CARNEGIE HALL PRESENTS

Performance Sunday, December 7, 2014 | 2 PM

Teatro Regio Torino

Rossini's William Tell (opera in concert)

Stern Auditorium / Perelman Stage
There’s more to William Tell than just an overture. Based on a Schiller drama, Rossini’s rarely performed opera was his last work and his dramatic masterpiece. A grand opera in every sense, William Tell thrills with its passionate arias, superb ensembles, and sweeping orchestral splendor—including that famous overture.

Performers

  • Teatro Regio Torino
    Gianandrea Noseda, Music Director and Conductor
  • Luca Salsi, Baritone (Guglielmo Tell)
  • John Osborn, Tenor (Arnoldo)
  • Angela Meade, Soprano (Matilde)
  • Marco Spotti, Bass (Gualtiero)
  • Fabrizio Beggi, Bass (Melchtal)
  • Marina Bucciarelli, Soprano (Jemmy)
  • Anna Maria Chiuri, Mezzo-Soprano (Edwige)
  • Gabriele Sagona, Bass (Gessler)
  • Mikeldi Atxalandabaso, Tenor (Un pescatore)
  • Saverio Fiore, Tenor (Rodolfo)
  • Paolo Maria Orecchia, Bass (Leutoldo)
  • Chorus Teatro Regio Torino
    Claudio Fenoglio, Chorus Master

Program

  • ROSSINI Guglielmo Tell (William Tell) (concert performance)

Event Duration

The printed program will last approximately three and one-half hours, including two 20-minute intermissions.

Bios

  • Teatro Regio Torino


    The original Teatro Regio Torino was inaugurated in December 1740, with a performance of Francesco Feo's Arsace. An important international opera house from the outset, it hosted the world premieres of Puccini's Manon Lescaut (1893) and La bohème (1896), as well as the Italian premiere of Strauss's Salome, conducted by the composer. The old theater was destroyed by fire in 1936; its replacement was inaugurated in April 1973, with I vespri siciliani featuring Maria Callas and Giuseppe Di Stefano. The new theater rapidly established a reputation as one of the leading Italian opera houses, thanks largely to the quality of its orchestra and chorus. In 2007, Gianandrea Noseda was appointed music director of Teatro Regio Torino. In addition to a full season of staged operas, Mr. Noseda leads the orchestra and chorus of the theater on international tours to represent Italian musical culture worldwide, undertaking residences at the Bunka Kaikan, Tokyo, in 2010 and 2013; in Spain in 2011; at the Dresden Music Festival, Vienna's Konzerthaus, and the Verbier Festival in 2013; and, each year since 2011, at Théâtre des Champs-Élysées in Paris. This year, Teatro Regio Torino makes its first tour of North America, including performances of Guglielmo Tell in Chicago, Ann Arbor, and Toronto.

    Gianandrea Noseda 


    Gianandrea Noseda is recognized as one of the leading conductors of his generation and has just been named Musical America's 2015 Conductor of the Year. His appointment as music director of Teatro Regio Torino in 2007 ushered in a transformative era for the company and international acclaim for its productions, tours, and recording and film projects. Under his leadership, Teatro Regio Torino has launched its first tours outside of Torino, with performances in Austria, China, France, Germany, Japan, Russia, the UK, Canada, and the US. Maestro Noseda's initiatives have propelled Teatro Regio Torino onto the global stage, where it has become one of Italy's most important cultural exports.

    Mr. Noseda is also principal guest conductor of the Israel Philharmonic Orchestra, Victor de Sabata guest conductor of the Pittsburgh Symphony Orchestra, conductor laureate of the BBC Philharmonic, and artistic director of the Stresa Festival in Italy. In 1997, he was appointed the first foreign principal guest conductor of the Mariinsky Theatre, a position he held for a decade.

    Mr. Noseda is known to New York audiences for his regular appearances at the Metropolitan Opera since 2002 and numerous performances at Lincoln Center. He has close relationships with many of the leading orchestras and opera houses, including the London Symphony Orchestra, Tokyo's NHK Symphony Orchestra, The Philadelphia Orchestra, and Milan's Teatro alla Scala. Highlights of his 2014-2015 season include debuts with the Berliner Philharmoniker and at the Salzburger Festspiele.

    A native of Milan, Mr. Noseda is a Knight of the Order of Merit of the Italian Republic.

     

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  • Luca Salsi


    Baritone Luca Salsi made his operatic debut at the Teatro Comunale di Bologna in Rossini's La scala di seta. His repertoire includes such roles as Sharpless in Madama Butterfly, Marcello in La bohème, Ford in Falstaff,  Figaro in Il barbiere di Siviglia, Valentin in Faust, the title role in Gianni Schicchi, Germont in La traviata, Ezio in Attila, and Frank in Edgar. During the 2012-2013 season, he made his company debut with the Gran Teatre del Liceu in Barcelona as Don Carlo in La forza del destino, followed by other important Verdi roles, including Conte di Luna in Il trovatore, Francesco Foscari in I due Foscari, and the title roles in Macbeth and Nabucco. He opened the 2013-2014 season with the Chicago Symphony Orchestra in Macbeth under the baton of Riccardo Muti. His future performances include Ernani (Don Carlo), Adriana Lecouvreur (Michonnet) in Bilbao, Luisa Miller (Miller) at Opéra de Lausanne, Nabucco on tour in Japan with Teatro dell'Opera di Roma, Nabucco and Macbeth at the Gran Teatre del Liceu in Barcelona, Falstaff in São Paulo, Aida and Nabucco at Verona's Arena, La forza del destino in Parma, Un ballo in maschera in Bologna, I puritani in Turin, La traviata in Paris and Turin, Rigoletto in Madrid, Nabucco in Berlin, and Ernani in Salzburg.

     

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  • John Osborn


    John Osborn is a winner of the Metropolitan Opera National Council Auditions, Opera Index Vocal Competition, and first place in Plácido Domingo's Operalia, The World Opera Competition. Mr. Osborn is also a graduate of the Metropolitan Opera's Lindemann Young Artist Development Program, a recent winner of the Aureliano Pertile Award, and a recipient of the Goffredo Petrassi Award. Mr. Osborn has worked under the batons of prestigious conductors, including Antonio Pappano, Richard Bonynge, Marc Minkowski, Roberto Abbado, and Zubin Mehta. He has frequented some of the most important opera houses, including the Metropolitan Opera, Vienna State Opera, Lyric Opera of Chicago, Maggio Musicale Fiorentino, Opéra national de Paris, San Francisco Opera, Zurich Opera House, La Monnaie in Brussels, Teatro di San Carlo in Naples, Salzburger Festspiele, Teatro alla Scala in Milan, Accademia Nazionale di Santa Cecilia in Rome, Teatro Colón in Buenos Aires, Arena Verona, and Royal Opera House, Covent Garden, in London. His wide repertoire includes La donna del lago, Otello, and Armida by Rossini; Norma, I puritani, and La sonnambula by Bellini; Les vêpres siciliennes, Rigoletto, La traviata, and Falstaff by Verdi; Donizetti's L'elisir d'amore, Don Pasquale, Roberto Devereux, and Lucia di Lammermoor; Mozart's Die Entführung aus dem Serail, Die Zauberflöte, Così fan tutte, and Don Giovanni; other French operas, including Les pêcheurs de perle, La Juive, Les Huguenots, Offenbach's Les contes d'Hoffmann, and Massenet's Manon; as well as concert performances of Handel's Messiah, Rossini's Stabat Mater, Orff's Carmina Burana, and Bruckner's Te Deum.

     

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  • Angela Meade


    Soprano Angela Meade, a native of Washington State and an alumnus of the Academy of Vocal Arts in Philadelphia, is the recipient of the 2012 Beverly Sills Artist Award from the Metropolitan Opera and the 2011 Richard Tucker Award. She joined an elite group of singers when she made her professional operatic debut on the stage of the Metropolitan Opera, substituting for an ill colleague in March 2008 in the role of Elvira in Verdi's Ernani. She had previously sung on the Met stage as one of the winners of the 2007 Metropolitan Opera National Council Auditions, a process documented in the film The Audition, released on DVD by Decca. Highlights of Ms. Meade's recent seasons include Bellini's Norma and Verdi's Falstaff at the Metropolitan Opera, the latter broadcast as part of the Live in HDseries;and debuts at the Vienna State Opera, Deutsche Oper Berlin, Oper Frankfurt, Los Angeles Opera, Teatro Regio Torino, and Washington National Opera, where she was subsequently honored as 2013 Artist of the Year. On the concert stage, she has appeared in recital at the John F. Kennedy Center for the Performing Arts and as soloist with the Baltimore, Boston, Cleveland, Houston, Minnesota, Philadelphia, Pittsburgh, and Seattle symphony orchestras, among others, with such conductors as Roberto Abbado, Marin Alsop, Charles Dutoit, Manfred Honeck, Yannick Nézet-Séguin, and Osmo Vänskä. This summer, she returns to the Caramoor International Music Festival in the title role of Donizetti's Lucrezia Borgia. Ms. Meade has triumphed in an astounding number of vocal competitions, 57 in all.

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    Marco Spotti


    Born in Parma, Marco Spotti graduated from the Conservatorio di Musica Arrigo Boito and has won the Riccardo Zandonai Competition in Riva del Garda, the International Competition for Veridan Voices in Busseto, and the Viotti-Valsesia Competition. After his debut at Teatro Regio Parma, he sung Il Re (Aida) at the Opéra de Marseille, Sarastro (DieZauberflöte) and Orbazzano (Tancredi) at Teatro dell'Opera di Roma, Massimiliano (Imasnadieri) in Bologna under Daniele Gatti and in Las Palmas, Oroe (Semiramide) and Orbazzano (Tancredi) at the Rossini Opera Festival in Pesaro, Procida (Ivesprisiciliani) at Teatro Massimo in Palermo, and Alvise (La Gioconda) at Teatro Massimo Bellini in Catania and in Athens. He regularly collaborates with the Arena di Verona as Ramfis (Aida), Alvise (La Gioconda), Colline (La bohème), Sparafucile (Rigoletto), and Timur (Turandot). In 2003, Mr. Spotti debuted at Teatro alla Scala in Milan as Arcas (Iphigénie en Aulide) with Riccardo Muti. After this debut, he was invited to play Sparafucile (Rigoletto), Aida with Riccardo Chailly and Daniel Barenboim, Loredano (I due Foscari) and Timur (Turandot) with Valery Gergiev, and Wurm (Luisa Miller) with Gianandrea Noseda. Recently, Mr. Spotti sang Don Giovanni at the Royal Opera House, Covent Garden, in London; Colline (La bohème) at Teatro alla Scala in Milan; Loredano (I due Foscari) at Théâtre des Champs-Élysées in Paris; Enrico VIII (Anna Bolena) at the Oper Köln; Walther (Guillaume Tell) at Opera Amsterdam and La Monnaie in Brussels; Inquisitore (Don Carlo) at Teatro Regio Torino; Banquo (Macbeth) at the Maggio Musicale Fiorentino with James Conlon; Oroveso (Norma) at Teatro Massimo in Palermo; and Basilio (Il barbiere di Siviglia) at Teatro Colón in Buenos Aires.

     

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  • Fabrizio Beggi


    Fabrizio Beggi studied with Giovanni Mazzei in 2009. He subsequently studied with Claudio Desderi at the Accademia Nazionale di Santa Cecilia, and currently studies with Roberto Scaltriti and Carlo Meliciani. He won the Toti Dal Monte Prize in 2012, and in 2011 he sang Amonasro in La fiaba di Aida, a project based on Verdi's Aida, at the Teatro del Maggio Musicale Fiorentino. At the Teatro Carlo Felice in Genoa, his roles have included Don Annibale Pistacchio in Donizetti's Il campanello, Marco and Spinelloccio in Puccini's Gianni Schicchi, Uncle Henry in the world premiere of Bruno Coli's Oz on the Road, and the Duke in Gounod's Roméo et Juliette. His engagements elsewhere include Geronimo (Il matrimonio segreto) in Treviso, Ferrara, and Rovigo; Schmidt (Andrea Chénier), Pietro (Simon Boccanegra), Monterone (Rigoletto), and Betto (Gianni Schicchi) in Turin; Don Ciccio in Giorgio Battistelli's Divorzio all'italiana in Bologna; and Alidoro (La Cenerentola) in Ferrara and Treviso.

     

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  • Marina Bucciarelli


    Marina Bucciarelli has studied at the Conservatorio Luisa D'Annunzio in Pescara, and with Mariella Devia.
    After winning several competitions, including the AsLiCo Competition, she performed at many leading Italian theaters and festivals, including the Rossini Opera Festival in Pesaro, where she made her debut as Corinna (Il viaggio a Reims). Her engagements also include Lisa (La sonnambula) in Como, Cremona, and Pavia; Bimba in Raffaele Sargenti's Lupus in fabula in Trieste; Isabella in Rossini's L'inganno felice at the Teatro Malibran in Venice; Fanny in Rossini's La cambiale di matrimonio at the Teatro Malibran and in Ingolstadt; Annina (La traviata) at Teatro La Fenice; Zerlina (Don Giovanni) in Genoa; Eurydice (Orphée aux enfers) at the Maggio Musicale Fiorentino; and Pamina (Die Zauberflöte) in Bolzano. Her concert engagements include Rossini's Petite messe solennelle at the Opéra de Marseille and in Liverpool with the Royal Liverpool Philharmonic Orchestra, as well as a recital at the Musashino Cultural Foundation in Tokyo.

     

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  • Anna Maria Chiuri


    Born in Alto Adige (South Tyrol), Anna Maria Chiuri studied at the Museo Storico e Fonoteca del Conservatorio Arrigo Boito in Parma and with Franco Corelli. She has won numerous competitions, including the International Tchaikovsky Competition in Moscow. Her engagements include Fricka (Das Rheingold, Die Walküre) in Palermo; Eboli (Don Carlos) at Teatro alla Scala in Milan and in Turin; Mistress Quickly (Falstaff) in Tel Aviv; Amneris (Aida) and Ulrica (Un ballo in maschera) in Liège; Edwige (Guillaume Tell) and the Princess de Bouillon (Adriana Lecouvreur) in Turin; Azucena (Il trovatore) at Teatro La Fenice; Klytemnästra (Elektra) and Herodias (Salome) in Bolzano, Modena, Ferrara, and Piacenza; Annina (Der Rosenkavalier) at the Maggio Musicale Fiorentino; and Fenena (Nabucco) in Wiesbaden, Parma, and Modena. Her concert engagements include Verdi's Requiem in Washington, DC; Beethoven's Symphony No. 9 in Turin; and Wagner's Wesendonck Lieder at the Ravello Festival; and Bruckner's Te Deum and Mozart's Requiem under Zubin Mehta at the Maggio Musicale Fiorentino.

     

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  • Gabriele Sagona

    Gabriele Sagona started singing with his father Vincenzo and is currently studying with mezzo-soprano Bianca-Maria Casoni. In 2009, Mr. Sagona made his debut as Colline in Puccini's La bohéme in Pesaro; he was the only bass in the finals at the AsLiCo Competition for this role. In 2010, he sang in Simone Mayr's Amor ingegnoso at the Bergamo Musica Festival and in both Rossini's and Paisiello's Il barbiere di Siviglia at Teatro Verdi in Sassari. His repertoire includes several Don Giovanni (Don Giovanni, Leporello, Masetto); L'elisir d'amore (Dulcamara); Don PasqualeAidaRigoletto (Monterone); and Tosca  (Angelotti). His concert engagements include performances at Vienna's Konzerthaus, Teatro Sociale in Bergamo, Teatro Sociale in Como, MITO International Music Festival, Circolo degli Artisti in Torino, Amici della Musica in Sondalo, and Casa Verdi in Milan. He has recorded Simone Mayr's Amor ingegnoso and Verdi's Un ballo in maschera (Tom) in a Teatro Regio Torino production.

     

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  • Mikeldi Atxalandabaso

    Born in Bilbao, Mikeldi Atxalandabaso won the Manuel Ausensi Singing Competition and made his professional debut in 2007. His engagements include the title role in Manuel de Falla's El retablo de maese Pedro at La Monnaie in Brussels, Teatro Real in Madrid, and Gran Teatre del Liceu in Barcelona; Ruodi (Guillaume Tell) conducted by Alberto Zedda in La Coruña and in Amsterdam; the Duke (Rigoletto) in La Coruña; Monostatos (Die Zauberflöte) and Pong (Turandot) in Oviedo; Sir Bruno Robertson (I puritani), Lord Cecil (Roberto Devereux) with Edita Gruberová, and Bois-Rosé (Les Huguenots) at Teatro Real; Bardolfo (Falstaff), Brighella (Ariadne auf Naxos), Triquet (Eugene Onegin), and Nemorino (L'elisir d'amore) in Bilbao; Goro (Madama Butterfly) in Seville; Tony (West Side Story); Jorge in Emilio Arrieta's Marina at the Teatro de la Zarzuela in Madrid; and Beppe (Pagliacci) in Toulouse. His concert engagements include Beethoven's Symphony No. 9 with the Orquesta Sinfónica de Madrid conducted by Jesús López-Cobos.

     

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  • Saverio Fiore


    Born in Bari, Saverio Fiore won a scholarship at the Accademia Internazionale d'Arte Lirica in Osimo and currently studies with Luigi de Corado. After having performed title roles at the most prestigious Italian musical institutions for several years (Teatro La Fenice, Maggio Musicale Fiorentino, Teatro dell'Opera in Rome, Teatro di San Carlo in Naples, and Teatro Massimo in Palermo), Mr. Fiore decided to devote himself to the interpretation of side roles such as Arturo in Lucia di Lammermoor, Beppe in Pagliacci, Edmondo in Manon Lescaut, and Goro in Madama Butterfly. He has sung in several opera productions with conductors Lorin Maazel, Seiji Ozawa, and Riccardo Muti, under whom he made his debut at the Salzburger Festspiele as Aufide in Rossini's Moïse et Pharaon, which he also sang for the opening of the 2010-2011 season at the Teatro dell'Opera in Rome.

     

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  • Paolo Maria Orecchia


    Born in Rome, Paolo Maria Orecchia has studied at the Conservatorio Luisa D'Annunzio in Pescara and with Ezio Di Cesare.
    He made his debut as Malatesta (Don Pasquale) with the Bavarian Radio Symphony orchestra conducted by Roberto Abbado and has subsequently performed at the most important theaters in Italy. His recent engagements include Prince Yamadori (Madama Butterfly), Le Dancaïre (Carmen), Baron Douphol (La traviata), and Bogdanowitsch (Die lustige Witwe) in Turin; Marquis d'Obigny (La traviata) and Sciarrone (Tosca) in Verona; Fiorello (Il barbiere di Siviglia) in Toulon; Nicomedes (Zemlinsky's Der König Kandaules), Marullo (Rigoletto), Kunz Gilgenstock in Strauss's Feuersnot and Hortensius (La fille du régiment) in Palermo; Sacristan (Tosca) at Teatro alla Scala in Milan and in Brescia, Como, Pavia, Cremona, Caracalla, and Rome; Don Alfonso (Così fan tutte) in Cagliari; and Schaunard (La bohème) at Teatro alla Scala and Teatro La Fenice.

     

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Audio

Rossini's Guillaume Tell: Overture
Chicago Symphony Orchestra | Fritz Reiner, Conductor
BMG Entertainment

At a Glance

By the late 1820s, Giaocchino Rossini was Europe’s foremost opera composer, renowned for more than 30 works, both tragic and comic (including that evergreen masterpiece The Barber of Seville). He had moved to Paris by 1824 to direct the Théâtre-Italien in that city and to create operas in French, but he only composed two works in his new language before retiring from opera altogether in 1829 with 40 years of life left to him. William Tell, a masterful fusion of Italianate lyricism and the spectacle that defines French grand opera, is his last operatic masterpiece. It recounts the founding of the Swiss nation in the early 14th century, when it broke free from Austrian rule, in a mixture of historical fact and heroic fiction. The libretto is based largely on one of Friedrich Schiller’s last works, the drama Wilhelm Tell, and required the labors of four different French writers along the way, including the mayor of Paris and a human-rights advocate for French Jews; Teatro Regio Torino performs the 19th-century Italian translation by Calisto Bassi.
Program Notes
This performance is part of Weekends at Carnegie Hall, Operas in Concert, and Choral Sundays.