" Tu qui Santuzza" - Cavalleria Rusticana

Uma maravilhosa interpretação com a já consagrada Fiorenza Cossotto e um jovem Plácido Domingo - Tokyo 1976

Tributo a Beverly Sills

Lincoln Center, Met, City Opera Announce Plans for Beverly Sills Tribute
August 23, 2007

Lincoln Center, the Metropolitan Opera and New York City Opera have announced plans to present a free public tribute to the late Beverly Sills, which will be held at the Metropolitan Opera House on September 16, 2007 at 5 p.m..

Singers scheduled to perform at "A Tribute to Beverly Sills" include Natalie Dessay, Anna Netrebko and Nathan Gunn; Metropolitan Opera music director James Levine will play the piano. Speakers will include Susan Baker, chairman of New York City Opera's board; Frank A. Bennack, Jr., chairman of Lincoln Center; New York City mayor Michael Bloomberg; Carol Burnett; Plácido Domingo; Met general manager Peter Gelb; Henry Kissinger; Nathan Leventhal, former president of Lincoln Center; Julius Rudel, conductor and former general director of New York City Opera; Stanley Sills, brother of Ms. Sills; and Barbara Walters.

The Metropolitan Opera box office will dispsense free tickets to the event on a first-come first-serve basis, beginning at noon on September 16. Tickets are limited to two per each person. The program will also be broadcast live on Metropolitan Opera Radio on Sirius. (para ler mais clic no título da notícia em inglês )

Programação do mês de Setembro do Theatro Municipal de São Paulo

Setembro - mês do Aniversário do TMSP

CONCERTOS

Setembro, dia 02, dom., 11h – Orquestra Sinfônica Municipal
Série "Panorama do Mundo - Brasil"
Clélia Iruzun, piano
Lígia Amadio, regente
Programa
F. Mignone: Fantasia nº 3 Para Piano e Orquestra
M. Nobre: Concertino para piano e cordas
A. Nepomuceno: Sinfonia em Sol menor
Ingressos: R$ 15, 12, 10, (5)

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Setembro, dia 11, ter., 21h – Orquestra Sinfônica Municipal
Espetáculo Comemorativo "96º Aniversário do TMSP"
Fragmentos das óperas mais executadas na história do Theatro Municipal
Verdi, Mascagni, Wagner, Rossini, Massenet, Carlos Gomes, Belllini
Rosana Lamosa, soprano
Fernando Portari, tenor
Rodrigo de Carvalho, regente
Ingressos: R$ 15, 12, 10, (5)

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Setembro, dia 16, dom., 11h – Orquestra Experimental de Repertório e Coral Lírico
Espetáculo Comemorativo "96º Aniversário do TMSP"
Claudia Riccitelli, soprano
Martin Mühle, tenor
José Gallisa, baixo
Dorothea Kerr, organista
Jamil Maluf, regente
Programa
A. Dvorák: Te Deum
C. Gounod: Messe Solennelle (Santa Cecília)
Ingressos: R$ 15, 12, 10, (5)

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Setembro, dia 23, dom., 11h – Orquestra Sinfônica Municipal
"As Estações"
Pablo de Leòn, violino
Martin Tuksa, violino
Fernanda Krug, violino
Andréa Campos, violino
José Maria Florêncio, regente
Programa
A. Vivaldi: As Quatro Estações
I. Stravinsky: A Sagração da Primavera
Ingressos: R$ 15, 12, 10, (5)

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Setembro, dia 28, sex., 21h – Orquestra Sinfônica Municipal e Coral Lírico
Kaludi Kaludov, tenor
Adélia Issa, soprano
Pepes do Valle, baixo
Lício Bruno, barítono
José Maria Florêncio, regente
Programa
G. Verdi: Ernani (trechos da ópera)
Ingressos: R$ 15, 12, 10, (5)

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Setembro, dia 30, dom., 11h – Orquestra Experimental de Repertório
Antonio Lauro Del Claro, violoncelo
Guilherme Bernstein, regente
Programa
R. Schumann: Concerto para violoncelo e orquestra
P.I. Tchaikovsky: Suíte do ballet "A Bela Adormecida"
Ingressos: R$ 15, 12, 10, (5)

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BALÉS

Setembro, dias 12, qua., 14, sex.,15, sáb., 21h e 16, dom., 17h
Balé da Cidade São Paulo
Espetáculo Comemorativo "96º Aniversário do TMSP"
Onde está o Norte?- Coreografia de Mário Nascimento
Música Fabio Cardia
Perpetuum - Coreografia de Ohad Naharin
Músicas de Johann Strauss Filho (1825-1899)
Ingressos: R$ 15, 12, 10, (5)

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Setembro, dias 22, sáb e 23, dom., 19h
Corpo de Baile Jovem Municipal
A Outra Valsa - coreografia de Luiz Fernando Bongiovanni
Limiar - coreografia de Flávio Lima
Contradança - coreografia de Luiz Fernando Bongiovanni
Estréia de nova coreografia de Mariana Muniz
Ingressos: R$ 10, 8, 5, (2)

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Setembro, dia 26, qua, 20h30
Escola Municipal de Bailado
"Formandos de 2007"
O Quebra Nozes - suíte do 2º ato - coreografia de Ali José
Gisele - suíte do 2º ato - coreografia de Kátia Rocha
Ingressos: R$ 10, 8, 5, (2)

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VESPERAIS LÍRICAS

Dia 04, ter, 18h – Sala Olido
“JOSÉ SILVEIRA E CONVIDADOS” – Concerto comemorativo
Elayne Caserh, Angélica Feital, Eloísa Baldin e Rita Marques, sopranos; Silvia Tessuto, mezzo-soprano; José Silveira, tenor; Luis Orefice, barítono. Piano: Karin Uzun
Quando: dia 04, às 18h
Onde: Sala Olido (300 lugares)
Quanto: Grátis (retirar ingressos na hora)

Dia 11, ter, 18h – Sala Olido
“IL TABARRO” – Ópera em I ato de G. Puccini
Monica Martinez, soprano; Laura Aimbiré, mezzo-soprano; Rubens Medina e Miguel Geraldi, tenores; João Paulo Ribas, barítono e Marcos Carvalho, baixo. Piano: Marizilda Hein
Quando: dia 11, às 18h
Onde: Sala Olido (300 lugares)
Quanto: Grátis (retirar ingressos na hora)

Dia 18, ter, 18h – Sala Olido
“THE MEDIUM” – ópera em II atos de Gian Carlo Menotti
Rita Marques e Marta Dalila, sopranos; mezzo-soprano; Silvia Tessuto e Keila Moraes, mezzo-sopranos; Sandro Bodilon, barítono Piano: Nancy Bueno. Direção Cênica: Flávio Costa. Participação especial do ator: Marcelo Silva.
Quando: dia 18, às 18h
Onde: Sala Olido (300 lugares)
Quanto: Grátis (retirar ingressos na hora)

Dia 25, ter, 18h – Sala Olido
“ORFEU ED EURIDICE” – trechos da ópera de Christoph Gluck
Marcia Degani e Narilane Camacho, sopranos; Laura Aimbiré, mezzo-soprano. Piano e direção musical: Alex Flores.
Quando: dia 25, às 18h
Onde: Sala Olido (300 lugares)
Quanto: Grátis (retirar ingressos na hora)

__________________________

SALA OLIDO
Av. São João, 473
Informações: 3223-3022, ramal 218

Salmos 23

Salmos 23

1.O Senhor é o meu pastor; nada me faltará.

2.Deitar-me faz em pastos verdejantes; guia-me mansamente a águas tranqüilas.

3.Refrigera a minha alma; guia-me nas veredas da justiça por amor do seu nome.

4.Ainda que eu ande pelo vale da sombra da morte, não temerei mal algum, porque tu estás comigo; a tua vara e o teu cajado me consolam.

5.Preparas uma mesa perante mim na presença dos meus inimigos; unges com óleo a minha cabeça, o meu cálice transborda.

6.Certamente que a bondade e a misericórdia me seguirão todos os dias da minha vida, e habitarei na casa do Senhor por longos dias.

Elias - Felix Mendelsshon- Bartholdy

Liebestod - Wagner - duas versões

Birgit Nilsson , Stig Westerberg dirigindo a Swedish Radio Symphony Orchestra - anos 60



Jessye Norman, 1987 Salzburg Festival. Karajan dirigindo a Wiener Philharmoniker

Danielle de Niese

Soprano Danielle de Niese has distinguished herself in the early-music repertoire, but her approach to her career is totally twenty-first century. By Dan Rosenbaum
Having set the opera world abuzz in 2005 with her Glyndebourne Cleopatras, Danielle de Niese is now touted everywhere for her musical integrity, ravishing good looks, poise and dramatic acuity. The twenty-something soprano is as down to earth as a budding opera star can be, and interested in everything.

As Diane Paulus, who directed de Niese in Monteverdi's L'Incoronazione di Poppea at Chicago Opera Theater in 2004, puts it, "Danielle's setting the new standard for opera singers. She looks fantastic. She's an incredible singer. But she's also a consummate actress, eager to portray a character from the inside out. On top of that, she can gab about the latest pop songs and brings that connection to contemporary culture with her. And she'll stand on her head if you ask her!"

“Vespro Della Beata Vergine” - Monteverdi

Monteverdi, From the Opera to the Church to Lincoln Center

Michelle V. Agins/The New York Times

"Coro Della Radio Svizzera" at the Rose Theater on Monday night.

By ALLAN KOZINN

Published: August 22, 2007

A theme of this summer’s Mostly Mozart Festival is spirituality, explored by way of works from across the expanse of musical history. Having presented the most recent of its examples, Osvaldo Golijov’s “Pasión Según San Marcos” (2000), over the weekend, the festival offered the earliest, Monteverdi’s “Vespro Della Beata Vergine” (1610), at the Rose Theater on Monday evening.

Music Review | Orquesta la Pasión: Latin Sounds of Many Parts, Even Bagpipes

(August 21, 2007)

Claudio Abbado

For a Maestro, Energy Is the Only Limitation

Eddie Risch/ Keystone

Claudio Abbado

LUCERNE, Switzerland, Aug. 20 — His baton kept a tight but flowing beat as his left hand, at the end of a thin wrist, went its own way, deftly sculpturing phrases and so often asking for less, less, less.

Claudio Abbado sat before the Lucerne Festival Orchestra, rehearsing Mahler’s Third Symphony last Wednesday, speaking softly in German, English and Italian to the collection of international musicians in the resident ensemble. They were closely attentive. He had only to lower his baton for them to stop playing — no calls for quiet.

And at the concert on Sunday evening, the usually staid Swiss greeted the performance with a roar. His most devoted fans, the “Abbadiani,” rained flowers down from the balcony. Clapping rhythmically, the audience summoned him back for a solo bow after the orchestra had left the stage.

GIORDANO: ANDREA CHÉNIER

Tebaldi, di Stasio; Del Monaco, Protti; NHK Symphony Orchestra and Italian Opera Chorus, Capuana. VAI 4419, 131 mins., subtitled

Italian opera became a hit in Japan in the fifties when a black and white television series called "Lirica Italiana" brought productions and leading stars of the day to Tokyo, where they were surrounded by Japanese chorus and supers, and (on the evidence here) joyously received. Chenier, with so many opportunities for impassioned outburst and a libretto that anticipates so many of the Revolutionary clichés on which the movies would later pounce, was an excellent choice to make the case for grand opera.

Despite its blanched, grainy look and old-fashioned staging (no director is credited, but the stars step outside their roles to bow to extended applause), this is a document of three major interpreters of the leading roles, supported, in the opera's dozen character parts, by half a dozen of Italy's excellent stable of comprimarios, doubling up to save air fares. (I especially enjoyed Anna di Stasio's lushly sung, almond-eyed Bersi.)

Mario Del Monaco is a bit dry in the first and fourth acts — "Fui soldato" in Act III is his finest moment here — but those who never saw him will get some notion of the lip-curled authority of his singing. Aldo Protti, who lasted long enough to make an impressive belated Met debut as Rigoletto in 1985, is thoroughly in charge of both the flowing line and the self-doubt that make Gerard one of opera's most intriguing heavies. Vocally, however, the night belongs to Renata Tebaldi in the full honeyed glow of her sumptuous sound in mid career. Maddalena was one of her favorite roles; she sang it for over twenty years till the top notes became insecure. Here, in 1961, the voice was even and easy throughout the part, and if she seems, close up, a bit zaftig for the mischievous child of Act I, she matures into a deeply affecting woman for her confrontation with Gerard. Franco Capuana milks every one of Giordano's shrewdly calculated climaxes, and the audience eats it up.

NHK employed members of no less than three Tokyo choruses, who race about wielding mattocks and lorgnettes, and Carmagnole till they drop. Imagine a dozen dainty Madame Defarges howling – chirping? – for Chenier's blood. They may not seem Italian – or French for that matter – and are too loudly prompted, but it's clearly not just a walk-through at the opera to them: they're having the time of their lives and their enthusiasm is infectious.

JOHN YOHALEM

ROSSINI OPERA FESTIVAL XXVI Edizione

XXVIII Edizione
Pesaro, 8~21 agosto 2007

Adriatic Arena (ex BPA Palas) Teatro 1
Mercoledì 8 agosto, ore 20.00
Sabato 11 agosto, ore 20.00
Martedì 14 agosto, ore 20.00
Venerdì 17 agosto, ore 20.00
Lunedì 20 agosto, ore 20.00
OTELLO
Dramma per musica in tre atti di Francesco Berio di Salsa
Musica di Gioachino Rossini
Edizione critica della Fondazione Rossini, in collaborazione con Casa Ricordi, a cura di Michael Collins
Nuova coproduzione con Deutsche Oper di Berlino e con Opéra di Losanna
Direttore RENATO PALUMBO
Regia GIANCARLO DEL MONACO
Scene CARLO CENTOLAVIGNA
Costumi MARIA FILIPPI
Progetto luci WOLFGANG VON ZOUBEK
Personaggi e Interpreti
Otello GREGORY KUNDE (8, 14, 17, 20 agosto) FERDINAND VON BOTHMER 11 agosto)
Desdemona OLGA PERETYATKO
Elmiro MIRCO PALAZZI
Rodrigo JUAN DIEGO FLÓREZ
Iago CHRIS MERRITT
Emilia MARIA GORTSEVSKAYA
Lucio / Gondoliero ENRICO IVIGLIA
Doge ALDO BOTTION
CORO DA CAMERA DI PRAGA
Maestro del Coro Lubomír Mátl
ORCHESTRA DEL TEATRO COMUNALE DI BOLOGNA

Natalie Dessay - Traviata

Natalie Dessay tem em sua agenda de 2008/2009 a sua estréia em La Traviata de G. Verdi , na Opera de Santa Fe.
Ouçam aqui dois trechos de uma recente apresentação :

http://www.trrill.com/media/un_di_felice.mp3
http://www.trrill.com/media/e_strano.mp3

Teremos boas surpresas com essa nova Violeta.
Aqui um trecho de uma entrevista de Outubro de 2006 onde ela já fala de uma futura experiência no papel de Violeta Vallerie :

Qu’est-ce qui vous fait le plus peur dans cette première Traviata?
C'est un rôle marathon. Il ne me reste que deux ans pour l'apprendre et trouver comment incarner cette femme de 26 ans, à la fois prostituée et très classe. Dans certains rôles, il suffit d'être mignonne. Là, il va falloir suggérer la vraie sensualité, alors que dans ma tête je suis encore une petite fille qui n'apprécie que depuis peu de porter autre chose qu'un jogging. Il me reste une dizaine d'années à pouvoir assurer sur une scène d'opéra, et la Traviata fait partie des rôles que je peux tenter. J'aimerais qu'en 2016 paraisse un nouveau DVD qui, après mes années soubrette, témoignerait de mes années femme.

Breaking News

Metropolitan Opera Taps Roberto Alagna to Replace Ailing Rolando Villazón in Upcoming Roméos -
Villazón Cancels Engagements for "Two to Three Months" on Advice of Doctors
August 15, 2007

Villazón © Johannes Ifkovitz 2007

The Metropolitan Opera announced today that tenor Roberto Alagna has been tapped to sing Roméo in the upcoming season's first two performances of Gounod's Roméo et Juliette on September 25 and 29. Alagna replaces Rolando Villazón, who has been forced to withdraw from the performances because of illness.

News of Villazón's Roméo cancellation is just the latest in a string of withdrawals this summer by the tenor owing to illness. On Tuesday, Villazón's manager, Bruce Zemsky, emailed a statement to the Associated Press, reading: "Mr. Villazon has canceled his engagements for the next two to three months as his doctor had suggested. [...] He has been advised to have this rest after a very heavy schedule over the last two seasons and looks forward to returning as soon as possible."

On August 9, the Pittsburg Post-Gazette reported that the tenor had cancelled his appearance at the Pittsburgh Symphony Orchestra's September 15 gala concert. Likewise, Deutsche Presse-Agentur has reported that the Mexican tenor does not intend to take part in a concert tour of Germany this month, for which he was scheduled to sing with Netrebko. Earlier this month, Villazón similarly withdrew from two performances at the Salzburg Festival that would have found him singing zarzuela excerpts with Domingo and the Salzburg Mozarteum Orchestra, under the baton of Jesús López Cobos. A statement released by the festival at the time attributed the cancellations to a long-term illness. The tenor was also to have taken part in three gala concerts with Netrebko and Latvian mezzo Elina Garanca at the Festspielhaus in Baden-Baden late last month; he was replaced by Ramón Vargas.

____________________________________________________________________
Notícia de Maio, quando foi substituido por Fernando Portari
Rolando Villazón sigue enfermo

El tenor mexicano Rolando Villazón sigue enfermo y por ello no podrá actuar en las próximas presentaciones de la ópera de Jules Massenet, Manon, en la ópera Estatal Unter den Linden de Berlín, anunció la institución musical alemana

El Universal
Miércoles 16 de mayo de 2007

BERLÍN.- El tenor mexicano Rolando Villazón sigue enfermo y por ello no podrá actuar en las próximas presentaciones de la ópera de Jules Massenet, Manon, en la ópera Estatal Unter den Linden de Berlín, anunció la institución musical alemana.

Estaba previsto que Villazón, considerado uno de los mejores tenores del mundo, protagonizara esa ópera este miércoles y el próximo sábado. La ópera Estatal Unter den Linden informó que Villazón será sustituido por el brasileño Fernando Portari, que actuará junto a la soprano rusa Anna Netrebko.

La dirección musical corre a cargo del argentino- israelí Daniel Barenboim y está dirigida por el estadounidense Vincent Paterson, quien antes trabajó para Madonna y Michael Jackson. (DPA)

Andreas in Excelsis

Discriminating, imaginative and passionate, countertenor Andreas Scholl is singing more opera these days — and liking it. ADAM WASSERMAN reports

Photographed in Basel, Switzerland by Johannes Ifkovits at the Münster von Basel

When Andreas Scholl took the stage of London's Royal Albert Hall on the Last Night of the Proms in 2005, he not only became the first countertenor to perform at the popular annual event, but given the estimated TV, radio and Internet audience of nearly 400 million people, he was also the first countertenor to sing before such an enormous crowd. By the time he had finished a trio of Handel arias with the BBC Symphony Orchestra during the program's first half, any lingering questions about the expressive capacities or popular appeal of a countertenor voice seemed irrelevant. Coming back later to ice the cake with a folk song and a Purcell air accompanied by guitarist John Williams, Scholl stole the show, in the process bringing a pristine Baroque aesthetic to an evening that has historically been devoted to brassy, populist fare. "Heaven knows what [inaugural Proms conductor] Sir Henry Wood would have said," wrote one columnist from the London Times, "had he imagined that the biggest cheers at the Last Night of his Proms would go not to his sturdily patriotic Fantasia on British Sea Songs but to a young German chap, warbling in falsetto."

JUSSI BJÖRLING

Um dos meus tenores preferidos.
Simplesmente não tenho o que dizer, a voz é maravilhosa, a linha de canto idem, a interpretação ..... tudo enfim !
Ouvir esta " Mattinata" é um refrigério depois de um dia cheio. Enjoy :)

Diana Damrau - Glitter and be Gay - Bernstein

War, Love, Loyalty & Betrayal
Last year, the Salzburg Festival staged the mother of all Mozart blowouts: It was his 250th birthday, you know. This year, things are back to normal. Mozart is still a major presence in his hometown — as lovely as ever mid the Austrian alps. But other composers are accorded the spotlight, too.

One of them is Haydn, whose opera "Armida" is being performed. We don't think of Haydn as an opera composer: We think of him for symphonies, string quartets — even oratorios. But Haydn wrote some 15 operas, being an all-purpose composer, like most greats.

"Armida" is based on Tasso's "Gerusalemme liberata" (" Jerusalem Delivered"), a tale of the Crusades. It involves war, love, loyalty, betrayal — perpetual themes of opera, as of human life. Time was, everyone and his brother composed an opera on Tasso's epic: Lully, Handel, Gluck, Rossini . . .

And if I may sneak in a recommendation for your CD player (or iPod): In the 1970s, the soprano Jessye Norman recorded "Armida" with Antal Dorati, a conductor who championed Haydn. Don't think of Miss Norman as a Haydn singer? Ah, you should, you should.

The Salzburg Festival has assembled a superb cast for "Armida." They themselves should be recorded. The cast features not only one top lyric tenor, but two: Michael Schade (Rinaldo) and Richard Croft (Ubaldo). It's unusual that they sing together — that there is a town, so to speak, big enough for the both of them. This is cause for celebration.

On Tuesday night, Mr. Schade was creamy, accurate, incisive, smart — in other words, his typical exemplary self. A critic runs out of words. Mr. Schade was never better than when singing soft and unaccompanied. He is a supremely confident fellow, with much to be supremely confident about. And his acting was enveloping.

TOSCA - com Tebaldi

(Puccini – NHK Italian Opera) 1961. This live performance from 1961 features a stunning Renata Tebaldi as the tempestuous heroine of Puccini’s opera. Known for her dramatic voice and innately-Italian performances, few have been able to equal the style of Tebaldi in her most acclaimed roles. This performance is no exception and is a must for lover’s of passionate Italian opera.

With Renata Tebaldi, Gianni Poggi, Gian Giacomo Guelfi; Auturo Basile conducts the NHK Symphony Orchestra. B&W. Subtitled. Region Code: 0.

Composer:
Giacomo Puccini
1858 - 1924 (Italian)

Repertoire:
Tosca

Artists:
Tebaldi, Poggi, Guelfi, Basile

Nova ópera no MET

A Majestic Imperial Chinese Saga Has Its Premiere at the Met

Sara Krulwich/The New York Times

The First Emperor Tan Dun’s new opera, with Plácido Domingo in the title role as a third century B.C. Chinese ruler, with sets by Fan Yue and costumes by Emi Wada, continues through Jan. 25 at the Metropolitan Opera House. More Photos >

By ANTHONY TOMMASINI

Published: December 23, 2006

The relative rarity of world premieres at the Metropolitan Opera does not alone explain the buildup of good will, genuine excitement and high expectation over “The First Emperor,” the opera by the Chinese-American composer Tan Dun, which had its premiere on Thursday night, conducted by the composer.

Slide Show

The Emperor's New Clothes

Sara Krulwich/The New York Times

Plácido Domingo as the man who created the Chinese empire and whose influence on China is still felt today. More Photos »

Over the years Mr. Tan has drawn new audiences to classical music with eclectic works that find common ground between Asian traditions and the avant-garde. His ferociously propulsive film score for “Crouching Tiger, Hidden Dragon” won him both an Oscar and a pop-culture following. Zhang Yimou, the Chinese director of this production, best known for his popular film “House of Flying Daggers,” also adds luster to the project. And Plácido Domingo, by taking on the title role, the first role he has created in his 38 years at the Met, contributes his formidable star power.

The story of the opera, based on incidents from the life of Qin Shi Huang, the prince and warlord who unified China through the brutal conquest of other states and became the country’s first emperor, is timely and psychologically complex. That all nine performances are essentially sold out is good news for the Met, for contemporary music and for opera over all. My guess is that a large number of the ticket-holders are opera neophytes attracted by the novelty of this project and hoping for a grand theatrical experience.

Still, music drives the theatrical experience of opera, and Mr. Tan’s score is an enormous disappointment, all the more so because whole stretches of it, and many arresting musical strokes, confirm his gifts.

Bayreuth Festival Theater

Festival Richard Wagner apresenta nova versão de "O Anel do Nibelungo"

Großansicht des Bildes mit der Bildunterschrift: Stephen Gould encarna Siegfried, no ensaio para o festival

A nonagésima quinta edição do Festival Richard Wagner foi aberta, em Bayreuth. Wolfgang Wagner, neto do compositor, coordena o evento que aconteceu pela primeira vez em 1876, há exatos 130 anos.

A peça O navio fantasma abriu, nesta terça-feira (25/07), a nonagésima quinta edição do Festival Richard Wagner, em Bayreuth, na Baviera. Personalidades da política, da economia, da cultura e celebridades passam todos os anos pelo tapete vermelho do evento, que disponibiliza cerca de 53 mil ingressos para um total de mais de 420 mil pedidos, de todas as partes do mundo.

Bildunterschrift: Großansicht des Bildes mit der Bildunterschrift: O alemão Falk Struckmann se prepara para a maratona de 16 horasJá se passaram 130 anos desde que o festival foi organizado pela primeira vez, em 1876, e ele continua sendo um negócio de família, tendo sobrevivido a duas guerras mundiais e a inúmeras crises políticas.

O atual coordenador, Wolfgang Wagner, tem 86 anos e é neto do compositor com cujo nome o evento foi batizado. Hoje, o festival não atrai somente wagnerianos, mas o público em geral. Ponto alto é a obra magna de Wagner, o ciclo de óperas O anel do Nibelungo, que subirá ao palco nesta quarta-feira (26/07) e mais duas vezes durante o mês em que acontece o evento.

Nicola Zaccaria

NEWS

Breaking News

Nicola Zaccaria, 85, La Scala's Bass-Baritone of Choice During Fifties and Sixties, has Died
July 25, 2007

Nicola Zaccaria, the Greece-born bass-baritone who served as the Teatro alla Scala's go-to low-voice for some fifteen years during the fifties and sixties, has died at the age of eighty-five. Zaccaria reportedly died of Alzheimer's disease in Athens on July 24.

Mais um ano de vida - Agnus Dei by Michael Smith

Obrigada Senhor Jesus por mais um ano de vida que o Senhor me concede neste dia.
Ao Senhor somente , toda honra , glória e todo louvor !

Salmos 90
1.Senhor, tu tens sido o nosso refúgio de geração em geração.

2.Antes que nascessem os montes, ou que tivesses formado a terra e o mundo, sim, de eternidade a eternidade tu és Deus.

3.Tu reduzes o homem ao pó, e dizes: Voltai, filhos dos homens!

4.Porque mil anos aos teus olhos são como o dia de ontem que passou, e como uma vigília da noite.

5.Tu os levas como por uma torrente; são como um sono; de manhã são como a erva que cresce;

6.de manhã cresce e floresce; ã tarde corta-se e seca.

7.Pois somos consumidos pela tua ira, e pelo teu furor somos conturbados.

8.Diante de ti puseste as nossas iniqüidades, ã luz do teu rosto os nossos pecados ocultos.

9.Pois todos os nossos dias vão passando na tua indignação; acabam-se os nossos anos como um suspiro.

10.A duração da nossa vida é de setenta anos; e se alguns, pela sua robustez, chegam a oitenta anos, a medida deles é canseira e enfado; pois passa rapidamente, e nós voamos.

11.Quem conhece o poder da tua ira? e a tua cólera, segundo o temor que te é devido?

12.Ensina-nos a contar os nossos dias de tal maneira que alcancemos corações sábios.