Charles Castronovo the 43 rd birthday on the 19.June 2018.

Charles Castronovo the 43 rd birthday on the 19.June 2018.

The 20th anniversary of the began his professional career as a resident artist with the Los Angeles Opera. In the summer of 1998

Charles Castronovo

Georges Bizet Carmen, Berlin

https://www.youtube.com/watch?v=5qDSMpri9b8

My Thoughts on Bizet's Carmen starring Clémentine Margaine and Charles Castronovo

https://www.youtube.com/watch?v=MJD0sEdFUTo

TERMINE & KARTEN

Sa 20. Januar 2018, 19.30 Uhr / E-Preise: € 170,– / 124,– / 88,– / 52,– / Tickets / Abo: P

Mi 24. Januar 2018, 19.30 Uhr / C-Preise: € 95,– / 76,– / 53,– / 29,– / Tickets / Abo: NP, WM, F

Sa 27. Januar 2018, 19.30 Uhr / D-Preise: € 128,– / 94,– / 67,– / 39,– / Tickets / Abo: NP, F

So 04. Februar 2018, 18.00 Uhr / C-Preise: € 95,– / 76,– / 53,– / 29,– / Tickets / Abo: NP, S, F

Sa 10. Februar 2018, 19.30 Uhr / D-Preise: € 128,– / 94,– / 67,– / 39,– / Tickets / Abo: NP, F

Mi 30. Mai 2018, 19.30 Uhr / C-Preise: € 95,– / 76,– / 53,– / 29,– / Tickets / Abo: NP, WM, F

Fr 01. Juni 2018, 19.30 Uhr / D-Preise: € 128,– / 94,– / 67,– / 39,– / Tickets / Abo: NP, F

Do 07. Juni 2018, 19.30 Uhr / C-Preise: € 95,– / 76,– / 53,– / 29,– / Tickets / Abo: NP, WM, F

Sa 09. Juni 2018, 19.30 Uhr / C-Preise: € 95,– / 76,– / 53,– / 29,– / Tickets / Abo: NP, F

Sa 16. Juni 2018, 19.30 Uhr / C-Preise: € 95,– / 76,– / 53,– / 29,– / Tickets / Abo: NP, F

CARMEN: Die Premiere

https://www.youtube.com/watch?v=BfxsweDz5nc

BESETZUNG

Musikalische LeitungIvan Repusic

InszenierungOle Anders Tandberg

BühneErlend Birkeland

KostümeMaria Geber

LichtEllen Ruge

ChöreJeremy Bines

KinderchorChristian Lindhorst

ChoreografieSilke Sense

DramaturgieJörg Königsdorf Katharina Duda

CarmenClémentine Margaine

FrasquitaMeechot Marrero

MercédèsVasilisa Berzhanskaya

MicaëlaFederica Lombardi

Don JoséCharles Castronovo

MoralèsThomas Lehman

ZunigaTobias Kehrer

EscamilloMarko Mimica

RemendadoPaul Kaufmann

DancairoJörg Schörner

ChöreKinderchor der Deutschen Oper Berlin

Chor der Deutschen Oper Berlin

OrchesterOrchester der Deutschen Oper Berlin

Georges Bizet: CARMEN (Making-of)

https://www.youtube.com/watch?v=eaEd3H1zkFM

The 20th anniversary of the began his professional career as a resident artist with the Los Angeles Opera. In the summer of 1998

Charles Castronovo the 43 rd birthday on the 19.June 2018.

https://en.wikipedia.org/wiki/Charles_Castronovo

Charles Castronovo (born June 19, 1975) is an American operatic tenor. Castronovo was born to a Sicilian father and an Ecuadorian mother in Queens, New York, but grew up in Southern California.He attended California State University, Fullerton, for undergraduate studies in classical voice. During his time at the university, his talent came to the attention of William Vendice, the chorusmaster of the Los Angeles Opera, who promptly hired him as a chorister.

He began his professional career as a resident artist with the Los Angeles Opera. In the summer of 1998 he was a participant in San Francisco Opera's prestigious Merola Opera Program, and later joined the Metropolitan Opera's Lindemann Young Artist Development Program. After garnering much experience at the Metropolitan Opera, a series of significant role debuts soon followed such as Don Ottavio (Mozart's Don Giovanni), Ernesto (Donizetti's Don Pasquale), Fenton (Verdi's Falstaff), Ferrando in Mozart's Così fan tutte, Tamino (Mozart's Die Zauberflöte) and Alfredo in Verdi's La traviata. He has sung at many of the world's leading opera houses such as: the Metropolitan Opera, Royal Opera, Covent Garden, Berlin State Opera, Vienna State Opera, San Francisco Opera, Salzburg Festival and Santa Fe Opera.

The 2006/07 season marked a series of role debuts such as Rodolfo in La bohème, Nadir (Les pêcheurs de perles), the Duke in Verdi's Rigoletto, and Mylio in Édouard Lalo's Le roi d'Ys. The 2007/08 season marked the role debut of Tom Rakewell (The Rake's Progress) at the Royal Opera, Covent Garden, and a return to Los Angeles Opera singing the role of Don Ottavio in Don Giovanni.

During the 2008/09 season, Castronovo debuted at the Washington National Opera, and performed his first Edgardo in Donizetti's Lucia di Lammermoor. In June 2009, Castronovo returned to San Francisco Opera as Alfredo opposite Anna Netrebko in Verdi's La traviata. Later, in November, he performed the title role in Faust for the Washington Concert Opera.

In the Fall of 2010, Castronovo debuted the role of Mario Ruoppolo in the world premiere of Daniel Catán's Il Postino at the Los Angeles Opera, along with Plácido Domingo, which was repeated in June 2011 at the Théâtre du Châtelet, Paris, again with Plácido Domingo.

In the Summer of 2011, Castronovo made his debut with the Aix-en-Provence Festival, appearing with French soprano Natalie Dessay in Verdi's La traviata. The 2011/12 season marked Castronovo's debut with the Lyric Opera of Chicago, singing the role of Tamino. In August 2011 he appeared at the Royal Albert Hall with the John Wilson Orchestra in the now celebrated series of Proms, dedicated to the great Hollywood musicals. In June 2012, Castronovo debuted the role of Nero in Monteverdi's L'incoronazione di Poppea with Teatro Real. In the summer of 2014, he performed the title role in Hector Berlioz's La damnation de Faust, standing in for Ramón Vargas, at the Verbier Festival. Recent musical projects include performances of traditional Neapolitan songs, with a small ensemble of guitar, accordion, percussion and bass.

photos

https://www.google.com/search?q=Charles+Castronovo&client=opera&sa=N&tbm=isch&tbo=u&source=univ&ved=0ahUKEwjFt5-y4cjbAhWpCJoKHZz8B7A4ChCwBAgk&biw=1924&bih=935

If The Glove Fits: Charles Castronovo & The Rake’s Progress [Royal Opera 7-18 July]

http://www.classicalsource.com/db_control/db_features.php?id=6033

The 20th anniversary of the began his professional career as a resident artist with the Los Angeles Opera. In the summer of 1998

The New Generation of Singers

http://shirtlessopera.blogspot.com/2009/07/new-generation-of-singers.html

This is the new mold of young singers: hot, muscular, and willing to take their shirt off. Good singing optional. However, with these types of pictures, I'm not complaining!

Charles Castronovo "Lunge da lei...De' miei bollenti spiriti" La Traviata

https://www.youtube.com/watch?v=okcycEh4T40

Charles Castronovo, Tenor

Castronovo boys on a hot LA summer day

https://twitter.com/charlietenor/status/494956214229282816

Opera Singer Charles Castronovo Touched by the Beauty of Shen Yun

https://www.theepochtimes.com/opera-singer-charles-castronovo-touched-by-the-beauty-of-shen-yun_2375727.html

Rising Stars: An Interview with Charles Castronovo

https://www.operawarhorses.com/2012/06/06/rising-stars-an-interview-with-charles-castronovo/

I started studying with Tenor Mark Goodrich. My audition aria was the “Flower Song”, Don Jose’s aria La fleur que tu m’avais jetée from Bizet’s “Carmen”. That aria is basically a lyric piece, even though the role of Don Jose is of heavier weight. In those days, I did not know much about fach.

I studied the role of Nemorino in Donizetti’s “L’Elisir d’Amore” with Goodrich. I even learned art songs. That was the first step. I was basically a constant listener to all these arias from operas. I was always walking with headphones and vocal scores. I learned all my roles that way.

Wm: Your repertory is concentrated in the roles written by Mozart, Italian roles of the first half of the 19th century, and the lyric tenor roles of mid- and late 19th century France. There is currently an impressive crop of tenors able to sing the lyric roles of Bellini, Donizetti, Gounod and Massenet? Which of these roles most appeal to you?

Wm: Speaking of Nadir, over the past 15 years there has been a emphasis on the male physique in operatic performance, and you seem to be one of the tenors whom costume designers like to design for. In an era where opera websites exist to glorify the male physique, does this put pressure on you to schedule time in the gym?

CC: For sure, it’s a reality. I don’t have a problem with the emphasis on physique. I understand where it comes from.

My physique is not perfect. It takes scheduling time in the gym.  I’m working with an ex-Marine, which is not the most fun thing to do, but it keeps me disciplined, and I sing better when I’m working out and am in shape.

Wm: You recently replaced Vittorio Grigolo as Romeo in Director Ian Judge’s production of Gounod’s “Romeo et Juliette” for one performance at the Los Angeles Opera. Judge had created a notorious, but brilliant, production of Wagner’s “Tannhauser” for the Los Angeles Opera in which there was a lot of nudity and what the movies call “sexual content”. And, of course, the same could be said of his “Romeo et Juliette” as well. Would you want to work with a director like Judge who emphasizes the sex in opera?

CC: I don’t think I would agree to appear fully nude. But I don’t mind appearing in something sexy when the production calls for it in the right way.

I think that its understandable that there’s a push for opera singers to look good, but there’s a fine line between appreciating an attractive physique if it helps with the believability of the role, and placing a higher value on looks than the actual singing.

CC: For me, the biggest thing is what’s been happening to my voice. I was talking with baritone Dmitri Hvorostovsky, about how our bodies change and our voices change. Sometimes once a year, Hvorostovsky takes time out to work with his coach and teacher to decide what is working and what isn’t.

Its hard for me to find the time to do this. Yet, I feel that I wasn’t singing at my potential. I was able to sing just with the top part of my body, from the mask up in such lyric roles as in Mozart and lighter bel canto operas. I sang the “happy way” and I sang well, but I feel that I want to work on the bottom part of my sound. I felt my voice wanted to do something more.

I enlisted Allan Green my manager, and I started working with Arthur Levy in New York. In my lessons with Levy, I got reconfirmation of what I was discovering myself. I need to sing a little bit more in a deeper way, not in an unnatural way, but one that realizes the full sound I am able to sing. In America they always teach placement, It’s helpful, safe, but it doesn’t realize the full voice.

The full spectrum of sound is in a yawn position, of having the whole sound come out. I ask other ears to listen to me, and tell me whether they are sure that my sound is not too dark. But my voice feels full, and there’s no no tension. So what will happen, is that I want to put this voice into roles for which I am now ready. Roles like Tamino in Mozart’s “Magic Flute”, Ferrando in “Cosi” or Ernesto in “Don Pasquale” are too controlled for what I feel I need to do.

In a way I believe that the surprise performance of Romeo in Los Angeles happened on purpose.I feel I should be singing Romeo, and should be experimenting with my voice to let it grow, and to remind myself to let myself go.

Act IV Duet: Romeo et Juliet

https://www.youtube.com/watch?v=ZkoOanJeDIk

Romeo: Charles Castronovo Juliet: Lyubov Petrova Dress rehearsal.

Natalie Dessay, Charles Castronovo - Saint Sulpice duet (Manon) Toulouse 13/10/13

https://www.youtube.com/watch?v=_yBdmn0Mdfc

Metropolitan Opera 2017-18 Review – Roméo Et Juliette: Ailyn Pérez, Charles Castronovo, Plácido Domingo & Co. Deliver Darker, Heavier Interpretation of Gounod Opera

https://www.youtube.com/watch?v=gbJYvh8D1Rc

Patrizia Ciofi, Charles Castronovo "Mi chiamaste? che bramate? " La Traviata

https://www.youtube.com/watch?v=bjDQk6k5KII

Patrizia Ciofi, Charles Castronovo "Parigi, o cara" La Traviata

https://www.youtube.com/watch?v=wJrWftB2a7s

Interview de Charles Castronovo, ténor

http://www.tutti-magazine.fr/news/page/Charles-Castronovo-Tenor-Faust-Stefano-Poda-Lucia-Lammermoor-Katie-Mitchell-Mefistofele-fr/

Charles Castonovo photos

https://www.google.com/search?q=Charles+Castonovo+photos&client=opera&hs=PFq&tbm=isch&tbo=u&source=univ&sa=X&ved=0ahUKEwjDkcy5_9DbAhXIx6YKHSlVC5AQsAQIKQ&biw=1881&bih=934