Kulturspiegel June 8, 2014: St. Pete Opera Stars im Interview NORMA, 6,8,10 June 2014

 

                   
                  Interview mit/with Stars 
                                 der/of 
               St. Pete Opera Production 
           "live" Summer Opera NORMA
                                                      www.stpeteopera.org  

                         In today's show, Susanne Nielsen introduces you to two stars of St. Pete Opera's newest production , Bellini's opera Norma, an opera in the Belcanto tradition coming to you "live" this weekend, and Tuesday evening. Soprano Melissa Primavera, who just returned from Germany, again speaks with Susanne about her role in Norma and her trip to Germany. Susanne also had a chance to speak with Robyn Rocklein  who makes her debut with the St. Pete opera this season. The conversation includes her passion for Strauss's Electra, her two year stay in Europe and her roles as Hansel in Humperdinck's famous Hansel and Gretl Opera, perfect for her "Zwischenfach" voice. Get to know this opera with its beautiful music and experience it live this weekend on the stage of the Paladium theater in St. Petersburg. It was part of the 2013 season in Salzburg, with Celia (chee- lia)  Bartoli in the titel role. Oh, and have some Pasta all Norma - a Sicilian dish inspired by the Opera!  www.stpeteopera.org    for tickets or at the theater Friday, Sunday ( matinee) or Tuesday in St. Petersburg, Florida , see you there! 

LAST German Service in Temple Terrace today, summer pause ( no service in July)  until August, then again second Sunday. 

Liebe Freunde des Kulturspiegels,

In unserer heutigen Sendung bringe ich Ihnen Interviews mit zwei charmanten Opernsaengerinnen, Melissa Primavera und Robyn Rocklein, beide mit Deutschlanderfahrungen und mit bildschoenen Stimmen. Sie sind zu hoeren in St. Peterburg, am 6, 8 ( matinee um 15:00 uhr ) sonntag, und am Dienstag Abend ein letztes mal. Live Oper im Sommer bringt Ihnen nur dioe St. Pete Opera. Und Sie koennen alle Stimmen noch in konzerten und kleineren Auffuehrungen der inzwischen mit eigenem Haus fuer diese Events bestueckten wachsenden Operngesellschaft hoeren. schauen Sie in deren Website und machen Sie gleich Plaene fuer die neue Saison 2014/15.
Freuen Sie sich auf Melissa Primavera auf Deutsch und Robyn Rocklein auf Englisch im Interview im Hauptteil unserer heutigen Sendung. Und wussten Sie was "Belcanto" bedeutet ? - Bellini schreibt in dieser Tradition, die er mit Haendel, Donizetti und anderen Komponisten seiner Zeit teilt? 
Ich hoffe wir sehen uns am Freitag,Sonntag oder Diesntag im Palladium Theater in St. Petersburgs Innenstadt. Sagen Sie "Bravi" zu allen Darstellern in dieser schoenst gesungenen Oper, Bellinis Norma! 

      Clotilde: Melissa Primavera (auf deutsch) ;

                                                 

        Adalgisa Cover: Robyn Rocklein ( auf English)

die Oper Norma
June 6,8,10

FRIDAY, JUNE 6, 2014, 7:30PM

SUNDAY, JUNE 8, 2014, 2:00PM

TUESDAY, JUNE 10, 2014, 7:30PM

Production Team:

Mark Sforzini, Artistic Director & Conductor
Benjamin Spierman, Stage Director
Keith Arsenault, Lighting Design
Scenic Design: Steven Mitchell
Costume Design: Patricia Hibbert
Chorus Assistant: Luis Gonzalez

Cast:

Norma: Elizabeth de Trejo
Pollione: Kirk Dougherty
Adalgisa: Jennifer Feinstein
Oroveso: Nathan Whitson
Clotilde: Melissa Primavera
Flavio: Russell Andrade


Emerging Artists/Cover Program

Norma Cover: Cassandra Black
Pollione Cover: James Chamberlain
Adalgisa Cover: Robyn Rocklein
Oroveso Cover: Rimas Karnavicius
Clotilde Cover: Andrea Wright
Flavio Cover: Evelio Mendez

Norma Chorus & Orchestra

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Siegreiche Norma 
Eine Premiere in St. Petersburg, Florida
besucht von Susanne Nielsen 

  Das Publikum der Norma Premiere am Freitag, den 6. Juni war hingerissen von den schoenen und gewaltigen Stimmen besonders der beiden Hauptrollen, Norma von Elisabeth de Trejo und James Chamberlain , der das grosse Glueck hatte als Zweitbesetzung sein Talent in dieser drei-Auffuehrungs-langen Produktion zu zeigen.

Chamberlain war dieser hervorragenden Normadarstellerin in allem gewachsen, hier trafen sich grosse Stimmen und es stimmte auch die schauspielerische Paarung.

Polonius' neue Liebe, die Priesterin Adalgisa, von der noch jungen Jennifer Feinstein in sanfter Mezzostimme gesungen, zeigte sich als ideale Besetzung zu Norma's Sopran in den wunderbaren Duetten dieser Bellinis Bel-Canto-Tradition verschriebenen Oper.

Normas Vertraute, Clothilde, deren huebscher Sopran leider nut kurz zu hoeren ist, spielte und sang diese Rolle ueberzeugend und man darf hoffen, die Junge Saengerin Melissa Primavera in groesseren Rollen wiederzusehen.

Bass Nathan Whitson gab dem Oroveso die noetige Wuerde, sowohl in tragender Stimme als auch mit seiner gewaltigen Statur.

Der wie immer hervorragende Opernchor unterstuetzte die Hauptfiguren, darin einige der Zweitbestzungen, wie Robin Rocklein, die Zweitbestzung der Adalgisa. Die Handlung spielt in einem minimalistischen und effektiven Buehnenbild in blaugruenen Farbtoenen und Beleuchtung. Der Designer, fuer den die wenig tiefe Buehne immer eine besondere Herausforderung darstellt,  liess genug Einsicht auf den dahinter platzierten Maestro Sworzini und sein Orchester zu, brachte jedoch ueberzeugend den im Wald von Gaul befindlichen heiligen Ort der Druiden ins Bild.

Die Dramatik der Musik und die Zentralfiguren tragen diese Oper, sodass die Bewegungen des Chores auf ein Minimum begrenzt bleiben sollte.

Die hervorragende Loesung des Finales, komplett mit Feuer und Rauch, rundete diese Oper als letzte der Saison zum Sommerfinale wunderbar ab!

"Bravissimo"  zu dieser Auffuehrung der St.Petersburg Opera in St. Petersburg, Florida.

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 Nachrichten der Deutschen Welle hoeren Sie als "live streaming" oder "news on demand" unter www.DW-World.de. 
Schreiben Sie uns/write to us: info@germanradioshow.com, write to us, become a follower on Google, and visit our Facebook page (germanradioshow.com) and become a follower. 

Unsere Sendung hoeren Sie, indem Sie auf den weissen Pfeil auf dunklem Audiobalken klicken.
(listen to our show by clicking on the white arrow on the dark audio bar below:).  

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 The Cultural Center invites you to lunch at the Floridan Hotel on May 17th! Make your reservations now! 813-254-5088
                                                         

                       The Cultural Center for German Language invites you to its 2014 programs.

The Cultural Center offers monthly programs to its members, organizes events and group excursions to cultural venues such as museums, theaters with exhibitions, opera, music often paired with optional visits to European restaurants all in the spirit of sharing German, and German speaking heritage in a variety of cultural settings.

Shared events with other German-American organizations like the German American Society Pinellas, the German American Social Club of New Port Richey, the German American Society of Florida and the Richard Wagner Society and events from opera, classical concerts to the celebration of German folk culture and traditions during Mayfests, German Heritage fests and Oktoberfests may be found in the Cultural Center’s program.

The Cultural Center offers German tutoring by professional instructors. It is a German cultural and informational resource for those interested in learning and keeping fluent ones German language skills. Please contact Susanne Nielsen at 813-254-5088

All events of the Cultural Center are announced regularly on the German Radio Show, www.germanradioshow.com , (top left button: audio/blog). Read/hear and see a new show every Sunday, with archived shows on www.germanradioshow.blogspot.com

Membership to the Cultural Center for German Language is 25.- Individual and 35.- for a family per year.

For information, please call President Susanne Nielsen at 813-254-5088

            For an updated program please email us  now!

                                                                             

                                                       Join us! May 17th!

                                   Floridan Palace Hotel

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                                                   Das Wort zum Sonntag
                 ( letzter Gottesdienst diese Woche, kein Gottesdienst im Juli)

                                                        Pastor Meyer in Deutschland

Hoeren ( und Lesen) Sie jetzt das Wort zum Sonntag gesprochen von Pastor Waldemar Meyer von der Deutschen Gemeinde der Christ Our Redeemer Lutheran Church in Temple Terrace.

(Die Predigt hoeren Sie ist Sie im Audiosegment dieser Sendung)
Ganz herzlich grüße ich wieder alle Hörer (und Leser) der deutschen Gemeinde in Temple Terrace.
 (Wort zum Sie es im Hoerteil unserer Sendung)
Wir laden Sie zu den deutschen Gottesdiensten in Temple Terrace ein am zweiten Sontagnachmittag des Monats um drei Uhr.

Gottes Segen, von Ihrem Pastor Waldemar Meyer

Hören und lesen Sie jeden zweiten Sonntag im Monat ein neues "Wort zum
Sonntag" von Pastor Meyer. Er lädt Sie ganz herzlich ein, jeden zweiten
Sonntag im Monat in TempleTerrace, 304 Druid Hills Road um 15:00 einen
deutschsprachigen Gottesdienst zu besuchen.

Nach dem Gottesdienst lädt Sie Pastor Meyer zu einer gemütlichen
Kaffeestunde ein. Kommen Sie zahlreich und rufen Sie Pastor Meyer jederzeit an

unter 813-988-4025 ext.102.Wer aktiv mithelfen möchte, melde sich gerne bei Pastor Meyer, 813-988-4025.
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                                      Anwalt fuer Immigration:
                           Christian Zeller spricht Deutsch! 

 Wer in die USA einwandern will, braucht kompetente Beratung!

und selbstverstaendlich einen Immigrationsanwalt ,

der IHRE Sache vertritt!

Christian Zeller , deutschsprachiger Immigrationsanwalt in Tampa Bay,

beantwortet Ihre Fragen zu der Vielzahl von Geschaefts-und anderen Visa-Moeglichkeiten.

Lassen Sie sich von Christian Zeller beraten und ueber die neuesten Bestimmungen informieren,

wenn Sie in den USA ein neues Leben beginnen wollen. 

Rufen Sie ihn jederzeit bei der Rechtsanwalts-Firma Maney and Gordon P.A. an und machen Sie sofort einen Termin: 813-221-1366. 

For YOUR immigration needs, please call German speaking Immigration attorney Christian Zeller, at 813-221-1366. Find him on the internet at www.maneygordon.com or.

write to c.zeller@manygordon.com , find him at Maney and Gordon full-service immigration law firm in Tampa, Florida.

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Cafe Vienna

                                                         

Café Vienna where the food is an emperor’s delight serves the finest in Austrian-German cuisine at moderate prices!

The pretty restaurant’s big red sign can be seen at 5625 4^th Street North in St. Petersburg, Florida.

Owners Tony, Beate and their team welcome you for lunch and dinner to the sounds of Viennese waltz. Have lunch Tuesdays through Fridays and dinner Tuesdays through Sundays.

Enjoy Wiener Schnitzel, Sauerbraten, Roulladen, Chicken Paprikash, Tafelspitz and for dessert, Beate’s famous home-made Strudl.

Café Vienna is at 5625 4^th street north in St.Petersburg.

Make your reservations today, call 727-527-6404.

727-527-6404.

Café Vienna has offered fine Austrian and German Cuisine and catering since 1972.                                                       

                                             www.caffevienna.com

Fuer das Beste an deutsch-oesterreichischen Speisen reservieren Sie gleich heute Ihren Tisch bei Tony und Beate im Café Vienna auf St. Petersburgs 5625 4ter Strasse nord. 727-527-6404.

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Interview mit/with Stars of/der St. Pete Operaproduktion von Bellinis Oper Norma                                

      Clotilde: Melissa Primavera (auf deutsch) ;

Noted for her “glowing” and “sumptuous” voice, Soprano Melissa Primavera has become a favorite with audiences in the greater New York City area. Of her performance as “Antonia” in Tales of Hoffmann Michael Caruso wrote, “She sang with dramatic intensity, impassioned lyricism and touching intimacy.” Her operatic repertoire includes: “Magda” in La Rondine, “Frasquita” in Carmen, “Nannetta” in Falstaff and  “Constance” in Dialogues of the Carmelites. She has also delighted audiences with her comedic portrayals of “Susanna” in The Marriage of Figaro, “Despina” in Così fan tutte and “Adele” in Die Fledermaus. In 2011 Melissa performed in concert with Elysium Between Two Continents’ International Summer Academy in Germany. She has also been a semi-finalist in the opera division of The American Prize competition and awarded the Bronx Council on the Arts BRIO Grant. She continues to study voice with Barbara Honn and German language.  This is Ms. Primavera's first time working with St. Pete Opera Company.

NORMA (2014) - CLOTILDE

ARIADNE AUF NAXOS (2013) - ECHO COVER

                                   

        Adalgisa Cover: Robyn Rocklein ( auf English)

Nebraska native Robyn Rocklein is delighted to make her debut with St. Petersburg Opera this season. Known for her vibrant and flexible voice, Robyn has appeared in England, Austria, Germany, and throughout the USA. Her roles include Carmen (Carmen), Elizabeth Proctor (The Crucible), Federico Garcia Lorca (Ainadamar), Hansel (Hansel and Gretel), Lucretia (The Rape of Lucretia), Marcellina (Le nozze di Figaro), Périchole (La Périchole), Marian Paroo (The Music Man), and most recently Dejanira (Hercules) and Iphigénie (Iphigénie en Tauride). Robyn has sung under the batons of international conductors Richard Buckley, Daniel Lipton, Edoardo Mueller, David Stahl, and Anthony Walker.

On the concert stage, Robyn has sung Bach’s Magnificat, Beethoven’s Mass in C, Dvořák’s Mass in D, Handel’s Messiah, Haydn’s Nelson Mass, Honegger‘s Le Roi David, Mendelssohn’s Psalm No. 42, Mozart's Requiem, and Rossini's Stabat Mater, among others. Robyn has performed with companies such as Arizona Opera, Opera Tampa, Tucson Symphony Orchestra, Scottsdale Musical Artists, and St. Andrew’s Bach Society. She has also performed with the Kronos Quartet, Barry Manilow, Dick Hyman, John William’s Star Wars in Concert with Anthony Daniels, and Columbia Artists’ Lord of the Rings Symphony as the mezzo-soprano soloist at the Tucson Convention Center Music Hall.

Robyn was a finalist in the Meistersinger Competition (2009) in Austria and the Charles A. Lynam International Vocal Competition (2008), and has won numerous competitions in the USA to include NATS Auditions (2012 & 2009) and the UA President’s Concerto Competition (2009). She holds a B.M. and M.M. from the University of Arizona and a D.M.A. in vocal performance from Arizona State University.

http://www.robynrocklein.com/

NORMA (2014) - ADALGISA COVER

SUSANNAH (2014) - MRS. OTT

SEASONAL SPARKLE (2013) - SOLOIST

ROMEO & JULIET (2013) - GERTRUDE COVER

Beide Opernsaengerinnen treten diese Saison in Norma auf. 

Bellinis Norma
June 6,8,10

FRIDAY, JUNE 6, 2014, 7:30PM

SUNDAY, JUNE 8, 2014, 2:00PM

TUESDAY, JUNE 10, 2014, 7:30PM

Production Team:

Mark Sforzini, Artistic Director & Conductor
Benjamin Spierman, Stage Director
Keith Arsenault, Lighting Design
Scenic Design: Steven Mitchell
Costume Design: Patricia Hibbert
Chorus Assistant: Luis Gonzalez

Cast:

Norma: Elizabeth de Trejo
Pollione: Kirk Dougherty
Adalgisa: Jennifer Feinstein
Oroveso: Nathan Whitson
Clotilde: Melissa Primavera
Flavio: Russell Andrade


Emerging Artists/Cover Program

Norma Cover: Cassandra Black
Pollione Cover: James Chamberlain
Adalgisa Cover: Robyn Rocklein
Oroveso Cover: Rimas Karnavicius
Clotilde Cover: Andrea Wright
Flavio Cover: Evelio Mendez

Norma Chorus and Orchestra
  

Norma ist eine tragische Oper in zwei Akten von Vincenzo Bellini. Das Libretto stammt von Felice Romani und beruht auf einem Drama von Louis Alexandre Soumet. Die Uraufführung fand 1831 in Mailand statt. Die Oper spielt in Gallien im ersten Jahrhundert vor Christus. Die Spieldauer beträgt etwa zweieinhalb Stunden. Eine besonders bekannte Arie ist die Cavatine der Norma im 1. Akt Casta Diva. ( all information  wikipedia.de)


Handlung  der Oper Norma von Bellini

Erster Akt

Gallien ist von den Römern besetzt, die gallischen Krieger erwarten von ihren Druidenpriestern einen Hinweis darauf, dass die Göttin Irminsul mit dem Kampf gegen die Römer einverstanden ist. Die Priesterin Norma verkündet aber nach dem Schneiden der Mistel an der heiligen Eiche, dass die Zeit noch nicht gekommen sei. Norma ist auch im inneren Konflikt, weil sie ihr Gelübde gebrochen hat und seit langem heimlich die Geliebte des Römers Pollione ist und mit ihm bereits zwei Kinder hat. Pollione aber hat sich längst in eine andere, die Novizin Adalgisa verliebt und will mit dieser fliehen. Es kommt zu einem Aufeinandertreffen von Norma, Adalgisa und Pollione, in dem die Beziehungen offenbart werden, und Norma schwört ihm Rache.

Zweiter Akt

Norma will ihre beiden Knaben töten, doch ihre Mutterliebe siegt. Sie fordert Adalgisa auf, mit Pollione und ihren Kindern nach Rom zu gehen, aber Adalgisa möchte versuchen, Pollione und Norma wieder zusammenzuführen. Pollione lehnt dies aber ab. Erbittert schlägt Norma jetzt an den Schild und gibt das Zeichen zum Kampf gegen die Römer. Der glückliche Ausgang dieses Kampfes soll durch ein Opfer beschworen werden. Man nimmt einen Römer gefangen, der das Heiligtum entehrt hatte: Es ist Pollione. Er weigert sich, Adalgisa zu entsagen, selbst als Norma droht, als Rache ihre gemeinsamen Kinder umzubringen und Adalgisa im Feuer zu opfern. So lässt sie einen Scheiterhaufen errichten für eine Priesterin, die das Keuschheitsgebot gebrochen habe. Als sie nach dem Namen der Schuldigen gefragt wird, opfert sie sich in ihrem Gewissenskonflikt selbst, nennt ihren Namen, vertraut ihre Söhne dem Schutz Orovesos an und geht gefasst ihrem Tod entgegen. Überwältigt und von neuer Liebe erfasst, folgt ihr Pollione.

Aufführungen und Rezeption

Die Uraufführung am 26. Dezember 1831 endete trotz der hervorragenden Besetzung mit Giuditta Pasta als Norma, Giulia Grisi als Adalgisa, Domenico Donzelli als Pollione und Vincenzo Negrini als Oroveso mit einem Fiasko. Auch die 1832 erfolgten Aufführungen in Neapel und Venedig brachten nicht den von Bellini erhofften Erfolg. Dieser zeichnete sich 1834 in einer Aufführung im Teatro San Carlo in Neapel mit Maria Malibran in der Titelpartie ab, und ab 1835 verbreitete sich das Werk an den italienischen Bühnen. Schon 1833 wurde Norma erstmals in Wien und London, 1835 in Paris sowie 1854 in New York gespielt. Führende Interpretinnen der Titelrolle waren im 19. Jahrhundert neben Pasta und Malibran insbesondere Giuditta Grisi, Jenny Lind und gegen Ende des Jahrhunderts Lilli Lehmann. Sie "war die letzte unmittelbar in der Tradition des Belcanto stehende Norma. Inzwischen war durch die weitgehend durchgesetzte Fächertrennung eine adäquate Realisierung der Titelpartie kaum mehr möglich: Norma wurde von dramatischen Sopranen okkupiert, deren am Verismo orientierter Gesangsstil dem Charakter des Werks nicht gerecht wurde."


Eine Rückbesinnung auf die ursprünglichen Belcanto-Intentionen der Titelpartie - und damit eine Renaissance des in der ersten Hälfte des 20. Jahrhunderts seltener gespielten Werks insgesamt – erfolgte vor allem ab 1948 durch Maria Callas, deren Interpretationen in insgesamt 89 Auftritten (so 1949 in Buenos Aires, 1950 in Mexico City, ab 1952 in Mailand und London oder 1956 in New York) die weitere Sicht auf das Werk prägten. "Die Callas-Norma blieb bis heute nicht nur unerreicht, sondern auch ohne überzeugende Alternative."  Weitere bedeutende Interpretinnen der Rolle waren in der zweiten Hälfte des 20. Jahrhunderts Leyla Gencer, Elena Souliotis, Renata Scotto, Joan Sutherland, Anita Cerquetti oder Montserrat Caballé und in jüngster Zeit Anna Netrebko (2009). Eine Rückbesinnung auf die musikalische Aufführungspraxis des 19. Jahrhunderts mit leichteren Stimmen, Originalinstrumenten und raschen Tempi kennzeichnete die Aufführungen der Salzburger Pfingstfestspiele und Salzburger Festspiele 2013 mit der Mezzosopranistin Cecilia Bartoli in der Titelrolle.

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Norma in the bel canto tradition

History of the term and its various definitions

As generally understood today, the term "bel canto" refers to the Italian-originated vocal style that prevailed throughout most of Europe during the 18th century and lingered in a less elaborate but still dominant form until around 1840. The hallmarks of the bel canto style were:
an impeccable legato production throughout the singer's (seamless) range
the use of a light tone in the higher registers,
an agile, flexible technique capable of dispatching ornate embellishments,
the ability to execute fast, accurate divisions,
the avoidance of aspirates and eschewing a loose vibrato,
a pleasing, well-focused timbre,
a clean attack,
limpid diction, and
graceful phrasing rooted in a complete mastery of breath control.

Handel and 18th century bel canto

Operas and oratorios highly conducive to this method of singing were composed by George Frideric Handel (1685–1759) and his contemporaries during the Baroque period. They contained da capo arias which were designed to provide solo singers with plentiful opportunities to display their technical skill and demonstrate their ability to improvise on the spot by embellishing the written score in a (hopefully) tasteful and illuminating manner. Da capo arias featured extensive and elaborate ornamentation, demanding much from the vocalist in the way of fluent runs, trills, turns (gruppetti), mordents, morendi, roulades, staccato passages, appoggiaturas, acciaccaturas, marcato notes, messa di voce effects, rapid scales, wide leaps spanning two octaves or more and brilliant cadenzas. In short: what is commonly referred to by opera-goers as coloratura.

Two famous 18th-century teachers of coloratura vocalism were Antonio Bernacchi (1685–1756) and Nicola Porpora (1686–1768), but numerous others existed. A large proportion of these teachers were castrati. Singer/author John Potter declares in his book Tenor: History of a Voice that:
For much of the 18th century castrati defined the art of singing; it was the loss of their irrecoverable skills that in time created the myth of bel canto, a way of singing and conceptualizing singing that was entirely different from anything that the world had heard before or would hear again.[3]
Bel canto in 19th century Italy and France[edit]

In a narrower application, the term "bel canto" is sometimes attached exclusively to Italian opera of the time of Gioachino Rossini (1792–1868), Vincenzo Bellini (1801–1835) and Gaetano Donizetti (1797–1848). These three composers wrote bravura works for the stage during what musicologists call the bel canto era, which lasted approximately from 1805 to 1840. The bel canto era preserved many of the Baroque's musical values, although such characteristic forms as opera seria and the da capo aria did not survive the passing of the 18th century. Changing tastes and social standards also killed off the operatic castrato voice and ensured the concomitant rise to singing supremacy of the prima donna soprano and the virtuoso tenor. (The last important opera role for a castrato was written in 1824 by Giacomo Meyerbeer [1791–1864].)[4]

The phrase "bel canto" did not enter common usage until the middle of the 19th century, when it was set in opposition to the development of a weightier, more powerful style of speech-inflected singing associated with German opera and, above all, Richard Wagner's revolutionary music dramas. Wagner (1813–1883) decried the Italian singing model, alleging that it was concerned merely with "whether that G or A will come out roundly". He advocated a new, Germanic school of singing which would draw "the spiritually energetic and profoundly passionate into the orbit of its matchless Expression".

Interestingly enough, French musicians and composers never embraced the more florid extremes of the 18th-century Italian bel canto style. They disliked the castrato voice and because they placed a premium on the clear enunciation of the texts of their vocal music, they objected to the sung word being obscured by excessive fioritura.


The popularity of the bel canto style as espoused by Rossini, Donizetti and Bellini faded in Italy during the mid-19th century. It was overtaken by a heavier, more ardent, less embroidered approach to singing that was necessary in order to perform the innovative works of Giuseppe Verdi (1813–1901) with maximum dramatic impact. Tenors, for instance, began to inflate their tone and deliver the high C (and even the high D) directly from the chest rather than resorting to a suave head voice/falsetto as they had done previously—sacrificing vocal agility in the process. Sopranos and baritones reacted in a similar fashion to their tenor colleagues when confronted with Verdi's drama-filled compositions. They subjected the mechanics of their voice production to greater pressures and cultivated the exciting upper part of their respective ranges at the expense of their mellow but less penetrant lower notes. Initially at least, the singing techniques of 19th-century contraltos and basses were less affected by the musical innovations of Verdi, which were built upon by his successors Amilcare Ponchielli (1834–1886) and Arrigo Boito (1842–1918). ( info: wikipedia)

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TRIVIA: Das sizilianische Rezept Pasta alla Norma ist nach dieser Oper bzw. ihrer Titelheldin benannt.

Pasta alla Norma (auch Spaghetti alla Norma) ist ein Pastagericht der sizilianischen Küche. Grundlage sind meist Spaghetti, gelegentlich auch Penne oder Penne rigate. Weitere Zutaten sind Auberginen, Tomaten, frisches Basilikum und Ricotta Salata, ein für Sizilien typischer Schafskäse.


Das Gericht ist seit dem 19. Jahrhundert bekannt und wurde nach der Oper Norma des in Catania geborenen Komponisten Vincenzo Bellini benannt.

Zur Entstehung des Namens gibt es zwei Legenden. Zum einen geht man davon aus, dass ein sizilianischer Koch so begeistert von Bellinis Oper war, dass er eines seiner Gerichte danach benannte. Die zweite, wahrscheinlichere Erklärung ist, dass Bellinis Landsleute derart von der Schönheit seiner Oper angetan waren, dass sie anfingen, den Ausdruck una vera Norma, eine echte Norma, als Superlativ zu gebrauchen. Im Lauf der Jahre erhielt das wohlschmeckende und für die Region typische Gericht den Namen Pasta alla Norma.

Symbolik

Die Farben der fünf Zutaten werden häufig auch als Symbol für die italienische Trikolore in Verbindung mit den Farben der Stadt Catania interpretiert. Das frische Basilikum steht für das Grün des Landes, die Pasta für das Weiß der Gleichheit und die Tomaten für das Rot der Brüderlichkeit. Das Schwarz der Auberginen und das Weiß des Ricotta Salata symbolisieren die von Lava oder von Schnee bedeckten Hänge des Ätna nahe der Stadt. ( info: wikipedia.de)

Chris Meier u. a.: Sizilien. Kulinarische Reiseskizzen. Hädecke Verlag, Weil der Stadt 1997, ISBN 3-7750-0307-X.

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St. Pete Opera s Leiter ist :

Executive Director and Artistic Director: Mark Sforzini

MarkSforzini.InstantEncore.Com
A modern-day Renaissance man, Mark Sforzini is not only a composer, a conductor, and a bassoonist, but also a visionary leader who was instrumental in the creation of the St. Petersburg Opera Co. Now in its seventh season, the company has produced twenty operas and has operated in the black throughout.   Maestro Sforzini has conducted fully-staged productions with orchestra of Madama Butterfly, The Barber of Seville, Die Fledermaus, Gianni Schicchi, La Bohème, L’Elisir d’Amore,  Don Giovanni, The Merry Widow, La Traviata, Cosi fan tutte, Carmen, Rigoletto, Samson et Dalila, Le nozze di Figaro, and Tosca.  In addition, he has conducted Sondheim's A Little Night Music, Into the Woods (two productions), Sweeney Todd, and The Music Man.  Sforzini conducts a full range of repertoire  including symphonic music, chamber ensembles, and pops in addition to Broadway and opera.  He has premiered and recorded a variety of new compositions and is particularly known for his inspirational coaching singers, instrumentalists, and composers.  Highly sought after as a composer, Sforzini has been commissioned by, among others, the Florida Orchestra, Naples Philharmonic, FloriMezzo, Palladium Theater, Pinellas Youth Symphony, Alfred T. May, Ray and Nancy Murray, J. B. Starkey Jr., The Preis Family, Marian Moorhead, Crested Butte Music Festival, Hillsborough Arts Council and City of Tampa Water Department.   His compositions have been played throughout the United States at music festivals such as the Eastern Music Festival, Crested Butte Music Festival, and Chautauqua, and by chambers musicians of the Toledo Symphony, and the full forces of the Florida Orchestra, Omaha Symphony, Alabama Symphony, Brevard Symphony, and the Tampa Bay Symphony.  His Octet was performed at the inaugural concert at the Murray Studio Theater at Ruth Eckerd Hall, Clearwater, FL.

Maestro Sforzini served as principal bassoon of the Florida Orchestra from 1992-2007. He was  the Artistic Director of the prestigious Encore Series of chamber music at the Palladium for several years and was co-founder and Artistic Director of FloriMezzo from 2003-2008. Sforzini also served for three years as Music Director of the Pinellas Youth Symphony and many years as a composer-mentor for Hillsborough County Schools. In addition to vocal coaching, he is in demand as an adjudicator, clinician, and chamber music coach. He still teaches bassoon to private students and as an adjunct professor at St. Petersburg College. He has played Principal Bassoon with the Crested Butte Music Festival every July since 2003 and was Composer-in-Residence in 2003. He has written and produced a number of one-act opera and music programs based on operatic repertoire and using professional singers and orchestral musicians.
               

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                   Alfred Zerban Kommentar zum Thema:

                                                                     

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                   “German - One on One”

       Language and intercultural Training Services

                                       “Sprechen Sie Deutsch?” 

                                                     

                                           

            “German - One on One” Language and intercultural Training Services offers a            variety of services ,  worldwide  -  via skype   - one on one!

                         

                            Would you like to improve your German?

-         Communicate in German

-         Understand the culture

-         Conduct business negotiations

-         Travel in Europe

-         Make new friends  

“German One on One” offers  you the following services:

Language training: Assistance from native speakers and degreed college language instructors with many years of language teaching experience.

Intercultural training: certified Trainers are available to instruct in intercultural communication.

All instruction from your home or office via skype  for individualized training to  improve your language,

your vocabulary, grammar, and pronunciation  

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with German speaking Europe!

Call 813-254-5088, email us at Myoneonone@yahoo.com

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                            Bill's Moment in German Cultural History

                                                             

Bill Davidson

  

 -  In 1787, we see the death of Leopold Mozart, the father of the great composer Wolfgang Mozart.

-  In 1794,we see the birth of Johann Madler.  He published the most complete and detailed map of the moon of the period.  It remained the best until 1879.

-  In 1874, the present constitution of Switzerland comes into force.

-  In 1916, the Battle of Jutland takes place between Britian and Germany.  Twenty five ships and 10,000 lives are lost.  The battle was considered a tactical draw.

-  In 1940, the German army enters Paris, France in WWll.

-  In 1987, 19 year old Mathias Rust flies a private plane through Russian security without clearance and lands on Red Square in Moscow.


-  And in 1998 the worst train wreck in european history occurs near Eschede, Germany.  Over 100 passengers are lost as the train, traveling at over 200 kilometers an hour, derails and crashes into a bridge. 

This segment is sponsored by www.DnDmusic37.com, in New Port Richey, FL

           

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Sarasotaopera.org:

The New Season has been announced!

and added performances on screen!

Sarasota Opera expands the

"HD at the Opera House" Series

Announces complete line-up and dates for remaining HD series

Sarasota, FL - Sarasota Opera is pleased to announce the expansion of its new broadcast and film series called "HD at the Opera House".  This new series is  allowing Sarasota Opera to expand its programming from the fall and winter season to year-around. In addition to opera, the series will include ballet and theater from some of the world's most famous venues. All showings will occur in the William E. Schmidt Opera Theatre at the Sarasota Opera House.     

"Sarasota Opera audiences are often asking for more programming,” according to Executive Director Richard Russell. "We are happy to expand our season by providing content from around the world."                  

 HD at the Opera House

Sarasota Opera launched its new series on April 14th with Mozart's Don Giovanni and will continue with screenings of opera, ballet, and theater through October 2014.  

Each presentation will be preceded by a 15 minute welcome and pre-show discussion.   

There will be two showings of each production.  The schedule for the remainder of the series is as follows:

June:

Driving Miss Daisy by Alfred Uhry

Starring Angela Lansbury and James Earl Jones

Thursday, June 5th at 7:00pm

Sunday, June 8th at 1:30pm and 7:00pm

La traviata by Giuseppe Verdi

Production from the Royal Opera House

Thursday, June 19th at 7:00pm

Sunday, June 22nd at 1:30pm

July:

Aida by Giuseppe Verdi

Production from the Arena di Verona

Thursday, July 10th at 7:00pm

Sunday, July 13th at 1:30pm

Manon Lescaut by Giacomo Puccini

Production from the Royal Opera House

Thursday, July 24th at 7:00pm

Sunday, July 27th at 1:30pm

Sarasota Opera Announces its 2014/2015 Season

Subscriptions Now on Sale for New Season

2014 Fall Season

Pagliacci by Ruggero Leoncavallo
The Hobbit by Dean Burry (Sarasota Youth Opera)

2015 Winter Festival Season

Tosca by Giacomo Puccini

The Marriage of Figaro by W.A. Mozart
The Golden Cockerel by Nicolai Rimsky-Korsakov (Sarasota Opera Premiere)

Don Carlos by Giuseppe Verdi (Sarasota Opera Premiere)

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                              Florida Orchestra

                 DIE 2013/14 SAISON geht bis Ende Mai !

 Abonnements und Informationen zur neuen im Oktober beginnenden Saison des Florida Orchesters bitte beiwww.floridaorchestra.org  .Florida Orchestra’s Performances in April

May 16, 17 and 18: Tchaikovsky’s Pathetique – Tampa Bay Times Masterworks Series

Hailed as “a superior musician” by The New York Times, Cuban-American guitarist Manuel Barrueco performs Roberto Sierra’s Concierto Barroco with its lively mix of baroque and tropical musical elements...all in a night with Stravinsky’s Jeu de Cartes (A Game of Cards) and Tchaikovsky’s Symphony No. 6, Pathétique. Guest Conductor is Cristian Macelaru. There will be a Pre-concert Conversation one hour prior to curtain.

Show times: Fri, May 16 at 8pm, Straz Center for the Performing Arts, Ferguson Hall; Sat, May 17 at 8pm, Duke Energy Center for the Arts, Mahaffey Theater; Sun, May 18 at 7:30pm, Ruth Eckerd Hall

Tickets: $15, $30, $45

May 22: Beethoven’s Symphony No. 5 – Coffee Concert Series

English guest conductor Michael Francis will lead the orchestra in a program featuring Beethoven’s Symphony No. 5, along with Steven Stucky’s Music for the Funeral of Queen Mary (after Purcell) and Andrzej Panufnik’s Sinfonia Sacra. In addition to complimentary coffee and doughnuts, enjoy the Pre-Concert Conversation one hour before curtain time, as well as lively commentary about the music during the concerts. Guest Conductor is Michael Francis.

Show times: Thurs, May 22 at 11am, Duke Energy Center for the Arts, Mahaffey Theater

Tickets: $24, $29, $34, $42

May 23, 24 and 25: A Stars and Stripes Hit Parade – Raymond James Pops Series

It’s a Memorial Day weekend of overtures, marches and Americana favorites, including an Armed Forces Salute, Washington Post March, Colonel Bogey March, Yankee Doodle, Copland’s Hoedown and music by John Williams and more. Guest Conductor is Bob Bernhardt.

Show times: Fri, May 23 at 8pm, Straz Center for the Performing Arts, Morsani Hall; Sat, May 24 at 8pm, Duke Energy Center for the Arts, Mahaffey Theater; Sun, May 25 at 7:30pm, Ruth Eckerd Hall

Tickets: $15, $30, $45

May 30 and 31: Ravel’s Daphnis Et Chloe – Tampa Bay Times Masterworks Series

The evening opens with Haydn’s buoyant Symphony No. 60, “Il Distrato.”  This is followed by Toru Takemitsu’s dreamy soundscape Toward the Sea II, which is an apt prelude to Ravel’s dazzlingly lush symphonic palette of orchestral colors in the full ballet score of Daphnis et Chloé, which features The Master Chorale of Tampa Bay. Guest Conductor is Joshua Weilerstein. Beginning one hour before the performance, during our pre-concert conversation, there will be a special performance by The Master Chorale of Tampa Bay under the direction of Dr. James K. Bass.

Show times: Fri, May 30 at 8pm, Straz Center for the Performing Arts, Morsani Hall; Sat, May 31 at 8pm, Duke Energy Center for the Arts, Mahaffey Theater

Tickets: $15, $30, $45

Tickets are on sale at 800-662-7286 and online at www.floridaorchestra.org.

Become a fan of The Florida Orchestra on Facebook at www.facebook.com/FloridaOrchestra; or follow them on Twitter at  www.twitter.com/FlaOrchestra.

About The Florida Orchestra

Performing nearly 100 concerts annually in the tri-city area of Tampa, Clearwater, and St. Petersburg, The Florida Orchestra is recognized as Tampa Bay's leading performing arts institution, one of the leading professional symphony orchestras in Florida, and one of the most vibrant orchestras in the United States. With live performances including the Tampa Bay Times Masterworks, Raymond James Pops, Coffee Concerts, Duke Energy Morning Masterworks, new Rock Concert series, as well as Youth Concerts and Free Pops in the Park Concerts, The Florida Orchestra offers a vast scope of concerts each year. The mission of The Florida Orchestra is to enrich the life of the Tampa Bay area as it inspires, entertains and educates a wide and diverse audience with the unique experience of live symphonic music, ensuring that future generations will continue to enjoy this legacy that so magnificently celebrates the human spirit.

The Florida Orchestra Announces Limited On-Stage Seating at Select Masterworks Concerts Kicking Off at Tchaikovsky’s Piano Concerto No. 1 on Nov. 8, 9 & 10

ST. PETERSBURG, Fla. – October 22, 2013 – The Florida Orchestra (TFO) has announced that it will offer limited on-stage seating at ten of this season’s Tampa Bay Times Masterworks concerts starting with Tchaikovsky’s Piano Concerto No. 1 on November 8, 9 and 10 in Tampa, St. Petersburg and Clearwater.   Priced at $75 for on-stage seating, the number of concertgoers that can be accommodated at each performance ranges from three to ten, depending on the music being presented, as each piece requires different numbers of musicians and specific orchestra configurations on stage.

TFO Chairman Tom Farquhar said, “We are continually exploring ways to reach out to the community, make the orchestra more accessible and enhance that experience for concertgoers.  We hope this new initiative will provide an opportunity for more adventuresome music lovers to see and hear a concert from our musicians’ unique perspective.  The on-stage seating option will also give people a glimpse into the backstage area of what goes on just prior to a concert as well as some of the preparations musicians are making just before going on stage to perform.”

Evening Masterworks Concerts with On-Stage Seating:

• Mar 21-23: Bartok’s Piano Concerto No. 1
• Apr 11-13: Mozart, Diamond & Brahms
• Apr 25-27: Tan Dun’s Water Concerto
• May 16-18: Tchaikovsky’s Pathetique

The ticket prices for reserved seats in the halls for Masterworks are $15, $30 and $45.  The on-stage seating price is $75 for those who would like to be alongside the musicians, enjoy a head-on view of the conductor leading the orchestra and get a musician’s view of the concert hall. 

Reservations are available by phone at 727.892.3337 or 1.800.662.7286, and at The Florida Orchestra Ticket Center located in the St. Petersburg College Building at 244 2^nd Avenue North (main floor) in downtown St. Petersburg.  Business hours are Monday through Friday from 9am to 5pm and Saturday and Sunday from 10am to 3pm.  

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Ihnen noch eine schoene Woche, bis zum naechsten Sonntag wuenscht Ihnen Ihre Susanne Nielsen mit Produzent Bill Davidson

                                                           Susanne und Produzent Bill