"There will be no second session tonight," Health Minister Jamil Jabak told reporters at the Grand Serail, the government headquarters in Beirut.
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" Mr. Moll was a comic, scene-stealing Osmin in Mozart's "Die Entführung aus dem Serail" and a stentorian Commendatore in Mozart's "Don Giovanni.
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Emotion ran high throughout the performance, a matinee of Mozart's "Die Entführung aus dem Serail" that was broadcast live on the radio on the last day of the Met's season.
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This was especially true in a seminal 2010 recording of "Die Zauberflöte" and a recent one of "Die Entführung aus dem Serail," which are both in the German singspiel genre, full of vivacious dialogue.
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On May 7, the last day of the Met's opera season, Mr. Levine conducted Mozart's "Die Entführung aus dem Serail," his final performance as the company's music director, ending a momentous tenure of more than 40 years.
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For the Saturday matinee, James Levine conducts John Dexter's creaky 1979 production of Mozart's "Die Entführung aus dem Serail" ("The Abduction From the Seraglio"), with a cast that includes the soprano Albina Shagimuratova — who navigates Konstanze's coloratura hurdles with aplomb.
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When the curtain goes up on Mozart's "Die Entführung aus dem Serail" ("The Abduction From the Seraglio"), we are on the Mediterranean coast in the Ottoman Empire, at a palace where European captives are being held as slaves by a Muslim pasha.
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He plans to lead the remaining performance of "Simon Boccanegra" on Saturday and five of Mozart's "Die Entführung aus dem Serail," which opens April 22, as well at the Met Orchestra's May 19 and May 26 concerts at Carnegie Hall (but not its May 22 concert).
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1878: Plan for the modernization of Sahat al-Burj (later Martyrs’ Square) by the Municipality of Beirut. 1881: Authorization from the Ottoman authorities to build the Serail. 1888: The Serail became the seat of the wali. French Mandate: The seat of authority moved to the Grand Serail on Serail Hill, while the Petit Serail hosted the Lebanese president and government. 1950: The Petit Serail was demolished with the intention of connecting Martyrs’ Square to the sea.
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The Serail was built to serve as the seat of the Vilayet of Syria; it housed municipal and provincial offices including Beirut's judicial court. In 1888 Beirut became the provincial capital of the Beirut Vilayet and the Petit Serail hosted the seat of the Wali. Beirut Wali Azmi Bey transferred the seat of the vilayet to the Grand Serail, while the municipal offices and the telegraph service office were moved to the Petit Serail.
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The Grand Serail in the early 1900s The Grand Serail (, ; ; also known as the Government Palace) is the headquarters of the Prime Minister of Lebanon. It is situated atop a hill in downtown Beirut a few blocks away from the Lebanese Parliament building. The Grand Serail is a historic building, the most important of three Ottoman monuments on the Serail hill. The other two are the Council for Development and Reconstruction and the Hamidiyyeh clock tower.
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1898: The Serail Clock Tower, designed by architect Youssef Aftimos, was inaugurated. 1991: The military hospital was converted in order to host the Council for Development and Reconstruction. 1991: The Grand Serail accommodates the Prime Minister's offices and residence.
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General view of Qanawat (click on photo to enlarge); Qanawat, Serail (click on photo to enlarge).
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1950s: Rivoli Cinema was built. Mid-1990s: The foundations of the Petit Serail were uncovered and preserved.
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When the barracks became the residence of Governor Fouad Pasha, a second floor was added and the building became the Grand Serail. The Serail Clock Tower, designed by the architect Youssef Aftimos, was inaugurated in 1898 in honor of Sultan Abdul Hamid II. During the French Mandate, the military hospital became the Court of Justice. In 1991, the building was converted in order to host the Council for Development and Reconstruction. A third floor was added to the Grand Serail.
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Under the French Mandate, urban planner De La Halle planned the enlargement of the al-Bourj Square and the building of a new governmental office complex. He proposed in his 1939 plan to destroy the Serail to open up the square the waterfront through a series of landscaped terraces. The destruction of the Petit Serail did not take place until 1950, after Lebanon gained its independence. Nevertheless, the planned clearing of the square was aborted and the Regent Hotel and the Rivoli building were constructed at the site of the Serail in 1953.
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Near the old town government building, or "Serail," is the Chapel of Marina, an ancient burial vault converted into a chapel.
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Construction and fortification of the barracks was started in 1853 and was further expanded during the Crimean war. Until 1856 the Grand Serail only consisted of a single floor, another floor was added and the ground floor then served as the cavalry stables. Between 1877 and 1894 major structural modifications were made which gave the Serail its final form.
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In the 17th century, Emir Fakhreddine ordered the construction of a watchtower on Serail Hill in order to confirm his rise to power. Over the years, Serail Hill became the seat of authority in Beirut. In 1853, the military barracks for the Ottoman army was built, along with a parade ground. This was followed by a military hospital.
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In 1918 after the defeat of the Ottoman Empire in World war one, the Flag of the Arab Revolt was briefly hoisted over the Grand Serail until the arrival of the allied forces who entered Lebanon by land and from the sea and occupied Beirut and the entire Lebanese coast on 8 October 1918. French colonel Depiepape was appointed by the commander of the allied forces General Allenby, he took control of the grand Serail and became the military governor of the country. With the removal of the Flag of the Arab Revolt, the Grand Serail was turned into the headquarters of the French Governor, who was granted the title of high commissioner of the French Government in the Levant. From then on the Grand Serail was referred to as the High Commission.
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Campanula seraglio, known as the Serail bellflower, is a species of flowering plant in the family Campanulaceae. It is native to northeastern Turkey.
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The Old Serail, turned into the prison of Zahlé in 1991, serves today as the town hall This Ottoman building was constructed in 1850 to serve as the town's Serail. Located just downhill from Our Lady of Zahlé and Bekaa, it is a mix of local and Ottoman architecture, and features an atrium occupied by an inner garden and surrounded by arcades. Though still known as "the Old Serail", it currently serves as the Town Hall. In the past, the ground floor used to house the local prison, which suffered of severe overcrowding and substandard conditions.
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The Grand Serail () was the former seat of the governor of the Syrian city of Aleppo. It was built between 1928 and 1933 to serve as the main government building in the city. It was opened in 1933 during the period of the mayor Nabih Martini.Grand Serail d'Alep The building is located to the south of the Citadel of Aleppo and adjacent to its main entrance.
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The monumentality of the building was further emphasized in 1861 when the military hospital was constructed. Particularly hit during the civil war, the Serail was a scarred site at the end of the hostilities. Its renovation to its present state of grandeur is a symbol of the vision and challenge involved in the BCD reconstruction. Restoration was completed in 900 work daysThe Grand Serail – Quarterly in 1998.
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He was known for his low powerful voice and for opera roles such Osmin in Mozart's Die Entführung aus dem Serail and Sarastro in Die Zauberflöte.
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As of 2003, the Ghazir Municipality undertook efforts to preserve Ghazir's traditional architecture, particularly with regards to the old souk, the 'Assaf Mosque and the old serail.
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17th century: Construction of a watchtower - Burj Umm Dabbous - as a confirmation of Emir Fakhreddine's rise to power on Serail Hill. 1853: Egyptian military barracks for the Ottoman army were built along with a parade ground, followed by a military hospital. When the barracks became the residence of Governor Fuad Pasha, a second floor was added and the building became the Grand Serail. 1863: The Saint Louis Capuchin Cathedral was built.
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This is a partial discography of the Singspiel Die Entführung aus dem Serail by Wolfgang Amadeus Mozart, which was premiered at the Burgtheater in Vienna on 16 July 1782.
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Sahet al-Bourj and the Petit Serail in the background. The Petit Serail was built in an eclectic occidentalist style, mixing baroque architectural elements with more austere features, a style that was predominant in the Ottoman constructions of the 19th century. The body of the two-story building was raised on a plinth, giving the building a greater stature. The oblong facade was built in Sandstone and is decorated with neo- baroque windows and elements.
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The Serail Clock Tower, designed by the architect Youssef Aftimos, was inaugurated in 1898 in honor of Sultan Abdul Hamid II. During the French Mandate, the military hospital became the Court of Justice. In 1991, the building was converted in order to host the Council for Development and Reconstruction. A third floor was added to the Grand Serail. Since its inauguration in 1999, the building accommodates the Prime Minister's offices and residence.
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Hamdi Pasha took up a loan form the Ottoman Bank, mortgaged public buildings and imposed new taxes in order to furnish the new serail's offices. In 1883, a park was inaugurated in the square in front of the Serail. The park was called "Hamidie" in honor of the reigning Sultan Abdul Hamid II, but was more commonly known as the Menshieh garden. The Petit Serail was inaugurated three years after the beginning of construction works in 1884.
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Solidere destroyed the Rivoli and Regent Hotel buildings in the 1990s, and consequent excavations revealed the foundations of the Petit Serail which will be preserved inside the planned underground Beirut City History Museum.
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He sings Mime on the recorded 1967 performance of the Ring Cycle from Bayreuth conducted by Karl Böhm, which has been available since the vinyl days. Like his fellow German tenor Fritz Wunderlich, Wohlfahrt died in his mid-thirties. The two vocalists can be heard together in a recorded performance of Die Entführung aus dem Serail from Salzburg 1961.Die Entführung aus dem Serail, recording details, Opera Depot Wohlfahrt died in Hamburg, and was buried at the Ohlsdorf Cemetery there.
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The buildings strategically located on Serail Hill have dominated the city since the days of Emir Fakhreddine. The Emir confirmed his rise to power with the construction of a watchtower - Burj Umm Dabbous - in a prominent location on the hill, in the 17th century. Over the years, Serail Hill became the seat of authority in Beirut. In their bid for control of the city, the Ottomans selected this location, from which Ibrahim Pasha's Egyptian military encampment had ruled for almost a decade.
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The Petit Serail under the French rule The Petit Serail was planned as a civic center following the Tanzimat reform and according to the Beirut municipality project of 1878. The northern side of Sahet el-Bourj was chosen as a strategic site since it occupied the heart of the new extra-mural city. The new structure was commissioned by Beirut mayor Ibrahim Fakhri Bey, construction began in 1881 at the site of a former saray that was ordered demolished by the Wali Hamdi Pasha. The serail was built by Bechara Effendi Avedissian, chief engineer of the Vilayet of Syria and Youssef Effendi Khayat, engineer of the city of Beirut, but the project ran into financial difficulties as attested by a number of correspondence letters between the Wali of Syria Ahmad Hamdi Pasha and the Porte.
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Since the days of Emir Fakhreddine in the 17th century, Serail Hill was a strategic location and became, over the years, the seat of authority. Since 1999, it hosts the Prime Minister's offices and residence.
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Critics have noted stylistic allusions to the music of Alban Berg and Igor Stravinsky, as well as to the operas Die Entführung aus dem Serail, The Magic Flute, Die Frau ohne Schatten, Tristan und Isolde and Parsifal.
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Belmont und Constanze, oder Die Entführung aus dem Serail (English: Belmonte and Konstanze, The Abduction from the Seraglio) by Christoph Friedrich Bretzner is a libretto, published in 1781, telling the story of the hero Belmonte, assisted by his servant Pedrillo, attempting to rescue his beloved Konstanze from the seraglio of the Pasha Selim. First set to music by Johann André and performed as a singspiel in Berlin in 1781, it became famous as the story on which Wolfgang Amadeus Mozart based his opera Die Entführung aus dem Serail (Abduction from the Seraglio).
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Founded in the 12th century by the Maan emirs, Baakline served as their capital until the early 17th century when its most famous Emir Fakhreddin II, moved to Deir el Qamar. Today Baakline is an important Druze town and seat of the sect's religious leader. The beautiful grand serail, the main administrative building of Baakline before World War II, has been restored and transformed into a public library. In the area of the Serail are some Druze religious buildings of the 18th and 19th centuries, including, ancient tombs and Ain Aldiaa water source.
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Inaugurated in 1884, the Petit Serail was the seat of Beirut’s governor general in 1888 and hosted the Lebanese government and president during the French Mandate. Demolished in 1950, its foundations were uncovered and preserved in the mid-1990s.
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Sheik Bechara El Khoury, who was the first post-independence President of Lebanon, holding office from 21 September 1943 to 18 September 1952, turned the Serail into the presidential headquarters before moving it to the Qantari Palace in Beirut.
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Previous version appeared in Phase 2 No. 10 (December 2003). Also published as the first chapter of Die Vertreibung aus dem Serail: Europa und die Heteronormalisierung der islamischen Welt (Berlin: Männerschwarm-Verlag, 2008). Start page 15.Retrieved on June 26, 2014.
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Stephanie complied by preparing an altered version of an earlier work Belmont und Constanze, oder Die Entführung aus dem Serail without attributing or seeking permission from its original author Christoph Friedrich Bretzner. Bretzner later complained loudly and publicly about the theft.
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MRZine, Monthly Review. 08.12.10. Previous version appeared in Phase 2 No. 10 (December 2003). Also published as the first chapter of Die Vertreibung aus dem Serail: Europa und die Heteronormalisierung der islamischen Welt (Berlin: Männerschwarm-Verlag, 2008). Start page 15.
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This mosque was inaugurated by Emir Mansur Assaf in 1597, on the former Serail Square that hosted Emir Fakhreddine’s palace and celebrated gardens. The Old Serail and the bath complex were replaced by Souk Sursock in the 1880s, while the Bab al-Saraya gate was removed in 1915 to make way for the new Foch- Allenby commercial district. In 1934, the mosque’s ablution rooms were built on the west side, in alignment with the street leading to Etoile Square. Post- war restoration of the mid-1990s lead to the renovation of the original western façade of the mosque.
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In 1882 the board of administration of the Sanjak of Beirut decided to build a new administrative building and put up the Emir Assaf Saray for auction. The saray was sold in April 1882 to Mohammad Ayyas and then to members of the Sursock and Tueini families. The old saray was destroyed and replaced by the Sursock souks while work was underway on the construction of the new saray which will become known as the "Petit Serail" to differentiate it from the Kışla-i Humayun (the Ottoman barracks) which is better known as the Grand Serail.
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Opera News, Vol. 71, No. 1, July 2007. Retrieved 18 April 2011. The Captain in Wozzeck at Japan's Saito Kinen Festival in a production conducted by Seiji Ozawa (2004), and Pedrillo in Die Entführung aus dem Serail at Opéra de Québec (2003).
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He has performed in France, Spain, Germany, Switzerland, Greece, Holland, Colombia and Uruguay in a variety of recitals and operas such as: Petr Eben, Anita Baldi, Vanja and Vicente Pradal La Traviata, Cosi fan tutte, Don Giovanni, Don Pasquale, The Abduction of the Serail.
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In 1952 Kelley sang in the United States premiere of Hugo Wolf's Der Corregidor at Carnegie Hall. In 1956 he portrayed the role of Belmonte in Mozart's Die Entführung aus dem Serail in Stratford, Connecticut in a production celebrating the bicentennial of Mozart's birth.
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It also contains a collection of Romanian gold jewelry, Islamic glazed wares, ethnographic objects, and ancient and modern weapons.Beit ed- Dine بيت الدين, barelias , Retrieved on 20 November 2011St. George Hotel (designed by August Perret in the 1930s) in Beirut circa 1945 Major building projects during Ottoman times included the Grand Serail (1853), an Ottoman Bank (1856, closed 1921), Capucine St. Louise (1863), Petit Serail (1884), Beirut train station (1895), Ottoman Clock Tower (1898) and an Ottoman department store (1900).Heart of Beirut: Reclaiming the Bourj by Samir Khalaf Outside the city walls, Syrian Protestant College (which became American University of Beirut in 1920) opened in 1866.
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These include the Friends of the Teching Grouping, Veterans Affairs, and the Old Peoples Club. The association of Etang du Serail is an association with environmental objectives which aims to protect the Serail natural pond site. The French Association of Fell Pony who promote race Fell ponies and encourage the development of a natural ecosystem.Page on Abzac on the Community of Communes of Confolentais The Brotherhood of Saints Lucius and Emeritus of Abzac was created in 2006 to bring together in a fraternal association the inhabitants of the town of Abzac and participate in the organization of the Ostensions septennial and ceremonies attached to it.
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The Serail in 2011 The idea for the construction of a new government house came when the State of Aleppo was declared by the French General Henri Gouraud in September 1920. However, the construction started only in 1928, after the formation of the Syrian state under the French mandate. The serail was designed by the Syrian-Armenian architect Kegham Akgulian, and the construction was carried out under the supervision of another Syrian-Armenian engineer Kevork Baboyan. The inauguration of the building took place on 15 April 1933 to become the house of the government in Aleppo and the regular seat of the governor and the mayor of the city.
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The speaking role of Cavalieri in the 1984 Oscar-winning film based on that play is played by Christine Ebersole and sung by Suzanne Murphy. In the film, it is suggested that Cavalieri and Mozart had an affair during the rehearsals of Die Entführung aus dem Serail.
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Ida Christina Møller (1872–1947) was a Danish operatic soprano who performed at the Royal Danish Theatre from 1894 to 1926. She is remembered for her roles in Mozart's operas, especially Susanna (The Marriage of Figaro), Zerlina (Don Giovanni) and Blonde (Die Entführung aus dem Serail).
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He directed in the 2013/14 at the Theater Kiel Puccini's Madama Butterfly, and a year later Toshio Hosokawa's Matsukaze. As an actor, he appeared in the part of Bassa Selim in Mozart's Die Entführung aus dem Serail at the Metropolitan Opera in 2003, repeated in 2008.
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In July she sang Countess Almaviva in Mozart's The Marriage of Figaro, and in November came her first Constanze in Die Entführung aus dem Serail. In June 1918 she sang Sieglinde in Wagner's Die Walküre under Beecham. She sang at Covent Garden from 1919 to 1929.
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The second > part is written by Mozart. It involves a more march-like rhythm—the > beginning is reminiscent of his 1782 opera Die Entführung aus dem Serail. > And the third part is by Cornetti. This is also written in more pastoral > style, much closer to that written by Salieri.
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His obligations were numerous, his salary poor, and his enthusiasm about Mozart was met with indigenous scepticism. As a consequence, Cosi fan tutte failed spectacularly in 1798.Kellner, "From the Prince of Denmark." However, he had successes with Don Giovanni (1807) and Die Entführung aus dem Serail (1813).
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He also had a role in an adaptation of the opera Die Entführung aus dem Serail. In addition to his acting career, he is also the Culture and Art Coordinator of the Nicosia Turkish Municipality. In 2009, he received the "Achievement and Peace Award" from the Satirigo Theater.
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Thus in the finale of act 2 of Mozart's Die Entführung aus dem Serail, the lovers move "from joy through suspicion and outrage to final reconciliation."Rosen, Charles. The Classical Style, pp. 43–44. New York: W. W. Norton & Company, 1998 Musically speaking, this "dramatic action" required more musical variety.
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In addition to Bertram and Marcel, Sarastro, Figaro and Caspar, he sang Lysiart (Euryanthe), the Cardinal (La Juive), Osmin (Die Entführung aus dem Serail), Rocco (Fidelio) and Mephisto in Spohr's opera of Faust. He was also singing Leporello at that time. After a season in BraunschweigMemoirs, 113. he returned to Dresden.
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Lotte Schädle (born 23 October 1926) is a German soprano in opera, operetta, lied and concert. She was a member of the Bavarian State Opera and the Staatstheater Nürnberg, and has performed at international opera houses and festivals, in roles such as Blonde in Mozart's Die Entführung aus dem Serail.
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In 1898 Youssef was recruited by the Municipality of Beirut as municipal engineer and he directed the construction of the Grand Serail Clock tower. During his work in Beirut he met Manouk Avedissian, better known as Bechara Effendi al- Muhandes, his future father-in-law. He married Rose Avedissian on May 1, 1899.
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The ground floor consists of a banquet hall, two receptions areas, a press room and a courtyard. Finally, an underground level includes a car-park, offices and rooms for the personnel. In all the Grand Serail includes 430 rooms and chambers in addition to the quarters for the maintenance and other service rooms.
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Mrs. Salam launched the initiative "Date at the Serail" (موعد في السراي) to steer specialists and NGOs to raise important social, cultural, medical, environmental and educational topics, using the premises of the Grand Serail (office of the Prime Minister) as a national platform for significant issues related to the life of all Lebanese citizens. Salam chose to organize a kermes for orphans to launch the weekly initiative. On a weekly basis, starting in April 2014, different topics were discussed such as, women empowerment, the inclusion of special needs children in schools, the active aging of the elderly, the environment and the exhibition of young talent for Lebanese artists. Under the title Angels of Compassion, Lama Salam held an honorary ceremony for senior nurses.
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Eva Mei (born 1967) is an Italian coloratura soprano. Mei was born in Fabriano. She graduated from the Conservatorio Luigi Cherubini in Florence."Eva Mei" , biography at styriarte In 1990, at the Mozart Competition in Vienna, she won the Catarina Cavalieri Prize for her interpretation of Konstanze in Mozart's Die Entführung aus dem Serail.
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This is seen in the Beiteddine Palace, which is a mixture of traditional Lebanese, Italian, Arabic and Persian architecture. Today in Lebanon there are at least ten buildings that can be classified as palaces, including the Beiteddine Palace, Grand Serail (one of the largest in the world), Baabda Palace, Sursock Museum, and Fakhreddine Palace.
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Martin studied voice at Princeton University and Cincinnati University. Based in Germany, Martin appeared as Herod in Salome by Richard Strauss at the Opernhaus Dortmund in 2007. A reviewer noted his precise and sharp character tenor. He performed the role of Pedrillo in Mozart's Die Entführung aus dem Serail at the Staatstheater Nürnberg in 2008, conducted by Christof Prick.
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After World War II, she auditioned for the Central City Opera in Colorado. During her audition, the judges asked if she knew the arias of Blondchen in Mozart's Die Entführung aus dem Serail. Marilyn answered, "Why, yes, I know the whole role." After she finished both arias, the judges asked if she knew the arias of Constanze.
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At La Scala in Milan he made his debut as Belmonte in Mozart's Die Entführung aus dem Serail. He sang the same role at the Toronto Opera House Canadian Opera Company. In 2015 his debut CD with Goethe songs by Franz Schubert was released,Reviews on Scena.org and in 2016 a Schumann album on Sony Classical.
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It is the official residence of other members of the family such as Emira Khawla Majid and Emira Zeina Majid. Before that, the official residence of the head of the dynasty was in the "Serail of the Arslan family" in Choueifat () that was built in the 17th century and is still used today by family members for private retreats.
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Hermann Gallos (21 January 1886 – 20 February 1957) was an Austrian operatic tenor and academic teacher. He was a long-standing ensemble member of the Vienna State Opera and performed regularly at the Salzburg Festival from 1922 to 1950, in roles such as Pedrillo in Mozart's Die Entführung aus dem Serail and Valzacchi in Der Rosenkavalier by Richard Strauss.
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The Baabda palace is surrounded by the Ministry of Defense and various other military posts. It started hosting ministerial meetings every other week after the usual venue of the ministerial meetings was abandoned due to security reasons in mid-2005. Now, the ministerial meetings are held in alternating order at Baabda Palace and the Grand Serail.
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Uwe Stickert (born in Sonneberg, East Germany) is a German opera singer (tenor). After his education at the Musik-Gymnasium Belvedere and the Hochschule für Musik Franz Liszt, Weimar, he started with lyric tenor repertory such as Tamino in The Magic Flute and Belmont in Die Entführung aus dem Serail at the Theater Heidelberg and the Nationaltheater Weimar.
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"Mozart: Die Entführung aus dem Serail K. 384 " by Georg Predota, interlude.hk, 16 July 2018 Certain aspects of the opera conform to an eighteenth-century European view of orientalism. The Pasha's titular harem, for example, reprised themes of sexual libertinage. And the comically sinister overseer, Osmin, is a send-up of earlier stereotypes of Turkish despotism.
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Born in Füssen, Bavaria, Schädle grew up in Unterammergau. Encouraged by her mother, she took private singing lessons from 1948 to 1951, and was successful at several singing competitions. She then studied voice at the Musikhochschule München with . In 1955, she made her debut at the Bavarian State Opera as Blonde in Mozart's Die Entführung aus dem Serail.
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Byblos was crowned as the "Arab Tour Capital" for the year 2016 by the Lebanese minister of tourism in the Grand Serail in Beirut. Byblos was chosen by Condé Nast Traveler as the second best city in the Middle East for 2012, beating Tel Aviv and Dubai, and by the World Tourism Organization as the best Arab tourist city for 2013.
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Ras el-Matn is the birthplace of Lebanese writer Anis Freiha and the scholar ‘Ajaj Nuwayhid. Ras el-Matn is home to many great athletes, and the schools participate in Basketball and Football leagues. The most notable building inside the town is the historical Serail of the Lam'iyin princess built in 1775. The huge building later served as a high school.
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From 2004 to 2009, Laufenberg was Intendant (General Manager) of the in Potsdam. He designed the concept Potsdam unterwegs (Potsdam on the road), presenting a production at various locations of the town. From the 2009/10 season, he managed the Cologne Opera. He staged a Mozart cycle of Don Giovanni, Die Entführung aus dem Serail and La clemenza di Tito.
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Born in Prochowice, Lower Silesian Voivodeship, Szmytka studied with . and graduated from the Academy of Music in Kraków. She made her debut as Susanna in Mozart's Le nozze di Figaro at the Opera Krakowska. She appeared at the Vienna State Opera as Blonde in Mozart's Die Entführung aus dem Serail, Despina in his Così fan tutte, and Papagena in Die Zauberflöte.
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She then returned in following editions as Queen of the Night and Blonde in Die Entführung aus dem Serail. In 2003, she made her London Royal Opera House debut in David McVicar's new production of The Magic Flute. In 2004, she was invited to sing the title role in Salieri's Europa riconosciuta conducted by Riccardo Muti, re-opening Milan's La Scala.
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She was given universally rave reviews for her interpretation. "Lucia is her first Royal Opera role, and the Cuban-American soprano is sensationally good." She was given a standing ovation for her performance. In 2018, Lisette returned to the Bavarian State Opera to perform her signature role as Konstanze in Die Entführung aus dem Serail for the fourth year in a row.
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Deutch (1965, 80) In 1781, shortly after Mozart had moved to Vienna, van Swieten met him again: at the salon of Countess Thun, Mozart played extracts from his recent opera Idomeneo, with van Swieten and other important officials in the audience; this event helped instigate Mozart's commission for the opera Die Entführung aus dem Serail, his first great success as a composer.
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The Serail covers 39,700 sq. m of floor space. The Grand Serail's four wings are disposed around a large courtyard which flanked at the center by a limestone and Carrera marble fountain. Both the exterior and interior facades are covered by a total of 588 arches and arcades (282 lobes arches, 197 pointed arches, 6 rounded arches, 11 mandolin arches, 92 pointed arcades).
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In 1853, the military barracks for the Ottoman army was built, along with a parade ground. This was followed a few years later by a military hospital. When the barracks became the residence of Governor Fuad Pasha, a second floor was added and the building became the Grand Serail. The Saint Louis Capuchin Cathedral was built in 1863; it overlooked the city.
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During that season, she made her debut at the Zürich Opera again with Papagena followed by Arsena in The Gypsy Baron. In the 1991-1992 season, she became a member of the Zürich Opera and appeared as Pamina in The Magic Flute, Adele in Die Fledermaus, Blondchen in Die Entführung aus dem Serail and Ännchen in Der Freischütz. After debuting at the Ludwigsburg Festival (1990) and Schwetzingen Festival (1991), Hartelius appeared for the first time at the Salzburg Festival in 1992 as Barbarina in The Marriage of Figaro. Upon returning to the Salzburg Festival in 1996, she began her association with conductor Franz Welser-Möst in performances of Bach's Mass in B Minor (BWV 232) and St Matthew Passion (BWV 244) with the Camerata Accademica and in 1997, she sang Blondchen in Mozart's Die Entführung aus dem Serail conducted by Marc Minkowski.
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Christoph Friedrich Bretzner (10 December 1748 – 31 August 1807) was a Leipzig merchant famous for writing the libretto to a singspiel entitled Belmont und Constanze, oder Die Entführung aus dem Serail, produced in Berlin and adapted in 1782 by Wolfgang Amadeus Mozart and Gottlieb Stephanie as Die Entführung aus dem Serail.MozartProject.org K. 384 He died on 31 August 1807 after arriving for a theatrical performance in Leipzig.
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She appeared at the Glyndebourne Festival Opera in 1971 and 1972 as Zerbinetta and in 1972 also as Konstanze in Mozart's Die Entführung aus dem Serail. Geszty also performed as a lieder and oratorio singer and in operetta. From 1975 to 1997, she was a professor of voice at the Musikhochschule Stuttgart. From 1985 to 1991 she also directed a master class at the Zurich Conservatory.
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MOVIE CALL SHEET: Jack Smight Signs Contract Los Angeles Times 12 Dec 1966: D25. In 1968, he directed the cult classic comedic thriller No Way to Treat a Lady, starring Rod Steiger and George Segal. Other notable films directed by Smight include Airport 1975 (1974) and Midway (1976). Smight's last film was a US- Swiss co-production, The Favorite (1989), also known as La Nuit du serail.
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Born in Solingen, Hollweg studied voice at the Musikhochschule Köln with Gertrude Förstel. She sang the solo in Ein deutsches Requiem by Brahms already in 1939. She made her debut in 1943 at the Theater Saarbrücken as Blonde in Mozart's Die Entführung aus dem Serail. In 1946 she became first coloratura soprano at the Deutsche Oper am Rhein where she was a member until 1970.
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10–12NORAD/CONAD Participation in the Cuban Missile Crisis, p. 12 319th F-104A at Patrick AFBAircraft is Lockheed F-104A-20-LO Starfighter serail 56-808, taken 15 May 1965. ADC decided to make its deployed fighter unit at Homestead Air Force Base permanent and equip it with Lockheed F-104A Starfighters because of the F-104's superior fighter on fighter performance.
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She is also featured in live recordings of Faust (in Philadelphia), Mireille, Scipio, Chérubin, and the ENO Ring cycle, conducted by Reginald Goodall.The Gramophone, May 1978, p. 102 The 1980 television broadcast from Glyndebourne of Die Entführung aus dem Serail, with Masterson as Constanze, has been issued on DVD. A recital disc of her French repertoire, Valerie Masterson – en Français: Airs d’Opéra, was released in 1989.
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Francien Markx, E. T. A. Hoffmann, Cosmopolitanism, and the Struggle for German Opera, p. 32, BRILL, 2015, Thomas Bauman, "New directions: the Seyler Company" (pp. 91–131), in North German Opera in the Age of Goethe, Cambridge University Press, 1985 Richard Wagner Mozart's Singspiele, Die Entführung aus dem Serail (1782) and Die Zauberflöte (1791) were an important breakthrough in achieving international recognition for German opera.
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In 1981, she debuted at the Metropolitan Opera in the same role. She returned in 1987, for Constanze in Die Entführung aus dem Serail, in John Dexter's production. In 1980, she recorded, for RCA, her Queen of Night, with Ileana Cotrubaș, Éric Tappy, Christian Boesch, José van Dam, and Martti Talvela, conducted by James Levine. In 1989, Donat appeared in a film version of Der Schauspieldirektor.
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''''' () (K. 384; The Abduction from the Seraglio; also known as ''''') is an opera Singspiel in three acts by Wolfgang Amadeus Mozart. The German libretto is by Gottlieb Stephanie, based on Christoph Friedrich Bretzner's Belmont und Constanze, oder Die Entführung aus dem Serail. The plot concerns the attempt of the hero Belmonte, assisted by his servant Pedrillo, to rescue his beloved Konstanze from the seraglio of Pasha Selim.
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The water finally reached Riad Al Solh Square; there, at the foot of the Serail Hill, it was stored in large cisterns. An intricate network of lead or clay pipes and channels distributed the water to the various pools of the Roman Baths. The cisterns were damaged and partially destroyed during the big earthquake of 551 AD. Since then they were no more used.
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In 2017 he conducted a series of performances at the Semperoper, Dresden of Mozart's Die Entführung aus dem Serail. Recent performances have included opera La Calisto by Francesco Cavalli at the Bavarian State Opera in Munich (March–April 2018) and Mozart's Don Giovanni at Den Norske Opera in Oslo (May–June 2018). In one of his latest projects he was working with a youth choir and the symphony orchestra of Basel.
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Audrius Rubežius (born June 29, 1966) is a Lithuanian tenor working with the Lithuanian National Opera and Ballet Theatre. He studied at Stasys Šimkus Conservatory in Klaipėda and Lithuanian Academy of Music in Vilnius. In 1996, he won the Beatričė Grincevičiūtė and Kazimieras Banaitis vocalists' contests. For performance of Belmonte's role in Mozart's Die Entführung aus dem Serail Rubežius received Kristoforas award from the Lithuanian Theatre and Cinema Association.
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Her official operatic debut came as Blonde in Mozart's Die Entführung aus dem Serail. She temporarily retired in 1986-87 due to the murder of Patricia Welting, but resumed work in 1988. She officially retired in 1994 due to a change of interest, and started to pursue government and foreign affairs. She continued her studies at Syracuse University (School of Government) until she was diagnosed with cancer in early 1999.
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There he mainly sang lyrical tenor roles, especially in the operas of Wolfgang Amadeus Mozart: Belmonte in Die Entführung aus dem Serail, Ferrando in Così fan tutte, Don Ottavio in Don Giovanni and Tamino in The magic flute. From 1974 onwards Wohlers was a member of the Staatstheater Stuttgart. In 1977 he sang Filipeto in the opera I quatro rusteghi in the production by Günther Rennert.Die vier Grobiane.
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Elżbieta Szmytka (born 1956) is a Polish operatic soprano. She has appeared internationally, including at the Vienna State Opera, where she performed Mozart roles such as Blonde in Die Entführung aus dem Serail and Despina in Così fan tutte. In 1999, she recorded Chopin's Polish songs and performed in a concert in 2018 celebrating a century of Polish independence as a soloist in Górecki's Symphony of Sorrowful Songs.
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In 1976, she decided to move back to Australia permanently. In Australia she appeared in operas such as Il Seraglio (Die Entführung aus dem Serail) and a Victoria State Opera production of Donnizetti's Maria Stuarda in July 1976, directed by Robin Lovejoy with a cast including Nance Grant conducted by Richard Divall. She played operetta roles such as Josephine (H.M.S. Pinafore), Phyllis (Iolanthe) and Ruth (The Pirates of Penzance).
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Rydl studied at the Vienna Academy of Music and the Moscow Conservatory. He has won many prizes at several competitions. Rydl is a guest on many major festivals, including in Bayreuth, Schwetzingen, Salzburg, Bregenz, Florence, Verona, Munich and Glyndebourne. His opera repertoire includes more than 80 roles in German, Italian, French, Russian and Czech works, most notably his bass coloratura role as Osmin in Mozart's Die Entführung aus dem Serail.
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Mozart's music was performed there for the first time in 1776. With the staging of Die Entführung aus dem Serail in 1784, regular performances of Mozart’s repertoire began. State Theater Salzburg, built by Fellner and Helmer The present building was constructed between 1892 and 1893, designed by the architect duo Fellner & Helmer. The building was opened on October 1, 1893 with the overture from Mozart’s La clemenza di Tito.
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Peter Schreier made his professional debut at the Dresdner Staatsoper in 1957, as the First Prisoner in Beethoven's Fidelio. His breakthrough came in 1962 as Belmonte in Mozart's Die Entführung aus dem Serail, and he also appeared as Tamino in The Magic Flute. In 1963, he became a member of the Berlin State Opera. Starting in 1966, he was for many years an annual guest of the Vienna State Opera.
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Musicologist Charles Rosen writes, "it is possible that Da Ponte understood the dramatic necessities of Mozart's style without prompting; but before his association with da Ponte, Mozart had already bullied several librettists into giving him the dramatically shaped ensembles he loved."For two instances in which Mozart coaxed his librettists into reshaping their work, see Die Entführung aus dem Serail (which quotes Mozart's correspondence on this point) and Varesco.
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It now houses Beirut's most influential and popular art museum. The permanent collection shows a set of Japanese engravings, numerous works of Islamic art and classic Italian paintings, while temporary exhibitions are also shown throughout the year. The Robert Mouawad Private Museum near Beirut's Grand Serail exhibits Henri Pharaon's private collection of archaeology and antiques. Planet Discovery is a children's science museum with interactive experiments, exhibitions, performances, workshops and awareness competitions.
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In 2013 Christopher Moulds conducted Dido and Aeneas and Die Entführung aus dem Serail in collaboration with the Berlin State Opera. He also conducted a new production of Mozart's La finta giardiniera in Berlin with direction by Hans Neuenfels. He collaborated with the Junge Deutsche Philharmonie on a tour to Mexico. He also planned to re- conduct 2011 operas such as The Magic Flute and Don Giovanni which he will make with the Bolshoi Opera.
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He was based in France at this time, and began an association with the Aix-en-Provence Festival in 1954, starting with Belmonte in Die Entführung aus dem Serail and Vincent in Mireille, then Orphée in Orphée et Eurydice, Thespis and Mercure in Platée, and Ferrando in Così fan tutte;Alain Pâris. Dictionnaire des interprètes et de l'interprétation musicale au XX siècle. Éditions Robert Laffont, Paris, 1995 (pp. 443–444). several productions being recorded.
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In 1948, he created a second cabaret club, The Serail, on the . In 1949, he moved to Morocco, bought an old café in Maârif, the cosmopolitan quarter of Casablanca, and transformed it into a prestigious cabaret, Le Coq d'Or. It was frequented by wealthy Moroccans and visiting dignitaries, including King Farouk of Egypt. After the Coq d'Or was destroyed in a fire, Salim returned to France and lived in Cannes in the early 1960s.
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Born in Berlin, Barainsky studied at the Hochschule der Künste with Ingrid Figur. She took classes with Dietrich Fischer-Dieskau and Aribert Reimann. At the beginning of her career, she appeared in concerts at festivals such as Sommerliche Musiktage Hitzacker, Internationale Maifestspiele Wiesbaden, the Schubertiade in Feldkirch, and the Wittener Tage für neue Kammermusik. She made her stage debut in 1993 at the Stadttheater Bern as Konstanze in Mozart's Die Entführung aus dem Serail.
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2016 saw her role debut as Konstanze in Mozart's Die Entführung aus dem Serail at the Metropolitan Opera in New York City"Review: James Levine Opens Last Run as Metropolitan Opera Music Director" by Corinna da Fonseca-Wollheim, The New York Times, 24 April 2016 and the title role in Semiramide at the BBC Proms. Albina Shagimuratova is chair of the jury for the international Glinka competition and jury member of the international Tchaikovsky competition.
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His roles have also included Sarastro in Mozart's Die Zauberflöte, Osmin in his Die Entführung aus dem Serail, Rocco in Beethoven's Fidelio, and Fiesco in Verdi's Simon Boccanegra. Selig made his debut at the Bayreuth Festival in 2012 as Daland in Der fliegende Holländer. In 2013, he added there the role of Hunding in Die Walküre. In the 2013/14 season, he first performed in Handel's Agrippina, and in Toulouse in Daphne by Richard Strauss.
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Born in Radeberg, Fischer studied with in Dresden. His directing debut took place in Radebeul with Mozart's Die Entführung aus dem Serail. From 1950 to 1960, Fischer worked as an assistant and director at the Dresden State Opera. From 1960 to 1965 he worked under the opera director as chief conductor and artistic director of the Kleiner Haus an der Oper Leipzig; here he set up productions of Fidelio, Aida, Tannhäuser and Nabucco.
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Hamidiyyeh Clock Tower The Grand Serail followed the architectural design epitomizing the new Ottoman military organization known as the "New Order" (niẓām cedīd). Its elevated location and austere façade copied the Selimiye Barracks in Istanbul. The finished structure consisted of two tall floors with the longer façade spreading over . The eastern façade is adorned by an arcaded protruding portico flanked by two symmetrical wings each divided by three rows of 16 windows.
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Today, the Grand Serail is a blend of heritage architecture with a modern interior and high-tech amenities. A faithful adaptation of the original Ottoman structure resulted in a larger, more functional building. The external walls were completely restored and stone from demolished buildings was used in the additional floor, thereby preserving a homogeneous facade. All contracting and handicrafts, including stone, marble, steel or carpentry works, were carried out by Lebanese firms.
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In 1952 the theatre was set up in a gallery in the Ringling museum. In the late 1950s it was decided that the theatre should be reconstructed so that modern theatre performances could be staged. The reconstructed theatre therefore incorporates the historic architecture into a building that is modern in design. The Asolo Theatre opened its doors on January 10, 1958 with a production of Wolfgang Amadeus Mozart's Die Entführung aus dem Serail.
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Ghazir remained a major political and economic center in Mount Lebanon until the end of the 19th century. In 1905, Muzaffar Pasha, the governor of the Mount Lebanon Mutasarrifate, built a second serail in the town. However, during the early years of the 20th century, Ghazir's regional role declined as Mount Lebanon was politically reorganized. With the establishment of the modern Lebanese Republic in 1946, Ghazir did not see a political revival.
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According to John Bulloch, the Beirut-based correspondent of The Daily Telegraph at the time, the IAF even dropped US-supplied cluster bombs on Rashidieh. Altogether, air raids alone killed some 80 people on the first day. Though the PLO had reportedly left its positions on the peninsula, urban Tyre with the market area in particular was heavily bombarded as well. Historical buildings like the Serail and Khan Sour were partly destroyed.
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He appeared as a guest at the Frankfurt Opera, the Staatstheater Mainz and Theater Bremen. He performed the role of Pedrillo in Mozart's Die Entführung aus dem Serail at the Staatstheater Darmstadt in the 199697 season. Also among his lyric roles were Lenski in Tchaikovsky's Eugene Onegin and the title role in Mozart's Idomeneo. Since 2007, after a fach change towards Heldentenor roles, he appeared as Siegmund in Wagner's Die Walküre at the Staatstheater Darmstadt.
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He also appeared at the Volksoper Wien and at major opera houses worldwide. He performed at the Salzburg Festival from 1953 and made his debut at the Metropolitan Opera in 1959. Czerwenka sang 75 operatic parts, including his signature role Ochs auf Lerchenau in Der Rosenkavalier by Richard Strauss. Other notable roles were Osmin in Mozart's Die Entführung aus dem Serail, Kezal in Smetana's Die verkaufte Braut, Graf Waldner in Arabella, and La Roche in Capriccio.
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On a scholarship she went to the Curtis Institute of Music in Philadelphia to complete her studies with Elisabeth Schumann. Alarie won the Metropolitan Opera Auditions of the Air and made her Metropolitan Opera debut on December 8, 1945, as Oscar in Un ballo in maschera under Bruno Walter. She spent three seasons at the Met singing Olympia Les contes d'Hoffmann, Blondchen Die Entführung aus dem Serail, etc. She married French Canadian tenor Léopold Simoneau in 1946.
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Cymbals offer a composer nearly endless amounts of color and effect. Their unique timbre allows them to project even against a full orchestra and through the heaviest of orchestrations and enhance articulation and nearly any dynamic. Cymbals have been utilized historically to suggest frenzy, fury or bacchanalian revels, as seen in the Venus music in Wagner's Tannhäuser, Grieg's Peer Gynt suite, and Osmin's aria "O wie will ich triumphieren" from Mozart's Die Entführung aus dem Serail.
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Wenzel Sukowaty (July 31 1746July 9, 1810) was an Austrian music copyist. His shop was founded 1784, but payment records show that he was the principal music copyist for the Viennese court theatres from 1778 to 1796. Scores he worked with include original performance scores for Die Entführung aus dem Serail, Le nozze di Figaro, Don Giovanni and Così fan tutte. Sukowaty is a character in the film Eroica (2003 film), as a copyist for Beethoven.
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Bottone has also sung with: Welsh National Opera, where his roles have included Turridu (Cavalleria rusticana) and Le comte Ory; Opera North, where his roles have included Vana (Katya Kabanova), Pedrillo (Die Entführung aus dem Serail) and Nemorino (L'elisir d'amore); and Scottish Opera, where his roles have included Jack (The Midsummer Marriage), Narraboth (Salome) and Loge (Das Rheingold). For Glyndebourne Festival Opera, he has sung Alfred (Die Fledermaus), the Italian Tenor (Capriccio) and Tzar Berendey (The Snow Maiden).
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Bonaventura Bottone's North American engagements include: Capriccio (Italian Singer) and Andrea Chénier (Incredibile) at the Metropolitan Opera; Capriccio (Italian Tenor), Die Fledermaus (Alfred), Das Rheingold (Loge) and Sweeney Todd (Pirelli) at the Lyric Opera of Chicago; and Die Entführung aus dem Serail (Pedrillo) at Houston Grand Opera. In 2008, he was selected by Plácido Domingo and James Conlon to recreate the role of Licht in the forgotten Viktor Ullmann opera Der zerbrochene Krug (The Broken Jug) (Kleist).
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Drese initiated cycle of all the major Mozart-operas. Drese also engaged conductors who had never conducted at the State Opera before, such as Harnoncourt (Idomeneo in 1987, followed by Die Zauberflöte staged by Otto Schenk in 1988, Die Entführung aus dem Serail and Così fan tutte in 1989), Colin Davis (Werther staged by Pierluigi Samaritani), Die Meistersinger von Nürnberg), Seiji Ozawa (Eugene Onegin in 1988; a critically acclaimed production with Mirella Freni and Nicolai Ghiaurov).
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When La cenerentola went to West Berlin, Peter was in charge of the whole thing as his father fell ill. Later, when his father died, Bernard Levin, the leading critic, wrote an obituary lengthily praising a production of Mozart's Entführung aus dem Serail, not realising it was Peter's. During those years Peter Ebert had established an international reputation and thereafter worked in America, Canada, South Africa, Italy, Denmark and Germany. But Peter's closest ties were with England.
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Baabda () is the capital city of Baabda District as well as the capital of Mount Lebanon Governorate, western Lebanon. Baabda was the capital city of the autonomous Ottoman Mount Lebanon. Baabda is known for the Ottoman Castle (the serail) and it has many embassies (Italian, Japanese, Jordanian, Polish, Ukrainian, Romanian, Indonesian, Spanish ... ), the Ministry of Defense and many important organization and administrative centres in Lebanon. Baabda Palace, residence of the President of Lebanon is also located in Baabda.
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Ruth-Margret Pütz (born Margret Doerkes, 26 February 1930 – 1 April 2019) was a German operatic coloratura soprano and an academic voice teacher. She was a member of the Staatsoper Stuttgart for many decades, a frequent guest at the Vienna State Opera, and appeared at other major international opera houses and festivals. One of her signature roles was Konstanze in Mozart's Die Entführung aus dem Serail. She is regarded as one of the leading coloratura sopranos of the 1960s.
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Dauer was born in Hildburghausen. From 1779 to 1812, he worked at the Hofburgtheater – mostly as an actor, but according to the customs of the time also as an opera singer, especially in the opera buffa field. On 16 July 1782 he played the character of Pedrillo at the premiere of Mozart's opera Die Entführung aus dem Serail. He was married to his colleague Henriette Dauer-von Etzdorf (1758-1843), from whom he was divorced again in 1795.
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The rondò became the most fashionable showpiece aria type in Italian opera during the last three decades of the 18th century . Although Mozart was far from being the first composer to use the rondò, he was certainly the most important. He refined and deepened the form, particularly by creating smoother transitions between the slow and fast sections. He first adopted it for Belmonte’s "Wenn der Freude Tränen fliessen" in his 1782 Singspiel Die Entführung aus dem Serail.
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Paul Appleby (born June 29, 1983) is an American operatic tenor. In 2009 he won the Metropolitan Opera National Council Auditions. In November 2015 he made his debut at the San Francisco Opera as Tamino in Mozart's The Magic Flute. In December 2015 he was the tenor soloist in Mozart's Coronation Mass with the Pittsburgh Symphony Orchestra, and in January 2016 he performed Belmonte in Mozart's Die Entführung aus dem Serail with the Ann Arbor Symphony Orchestra.
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In 1926 the French introduced changes to the northern facade of the Grand Serail. Thus a lobed arch balcony above the decorated entrance replaced the northern arched gate, which was moved to the southern entrance. The new balcony became a loggia for high commissioners and prime ministers' speeches. The French also removed a crown from over the arch of the northern entrance because it contained an engraved marble tablet showing the symbol of the Ottoman Empire.
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Clive (1993, 136) The new company was successful, and Die Entführung aus dem Serail again became part of the repertory. Several aspects of the company's work emerged that later came to be immortalized in The Magic Flute. A series of musical comedies starting with Der Dumme Gärtner aus dem Gebirge, oder Die zween Antons ("The Foolish Gardener from the Mountains, or The Two Antons"), premiered in July 1789. The comedy provided a vehicle for Schikaneder's comic stage persona.
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She was in charge of the Lyrical and Choral Workshop of the Opéra de Lyon between 1991 and 1998. There she was responsible for the musical direction of numerous productions, notably Pelléas et Mélisande, Il Barbiere di Siviglia, La Cenerentola, Die Entführung aus dem Serail, La Finta Giardiniera, Roméo et Juliette by Berlioz, L'Orfeo by Monteverdi, Les Brigands by Offenbach, L'Heure espagnole and L'Enfant et les Sortilèges by Ravel, Haydn's Il Mondo della luna, Gluck's Iphigénie en Tauride, The Rape of Lucretia by Britten and Le Chapeau de paille d'Italie by Nina Rota, whilst La Station Thermale (recorded by Ricordi) and Les Oiseaux de Passage by Fabio Vacchi and Dédale by Hugues Dufourt (recorded on CD by MFA/Radio France) are among her world creations. Between January 2000 and 2002, she was Music Director of Musica per Roma, where she created the Laboratorio Voci in Musica. Presented there with her conducting were Mozart's Cosi fan tutte and Die Entführung aus dem Serail, Henze's Pollicino, Humperdinck's Hänsel und Gretel and Bernstein's West Side Story.
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His work in opera has included several appearances at the Metropolitan Opera, including Janáček's The Makropulos Affair (1996), Mozart's Die Entführung aus dem Serail (2008), Britten's Billy Budd (2012). and Mozart's The Marriage of Figaro in 2012. Robertson also conducted the first production of The Death of Klinghoffer at the Metropolitan Opera in October 2014. In February 2018, the Juilliard School announced the appointment of Robertson as its next director of conducting studies, effective with the 2018-2019 academic year.
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Steber sang the lead in the world premiere of the American opera Vanessa by Samuel Barber. She was also featured in a number of Metropolitan Opera premieres, including Strauss's Arabella, Mozart's Die Entführung aus dem Serail, and Berg's Wozzeck. Outside the Metropolitan her career included a 1953 engagement at the Bayreuth Wagner Festival, where her performance as Elsa in Lohengrin was highly acclaimed and recorded by Decca Records. She sang with Arturo Toscanini in his 1944 NBC Symphony broadcast of Beethoven's Fidelio.
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The last movement, labeled "Presto", maintains just as much fire as the first movement. According to Steinberg,Steinberg 1995 and Ledbetter,Ledbetter 1997 this "Presto" movement not only bears a similar atmosphere to the overture to Le nozze di Figaro, but also provides a reminiscence of Osmin's comic aria "O wie will ich triumphieren" from Die Entführung aus dem Serail. This opera was first performed just two weeks before the composition of this finale. Hence, it may explain why there exist such similarities.
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In 1948, she appeared at the Salzburg Festival as Konstanze in Mozart's Die Entführung aus dem Serail. Her early roles in Vienna included Zerbinetta in Ariadne auf Naxos by Richard Strauss, Adele in Die Fledermaus by Johann Strauss, Olympia in Offenbach's Les Contes d'Hoffmann and Oscar in Verdi's Un ballo in maschera. She performed the title role in Donizetti's Lucia di Lammermoor with great success in Naples. In 1951, she sang at the Bayreuth Festival as the Forest Bird in Siegfried.
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The response for the Alliance was made by its secretary, Dr. Anna Lindemann, in German and French. Dr. Alexander Geisswein, a member of Parliament, made a strong address in favor of woman suffrage. These ceremonies were followed by the president's address of Carrie Chapman Catt. On the Sunday evening after the opening of the convention the Royal Opera, a State institution, gave a special gala performance of Mozart's Die Entführung aus dem Serail, with Cupid's Tricks, by the full ballet.
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Thurn was the choral conductor of the Hamburgische Staatsoper from 1946 to 1965. His productions included Mozart's Die Entführung aus dem Serail in 1954, with Teresa Stich-Randall and Rudolf Schock in leading roles. He founded the choir of the broadcaster Nordwestdeutscher Rundfunk (NWDR, later NDR) on 1 May 1946, after accepting 55 singers from more than 2,000 applications. He conducted the choir in Hamburg while Otto Franze conducted the choir in Cologne, until NDR and WDR split in 1955.
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The couple were married in 1868, after which the soprano performed under the name Anna Deinet-Possart. Among the many roles she sang at the Bavarian State Opera were Konstanze in Mozart's Die Entführung aus dem Serail, Marie in Gaetano Donizetti's La fille du régiment, Susanna in Mozart's The Marriage of Figaro, Inez in Meyerbeer's L'Africaine, and Venus in Wagner's Tannhäuser. On 1 August 1878, she gave her final opera performance. In 1875, Deinet's daughter Ernestine von Possart (1875–1946) was born.
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In 1974, she taught at the Folkwang Hochschule in Essen and the Music Academy in Vienna. She gave master classes during the Salzburg Festival in 1983, four years before her death in Vienna. Her repertoire included roles in Idomeneo, Così fan tutte, Die Entführung aus dem Serail, The Magic Flute, The Marriage of Figaro, Don Giovanni, Der Rosenkavalier, Siegfried (the Forest Bird) and others. Since she had grown up bilingual, she could also sing Rimsky-Korsakov in the original Russian almost without accent.
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The singspiel developed in 18th-century Vienna and spread throughout Austria and Germany. As in the French opéra comique, the singspiel was an opera with spoken dialogue, and usually a comic subject, such as Mozart's Die Entführung aus dem Serail (1782) and The Magic Flute (1791). Later singspiels, such as Beethoven's Fidelio (1805) and Weber's Der Freischütz (1821), retained the form, but explored more serious subjects. 19th century Viennese operetta was built on both the singspiel and the French model.
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In 1975, Moshinsky made his operatic debut at the Royal Opera House with "a stripped-down, low-budget production of Peter Grimes which won enormous popular and critical success." That production was reproduced in at the Paris Opera introducing the piece to the French public.it was also presented at La Scala, Tokyo and Los Angeles. Subsequent productions at Covent Garden include Lohengrin, Tannhäuser, The Rake's Progress, Macbeth, Samson and Delilah, Samson, Die Entführung aus dem Serail, Otello, Attila, Simon Boccanegra and Stiffelio.
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Rather, he was known there for an expansive lyric repertoire that encompassed the works of Mozart, Puccini, Verdi, and Donizetti among others. His signature roles included Alfredo in La traviata, Arbace in Idomeneo, Belmonte in Die Entführung aus dem Serail, the Duke of Mantua in Rigoletto, Edgardo from Lucia di Lammermoor, Ferrando in Così fan tutte, Hoffman in Les contes d'Hoffmann, Lieutenant B. F. Pinkerton in Madama Butterfly, Rodolfo in La bohème, and the title roles in Don Carlos and Faust.
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Zaide (originally, Das Serail) is an unfinished German-language opera, K. 344, written by Wolfgang Amadeus Mozart in 1780. Emperor Joseph II, in 1778, was in the process of setting up an opera company for the purpose of performing German opera. One condition required of the composer to join this company was that he should write a comic opera. At Salzburg in 1779 Mozart began work on a new opera (now known as Zaide although Mozart did not give it such a title).
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Recently at the Garden of Forgiveness the two main streets of Roman Berytus, the Cardo and Decumanus Maximus, were discovered in the Beirut Central District. Their shaded colonnades became busy markets on festival days. At other times, these streets would have been frequented by Law School students and citizens passing to the Forum or visiting temples and churches. In 1968 were discovered the "Roman Baths" Gardens, that is a landscaped public space that lies on the eastern slope of the Serail Hill.
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In 2013 she also sang Konstanze in a concert version of Die Entführung aus dem Serail in the Theatro Municipal in Rio de Janeiro with the Brazilian Symphony Orchestra under Alejo Pérez. Ana James sang Ygraine in a 2007 recording of Ariane et Barbe-bleue with the BBC Symphony Orchestra conducted by Leon Botstein. In a 2012 live recording of I quatro rusteghi she sang Felice with the Royal Liverpool Philharmonic Orchestra conducted by Vasily Petrenko.Ashley, Tim (2 April 2012).
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All these parts were sung in German. In April 1909 at the end of his first season in Lübeck, he returned to Stuttgart and showed how he had benefited from the experience. He returned to Lübeck for a second season in Autumn 1909, adding Tannhäuser, Les Huguenots, Die Zauberflöte, Die Entführung aus dem Serail, the Götterdämmerung Siegfried, Naraboth in Salome, The Barber of Seville, and Fredy Wehrburg in The Dollar Princess to his repertoire. He made his May 1910 farewell in Martha.
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She appeared in several more roles with the organisation over the next two years, including Nancy in Albert Herring and the Female Chorus in The Rape of Lucretia. In 1951 she created the role of the Matron in the premiere of Brian Easdale's The Sleeping Children with the EOG in Cheltenham. In 1952 Vyvyan joined the roster of principal sopranos at the Sadler's Wells Opera, making a triumphant debut with the company as Konstanze in Wolfgang Amadeus Mozart's Die Entführung aus dem Serail.
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The 'Assaf emirs launched numerous building works in Ghazir, including the construction of a Serail on the site of the Convent of St. Francis, a mosque, bathhouses, hydraulic installations and gardens. Emir Mansur's successor, Emir Muhammad, returned to Mount Lebanon in 1585 after being exiled for his part in a rebellion against the authorities. Upon his return, he assigned members of the Shia Muslim Hamade clan as his deputies for the Byblos region and had them based in Ghazir.Winter 2010, p. 69.
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Grove, p. 979 She excelled in "breeches parts," and she also performed in Mozart operas, such as Die Entführung aus dem Serail (Blonde) in 1827, and later, in 1842, The Marriage of Figaro (Cherubino), in a complete specially crafted English version by James Planché.Pearce, p. 271. She was credited with popularizing such new songs as "Cherry Ripe", "Meet Me by Moonlight Alone" (written by Joseph Augustine Wade),"Greatest Hits 1820–60", Library of Congress, accessed 16 November 2010 "I've been roaming," etc.
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Flood was part of the 2014 Salzburg Festival's and made her European stage debut there as Blonde in a production for children of Mozart's Die Entführung aus dem Serail and as Modistin in Richard Strauss's Der Rosenkavalier.Alexandra Flood , Salzburg Festival Her first leading role was Marguerite in May 2015 in Le petit Faust by Hervé at the Staatstheater am Gärtnerplatz, Munich. This was followed in October by the title role in Janáček's The Cunning Little Vixen for Pacific Opera, Sydney.
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In January 1936, Syrian nationalist sentiments became incensed as the French authorities suspended parliament and appointed the pro-French president Taj al-Din al- Hasani. Following the arrest of some nationalist leaders, a general strike was declared against the French Mandate and President al-Hasani. Speeches denouncing the arrests and colonialism were made at the Umayyad Mosque, after which demonstrators, including students and local youths, gathered at al- Bakri's home where they coordinated a march to the Serail (French government headquarters).
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Al-Hassan had also led the investigation that implicated Syria and its ally Hezbollah in the killing of Rafik al-Hariri. However, al-Hassan himself had also been a prime suspect during the Hariri investigation, and had close ties with Saudi intelligence, and was said to have ties to Mossad. The assassination triggered violent unrest throughout the country. A host of Future TV called on a crowd to head toward the Grand Serail, and the protesters subsequently clashed with the police.
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Schikaneder created a new troupe partly from the participants in Friedel's ensemble, and partly from personnel he brought with him from his former troupe, playing in Regensburg. The company offered "mostly German operas and plays with songs and incidental music (tragedies, comedies, and spectacles with elaborate stage machinery)".Buch 1997, 198. The company staged Mozart's Die Entführung aus dem Serail in April and May 1789.Buch 1997, 197 Starting in 1789, Schikaneder's company staged a series of fairy tale operas.
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"The Times, 20 November 1957, p. 3 He was also admired for his Osmin in Mozart's Die Entführung aus dem Serail, in which he displayed both his buffo and his dramatic skills. He appeared in the 1953 film The Story of Gilbert and Sullivan, and in several Gilbert and Sullivan concerts at the Proms. Of the first of these, in 1955, The Times wrote, "So far as comedy was concerned, Mr Owen Brannigan won hands down in his magnificently done Sentry's Song (from Iolanthe).
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He recorded two versions of Béla Bartók's opera Bluebeard's Castle and worked closely with the composer at the 1936 revival. His most famous roles were King Philip (Don Carlo), Fiesco (Simon Boccanegra), Osmin (Die Entführung aus dem Serail), Sarastro (Die Zauberflöte), Leporello (Don Giovanni), König Marke (Tristan und Isolde), Pogner (Die Meistersinger von Nürnberg), Boris Godunov, Basilio (Il barbiere di Siviglia), Gremin (Eugene Onegin) and Baron Ochs (Der Rosenkavalier). He sang in the Glyndebourne Festival several times, mostly in Mozart operas. He died in Budapest, aged 61.
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In 1961, he took part in the creation of Luigi Nono's Intolleranza 1960 at the Teatro La Fenice in Venice. Other notable roles included Pedrillo in Die Entfuhrung aus dem Serail, Tamino in Die Zauberflöte, Almaviva in Il barbiere di Siviglia, Nemorino in L'elisir d'amore, Ernesto in Don Pasquale, Cassio in Otello, Fenton in Falsaff, Feliperto in I quatro rusteghi. He was also admired in Bach's and Haydn's oratorios, and in Lieder recitals. Later in life, he worked as a teacher at the Milan Conservatory.
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Georges Truc, Pierre Vellones, Henri Médus. Maurice Jaubert as the pianist (1937). Henri Médus (21 October 1904 – 11 November 1985) was a French operatic bass. A member of the troupe of the Opéra Garnier from 1933, he distinguished himself particularly in the roles of : The Magic Flute (Sarastro), Samson et Dalila (the old Hebrew man), Aida (Ramfis), Rigoletto (Sparafucile), La Juive (Cardinal de Brogni), Les Huguenots (Marcel), Die Entführung aus dem Serail (Osmin), Boris Godunov (Pimen, Varlaam), Die Walküre (Hunding), and Der Rosenkavalier (Baron Ochs).
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Beirut's Municipality building, constructed in 1925, was the masterpiece of Youssef Aftimos. He began to work on it after his return to Lebanon from Chicago. Prior to the construction of the new building, the Municipality was located in the Petit Serail on Martyrs' Square. The project to build a new headquarters for the Municipality of Beirut, together with a small garden, a fountain and a clock tower dates back to 1880. At first, the building was planned on the northwest corner of Martyrs’ Square.
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From 1980 to 1987, Berghaus worked at the Frankfurt Opera. Her notable productions there included a 1980 Die Zauberflöte of Wolfgang Amadeus Mozart, 1981 Mozart's Die Entführung aus dem Serail, 1982 Les Troyens of Hector Berlioz (designs by Hans-Dieter Schaal), Věc Makropulos of Janáček and Richard Wagner's Parsifal and 1985–87 Der Ring des Nibelungen. In 1992, she returned to Frankfurt to direct Der Rosenkavalier. Her work at the Frankfurt Opera also marked an important collaboration there with Michael Gielen as music director.
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Fleming began performing professionally in smaller concerts and with small opera companies while still a graduate student at Juilliard. She sang frequently in the Musica Viva concert series sponsored by the New York Unitarian Church of All Souls during the 1980s. In 1984 she sang nine songs by Hugo Wolf in the world premiere of Eliot Feld's ballet Adieu, which she again performed in 1987 and 1989 at the Joyce Theater. In 1986 she sang her first major operatic role, Konstanze in Die Entführung aus dem Serail, at the Salzburger Landestheater.
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In 1917, Böhm became a rehearsal assistant in his home town, making his debut as a conductor in Viktor Nessler's Der Trompeter von Säckingen in 1917. He became the assistant director of music in 1919, and the following year, the senior director. On the recommendation of Karl Muck, Bruno Walter engaged him at the Bavarian State Opera, Munich in 1921. An early assignment here was Mozart's Die Entführung aus dem Serail, with a cast which included Maria Ivogün, Paul Bender and Richard Tauber [Source: Karl Böhm, Ich erinnere mich genau, Zurich, 1968].
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His many other engagements included Seespiele Mörbisch under the lead of Helmut Lohner, Landestheater Salzburg, Sommerbühne Baden/Vienna, St. Pölten Landestheater, Summer theatre Steyr, and tours through Germany and Denmark. His repertoire includes such lead bass roles as the title role in Falstaff, Kezal (The Bartered Bride), Osmin (Die Entführung aus dem Serail), Sarastro (The Magic Flute), Prince Gremin (Eugene Onegin), and Baron Ochs (Der Rosenkavalier). He was awarded the cultural gold medal for long term activities in Wels and the ring of honor in his home town of Thalheim bei Wels.
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He also notably portrayed both the High priest and the Guardian of the temple in the world premiere of Karl Goldmark's Die Königin von Saba in 1875.Elizabeth Forbes: "Hans Freiherr von Rokitansky", Grove Music Online ed. L. Macy (Accessed 2 February 2009), (subscription access) In addition to performing in Vienna, Rokitansky periodically performed in operas and concerts in throughout Europe. He appeared in operas at Her Majesty's Theatre in London in 1865 and in 1866, notably singing Osmin in a revival of Mozart's Die Entführung aus dem Serail.
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In 1970, Brown sang the role of Don Ottavio in Wolfgang Amadeus Mozart's Don Giovanni at the Connecticut Opera. In 1971, he portrayed the role of Lucano in Claudio Monteverdi's L'incoronazione di Poppea with the Opera Orchestra of New York under conductor Eve Queler. He returned to the Baltimore Opera in 1972 to perform the role of Belmonte in Mozart's Die Entführung aus dem Serail. In 1977, he sang the role of Nate in the New York premiere of William Grant Still's Highway 1 U.S.A. for the inaugural production of Opera Ebony.
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Bosch is a regular guest at the Hamburgische Staatsoper, where he first conducted Beethoven's Fidelio in 2005, later Mozart's Die Entführung aus dem Serail, Weber's Der Freischütz, Verdi's Falstaff and York Höller's Der Meister und Margarita. He was Generalmusikdirektor in Aachen from 2002, where he recorded works by Mahler, Mozart, Verdi, Brahms and Wagner with the . He recorded Bruckner's complete symphonies, and received acclaim especially for his readings of the Third (in the first version of 1873), the Seventh and the Eighth. From 2010, he has directed the opera festival in his hometown.
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Schumann and Richard Strauss From 1919 until 1938, she was a star of the Vienna State Opera. Her most famous role was that of Sophie in Richard Strauss's Der Rosenkavalier, but she also excelled in Mozart, taking the roles of Pamina in Die Zauberflöte, Zerlina in Don Giovanni, Blonde in Die Entführung aus dem Serail and Susanna in Le nozze di Figaro. The conductor Karl Alwin was her second husband from 1920 until 1938. In 1938, she emigrated to New York City where she lived until her death on 23 April 1952, aged 64.
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In 1887, Bechara Effendi was dispatched by order from the Porte to assist with the excavations conducted by Osman Hamdi Bey and Yervant Voskan at the necropolis near Sidon, Lebanon which unearthed the Alexander Sarcophagus among other artifacts. He is credited with discovering new burial chambers and with devising transport mechanisms and superintending the transit of the massive troves to a frigate bound for Constantinople's museum. His works marked the landscape of Beirut with governmental buildings and monuments. Some of his work include the Petit Serail, the Sanayeh school complex, the Ottoman Bank in Beirut.
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This work became the famous Haffner Serenade, which was so successful that, when the younger Sigmund Haffner was to be ennobled, it was only natural that Mozart was called upon to write the music for the occasion. The request to write music actually came via Mozart's father on 20 July 1782 when Mozart had no spare time. Mozart was "up to his eyeballs with work".Steinberg 1995, p. 386 Not only was he teaching, but he also had to rearrange the score of his opera Die Entführung aus dem Serail before July 28.
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390, Sadie (2006) Stanley Despite being a missa brevis, the Agnus Dei is very long and there is "a prolonged setting for soloists and choir of 'Dona nobis pacem', ending piano." The Dona nobis is set as a gavotte, "like a vaudeville and has been compared with the specimen of this genre at the end of Die Entführung aus dem Serail."p. 661, Heartz (1995) Daniel The first known performance took place on December 21, 1777, with castrato Francesco Ceccarelli among the soloists singled out for praise for his performance,p. 390, Sadie (2006) Stanley.
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Joub Janine is the governmental center of the region known as Western Beqaa, with municipal services like the serail, which is the main government building in the area, emergency medical services (Red Cross), a fire department, and a courthouse. Other towns in the Western Beqaa district are Machghara, Sabghine, Kamed al Lawz, Qab Elias, Sohmor, Yohmor. The towns are all a mix of different Lebanese religious confessions. Rachaiya al Wadi, east of the Western Beqaa district, is home to Lebanon's share of Mount Hermon and borders Syria also.
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In 1991 she portrayed the Queen of the Night in The Magic Flute at the Glyndebourne Festival Opera. In 1992 she was a featured soloist with the American Symphony Orchestra at Carnegie Hall. Other highlights of her career include portraying Adele in Die Fledermaus at the Strasbourg Opera House, Blondchen in Die Entführung aus dem Serail at the Opéra National de Lyon, and the role of Zerbinetta in Ariadne auf Naxos in opera houses throughout Germany. As a chamber musician she frequently performed with the Bach Aria Group for many years.
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She appeared there as Konstanze in Die Entführung aus dem Serail, staged by Calixto Bieito in a provoking way. She made her debut at the Royal Opera House in London as Lauretta in Puccini's Gianni Schicchi. She has also performed at the Opéra Bastille in Paris, the Bavarian State Opera and the Staatsoper Berlin, among others. She has collaborated with conductors such as Daniel Barenboim, Bertrand de Billy, Marc Minkowski, Antonio Pappano, Philippe Jordan and Vladimir Jurowski, and with stage directors such as Peter Konwitschny, Jonathan Miller and Hans Neuenfels.
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Mozart also had an unusual ability to compose imaginatively for wind instruments. Bohemian wind players were famed all over Europe for their skills, thus his mastery of wind composition was much appreciated in Prague. The Prague press specifically attributed the success of the operas Die Entführung aus dem Serail and Le nozze di Figaro partially to their lavish and imaginative treatment of wind instruments. The extravagant writing for winds in the "Prague" Symphony is also notable and may have been introduced deliberately to please the musical public of Prague.
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In 1962 and again in 1963 he took part in the Salzburg Festival, appearing in Mozart's Die Entführung aus dem Serail as the Pasha Bassa Selim (a speaking role). He came to the attention of a wider audience during this period through a succession of television productions involving, notably, major roles in a number of "operetta films". He reprised the part of Adam in a television version of Der Vogelhändler (1967), starring alongside Lucia Popp and Renate Holm. By the 1980s he was no longer typically cast for young man roles.
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In the autumn of 1824 he visited Normandy. His paintings based on this trip began to lay the foundation of his reputation; one of them, a view of Rouen Cathedral, sold for 80 guineas. While he built his reputation as a fine artist, Roberts's stage work had also been commercially successful. Commissions from Covent Garden included the sets for the London premiere of Mozart's Die Entführung aus dem Serail (The Abduction from the Seraglio) in 1827, scenery for a pantomime depicting the naval victory of Navarino, and two panoramas that he executed jointly with Stanfield.
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The Petit Serail ( / ALA-LC: as-sarāy as- ṣaghir; literally "Little Saray") was a historic administrative Ottoman building in Beirut that housed the seat of the Wali of Syria and Beirut. It was situated to the northern side of Martyrs' Square at the heart of the Beirut Central District. The building was the scene of important historical events, but plans to enlarge Beirut's main square led to its destruction in 1950. It was one of several Ottoman era building projects that shaped the architecture of Lebanon in Beirut.
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In the 2001/02 season she joined the Young Artists' Programme of the Hamburg State Opera, and then became an ensemble member from the 2003/04 season. After successful performances as Gilda in Rigoletto and the Queen of the Night in The Magic Flute, she gained recognition and was subsequently engaged in various roles including Blonde in Die Entführung aus dem Serail, Adele in Die Fledermaus, Susanna in The Marriage of Figaro. In 2004, she performed Marzelline in Fidelio. In 2005, she performed Cleopatra in Giulio Cesare and Servilia in La clemenza di Tito.
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Stein appeared at the Bayreuth Festival, as a Flower Maiden in Parsifal from 1999 to 2001, and as Woglinde in Der Ring des Nibelungen from 2002 to 2004. She performed as a guest, in 1991 as Blonde in Mozart's Die Entführung aus dem Serail at the Quebec Opera, in several stagings by Harry Kupfer at the Komische Oper Berlin, such as Die Zauberflöte and Henze's König Hirsch. She made her debut at The Proms in 2000, singing Mozart's Mass in C minor and Alban Berg's Altenberg Lieder with the Bochumer Symphoniker, conducted by Simon Rattle.
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From 1972 to 1997 he conducted ten operas, some of them in several seasons. Five were operas he had not conducted at the Royal Opera House before: Carmen, Parsifal, Die Entführung aus dem Serail, Simon Boccanegra and a celebrated production of La traviata (1994) which propelled Angela Gheorghiu to stardom.Kettle, Martin. "Quickfire revival sees hit-and-miss Gheorghui reprise star role", The Guardian, 10 July 2010 On 14 July 1997 he conducted the last operatic music to be heard in the old house before it closed for more than two years for rebuilding.
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The commune is bordered in the west by the Vienne, a tributary of the Loire, and occupies the right bank. The entire commune is therefore in the Loire basin. Many ponds dot the commune and streams connect them to the Vienne such as the Ruisseau de l'Etang de Serail in the north and the Ruisseau de l'Etang de Monette in the centre. In the south there is also the Ruisseau du Moulin de la Toueille, the Ruisseau de la Vergne, and La Curre which is the border of the commune in the south.
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She sang works in six languages, including French, German, Polish and Russian. Lyric operas were her specialty, and she performed in Puccini's La bohème, Verdi's La traviata, and both Manon and Werther by Jules Massenet. Some of her best-known roles were Constanza in Mozart's Die Entführung aus dem Serail, Marguerite de Valois in Meyerbeer's Les Huguenots, Leila in Bizet's Les pêcheurs de perles, the title role in Moniuszko's The Countess, and Leonora in Verdi's Il Trovatore. Her final performance was as Moniuszko's Countess in September 1961 at the Grand Theatre of Warsaw.
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Rancatore was born in Palermo. She studied violin and piano before studying singing with her mother at the age of 16 and later in Rome, with Margaret Baker Genovesi. At the age of 19 she debuted as Barbarina in Mozart's The Marriage of Figaro at the Salzburg Festival. She returned to the Festival with Die Entführung aus dem Serail (1997, 1998), Verdi's Don Carlo (1998; conducted by Lorin Maazel), Honegger's Jeanne d'Arc au bûcher (2001), Hasse's Piramo e Tisbe (2010; conducted by Fabio Biondi), and concerts at the Salzburg Mozarteum.
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He was born Frederick Dalrymple on 7 January 1907 in Newcastle-upon-Tyne, England. His family emigrated to South Africa in 1920, where he sang in the choir of Pretoria Cathedral as boy and man. He studied at the Dresden Conservatory in Germany. Having Germanised his name to "Friedrich Dalberg", he made his debut in 1931 as Monterone in Rigoletto at the Leipzig Opera where he also sang Sarastro in The Magic Flute, Osmin in Die Entführung aus dem Serail, Henry the Fowler in Lohengrin and several other Wagner roles.
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He appeared as a guest conductor internationally with notable orchestras. From 1989, Köhler was chief conductor at the Royal Swedish Opera in Stockholm. He had conducted the Kungliga Hovkapellet first in 1975, and had the position of Hovkapellmästare from 1992 to 2005. In Stockholm, he conducted Mozart's Die Entführung aus dem Serail, Le nozze di Figaro and Don Giovanni, Offenbach's Les Contes d'Hoffman, Franz von Suppé's Boccaccio, Verdi's Simon Boccanegra, Wagner's Der fliegende Holländer, Lohengrin, Der Ring des Nibelungen and Parsifal, Puccini's Madama Butterfly, Elektra and Arabella by Richard Strauss.
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From November 1784 to February 1785,Deutsch 1965, 225 Schikaneder collaborated with theater director Hubert Kumpf for a series of performances at the Kärntnertortheater in Vienna. He had been invited to do so by the Emperor Joseph II, who had seen him perform the previous year in Pressburg.Heartz (2009, 271) The Vienna run was admired by critics and attracted large audiences, often including the Emperor and his court.Deutsch and Eisen (1991, 33–34) Schikaneder and Kumpf opened their season with a revival of Mozart's Die Entführung aus dem Serail.
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Valeria Barsova first studied the piano with Estonian composer Artur Kapp. She then studied singing at the Moscow Conservatory with Mazetti. In 1915, she was singing in a Moscow cabaret when she was noticed by Sergei Zimin, director of the Zimin Opera, where she made her operatic debut in 1917, as Gilda in Rigoletto. Other roles at this theatre included; Susanna in Le nozze di Figaro, Constance in Die Entführung aus dem Serail, Rosina in Il barbiere di Siviglia, the four heroines of Les contes d'Hoffmann, Nedda in Pagliacci.
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A member of the Berlin State Opera from 1963, he appeared in Mozart roles such as Belmonte in Die Entführung aus dem Serail and Tamino in Die Zauberflöte, and in the title role of Pfitzner's Palestrina, among others. He appeared at the Vienna State Opera and the Metropolitan Opera, among others, as one of few singers from the German Democratic Republic to perform internationally. Schreier made many recordings, especially of Bach's works as both a singer and a conductor, even simultaneously. He recorded many lieder including the song cycles by Schubert and Schumann.
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Mozart's new career in Vienna began well. He often performed as a pianist, notably in a competition before the Emperor with Muzio Clementi on 24 December 1781, and he soon "had established himself as the finest keyboard player in Vienna". He also prospered as a composer, and in 1782 completed the opera Die Entführung aus dem Serail ("The Abduction from the Seraglio"), which premiered on 16 July 1782 and achieved considerable success. The work was soon being performed "throughout German-speaking Europe", and thoroughly established Mozart's reputation as a composer.
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Fortepiano played by Mozart in 1787, Czech Museum of Music, Prague Despite the great success of Die Entführung aus dem Serail, Mozart did little operatic writing for the next four years, producing only two unfinished works and the one-act Der Schauspieldirektor. He focused instead on his career as a piano soloist and writer of concertos. Around the end of 1785, Mozart moved away from keyboard writing and began his famous operatic collaboration with the librettist Lorenzo Da Ponte. 1786 saw the successful premiere of The Marriage of Figaro in Vienna.
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371 as the emperor Joseph II had had the Burgtheater renamed after dismissing the Italian singers and their orchestra in 1776 and installing German actors in the theatre. When the meagre results achieved by the new Singspiel programmes"despite the phenomenal success of [Mozart's Die Entführung aus dem Serail (1782)] and national sentiment against foreign spectacles" (Brown, cf. below) led the emperor to back down, getting an Italian opera buffa company recruited again and engaging Lorenzo Da Ponte as his theatre poet,Bruce Alan Brown, Vienna, in Sadie, Vol.
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Initially, she was employed as an actress, however, over the time, her career slowly moved towards opera. In 1803, she made her debut as Konstanze in Mozart's Die Entführung aus dem Serail. In 1804, she sang the role of Donna Elvira in Don Giovanni, and from 1809 onwards performed Donna Anna. She played the role of Agnes Sorel in Friedrich Schiller's Die Jungfrau von Orleans over 25 times.Datenbanken Berliner Klassik, Nationaltheater (in German) On 12 May 1794, she appeared in the Berlin first performance of Mozart’s Die Zauberflöte as The Queen of the Night.
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He had his first engagement at the . There he made his debut 1961 as Florestan in Fidelio. In his first season he sang there six roles: among others Alvaro in La forza del destino, Turiddu in Cavalleria rusticana, Rinuccio in Gianni Schicchi and Ernesto in Don Pasquale. In his second season in 1962/1963 he added Belmonte in Die Entführung aus dem Serail (1963), Max in Der Freischütz (1963) for the first time and the title role in Lohengrin for the first time (along with Edeltraud Blanke as Elsa von Brabant).
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In 1947 Proebstl returned to the music stage of Augsburg. He stayed there for two years and then went to the Bavarian State Opera as a permanent member of the ensemble, to which he belonged for more than 25 years. Proebstl sang on almost all major opera stages of the German and English speaking countries. His roles included: Falstaff in the opera of the same name, Bartolo in The Barber of Seville, Osmin in Die Entführung aus dem Serail, Kasper in Der Freischütz, Antonio in Le Nozze di Figaro etc.
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Ziade attended the 'Ain Warqa school; he was one of the first journalists in French-mandated Greater Lebanon.Fayek Khoury (1980), Fifty years of journalistic memories [in Arabic] He founded the 'National News Agency' or NNA (الوكالة الوطنية للانباء), the first national news agency in Lebanon in the 1920s and contributed for more than half a century to more than 30 daily newspapers in the Lebanese press among which An-Nahar, Le Jour, L'Orient, Le Soir, Al-Hayat, and As-Siyassah. Ziade's office was in the Grand Serail, the current headquarters of the Prime Minister of Lebanon.
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In 2000, Dessay was Olympia in Robert Carsen's new production of The Tales of Hoffmann, premiering on 22 March, at the Opéra Bastille. She portrayed Ophélie at the Théâtre du Capitole in April and the Théâtre du Châtelet in June. In July, she opened the new Jérôme Savary's production as Olympia at the Chorégies d'Orange. She took up the role of Konstanze in Die Entführung aus dem Serail at the Grand Théâtre de Genève in October and then interpreted the Queen of the Night for the last time at Palais Garnier in performances from 27 November to 6 January.
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This was followed by Ignaz Umlauf's Singspiel Die Bergknappen in 1778 and the role of Fräule Nannette in Salieri's Der Rauchfangkehrer on 30 April 1781, a role specifically written for her to display her virtuosity. Similarly, Mozart wrote the role of Konstanze in his Singspiel Die Entführung aus dem Serail for her, which she premiered on 16 July 1782. On 1 June 1785 she sang the role of Enrichetta in the première of Stephen Storace's Gli sposi malcontenti. On 7 May 1788, Cavalieri sang the role of Donna Elvira in the Vienna première of Mozart's Don Giovanni.
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Gurlitt's attitude to the Nazi regime remained equivocal, and he was a regular guest at the German Embassy in Tokyo.Antony Beaumont, notes to Phoenix Edition CD 114 In 1952 he founded the Gurlitt Opera Company in Tokyo, which had for its official opening the Japan premier of Mozart's The Magic Flute in February 1953. In 1957, it presented the first staging of Der Rosenkavalier in Japan.Galliano, pp. 229-30 Other Japanese premieres he produced and conducted, and sometimes directed, included Eugene Onegin (1949), Falstaff (1951), Otello (1953), Werther (1955), Die Entführung aus dem Serail (1956), Die Meistersinger von Nürnberg (1960), and Salome (1962).
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Nicole Chevalier is an American operatic soprano, who debuted at the renowned Salzburg Festival in the summer of 2019. She was a member of the Komische Oper Berlin, and has been a freelance artist since 2017. Her repertoire includes bel canto as well as Mozart heroines such as Verdi's La Traviata, Donizetti's Maria Stuarda and Lucia di Lammermoor, Mozart's Konstanze in Die Entführung aus dem Serail, Elettra in Idomeneo, and stretches till Aribert Reimann's Medea. In 2016, she was awarded the German National Theatre prize Der Faust for all four female characters in Offenbach's Les Contes d'Hoffmann.
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Schoch appeared in Baroque and classical opera, including the title role in Monteverdi's L'Orfeo, Campra's L'Europe galante, Handel's Almira and Alcina, and Mozart's operas Zaide, Die Entführung aus dem Serail and Die Zauberflöte. Interested in the interplay of music and poetry, he is a performer of Lieder. He has performed with pianists Johannes Debus and Henning Lucius, singing not only songs of the romantic era but also works of Krieger, Beethoven and Britten. He performed Schubert's song cycle Die schöne Müllerin with guitarist Carsten Linck, other songs by Schubert with Eckart Begemann and Ludger Rémy accompanying on the period's Hammerflügel.
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In 1938 she made her debut at the National Theatre in Oslo as Olympia in The Tales of Hoffmann. In 1940, she created the role of Ingeborg in the world premiere of Arne Eggen's Olav Liljekrans at the National Theatre. That same year, she sang Musetta in La boheme at the Det Nye Teater. A specialist in the coloratura soprano repertoire, some of the other roles she performed on stage included Konstanze in Die Entführung aus dem Serail, Philine in Mignon, the Queen of the Night in The Magic Flute, and the title role in Lakmé.
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Free Library of Philadelphia: Box: Phila. Lyric Opera Company: 782.1 P5326p Bal Two [1968 - 1975] She sang the same role for her debut at the Lyric Opera of Chicago in 1963 with Régine Crespin as Amelia and Grace Bumbry as Ulrica. That same year she made her European debut at the Zurich Opera as Blondchen in Mozart's Die Entführung aus dem Serail. She remained committed to that house for the next several seasons, portraying such roles as Gilda in Rigoletto, Nanetta in Falstaff, Oscar in Un ballo in maschera, and Pamina in The Magic Flute among others.
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He directed plays at the Vienna Burgtheater, the Schiller Theater in Berlin, the Residenztheater in Munich and the Salzburg Festival (Leonce and Lena, Nathan the Wise, La Folle Journée by Beaumarchais). He directed opera at the Salzburg Festival: Capriccio, The Magic Flute and Die Entführung aus dem Serail, working with conductor Georg Solti. At the Royal Opera House Covent Garden in London he directed Mozart's Idomeneo, The Marriage of Figaro (1987), Così fan tutte (1989), and Don Giovanni. With conductor Nikolaus Harnoncourt he directed Idomeneo (1987) and Così fan tutte (1989) at the Vienna State Opera.
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Her operatic debut was at the Santa Fe Opera in 1959, as Adele in Die Fledermaus, followed by Blondchen in Die Entführung aus dem Serail. Igor Stravinsky attended the performance and invited her to perform his Le Rossignol with him conducting at the Washington Opera Society. Her first European appearance was at the Cologne Opera in 1960 as the Queen of the Night in Mozart's The Magic Flute. From 1960–1966 she was a member of the Zurich Opera, where she first performed Zerbinetta in Ariadne auf Naxos, Sophie in Der Rosenkavalier, Adina in L'elisir d'amore, and Gilda in Rigoletto.
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Singspiele were considered middle-to-lower class entertainment – as opposed to the predominantly aristocratic genres of opera, ballet and stage play – and were usually performed by traveling troupes (such as the Koch, Döbbelin and Koberwein companies), rather than by established companies within metropolitan centers. Mozart wrote several Singspiele: Bastien und Bastienne (1768), Zaide (1780), Die Entführung aus dem Serail (1782), Der Schauspieldirektor (1786), and finally Die Zauberflöte (1791). E. T. A. Hoffmann, who admired him, composed Singspiele, such as Liebe und Eifersucht in 1807. In 1927, Kurt Weill created a new word, "Songspiel", to describe his work Mahagonny-Songspiel.
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After graduating she continued with further vocal studies under Sylvan Levin. While studying at Curtis, Bodanya made her professional opera debut on December 26, 1929 as Blonde in Wolfgang Amadeus Mozart's Die Entführung aus dem Serail with the Philadelphia Grand Opera Company at the Academy of Music under conductor Emil Młynarski. At the time of her debut, Natalie Bodanya billed herself as Natalie Bodanskaya.Free Library of Philadelphia: Folder: Philadelphia Grand Opera Company 1916-1934 miscellaneous She shortened her name as of December 22, 1936, to lessen confusion with the mezzo-soprano Ina Bourskaya and the conductor Artur Bodanzky.
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Thun may have played an essential role in Mozart's career when she arranged for him to perform extracts from his recent (1780) opera Idomeneo in her home before a set of guests that included Count Orsini-Rosenberg, the manager of the Imperial Theater. The Count "applauded warmly",Source: Abert 2007. Gottfried van Swieten, an important future patron of Mozart, was also in the audience. and not long thereafter gave his agreement to the plans to commission Mozart for the opera Die Entführung aus dem Serail, which turned out (1782) to be his first great success in Vienna.
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Born in Falkenstein, Bavaria, Fleischer is the younger sister of tenor Hanns Fleischer. She studied singing with Lilli Lehmann and made her debut in 1917 at the Berlin State Opera (BSO) as Konstanze in Mozart's Die Entführung aus dem Serail. She continued to excel in portrayals of heroines in Mozart operas at the BSO and at the Salzburg Festival; making her first appearances at the latter institution in 1922 as Susanna in The Marriage of Figaro and Zerlina in Don Giovanni. From 1922-1924 Fleischer was a principal artist with the German Opera Company, a touring opera company which performed throughout North America.
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These included Haydn's The Creation in New York and in Cleveland; the St Matthew Passion in Chicago; Die Entführung aus dem Serail in Bellingham, Washington; and a reprise of her 2010 performance in The Marriage of Figaro at Ravinia Festival. Opera engagements included Nannetta at the Dutch National Opera; Gilda at Grand Théâtre de Genève; and Konstanze at the Bavarian State Opera. Her last performance of 2014 was her debut at the Los Angeles Opera as Rosalba in Daniel Catán's Florencia en el Amazonas. In 2015, she started the year at the Paris Opera as Konstanze with success.
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In November, she was brought in for nearly back to back performances of Rigoletto and Die Entführung aus dem Serail with the Bavarian State Opera due to cancellations. She then finished the year with a performance of Rigoletto with the Teatro Real in Madrid in which she was a "Triumph". In 2016, Oropesa performed many concert works, starting in Rome at the Accademia Nazionale di Santa Cecilia with Fauré's Requiem, she then went to Baltimore to sing with Eric Owens in the Ein deutsches Requiem. Next, she performed Mahler's Symphony No. 8 with Yannick Nézet-Séguin and the Philadelphia Orchestra.
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Born in Érd, Laki studied voice at the Franz Liszt Academy of Music in Budapest with József Réti. She made her debut in 1971 as Gilda in Verdi's Rigoletto at the Stadttheater Bern, where she also appeared as the Queen of the Night in Mozart's Die Zauberflöte and as Sophie in Der Rosenkavalier by Richard Strauss. In 1974 to 1979, she sang at the Deutsche Oper am Rhein. She appeared in 1977 at La Scala in Milan as Blonde in Mozart's Die Entführung aus dem Serail, directed by Giorgio Strehler, and alongside Edita Gruberová as Konstanze.
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Kabaretti's operatic experience includes productions at the Maggio Musicale Fiorentino ( Die Entführung aus dem Serail, Macbeth, Il Trovatore, Gianni Schicchi, Il viaggio a Reims), Teatro Real in Madrid ( Cenerentola, Die Walküre ), The Israeli Opera ( Fidelio, Manon Lescaut ), Lausanne Opera ( Nino Rota's Il Cappello di Paglia di Firenze, Die Fledermaus), Avenches Opera Festival Nabucco, The Barber of Seville, Madama Butterfly) and The New National Theatre in Tokyo (The Barber of Seville). He also conducted The Diary of Anne Frank by Fried, a visiting production of the Vienna State Opera, at both the Bregenz Festival and at Expo 2000 in Hannover.
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Blasius next worked at other Parisian theaters, first at the Théâtre de la Cité, where in November 1801 he conducted the first Parisian performance in German of Mozart's Die Entführung aus dem Serail, with the German company of Elmenreich.Wild 1989, p. 87. Two of his own compositions, the mélodrames Adelson et Salvini and Don Pèdre et Zulika, were first performed at the Théâtre de la Gaîté in 1802. Later he worked at the Théâtre de la Porte Saint- Martin, where his Clodomire, ou La Prêtresse d'Irmunsul a three-act mélodrame was first performed on 5 May 1803.
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After a year there she returned to the Great Theatre, Warsaw where her portrayals included Lucia, Marguerite de Valois in Les Huguenots, and Konstanze in Die Entführung aus dem Serail. After World War I ended, Sari performed a lot in South America, especially since 1918 at the Teatro Colón in Buenos Aires. In 1921 she undertook a concert tour throughout North America, which included appearances at Carnegie Hall in New York and the Auditorium Building of Roosevelt University in Chicago. Toscanini invited her to portray the Queen of the Night in The Magic Flute for the opening of La Scala's 1923–1924 season.
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He notably directed the NYCO's first mountings of Wolfgang Amadeus Mozart's Die Entführung aus dem Serail (1957), Leonard Bernstein's Trouble in Tahiti (1958, conducted by the composer), the first professional production of Mark Bucci's Tale for a Deaf Ear (1958), and the world premiere of Robert Ward's He Who Gets Slapped (1959) among others. From the 1960s through the 1980s, Pollock taught singing and directed opera theatre programs at various institutions; notably serving on the faculties of Florida State University and Indiana University among others. He died in San Diego, California at the age of 82.
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There is also a live performance of The Magic Flute recorded in 1960 at the Salzburg Festival, and several recordings as Belmonte in Die Entführung aus dem Serail. Recordings also exist of lesser-known Mozart operas such as Zaide and La finta giardiniera Wunderlich's crystal-clear voice, exquisitely precise diction, and intelligent but passionate interpretation also led him to impressive renditions of the lieder cycles of Schubert and Schumann with pianist Hubert Giesen, who was also his artistic mentor. His famous recording of Schumann's Dichterliebe remains a gold standard of this genre. Many tenors since have emulated Wunderlich's interpretation of this cycle.
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In 1987, Dahl made her European debut at Aix-en-Provence, performing the role of Blondchen in Mozart's Die Entführung aus dem Serail. Also in 1987, she made her American opera debut in The Tales of Hoffman at the San Francisco Opera, singing the role of Olympia opposite Plácido Domingo. In 1991, in the place of an indisposed singer, she sang the role of Adele in Johann Strauss Jr.'s Die Fledermaus at the Metropolitan Opera. She also performed as Florestine in the premiere of John Corigliano's Ghosts of Versailles at the Metropolitan Opera in 1991, and again in 1995.
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This story portrays Zaide's effort to save her beloved, Gomatz. Mozart was composing for a German libretto by Johann Andreas Schachtner, set in Turkey, which was the scene of his next, completed rescue Singspiel (Die Entführung aus dem Serail). He soon abandoned Zaide, to work on Idomeneo, and never returned to the project. The work was lost until after his death, when Constanze Mozart, his wife, found it in his scattered manuscripts in 1799. The fragments would not be published until 1838, and its first performance was held in Frankfurt on January 27, 1866, the 110th anniversary of Mozart's birth.
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Amongst the notable singers who have performed with the company are Susan Chilcott (The Countess in Le nozze di Figaro, 1993 ) Susan Bullock (Helena in Die ägyptische Helena, 1997) Yvonne Kenny (Christine in Intermezzo, 2001) Matthew Rose (Osmin in Die Entführung aus dem Serail, 2013) Lesley Garrett (Despina in Così fan tutte, 2015) Toby Spence (Idomeneo in Idomeneo, 2016) Roderick Williams (Eugene Onegin in Eugene Onegin, 2016) and Miah Persson (Countess in Capriccio, 2018). Conductors include David Parry, Ivor Bolton, Jane Glover, Jac van Steen, Richard Farnes and the founder of Grange Park Opera, Wasfi Kani.
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Born in Berlin, Bauer studied voice at the Berlin University of the Arts, graduating with distinction. She made her stage debut in the 1999/2000 season at the Staatstheater Cottbus. She has performed freelance since 2003, appearing as Adele in Die Fledermaus by Johann Strauss at the Volksoper in Vienna, and at the Semperoper in Dresden, the Staatsoper Hannover, and the Staatsoper Berlin, among others. She performed at the Tyrolean State Theatre as Blonde in Mozart's Die Entführung aus dem Serail and at the Oregon Bach Festival as Lisette in the world premiere of Mendelssohn's Der Onkel aus Boston, conducted by Helmuth Rilling.
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He sang frequently at the Salzburg Festival between 1965–1971, portraying such roles as Don Pasquale, and Osmin in Die Entführung aus dem Serail, among others. He also appeared at the Bavarian State Opera, De Nederlandse Opera, the Opéra National de Paris, the Palacio de Bellas Artes, the Teatro Colón, and the San Francisco Opera. Corena possessed a big, handsome, resonant voice that lacked sufficient flexibility to deliver accurately the complexities of Rossini's florid writing. However, his complete involvement in his characters, and sheer physical presence and acting abilities, more than made up for any vocal technical shortcomings.
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His roles there include Dulcamara in L'elisir d'amore and Masetto in Don Giovanni. For the season 2014-2015 Plathan was engaged in the solo ensemble of Landestheater Coburg, where he sang roles such as Osmin in Die Entführung aus dem Serail and Colline in La Bohème. In 2015-2016 he was part of ensemble in Saarländisches Staatstheater in Saarbrücken, and received good reviews there for his Leporello in Don Giovanni, a role which he has performed also as a guest in Croatian National Theatre Ivan pl. Zajc in Rijeka, Helsinki Festival, and latest, in Savonlinna Opera Festival.
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4, no. 20 (10 February 1802), columns 320–323 ("Fortsetzung der Briefe eines deutschen Künstlers in Paris"). Die Entführung aus dem Serail by Mozart (16 November),Loewenberg 1978, column 394. Das rothe Käppchen by Carl Ditters von Dittersdorf (21 November),Loewenberg 1978, column 481. Das Neusonntagskind by Wenzel Müller (25 November),Loewenberg 1978, column 510. Der Spiegel von Arkadien by Franz Xaver Süssmayr (29 November),Loewenberg 1978, column 516. Der Tiroler Wastel by Jakob Haibel (30 November),Loewenberg 1978, column 526. Wild and Lecomte mistakenly identify the composer as Daniel Steibelt. and Das Sonnenfest der Braminen by Müller (3 December).
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6) A big box office draw during this time was a rhymed-verse comedy, Der travestierte Aeneas (The Travesty of Aeneas), a contribution of Giesecke.Honolka (1990, 183) During this period, Schikaneder would several times a year devote the theater to an Academie, or in modern terms, a classical music concert. Symphonies of Mozart and Haydn were performed, and a young Beethoven appeared as a piano soloist.Honolka (1990, 153) Schikaneder maintained in the repertory seven Mozart operas: Die Entführung aus dem Serail, Le nozze di Figaro, Der Schauspieldirektor, Don Giovanni, Così fan tutte, La clemenza di Tito, and The Magic Flute.
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Her Vienna roles included Menotti's Amelia Goes to the Ball and Regina in Mathis der Maler in 1948. As a guest, Beilke performed as Blonde in Mozart's Die Entführung aus dem Serail at the Glyndebourne Festival in 1936 and the Royal Opera House in London in 1938, where she also appeared as Papagena in Zauberflöte, Marzelline in Fidelio, and Sophie in Der Rosenkavalier. She also gave guest performances in Paris, Brussels, Antwerp, Milan, Florence, Barcelona, Zagreb and Belgrade. In 1950, she appeared in Dublin as Mimì in Puccini's La Bohème and sang the title role of Verdi's La traviata.
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He staged the story in a psychological interpretation as the heroine Senta's imaginations and obsessions. Kupfer was chief director at the Komische Oper Berlin from 1981, a protégé of Walter Felsenstein. Simultaneously, he was professor at the Hochschule für Musik "Hanns Eisler" in Berlin. At the opera, he staged Mozart operas in the order of their composition, including Die Entführung aus dem Serail in 1982 and Così fan tutte in 1984. He also staged there Wagner's Die Meistersinger von Nürnberg in 1981, Puccini's La Bohème in 1982, Reimann's Lear, Verdi's Rigoletto and Mussorgsky's Boris Godunov in 1983, among many others.
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His first opera productions were Wagner's Tannhäuser and Tchaikovsky's Pique Dame in Zurich. Tannhäuser, conducted by Franz Welser-Möst with Peter Seiffert in the title role, was recorded on DVD in 2003. From 2000 to 2006 he was Schauspieldirektor at the Nationaltheater Mannheim and also staged there Mozart's operas Così fan tutte and Die Entführung aus dem Serail, and Wagner's Die Meistersinger von Nürnberg. In 2007 Herzog staged at the Zurich Opera Humperdinck's Königskinder, conducted by Ingo Metzmacher, with Jonas Kaufmann as the King's Son, Isabel Rey as the Goose Girl, and Liliana Nikiteanu as the Witch.
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Fischer is perhaps best remembered today for the role of Osmin in Die Entführung aus dem Serail, a part "tailor made" for him by Mozart and which he sang in the premiere production (first performance 16 July 1782,Deutsch 1965, 201) during the Vienna phase of his career. A year earlier, Antonio Salieri was inspired by his remarkable vocal range in composing his comic opera Der Rauchfangkehrer, writing for him the role of Herr von Bär. Further roles were Axur in Salieri's Axur, re d'Ormus, Osroes in Semiramis and Brenno in the eponymous opera by Johann Friedrich Reichardt.
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Die Entführung aus dem Serail is in the genre of "Singspiel", thus the music lacks recitatives and consists entirely of set numbers. As Spike Hughes notes, the action is mostly carried forward by the spoken dialogue, so the libretto gave Mozart little opportunity to display an achievement for which his later operas are celebrated, namely the construction of scenes in which the plot is both reflected in and driven forward by the music. Die Entführung is lighthearted and frequently comic, with little of the deep character exploration or darker feelings found in Mozart's later operas.See, for example, .
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Dessay was quickly approached by a number of theatres and subsequently sang Blonde in Die Entführung aus dem Serail, Madame Herz in Der Schauspieldirektor, Zerbinetta in Ariadne auf Naxos and Zaide at the Opéra National de Lyon, as well as Adele in Die Fledermaus at the Grand Théâtre de Genève. In April/May 1992 at the Opéra Bastille, she sang the role of Olympia in The Tales of Hoffmann with José van Dam. The Roman Polanski production was not well received, but it began her road to stardom. In 1993, she joined in the troupe of the Vienna State Opera as Blonde in Mozart's Die Entführung.
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In 1977, he made his operatic debut as Ernesto in Donizetti's Don Pasquale at the Juilliard School's American Opera Center. That same year he won first prizes for men and for the interpretation of French art song at the Concours International de Chant in Paris.Biography at the Milken Archive of American Jewish Music He made his Santa Fe Opera debut in 1978 and his European début as Belmonte in Die Entführung aus dem Serail at the Théâtre de la Monnaie in 1979. Aler made his Covent Garden début in 1986 as Ferrando in Così fan tutte, returning in 1988 as Percy in Donizetti's Anna Bolena.
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One of the arias substituted out of the production was "Il caro mio bene" (Act III, scene 1), a vocal piece so much admired by Wolfgang Amadeus Mozart that he arranged it for voice and piano with the new text "Ridente la calma," K. 152 (210a). In this form, it would become one of his most frequently-performed concert arias. The aria was originally sung by Mysliveček's friend and professional collaborator Luigi Marchesi in the role of Rinaldo. The tenor Valentin Adamberger, who would create the role of Belmonte in Mozart's opera Die Entführung aus dem Serail in Vienna in 1782, was also present as a cast member.
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At the Salzburg Festival in Austria, List reprised his performance as King Mark and also played the roles of Osmin in Mozart's Die Entführung aus dem Serail and Commendatore in Don Giovanni, as well as Rocco in Beethoven's Fidelio. He did the entire Ring Cycle at the 1933 Bayreuth Festival, singing Hunding, Hagen, and Fafner. List's Jewish heritage led him to leave Germany in 1933 for America; later that year he played the Landgrave in Wagner's Tannhäuser at the Metropolitan Opera, and remained in the company until 1950. He became an American citizen, and sang in San Francisco, Chicago, and Buenos Aires in addition to New York.
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The manuscript was discovered, and first published, by Fyodor Uspensky in 1907 (L'Octateuque de la Bibliotheque du Serail a Constantinople). Based on a handwritten inscription, Uspensky identified the original patron of the manuscript as the porphyrogennetos Isaac Komnenos (1093–after 1152), the youngest son of Emperor Alexios I Komnenos () brother of John II Komnenos () and uncle of Manuel I Komnenos (). This identification has been commonly accepted. Isaac spent much of his life in exile or prison, so that the most likely period of his commissioning the work is the period from 1143 to about 1152, the last year in which he is known to have been alive.
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Christoph Genz on bach-cantatas In 1997, he became a member of the Theater Basel. He appeared as a guest at theatres such as the Teatro alla Scala, the Semperoper, Théâtre des Champs-Élysées, Paris and the opera houses of Lausanne, Cologne, Nancy, Leipzig, Wiesbaden, La Coruna and others. In 2000, Genz sang for the first time at the Hamburg State Opera. From 2001 to 2004 he was a member, singing parts such as Tamino in Mozart's Die Zauberflöte, Belmonte in Die Entführung aus dem Serail, 'Ferrando' in Cosi fan tutte, 'Don Ottavio' in Don Giovanni, Chevalier in Poulenc's Dialogues des Carmélites and many more.
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During the auto- da-fé scene, nude bodies lie in front of the family table, then are trussed up with rope, hoisted up to the ceiling, and dowsed with gasoline, all while the family goes about their business. As the publication "Mostly Opera" says, "The entire concept revolves around Fillipo's dysfunctional family. One of the major strengths of this production is the visualization of the division between the private and public lives of this modern royal family, as we observe them in both private and public functions". At the extreme end of the "shock" spectrum lies Calixto Bieito's 2004 Berlin production of Mozart's Die Entführung aus dem Serail.
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After that, Lockhart convinced Price to take further singing lessons to improve her technique and develop the luminous high range that made her one of the most popular lyric sopranos of the 1970s and 1980s. In 1967, she performed with Benjamin Britten's English Opera Group in Mozart's The Impresario, and as Titania in Britten's A Midsummer Night's Dream. In 1968, critic Desmond Shawe-Taylor called her singing "brilliant, flexible and large scale" as Constanze in Mozart's Die Entführung aus dem Serail at Glyndebourne. As Price did not enjoy travelling, she always kept a "home" stage, where she stayed and performed for the majority of each year.
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At the beginning, the ensemble also included Carl Demmer, Joseph Lux and Heinrich Vohs as well as music director Friedrich August Burgmüller. From November 1796 Spitzeder is traceable at the society of Karl Haßloch in Kassel and made his debut on 27 September 1799 in Weimar as Osmin in Mozart's Singspiel Die Entführung aus dem Serail. In 1804 he was briefly active at the Theater an der Wien where he got into great financial trouble and apparently had no opportunity to perform. From Vienna he addressed two urgent letters of petition to Hofkammerrat Franz Kirms in Weimar, in which he offered 160 - in vain - for a return to Weimar.
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In 1991, the bicentenary of Mozart's death, Kundlák sang the Requiem with the Philadelphia Orchestra under Riccardo Muti at the Carnegie Hall and at the Academy of Music (Philadelphia). He also sang diverse Masses and Oratories at the Vienna Concert Hall, in Stuttgart, Milan and Salzburg. He voiced the role of Belmonte in Mozart's opera Die Entführung aus dem Serail at the Deutsche Oper Berlin and at the Bavarian State Opera in Munich. Subsequently, he added new roles to his repertoire, such as Alfredo in La traviata, Fenton in Falstaff, Faust in Gounod's Faust and Boito's Mefistofele, Lensky in Eugene Onegin and Werther in Jules Massenet's eponymous opera.
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David Hillman was born in London, England. From 1957 to 1962, he worked as a quantity surveyor. From 1960 to 1963, he studied at the National Opera School with Joan Cross, and he also studied privately with Antony Benskin and Otakar Kraus. His professional opera debut was as Arvino in I Lombardi with Welsh National Opera in 1962, and early engagements with that company and with Sadler's Wells Opera included the principal tenor roles in The Queen of Spades, La traviata, The Magic Flute, Die Entführung aus dem Serail, La bohème and Gloriana, as well as those in The Mikado, Ruddigore, and La belle Hélène.
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As early as 1823, Schott founded a branch in Antwerp, followed by Brussels in 1839, and further offices in musical centres such as Leipzig, London, Paris and Vienna. From the very beginning, it was its commitment to contemporary music that earned the publishing house its international reputation. Initially, the publishing programme included works by composers from the Mannheim School such as Carl Stamitz and Georg Joseph Vogler, as well as virtuoso ballroom music and comic operas. The publication of the piano scores and first editions of Mozart's opera Don Giovanni and Die Entführung aus dem Serail were among the highlights of the publishing house's early history.
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The gate of a seraglio, Topkapı Palace, Istanbul An illustration of the women's quarters in a seraglio, by John Frederick Lewis Main entrance to a hall in a seraglio Sultan Selim III holding an audience in front of the Gate of Felicity, by Konstantin Kapıdağlı, Topkapı Palace, Istanbul A seraglio ( or ) or serail is the sequestered living quarters used by wives and concubines in an Ottoman household. The term harem is a generic term for domestic spaces reserved for women in a Muslim family, which can also refer to the women themselves. The Ottoman Imperial Harem was known in Ottoman Turkish as Harem-i Hümâyûn.
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"O, wie will ich triumphieren" (or, "Ha, wie will ich triumphieren"), is an aria for low bass from Mozart's singspiel Die Entführung aus dem Serail. It is well known for the extraordinary technical demands it makes on the singer, and is sometimes performed in recitals and featured in anthologies by basses who are able to sing it. It features rapid precision-coloratura, abrupt octave- leaps between the upper and lower registers, and extended low notes, including a drawn-out low D (D2, one of the lowest notes demanded of any voice in opera). Mozart wrote it with one particular bass in mind: the very famous Ludwig Fischer.
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Michael Schopper (born 28 May 1942) is a German bass-baritone in opera and concert, and an academic teacher. Michael Schopper was educated with the Regensburger Domspatzen and studied on a scholarship of the Studienstiftung des deutschen Volkes church music and voice at the Hochschule für Musik und Theater München. He won a first prize of the ARD International Music Competition in 1968, which resulted in an international career. His operatic parts have included Osmin in Mozart's Die Entführung aus dem Serail, Ochs in Der Rosenkavalier by Richard Strauss, and the Wagner parts Sachs in Die Meistersinger von Nürnberg, Daland in Der fliegende Holländer, and Wotan in Der Ring des Nibelungen.
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In orchestral music, rute (or ruthe) first appeared in the music of Mozart, in his opera Die Entführung aus dem Serail, K. 384 (1782). The setting of the opera is Turkey, and rute were imported from Turkish Janissary music, the martial music of the Sultan's royal guard, very much in vogue at the time. (James Blades, "Percussion Instruments and their History" 1992) The rute were played by the bass drum player, with a mallet striking on downbeats and rute being struck on offbeats. A typical pattern in this style would generally go, in 4/4 time, boom-tap-tap- tap boom-tap-tap-tap, the taps representing strikes of the rute.
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Jacqueline Dubreuil was born in Paris, to singer parents: mother specialising in operetta, father being a baritone in the Choir of Radio France. Having obtained double degree in history and English, she worked as a school teacher till 28, after which she went studying at the Conservatoire Francis Poulenc in Paris for three years. Her stage career began at the Théâtre du Capitole in Toulouse in 1991, where she performed in Mozart's La finta giardiniera as the title role, and in Die Entführung aus dem Serail. After a simple audition, Gabriel Dussurget introduced her to conductor Bernard Thomas, who engaged her in Great Mass in C minor and all the oratorios.
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Cloud 9 further attracted the attention of director Miloš Forman, who cast Jones as Joseph II, Holy Roman Emperor in Amadeus (1984), an adaptation of the Peter Shaffer play of the same name. Critic James Berardinelli noted that Jones portrayed the Emperor "as a superficial and self-absorbed ruler who can't tell the difference between a great opera and a mediocre one". Vincent Canby of The New York Times praised Jones’s performance, citing the film's most memorable line, when the Emperor complains of Die Entführung aus dem Serail that "there are too many notes". Jones' work earned him a nomination for the Golden Globe Award for Best Supporting Actor – Motion Picture.
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She was a member of the chorus of the Bayreuth Festival in 1934 and was engaged at the Hamburgische Staatsoper for smaller solo parts in 1936. In 1937 she suffered from a severe traffic accident. She recovered, and was able to step in as Queen of the Night in Mozart's Die Zauberflöte at the , which gained her an engagement there, followed by the and the Oldenburgisches Staatstheater, where she performed major roles such as Konstanze in Mozart's Die Entführung aus dem Serail, Zerbinetta in Ariadne auf Naxos by Richard Strauss, Micaela in Bizet's Carmen, Mimi in Puccini's La Bohème and Nedda in Leoncavallo's Pagliacci.
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Writing under Ottoman rule, Critobulus expressed admiration for Mehmet in his work, and combined mourning for the Greek loss with an acceptance of the shift of power to the Ottoman Turks, which he interpreted as a divinely ordained world historic event. In doing so, Critobulus took as a literary model the works of Flavius Josephus, the Jewish-Roman historian of the Roman destruction of Jerusalem. His text is the most detailed historical account of the first decade of Turkish rule in Constantinople, including the Ottoman efforts of rebuilding and repopulating the city. The autograph of his text has been preserved in the Library of the Serail in Istanbul.
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Previously located in the Petit Serail on Martyrs’ Square, Beirut's Municipality building, constructed in 1925 on Weygand Street was the masterpiece of Youssef Aftimos. The building is characterized by oriental-style façades. Conforming to the Neo-Moorish revivalist school – Youssef Aftimos being its main protagonist in Lebanon – its architecture expressed a reaction against the westernization of the country as well as the need to establish a more local or regional identity. A text inscribed on the building's entrance reflects this feeling: “These are the traces that identify us: seek out henceforth our traces.” Damaged and abandoned during the Civil War (1975-1990), the Municipality was restored by the year 2000.
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Born in Obernburg, Heichele studied at the Musikhochschule München from 1966, graduating with the artistic exam in 1970. She made her stage debut already during this time as Jenny in Weill's Aufstieg und Fall der Stadt Mahagonny at the Stadttheater Klagenfurt. She was engaged at the Bavarian State Opera in Munich from 1971. She became a member of the ensemble of the Oper Frankfurt in 1974, where she sang many Mozart roles such as Susanna in Le nozze di Figaro, Zerlina in Don Giovanni, Ilia in Idomeneo, Blonde in Die Entführung aus dem Serail, Despina in Così fan tutte and Pamina in Die Zauberflöte.
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Gritton was born in Reigate, Surrey. She was educated at the University of Oxford and the University of London, where she studied Botany. On the operatic stage, her roles include Ellen Orford Peter Grimes (La Scala, Sydney & Tokyo); Blanche Dialogues des Carmélites (Bayerische Staatsoper); Countess Madeleine Capriccio and Tatyana Eugene Onegin (Grange Park); Micaela Carmen and Liù Turandot (Covent Garden); Donna Anna Don Giovanni (Bolshoi & Opera de Montreal & Scottish Opera); Elettra Idomeneo (Netherlands Opera) and Konstanze Die Entführung aus dem Serail (Deutsche Staatsoper & Bayerische Staatsoper). Title roles include Theodora (Glyndebourne); Rodelinda (Bayerische Staatsoper); The Bartered Bride (Covent Garden) and The Cunning Little Vixen (ENO).
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At the Vienna State Opera, Schade has appeared in Daphne, Don Giovanni, Così fan tutte], Die Entführung aus dem Serail, Die Zauberflöte, Arabella, Il barbiere di Siviglia, L'elisir d'amore, Die schweigsame Frau and Die Meistersinger von Nürnberg. He is a regular guest of the world-famous Lied-festival Schubertiade in Schwarzenberg, Austria. In March 2007, Schade and Adrianne Pieczonka were the first Canadians awarded the Austrian title of . Schade's discography includes a recording of "Die schöne Müllerin" with pianist Malcolm Martineau (CBC Records) which funds and supports leukaemia research, a performance of the role of Ralph Rackstraw in Sir Charles Mackerras's CD of H.M.S. Pinafore, and Daphne (Decca).
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He had a great success in 1936 in Der Rosenkavalier by Richard Strauss, played in the presence of the composer. His other roles at the Paris Opera included, Florestan in Fidelio (which he sang 75 times during his career.), Admète in Alceste by Gluck, Don Ottavio in Don Giovanni, Erik in Der Fliegende Holländer, Ulysse in PénélopePénélope by Fauré and Armal in Gwendoline by Emmanuel Chabrier. In 1937, he joined the troupe of the Opéra-Comique where he performed in Die Entführung aus dem Serail by Mozart and L'incoronazione di Poppea by Monteverdi. Then rare tours followed at the Salzburg Festival, in Vienna, Montreux, Rome, Cairo and Covent Garden in London.
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On 27 April 1914, Duhan made his debut as Amonasro in Verdi's Aida at the Wiener Hofoper. In May, the baritone joined the Court Opera Association. He remained a member of the institute until 1940, not only as an esteemed baritone, but later also as a director and occasionally as conductor. In the Haus am Ring, Duhan sang at least 16 times Count Almaviva in The Marriage of Figaro and 17 times Bassa Selim in Die Entführung aus dem Serail, 24 times Scarpia in Puccini's Tosca, 29 times Don Fernando in Beethoven's Fidelio and 62 times the prison director Frank in Die Fledermaus by Johann Strauss.
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From her other versatile stage repertoire, she sang Konstanze in Die Entführung aus dem Serail, the Marschallin in the Der Rosenkavalier, Renata in The Fiery Angel by Prokofiev (Opéra-Comique, 1967), and Béatrice in Un sguardo sul ponte by Renzo Rossellini (Bordeaux 1965, possibly the first French performance of that opera). In 1981 she started to teach at the Conservatoire in Nancy, preparing among others Chinese singers for their first performances of Carmen in the People's Republic of China. From 1992 up to her death she was a member of the Académie de Stanislas in Nancy. She published an autobiography La Baraka ou si Jacqueline Brumaire m'était contée.
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Mildmay's teacher Johnstone Douglas suggested to John Christie that she sing the part of Blonde in an amateur production of Act I of Mozart's Die Entführung aus dem Serail in December 1930. Christie was a music lover who modified his house at Glyndebourne to be able to host concerts for his family and friends. Mildmay was paid £5 for her appearance in a hilarious performance, full of comic mishaps. The 48-year-old bachelor Christie was immediately smitten by the much younger Mildmay's charm and vivacity, and during a tour of the house, he impulsively showed her the room that he said they would share after their marriage.
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From 2012 to 2015 she was director costumes, make-up and wigs at the Salzburg Festival; she was responsible for artistic management of 80 dressers and tailors as well as about 60 makeup artists. She designed for the Salzburg Festival 2013 the costumes for a staging of the Mozart opera Die Entführung aus dem Serail in a version for children. She designed the debutants' dirndl aprons with Redouté roses for the Salzburg Festival Ball at the end of August 2013. Since 2005 Nicolai has been a member (since 2013 board member) of the International Council of Museums costume committee and founding member of the ' (GTKos) (society of costume artists).
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Already at the age of 30 he took over the part of Ochs von Lerchenau in Richard Strauss' der Rosenkavalier, which he first sang in Zurich in 1951/52 and then impersonated on all important stages. At the Grand Théâtre de Genève in 1974 he appeared as Osmin in Die Entführung aus dem Serail, in other Swiss theatres as van Bett in Zar und Zimmermann. But he could also be seen in Berlin, at the Deutsche Oper am Rhein (Düsseldorf/Duisburg), Hamburg, Cologne, London, Milan, Munich, New York, Paris, Rome, San Francisco, Stuttgart and at the Bregenz Festival, Maggio Musicale Fiorentino, Glyndebourne Festival and Salzburg Festival. Jungwirth died in Passau at age 80.
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Protesters saw the "WhatsApp tax" as the last straw, socially, politically and economically, against the entire political class, which was deemed corrupt and in need of immediate ousting. Protests in Martyrs' Square, Beirut on 18 October 2019 Protesters in Nabatiyeh and Tripoli, on 18 October, vandalized the offices of the Hezbollah, Amal Movement, and Free Patriotic Movement political parties in an expression of disillusionment and in protest against perceived government corruption. Other protesters aimed to enter the Serail, which includes the Lebanese Parliament building, but were stopped by the use of tear gas from the Internal Security Forces. protesters created roadblocks on the major roads of the country, using burning tires and trash cans to stop access.
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The municipality was known by the Turkish name of Meclis al-Baladi Starting from 1860 and for twenty years, the Tanzimat impacted the transformation of the Beirut space heavily. The period was marked by the restoration of the ancient souks, the creation of new commercial spaces and the establishment of infrastructures on a big scale and the building of large public and private building such as the Grand Serail and its annexes and the Pine residence. The movement catalyzed by the Tanzimat reforms set the foundation of a new framework for buildings characterized by works inspired from several European styles such as neo-baroque and neo- gothic. The former architectural tradition declined progressively.
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She appeared as Papagena in a production of Die Zauberflöte in 1956, conducted by Hans Knappertsbusch at the Prinzregententheater in Munich, and as Adina in Donizetti's L'elisir d'amore alongside Benno Kusche in 1957.Rosl Schwaiger on Hochschule für Musik und Theater München She performed regularly at the Salzburg Festival and in opera and concerts of sacred music until 1965. In 1945, she appeared as Blonde in Mozart's Die Entführung aus dem Serail and in 1946 as Barbarina in his Le nozze di Figaro and as Sophie in Der Rosenkavalier by Richard Strauss. She performed at the Salzburg Cathedral in Schubert's Mass in G major and Mozart's Vesperae solennes de confessore in 1954.
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It would be her last appearance in Salzburg. She sang Hermione in the first production of the second version of Egyptian Helena. Eisinger continued to sing at Prague State Opera until 1937, but already in 1934 she was invited by German emigrants Fritz Busch and Carl Ebert to participate at the first Glyndebourne Festival. Unknown to British audiences, she sang Despina in Mozarts Così fan tutte and scored a great personal success. Thereafter she became a firm favourite at the festival, debuting as Blonde in Die Entführung aus dem Serail and as Papagena in Die Zauberflöte in 1935, returning there each year but one, until the outbreak of the Second World War forced the festival to close down.
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She made her professional opera debut the following year at the New York City Opera as Violetta in Verdi's La traviata. In 1988 she sang the role of Isabelle in Meyerbeer's Robert le Diable with the Opera Orchestra of New York at Carnegie Hall. That same year she made her debut at the Met as Rosalinde in Die Fledermaus opposite Thomas Allen as Eisenstein and Judith Blegen as Adele. She continued to sing roles at the Met annually through 1992, portraying Constanze in Die Entführung aus dem Serail, Donna Anna in Don Giovanni, Fiordiligi in Così fan tutte, Gilda in Rigoletto, Violetta in La traviata, and the title role in Lucia di Lammermoor.
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Kurt Moll (11 April 19385 March 2017) was a German operatic bass singer who enjoyed an international career and was widely recorded. His voice was notable for its range, a true basso profondo, including full, resonant low and very- low notes with relaxed vibrato; also for its unusual combination of extreme volume-capacity and a purring, contrabassoon-like timbre. Although he had a powerful voice and stamina adequate for the most demanding parts, he was not a thunderer, and never performed as Wagner's vocally athletic, bellowing bassos Hagen, Hans Sachs, nor Wotan. His interpretations tended to be restrained and intelligent, even in comedic roles like Osmin in Mozart's Die Entführung aus dem Serail and Baron Ochs in Der Rosenkavalier.
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Shelton has performed with numerous opera companies throughout the United States. In 1999 he made his debut with the Lyric Opera of Kansas City as Ferrando in Così fan tutte.Lyric Opera of Kansas City He has since returned to that company to perform Tom Rakewell in The Rake's Progress (2001), and Alfredo in La traviata (2009).Kansas City Star, March 15, 2009 In 2000 he made his debut with Portland Opera as Cassio in Verdi's Otello, where he later returned to sing the role of Belmonte in Mozart's Die Entführung aus dem Serail (2005). In 2001 Shelton sang for the first time with Florida Grand Opera as Leo Hubbard in Mark Blitzstein's Regina.
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Inga Nielsen Inga Nielsen (2 June 1946 - 10 February 2008) was a Danish soprano who had an active international opera career from 1971 to 2006. A child prodigy, Nielsen performed on American radio during the 1950s, beginning at the age of six, and also released some commercial recordings of Danish folk songs and Christmas carols as a child. She began her opera career performing parts in the lyric soprano repertory and then became an admired singer of dramatic soprano roles, beginning in the late 1980s. She was a particularly renowned interpreter of the roles of Konstanze in Wolfgang Amadeus Mozart's Die Entführung aus dem Serail and the title role in Richard Strauss's Salome.
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She was engaged in 1960 by National Theatre in Belgrade Opera for two years. On the advice of the contralto Biserka Cvejić (the wife of her teacher) she then went to Vienna and in 1962 became a member of Vienna State Opera, where she achieved an accomplished career as a soloist. As early as 1965, she sang Feodor in Herbert von Karajan's performance of Boris Godunov at Salzburg Festival and a young shepherd in Tannhäuser at Bayreuth Festival. Her first great success in Vienna State Oper was Despina (Così fan tutte, 1967), followed by Susanna (The Marriage of Figaro, 1968), Zerlina (Don Giovanni, 1969), Serpina (La serva padrona, 1970), Blonde (Die Entführung aus dem Serail), and others.
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Born Margret Doerkes in Krefeld-Uerdingen on 26 February 1931, she took voice lessons with the baritone Berthold Pütz in her hometown. In 1949 at age 18, she was engaged as a beginner (Anfängerin) at the Cologne Opera, where she made her debut as the Page in Verdi's Rigoletto. In 1951, she appeared as Gretchen in Lortzing's Wildschütz and as Nuri in d’Albert's Tiefland. She married Johannes Pütz that year and took her stage name. From 1951 to 1957, she was a member of the Staatsoper Hannover as a coloratura soubrette, singing roles such as Blonde in Mozart's Die Entführung aus dem Serail, Marzelline in Beethoven's Fidelio, and Adele in Die Fledermaus by Johann Strauss.
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Emmy Loose (22 January 1914 in Chabařovice – 14 October 1987 in Vienna) was an Austrian operatic soprano particularly associated with soubrette roles. After vocal studies in Prague Conservatory, she made her stage debut in Hanover as Blonchen in Die Entführung aus dem Serail, in 1939. She first appeared at the Vienna State Opera in 1941, as Annchen in Der Freischütz, and remained with this theatre some 25 years, establishing herself in Mozart soubrette roles (Susanna, Zerlina, Despina). She made guest appearances at the festivals of Salzburg, Aix-en-Provence, and Glyndebourne, at La Scala in Milan, the Royal Opera House in London, the Liceu in Barcelona, the San Carlo in Naples, the Munich State Opera, etc.
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She appeared in Mozart operas, as Konstanze in Die Entführung aus dem Serail, Fiordiligi in Così fan tutte and Donna Anna in Don Giovanni. Her roles have included Laodice in Scarlatti's Mitridate Eupatore, Rosalinde in Die Fledermaus by Johann Strauss, and the title role in Peri's Euridice. In 2000 she performed the role of Cinzia in the first modern revival of Giovanni Legrenzi's La divisione del mondo at the Schwetzingen Festival. In 2014 she sang the role of La Folie in Rameau's Platée at the Theater an der Wien"Theater an der Wien: Eine Nymphe mit Trampelcharme", Walter Weidringer, Die Presse, 18 February 2014 and at the Lincoln Center in New York.
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Mozart then returned to Berlin, arriving on 19 May. In his letters to Constanze, on this second stay in Berlin he performed before the King and Queen at the royal palace (26 May), reporting his receipt of an award of 100 friedrichs d'or (around 800 florins) and commissions from the King for six string quartets and a set of six easy piano sonatas for Princess Friederieke. The night Mozart arrived in Berlin, he apparently attended a performance of his own opera Die Entführung aus dem Serail. Local newspapers apparently did not report his presence, but it was recorded much later (1856) in the posthumously published memoirs of a distinguished figure of German literature, Ludwig Tieck (1773-1853).
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She was a member of the Vienna State Opera from 1947, where she made her debut as Susanna in Le nozze di Figaro. She took part in 387 performances in 38 different roles, appearing in more Mozart roles, such as Papagena in Die Zauberflöte, Blondchen in Die Entführung aus dem Serail, Despina in Così fan tutte, among other. She also appeared as Chloe in Pique Dame, Olympia in Offenbach's Les contes d'Hoffmann, Zerbinetta in Ariadne auf Naxos by Richard Strauss, and Luciete in I quatro rusteghi, among others. In 1949 she sang the Second Boy in Die Zauberflöte at the Salzburg Festival under Wilhelm Furtwängler, and the same year Blondchen at the Bregenz Festival.
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''''' (The Chimney Sweep, or The Indispensable Betrayers of Their Lordships out of Self-interest) is an opera in three acts by Antonio Salieri to a German libretto by Leopold Auenbrugger. Originally designated as a ' (musical comedy), the work has the characteristics of both a German Singspiel and an Italian opera buffa. The musical work was referred to as a practice in "the [German] language" for Salieri, as Joseph II put it. Here, Salieri was able to create virtuoso roles for some of the most famous singers of Vienna: Caterina Cavalieri, who created the role of Konstanze in Mozart's Die Entführung aus dem Serail, and Ludwig Fischer, who created the role of Osmin in the same opera.
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Born in New York City, Bishop started studying singing as a young teenager with various instructors, including Paul Breisach, Louis Polanski, Rose Landver, and at Luigi Rossini's Rossini Opera Workshop. She made her Broadway debut at the age of 15 as Fritzi in the 1943 revival of Blossom Time, which ran for a total of 43 performances. She returned to Broadway in 1945 to portray Betty Ellis in the short-lived musical The Girl From Nantucket with Jane Kean as Dodey Ellis and Helen Raymond as Keziah Getchel. On October 24, 1946, Bishop made her professional opera debut as Blonde in Mozart's Die Entführung aus dem Serail with the American Opera Company at the Academy of Music in Philadelphia.
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He recorded the work under Robert Shaw's baton for the RCA Victor label. In 1960 Walker entered the Metropolitan Opera Studio, the Metropolitan Opera's school for young opera singers, where he was a pupil of George Schick and Cornelius Reid. That same year he sang Ferrando in Mozarts's Così Fan Tutte at Lincoln Center for a performance attended by New York City public school children under the auspices of the Student Program of Lincoln Center and the Metropolitan Opera Guild. In 1962 he made his debut at the San Francisco Opera (SFO) as Belmonte in Die Entführung aus dem Serail, and returned there the following year as Tamino in The Magic Flute.
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Stage set for The Magic Flute, 1815 As music moved into the Classical era in the late 18th century, most German-born composers still avoided writing opera in their own language. The great figure of the early Classical period was Christoph Willibald von Gluck but his pioneering reforms were directed at Italian and French opera, not the German repertoire. In 1778, Emperor Joseph II attempted to change this state of affairs by establishing a German-language opera troupe, the National Singspiel, at the Burgtheater in Vienna. The experiment was short-lived and the troupe was dissolved in 1783, yet the previous year it had produced one undoubted success with Die Entführung aus dem Serail by the young Mozart.
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Macurdy made his formal debut with the New Orleans Opera Association on the opening night of the 1952–53 season, as the Old Hebrew in Samson et Dalila, with Ramón Vinay and Blanche Thebom in the cast, which was conducted by Walter Herbert and staged by Wilhelm von Wymetal. He went on to appear with that company until 1959, in Thaïs, Die Entführung aus dem Serail (conducted by Julius Rudel), The Consul and Norma. He was to return to New Orleans for Sarastro in Die Zauberflöte, in 1979. During those years, he also occasionally performed with other companies, notably portraying Mr Earnshaw in the world premiere of Carlisle Floyd's Wuthering Heights, at the Santa Fe Opera in 1958.
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Sutherland would soon be praised as La Stupenda in newspapers around the world. Later that year (1960), Sutherland sang Alcina at the Dallas Opera, with which she made her US debut. Sutherland in 1962 Her Metropolitan Opera debut took place on 26 November 1961, when she sang Lucia. After a total of 223 performances in a number of different operas,Performers' Report, MetOpera database her last appearance there was a concert on 12 March 1989. During the 1978–82 period her relationship with the Met deteriorated when Sutherland had to decline the role of Constanze in Mozart's Die Entführung aus dem Serail, more than a year before the rehearsals were scheduled to start.
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230 Agrippa greatly favoured the city of Berytus, and adorned it with a splendid theatre and amphitheatre, beside Baths and porticoes, inaugurating them with games and spectacles of every kind, including shows of gladiators. But now only minor ruins remains, in front of the Catholic Cathedral of Beirut. Indeed, four large bath complexes as well as numerous private baths increased the city's water consumption: the Romans constructed an aqueduct fed by the Beirut River whose main source was located 10 km from the city. The aqueduct crossed the river at Qanater Zbaydeh and the water finally reached the place of actual Riad Al Solh Square; there, at the foot of the Serail Hill, it was stored in large cisterns.
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The ensemble has also revived lesser-known Handel operas, such as Teseo, Amadigi, Riccardo Primo and Ariodante, as well as several operas by Christoph Willibald Gluck including Armide (at the Centre de Musique Baroque de Versailles), Alceste and Iphigénie en Tauride (at the English Bach Festival at the Royal Opera House, Covent Garden). Les Musiciens du Louvre relocated to Grenoble after 1996, where they are associates at the Maison de la Culture de Grenoble. Minkowski's career focus has shifted from an initial specialized interest in the Baroque to a wider interest in opera. He conducted Mozart's Idomeneo in 1996 at the Opéra National de Paris and debuted his Die Entführung aus dem Serail at the Salzburg Festival.
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She also performed the role of Eva in Wagner's Die Meistersinger von Nürnberg, changing to more dramatic roles. She sang at the Vienna State Opera, as Violetta in Verdi's La Traviata and again as the Queen of the Night.Chronik der Wiener Staatsoper 1945–1995, Verlag Anton Schroll & Co., Wien und München 1995. In Lisbon, she appeared in 1961 at the Teatro Nacional de São Carlos as Konstanze in Mozart's Die Entführung aus dem Serail. Lorand performed in several world premieres, including in 1966 in Hamburg in Boris Blacher's Zwischenfälle bei einer Notladung, in 1972 in Berlin in Wolfgang Fortner's Elisabeth Tudor, and in 1973 at the Salzburg Festival in Carl Orff's De temporum fine comoedia.
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After the war, he began appearing at the Hamburg State Opera, and made his debut at the Vienna State Opera in 1947 and at the Salzburg Festival in 1948. He also made guest appearances at La Scala in Milan, the Paris Opéra, the Royal Opera House in London, the Liceo in Barcelona. A stylish and musical lyric tenor, other notable roles included light Italian roles such as Nemorino, Ernesto, Duke of Mantua, Alfredo, French lyric role such as Wilhelm Meister. He left complete recordings of Die Entführung aus dem Serail, Die Zauberflöte, Die lustigen Weiber von Windsor, Zar und Zimmermann, Die schöne Müllerin, Die Schöpfung, and a very Germanic sounding Verdi Requiem.
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Dobbs's coloratura soprano was praised for its freshness and agility, as well as tonal beauty, and was considered an ideal voice for sound recording. However, she can be heard in relatively few recordings, as she spent her early career in Europe. When she returned to the United States in 1954 Roberta Peters had become a top soprano recording artist. Dobbs's notable recordings include Die Entführung aus dem Serail (in English), opposite Nicolai Gedda (who was born the same day as she was, July 11, 1925), and conducted by Yehudi Menuhin, Les pêcheurs de perles conducted by René Leibowitz, and a recital of opera arias and songs, released in 1998 by Testament Records.
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Sharratt studied at the Royal Northern College of Music and the National Opera Studio.Personal website He has performed the title role in Orpheus in the Underworld for Scottish OperaThe Guardian review and Ernesto in Don Pasquale for English Touring Opera.The Stage review Other principal roles have included Nemorino in L'elisir d'amore for Grange Park OperaThe Guardian review and Pedrillo in Die Entführung aus dem Serail for Opera North.Daily Telegraph review In 2012 he played Count Almaviva in The Barber of Seville for English Touring Opera,The Independent review and created the role of Sam in Ghost Patrol by Stuart MacRae, in a Scottish Opera/Music Theatre Wales production that won the 2013 South Bank Sky Arts Award for Opera.
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In one version, for example, she claimed that she joined the party only at the insistence of her father who, himself, had earlier lost his position as school principal after forbidding a Nazi program in the school. Further publications discussed her musical performances during the war before Nazi party conferences and for units of the Waffen-SS. Her defenders argue in favor of her claim that she always strictly separated art from politics and that she was a non-political person. In 1942, she was invited to sing with the Vienna State Opera, where her roles included Konstanze in Mozart's Die Entführung aus dem Serail, Musetta and later Mimì in Puccini's La bohème and Violetta in Verdi's La traviata.
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She performed in world premieres, in Hans Stieber's Der Eulenspiegel in Leipzig in 1936, Julius Weismann's Die pfiffige Magd in 1939, the title role of Winfried Zillig's Die Windsbraut in 1941, as an Italian singer in Capriccio by Richard Strauss in 1942, and in Boris Blacher's Preußisches Märchen at the Berlin State Opera in 1952. She appeared at the Salzburg Festival from 1939, as Blonde in Die Entführung aus dem Serail, Susanna in Mozart's Le nozze di Figaro in 1942, and Pamina in Zauberflöte in 1943, when she also sang the soprano solo in Beethoven's Ninth Symphony. Beilke was also a concert singer and was engaged for roles in music films. Many of her performances were recorded on vinyl.
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While the former Maani palace was turned into a military garrison, Al-Nassar commissioned the Serail at the Northern port as his own headquarters, which nowadays houses the police HQ. The military Al Mobarakee Tower from the Al-Nassar era is still well- preserved, too. left In 1752, construction of the Melkite cathedral of Saint Thomas was started thanks to donations from a rich merchant, George Mashakka – also spelled Jirjis Mishaqa \- in a place that had already housed a church during the Crusader period in the 12th century. The silk and tobacco trader had been persuaded by Al-Nassar to move from Sidon to Tyre. Numerous Greek Catholic families followed him there.
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She performed there as a guest until 1901. The roles in her broad repertory included Mozart characters such as Konstanze in Die Entführung aus dem Serail, Susanna in Le nozze di Figaro, Donna Elvira in Don Giovanni, and the Queen of the Night in Die Zauberflöte, Marzelline in Beethoven's Fidelio, Leonore in Flotow's Alessandro Stradella, and Christine in Ignaz Brüll's Das goldene Kreuz, premiered in Berlin in 1875. Her roles included further Marguerite de Valois in Meyerbeer's Les Huguenots, Adalgisa in Bellini's Norma and Antonina in Donizetti's Belisario. She appeared in operas by Verdi, as Gilda in Rigoletto and Desdemona in Otello, and as Senta in Wagner's Der fliegende Holländer and Sieglinde in his Die Walküre.
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He moved to Vienna aged 13 and studied German studies and theatre studies for a few semesters before moving to the Vienna Conservatoire to study acting. He then worked as a freelance actor, director and writer. For two years he was co-host of Talk Radio on Ö3. Seberg is a co-founder of the theatre group 'Ateatta' and played Alex in a theatre version of A Clockwork Orange. Other acting theatre roles include the one man show Sex, Drugs, Rock&Roll; as well as Richard III, Onkel Wanja, Der Widerspenstigen Zähmung (Petruchio), Die 3 von der Tankstelle (Kurt), Entführung aus dem Serail (Bassa Selim), Weh’ dem, der lügt (Leon) and Cyrano de Bergerac (Cyrano).
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Sona Ghazarian was born in Beirut, where she studied psychology at the American University of Beirut and singing at the National Conservatory. After further study at the Accademia Musicale Chigiana in Siena and the Accademia di Santa Cecilia in Rome, she joined the Vienna State Opera in 1972 and sang there for many years where her roles have included Oscar in Un ballo in maschera and Violetta in La Traviata. She made her Salzburg Festival debut in 1973 as Barbarina in Le nozze di Figaro and subsequently sang there in 1975 as Blonde in Die Entführung aus dem Serail and in 1983 as Marzelline in Fidelio. Her Metropolitan Opera debut came in 1987 as Adina in L'elisir d'amore.
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During the succeeding epoch of rebellion against Ottoman hegemony in Acre under Jezzar Pasha and Abdullah Pasha, Beirut declined to a small town with a population of about 10,000 and was an object of contention between the Ottomans, the local Druze, and the Mamluks. After Ibrahim Pasha of Egypt captured Acre in 1832,Corpus Inscriptionum Arabicarum Palaestinae, by Moshe Sharon Beirut began its revival. View of Beirut's Grand Serail- circa 1930 By the second half of the nineteenth century, Beirut was developing close commercial and political ties with European imperial powers, particularly France. European interests in Lebanese silk and other export products transformed the city into a major port and commercial centre.
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She has officially retired from the stage in September of 2020, in part due to postponements related to the COVID virus making further performances difficult. She is an Austrian and Bavarian Kammersängerin and honorary member of the Vienna State Opera."Kammersängerin Edita Gruberova", profile at Vienna State Opera (Archive) Gruberová has made many recordings, most notably in recent years full-length recordings and extended selections from Donizetti's Tudor Queens trilogy and other bel canto operas, lately exclusively on Nightingale label. More than a dozen of her filmed and televised opera appearances have been released on DVD, including I Puritani, Die Zauberflöte, Così fan tutte, Die Entführung aus dem Serail, Ariadne auf Naxos, Norma, Manon, Beatrice di Tenda, Lucrezia Borgia, and Linda di Chamounix.
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The Grove Book of Opera Singers, p. 16. Oxford University Press. Araiza became a life member of the Zurich Opera in 1977 and began appearing as a guest artist with major European and North American opera companies and festivals. He debuted at the Bayreuth Festival in 1978 as Steersman in Der fliegende Holländer, the Vienna State Opera in 1978 as Tamino in The Magic Flute, London's Royal Opera House in 1983 as Ernesto in Don Pasquale, and San Francisco Opera in 1984 as Ramiro in La Cenerentola. He made his Metropolitan Opera debut as Belmonte in Mozart's Die Entführung aus dem Serail (in John Dexter's production) on 12 March 1984. He went on to appear at the Met another 54 times between 1984 and 1995.
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In 1960 she was engaged by the Staatsoper Stuttgart, to which she belonged until 1982. There she sang and played among others with Fritz Wunderlich, Josef Traxel, Wolfgang Windgassen, Erika Köth, Anny Schlemm, Hetty Plümacher as well as Martha Mödl. In Stuttgart she had successes as Konstanze and as Blondchen in Die Entführung aus dem Serail, as Despina in Così fan tutte, as Ännchen in Der Freischütz and as Adele in the operetta Die Fledermaus. The Kammersängerin Becker-Egner gave guest performances on the world's major national and international opera stages, including Aachen, Munich, Cologne, Hamburg, Ghent, Buenos Aires, Edinburgh, Milan, Basel, Paris and WienPerformances with Liselotte Becker-Egner Schedule Archive of the Vienna State Opera, called up on 10 June 2016.
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Yann Beuron studied at the Conservatoire de Paris where he won first prize in singing and graduated in 1996. He made his debut in 1995 at the Opéra national du Rhin in 1995 in the role of Belmonte in Mozart's Die Entführung aus dem Serail and his Paris Opera debut in Hippolyte et Aricie by Rameau in 1996. Yann Beuron is particularly associated with the music of Mozart and French music and has appeared as Pelléas in Debussy's Pelléas et Mélisande in numerous European opera houses. Yann Beuron has also appeared in a number of highly acclaimed productions of Offenbach operettas directed by Laurent Pelly, including the role of Orpheus in Orphée aux enfers in Geneva in 1997,Kasow, J. Massis's Eurydice - report from Geneva.
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Shelton made his international opera debut in 2000 with Opera Australia as Belmonte in Mozart's Die Entführung aus dem Serail. This was followed by his European debut in 2002 as Mitch in André Previn's A Streetcar Named Desire at Opéra national du Rhin in Strasbourg In 2005 he made his debut with the Opéra national de Lorraine as Tamino. He returned there in 2006 to sing the role of Guido Bardi in Alexander von Zemlinsky's Eine florentinische Tragödie, and again in 2008 to sing Lysander in Benjamin Britten's A Midsummer Night's Dream. Future international engagements include the title role in Mozart's Idomeneo with Opéra national de Lorraine (2009), Lysander with Théâtre de Caen (2009), and Don Ottavio with the Grand Théâtre de Genève (2010) among others.
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In 2001 he placed third in a New England region voice audition which led to his being invited to do a stage audition for Maestro James Levine, this resulted in his being one of only nine singers in the world accepted into the Lindemann Young Artist Development Program, sponsored by the Metropolitan Opera. His debut at The Met in 2002 was in a production of Fidelio, later productions have included The Magic Flute, Nabucco, Les Troyens and Tannhäuser.Profile, Los Angeles Opera Numerous appearances with the Los Angeles Opera have included roles in Don Carlo, Rigoletto and Die Entführung aus dem Serail (The Abduction from the Seraglio). He has also performed with opera companies in St. Louis, Philadelphia, Seattle, Cincinnati, Pittsburgh, Dallas and Sydney, Australia.
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In recent seasons Hartelius took part as soprano soloist in John Eliot Gardiner's Bach Cantata Pilgrimage (2000), and debuted as Marzelline in Fidelio at the Bavarian State Opera. She was highly praised for her appearance in Nikolaus Harnoncourt's realisation of Schubert's rarely played opera Alfonso und Estrella at the Zürich Opera and performed at the Salzburg Festival 2000 in various concerts alongside the Vienna Philharmonic with Wolfgang Sawallisch and Charles Mackerras conducting. In the Salzburg Festival 2001 she sang Adele in the new production of Die Fledermaus and concerts with the Mozarteum Orchestra conducted by Ivor Bolton. In Spring 2002 she sang Konstanze in Die Entführung aus dem Serail in another new production in Zürich with Klaus Maria Brandauer as Bassa Selim and Patricia Petibon as Blonde.
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She took further voice lessons with Otto Köhler, who developed her voice to a coloratura soprano, allowing her to perform as Susanna in Mozart's Le nozze di Figaro and Sophie in Der Rosenkavalier by Richard Strauss. In 1957, she appeared as a guest artist at the Staatsoper Stuttgart as Gilda in Rigoletto. She toured with the company to the Edinburgh Festival, where she appeared as Konstanze in Mozart's Die Entführung aus dem Serail and became a member of the Stuttgart Opera. She was successful there as Zerbinetta in Ariadne auf Naxos by Richard Strauss, performed on 6 October 1962 for the reopening of the Kleines Haus of the Staatstheater, where the opera had received its world premiere 50 years earlier.
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When the Berlin Wall was erected, he left for Stuttgart. After 1951 Unger sang regularly at the Bayreuth Festival. One of his signature roles was David from Die Meistersinger von Nürnberg, which is documented on several recordings, including with Herbert von Karajan (1951), Rudolf Kempe (1951 and 1956), Hans Knappertsbusch (1952), Hans Rosbaud (1955), and Rafael Kubelík (1968), as well as a DVD of a 1970 performance conducted by Leopold Ludwig. Equally known was his Pedrillo in Mozart's Die Entführung aus dem Serail, notably in the 1965 Salzburg Festival production staged by Giorgio Strehler and designed by Luciano Damiani, which was conducted by Zubin Mehta, and was kept in the festival's repertory for 10 years and was also shown at Milan's La Scala.
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Herbert von Karajan chose her to appear alongside Elisabeth Schwarzkopf and Sena Jurinac for the filmed performance of Der Rosenkavalier at the Salzburg Festival. Having favoured light and high-register lyric parts in the beginning of her career, by the mid-1960s she changed to roles with a stronger dramatic emphasis, including Konstanze in Mozart's Die Entführung aus dem Serail (for example 1965 with Fritz Wunderlich in the now legendary Salzburg Festival production staged by Giorgio Strehler and designed by Luciano Damiani), Fiordiligi in Così fan tutte, Zdenka in Richard Strauss's Arabella, Marie in Berg's Wozzeck, Soeur Constance in Poulenc's Dialogues of the Carmelites, and Violetta in La traviata on stage. She also appeared in many contemporary operas by Henze, Britten, Hindemith, Carl Orff, Pfitzner, and Menotti.
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Upon his return at imperial behest to Vienna in 1780, Salieri wrote one German Singspiel, Der Rauchfangkehrer (The Chimney Sweep), which premiered in 1781. Salieri's Chimney Sweep and Mozart's work for the same company in 1782, Die Entführung aus dem Serail (The Abduction from the Seraglio), were the only two major successes to emerge from the German Singspiel experiment, and only Mozart's opera survived on the stage beyond the close of the 18th century. In 1783 the Italian opera company was revived with singers partly chosen and vetted by Salieri during his Italian tour; the new season opened with a slightly re- worked version of Salieri's recent success La scuola de' gelosi. Salieri then returned to his rounds of rehearsing, composition and teaching.
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Pedro or Pierre Gailhard, full name Pierre Samson Gailhard, (1 August 1848 – 12 October 1918) was a French opera singer and theatre director. Gifted with an exceptional singing bass voice, Pedro Gailhard made his debut at the Opéra- Comique in December 1867, then sang at the Opéra Garnier, as Mephisto in Faust by Charles Gounod in 1871, a role which he also sang at Covent Garden. His interprétation of Leporello in Don Giovanni by Mozart was considered remarkable, as was his portrayal of other roles, such as Osmin in Mozart's Die Entführung aus dem Serail, Kaspar in Weber's Der Freischütz, the King in Thomas' Hamlet, Pythéas in Gounod's Sapho, Saint-Bris and Nevers in Meyerbeer's Les Huguenots, and Faust in Boito's Mefistofele.Kutsch & Riemens 2003, "Gailhard, Pierre".
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He also expanded his repertoire, continuing to play the baroque works, but also championing the Viennese operetta repertoire. He made a benchmark recording of Beethoven's symphonies with the Chamber Orchestra of Europe (COE), and recorded Beethoven's piano concertos with Pierre-Laurent Aimard and the COE. Harnoncourt was also a guest conductor of the Vienna Philharmonic and made several recordings with the orchestra. Between 1987 and 1991, he conducted four new productions of Mozart operas at the Vienna State Opera (1987–91: Idomeneo; 1988–90: Die Zauberflöte; 1989: Die Entführung aus dem Serail; 1989–91: Così fan tutte). He directed the Vienna Philharmonic's New Year's Day concerts in 2001 and 2003. In 1992, Harnoncourt debuted at the Salzburg Festival conducting a concert with the Chamber Orchestra of Europe.
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Aerial view of the Serail hill After its short-lived victory over the Ottomans in 1831, an Egyptian military contingent took position and set up its barracks on the western side of a hill overlooking Beirut and outside its walls. Ibrahim Pasha selected this hill for military reasons. It was a high hill overlooking Suq-al Munajjidin (the weavers' bazaar), this Suq, known today as the banks street (shari' al Massarif), was located on a strategic area within downtown Beirut, and close to Tal'at al American (American Hill), near Bab Yaacub (Jacob's Gate). In his book "Taqwim al Ikbal" Sheik Abdel Basit al Unsi describes that hill as being well situated, west of the city, away from the population and overseeing the sea and Beirut.
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In 1897, a clock towerSimilar towers were built in numerous other cities of the Ottoman Empire, such as Istanbul, Izmir, Izmit, Adana, Jaffa, Nablus, Acre and Tripoli. was built near the Grand Serail to celebrate the anniversary of Sultan Abdul Hamid II's coronation and to make up for the absence of a public clock indicating mandatory Muslim prayer times especially that many foreign institutions had built western style clock towers. The construction of the clock tower was approved by the Sultan following a letter of supplication from Beirut's governor Rashid Bey. The ceremonial laying of the first stone took place on 9 January 1897 (the birthday of the Sultan) in the presence of high officials, military representatives and members of the municipality of Beirut.
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In 1974 she performed this role once again in Zimmermann's shortened concertante version of his opera, the '. Kertész-Gabry gave guest performances at various opera houses and festivals throughout Germany and abroad. During the earliest years of her singing career, she quickly expanded her repertoire to include Konstanze in the Die Entführung aus dem Serail, Susanna in The Marriage of Figaro, Fiordiligi in Così fan tutte, Pamina in The Magic Flute, Zerlina in Don Giovanni, Mrs. Fluth in Otto Nicolai's The Merry Wives of Windsor, the Baroness in Albert Lortzing's Der Wildschütz, Sophie in Der Rosenkavalier, Eva in Wagner's Die Meistersinger von Nürnberg, Desdemona in Verdi's Otello, Alice Ford in Verdi's Falstaff, Antonia in Jacques Offenbach's The Tales of Hoffmann, and Zerline in Daniel Auber's Fra Diavolo.
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In 2013 she made her debut at the Wolf Trap Opera Company as La Contessa di Folleville in Il viaggio a Reims, and returned there the following year as Cleopatra in Handel's Giulio Cesare. In 2014 she sang Konstanze's arias from Mozart's Die Entführung aus dem Serail under conductor James Levine for a concert co-sponsored by the Metropolitan Opera and the Juilliard School at the Peter Jay Sharp Theater. In 2015 she performed arias by Mozart, Massenet, and Donizetti in concert with The Florida Orchestra. Ying made her debut with the Metropolitan Opera in "The Met's Summer Recital Series" in the Bronx's Crotona Park in July 2013, singing arias from Don Pasquale, Semele, Alcina, and The Pirates of Penzance among other works.
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It was recorded and issued on CD by Koch Classics, and a performance of the opera was filmed by Ondine and issued as a DVD which included interviews with the composer, librettists, conductor and other members of the production team. The scenario of Sallinen's fifth opera, between Kullervo (Los Angeles 1992) and King Lear (Helsinki 2000) is loosely based on Mozart's 1781 singspiel Die Entführung aus dem Serail, and on Ryszard Kapuściński's 1978 book The Emperor: Downfall of an Autocrat which described the fall of Haile Selassie, last Emperor of Ethiopia. Rodney Milnes described the work as "almost as enigmatic as The King Goes Forth to France, but lighter in tone, a sort of late-20th-century operetta".Milnes R. Savonlinna's semiotics.
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Bostridge made his operatic debut in 1994, aged 29, as Lysander in A Midsummer Night's Dream with Opera Australia at the Edinburgh Festival, directed by Baz Luhrmann. In 1996, he made his debut with the English National Opera, singing his first Tamino (The Magic Flute). In 1997, he sang Quint in Deborah Warner's new production of The Turn of the Screw under Sir Colin Davis for the Royal Opera. He has recorded Flute (Britten's A Midsummer Night's Dream) with Sir Colin Davis for Philips Classics; Belmonte (Die Entführung aus dem Serail) with William Christie for Erato; Tom Rakewell (The Rake's Progress) under John Eliot Gardiner for Deutsche Grammophon (Grammy Award); and Captain Vere (Billy Budd) (Grammy Award) with Daniel Harding.
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Her repertoire contains several baroque operas, Bach cantatas, and many of the great Mozart roles, such as Konstanze (Die Entführung aus dem Serail), Cherubino (The Marriage of Figaro), Pamina (The Magic Flute) and Servilia (La clemenza di Tito). But Schäfer also sings modern pieces like Pierrot Lunaire and Pli selon pli, both of which she recorded with Pierre Boulez conducting. Other recordings include Lieder by Robert Schumann, which won Gramophone Magazine's solo vocal award in 1997; lieder of Franz Schubert including his Winterreise; and songs by Ernest Chausson and Claude Debussy. She also recorded a recital program of arias by Mozart and songs by Richard Strauss (1998, Claudio Abbado conducting); and a disc of arias from Alcina by Handel (2009, Rainer Kussmaul conducting).
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Other engagements included Adele in Die Fledermaus (Opéra National de Lyon), and Susanna in The Marriage of Figaro (TCE, Teatro Comunale, Florence). She performed at the 2010 edition of La Folle Journée in Nantes in a concert with Sinfonia Varsovia, and Strauss' Four Last Songs in the following edition. Peretyatko gained international attention as the title role in Robert Lepage's production of Stravinsky's The Nightingale, which premiered in 2009 at the Canadian Opera Company then presented at the 2010 Aix-en-Provence Festival and subsequently at the Opéra de Lyon, the Brooklyn Academy of Music in New York and De Nederlandse Opera in Amsterdam. In 2010, she debuted at the Lausanne Opera in Rossini's Otello, and received acclaim as Blonde in Die Entführung aus dem Serail (Bavarian State Opera, Liceu).
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Walsh 1981, pp. 106, 311. Other successful revivals under Carvalho's leadership at the Théâtre Historique included André Grétry's three-act opéra comiqe Richard Coeur-de- lion (23 May 1856; 302 performances); Les noces de Figaro, a French translation by Jules Barbier and Michel Carré of Mozart's four-act comic opera Le nozze di Figaro (8 May 1858; 200 performances); L'enlèvement au sérail, a French translation by Prosper Pascal of Mozart's two-act opéra comique Die Entführung aus dem Serail (11 May 1859; 87 performances); and Gluck's Orphée (18 November 1859; 138 performances). The last had been translated from the original Italian by Pierre-Louis Moline when Gluck had adapted his Vienna version in 1774 for the Paris Opera, replacing the alto castrato role of Orfeo with the high tenor (haute-contre) role of Orphée.
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Nixon taught at the California Institute of the Arts in Santa Clarita from 1969 to 1971 and joined the faculty of the Music Academy of the West, Santa Barbara, in 1980, where she taught for many years.Bernheimer: "Marni Nixon", Grove Music Online In the late 1970s and early 1980s, she hosted a children's television show in Seattle on KOMO-TV channel 4 called Boomerang, winning four Emmy Awards as best actress, and made numerous other television appearances on variety shows and as a guest star in prime time series.Nixon and Cole, p. 223 Nixon's opera repertory included Zerbinetta in Ariadne auf Naxos, Susanna in The Marriage of Figaro, both Blonde and Konstanze in Die Entführung aus dem Serail, Violetta in La traviata, the title role in La Périchole and Philine in Mignon.
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She appeared there and in other German opera houses in roles such as Adina in Donizetti's L'elisir d'amore, Constanze in Mozart's Die Entführung aus dem Serail, Despina in his Così fan tutte, the title role in Donizetti's Lucia di Lammermoor, Olympia in Offenbach's Les contes d'Hoffmann, Philine in Mignon by Ambroise Thomas, the Queen in Die Verurteilung des Lukullus, the Queen of the Night in Mozart's Die Zauberflöte, and Zerbinetta. In 1976 Cook made her debut with the Royal Opera at Covent Garden as Gilda in Verdi's Rigoletto, and that same year returned to that house to appear as Rachel in the world premiere of Henze's We Come to the River. She also was the Fiakermilli in a new production of Arabella by Richard Strauss, with Kiri te Kanawa in the title role.
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Other major European engagements included Ginevra in Ariodante and Cleopatra in Giulio Cesare in Geneva, Constanze in Die Entführung aus dem Serail in Lyon and Paris, Almirena in Rinaldo at the Théâtre du Châtelet in Paris, Amenaide in Tancredi in Turin, the breeches role of Curiatius in Gli Orazi e i Curiazi in Rome, and Elcia in Mosè in Egitto at the Rossini Opera Festival in Pesaro, Italy. Rolandi recorded Susanna in The Marriage of Figaro under Bernard Haitink. On television, she was the title role in two Live from Lincoln Center opera broadcasts: Lucia di Lammermoor (1982) and The Cunning Little Vixen (1983), and she was Clorinda in an English-language version of La Cenerentola (1980). And she was Zdenka in the 1984 film version of Arabella, in the Glyndebourne production.
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She subsequently appeared with the Opera Orchestra of New York, New York City Opera, Opera Theatre of Saint Louis, the Minnesota Opera, the Minnesota Orchestra, Opéra de Montréal, Orlando Opera, Kentucky Opera, Syracuse Opera, Eugene Opera, San Francisco Opera's Merola Program, and Wolf Trap Opera in a variety of leading soprano roles including Mozart's Fiordiligi (Così fan tutte), Donna Anna and Donna Elvira (Don Giovanni), Konstanze (Die Entführung aus dem Serail), Countess Almaviva (The Marriage of Figaro), Violetta (La traviata), Desdemona (Otello), Musetta (La bohème), Marguerite (Faust), Rosalinda (Die Fledermaus), Euridice (Orfeo ed Euridice), Laurie (The Tender Land), and the title role in Susannah. Miller completed several residencies with the Marilyn Horne Foundation, the Steans Institute at the Ravinia Festival and the Wolf Trap Foundation, which combined performing and outreach,Jett. Cathy (3 May 2002).
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Although considering a dramatic career, after vocal studies at the Conservatoire de Lille and the Conservatoire de Paris she made her debut at the Opéra de Marseille as Blonde in Die Entführung aus dem Serail. Berton was taken on by the RTLN, and made her Paris debut at the Opéra as Siebel in Faust on 8 September 1952, before appearing in the premiere of Dolorès by Michel-Maurice Lévy at the Opéra- Comique on 7 November 1952.Wolff S. Un demi-siècle d'Opéra Comique (1900-1950). André Bonne, Paris, 1953. Her career encompassed many lighter soprano roles in the repertoire: l’Amour, Fatime (Les Indes galantes), Sophie (Werther), Poussette (Manon), Xenia (Boris Godunov), Rosina (The Barber of Seville, in French), Eurydice (Orphée), Sophie (Der Rosenkavalier) and Chérubin and Susanna (The marriage of Figaro).
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His concert repertoire ranges from Mozart to Penderecki, and from Beethoven to Mahler. He debuted in 1976 at the Vienna State Opera as Ferrando (Il trovatore). From there he went on to sing Colline (La bohème), Pimen (Boris Godunov), Grand Inquisitor (Don Carlo), Commendatore (Don Giovanni), Osmin (Die Entführung aus dem Serail), Rocco (Fidelio), Daland (The Flying Dutchman), Roger (Jérusalem), King Henry (Lohengrin), Raimondo (Lucia di Lammermoor), Geronte (Manon Lescaut), Talbot (Maria Stuarda), Veit Pogner (Die Meistersinger von Nürnberg), Bartolo (The Barber of Seville), Titurel and Gurnemanz (Parsifal), Sparafucile (Rigoletto), Fasolt (Das Rheingold), Hunding (Die Walküre), Fafner (Siegfried), Hagen (Götterdämmerung), Ochs (Der Rosenkavalier) Morosus (Die schweigsame Frau), Landgraf (Tannhäuser), Claggart (Billy Budd) and Sarastro (The Magic Flute). Rydl studied in the U.S. as an exchange student and is fluent in English.
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Lyric Opera of Chicago Archives In 1962 she made her San Francisco Opera debut as Blonde in Mozart's Die Entführung aus dem Serail and her Metropolitan Opera debut as Adele in Johann Strauss II's Die Fledermaus.February 5, 1962 She became a regular at the Met from 1962-1966 appearing in 86 performances. Her roles at the Metropolitan Opera include Echo and Zerbinetta in Ariadne auf Naxos, Lisa in La sonnambula, Oscar in Un ballo in maschera, Xenia in Boris Godunov, Rosina in The Barber of Seville, Poussette in Manon, Zerlina in Don Giovanni, Gilda in Rigoletto, Papagena in The Magic Flute, Nannetta in Falstaff, Olympia in The Tales of Hoffmann, Fiakermilli in Arabella, and Adina in L'elisir d'amore. In 1962, she and her husband, Fred Patrick, started the Lake George Opera company.
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Gähwiller was engaged at the Theater St. Gallen from 1941 to 1942 where she continued to appear as a guest until 1947. She appeared there as Pamina in Mozart's Die Zauberflöte, Konstanze in his Die Entführung aus dem Serail, Countess Almaviva in his Le nozze di Figaro, Baroness Freimann in Lortzing's Der Wildschütz, Mimì in Puccini's La Bohème, Rosina in Rossini's Il barbiere di Siviglia, Elmire in Schock's Erwin und Elmire and the title role in Flotow's Martha. She became internationally known especially as a concert and lieder singer. She interpreted classical works by Johann Sebastian Bach, Georg Friedrich Handel, Joseph Haydn and Wolfgang Amadeus Mozart, among others, as well as contemporary works by, for example Paul Hindemith, Willy Burkhard, Arthur Honegger, Alban Berg, Maurice Ravel, Béla Bartók, Ernst Krenek and Arnold Schönberg.
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Drivala studied Byzantine literature at the University of Athens, classical ballet ( Morianova School), acting at the National Theatre School, piano (under Aikis Pandzari and G. Arvanitaki) and singing (under Eirini Lambrinidou and Mireille Flery) at the Athens Conservatory. She completed her musical studies at the University of Bremen under John Modinos (1980). She debuted in the title role of Donizetti's Lucia di Lammermoor at the Greek National Opera and at the Teatro Petruzzelli in Bari, Italy in 1983. From 1982–2007 she interpreted leading roles in approximately twenty operas: La traviata, Rigoletto, and L'Assedio di Corinto as Greek National Opera premieres, Attila, Anna Bolena, Die Entführung aus dem Serail, and Die sieben Todsünden as Greek National Opera premieres, Die Zauberflöte, La bohème, Pagliacci, Les contes d'Hoffmann, Die Fledermaus, Faust (Athens Festival 1994), among others.
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Basically, Gouraud wanted to lure Aleppo by giving it control over most of the agricultural and mineral wealth of Syria so that it would never want to unite with Damascus again.M. Andrew & Sydney Kanya-Forstner (1981) The climax of French imperial expansion, 1914–1924Fieldhouse, David Kenneth (2006) Western imperialism in the Middle East 1914–1958 Grand Serail d'Alep, originally planned to become the seat of the government of the short-lived State of Aleppo The limited economic resources of the Syrian states made the option of completely independent states undesirable for France, because it threatened an opposite result: the states collapsing and being forced back into unity. This was why France proposed the idea of a Syrian federation that was realized in 1923. Initially, Gouraud envisioned the federation as encompassing all the states, even Lebanon.
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Sheila won practically every scholarship Great Britain had to offer, including a Sir James Caird Scholarship for three years in succession. During her stay in Vienna, she met and married her husband, baritone Werner Harms, who was in Austria on a Fulbright scholarship, and who had previously studied at the Academy of Vocal Arts in Philadelphia. Sheila also taught in four languages at the Mozarteum Summer Academy in Salzburg, made recordings, broadcast many times on Austrian radio and television, and won acclaim as a Lieder and Opera singer in Austria, Germany, the United States, and Canada. Among her many operatic roles was that of Konstanze in Mozart's Die Entführung aus dem Serail which she sang over 40 times, on several occasions with noted Italian tenor Giuseppe Di Stefano.
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Born in Vienna, Gallos first studied law at the University of Vienna, and then voice at the Vienna Music Academy. He sang predominantly buffo roles and was often heard in important tenor secondary roles. In 1922, the first year in which operas were performed at the Salzburg Festival, he appeared in Mozart operas, as Pedrillo in Die Entführung aus dem Serail and Don Curzio in Le nozze di Figaro, both conducted by Franz Schalk. He appeared at the festival until 1950. He was involved in several new productions after the reconstruction of the Kleines Festspielhaus: in 1927 and 1936 as Jaquino in Beethoven's Fidelio, from 1936 to 1938 as Augustin Moser in Wagner's Die Meistersinger von Nürnberg and often as Valzacchi in Der Rosenkavalier by Richard Strauss, between 1929 and 1946.
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He made his first appearance at the Metropolitan Opera House (Lincoln Center) as Zacharie in Giacomo Meyerbeer's Le prophète on September 25, 1979. He sang at the Met for 18 consecutive seasons, portraying more than 100 roles. Some of his more notable roles at the Met included Bouillon in Adriana Lecouvreur, Bonze in The Nightingale, Don Basilio in The Barber of Seville, Geronte in Manon Lescaut, Hermann in Tannhäuser, Mustafà in L'italiana in Algeri, the Old Hebrew in Samson and Dalila, Osmin in Die Entführung aus dem Serail, Rocco in Fidelio, Sparafucile in Verdi's Rigoletto, Spinelloccio in Gianni Schicchi, Titurel in Parsifal, and Zacharie in Le prophète among many others. In 1991 he created the role of the Turkish Ambassador in the world premiere of John Corigliano's The Ghosts of Versailles.
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During this time she met colleagues such as Trude Eipperle, Franz Fehringer, Ferdinand Frantz, Karl Friedrich, Herbert Hess, Otto von Rohr, Helge Rosvaenge, Heinrich Schlusnus, Erik Schumann, Georg Stern and Günther Treptow. She was preferably cast for comic stage roles such as Despina in Mozart's Così fan tutte, Zerline in Don Giovanni, Blondchen in Die Entführung aus dem Serail, Marzelline in Beethoven's Fidelio, Ännchen in Weber's Der Freischütz, Marie in Lortzing's Zar und Zimmermann, Frau Fluth in Adam's Der Postillon von Lonjumeau, Musetta in Puccini's La Bohème, Adele in Strauss II's Die Fledermaus and as Christel in Zeller's Der Vogelhändler. In addition, she became known and highly esteemed as a concert and lieder singer, at least in the early 1950s she also sang popular songs on Hessischer Rundfunk radio.
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Silja began her operatic career at a very early age, with her grandfather, Egon Friedrich Maria Anders van Rijn, as her voice teacher. She sang Rosina in Rossini's The Barber of Seville at Braunschweig in 1956, following this with Micaëla in Carmen and Zerbinetta in Ariadne auf Naxos. The important part of her career began in 1959, when she sang the Queen of Night in Mozart's Die Zauberflöte at the Vienna State Opera (under Karl Böhm) and at the Aix-en-Provence Festival. France-Soir dubbed her "a second Callas." Other early roles included Leonora in Il trovatore, Santuzza in Cavalleria rusticana, the four heroines of Les contes d'Hoffmann, Konstanze in Die Entführung aus dem Serail,"Frankfurt City Opera" (November 1963). The Musical Times, 104 (1449): pp. 798–802.
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Later on, he began conducting some operas at such German opera houses as Konzerthaus and Akademie für Alte Musik both of which were in Berlin. He also became known for his conducting of Handel's Orlando and Floridante which he did in collaboration with The Musica Viva Chamber Orchestra and then did another of Mozart's works Così fan tutte with the Cologne Opera In 2012, he took on Johann Sebastian Bach's Magnificat and the same year performed Mozart's Die Entführung aus dem Serail and Cosi fan tutte at the Staatsoper Berlin. Later on, he produced Ariodante with the Musica Viva Orchestra and became involved in the Young Artists Program in the Bolshoi Theatre. Also in 2012 he conducted his first scenic oratorio The Seasons and performed a concert called The Creation which was featured at the Bregenzer Festspiele by the Vienna Philharmonic.
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Kurt Equiluz was an alto soloist of the Wiener Sängerknaben. At the Austrian State Academy for Music and Art in Vienna he studied music theory, harp and singing with Adolf Vogel. He was a member of the Wiener Akademie Kammerchor from 1945.Kurt Equiluz on the bach-cantatas website, 2003 In 1957 he appeared in his first solo role at the Wiener Staatsoper as Pedrillo in Mozart's Die Entführung aus dem Serail and was a member of the house until 1983, performing 69 different roles of the Spieltenor repertory, such as Jaquino in Beethoven's Fidelio or Scaramuccio in Ariadne auf Naxos. He appeared at the Salzburger Festspiele in the premiere of Rolf Liebermann's Penelope (1954), in Frank Martin's Mystère de la Nativité (1960) and in the premiere of Rudolf Wagner-Régeny's Das Bergwerk zu Falun (1961).
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Born in Varaždin, she graduated in the class of professor Zdenka Žabčić–Hesky at the University of Zagreb, where she now teaches. She played the Queen of the Night in The Magic Flute; Marie, a vivandière in La fille du régiment; Rosina in The Barber of Seville; Gilda in Rigoletto; Blonde in Die Entführung aus dem Serail and created more than thirty successful opera roles in Croatia as well as abroad. She has performed in Paris (Théâtre des Champs-Élysées), Vienna (Musikverein), Toronto (Ryerson Theatre, Massey Hall), Berlin, Munich, Brussels, Dublin, Salzburg, Turin, Venice, Zürich, Geneva, Zagreb, Ljubljana, Buenos Aires (Teatro Colón, Teatro Nacional Cervantes), Madrid, Santiago de Chile, Lisbon, Montevideo, Moscow (Tchaikovsky Hall of the Moscow Conservatory), Johannesburg, Pretoria. She cooperates with greatest names in opera of today as well as most eminent directors and orchestras.
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The Guardian, 26 November 1960, p. 5 In 1961 Sadler's Wells Opera Company engaged her, and she played Gilda in Verdi's Rigoletto,The Guardian, 27 October 1961, p. 9 Countess Adèle in Rossini's Le Comte Ory,The Guardian, 21 February 1963, p. 7 and Phyllis in Gilbert and Sullivan's Iolanthe, in which the critic of The Gilbert and Sullivan Journal thought that "despite Elizabeth Harwood's beautiful singing, attractive costume and appearance, her spoken word was charged with innuendo, presenting a most worldly young lady".The Gilbert and Sullivan Journal, September 1964, p. 244 Her other early roles at Sadler's Wells included Mozart's Countess Almaviva in The Marriage of Figaro and Constanze in Die Entführung aus dem Serail, the title role in Massenet's Manon and of Richard Strauss's coloratura parts, Zerbinetta in Ariadne auf Naxos and the Fiakermilli in Arabella.
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Hector Berlioz had criticisms of Deloffre's conducting style: he conducted with his bow while stamping his foot at the same time and sometimes tapping his bow on the prompter's box. However, Berlioz later praised Deloffre's conducting of the first performance of Les Troyens à Carthage in 1863. As principal conductor at the Théâtre-Lyrique he conducted an important series of revivals of Mozart operas, starting with The Marriage of Figaro (as Les noces de Figaro) in May 1858 (he also conducted the premiere at the Opéra-Comique in 1872), then in May 1859 Die Entführung aus dem Serail (as L’Enlèvement au Sérail), Così fan tutte (as Peines d’Amours perdues) in March 1863, The Magic Flute (as La flute enchantée) in February 1865, and Don Giovanni (as Don Juan in a translation by Henri Trianon) in 1866.Wolff, Stéphane.
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Born Renée Dumazert in Perpignan, France, after a thorough musical training (piano, solfege, harmony) she turned to vocal study with Umberto Valdarmini, and made her singing debut in concert at the age of 18. Her official operatic debut took place in 1942, at the Opéra de Marseille, as Rosina in Il barbiere di Siviglia. After singing Constance in Die Entführung aus dem Serail in Cannes under Reynaldo Hahn, and the three heroines (Olympia, Giulietta, Antonia) in Les contes d'Hoffmann in Strasbourg, opposite the great French bass-baritone Vanni Marcoux, she made her Paris debut at the Gaîté-Lyrique in 1943, as Lakmé, and the following year, made her debut at the Opéra-Comique, in the same role. Her debut at the Paris Opera in 1947, as the Queen of the Night in The Magic Flute, was highly successful.
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Gwendolyn Bradley's debut was as Nannetta in Verdis's opera Falstaff at the Lake George Opera in 1976. After a very successful concert in New York in 1979 she established herself at the Metropolitan Opera, starting in 1981 as Nightingale in L'Enfant et les sortilèges (Ravel) and continuing for the next nine seasons singing such roles as Fiakermilli in Arabella, Blondchen in Die Entführung aus dem Serail, Zerbinetta in Ariadne auf Naxos, Olympia in Les contes d'Hoffmann, the title role of Stravinsky's Le Rossignol, Clara in Porgy and Bess and especially as Gilda in Rigoletto. From her first appearance on March 20, 1977, to her last on January 27, 1990, Bradley sang in 108 performances at the Metropolitan Opera. She performed also in other American opera houses like the Memphis Opera, the Michigan Opera Theatre or the Central City Opera.
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Sylvia O'Brien is a Dublin-born soprano who has sung leading roles with English Touring Opera, including the Governess in Benjamin Britten's The Turn of the Screw, Gabiella (Countess Zedlau) in Strauss' Vienna Spirit and Costanze in Mozart's Die Entführung aus dem Serail. She has also sung as a soloist with the Irish Chamber Orchestra (Bach's St. John Passion, 2008)Irish Chamber Orchestra, Bach's St. John Passion, (Cork, Limerick and Dublin), March 2008. and the RTÉ National Symphony Orchestra (Morton Feldman's, Neither, at the RTÉ Living Music Festival 2006).RTÉ Living Music Festival 2006 Sylvia O'Brien was a choral scholar at Trinity College Dublin and sang in the choirs of both the Anglican Christ Church Cathedral and the Roman Catholic St. Theresa's Church in Dublin, before making her operatic debut in 2004 as the Governess in The Turn of the Screw with Opera Theatre Company, Ireland's national touring company.
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Next, she was in Munich for a performance of Die Entführung aus dem Serail with the Bavarian State Opera, making it her fourth year in a row of performing this role there. She then went on to perform a new production of Rigoletto at the Dutch National Opera directed by Damiano Michieletto, in this well-reviewed production, she was noted as being "Slender and graceful, soprano Lisette Oropesa was simply world-class as Gilda, with flawless emission and generous top notes, crystalline up to high E. The long trill at the end of “Caro nome” would have traced a perfect zigzag on a pitch visualiser. Even more stunning than her bravura was the melting glow at the centre of her voice, her morbidezza (softness)." Shortly after, she stepped in for two performances of Rigoletto at the Paris Opera, filling in for an ailing singer.
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He later undertook post-graduate conducting studies at the University of Music and Performing Arts, Vienna. His professors included Reinhard Schwarz, Georg Mark, Kurt Richter and Uros Lajovic. In Taipei, Wen worked as an assistant conductor with the tenor, Nicola Martinucci, and the Taipei Symphony Orchestra in a 1995 production of Aida. During his student years in Vienna from 1998 to 2003, he performed in productions of Die Entführung aus dem Serail, Così fan tutte, Die Zauberflöte, Don Giovanni, Der Freischütz, Fidelio, Die Fledermaus, Madame Butterfly, Turandot, Tannhäuser, Lohengrin, et al. As an assistant, his talent was recognized when he was chosen for the final concert at the inaugural “Leif Segerstam Conducting Masterclass” in Germany in 2004. Maestro Leif Segerstam invited Mr. Wen to be his assistant for the premieres of Segerstam’s symphonies with the St. Petersburg Philharmonic Orchestra of Russia and the Bruckner Orchestra of Austria.
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Roles during her career have included: • Violetta — La Traviata • Gilda — Rigoletto • Mimi — La Boheme • Musetta — La Boheme • Giulietta — I Capuleti e i Montecchi • Adina — L'elisir d'amore • Cio-Cio-San — Madama Butterfly • Lucia — Lucia di Lammermoor • Pamina — Die Zauberflöte • Donna Anna — Don Giovanni • Donna Elvira — Don Giovanni • Konstanze — Die Entführung aus dem Serail • Countess Almaviva — Le nozze di Figaro • Susanna — Le nozze di Figaro • Fiordiligi — Così fan tutte • Thaïs — Thaïs • Léïla — Les pêcheurs de perles • Micaela — Carmen • Hoffmann Heroines — Les Contes d'Hoffmann • Infanta Donna Clara - Der Zwerg • Christine Storch - Intermezzo • Adele - Die Fledermaus • Rosalinde - Die Fledermaus From 1994 through 2002, she sang the Queen of the Night in Die Zauberflöte in 84 performances. She retired the role in 2002. In 2006, she became only the third woman to sing both Pamina and the Queen of the Night for the Metropolitan Opera (Lucia Popp and Colette Boky preceded her).
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In the face of massive protests, Siniora and the remaining ministers in his cabinet still refused to step down as long as they enjoyed the support of the majority of the parliament. As protestors kept up the pressure on the government with their encampment near the Grand Serail, the prime ministerial office in downtown Beirut, Siniora and his minister were under virtual house arrest due to security concerns since the assassination of Pierre Gemayel, one of Siniora's ministers, in late 2006. With Siniora not giving in, the opposition organized a general strike in January 2007, which ended in sectarian clashes leaving multiple dead and hundreds wounded. Political deadlock took a new turn with the end of term of President Émile Lahoud in late 2007 as the March 8 and March 14 blocs could not agree on his successor, leaving the country in a presidential vacuum further worsening the political crisis.
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His conducting career began in 1989 when he was invited by Leonard Bernstein on two European tours one of which was at Schleswig-Holstein Musik Festival where he performed with Orchestra dell'Accademia Nazionale di Santa Cecilia. From 1991 to 1996 he was a conductor at the Bern Theatre where he conducted such operas as Le grand macabre, Mozart's both Die Entführung aus dem Serail and Don Giovanni as well as Giuseppe Verdi's Don Giovanni and Rigoletto. Besides those operas he is well known for production of Richard Wagner's The Flying Dutchman and Gioachino Rossini's The Barber of Seville as well as The Merry Widow operetta of Franz Lehar and Leoš Janáček's Káťa Kabanová, among other well respected works. In 1985 he conducted Richard Strauss's Ariadne auf Naxos which was performed in Spoleto and next year became a conductor of another Gioachino Rossini's work called La Cenerentola in Aspen.
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Paul Calloway The Washington National Opera was established in 1957 as the Opera Society of Washington by Day Thorpe, the music critic of the now defunct Washington Star, but then the most influential Washington newspaper of its day. Paul Callaway, the choirmaster and organist of the Washington National Cathedral, was its first music director. Together, the two set out to seek funding and they found support from Gregory and Peggy Smith who provided $10,000 as seed money for a production of Mozart's Die Entführung aus dem Serail which would be performed following the end of their summer season (which Calloway conducted) by the Washington Symphony Orchestra. Characteristic of Thorpe and Calloway's early years was a rejection of cuts to the scores, a rejection of opera in English translation, and a rejection of expensive scenery as well as of "fat sopranos" and "self-centered tenors".
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Following her European debut in Geneva, she sang Marie at Turin's Teatro Regio in Luca Ronconi's production and again as Ismene in Graham Vick's production of Mitridate, Rè di Ponto. She followed with Princess Rezia in Haydn's L'incontro improvviso for L'Opéra de Nice and L'Opéra de Bordeaux, and Serpetta in Mozart's La finta giardiniera at the Kennedy Center in Washington, D.C. with Patrick Summers conducting. After her debut at La Scala in the title role of Linda di Chamounix with Marcelo Álvarez, she sang Marie in Rome and her first Sophie in Keith Warner's production of Der Rosenkavalier at the Spoleto Festival in Italy. Other appearances include her role-debut at the Lausanne Opera as Adina in L'elisir d'amore and as Konstanze in Die Entführung aus dem Serail with Vlaamse Opera, a role she reprised at the Berlin Staatsoper and again in 2011 at the Grand Théâtre de Genève.
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Bower began her professional career singing on radio and television during the 1950s, including making appearance with Jack Paar on The Tonight Show. She made her professional opera debut in 1956 as Violetta in Verdi's La traviata at the New York City Opera (NYCO) with Barry Morell as Alfredo. The NYCO became her principal home through 1963. Her many roles at that house included Diana in Jacques Offenbach's Orpheus in the Underworld, Donna Anna in Mozart's Don Giovanni, Fiordiligi in Mozart's Così fan tutte, Hanna Glawari in Lehár's The Merry Widow, Konstanze in Mozart's Die Entführung aus dem Serail, Micaëla in Bizet's Carmen, Miss Pinkerton in Gian Carlo Menotti's The Old Maid and the Thief, Musetta in Giacomo Puccini's La Bohème, Rosalinde in Richard Strauss's Die Fledermaus, and the title role in Menotti's Amelia Goes to the Ball among others. She also notably portrayed The Woman in the first professional production of Mark Bucci's Tale for a Deaf Ear at the NYCO on April 6, 1958.
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She appeared in Jean-Pierre Ponnelle's 1982 film of Rigoletto opposite Ingvar Wixell and Luciano Pavarotti, and in his 1988 film of Così fan tutte opposite Delores Ziegler and Ferruccio Furlanetto. Gruberová made her Royal Opera House debut as Giulietta in Bellini's I Capuleti e i Montecchi in 1984. Other important roles she has sung include Zerbinetta in Ariadne auf Naxos, Gilda in Rigoletto, Violetta in La traviata, Lucia in Lucia di Lammermoor, Konstanze in Die Entführung aus dem Serail, the title role in Massenet's Manon and Oscar in Un ballo in maschera; she sang Donna Anna in Don Giovanni at La Scala in 1987, Marie in La fille du régiment in 1987, the title role in Semiramide in 1992 in Zürich, Queen Elizabeth I in Donizetti's Roberto Devereux in Vienna in 1990. In 2003, she added the title role in Norma to her repertoire, and sang it in Munich in 2008/09.
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Jagiellonian Library, Kraków The Berlinka comprises some of the most valuable holdings of the former Prussian State Library. It includes over 500,000 medieval manuscripts, early modern printings and autographs, including by Luther and Calvin, Goethe and Schiller, Hegel, and Herder. Among the holdings are notable letters from the large estate of Ludmilla Assing and her uncle Karl August Varnhagen von Ense, personal copies of the Deutsches Wörterbuch with hand-written notes by the Brothers Grimm German TV HR: Handexemplare des Grimmschen Wörterbuchs in Krakau gefunden and original musical scores by Johann Sebastian Bach (and his sons), Mozart (Die Entführung aus dem Serail), Beethoven, Schubert, Brahms, Schumann, Haydn, Mendelssohn-Bartholdy, Paganini, Busoni, Cherubini, and Telemann. On the other hand, the collections also comprise many manuscripts and incunables from Polish monasteries in Gniezno, Lubiń, Mogilno, Pakość, Paradyż, Pelplin and Poznań, removed between 1820 and 1840 by Prussian authorities from the territories gained in the Partitions of Poland.
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The wind players of Bohemia were famed throughout Europe, and the Prague press specifically attributed the great success of the operas Die Entführung aus dem Serail and Le nozze di Figaro partially to their skillful deployment of wind instruments. It is also possible that the extensive use of winds in the Prague Symphony was simply the result of experiments with orchestration that Mozart had been cultivating in the orchestral accompaniments for his piano concertos for the previous two years and the new experience he had of writing for winds would have shown up in his symphonies regardless. No matter, the use of wind instruments in the Prague Symphony represents a major advance in Mozart's symphonic technique that was imitated in his last symphonies, and also by Haydn, Beethoven, and Schubert. Indeed, it would be difficult to identify any earlier symphony by any composer not of a special type that contains so many passages in which no stringed instruments play at all, only various types of wind ensembles.
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His productions during this period included Raimunds "Der Verschwender", Nestroy's "Der Talisman", Tirso de Molinas "Don Gil of the Green Breeches", Molière's "Imaginary Invalid" and Csokor's "Kalypso" along with Shakespeare's "As you like it" and Midsummer Night's Dream. A new departure came in 1943 with the staging of Mozart's Die Entführung aus dem Serail, to which he returned in 1948 for that year's Salzburg festival, teaming up with the conductor Heinrich Krips. The production was later taken on tour to Rome, Florence and Paris. There were also light opera productions including, in October 1948, one at the Popular Opera House ("Wiener Volksoper") of Otto Nicolai's "Merry Wives of Windsor" in which the orchestra was placed on the stage and the drama took place in the heart of the auditorium, surrounded by the audience, in a manner which greatly mimicked the lay-out of an English Elizabethan theatre and, according to one critic, greatly enhanced the clarity of the music, especially of the orchestral parts, for the audience.
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In 2013, Faveyts became a member of the ensemble at the Aalto Theatre in Essen, where he appeared in roles such as Hunding in Wagner's Die Walküre, Kezal in Smetana's Die Verkaufte Braut, Ramfis in Verdi's Aida, and Oroveso in Bellini's Norma. In 2019 he joined the ensemble of the Komische Oper Berlin, where he will be seen as Sarastro, Gremin in Tchaikovsky's Jewgeni Onegin, Commendatore in Mozart's Don Govanni and Sparafucile in Verdi's Rigoletto. His roles also include Osmin in Mozart's Die Entführung aus dem Serail, Daland in Wagner's Der fliegende Holländer, Marke in Tristan und Isolde, Fasolt and Hunding in Der Ring des Nibelungen, the title role in Donizetti's Don Pasquale, Roi de Trèfle in Prokofiev's L'amour des trois oranges, Comte des Grieux in Massenet's Manon and Orest in Elektra by Richard Strauss. From 2015, Faveyts appeared as Fasolt and Hunding in Der Ring in Minden, Wagner's Ring cycle at the Stadttheater Minden conducted by Frank Beermann, which was completed in 2019.
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Moriani emphasized to the press that the Opéra-Comique had recently engaged Verlet as prima donna. From that point forward, Verlet enjoyed a successful career, particularly in Francophone Europe. Her debut at the Monnaie in Brussels took place on September 7, 1901, in Verdi's Rigoletto; she remained a member of that company for the balance of the season and later would make periodic appearances there. Her debut at the Paris Opéra, as Blondine in a French-language production of Mozart's Die Entführung aus dem Serail, came in 1903. She sang her first Rigoletto in that house on April 11, 1904; Adelina Patti, who was in attendance, conspicuously displayed enthusiasm for Verlet's singing and offered congratulations to Verlet's teacher, Mme. Moriani."Opera Singers in Paris", The New York Times, May 1, 1904, accessed December 3, 2009 In 1905 and 1906, Verlet played the Naiad in the first modern revival of Gluck's Armide in Paris.
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It was a performance requested by Stravinsky himself. He performed in Don Giovanni in Brussels; Madam Butterfly in Vienna; in Milan, he played in Faust; he performed both in L'elisir d'amore and The Magic Flute in San Francisco; Die Entführung aus dem Serail at the Paris Opéra; in Buenos Aires, he performed in Tales of Hoffman at the Theatre Cologne and at the Théâtre de la Monnaie, Belgium; the Mozart Requiem at the Cardiff Festival of Choirs in Wales; Don Giovanni at the San Diego Opera; and many times with the Royal Opera including roles in Don Pasquale, Maria Stuarda and La sonnambula, and touring both Japan and the USA. He made his debut with La Scala in Milan in 1978 singing the title role in Berlioz's La damnation de Faust. In New York, Stuart has been accompanied with the talents of Sir Georg Solti, Zubin Mehta, Seiji Ozawa, Leonard Bernstein, Eugene Ormandy, among others at the prestigious Carnegie Hall.
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After the war, she appeared at the Zurich Opera and the Vienna Volksoper, and then joined the Munich State Opera in 1949, where she remained until 1971, she was also a guest at the Vienna State Opera, in The Barber of Seville, The Magic Flute and Capriccio, where she established a reputation as a soprano of agility and glamorous personality. She made guest appearances as Gilda, at the Royal Opera House in London in 1951, and at the Glyndebourne Festival, where she sang Konstanze in Die Entführung aus dem Serail, Adele in Le comte Ory, and Zerbinetta in Ariadne auf Naxos to great acclaim. She made her American debut at the San Francisco Opera in 1950, as the Queen of the Night in The Magic Flute. She also sang operetta, and enjoyed considerable success in London in 1970, in a revival of the musical The Great Waltz at the Theatre Royal Drury Lane, which coincided with her appearance on Desert Island Discs.
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She also participated in the opening concert of the 2003/04 season at La Scala and has sung with the Turin RAI Symphonic Orchestra and, in a gala alongside Bryn Terfel and the Royal Philharmonic Orchestra, London, as well as a Spanish tour with the Catania Massimo Bellini Philharmonic. In 2011 she sang at the New Year's Concert at La Fenice, at the Liverpool Philharmonic Hall, at the Zürich Opera House (Rigoletto), at the Teatro Massimo Palermo (Lucia di Lammermoor), at the Greek Theatre of Syracuse (with Andrea Bocelli),La Sicilia: Arte e generosità at the Sferisterio Opera Festival (Rigoletto) and at the National Center for Performing Arts Beijing (Rigoletto). 2013 saw Rancatore's return to the Salzburg Festival in a one-off TV-live/online production of Die Entführung aus dem Serail, staged (alongside vintage aircraft) in Hangar-7 of Salzburg Airport while conducted, without visual contact, in Hangar-8 by Hans Graf."Desirée Rancatore returns to Salzburg Festival".
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The ensemble was the guest of many conductors (Michel Plasson, Christophe Rousset, Philippe Herreweghe, Christophe Coin, John Nelson, Emmanuel Krivine, Lawrence Foster, Marc Minkowski, Jérémie Rhorer... In 2005, l'Ensemble was laureate of the Liliane Bettencourt Prize for choral singing awarded by the Academy of Fine Arts, and in 2006, it was consecrated "Ensemble de l'année" at the Victoires de la musique classique. With his two ensembles, Suhubiette has recorded for record companies Virgin Classics, Éditions Hortus, Calliope, Ligia, l'Empreinte Digitale, Naïve Records and Mirare, and many of his records have received awards and critical acclaim. He is also interested in the other vocal world of opera. He conducts Mozart's operas, Don Giovanni, The Magic Flute, The Marriage of Figaro, Die Entführung aus dem Serail (at the Dijon opéra, the Saint-Céré festival), the comedy operas by Jacques Offenbach, the French premiere of Kurt Weill's Der Silbersee at the Massy Opera House, Les caprices de Marianne by Henri Sauguet.
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He sang leading tenor roles in Italian and French operas at Covent Garden until World War II, including Almaviva, Pinkerton, Faust, Roméo, Rodolfo in La bohème, Eisenstein in Die Fledermaus, Rinuccio in Gianni Schicchi, and Pedrillo in Die Entführung aus dem Serail. The critic Alan Blyth called Nash the leading British lyric tenor of the 20th century, and considered him "ideal casting for the heroes of French 19th- century Romantic opera."Blyth, Alan, "Command Performance", Gramophone, December 2005, p. 50 Nash had a repertoire of twenty-four operas, and sang fluently in English, French, German and Italian."Heddle Nash—Brief Biography", The Gramophone, December 1942, p. 20 He was proud of being the first Englishman to sing David in Die Meistersinger in the International Season at Covent Garden. In the first Glyndebourne season, in 1934, Nash played Basilio in Le nozze di Figaro at the inaugural performance, Pedrillo, and Ferrando in Così fan tutte.
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Woitach was survived by his wife soprano Jeryl Metz, his children and grandchildren. At the Metropolitan Opera he first led, on tour, John Dexter's production of "Les vêpres siciliennes" (with Cristina Deutekom, Cornell MacNeil, and Paul Plishka, 1974), then conducted in the House, "Madama Butterfly" (with Harry Theyard, 1974), "La Gioconda," "Tosca," "Le siège de Corinthe" (with Beverly Sills and Shirley Verrett, 1976), "Lucia di Lammermoor" (with Miss Sills), "Tosca" (Sylvia Sass's Met debut, 1977), "La traviata" (Maria Chiara's Met debut, 1977), "Cavalleria rusticana," "Pagliacci" (with Vickers, 1978), "Don Pasquale" (with Jon Garrison, 1979), "Hänsel und Gretel" (with Tatiana Troyanos, Judith Blegen, and Michael Devlin, 1981), "La bohème," "Fidelio," "Bluebeard's Castle" (with Devlin and Jessye Norman), "Eugene Onegin" (with Mirella Freni), "Così fan tutte," "Boris Godounov," "Die Zauberflöte," "Die Entführung aus dem Serail," and, finally, "Elektra" (1994). Woitach also led a production of Argento's "Postcard from Morocco," at Wolf Trap, with Phyllis Treigle in the cast.
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Within opera, the lowest note in the standard bass repertoire is D2, sung by the character Osmin in Mozart's Die Entführung aus dem Serail, but few roles fall below F2. Although Osmin's note is the lowest 'demanded' in the operatic repertoire, lower notes are heard, both written and unwritten: for example, it is traditional for basses to interpolate a low C in the duet "Ich gehe doch rathe ich dir" in the same opera; in Richard Strauss' Der Rosenkavalier, Baron Ochs has an optional C2 ("Mein lieber Hippolyte"). The high extreme: a few bass roles in the standard repertoire call for a high F, the one above middle C), but few roles go over F4. In the operatic bass repertoire, the highest notes are a G4 (The Barber in The Nose by Shostakovich) and, in the aria "Fra l'ombre e gl'orrori" in Handel's serenata Aci, Galatea e Polifemo, Polifemo reaches an A4.
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From 1967, he was a member of the ensemble at the Staatsoper Stuttgart, from 1969 of the Theater Basel, from 1970 of the Zurich Opera, and from 1973, he worked at the Deutsche Oper Berlin. Laubenthal appeared at the Bayreuth Festival in 1970, as the steersman in Der fliegende Holländer and as Kunz Vogelgesang in Die Meistersinger von Nürnberg. He performed as a guest internationally, in 1972 as Belmonte in Mozart's Die Entführung aus dem Serail at the Glyndebourne Festival, in 1977 at the Paris Opera as Tamino in his Die Zauberflöte, in 1987 at the Teatro Regio in Turin as Ottavio, also at the Hamburg State Opera, Bavarian State Opera in Munich, and the Teatro Colón in Buenos Aires. At the Vienna State Opera, he performed major roles, besides his Mozart roles also David in Die Meistersinger, Lenski in Tchaikovsky's Eugene Onegin, Rinucchio in Puccini's Gianni Schicchi and the title role in Pfitzner's Palestrina.
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Since 2003 Avemo has worked at opera houses in Brussels, Düsseldorf, Frankfurt, Zurich, Paris (Châtelet), Lille, Copenhagen, Moscow, Madrid, Geneva and Strasbourg, as well as the Wiener Festwochen and the Aix-en-Provence Festival. Avemo has been heard in roles such as Olympia in The Tales of Hoffmann, Oscar in Un ballo in maschera, Ofelia in Hamlet, Blondchen in Die Entführung aus dem Serail and Servilia in La clemenza di Tito. She also portrayed Kristin in Philippe Boesmans' musical setting of Strindberg's play Julie, and Wendla Bergmann in Benoît Mernier's setting of Frank Wedekind's play Spring Awakening, both premiered at La Monnaie in Brussels. In 2010 to 2012 Avemo starred in Hosokawa's Hanjo directed by Calixto Bieito at the Ruhr Trienniale arts festival, Zerlina in Don Giovanni at the Bolshoi Theater in Moscow, Sophie in Der Rosenkavalier in Otto Schenk's production in Geneva, Gilda in Rigoletto and Violetta in La traviata in Weimar, the title role in Lucia di Lammermoor at the Gothenburg Opera and Adèle in Die Fledermaus at the Royal Opera Stockholm.
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In 1968 Stewart made his debut at the New York City Opera as Andrew, the Highlander, in the world premiere of Hugo Weisgall's Nine Rivers from Jordan. His first major role with the company came the following year as Vladimir in Alexander Borodin's Prince Igor with Julian Patrick in the title role and Julius Rudel conducting. He was committed to the NYCO up through 1974, performing in such parts as Tamino in The Magic Flute (1969, 1970, 1973), Belmonte in Die Entführung aus dem Serail (1969, 1970), Edgardo in Gaetano Donizetti's Lucia di Lammermoor (1969), Count Almaviva in The Barber of Seville (1971), the title role in Benjamin Britten's Albert Herring (1971), Alfredo in La traviata (1971, 1972, 1973, 1974), Don Ottavio in Don Giovanni (1972) and Sali in Frederick Delius' A Village Romeo and Juliet (1973). He later returned to the NYCO on numerous occasions in the 1980s, performing the parts of Tito in La Clemenza di Tito (1981), Pinkerton in Madama Butterfly (1983), Nanki-Poo in The Mikado (1984), Prince Karl Franz in The Student Prince (1987).
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He sang Pedrillo in Die Entführung aus dem Serail, Wenzel in Die verkaufte Braut, the Witch in Hänsel und Gretel, David in Die Meistersinger von Nürnberg and numerous other roles. Guest appearances led him to the Paris Opera as Pedrillo in 1978, to Toulouse opera as David in 1979 and to the Bayreuth Festival in 1977, where he played small roles in Tristan and Parsifal. In 1986 he took part in the premiere of Hans-Jürgen von Bose's Die Leiden des jungen Werthers at the Schwetzinger Festspiele. From 1987 he sang as a heldentenor, in roles such as Florestan in Fidelio (Staatstheater Mainz 1988), Erik in The Flying Dutchman (Staatsoper Berlin 1991), the title role in Parsifal (Staatstheater Braunschweig 1988/89), Loge in Das Rheingold (Staatsoper Hannover 1991, Hamburg 1992), Siegmund in Die Walküre (Hanover 1991), Tristan (Theater Kiel 1991, Hamburgische Staatsoper 1996, Deutsche Oper Berlin 1996) and the Kaiser in Die Frau ohne Schatten (Braunschweig 1992, Semperoper Dresden 1996) as well as Walther von Stolzing in the Meistersinger (Badisches Staatstheater Karlsruhe 199293).
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That same year she performed the role of the Beggar Woman in Stephen Sondheim's Sweeney Todd with the Wolf Trap Opera Company and Bubikopf in Viktor Ullmann's Der Kaiser von Atlantis with the Chicago Symphony Orchestra at the Ravinia Festival. In 2006 she made her debut with the Los Angeles Opera as Amore in L'incoronazione di Poppea and returned to the LAO later that year to create the role of Dragonette in the world premiere of Elliot Goldenthal’s Grendel and portray the Celestial Voice in Don Carlo. In 2007 she portrayed Ghita in Alexander von Zemlinsky's Der Zwerg with the American Symphony Orchestra at the Bard Music Festival. In 2008 Alattar returned to the Ravinia Festival in Chicago to portray Konstanze in Mozart's Die Entführung aus dem Serail and made her debut with Palm Beach Opera as Gilda in Verdi's Rigoletto. In 2009 she returned to the OTSL to portray Rosina in John Corigliano’s The Ghosts of Versailles and made her debut with the Boston Lyric Opera as Micaëla in Carmen.
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0n 14 June 1780, he was appointed court music printer to Charles Frederick, Grand Duke of Baden (1728-1811), with exclusive rights; perhaps an unusual appointment, because in 1780 Mainz was the seat of the Electorate of Mainz, a state next to but distinct from the Grand Duchy of Baden. In 1785, he was awarded the privilege of Bürgerrecht by the city of Mainz, and also issued his first catalogue of music for sale. He published, among other things, first editions of piano reductions of Mozart's Die Entführung aus dem Serail (1785) and Don Giovanni (1791), works by Johann Franz Xaver Sterkel and Antonio Rosetti, and salon music. During the political upheavals associated with the Napoleonic Wars, which included the overthrow of the Electorate of Mainz by the short-lived Republic of Mainz (1793), its reinstatement, its further overthrow by the Cisrhenian Republic (1797), its further reinstatement, and the abolition not only of the Electorate but of the Holy Roman Empire itself (1806), he dealt, in addition to music, in stationery, paper and wine.
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Considering the importance of operatic productions in Mozart's musical output, the construction of this theater was virtually a pre-condition for the fertile connections he began to cultivate with Prague in the year 1786. The emergence of an outstanding conductor, Johann Joseph Strobach, who built the opera orchestra of Prague into one of the greatest orchestral ensembles in central Europe, was also critical in attracting Mozart to the city, as was the prominence of the Duschek couple (Franz Xaver and Josepha, who had unprecedented international connections for musicians from Prague who chose not leave the Bohemian lands. Josepha had a particularly strong connection with Mozart as a result of frequent visits she made to his native city of Salzburg, where she had relatives (one of her grandfathers was once mayor of Salzburg). The immediate impetus for Mozart's visits was the result of interest for his compositions created by a highly successful performance in 1783 of his opera Die Entführung aus dem Serail, one of the first operas ever performed in the Estates Theatre.
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George made his debut in Munich at the Staatstheater am Gärtnerplatz as Belmonte in Mozart's Die Entführung aus dem Serail and at the Komische Oper Berlin as Tamino in Mozart's The Magic Flute in the production by Harry Kupfer, as Candide in a production of John Dew under the baton of James Allen Gähres at the Deutsche Oper Berlin and Alfredo in La traviata at the Staatsoper Unter den Linden Berlin. He sang at several Italian houses including La Scala, Teatro San Carlo in Naples and the Teatro Regio in Turin; France (Opéra Bastille, Théâtre du Châtelet, Théâtre du Capitole, Toulouse); and in the Netherlands at the De Nederlandse Opera, Opera Enschede, De Nationale Reisopera, Maastricht, and the Opera Zuid. In Austria he performed at the Salzburg Festival, Bregenz Festival, Vienna State Opera, Volksoper, and Theater an der Wien. In Spain he sang at the Teatro Real, Auditorio Nacional de Música, and Gran Teatre del Liceu in Barcelona; in Israel at the New Israel Opera; and in Argentina at the Teatro Colón.
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Her secure technique enabled her to interpret both light coloratura roles as well as dramatic parts. Her vast repertory included more than 80 roles such as Abigaile in Nabucco, both Agathe and Ännchen in Der Freischütz, Cio-Cio-San in Madama Butterfly, Donna Anna in Don Giovanni, Elisabetta in Don Carlos, Elsa in Lohengrin, Fiordiligi in Così fan tutte, Gilda in Rigoletto, Konstanze in Die Entführung aus dem Serail, Lady Macbeth in Macbeth, Leonora in Il trovatore, Lisa in The Queen of Spades, Lyudmila in Ruslan and Lyudmila, Marguerite in Faust, Micaëla in Carmen, both Mimì and Musetta in La bohème, Pamina in The Magic Flute, Santuzza in Cavalleria rusticana, Sieglinde in Die Walküre, Tatyana in Eugene Onegin, Violetta in La traviata, and the title roles in Louise, Tosca, and Turandot. But above all, she excelled in portraying roles from Czech operas by Smetana, Dvořák and Janáček including the title roles of Libuše, Rusalka and Jenůfa, Mařenka in Prodaná nevěsta (The Bartered Bride) and Emilia Marty in Věc Makropulos (Makropulos Case).
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Born in Hagen, Schneider studied at the Musikhochschule München. She first joined the ensemble of the Staatstheater am Gärtnerplatz in the 1997/98 season, where she performed roles such as the Queen of the Night in Mozart's Die Zauberflöte, Konstanze in his Die Entführung aus dem Serail, and Zerbinetta in Ariadne auf Naxos by Richard Strauss. She has been a member of the Staatsoper Stuttgart from the 2006/07 season, where she appeared as Donna Anna in Mozart's Don Giovanni, as Giunia in his Lucio Silla, as Elettra in his Idomeneo, as the Countess in his Le nozze di Figaro, as Rosalinde in Die Fledermaus by Johann Strauss, as Madame Lidoine in Poulenc's Dialogues des Carmélites, in the title role of Donizetti's Maria Stuarda, as Chrysothemis in Elektra, as Gutrune in Wagner's Götterdämmerung, as Alice Ford in Verdi's Falstaff, and as the Feldmarschallin in Der Rosenkavalier by Richard Strauss. In 2008, she performed the title role of Alceste by Anton Schweitzer on the occasion of the reopening after the fire of the Duchess Anna Amalia Library.
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Emily Magee as Ariadne and Kaufmann as Bacchus in Ariadne auf Naxos by Richard Strauss, at the Salzburg Festival of 2012 He began his professional career at the Staatstheater Saarbrücken in 1994 and was soon invited to make debuts in German theaters such as the Stuttgart Opera and Hamburg State Opera, as well as international debuts at the Lyric Opera of Chicago, Opéra National de Paris, and La Scala. He made his Salzburg Festival debut in 1999 in a new production of Busoni's Doktor Faust and returned there in 2003 as Belmonte in Mozart's Die Entführung aus dem Serail and for concerts of Beethoven's Ninth Symphony with the Berlin Philharmonic. He performed the role of Don José in Bizet's Carmen, to critical acclaim, at the Royal Opera House, Covent Garden, in 2006/7. He made his debut as Alfredo in Verdi's La traviata at the Metropolitan Opera alongside Angela Gheorghiu in 2006, also to critical acclaim, and also sang the role at the Met in 2007 and 2008, and at the Royal Opera House in 2008.
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Weller was born in Vienna, Austria, where he studied at the Vienna Hochschule für Musik and first gained renown as a prodigy on the violin. His father, also named Walter Weller, was a violinist in the Vienna Philharmonic. At age 17, Weller became a member of both the Vienna Philharmonic and the Vienna State Opera Orchestras. In 1961, at age 22, he became joint concertmaster of the Vienna Philharmonic with Willi Boskovsky, and remained in this post for 11 years. While leading the orchestra, Weller also established and led his own string quartet, the Weller Quartet, from 1958 to 1969.Who’s Who, London: A & C Black In 1966, he married Elisabeth Samohyl, and the couple had a son. Weller's first engagements as a conductor were in 1966, deputising at short notice for Karl Böhm. His conducting debut at the Vienna State Opera was in 1969, leading Die Entführung aus dem Serail. He later served as Generalmusikdirektor (GMD) of Duisburg, Germany, for the 1971–1972 season.Bigler-Marschall, Ingrid (ed.), Deutsches Theater-Lexikon, volume VI, Faszikel 32/33 (Weisbrod - Wiel).
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Opera originated in Italy at the end of the 16th century (with Jacopo Peri's mostly lost Dafne, produced in Florence in 1598) especially from works by Claudio Monteverdi, notably L'Orfeo, and soon spread through the rest of Europe: Heinrich Schütz in Germany, Jean-Baptiste Lully in France, and Henry Purcell in England all helped to establish their national traditions in the 17th century. In the 18th century, Italian opera continued to dominate most of Europe (except France), attracting foreign composers such as George Frideric Handel. Opera seria was the most prestigious form of Italian opera, until Christoph Willibald Gluck reacted against its artificiality with his "reform" operas in the 1760s. The most renowned figure of late 18th-century opera is Wolfgang Amadeus Mozart, who began with opera seria but is most famous for his Italian comic operas, especially The Marriage of Figaro (Le nozze di Figaro), Don Giovanni, and Così fan tutte, as well as Die Entführung aus dem Serail (The Abduction from the Seraglio), and The Magic Flute (Die Zauberflöte), landmarks in the German tradition.
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Her roles with the Metropolitan Opera included Adina in L'Elisir d'Amore, Almirena in Rinaldo, Amore in Orfeo ed Euridice, Annina in La traviata, Barbarina in Le nozze di Figaro, Flower Maiden in Parsifal, Garsenda in Francesca da Rimini, Gilda in Rigoletto, Gretel in Hänsel und Gretel, Guadalena in La Périchole, Juliette in Roméo et Juliette, Konstanze in Die Entführung aus dem Serail, Lucia in Lucia di Lammermoor, Norina in Don Pasquale, Oscar in Un ballo in maschera, Pamina in The Magic Flute, Princess in L'enfant et les sortilèges, Rosina in Il Barbiere di Siviglia, Servilia in La clemenza di Tito, Sophie in Der Rosenkavalier, and Sophie in Werther among others. Her last performance both with the Met and on the operatic stage was as Echo in Ariadne auf Naxos on October 10, 1987. Robinson decided to retire at the time due to health reasons. She was featured in the April 2, 1971 issue of LIFE magazine in the story "Pops' Girl Gail Makes it at the Met" (pages 57-61).
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She was a member of the Berlin Staatsoper ensemble, making a critically acclaimed debut as Cleopatra in Carl Heinrich Graun's Cleopatra e Cesare. Other roles in her repertoire include Pamina in Die Zauberflöte, Konstanze and Blondchen in Die Entführung aus dem Serail, Susanna in The Marriage of Figaro, Sophie in Der Rosenkavalier, Adina in L'elisir d'amore, Ännchen in Der Freischütz, Adele in Die Fledermaus, Rosina in Il barbiere di Siviglia, Musetta in La bohème, Gilda in Rigoletto, Oscar in Un ballo in maschera, and Nannetta in Falstaff, as well as the Jungfrau in Schoenberg’s Moses und Aron and Manon in Henze's Boulevard Solitude. She is especially acclaimed for leading roles in the baroque operas of Handel, Telemann, Gassmann and Stradella at the Handel Festival in Halle, the Festwochen der Alten Musik in Innsbruck, Austria; the Spoleto Festival Italy, the Schwetzingen Festival, the Wexford Festival in Ireland and the styriarte festival in Graz. Williams recently made her theatrical debut in Dante’s La Vita Nova in a co-production of the Berlin Renaissance Theater and the Bayer- Leverkusen Kulturhaus.
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From 1992 to 1998 she was a member of the ensemble of the Staatsoper Unter den Linden in Berlin where she performed more than 300 times. Her roles there included the Queen of the Night in Mozart's Die Zauberflöte, Zerbinetta in Ariadne auf Naxos by Richard Strauss, Sophie in his Der Rosenkavalier and the title role in Alban Berg's Lulu. In 1995, she first appeared at the Vienna State Opera, as Olympia in Offenbach's Hoffmanns Erzählungen, where she also appeared as Zerbinetta, Sophie, Arminta in Die schweigsame Frau, the Queen of the Night in Mozart's Die Zauberflöte, Adele in Die Fledermaus by Johann Strauss, and Emilia Marty in Janáček's The Makropulos Affair. Also in 1995, she performed at the Salzburg Festival in a choral concert in the Mozarteum, and returned for many opera performances, as both Blonde and Konstanze in Mozart's Die Entführung aus dem Serail, the Queen of the Night, Badi'at in the world premiere of Henze's L'Upupa und der Triumph der Sohnesliebe, Marie in Bernd Alois Zimmermann's Die Soldaten and in Birtwistle's Gawain.
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He began his studies in his native city and continued in Rome, Italy with Mirella Parutto, Antonio Boyer and Anna Vandi and with Raul Gimenez in Barcelona, Spain. In February 2003 he made his operatic debut as Arturo in Donizetti’s Lucia di Lammermoor at the stage of Rome Opera House (Teatro dell'Opera di Roma) with Maestro Daniel Oren. He has performed as Ferrando in Mozart's Così fan tutte in several opera theatres, including Stuttgart, Zurich and Genova, as Don Ottavio (Don Giovanni) in Miskolc, Cagliari and Genova, as Ernesto (Don Pasquale) in Miskolc, as Almaviva (Il barbiere di Siviglia) in Genova, as Belmonte (Die Entführung aus dem Serail) in Brussels, as Tamino (Die Zauberflöte) in Frankfurt, as Alfredo (La traviata) in Tokyo and as the title role in Mozart's Il sogno di Scipione in Klagenfurt and at the Salzburg Festival, a performance that was produced on DVD by the Deutsche Grammophon label in 2006. In May 2007 he made his debut in his native country on the stage of the Macedonian Opera and Ballet in Skopje, singing Lindoro in Rossini's Italiana in Algeri.
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A centuries-old theme in Western culture is the depiction of European women forcibly taken into Oriental harems—evident for example in the Mozart opera Die Entführung aus dem Serail ("The Abduction from the Seraglio") concerning the attempt of the hero Belmonte to rescue his beloved Konstanze from the seraglio/harem of the Pasha Selim; or in Voltaire's Candide, in chapter 12 of which the old woman relates her experiences of being sold into harems across the Ottoman Empire. Much of Verdi's opera Il corsaro takes place in the harem of the Pasha Seid—where Gulnara, the Pasha's favorite, chafes at life in the harem, and longs for freedom and true love. Eventually she falls in love with the dashing invading corsair Corrado, kills the Pasha and escapes with the corsair—only to discover that he loves another woman. The Lustful Turk, a well-known British erotic novel, was also based on the theme of Western women forced into sexual slavery in the harem of the Dey of Algiers, while in A Night in a Moorish Harem, a Western man is invited into a harem and engages in forbidden sex with nine concubines.
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Bernhard Bötel Bernhard Bötel (1883 – 1953"Unvergängliche Stimmen" by K. J. Kutsch and Leo Riemens, Francke, 1975) was a German operatic tenor and actor who had an active career in Germany and Austria during the first half of the 20th century. He made recordings for several record labels during the early years of the recording industry, including His Master's Voice, Odeon Records, Polydor Records, Tri-Ergon, and Vox Records. On the stage he sang a variety of roles in operas and operettas from leading parts to comprimario roles. His stage repertoire included Belmonte in Wolfgang Amadeus Mozart's Die Entführung aus dem Serail, Chapelou in Adolphe Adam's Le postillon de Lonjumeau, Count Almaviva in Gioachino Rossini's The Barber of Seville, Daniel in Franz Lehár's The Merry Widow, the Duke of Mantua in Giuseppe Verdi's Rigoletto, Gabriel von Eisenstein in Johann Strauss II's Die Fledermaus, Indigo in Strauss' Indigo und die vierzig Räuber, Jeník in Bedřich Smetana's The Bartered Bride, Paolino in Domenico Cimarosa's Il matrimonio segreto, Pâris in Jacques Offenbach's La belle Hélène, Pietro in Franz von Suppé's Boccaccio, and Wilhelm Meister in Ambroise Thomas' Mignon.
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His other compositions include several secular cantatas, the symphonic poem Macbeth, a concertino for oboe and orchestra, a number of choral works, and music for solo organ, piano, violin and cello. In 1890 Dupuis was appointed to the conducting staff at the Théâtre Royal de la Monnaie, and in 1900 he assumed the role of principal conductor at that house. He notably conducted that opera house's first productions of Götterdämmerung (13 January 1891), Die Entführung aus dem Serail (15 February 1902), Tosca (2 April 1904), Alceste (14 December 1904), La damnation de Faust (21 February 1906), Les Troyens (27 December 1906), Salome (26 March 1907), Fortunio (4 January 1908), Ariane et Barbe-bleue (2 January 1909), Madama Butterfly (29 October 1909), Elektra (26 May 1910), Feuersnot (16 March 1911), and Roma (15 January 1913). He also conducted numerous world premieres, including Ernest Chausson's Le roi Arthus (30 November 1903), Albert Dupuis's Martylle (3 March 1905), Albert Roussel's Symphony No. 1 Le poème de la forêt (22 March 1908), Pierre de Bréville's Éros vainqueur (7 March 1910), Cesare Galeotti's Dorisse (18 April 1910), and Vincent d'Indy's Le chant de la cloche (21 November 1912).
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ROH Collections Online. She was a regular at the Pesaro Festival and at the Festival della Valle d'Itria in Martina Franca, where she collaborated in the resurrection of long neglected operas by Rossini, Donizetti, Bellini and other bel canto composers. She is also admired for her Mozart performances in Die Entführung aus dem Serail, The Magic Flute, Così fan tutte, Le nozze di Figaro, Don Giovanni and Idomeneo. In 2013, the day after her 65th birthday, she sang for the first time the role of Norma at the Teatro Comunale di Bologna with great success.Jack Buckley, "Mariella Devia's Norma", Seen and Heard International, 16 April 2013 Gabriele Cesaretti, "Bologna – Teatro Comunale: Norma", OperaClick, undated From then on she included the role of Norma in her usual repertoire along with the "Three Donizetti Queens", Maria Stuarda, Anna Bolena and Elisabetta from Roberto Devereux, which she had debuted between 2006 and 2011,Precisely: 2006 at the Teatro dell'Opera di Roma, Maria Stuarda (David Toschi, "Roma - Teatro dell'Opera: MARIA STUARDA - review", OperaClick, undated); 2007 at the Teatro Filarmonico di Verona, Anna Bolena (Ilaria Bellini, "Anna Bolena - review" , Teatro.
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It became a common feature of the earlier opéras comiques, such as those written by Charles Simon Favart or composed by Egidio Duni, Pierre- Alexandre Monsigny, and François-André Danican Philidor, and began to frequently utilize new music, although still labelled "vaudeville". The vaudeville final was almost never used in works presented at the Comédie- Française or the Académie Royale de Musique, and the exceptions are comedies, an example at the former being Pierre Beaumarchais's play Le mariage de Figaro (1784), which ends with a vaudeville, and at the latter, Jean-Jacques Rousseau's Le devin du village (1752), which has a vaudeville final. Although it fell out of style at the Comédie-Italienne around the time of the French Revolution, the tradition was carried into the early 19th century at the popular theatres on the Boulevard du Temple, and elsewhere in Paris, in particular at the Théâtre du Vaudeville. The style can be discerned in many operas, although with newly composed music, including Gluck's Orfeo ed Euridice (1762), Haydn's Orlando paladino (1782), and Mozart's Die Entführung aus dem Serail (1782), Der Schauspieldirektor (1786),Oxford Dictionary 1992.
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In 2003-2004 she was an apprentice soprano in the Utah Symphony and Opera Ensemble Program in Salt Lake City. In 2004 Stober became a member of the Young Artist program at the Houston Grand Opera (HGO) after winning the HGO's Eleanor McCollum Competition for Young Singers. At the HGO she studied voice with Stephen King. She made her debut with the company as La China in the world premiere of Daniel Catán's Salsipuedes: a Tale of Love, War and Anchovies in October of that year. She has continued to perform regularly with the HGO in roles like The Rose in Rachel Portman's The Little Prince (2004), Barbarina in The Marriage of Figaro (2005), Xenia in Boris Godunov (2005), Aphrodite/Charito/Tisiphone in the world premiere of Mark Adamo's Lysistrata (2005), Susanna in The Marriage of Figaro (2005, 2006, and 2016), Frasquita in Carmen (2006), Drusilla in L'incoronazione di Poppea (2006), Norina in Don Pasquale (2006), Blonde from Die Entführung aus dem Serail (2008), Atalanta in Serse (2010), Musetta in La bohème (2012), Cleopatra in Giulio Cesare (2017), and Miss Thompson/Helen Mills/Adelaide Mills in the world premiere of Ricky Ian Gordon's The House without a Christmas Tree (2017).
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Paliatsaras debuted in 1987 at the National Greek Opera, as Alfredo in La Traviata followed by many leading roles, including Macduff (Macbeth), Don Carlos, Don Ottavio in Don Giovanni, Alfred and Prince Orlovsky in die Fledermaus, Rossillon in Die Lustige Witwe (1992, 2000), Die Hexe in Hansel und Gretel (1990), Almaviva in Il Barbiere di Siviglia, Nicias in Thais, Shober in Dreimadelhaus, Jimmy in the Rise and Fall of the City of Mahagonny (1999), Prince Shuisky and the fool in Boris Godunov, the fisherman in Die Kluge, La Vie parisienne, Les contes d'Hoffman, Ariadne auf Naxos, Salome, Fadinard in Il cappello di paglia di Firenze (2001 and 2003), the latest in Mozart's Die Entfuhrung aus dem Serail (2007). He was in a partnership with the baroque ensemble Capriccio Stravagante, directed by Skip Sempé, first at the inauguration opening of the Dimitri Mitropoulos hall, part of the Athens Megaron Concert Hall. At the Athens Megaron he also appeared as Apollo in Monteverdi's L'Orfeo with I Solisti Veneti, Carmen with Agnes Baltsa and Mahagonny. A major landmark in his career was the tour in 30 cities and towns in France as Macheath in Kurt Weill's The Threepenny Opera with opera Eclate culminating in Paris 1990.
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In 1957 Beattie made his debut at the New York City Opera (NYCO) as Baron Douphol in Verdi's La traviata with Beverly Sills as Violetta. He appeared frequently with the NYCO for the next 25 years, portraying such roles as Marquis de Cascada in The Merry Widow (1957), Zuniga in Carmen (1957), Osmin in Die Entführung aus dem Serail (1957, 1966, 1969), Pooh-Bah in The Mikado (1958, 1961), Frank in Die Fledermaus (1959), the Sergeant of Police in The Pirates of Penzance (1960, 1964), Bartolo in The Marriage of Figaro (1962), Shadbolt in The Yeomen of the Guard (1964), Lindorf, Coppelius and Dr. Miracle in The Tales of Hoffmann (1965), Leandro in The Love for Three Oranges (1966), Secret Police Agent in The Consul (1966), the title role in Don Pasquale (1967), Raimondo Bidebent in Lucia di Lammermoor (1969), Falstaff in The Merry Wives of Windsor (1980), and the Priest in The Cunning Little Vixen (1981) among other appearances. He also appeared in several United States premieres with the NYCO, including portraying Sir Morosus in the American premiere of Richard Strauss's Die schweigsame Frau (1958) and the Mayor in the American premiere of Werner Egk's Der Revisor. In 1965 he created the role of Andrew Borden in the world premiere of Jack Beeson's Lizzie Borden at the NYCO.
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