Synonyms for nannetta or Related words with nannetta
Examples of "nannetta"
A light lyric soprano, McLaughlin is noted for her performances as Susanna and Marcellina ("Le nozze di Figaro"), Zerlina ("Don Giovanni"), Despina ("Cosi fan tutte"), Norina ("Don Pasquale"), Marzelline ("Fidelio"),
("Falstaff"), Micaëla ("Carmen") and Tytania ("A Midsummer Night's Dream").
She made her professional debut at the Royal Opera House in January 2001 as
in Verdi's "Falstaff" conducted by Bernard Haitink. She trained under the institution's Young Artist Programme from 2001-2003.
Alice and Meg have received Falstaff's letters. They compare them, see that they are identical and, together with Mistress Quickly and
Ford, resolve to punish Falstaff. Meanwhile, Ford has been warned of the letters by Bardolfo and Pistola. All three are thirsty for revenge and are supported by Dr Caius and Fenton, a young gentleman. To Ford's disapproval, Fenton is in love with
. Finding a moment to be alone, the young lovers exchange banter. They are interrupted by the return of Alice, Meg and Mistress Quickly. The act ends with an ensemble in which the women and the men separately plan revenge on Falstaff.
The writer Russ McDonald observes that a letter from Boito to Verdi touches on the musical techniques used in the opera – he wrote of how to portray the characters
and Fenton: "I can't quite explain it: I would like as one sprinkles sugar on a tart to sprinkle the whole comedy with that happy love without concentrating it at any one point."
In 1988 she became a member of the Deutsche Oper Berlin where she made her debut in 1987 as Gilda in Verdi's "Rigoletto". With her bell like voice, she was successful not only in female roles such as Gilda, Susanna,
, Sophie or Pamina but also the pert Blondchen, as capricious Zerbinetta and Musetta or the androgynous Oscar.
The end of 2013 saw a very successful opening of a new production of "Falstaff" at the Met, conducted by James Levine. According to "The New York Times", "[with the role of
], the winning soprano Lisette Oropesa, sings with effortless grace and lyrical bloom."
Eugenia Ratti (born April 5, 1933) is an Italian soprano, particularly associated with the Italian repertory. A lyric coloratura soprano of considerable charm, she excelled in soubrette roles in works by Cimarosa and Mozart such as Susanna, Zerlina, Despina, and in light Donizetti such as Adina, Norina, as well as Verdi's Oscar and
Opera engagements included
at the Dutch National Opera; Gilda at Grand Théâtre de Genève; and Konstanze at the Bavarian State Opera. Her last performance of 2014 was her debut at the Los Angeles Opera as Rosalba in Daniel Catán's "Florencia en el Amazonas".
Bell died of an extended illness at the age of sixty. He was survived by his wife, the former
Pauline Schuler (1882–1968), a native of Keatchie in DeSoto Parish; one daughter, Mary Evelyn Bell McGuire (1916–2011); one son, Thornton Foster Bell (died 1960); one brother, W. B. Bell, and a sister, Sallie Bell, all of Shreveport.
Fenton arrives at the oak tree and sings of his happiness ("Dal labbro il canto estasiato vola" / "From my lips, a song of ecstasy flies") ending with "Lips that are kissed lose none of their allure."
enters to finish the line with "Indeed, they renew it, like the moon." The women arrive and disguise Fenton as a monk, telling him that they have arranged to spoil Ford's and Caius's plans.
, as the Fairy Queen, instructs her helpers ("Sul fil d'un soffio etesio" / "On the breath of a fragrant breeze, fly, nimble spirits") before all the characters arrive on the scene. Falstaff's attempted love scene with Alice is interrupted by the announcement that witches are approaching, and the men, disguised as elves and fairies, soundly thrash Falstaff. At length he recognises Bardolfo in disguise. The joke is over, and Falstaff acknowledges that he has received his due. Ford announces that a wedding shall ensue. Caius and the Queen of the Fairies enter. A second couple, also in masquerade, ask Ford to deliver the same blessing for them as well. Ford conducts the double ceremony. Caius finds that instead of
, his bride is the disguised Bardolfo, and Ford has unwittingly blessed the marriage of Fenton and
. Ford accepts the "fait accompli" with good grace. Falstaff, pleased to find himself not the only dupe, proclaims in a fugue, which the entire company sings, that all the world is folly, and all are figures of fun ("Tutto nel mondo è burla ... Tutti gabbati!" / "Everything in the world is a jest ...").
Moffo made her official operatic debut in 1955 in Spoleto as Norina in "Don Pasquale". Shortly after, still virtually unknown and little experienced, she was offered the challenging role of Cio-Cio San in an Italian television (RAI) production of "Madama Butterfly". The telecast aired on January 24, 1956, and made Moffo an overnight sensation throughout Italy. Offers quickly followed and she appeared in two other television productions that same year, as
in "Falstaff" and as Amina in "La sonnambula". She appeared as Zerlina in "Don Giovanni", at the Aix-en-Provence Festival and made her recording debut for EMI as
("Falstaff") under Herbert von Karajan, and as Musetta in "La bohème" with Maria Callas, Giuseppe Di Stefano and Rolando Panerai. The following year (1957) saw her debut at the Vienna State Opera, the Salzburg Festival, at La Scala in Milan and the Teatro San Carlo in Naples.
Her first leading role with the New Orleans Opera Association (at the age of eighteen) was the page-boy Oscar in "Un ballo in maschera", opposite Jussi Björling, in 1950. She starred there in "Don Giovanni" (as Zerlina), "Carmen" (as Micaëla), "Amelia al ballo", "Falstaff" (as
), "Die Fledermaus" (as Roselinde von Eisenstein), "Hänsel und Gretel" (as Gretel), "La bohème" (as Musetta), "La traviata", "La bohème" (as Mimì), "Markheim" (world premiere), "Turandot" (as Liù), "Elektra" (as Chrysothemis), "Pagliacci", and "Il tabarro".
She trained in Perth, where she was a pupil of Molly McGurk and was a Young Artist with the West Australian Opera Company. Her roles for the company have included Micaela ("Carmen"), Papagena ("The Magic Flute"), Giannetta ("L'elisir d'amore"), Morgana ("Alcina"), Ida ("Die Fledermaus"),
("Falstaff") and Vespetta ("Pimpinone"). In 2007, she created the roles of Echo/Aphrodite in Richard Mills' opera "The Love of the Nightingale". She sang Susanna in "The Marriage of Figaro" with the company in 2009.
She returned to Monte Carlo periodically during her career, portraying such roles as Inès in Giacomo Meyerbeer's "L'Africaine" (1905), Violetta in Verdi's "La traviata" (1910), the title roles in Massenet's "Manon" (1915) and Puccini's "Madama Butterfly" (1916), both Thalie and Junon in Jean-Philippe Rameau's "Platée" (1917), Maria di Spagna in Filippo Marchetti's "Ruy Blas" (1919), and
in Verdi's "Falstaff" (1919) among other roles.
While there she studied singing further with soprano Rose Caron. In 1914 she again appeared at the Royal Opera House in London as
, Susanna, Musetta, and Oscar in Verdi's "Un ballo in maschera". In 1917-18 she was committed to the Teatro Costanzi in Rome where she performed the roles of Alice Ford in "Falstaff", Mimì and Cio-Cio-San. In 1919 she was heard at the Teatro San Carlo in Naples.
From late 1950s, she moved from light parts to lyric parts in the same operas; from Susanna to Countess Almaviva ("Le nozze di Figaro"), from Zerlina to Donna Elvira ("Don Giovanni"), from Despina to Fiordiligi ("Così fan tutte"), from
to Alice Ford ("Falstaff"), and from Musetta to Mimi ("La bohème"). She was also praised for her performances of Violetta in "La traviata", Marguerite in "Faust", and Micaela in "Carmen".
She became a regular at the Met from 1962-1966 appearing in 86 performances. Her roles at the Metropolitan Opera include Echo and Zerbinetta in "Ariadne auf Naxos", Lisa in "La sonnambula", Oscar in "Un ballo in maschera", Xenia in "Boris Godunov", Rosina in "The Barber of Seville", Poussette in "Manon", Zerlina in "Don Giovanni", Gilda in "Rigoletto", Papagena in "The Magic Flute",
in "Falstaff", Olympia in "The Tales of Hoffmann", Fiakermilli in "Arabella", and Adina in "L'elisir d'amore".
In addition to these roles, at other opera houses Miah Persson has sung Brigida in Cimarosa's "Gli sposi per accidenti" (Studio Lirico, Cortina, Italy), Hero in Berlioz's "Béatrice et Bénédict" (Théâtre des Champs-Elysées, Paris and Baden-Baden), Costanza in Scarlatti's "La Griselda" (Staatsoper, Berlin),
in Verdi’s "Falstaff" (Aix-en-Provence), and Governess in Britten's "The Turn of the Screw" (Frankfurt). Other recent roles include "Arianna in Creta" in 2009, and in 2010 she sang her first Anne Trulove at Glyndebourne.
Malfitano made her professional singing debut in 1972 at the Central City Opera playing the role of
in Verdi's "Falstaff". She soon appeared with Minnesota Opera, where she sang in the world premiere of Conrad Susa's "Transformations" and, in 1974 at New York City Opera, in "La bohème", as Mimi. She then appeared with the Lyric Opera of Chicago (1975) and at the Royal Opera House (1976) and in other major European opera houses. In 1978, Malfitano achieved wider recognition in a telecast of Gian Carlo Menotti's "The Saint of Bleecker Street" from NYCO, playing Annina.
In 1960 Adani portrayed both
and Susanna at the Glyndebourne Festival. She made her debut at the Vienna State Opera that year as Susanna. In 1961 she made her debut at the Opéra de Monte-Carlo in the world premiere of Bruno Gillet's "Il visconte dimezzato". She also made guest appearances at the Bavarian State Opera, the Hamburg State Opera, the Deutsche Oper Berlin, the Lyric Opera of Chicago, the Teatro Colón, De Nederlandse Opera, the Opéra National de Paris, the Liceu, the Romanian National Opera, the Teatro Nacional de São Carlos, the Palacio de Bellas Artes, and at the opera houses in Cologne and Wiesbaden.
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