BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//Kyle Ketelsen - ECPv6.10.2//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-WR-CALNAME:Kyle Ketelsen
X-ORIGINAL-URL:https://kyleket.com
X-WR-CALDESC:Events for Kyle Ketelsen
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:America/Los_Angeles
BEGIN:DAYLIGHT
TZOFFSETFROM:-0800
TZOFFSETTO:-0700
TZNAME:PDT
DTSTART:20240310T100000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0700
TZOFFSETTO:-0800
TZNAME:PST
DTSTART:20241103T090000
END:STANDARD
END:VTIMEZONE
BEGIN:VTIMEZONE
TZID:America/New_York
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20240310T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20241103T060000
END:STANDARD
END:VTIMEZONE
BEGIN:VTIMEZONE
TZID:America/Chicago
BEGIN:DAYLIGHT
TZOFFSETFROM:-0600
TZOFFSETTO:-0500
TZNAME:CDT
DTSTART:20240310T080000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0500
TZOFFSETTO:-0600
TZNAME:CST
DTSTART:20241103T070000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;VALUE=DATE:20241026
DTEND;VALUE=DATE:20241027
DTSTAMP:20260423T155429
CREATED:20240419T164223Z
LAST-MODIFIED:20240420T131347Z
UID:10000158-1729929600-1729962000@kyleket.com
SUMMARY:Faust - Méphistophélès - Canadian Opera Company
DESCRIPTION:Disenchanted by his lifelong quest for knowledge\, the ageing philosopher Faust makes a pact with the devil and trades his soul for eternal youth—to disastrous consequences. \nTenor Long Long is the scholar Faust\, whose pact with Méphistophélès (bass-baritone Kyle Ketelsen) promises to return him to the innocence of youth—and the love of Marguerite\, performed by soprano Kseniia Proshina. Murder and madness ensue\, with demons\, witches\, and a chorus of celestial voices rounding out this lavish spectacle directed by Amy Lane. \n \nwww.gbopera.it · Charles Gounod (1818-1893): “Faust” (1859)
URL:https://kyleket.com/event/faust-mephistopheles-canadian-opera-company/2024-10-26/
LOCATION:Four Seasons Centre for the Performing Arts\, 145 Queen St. W.\, Toronto\, Ontario\, MJ27+6P\, Canada
ATTACH;FMTTYPE=image/jpeg:https://kyleket.com/wp-content/uploads/2024/04/COC2425_Web_Production_Faust_20240115181929_0.jpg
ORGANIZER;CN="Canadian Opera Company":MAILTO:info@coc.ca
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20241024
DTEND;VALUE=DATE:20241025
DTSTAMP:20260423T155429
CREATED:20240419T164223Z
LAST-MODIFIED:20240420T131347Z
UID:10000157-1729756800-1729789200@kyleket.com
SUMMARY:Faust - Méphistophélès - Canadian Opera Company
DESCRIPTION:Disenchanted by his lifelong quest for knowledge\, the ageing philosopher Faust makes a pact with the devil and trades his soul for eternal youth—to disastrous consequences. \nTenor Long Long is the scholar Faust\, whose pact with Méphistophélès (bass-baritone Kyle Ketelsen) promises to return him to the innocence of youth—and the love of Marguerite\, performed by soprano Kseniia Proshina. Murder and madness ensue\, with demons\, witches\, and a chorus of celestial voices rounding out this lavish spectacle directed by Amy Lane. \n \nwww.gbopera.it · Charles Gounod (1818-1893): “Faust” (1859)
URL:https://kyleket.com/event/faust-mephistopheles-canadian-opera-company/2024-10-24/
LOCATION:Four Seasons Centre for the Performing Arts\, 145 Queen St. W.\, Toronto\, Ontario\, MJ27+6P\, Canada
ATTACH;FMTTYPE=image/jpeg:https://kyleket.com/wp-content/uploads/2024/04/COC2425_Web_Production_Faust_20240115181929_0.jpg
ORGANIZER;CN="Canadian Opera Company":MAILTO:info@coc.ca
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20241018
DTEND;VALUE=DATE:20241019
DTSTAMP:20260423T155429
CREATED:20240419T164223Z
LAST-MODIFIED:20240420T131347Z
UID:10000156-1729238400-1729270800@kyleket.com
SUMMARY:Faust - Méphistophélès - Canadian Opera Company
DESCRIPTION:Disenchanted by his lifelong quest for knowledge\, the ageing philosopher Faust makes a pact with the devil and trades his soul for eternal youth—to disastrous consequences. \nTenor Long Long is the scholar Faust\, whose pact with Méphistophélès (bass-baritone Kyle Ketelsen) promises to return him to the innocence of youth—and the love of Marguerite\, performed by soprano Kseniia Proshina. Murder and madness ensue\, with demons\, witches\, and a chorus of celestial voices rounding out this lavish spectacle directed by Amy Lane. \n \nwww.gbopera.it · Charles Gounod (1818-1893): “Faust” (1859)
URL:https://kyleket.com/event/faust-mephistopheles-canadian-opera-company/2024-10-18/
LOCATION:Four Seasons Centre for the Performing Arts\, 145 Queen St. W.\, Toronto\, Ontario\, MJ27+6P\, Canada
ATTACH;FMTTYPE=image/jpeg:https://kyleket.com/wp-content/uploads/2024/04/COC2425_Web_Production_Faust_20240115181929_0.jpg
ORGANIZER;CN="Canadian Opera Company":MAILTO:info@coc.ca
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20241016
DTEND;VALUE=DATE:20241017
DTSTAMP:20260423T155429
CREATED:20240419T164223Z
LAST-MODIFIED:20240420T131347Z
UID:10000155-1729065600-1729098000@kyleket.com
SUMMARY:Faust - Méphistophélès - Canadian Opera Company
DESCRIPTION:Disenchanted by his lifelong quest for knowledge\, the ageing philosopher Faust makes a pact with the devil and trades his soul for eternal youth—to disastrous consequences. \nTenor Long Long is the scholar Faust\, whose pact with Méphistophélès (bass-baritone Kyle Ketelsen) promises to return him to the innocence of youth—and the love of Marguerite\, performed by soprano Kseniia Proshina. Murder and madness ensue\, with demons\, witches\, and a chorus of celestial voices rounding out this lavish spectacle directed by Amy Lane. \n \nwww.gbopera.it · Charles Gounod (1818-1893): “Faust” (1859)
URL:https://kyleket.com/event/faust-mephistopheles-canadian-opera-company/2024-10-16/
LOCATION:Four Seasons Centre for the Performing Arts\, 145 Queen St. W.\, Toronto\, Ontario\, MJ27+6P\, Canada
ATTACH;FMTTYPE=image/jpeg:https://kyleket.com/wp-content/uploads/2024/04/COC2425_Web_Production_Faust_20240115181929_0.jpg
ORGANIZER;CN="Canadian Opera Company":MAILTO:info@coc.ca
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20241013
DTEND;VALUE=DATE:20241014
DTSTAMP:20260423T155429
CREATED:20240419T164223Z
LAST-MODIFIED:20240420T131347Z
UID:10000154-1728806400-1728838800@kyleket.com
SUMMARY:Faust - Méphistophélès - Canadian Opera Company
DESCRIPTION:Disenchanted by his lifelong quest for knowledge\, the ageing philosopher Faust makes a pact with the devil and trades his soul for eternal youth—to disastrous consequences. \nTenor Long Long is the scholar Faust\, whose pact with Méphistophélès (bass-baritone Kyle Ketelsen) promises to return him to the innocence of youth—and the love of Marguerite\, performed by soprano Kseniia Proshina. Murder and madness ensue\, with demons\, witches\, and a chorus of celestial voices rounding out this lavish spectacle directed by Amy Lane. \n \nwww.gbopera.it · Charles Gounod (1818-1893): “Faust” (1859)
URL:https://kyleket.com/event/faust-mephistopheles-canadian-opera-company/2024-10-13/
LOCATION:Four Seasons Centre for the Performing Arts\, 145 Queen St. W.\, Toronto\, Ontario\, MJ27+6P\, Canada
ATTACH;FMTTYPE=image/jpeg:https://kyleket.com/wp-content/uploads/2024/04/COC2425_Web_Production_Faust_20240115181929_0.jpg
ORGANIZER;CN="Canadian Opera Company":MAILTO:info@coc.ca
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20241011
DTEND;VALUE=DATE:20241012
DTSTAMP:20260423T155429
CREATED:20240419T164223Z
LAST-MODIFIED:20240420T131347Z
UID:10000153-1728604800-1728691199@kyleket.com
SUMMARY:Faust - Méphistophélès - Canadian Opera Company
DESCRIPTION:Disenchanted by his lifelong quest for knowledge\, the ageing philosopher Faust makes a pact with the devil and trades his soul for eternal youth—to disastrous consequences. \nTenor Long Long is the scholar Faust\, whose pact with Méphistophélès (bass-baritone Kyle Ketelsen) promises to return him to the innocence of youth—and the love of Marguerite\, performed by soprano Kseniia Proshina. Murder and madness ensue\, with demons\, witches\, and a chorus of celestial voices rounding out this lavish spectacle directed by Amy Lane. \n \nwww.gbopera.it · Charles Gounod (1818-1893): “Faust” (1859)
URL:https://kyleket.com/event/faust-mephistopheles-canadian-opera-company/2024-10-11/
LOCATION:Four Seasons Centre for the Performing Arts\, 145 Queen St. W.\, Toronto\, Ontario\, MJ27+6P\, Canada
ATTACH;FMTTYPE=image/jpeg:https://kyleket.com/wp-content/uploads/2024/04/COC2425_Web_Production_Faust_20240115181929_0.jpg
ORGANIZER;CN="Canadian Opera Company":MAILTO:info@coc.ca
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240819T183000
DTEND;TZID=America/Los_Angeles:20240819T213000
DTSTAMP:20260423T155429
CREATED:20231208T230822Z
LAST-MODIFIED:20231208T231210Z
UID:10000150-1724092200-1724103000@kyleket.com
SUMMARY:Don Giovanni - Leporello - Salzburg Festival
DESCRIPTION:  \nFor Romeo Castellucci\, approaching Don Giovanni means facing up to the ambiguity and complexity as well as the inner disequilibrium with which Mozart imbues his opera’s protagonist. Vitality and destruction: in this ambivalence Castellucci sees one of the fascinations of this figure. Don Giovanni doesn’t think – he acts precipitately\, without drawing breath. He hurls himself about\, bringing destruction in his wake while constantly evading the individuals who are hunting him down. But at the same time\, during his ceaseless race he creates space and time\, generates life. One could say that his fatal destiny is the result of an excess of vitality. \nThe old myth of Don Juan\, which incorporated legends as well as religious didactic fables\, underwent countless new interpretations from the beginning of the 18th century. Da Ponte and Mozart took it further\, developing it into a highly nuanced work in which tragedy and comedy co-exist. Woven into the fabric of the music from the very first bar is a palpable death drive foreshadowing the final catastrophe. And when the piece is playful – ‘giocoso’ – the game that is being played is very serious indeed. Even when Mozart’s music ostensibly breathes lightness\, it contains caverns that open up to expose the deepest human needs. \nDon Giovanni knows neither remorse nor guilt:\nin order to satisfy his desires he attacks the law\, discrediting and abrogating it. It is no coincidence that his first act in the opera is the killing of a father – the Father. The Commendatore embodies the Law of the Father. Like all murdered fathers in the dramas of Western literature\, he returns as a ghost – he is omnipresent. \nIn Castellucci’s staging\, a stripped and emptied – deconsecrated – church becomes Don Giovanni’s headquarters. A neutral architecture is intermittently charged with meaning through a precise dramaturgy of appropriate and inappropriate objects falling from above\, or appearing and disintegrating\, or seeking a point of equilibrium. It is as if we are witnessing a child at play who is intent on destroying his toys. In this sense Don Giovanni is a pantoclastic figure\, i. e. one that wants to destroy everything\, a child venting his frustration at not being able to obtain the object of his desire. \nThe three female protagonists in the opera stand for three different emotional universes. Donna Anna is of noble lineage and embodies the hard-to-reach highest object of desire. Her language and her pain are palpable in her gestures – which are those of a tragic heroine. Donna Elvira is a figure whose voice betrays confusion and inner turbulence. She represents the family\, the fabric of society. Don Giovanni is horrified when he encounters her for a second time. The thought that he might find out he is a father appals him. In his case love is something that separates\, divides\, cuts off\, kills – not something that brings forth. And then we have the peasant girl Zerlina\, the body as object of desire par excellence\, an object that for Don Giovanni is there only to be possessed. He assumes that he is entitled to her\, even on the day of her wedding. \nBlinded by his narcissism\, Don Giovanni is incapable of perceiving women as unique individuals. For Act II\, Castellucci has invited a large number of women who live in Salzburg to occupy the stage of the Grosses Festspielhaus. The women are coming to reclaim their own body\, a presence\, a biography. The horrific list from Leporello’s catalogue manifests as an element of flesh and blood that is touching and affecting. Together with the women\, the choreographer Cindy Van Acker has designed trajectories across the space\, dynamics of interaction\, forms of reciprocity and connectivity. The presence of these women renders visible how the field of desire gradually develops an all-absorbing\, devouring power. The polarizing schema of Don Giovanni as hunter and the women as the hunted is reversed. \nFrom a conversation between Romeo Castellucci and Piersandra Di Matteo\nTranslation from the Italian: Sophie Kidd \n  \n  \n \nPhilharmonia Orchestra · Don Giovanni: Overture
URL:https://kyleket.com/event/don-giovanni-leporello-salzburg-festival/2024-08-19/
LOCATION:Grosse Festspielhaus – Salzburg Festival\, Hofstallgasse 1\, Salzburg\, 5020\, Austria
ATTACH;FMTTYPE=image/jpeg:https://kyleket.com/wp-content/uploads/2023/12/008461.jpg
ORGANIZER;CN="Salzburg Festival":MAILTO:info@salzburgfestival.at
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240814T183000
DTEND;TZID=America/Los_Angeles:20240814T213000
DTSTAMP:20260423T155429
CREATED:20231208T230822Z
LAST-MODIFIED:20231208T231210Z
UID:10000149-1723660200-1723671000@kyleket.com
SUMMARY:Don Giovanni - Leporello - Salzburg Festival
DESCRIPTION:  \nFor Romeo Castellucci\, approaching Don Giovanni means facing up to the ambiguity and complexity as well as the inner disequilibrium with which Mozart imbues his opera’s protagonist. Vitality and destruction: in this ambivalence Castellucci sees one of the fascinations of this figure. Don Giovanni doesn’t think – he acts precipitately\, without drawing breath. He hurls himself about\, bringing destruction in his wake while constantly evading the individuals who are hunting him down. But at the same time\, during his ceaseless race he creates space and time\, generates life. One could say that his fatal destiny is the result of an excess of vitality. \nThe old myth of Don Juan\, which incorporated legends as well as religious didactic fables\, underwent countless new interpretations from the beginning of the 18th century. Da Ponte and Mozart took it further\, developing it into a highly nuanced work in which tragedy and comedy co-exist. Woven into the fabric of the music from the very first bar is a palpable death drive foreshadowing the final catastrophe. And when the piece is playful – ‘giocoso’ – the game that is being played is very serious indeed. Even when Mozart’s music ostensibly breathes lightness\, it contains caverns that open up to expose the deepest human needs. \nDon Giovanni knows neither remorse nor guilt:\nin order to satisfy his desires he attacks the law\, discrediting and abrogating it. It is no coincidence that his first act in the opera is the killing of a father – the Father. The Commendatore embodies the Law of the Father. Like all murdered fathers in the dramas of Western literature\, he returns as a ghost – he is omnipresent. \nIn Castellucci’s staging\, a stripped and emptied – deconsecrated – church becomes Don Giovanni’s headquarters. A neutral architecture is intermittently charged with meaning through a precise dramaturgy of appropriate and inappropriate objects falling from above\, or appearing and disintegrating\, or seeking a point of equilibrium. It is as if we are witnessing a child at play who is intent on destroying his toys. In this sense Don Giovanni is a pantoclastic figure\, i. e. one that wants to destroy everything\, a child venting his frustration at not being able to obtain the object of his desire. \nThe three female protagonists in the opera stand for three different emotional universes. Donna Anna is of noble lineage and embodies the hard-to-reach highest object of desire. Her language and her pain are palpable in her gestures – which are those of a tragic heroine. Donna Elvira is a figure whose voice betrays confusion and inner turbulence. She represents the family\, the fabric of society. Don Giovanni is horrified when he encounters her for a second time. The thought that he might find out he is a father appals him. In his case love is something that separates\, divides\, cuts off\, kills – not something that brings forth. And then we have the peasant girl Zerlina\, the body as object of desire par excellence\, an object that for Don Giovanni is there only to be possessed. He assumes that he is entitled to her\, even on the day of her wedding. \nBlinded by his narcissism\, Don Giovanni is incapable of perceiving women as unique individuals. For Act II\, Castellucci has invited a large number of women who live in Salzburg to occupy the stage of the Grosses Festspielhaus. The women are coming to reclaim their own body\, a presence\, a biography. The horrific list from Leporello’s catalogue manifests as an element of flesh and blood that is touching and affecting. Together with the women\, the choreographer Cindy Van Acker has designed trajectories across the space\, dynamics of interaction\, forms of reciprocity and connectivity. The presence of these women renders visible how the field of desire gradually develops an all-absorbing\, devouring power. The polarizing schema of Don Giovanni as hunter and the women as the hunted is reversed. \nFrom a conversation between Romeo Castellucci and Piersandra Di Matteo\nTranslation from the Italian: Sophie Kidd \n  \n  \n \nPhilharmonia Orchestra · Don Giovanni: Overture
URL:https://kyleket.com/event/don-giovanni-leporello-salzburg-festival/2024-08-14/
LOCATION:Grosse Festspielhaus – Salzburg Festival\, Hofstallgasse 1\, Salzburg\, 5020\, Austria
ATTACH;FMTTYPE=image/jpeg:https://kyleket.com/wp-content/uploads/2023/12/008461.jpg
ORGANIZER;CN="Salzburg Festival":MAILTO:info@salzburgfestival.at
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240811T190000
DTEND;TZID=America/Los_Angeles:20240811T220000
DTSTAMP:20260423T155429
CREATED:20231208T230822Z
LAST-MODIFIED:20231208T231210Z
UID:10000148-1723402800-1723413600@kyleket.com
SUMMARY:Don Giovanni - Leporello - Salzburg Festival
DESCRIPTION:  \nFor Romeo Castellucci\, approaching Don Giovanni means facing up to the ambiguity and complexity as well as the inner disequilibrium with which Mozart imbues his opera’s protagonist. Vitality and destruction: in this ambivalence Castellucci sees one of the fascinations of this figure. Don Giovanni doesn’t think – he acts precipitately\, without drawing breath. He hurls himself about\, bringing destruction in his wake while constantly evading the individuals who are hunting him down. But at the same time\, during his ceaseless race he creates space and time\, generates life. One could say that his fatal destiny is the result of an excess of vitality. \nThe old myth of Don Juan\, which incorporated legends as well as religious didactic fables\, underwent countless new interpretations from the beginning of the 18th century. Da Ponte and Mozart took it further\, developing it into a highly nuanced work in which tragedy and comedy co-exist. Woven into the fabric of the music from the very first bar is a palpable death drive foreshadowing the final catastrophe. And when the piece is playful – ‘giocoso’ – the game that is being played is very serious indeed. Even when Mozart’s music ostensibly breathes lightness\, it contains caverns that open up to expose the deepest human needs. \nDon Giovanni knows neither remorse nor guilt:\nin order to satisfy his desires he attacks the law\, discrediting and abrogating it. It is no coincidence that his first act in the opera is the killing of a father – the Father. The Commendatore embodies the Law of the Father. Like all murdered fathers in the dramas of Western literature\, he returns as a ghost – he is omnipresent. \nIn Castellucci’s staging\, a stripped and emptied – deconsecrated – church becomes Don Giovanni’s headquarters. A neutral architecture is intermittently charged with meaning through a precise dramaturgy of appropriate and inappropriate objects falling from above\, or appearing and disintegrating\, or seeking a point of equilibrium. It is as if we are witnessing a child at play who is intent on destroying his toys. In this sense Don Giovanni is a pantoclastic figure\, i. e. one that wants to destroy everything\, a child venting his frustration at not being able to obtain the object of his desire. \nThe three female protagonists in the opera stand for three different emotional universes. Donna Anna is of noble lineage and embodies the hard-to-reach highest object of desire. Her language and her pain are palpable in her gestures – which are those of a tragic heroine. Donna Elvira is a figure whose voice betrays confusion and inner turbulence. She represents the family\, the fabric of society. Don Giovanni is horrified when he encounters her for a second time. The thought that he might find out he is a father appals him. In his case love is something that separates\, divides\, cuts off\, kills – not something that brings forth. And then we have the peasant girl Zerlina\, the body as object of desire par excellence\, an object that for Don Giovanni is there only to be possessed. He assumes that he is entitled to her\, even on the day of her wedding. \nBlinded by his narcissism\, Don Giovanni is incapable of perceiving women as unique individuals. For Act II\, Castellucci has invited a large number of women who live in Salzburg to occupy the stage of the Grosses Festspielhaus. The women are coming to reclaim their own body\, a presence\, a biography. The horrific list from Leporello’s catalogue manifests as an element of flesh and blood that is touching and affecting. Together with the women\, the choreographer Cindy Van Acker has designed trajectories across the space\, dynamics of interaction\, forms of reciprocity and connectivity. The presence of these women renders visible how the field of desire gradually develops an all-absorbing\, devouring power. The polarizing schema of Don Giovanni as hunter and the women as the hunted is reversed. \nFrom a conversation between Romeo Castellucci and Piersandra Di Matteo\nTranslation from the Italian: Sophie Kidd \n  \n  \n \nPhilharmonia Orchestra · Don Giovanni: Overture
URL:https://kyleket.com/event/don-giovanni-leporello-salzburg-festival/2024-08-11/
LOCATION:Grosse Festspielhaus – Salzburg Festival\, Hofstallgasse 1\, Salzburg\, 5020\, Austria
ATTACH;FMTTYPE=image/jpeg:https://kyleket.com/wp-content/uploads/2023/12/008461.jpg
ORGANIZER;CN="Salzburg Festival":MAILTO:info@salzburgfestival.at
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240809T183000
DTEND;TZID=America/Los_Angeles:20240809T213000
DTSTAMP:20260423T155429
CREATED:20231208T230822Z
LAST-MODIFIED:20231208T231210Z
UID:10000147-1723228200-1723239000@kyleket.com
SUMMARY:Don Giovanni - Leporello - Salzburg Festival
DESCRIPTION:  \nFor Romeo Castellucci\, approaching Don Giovanni means facing up to the ambiguity and complexity as well as the inner disequilibrium with which Mozart imbues his opera’s protagonist. Vitality and destruction: in this ambivalence Castellucci sees one of the fascinations of this figure. Don Giovanni doesn’t think – he acts precipitately\, without drawing breath. He hurls himself about\, bringing destruction in his wake while constantly evading the individuals who are hunting him down. But at the same time\, during his ceaseless race he creates space and time\, generates life. One could say that his fatal destiny is the result of an excess of vitality. \nThe old myth of Don Juan\, which incorporated legends as well as religious didactic fables\, underwent countless new interpretations from the beginning of the 18th century. Da Ponte and Mozart took it further\, developing it into a highly nuanced work in which tragedy and comedy co-exist. Woven into the fabric of the music from the very first bar is a palpable death drive foreshadowing the final catastrophe. And when the piece is playful – ‘giocoso’ – the game that is being played is very serious indeed. Even when Mozart’s music ostensibly breathes lightness\, it contains caverns that open up to expose the deepest human needs. \nDon Giovanni knows neither remorse nor guilt:\nin order to satisfy his desires he attacks the law\, discrediting and abrogating it. It is no coincidence that his first act in the opera is the killing of a father – the Father. The Commendatore embodies the Law of the Father. Like all murdered fathers in the dramas of Western literature\, he returns as a ghost – he is omnipresent. \nIn Castellucci’s staging\, a stripped and emptied – deconsecrated – church becomes Don Giovanni’s headquarters. A neutral architecture is intermittently charged with meaning through a precise dramaturgy of appropriate and inappropriate objects falling from above\, or appearing and disintegrating\, or seeking a point of equilibrium. It is as if we are witnessing a child at play who is intent on destroying his toys. In this sense Don Giovanni is a pantoclastic figure\, i. e. one that wants to destroy everything\, a child venting his frustration at not being able to obtain the object of his desire. \nThe three female protagonists in the opera stand for three different emotional universes. Donna Anna is of noble lineage and embodies the hard-to-reach highest object of desire. Her language and her pain are palpable in her gestures – which are those of a tragic heroine. Donna Elvira is a figure whose voice betrays confusion and inner turbulence. She represents the family\, the fabric of society. Don Giovanni is horrified when he encounters her for a second time. The thought that he might find out he is a father appals him. In his case love is something that separates\, divides\, cuts off\, kills – not something that brings forth. And then we have the peasant girl Zerlina\, the body as object of desire par excellence\, an object that for Don Giovanni is there only to be possessed. He assumes that he is entitled to her\, even on the day of her wedding. \nBlinded by his narcissism\, Don Giovanni is incapable of perceiving women as unique individuals. For Act II\, Castellucci has invited a large number of women who live in Salzburg to occupy the stage of the Grosses Festspielhaus. The women are coming to reclaim their own body\, a presence\, a biography. The horrific list from Leporello’s catalogue manifests as an element of flesh and blood that is touching and affecting. Together with the women\, the choreographer Cindy Van Acker has designed trajectories across the space\, dynamics of interaction\, forms of reciprocity and connectivity. The presence of these women renders visible how the field of desire gradually develops an all-absorbing\, devouring power. The polarizing schema of Don Giovanni as hunter and the women as the hunted is reversed. \nFrom a conversation between Romeo Castellucci and Piersandra Di Matteo\nTranslation from the Italian: Sophie Kidd \n  \n  \n \nPhilharmonia Orchestra · Don Giovanni: Overture
URL:https://kyleket.com/event/don-giovanni-leporello-salzburg-festival/2024-08-09/
LOCATION:Grosse Festspielhaus – Salzburg Festival\, Hofstallgasse 1\, Salzburg\, 5020\, Austria
ATTACH;FMTTYPE=image/jpeg:https://kyleket.com/wp-content/uploads/2023/12/008461.jpg
ORGANIZER;CN="Salzburg Festival":MAILTO:info@salzburgfestival.at
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240806T180000
DTEND;TZID=America/Los_Angeles:20240806T210000
DTSTAMP:20260423T155429
CREATED:20231208T230822Z
LAST-MODIFIED:20231208T231210Z
UID:10000146-1722967200-1722978000@kyleket.com
SUMMARY:Don Giovanni - Leporello - Salzburg Festival
DESCRIPTION:  \nFor Romeo Castellucci\, approaching Don Giovanni means facing up to the ambiguity and complexity as well as the inner disequilibrium with which Mozart imbues his opera’s protagonist. Vitality and destruction: in this ambivalence Castellucci sees one of the fascinations of this figure. Don Giovanni doesn’t think – he acts precipitately\, without drawing breath. He hurls himself about\, bringing destruction in his wake while constantly evading the individuals who are hunting him down. But at the same time\, during his ceaseless race he creates space and time\, generates life. One could say that his fatal destiny is the result of an excess of vitality. \nThe old myth of Don Juan\, which incorporated legends as well as religious didactic fables\, underwent countless new interpretations from the beginning of the 18th century. Da Ponte and Mozart took it further\, developing it into a highly nuanced work in which tragedy and comedy co-exist. Woven into the fabric of the music from the very first bar is a palpable death drive foreshadowing the final catastrophe. And when the piece is playful – ‘giocoso’ – the game that is being played is very serious indeed. Even when Mozart’s music ostensibly breathes lightness\, it contains caverns that open up to expose the deepest human needs. \nDon Giovanni knows neither remorse nor guilt:\nin order to satisfy his desires he attacks the law\, discrediting and abrogating it. It is no coincidence that his first act in the opera is the killing of a father – the Father. The Commendatore embodies the Law of the Father. Like all murdered fathers in the dramas of Western literature\, he returns as a ghost – he is omnipresent. \nIn Castellucci’s staging\, a stripped and emptied – deconsecrated – church becomes Don Giovanni’s headquarters. A neutral architecture is intermittently charged with meaning through a precise dramaturgy of appropriate and inappropriate objects falling from above\, or appearing and disintegrating\, or seeking a point of equilibrium. It is as if we are witnessing a child at play who is intent on destroying his toys. In this sense Don Giovanni is a pantoclastic figure\, i. e. one that wants to destroy everything\, a child venting his frustration at not being able to obtain the object of his desire. \nThe three female protagonists in the opera stand for three different emotional universes. Donna Anna is of noble lineage and embodies the hard-to-reach highest object of desire. Her language and her pain are palpable in her gestures – which are those of a tragic heroine. Donna Elvira is a figure whose voice betrays confusion and inner turbulence. She represents the family\, the fabric of society. Don Giovanni is horrified when he encounters her for a second time. The thought that he might find out he is a father appals him. In his case love is something that separates\, divides\, cuts off\, kills – not something that brings forth. And then we have the peasant girl Zerlina\, the body as object of desire par excellence\, an object that for Don Giovanni is there only to be possessed. He assumes that he is entitled to her\, even on the day of her wedding. \nBlinded by his narcissism\, Don Giovanni is incapable of perceiving women as unique individuals. For Act II\, Castellucci has invited a large number of women who live in Salzburg to occupy the stage of the Grosses Festspielhaus. The women are coming to reclaim their own body\, a presence\, a biography. The horrific list from Leporello’s catalogue manifests as an element of flesh and blood that is touching and affecting. Together with the women\, the choreographer Cindy Van Acker has designed trajectories across the space\, dynamics of interaction\, forms of reciprocity and connectivity. The presence of these women renders visible how the field of desire gradually develops an all-absorbing\, devouring power. The polarizing schema of Don Giovanni as hunter and the women as the hunted is reversed. \nFrom a conversation between Romeo Castellucci and Piersandra Di Matteo\nTranslation from the Italian: Sophie Kidd \n  \n  \n \nPhilharmonia Orchestra · Don Giovanni: Overture
URL:https://kyleket.com/event/don-giovanni-leporello-salzburg-festival/2024-08-06/
LOCATION:Grosse Festspielhaus – Salzburg Festival\, Hofstallgasse 1\, Salzburg\, 5020\, Austria
ATTACH;FMTTYPE=image/jpeg:https://kyleket.com/wp-content/uploads/2023/12/008461.jpg
ORGANIZER;CN="Salzburg Festival":MAILTO:info@salzburgfestival.at
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240728T180000
DTEND;TZID=America/Los_Angeles:20240728T210000
DTSTAMP:20260423T155429
CREATED:20231208T230822Z
LAST-MODIFIED:20231208T231210Z
UID:10000145-1722189600-1722200400@kyleket.com
SUMMARY:Don Giovanni - Leporello - Salzburg Festival
DESCRIPTION:  \nFor Romeo Castellucci\, approaching Don Giovanni means facing up to the ambiguity and complexity as well as the inner disequilibrium with which Mozart imbues his opera’s protagonist. Vitality and destruction: in this ambivalence Castellucci sees one of the fascinations of this figure. Don Giovanni doesn’t think – he acts precipitately\, without drawing breath. He hurls himself about\, bringing destruction in his wake while constantly evading the individuals who are hunting him down. But at the same time\, during his ceaseless race he creates space and time\, generates life. One could say that his fatal destiny is the result of an excess of vitality. \nThe old myth of Don Juan\, which incorporated legends as well as religious didactic fables\, underwent countless new interpretations from the beginning of the 18th century. Da Ponte and Mozart took it further\, developing it into a highly nuanced work in which tragedy and comedy co-exist. Woven into the fabric of the music from the very first bar is a palpable death drive foreshadowing the final catastrophe. And when the piece is playful – ‘giocoso’ – the game that is being played is very serious indeed. Even when Mozart’s music ostensibly breathes lightness\, it contains caverns that open up to expose the deepest human needs. \nDon Giovanni knows neither remorse nor guilt:\nin order to satisfy his desires he attacks the law\, discrediting and abrogating it. It is no coincidence that his first act in the opera is the killing of a father – the Father. The Commendatore embodies the Law of the Father. Like all murdered fathers in the dramas of Western literature\, he returns as a ghost – he is omnipresent. \nIn Castellucci’s staging\, a stripped and emptied – deconsecrated – church becomes Don Giovanni’s headquarters. A neutral architecture is intermittently charged with meaning through a precise dramaturgy of appropriate and inappropriate objects falling from above\, or appearing and disintegrating\, or seeking a point of equilibrium. It is as if we are witnessing a child at play who is intent on destroying his toys. In this sense Don Giovanni is a pantoclastic figure\, i. e. one that wants to destroy everything\, a child venting his frustration at not being able to obtain the object of his desire. \nThe three female protagonists in the opera stand for three different emotional universes. Donna Anna is of noble lineage and embodies the hard-to-reach highest object of desire. Her language and her pain are palpable in her gestures – which are those of a tragic heroine. Donna Elvira is a figure whose voice betrays confusion and inner turbulence. She represents the family\, the fabric of society. Don Giovanni is horrified when he encounters her for a second time. The thought that he might find out he is a father appals him. In his case love is something that separates\, divides\, cuts off\, kills – not something that brings forth. And then we have the peasant girl Zerlina\, the body as object of desire par excellence\, an object that for Don Giovanni is there only to be possessed. He assumes that he is entitled to her\, even on the day of her wedding. \nBlinded by his narcissism\, Don Giovanni is incapable of perceiving women as unique individuals. For Act II\, Castellucci has invited a large number of women who live in Salzburg to occupy the stage of the Grosses Festspielhaus. The women are coming to reclaim their own body\, a presence\, a biography. The horrific list from Leporello’s catalogue manifests as an element of flesh and blood that is touching and affecting. Together with the women\, the choreographer Cindy Van Acker has designed trajectories across the space\, dynamics of interaction\, forms of reciprocity and connectivity. The presence of these women renders visible how the field of desire gradually develops an all-absorbing\, devouring power. The polarizing schema of Don Giovanni as hunter and the women as the hunted is reversed. \nFrom a conversation between Romeo Castellucci and Piersandra Di Matteo\nTranslation from the Italian: Sophie Kidd \n  \n  \n \nPhilharmonia Orchestra · Don Giovanni: Overture
URL:https://kyleket.com/event/don-giovanni-leporello-salzburg-festival/2024-07-28/
LOCATION:Grosse Festspielhaus – Salzburg Festival\, Hofstallgasse 1\, Salzburg\, 5020\, Austria
ATTACH;FMTTYPE=image/jpeg:https://kyleket.com/wp-content/uploads/2023/12/008461.jpg
ORGANIZER;CN="Salzburg Festival":MAILTO:info@salzburgfestival.at
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240531T190000
DTEND;TZID=America/New_York:20240531T220000
DTSTAMP:20260423T155429
CREATED:20230330T150221Z
LAST-MODIFIED:20230330T150241Z
UID:10000124-1717182000-1717192800@kyleket.com
SUMMARY:The Hours - Richard - Metropolitan Opera
DESCRIPTION:Pulitzer Prize–winning composer Kevin Puts’s hit new opera\, which played to sold-out audiences during its world-premiere production last season\, triumphantly returns. The original trio of legendary divas—sopranos Renée Fleming and Kelli O’Hara and mezzo-soprano Joyce DiDonato—reprise their celebrated portrayals of three women from different eras whose lives are connected through Virginia Woolf’s novel Mrs. Dalloway. Bass-baritone Kyle Ketelsen also returns as the dying author Richard\, and Kensho Watanabe conducts Phelim McDermott’s gripping staging of this heart-wrenching drama\, adapted from Michael Cunningham’s acclaimed novel and the Oscar-winning film it inspired.
URL:https://kyleket.com/event/the-hours-richard-metropolitan-opera/2024-05-31/
LOCATION:Lincoln Center for the Performing Arts: Metropolitan Opera House\, Lincoln Center Plaza\, New York\, NY\, NY 10023\, United States
ATTACH;FMTTYPE=image/jpeg:https://kyleket.com/wp-content/uploads/2023/02/hours_-pb-1-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240528T190000
DTEND;TZID=America/New_York:20240528T220000
DTSTAMP:20260423T155429
CREATED:20230330T150221Z
LAST-MODIFIED:20230330T150241Z
UID:10000123-1716922800-1716933600@kyleket.com
SUMMARY:The Hours - Richard - Metropolitan Opera
DESCRIPTION:Pulitzer Prize–winning composer Kevin Puts’s hit new opera\, which played to sold-out audiences during its world-premiere production last season\, triumphantly returns. The original trio of legendary divas—sopranos Renée Fleming and Kelli O’Hara and mezzo-soprano Joyce DiDonato—reprise their celebrated portrayals of three women from different eras whose lives are connected through Virginia Woolf’s novel Mrs. Dalloway. Bass-baritone Kyle Ketelsen also returns as the dying author Richard\, and Kensho Watanabe conducts Phelim McDermott’s gripping staging of this heart-wrenching drama\, adapted from Michael Cunningham’s acclaimed novel and the Oscar-winning film it inspired.
URL:https://kyleket.com/event/the-hours-richard-metropolitan-opera/2024-05-28/
LOCATION:Lincoln Center for the Performing Arts: Metropolitan Opera House\, Lincoln Center Plaza\, New York\, NY\, NY 10023\, United States
ATTACH;FMTTYPE=image/jpeg:https://kyleket.com/wp-content/uploads/2023/02/hours_-pb-1-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240524T200000
DTEND;TZID=America/New_York:20240524T230000
DTSTAMP:20260423T155429
CREATED:20230330T150221Z
LAST-MODIFIED:20230330T150241Z
UID:10000122-1716580800-1716591600@kyleket.com
SUMMARY:The Hours - Richard - Metropolitan Opera
DESCRIPTION:Pulitzer Prize–winning composer Kevin Puts’s hit new opera\, which played to sold-out audiences during its world-premiere production last season\, triumphantly returns. The original trio of legendary divas—sopranos Renée Fleming and Kelli O’Hara and mezzo-soprano Joyce DiDonato—reprise their celebrated portrayals of three women from different eras whose lives are connected through Virginia Woolf’s novel Mrs. Dalloway. Bass-baritone Kyle Ketelsen also returns as the dying author Richard\, and Kensho Watanabe conducts Phelim McDermott’s gripping staging of this heart-wrenching drama\, adapted from Michael Cunningham’s acclaimed novel and the Oscar-winning film it inspired.
URL:https://kyleket.com/event/the-hours-richard-metropolitan-opera/2024-05-24/
LOCATION:Lincoln Center for the Performing Arts: Metropolitan Opera House\, Lincoln Center Plaza\, New York\, NY\, NY 10023\, United States
ATTACH;FMTTYPE=image/jpeg:https://kyleket.com/wp-content/uploads/2023/02/hours_-pb-1-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240521T190000
DTEND;TZID=America/New_York:20240521T220000
DTSTAMP:20260423T155429
CREATED:20230330T150221Z
LAST-MODIFIED:20230330T150241Z
UID:10000121-1716318000-1716328800@kyleket.com
SUMMARY:The Hours - Richard - Metropolitan Opera
DESCRIPTION:Pulitzer Prize–winning composer Kevin Puts’s hit new opera\, which played to sold-out audiences during its world-premiere production last season\, triumphantly returns. The original trio of legendary divas—sopranos Renée Fleming and Kelli O’Hara and mezzo-soprano Joyce DiDonato—reprise their celebrated portrayals of three women from different eras whose lives are connected through Virginia Woolf’s novel Mrs. Dalloway. Bass-baritone Kyle Ketelsen also returns as the dying author Richard\, and Kensho Watanabe conducts Phelim McDermott’s gripping staging of this heart-wrenching drama\, adapted from Michael Cunningham’s acclaimed novel and the Oscar-winning film it inspired.
URL:https://kyleket.com/event/the-hours-richard-metropolitan-opera/2024-05-21/
LOCATION:Lincoln Center for the Performing Arts: Metropolitan Opera House\, Lincoln Center Plaza\, New York\, NY\, NY 10023\, United States
ATTACH;FMTTYPE=image/jpeg:https://kyleket.com/wp-content/uploads/2023/02/hours_-pb-1-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240518T130000
DTEND;TZID=America/New_York:20240518T160000
DTSTAMP:20260423T155429
CREATED:20230330T150221Z
LAST-MODIFIED:20230330T150241Z
UID:10000120-1716037200-1716048000@kyleket.com
SUMMARY:The Hours - Richard - Metropolitan Opera
DESCRIPTION:Pulitzer Prize–winning composer Kevin Puts’s hit new opera\, which played to sold-out audiences during its world-premiere production last season\, triumphantly returns. The original trio of legendary divas—sopranos Renée Fleming and Kelli O’Hara and mezzo-soprano Joyce DiDonato—reprise their celebrated portrayals of three women from different eras whose lives are connected through Virginia Woolf’s novel Mrs. Dalloway. Bass-baritone Kyle Ketelsen also returns as the dying author Richard\, and Kensho Watanabe conducts Phelim McDermott’s gripping staging of this heart-wrenching drama\, adapted from Michael Cunningham’s acclaimed novel and the Oscar-winning film it inspired.
URL:https://kyleket.com/event/the-hours-richard-metropolitan-opera/2024-05-18/
LOCATION:Lincoln Center for the Performing Arts: Metropolitan Opera House\, Lincoln Center Plaza\, New York\, NY\, NY 10023\, United States
ATTACH;FMTTYPE=image/jpeg:https://kyleket.com/wp-content/uploads/2023/02/hours_-pb-1-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240515T193000
DTEND;TZID=America/New_York:20240515T223000
DTSTAMP:20260423T155429
CREATED:20230330T150221Z
LAST-MODIFIED:20230330T150241Z
UID:10000119-1715801400-1715812200@kyleket.com
SUMMARY:The Hours - Richard - Metropolitan Opera
DESCRIPTION:Pulitzer Prize–winning composer Kevin Puts’s hit new opera\, which played to sold-out audiences during its world-premiere production last season\, triumphantly returns. The original trio of legendary divas—sopranos Renée Fleming and Kelli O’Hara and mezzo-soprano Joyce DiDonato—reprise their celebrated portrayals of three women from different eras whose lives are connected through Virginia Woolf’s novel Mrs. Dalloway. Bass-baritone Kyle Ketelsen also returns as the dying author Richard\, and Kensho Watanabe conducts Phelim McDermott’s gripping staging of this heart-wrenching drama\, adapted from Michael Cunningham’s acclaimed novel and the Oscar-winning film it inspired.
URL:https://kyleket.com/event/the-hours-richard-metropolitan-opera/2024-05-15/
LOCATION:Lincoln Center for the Performing Arts: Metropolitan Opera House\, Lincoln Center Plaza\, New York\, NY\, NY 10023\, United States
ATTACH;FMTTYPE=image/jpeg:https://kyleket.com/wp-content/uploads/2023/02/hours_-pb-1-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240510T193000
DTEND;TZID=America/New_York:20240510T223000
DTSTAMP:20260423T155429
CREATED:20230330T150221Z
LAST-MODIFIED:20230330T150241Z
UID:10000118-1715369400-1715380200@kyleket.com
SUMMARY:The Hours - Richard - Metropolitan Opera
DESCRIPTION:Pulitzer Prize–winning composer Kevin Puts’s hit new opera\, which played to sold-out audiences during its world-premiere production last season\, triumphantly returns. The original trio of legendary divas—sopranos Renée Fleming and Kelli O’Hara and mezzo-soprano Joyce DiDonato—reprise their celebrated portrayals of three women from different eras whose lives are connected through Virginia Woolf’s novel Mrs. Dalloway. Bass-baritone Kyle Ketelsen also returns as the dying author Richard\, and Kensho Watanabe conducts Phelim McDermott’s gripping staging of this heart-wrenching drama\, adapted from Michael Cunningham’s acclaimed novel and the Oscar-winning film it inspired.
URL:https://kyleket.com/event/the-hours-richard-metropolitan-opera/2024-05-10/
LOCATION:Lincoln Center for the Performing Arts: Metropolitan Opera House\, Lincoln Center Plaza\, New York\, NY\, NY 10023\, United States
ATTACH;FMTTYPE=image/jpeg:https://kyleket.com/wp-content/uploads/2023/02/hours_-pb-1-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240505T150000
DTEND;TZID=America/New_York:20240505T180000
DTSTAMP:20260423T155429
CREATED:20230330T150221Z
LAST-MODIFIED:20230330T150241Z
UID:10000117-1714921200-1714932000@kyleket.com
SUMMARY:The Hours - Richard - Metropolitan Opera
DESCRIPTION:Pulitzer Prize–winning composer Kevin Puts’s hit new opera\, which played to sold-out audiences during its world-premiere production last season\, triumphantly returns. The original trio of legendary divas—sopranos Renée Fleming and Kelli O’Hara and mezzo-soprano Joyce DiDonato—reprise their celebrated portrayals of three women from different eras whose lives are connected through Virginia Woolf’s novel Mrs. Dalloway. Bass-baritone Kyle Ketelsen also returns as the dying author Richard\, and Kensho Watanabe conducts Phelim McDermott’s gripping staging of this heart-wrenching drama\, adapted from Michael Cunningham’s acclaimed novel and the Oscar-winning film it inspired.
URL:https://kyleket.com/event/the-hours-richard-metropolitan-opera/2024-05-05/
LOCATION:Lincoln Center for the Performing Arts: Metropolitan Opera House\, Lincoln Center Plaza\, New York\, NY\, NY 10023\, United States
ATTACH;FMTTYPE=image/jpeg:https://kyleket.com/wp-content/uploads/2023/02/hours_-pb-1-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20240414T143000
DTEND;TZID=America/Chicago:20240414T163000
DTSTAMP:20260423T155429
CREATED:20230821T092529Z
LAST-MODIFIED:20230821T092557Z
UID:10000144-1713105000-1713112200@kyleket.com
SUMMARY:Verdi Requiem - Madison Symphony
DESCRIPTION:  \nThe Verdi Requiem is one of those works that moves you to the very core of your being\, combining spine-tingling power with moments of sublime beauty. The Madison Symphony Chorus joins us under the direction of Beverly Taylor\, who has a very special love for this piece and will inspire the chorus to great heights. Two very special people who have graced us with their talents over the years\, soprano Alexandra LoBianco and bass Kyle Ketelsen join debuting artists tenor Jonathan Burton and mezzo-soprano Margaret Gawrysiak (also of last summer’s Opera in the Park) as our soloists. Their glorious voices are alone worth the price of admission. I so love this piece and am so grateful to be able to perform it during my anniversary year.  – John DeMain\, Music Director \n  \n \nOrchestre de Paris · Giuseppe Verdi – Requiem – Dies Irae
URL:https://kyleket.com/event/verdi-requiem-madison-symphony/2024-04-14/
LOCATION:Overture Center for the Arts\, 201 State Street\, Madison\, WI\, 53703\, United States
ATTACH;FMTTYPE=image/jpeg:https://kyleket.com/wp-content/uploads/2023/08/Madison-Symphony.jpeg
ORGANIZER;CN="Madison Symphony Orchestra":MAILTO:info@madisonsymphony.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20240413T200000
DTEND;TZID=America/Chicago:20240413T220000
DTSTAMP:20260423T155429
CREATED:20230821T092529Z
LAST-MODIFIED:20230821T092557Z
UID:10000143-1713038400-1713045600@kyleket.com
SUMMARY:Verdi Requiem - Madison Symphony
DESCRIPTION:  \nThe Verdi Requiem is one of those works that moves you to the very core of your being\, combining spine-tingling power with moments of sublime beauty. The Madison Symphony Chorus joins us under the direction of Beverly Taylor\, who has a very special love for this piece and will inspire the chorus to great heights. Two very special people who have graced us with their talents over the years\, soprano Alexandra LoBianco and bass Kyle Ketelsen join debuting artists tenor Jonathan Burton and mezzo-soprano Margaret Gawrysiak (also of last summer’s Opera in the Park) as our soloists. Their glorious voices are alone worth the price of admission. I so love this piece and am so grateful to be able to perform it during my anniversary year.  – John DeMain\, Music Director \n  \n \nOrchestre de Paris · Giuseppe Verdi – Requiem – Dies Irae
URL:https://kyleket.com/event/verdi-requiem-madison-symphony/2024-04-13/
LOCATION:Overture Center for the Arts\, 201 State Street\, Madison\, WI\, 53703\, United States
ATTACH;FMTTYPE=image/jpeg:https://kyleket.com/wp-content/uploads/2023/08/Madison-Symphony.jpeg
ORGANIZER;CN="Madison Symphony Orchestra":MAILTO:info@madisonsymphony.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20240412T193000
DTEND;TZID=America/Chicago:20240412T213000
DTSTAMP:20260423T155429
CREATED:20230821T092529Z
LAST-MODIFIED:20230821T092557Z
UID:10000142-1712950200-1712957400@kyleket.com
SUMMARY:Verdi Requiem - Madison Symphony
DESCRIPTION:  \nThe Verdi Requiem is one of those works that moves you to the very core of your being\, combining spine-tingling power with moments of sublime beauty. The Madison Symphony Chorus joins us under the direction of Beverly Taylor\, who has a very special love for this piece and will inspire the chorus to great heights. Two very special people who have graced us with their talents over the years\, soprano Alexandra LoBianco and bass Kyle Ketelsen join debuting artists tenor Jonathan Burton and mezzo-soprano Margaret Gawrysiak (also of last summer’s Opera in the Park) as our soloists. Their glorious voices are alone worth the price of admission. I so love this piece and am so grateful to be able to perform it during my anniversary year.  – John DeMain\, Music Director \n  \n \nOrchestre de Paris · Giuseppe Verdi – Requiem – Dies Irae
URL:https://kyleket.com/event/verdi-requiem-madison-symphony/2024-04-12/
LOCATION:Overture Center for the Arts\, 201 State Street\, Madison\, WI\, 53703\, United States
ATTACH;FMTTYPE=image/jpeg:https://kyleket.com/wp-content/uploads/2023/08/Madison-Symphony.jpeg
ORGANIZER;CN="Madison Symphony Orchestra":MAILTO:info@madisonsymphony.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20240324T140000
DTEND;TZID=America/Chicago:20240324T163000
DTSTAMP:20260423T155429
CREATED:20230820T102532Z
LAST-MODIFIED:20240318T234357Z
UID:10000141-1711288800-1711297800@kyleket.com
SUMMARY:Mozart Requiem - Lyric Opera of Chicago
DESCRIPTION:Mozart Requiem – Chicago Lyric Opera \n \n  \n  \nLyric Opera of Chicago invites you to experience Mozart’s Requiem. Legend has it that Mozart believed he was writing the Requiem for his own funeral. Other composers completed it after his death\, but — miraculously — this is not only a totally unified work musically\, but one of the greatest choral pieces ever written. It offers a sublime beauty and dignity that leaves audiences profoundly moved and memorably uplifted. Under Music Director Enrique Mazzola\, these concerts present a unique opportunity to celebrate the extraordinary Lyric Opera Orchestra and Chorus\, and will also feature additional Mozart repertoire. \nLanguage: Latin\nRunning Time: 2 hours and 15 minutes\, including 1 intermission\nLocation: Lyric Opera House \n  \n \nMozart · Requiem – III. Sequentia – c. Rex tremendae – Mozart – Binaural 3D Sound – Music Therapy
URL:https://kyleket.com/event/mozart-requiem-lyric-opera-of-chicago/2024-03-24/
LOCATION:Civic Opera House\, 20 N Upper Wacker Dr STE 400\, Chicago\, IL\, IL 60606\, United States
ATTACH;FMTTYPE=image/jpeg:https://kyleket.com/wp-content/uploads/2023/08/Lyric-Requiem.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20240322T190000
DTEND;TZID=America/Chicago:20240322T213000
DTSTAMP:20260423T155429
CREATED:20230820T102532Z
LAST-MODIFIED:20240318T234357Z
UID:10000140-1711134000-1711143000@kyleket.com
SUMMARY:Mozart Requiem - Lyric Opera of Chicago
DESCRIPTION:Mozart Requiem – Chicago Lyric Opera \n \n  \n  \nLyric Opera of Chicago invites you to experience Mozart’s Requiem. Legend has it that Mozart believed he was writing the Requiem for his own funeral. Other composers completed it after his death\, but — miraculously — this is not only a totally unified work musically\, but one of the greatest choral pieces ever written. It offers a sublime beauty and dignity that leaves audiences profoundly moved and memorably uplifted. Under Music Director Enrique Mazzola\, these concerts present a unique opportunity to celebrate the extraordinary Lyric Opera Orchestra and Chorus\, and will also feature additional Mozart repertoire. \nLanguage: Latin\nRunning Time: 2 hours and 15 minutes\, including 1 intermission\nLocation: Lyric Opera House \n  \n \nMozart · Requiem – III. Sequentia – c. Rex tremendae – Mozart – Binaural 3D Sound – Music Therapy
URL:https://kyleket.com/event/mozart-requiem-lyric-opera-of-chicago/2024-03-22/
LOCATION:Civic Opera House\, 20 N Upper Wacker Dr STE 400\, Chicago\, IL\, IL 60606\, United States
ATTACH;FMTTYPE=image/jpeg:https://kyleket.com/wp-content/uploads/2023/08/Lyric-Requiem.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240316T140000
DTEND;TZID=America/Los_Angeles:20240316T150000
DTSTAMP:20260423T155429
CREATED:20240310T030336Z
LAST-MODIFIED:20240310T030344Z
UID:10000152-1710597600-1710601200@kyleket.com
SUMMARY:Beethoven Ninth Symphony - Handel and Haydn Society
DESCRIPTION:“Be embraced\, you millions!” Let the “divine spark” of joy catch fire in this iconic celebration of life. Guest conductor Raphaël Pichon\, the maestro behind last season’s blockbuster Marriage of Figaro\, delivers a fervently fresh take on this magnum opus in honor of its bicentennial. And it’s no surprise that our beloved chorus and orchestra tackle this uplifting music with both compassion and conviction. \n  \n \nnecmusic · Beethoven: Symphony no 9 in D minor- Scherzo Molto vivace – Presto
URL:https://kyleket.com/event/beethoven-ninth-symphony-handel-and-haydn-society/2024-03-16/
LOCATION:Boston Symphony Hall\, 301 Massachusetts Ave\, Boston\, MA\, 02115\, United States
ATTACH;FMTTYPE=image/jpeg:https://kyleket.com/wp-content/uploads/2024/03/Handel-and-Haydn-Society.jpeg
ORGANIZER;CN="Handel and Haydn Society":MAILTO:boxoffice@handelandhaydn.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20240315T193000
DTEND;TZID=America/Los_Angeles:20240315T203000
DTSTAMP:20260423T155429
CREATED:20240310T030336Z
LAST-MODIFIED:20240310T030344Z
UID:10000151-1710531000-1710534600@kyleket.com
SUMMARY:Beethoven Ninth Symphony - Handel and Haydn Society
DESCRIPTION:“Be embraced\, you millions!” Let the “divine spark” of joy catch fire in this iconic celebration of life. Guest conductor Raphaël Pichon\, the maestro behind last season’s blockbuster Marriage of Figaro\, delivers a fervently fresh take on this magnum opus in honor of its bicentennial. And it’s no surprise that our beloved chorus and orchestra tackle this uplifting music with both compassion and conviction. \n  \n \nnecmusic · Beethoven: Symphony no 9 in D minor- Scherzo Molto vivace – Presto
URL:https://kyleket.com/event/beethoven-ninth-symphony-handel-and-haydn-society/2024-03-15/
LOCATION:Boston Symphony Hall\, 301 Massachusetts Ave\, Boston\, MA\, 02115\, United States
ATTACH;FMTTYPE=image/jpeg:https://kyleket.com/wp-content/uploads/2024/03/Handel-and-Haydn-Society.jpeg
ORGANIZER;CN="Handel and Haydn Society":MAILTO:boxoffice@handelandhaydn.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240127T130000
DTEND;TZID=America/New_York:20240127T163000
DTSTAMP:20260423T155429
CREATED:20230330T152942Z
LAST-MODIFIED:20230330T152946Z
UID:10000133-1706360400-1706373000@kyleket.com
SUMMARY:Carmen - Escamillo - LIVE IN HD - Metropolitan Opera
DESCRIPTION:On January 27\, acclaimed English director Carrie Cracknell brings in a vital new production of one of opera’s most enduringly popular and powerful works to cinemas\, reinvigorating the classic story of deadly passion with a staging that moves the action to the modern day\, amid a band of human traffickers. Dazzling young mezzo-soprano Aigul Akhmetshina leads a powerhouse quartet of stars in the touchstone role of the irresistible femme fatale\, alongside tenor Piotr Beczała as Carmen’s overmatched lover Don José and soprano Angel Blue as the devoted Micaëla. Bass-baritone Kyle Ketelsen is the swaggering Escamillo\, and Daniele Rustioni conducts Bizet’s heart-pounding score. This live cinema transmission is part of the Met’s award-winning Live in HD series\, bringing opera to movie theaters across the globe. \nEnglish StreamText captioning is available for the Met’s transmission of Carmen here. A transcript of the transmission will also be available to view after the live performance. \nBuy tickets for Carmen live in the opera house here. \n 
URL:https://kyleket.com/event/carmen-escamillo-metropolitan-opera-2/
LOCATION:Lincoln Center for the Performing Arts: Metropolitan Opera House\, Lincoln Center Plaza\, New York\, NY\, NY 10023\, United States
ATTACH;FMTTYPE=image/jpeg:https://kyleket.com/wp-content/uploads/2023/03/Met-Carmen.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240123T193000
DTEND;TZID=America/New_York:20240123T230000
DTSTAMP:20260423T155429
CREATED:20230330T152249Z
LAST-MODIFIED:20230330T152303Z
UID:10000132-1706038200-1706050800@kyleket.com
SUMMARY:Carmen - Escamillo - Metropolitan Opera
DESCRIPTION:The Met celebrates the New Year with a vital new production of one of opera’s most enduringly popular and powerful works. Acclaimed English director Carrie Cracknell makes her Met debut\, reinvigorating the classic story of deadly passion with a staging that moves the action to the modern day. Dazzling young mezzo-soprano Aigul Akhmetshina leads a powerhouse quartet of stars in the touchstone role of the irresistible femme fatale\, alongside tenor Piotr Beczała as Carmen’s overmatched lover Don José\, soprano Angel Blue as the devoted Micaëla\, and bass-baritone Kyle Ketelsen as the swaggering Escamillo. Daniele Rustioni conducts Bizet’s heart-pounding score.
URL:https://kyleket.com/event/carmen-escamillo-metropolitan-opera/2024-01-23/
LOCATION:Lincoln Center for the Performing Arts: Metropolitan Opera House\, Lincoln Center Plaza\, New York\, NY\, NY 10023\, United States
ATTACH;FMTTYPE=image/jpeg:https://kyleket.com/wp-content/uploads/2023/03/Met-Carmen.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240119T193000
DTEND;TZID=America/New_York:20240119T230000
DTSTAMP:20260423T155429
CREATED:20230330T152249Z
LAST-MODIFIED:20230330T152303Z
UID:10000131-1705692600-1705705200@kyleket.com
SUMMARY:Carmen - Escamillo - Metropolitan Opera
DESCRIPTION:The Met celebrates the New Year with a vital new production of one of opera’s most enduringly popular and powerful works. Acclaimed English director Carrie Cracknell makes her Met debut\, reinvigorating the classic story of deadly passion with a staging that moves the action to the modern day. Dazzling young mezzo-soprano Aigul Akhmetshina leads a powerhouse quartet of stars in the touchstone role of the irresistible femme fatale\, alongside tenor Piotr Beczała as Carmen’s overmatched lover Don José\, soprano Angel Blue as the devoted Micaëla\, and bass-baritone Kyle Ketelsen as the swaggering Escamillo. Daniele Rustioni conducts Bizet’s heart-pounding score.
URL:https://kyleket.com/event/carmen-escamillo-metropolitan-opera/2024-01-19/
LOCATION:Lincoln Center for the Performing Arts: Metropolitan Opera House\, Lincoln Center Plaza\, New York\, NY\, NY 10023\, United States
ATTACH;FMTTYPE=image/jpeg:https://kyleket.com/wp-content/uploads/2023/03/Met-Carmen.jpeg
END:VEVENT
END:VCALENDAR