In Conversation with Antonio Pappano, Music Director of The Royal Opera

In Conversation with Antonio Pappano, Music Director of The Royal Opera

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  • Duration: 19:43
  • Updated: 15 Apr 2015
  • views: 6877
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The Royal Opera Music Director Antonio Pappano reflects on 12 years with The Royal Opera, getting to know the London audience and working with Plácido Domingo. Find out more at http://www.roh.org.uk/news/watch-antonio-pappano-in-conversation-if-youre-the-musical-boss-of-the-house-you-have-to-stick-your-nose-into-all-corners-of-the-repertory Antonio Pappano has held the position of Music Director of The Royal Opera since 2002. During his tenure he has conducted an extensive repertory, including works by Mozart, Verdi, Wagner, Puccini, Richard Strauss, Ravel, Berg, Shostakovich and Britten, as well as the world premieres of Birtwistle’s The Minotaur (2008) and Turnage’s Anna Nicole (2011), and works for The Royal Ballet. http://www.roh.org.uk/people/antonio-pappano
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Madama Butterfly's musical secrets uncovered with Antonio Pappano (The Royal Opera)

Madama Butterfly's musical secrets uncovered with Antonio Pappano (The Royal Opera)

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  • Duration: 5:46
  • Updated: 10 Apr 2017
  • views: 392
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Music Director of The Royal Opera Antonio Pappano explores the score of Puccini's Madama Butterfly with the help of soprano Ermonela Jaho. Find out more at http://www.roh.org.uk/butterfly Giacomo Puccini was entranced by David Belasco’s play Madame Butterfly (based on a popular short story by John Luther Long) when he saw it in London in 1900. He harnessed the talents of librettists Luigi Illica and Giuseppe Giacosa (with whom Puccini had created La bohème and Tosca) to adapt Cio-Cio-San’s tragic tale for the operatic stage. Although the premiere at La Scala, Milan, in 1904 was poorly received, that same year Puccini revised and restaged the opera for performances in Brescia, to great acclaim. Madama Butterfly quickly became a hugely popular opera with performers and audiences alike, and remains one of Puccini’s most performed works. Puccini drew on Japanese folk melodies for the score, one of his most evocative and atmospheric. In Act I, Cio-Cio-San expresses her radiant happiness in ‘Ancora un passo’, and the two lovers rapturously declare their love for each other in the passionate duet ‘Viene la sera’. In Act II the mood becomes increasingly strained, as in ‘Un bel dì vedremo’ when Cio-Cio-San longs for the ‘fine day’ when her husband will return to her. The romantic exoticism of 19th-century European images of Japan – an integral part of Madama Butterfly’s character – inspire Moshe Leiser and Patrice Caurier’s elegant production for The Royal Opera.
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Andrea Chénier Vocal Masterclass with Antonio Pappano (The Royal Opera)

Andrea Chénier Vocal Masterclass with Antonio Pappano (The Royal Opera)

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  • Duration: 4:35
  • Updated: 29 Jan 2015
  • views: 53863
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Antonio Pappano explores Giordano's Andrea Chénier score, identifies where the challenges are and offers vocals tips. Find out more at http://www.roh.org.uk/productions/andrea-chenier-by-david-mcvicar The Music Director of The Royal Opera works with Jonas Kaufmann and Eva-Maria Westbroek in this clip, broadcast as part of the live cinema relay of David McVicar's production on 29 January 2015. The premiere of Andrea Chénier at La Scala, Milan, on 28 March 1896 propelled the young Umberto Giordano to the front rank of the giovane scuola (an up-and-coming group of young Italian composers that included Puccini and Mascagni). The opera exemplifies the verismo style that dominated Italian opera of the period – nowhere more so than in Giordano's skilful interpolation of different musical styles to provide local colour, from the aristocratic Gavotte of Act I to the Marseillaise in Act IV. The libretto by Luigi Illica (Puccini’s collaborator for Manon Lescaut, La bohème, Tosca and Madama Butterfly) was inspired by the real-life Romantic poet André Chénier, who was guillotined just three days before Robespierre's execution. Andrea Chénier has become celebrated for the lyrical music it offers the tenor who takes the leading role, with the off-the-cuff Improvviso of Act I and his final aria 'Come un bel dì di maggio' particular highlights. But there are thrilling moments for the whole cast, including Maddalena's ardent aria 'La mamma morta', Gérard’s 'Nemico della patria!’ and a host of dramatic duets and characterful ensembles. David McVicar (whose productions for The Royal Opera include Le nozze di Figaro, Faust and Die Zauberflöte) directs The Royal Opera's new production, moving from the opulence of pre-Revolutionary France to the horrors of the Reign of Terror.
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'Incredible theatre' – Antonio Pappano on why Bellini was a genius (The Royal Opera)

'Incredible theatre' – Antonio Pappano on why Bellini was a genius (The Royal Opera)

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  • Duration: 4:44
  • Updated: 26 Sep 2016
  • views: 1835
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Bellini’s bel canto masterpiece Norma had its premiere at La Scala, Milan, on Boxing Day 1831. After a muted initial response the opera quickly became popular, and is now a mainstay of the repertory. Find out more: http://www.roh.org.uk/productions/norma-by-alex-olle Norma is perhaps most acclaimed as a vehicle for the lead soprano, and indeed Bellini provides some astonishing vocal fireworks for his title character – most famously ‘Casta diva’, Norma’s Act I hymn to the chaste moon, and Act II’s ‘Dormono entrambi’, as she contemplates the unthinkable act of killing her children. But the opera’s dramatic potency rests in its breathtaking ensembles, most strikingly in Norma’s duets with Pollione and Adalgisa, the Act I trio ‘Vanne, sì: mi lascia, indegno’ and the blistering Act II finale. This new production of Norma is The Royal Opera’s first in nearly thirty years. Directing is Àlex Ollé, of the Catalan collective La Fura dels Baus, reunited with the creative team behind his acclaimed production of Oedipe. They give Norma a contemporary setting against a backdrop of a cruel civil war, and focus on the opera’s exploration of the conflict between an individual’s own desires and those of her society – and of religion as a force for unity and for destruction.
https://wn.com/'Incredible_Theatre'_–_Antonio_Pappano_On_Why_Bellini_Was_A_Genius_(The_Royal_Opera)
Antonio Pappano introduces the music of Manon Lescaut (The Royal Opera)

Antonio Pappano introduces the music of Manon Lescaut (The Royal Opera)

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  • Duration: 17:51
  • Updated: 11 Jun 2014
  • views: 21800
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Music Director, The Royal Opera Antonio Pappano introduces the music to Puccini's first triumph, Manon Lescaut. With pianist Richard Hetherington and singers Benjamin Hulett and Duncan Rock. Find out more at http://www.roh.org.uk/manonlescaut
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Rachmaninoff - Symphony No 2 in E minor, Op 27 - Pappano

Rachmaninoff - Symphony No 2 in E minor, Op 27 - Pappano

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  • Duration: 57:48
  • Updated: 01 Nov 2013
  • views: 110227
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Sergei Rachmaninoff Symphony No 2 in E minor, Op 27 1 Largo - Allegro moderato 2 Allegro molto 3 Adagio 4 Allegro vivace Orchestra of the Academy of Santa Cecilia, Rome Sir Antonio Pappano, conductor Live recording. London, Proms 2013
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Antonio Pappano introduces the music of Verdi's I due Foscari (The Royal Opera)

Antonio Pappano introduces the music of Verdi's I due Foscari (The Royal Opera)

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  • Duration: 3:38
  • Updated: 27 Oct 2014
  • views: 4049
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Music director of The Royal Opera Antonio Pappano on the music of Verdi's tragic opera, I due Foscari. Find out more at http://www.roh.org.uk/foscari I due Foscari, Verdi's sixth opera, is one of his darkest and saddest. At its heart is a father's realization that there is nothing he can do to protect his family against the world's cruelties. The 31-year-old composer may well have drawn on his own devastating experience of losing his wife and two infant children a few years earlier. But despite the opera's sombre soul, the music for I due Foscari contains exhilarating forerunners of Verdi's later style – particularly in the fiercely virtuosic writing for the heroine Lucrezia and her magnificent duets with the Doge in Act I and with her doomed husband in Act II. American director Thaddeus Strassberger, making his Royal Opera debut, depicts a Venice that is rotten to its core. Mattie Ullrich's opulent costume designs reference the opera’s 15th-century setting while suggesting the corruption lurking beneath. The spare sets of award-winning British designer Kevin Knight illustrate the Foscaris' isolation and the decay of the city, before flaring out into grand guignol for the opera's brilliant Act III carnival.
https://wn.com/Antonio_Pappano_Introduces_The_Music_Of_Verdi's_I_Due_Foscari_(The_Royal_Opera)
Antonio Pappano on Cavalleria rusticana and Pagliacci

Antonio Pappano on Cavalleria rusticana and Pagliacci

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  • Duration: 5:16
  • Updated: 10 Dec 2015
  • views: 4109
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Damiano Michieletto directs new productions of Mascagni and Leoncavallo’s greatest operas. Find out more here: http://www.roh.org.uk/mixed-programmes/cavalleria-rusticana-pagliacci Pietro Mascagni adapted Giovanni Verga’s play Cavalleria rusticana (Rustic Chivalry) for a competition held by the music publisher Edoardo Sonzogno. His opera, a verismo masterpiece, won the competition and became a tremendous success on its premiere on 17 May 1890. Cavalleria rusticana influenced many operas that followed, including Ruggero Leoncavallo’s Pagliacci (1892). Italian director Damiano Michieletto (Guillaume Tell) directs a double programme of both works for The Royal Opera. He updates the works to southern Italy in the late 20th century, to a village in the grip of poverty and hypocrisy, where strong passions lurk in the dark. Unusually for the time, Mascagni composed Cavalleria rusticana in set numbers – arias, duets and ensembles – rather than making it through-composed. He turns this structure to great advantage, using this formalism to detail the lives of his doomed characters within their repressive, repressed community, and to turn the screw as the opera hurtles towards its tragic end. Turiddu’s brindisi ‘Viva il vino spumeggiante’, Santuzza’s melancholic ‘Voi lo sapete, o mama’ and the Easter Hymn are among the musical highlights.
https://wn.com/Antonio_Pappano_On_Cavalleria_Rusticana_And_Pagliacci
Norma Insight (The Royal Opera)

Norma Insight (The Royal Opera)

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  • Duration: 1:23:33
  • Updated: 01 Sep 2016
  • views: 23522
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Discover more about The Royal Opera's new production of Bellini's Norma with Music Director Antonio Pappano, singer Joseph Calleja and director Àlex Ollé. Find out more at http://www.roh.org.uk/norma and sign up for a free Digital Programme at http://www.roh.org.uk/publications. Use promo code FREENORMA to get yours free. Bellini’s bel canto masterpiece Norma had its premiere at La Scala, Milan, on Boxing Day 1831. After a muted initial response the opera quickly became popular, and is now a mainstay of the repertory. Norma is perhaps most acclaimed as a vehicle for the lead soprano, and indeed Bellini provides some astonishing vocal fireworks for his title character – most famously ‘Casta diva’, Norma’s Act I hymn to the chaste moon, and Act II’s ‘Dormono entrambi’, as she contemplates the unthinkable act of killing her children. But the opera’s dramatic potency rests in its breathtaking ensembles, most strikingly in Norma’s duets with Pollione and Adalgisa, the Act I trio ‘Vanne, sì: mi lascia, indegno’ and the blistering Act II finale. This new production of Norma is The Royal Opera’s first in nearly thirty years. Directing is Àlex Ollé, of the Catalan collective La Fura dels Baus, reunited with the creative team behind his acclaimed production of Oedipe. They give Norma a contemporary setting against a backdrop of a cruel civil war, and focus on the opera’s exploration of the conflict between an individual’s own desires and those of her society – and of religion as a force for unity and for destruction.
https://wn.com/Norma_Insight_(The_Royal_Opera)
Conductor Antonio Pappano on the emotion in Puccini's Manon Lescaut (The Royal Opera)

Conductor Antonio Pappano on the emotion in Puccini's Manon Lescaut (The Royal Opera)

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  • Duration: 3:48
  • Updated: 24 Jun 2014
  • views: 8293
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Conductor Antonio Pappano takes us through the loneliness of Des Grieux in the Intermezzo, playing excerpts to show us how Puccini builds up the emotion. www.roh.org.uk/manonlescaut Find out more about Des Grieux's aria 'Donna non vidi mai' http://www.roh.org.uk/news/musical-highlight-donna-non-vidi-mai-from-manon-lescaut Jonathan Kent's new production of Manon Lescaut was relayed live in cinemas across the world on 24 June 2014. * * * * Puccini's publisher tried to prevent him from adapting Abbé Prévost's L'Histoire du chevalier des Grieux et de Manon Lescaut -- Massenet had already created a highly successful opera based on the novel. But Puccini was not to be dissuaded, claiming 'a woman like Manon can have more than one lover'. Despite a troubled gestation (five librettists were engaged in the project), the premiere of Manon Lescaut in 1893 was Puccini's first major triumph -- a hit with critics and the public alike. Jonathan Kent -- director of The Royal Opera's much-loved staging of Tosca -- brings a new production of Manon Lescaut to Covent Garden. Puccini's sumptuous, richly-coloured score is characterized by youthful vitality and filled with glorious melodies. Des Grieux expresses his passion for Manon in the Act I aria 'Vedete? io son fedele', lively dances evoke Manon's luxurious life in Paris in Act II, while in the impassioned finale to Act III, 'Pazza son!', Des Grieux begs to be allowed to join the imprisoned Manon on her voyage to America. The opera culminates in Manon's heartbreaking Act IV aria 'Sola, perduta, abbandonata', as she contemplates her impending death.
https://wn.com/Conductor_Antonio_Pappano_On_The_Emotion_In_Puccini's_Manon_Lescaut_(The_Royal_Opera)
Antonio Pappano introduces the music of Werther (The Royal Opera)

Antonio Pappano introduces the music of Werther (The Royal Opera)

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  • Duration: 1:11:11
  • Updated: 07 Jun 2016
  • views: 10401
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Full of melodious music, virtuoso singing and intense romantic drama, Werther is Massenet’s most enduringly popular opera. Join Music Director Antonio Pappano as he explores this hauntingly beautiful score. Find out more at http://www.roh.org.uk/werther
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Verdi: Messa da Requiem - Antonio Pappano, Rolando Villazon

Verdi: Messa da Requiem - Antonio Pappano, Rolando Villazon

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  • Duration: 9:39
  • Updated: 11 Aug 2009
  • views: 83223
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Verdi: Messa da Requiem - Anja Harteros, Sonia Ganassim Rolando Villazon, Rene Pape / Orchestra e Coro dellAccademia di Santa Cecilia, Antonio Pappano Following the release of his critically acclaimed recording of Madama Butterfly, Music Director Antonio Pappano returned to the Orchestra and Chorus of the Accademia Nazionale di Santa Cecilia in January 2009 for performances of Verdis spectacular Requiem with stellar soloists Anja Harteros, Sonia Ganassi, Rolando Villazón and René Pape. EMI Classics microphones were at hand to record the concerts. In the words of Antonio Pappano, himself born to Italian parents, this is a Requiem written by an Italian and I think Italians relationship to religion is explosive, full of temperament, full of fear. . And the spectre of being punished, of sins it sounds like an opera Im describing. I love doing this piece here in Rome with an Italian chorus and an Italian orchestra, and they have an innate sense of what this music is about, how to bring it to life. They really know what the words mean. They have lived what it is to be religious or spiritual in Italy. Interviewed at the time of the performances, Rolando Villazón discusses the same subject: Many say that this is the best opera Verdi ever wrote. Clearly its not but the theatricality of the piece requires something more than what you would use for an oratorio Its a very delicate balance singers have to have. You have to respect the style of this church piece, and at the same time you have to bring out the emotion. To that end, Antonio Pappano brings out the extremes of dynamics in the orchestral, solo and chorus parts: the opening, one of Pappanos favourite sections, is hushed and what Canning describes as the great horror moments [send] shivers down the spine. ________________________________________ More information: http://www.pappanoverdi.com ________________________________________ Buy from Amazon (USA): http://www.amazon.com/exec/obidos/ASIN/B002HIEIVK/emi-jazz-class-21/ref%3Dnosim ________________________________________ Buy from Amazon (UK): http://astore.amazon.co.uk/emi-jazz-class-21/detail/B002HIEIVK ________________________________________ Buy from Amazon (FR): http://www.amazon.fr/exec/obidos/ASIN/B002HIEIVK/emi-jazz-class-21/ref%3Dnosim ________________________________________ Buy from Amazon (DE): http://www.amazon.de/exec/obidos/ASIN/B002HIEIVK/emi-jazz-class-21/ref%3Dnosim ________________________________________ http://www.emiclassics.com http://www.emiclassics.co.uk http://www.emiclassics.de http://www.angelrecords.com ________________________________________
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