DOCSLIB.ORG

Stationen: Roland Schwab Wuchs in München Auf. Nach

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Stationen: Roland Schwab Wuchs in München Auf. Nach Stationen: Roland Schwab wuchs in München auf. Nach Studiensemestern in Physik und Germanistik begann er 1992 an der Hochschule für Musik und Darstellende Kunst in Hamburg das Studium der Musiktheater-Regie unter Prof. Götz Friedrich. Noch während des Studiums war er Assistent am Opernstudio Karlsruhe und an der Opéra National du Rhin, Strasbourg, bei Prof. Renate Ackermann. Weitere Assistenzen bei Götz Friedrich, Harry Kupfer und Ruth Berghaus führten ihn an die Deutsche Oper Berlin, die Hamburgische Staatsoper, sowie an die Oper Zürich. Besonders Ruth Berghaus, deren Meisterschüler er 1994 wurde, verdankte er wichtige Impulse. 1997 führte ihn ein Gastspiel an das Berliner Ensemble, an dem er FRANK ALERT MEETS BRECHT inszenierte. Nach seinem Studium in Hamburg, das er mit Auszeichnung abschloss, war Roland Schwab von 1998 an Assistent von Christine Mielitz am Meininger Theater (DER RING DES NIBELUNGEN), an welchem er schließlich, ab 2002, als Oberspielleiter wirkte. Am Meininger Theater inszenierte er zwei Mozart-Produktionen, COSI FAN TUTTE (2001) und LE NOZZE DI FIGARO (2002), die für großes Aufsehen sorgten. In den darauffolgenden Jahren war Roland Schwab als Gastregisseur an den Theatern Münster (PARISER LEBEN), dem Theater Freiburg (LUCIA DI LAMMERMOOR), dem Tiroler Landestheater Innsbruck (ROMEO ET JULIETTE), dem Musiktheater im Revier (AIDA von Giuseppe Verdi und MERLIN von Isaac Albeniz, Deutsche Erstaufführung 2011), der Opera Bergen, Norwegen (TURANDOT), dem Theater Gera (WERTHER), dem Landestheater Linz (MANON, GESPRÄCHE DER KARMELITINNEN), dem Anhaltischen Theater Dessau (EIN MASKENBALL), dem Theater Augsburg (LA FINTA GIARDINIERA), der Oper Bonn (LA SONNAMBULA), der Oper Dortmund (THE RAKE'S PROGRESS), am Staatstheater Braunschweig (FARNACE von Antonio Vivaldi, ORLANDO von Peter Aderhold sowie TOSCA), am Saarländischen Staatstheater Saarbrücken (GUILLAUME TELL, DON CARLOS) und am Internationalen Brucknerfest Linz 2014 (ULENSPIEGEL von Walter Braunfels) tätig. 2007 widmete er sich der Barockoper mit zwei Versionen des Rasenden Roland, ORLANDO FURIOSO von Antonio Vivaldi und ORLANDO von Georg Friedrich Händel am Niederbayerischen Landestheater sowie am Theater Biel Solothurn. Wichtige und viel besprochene Arbeiten der letzten Zeit waren seine drei Produktionen für die Deutsche Oper Berlin, MOZART-FRAGMENTE (2006 zum Mozartjahr), TIEFLAND (2007) und DON GIOVANNI (2012 zum Opernfestival Peralada/Spanien eingeladen), OTELLO von Giuseppe Verdi am Aalto-Theater Essen (2019) und LOHENGRIN von Richard Wagner in der Salzburger Felsenreitschule (2019), sowie MEFISTOFELE von Arrigo Boito an der Bayerischen Staatsoper München (2015). Nächste Arbeiten führen Roland Schwab an das Aalto-Theater Essen (PAGLIACCI), an die Kammeroper Rheinsberg (FRA DIAVOLO), an die Den Jyske Opera Denmark (AIDA). Neben seinen Regieprojekten widmet er sich auch der szenischen Lehrtätigkeit, so 2014 an der Bayerischen Theaterakademie "August Everding" (Ensembleunterricht) und 2015 als Mentor der Berliner Regiewerkstatt. Seit 2018 unterrichtet er Szenische Studien als Gastdozent an der Hochschule für Musik und Darstellende Kunst Frankfurt. Roland Schwab lebt mit seiner Frau, der georgischen Mezzosopranistin Khatuna Mikaberidze, und einem gemeinsamen Sohn in München. Seite 1 - Roland Schwab, Regisseur | Vita Nominierungen: 2020 Nominierung "Opernwelt" für beste Regie 2020 LOHENGRIN, Felsenreitschule Salzburg 2019 Nominierung "Opernwelt" für beste Regie 2019 OTELLO, Aalto-Theater Essen Nominierung Kritikerumfrage „Welt am Sonntag“ für Beste Inszenierung in NRW: OTELLO, Aalto-Theater Essen 2018 OPUS Klassik-Preis für Walter Braunfels' "Ulenspiegel"-DVD in der Kategorie Welt- Ersteinspielung des Jahres Nominierungen Kritikerumfrage “Welt am Sonntag” für Beste Inszenierung in NRW: OBERST CHABERT, Oper Bonn Nominierungen “Deutsche Bühne” für beste Regie: GUILLAUME TELL, Saarländisches Staatstheater Saarbrücken LUCREZIA BORGIA, Niederbayerisches Landestheater Passau OBERST CHABERT, Oper Bonn Nominierung "Opernwelt" für beste Regie 2018 GUILLAUME TELL 2015 Nominierung der "Opernwelt" für beste Regie 2015: "Gärtnerin aus Liebe" am Theater Augsburg 2012 Nominierung der "Opernwelt" als bester Regisseur 2012 (Salvatore Sciarrinos LUCI MIE TRADITRICI, Niederbayerisches Landestheater) 2010 Das Drehbuch SCHATTENSPIELER gewinnt beim 23. writemovies-screenwriting-contest, Los Angeles 2008 "Theater pur", NRW Kritikerumfrage wählt THE RAKE´S PROGRESS an der Oper Dortmund auf Platz 3 der besten Produktionen 2008 in Nordrhein Westfalen 2007 Nominierung der "Opernwelt" als bester Nachwuchsregisseur 2007 2006 Nominierung der "Deutschen Bühne" für die beste Regie in MOZART-FRAGMENTE, Deutsche Oper Berlin Seite 2 - Roland Schwab, Regisseur | Vita Bisherige Projekte: 2021 FRAUENLIEBE | RobertSchumann | HfMDK Frankfurt 2020 10 ESKALATIONEN für zwei Klaviere op.3 | Roland Schwab DON CARLOS | Giuseppe Verdi | Saarländisches Staatstheater Saarbrücken 2019 LOHENGRIN | Richard Wagner | Felsenreitschule Salzburg OTELLO | Giuseppe Verdi | Aalto-Theater Essen ELISIR D’AMORE Szenisches Projekt | Gaetano Donizetti | HfMDK Frankfurt 2018 DALIBOR | Bedřich Smetana | Staatstheater Augsburg OBERST CHABERT | Hermann Wolfgang von Waltershausen | Oper Bonn LUCREZIA BORGIA | Gaetano Donizetti | Niederbayerisches Landestheater ORLANDO Szenisches Projekt | Georg Friedrich Händel | HfMDK Frankfurt 2017 GUILLAUME TELL | Gioachino Rossini | Saarländisches Staatstheater Saarbrücken AUFSTIEG UND FALL DER STADT MAHAGONNY | Kurt Weill | Theater Gera 2016 TOSCA | Giacomo Puccini | Staatstheater Braunschweig ORLANDO | Peter Aderhold | Staatstheater Braunschweig 2015 MEFISTOFELE | Arrigo Boito | Bayerische Staatsoper LA FINTA GIARDINIERA | Wolfgang Amadeus Mozart | Theater Augsburg BERLINER REGIEWERKSTATT | Mentorschaft 2014 ULENSPIEGEL | Walter Braunfels | Internationales Brucknerfest Linz FARNACE | Antonio Vivaldi | Staatstheater Braunschweig HARDY LOCKED IN | Drehbuch zu einem abendfüllenden Spielfilm 2013 DIE LUSTIGE WITWE | Franz Lehár | Theater Altenburg BAYERISCHE THEATERAKADEMIE MÜNCHEN | Opernstudio | Lehrtätigkeit 2012 DON GIOVANNI | Wolfgang Amadeus Mozart | Opernfestival Peralada, Spanien WERTHER | Jules Massenet | Theater Gera TURANDOT | Giacomo Puccini | Opera Bergen, Norwegen GESPRÄCHE DER KARMELITINNEN | Francis Poulenc | Landestheater Linz 2011 LUCI MIE TRADITRICI | Salvatore Sciarrino | Niederbayerisches Landestheater MERLIN | Isaac Albéniz | Musiktheater im Revier LA SONNAMBULA | Vincenzo Bellini | Theater Bonn, Opernhaus ZAR UND ZIMMERMANN | Albert Lortzing | Musiktheater im Revier MIKROPHYTEN / HÖHERE DICHTE | Ausstellung | Wien 2010 DON GIOVANNI | Wolfgang Amadeus Mozart | Deutsche Oper Berlin EIN MASKENBALL | Giuseppe Verdi | Anhaltisches Theater Dessau IL PRIGIONIERO | Luigi Dallapiccola/Carlo Gesualdo | Niederbayerisches Landestheater 2009 MANON | Jules Massenet | Landestheater Linz SCHATTENSPIELER | Drehbuch zu einem abendfüllenden Spielfilm Seite 3 - Roland Schwab, Regisseur | Vita 2008 THE RAKE´S PROGRESS | Igor Strawinsky | Oper Dortmund ROMEO ET JULIETTE | Charles Gounod | Tiroler Landestheater, Innsbruck AIDA | Giuseppe Verdi | Musiktheater im Revier, Gelsenkirchen 2007 ORLANDO FURIOSO | Antonio Vivaldi | Südostbayerisches Städtetheater ORLANDO | Georg Friedrich Händel | Theater Biel Solothurn TIEFLAND | Eugen d`Albert | Deutsche Oper Berlin 2006 FRAGMENTE | W.A.Mozart | Deutsche Oper Berlin 2005 ARIADNE AUF NAXOS | Richard Strauss | Südostbayerisches Städtetheater LUCIA DI LAMMERMOOR | Gaetano Donizetti | Theater Freiburg 2004 ANGELIQUE | Jaques Ibert / DIE BRÜSTE DES TIRESIAS | Francis Poulenc | Südostbayerisches Städtetheater PARISER LEBEN | Jacques Offenbach | Städtische Bühnen Münster 2003 KISS ME, KATE | Cole Porter | Meininger Theater THE RAPE OF LUCRETIA | Benjamin Britten | Südostbayerisches Städtetheater MY FAIR LADY | Frederick Loewe | Theater Freiburg 2002 LE NOZZE DI FIGARO | W.A.Mozart | Meininger Theater 2001 COSI FAN TUTTE | W.A.Mozart | Meininger Theater 1999 DIE BEIDEN BLINDEN | Jacques Offenbach | Meininger Theater 1997 FRANK ALERT MEETS BRECHT | Berliner Ensemble THE LIGHTHOUSE | Peter Maxwell-Davies | Theater Meißen 1996 LE ROI BERENGER | Heinrich Sutermeister | Forum Hamburg Seite 4 - Roland Schwab, Regisseur | Vita.
Load more

Recommended publications
  • Transatlantic Crossings in J989
    SNEAK PREVIEW'S AND TRANSATLANTIC CROSSINGS IN J989 BY ELLEN LAMPERT he Welsh National Opera rang in the Richard Peduzzi, whose design collaboration New York with its American debut at with Patrice Chereau stretches over the past twenty the Brooklyn Academy of Music in years, is already at work on the decor for Cher­ • February with Peter Stein's production eau 's production of Mozart's Don Giovanni, Designer Reinhard Heinrich, Tof Falstaff. With sets designed by Lucio Fanti, who scheduled to open the new French Opera House at who recently made his direc­ also designed Stein's WNO production of Othello, the Bastille in January 1990. The building, cur­ torial debut with the Nether­ and costumes by Moidele Bickel, the production rently under construction, will host a concert on lands Opera production of was filmed in Cardiff by the BBC for an airdate la­ July 14, as a sentimental offering to this year's bi­ The Damnation ofFaust, will centennial celebration of the French Revolution, direct and design Lulu ter in 1989. (model, I) for the Heidelburg New productions on the Welsh National Opera's but full-staged productions are not scheduled until Theatre. Opening is set for 1989 home schedule include Mozart's Seraglio, di­ 1990. May89. rected by Giles Havergal, with sets and costumes by Back in Germany, Reinhold Daberto, from Russell Craig, who also designed the WNO/Mozart Acoustic Biihnentechnik, is overseeing extens ive The Marriage of Figaro. This production debuts renovations of the stage machinery at the Munich • on March 11 , to be followed in May with La Son­ Opera.
    [Show full text]
  • NEWSLETTER of the American Handel Society
    NEWSLETTER of The American Handel Society Volume XVIII, Number 1 April 2003 A PILGRIMAGE TO IOWA As I sat in the United Airways terminal of O’Hare International Airport, waiting for the recently bankrupt carrier to locate and then install an electric starter for the no. 2 engine, my mind kept returning to David Lodge’s description of the modern academic conference. In Small World (required airport reading for any twenty-first century academic), Lodge writes: “The modern conference resembles the pilgrimage of medieval Christendom in that it allows the participants to indulge themselves in all the pleasures and diversions of travel while appearing to be austerely bent on self-improvement.” He continues by listing the “penitential exercises” which normally accompany the enterprise, though, oddly enough, he omits airport delays. To be sure, the companionship in the terminal (which included nearly a dozen conferees) was anything but penitential, still, I could not help wondering if the delay was prophecy or merely a glitch. The Maryland Handel Festival was a tough act to follow and I, and perhaps others, were apprehensive about whether Handel in Iowa would live up to the high standards set by its august predecessor. In one way the comparison is inappropriate. By the time I started attending the Maryland conference (in the early ‘90’s), it was a first-rate operation, a Cadillac among festivals. Comparing a one-year event with a two-decade institution is unfair, though I am sure in the minds of many it was inevitable. Fortunately, I feel that the experience in Iowa compared very favorably with what many of us had grown accustomed Frontispiece from William Coxe, Anecdotes fo George Frederick Handel and John Christopher Smith to in Maryland.
    [Show full text]
  • CV English - Noëmi Nadelmann —
    CV English - Noëmi Nadelmann — Noëmi Nadelmann is a swiss soprano and one of the leading opera and concert singer of her generation. She made her debut in 1987 at the Teatro La Fenice in Venice as Musetta in 'La Bohème' with Renata Scotto as Mimi. Since that time she has sung major roles in the great opera houses of the world, in the major concert halls and with the world's leading orchestras. Noëmi Nadelmann has sung Musetta at the Metropolitan Opera in New York, Opéra National Paris (Bastille) in Paris (conductor: Daniel Oren), Vienna State Opera, Komische Oper Berlin (conductor: Simone Young), Dutch National Opera Amsterdam (director: Pierre Audi) and the Lyric Opera of Chicago. She has sung Violetta in 'La Traviata' at the Komische Oper in Berlin (director: Harry Kupfer, conductor: Yakov Kreizberg), Hessisches Staatstheater Wiesbaden, Deutsche Oper Berlin (director: Götz Friedrich), Opernhaus Zürich (director: Jürgen Flimm, conductor: Franz Welser- Möst) and the State Opera House Hamburg. She has also sung the title role in 'Lucia di Lammermoor' at the Komische Oper Berlin (director: Harry Kupfer, conductor: Yakov Kreizberg, Vladimir Jurowski) and the State Opera House Hamburg. Noëmi Nadelmann has sung the tiltle role in 'Manon' at the Deutsche Oper Berlin and Marschallin in 'der Rosenkavalier' on their tour to Beijing (conductor: Uwe Schirmer) as well as at the Israeli Opera in Tel Aviv (conductor: Asher Fisch). Armida in 'Rinaldo' she was a tremendous success at the Bavarian State Opera in Munich (director: David Alden, conductor: Harry Bicket) and at the State Opera Berlin (director: Nigel Lowery, conductor: René Jacobs).
    [Show full text]
  • Theater Plakate
    ZUR PERSON Geboren am 17. Juni 1940 in Berlin • Tischlerlehre und Tätigkeit in verschiedenen Berufen • Hochschulreife an der ABF (Arbeiter- und Bauernfakultät) • Werbe-Grafik-Ausbildung an der FAK (Fachschule für ange wandte Kunst Berlin) 1969 Anerkennung als Gebrauchsgrafiker beim VBK 1972 Anerkennung als Bühnenbildner beim VBK • Seit 1964 etwa 30 Arbeiten als Gestalter nationaler und internationaler Messen 1965–1967 Ausstellungsbau und -grafik, Konzeption, Publi- kationen und Plakate im Museum für Ur- und Frühgeschichte Potsdam 1970–1973 Entwurfsarbeiten und Entwicklung verschiedener Schau- fenster- und Ausstellungssysteme für VEB Exquisit 1987–1991 etwa 10 Arbeiten baugebundener Kunst: z. B. Denkmal „Stühle“ in Berlin- Hohenschönhausen (mit R. Rehfeldt), Umgestaltung einer Schule in Berlin-Friedrichshain, Innenausbau und Wandgestaltung Kinokomplex Cinemaxx in Essen 1966 erste Arbeit am Theater (Schauspiel „Mac- beth“ in Parchim) 1967–1971 Bühnenbild-Assistent an der Komischen Oper Berlin 1972–1999 Bühnenbildner an der Komischen Oper Berlin TE Mehr Informationen finden sie unter www.hartmut-henning.de A K A L P R THEATE HARTMUT HENNING HENNING HARTMUT THEATER HARTMUT HENNING PLAKATE THEATER HARTMUT HENNING PLAKATE THEATER HARTMUT HENNING PLAKATE WWW.HARTMUTHENNING.DE ML = Musikalische Leitung . R = Regie . CH = Choreographie . I = Inszenierung B = Bühnenbild . K = Kostüme . D = Dramaturgie Plakatverzeichnis Der tolle Tag Deutsches eater Berlin . .6 Die Hochzeit des Figaro ballett classic Komische Oper Berlin . .8 Komische Oper Berlin . 70 Umwege Friedrich-Wolf-eater Neustrelitz . 10 Don Giovanni Komische Oper Berlin . 72 Don Carlos Opera i Operetka w Bydgoszczy . 12 Orpheus und Eurydike Komische Oper Berlin . 74 Aschenbrödel Komische Oper Berlin . 14 Das Rheingold/Die Walküre/Siegfried/ Moses und Aron Staatstheater Dresden . 16 Götterdämmerung Landesbühne Magdeburg 76 Mahagonny Komische Oper Berlin .
    [Show full text]
  • Circling Opera in Berlin by Paul Martin Chaikin B.A., Grinnell College
    Circling Opera in Berlin By Paul Martin Chaikin B.A., Grinnell College, 2001 A.M., Brown University, 2004 Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Program in the Department of Music at Brown University Providence, Rhode Island May 2010 This dissertation by Paul Martin Chaikin is accepted in its present form by the Department of Music as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date_______________ _________________________________ Rose Rosengard Subotnik, Advisor Recommended to the Graduate Council Date_______________ _________________________________ Jeff Todd Titon, Reader Date_______________ __________________________________ Philip Rosen, Reader Date_______________ __________________________________ Dana Gooley, Reader Approved by the Graduate Council Date_______________ _________________________________ Sheila Bonde, Dean of the Graduate School ii Acknowledgements I would like to thank the Deutsche Akademische Austauch Dienst (DAAD) for funding my fieldwork in Berlin. I am also grateful to the Institut für Musikwissenschaft und Medienwissenschaft at Humboldt-Universität zu Berlin for providing me with an academic affiliation in Germany, and to Prof. Dr. Christian Kaden for sponsoring my research proposal. I am deeply indebted to the Deutsche Staatsoper Unter den Linden for welcoming me into the administrative thicket that sustains operatic culture in Berlin. I am especially grateful to Francis Hüsers, the company’s director of artistic affairs and chief dramaturg, and to Ilse Ungeheuer, the former coordinator of the dramaturgy department. I would also like to thank Ronny Unganz and Sabine Turner for leading me to secret caches of quantitative data. Throughout this entire ordeal, Rose Rosengard Subotnik has been a superlative academic advisor and a thoughtful mentor; my gratitude to her is beyond measure.
    [Show full text]
  • Tema 7. Escenografía
    WAGNERIANA CASTELLANA Nº 53 AÑO 2005 TEMA 7. ESCENOGRAFÍA TÍTULO: “REGIETHEATER”, EL VENENO DE LA OPERA AUTOR: Marcel Prawy “Las palabras bellas no son verdad, las palabras veraces no son bellas.” Esto es lo que cree Lao- Tse. “Regietheater” es un teatro dictado y dominado por el regidor. Esto es para el mundo de la ópera lo que el Sida para el cuerpo humano. Es deber del regidor contar clara y comprensible, al público de hoy, la obra creada por el autor. Cuando lo cuenta de manera incomprensible, si cabe más incomprensible que la pieza misma, ha fracasado. Cuando cuenta la obra de manera diferente a como el autor la ha previsto – cuando según su antojo cambia el contenido de la pieza – engaña al público y este tiene derecho a pedir que le devuelvan el dinero de la entrada. La libertad artística del regidor, en su proyecto visual, tiene los mismos límites que tiene el director de orquesta ante la música. La puesta en escena ha tenido siempre una gran importancia en la historia de la Ópera. Hoy esto es ignorado por los regidores y además, si lo saben, no les importa nada en absoluto. ¿Cómo se logra a través del decorado que sean comprensibles las diferentes fases de la acción? ¿Cómo se crean entradas impresionantes? ¿Cómo se ilumina de manera que la mujer aparezca bella? ¿Dónde se coloca un cantante para que su voz suene lo mejor posible? Es peligroso que el regidor sea quien reparta los papeles, cosa frecuente hoy en día, cuando lo mejor es que sea el director de orquesta quien los escoja.
    [Show full text]
  • Director, Actor
    Gunther Kittler | Director, Actor - www.gkittler.com Photo © Björn Struck 2013 Gunther Kittler, born in Vienna, Austria, is a young director and skilled stage manager. Among drama training, passed university courses in media information, philosophy, and comparative literature and linguistics, he obtained university degrees in theater studies, film aesthetics and media science. In 2000 he made his professional television debut (Inspector Rex) and he worked in various other movie and TV productions (Inspector Rex, SOKO Donau, Isenhart, Katharsis, Echte Wiener II, The Monuments Men) as an actor as well as behind the scenes since. His stage performances include Im weißen Rössl (The White Horse Inn), Die Fledermaus, Hansel and Gretel. He also started voice acting in 2012. He learned the Art of Directing early on in 2001, under the care and supervision of film directors Wolfgang Glück and Peter Patzak and especially distinguished opera director Christine Mielitz, whose directing assistant he became from 2006 to 2010. His work as directing assistant to Paul Flieder, Peter Pawlik, Beverly Blankenship, Dominik Wilgenbus, Markus Kupferblum, Olivier Tambosi, Barrie Kosky and Sven-Eric Bechtolf allowed him to work internationally at the Schauspielhaus Vienna, the Kammeroper Wien, the Volksoper Vienna, the Vienna State Opera and the Musiktheater Dortmund, where he became senior director in 2008. In the repertory seasons 2010/2013 he took an engagement as directing assistant and stage manager at the Deutsche Oper Berlin. There he worked with distinguished directors such as Christoph Loy, Robert Carsen, Roland Schwab, Philipp Stölzl, Katharina Thalbach, Marco Arturo Marelli as well as conductors Alberto Zedda and Donald Runnicles.
    [Show full text]
  • Andreas Schager Tenor
    Silvana Sintow Classicalia International Promotions & Management Schleibingerstrasse 8 - 81669 München - Germany • Tel: + 49-89- 44 21 89 00 [email protected] • www.classicalia-international.com • Fax: + 49-89- 44 21 89 03 Andreas Schager Tenor Andreas Schager studied at the Universität für Musik Vienna with Prof. Walter Moore. Whilst still studying he made his opera debut as Ferrando/ Così fan tutte at the Schlosstheater Schönbrunn. In the following years he sang in a large number of theatres and festivals, for example Frankfurt, Vienna (Festwochen), Bologna, Amsterdam, Gent, Antwerp, Cologne and Toronto (Canada). In summer 2009 Schager made a very significant step in his carrier, moving to a more dramatic repertoire. He made his highly regarded debut at the Tiroler Festspiele Erl as David in Richard Wagner’s “Die Meistersinger von Nürnberg” and was engaged as well as Florestan in Ludwig van Beethoven’s “Fidelio” and as Erik in Wagner’s “Der fliegende Holländer”. Since then he appeared as Florestan/ Fidelio, Max/ Der Freischütz, Rienzi/ Rienzi, in the part of Siegfried in both Siegfried and Götterdämmerung, Tristan / Tristan und Isolde at renowned opera houses such as Deutsche Oper and Staatsoper Berlin, Teatro Real Madrid, Hamburgische Staatsoper, Teatro dell’Opera Rome and Teatro alla Scala Milan. In concert, he sang the tenor parts in Mahler‘s Das Lied von der Erde (Hamburg NDR) and Beethoven’s 9th Symphony in Bolzano and Ravenna. His appearances as Siegfried/ Götterdämmerung at Staatsoper Berlin, BBC Proms 2013 in London and at the Teatro alla Scala this with Daniel Barenboim, were highly acclaimed by press and audience.
    [Show full text]
  • Other Minds in Association with the Berkeley Art
    OTHER MINDS IN ASSOCIATION WITH THE BERKELEY ART MUSEUM/ PACIFIC FILM ARCHIVE & THE MISSION DOLORES BASILICA PRESENTS OTHER MINDS FESTIVAL 22 FEBRUARY 18, 19 & MAY 20, 2017 MISSION DOLORES BASILICA, SAN FRANCISCO & BERKELEY ART MUSEUM/PACIFIC FILM ARCHIVE, BERKELEY 2 O WELCOME FESTIVAL TO OTHER MINDS 22 OF NEW MUSIC The 22nd Other Minds Festival is present- 4 Message from the Artistic Director ed by Other Minds in association with the 8 Lou Harrison Berkeley Art Museum/Pacific Film Archive & the Mission Dolores Basilica 9 In the Composer’s Words 10 Isang Yun 11 Isang Yun on Composition 12 Concert 1 15 Featured Artists 23 Film Presentation 24 Concert 2 29 Featured Artists 35 Timeline of the Life of Lou Harrison 38 Other Minds Staff Bios 41 About the Festival 42 Festival Supporters: A Gathering of Other Minds 46 About Other Minds This booklet © 2017 Other Minds, All rights reserved 3 MESSAGE FROM THE EXECUTIVE DIRECTOR WELCOME TO A SPECIAL EDITION OF THE OTHER MINDS FESTIVAL— A TRIBUTE TO ONE OF THE MOST GIFTED AND INSPIRING FIGURES IN THE HISTORY OF AMERICAN CLASSICAL MUSIC, LOU HARRISON. This is Harrison’s centennial year—he was born May 14, 1917—and in addition to our own concerts of his music, we have launched a website detailing all the other Harrison fêtes scheduled in his hon- or. We’re pleased to say that there will be many opportunities to hear his music live this year, and you can find them all at otherminds.org/lou100/. Visit there also to find our curated compendium of Internet links to his work online, photographs, videos, films and recordings.
    [Show full text]
  • Opera, Ballet, Classical Music the Arts Escorted and Bespoke Holidays
    TRAVELFOR THE ARTS AUTUMN, WINTER & SPRING 2016/17 OPERA, BALLET, CLASSICAL MUSIC THE ARTS ESCORTED AND BESPOKE HOLIDAYS NEW PRODUCTIONS FOR 2017 CHRISTMAS IN NEW YEAR STOCKHOLM IN ZURICH page 8 page 13 THE BERLIN THE RING IN FESTTAGE WIESBADEN page 20 page 24 www.travelforthearts.com +44 20 8799 8350 [email protected] welcome welcome to the world of BOOKING DETAILS 2016/17 OPERA, All tours mentioned in this brochure (as well as additional tours) CLASSICAL MUSIC are available to view online at www.travelforthearts.com OPERA, DANCE, Many of our holidays are taken up very quickly after the brochure AND DANCE SEASON launch. Sometimes they are fully booked after appearing on our website or as advance information in our Newsletter. We would We are delighted to present our selection of highlights from CLASSICAL MUSIC encourage you to book early if you are interested in one of our the new 2016/17 Season, featuring the best of opera, music and group tours. dance programmes across Europe. This brochure includes new ARTS HOLIDAYS MAKE AN ENQUIRY destinations and old favourites alike. You can make an enquiry about one of our tours in three ways: • Call us on 020 8799 8350 CONTENTS We are delighted to bring you exciting new tours in our brochure • Email [email protected] • Visit our website www.travelforthearts.com and make Tours 4 – 27 for the 2016/17 Season. Our exclusive group tours are specifically a booking enquiry by going into the tour and completing À la Carte guide 28 – 41 tailored to cater to the needs of opera, ballet and arts lovers.
    [Show full text]
  • Fettfilm PROJEKTE
    fettFilm PROJEKTE 2013 »IL TROVATORE« (Verdi), Wiener Festwochen; Regie: Philipp Stölzl 2012 »DER FLIEGENDE HOLLÄNDER« (Wagner), Donbas Opera Donezk; Regie: Mara Kurotschka »DIE ZAUBERFLÖTE« (Mozart), Opera national du Rhin, Strasbourg; Regie: Mariame Clémènt »WAGNER 2013.KÜNSTLERPOSITIONEN« Akadamie der Künste, Berlin; Videoinstallation im Rahmen der Gesamtausstellung »DAS PHANTOM DER OPER« (Webber), Ronacher Theater, Wien; Regie: Andreas Gergen »AGRIPPINA« (Händel), Vlaamse Opera, Genth; Regie: Mariame Clémènt »ALADIN« (Nino Rotha), Saarländisches Staatstheater; Regie: Sebastian Welker »WESTERNHAGEN TOUR 2012« (Marius Müller-Westernhagen Konzert-Tournee), O2 Arena Berlin, u.a. »LATE NIGHT @ GOETHE« (fettFilm), Goethe Institut Toronto, Videoinstallation »VERKLÄRTE NACHT« (Schönberg), Teatro del Maggio Musicale, Florenz; Choreografie: Susanne Linke »DAS LEBEN EIN TRAUM« (Caldéron), Theater Bremen; Regie: Robert Schuster 2011 »ESSEN GEH’N« (Muttersöhnchen), Musikvideo; Regie: fettFilm »TRISTAN UND ISOLDE« (Wagner), Ruhrtriennale, Jahrhunderhalle Bochum; Regie: Willy Decker »SALOME« (Strauss), Osterfestspiele Salzburg; Regie: Stefan Herheim »OZ – THE WONDERFUL WIZARD« (Schostakowitsch), Komische Oper Berlin; Choreografie: Giorgio Madia »CASTOR ET POLLUX« (Rameaux), Theater an der Wien; Regie: Mariame Clémènt 2010 »WESTERNHAGEN TOUR 2010« (Marius Müller Westernhagen Konzert-Tournee), O2 Arena Berlin, u.a. »THE AFRIKA TRILOGIE« (Schimmelpfennig, Andersen, Wainaina), The Fleck Theatre, Toronto; Regie: Ross Manson, Liesl Tommy, Josette Bushell-Mingo
    [Show full text]
  • Download Biography
    HAYDN RAWSTRON LIMITED Born in Oldenburg, Germany, Wolfgang Gussmann is one of the opera world’s most renowned set designers. After graduating, he first worked as a painter of theatre sets before being engaged by stage director/designer Herbert Wernicke as his personal assistant. He worked as an assistant on more than 20 productions before being engaged as a set/costume designer in his own right. His first such engagement, in 1979, was for the opera house in Darmstadt. Since then, he has been working as a freelance set and costume designer with stage Wolfgang Gussmann directors such as Harry Kupfer, Johannes Schaaf and Reto Nickler, but most often with Set Designer Willy Decker and Andreas Homoki. There is considerable demand worldwide for revivals and co-productions of works created by Wolfgang Gussmann in conjunction with Willy Decker and Andreas Homoki. These include Decker and Gussmann’s Der fliegende Holländer, presented at the Teatro Regio Torino; Don Carlo, redesigned for the Teatr Wielki Warsaw; and Billy Budd, also redesigned, for the Mikhailovsky Theater in St. Petersburg. The Metropolitan Opera New York and the Nederlandse Opera Amsterdam have performed several revivals of La traviata, another Decker/Gussmann production that has acquired 'cult' status since its original premiere at the Salzburg Festival in 2005. In 2013, the Teatro Colòn Buenos presented the Homoki/Gussmann production of Die Frau ohne Schatten. His output has been prolific with over 150 productions for opera houses such as: the Vienna State Opera; the State Operas of Munich, Hamburg, Dresden and Stuttgart; Deutsche Oper and Komische Oper Berlin; Leipzig and Cologne Opera; the Ruhrtriennale and the Salzburg Festival; the Bastille, Palais Garnier and Châtelet in Paris; De Nederlandse Opera in Amsterdam and La Scala di Milano.
    [Show full text]