Oksana Lyniv

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OKSANA LYNIV Oksana Lyniv was born in Ukraine and got a preparatory degree in flute and conducting from 1992 until 1996 at the Lyudkevich School in Lviv. From 1996 till 2003 she studied conducting at the music Academy of Lviv. In 2004 she participated in the 1st Gustav-Mahler-Competition of the Symphony Orchestra of Bamberg and got the 3rd prize. In 2005 she became Assistant to Conductor Jonathan Nott. In 2005 she began her studies at the Hochschule für Musik ‚Carl Ma- ria von Weber‘ in Dresden and took masterclasses next to Ekkehard Klemm. She received scholarships from the DAAD, the Goethe-Institut and the Oscar-und-Vera-Ritter- Foundation. From 2007 till 2009 she was a scholar of the ‚‚Conductors‘ Forum‘‘ of the German Music Council and took Masterclasses with Hartmut Haenchen, Kurt Masur, Peter Gülke and Georg Fritzsch. Lyniv has recorded with the Symphony orchestra of Bamberg and the Bavarian Radio. She conducted concerts in Uk- raine, Germany, France, Rumania, Austria, Hungary, Esthonia and Switzerland. In 2008 she conducted ‚‚La Bohème‘‘, ‚‚Madama Butterfly‘‘, ‚‚Rigoletto‘‘ and ‚‚Cavalleria rusticana‘‘ at the State Opera in Odessa. From 2013 till 2017 Oksana Lyniv was Assistant of Chief conductor Kirill Petrenko at the Bavaria State Opera, where she conducted ‚‚Mirandolina‘‘, ‚‚La clemenza di Tito‘‘, ‚‚La traviata‘‘, ‚‚Die Fledermaus‘‘, ‚‚Lucia di Lammermoor‘‘, ‚‚Ari- adne auf Naxos‘‘, ‚‚Lady Macbeth von Mzensk‘‘, ‚‚Selma Ježková‘‘ (after Lars von Trier‘s Film "Dancer in the Dark") as well as the premiere of ‚‚Mauerschau‘‘. In May 2017 she was in charge of a production series of Wagner’s ‚‚Fliegender Holländer‘‘ at the Gran Teatre del Liceu in Barcelona. At the Bartók Plus Opera Festival in 2016 she conducted a production of Bartók’s operas in Miskolc. In January 2019 she had her debut at the Deutsche Oper Berlin with ‚‚Tosca‘‘, at the State Opera of Stuttgart with ‚‚Pique Dame‘‘ and in March 2019 at the Theater an der Wien with Tchaikovsky’s ‚‚The Maid of Orleans‘‘. Since August 2017 she has been in charge of the international Festival LvivMozArt in Lemberg, which is dedicated to the works of Franz Xaver Mozart and presents historical and modern productions. Since September 2017 she is Chief Conductor at the Graz Opera and of the Philharmonic Opera of Graz. Theres he conducted ‚‚La Traviata‘‘, ‚‚Eugen Onegin‘‘, ‚‚Il viaggio a Reims‘‘, ‚‚Pagliacci‘‘, ‚‚Cavalleria rusticana‘‘, ‚‚Salome‘‘, ‚‚Tosca‘‘ and ‚‚Lucia di Lammermoor‘‘. In 2017 she founded the Youth Symphony Orchestra of Ukraine, with the participation of young talented musicians of her homeland..

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LEON BOTSTEIN, Conductor
Thursday Evening, November 14, 2019, at 7:00 Isaac Stern Auditorium / Ronald O. Perelman Stage presents LEON BOTSTEIN, Conductor Performance #141: Season 5, Concert 12 ARTHUR HONEGGER Rugby (1928) (1891–1955) OTHMAR SCHOECK Lebendig begraben (Buried Alive), Op. 40 (1886–1957) (1926) MICHAEL NAGY, Baritone Intermission DIMITRI MITROPOULOS Concerto Grosso (1929) (1896–1960) Largo Allegro—Largo Chorale: Largo Allegro IGOR STRAVINSKY Divertimento, Symphonic Suite from the (1882–1971) Ballet The Fairy’s Kiss (1928, 1931, rev. ’32, ’34, ’49) Danses suisses (“Swiss Dances”) Scherzo Pas de deux a. Adagio b. Variation c. Coda This evening’s concert will run approximately 2 hours and 25 minutes including one 20-minute intermission. PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. Notes ON THE MUSIC – TON’S KADEN HENDERSON ON ARTHUR HONEGGER’S RUGBY MATT DINE MATT Full Contact Music Honegger’s second tone poem, entitled Rugby, which we will be hearing today, was composed in 1928. Although it bears the name Rugby, the composer himself insisted that this work was not programmatic in a traditional sense. Despite what Honegger may have said, it takes little imagination to find oneself in the middle of the pitch dodging tack- les left and right from the very first note. Immediately from the downbeat it is apparent that Honegger is not alluding to two-hand-touch rugby, but rather the sport in its full contact, “hold no pris- oners” variety. The very first notes from The Composer the strings hit the audience like a ton of When thinking about the great orches- bricks as the cascading strings sweep us tral tone poems in our repertoire, the into a musical dogpile.
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Berliner Philharmoniker
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The Digital Concert Hall
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Digital Concert Hall Where We Play Just for You
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Digital Concert Hall
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Bayerisches Staatsorchester Kirill Petrenko Friday 1 June 2018 7.30Pm, Hall Mahler Symphony No 7
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Berliner Philharmoniker Kirill Petrenko Beethoven Tchaikovsky Schmidt Stephan
BERLINER PHILHARMONIKER KIRILL PETRENKO BEETHOVEN TCHAIKOVSKY SCHMIDT STEPHAN 1 2 3 Inhalt · Contents Kirill Petrenko Zu dieser Edition · About the edition 6 Ludwig van Beethoven Symphonie Nr. 7 · Symphony No. 7 10 Symphonie Nr. 9 · Symphony No. 9 12 Gesangstext · Sung text 14 Peter Tschaikowsky Symphonie Nr. 5 · Symphony No. 5 18 Symphonie Nr. 6 · Symphony No. 6 20 Franz Schmidt Symphonie Nr. 4 · Symphony No. 4 22 Rudi Stephan Musik für Orchester · Music for Orchestra 24 »Finis coronat opus«? Alles andere als endgültige Bemerkungen zum Finalproblem in der Symphonie 29 “Finis coronat opus”? Far from final remarks on the symphony’s finale problem 41 Die extremste Form des Musikalischen Eine soziologische Perspektive auf die Symphonie 53 Music in Its Most Extreme Form A sociological perspective on the symphony 63 Berliner Philharmoniker Mitglieder · Members 74 Rosemarie Trockel Über die Künstlerin · About the artist 76 Credits 78 Zu dieser Edition Diese Edition ist so etwas wie eine klingende Moment- sie anfängt und aufhört, hat Schmidt als »die letzte aufnahme der beginnenden Zusammenarbeit zwischen Musik, die man ins Jenseits mitnimmt« beschrieben. Ich von Kirill Petrenko den Berliner Philharmonikern und mir, gleichsam die wollte sie dem Orchester, das dieses Werk jahrzehnte- Initialzündung unserer Gemeinschaft. lang nicht gespielt hatte, und dem Berliner Publikum so bald wie möglich bekannt machen, und ich freue mich, Die Sechste Symphonie von Peter Tschaikowsky haben dass dank dieser Ausgabe noch weitere musikliebende wir im ersten Konzert nach meiner Ernennung aufgeführt. Kreise mit ihr in Berührung kommen. Das war ein Moment, auf den wir mit großer Nervosität und beinahe berstender Spannung hingearbeitet haben, Auch den Komponisten Rudi Stephan halte ich für sehr und etwas von dieser Spannung spürt man noch in bedeutend und bei weitem nicht genug bekannt und diesem Mitschnitt: wie eine Energiequelle, die bis heute gewürdigt.
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Digital Concert Hall Programme 2018/2019 3
2 DIGITAL CONCERT HALL PROGRAMME 2018/2019 3 WELCOME TO THE DIGITAL CONCERT HALL The 2018/2019 season marks a very special Zubin Mehta. Another highlight is the return phase in the history of the Berliner Philhar- on two occasions of Sir Simon Rattle, and moniker. Following on from the end of the with several debuts, new artistic connections Simon Rattle era, it is characterised by look- will also be made. Among the top-class guest ing forward to a new beginning when Kirill soloists is the pianist Daniil Trifonov to name Petrenko takes up office as chief conductor. but one, the Berliner Philharmoniker’s current Although this is not due until the summer of Artist in Residence. 2019, exciting joint concerts are on the hori- zon, beginning with the season opening con- Another special feature of this season: cert which is dedicated to the core repertoire the 10th anniversary of the Digital Concert of the Berliner Philharmoniker: a Beethoven Hall. On 17 December 2008, this unprece- symphony and two symphonic poems by dented project went online, followed by a first Richard Strauss. In the Digital Concert Hall live broadcast on 6 January 2009. Since then, we are also showing a tour concert from Lu- around 50 live concerts have been shown cerne, a programme with works by Schoen- per season. The video archive now holds more berg and Tchaikovsky in the spring of 2019, than 500 concert recordings, from the and Kirill Petrenko appears at the helm of the present day back to the Karajan era. There National Youth Orchestra of Germany as well.
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Biography EN
MAURO PETER … a dreamy song recital and a flawless, multi-faceted performance – thus Mauro Peter’s perfor- mance at the 2019 Salzburg Festival, according to the Salzburger Nachrichten. This expressive fascination has won him enthusiastic audiences since his spectacular debut at the Schubertiade Schwarzenberg in 2012. Ever since, he has appeared on concert and opera stages everywhere in Europe. The Swiss tenor begins the 2020/21 season with a song recital at the internationally renowned Lucerne Festival. Mauro Peter’s opera season starts with his role debut as Nemorino in Donizetti’s L’elisir d’amore at the Zurich Opera House, where he has been an ensemble member since 2013, celebrating major success, most recently in Zender’s Winterreise and in the title role of Handel’s Belshazzar. Another highlight of the season is his December debut at the Teatro Real in Madrid, where he sings Don Ottavio in Mozart’s Don Giovanni. He will also embody this role at the 2021 Mozart Week in Salzburg. Furthermore, Mauro Peter will perform Schubert’s cycle Schwanengesang for the first time at Vien- na’s Konzerthaus and at the Schubertiade Schwarzenberg in June. In addition, he will make his debut with the Berlin Philharmonic under the baton of Kirill Petrenko, appearing in the orchestra’s Europe Day Concert in 2021. Mauro Peter has celebrated international operatic success performing Wolfgang Amadeus Mo- zart’s music. Roles such as Belmonte, Ferrando, Don Ottavio and Tamino have taken him to the Canadian Opera Company in Toronto, the Bavarian State Opera, the Opéra de Lyon, the Opéra national de Paris, the Royal Opera House in London, the Teatro alla Scala in Milan, the Theater an der Wien, the Zurich Opera House and the Salzburg Festival.
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Gustav Mahler Symphonie Nr. 7 Kirill Petrenko Bayerisches
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Pressemeldung
Pressemeldung Der Weg zum eigenen Orchester Bundesjugendorchester unterstützt in Lviv und Kiew Gründung des Jugendorchesters der Ukraine Das Bundesjugendorchester und sein Träger Deutscher Musikrat unterstützen derzeit mit seinen Partnern Beethovenfest Bonn und Deutsche Welle die Gründung des Jugendorchesters der Ukraine. Von den über 300 Bewerbern für das erste landesweite Ensemble hört eine bilaterale Jury unter dem Vorsitz der Dirigentin Oksana Lyniv die besten 100 Bewerber. Die erste gemeinsame Arbeitsphase und Tournee des Orchesters wird im August 2017 in deutsch-ukrainischer Besetzung in Lviv stattfinden. Konzerte führen die 14- bis 22jährigen Jugendlichen von der Heimatstadt des Kooperationspartners Lviv.Moz.Art nach Odessa, Chrakiw und Kiew. Im Anschluss ist die Formation eingeladen beim Internationalen Beethovenfest Bonn im World Conference Center zu gastieren. Dort wird eine Auftragskomposition der Deutschen Welle von dem ukrainischen Komponisten Bohdan Sehin uraufgeführt. Die Deutsche Welle begleitet das Projekt medial. Die Jugendlichen beider Nationen werden damit Neuland betreten. „Die Gründung eines Ensembles nach dem Vorbild des Bundesjugendorchesters zu begleiten ist eine Freude und Herausforderung. Schon Bewerber aus allen Gebieten der Ukraine zusammenzuführen ist bei den derzeitigen politischen Verhältnissen eine schwierige Aufgabe. Für die etwa 35 deutschen Teilnehmer wird die Begegnung tiefe Einblicke in Kultur, Geschichte und Politik des größten europäischen Landes ermöglichen. Mit den Konzerten in Deutschland wollen wir die Aufmerksamkeit wieder auf die Menschen und ihre Situation lenken“, so der Projektleiter des Bundesjugendorchesters Sönke Lentz. Die aus Lviv stammende Dirigentin Oksana Lyniv ist derzeit Assistentin von Kirill Petrenko an der Bayerischen Staatsoper und ist künstlerische Leiterin des innovativen Festivals Lviv.Moz.Art. Sie wird mit diesem Projekt das erste Mal am Pult des Bundesjugendorchesters stehen.
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