DOCSLIB.ORG

Annual Rep0rt

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Annual Rep0rt annual r e p ort 2015 Alcina avec Patricia Petibon (Alcina) et Philippe Jaroussky (Ruggiero) 67th Festival d’aix-en-provence acclaimed by the public and critics! With 83,000 spectators, the 67th Festival was a great success – new community-based project, brought together professional rich in shared emotions and musical pleasure. The national and singers and musicians with 300 amateur choir singers from the international press gave it a warm reception. region for a performance of rare intensity. The Théâtre de l’Archevêché saw the triumph of Britten’s A This production, like many others, will now go on tour in France Midsummer Night’s Dream, a revival of the legendary production and abroad, as further proof of the Festival’s national and Robert Carsen first directed 24 years ago. It alternated at the international reputation. Archevêché with the annual Mozart production, this time Die I would like to express my gratitude to the State, to the City of Aix- Entführung aus dem Serail. en-Provence, to the Aix Regional Community, the Department At the Grand Théâtre de Provence, Patricia Petibon and Philippe and the Region, and all the local authorities working closely Jaroussky electrified audiences in Katie Mitchell’s daring together with such effectiveness on the Festival d’Aix Board, production of Handel’s Alcina, while Peter Sellars bewitched which it is my honour to preside. festival-goers with the radiant diptych Iolanta / Perséphone, I would also like to thank all the partner patrons, companies and conducted with power and sensitivity by Teodor Currentzis. private individuals, from France and overseas, with a special Performing new works is one of the aims of the Festival, as was mention for the Altarea Cogedim group, which became our shown this year with Svadba by Ana Sokolovic´, a particularly official partners this year. inventive and poetic chamber opera. Be With Me Now, a musical production, was created to celebrate the fifth anniversary of Bruno Roger the enoa European network, which the Festival d’Aix and its President of the Festival d’Aix-en-Provence Académie helped to launch. Lastly, The Monster in the Maze, a a point of view on the Festival and the world Each member of the audience leaves the Festival with their own the Arab-Muslim world, are fighting the tyranny of dictators and highly personal images, experiences and emotions. Here I will the insanity of Daech. Is it not more the role of artists to encourage give some of my own – entirely subjective – impressions. us to deepen our relations with reality, to go beyond clichés and superficial images, instead of reinforcing them? Alcina was the second part of our Handel cycle. Katie Mitchell gave us a highly personal and very contemporary vision of the opera, These present-day realities, the images of refugees putting their marked by an authentic feminine viewpoint. At the heart of the lives in danger to cross the Mediterranean, could be seen in The sparkling cast led by Andrea Marcon, Patricia Petibon lent her Monster in the Maze. The magic of this opera came from Jonathan voice, her body, her emotion – in short, all the resources of her Dove’s music, Sir Simon Rattle’s inspired conducting, Marie- being to bring an exceptional character to life with such skill. Eve Signeyrole’s astute and skilful staging, but above all from the presence of 300 amateur participants, children, teenagers Peter Sellars and Teodor Currentzis gave us an incandescent and adults, who amazed us, as the adventure came to an end reading of Iolanta and Perséphone, a reading where the spiritual after more than six months, with their commitment, their talent dimension linked and transcended these two rare works. The and their professionalism. revival of Robert Carsen’s staging of A Midsummer Night's Dream confirmed the impressions of those who saw it first produced 24 Meanwhile, Ana Sokolovic´’s Svadba kept all its promises: a subtle years ago, and delighted opera-goers and opera professionals composition for voices, a small-scale work for six singers, in a who were seeing it for the first time. sober staging that brought out all their presence. The fact that these two operas were such a success with the public and that Martin Kušej’s staging of Die Entführung aus dem Serail provoked there are now plans for them to go on tour all over the world is a extensive press coverage and a good deal of controversy. Do opera refreshing sign for new opera. directors have the right to offer a resolutely “modern” reading of a classic work? Of course they do, since that is opera’s lifeblood! I was also struck and moved by the artistic commitment shown Do they have the right to oppose a composer’s intentions, in this by the Perm MusicAeterna choir, at Silvacane Abbey and at case by contradicting Mozart’s humanist and tolerant outlook? the Conservatory. Their performance of Stravinsky’s Les Noces I think they do too, and I see it as a sign of an artist’s freedom to reached an incredible intensity, and unprecedented virtuosity shift the meanings of a work and to uncover, here and now, all its in the approach to traditional vocal forms and to Stravinsky’s contemporary resonances. And yet, I cannot accept Martin Kušej’s musical colour and rhythms. I will also treasure memories of so world view, although I believe I did everything I could to make sure many moments shared, of rehearsals and concerts, of meeting that the production was presented as faithfully as possible to the artists from the Académie and enthralling discussions. It seems director’s intentions: in the dark hours we are living through today, to me that once again this year we took another step forward as to present the West as the sole bearer of humanist and tolerant a creative, convivial Festival that is open onto society and the values, confronted with an archaic, uncultured and aggressive East, world. A huge thank you to all those who took part, to artists and is only to caricature contemporary realities. It is a negation of the technicians, professionals and amateurs, regular opera-goers East’s cultural riches; of its traditions of hospitality; of the artistic and newcomers to the Festival! exchanges that have always characterised relations between the West and the East down the centuries, until a very recent period. It Bernard Foccroulle is also the negation of the combat of all those who, in Syria and in Director of the Festival d’Aix-en-Provence 5 Iolanta with Ekaterina Scherbachenko (Iolanta) and Arnold Rutkowski (Vaudémont) "a Festival’s imaginative vision"* Alcina Alcina with Patricia Petibon (Alcina) and Anthony Gregory (Oronte) alcina After Ariodante in 2014, the Festival d’Aix continued its Handel cycle this year with a new production of one of his most famous operas. Under the precise direction of Katie Mitchell, this acerbic reading sets the action in a strange and diabolic world, symbolised by a highly sophisticated decor. This was a landmark production of this year’s festival, performed by the baroque stars Patricia Petibon and Philippe Jaroussky, and conducted by the maestro Andrea Marcon at the head of the Freiburger Barockorchester. FrAnce inFo OperA Today LiBération This production will stay in our memories. Katie Mitchell makes This was magical, completely magical, made magnificent by Patricia The result is in line with Katie Mitchell’s other works, with its strong Les inrocKs sure the audience always has something to look at, the Freiburger Petibon as the ravishing, red haired Alcina, whose "Ah, mio cor" theatre influences and superb visuals, and its well-adapted staging. With the extraordinary vocal talent possessed by Patricia Petibon, Barockorchester conducted by Andrea Marcon is in harmony with the included a high E shriek and then ended the first part of the evening. The cast, led by the two French stars Philippe Jaroussky and Patricia Handel’s Alcina fires on all cylinders under Andrea Macron’s staging and the most beautiful arias, such as “Verdi Prati”, sung to The audience was left stunned and remained in their seats to give an Petibon, is outstanding. Petibon, unlike other sopranos, refrains from musical direction and Katie Mitchell’s breathtaking staging. (…) perfection by Philippe Jaroussky, send shivers down the spine. extended ovation to the fallen curtain. continually ornamenting her role with oriental-style minor scales. Attentive both to the modernity of the amorous exchanges of their With her delicate frame, a moment of silence and two notes are all heroines and to the hair-raising plot that takes us to the comic, THe new YorK TiMes KUrier she needs to make the witch’s misfortune seem movingly palpable, in fantasy world of a remake worthy of an episode of The Avengers That production (…) was excellent musically, top to bottom. (…) Ms. The audience could only celebrate, after seeing such a modern and this dark element of the drama where many fear to tread. (complete with guns and time bombs), Katie Mitchell and Andrea Mitchell’s production, though hugely elaborate and confusing at the bewildering staging. (…) Patricia Petibon sings and plays Alcina Marcon are also united in raw emotion and in deliberate pastiche. start, settled into a nice groove and was almost lovable by the end. with perfect mastery and total commitment, the Austrian soprano TéLérAMA The unanimity of the ovation the company receives every evening is a Anna Prohaska is a perfect counterpart in the role of Morgana, and The launch of the 2015 Festival, at the Grand Théâtre de Provence, sure sign that something unique is on offer. FinAnciAL TiMes the countertenor Philippe Jaroussky is a real gift for the eyes and the could not have had a more striking, nor strangely unique Part Fifty Shades, part Eyes Wide Shut, with a sprinkling of Dorian ears in the role of Ruggiero.
Load more

Recommended publications
  • Arias for Farinelli
    4 Tracklisting NICOLA PORPORA 7 A Master and his Pupil 1686-1768 Philippe Jaroussky Arias for Farinelli 9 Un maître et son élève Philippe Jaroussky PHILIPPE 11 Schüler und Lehrer JAROUSSKY Philippe Jaroussky countertenor 17 Sung texts CECILIA 32 The Angel and the High Priest BARTOLI Frédéric Delaméa mezzo-soprano 54 L’Ange et le patriarche Frédéric Delaméa VENICE BAROQUE ORCHESTRA 79 Der Engel und der Patriarch ANDREA Frédéric Delaméa MARCON 2 3 Nicola Antonio Porpora Unknown artist Carlo Broschi, called Farinelli Bartolomeo Nazzari, Venice 1734 5 Philippe Jaroussky C Marc Ribes Erato/Warner Classics Cecilia Bartoli C Uli Weber/Decca Classics 6 A MASTER AND HIS PUPIL Philippe Jaroussky Over all the time I have been singing I have been somewhat hesitant about tackling the repertoire of the legendary Farinelli. Instead, I have preferred to turn the spotlight on the careers of other castrati who are less well known to the general public, as I did for Carestini a few years ago. Since then, having had the opportunity to give concert performances of arias written for Farinelli, I found that they suited me far better than I could have imagined – particu lar ly those written by Nicola Porpora (1686-1768), known in his time not only as a composer, but also as one of the greatest singing teachers. I soon became interested in the master-pupil relationship that could have existed between Porpora and Farinelli. Despite the lack of historical sources, we can presume that Farinelli was still a child when he first met Porpora, and that the composer’s views had a strong bearing on the decision to castrate the young prodigy.
    [Show full text]
  • Musicaeterna Teodor Currentzis Direction Hélène Grimaud Piano
    2019 20:00 02.10.Grand Auditorium Mercredi / Mittwoch / Wednesday Grands solistes musicAeterna Teodor Currentzis direction Hélène Grimaud piano Maurice Ravel (1875–1937) Concerto pour piano en sol majeur (G-Dur) (1929–1931) Allegramente Adagio assai Presto 23’ — Sergueï Prokofiev (1891–1953) Roméo et Juliette. Ballet op. 64 (extraits) (1935/1940) 50’ D’Knipserten Martin Fengel Les liens entre le monde de la musique et notre Banque sont anciens et multiples. Ils se traduisent par le soutien que nous avons apporté pendant de longues années à la production discographique de l’Orchestre Philharmonique du Luxembourg, notre rôle de mécène au lancement des cycles « Jeunes publics » de la Philharmonie ou les nombreux concerts que nous accueillons au sein de notre Auditorium. Redevables à l’égard de la communauté luxembourgeoise qui nous offre le cadre de notre développement, notre tradi- tion de mécène en est la contrepartie. C’est ainsi que nous nous sommes engagés depuis toujours dans la vie de la cité, en soutenant tout naturellement la Philharmonie lors de la création de sa Fondation Écouter pour Mieux s’Entendre (EME) qui vise à donner accès à la musique aux personnes qui en sont généralement exclues. Nous sommes particuliè- rement fiers d’être à ses côtés pour célébrer cette année son 10e anniversaire. Ce soir, la pianiste Hélène Grimaud accompagnera l’orchestre musicAeterna, sous la direction du talentueux chef d’orchestre Teodor Currentzis. Il y a 20 ans déjà, la Banque de Luxembourg avait le plaisir d’accueillir cette artiste aux talents multiples dans le cadre de sa série de concerts Burleske, organisés à l’Auditorium de son siège à une époque où la musique de chambre manquait d’espaces dédiés.
    [Show full text]
  • The Festival D'aix
    FESTIVAL D’AIX-EN-PROVENCE 2017 69th edition 3 – 22 JULY 2017 PRESS RELEASE www.festival-aix.com PRESS OFFICE Valérie Weill | [email protected] +33 (0)1 44 88 59 66 | +33 (0)6 85 22 74 66 Christine Delterme | [email protected] CONTENTS THE INSTITUTION PAGES 4 - 5 CALENDAR PAGES 6 - 8 OPERA PAGES 9 - 15 CONCERTS PAGES 16-17 AIX EN JUIN PAGES 18 - 21 ACADEMIE DU FESTIVAL PAGES 22-30 PASSERELLES PAGES 31-34 TALKS AND EVENTS PAGE 35 TOURS IN 2017 PAGE 36 ESTIMATED BUDGET 2017 PAGE 37 SUSTAINABLE DEVELOPMENT PAGES 38-39 SPONSORS AND PARTNERSHIPS PAGES 40-47 PRICES PAGE 48 PRACTICAL INFORMATION PAGE 49 3 FESTIVAL D’AIX-EN-PROVENCE 2017 THE FESTIVAL D’AIX KEY FIGURES 2016 | by 31 December 2016 | | ATTENDANCE | | PASSERELLES | 75,526 SPECTATORS 3,200 STUDENTS FROM 133 CLASSES of 87 educational institutions (schools, secondary 40% OF TICKETS SOLD FOR LESS THAN 55 ¤ schools, highschools, music schools, universities, 534 YOUNG PEOPLE ENJOYED THE conservatoires) « CHILDREN DISCOVERY » RATE including 1,170 students from Aix-Marseille 39,972 TICKETS FOR OPERAS AND CONCERTS Université (370 through the Opera ON programme) ( not including the Académie ) 2,250 YOUNG ADULTS AND ADULTS 35,554 SPECTATORS FOR AIX EN JUIN, THE BENEFITED FROM THE RAISING AWARENESS ACADEMIE, THEIR PUBLIC REHEARSAL AND OF OPERA PROGRAMME THEIR LIVE BROADCASTING as well as 110 associations and social partners 220 AMATEUR ARTISTS | AIX EN JUIN | 1 450 SPECTATORS 17 004 SPECTATORS or the opening performance Ouverture[s] including 12,736 for free performances 3 000
    [Show full text]
  • Lily Pastré (1891-1974), Une Figure Marquante Mais Oubliée Dans La Mémoire De Marseille
    L’Écho des Carrières N°77-2014 Lily Pastré (1891-1974), une figure marquante mais oubliée dans la mémoire de Marseille Par Laure KRESSMANN Comme on dresse des monuments aux En parcourant la longue allée piétonne morts, où par ordre alphabétique, sont bordée de platanes qui le conduisait au rappelés au souvenir les prématurément château bondé de réfugiés, je me suis par- disparus, on devrait ériger quelques part, fois demandé si notre jeune Américain se pourquoi pas à Montredon, en l’honneur doutait qu’à mi-chemin sur sa gauche, se de Lily Pastré, un « monument aux vi- cachait une vieille bastide qui abritait de vants » pour qu’on y puisse lire les noms nombreux artistes, (écrivains, peintres ou de tous ceux qu’elle a aidés et souvent musiciens), juifs pour la plupart et qu’il sauvés. Je suis certain que la liste en serait allait, pour certains d’entre eux, aider à longue et qu’il n’y manquerait pas de quitter la France dans les mois à venir ? fleurs, pour elle qui vit toujours dans nos cœurs ». Jean Alvarez de Toledo23 Dans un précédent numéro de l’Echo des La Villa Proven- Carrières, l’historien Alain Payre a évo- çale. Coll. Famille qué la figure de « Varian Fry Pastré l’Américain » venu à Marseille avec une liste de deux cents personnalités du monde artistique et scientifique qu’il devait faire immigrer aux Etats-Unis. Ce dernier ra- Avant de vous expliquer ce qui s’est passé conte dans son livre de souvenirs « Livrer dans cette bastide pendant les années sur demande » (Edition Agone) que sombres, je voudrais vous présenter son quelques jours après son arrivée à Mar- personnage central : Lily Pastré.
    [Show full text]
  • [email protected] BERNARD LABADIE to RETU
    FOR IMMEDIATE RELEASE October 26, 2016 Contact: Katherine E. Johnson (212) 875-5718; [email protected] BERNARD LABADIE TO RETURN TO NEW YORK PHILHARMONIC TO CONDUCT ALL-MOZART PROGRAM Flute Concerto No. 2 with Principal Flute ROBERT LANGEVIN Exsultate, jubilate with Soprano YING FANG in Her Philharmonic Debut Symphony No. 31, Paris Symphony No. 39 December 1–3, 2016 Bernard Labadie will return to the New York Philharmonic to conduct an all-Mozart program: the Flute Concerto No. 2, with Principal Flute Robert Langevin as soloist; Exsultate, jubilate with soprano Ying Fang in her Philharmonic debut; Symphony No. 31, Paris; and Symphony No. 39. The program takes place Thursday, December 1, 2016, at 7:30 p.m.; Friday, December 2 at 8:00 p.m.; and Saturday, December 3 at 8:00 p.m. The concerts open with three youthful works written when Mozart was 17, 21, and 22 years old, and close with the darker Symphony No. 39, written three years before his death. A leading specialist in the Baroque and Classical repertoire, Bernard Labadie led Mozart’s Requiem in his most recent appearance with the Philharmonic, in November 2013. The New York Times described this performance as “glowing … one of the most cohesive I have heard.” These concerts will mark Principal Flute Robert Langevin’s first of Mozart’s Flute Concerto No. 2 with the Philharmonic. Soprano Ying Fang has been acclaimed for her performances of Mozart, including her Metropolitan Opera debut in The Marriage of Figaro in September 2014, and Don Giovanni with The Juilliard School in April 2012.
    [Show full text]
  • Avant Première Catalogue 2018 Lists UNITEL’S New Productions of 2017 Plus New Additions to the Catalogue
    CATALOGUE 2018 This Avant Première catalogue 2018 lists UNITEL’s new productions of 2017 plus new additions to the catalogue. For a complete list of more than 2.000 UNITEL productions and the Avant Première catalogues of 2015–2017 please visit www.unitel.de FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager [email protected] & Marketing [email protected] [email protected] Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director [email protected] [email protected] CATALOGUE 2018 Unitel GmbH & Co. KG Gruenwalder Weg 28D 82041 Oberhaching/Munich, Germany CEO: Jan Mojto Editorial team: Franziska Pascher, Dr. Martina Kliem, Arthur Intelmann Layout: Manuel Messner/luebbeke.com All information is not contractual and subject to change without prior notice. All trademarks used herein are the property of their respective owners. Date of Print: February 2018 © UNITEL 2018 All rights reserved Front cover: Alicia Amatriain & Friedemann Vogel in John Cranko’s “Onegin” / Photo: Stuttgart Ballet ON THE OCCASION OF HIS 100TH BIRTHDAY UNITEL CELEBRATES LEONARD BERNSTEIN 1918 – 1990 Leonard Bernstein, a long-time exclusive artist of Unitel, was America’s ambassador to the world of music.
    [Show full text]
  • Navigating, Coping & Cashing In
    The RECORDING Navigating, Coping & Cashing In Maze November 2013 Introduction Trying to get a handle on where the recording business is headed is a little like trying to nail Jell-O to the wall. No matter what side of the business you may be on— producing, selling, distributing, even buying recordings— there is no longer a “standard operating procedure.” Hence the title of this Special Report, designed as a guide to the abundance of recording and distribution options that seem to be cropping up almost daily thanks to technology’s relentless march forward. And as each new delivery CONTENTS option takes hold—CD, download, streaming, app, flash drive, you name it—it exponentionally accelerates the next. 2 Introduction At the other end of the spectrum sits the artist, overwhelmed with choices: 4 The Distribution Maze: anybody can (and does) make a recording these days, but if an artist is not signed Bring a Compass: Part I with a record label, or doesn’t have the resources to make a vanity recording, is there still a way? As Phil Sommerich points out in his excellent overview of “The 8 The Distribution Maze: Distribution Maze,” Part I and Part II, yes, there is a way, or rather, ways. But which Bring a Compass: Part II one is the right one? Sommerich lets us in on a few of the major players, explains 11 Five Minutes, Five Questions how they each work, and the advantages and disadvantages of each. with Three Top Label Execs In “The Musical America Recording Surveys,” we confirmed that our readers are both consumers and makers of recordings.
    [Show full text]
  • Symphonieorchester Des Bayerischen Rundfunks 16 17
    16 17 SYMPHONIEORCHESTER DES BAYERISCHEN RUNDFUNKS Donnerstag 23.3.2017 Freitag 24.3.2017 Sonderkonzert Herkulessaal 20.00 – ca. 21.50 Uhr 16 / 17 HERBERT BLOMSTEDT Leitung MARK PADMORE – Tenor (Evangelist) (»Artist in Residence«) PETER HARVEY – Bariton (Christus) Solisten der Arien ANNA PROHASKA Sopran ELISABETH KULMAN Mezzosopran ANDREW STAPLES Tenor KREŠIMIR STRAŽANAC Bassbariton CHOR DES BAYERISCHEN RUNDFUNKS Einstudierung: Michael Gläser Soliloquenten Priska Eser – Sopran (Magd) Q-Won Han – Tenor (Diener) Andreas Burkhart – Bass (Pilatus) Christof Hartkopf – Bass (Petrus) SYMPHONIEORCHESTER DES BAYERISCHEN RUNDFUNKS Vittorio Ghielmi -– Viola da gamba Basso continuo Hanno Simons – Violoncello Evangelina Mascardi – Laute Lukas Maria Kuen – Orgel PROGRAMM Johann Sebastian Bach »Passio secundum Joannem« (»Johannes-Passion«) für Soli, Chor und Orchester in zwei Teilen BWV 245 Die Passion wird ohne Pause aufgeführt. KONZERTEINFÜHRUNG 18.45 Uhr Donnerstag, 23.3.2017: Moderation: Markus Thiel Gast: Dr. Norbert Roth, Pfarrer von St. Matthäus München Freitag, 24.3.2017: Moderation: Amélie Pauli LIVE-ÜBERTRAGUNG IN SURROUND im Radioprogramm BR-KLASSIK Freitag, 17.3.2017 ON DEMAND Das Konzert ist in Kürze auf br-klassik.de als Audio abrufbar. »Eine schreckliche Kraft« Von der Kirche in den Konzertsaal: Bachs Johannes-Passion Wolfgang Stähr Entstehungszeit 1724 mit Revisionen bei späteren Aufführungen Uraufführung 7. April 1724, Karfreitag, im Vespergottesdienst der Leipziger Nicolaikirche unter der Leitung des Komponisten Lebensdaten des Komponisten 21. März 1685 in Eisenach – 28. Juli 1750 in Leipzig Ist es eine Laune des Zufalls oder der Wille Gottes? Diese Frage gehört normalerweise nicht zur Kernkompetenz der Musikhistoriker, aber mitunter kommen sie doch ins Grübeln. Man stelle sich einmal vor, Mozart wäre so alt geworden wie Bach: Dann hätte er 1793 die angestrebte Position des Domkapellmeisters an der Wiener Stephanskirche antreten können.
    [Show full text]
  • LE MONDE/PAGES<UNE>
    www.lemonde.fr 58 ANNÉE – Nº 17750 – 1,20 ¤ – FRANCE MÉTROPOLITAINE --- MARDI 19 FÉVRIER 2002 FONDATEUR : HUBERT BEUVE-MÉRY – DIRECTEUR : JEAN-MARIE COLOMBANI 0123 éCONOMIE Faut-il mettre Enquête : l’antisémitisme en France les Etats Y A-T-IL un regain d’antisémitis- f La communauté en faillite ? me en France ? La question est posée depuis décembre 2001 avec juive s’alarme d’un la divulgation par le Conseil repré- sentatif des institutions juives de regain des agressions EMPLOI France (CRIF) de statistiques alar- mantes faisant état d’une multipli- antisémites PRÉSIDENTIELLE cation d’actes antijuifs. Notre enquête à Sarcelles (Val-d’Oise) et f Notre reportage à Jospin : une semaine dans le 19e arrondissement de pour passer de premier Paris décrit le malaise de la com- Sarcelles et à Paris munauté juive, notamment dans ministre à candidat p. 6 ses milieux religieux, qui prend f Les associations MÉDECINS peur devant des actes d’hostilité qui, ces derniers mois, ont été jus- font état d’une qu’à des incendies de synagogues. Leur coordination Des responsables communautai- « libération » de la appelle à manifester res, des élus et des militants antira- cistes constatent une « libération » parole antijuive le 10 mars p. 10 de la parole antijuive. Mais si cer- PROCHE-ORIENT tains s’alarment de la résurgence f Sur Internet, des d’un antisémitisme latent, d’autres insistent sur les répercussions du propos racistes en Les partisans d’un conflit au Proche-Orient. Une péti- « autre Israël » contre tion signée par des scientifiques tout genre la guerre de Sharon p. 2 s’inquiète des retombées de ces événements sur les rapports entre Lire pages 8 et 9 PROCÈS MILOSEVIC Juifs et Arabes en France.
    [Show full text]
  • Diszkográfia Az Első Kötethez
    © Typotex Kiadó Diszkográfia az első kötethez Janet Baker: Full Circle Her last year in Opera Gluck: Alceste. The Royal Opera Covent Garden Donizetti: Stuart Maria. English National Opera Gluck: Orfeo ed Euridice. Glyndebourne Festival Opera Felvétel: 1992 Warner, NVC ARTS, 2006, DVD 50-51011-4855-2-7 Beethoven: Fidelio Waltraud Meier, Plácido Domingo, Falk Stuckmann, René Pape, Soile Isokoski, Werner Güra, Kwangchul Youn Chor der Deutschen Staatsoper Berlin, Staatskapelle Berlin Vezényel: Daniel Barenboim Felvétel: Groβer Sendesaal, Berlin, May/June 1999 Teldec, 1999, 2 CD 3984-25249-2 Beethoven: Fidelio Dietrich Fischer-Dieskau, Hans Sotin, René Kollo, Gundula Janowitz, Manfred Jungwirth, Lucia Popp, Adolf Dallapozza, Karl Terkal, Alfred Sramek Wiener Staatsoperchor, Wiener Philharmoniker Vezényel: Leonard Bernstein Felvétel: Wien, Musikverein, Groβer Saal, 2/1978 Deutsche Grammophon, 1978, 2 CD 419 438-2 Beethoven: Fidelio Leonie Rysanek, Judith Blegen, Jon Vickers, Walter Berry, Giorgio Tozzi, Murray Dickie, John Macurdy, Leo Goeke, Robert Goodloe Orchestra e coro dell’Opera di San Francisco Vezényel: Karl Böhm Élő felvétel: 29. 11. 1968, San Francisco Melodram, 1990, 2 CD 27086 Beethoven: Fidelio Michael Schade, Elizabeth Norberg-Schulz, Matthias Hölle, Deborah Voigt, www.interkonyv.hu © Fodor Géza jogutóda © Typotex Kiadó 248 • Mi szól a lemezen? Günter von Kannen, Andreas Schulist, Wielfried Vorwol, Ben Heppner, Thomas Quasthoff Symphonieorchester und Chor des Bayerischen Rundfunks, Bavarian Radio Symphony Orchestra and Chorus
    [Show full text]
  • PATRICIA PETIBON Franse Sopraan • Opleiding Studeerde Aan Het
    PATRICIA PETIBON Franse sopraan • Opleiding Studeerde aan het Conservatoire National de Musique de Paris bij Rachel Yakar • Rode draad van haar carrière Van de grote barokrollen naar de “verloren heldinnen” van de 19de en 20ste eeuw die ze met gloed vertolkt • Belangrijkste rollen Barokrepertoire: L’Amour (Hippolyte et Aricie), Phani & Zima (Les Indes Galantes) van Rameau, Dalinda & Ginevra (Ariodante, Handel), Morgana & Alcina (Alcina, Handel), L’Amour (Orphée et Eurydice, Gluck) Mozart: Giunia (Lucio Silla), Despina (Così fan tutte), Aspasia & Asteria (Mitridate), Susanna (Le Nozze di Figaro), Donna Anna (Don Giovanni) Maar ook: Lulu (Berg), Gilda (Rigoletto, Verdi), Blanche (Dialogues des Carmélites, Poulenc), creatie van La seconde fille (Au monde, Philippe Boesmans), Manon (Massenet)… • Podia Opéra national de Paris, Théâtre des Champs-Élysées & Opéra Comique (Parijs), Grand Théâtre de Genève, La Scala (Milaan), Wiener Staatsoper, Liceo (Barcelona), Bayerische Staatsoper (München), De Munt … Festivals: Salzburg, Aix-en-Provence… • Orkesten Wiener Philharmoniker & Radio-Symphonieorchester Wien, Staatskapelle Berlin, Symphonieorchester des Bayerischen Rundfunks & Münchner Philharmoniker, MDR Sinfonieorchester, Orchestre National de France, Orchestre de Paris, Orchestre national de Lyon, Les Talens Lyriques, Le Cercle de l’Harmonie, Le Concert d’Astrée, Ensemble Amarillis, La Cetra, Venice Baroque Orchestra, Il Giardino Armonico, Freiburger Barockorchester • Recitals Recitals in Parijs, in het Musikverein en het Konzerthaus Wien, voor
    [Show full text]
  • Opera Wrocławska ~ Instytucja Kultury Samorządu Województwa Dolno$Ląskiego
    , · OPERA WROCŁAWSKA ~ INSTYTUCJA KULTURY SAMORZĄDU WOJEWÓDZTWA DOLNO$LĄSKIEGO EWA MICHNIK DYREKTOR NAUELNY I ARTYSTYUNY ROMEO I JULIA ROMEO AND JULIET SERGIEJ PROKOFIEW LIBRITTO JERZY MAKAROWSKI BALET W 2 SCENACH I BALLET IN 2 SCEN ES MUZYKA Z CD I CD MUSIC BRNO, 193B PRAPREMIERA I WORLD PREMIERE WARSZAWA, 1954 PREMIERA POLSKA! POLISH PREMIERE SPEKTAKLE PREMIEROWE I PREMIERES SO ISA 18 Xll 2010 19:00 ND I su 19 Xll 201 o 19:00 CZAS TRWANIA SPEKTAKLU I DURATI ON: 135 MIN. 1 PRZERWA J 1 INTERVAL SPEKTAK L ZREALIZOWANY W KOPRODUKCJI Z TEATREM WIELK IM W ŁODZI CO-PROD UCTIN WITH TEATR WIELKI IN ŁÓDŻ MUlYKA W WYKONANIU BOSTON SY MPHONY ORCHESTRA POD BATUTĄ SEIJl 'EGO OZAWY, SYMPHONY HALL. BOSTON 1986 ORAZ LONDON SYMPHDNY ORCHESTRA POD BATUTĄ ANDRE PREVINA, KINGSWAY HALL. LONDYN 1973 MUSIC BY BOSTON SYMPHONY ORCHESTRA CDNDUCTED BY SEUi OZAWA, SYMPHONY HALL. BOSTON 1986 AND LONDON SYMPHONY ORCHESTRA CONDUCTED BY ANDRE PREVIN, KINGSWAY HALL. LONDON 1973 SEZON JUBILEUSZOWY 65-LECIE POLSKIEJ SCENY OPEROWEJ WE WROCŁAWIU JUBILEE SEASON 65TH ANNIVERSARY OF THE POLISH OPERATIC STAGE IN WROCŁAW Ministerstwo INSTYTUCJA KULTU RY lłMl DOLNY SAMORZĄDU Kultury WOJEWÓDZTWA i Dziedzictwa ~'- OFICJALNY PARTNER ~ SLĄSK OOLNO~LĄSKIEGO wrocł~w Narodowego. !Jl' TAUR O N 65 JUBILEUSZOWEGO SEZONU OP ER Y WR OC ŁAW SKIEJ 20 16 POLSKA ENERGIA AN OfflCIAl PATRON OF OPERA 65TH JUBILEE SEASON ROMEO I JULIA i ROMEO AND JU LI ET SERGIEJ PROKOFIEW REALIZATORZY I PRODUCERS REALIZATORZY [ PRODUCERS JERZY MAKAROWSKI Inscenizacja i choreografia I Stage direction and choreography RYSZARD KAJA Dekoracj e, kostiumy, plakat I Set and costume designs, poster JERZY STACHOWIAK Realizacja światła I Lighting design BOŻENA KLIMCZAK Kierownik baletu I Ballet master AŁŁA ABESADZE Asystent choreografa I Assistant to the choreographer PIOTR OLEKSIAK Asystent choreografa I Assistant to the choreographer MACIEJ SZUMSKI Nauka szermierki I Fencing master Zdjęcia do programu dzięki uprzejmości Teatru Wielkiego w Łodzi.
    [Show full text]