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LA BOHÈME by Giacomo Puccini

Wednesday, December 11, 2019 @ 7:30 pm

|Recurring Event (See all)

One event on Thursday, December 12, 2019 at 7:30 pm

Italian libretto by Luigi Illica and Giuseppe Giacosa,
based on Scènes de la vie de bohème by Henri Murger
7:30 PM, DECEMBER 11 & 12, 2019
HAYES HALL, ARTIS–NAPLES
with the Naples Philharmonic Orchestra
Opera Naples Chorus and Youth Chorus
Conductor: Ramón Tebar
Stage Director: Jeffrey Buchman
Lighting Designer: Betsy Adams
Costume Design: Glenn Avery Breed
Set Designer: Robert Little
Set: Tri-Cities Opera Binghamton, NY
Featuring:
Lauren Michelle, Mimì
Matthew White, Rodolfo
Marlen Nahhas, Musetta
Craig Verm, Marcello
Peixin Chen, Colline
Sean Michael Plumb, Schaunard

La bohème is one of opera’s most beloved scores. The combination of Puccini’s magnificent music and a tragic tale of young love lost have made it a cornerstone of the repertory. Ramón Tebar conducts the Naples Philharmonic Orchestra and the Opera Naples Chorus and Youth Chorus.

An accomplished group of young singing actors fills the principal roles expertly in this new production created especially for Opera Naples!

(Sung in Italian with English supertitles)

Few operas have captured the imagination of so many generations as Puccini’s La bohème. Since its première in 1896, La bohème has been a staple of the repertory and has inspired countless versions of the story.

Romance permeates the air of the Latin Quarter as Rodolfo and Mimí meet by chance and fall instantly in love. Their music is passionately melodic, its luminous beauty aided by brilliant moonlight on this Christmas eve. The story that follows is young love itself: jealousy tears young lovers apart and passion reignites affairs just as quickly—all set to Puccini’s masterful score—until tragedy strikes and Rodolfo’s first love is lost forever.

La bohème is a classic in the very best sense of the word because its impetuous young lovers speak to the romantic in all of us.

Ticket Price: $25/$55/$85/$110/$125

RAMÓN TEBAR is considered one of the leading Spanish conductors of his generation. Recently appointed new Artistic Director and Chief Conductor of Valencia Symphony Orchestra in Spain for a first period of four years, he holds other positions in both America and Europe such as: Opera Naples (Artistic Director, 2014-…), Palau de Les Arts Reina Sofia (Principal Guest Conductor, 2015-…); Florida Grand Opera (Music Director and Principal Conductor, 2010-…, being the first Spanish conductor to be appointed Music Director of an American opera company); Palm Beach Symphony (Artistic Director and Principal Conductor, 2007-…); Santo Domingo Music Festival (2009-2015).

Acclaimed for his musical versatility, compelling interpretations and orchestra building skills, conductor Ramón Tebar’s international reputation in both the opera and orchestral arenas continues to expand. Among the orchestras and opera companies he has conducted and will conduct are: Philharmonia Orchestra, Cincinnati Symphony, St. Petersburg Symphony, Moscow State Symphony, Malasyan Philharmonic, Orchestre de Rouen, Het Gelders Orkest, Bulgarian National Radio Symphony, Munich Radio Symphony, Prague Philharmonia, Spanish National Orchestra (OCNE), Spanish Radio Television Orchestra (ORTVE), Barcelona Symphony Orchestra (OBC), Galicia Symphony Orchestra (OSG), Valencia Orchestra,…Teatro Regio di Torino, Teatro Regio di Parma, Cincinnati Opera, Teatro Colón (Buenos Aires), Gran Teatre del Liceu, Kremlin Palace, Royal Festival Hall, Kölner Philharmonie, Concertgebouw Amsterdam, Wiener Staatsoper,…

Ramón Tebar has been recognized with various honors and awards, including the Henry C. Clark Conductor of the Year Award by Florida Grand Opera in 2010 and 2013, The Miami Herald as “Top 20 under 40” and “100 españoles by Marca España”. In 2014, he was bestowed the Cross of Officer of the Order of Mérito Civil in recognition of his cultural accomplishments by His Majesty, the King of Spain Felipe VI.

Tebar has recorded for UNIVERSAL MUSIC, UNITEL CLASSICA and DECCA.

Jeffrey Buchman Director Opera News calls Director Jeffrey Buchman “a formidable talent.” Constantly pushing the limits of the performing arts, Mr. Buchman’s versatility leads him to a variety of venues to explore some of opera’s classics while also constantly premiering new works. His innovation puts him at the forefront of a new era in directing. This season, Mr. Buchman will direct Un ballo in Maschera at the Academy of Vocal Arts, and La bohème at Opera Naples and Toledo Opera. He will also be continuing in his post as Stage Director for the Frost School of Music at the University of Miami directing L’enfant et les Sortileges and a double bill of L’amico fritz/Impresario. Last season, he directed La bohème at Florida Grand Opera, Roméo et Juliette for AVA, and Carmen for both Opera Carolina and Toledo Opera. In recent seasons, he directed La Traviata, Don Giovanni and Die Zauberflöte for The Academy of Vocal Arts (AVA); As One for Hawaii Opera Theater; Ricky Ian Gordon’s 27 for Michigan Opera Theatre; Le nozze di Figaro, Carmen, and Madama Butterfly for Opera Naples; and the world premiere of TESLA for the SoBe Arts Festival. He has led three productions for Indiana University’s Jacobs School of Music, Carmen, La bohème and La traviata; directed Die Zauberflöte for Opera Naples and Florida Grand Opera, where he also directed productions of Rigoletto and Eugene Onegin; Carmen at Atlanta Opera; a new production of Faust, Turandot, Don Pasquale, and Il trovatore for Opera Naples; Il barbiere di Siviglia for Baltimore Opera; and Tosca with Opera Tampa. Previous engagements also include La tragédie de Carmen and Il barbiere di Siviglia for Syracuse Opera; Turandot and Manon Lescaut for Mobile Opera; a double-bill of Gianni Schicchi/Suor Angelica, Roméo et Juliette and La fille du régiment at Intermountain Opera Bozeman; Così fan tutte at Brevard Music Center; South Pacific for Anchorage Opera; Hänsel und Gretel for Sarasota Opera; Cold Sassy Tree for the Sugar Creek Music Festival; L’elisir d’amore for Toledo Opera; Il barbiere di Siviglia for the Orlando Philharmonic; and La Cenerentola at Green Mountain Opera Festival. Following his success directing the première of Madama Butterfly in his Nicaraguan début for the National Theater in Managua, Mr. Buchman returned to direct a critically acclaimed production of La bohème. An innovative director, Mr. Buchman spends time working on new and groundbreaking material for the contemporary opera world. Some of these endeavors include his title as Artistic Director of a dynamic multimedia project entitled “Live Arts” at Grand Rapids Symphony, Andy Vores’ chamber opera No Exit based on the 1944 existentialist play with the same title at Florida Grand Opera, and a contemporary multimedia theatre project entitled Fairy Tales: Songs of the Dandelion Woman at Little Stage Theater in Miami Beach. Buchman also directs at many universities throughout Florida and the U.S. Some of his university engagements include a double-bill of Gianni Schicchi/Suor Angelica at Miami University, Marva and Ainadamar at the University of Miami, The Bartered Bride for the New World School of the Arts, Don Giovanni at UCLA, and L’elisir d’amore for the University of Cincinnati’s College Conservatory of Music Mr. Buchman has a long history of fostering the artistic growth of young artists throughout the country. He was Resident Stage Director for Sarasota Opera’s Apprentice Artist Program. His work with Tulsa Opera includes directing productions for their Young Artist Studio such as Pirates of Penzance and Luisa Fernanda. From 2005-2010, Mr. Buchman served as stage director and coach for the Opera Department of the New World School of the Arts in Miami, where he created new productions of Die Zauberflöte, Hänsel und Gretel, Amelia Goes to the Ball, La Divina, Die Fledermaus, and Così fan Tutte. Mr. Buchman studied German at the Goethe-Institut in Prien am Chiemsee, Germany and Spanish at the Instituto Cervantes in New York. He holds a Bachelor of Music degree in Opera from the Boston Conservatory of Music and a Master of Music degree in Voice from the Peabody Conservatory of Music in his native city of Baltimore, Maryland. He trained in the Young Artist Program of the Florida Grand Opera, where he later was honored with the company’s Evelyn P. Gilbert Award. He also trained in the Studio and Apprentice Artist Programs of Central City Opera, where he was awarded their Studio Artist of the Year award.
Born in Los Angeles, soprano Lauren Michelle is a graduate of the University of California, Los Angeles and the Juilliard School and has gained international recognition for her rich tone, musical versatility and compelling artistry. During the 2016/17 season, Ms. Michelle was a member of the ensemble at the Vienna State Opera, working on fourteen productions and collaborating with many of today's great singers and conductors. Other highlights from recent seasons have included Natasha in War and Peace and Jessica in Merchant of Venice at the Welsh National Opera, Susanna in Le nozze di Figaro at the Palm Beach Opera, Musetta in La Boheme with the Opera Theatre of St. Louis and Dorset Opera, Irina in Kurt Weill's Lost in the Stars with the Washington National Opera and Los Angeles Chamber Orchestra and the Fourth Maid in Elektra at the Vienna State Opera and in concert with the Orchestre Philharmonique de Radio France. Equally at home on the concert stage, she has appeared with the Berlin Philharmonic under Marc Minkowski in performances of Rossini's Petite messe solonnelle, with the Cincinnati Symphony Orchestra in a performance of Poulenc's Gloria, with members of the Orchestre Philharmonique de Strasbourg in performances of Schoenberg's Pierrot Lunaire and Kurt Weill's Seven Deadly Sins, at Carnegie Hall in Mozart's Coronation Mass and with the Fairfield Chorale in Handel's Messiah. Next season, Ms. Michelle will make her debut at the Dutch National Opera as Jenny in Rise and Fall of the City of Mahagonny, at the Boston Lyric Opera as Nedda in Pagliacci and at the Chicago Opera Theater as Sylvie in their world premiere of Dan Shore's Freedom Ride. Ms. Michelle has been a prizewinner at the BBC Cardiff Singer of the World Competition, the Francisco Viñas Competition, the George London Foundation Vocal Competition, the Gerda Lissner Foundation Vocal Competition, the Marcello Giordani International Vocal Competition, and the Lotte Lenya Competition. She has been featured on the American television series Empire.
Tenor Matthew White recently made critically acclaimed debuts as Roméo in Gounod’s Roméo et Juiliette with Cincinnati Opera and Pinkerton in Puccini’s Madama Butterfly with the Princeton Festival. Engagements of the 2019-2020 season include multiple role and house debuts including the Duke in Verdi’s Rigoletto with Edmonton Opera, the tenor soloist in Stravinsky’s Pulcinella with Dallas Opera, Rodolfo in La bohème with Opera Naples, and a return B.F. Pinkerton in Madama Butterfly with Tulsa Opera. On the concert stage he will debut with the Florida Orchestra as the tenor soloist in Handel’s Messiah. A recent graduate of Philadelphia’s prestigious Academy of Vocal Arts, Mr. White performed Roméo in Roméo et Juliette, the title role in Massenet’s Werther, Roberto in Puccini’s Le Villi, Edgardo in Lucia di Lammermoor, Avito in Montemezzi’s L’amore dei tre re, and Faust in Lili Boulanger’s Faust et Helene. He made his debut with Opera Maine as Rinuccio in Gianni Schicchi, and has appeared with Palm Beach Opera and Vero Beach Opera. Concert credits include performances with the New Jersey Festival Orchestra, Ocean City Pops, and the Longfellow Chorus Festival. A favorite of competitions, Mr. White was awarded the Grand Prize of the Gerda Lissner International Vocal Competition, 1st place in the Deborah Voigt International Vocal Competition, 2nd place in the Metropolitan Opera Mid-Atlantic region, the Grand Prize in the Mario Lanza Vocal Competition, an Encouragement Award from the George London Foundation, and is the recipient of the Alfonso Cavaliere Award. He has participated in the training programs of Bel Canto at Caramoor, PORTopera, and Seagle Music Colony. A trained violinist, Mr. White is also an avid surfer and runs his own surfboard business, which currently has clients around the world.
Marlen Nahhas, recently praised for her “impassioned soprano” (San Francisco Chronicle), is currently a second year member of the Domingo-Cafritz Young Artist Program at Washington National Opera. Highlights of her 2019-2020 season include Pamina in the Emerging Artist performance of The Magic Flute at WNO and a debut at Opera Naples as Musetta in La bohème. During her first season at WNO she sang Violetta in the Emerging Artist Performance of WNO’s new production of La traviata under the direction of Francesca Zambello, Flamingo in Tesori’s The Lion, The Unicorn and Me, Queer Kid in the world premiere of Sankaram’s Taking Up Serpents, a Concert of Comedic Masterpieces under the baton of Maestro Joseph Colaneri. Additional debuts included Musetta in La bohème at Finger Lakes Opera and excerpts from La bohème with the National Symphony Orchestra conducted by NSO Music Director Maestro Gianandrea Noseda. In the summer of 2018, she was a member of the Merola Opera program at the San Francisco Opera where she performed scenes from Il tabarro, Don Giovanni, Don Carlo, and La rondine in the Schwabacher and Grand Finale concerts.
Praised for his “arrestingly vibrant” and “robust” baritone, Craig Verm has brought his riveting dramatic portrayals to stages around the world. Most recently, he received high praise for his performances of the title role in Billy Budd for Des Moines Metro Opera. John van Rhein of the Chicago Tribune said, “The strong baritone voice, strapping physique and winning stage presence of Craig Verm created a sympathetic Billy” and Opera Today said Verm “was every moment the star vocal and theatrical presence that galvanized the performance.” In the 2017-2018 season, Verm made an impressive debut as a last-minute substitute in the title role of Mozart’s Don Giovanni for The Dallas Opera. His performances received critical acclaim for “succeeding in the daunting assignment…with his own credible realization of the iconic character.” In the 2019-2020 season, Mr. Verm continues his long-standing relationship with Pittsburgh Opera, opening their season as Don Giovanni, followed by performances of Riolobo in Florencia en el Amazonas. Further performances in the season include his debut at the Barbican Centre as Doug Hansen in Joby Talbot’s Everest, a role he created in performances with The Dallas Opera, Jupiter in Orpheus in the Underworld with Madison Opera, and Marcello in La bohème with Opera Naples. Praised for his “arrestingly vibrant” and “robust” baritone, Craig Verm has brought his riveting dramatic portrayals to stages around the world. Most recently, he received high praise for his performances of the title role in Billy Budd for Des Moines Metro Opera. John van Rhein of the Chicago Tribune said, “The strong baritone voice, strapping physique and winning stage presence of Craig Verm created a sympathetic Billy” and Opera Today said Verm “was every moment the star vocal and theatrical presence that galvanized the performance.” In the 2017-2018 season, Verm joins Opera Philadelphia for their inaugural festival, O17. For the festival, he revisited War Stories, a double-bill of Monteverdi’s Il combattimento di Tancredi and Lembit Beecher’s I Have No Stories To Tell You, a production he premiered in New York City with Gotham Chamber Opera. He also returns to Seattle Opera as Guglielmo in Così fan tutte and Claudio in Beatrice et Benedict. He also revisits the role of Doug Hansen in Everest for his company debut with Lyric Opera of Kansas City. In the summer of 2018, he returned to The Santa Fe Opera as Haly in Italian Girl in Algiers. Recent performances include The Santa Fe Opera as Sonora in Fanciulla del West along with Der Graf in Capriccio, performances for which he was praised for his “deep, velvet baritone {whose} featured moments leapt out from the crowd.” Additionally, he joined Arizona Opera for their 45th Anniversary Celebration alongside famed mezzo-soprano Frederica von Stade. He returned to Pittsburgh Opera as Ping in Turandot, made his debut with Seattle Opera as Papageno in The Magic Flute, and sang Marcello in La bohème with Knoxville Opera. In the most recent season, Mr. Verm was heard at Opera Philadelphia as Belcore in L’elisir d’amore, as Friedrich Bhaer in Little Women at Madison Opera, and sang Messiah with Rhode Island Philharmonic. Mr. Verm has made international debuts on stages including Lyric Opera of Chicago as Albert in Massenet’s Werther; Escamillo in Carmen at Teatro Municipal de Santiago, where he later returned as Billy Budd; at Théâtre du Capitole de Toulouse as Sid in Albert Herring; as Ramiro in L’heure espagnole with the Nationale Reisopera in the Netherlands; and as Count Almaviva in Mozart’s Le nozze di Figaro at Seiji Ozawa’s Ongaku-juku Festival. Frequently sought after for new works, Mr. Verm created the role of Doug Hansen in Judy Talbot’s Everest at Dallas Opera, sang the title role of Elmer Gantry with Florentine Opera, and was heard as George in Of Mice and Men at Tulsa Opera. In the fall of 2017, he returns to Opera Philadelphia for War Stories, a production which pairs Monteverdi’s Il combattimento di Tancredi e Clorinda with Lembit Beecher’s I have no stories to tell you. He returns to the double-bill as Tancredi and Daniel, roles he performed when the production premiered with Gotham Chamber Opera. Equally adept within the realm of oratorio, his other concert appearances encompass performances of Glass’ the CIVIL warS with the Los Angeles Philharmonic; Vaughan Williams’ Fantasia on Christmas Carols with the Pittsburgh Symphony; Vaughan Williams’ Five Mystical Songs with the Asheville Symphony Orchestra; Gounod’s Messe Solennelle de Sainte Cécile with Les Escales Musicales d’Evian; Orff’s Carmina Burana with the Alexandria Symphony; he sang William Schuman’s cantata, Casey at the Bat with the Reno Philharmonic; Haydn’s Lord Nelson Mass with the Boston Youth Symphony; Handel’s Messiah with the Rhode Island Philharmonic; Bach’s Mass in B minor at Portugal’s Aviero Music Festival; Beethoven’s Symphony No. 9 as a guest artist at Brown University; as well as Faure’s Requiem with the Pittsburgh Youth Symphony, and Schubert’s Mass in G and Rutter’s Mass of the Children with the Pittsburgh Concert Chorale. He has also sung Haydn’s Creation with the Robert Page Festival Singers at the Virginia Arts Festival as well as on tour in Vienna and Budapest, Mahler’s Songs of a Wayfarer with the Aspen Contemporary Ensemble, as well as performances of Brahms’ Ein deutsches Requiem. He has also presented solo recitals under the auspices of The Dallas Opera, the Théâtre du Capitole de Toulouse and at West Liberty University. He enjoys a strong relationship with Pittsburgh Opera, where he has sung Marcello, the lead baritone role of Tom Joad in Gordon’s The Grapes of Wrath, Zurga in Les pêcheur de perles, Peter in Hansel and Gretel, Papageno, Mercutio in Roméo et Juliette, Ping, Junius in The Rape of Lucretia, the Novice’s Friend in Billy Budd, Angelotti in Tosca as well as Guglielmo in student performances of Così fan tutte. Other recent performances include Marcello, Minskman in Dove’s Flight, and Ping with Austin Lyric Opera; Papageno, Aeneas in Dido and Aeneas, and Adonis in Venus and Adonis with Florentine Opera; Ned Keene in Peter Grimes and Mercutio with Des Moines Metro Opera; Marcello and Zurga with Nashville Opera; Schaunard in La bohème with Opera Philadelphia; Sharpless in Madama Butterfly at Lyrique-en-Mer/Festival de Belle-Île; Joseph Pitt in Peter Eötvös’ Angels in America with Fort Worth Opera; Astolfo in the world premiere of Lewis Spratlan’s Life is a Dream and Hermann in Les contes d’Hofmann with Santa Fe Opera; Count Almaviva and Falke in Die Fledermaus with the Opera Theatre of Pittsburgh; and the title role of Eugene Onegin, Guglielmo, and the Forester in The Cunning Little Vixen with Aspen Opera Theater. He has also joined symphony orchestras including the Los Angeles Philharmonic for Angelotti, Marullo in Rigoletto, and the Mandarin in Turandot, and the San Francisco Symphony for Fidelio with Michael Tilson Thomas conducting. He received his Master of Music from the University of Cincinnati-College Conservatory of Music where his performances included title role in Carlisle Floyd’s Markheim. He was graduated cum laude from Rice University’s Shepherd School of Music. He was also a 2006 national semifinalist in the Metropolitan Opera National Council Auditions and is also a former member of the young artist programs of Santa Fe Opera and Cincinnati Opera.
A graduate of the Houston Grand Opera Studio and a student of Dr. Stephen King, Peixin Chen is recognized for his majestically resonant bass voice and for a keen dramatic instinct that he brings to a wide range of roles on the international opera stage. His repertoire spans from the comic parts of Donizetti, Mozart, and Rossini to the strong and serious roles of Puccini, Verdi, and Wagner. Peixin Chen regularly works with an illustrious array of conductors and directors including Harry Bicket, Sebastian Lang-Lessing, Lorin Maazel, Zubin Mehta, Giancarlo del Monaco, Andrés Orozco-Estrada, David Paul, Michel Plasson, David Pountney, James Robinson, Esa-Pekka Salonen, Patrick Summers, Krzysztof Urbański, and Francesca Zambello. Peixin Chen returns to Houston Grand Opera this season in Aida, the title that also serves the bass with his debut at Cincinnati Opera, and he makes a company debut at the Dutch National Opera in a new production of Kurt Weill’s Aufstieg und Fall der Stadt Mahagonny directed by Ivo van Hove under the baton of Markus Stenz. Other appearances of the season include The Magic Flute for New Orleans Opera, La bohème with Opera Naples, and Madama Butterfly with Portland Opera. On the concert stage, Peixin Chen appears with the Indianapolis Symphony and Krzysztof Urbański in Beethoven’s Missa Solemnis and with the Kansas City Symphony and Michael Stern in Beethoven’s Ninth Symphony. Highlights of the 2018-19 season included a European debut at the Festival d’Aix en Provence in Aufstieg und Fall der Stadt Mahagonny conducted by Esa- Pekka Salonen, a Metropolitan Opera debut as Sarastro in The Magic Flute conducted by Harry Bicket and later performances as Masetto in Don Giovanni led by Cornelius Meister, and a return to Opera Philadelphia as Colline in La bohème conducted by Corrado Rovaris. Peixin Chen has sung Sparafucile in Rigoletto at Santa Fe Opera and the Lyric Opera of Kansas City, Sarastro in Die Zauberflöte with Opera Philadelphia, Dulcamara in L’elisir d’amore at Washington National Opera, and the Patriarch of Moscow in Dvořák’s Dmitrij at the Bard Music Festival in a new production directed by Anne Bogart. With his home company of Houston Grand Opera, he has bowed as Don Bartolo in Il barbiere di Siviglia, Oroveso in Norma, Ferrando in Il trovatore, Sarastro in The Magic Flute, and as Hunding in Die Walküre. As a member of the Merola Program under the auspices of San Francisco Opera, he appeared as Basilio in performances of Il barbiere di Siviglia. Le nozze di Figaro has featured prominently in the bass’ career assaying the title role in a new production by David Paul for Opera Saratoga and bowing as Bartolo at the Houston Grand Opera conducted by Harry Bicket in the company’s acclaimed production by Michael Grandage, at Beijing’s National Center for the Performing Arts, and in fully-staged performances with the Milwaukee Symphony Orchestra led by Edo de Waart. Peixin Chen’s concert schedule has included performances of the Verdi Requiem with the Houston Grand Opera Orchestra and Chorus conducted by Music Director Patrick Summers and Beethoven’s Ninth Symphony with Leonard Slatkin and the Detroit Symphony Orchestra as well as with Andrés Orozco-Estrada and the Houston Symphony.
Hailed for his “full, exciting lyric baritone” (Opera News) and “elegant lyricism and responsive musicality” (The New York Times), 27-year-old Sean Michael Plumb returns to the Ensemble of the Bayerische Staatsoper in the 2019-20 season to sing Figaro in Il barbiere di Siviglia, Papageno in Die Zauberflöte, Schaunard in La bohème, Apollon in Alceste, Jake Wallace in La fanciulla del West, and Harlekin in Ariadne auf Naxos on a company tour to Asia. He also makes a debut at The Dallas Opera as Papageno in Die Zauberflöte conducted by Music Director Emmanuel Villaume. Performance highlights during his tenure in the Munich ensemble include Guglielmo in Così fan tutte, Papageno in Die Zauberflöte, Dandini in La cenerentola, Schaunard in La bohème, Prosdocimo in Il turco in Italia, and Marco in Gianni Schicchi working with Antonello Allemandi, Ivor Bolton, Lotte de Beer, General Music Director Kirill Petrenko, and Constantin Trinks among many others. In North America, Sean Michael Plumb joined the Cleveland Orchestra as Melot in fully staged performances of Tristan und Isolde led by Franz Welser-Möst, gave the world premiere of The Call by German composer, Arnulf Hermann, with the Los Angeles Philharmonic, and bowed in Die Zauberflöte with the Indianapolis Symphony Orchestra conducted by Krzysztof Urbański. Passionate about Art Song, Sean Michael Plumb has been presented in numerous Germen venues and most recently, offered programs of R.Strauss, Ives, Barber, and Bernstein under the auspices of the Bayerische Staatsoper, the Schubertiade in Schwarzenberg, and the Heidelberger Frühling Festival.
More Details Coming soon..

Details

Date:
Wednesday, December 11, 2019
Time:
7:30 pm
Event Category:
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Organizer

Opera Naples
Phone:
239.963.9050
Website:
https://operanaples.org/

Venue

Artis—Naples
5833 Pelican Bay Boulevard
Naples, FL 34108 United States
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Phone:
239-597-1900
Website:
http://artisnaples.org/