Nabucco is an Italian-language opera in four acts composed in 1841 by Giuseppe Verdi to an Italian libretto by Temistocle Solera. The libretto is based on biblical books of Jeremiah and Daniel and the 1836 play by Auguste Anicet-Bourgeois and Francis Cornu, although Antonio Cortese's ballet adaptation of the play, given at La Scala in 1836, was a more important source for Solera than the play itself. Under its original name of Nabucodonosor, the opera was first performed at La Scala in Milan on 9 March 1842. Nabucco is the opera, considered to have permanently established Verdi's reputation as a composer, he commented that "this is the opera with which my artistic career begins. And though I had many difficulties to fight against, it is certain that Nabucco was born under a lucky star", it follows the plight of the Jews as they are assaulted and subsequently exiled from their homeland by the Babylonian King Nabucco. The historical events are used as background for a political plot; the best-known number from the opera is the "Chorus of the Hebrew Slaves", "Va, sull'ali dorate" / "Fly, thought, on golden wings", a chorus, given an encore in many opera houses when performed today.
The success of Verdi's first opera, resulted in Bartolomeo Merelli, La Scala's impresario, offering Verdi a contract for three more works. After the failure of his second opera Un giorno di regno, Verdi vowed never to compose again. In "An Autobiographical Sketch", written in 1879, Verdi tells the story of how he came to be twice persuaded by Merelli to change his mind and to write the opera; the distance of 38 years from the event may have led to a somewhat romanticized view. However, in Volere è potere – written ten years closer to the event – the zoologist Michele Lessona provides a different account of the events, as recounted by Verdi himself. After a chance meeting with Merelli close to La Scala, the impresario gave him a copy of Temistocle Solera's libretto, rejected by the composer Otto Nicolai. Verdi describes how he took it home, threw "it on the table with an violent gesture.... In falling, it had opened of itself, but Merelli would accept no refusal and he stuffed the papers back into Verdi's pocket and "not only threw me out of his office, but slammed the door in my face and locked himself in".
Verdi claims that he worked on the music: "This verse today, tomorrow that, here a note, there a whole phrase, little by little the opera was written" so that by the autumn of 1841 it was complete. At the least, both Verdi's and Lessona's versions end with a complete score; the opening performances, limited to only eight because the season was coming to an end, were "a colossal success." But, when the new season opened on 13 August 1842, about an additional 60 performances had been added by the end of that year. Numerous Italian and foreign theatres put on this opera in the years following, including La Fenice in Venice in December 1842. In 1843 Donizetti conducted it in Vienna, other stagings took place that year in Lisbon and Cagliari, but the definitive name of Nabucco for the opera was first used at a performance at the San Giacomo Theatre of Corfu in September, 1844. Nonetheless, a more plausible alternative for the establishment of this abbreviated form claims that it was the result of a revival of the opera in Teatro del Giglio of Lucca.
The opera was first given in London at Her Majesty's Theatre on 3 March 1846 under the name of Nino, since the depiction of biblical characters on stage "was not considered proper". In the US it appeared at the Astor Opera House in New York on 4 April 1848. Nabucco is heard around the world today, it has been on the Metropolitan Opera's roster since it was first presented there during the 1960/61 season. When the Metropolitan opened its season in September 2001, eleven days after the destruction of the World Trade Center, the chorus began by singing "Va pensiero" in honor of the victims of the attack. Nabucco is regularly performed at the Arena di Verona. Among the performances preserved on DVD are those at the Arena di Verona. Many o
Don Pasquale is an opera buffa, or comic opera, in three acts by Gaetano Donizetti with an Italian libretto completed by Giovanni Ruffini as well as the composer. It was based on a libretto by Angelo Anelli for Stefano Pavesi's opera Ser Marcantonio written in 1810 but, on the published libretto, the author appears as "M. A." Donizetti so dominated the preparation of the libretto that Ruffini refused to allow his name to be put on the score. This resulted in confusion over the identity of the librettist for more than half a century, but as Herbert Weinstock establishes, it was Ruffini's work and, in withholding his name from it as librettist, "Donizetti or Accursi may have thought that, lacking Ruffini's name, the authorship might as well be assigned to Accursi's initials as to a pseudonym"; the opera was first performed on 3 January 1843 by the Théâtre-Italien at the Salle Ventadour in Paris with great success and it is regarded as being the high point of the 19th century opera buffa tradition and, in fact, marking its ending.
Donizetti had just returned to Paris from Vienna in the autumn of 1842 and it was there that it was suggested to him by Jules Janin, the newly appointed director of the Théâtre-Italien, that he might compose a new opera for that house. Janin prepared a formal proposal on 27 September, but while no specific subject nor title was mentioned, Janin suggested that it should be a new opera buffa tailored to the talents of some major singers including Giulia Grisi, Antonio Tamburini, Luigi Lablache. At around the same time in September, the Italian émigré librettist Giovanni Ruffini, who lived in Paris, was approached by Michele Accursi with the suggestion that Ruffini offer his services to Donizetti as a librettist; this is confirmed by a letter from Ruffini to his mother of around 5 October in which the librettist tells her of Accursi's suggestion that the composer would use a story, written in 1810 and that he would need "a working stonemason of verses to remake the old libretto, to cut, add, I don't know what."
In addition, it is clear from another letter on 11 October to his mother that Ruffini is hard at work: "I've been eating up the paper, as they say. It's not a question of doing it well or doing it badly, but of doing it fast." By the end, Ruffini stated that so much of the refinement of the work had been done by Donizetti that he felt that "my freedom of action having been paralyzed by the maestro, I don't, so to say, recognize it as mine". Therefore, he refused to have his name associated with the libretto, published by Casa Ricordi as by "M. A.", since it was Accursi who ceded the rights to Ricordi so long as his name was never associated with the work. In the tradition of opera buffa, the opera makes reference to the stock characters of the commedia dell'arte. Pasquale is recognizable as the blustery Pantalone, Ernesto as the lovesick Pierrot, Malatesta as the scheming Scapino, Norina as a wily Columbina; the false Notary echoes a long line of false officials as operatic devices. With rehearsals in progress in December 1842, it appeared that there was general pessimism as to its success: "the atmosphere during rehearsals was frigid" states Weinstock and records the lack of interest from the management and the orchestra musicians.
"The work had been condemned, judged", he concludes. However, during the evening of the final dress rehearsal, Donizetti added a new piece which he had written for the tenor, Com'è gentil, designed for the third act; as for fears for the opera's success, the composer had none: "Have no fear for me... My work will be a success", he stated. At its premiere Don Pasquale was performed by four of the most celebrated singers of the day and was an immediate success, it was recognized at the time as Donizetti's comic masterpiece and, to this day, is still considered as such. Pasquale remains one of the most popular of his 66 operas, as well as being one of the three most popular Italian comic operas, the others being Rossini's The Barber of Seville and Donizetti's own L'elisir d'amore; the first performance in Italy was at La Scala, Milan on 17 April 1843 with Ottavia Malvani, Napoleone Rossi, Leone Corelli, Achille De Bassini. Its first performance in Vienna was at the Kärtnertortheater on 14 May 1843, a production in which Donizetti participated and added the comic baritone duet "Cheti, immantinente" from a discarded portion of his unperformed opera L'ange de Nisida.
In England it was first presented on 29 June 1843 at Her Majesty's Theatre in London. The opera was translated into French by Gustave Vaëz and Alphonse Royer and given in Brussels on 11 August 1843, Lille on 9 November 1843, at the Théâtre d'Orléans in New Orleans on 7 January 1845; the first Australian performance was presented in Sydney on 12 October 1854 at the Royal Victoria Theatre. In the years since World War II, the opera has been given frequently. Time: Early 19th century Place: Rome The music is suggestive of a comic opera. After a while, the ambience changes to suggesting a party, the overture ends with a finale. Scenes 1–3: A room in the home of Don Pasquale, at 9 o'clock Ernesto has refused the woman that his uncle Don Pasquale had found for him, as a result is to be disinherited. Ernesto declares his devotion to the young – but poor – widow Norina. In view of Ernesto's determination, Don Pasquale decides to marry in old age to produce his own heir, anxiously awaits the arrival of his physician, Dr. Malates
José Plácido Domingo Embil is a Spanish opera singer and arts administrator. He has recorded over a hundred complete operas and is well known for his versatility performing in Italian, German, Spanish and Russian in the most prestigious opera houses in the world. Although a lirico-spinto tenor for most of his career popular for his Cavaradossi, Don José, Canio, he moved into more dramatic roles, becoming the most acclaimed Otello of his generation. In the early 2010s, he transitioned from the tenor repertory into exclusively baritone parts, most notably Simon Boccanegra, he has performed 149 different roles. Domingo has achieved significant success as a crossover artist in the genres of Latin and popular music. In addition to winning fourteen Grammy and Latin Grammy Awards, several of his records have gone silver, gold and multi-platinum, his first pop album, Perhaps Love, spread his fame beyond the opera world. The title song, performed as a duet with country and folk singer John Denver, has sold four million copies and helped lead to numerous television appearances for the tenor.
He starred in many cinematically released and televised opera movies under the direction of Franco Zeffirelli. In 1990, he began singing with fellow tenors Luciano Pavarotti and José Carreras as part of The Three Tenors; the first Three Tenors recording became the best-selling classical album of all time. Growing up working in his parents' zarzuela company in Mexico, Domingo has since promoted this form of Spanish opera, he increasingly conducts operas and concerts and is the general director of the Los Angeles Opera in California as of 2017. He was the artistic director and general director of the Washington National Opera from 1996–2011, he has been involved in numerous humanitarian works, as well as efforts to help young opera singers, including starting and running the international singing competition, Operalia. Plácido Domingo was born on 21 January 1941 in the Retiro district of Spain, his mother recalled that she and her husband knew he would be a musician from the age of five, due to his ability to hum complex music from a zarzuela after seeing a performance of it.
In 1949, just days before his eighth birthday, he moved to Mexico with his family. His parents, both singers, had decided to start a zarzuela company there after a successful tour of Latin America. Soon after arriving in Mexico, Domingo won a singing contest for boys, his parents recruited him and his sister for children's roles in their zarzuela productions. Domingo studied piano from a young age, at first and at the National Conservatory of Music in Mexico City, which he entered when he was fourteen. At the conservatory, he attended conducting classes taught by Igor Markevitch and studied voice under Carlo Morelli, the brother of Renato Zanelli; the two brothers were famous practitioners of both tenor roles. Domingo's conservatory classes constituted the entirety of his formal vocal instruction. In 1957, at age sixteen, Domingo made his first professional appearance, accompanying his mother on the piano at a concert at Mérida, Yucatán; the same year he made his major zarzuela debut in Manuel Fernández Caballero's Gigantes y cabezudos, singing a baritone role.
At that time, he was working with his parents' zarzuela company taking several baritone roles and acting as an accompanist for other singers. The following year, the tenor in another company's touring production of Luisa Fernanda fell ill. In his first performance as a tenor, Domingo replaced the ailing singer, although he feared the part's tessitura was too high for him; that same year, he sang the tenor role of Rafael in the Spanish opera El gato montés, illustrating his willingness to assay the tenor range as he still considered himself a baritone. On 12 May 1959 at the Teatro Degollado in Guadalajara, he appeared in the baritone role of Pascual in Emilio Arrieta's Marina. Like El gato montés, Marina is an opera composed in the zarzuela musical style rather than a zarzuela proper, although both are performed by zarzuela companies. In addition to his work with zarzuelas, among his earliest performances was a minor role in the first Latin American production of the musical My Fair Lady, in which he was the assistant conductor and assistant coach.
While he was a member, the company gave 185 performances of the musical in various cities in Mexico. In 1959, Domingo auditioned for the Mexico National Opera at the Palacio de Béllas Artes as a baritone, but was asked to sight-read the tenor aria "Amor ti vieta" from Fedora, he was accepted at the National Opera as a tutor for other singers. In what he considered his operatic debut, Domingo sang the minor role of Borsa in Verdi's Rigoletto on September 23 at the Palacio de Bellas Artes in a production with veteran American baritones Cornell MacNeil and Norman Treigle, he appeared as the Padre Confessor in Dialogues of the Carmelites and Pang in Turandot and Arturo in Lucia di Lammermoor among other small parts. While at the National Opera, he appeared in a production of Lehár's operetta, The Merry Widow, in which he alternated as Camille and Danilo. Domingo made his debut in Verdi's Otello at Béllas Artes at age 21 in the summer of 1962 not in the title rôle for which he has now been internationally famous for decades as one of its greatest interpreters, but in the small compri
Rigoletto is an opera in three acts by Giuseppe Verdi. The Italian libretto was written by Francesco Maria Piave based on the play Le roi s'amuse by Victor Hugo. Despite serious initial problems with the Austrian censors who had control over northern Italian theatres at the time, the opera had a triumphant premiere at La Fenice in Venice on 11 March 1851, it is considered to be the first of the operatic masterpieces of Verdi's middle-to-late career. Its tragic story revolves around the licentious Duke of Mantua, his hunch-backed court jester Rigoletto, Rigoletto's beautiful daughter Gilda; the opera's original title, La maledizione, refers to a curse placed on both the Duke and Rigoletto by a courtier whose daughter the Duke has seduced with Rigoletto's encouragement. The curse comes to fruition when Gilda falls in love with the Duke and sacrifices her life to save him from the assassin hired by her father. La Fenice of Venice commissioned Verdi in 1850 to compose a new opera, he was prominent enough by this time to enjoy some freedom in choosing texts to set to music.
He asked Francesco Maria Piave to examine the play Kean by Alexandre Dumas, père, but soon came to believe that they needed to find a more energetic subject. That came. Verdi explained that "The subject is grand and there is a character, one of the greatest creations that the theatre can boast of, in any country and in all history." However, Hugo's depiction of a venal, womanizing king was considered unacceptably scandalous. The play had been banned in France following its premiere nearly twenty years earlier; as Verdi wrote in a letter to Piave: "Use four legs, run through the town and find me an influential person who can obtain the permission for making Le Roi s'amuse." Guglielmo Brenna, secretary of La Fenice, promised the duo that they would not have problems with the censors. He was wrong, rumours began to spread in early summer that the production would be forbidden. In August and Piave retired to Busseto, Verdi's hometown, to prepare a defensive scheme as they continued work on the opera.
Despite their best efforts, including frantic correspondence with La Fenice, the Austrian censor De Gorzkowski emphatically denied consent to the production of "La Maledizione" in a December 1850 letter, calling the opera "a repugnant immorality and obscene triviality." Piave set to work revising the libretto pulling from it another opera, Il Duca di Vendome, in which the sovereign was a duke and both the hunchback and the curse disappeared. Verdi was against this proposed solution, preferring to negotiate directly with the censors over each and every point of the work. Brenna, La Fenice's sympathetic secretary, mediated the dispute by showing the Austrians some letters and articles depicting the bad character, but great value, of the artist. By January 1851 the parties had settled on a compromise: the action of the opera would be moved, some of the characters would be renamed. In the new version, the Duke would belong to the Gonzaga family; the scene in which he retired to Gilda's bedroom would be deleted, his visit to the Taverna would no longer be intentional, but the result of a trick.
The hunchbacked jester was renamed Rigoletto from a parody of a comedy by Jules-Édouard Alboize de Pujol: Rigoletti, ou Le dernier des fous of 1835. By 14 January, the opera's definitive title had become Rigoletto. Verdi completed the composition on 5 February 1851, a little more than a month before the premiere. Piave had arranged for the sets to be designed while Verdi was still working on the final stages of Act 3; the singers were given some of their music to learn on 7 February. However, Verdi kept at least a third of the score at Busseto, he brought it with him when he arrived in Venice for the rehearsals on 19 February, would continue refining the orchestration throughout the rehearsal period. For the première, La Fenice had cast Felice Varesi as Rigoletto, the young tenor Raffaele Mirate as the Duke, Teresa Brambilla as Gilda. Due to a high risk of unauthorised copying, Verdi demanded extreme secrecy from all his singers and musicians Mirate: the "Duke" had the use of his score for only a few evenings before the première, was made to swear that he would not sing or whistle the tune of "La donna è mobile" except during rehearsal.
Rigoletto premiered on 11 March 1851 in a sold-out La Fenice as the first part of a double bill with Giacomo Panizza's ballet Faust. Gaetano Mares conducted, the sets were designed and executed by Giuseppe Bertoja and Francesco Bagnara; the opening night was a complete triumph the scena drammatica and the Duke's cynical aria, "La donna è mobile", sung in the streets the next morning. Many years Giulia Cora Varesi, the daughter of Felice Varesi (th
Adrienne Arsht Center for the Performing Arts
The Arsht Center is a performing arts center and is located Miami, Florida. It is one of the largest performing arts centers in the United States; the Center was built on the site of a former Sears department store. It was added to the United States National Register of Historic Places in 1997 as Sears and Company Department Store. However, by 2001, the only surviving part of the original structure was the seven-story tower designed by Sears as its store's grand entrance; the department store space itself had been demolished and developers decided to preserve the tower and incorporate it into the new performing arts center. It has been adaptively restored; the Center opened as the Carnival Center on October 5, 2006, with performers and movie stars attending, including Gloria Estefan, Jeb Bush, Andy García and Bernadette Peters. On January 10, 2008, it was announced that philanthropist and business leader Adrienne Arsht donated $30 million to the facility that would make it financially stable. In recognition for the gift, the former Carnival Center for the Performing Arts was renamed "The Adrienne Arsht Center for the Performing Arts of Miami-Dade County", or the Arsht Center for short.
In December 2008, M. John Richard joined the Center as President and CEO after more than 20 years at the New Jersey Performing Arts Center. Under his leadership, the Arsht Center has come to call itself Miami's "New Town Square."In 2011, four influential community leaders announced the founding of the Town Square Neighborhood Development Corporation -- a 501 nonprofit and independent entity that will oversee the development of Miami's emerging Arsht Center District. TSNDC is led by a small but powerful volunteer board: Armando Codina, chairman of Codina Partners, as chair. Working in partnership with neighboring communities, the TSNDC takes an active role in overseeing the development and redevelopment of the Arsht Center district by advocating for best solutions as infrastructure is developed. Designed by the distinguished architect, Cesar Pelli, the Center occupies two 570,000 square feet sites straddling Biscayne Boulevard which are connected by a pedestrian bridge. Acoustics were designed by Russell Johnson of Artec Consultants company.
He is known for the Meyerson Symphony Center in Dallas. The $470 million Adrienne Arsht Center for the Performing Arts, part of a progressing redevelopment project in downtown Miami, has spurred more than $1 billion in economic impact in the neighborhood. There are three main venues all of which can be rented for event space by the public: The Sanford and Dolores Ziff Ballet Opera House seats 2,400; the John S. and James L. Knight Concert Hall seats 2,200, its stage extends into the audience and there is seating behind the stage for 200 additional spectators or a chorus. The orchestra level can be transformed into a "Grand Ballroom" with a festival floor configuration for dining and dancing for up to 850 people; the floor is installed over the seats. Carnival Studio Theater is a flexible black-box space designed for up to 300 seats. In addition, there are two smaller multi-purpose venues: The Peacock Rehearsal Studio holds 270 people. Parker and Vann Thomson Plaza for the Arts is an outdoor social and performance space linking the two main houses across Biscayne Blvd.
Educational programs, many of which are planned with Miami-Dade Public Schools, Miami-Dade County Department of Cultural Affairs, the resident companies, community-based organizations, offer unique opportunities for young people and adults to learn about and enjoy the performing arts both in the Center and out in their communities. Examples include Ailey Camp, a six-week full scholarship summer camp which debuted in 2009. Rock Odyssey is the flagship of the Learning Through the Arts program, it brings 25,000 fifth graders to the Center every year to enjoy a live rock-and-roll musical based on Homer's Odyssey - all free of charge to students and schools. Programmatic series include Jazz Roots, the Knight Masterworks Season - Ziff Classical Music Series and Ziff Dance Series, Theater Up Close, Live At Knight, Flamenco Festival, Miami Light Projects Here and Now Festival, City Theatre's Yearly Short Play Festival; the Center hosts 400 performances and events each year which attract an average of 450,000 people to Miami's urban core.
More than 85% of the performances at the Center are presented by the Center. The Center's resident companies, Florida Grand Opera, Miami City Ballet and New World Symphony, America's Orchestral Academy present many of their Miami performances at the Center; the Center offers many free community-based performances and programs designed to make the performing arts as accessible to as wide an audience as possible. These include Free Gospel Sundays; the 2018-2019 Broadway in Miami series is presented by Bank of America and includes Hello Dolly, Irving Berlin's White Christmas, Les Misérables, Waitress, Sc
Valencia València, on the east coast of Spain, is the capital of the autonomous community of Valencia and the third-largest city in Spain after Madrid and Barcelona, with around 800,000 inhabitants in the administrative centre. Its urban area extends beyond the administrative city limits with a population of around 1.6 million people. Valencia is Spain's third largest metropolitan area, with a population ranging from 1.7 to 2.5 million depending on how the metropolitan area is defined. The Port of Valencia is the 5th busiest container port in Europe and the busiest container port on the Mediterranean Sea; the city is ranked at Beta-global city in World Cities Research Network. Valencia is integrated into an industrial area on the Costa del Azahar. Valencia was founded as a Roman colony by the consul Decimus Junius Brutus Callaicus in 138 BC, called Valentia Edetanorum. In 714 Moroccan and Arab Moors occupied the city, introducing their language and customs. Valencia was the capital of the Taifa of Valencia.
In 1238 the Christian king James I of Aragon conquered the city and divided the land among the nobles who helped him conquer it, as witnessed in the Llibre del Repartiment. He created a new law for the city, the Furs of Valencia, which were extended to the rest of the Kingdom of Valencia. In the 18th century Philip V of Spain abolished the privileges as punishment to the kingdom of Valencia for aligning with the Habsburg side in the War of the Spanish Succession. Valencia was the capital of Spain when Joseph Bonaparte moved the Court there in the summer of 1812, it served as capital between 1936 and 1937, during the Second Spanish Republic. The city is situated on the banks of the Turia, on the east coast of the Iberian Peninsula, fronting the Gulf of Valencia on the Mediterranean Sea, its historic centre is one of the largest in Spain, with 169 ha. Due to its long history, this is a city with numerous popular celebrations and traditions, such as the Fallas, which were declared as Fiestas of National Tourist Interest of Spain in 1965 and Intangible cultural heritage by UNESCO in November 2016.
From 1991 to 2015, Rita Barberá Nolla was the mayor of the city, yet in 2015, Joan Ribó from Coalició Compromís, became mayor. The original Latin name of the city was Valentia, meaning "strength", or "valour", the city being named according to the Roman practice of recognising the valour of former Roman soldiers after a war; the Roman historian Livy explains that the founding of Valentia in the 2nd century BC was due to the settling of the Roman soldiers who fought against an Iberian rebel, Viriatus. During the rule of the Muslim kingdoms in Spain, it had the nickname Medina at-Tarab according to one transliteration, or Medina at-Turab according to another, since it was located on the banks of the River Turia, it is not clear if the term Balansiyya was reserved for the entire Taifa of Valencia or designated the city. By gradual sound changes, Valentia has in Castilian and València in Valencian. In Valencian, the grave accent ⟨è⟩ /ɛ/ contrasts with the acute accent ⟨é⟩ /e/—but the word València is an exception to this rule.
It is spelled according to Catalan etymology. Valencia stands on the banks of the Turia River, located on the eastern coast of the Iberian Peninsula and the western part of the Mediterranean Sea, fronting the Gulf of Valencia. At its founding by the Romans, it stood on a river island in 6.4 kilometres from the sea. The Albufera, a freshwater lagoon and estuary about 11 km south of the city, is one of the largest lakes in Spain; the City Council bought the lake from the Crown of Spain for 1,072,980 pesetas in 1911, today it forms the main portion of the Parc Natural de l'Albufera, with a surface area of 21,120 hectares. In 1976, because of its cultural and ecological value, the Generalitat Valenciana declared it a natural park. Valencia has a subtropical Mediterranean climate with short mild winters and long and dry summers, its average annual temperature is 18.4 °C. In the coldest month, the maximum temperature during the day ranges from 14 to 21 °C, the minimum temperature at night ranges from 5 to 11 °C.
In the warmest month – August, the maximum temperature during the day ranges from 28–34 °C, about 22 to 23 °C at night. Similar temperatures to those experienced in the northern part of Europe in summer last about 8 months, from April to November. March is transitional, the temperature exceeds 20 °C, with an average temperature of 19.3 °C during the day and 10.0 °C at night. December and February are the coldest months, with average temperatures around 17 °C during the day and 8 °C at night. Valencia has one of the mildest winters in Europe, owing to its southern location on the Mediterranean Sea and the Foehn phenomenon; the January average is comparable to temperatures expected for May and September in the major cities of northern Europe. Sunshine duration hours are 2,696 per year, from 15
Florida Grand Opera
Florida Grand Opera is an American opera company based in Miami, Florida. It is the oldest performing arts organization in Florida and the seventh oldest opera company in the United States. FGO is the resident company at the Ziff Ballet Opera House, located in the Adrienne Arsht Center for the Performing Arts in Miami, at the Au-Rene Theater at the Broward Center for the Performing Arts in Fort Lauderdale. FGO stages productions at the Miami-Dade County Auditorium in Miami, Miramar Cultural Center in West Broward county, the Parker Playhouse in Fort Lauderdale. In 1941, the company was founded as the Opera Guild of Greater Miami by Arturo di Filippi, a tenor and voice teacher at the University of Miami, it became known as the Greater Miami Opera Association. FGO was created in 1994 from the consolidation of two opera companies in the Miami-Fort Lauderdale region: Opera Guild of Greater Miami, founded in 1941 by Arturo di Filippi. Under the name the "Greater Miami Opera", Emerson Buckley was the company's music director from 1950 to 1973 and served as artistic director and principal conductor through 1986.
Willie Anthony Waters, who had become Chorus Master of the company in 1982 served as artistic director from 1986 through 1992 and principal guest conductor from 1992 to 1995. Stewart Robertson was FGO music director from 1997 to 2010. On June 1, 2011, Ramón Tebar became FGO's music director, he became the first Spanish conductor to lead both an American opera company and an American symphony. In 2014, Tebar took the title of principal conductor with the company. In 2006, FGO moved its principal performing venue from the Dade County Auditorium to the new Adrienne Arsht Center for the Performing Arts; the company has since faced regular financial problems because of increased expenditure at the new venue, without a parallel increase in audience revenue. FGO has sold off its assets in recent years to meet these expenses. In October 2014, the general director of FGO, Susan Danis, announced a new fund-raising campaign with the goal of $17.5 million, discussed in a series of town-hall meetings the exacerbated difficulties of the company's finances.
Official website Adrienne Arsht Center for the Performing Arts Lawrence A. Johnson, "Curtain to ring down for FGO's Stewart Robertson". South Florida Classical Review, 5 February 2009 Interview with Emerson Buckley by Bruce Duffie, April 16, 1986