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: 8693
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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
https://wn.com/In_Conversation_With_Antonio_Pappano,_Music_Director_Of_The_Royal_Opera
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: 6233
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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.
https://wn.com/Madama_Butterfly's_Musical_Secrets_Uncovered_With_Antonio_Pappano_(The_Royal_Opera)
A Vocal Masterclass with Antonio Pappano and Jonas Kaufmann  (The Royal Opera)

A Vocal Masterclass with Antonio Pappano and Jonas Kaufmann (The Royal Opera)

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  • Duration: 4:35
  • Updated: 29 Jan 2015
  • views: 89182
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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.
https://wn.com/A_Vocal_Masterclass_With_Antonio_Pappano_And_Jonas_Kaufmann_(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: 26282
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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
https://wn.com/Antonio_Pappano_Introduces_The_Music_Of_Manon_Lescaut_(The_Royal_Opera)
'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: 3340
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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)
Jonas Kaufmann and Antonio Pappano on the musical secrets of Verdi's Otello (The Royal Opera)

Jonas Kaufmann and Antonio Pappano on the musical secrets of Verdi's Otello (The Royal Opera)

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  • Duration: 4:38
  • Updated: 28 Jun 2017
  • views: 12991
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Tenor Jonas Kaufmann and conductor Antonio Pappano reveal the musical secrets of Verdi's opera Otello, and what makes it such a challenge for singers. Find out more at www.roh.org.uk/otello Otello is Verdi’s final tragedy. After astonishing productivity in his early career, the composer slowed in later life; more than fifteen years separate Otello and its predecessor, Aida, although Verdi revised his earlier works Simon Boccanegra and Don Carlo in the interim. He was lured out of retirement by the composer and librettist Arrigo Boito, who tempted him with a proposal that was very close to Verdi’s heart: Shakespeare’s Othello. Boito adapted the libretto from Shakespeare’s play, with much intervention from Verdi. As the latest utterance from the master of Italian opera, the 1887 premiere was an instant success – but, more than that, Otello has been an important part of the international opera repertory ever since. The Italian musical landscape had changed during Verdi’s period of isolation, with many of his compatriots finding inspiration in foreign operatic innovations. Verdi responds in Otello with music that looks back to the traditional forms and structures of Italian opera, but which carries an unmistakably different dramatic thrust and fluidity, in response to Shakespeare’s text. The results are thrilling: from the violent storm that opens the opera through to Iago’s blood-chilling Credo and Otello’s increasingly desperate duets with Desdemona. Keith Warner (Wozzeck, Der Ring des Nibelungen) directs a new production of this masterpiece, The Royal Opera’s first in 30 years.
https://wn.com/Jonas_Kaufmann_And_Antonio_Pappano_On_The_Musical_Secrets_Of_Verdi's_Otello_(The_Royal_Opera)
Verbier Artists in Rehearsal (II/II): Sir Antonio Pappano and the Verbier Festival Orchestra

Verbier Artists in Rehearsal (II/II): Sir Antonio Pappano and the Verbier Festival Orchestra

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  • Duration: 2:56
  • Updated: 12 Aug 2017
  • views: 568
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Full Rehearsal here: bit.ly/Verbier2017ArtistsInRehearsal2 We bring you behind the scenes at the Verbier Festival to witness artists in the intimate setting of a rehearsal. Sit in as Sir Antonio Pappano and the Verbier Festival Orchestra rehearse Strauss' Ein Heldenleben. Subscribe to our channel for more videos http://ow.ly/ugONZ Concert recorded at the Salle des Combins (Verbier, Switzerland), on august 3, 2017 at 10:00. © Idéale Audience – medici.tv | Like us on Facebook : https://www.facebook.com/medicitv | Follow us on Twitter : https://twitter.com/medicitv Dive into the heart of classical music with medici.tv! Get closer than ever to the artists you love and have an unforgettable experience with 100+ live webcasts each year and 1,800+ videos. A rare and exclusive selection of concerts, ballets, operas, documentaries, master classes, behind-the-scenes and interviews!
https://wn.com/Verbier_Artists_In_Rehearsal_(Ii_Ii)_Sir_Antonio_Pappano_And_The_Verbier_Festival_Orchestra
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: 5157
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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
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: 4852
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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)
Norma Insight (The Royal Opera)

Norma Insight (The Royal Opera)

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  • Duration: 1:23:33
  • Updated: 01 Sep 2016
  • views: 28707
videos
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)
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: 158077
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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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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: 85864
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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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