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The Winter Term opera is based on the two-part episode of Ellen DeGeneres’ eponymous sitcom that aired in spring 1997. “The Puppy Episode” marked—in hilarious fashion—the long-rumored coming out of the program’s central character as well as the comedian who portrayed her.
Photo by Yevhen Gulenko
Chris Mirto, assistant professor of opera theater, and guest artists work with conservatory students on a newly commissioned opera, as it is being written. The performance will be staged during Winter Term 2023, followed by an off-campus presentation.
Photo by Jonathan Clark '25
This picture shows a statue of Ferenc Liszt, to be found next to the entrance of the Hungarian State Opera.
I was given a complete tour of the Detroit Opera House by my new friend Gary Loungelistener, who has worked there for 11 years. I asked him to do the narration since he knows so much more about the place than I do, so be sure to read his comments.
This is a close up of the Sydney Opera House roof. I didn't realise there were individual tiles until I got close up.
The Marriage of Figaro, K. 492, is an opera buffa in four acts composed in 1786 by Wolfgang Amadeus Mozart, with an Italian libretto written by Lorenzo Da Ponte. It premiered at the Burgtheater in Vienna on 1 May 1786. Wikipedia
Composer: Wolfgang Amadeus Mozart
Librettist: Lorenzo Da Ponte
Language: Italian
Arias: Non più andrai, Se vuol ballare
Characters: Figaro, Conde de Almaviva, Don Curzio,
Wikipedia
www.youtube.com/watch?v=824u91hSL14
"The Passenger Synopsis
Act I
The early 1960s, on an ocean liner. Watching over the scene is a chorus who sometimes takes part as prisoners, passengers or officers, and sometimes are merely onlookers from another time, as are we.
Scene i
A German diplomat, Walter, and his young wife, Lisa, are on the way to Brazil where he will take up a diplomatic post. Suddenly she sees a fellow passenger who she thinks she recognizes, except that she knows that person to be dead. Under the shock of this encounter, she reveals to her husband for the first time she was an SS overseer in Auschwitz. The revelation is a crisis for both of them.
Scene ii
In the camp, we learn hat the “Passenger” is Martha, a Polish prisoner who Lisa Franz, the overseer, has marked out as someone who could help control the other prisoners.
Scene iii
In the female barracks, we meet women from every corner of Europe brought together in this cosmopolitan hell. A suspected Russian partisan, Katja arrives from a brutal interrogation, and the Kapo finds a note in Polish which may implicate her. Lisa orders Martha to read it, and Martha coolly renders it as a love letter – as if to her own fiancée, Tadeusz, who she believes is also a prisoner.
Back on the boat, Lisa and Walter try to come to terms with this new background to their relationship.
Act II
Scene iv
Under Lisa’s supervision the women are sorting belongings looted from the prisoners. An officer arrives demanding a violin. The Governor has ordered a concert at which his favorite waltz should be played by one of the prisoners. Lisa produces a violin, but the officer says he will send the prisoner himself to collect it. The prisoner is Tadeusz. He and Martha have a brief scene of recognition before Lisa interrupts them. She allows them to continue their contact, hoping to capitalize on this “kindness” letter.
Scene v
Lisa confronts Tadeusz in the workshop where he produces silver ornaments to order for the SS officers. One is a Madonna which Lisa recognizes as Martha. Lisa offers Tadeusz the chance to meet Martha, but Tadeusz refuses. He does not want to be in Lisa’s debt.
Scene vi
In the female barracks it is Martha’s birthday. She sings a song about being in love with death. Lisa interrupts and tries to goad Martha by telling her that Tadeusz turned down a chance to see her, but Martha remains unmoved: if that is what Tadeusz decided, he was right to do so!
Yvette tries to teach an old Russian woman French, and Katja sings about Russia. Suddenly guards burst in: it is “selection” time. A list of numbers is broadcast, and one by one various prisoners are taken away. Lisa tells Martha that it is not her turn yet: she will arrange for her to witness Tadeusz’s concert.
Scene vii
Back on the boat Lisa and Walter have come to a new understanding. Even if the “Passenger” is Martha, they are determined to brazen it out, and decide to join the dancing in the Salon. Lisa is however horrified when the "Passenger” approaches the band, apparently to make a request, and they start to play the Governor’s Waltz.
Scene viii
Back in the camp it is time for the concert, and all the officers and prisoners are assembled. Tadeusz, however, does not play the waltz, but something else. The scene breaks up in uproar as his violin is smashed and he is dragged off to the death cells.
Epilogue
We are left with Martha ad her memories –and her longing that all who suffered should not be forgotten."
Label: Opera House
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The Vienna State Opera (Wiener Staatsoper) is an opera house – and opera company – with a history dating back to the mid-19th century. It is located in the centre of Vienna, Austria. It was originally called the Vienna Court Opera (Wiener Hofoper); in 1920, it was renamed the Vienna State Opera. The members of the Vienna Philharmonic are recruited from its orchestra.
The building was the first major building on the Vienna Ringstraße commissioned by the controversial Viennese "city expansion fund". Work commenced on the building in 1861 and was completed in 1869, following plans drawn up by architects August Sicard von Sicardsburg and Eduard van der Nüll, who lived together in the 6. Bezirk. It was built in the Neo-Renaissance style.
The Ministry of the Interior had commissioned a number of reports into the availability of certain building materials, with the result that stones long not seen in Vienna were used, such as Wöllersdorfer Stein, for plinths and free-standing, simply-divided buttresses, the famously hard stone from Kaisersteinbruch, whose colour was more appropriate than that of Kelheimerstein, for more lushly decorated parts. The somewhat coarser-grained Kelheimerstein (also known as Solnhof Plattenstein) was intended as the main stone to be used in the building of the opera house, but the necessary quantity was not deliverable. Breitenbrunner stone was suggested as a substitute for the Kelheimer stone, and stone from Jois was used as a cheaper alternative to the Kaiserstein. The staircases were constructed from polished Kaiserstein, while most of the rest of the interior was decorated with varieties of marble.
The decision was made to use dimension stone for the exterior of the building. Due to the monumental demand for stone, stone from Sóskút, widely used in Budapest, was also used. Three Viennese masonry companies were employed to supply enough masonry labour: Eduard Hauser (still in existence today), Anton Wasserburger and Moritz Pranter. The foundation stone was laid on May 20, 1863.
from Wikipedia source
Sydney Opera House
Vivid Sydney 2012
From the Overseas Passenger Terminal Circular Quay
Saturday 26th May 2012
11:59PM just before lights out
taken from the Harbour Bridge...The Bridge Guard didnt allow the use of my tripod n i had to squeeze my camera through one of the holes in the fencing n keep my camera steady as well. unedited pix again
The Opera House was designed and built in Renaissance style according to the plans of Miklós Ybl. Ferenc Erkel conducted the inaugural concert in 1884. Underneath the risalit is a drive-in entrance for cars and carriages. The statues of Ferenc Liszt and Ferenc Erkel, outstanding contributors to Hungary's musical life, can be seen on either side of the risalit. Both statues are the work of Alajos Stróbl. Between the Corinthian columns are statues of the Muses. Beyond the main entrance is the vestibule, decorated with allegorical frescoes from Bertalan Székely, and at the entrance to the foyer are landscapes from Árpád Feszty. The ceiling of the horseshoe-shaped three storey auditorium is decorated with the paintings of Károly Lotz. The Opera House was reopened after reconstruction in 1984, the year of its centenary.