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Additional highlights of his season include returning to the Chicago Symphony Orchestra to lead Mendelssohn’s Elijah, and conducting Wagner’s Lohengrin at Deutsche Oper Berlin. He also returns to Switzerland’s Bern Symphony, where he is Principal Guest Conductor, to lead three programs including Schubert and Beethoven symphonies, a celebratory New Years Day concert, and a season finale with Shostakovich’s Symphony No. 5. Since his debut that year with La Traviata, he has conducted 67 different operas and more than 455 performances to date with the company. The Winspear stands in a long line of opera houses that reserve innovation for the exterior rather than for the theater inside. Jørn Utzon’s Sydney Opera House (1973) in Australia, and more recently Snøhetta’s Norwegian National Opera House in Oslo (2009) come to mind in this regard. Most of these schemes employ the horseshoe configuration established by Carlo Fontana in Venice more than 300 years ago and championed by Essert today; one of the few exceptions is Zaha Hadid’s unbuilt Cardiff Bay Opera House (1994–96).
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Guanqun Yu has worked with conductors such as Zubin Mehta, James Levine, Michele Mariotti and Cornelius Meister. In 2010 she made her debut in Vienna in Honegger’s Jeanne d’Arc under the baton of Bertrand de Billy. Verdi’s Macbeth has become a signature role, serving as Colclough’s debut at the Metropolitan Opera, Lyric Opera of Chicago, Bayerische Staatsoper and Luxembourg Opera. 2022 saw his return to the Royal Opera House Covent Gardens where he reprised his role as Telramund in Wagner’s Lohengrin.
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The voices of Spoletta, Sciarrone and soldiers are heard, indicating that Scarpia’s body has been found, and that Tosca is known to have killed him. As Spoletta, Sciarrone and the soldiers rush in, Tosca rises, evades their clutches, and runs to the parapet. He has worked on over 70 productions in 9 countries, and served for 3 years as a board member of industry body Stage Directors UK.
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He was appointed artistic director of the Royal Danish Opera in Copenhagen at age 26, and successfully oversaw the company moving into a new grand opera house in Copenhagen. Mr. Conlon is an enthusiastic advocate of public scholarship and cultural institutions as forums for the exchange of ideas and inquiry into the role music plays in our shared humanity and civic life. At LA Opera, he leads pre-performance talks, drawing upon musicology, literary studies, history, and social sciences to contemplate—together with his audience—the enduring power and relevance of opera and classical music in general. Additionally, he frequently collaborates with universities, museums, and other cultural institutions, and works with scholars, practitioners, and community members across disciplines. His appearances throughout the country as a speaker on a variety of cultural and educational topics are widely praised.
Additional roles performed include the title role in Lucia di Lammermoor, Susanna in The Marriage of Figaro and Juliette in Roméo et Juliette. Previous concert appearances include Mozart’s Exsultate, jubilate with the New Jersey Symphony, Glière’s Concerto for Coloratura Soprano and Orchestra with Camerata Notturna, and solo recitals with pianist Ken Noda at Lincoln Center’s Bruno Walter Auditorium and Miami’s Wertheim Performing Arts Center. Attitudes toward the arts have changed radically since the initial plan for the center respectfully aligned each institution along a single street (Flora). Today, generous open spaces intended to attract crowds of nontheatergoers are considered as important as the buildings themselves. To encourage this democratization, the architects enlivened the plan with new axes that link the buildings with plazas and the surrounding streets—notably a north–south path perpendicular to Flora.
Scarpia orders Spoletta and his agents to follow her, assuming she will lead them to Cavaradossi and Angelotti. He privately gloats as he reveals his intentions to possess Tosca and execute Cavaradossi. A procession enters the church singing the Te Deum; exclaiming ‘Tosca, you make me forget even God!
Winspear Opera House Projects - Foster + Partners
Winspear Opera House Projects.
Posted: Thu, 18 Jan 2018 15:45:35 GMT [source]
Peixin Chen is recognized for his majestically resonant bass voice and for a keen dramatic instinct that he brings to a wide range of roles on the international opera stage. His repertoire spans from the comic parts of Donizetti, Mozart and Rossini to the strong and serious roles of Puccini, Verdi and Wagner. In previous seasons, Ms. Zhang performed with Switzerland’s Verbier Festival as Pamina in The Magic Flute, Opera National Bordeaux and Guangzhau Opera House as Zerlina in Don Giovanni, Philadelphia Orchestra in L’Enfant et les Sortilèges, Tianjin Grand Opera as Lucia in The Rape of Lucretia and Harbin Symphony Orchestra as Marzelline in Fidelio.
Kristin Chenoweth Holiday Concert
He was one of the first five recipients of the Opera News Awards, and was honored by the New York Public Library as a Library Lion. He was named Commendatore Ordine al Merito della Repubblica Italiana by Sergio Mattarella, President of the Italian Republic. He was also named Commandeur de L’Ordre des Arts et des Lettres by the French Minister of Culture and, in 2002, personally accepted France’s highest honor, the Legion d’Honneur, from then-President of the French Republic Jacques Chirac. A house favorite with Belgium’s Opera Vlaanderen, he has appeared with the company as Telramund, Kurwenal, Macbeth and the title role of Falstaff, in a production directed by Oscar-winning actor Christoph Waltz. The foundation aims to represent inclusivity and diversity of people today by using classical music as a relevant medium to address current issues through a traditional art form.
Margot and Bill Winspear Opera House by Foster + Partners
He has collaborated with acclaimed conductor Gustavo Dudamel for performances of Timur in Turandot with the Simon Bolivar Symphony Orchestra of Venezuela and Beethoven’s Ninth Symphony with the Los Angeles Philharmonic. Born in North Carolina, Lucas Meachem studied music at Appalachian State University, the Eastman School of Music, and Yale University before becoming an Adler Fellow with the San Francisco Opera. The Margaret McDermott Performance Hall in the Margot & Bill Winspear Opera House has five levels, accessible via six floors (5th and 6th serve the Grand Tier). This course explores the features, surface materials, and design options for rooftop deck systems and provides an overview of recommended planning and installation guidelines.
He is a professor of opera directing at the College-Conservatory of Music in Cincinnati and the executive director of Opera Project Columbus in Ohio. In the summer of 2022, he joined the Frank R. Brownell III Apprentice Program at Des Moines Metro Opera, where he sung the role of Theseus in A Midsummer Night’s Dream and covered the role of the Lawyer in Porgy and Bess. Alan Williams recently received his specialist and master's degrees in voice performance from the University of Michigan under the tutelage of Daniel Washington. He received his undergraduate degree in 2018 from Northern Arizona University, where he studied with Dr. Judith Cloud. In the summer of 2023, she reprised Lilacs with the National Orchestral Institute + Festival at Wolf Trap, and she also made her role debut as Donna Elvira in Don Giovanni with Wolf Trap Opera.
A key design feature is the 318-rod chandelier located inside the performance hall, named The Moody Foundation Chandelier. The Winspear Opera House was designed by Foster + Partners under Pritzker prize-winning architect Norman Foster and Deputy Chairman Spencer de Grey. Renowned for its outstanding acoustics, intimate 2200-seat performance hall and iconic architecture, it is one of the nation’s premier performing art venues.
The firm clad the Winspear’s concrete drum with bright ruby PVB (polyvinyl butyral) interlayers laminated between two sheets of glass. By illuminating the colorful skin from both the back and front, the designers were able to create bold signage in the daytime and at night, when the house is washed in a red glow of light. The entrance to the Winspear Opera House features the Annette and Harold Simmons Signature Glass Facade, which ascends 60 feet creating a seamless visual appearance between the vibrant red glass panels of the McDermott Performance Hall and the surrounding Sammons Park. The principal performance space, Margaret McDermott Performance Hall, features gold leaf covered balconies, retractable screens, a spacious fly-tower, a three-square stage with generous side and rear stage areas allowing for opera to be more easily performed in repertoire. The modern Moody Foundation Chandelier showcases more than 300 LED rods that retract into the ceiling prior to performances. This ascension is accompanied by music specially commissioned by composer Philip Glass.
Orchestral highlights include appearances with Cleveland Orchestra, Chicago Symphony Orchestra, New York Philharmonic, Los Angeles Philharmonic, Boston Symphony Orchestra, and Vienna Philharmonic, and San Francisco Symphony, among others. Grammy Award-winning baritone Lucas Meachem returns as the ill-fated playboy, leading a dazzling ensemble of singers including Craig Colclough, Guanqun Yu and Isabel Leonard. James Conlon, renowned for his astonishing command of Mozart, conducts what many consider to be the greatest of all operas in a visually spectacular production by director Kasper Holten, with scenery by stage designer extraordinaire Es Devlin, known for innovative stage designs for Beyoncé, Adele, U2 and others. De Grey is particularly enthusiastic about an outdoor performance space currently under construction that aims to reinforce the building’s reputation for reaching out to the public. Connected with the opera house and protected by the solar canopy, this outdoor square will continue a tradition of pop concerts and fiestas that for decades have attracted as many as 5,000 people a night.
The solar canopy's louvers are arranged at fixed angles following the path of the sun. By eliminating most direct sunlight on the façade and by creating a cooler microclimate around the building, the canopy significantly reduce the energy requirements of the Winspear Opera House. The principal performance space, the Margaret McDermott Performance Hall, features retractable screens, a spacious fly-tower, a three-square stage with generous side and rear stage areas and variable acoustics. Cavaradossi is led away, and Tosca watches with increasing impatience as the exeution is prepared. When the soldiers have all left, she hurries towards Cavaradossi, only to find that he is really dead; Scarpia has betrayed her.
By creating a temperate outdoor oasis, the canopy reduces heating and cooling loads on indoor spaces. The architects employed a number of other energy-saving strategies, including a displacement ventilation system in the hall that pumps air from the floor—cooling people but not all the space above them. They also landscaped the shady refuge under the pergolalike structure with squares of lawn and wildflower plantings and a black-granite reflecting pool where a film of water hovers above the names of donors, flush with the surrounding pavement. While the canopy’s enormous grid extends the building’s reach outdoors and helps to define an enlarged public realm, its scale and rigidity are oppressive. This intimate recital hall is ideal for private gatherings and performances for audiences of up to 200.
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