Schuman debuted the role of Alice Ford in Verdi’s Falstaff at the Covent Garden Rezia in Weber’s Oberon at the Flemish Opera the title role in Schumann’s Genoveva with the Edinburgh Festival and Opera North Blanche in Poulenc’s Les Dialogues des Carmélites with Rome Opera and Seattle Opera Madeleine in Strauss’ Capriccio in Toulouse and the Marschallin in Der Rosenkavalier at the Pittsburgh Opera. In a continually expanding repertoire, Ms. Since then, she has repeated the role at Covent Garden, Glyndebourne, Madrid, and Lyon. ![]() She made her debut at the Salzburg Festival as Vitellia in La Clemenza di Tito, to much critical and popular acclaim. Vivaldi’s Gloria (RV 589) enjoys well-founded popularity and has been recorded on almost one hundred CDs.Įnjoying a career at the highest international level, Patricia Schuman began her career specializing in the Mozart repertoire, singing Donna Elvira in Don Giovanni and Contessa Almaviva in Le nozze di Figaro at the Metropolitan Opera with James Levine conducting Ilia in Idomeneo at La Scala with Riccardo Muti and Ilia and Pamina at Vienna State Opera, under the baton of Nikolaus Harnencourt. The work remained relatively unknown, until its revival by Alfredo Casella during “Vivaldi Week” in Siena (1939). ![]() This piece was composed at the same time during Vivaldi’s employment at the Pieta. The two surviving settings were written at about the same time (it is disputed which came first) in the early 18th century. Only two survive (RV 588 and RV 589) whilst the other (RV 590) is presumably lost and is only mentioned in the Kreuzherren catalogue. Vivaldi’s Gloria (RV 589) is the most familiar and popular piece of sacred music by Vivaldi however, he was known to have written at least three Gloria settings.
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