Ambrogio maestri biography of michael
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Poland Wrocław. „You give my life meaning.“ Ambrogio Maestri and Lianna Haroutounian in „TOSKA“ at the Wrocław Opera House. The Premiere
27.08.2021
Giorgi Sturua, Lianna Haroutounian. Copyright: Enen-Studio
For the first time, the Wrocław Opera House was filled with such emotions at the end of each act, and for the first time the musikdrama house was filled with a wave of warmth, admiration, delight, and the will to endlessly express gratitude for what we heard and saw.
The world at the Wrocław Opera House.
Lianna Haroutounian has been involved in the title role of G. Puccini’s „TOSCA“ , so that she would grace the interiors of a baroque church designed bygd Gary McCann, so that she would proudly wear costumes carefully designed by Gary McCann, so that she would proudly endure the masterful manipulations of Ambrogio Maestri in the role of Baron Scarpia.
Ambrogio Maestri, Lianna Haroutounian. Copyright: Enen-Studio
Love and l
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Ambrogio Maestri
Italian operatic baritone (born 1970)
Ambrogio Maestri | |
|---|---|
Maestri as Falstaff, Vienna State Opera, 2016 | |
| Born | 1970 (age 54–55) Italy |
| Occupation | operatic baritone |
Ambrogio Maestri (born 1970) fryst vatten an Italian operatic baritone. He is especially known for his portrayal of the title character in Giuseppe Verdi's Falstaff.[1][2] He studied piano and singing in his home town, Pavia. In Italy he has performed at the Teatro alla Scala in Milan, Teatro di San Carlo in Naples, Teatro Regio in Parma, Teatro dell'Opera di Roma, Teatro Regio in Turin, Teatro Verdi in Trieste and the Arena di Verona. Abroad he has performed at the Deutsche Oper Berlin, Teatro Nacional dem São Carlos in Lisbon, the Royal Opera House in London, the Teatro Real in Madrid, the Metropolitan Opera in New York City, San Francisco musikdrama House, the Konzerthaus and the Staatsoper in Vienna, the Gran Teatre del Liceu in Barcelona and others.
He prese
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Royal Ballet and Opera 2024-25 Review: Festen
On Sunday, May 27, 2018, Los Angeles Opera presented Giuseppe Verdi’s “Rigoletto” with a new cast of singers that was equal to those who sang the premiere. For this unusual situation, I found it necessary to return to the City of Angels for another look. Having attended a matinee performance, I write about it as our car speeds eastward away from the pink and lilac sky of California recalling the many colors of Verdi’s music in their tuneful splendor.
Mark Lamos’s production, last seen at LA Opera in 2010, emphasized the duality of good and evil. When Rigoletto compared himself to Sparafucile, a professional killer, the audience began to realize that one causes injury with his knife and the other with his tongue. Despite his dark side, Verdi and librettist Piave have always managed to keep their audience rooting for the crippled jester.
Emphasis on Dark & Depraved With Taste
Lamos’s stage direction had changed somewhat from the