- published: 03 Sep 2014
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Ferruccio Furlanetto (born 16 May 1949 in Sacile, Italy) is an Italian bass. His professional debut was in 1974 in Lonigo, he debuted at the Teatro alla Scala in Milan in 1979, in a production of Verdi's Macbeth, conducted by Claudio Abbado. He has gone on to sing numerous roles, including both Don Giovanni and Leporello in Mozart's Don Giovanni, Philip II in Verdi's Don Carlos, Figaro in Mozart's Le nozze di Figaro, Gremin in Tchaikovsky's Eugene Onegin, Zaccaria in Verdi's Nabucco, Méphistophélès in Gounod's Faust, Orestes in Strauss' Elektra, Fiesco in Verdi's Simon Boccanegra, the title role of Mussorgsky's Boris Godunov, as well as many other roles.
He has sung in the world's major opera houses. He debuted at the Metropolitan Opera in the 1980/81 season, and has performed at the Opéra de Paris (Bastille), the Salzburg Easter Festival and the regular Salzburg Festival, Teatro Colón in Buenos Aires, the Vienna Staatsoper, the Tel Aviv Opera, and the Royal Opera House in London.
The Barber of Seville, or The Futile Precaution (Italian: Il barbiere di Siviglia, ossia L'inutile precauzione [il barˈbjɛːre di siˈviʎʎa osˈsiːa l iˈnuːtile prekautˈtsjoːne]) is an opera buffa in two acts by Gioachino Rossini with an Italian libretto by Cesare Sterbini. The libretto was based on Pierre Beaumarchais's French comedy Le Barbier de Séville (1775). The première of Rossini's opera (under the title Almaviva, o sia L'inutile precauzione) took place on 20 February 1816 at the Teatro Argentina, Rome.
Rossini's Barber has proven to be one of the greatest masterpieces of comedy within music, and has been described as the opera buffa of all "opere buffe". Even after two hundred years, it remains a popular production.
Rossini's opera recounts the events of the first of the three plays by French playwright Pierre Beaumarchais that revolve around the clever and enterprising character named Figaro. Mozart's opera Le nozze di Figaro, composed 30 years earlier in 1786, is based on the second part of the Beaumarchais trilogy. The first Beaumarchais play was originally conceived as an opéra comique, but was rejected as such by the Comédie-Italienne. The play as it is now known was premiered in 1775 by the Comédie-Française at the Théâtre des Tuileries in Paris.
Don Carlos is a five-act grand opera composed by Giuseppe Verdi to a French-language libretto by Joseph Méry and Camille du Locle, based on the dramatic play Don Carlos, Infant von Spanien (Don Carlos, Infante of Spain) by Friedrich Schiller. In addition, it has been noted by David Kimball that the Fontainebleau scene and auto da fé "were the most substantial of several incidents borrowed from a contemporary play on Philip II by Eugène Cormon".
The opera's story is based on conflicts in the life of Carlos, Prince of Asturias (1545–1568), after his betrothed Elisabeth of Valois was married instead to his father Philip II of Spain as part of the peace treaty ending the Italian War of 1551–1559 between the Houses of Habsburg and Valois. It was commissioned and produced by the Théâtre Impérial de l'Opéra (Paris Opera) and given its premiere at the Salle Le Peletier on 11 March 1867.
When performed in one of its several Italian versions, the opera is generally called Don Carlo. The first Italian version given in Italy was in Bologna in March 1867. Revised again by Verdi, it was given in Naples in November/December 1872. Finally, two other versions were prepared: the first was seen in Milan in January 1884 (in which the four acts were based on some original French text which was then translated). That is now known as the "Milan version", while the second—also sanctioned by the composer—became the "Modena version" and was presented in that city in December 1886. It added the "Fontainebleau" first act to the Milan four-act version.
Teatro La Fenice (pronounced [la feˈniːtʃe], "The Phoenix") is an opera house in Venice, Italy. It is one of "the most famous and renowned landmarks in the history of Italian theatre", and in the history of opera as a whole. Especially in the 19th century, La Fenice became the site of many famous operatic premieres at which the works of several of the four major bel canto era composers—Rossini, Bellini, Donizetti, and Verdi were performed.
Its name reflects its role in permitting an opera company to "rise from the ashes" despite losing the use of three theatres to fire, the first in 1774 after the city's leading house was destroyed and rebuilt but not opened until 1792; the second fire came in 1836, but rebuilding was completed within a year. However, the third fire was the result of arson. It destroyed the house in 1996 leaving only the exterior walls, but it was rebuilt and re-opened in November 2004.
In 1774, the San Benedetto Theatre, which had been Venice's leading opera house for more than forty years, burned to the ground. By 1789, with interest from a number of wealthy opera lovers who wanted a spectacular new house, "a carefully defined competition" was organised to find a suitable architect. It was won by Gianantonio Selva who proposed a neoclassical style building with 170 identical boxes in tiers in a traditional horseshoe shaped auditorium, which had been the favoured style since it was introduced as early as 1642 in Venice. The house would face on one side a campo, or small plaza, and on the other a canal, with an entrance which gave direct access backstage and into the theatre.
King Philip's monologue from Act IV of Verdi's "Don Carlo." Ferruccio Furlanetto (King Philip). Conductor: Yannick Nézet-Séguin. Production: Nicholas Hytner (2010).
Figaro: Ferruccio Furlanetto Conductor: Bernard Haitink Salzburg, 1991
Excellent performance by Ferruccio Furlanetto as Basilio in this 1981 Glyndebourne Festival Opera production with the equally-amazing Maria Ewing and John Rawnsley, as Rosina and Figaro.
Ferruccio Furlanetto as Mephistefeles in Gounod's Faust. Paris, 2001.
We're always honored and delighted to have the return to San Diego Opera of one of the world's greatest singers, bass Ferruccio Furlanetto. This season he sings, for the first time in the U.S., the role of Archbishop Thomas Becket in Ildebrando Pizzetti's Murder in the Cathedral, a role that he thinks compares to the other great roles for bass: Boris, Philip in Don Carlo, Don Quixote. In this wide-ranging conversation with Nicolas Reveles, Geisel Director of Education and Outreach, he talks about this neglected opera and the challenges of the role.
Fiesco: Ferruccio Furlanetto Conductor: Sylvain Cambrelling Simon Boccanegra, Paris 2006
Conductor: Karajan. Leporello: Ferruccio Furlanetto. 1987. Lyrics: LEPORELLO Eh! Consolatevi; non siete voi, non foste, e non sarete né la prima, né l'ultima. Guardate: questo non picciol libro è tutto pieno dei nomi di sue belle: Ogni villa, ogni borgo, ogni paese è testimon di sue donnesche imprese. Madamina, il catalogo è questo Delle belle che amò il padron mio; un catalogo egli è che ho fatti'io; Osservate, leggete con me. In Italia seicento e quaranta; In Allemagna duecento e trentuna; Cento in Francia, in Turchia novantuna; Ma in Ispagna son già mille e tre. V'han fra queste contadine, Cameriere, cittadine, V'han contesse, baronesse, Marchesine, principesse. E v'han donne d'ogni grado, D'ogni forma, d'ogni età. Nella bionda eg...
Ferruccio Furlanetto sings Shubert's Winterreise at Mariinsky Concert Hall on July, 1 2011. 1st song Gute Nacht
Teatro La Fenice - New Year's Concert 2008 (estratto) Ferruccio Furlanetto canta 'La calunnia' dal 'Barbiere di Siviglia' di Rossini Orchestra del Teatro La Fenice Roberto Abbado, direttore
Februarys Artist of the Month programme at the Concert Hall of the Mariinsky Theatre brought the public three chances to see bass singer Ferruccio Furlanetto. He performed chamber works by Rachmaninoff and Musorgsky and the solo role in Verdis Requiem, but the highlight of his St Petersburg tour was Massenets opera Don Quichotte, in which the acclaimed singer appeared alongside an ensemble of soloists from the Mariinsky Academy of Young Singers who performed with dazzle and йlan. On this occasion the audience was presented with a concert performance. There is, however, every hope that a stage version of Don Quichotte will be staged during the Stars of the White Nights festival. Furlanetto not only doesnt hide his particular passion for the knight from la Mancha he positively declares his ...
We welcome our favorite basso, Ferruccio Furlanetto, back to San Diego Opera to sing the title role of Jules Massenet's Don Quichotte. This is one of Furlanetto's favorite roles, along with King Philip in Don Carlo and Boris Godunov. In this interview with Director of Education Nicolas Revlees, he reflects on forty years of working in the opera world (actually to the day when this interivew was conducted!) along with advice to young singers looking to jump into a singing career. Enjoy!
Fragments from the Russian Lieder program of Ferruccio Furlanetto (Piano - Igor Tchetuev). Fragments of the interview. St.Petersburg. 2010
http://furlanetto-baltsa-opera-for-life.blogspot.co.at/ ♥Ferruccio Furlanetto♥ is the best! -if you're listening really hard you can hear the English interview...:D-
Ferruccio Furlanetto as Filippo II in Don Carlo. Herbert Von Karajan, Salzburger Osterfestspiele 1986. "I basically jumped in without any rehearsal in a production that is still available because there are videos," he said [Ferruccio Furlanetto], enunciating slowly in his sonorous, dark-toned speaking voice. "The day after, everybody in the world knew who I was and that I had been chosen by Karajan. Immediately, Vienna came calling. Then I was performing all over the world." Interview by Chris Pasles, Times Staff Writer FILIPPO: She never loved me! No, her heart is closed to me, she feels no love for me! I can still see her, sad-faced, gazing at my white hair the day she came from France. No, she has no love for me, she does not love me! Where am I? Those candelabra are...
A+ Auditing Innovation - Conference in Milan June 30th, 2011 Interview - What innovation is Paola Furlanetto - CEO & Founding Partner @ A+ Ad Audit The annual A+ Conference focused on innovation. Topics included: how to define and control innovation; the best of TED videos; KPI's, dashboards and updated indicators; art innovation and web. An occasion to discover new forms of measurement, sustainability and the best use of resources in company communication.
Silvester, Staatsoper Wien "Die Fledermaus". Jänner 2012 "L'Italiana in Algeri" ♥Ferruccio Furlanetto♥ und Agnes Baltsa. Clips und Audio dazu folgen später. http://furlanetto-baltsa-opera-for-life.blogspot.com