Newsletter, Fall 2008: Focus on The Tsar`s Bride

THE OPERA ORCHESTRA OF NEW YORK
NEWSLETTER
FALL 2008
RIMSKY-KORSAKOV
The Tsar’s Bride
October 15, 2008
AT CARNEGIE HALL, 7:30 PM
The plot of The Tsar’s Bride takes
us to the dark era of the rule of
Ivan the Terrible in late sixteenthcentury Russia. In this rich setting
evolves a story of love, jealousy,
revenge and the mechanics of love
potions and poisons.
To consolidate his rule, Ivan the
Terrible (1530-1584) created a
palace guard, the oprichniki, loyal
only to him, which was the scourge
of the feudal nobility and anyone
else who appeared to threaten his
tyrannical rule.
ACT ONE
Rimsky-Korsakov’s opera opens
as a leader of these brutal troops,
Grigory Gryaznoy (baritone), is
brooding in his banquet hall over
his unrequited passion for Marfa
(soprano), a merchant’s daughter.
She is shortly to be betrothed to
Lykov (tenor), a young nobleman,
and in an irony that galls Gryaznoy,
he himself has been invited to be
best man. His fellow oprichniki
and their ladies arrive to feast and,
not unexpectedly, they carouse
boisterously and roughly. They are
entertained by their host’s mistress,
Lyubasha (mezzo-soprano) who
sings a mournful ballad, the only
genuine folk melody in the score
(and one that opera-goers will
recognize from its use in the
Coronation Scene from Boris
Godunov).
One of the guests is Bomelii
(tenor), personal physician to the
Tsar and a master of remedies for
many purposes, most of them
wicked. Gryaznoy asks him (as
though for another) for a love
potion which he intends to place in
Marfa’s wine at the betrothal feast,
to turn her feelings towards him.
The physician has just such a powder
and agrees to supply it. The plan
does not run smoothly since Lyubasha overhears their conversation;
and, as mezzos do so well, becomes
“crazed with jealousy.” On that note
the curtain falls on Act I.
ACT TWO
We meet the innocent Marfa for
the first time on the street in front
of the log houses where her father
(Sobakin, bass) and Bomelii, the
physician, live. It is night, and the
people of Moscow are coming out
into the cold after a service in the
nearby cathedral—an occasion for
a colorful choral selection. Marfa
tells a friend of her happiness at the
return of Lykov from military service
and of the approaching betrothal.
They are interrupted by a pair
of noblemen on horseback, one of
whom gives Marfa a searching look.
The man is silent, but there is no
mistaking the musical message. This
is Ivan the Terrible in disguise. We
learn later that he is selecting a wife
to succeed his second, who has
recently died. Marfa, uneasy, but
not aware of the import of the
powerful regard of the mysterious
stranger, retires to her house.
Lyubasha appears on the scene, her
jealousy further inflamed by what
she sees of Marfa’s beauty, which
she vows to destroy. The artful
physician’s house is conveniently at
hand and she requests of him a
potion that causes a woman to lose
her beauty.
Bomelii has just such a powder in
his medicine chest but scornfully
refuses the jewels she offers, demanding her “love” in exchange.
The impasse is violently resolved
Ivan IV “the Terrible” (1530-1584)
when Lyubasha’s jealousy is further
heightened by the sight of Lykov
and hearing his words about the
forthcoming betrothal in which
Gryaznoy will be a part. She must
have the poison; and, as Bomelii
sweeps her into his house, the
oprichniki prowl the streets vowing
revenge on those who oppose the
Tsar. It is another dramatic curtain.
ACT THREE
In the merchant’s house for the
betrothal ceremony, we learn that
300 girls from all over Russia have
been inspected as candidates for
the Tsar’s bride and that the search
has narrowed down to twelve,
including Marfa and a friend,
Dunyasha (mezzo-soprano). This
understandably makes Lykov
uneasy, but he is soothed by false
assurances from Gryaznoy and
further relaxes when Dunyasha’s
mother boasts that the Tsar seems
to favor her daughter. Lykov gives
voice to his relief and anticipated
happiness in an aria which the
composer wrote after the premiere, at the suggestion of the
tenor in that performance.
The betrothal ceremony and
toast take place. Gryaznoy slips
the powder into Marfa’s cup, not
realizing that Lyubasha has
substituted the beauty-withering
potion. The toast with the tainted
wine becomes a sextet with chorus, the great concerted scene of
the opera. The happiness of the
young people is brutally cut short
by the announcement that Ivan
has chosen Marfa. Curtain!
In a hall in the Tsar’s palace the
wretched bride is wasting away.
Gryaznoy tells her that Lykov has
confessed to poisoning her and
that he has personally executed
him. There follows another fine
concerted scene for quintet as this
news is given and received by
Marfa. When she revives from a
fainting spell, her mind confuses the
dreaded Gryaznoy with Lykov. In her
delirium, she implores this mistaken
lover to come into the garden with
her. This rhapsody so affects Gryaznoy
that he confesses it was he who was
responsible for her illness, thinking
that the physician had given him
poison instead of the love potion.
Lyubasha rushes in to tell the truth
and asks to be killed in punishment.
Gryaznoy obliges and is himself led
off. The drama concludes with Marfa
pathetically confusing her betrayer
with her once betrothed.
When the composer repaired to his
beloved country estate in the summer
of 1898 for the composition of The
Tsar’s Bride, it is said “the work went
rapidly and easily.” It is reported by a
friend of the composer that RimskyKorsakov considered this opera, written in 1898 when he was 54 and an
experienced opera composer, to be
the most mature and best thought
out of all his works. It was greeted
warmly in its premiere in Moscow in
1899, although, as he predicted,
some critics and musicians were
critical of his return to a conventional
operatic tradition. The Tsar’s Bride is
the most popular of his operas in
his homeland.
The music has a Slavic character,
although only one actual folk melody
Nikolai Rimsky-Korsakov (1844-1908)
2
is used, sung by Lyubasha. Richard
Taruskin writes that “Traces of the
‘old’ Rimsky-Korsakov inhere in the
archaic setting, which required, or
gave pretext for, some decorative
numbers in ‘neo-Russian style’.”
There are powerful themes,
associated with the silent and
largely offstage Ivan, but they are
not developed in the Wagnerian
manner, rather recalled, as Verdi did
in his later works. The most famous
single number of the score is the ill
Marfa’s rhapsody in the last act.
Ernest Newman called it “one of
the purest...expressions of melodic
ecstasy in the whole of music.”
Performances in the U.S. have
been few. In addition to a 1986
Washington production, in
New York there were staged
performances in 1922 in the
Manhattan Opera House on 24th
Street by an émigré company. Some
of those singers participated in a
concert performance at Lewisohn
Stadium in 1936. In 1995, The
Opera Orchestra Of New York
performed the work with the young
Olga Borodina as Lyubasha; she
now returns to the role as a
superstar, along with a distinguished cast, in what is sure to
be a thrilling evening.
Peter H. Judd
Death of Marfa, Act III, The Tsar’s Bride
A Letter from the President
The Tsar’s Bride marks the
beginning of my second year as
President of The Opera Orchestra
Of New York. It has been an exciting time.
On the artistic front, Maestro
Queler produced an exceptional
season, capped off with a Gala
celebrating her 100th performance
at Carnegie Hall. The singing was
ravishing, and in my opinion the
Gala positioned Opera Orchestra
for the future. All of the work Eve
Queler, her board, her orchestra,
and the staff, have put in over the
years has built a solid foundation
for Opera Orchestra to face the
future at a time when the world is
changing rapidly.
To flourish in this changing world,
Opera Orchestra has to face all the
Olga Borodina
Lyubasha
Russian mezzo-soprano Olga
Borodina was studying at the St.
Petersburg Conservatory when she
was spotted and cast by Valery
Gergiev, head of the Kirov Opera,
as Siebel in Faust. After winning
two major international competitions, she made her European
To deal with the marketing and
financial challenges, we have invested
in a new website, created a new look
and logo, installed sophisticated
technology, and secured the services
of some very talented people to
support Eve from the “back office.”
Now we have to expand our
revenue stream. Ticket sales barely
cover half the cost of a performance.
Donations and grants are required to
cover the other half. To that end, I
ask each and every one of you to dig
a bit deeper and support The Opera
Orchestra Of New York. There is a
form in this newsletter soliciting a
donation. Please take the time to
reply. Thank you.
challenges that every other arts
organization faces, such as an
aging audience, less government
and foundation support, a depressed economy, and rising costs.
And we have to compete with
better-financed organizations for
our audiences’ time and dollars.
We also have to increase our
subscriber and donor bases.
Our greatest attribute is the
quality of our product. One of
Maestro Queler’s talents has been
her ability to cast the best voice
available for a particular role. We
are committed to that tradition.
Opera Orchestra has the voices.
When you hear us in Carnegie
Hall, you hear the “real thing,” i.e.,
opera the way it is meant to
be heard.
, President
The Opera Orchestra Of New York
debut at Covent Garden in 1992 in
Samson et Dalila, opposite Plácido
Domingo.
In only a few seasons, she
became one of the most soughtafter singers by opera houses on
both sides of the Atlantic. With her
sensuous mezzo-soprano, she is
acclaimed for dramatic roles such as
Dalila, Carmen, Amneris, Marina in
Boris Godunov, and other Russian
roles. With her solid vocal technique
Borodina also excels in the bel canto
repertory, including the title roles of
La cenerentola and L’italiana in
Algeri. The mezzo-soprano made
her Metropolitan Opera debut in
1997 as Marina.
A leading member of the
Mariinsky Theatre, Borodina
performs extensively throughout
Europe, the United States, Japan,
and China. She is also well known
for her recitals and concert performances, and made her recital debut
in New York as a Vidda Award
winner with The Opera Orchestra
Of New York in 1993.
She appeared under Maestro
Queler’s baton in The Tsar’s Bride in
1995, and in a joint concert of arias
and duets with Dmitri Hvorostovsky
the same year. She enjoys a substantial discography of more than 20
albums, recorded with the world’s
leading conductors.
Olga Borodina is known as an
artist with strong convictions about
her work and about how opera
should be presented. Unlike many
Russian musicians with international
careers, she has not moved to the
West. “I’m one of the mad people
who need their roots. I take nourishment from my native land, my
motherland. I want my children to
3
Norman Raben
study in Russia because they
are Russian.”
Current engagements include
appearances at the Beijing Olympics,
with Carreras and Gheorghiu, as
well as at the Proms in London. This
fall she returns to the Metropolitan
Opera for performances of
Ponchielli’s La Gioconda and the
Verdi Requiem, followed by a gala
recital in Carnegie Hall. She will
make appearances in Europe,
concerts and recitals in November,
before returning to the United States
for Adriana Lecouvreur at the Met,
followed by the Verdi Requiem in
London and Birmingham. Borodina
will sing several performances of La
damnation de Faust (Berlioz), both
concert and staged versions, in
Europe next spring.
The mezzo has won numerous
prizes and awards, among them the
State Prize of Russia (2007) and
People’s Artist of Russia (2002). Early
in her career she won a gold medal
(Bastille) in Die Frau ohne Schatten.
Future engagements include Salome,
and Corigliano’s Ghosts of Versailles
at the Met, Berg’s Lulu with Chicago,
and Turandot in Philadelphia.
On international stages, Easterlin
appeared at the Saito Kinen Festival
in Japan for performances of Berg’s
Wozzeck conducted by Seiji Ozawa,
and has sung Pedrillo in Mozart’s
John Easterlin
Die Enführung aus dem Serail with
Bomelii
Opéra de Quebec under the baton
Opera News has praised
of Bernard Labadie.
character tenor John Easterlin for
An active concert performer, the
his “handsome stage presence and tenor made his Ravinia Festival debut
muscular, soaring voice” and dewith Daniel Barenboim and the
clared him “a master comic to
Chicago Symphony as Don Curzio in
boot.” For 2007-08, Easterlin
a concert version of Le nozze di
returned for his fourth season with Figaro which opened its centennial
the Metropolitan Opera as Prince
season. He has also appeared at the
Nilsky in Prokofiev’s The Gambler
Brooklyn Academy of Music with the
under the baton of Valery Gergiev,
Brooklyn Philharmonic Orchestra in
then to the Lyric Opera of Chicago
a Broadway salute to Stephen
for his seventh production with the Sondheim, telecast on PBS.
company under the baton of Sir
Renowned for his crossover and
Andrew Davis, and also sang
musical theatre activities, as well as
Chicago’s new production of
those on opera and symphonic
Strauss’s Die Frau ohne Schatten.
stages, Easterlin has been seen on
In addition, he debuted with
Broadway in the Tony AwardOpera Pacific as Little Bat in a new
winning revival of Chicago in the
production of Floyd’s Susannah, and counter-tenor role of Mary Sunshine,
made his European operatic debut
and in the role of Ari Leschnekoff in
at the Opéra Nationale de Paris
the new musical, Band in Berlin. He
4
in the Rosa Ponselle Vocal Competition and the Francesco Viñas
Competition (Barcelona). She sings
frequently in the major opera
houses and concert halls of the
world and was one of the winners
of the 2007 Opera News Awards
for distinguished achievement.
Her role in The Opera Orchestra
Of New York’s The Tsar’s Bride is
Lyubasha, which she seems to have
made her own.
Adrienne Fischier
starred in the first national touring
company production of Chicago,
and was soloist in the final touring
company of Fred Waring and the
Pennsylvanians. His European
theatrical debut came in the Paris
premiere of Hello Dolly at the
Théâtre du Châtelet. He received a
Drama Desk Award, Outer Circle
Critics Award, and an Obie Award
for his off-Broadway portrayal of
Billy Flanagan in the revival of
Harrigan ‘n Hart for the New York
Theatre Company. Easterlin has
appeared in leading roles in Obie
Award-winning revivals of Music in
the Air and The Gay Life at the
Lamb’s Theatre. On regional stages,
he has sung the title and/or leading
roles in Candide (Helen Hayes
Award), Phantom of the Opera,
Chicago (Barrymore Award), A Little
Night Music, The Most Happy
Fellow (Boston Theater Critics
Award, Boston Theater World
Award, and the Sea Coast Critics
Award), The Pirates of Penzance,
The Mikado, and The Merry Widow.
Easterlin is a master puppeteer
and previously enjoyed a career in
the field of corporate advertising.
He makes his Opera Orchestra Of
New York debut as Bomelii. A.F.
Her repertoire at the Metropolitan
Opera during recent seasons has
included Gilda, Violetta, Eudoxie,
Elvira, Rossignol and Lucia. She has
also performed concerts and solo
recitals in Tokyo and Nagoya, Japan,
and sung the opening night gala of
the Cesky Krumlov Festival with the
Brno Philharmonic in the Czech
Republic, which was televised on
Eurovision.
In recent seasons Makarina sang
Desdemona in Verdi’s Otello with the
National Symphony of Mexico;
Olga Makarina
Marguerite de Valois in Meyerbeer’s
Marfa
Les Huguenots with The Opera
Orchestra Of New York at Carnegie
Born in Archangel, Russia,
Hall; the title role in Bellina’s Norma
Metropolitan Opera soprano Olga
Makarina made her first New York with Palm Beach Opera; Violetta in La
traviata in Mexico; and Gilda in
appearances at New York City
Rigoletto in Las Palmas. She appeared
Opera as Lucia di Lammermoor,
in a new production of Bellini’s Il
and has also performed there as
pirata at the Met in 2002. At Rome’s
Gilda in Rigoletto; Konstanze in
Euro Festival Mediterraneo she sang a
Mozart’s Abduction from the
Seraglio; and Olympia in Les contes concert of bel canto arias and scenes
with Eve Queler and the Malta
d’Hoffmann. Other roles in her
Symphony at the site of Hadrian’s
repertoire include Ilia in Idomeneo
Villa in July 2003, which was tele(Lincoln Center’s Mostly Mozart
cast in Italy.
Festival), Violetta in La traviata
She made her Canadian Opera
(Kirov Opera), and Eudoxie in La
Juive (The Opera Orchestra Of New debut as Gilda, and made her Italian
York). Makarina has also appeared debut in Cagliari as Violetta. At
as Zerbinetta in Ariadne auf Naxos Carnegie Hall she sang a solo recital
with the Minnesota Orchestra, and for the Vidda Foundation under the
auspices of The Opera Orchestra Of
in Orff’s Carmina Burana.
New York.
In October 1999 she sang her
Makarina opened the Rome
first Pamina in Mozart’s Die ZauOpera’s 2005-06 season as Amina in
berflöte in a series of special gala
La sonnambula. A successful debut at
performances conducted by Eve
the Teatro Colon in Buenos Aires in
Queler and The Opera Orchestra
La bohème came in April 2006; and,
Of New York at the Metropolitan
Museum of Art’s Temple of Dendur. Mimi was also the role of her debut
RIMSKY-KORSAKOV
The Tsar’s Bride
October 15, 2008
CARNEGIE HALL
5
at Mexico City’s Teatro Bellas Artes.
In fall 2006 she took on the
demanding role of Elettra in
Mozart’s Idomeneo at the
Metropolitan with James Levine
conducting. At Opera Pacific she
was Adina in the Jonathan Miller
production of Donizetti’s L’elisir
d’amore. In 2007 she sang Norma in
a new production at the National
Theater Prague; the title role in
Donizetti’s Lucrezia Borgia at the
Slovak National Opera in Bratislava,
Lucia in Warsaw; and performed in
recital with Yefim Bronfman at
Carnegie Hall.
She appears as Marfa in The Tsar’s
Bride, returning to The Opera
Orchestra Of New York at Carnegie
Hall, and to the Metropolitan for
Gilda, Manon, Thaïs and Lucia, in
the 2008-09 season.
Among her recordings is a CD of
Italian Opera Arias released recently
by Romeo Records and cited by
Opera News as “exquisite.” A
second CD features Mozart’s motet
Exsultate Jubilate. In spring 2003 a
disc was released featuring concert
and operatic arias. In May 2004 she
recorded an album of songs by Liszt,
Tchaikovsky, and Rachmaninoff.
A graduate of the Mannes School
of Music, Makarina also has a
Masters in piano and voice from
the St. Petersburg Conservatory.
She has won a number of
important prizes and awards,
including the Metropolitan Opera
auditions, the Musicians Emergency
Fund, and the Liederkranz
Competition.
A.F.
for his third appearance with The
Opera Orchestra Of New York as
Lykov in The Tsar’s Bride.
In recent seasons Manucharyan
has appeared in Donizetti’s Maria
di Rohan at the Wexford Festival,
made a debut in Boston with the
Verdi Requiem, sung Rodolfo in La
bohème with the Teatro San Carlo
of Naples in Salerno, Gerald in
Lakmé with The Opera Orchestra
Of New York at Carnegie Hall, Don
Ottavio in Don Giovanni at the New
York City Opera, and Argirio in
Rossini’s Tancredi at the Caramoor
Festival.
He recently sang at Minnesota
Opera as Rodrigo in Rossini’s La
donna del lago, and at San Diego
Opera as Leicester in Donizetti’s
Maria Stuarda and sang Alfredo in
La traviata at the Tulsa Opera. He
made his debut as Nadir in Les
pêcheurs de perles with the Orquesta Symphonic del Estado de
Mexico, and returned to Baltimore
Opera for the Duke in Rigoletto.
He was guest soloist in a gala
concert in Boston celebrating the
100th Anniversary of the birth of
composer Aram Khachaturian, and
sang at Caramoor in the world
premiere of Donizetti’s recently
uncovered opera Elisabeth.
Other recent performances have
included Dvorák’s Stabat Mater in
New York, Lukas Foss’ Griffelkin
performed both in Boston and at
the Tanglewood Festival, a debut
with the Baltimore Symphony in
Beethoven’s Symphony No. 9,
and the role of Saro in Tigranian’s
Anoush at the Michigan Opera
Theater.
A native of Yerevan, Armenia,
Manucharyan appeared at the
Armenian National Opera in leading
roles including Belmonte in Die
Entführung aus dem Serail, Cassio
in Otello, Count Almaviva in Il
barbiere di Siviglia, Don Ramiro
in La cenerentola, and Beppe/
Arlecchino in I pagliacci. As featured
soloist with the State Philharmonic
Orchestra from 1995 to 1998, he
performed in various repertoire
including the Verdi Requiem,
Bruckner’s Te Deum, Beethoven’s
Symphony No. 9, and the Berlioz
Requiem.
A.F.
sixth International Rimsky-Korsakov
Vocal Competition in St. Petersburg,
and in 2005 he was awarded first
prize at the fourth International
Obraztsova Competition. He went
on to win second prize at the
International Competizione dell’
Opera held in Dresden in 2006.
His repertoire includes Tchaikovsky’s Onegin, Iago in Otello, Renato
in Verdi’s Un ballo in maschera,
Escamillo in Carmen, Tomsky in The
Alexey Markov
Queen of Spades, Germont in La
Gryaznoy
traviata, Don Carlo in La forza del
A native of Vyborg, Russia, in 2001 destino, Rodrigo in Don Carlos,
baritone Alexey Markov joined the
Robert in Iolanta, and Don Carlos in
Academy of Young Singers of the
Dargomyzhsky’s The Stone GuestMariinsky Theatre as a soloist. In
Kamennyj gost’.
2004 he won the first prize at the
Markov has given solo recitals
throughout Europe and in Turkey,
and sung in concert at Carnegie
Hall, Wigmore Hall, and Tchaikovsky
Hall, Moscow.
He recently appeared as Count
Tomsky in The Queen of Spades at
Frankfurt Opera and Iago in a new
production of Otello at the Semperoper Dresden. Last season 2007-08
he sang Renato in a new production of Un ballo in maschera at
Graz Opera Theatre, as Scarpia at
Frankfurt Opera, and as Germont
and Onegin at the Mariinsky
Theatre, Saint Petersburg.
Markov made a highly-praised
debut at the Metropolitan Opera
last season singing Prince Andrei in
Prokofiev’s War and Peace.
A.F.
Yeghishe Manucharyan
Lykov
Admired for his outstanding
musical intelligence and for the
purity, power, and flexibility of his
voice, Yeghishe Manucharyan is
quickly becoming one of the most
sought-after young tenors today.
He made his Carnegie Hall debut in
December 2003 as Percy in Donizetti’s Anna Bolena with The Opera
Orchestra Of New York.
Manucharyan joined the roster of
the Metropolitan Opera in 2007-08
covering the role of Pylade in Gluck’s
Iphigénie en Tauride and Alfredo in
La traviata. He begins his 2008-09
season with La bohème for Tulsa
Opera, and returns to Carnegie Hall
6
Mzia Nioradze
Dunyasha
Georgian mezzo-soprano Mzia
Nioradze studied music at the
Conservatory of Tiblisi (Georgian
Republic) before she completed her
studies at the Music Academy of
Ozimo in Italy.
In the 1990s she appeared with
the Opera of Paliashvili as Eboli
(Don Carlos), Azucena (Il trovatore),
Maddalena (Rigoletto), and Nanon
(Daisi by Paliashvili). At the Opera of
Batumi she sang Queen Natella in
Abessalom and Eteri by Paliashvili,
Georgia’s leading operatic composer.
Nioradze won prizes at the International Voice Competition Elena
Obraztsova and Rimsky-Korsakov
in St. Petersburg, as well as at the
International Belvedere Hans Gabor
Competition in Vienna.
Since 1996, Nioradze has been
a guest artist at the St. Petersburg
Mariinsky Theatre, where she made
her debut in the title role of Carmen.
In that theater she has performed all
the leading Verdi roles as well as the
leading mezzo and contralto roles of
the Russian repertory. In 2000 she
sang in a new production of War and
Peace conducted by Gary Bertini at
Opéra National de Paris Bastille.
In 2001 Nioradze made her U.S.
debut as Konchakova in Borodin’s
Prince Igor at the Houston Grand
Opera conducted by Alexander
Anissimov, followed by Eboli in Essen
with Stefan Soltesz, and a debut at
the San Francisco Opera as Paransema in Arshak II, which opened the
2001-02 season. She also sang in
Dvorák’s Rusalka in Lyon.
Miss Nioradze made her Metropolitan Opera debut in War and
Peace, singing Elena Matriosha and
Mavra, and was also featured as
Maddalena in Rigoletto. In San
Francisco she sang the title role in
Carmen. She returned to Lyon as
Marina in Boris Godunov, and sang
Dalila in St. Petersburg conducted
by Valery Gergiev and was acclaimed for her performances of
Azucena in Marseilles.
Other recent performances
include Amneris in Aida and
Marina in Boris Godunov at the
Met, Amneris in Tiblisi, the Verdi
Requiem in Batumi in the Georgian Republic, and Ulrica in Un
ballo in maschera at the Mariinsky
and the Bolshoi.
Nioradze debuted at the Dallas
Opera in 2005 in Verdi’s Luisa
Miller and sang Azucena at both
Teatro Comunale in Bologna and
Teatro Municipal in Santiago,
Chile. Upcoming engagements
include Ulrica, Azucena, and the
Countess in Pique Dame at the
Metropolitan Opera, a debut with
the National Symphony as Filipievna in Eugene Onegin, and
Azucena in Geneva, Lausanne
and Genoa.
Mzia Nioradze makes her
Opera Orchestra of New York and
Carnegie Hall debuts as Dunyasha
in The Tsar’s Bride.
A.F.
THE OPERA ORCHESTRA OF NEW YORKNewsletter
Eve Queler, Music Director
Deborah Surdi, General Manager
Sandra Davis, Director of Development
Evan Croen, Office Manager
Gina Dodds, Office Assistant
Norman Raben, President
Sandra Wagenfeld, Vice President
Stewart Greenfield, Treasurer
Francine Goldstein, Secretary
Board of Directors
Gideon I. Gartner
Francine Goldstein
Stewart Greenfield
G. Morris Gurley
Earle W. Kazis
Dr. David L. Kest
W. Loeber Landau, Esq.
Andrew J. Malik
Carol Minnerop, MD
Paul Plishka
Eve Queler
Leigh Allen Raben
Norman Raben
Gerald E. Rupp, Esq.
Sandra Wagenfeld
Published by
The Opera Orchestra Of New York
239 West 72nd Street, Suite 2-R
New York, NY 10023
Volume 27, Number 1
FALL 2008
Editor
Herbert J. Frank
Be an Angel
To make a tax-deductible
contribution to The Opera
Orchestra Of New York, please
mail your check to:
The Opera Orchestra Of New York
239 West 72nd Street, Suite 2-R
New York, NY 10023
Art Director
John Ostendorf
If you prefer, you may call
212-799-1982 with your credit
card information, or include your
gift when you order your
subscription or single tickets.
Thank you.
Associate Editors
Adrienne Fischier
Peter H. Judd
Joan T. Rosasco
Photographer
David Shustak
7
THE OPERA ORCHESTRA OF NEW YORK
2008-2009 CARNEGIE HALL SEASON
Eve Queler
Music Director
Wednesday, October 15, 2008, 7:30 PM
THE TSAR’S BRIDE (RIMSKY-KORSAKOV)
Olga Borodina, Olga Makarina, Mzia Nioradze, Yeghishe Manucharyan, John Easterlin, Alexey Markov
Thursday, March 19, 2009, 7:30 PM
RIENZI (WAGNER)
Lauren Flanigan, Rachele Gilmore, Brian Kontes, Daniel Mobbs, Djoré Nance, Leonid Zakhozhaev
Tuesday, April 21, 2009, 7:30 PM
MEDEA (CHERUBINI)
Aprile Millo, Jon Ketilsson
✄
✄
Save the Date!
SPECIAL EVENT
Ferruccio
Furlanetto
in concert with
The Opera Orchestra Of
New York
Eve Queler, conducting
SEAT
LOCATION
NAME________________________________________________________
TOTAL
ORDER
$125 x
$100
$
Parquet Side
$285 x
$95 x
$75
$
CITY, STATE, ZIP________________________________________________
1st Tier
$330 x
$110 x
$100
$
2nd Tier
$285 x
$95 x
$75
$
DAY PHONE_________________EVENING PHONE___________________
EMAIL________________________________________________________
❏
PAY BY CHECK
PAY BY CREDIT CARD:
❏ VISA
❏ MC
❏ AMEX
❏ DISC
CARD #___________________________________EXPIRES_____________
NAME ON CARD_______________________________________________
SIGNATURE___________________________________________________
Great scenes for bass
from Boris Godunov, Don
Carlo, Die Zauberflöte and
Don Quichotte, plus a
special tribute to Ezio Pinza.
SUGGESTED
CONTRIBUITION
Parquet Center $375 x
Rose Theatre
February 27,
2009
SINGLE TICKET
Price
No.
ADDRESS________________________________________APT__________
at
Jazz at Lincoln Center’s
Friday,
SUBSCRIPTION
Price
No.
BY MAIL:
Complete the order form and
return it with your payment to:
THE OPERA ORCHESTRA
OF NEW YORK
239 West 72nd Street, Suite 2-R
New York, NY 10023
BY PHONE: Call 212.799.1982
2nd Tier Side
$180 x
$60 x
$50
$
Dress Circle
$165 x
$55 x
$40
$
$
Front Balcony
$105 x
$35 x
$35
Rear Balcony
$75 x
$25 x
$25
$
Total cost of SUBSCRIPTIONS
$
Total cost of single tickets for THE TSAR’S BRIDE
$
Total cost of single tickets for RIENZI
$
Total cost of single tickets for MEDEA
$
2008-2009 SEASON CONTRIBUTION
$
Service Charge
BY FAX: Complete the order form
and Fax it to 212.721.9170
QUESTIONS: [email protected]
or call 212.799.1982
TOTAL
$ 5.00
$
Programs and casts subject to change. Tickets will be mailed approximately 3 weeks before the first performance. No refunds or
exchanges once tickets have been mailed. We are not responsible for tickets lost by the US Postal Service. You must notify Opera
Orchestra prior to the first performance if you have not received or have misplaced your tickets. Neither the acceptance of charges
nor the deposit of checks constitutes acceptance of your order, but if your order is not accepted, a refund will be made.
Contribuitiont to The Opera Orchestra Of New York are tax-deductible as provided by law. A copy of the last annual financial report
filed with the NYS Dept. of State may be obtained by writing to the NYS Dept. of State, Albany, NY 12231.
✄
✄
THE OPERA ORCHESTRA OF NEW YORK
239 West 72nd Street, Suite 2-R, New York, NY 10023
ADDRESS SERVICE REQUESTED
Maestro Eve Queler
Non-Profit Org.
U.S. Postage
PAID
New York, NY
Permit No. 4679