Bulgari "Never Too Much" With the Help of Verdi Force

Presenting MAI TROPPO: a celebration of the joyful exuberance of Bulgari and Rome. The new MAI TROPPO (Never Too Much) Bulgari advertising campaign, is an ode to life, joy and happiness. Deeply rooted in a Roman flamboyant exuberance, Bulgari invites to enthusiastically enjoy every single moment, here and now. Starring super model Lily Aldridge, British actress & singer Naomi Scott, American actress Zendaya. Directed by Johan Renck. The ad uses music from the Overture of Verdi's La Forza del Destino. Watch the full ad, as well as excerpts from the opera, after the jump.

Leontyne Price Live MET Performances Get 2-CD Release

"Celebrate one of opera's greatest artists with Leontyne Price at the Met. This new release features excerpts from the beloved American soprano's Met performances of Aida, Tosca, Il Trovatore, Antony and Cleopatra, and much more." Pirate recordings of the American soprano have previously been available to the public, but now the Metropolitan Opera attempts to get the highlights of the most famous moments that Leontyne Price sang at the house in this new compilation. Pre-order your copy here.

Watch a video of Leontyne Price's farewell performance at the Metropolitan Opera in the title of Verdi's Aida.

Verdi Makes Appearance In 2006 Curious George Film

"Ms. Plushbottom, Ted's neighbor, wanted her apartment painted like a picture of the Opera Hall. The painters only painted three colors on the wall. The colors on the wall were blue, red, and yellow. Mrs. Plushbottom was voiced by Joan Plowright, who starred in films such as Dennis the Menace (1993) and 101 Dalmatians (1996)." After firing the painters, the diva decides to soak in the tub while opera plays throughout the apartment. Watch the video clip from Curious George: Show Me The Monkey (2006) that features the cabaletta "Tutto sprezzo che d'Ernani" from Ernani by Giuseppe Verdi, as well as a clip of Leona Mitchell singing the full aria from the Metropolitan Opera, after the jump. [Source, Source] 

Felipe Sanguinetti Gets Exclusive MET "Falstaff" Access

Filmmaker and photographer Felipe Sanguinetti was granted access to the rehearsal and opening night of the Metropolitan Opera's new Robert Carsen production of Verdi's Falstaff.

Tonino Benacquista Book-Turned-Movie Gets The Verdi Treatment

La Famiglia: Click here to watch an advertisement, featuring "La donna é mobile" from Verdi's Rigoletto, promoting the release of the DVD/Blu Ray for the 2013 film The Family.

"A mafia boss and his family are relocated to a sleepy town in France under the witness protection program after snitching on the mob. Despite the best efforts of CIA Agent Stansfield (Tommy Lee Jones) to keep them in line, Fred Manzoni (Robert De Niro), his wife Maggie (Michelle Pfeiffer) and their children Belle (Dianna Agron) and Warren (John D'Leo) can't help but revert to old habits and blow their cover by handling their problems the 'family' way, enabling their former mafia cronies to track them down. Chaos ensues as old scores are settled in the unlikeliest of settings in this darkly funny film by Luc Besson (Taken, Transporter)." [Source]

Watch Diana Damrau As Violetta In "La Traviata" From La Scala

Soprano Diana Damrau (Violetta) with director Dmitri Tcherniakov discussing the opera

Maria Callas Exclusive New 1956 "La Traviata" Vinyl Recording

Amazon has released a new recording of Verdi's La Traviata, from 1956 performances at La Scala in Milan, with a cast that includes Gianni Raimondi under conductor Carlo Maria Giulini in a production by Luchino Visconti. Click here to order the set. Watch a video previewing the set by clicking here. "This Deluxe Limited Edition Box Set of Verdi's highly esteemed La Traviata, performed by Maria Callas in 1956 has been digitally remastered and recorded on three 180 gram vinyl LPs, each individually hosted in a custom printed sleeve."

Also included is a high quality book, featuring:

- Historic detail of the original program
- An introduction to the opera
- A history of the staging
- Photographs from the La Scala archives, unearthing exclusive and rare images
- The opera libretto

All of these elements are presented in an elegant presentation box of red linen and gold impressions.

Designing Opera Costumes In The Digital Age Of High-Definition

Lisette Oropesa, who sings the role of Nanetta, fits herself in riding boots. (Photo: Todd Heisler/The New York Times)

The New York Times visits the Metropolitan Opera costume department to expose all the difficulties in recreating period costumes that can sustain the scrutiny of a high-definition camera. Taking a peak at the latest cast and costumes from Robert Carsen's new production of Verdi's Falstaff, the newspaper features a wonderful gallery of photos along with the story. "High-definition cameras are only the latest challenge for members of the Met’s costume department. As it is, their work requires a combination of finely honed technical skills, a historian’s understanding of period costumes, and personalized attention to opera singers, their performance style and body hang-ups. At the same time, Met costumes have to be much more durable than regular clothes. Unlike couture fashion, these garments must last for many seasons — sometimes decades — and withstand rapid costume changes between scenes. In the past, that might have meant sturdier zippers and thicker hooks, but with cameras trained even on the backs of singers, the Met’s designers, drapers and seamstresses have had to become craftier." [Source]

Anna Netrebko Says Verdi's Leonora Is "A Damn Difficult Role"

Click on the above photo to launch a video of rehearsal footage and artist interviews from Berlin's new production of Il Trovatore. After the jump, see Plácido Domingo's new official branding.

At 61, Dolora Zajick Proves Still Explosive As Verdi's Amneris

(Photo: Lynn Lane)

"....volcanic-voiced American mezzo Dolora Zajick, the reigning international interpreter of Amneris, who could sing this role in her sleep. Her voice is one of the wonders of the world, sailing through, and over, Verdi's thick orchestral color to give real life to the Egyptian princess racked by jealousy. For this revival, thankfully, her costumes have been lightened by more of Rhodes's gauzy fabrics, so she no longer looks like a walking sarcophagus as she did at this production's premiere. Rich and plummy, her instrument is beautiful through all ranges, and she can float a pianissimo with seductive softness like no other. But it's her phenomenal agility and power-in-agility that have made her the leading Verdian mezzo. She is divine, if not out-of-this-world, rock solid and commanding. In the cluttered stage pictures, you always know where she is." [Source] More photos of Dolora Zajick in the Zandra Rhodes production of Aida at the Houston Grand Opera after the jump.

Voiceless Linda Ronstadt Recalls Early Opera Memories Of Childhood

In December 2012, Ronstadt was diagnosed with Parkinson's 
disease, which left her unable to sing. It was announced publicly
 in August 2013.

"Her deepest roots are musical. Ronstadt's paternal grandfather was a brass-band leader. Her father, a baritone, played her 78-rpm records of Grieg's Peer Gynt and the flamenco singer Pastora Pavón and took her to one of the few movies she saw as a child, Verdi's opera Aida. Her brother Peter was a boy soprano. Family singing, in a house with no TV until Ronstadt was in fifth grade, was the most readily available source of entertainment. It may also be the wellspring of her celebrated gift for harmonizing, exquisitely realized decades later in her three-part singing with Emmylou Harris and Dolly Parton and duets with the Cajun singer Ann Savoy. The strict Catholic school she attended turned Ronstadt off formal education. A natural autodidact, she became a voluminous reader, with interests that range from Victorian novels to architecture to politics. Even as she enrolled at the University of Arizona, Ronstadt knew it wasn't for long. She dropped out after a semester and headed for Los Angeles at 18 to seek her musical fortune."[Source]

Former Steel Worker Would Go Nude For Pittsburgh Opera "Aida"

"At 69 years old, heavier than he'd like to be, former steel worker Fred Rokasky knew he might not get one of the roles as the scantily clad, buff spear carriers for the Pittsburgh Opera's upcoming production of Verdi's famed ancient Egypt-based opera, Aida. 'You don't get to pick, so I'll probably be a [uniformed] soldier,' said Mr. Rokasky of Squirrel Hill, one of nearly 50 men who turned out Saturday at the Carnegie Museum of Natural History for the Pittsburgh Opera's open casting call for spear carriers, soldiers, priests, slaves, boatmen and litter carriers. Appropriately, the auditions were held in front of the museum's Walton Hall of Ancient Egypt. Still, Mr. Rokasky said, if they need him for one of those roles as a spear carrier -- who would have to appear in front of up to 3,800 opera fans for four shows at the Benedum Center in October wearing what amounts to a mere loincloth -- he is ready. 'It wouldn't bother me, standing there topless,' he said. 'I'm a nudist anyway. So being partially nude wouldn't bother me.' [Source] Optional casting photo after the jump.

Hildegard Behrens Rare 1977 Verdi Duet With James King

Otello: "Già nella notte densa" by Giuseppe Verdi

Performer: Hildegard Behrens (Soprano), James King (Tenor)

Conductor: Heinz Wallberg

Orchestra/Ensemble: Munich Radio Symphony Orchestra

Period: Romantic

Written: 1887; Italy

Date of Recording: 03/27/1977

Venue: Live Bavarian Radio, Munich, Germany

Language: Italian

Anna Netrebko Prepares For Verdi Roles and Future Recording

Photo: Ruven Afanador

"The soprano needs no prompting to name the roles she expects to sing in the not-too-distant future. Tatiana in Tchaikovsky's "Eugene Onegin" is an obvious one; she is to open the Met's 2013-14 season with it. And having received mixed reviews in Massenet's "Manon" at the Met last season, she will try "Manon Lescaut," Puccini's take on the character, rumored for Munich in 2014. Ms. Netrebko is also promising new roles by Verdi, including Leonora in "Il Trovatore" and the title character in his little-known "Giovanna d'Arco." But the part she seems most excited about is Lady Macbeth in Verdi's treatment of Shakespeare's Scottish play. "It is coming, but not that soon," she said. "As a soprano who sings Lucia di Lammermoor, I have the high notes and the trills. No problems there. But going into the low registers is lots of work." To underscore her commitment, she mentions a recently completed recording of Verdi arias—"my new repertoire"—to be released by Deutsche Grammophon next year." [Source]

Opera Sneaks Into Luchino Visconti's "Il Gattopardo"

Listen to Verdi's Waltz in F Major
scored by Nina Rota.

This evening, Turner Classic Movies aired the full-length refurbished version of Luchino Visconti's opulent 1963 film Il Gattopardo featuring Burt Lancaster (Don Fabrizio Corbera - Prince of Salina), Claudia Cardinale (Angelica Sedàra) and Alain Delon (Tancredi Falconeri). The film is based on Giuseppe Tomasi di Lampedusa's novel of the same name about the decline of the Sicilian aristocracy at the time of the "Risorgimento"when the aristocracy lost its grip and the middle classes rose and formed a unified, democratic Italy. Il Gattopardo translates directly from Italian as "The Serval," but the film was released in France as Le Guépard ("The Cheetah") and as The Leopard in the UK and USA. The work was awarded the Palme d'Or at the 1963 Cannes Film Festival. Leave it to Visconti who famously directed 19 opera productions (five with Maria Callas alone), to include some music of Verdi into his film. The film's score was composed by Nina Rota who managed to unearth Verdi's Valzer in fa maggiore, originally written "per cembalo" when the composer was in his youth, and orchestrate it for key sequences in the hour-long

ball scene. "The Valzer was discovered by Rota in the possession of a Roman antiquarian, and was orchestrated for strings, flutes, and piano for the film soundtrack. "The Valser begins on a shot of farmers working on a hillside and follows the cross-fade into a large ballroom. The guests are greeted at a reception line, people gossip, ladies fan themselves (the Sicilian night is very hot), Colonel Pallipacini and his officers are introduced to the notables. The music flows from the balconies into a garden where the Colonel, surrounded by admiring women hanging on his every word, speaks of Garibaldi as looking like an archangel: 'I wept like a little baby.'

Verdi's waltz cadences at the end of the Colonel's exaggerated speech, and another waltz with lovely romantic harmonies in the style of the period by Nino Rota, begin as the scene shifts back into the ballroom. This piece is followed by a wonderful folk-style mazurka in a minor key. Angelica asks the Prince to dance with her and back in the ballroom the Verdi waltz is struck up once again."

Two excerpts from Verdi's La Traviata appear in the film as well. Click on the highlighted link in the description below each photo to launch a video clip of each particular scene:

When Don Fabrizio and his family return to Donnafugata they are greeted by a brass band playing the women's chorus "Noi siamo zingarelle."

The family immediately enters a church in a processional while a young organist plays the "Preludio" from Act 1 (the theme appears again later in the opera as "Amami, Alfredo" sung by Violetta).

Visconti even manages to get a little bel canto Bellini in when a soldier sings "Vi ravviso, o luoghi ameni," Rodolfo's aria from the first act of La Sonnambula.

[Source, Source, Source, Source]

Enjoy a detailed description of the film (possible spoilers), as well as commentary and photos after the jump.

Vito Mazzeo Dances to "La Forza del Destino" Overture

Watch Vito Mazzeo dance Choix choreographed by Emanuela Tagliavia set to the music of Giuseppe Verdi's La Forza del Destino overture. Fellow dancers include Gabriele Corrado and Elena Marzano. Click here to launch the media.

"Born in Vibo Valentia, Italy, Vito Mazzeo trained at La Scala Ballet School in Milan. In 2005, he joined the Royal Ballet where he danced for several years, prior to joining Rome Opera Ballet in 2008. Mazzeo has performed lead roles in variety of works, including Prince Desiré in The Sleeping Beauty, Albrecht and Hilarion in Giselle, Prince Siegfried in Swan Lake, Basilio in Don Quixote, Birbanto in Le Corsaire, the Golden Slave in Sheherazade, and Mercutio in Romeo and Juliet. His repertory also includes principal roles in Balanchine’s La Chatte and Stravinsky Violin Concerto, Chalmer's A Midsummer Night's Dream, Fokine’s Les Sylphides, and Nijinska’s Les Biches. In 2010, Mazzeo received the Premio Positano Leonide Massine Award for Best Italian Dancer as well as the Danza & Danza Award for Best Dancer of the Year." [Source]

More photos after the jump.

Sharon Sweet Unleashes Her Magnificent Voice on Verdi

(Click image to launch video of Sharon Sweet singing the finale of "Libera Me" from the Verdi Requiem)

The Troubadour Takes the Apollo in 1853

Callas: "D'amor sull'ali rosee"

"Il Trovatore (The Troubadour) is an opera in four acts by Giuseppe Verdi to an Italian libretto by Salvadore Cammarano, based on the play El Trovador (1836) by Antonio García Gutiérrez. Cammarano died in mid-1852 before completing the libretto. This gave the composer the opportunity to propose significant revisions, which were accomplished under his direction by the young librettist, Leone Emanuele Bardare, and they are seen

King: "Di quella pira"

largely in the expansion of the role of Leonora. The opera was first performed at the Teatro Apollo, Rome, on January 19, 1853 where it 'began a victorious march throughout the operatic world.' Today it is given very frequently and is a staple of the standard operatic repertoire. It appears at number 17 on Opera America's list of the 20 most-performed operas in North America." [Source]