). Mariusz Kwiecień “convinces with the proper dandified arrogance and impressive acting”, while conductor Karel Mark Chichon completes the musically fantastic performance by “getting the most out of the Bayerisches Staatsorchester, impressively bringing out the dark, viscous sounds of the score and following the soloists with great intuition” (BR Klassik). Conductor Karel Mark Chichon | Director Amélie Niermeyer |Cast Elīna Garanča | Matthew Polenzani | Mariusz Kwiecień Number of acts Opera in 4 Acts Total running time 2h37min Sung in French with English subtitles