He played as soloist with the orchestra at Milan's La Scala opera house in a program dedicated to Gershwin's music.
Throughout his 30 year dancing career he performed as a guest artist in 34 countries and with more than 60 companies including such well known ones as American Ballet Theatre, the Royal Ballet, Stuttgart Ballet, the Paris Opera, the Royal Danish Ballet, La Scala of Milan, the Vienna State Opera Ballet, the Australian Ballet, the National Ballet of Canada, and Boston Ballet.
Born in the coastal city of Šibenik on the Adriatic Sea, Kuljerić graduated in composition from Zagreb Academy of Music and received a grant from the Italian government to study opera repertoire at La Scala in Milan, Italy.
Italy's culture minister, Giuliano Urbani, supported the conductor but called for urgent action by management to safeguard the smooth operation and prestige of La Scala.
She went on to work on numerous collaborations with Luchino Visconti, working with him at the La Scala opera house in Milan, and Franco Zeffirelli, as well as working with Peter Hall.
She went on to dance with Les Ballets de Paris (1950; 1953–1954), the London Festival Ballet (1954–1955), La Scala, Milan (1955–1956), and the American Ballet Theatre (1956–1957).
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During the next two decades, Foldi established himself as a character actor of the first rank in opera houses throughout Europe and the U.S., among them La Scala, Wiener Staatsoper, Zurich Opera, Glyndebourne Opera, Cincinnati Zoo Opera and Santa Fe Opera.
On 10 December 2006 he was thrust into the media spotlight in Franco Zeffirelli's new production of Aida at La Scala, which opened the theatre's 2006/2007 season.
In following years Christoff appeared in a number of roles at Milan's La Scala, Venice's La Fenice, the Rome Opera, Covent Garden in London, the opera theatres in Naples, Barcelona, Lisbon, Rio de Janeiro, etc.
In 1981 she made her operatic debut in Florence as Giulietta in Bellini's I Capuleti e i Montecchi and rose to prominence following her successful debut at La Scala in 1982 when at very short notice she replaced Montserrat Caballé in the title role of Donizetti's Anna Bolena.
Her vast repertory eventually grew to encompass Princess Eboli in Don Carlo which she sang at La Scala in Milan, in Salzburg and in Vienna, the title-role in Carmen, Ulrica (Un ballo in maschera), Monteverdi's Octavia (L'incoronazione di Poppea), Dido (Les Troyens), Kundry (Parsifal), Klytemnestra (Elektra) and contemporary roles by von Einem and Orff.
Christophe Rousset also has a career as guest conductor (Liceu Barcelona, Teatro San Carlo Naples, Teatro alla Scala, Royal Opera of Wallonia, Orquesta Nacional de España, among other orchestras) as well as the active pursuit of musical research, producing critical editions and the publication by Actes Sud of a study on Rameau in 2007.
He distinguished himself as a painter of architecture and a decorator, and his works are to be met with in the theatres and palaces of Venice, Padua, Vicenza, Verona, Udine, Monza, and Gratz, and in the Scala at Milan.
His imaginative stage costumes were designed for performances at La Scala in Milan, the Theatre Royal, Drury Lane in London, the Théâtre des Galeries Saint-Hubert in Brussels, the Metropolitan Opera in New York, as well as the Parisian stages of the Théâtre du Châtelet, Théâtre de la Renaissance, Éden-Theatre or the Folies Bergère and including most of the works of Jacques Offenbach.
After all these successes, Elisabete Matos has sung in many major opera houses around the world, like the Gran Teatre del Liceu, La Fenice, Teatro Nacional de São Carlos (Lisbon), Teatro Real, La Scala, Maestranza de Sevilla, Teatro Regio di Torino and the Teatro di San Carlo (Naples).
Bartolomeo Merelli (who later, as Intendant at La Scala, was to commission Verdi's first opera), wrote the Italian libretto based on Der Graf von Burgund by August von Kotzebue.
The ensemble has been invited to play at important festivals and concert halls and has performed at La Scala in Milan, the Accademia di Santa Cecilia in Rome, the Suntory Hall in Tokyo, the Concertgebouw in Amsterdam, the Royal Albert Hall in London, the Musikverein in Vienna, Lincoln Center in New York, the Sydney Opera House, and at Kraków Philharmonic.
Since 1983, she has performed the role over a hundred times including at the Metropolitan Opera, La Scala, Arena di Verona, San Francisco Opera, Lyric Opera of Chicago, Washington Opera, Opera Company of Boston under Sarah Caldwell (in 1983), Barcelona, and Houston Grand Opera.
During the course of the next three decades she appeared at the Academy of Music in New York, at the Paris Opera, at La Scala in Milan, at the Rome Opera, at La Fenice in Venice, at the Royal Opera House, Covent Garden, in London and at the Théâtre de la Monnaie in Brussels.
Perini was born in Rome, where she studied at the Accademia Nazionale di Santa Cecilia before making her professional opera début at La Scala in 1908 as Anacoana in Franchetti's Cristoforo Colombo.
Puzzi Toso was Elisabetta in the difficult première of Donizetti's Maria Stuarda opposite Maria Malibran and Ignazio Marini at La Scala in December 1835, when the score, notably Elisabetta's part, was severely pruned.
Falstaff in Verdi's Falstaff with Lorenzo Molajoli and La Scala, originally recorded in 1932, Naxos label, current edition released on September 17, 2002, ASIN: B00006B1K9,
He was committed there through 1837, singing such roles as Alamiro in Donizetti's Belisario, Don Pedro in Giuseppe Persiani's Inês de Castro, Edgardo in Donizaetti's Lucia di Lammermoor, and Lorenzo in Bellini's I Capuleti e i Montecchi He made his debut at La Scala in 1838 as Alphonse in Daniel Auber's La muette de Portici, remaining there through 1839.
She made her La Scala debut in 1839, replacing Antonietta Marini-Rainieri, who was found unsuitable in the work's premiere performance, as Leonora in the first production of Giuseppe Verdi's first opera Oberto.
Hagegård studied at the Royal College of Music in Stockholm and has performed on stages around the world, including Carnegie Hall, the London Royal Opera House, La Scala, the Metropolitan Opera, the Sydney Opera House, the Deutsche Oper Berlin, the Vienna State Opera (Così fan tutte conducted by Nikolaus Harnoncourt), and the Royal Swedish Opera in Stockholm.
At La Scala in Milan, she created again for Bellini, Imogene in Il pirata in 1827, and Alaide in La straniera in 1829.
Additionally, Konoye made numerous guest appearances in Europe and America, conducting some 90 different orchestras in the course of his career including the orchestra of La Scala, Milan and the NBC Symphony Orchestra.
Leoš Janáček: Jenůfa – Magda Olivero (Soprano), Jeda Valtriani (S), Nicola Zaccaria (Bass), Margherita Benetti (Soprano), Giuseppe Morresi (Baritone), Grace Bumbry (Mezzo Soprano), Maria Grazia Allegri (Soprano), Nella Verri (Mezzo Soprano), Silvana Zanolli (Soprano), Renato Cioni (tenor), Jerzy Semkow (Conductor); La Scala Orchestra and Chorus.
In Europe he sang in many opera houses, including Vlaamse Opera and La Scala in Milan.
Singers who have started in Rheinsberg can be heard at the New York Metropolitan Opera, La Scala, Salzburg Festival, other various international opera houses such as Royal Swedish Opera in Stockholm, Tokyo Opera House, Vienna State Opera, Sydney Opera House, Zürich Opera House and most German opera houses.
Noticed and helped by Arturo Toscanini, she entered the Vocal Contest of America, which led to her debut at La Scala in Milan, as Leonora in La forza del destino, opposite Mario Filippeschi, in 1949.
He was born in Crema, Italy, and studied at the Brera Academy before becoming an assistant to Carlo Ferrario, the professor of stage design at La Scala.
Like most theatre composers of the time, Portugal set several librettos that had proven successful for earlier operas, such as Metastasio’s Demofoonte (premièred at La Scala, Milan in 1794) and Artaserse; and he set many stories that had been used before, including Serse, Alceste, Adrasto, Semiramide and Sofonisba.
In 1826 she sang in the premiere of Giovanni Pacini's La gelosia corretta at La Scala and returned to that house the following year to perform the role of Adele in the world premiere of Vincenzo Bellini's Il pirata.
Firstly, he reorganized the company’s operations and established links with many of the world's great opera houses, including the Royal Opera House, Covent Garden, the Metropolitan Opera, the Opéra Bastille, La Scala, La Fenice, the Tel Aviv Opera, the Washington National Opera and the San Francisco Opera.
He made his La Scala debut in 1953, in a contemporary work Leonore 40/45 by Rolf Liebermann, and took part in the premiere of the Dialogues of the Carmelites in 1957.
Some of the performances in which Machaidze has taken part have also been videotaped and released on DVD, including: Il Trittico, La Scala, 2008; Romeo et Juliette, Salzburger Festspiele 2008; I Puritani, Teatro Comunale di Bologna or recently La Bohème with Anna Netrebko in Salzburg.
She appeared at La Scala as Cherubino, and became established as one of the Wiener Ensemble (together with Irmgard Seefried, Elisabeth Schwarzkopf, Christa Ludwig, Lisa della Casa, Anton Dermota and others).
Among his many appearances and performances are the following: Amadeus (for the 2001 DVD edition), soloist in Milan La Scala (where he gave the first performance of the original version with glass harmonica of The Mad Scene from Donizetti's Lucia di Lammermoor) during a recital, and a tour with Tom Waits, Bob Wilson and Marianne Faithfull in The Black Rider (2004–2006).
In 1887, Maurel created the role of Iago in Otello at La Scala, Milan, and then, in 1893, he created the title role in Falstaff, again at La Scala.
When the 1848 revolution broke out, Merelli was suspected of spying for Radetsky, and he spent some time in Vienna after leaving La Scala.
-- is "guested" English? --> in La Scala's production of John Cranko's Romeo and Juliet and Roland Petit's Proust, and has worked at the Bayerische Staatsballett in Munich as a principal dancer from 1986-1991 (and as a choreographer from 1991–1998).
Pino Presti – arranger/conductor in "E poi...", "La pioggia di marzo (Aguas de março)", "Domenica sera", "Bird Dog", "Distanze", "Fa qualcosa", "Mr. Blue", "La scala buia"
Frati has recorded with various labels, most notably: Antonio Vivaldi and A. M. Giuliani's Concerto for Mandolin (Erato); Johann Hummel's Opera Omnia for Mandolin and Neapolitan Concertos for Mandolin (Dynamic); G. G. Boni’s Sonatas for Mandola (Tactus); with the Philharmonic of La Scala she recorded the soundtrack of a movie by Nino Rota (Sony) and Otello (EMI); with the Pavarotti International recorded for Decca; also recorded for Stradivarius, Agorà and Ducale.
The installations of the Met, La Scala and the Arcimboldi, the Vienna State Opera, Liceu, and the Royal Opera House were possible with the donations of the philanthropist Alberto Vilar, at the time a majority shareholder of Figaro Systems.
In the UK and Europe, the systems have been installed in venues including the Royal Opera House in London, the Teatro alla Scala and La Scala's Teatro degli Arcimboldi opera houses in Milan, Italy, the Gran Teatre del Liceu in Barcelona, Spain, and the Wiener Staatsoper in Wien, Austria.
In the 1950s, she began concentrating on "character roles" such as the Countess in The Queen of Spades, Mistress Quickly in Falstaff, Madame Flora in The Medium, and took part in the creation of Dialogues of the Carmelites at La Scala, in 1957.
In Europe, he conducted the premiere of an opera for La Scala Opera (Milan, Italy), and concerts at the prestigious Maggio Musicale (Florence, Italy), the Tonhalle (Zurich, Switzerland), and at the Holland Festival in the Concertgebouw (Amsterdam, the Netherlands), as well as the 750th Anniversary of the City of Berlin.
She also portrayed Felice in La Scala's first production of Wolf-Ferrari’s I quattro rusteghi (1922), a role that became her favourite and in which she continued to appear until 1936.
In the 2010-11 season, Luisotti led a new production of Attila by Gabriele Lavia at La Scala, a co-production with San Francisco Opera that was mounted there in 2012.
Her appearances with orchestras include the Philadelphia Orchestra, Los Angeles Philharmonic, San Francisco Symphony, Chicago Symphony Orchestra, Detroit and Atlanta Symphonies, Orchestre National de Lyon, National Symphony Orchestra of Taiwan, Cleveland Orchestra, Houston Symphony, St. Louis Symphony, Florida Orchestra, Rochester Philharmonic, Orchestra of La Scala (Milan), Orchestra della Toscana (Florence), and the Malaysian Philharmonic Orchestra.
She was titled prima ballerina for La Scala in 1892, before moving to St Petersburg in 1892, where she reached fame dancing with the Tsar's Imperial Ballet at the Maryinsky Theatre until 1901.
In 1964, he took part in two historical performances, first at Covent Garden, as Cavaradossi in Tosca, opposite Maria Callas and Tito Gobbi, and then at La Scala, as Alfredo in La traviata, opposite Anna Moffo and Mario Sereni, under Herbert von Karajan.
Pasero notably sang the role The Miller in the world premiere of Umberto Giordano's Il re on the 12 January 1929 at La Scala.