The Opera Atelier: a resource for learning, reviewing, and developing complete opera roles. Mastering the essential roles of the repertory makes the singerâ€™s learning objective, and empowers singers to pursue their professional goals in the opera field. Our work aims to ease the transition between the vocal studio and the professional stage by helping singers to acquire essential tools needed to enter the world of opera or develop their artistic careers.
Executive Board Jorge Arcila Artistic Director
Daniel Daroca Spokesman & Musical Director
Xiomara Ponce Psychosocial Director
Jacqueline Solorzano Media & Logistics Director
www.theoperaatelier.com email@example.com 1-917-697-9557
Program presentation Dedicated to everyone who is in love with the operatic art.
Continuing the thread of the dis-encounters in love couples, we will comment on the selection of operatic moments this afternoon, taking an element that constitutes a series in these dis-encounters: the contrasting figures of the Feminine and the Masculine. In the main female roles of these three operas, we find three contrasting figures. In Don Giovanni, Donna Anna, a virtuous woman, unmarried and committed, who faces Don Giovanni, the man who intended to take advantage of her. She is the exception in the series of his conquests; she is not on the list of women seduced by Don Giovanni; throughout the play she holds her desire for revenge of his father's death, instead of succumbing to the seduction of Don Giovanni. Conversely, in La Traviata, the female role is represented by a seriously ill courtesan, Violetta, who for the love of Alfredo, first renounces his life of luxury, then gives up her beloved, as a sacrifice for his sake. In Don Pasquale, we find Norina, a young widow in love, who through her cleverness, wins the acceptance of his marriage to of Don Pasqualeâ€™s nephew. With regard to men, the Male is presented through the figures of the lover and the father. Don Giovanni, a young and promiscuous nobleman, who stops at nothing to deceive and seduce women: The Comendatore, who in defense of virtue of his daughterâ€™s virtue, loses his life at the hands of Don Giovanni, and becomes the Stone Guest, the dead father. Leporello, Don Giovanni's servant, appears in contrast, in charge of preparing and posting the list of seduced women. Both characters exchange their clothes, as a strategy to obtain a meeting with the Other Sex. In La Traviata, Giorgio Germont, Alfredo's father, humbles himself before Violetta to ask of her the sacrifice of leaving his son for the sake of his family. And finally, Don Pasquale, a rich old man, who wants to disinherit his nephew because he will not respond to his demand to marry a rich woman of Pasqualeâ€™s choice. Contrasting figures of the Feminine and the Masculine, whose interventions in the plots articulate the mis-encounters among the couples represented in the different opera moments. Several artists will embody the drama of these characters, and will, in this process, confront themselves with opposing feelings, among their subjective self and the various dramatic roles in this selection of operas. And as for us, we restate the question: What is the resulting emotional balance in the singer when facing these mis-encounters in the interpretation of the roles?
Next event December 11, 2011 4.00 pm Saint Philip's Episcopal Church
a r t i s t s Henri Coizeau, bass-baritone. Praised for his “wide range and color”. Studies: FIU School of Music. Twice NATS competition winner. Invited to join the ACDA Choir (the only singer to be chosen from the State of Florida, 2000). He attended Florida International University School of Music, where he performed roles such as Figaro, Count Gil in Wolf-Ferrari’s Il Segreto di Susanna, as well of a variety of opera scenes. Dianne Colón, Soprano. Studies: voice, Margarita Castro Alberty. Grand Opera Choir and "Compañía Lírica de Puerto Rico", "The Casals Festival" "The Cousin" in the Opera "Madama Buterfly" and as "The Friend" of Adriana in the Zarzuela "Los Gavilanes", University of Puerto Rico, Adriana in the Zarzuela "Los Gavilanes". Having moved recently to Miami to pursue her singing career, Dianne is now working with The Opera Atelier. She will debut as Zerlina. Marinel Cruz, soprano, has performed the roles of Donna Elvira in Don Giovanni, Suor Angelica in Suor Angelica, Micaela in Carmen, The Mother in Amahl and the Night Visitors, Mimi in Boheme and Dido in Dido and Aeneas. She received her Master’s degree in Music Performance, with Prof. William Woodruff, at The Conservatory of Music of Brooklyn College. She completed the Artist Diploma at the Conservatory of Music of Puerto Rico. Greisel Domínguez, Chorus master. Studies: Choral Conducting at ENA, Voice at Superior Institute of Arts (ISA). Career Highlights: music director, “Coravila. Florida Grand Opera Chorus, 2006. “Sociedad Pro Arte Grateli”, singer, Chorus Master. Presently, New World School of the Arts – College Division. Giselle Elgarresta Ríos, Soprano, choral conductor, Coordinator of Music, Barry University. Vocal and choral consultant. Studies: Master of Music, DMA, UM. Career Highlights: Carnegie Hall, Miami Pops Symphony, Concert Association of Florida. Civic Chorale of Greater Miami, Miami Youth Symphony. She has conducted abroad in Puerto Rico, France and Italy. Performances: Mexico, California, Puerto Rico. Sergio R González, baritone, is currently studying under the tutelage and coaching of Hilda del Castillo. Master Classes and voice studies with Conchita de Antuñano. In his native Cuba he studied Guitar under the direction of Olga Martinez. Active member of Sociedad Pro Arte Grateli since 2008, where he combines singing and acting of different genres such as Zarzuelas, Cuban Music and Musicals.
Carlos Jimeno, lyric baritone, has performed in Venezuela, Guatemala and the United States. Recent performances include: Il Conte (Marriage of Figaro), Michelle and Betto (Trittico) and Escamillo (Carmen) at Brooklyn College Opera Theatre. (20092011). He has sung for Capitol Opera In Harrisburg, PA: Escamillo, Germont, Gastone,(Traviata), Tonio (Pagliacci), Marcello (Boheme), and The High Priest (Samson and Delilah) (2005-2008), Marcello for the Brooklyn Conservatory of Music (2008), and Malatesta for New Jersey Repertory Opera (2007). Yndira Marrero. The 22 year old Cuban Italian Soprano grew up touring Europe performing the classical Neapolitan repertoire under the teachings of Maestro Silvano Polidori. With Cento Voci per il Giubileo, she performed for his excellence the Pope Giovanni Paolo II. As a young teen, she became the 1st place winner of the 2001 Disney Paris Festival, also debuted in television as one of the host of “Zitti Tutti...Parlano loro” in Rome, and in theatre as Cosette in the French production of “Les Miserables” by Victor Hugo. She has been a part of various theater performances in the United States and abroad including “The Sound of the Fairies” by Disney Producer Raul Abramzon, and “La Revolsosa” produced by Pro-Arte Grateli. Sergio Navarro, dramatic tenor. Studies: Voice with Jose Le Matt, Jesus G. Ruspoli, Hilda del Castillo. Since the late 1990s, he has performed with local lyric groups in the staging production of zarzuelas and operas. Presently, he continues his vocal studies with Cuban soprano Hilda del Castillo and has joined The Opera Atelier to develop his artistic career. A native of Miami, Kunya Rowles, tenor, has performed both musical theatre and opera throughout the South Florida area. Most recently, Kunya sang selections from Judas Maccabeus at the Knight Concert Hall in Miami. He holds a Bachelor of Arts in Vocal Performance from New World School of the Arts. He currently studies voice with Manny Perez. Félix Spengler, pianist. Studies: Music, Manhattan School of Music, Svetlanova. DMA in progress, Rutgers. Career Highlights: Recitals: Yale University’s Sprague Hall, Philadelphia’s La Salle University, and the Museum “Caja Madrid” in Barcelona, Spain. The Sabina Christiansen Show”, which aired nation-wide on German television to showcase EXPO 2000 in Hanover, Germany.CBS TV’s “Eye on the People”, and WLRN TV “Beethoven and More”. He has performed Rachmaninov Second with San Petersburg Symphony Orchestra. The ensemble is conducted by Greisel Domínguez. Artists: Vivian Buitrago Aimée Fiuza Sergio González
Rolando J. Valdés Yndira Marrero William Mosqueda
Samantha Nápoles Yohan E. Rodríguez Camelia Torres
Libiamo ne' lieti calici [Alfredo] Libiamo, libiamo ne'lieti calici che la bellezza infiora. E la fuggevol ora s'inebrii a voluttà Libiam ne'dolci fremiti che suscita l'amore, poiché quell'occhio al core onnipotente va. Libiamo, amore, amor fra i calici più caldi baci avrà [Coro] Ah! Libiam, amor, fra' calici più caldi baci avrà [Violetta] Tra voi tra voi saprò dividere il tempo mio giocondo; Tutto è follia, follia nel mondo ciò che non è piacer Godiam, fugace e rapido e'il gaudio dell'amore, e'un fior che nasce e muore, ne più si può goder Godiamo, c'invita, c'invita un fervido accento lusinghier.
[Coro] Godiamo, la tazza, la tazza e il cantico, la notte abbella e il riso; in questo paradiso ne scopra il nuovo dì [Violetta] La vita è nel tripudio [Alfredo] Quando non s'ami ancora [Violetta] Nol dite a chi l'ignora, [Alfredo] E'il mio destin così... [Tutti] Godiamo, la tazza, la tazza e il cantico, la notte abbella e il riso; in questo paradiso ne scopra il nuovo dì.
Repertoire Don Pasquale Don Pasquale..........Jorge Arcila Norina............................Giselle Elgarresta Ríos Ernesto.........................Kenny Rowles Malatesta....................Carlos Jimeno
Son nov'ore. Prender moglie?... Si, signore! So anch' io la virtú magica. Pronta io son.
Don Giovanni Don Giovanni...........Enri Coizeau Elvira............................Greisel Dominguez Leporello...................Jorge Arcila Zerlina.........................Dianne Colón Masetto.......................Sergio González
Eh via, buffone! Leporello, Signore! Ah, taci, ingiusto core Deh! vieni alla finestra Vedrai, carino Lá ci darem la mano
La Traviata Violetta Valéry.........Marinel Cruz Alfredo.........................Sergio Navarro Germont......................Carlos Jimeno Annina ........................Yndira Marrero Dottore.......................Sergio González
Oh, qual pallor! Voi qui! Un di felice, eterea De’miei bollenti spiriti Madamigella Valéry? Preludio Atto III Addio del passato Brindisi
executive board Jorge Arcila, Bass-baritone, stage director, diction and style coach. Associations: Teatro Teresa Carreño, Sinfónica de Puerto Rico, Sinfónica de Venezuela, Orquesta Simón Bolívar. Professor of Diction and Style, University Institute of Musical Studies, José Angel Lamas Music Conservatory in Caracas. Studies: Master of Music , City University of New York, Modern Languages and Translation, Universidad Central de Venezuela. Faculty, Barry University. Daniel Daroca, Pianist. Past and present associations include: The Juilliard School, Kean University, FIU, Festival Casals, Wexford Festival Opera, Opera de Colombia, Barry University, NWSA. Musical Director, The Opera Atelier. Xiomara Ponce, Anthropologist, psychologist, lacanian psychoanalyst, sculptor. Studies: Master of Science, Psychology, Central University of Venezuela, postgraduate studies in Management. Professor, Universidad Central de Venezuela. Significant contributions in the field of housing policy and social issues. Jacqueline Solórzano, Life Coach, Lawyer, Mathematician, Media and Web Design Specialist, founder and general director, leading organization housing policy, Venezuela. National Habitat Prize (2002) UNESCO. Studies: Law degree, Universidad Central de Venezuela, postgraduate studies, Organizational Development. University professor, Venezuela. Co-author of a reference book on Labor Law for artists.
This musical program has been made possible through the encouragement and help of many people, most importantly our artists, who have never stopped believing in us. We thank St. Philip's Episcopal Church for their support, and would also like to thank René González, Carmen Luisa Jiménez, Rexsor González, Héctor Guzmán, Carlos Jimeno, Sergio Navarro, Eduardo Calcaño, Giselle Elgarresta Ríos and Teresita Díaz for their contribution.
If you want to advertise in our Musical Programs contact us at firstname.lastname@example.org
We assist singers in tdeveloping artistically satisfying, informed and up-to-date interpretations grounded in the classical operatic tradition. In the process of learning and mastering a role, singers develop their craft by working on musical preparation, phonetic transcription, translation, declamation, characterization, style and staging. Sessions take place in a supportive and respectful atmosphere, with individualized instruction to suit each singer’s needs and goals. The effectiveness of the singer’s performance is enhanced through specific tools that become part of the singer’s artistic resources. In general, we begin with individual sessions followed by partner sessions. After a complete first score reading, and later a session from memory, staging rehearsals follow, and a semi-staged or staged public performance is presented. Specific goals include: • • • • • • • • •
musically accurate and artistically satisfying renditions correct and clear diction paraphrase and word by word translations declamation convincing characterizations mastery of stylistic conventions and traditions logical staging relationship between music and text artistic expression and musical eloquence.
Our work can be decisive when: 1) You need to learn a role 2) You would like to review a role. 3) You want to try a role on stage and gain the experience and stamina necessary for the rehearsal process and the performances. We offer the following services: • • • • • • • • •
Group opera readings Semi-staged and staged opera productions Individual sessions in role preparation Individual and partner coaching sessions Audition preparation seminars Group and individual work on enhancing performance Diction coaching and courses Life coaching for artists, from a lacanian perspective Master classes with guest professionals addressing different aspects of the craft (character development, marketing, image, makeup, and artistic representation).
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Published on Oct 22, 2011