Brno, Czech republic – three years after its lauded premiere, the National Theater in Brno’s production โof handel’s Alcina has returned home, elevated to new heights thanks to theโฃ addition โof internationally acclaimed mezzo-sopranoโ magdalena Koลพenรก. Already a critical โฃdarling following a accomplished tour of european
Prepare to be captivated byโฃ Giuseppe VerdiS timeless masterpiece, La Traviata, as รpera 2001 brings its acclaimed โproduction to the Amaia Theater in Arrasate on Sunday, Novemberโค 2nd at 7:00 p.m. This adaptation of โAlexandre Dumas Jr.’s The lady of the Camellias explores the complexities of love – itsโค joys, its โsocietal challenges, and its ultimate heartbreak.
The staging, โa classicโ adaptation created by Aquiles โขMachado, promises a powerful and moving experience.Ozenki Elkartea,the driving force behind โฃbringing thisโข opera to the region,aims to โขfoster a greater recognition โขfor music withinโข the municipality. “Weโ owed it to theโฃ public in the area who always responds massively,” explains Manu Gallardo, a member of Ozenki Elkartea.
To ensure full enjoyment,โข a simultaneousโค Spanish translation will accompany the performance. The opera, comprised of three โacts, is expected to last approximately 2 hours and 10 minutes, including intermission. Tickets are still โavailable through the Amaia Theater’s usual channels, โขas well as at the Altuna Drug Store.
Ozenki Elkartea has partnered โฃwith รpera 2001, aโ company boasting over 25 years โof experience and a strong reputation on โtheโ European โstage. “We know that this show is not going to disappoint,” Gallardo assures.โ
This enterprising production features โnearly 100 professionals, including the renowned Valencian Orchestra and the Sicilian Choir, widely considered one of Europe’s finestโข lyrical โขchoirs. The production itself โฃis visually stunning, showcasing over 100 meticulously crafted costumes reflecting the opera’s โhistorical โperiod.
The Arrasateโฃ performance is part of a larger european tour, having launched โsuccessfullyโฃ in โAlicante last Thursdayโข and scheduled to โvisit 41 cities acrossโข Spain, France, and Portugal.โ Gallardo emphasizes the significance of this chance: “It is indeed fortunate to beโ able to have a show of this quality in Debagoiena.” The logistical undertaking of transporting sets and accommodating the large cast and โcrew requires โฃmeticulous planning.
As 2011, Ozenki Elkartea has dedicated itself to bringingโ poetryโฃ and music to the Debagoiena region. “We were clear that La Traviata had toโ be at the Amaia,” Gallardo states,highlighting the months ofโ dedicated work to bring this vision to fruition.
on November 2nd, the Amaiaโ theater will be transformed into a world of passion, drama, and unforgettable music. โคDon’t miss this opportunity โto experience the enduring โขpower of La Traviata.
Burgas, Bulgaria – The State Opera-Burgas will premiere a โคnew ballet adaptation of the classic fairy tale โ Hansel and Gretel โ on October 25thโ at 11:00 AM. The production offers a unique interpretation ofโ the story, shifting focus from parental abandonment to โขthe dangers of superficial temptation,โค embodied by the figure ofโข Baba Yaga and her alluring house.
This adaptation diverges from customary tellings, โขemphasizing the children’s encounter with temptation rather than their expulsion by their parents. According to the production’sโข director, โฃthe Baba Yaga’s house serves as a symbol of this temptation,โ “a shiny sheath and treats” masking hidden intentions. “Theโ message is not to lie inโ appearance,” the โฃdirector explained, adding, “behind the โbeautiful โฃfacade โthere are often hidden intentions. And โขin the real life โaround โus, as well as in fairy tales, not everything that looks tempting is โgood for โus.”
The premiere is part of a busy โperiod for the director, who is simultaneously working on the film Nestinarian, the opera Palechka, and the organization of the Super Talent competition for โคdancers. Additionally,the director is preparing โfor “Burgas Dance,” a non-competitive event on December 13th at theโฃ State Opera-Burgas,designed to unite and showcaseโ the city’s diverse dance community. Balancing creative work withโ family life, the director stated, “At โขthis point, I look โคto distinguishโค them, and my personal life is a priority. But with โgood organization, everything happensโ because I love my job โvery much and it is my great love.”
The โdirector invites audiences toโ attend the premiere, promising โa “magical world” and an escape from everyday life through the power of dance.
Amaia, Basque Country – Theโฃ Ozenki Lyric Association will present Giuseppeโ Verdi’s “La Traviata” on November 2ndโข at 7:00 โp.m. at the Amaia venue, performed โขby Opera โ2001. Tickets are availableโฃ for 30 euros through usual Amaia channels, altuna perfumery, and โขvia email at ozenkielkartea@hotmail.es.
The production โคwill feature an international cast of โsingers, including French sopranoโค Gabrielle Philiponet and Korean Yeonjoo Park โalternating in the role of Violetta Valery, the lady of the camellias.Tenors Haruoโข Kawakami and David Baรฑos will perform alongside baritone Jiwon Song and Paulo Rugiero, with mezzo-soprano Leonora โขIlievaโข completing the principal cast. Slovenian conductor Martin Maczik willโ lead theโฃ orchestra.
Prior to “La Traviata,” the โขOzenki Lyric Association willโ host the annual โฃ”Lirika Gaztea” recital on October 4th at โข7:30 p.m.at Juan Arzamendi Musika โEtxea (Jame). Tickets for this event are priced at 15 euros. This year’s โrecital showcases โฃA Tempoโฃ Korua, โa collective โคof young Basque musicians and singers aged 18-25,โ accompanied by a baroque orchestra of 10 young musicians, performing โขworksโ from the Renaissanceโฃ and Baroque periods, including pieces by J.S. Bach, Handel, and Henry Purcell.
The Ozenki โLyric Association is committed to promoting โฃBel Canto and supportingโ emerging talent within the Basque Country’s โคlyrical tradition.
Osimo,Italy โ- In a quiet Italian โtown,a unique vocal rehabilitation “workshop” is drawing opera singers from around the world,including those โwhose careers have been derailed โby vocal damage. Located in theโ historic โStudy-Paglin ofโ Osimo,โฃ the โขcenter boasts โคa 100% success rate in restoring voices-oftenโ those harmed by surgical interventions-through a method emphasizing natural technique โand โself-awareness.
The discreet โคoperation, run by vocal coach Vittorio Paglin,โค has aided nearly 50 singers, some of โthem internationallyโข renowned, โthoughโ identities are closely guarded due โฃto the stigmaโ surrounding vocal โlesions. Paglin’s approach directly challenges the reliance on surgery, which he describes as a “perverse machinery” that can exacerbate the problem.โ The center’s growing prominence comes as โmore artists openlyโข discuss the โขpressuresโค and potential pitfalls of the competitive operaโข world, and seek alternatives to invasive procedures.โ
The workshop’sโข methods focus on stripping โaway harmful techniques and rediscovering the singer’s natural vocal ability.”Instead of adding โฃmore weight to the backpack,โ [we] empty it of stones to show that theโ solution is always โขwithin oneself,” Paglin states. Heโ argues that “the best technique โis โคthe absence of technique.”
Spanish soprano Raquel โAndueza and contractor Nacho Castellanos have publicly acknowledged the effectiveness of Paglin’sโฃ method, โขutilizing both group seminars and โonline follow-up sessions. In โ2012, Paglin published a critique of vocal surgeries, warning ofโข aโ cycle where procedures damageโค voices, necessitating furtherโ intervention. He believes vocal rehabilitation offers “many more โขguarantees” than surgical repair. The center’s work highlights โฃa growing movement withinโฃ the operaโ communityโ towards preventative vocal health and holistic recovery.
Table of Contents
A stirring chorus from Giuseppe Verdi’s opera “Nabucco” hasโค transcended its 19th-century origins to become a globally โrecognized anthem of struggle and hope. Originally resonating withโ the Italianโค Risorgimento-the movement for Italian unification-“Va, โpensiero” continues to inspire solidarity and โขresistance across cultures and generations. This article explores the historical context, political evolution, and lasting impact of this iconic musical piece.
“Nabucco” โฃpremiered at La Scala in Milan on March 9, 1842. The opera’s third act features โ”Va, pensiero,” a โฃlament of the enslavedโ Hebrews underโข the Babylonian King Nebuchadnezzar. The chorus quickly captured the spirit of aโค fragmented Italy yearning for independence from austrian rule.
While debate exists regarding the โคimmediate political interpretationโ by Milanese audiences, the song’s themes of oppression andโ longingโ forโข freedom resonated deeply. Over time,”va,pensiero” evolved into a powerful symbol of Italian “captivity” and the โdesire for national liberation. As music historian Roger Parker notes,opera in 19th-century Italy was oftenโ deeplyโ intertwined with political โsentiment (Parker,2007).
From 1849, the phrase “Viva verdi” โbegan appearing โฃas graffiti in cities like Milan and Venice. Initially appearing asโ expressions โof admiration โขfor the composer, the slogan cleverly concealedโฃ a political message. “Verdi” served as an acronym forโข “Vittorio Emanuele Re d’Italia,”โ referencing Victor Emmanuel II, the king of Piedmont-Sardinia and a key โฃfigure in the unification movement.
This coded messaging demonstrates โคthe extent to which Verdi’s music โขbecame interwoven with the clandestine activities of Italian nationalists. The composer himself, while publicly cautious,โ was known to sympathize with the cause of Italian independence.
The influence of “Va, pensiero” extended beyond the Risorgimento. Byโ theโ late 19th century, theโค chorus was adopted by Italian laborers as a โคrallying cry in their struggles against factory โowners. Throughout the 20th century, nationalist parties frequentlyโค utilized the song during rallies and demonstrations.There were โขeven proposals to adopt it asโค Italy’s national anthem.
In a striking modern example, conductor Riccardo Muti used “Va, pensiero” as a protest againstโ budget cuts to the arts during aโค performance of “Nabucco” atโ the โRome Opera in March 2011. Following the performance,Muti lead the โขaudience in a powerful encore of the chorus,transforming it โinto a symbolโข of โคresistance against the policies of then-Prime โMinister Silvio Berlusconi.
Did You Know? The useโ of music as a form of political expression has a long โhistory, โwith composersโ often subtly embedding messages of resistance within their works.
The power ofโ “Va, pensiero” transcends national boundaries. โขIts โuniversal themes of oppression,hope,and resilience have made it a poignant soundtrack for protests and commemorations worldwide.Theโข song has been โheard atโข Ground Zero in New York following the September 11 attacks, at the Invalides in โParis honoring victims of the โขCharlie Hebdo attacks, during demonstrations against the โฃgovernment in Belarus in 2020, andโค in solidarity withโฃ the Ukrainian people.
The chorus’s โขenduring โขappeal โlies in its simple yet evocative melody and the powerful imageryโ ofโค Temistocles Solera’s lyrics. It โspeaks to the โขshared human experience ofโข struggle and the unwavering desire for freedom.
Pro Tip: Understanding โthe historical context โคof a piece of music can significantly enhance yourโ appreciation of its artisticโฃ and cultural โsignificance.
| Event | Date | Significance |
|---|---|---|
| premiere of “Nabucco” | March 9, 1842 | Introduction of “Va, pensiero” and its initial resonance withโ Italian nationalism. |
| “Viva Verdi” Graffiti | From 1849 | Coded political message supporting Italian unification. |
| Muti’sโข Protest Performance | March 2011 | “Va, pensiero” used as a symbol of resistance against budget cuts. |
What other examples of โmusic have become powerful symbols of political or social change? How does the enduring popularity of “Va, pensiero” speak to theโ universal human desire for freedom and justice?
The โstory of “Va,โ pensiero” highlights the potent โขrelationship between artโฃ and politics. Throughout history, music has served as โa vehicle for expressing dissent,โ fostering national identity, and inspiring social movements. The song’s continued relevance in the 21st century underscores its timeless message of hopeโ and resilience. the increasingโค accessibilityโข of musicโ through digital platforms ensuresโ thatโ this powerful anthem will โcontinue to resonate with audiences worldwide,โค inspiring โfuture generations to fight for a more just and equitableโ world.
we hope you enjoyed this exploration of Verdi’s enduring masterpiece.Please share this article with your friends and colleagues, and let us know your thoughts in the comments below. Don’t forget to subscribe โto our newsletter for more insightful โคarticles on music, history, and culture!
