Greek National Opera’s Post

#emenidesopera #vasilstole By GEORGE LEOTSAKOS THE ACTION OF THE OPERA Eumenides, begins in Apollo’s temple in Delphi. One of the priests finds Orestes before the altar pleading to be saved from the Erinnyes (Furies) who are now sleeping, exhausted from attempting to persecute him. At that moment, the ghost of Queen Clytaemnestra appears. She awakens the Erinnyes, reproaching them for failing to punish Orestes and criticizes Apollo for having offered shelter to this criminal. The action then moves to Athens, where according to Apollo’s decision, Orestes will appear before a court to be judged for his crimes. The young hero, following the advice of Apollo, arrives there and embraces the statue of the goddess Pallas Athena, begging her to protect him from the Erinnyes, who persecute him relentlessly. The opera itself is in three acts, including an overture, 17 separate numbers (scenes) and three orchestral interludes: Act One: overture, numbers 1-7, and two interludes: the first between nos 1 and 2, and the second (performed by folk instruments) after no. 7. Act Two: nos 8-16, with an interlude between nos 14 and 15. Act Three (Finale): no. 17. Considering Aeschylus text almost ready for his purposes, Tole has set it to music almost in its entirety, with the exception of some purely narrative parts, which delayed the action. Concluding this short introduction, we consider Vasil S. Tole’s Eumenides a score worthy of wide, international propagation, and above all, a fully staged performance. We wholeheartedly wish and hope that tonight’s world première, in concert form, will only be the beginning of a brilliant career for this work. https://lnkd.in/gxnTnSTu

Challenge for the creation of the Musica Senensis 2024 poster for the Agostino Agazzarri choir with the Opera della Metropolitana logo, which I would place at the top right. The choir's logo, however, goes at the top center, larger than that of the Opera, because it is the association that organizes. The file would be used to print 70x100 cm posters and also to circulate it on social media, via Whatsapp etc. The graphics could be simple, classic, in which it is important that the text is easily readable even from afar.

https://lnkd.in/eCnghJb4 Q. Please do a Campbellian reading of Mozart's 'The Magic Flute.' A. Wolfgang Amadeus Mozart's opera The Magic Flute can be analyzed through the lens of Joseph Campbell's The Hero's Journey, a framework that outlines the common narrative structure found in myths across cultures. Here's how the opera aligns with Campbell's monomyth: 1. The Call to Adventure Tamino: The opera begins with Tamino fleeing from a serpent. His rescue by the Three Ladies of the Queen of the Night serves as his call to adventure. He is then tasked with rescuing the Queen's daughter, Pamina, from the clutches of Sarastro, which provides the initial quest. 2. Refusal of the Call Although Tamino does not explicitly refuse, his initial confusion and fear when presented with the task could be seen as a form of reluctance or hesitation, typical in this stage.

Now Available: "Contemporary Opera in Flux" edited by Yayoi U. Everett is a collection of essays examining operas that push the conventional boundaries of opera and advance the work of underrepresented composers. This book is #OpenAccess! Start reading here: https://lnkd.in/gb5jqdZn

This is a Sichuan local show, called Sichuan Opera with a change mask. pay attention to the speed of the mask change. different colors stand for different sides of humanity. There are seven colors in Sichuan Opera face-changing, namely: red, black, white, yellow, cyan, blue, and green. Among them, red means loyalty, bravery, righteousness, and righteousness; black means staunchness, bravery, roughness, and recklessness; white means insidiousness and cunning; yellow means bravery, cruelty, insidiousness, scheming, etc.

The new stadium can HOUSE more than 50 thousand people. 🏟️👥 To HOUSE – zapewniać dach nad głową, pomieścić, gromadzić, wliczyć 👉 Carnegie Hall will HOUSE the most famous opera singers. 🎶🎤 👉 Unfortunately, but our list doesn’t HOUSE you. 😕📋 👉 You can simply create a list which will HOUSE all your contacts. 📝📱 Have a good day! #EnglishTips #LearnEnglish #Idioms #EnglishForWork #ProfessionalEnglish #EnglishForBusiness

Addressing can seem simple, but it's often a minefield of incorrect assumptions. Myth 1: "Every Address Has a Building Number" This is the first assumption in our series and it's a common one: the belief that every address must start with, or include, a building number. 🚫 Not always the case! 🚫 Take the Royal Opera House in London as an example: Royal Opera House, Covent Garden, London, WC2E 9DD, United Kingdom 👉 No building number required If you've ever encountered unexpected addressing quirks like this, you're not alone. It's a great reminder that even something as familiar as an address can be more complex than it seems. Stay tuned for more myths and facts about addressing in the coming weeks! #addressing #UKaddresses #mythvsfact #facts #mythbusters #fridayfact

💡DID YOU KNOW?💡 💸 From 7 to 102 Million: The Sydney Opera House Budget Leap! 💸 The original budget for the Sydney Opera House was AUD 7 million, but by the time it was completed in 1973, the cost had ballooned to AUD 102 million!!! 😲 This illustrates a phenomenon known as "cost overrun," which is quite common in large projects, where the actual cost far exceeds the initial estimates. The Sydney Opera House is a famous example, showcasing how difficult it can be to accurately estimate the total cost of a big project. Predicting the total cost of complex projects involves a combination of thorough planning, continuous monitoring, and flexibility. It requires a balance between detailed upfront planning and adaptability to change! #ProjectManagement #CostPlanning #SydneyOperaHouse #CostEstimation #RabelloEngineering

Want to know more about the business side of the opera world? Read below to learn what INO Artistic Director, Fergus Sheil, will be addressing at this years' Business of Opera Summit...

The verb we use in Italian to say 'to decide' is 'decidere’. However, in opera libretti when it comes to making a crucial decision, such as repudiating Ottavia, following the Commendatore, loving Alfredo, or resisting Scarpia’s harassement, the verb to be used is another one! Enjoy some libretti excerpts from 1643 to 1900 and add 'risolvere' to your Operatic Italian Glossary! (By the way, do you know what 'risolvere' means in standard Italian?)