Renata Tebaldi Exhibition “Profonda ed Infinita” to show in New York City

To see past locations of the Renata Tebaldi Exhibition, click here:

The following is a detailed description of the exhibition:

The exhibition was begun in December, 2005 , and reveals the many-sided nature of the great star, the life of a woman who it is impossible not to love, a year after she passed away.

It is an acknowledgement justly made to our most extraordinary opera singer, who, with her angelic voice and her rigorous knowledge as a musician inebriated theatre goers of every country, a witness to Italian Art and Culture. The exhibition is a traveling exhibition, and it is an event for music lovers, and in general for the entire public. The exhibition was co-produced in collaboration with the Regio Theatre of Parma, and was inaugurated on the 19th of December, 2005. It then went to the Scala Theatre, to the Statsoper of Vienna, to the Massimo of Palermo, to the Liceu of Barcellona and to the Losanna Opera, to the Sheremetyev Palace of St. Petersburg, to the Stanislavnskij Theatre – Nemirovic-Dancenko of Mosca, to the San Carlo Theatre of Napoli and to the Operà of Lyon In 2010 it will go on to Trieste, Beijing, Madrid, Bilbao etc.

During the exhibition it will be possible to listen to musical pieces by the singer, see unpublished videos, television interviews from the archives of the different theatres. Besides the stage costumes of Nicola Benois for the Scala, of Beni Montresor for the Metropolitan of New York and of Giorgio De Chirico for the Scala, concert costumes, jewels worn on stage, personal objects, hundreds of photographs, awards Miss Tebaldi received (including that of “Cavaliere di Gran Croce”, of “Commendatore” and of “Grand’Ufficiale of the Italian Republic” , “Grande plaque de vermeil de la Ville de Paris” 1986, “Cravate de Commandeur des Artrs et Lettres” 1987, “Legion d’honneur” 1996) will be exhibited together with documents and the written or verbal acknowledgements she received from famous personalities such as, to mention only a few examples, Maestro Arturo Toscanini, J.F.Kennedy, and the proclamation conferred on the 11th of December, 1995 by Rudolph Giuliani, Major of New York on “Tebaldi Day”. The exhibition is under the high patronage of the President of the Italian Republic.

The exhibition comes to NYC in September.  Go and pay your homage to one of the greatest voices of all time.

Brava Tebaldi, sempre nei nostri cuori

One of my very favourites, “Laggiu nel Soledad” from Puccini’s “Fanciulla Del West.”

Nixon in China opens to great reviews at Vancouver Opera and heads to Toronto next season.

As of late, there has been a resurgence of interest in John Adam’s 1987 opera, “Nixon in China,” to a libretto by Alice Goodman.  The opera details the visit of United States President Richard M. Nixon to China in 1972, where he met with China’s Chairman Mao Zedong and other Chinese officials.

The work was commissioned by the Brooklyn Academy of Music, the Houston Grand Opera and the John F. Kennedy Center for the Performing Arts. It premiered at the Houston Grand Opera, October 22, 1987 in a production by Peter Sellars with choreography by Mark Morris.
The opera focuses on the personalities and personal histories of the six key players, Nixon and his wife Pat, Jiang Qing (spelled “Chiang Ch’ing” in the libretto) and Chairman Mao (“Mao Tse-tung”), and the two close advisors to the two parties, Henry Kissinger and Zhou Enlai (“Chou En-lai”). It is composed of three acts. The first details the anticipation and arrival of the Nixon cortege and the first meeting and evening in China. The second act shifts focus to Pat Nixon, as she makes tours of rural China, including an encounter at a pig farm. The second scene includes a performance of a Communist propaganda play, in which first Pat Nixon, then her husband and then Jiang Qing, intercede in the performance. The last act chronicles the last night in China, in which the characters dance a foxtrot, their thoughts wandering to their own pasts.

Composer, John Adams

Musically, the opera perhaps owes more influence to minimalism than any Asian styles. (John Adams adapted the foxtrot theme from the last act into a concert piece entitled “The Chairman Dances”, published before the opera in 1985. In the intervening period, Adams switched publishers, hence the Foxtrot for Orchestra being published by G. Schirmer and the opera by Boosey & Hawkes.) The libretto, by contrast, was written completely in rhymed, metered couplets, reminiscent of poetic and theatrical styles native to China.

Here are some recent reviews for the Canadian premiere of “Nixon and China”:

“Nixon in Vancouver: a triumphant visit” by Elissa Poole (Globe and Mail)

Review in the Vancouver Straight by Janet SmithFrom the Vancouver Sun

Nixon in China coming to Toronto for 2010/11 season

Several years ago, John Adam’s work, “On the Transmigration of Souls,” touched me deeply following the 2001 September 11 attacks.  The work deserves a mention, due to its juxtaposed palate and the type of sound that is unmistakably recognized with Adams. Adams began writing the piece in late January 2002 for a requested tribute for September 11. The music was premiered by the New York Philharmonic on 19 September 2002 at Avery Fisher Hall. It is approximately 25 minutes long. In an interview Adams explained: “I want to avoid words like ‘requiem’ or ‘memorial’ when describing this piece because they too easily suggest conventions that this piece doesn’t share. If pressed, I’d probably call the piece a ‘memory space.’ It’s a place where you can go and be alone with your thoughts and emotions. The link to a particular historical event – in this case to 9/11 – is there if you want to contemplate it. But I hope that the piece will summon human experience that goes beyond this particular event.”

The title itself carries a certain heaviness of thought and meaning. According to Adams, “Transmigration means ‘the movement from one place to another’ or ‘the transition from one state of being to another.’ But in this case I meant it to imply the movement of the soul from one state to another. And I don’t just mean the transition from living to dead, but also the change that takes place within the souls of those that stay behind, of those who suffer pain and loss and then themselves come away from that experience.” Adams received the 2003 Pulitzer Prize in music for the piece. Its premiere recording (with Lorin Maazel conducting the New York Philharmonic, New York Choral Artists, and the Brooklyn Youth Chorus), received the 2005 Grammy Awards for Best Classical Album, Best Orchestral Performance, and Best Classical Contemporary Composition. Its sheet music is published by Boosey & Hawkes.