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Radio Filharmonisch Orkest Groot Omroepkoor 

conductor Pietro Rizzo 

choir conductor Klaas-Jan de Groot 

Mariella Anita Hartig

Il piccolo Marat Stefano La Colla 

bass-baritone, L’orco John Relyea 

mezzo-soprano, Principessa di Fleury Maria Riccarda Wesseling 

baritone, Il soldato/Il capitano Andrea Borghini 

bass-baritone, La spia Jasper Leever 

baritone, Il ladro Tim Kuypers 

bass, La tigre Alessio Cacciamani 

baritone, Il carpentiere Ernesto Petti

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Anita Hartig will not perform Marguerite at the revival of Gounod’s Faust as a result of the current measures against the spread of the coronavirus, the opera has to be canceled in this season. Gounod’s Faust, originally scheduled for 9 May 2020, will take place in the 2022/23 season.

For further information please click here.

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On April 16, Opera Cluj-Napoca presents a broadcast of Puccini’s La Bohème with Anita Hartig as Mimì. The stream will be available for free from the Opera Cluj-Napoca homepage and TV starting at 7:00 PM CET and will remain there for the following week.

For more info click here.

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The performance was broadcast live on 29 December 2017.

Cast

Rodolfo: Stephen Costello
Schaunard: Joan Martín-Royo
Benoît: José Manuel Zapata
Mimì: Anita Hartig
Marcello: Etienne Dupuis
Colline: Mika Kares
Alcindoro: Roberto Accurso
Musetta: Joyce El-Khoury

Coro y Orquesta Titulares del Teatro Real (Coro Intermezzo, Orquesta Sinfónica de Madrid)
Pequeños Cantores de la ORCAM

Music Director: Paolo Carignani
Chorus Director: Andrés Máspero

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Violetta Valery, Liù, sobre todo Mimì, Anita Hartig es la Mimì del momento. La versatilidad y características de su voz y su sensibilidad y capacidad dramática sobre el escenario, hacen de la soprano rumana una de las voces más demandadas por los principales teatros del mundo. Habla para nosotros antes de sus próximas actuaciones en España, en Granada y Barcelona.

More Info.

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Anita Hartig, who has sung the role of Susanna before, debut the title of Countess at the Metropolitan Opera in Richard Eyre’s production of “Le Nozze di Figaro”. The cast also included Étienne Dupuis, Hanna-Elisabeth Müller, Adam Plachetka Shine. 

© Marianne Crebassa (right, with Hanna-Elisabeth Müller, left, and Anita Hartig) made her Metropolitan Opera debut on Wednesday as Cherubino in Mozart’s “Le Nozze di Figaro.”Credit…Marty Sohl/Met Opera

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By David Salazar. A Student Of Life & Opera – Soprano Anita Hartig On Navigating The Challenges of The Modern World As An Opera Star. The Metropolitan Opera House, the Royal Opera House Muscat, the Gran Teatre del Liceu, the Vienna State Opera, the Opernhaus Zürich, the Opéra National de Paris, the San Francisco Opera, and the Teatro Real de Madrid. These are just a few of the many theaters where 36-year-old Romanian soprano Anita Hartig has performed over the last three seasons. It is a resume that many singers would want at the close of their respective careers, much less in their mid-30s.

But Hartig is taking none of it for granted and knows that she still has a long way to go as an artist. “My singing needs a lot of improvements in lots of aspects, but I feel that I am doing this for a reason. So I keep ongoing,” she told OperaWire in a recent interview after the soprano performed in the opening of the Royal Opera House Muscat in Oman. La Divina Lights The Way Unlike many origin stories, Hartig’s opera career did not initiate with a deep passion for the art form from a young age. In fact, she had no idea what opera was until she was a teenager. Growing up in Bistrita, Romania, her mother worked in a local cafeteria and her father hunted. There were always a lot of animals around in the environment where Hartig grew up. “It was very free and full of nature,” she noted. Hartig had always felt she was going to be a performer. From a young age, she was a member of the church choir and even enrolled in a Music High School in her local Bistrita. She loved to sing pop tunes and acting and even had a knack for orating and preaching. She felt comfortable in public and even considered a career as a police officer. But then one fateful day, at the age of 17, she received a CD from a close friend. She put it into the CD player and pressed play. Moments later, she was listening to Maria Callas take on arias from “La Traviata,” “La Wally,” and “Madama Butterfly.” “It was so full, expressive, round. It was overwhelming. It lifted me up,” Hartig narrated. “I didn’t understand the words, but I heard the emotion. When I felt the emotion and desperation and pain and love in her voice, I knew that was what I had to do.” But she didn’t find immediate support. Her parents were troubled by the prospects of their child engaging in a career with financial instability. But Hartig would not be deterred and when she told her mother that there was no turning back, she found a faithful ally. “My father remained skeptical,” Hartig revealed. “And then teachers came along the way that questioned it.” Her determination led her to the “Gheorghe Dima” Music Academy in Cluj Napoca and would win several international and national vocal competitions, climaxing in her debut as Mimì in “La Bohème,” a role that would become a signature throughout her career. Other major roles for the soprano have been Musetta, Liù, Violetta, and Micaëla in “Carmen.”

Complex Characters Hartig, who has noted that she thinks very deeply and philosophically about her characters, noted that she has developed very strong feelings for the women that she interprets. She finds that Mimì and Musetta “are the same woman in different moments. Everyone is not one-dimensional. Everyone is sweet but can be complex. She also finds that Susanna and the Countess (a role she will debut at the Metropolitan Opera this fall) are very much created in a similar mold. “In the past the Countess was Rosina, who is very much like Susanna in ‘Nozze.’ They are both intelligent and one step ahead of the men,” she noted. “And that is something I want to add to my interpretation at the Met.” She also feels that Micaëla in “Carmen” is often misjudged. “Micaela is not stupid,” Hartig proclaimed. “Anyone from the north of Spain has a lot of character.She traveled alone from the north to the south of Spain to find the man she loves. At, 17-years-old. People won’t do that these days. So imagine in her time period.” And while she won’t proclaim a favored role, she did note a preference for “Faust’s” Marguerite because of the expansive journey she goes on. “It’s a complex and rich journey. She changes a lot throughout the opera. She starts as a young girl who finds and experiences love for the first time and then gets pregnant, kills her baby out of the pain of being abandoned, then eventually gets excommunicated, loses her brother, goes mad, finds love again and then finds redemption. I find the trip is intense and I love exploring it.” Hartig’s appreciation for the roles she portrays comes from her careful and investigative process. The soprano noted that when she is set to take on an opera for the first time, she makes sure to investigate the text and literary background. She reads about the political and economic background of the time. “I love those details. Economically, politically. What women’s rights were in that period,” she emphasized before noting that the big challenge in this process is that it changes constantly depending on the director and his or her take on an opera. “Today it is a bit difficult because of how regisseurs change the time periods of the stories,” she stated. “But I am always interested in the body language of each period. The body language of a woman in the 1870s is different from the body language of a woman from the 1920’s or today. So, if I were to do a production set today, imagine the difference between being in jeans or in a corsette in the 1800s.” And while many artists might find returning to certain characters less artistically enlightening, Hartig finds it more creatively enriching. “For example, with Micaëla, I am trying to get closer to the text and think about the story before she comes on stage. I am giving names and a CV to the mother. Or I am thinking about her daily work at the pueblo where she comes from. I am trying to define her personality more clearly. And of course, the voice gives you different colors depending on the day. You blend them to create the most realistic character possible.” As she looks forward, her hopes are to take on such characters as Desdemona, Tatiana (“if I learn Russian”), Elsa in “Lohengrin,” and, especially Elisabetta in “Don Carlo.” “’Don Carlo’ is the absolute opera. There is nothing more,” she stated. “I want to sing Elisabetta, but with my lyric voice. All of these women are lyric characters with some moments of dramatic power. So you don’t want to just blast sound all the time. You want the audience to bend towards you. I am trying to grow my mind to think that always. You don’t want to tire the audience but have them sit forward and pay greater attention.” Opera Wire

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Anita Hartig will sing Liù in Puccini’s Turandot at the Gran Teatre del Liceu upcoming season. She returns to Barcelona for 7 performances on October 8, 11, 14, 16, 19, 22, 25, in a new production by video artist Franc Aleu.

The opera marks the opening of the Liceu 2019-20 season. Hartig will share the stage with Lise Lindstrom (Turandot), Gregory Kunde (Calaf) and conductor Josep Pons will lead the Symphony Orchestra and Chorus of the Liceu.

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Next performances are scheduled on June 11, 14, 20, 23, 26 and 29. Following the story of a turbulent love affair, Carmen is the most performed opera in the world.

Anita’s performance is already acknowledged in several reviews published after the opening night:

• “Among the singers, the star of the night was undoubtedly Romanian soprano Anita Hartig. She made house debut as Micaëla. Hartig fully embodied the only “pure” character in the opera body and soul with her crystal-clear voice. She shone particularly bright during her Act three aria “Je dis, que rien ne m’épouvante”. In this “prayer for strength”, marked by beautiful pianissimi, she showed how determined she was to overcome her fears to be with the one she loved. The audience fully embraced it and rewarded her with long applause!” (Parterre Box)

• “The production was most convincing when it was least obviously “directed.” As Micaëla, the country girl who rivals Carmen for the love of José, Romanian soprano Anita Hartig sang the finest and most compelling role of the evening. Acting and singing, she was consistently clear and thoughtful. Hartig’s duet with José in Act I. Her poignant solo in the third act (“Je dis, que rien ne m’épouvante”) provided much-needed moments of vocal lyricism and dramatic nuance.” (Nicholas Jones – San Francisco Classical Voice)

• “Hartig tenderly conveyed her abiding affection for Don Jose in her lovely Act 3 aria “Je dis que rien ne m’épouvante.” (James Ambroff – Tahan – San Francisco Examiner)

• “Romanian soprano Anita Hartig, making her SFO debut, headed up the supporting cast with lustrous sound and unfailing charm as Micaëla, the country girl trying to win Don José back to his village. Her Act III aria (‘Je dis que rien ne m’épouvante’) was especially affecting. Her Act I interplay with a sex-starved gang of soldiers aroused by a country lass came off just right.” (Harvey Steiman – Seen and Heard International)

• “The evening was the San Francisco Opera debut of Romanian soprano Anita Hartig. Her expressive, sensitive portrayal of the woman who best understands Jose, proved an auspicious introduction to the audience. They gave her third act aria Je dis, que rien ne m’épouvante a sustained ovation.” (Opera War Horses)

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This beautiful young woman is Cosmina Costin. Isn’t she playing the guitar beautifully? Her dream is to become one of the greatest guitarists, giving recitals and concerts alongside other wonderful musicians, bringing joy and love to the listeners and why not, healing the public through music!

Two years ago I founded the association “anita hARTig” having the goal to help young musicians with a modest background to fulfill their dreams, trying to make the world a better place with their contribution through music.

Cosmina is one of the young talents I decided to help.
How do I do it? Well, when I sing certain concerts, I kindly ask to the promoter to donate the money to the association instead of paying me. From there, the income goes directly to kids that need it.

When I first dreamed about becoming a professional singer, I was lucky enough to have people around me supporting my will and I remember how much courage it gave me to pursue my goal and not giving it up.

So this is my sincere and endless gratitude response to those people!

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The Romanian Youth Orchestra is conducted by Cristian Mandeal

Program

Three Romanian Dances Theodor Rogalski
Muzica (Valurile Dunarii) George Grigoriu
Bacchanale (Samson et Dalila) Camille Saint-Saëns
Meine Lippen, sie kussen so heiss (Giuditta) Franz Lehar
Danses polovtsiennes (Prince Igor) Alexander Borodin
Les filles de Cadix Léo Delibes
Rumanian Dances, BB68/Sz56 Béla Bartók
Waltz of Love Eugen Doga
Hora staccato Grigoraș Dinicu
Rumanian Rhapsody, op. 11/1 Georges Enescu

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Before Rodolfo joins the others, he meets his neighbour Mimi, and as Puccini’s lovely music plays, he falls in love with her instantly.

However, days without a care in the world end unexpectedly for the new couple when they discover that Mimi is terminally ill.

After a performance of Puccini’s La bohème, it is hard to feel anything but sparklingly in love and delightfully sentimental.

At least once in your life (perhaps more) you should treat yourself to the experience of Rodolfo and Mimi’s first meeting in the dark, damp and cold attic room. This is the sound of true love.

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[…] Simon Boccanegra differs noticeably from Verdi’s other operas, such as Il Trovatore or La Traviata. The music is less well-known … Verdi concentrated here on the characters and their personalities. He sought to underline their depth of feeling. This makes it a very complex opera from a psychological point of view, posing numerous enigmas concerning Mankind and human nature. Verdi stripped away the varnish of appearances in order to question the very essence of his characters and reveal their intimate natures. This is also true of the treatment of the father-daughter relationship which also appears in several of his other works. In Simon Boccanegra, however, it is more thoughtful and profound. […] said director Calixto Bieito in an interview on this new production at Opera National de Paris.

[…] The sea is an essential element in the opera Simon Boccanegra. In Calixto Bieito’s production, that sea has retreated, leaving a huge ship’s hull washed up on the stage. The construction of this set was the fruit of a complex and meticulous process, involving almost all the craftspeople in the various workshops—from the research and design office to the workshops specialising in ironwork, carpentry, composite materials, painting, and sculpture, etc. This was an extremely “technological” set: To build it, a three-dimensional scan of a scale model of the ship, created by the sculpture workshop, allowed the design office to create a blueprint for the surface of the hull and its inner structure. Using these components as a starting point, a large number of metallic pieces were laser-cut and then assembled. Some thirty moulds were prepared to create the metal plates for the hull. These plates were also designed in a way that they could be used as a projection surface for the videos that director Calixto Bieito is so fond of. […] said José Sciuto, Deputy Artistic Director of the Workshops, about the ship built for the production.

Anita Hartig is Maria/Amelia on December 1 and 4. More details and tickets on the website of Opera National de Paris.

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