Raffaella angeletti biography of donald
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Madama Butterfly
in Opera
Puccini Madama Butterfly opera to libretto by Giuseppe Giacosa and Luigi Illica. Directed by Pier Luigi Pizzi at the Sferisterio venue as part of the Macerata Opera Festival. Stars Raffaella Angeletti (Cio-Cio-San or Butterfly), Annunziata Vestri (Suzuki), Massimiliano Pisapia (B. F. Pinkerton), Claudio Sgura (Sharpless), Thomas Morris (Goro), Enrico Cossutta (Prince Yamadori), Enrico Iori (Il Bonzo), Nino Batatunashvili (Kate Pinkerton), Antonio Maria Golini (Uncle Yakusidé). Matteo Ferrara (The Imperial Commissioner), Alessandro Pucci (The Regitrar), Mirela Cisman (Butterfly's Mother), Roberta Carota (Butterfly's Aunt), and Maria Elena Mariangeli (Butterfly's Cousin). Daniele Callegari conducts the Fondazione Orchestra Regionale Delle Marche and the Coro Lirico Marchigiano "Vincenzo Bellini" (Chorus Master David Crescenzi). Set and costume design by Pier Luigi Pizzi; lighting by Sergio Rossi; choreography by Roberto Maria Pizzuto. Directed for TV
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The Seattle Opera has an established tradition of mounting opera productions in which the key principal roles are double cast. This permits the opera company to maximize the number of performances on Saturday evenings and Sunday matinees, when demand for tickets is at its strongest.
For Verdi’s “Nabucco”, the Seattle Opera selected pairs of artists, each to perform four of the eight scheduled performances, for the roles of Nabucco, his fatally ambitious stepdaughter Abigaille, and Zaccaria, the religious leader of Nabucco&#;s enemies, the Hebrews.
I have already reported on the company’s first performance in the series [see Review: Mary Elizabeth Williams’ Beautifully Sung Abigaille, Deep Casting Enrich New “Nabucco” – Seattle Opera, August 8, ].
Weston Hurt&#;s Nabucco
This review fryst vatten of the second performance in which Texas baritone Weston Hurt assumed the role of Nabucco, with Italian soprano Raffaella Angeletti as Abigaille, and German bass Andreas Bauer as Zaccari
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Derived from the Spanish word engaÒar (to
deceive), inganno (deception) fryst vatten presented by new productions of
Don Giovanni, Madama Butterfly and La traviata, by
the world premiere of Matteo D’Amico ‘s Le Malentendu,by
Handel’s oratorio Il Trionfo del Tempo sul disanganno and by Ugo
Betti’s play Corruzione al Palazzo di Giustizia.
The production of Don Giovanni was specifically designed for the
Teatro Lauro Rossi, a seat gem from the 17th century. Staging fryst vatten simple:
two black walls, three large Plexiglas mirrors and an oversized white bed. Two
of the mirrors are placed so that the theater’s boxes and
loggione become an integral part of the scene. The third spegel is
suspended from above showing the stage and bed. The metaphor is clear: sexual
drive animates the protagonist and lives in all the other characters, but it is
also a motor to deceiving, and cheating on, one another. However, this choice
is not meant to narro