By Francisco Salazar
This week a conductor releases the complete Beethoven symphonies and there is a rerelease of a Don Giovanni production. Here is a look at this week’s new releases.
Beethoven: The Symphonies
Yannick Nézet-Séguin and the Chamber Orchestra of Europe present Beethoven’s nine symphonies in what is the very first recorded cycle to be based on the recently concluded New Complete Edition of the composer’s works.
In a statement, Nézet-Séguin said, “I’m interested in how Beethoven’s music can surprise us today. Our interpretation should make the audience feel as if they were hearing this music for the first time. That is my goal.” The symphonies were recorded in July 2021 at the Festspielhaus Baden-Baden, where orchestra and conductor were joined in the Ninth Symphony by soloists Siobhan Stagg, Ekaterina Gubanova, Werner Güra, and Florian Boesch and the professional choristers of Laurence Equilbey’s Accentus.
Don Giovanni
Warner Classics releases director Sven-Eric Bechtolf production of Mozart’s masterpiece with Ildebrando D’Arcangelo as Don Giovanni, Luca Pisaroni as Leporello, Anett Fritsch as Elvira, Lenneke Ruitens as Donna Anna, and Valentina Naforniţa as Zerlina. The release includes a full length realtime BEHIND THE SCENES with picture-in-picture function Package: Luxury slipcase.
New Suns
The Philadelphia-based vocal sextet Variant 6 has released its debut album on Open G Records. The album celebrates a widely diverse range of styles and sounds of 21st-century vocal music, with works by Joanne Metcalf, Jeremy Gill, Bruno Bettinelli, Benjamin C.S. Boyle, and Gabriel Jackson.
Reactions – Songs and Chamber Music
Naxos Records releases an album with music by composer Margaret Brouwer. Brouwer is a composer who wears her heart on her sleeve and the new album is a collection of recent chamber music and vocal works that explicitly express the composer’s emotions, moods and unique view of world affairs. The album features Sarah Beaty performing “Declaration,” a set of songs for voice, piano, and violin addressing violence and war and the equality of all people, including a section using text from the Declaration of Independence.
Le Chant de la Terre
The new recording embraces Arnold Schönberg’s version of Gustav Mahler’s “Das Lied von der Erde” (1911) for chamber orchestra, completed by musicologist Rainer Riehn in 1983. This release features soloists Kévin Amiel and Stéphane Degout, as they both bring to us this enchanting music under the direction of conductor Maxime Pascal.
By Francisco Salazar
Oslo’s Den Norske Opera has announced its 2022-23 season.
Beate Mordal, Astrid Nordstad, Sakarias Fredriksen Tranvåg, Aleksander Nohr, Bernt Ola Volungholen, Petteri Lehikoinen, and Simen Bredesen star in “Wonderful Bernstein!” Karen Kamensek conducts.
Performance Dates: August 20-26, 2022
Wagner’s “Parsifal third act” will be conducted by Asher Fisch and will feature Yngve Søberg, Franz-Josef Selig, and Daniel Brenna.
Performance Dates: August 27-Sept. 2, 2022
Missy Mazzoli and Royce Vavrek’s “The Listeners” will be conducted by Ilan Volkov and directed by Lileana Blain-Cruz. The work will star Nicole Heaston, Frøy Hovland Holtbakk, Eirik Grøtvedt, Simon Neal, Håvard Stensvold, Tone Kummervold, Martin Hatlo, Johannes Weisser, Cecilie C. Ødegården, Anne-Marie Andersen, Ingunn Kilen, Megan Gryga, Ørjan Bruskeland Hinna, Mihai Florin Simboteanu, and Kjersti Kongssund star.
Performance Dates: Sept. 24-Oct. 9, 2022
Daniel Cohen conducts Rossini’s “Il Barbiere di Siviglia” with Jetske Mijnssen directing and Gurgen Baveyan, Angela Brower, Michele Angelini, Marco Filippo, Clive Bayley, and Jens-Erik Aasbø starring.
Performance Dates: Oct. 2-29, 2022
The Children’s Monster Opera will be conducted by David Maiwald and directed by Gunnar Bergstrøm.
Performance Dates: Nov. 10-16, 2022
“Dissimilis-40 Years of Defying Borders” will be performed.
Performance Dates: Nov. 23 & 24, 2022
Emmerich Kálmán’s “Die Csárdásfürstin” will be conducted by Stefan Veselka and directed by Hanne Tømta. The work will star Agneta Eichenholz, Eli Kristin, Audun Iversen, Magnus Staveland, Frøy Hovland Holtbakk, and Lina Johnson.
Performance Dates: Nov. 25, 2022-Jan. 18, 2023
Strauss’ “Elektra” will be conducted by Petr Popelka and directed by Ole Anders Tandberg. The cast will be led by Gun-Brit Barkmin, Anna Larsson, Elisabeth Teige, Magnus Staveland, and Yngve Søberg.
Performance Dates: Jan. 21-Feb. 10, 2023
Tchaikovsky’s “Eugene Onegin” will be conducted by Patrik Ringborg with a cast that includes Iurii Samoilov, Svetlana Aksenova, Edgaras Montvidas, Jens-Erik Aasbø, Stephen Milling, and Astrid Nordstad.
Performance Dates: Feb. 11-March 12, 2023
Ravel’s “L’Enfant et les sortilèges” will be directed by Gunnar Bergstrøm.
Performance Dates: March 25-30, 2023
Verdi’s “Un Ballo in Maschera” will be conducted by Edward Gardner and Aage Richard Meyer. Karolina Sofulak directs with Matteo Lippi, Yngve Søberg, Claudio Sgura, Marita Sølberg, Tone Kummervold, and Frøy Hovland Holtbakk starring
Performance Dates: March 25-April 29, 2023
Berlioz’s “La Damnation de Faust” will star David Kim, Julie Boulianne, and Nicolas Courjal. Edward Gardner conducts.
Performance Dates: March 30 & April 1, 2023
Puccini’s “Tosca” will be led by Xian Zhang and Eivind Gullberg Jensen and will star Ewa Vesin, Marita Sølberg, Daniel Johansson, Yngve Søberg, and Claudio Sgura.
Performance Dates: May 4- June 24, 2023
Mozart’s “Così fan tutte” is set to be conducted by Tobias Ringborg and directed by Katrine Wiedemann. The opera stars Frøy Hovland Holtbakk, Kari Dahl Nielsen, Magnus Ingemund Kjelstad, Eirik Grøtvedt, Birgitte Christensen, and Audun Iversen.
Performance Dates: May 21-June 23, 2023
By David Salazar
The Protoype Festival has announced its 2023 slate.
For the 10th anniversary of the festival, the company is kicking things off with the East Coast premiere of “In Our Daughter’s Eyes,” a work about “the journey of [a father] as he wrestles with truly becoming a man that his daughter would be proud of.” The Du Yun and Michael McQuilken work stars Nathan Gunn. Kamna Gupta conducts.
Performance Dates: Jan. 5 – 15, 2023
Emma O’Halloran’s “Mary Motorhead” and “Trade” will be performed in a double bill. The former work features a convicted murderer telling her history to the audience. Naomi Louisa O’Connell stars. “Trade” relates the story of “a rent boy and his closeted client in working-class Dublin, both trapped within their own lives.” The work stars Marc Kudish and Kyle Bielfield.
Tom Creed directs and Elain Kelly conducts.
Performance Dates: Jan. 7 – 14, 2023
Next up is the experimental opera “[Morning / Mourning]” by Gelsey Bell. Per the official webiste, “an ensemble of five vocalist/multi-instrumentalists witness and guide the audience through the changes on Earth as forests grow back, new species evolve, and the human-made world erodes away.”
Performance Dates: Jan. 5 – 15, 2023
Silvana Estrada’s “Marchita” will star the the Ka’y Ha’ Quartet.
Performance Dates: Jan. 12-14, 2023
Daniel Bernard Roumain and Marc Bamuthi Joseph’s “The All Sing ‘Here Lies Joy’ will get a world premiere at Duffy Square in Times Square. Soloists will be announced at a later date.
Performance Dates: Jan. 8, 2023
David Lang and Ryunosuke Akutagawa’s “Note to a Friend” will be co-presented with the Japan Society. Yoshi Oida directs.
Performance Dates: Jan. 12 & 14, 2023
Audiences will be able to stream Stefanie Janssen and Michaël Brijs’ “Undine.” Here is a rundown of the plot, per the company’s official website: “The mermaid Undine is addicted to hard plastic! In search of her daily dose, she ends up moving between an aquarium and a hydroponic garden in an apartment building in the middle of a city. There she meets the deeply unhappy Rodmenia, the wife of a tailor, and her neighbor Anselmo, an eccentric philosopher… Undine’s arrival shakes Rodmenia and Anselmo out of their respective ruts. The two neighbors become obsessed by the mermaid. Her magic world, in which she manipulates and seduces, stirs up an unprecedented desire for something glorious. Whereas Rodmenia sees this as a chance to escape her lonely, depressing existence and take charge of her own life, Anselmo sees Undine as a trophy, and the answer to the philosophic questions upon which his life has foundered. They each abandon themselves to their excessive desires, with far reaching consequences.”
Streaming Dates: Jan. 5 – 15, 2023
By Afton Wooten
The Oratorio Society of New York has announced its 2022-23 season.
All performances under the baton of the society’s Musical Director Kent Tritle will take place at in Stern Auditorium at Carnegie Hall.
The season opens with the world premiere by Paul Moravec and Mark Campbell’s new work “A Nation of Others.” The score explores the experiences of immigrants focusing on the many refugees who arrived at Ellis Island on a single day in 1921. Included in the work is Robert Paterson’s “quasi-fantasia” from “Whitman’s America.”
Featured soloists are sopranos Susanna Phillips and Maeve Höglund, mezzo-soprano Raehann Bryce-Davis, tenor Martin Bakari, baritone Steven Eddy, and bass-baritone Joseph Beutel.
Performance Date: November 15, 2022
New York City’s holiday tradition of Händel’s “Messiah” returns for the 147th annual performance. Soprano Maria Brea, contralto Heather Petrie, tenor Joshua Blue, and baritone Jesse Blumberg are the soloists.
Performance Date: December 19, 2022
Bach’s “Mass in B minor” closes the season. “Mass in B minor” is the baroque composer’s largest and most complex mass will feature soprano Emily Donato, mezzo-soprano Lucia Bradford, tenor Brian Giebler, and baritone Sidney Outlaw baritone
Performance Date: May 8, 2022
By Chris Ruel
Tête à Tête: The Opera Festival 2022 has announced its lineup. Under the theme of “burgeoning with life,” the productions promise to be one-of-a-kind.
The Festival runs from August 15-September 11, 2022. Here’s what’s on tap.
Kicking things off is a performance of “We Are the Monsters,” a Celtic fusion project created by members of Monster Ceilidh Band, Kathryn Tickell & The Darkening, and The Shee. The work melds traditional and electronic influences with a five-piece electro-folk line-up comprising some of the most well-known names in the U.K. folk scene.
Performance Date: Aug. 15, 2022
“What the dog said to the harvest” is a collaboration between poet and writer lisa luxx, and composer jasmin kent rodgeman that is part performance and part installation. luxx and rodgeman’s work confronts human displacement as a climate emergency and the inequities faced by climate refugees. The work pulls from opera, dance, spoken word, binaural sound, and archive/documentary film.
Performance Date: Aug. 18, 2022
Infinite Opera presents composer Daniel Blanco Albert and librettist Roxanne Korda’s “Besse: Water, Rye and Hops,” a beer-oriented opera that tells the story of Besse, a 14th-century brewster who loves beer and the independence it provides. Undeterred by accusations of witchcraft and the Black Death, Besse aims to take beer to its greatest heights. Appropriately, the performance will take place at a brewery.
Performance Date: Aug. 24, 2022
Composer Jack Dauner and librettist Kristin Hurst bring “Toadette, the Frog Opera” to the stage. The opera is a love story between a toad and a frog separated by a series of misfortunes and bad timing. The show will appeal to younger audiences and adults.
Performance Date: Aug. 29, 2022
Camille Maalawy and Mark Slater’s “Mezzaterra – Meeting Point” is a song cycle of eight songs based on themes of culture, identity, and celebrating the middle ground—the mezzaterra—where we meet and unite.
Performance Date: Aug. 30, 2022
The Operatists present composer Lucy Mulgan and comedian James Sherwood’s opera “Module 471” about a spaceship with a myriad of problems in this new work-in-progress scifi-horr-OPERA.
Performance Date: Aug. 30, 2022
Jataneel Banerjee’s “GANGA” is a work-in-progress chamber opera in Sanskrit. Ganga, a celestial river goddess whose womb becomes the medium for higher purposes, confronts a difficult choice in this saga of heartbreak, promises, and love.
Performance Date: Aug. 31, 2022
Rounding out August is the London premiere of the triple-bill “A Coffin, a Confession, and a Cautionary Tale.” Produced by New Chamber Opera, each piece comprises a monologue in which the solo singer takes the audience through a series of events, past and present.
Performance Date: Aug. 31, 2022
September kicks off with “She is My Pharaoh,” produced by Selfmademusic, with music by Mr. Self. Self, whose sound has been described as a fusion between John Cage and Sting, takes the audience through a ritualistic performance installation about the only female pharaoh, Hatshepsut.
Performance Date: Sept. 1, 2022
“The Burning Question,” produced by the Music Troupe, with music by Edward Lambert and text by Norman Welch, Edward Lambert, and Ambrose Bierce, tells a surreal story of love, death, and grand opera, simultaneously.
Performance Date: Sept. 1, 2022
Composer Michael Betteridge and librettist Rebecca Hurst present their cantata, “Voices of the Sands.” The piece draws from sea shanties, folktales, and found text. Written for three voices and harp, the performers invoke a sandbar off the Kent coast and tell the stories of those who have traveled and died there.
Performance Date: Sept. 2, 2022
“Film performance” by Luciana Perc is a musical response to the short film “Film” (Samuel Beckett, Buster Keaton). Each solo performance in this vocal and electroacoustic work focuses on a specific combination of objects featured in the short film. Perception and self-awareness are explored through the figure of the doppelgänger in “Film” and transposed to our daily interaction with cameras over the pandemic.
Performance Date: Sept. 3, 2022
“Landed,” composed by Steve Pfleegor Potter with a libretto by Zoe Bouras, is a work-in-progress that combines autobiographical text, live improvisation, and musical influences from Athens to London. “Landed” is the story of a Greek family fleeing the Suez Crisis and discovering their new home in England is falling off a cliff.
Performance Date: Sept. 3, 2022
Homo Promos will present “1936: Fishing” with music by Robert Ely and text by Peter Scott-Presland. The performance is the premiere of Episode Seven from “A Gay Century,” a 17-part epic put together by Britain’s oldest, award-winning LGBT company. The work is an exploration of LGBT history, relating the friendship between an old man and a teenager on Brighton Pier, where Oscar Wilde’s downfall casts a long shadow forty years later.
Performance Date: Sept. 4, 2022
Produced by Truelove Tours, “The Trans Lady Sings – First Aria” is a work-in-progress that features full-time Performance Poet and part-time woman Alice d’Lumiere. The artist returns after her 2021 Festival piece, “Spoken Word Overture,” which challenged her to overcome her childhood inability to sing. This year, d’Lumiere will reveal whether or not she can.
Performance Date: Sept. 4, 2022
“The Trilobite, Or The Fall Of Mr Williams,” written by Elfyn Jones, and produced by Sonopera, returns to the Festival after performing under Covid restrictions in 2020. As Mr. Williams plummets from a cliff, a journey to Exmoor, a love triangle, a near-death experience, a lecture in geology, and an opera all play out in mid-air.
Performance Date: Sept. 6, 2022
Tasty Opera, in association with the Royal Academy of Music, presents “Fossils, Lies & Poison,” a three-course tasting menu served with sides of justice, farce, and flypaper. “New Genus” features music by Rockey Sun Keting and words by Teresa Howard. “Cummings & Goerings” was composed by Zhenyan Li, with text by Sam Redway, and “Behind God’s Back” features music by Joseph Howard, set to words by Emma Harding.
Performance Date: Sept. 7, 2022
Josh Kaye and Alanya Noquet’s “Outlier,” produced by Outlier Opera Company, immerses the audience in the world of the NHS and the mind of a highly stressed junior doctor.
Performance Date: Sept. 7, 2022
“Sometimes I visualise myself back in the belly of my mother” by Mees Vervuurt, is an immersive opera in which singers use the edges of their voices—from stuttering to wolves howling —to articulate their desire to return to the womb.
Performance Date: Sept. 8, 2022
Fantômas Opera presents “The Red Room,” with music by Amir Mahyar Tafreshipour with text by Dominic Power. The work is a portable opera for three voices set in 1930s Iran and based on a short story by the Iranian author, Sadegh Hedayat.
Performance Date: Sept. 8, 2022
The writings of neurologist Oliver Sacks inspired the composer Helgi R. Ingvarsson and librettist Rebecca Hurst to write “Music and the Brain,” an opera about brain damage. The work tells the story of The Singer, whose successful career has been cut short by an accident that leaves her unable to comprehend music and perform.
Performance Date: Sept. 9, 2022
In William Gardner and Matthew Green’s “A New England.” After overcoming severe adversities, Alfred, King of the West Saxons, seeks a monk from Wales while the survival of all of England hangs in the balance.
Performance Date: Sept. 10, 2022
The life of the eccentric composer, Erik Satie, is explored in “Memoirs of an Amnesiac: The Life of Erik Satie.” Composed by Samuel Pradalie, with words by Pradalie and Erik Satie, the opera comprises a set of surreal, humorous vignettes based on Satie’s writings.
Performance Date: Sept. 10, 2022
The final day of the Festival features a double-bill with John Hawkins and librettist Edward Lear’s “The Dong with the Luminous Nose,” produced by Luminose, and “The Journey” composed by Jeremy Gill to text by Gill and Marianna Suri. “The Dong with the Luminous Nose” is a story of love and loss told in poetry, music, and mime. “The Journey” was inspired by the ongoing refugee crisis and is based on a story by Michael Zand. The production features the Citizens of the World Choir, an amateur choir of refugees and asylum seekers.
Performance Date: Sept. 11, 2022
Reptilian Productions’ “The Crocodile of Old Kang Pow Grand Finale,” with music and text by Darren Berry, features opera, gospel, puppetry, swashbuckling sword fights, and so much more. In this raucous tale, the Marquis de Sade has lost his libido and must petition the Crocodile God of fertility. Unfortunately, the Crocodile God’s libido is lacking, too, and should the Marquis fail in his quest, Marie Antoinette will cut off his head.
Performance Date: Sept. 11, 2022
By Francisco Salazar
Metropolitan Opera General Manager Peter Gelb has spoken out against Yusif Eyvazov’s comments on social media regarding Angel Blue’s cancelation at the Arena di Verona.
Following backlash toward the use of Blackface in a production of “Aida,” Eyvazov took to social media to defend his wife Anna Netrebko and said Blue’s decision was “disgusting” and questioned why she had not withdrawn last month when “Aida” opened on June 18, with a Ukrainian soprano Liudmyla Monastyrska portraying the title role in blackface.
The comments immediately went viral and saw many artists condemn Eyvazov and praise Blue.
Following Eyvazov’s comments, Gelb told the New York Times, “There is no room at the Met for artists who are so meanspirited in their thinking.”
He added, “We’re considering what steps we might take.”
Gelb’s comments about Eyvazov’s social media use come after his silence over Rene Pape’s homophobic rant on Facebook following The Metropolitan Opera’s participation in pride. Pape said he would never return to the Met because it participated in the parade. He later apologized following a statement by the Berlin State Opera. OperaWire reached out to the Metropolitan Opera for comment but never received any reply.
Angel Blue made headlines on July 14 when she decided to cancel her debut in Verona due to the use of Blackface in a production of “Aida.”
In her statement, Blue did not mention Netrebko nor any artist who is performing the production and instead called out the institution for its use of blackface and told the New York Times, “My decision doesn’t have anything to do with them. My decision has to do with my convictions.”
The Arena di Verona has defended its practice telling OperaWire, “The point is that as long as we do a historical Aida in the Arena, it is very difficult for us to change something.”
They also released a statement regarding Blue’s cancelation and said, “The agreement between Fondazione Arena and Angel Blue, represented by her management, was reached almost a year ago, as for all other singers committed to the Festival. The 2022 première of ‘Aida’ took place on 18th June. This production’s characteristics were well known when Angel Blue knowingly committed herself to sing at the Arena. Every country has different roots, and their cultural and social structures developed along different historical and cultural paths. Sensibilities and approaches on the same subject might widely vary in different parts of the world.”
The current production that the Arena di Verona is using opened in 2002 and has seen many sopranos use blackface. In 2019, the Arena revived its replica of the 1913 production starring Angela Meade and María José Siri, who also used the dark makeup.
“Aida” runs through September with Monica Conesa, Latonia Moore, and Maria Teresa Leva also set to star.
By Afton Wooten
The Caramoor Festival has announced the programs it will feature this fall and coming spring.
Events including chamber concerts, classical and musical theatre recitals, jazz ensembles, and family concerts will span from Nov. 6 through May 12. This article will only feature the vocal selections.
First up will be Grammy Award-winning countertenor Iestyn Davies and lutenist Thomas Dunford. Their program features mainly Italian, French, and English Renaissance pieces and solo lute music.
Performance Date: Nov. 20, 2022
The operatic vocal ensemble Calmus will give two Holiday themed recitals. They will perform music by Thomas Morley, Philip Radcliffe, Hugh Martin, and many traditional pieces.
Performance Date: Dec. 10, 2022
The participants of the Schwab Vocal Rising Stars mentor program will give a recital at the end of their week-long features residency at Caramoor. Throughout the week they will receive daily coaching, rehearsals, and workshops.
Performance Date: March 12, 2023
By Nicolas Quiroga
ADA Artist Management has announced that it will be offering two new initiatives geared toward young opera professionals.
The company will offer an Artist Management Internship for students and a Professional Expansion Scholarship for mid-career opera singers.
The fall internship will be open to students at William Paterson University and is being offered to emerging professionals who “show interest and promise in the realm of music business or arts administration.” It will feature 14 hours per week for 12 weeks for $3,000.
Meanwhile, the “spring fellowship will be offered to an established professional singer interested in transitioning their industry knowledge and skill set to a new or correlating career in arts administration and/or artist management.” This will also provide $3,000 for 16 weeks of work consisting of 10 hours per week.
Speaking about the new initiative, Ana de Archuleta, president and executive director of ADA, said, “A core part of our mission at ADA is to support the opera and classical music industry in developing the next generation of artist managers and arts administrators. With this initiative, we establish a formal process to realize that goal. Many professional opera singers wish to transition from performing to administrative positions, but their busy performance schedules and lack of practical training inhibit their ability to do so. We want to empower these artists who have given so much of themselves to our industry and help them write the next chapter of their careers.”
Deadlines for applications are August 15 for the internships and September 6 for the scholarship. The opportunities are only open to citizens of the United States legally authorized to work in the U.S.
By Chris Ruel
Two London artist management agencies were hit with the deaths of veteran managers, both retired. On May 31, 2022, Classical Music reported David Sigall of Ingpen & Williams International Artists’ Management had died on May 29, 2022, at age 79, following a long illness.
Five days later, On June 3, 2022, The Violin Channel reported the passing of Peter Bloor of Askonas Holt. Bloor was 73 years old.
David Sigall served as Director of Ingpen & Williams International Artists’ Management and former honorary president of the International Artist Managers Association. Sigall retired in 2016. He is survived by his wife Karen Taylor and sister Vera.
Sigall worked with some of the biggest names in opera, including Sherrill Milnes, Pierre Boulez, Sir Georg Solti, Barrie Kosky, Dame Joan Sutherland, and Jessye Norman, among many others.
“I count myself to have been very lucky to have had [Sigall] at my side throughout most of my working life. His support was unfailing and, remarkably, we always saw eye to eye on any important decisions that needed to be made,” said a former colleague of 40 years, Jonathan Groves, in the Classical Music article.
Bloor, who was born in Sydney, Australia, retired from Askonas Holt in 2013. He spent 25 years at the London agency, starting in 1988. Bloor was appointed to the agency’s board shortly after.
Bloor joined The Australian Opera’s administrative team in 1973. While at AO, he became friends with Joan Sutherland and Richard Bonynge. Bloor, a gifted translator, wrote surtitles for The Australian Opera and the Royal Opera House, translating operas from Italian, French, and German.
“His knowledge of voices and their repertoire was second to none. He also possessed a wicked and dry sense of humor and adored the absurd, both in life and the business. Selfless to a fault, he was hugely loved by both his artists and his colleagues who knew they could always turn to him, even in retirement, for advice, guidance, or just a friendly listening ear when needed,” Askonas Holt stated on their website.
By Francisco Salazar
The Orchestra di Padova e del Veneto has announced its 2022-23 season featuring three vocal performances.
The season will showcase a Concerto di Natale featuring Haydn’s “The Creation” with Filippo Maria Bressan conducting. Federica Livi, Matteo Mezzaro, and Sergio Forresti are the soloists.
Performance Date: Dec. 12, 2022
Marco Guidarini conducts Stefano Secco in a concert of music by Puccini, Respighi, and Malipiero.
Performance Date: March 9, 2022
Gérard Korsten conducts music by Mendelssohn with soloists Carmela Remigio, Rosalia Cid, and Leonardo Cortellazzi.
Performance Date: March 30, 2022
The season will also showcase such conducts as Michele Spotti, Wolfram Christ, and Music Director Marco Angius. Soloists will include Gabriela Montero, Alessandro Carbonare, Ettore Pagano, and Marco Scolastra.
