HD OPERA

January 26, 1930
 

SEMIRAMIDE • MET Opera Live On The Big Screen Mar 10

SEMIRAMIDE
MET Opera Live On The Big Screen
Tickets: $27.12

ON SALE JULY 28


The Capitol is a proud presenter of MET Opera in HD via Cineplex.
• 12pm 
Brown Bag Lunch with Guest Speaker in the Sculthorpe Theatre
• 12:55pm Opera coverage begins
Call for Opera packages: 5 Operas: $26 each, 8 Operas: $24.86 each

OVERVIEW

This masterpiece of dazzling vocal fireworks makes a rare Met appearance—its first in nearly 25 years—with Maurizio Benini on the podium. The all-star bel canto cast features Angela Meade in the title role of the murderous Queen of Babylon, who squares off in breathtaking duets with Arsace, a trouser role sung by Elizabeth DeShong. Javier Camarena, Ildar Abdrazakov, and Ryan Speedo Green complete the stellar cast.

Production a gift of The Lila Acheson and DeWitt Wallace Fund for Lincoln Center

 

CREATORS

A precocious composer of operas, Gioachino Rossini made his full debut at the age of eighteen (with La cambiale di matrimonio). His best-known operas include the Italian comedies Il barbiere di Siviglia (The Barber of Seville), L’italiana in Algeri (The Italian Girl in Algiers) and La Cenerentola (Cinderella). He also wrote a string of serious operas in Italian, including works such as Tancredi, Otello and Semiramide. The semi-serious opera La Gazza Ladra (The Thieving Magpie) has one of Rossini’s most celebrated overtures. After moving to Paris in 1824, he eventually started to write in French. His last opera, the epic Guillaume Tell (William Tell), replete with its iconic overture, helped usher in grand opera in France.

PRODUCTION: John Copley
SET DESIGNER: John Conklin
COSTUME DESIGNER: Michael Stennett
LIGHTING DESIGNER: Gil Wechsler

SETTING

Time: Antiquity or “Some 2,000 Years before the Christian era”

Place: Babylon

MUSIC

Semiramide was Rossini’s final Italian opera and according to Richard Osborne, “could well be dubbed Tancredi Revisited“. As in Tancredi, Rossini’s libretto was based on a Voltaire tragedy. The music took the form of a return to vocal traditions of Rossini’s youth, and was a melodrama in which he “recreated the baroque tradition of decorative singing with unparalleled skill”. The ensemble-scenes (particularly the duos between Arsace and Semiramide) and choruses are of a high order, as is the orchestral writing, which makes full use of a large pit.

 

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