BETROTHAL in a MONASTERY Stephan Rügamer

Total Page:16

File Type:pdf, Size:1020Kb

BETROTHAL in a MONASTERY Stephan Rügamer SERGEI PROKOFIEV BETROTHAL IN A MONASTERY Stephan Rügamer . Andrei Zhilikhovsky . Aida Garifullina Violeta Urmana . Bogdan Volkov Conducted by Daniel Barenboim . Staged by Dmitri Tcherniakov SERGEI PROKOFIEV BETROTHAL IN A MONASTERY At the Staatsoper Unter den Linden Dmitri Tcherniakov stages Prokofiev’s lyrical comic opera Betrothal in a Monastery under Orchestra Staatskapelle Berlin Daniel Barenboim’s baton. Though composed in wartime Soviet Conductor Daniel Barenboim Russia, the plot is a non political classic comedy of errors based Choir Staatsopernchor Berlin Chorus Master Martin Wright on Richard Sheridan’s 18th-century play The Duenna about two Stage Director Dmitri Tcherniakov young couples who want to come together and an old man who wants to prevent this – and all kinds of confusion and misunder- Don Jerome Stephan Rügamer standings. Russian director Tcherniakov recasts the complete Don Ferdinand Andrei Zhilikhovsky Luisa Aida Garifullina opera as therapeutic role play for “Opera-Addict Anonymus”. The Duenna Violeta Urmana Daniel Barenboim conducts the Staatskapelle Berlin and “the Don Antonio Bogdan Volkov uniformly excellent cast” (Financial Times). Aida Garifullina “who Clara d‘Almanza Anna Goryachova Mendoza Goran Jurić did not have to shy away from the musical comparison with the Don Carlos Lauri Vasar young Anna Netrebko” impresses with her “highly attractive, Host Maxim Paster slightly darkened timbre”, Bogdan Volkov is “an ideal Don Antonio, Video Director Andy Summer an elegantly phrasing Iyric tenor” and Stephan Rügamer shines with his “characteristic tenor voice” (Opernglas). “Musically this Length: 168' performance is a celebration in every sense” applauds BR Klassik. Shot in HDTV 1080/50i Cat. no. A 050 50684 A co-production of Bel Air Media, Mezzo, Staatsoper unter den Linden and UNITEL World Sales: All rights reserved · credits not contractual · Different territories · Photos: © MartinWalz · Flyer: mmessner.de Unitel GmbH & Co. KG, Germany · Tel. +49.89.673469-630 · [email protected] www.unitel.de.
Recommended publications
  • 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]
  • La Fille De Neige
    REVUE DE PRESSE LA FILLE DE NEIGE 8 représentations du 15 avril au 3 mai 2017 Opéra Bastille DIRECTION MUSICALE Mikhail Tatarnikov MISE EN SCÈNE, DÉCORS Dmitri Tcherniakov COSTUMES Elena Zaytseva LUMIÈRES Gleb Filshtinsky VIDÉO Tieni Burkhalter CHEF DES CHŒURS José Luis Basso Orchestre et Chœurs de l’Opéra national de Paris FLEUR DE NEIGE Aida Garifullina LEL Yuriy Mynenko KOUPAVA Martina Serafin LE TSAR BÉRENDEÏ Maxim Paster MIZGUIR Thomas Johannes Mayer DAME PRINTEMPS Elena Manistina LE PÈRE GEL Vladimir Ognovenko BERMIATA Franz Hawlata LE BONHOMME BAKOULA Vasily Gorshkov LA BONNE FEMME Carole Wilson L’ESPRIT DES BOIS Vasily Efimov LA CHANDELEUR Julien Joguet PREMIER HÉRAUT Vincent Morell DEUXIÈME HÉRAUT Pierpaolo Palloni LE PAGE DU TSAR Olga Oussova DIFFUSIONS RADIO Europe 1 - Sujet sur La Fille de neige le 9/04 http://www.europe1.fr/emissions/europe-1-week-end France Musique - Sujet sur La Fille de neige le 20/04 https://www.francemusique.fr/emissions/la-chronique-musique-de-guillaume-tion/la-fille-de-neige-opera-de-nikolai- rimski-korsakov-33429 France Culture - Sujet sur La Fille de neige le 27/04 (dès 46’40) https://www.franceculture.fr/emissions/la-dispute/musique-la-fille-de-neige-alcione-et-la-seine-musicale Catalunya Música - Sujet sur La Fille de neige le 2/05 http://www.ccma.cat/catradio/alacarta/assaig-general/el-cronista-errant-aterra-de-paris/audio/961105/ RTBF - Musiq 3 - Sujet sur La Fille de neige le 3/05 (dès 5’55) https://www.rtbf.be/auvio/detail_decibel-canto?id=2209768 COMPTE-RENDUS (Presse française) Dimanche 23 avril 2017 Page 1 sur 1 0123 DIMANCHE 23 - LUNDI 24 AVRIL 2017 CULTURE | 17 L’Opéra de Paris fond pour « La Fille de neige » L’œuvre de Rimski-Korsakov entre au répertoire dans une magnifique mise en scène de Dmitri Tcherniakov LYRIQUE La vision l aura fallu attendre le de Tcherniakov réchauffement climatique de habille de grâce l’ère Lissner pour qu’éclose I La Fille de neige, de Rimski- et de blancheur Korsakov, jamais revue sur une virginale cette scène parisienne depuis 1929.
    [Show full text]
  • DIMITRIS T ILIAKOS – Baritone
    D I M I T R I S T I L I A K O S – Baritone Born in Rhodes, after studying the viola, he began his vocal training at the Conservatory of Athens. He won the "Maria Callas Prize” and a two years scholarship, which allowed him to continue his studies in Munich at “Hochschule für Musik und Theater”. Shortly thereafter he made his debut at Prinzregententheater in Munich as Conte d’Almaviva in Le nozze di Figaro and won the "W.D. Fassbaender Prize" for young baritones. He also becme a member of Nürnberg State Opera, where he performed the major roles of the baritone repertory. Dimitris Tiliakos has already trod the boards of some among the major theaters of the world, including New York Metropolitan Opera (La bohème), London Royal Opera House (Don Carlo), Opéra National de Paris (Don Carlo, Macbeth), Teatro Real Madrid (Les Huguenots, Dido and Aeneas and Macbeth), Teatre Liceu de Barcelona (The Legend of the invisible city of Kitez by Rimsky-Korsakov), Opernhaus Zürich (Macbeth), Opéra de Monte-Carlo (La bohème), Teatro La Fenice di Venezia (Manon Lescaut), La Monnaie de Bruxelles (Aida and Francesca da Rimini) Athens Megaron (Simone Boccanegra, Macbeth), Greek National Opera (Don Giovanni, Carmen, Il trovatore, Tosca, Elektra), Opera de Nice (Il Trovatore e Simon Boccanegra), Staatsoper Hamburg (Manon Lescaut), Royal Danish Opera (La traviata), Tchaikovsky Hall (La bohème) and Bolshoi Theatre (Rigoletto) in Moscow, Festival dei Due Mondi in Spoleto (Don Giovanni conducted by James Conlon), and many others. He worked with such conductors as Myung-Whun Chung, Renato Palumbo, Evelino Pidò, Teodor Currentzis, Alain Altinoglu and Marc Minkowski, and with such stage directors as Graham Vick, Claus Guth, Dmitri Tcherniakov, Robert Carsen, Bob Wilson.
    [Show full text]
  • Teacher Notes on Russian Music and Composers Prokofiev Gave up His Popularity and Wrote Music to Please Stalin. He Wrote Music
    Teacher Notes on Russian Music and Composers x Prokofiev gave up his popularity and wrote music to please Stalin. He wrote music to please the government. x Stravinsky is known as the great inventor of Russian music. x The 19th century was a time of great musical achievement in Russia. This was the time period in which “The Five” became known. They were: Rimsky-Korsakov (most influential, 1844-1908) Borodin Mussorgsky Cui Balakirev x Tchaikovsky (1840-’93) was not know as one of “The Five”. x Near the end of the Stalinist Period Prokofiev and Shostakovich produced music so peasants could listen to it as they worked. x During the 17th century, Russian music consisted of sacred vocal music or folk type songs. x Peter the Great liked military music (such as the drums). He liked trumpet music, church bells and simple Polish music. He did not like French or Italian music. Nor did Peter the Great like opera. Notes Compiled by Carol Mohrlock 90 Igor Fyodorovich Stravinsky (1882-1971) I gor Stravinsky was born on June 17, 1882, in Oranienbaum, near St. Petersburg, Russia, he died on April 6, 1971, in New York City H e was Russian-born composer particularly renowned for such ballet scores as The Firebird (performed 1910), Petrushka (1911), The Rite of Spring (1913), and Orpheus (1947). The Russian period S travinsky's father, Fyodor Ignatyevich Stravinsky, was a bass singer of great distinction, who had made a successful operatic career for himself, first at Kiev and later in St. Petersburg. Igor was the third of a family of four boys.
    [Show full text]
  • Wagnerkalender – Sluitingsdatum Van Deze Kalender 1 December 2017
    Wagnerkalender – sluitingsdatum van deze kalender 1 december 2017 Amsterdam Tristan und Isolde, 18, 22, 25, 30 januari, 4, 7, 10 en 14 februari 2018 Pierre Audi regie, Christof Hetzer decor, Marc Albrecht dirigent, Stephen Gould (Tristan), Ricarda Merbeth (Isolde), Günther Groisböck (Marke), Ian Paterson (Kurwenal), Michelle Breedt (Brangäne), Roger Smeets (Ein Steuermann), Marc Lachner (Ein Hirt/Ein Junger Seemann) Tannhäuser light, 26 mei, Muziekgebouw aan het IJ Pocketversie van Tannhäuser, samengesteld door Carel Alphenaar. Michael Gieler dirigent, zangers: Laetitia Gerards, Gustavo Peña, Aylin Sezer, Michael Wilmering, orkest: leden van het Koninklijk Concertgebouworkest. Der Ring ohne Worte (arr. Lorin Maazel), Concertgebouw 13 juni 2018 UVA-orkest J.Pzn. Sweelinck Fragmenten uit de Ring, 20, 21 en 22 juni 2018, Concertgebouw Concertant, Koninklijk Concertgebouworkest o.l.v. Daniele Gatti, met medewerking van Eva-Maria Westbroek. Antwerpen Parsifal, 18, 21, 24, 27, 29 maart, 1 en 4 april 2018 Tatjana Gürbaca regie, Henrik Ahr decor, Cornelius Meister dirigent, Erin Caves (Parsifal), Tanja Ariane Baumgartner (Kundry), Stefan Kocan (Gurnemanz), Christoph Pohl (Amfortas), Károly Szemerédy (Klingsor), Markus Suihkonen (Titurel) Baden Baden - Festspielhaus Parsifal, 24 en 30 maart, 2 april 2018 Dieter Dorn regie, Magdalena Gut decor, Simon Rattle dirigent, Stephen Gould (Parsifal), Franz-Josef Selig (Gurnemanz), Ruxandra Donose (Kundry), Evgeny Nikitin (Klingsor), Gerald Finley (Amfortas) Der fliegende Holländer, 18 mei 2018 (concertant)
    [Show full text]
  • Sergei Prokofiev
    Sergei Prokofiev Sergei Sergeyevich Prokofiev (/prɵˈkɒfiɛv/; Russian: Сергей Сергеевич Прокофьев, tr. Sergej Sergeevič Prokof'ev; April 27, 1891 [O.S. 15 April];– March 5, 1953) was a Russian composer, pianist and conductor. As the creator of acknowledged masterpieces across numerous musical genres, he is regarded as one of the major composers of the 20th century. His works include such widely heard works as the March from The Love for Three Oranges, the suite Lieutenant Kijé, the ballet Romeo and Juliet – from which "Dance of the Knights" is taken – and Peter and the Wolf. Of the established forms and genres in which he worked, he created – excluding juvenilia – seven completed operas, seven symphonies, eight ballets, five piano concertos, two violin concertos, a cello concerto, and nine completed piano sonatas. A graduate of the St Petersburg Conservatory, Prokofiev initially made his name as an iconoclastic composer-pianist, achieving notoriety with a series of ferociously dissonant and virtuosic works for his instrument, including his first two piano concertos. In 1915 Prokofiev made a decisive break from the standard composer-pianist category with his orchestral Scythian Suite, compiled from music originally composed for a ballet commissioned by Sergei Diaghilev of the Ballets Russes. Diaghilev commissioned three further ballets from Prokofiev – Chout, Le pas d'acier and The Prodigal Son – which at the time of their original production all caused a sensation among both critics and colleagues. Prokofiev's greatest interest, however, was opera, and he composed several works in that genre, including The Gambler and The Fiery Angel. Prokofiev's one operatic success during his lifetime was The Love for Three Oranges, composed for the Chicago Opera and subsequently performed over the following decade in Europe and Russia.
    [Show full text]
  • Saison 2018/2019
    saison 2018/2019 Stéphane Lissner directeur général OperaParisBrochure_10_17.indd 1 30.10.17 13:50 CONSEIL D’ADMINISTRATION ������������������8 Bernard Stirn Le projet artistique PRÉSIDENT THE ARTISTIC PROJECT ����������������������������������������������������8 _ ������������������������������������������������������������������������������19 Ministère de la Culture OPÉRA Hervé Barbaret BALLET ����������������������������������������������������������������������������69 SECRÉTAIRE GÉNÉRAL ���������������������������������������������������������������� 103 Régine Hatchondo CONCERTS DIRECTRICE GÉNÉRALE DE LA CRÉATION ARTISTIQUE ÉVÉNEMENTS ��������������������������������������������������������� 109 Alain Loiseau DÉLÉGUÉ À LA MUSIQUE LES ARTISTES DE LA SAISON ������������������� 128 Ministère de l’Économie et des Finances ��������������������� 133 Amélie Verdier DIRECTRICE DU BUDGET Soutenez l’Opéra SUPPORT THE OPERA ���������������������������������������������������143 _ Patricia Barbizet, Stéphane Richard PERSONNALITÉS QUALIFIÉES Visitez l’Opéra �������������������������������� 147 Cécile Gautier, Barbara Gutty, VISIT THE OPERA ������������������������������������������������������������150 Josua Hoffalt, Gilles Pichon REPRÉSENTANTS DU PERSONNEL Laurent Fleuriot CONTRÔLEUR GÉNÉRAL ÉCONOMIQUE ET FINANCIER L’Opéra, Pierre Bergé †, Jean-Pierre Leclerc mode d’emploi ������������������������������� 153 PRÉSIDENTS D’HONNEUR THE OPERA, PRACTICAL INFORMATION �����������������170 _ �����������������������������������������������������������
    [Show full text]
  • Season 2013-2014
    23 Season 2013-2014 Thursday, February 13, at 8:00 The Philadelphia Orchestra Friday, February 14, at 8:00 Saturday, February 15, at 8:00 Vladimir Jurowski Conductor Vsevolod Grivnov Tenor Alexey Zuev Piano Sherman Howard Speaker Tatiana Monogarova Soprano Sergei Leiferkus Baritone Westminster Symphonic Choir Joe Miller Director Rachmaninoff/ Songs orch. Jurowski I. “Christ Is Risen,” Op. 26, No. 6 II. “Dreams,” Op. 38, No. 5 III. “The Morn of Life,” Op. 34, No. 10 IV. “So Dread a Fate,” Op. 34, No. 7 V. “All Things Depart,” Op. 26, No. 15 VI. “Come Let Us Rest,” Op. 26, No. 3 VII. “Before My Window,” Op. 26, No. 10 VIII. “The Little Island,” Op. 14, No. 2 IX. “How Fair this Spot,” Op. 21, No. 7 X. “What Wealth of Rapture,” Op. 34, No. 12 (U.S. premiere of orchestrated version) Rachmaninoff Piano Concerto No. 4 in G minor, Op. 40 I. Allegro vivace II. Largo III. Allegro vivace Intermission 24 Rachmaninoff The Bells, Op. 35 I. Allegro, ma non tanto II. Lento—Adagio III. Presto—Prestissimo IV. Lento lugubre—Allegro—Andante— Tempo I This program runs approximately 1 hour, 45 minutes. These concerts are presented in cooperation with the Sergei Rachmaninoff Foundation. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit www.wrti.org to listen live or for more details. 3 Story Title 25 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra community itself. His concerts to perform in China, in 1973 is one of the preeminent of diverse repertoire attract at the request of President orchestras in the world, sold-out houses, and he has Nixon, today The Philadelphia renowned for its distinctive established a regular forum Orchestra boasts a new sound, desired for its for connecting with concert- partnership with the National keen ability to capture the goers through Post-Concert Centre for the Performing hearts and imaginations of Conversations.
    [Show full text]
  • OPERA NEWS (Mailto:[email protected]?Subject=Website%20Feedback)
    Features May 2013 — Vol. 77, No. 11 (http://www.operanews.org/Opera_News_Magazine/2013/5/May_2013.html) The Lion Speaks For decades, Ferruccio Furlanetto has exemplified the highest performing standard in opera. As he prepares to sing Filippo in Covent Garden's Don Carlo, the Italian bass speaks to BARRY SINGER about maintaining that standard — and where he fears the opera world is heading. Portrait photographed by James Salzano at Maserati of Manhattan, New York City Grooming by Affan Malik / Jacket: Hickey Freeman / Watch: Rolex © James Salzano 2013 View More Images Massenet's Don Quichotte at the Mariinsky with Andrei Serov as Sancho Pança © N. Razina 2013 (http://www.operanews.org/uploadedImages/Opera_News_Magazine/2013/5/Features/LionSpeaksQuichottelg513.jpg) As Thomas Becket in Assassinio nella Cattedrale at La Scala, 2009 Marco Brescia/© Teatro alla Scala 2013 (http://www.operanews.org/uploadedImages/Opera_News_Magazine/2013/5/Features/LionSpeaksAssassiniolg513.jpg) As Thomas Becket in Assassinio nella Cattedrale at La Scala, 2009 Marco Brescia/© Teatro alla Scala 2013 As Fiesco in Simon Boccanegra at Lyric Opera of Chicago, 2012 © Dan Rest 2013 (http://www.operanews.org/uploadedImages/Opera_News_Magazine/2013/5/Features/LionSpeaksInBoccanegralg513.jpg) As Fiesco in Simon Boccanegra at Lyric Opera of Chicago, 2012 © Dan Rest 2013 "I belong to a generation that is almost gone now," says Ferruccio Furlanetto, who turns sixty-four this month. "When we started — when I started — I was in a position to learn daily from these amazing directors, from these amazing conductors. It was splendid. And a young kid could really grow and learn and gain a clear idea of each new role, and that role was then marked forever." Epic vocal brilliance and an eloquent sensitivity to character have marked virtually every role undertaken by this esteemed bass from Sacile, Italy, over a thirty-nine-year professional career.
    [Show full text]
  • UNITEL and CLASSICA Present MODEST MUSORGSKY
    UNITEL and CLASSICA present MODEST MUSORGSKY KHOVANSHCHINA MODEST MUSORGSKY KHOVANSHCHINA ne of the great talents of Modest Musorgsky (1839–1881) was his unique Oability to transpose words, psychological states and even physical move- ments into music. And even if he left his opera “Khovanshchina“ (The Khovan- sky Affair) incomplete and unorchestrated, the sheer theatricality of its musical text reveals the presence of a work that begs for a stage production. The first completion and orchestration was made by Musorgsky‘s contemporary Rimsky- Korsakov, but the more slender, powerful, raw orchestration made by Dmitri Shostakovich in 1960 is the one preferred today, and the version chosen by Kent Nagano for the Munich production recorded here. The plot is a darkly shimmering panorama of ruthless Music by Modest Musorgsky power plays, intrigues and bloodshed in late 17th-century Russia. A nation torn by inner strife, with various factions Conductor Kent Nagano struggling for power at court: the followers of Prince Ivan Orchestra Bayerisches Staatsorchester Khovansky, the leader of the Streltsys (musketeers), and Ivan Khovansky Paata Burchuladze those of Prince Golitsin, faithful to the tsar. Add to this the Andrey Khovansky Klaus Florian Vogt influence of various religious groups, and the action comes Vasily Golitsin John Daszak frighteningly close to mirroring the present-day situation in Boyar Shaklovity Valery Alexejev more than one country. With his stripped-down sets and Dosifey Anatoly Kotscherga historicizing costumes, director Dmitri Tcherniakov, one of Marfa Doris Soffel the new voices of contemporary Russian theater, throws a Old Believers Helena Jungwirth bridge to the political present. The historical pessimism of the Lana Kos opera, says Tcherniakov, “is legitimated by Russian history Anaik Morel and Russian life.
    [Show full text]
  • Dramatic Musical Versions of Dostoevsky: Sergei Prokopev's the Gambler
    DRAMATIC MUSICAL VERSIONS OF DOSTOEVSKY: SERGEI PROKOPEV'S THE GAMBLER by Vladimir Seduro * I The Russian composer Sergei Sergeevich Prokof'ev (1891-1953) stands as a pioneer in the creation of large operatic works based on Dostoevsky. The composer Nikolai Iakovlevich Miaskovskii (1881-1950) also dreamed of an opera based on Dostoevsky. While working on his operatic version of The Idiot, Miaskovskii even considered to whom he would assign the roles of Nastas'ia Filip- povna and Aglaia. He first conceived the part of Nastas'ia for the actress V. N. Petrova-Zvantseva, and he had the singer E. V. Kono- sova-Derzhanovskaia in mind for the role of Aglaia Epanchina. But his constant directorial and teaching duties and the distraction of his symphonic work absorbed his attention and his energies in other musical activities. But the idea of basing an opera on Dostoevsky's The Gambler was realized before the Revolution in Russia. It is true that before Prokof'ev there was a Russian opera based on Dostoevsky's story «The Little Boy at Christ's Christmas Tree.» The opera The Christmas Tree [«Yolka»] by Vladimir Rebikov was produced in 1903 at the Moscow «Aquarium» Theatre nm by M. E. Medvedev, and in 1906 it saw the footlights of theaters in Prague, Brno, and Berlin. But the contents of The Christmas Tree were only indirectly linked to Dostoevsky's story. Rebikov's one act, three scene opera joined the theme of Dostoevsky's story to the plot of Hans Christian Andersen's story «The Girl with the * Dr. Vladimir Seduro, Professor of Russian at Rensselaer Polytechnic Institute, is the author of several books, the most recent of which are Dostoevski's Image in Russia Today (Nordland, 1975) and Dostoevski in Russian Emigre Criticism (Nordland, 1975).
    [Show full text]
  • Constance Heller, Mag. Art
    the title role, as well as in “MOSES AND AARON” in Tokyo Bunka Kaikan on the Staatsoper’s tour of Japan. In recent seasons, Constance Heller also gave guest performances at the La Scala in Milano, at the Ruhr Triennial, in the Esplanade Concert Hall in Singapore, at the Festival Theatre Baden-Baden, in the Philharmonie im Gasteig, at the Semperoper Dresden (as “Second Norn” in “GÖTTERDÄMMERUNG” and as “Marthe Schwerdtlein” in “FAUST”), at the Berne Theatre in the opera “WUT” by Scartazzini, at the Opera Roma and at the Deutsche Oper Berlin. She has worked with many conductors, including Alain Altinoglu, Jonas Alber, Daniel Barenboim, Michael Boder, Johannes Debus, Asher Constance Heller, Mag. art. Fisch, Alexander Joel, Dorian Keilhack, Kent Nagano, Julien Salemkour, Mezzosopran/Alt Alexander Soddy, Stefan Soltesz and Christian Thielemann in produc- tions by Dieter Dorn, Bernd Eichinger, August Everding, Willy Decker, The mezzosoprano Constance Heller has been a member of the ensemble Dieter Kaegi, Nikolaus Lehnhoff, Peter Mussbach, Dmitri Tcherniakov, at the Mecklenburg State Theatre Schwerin since 2012-13. In the 2013- Keith Warner and Karsten Wiegand. 14 season she will be seen on the State Theatre stage as “Sister Helen Constance Heller gathered her first experience on the stage during her Prejean” in the opera “DEAD MAN WALKING” by Jake Heggie, as schooldays, with several major roles in mystery plays by Cesar Bresgen. well as in the roles of Cherubino and Olga. Besides this, she can be heard Ever since, she has been fascinated by the profession. After her secondary as “Erda” at the opera gala and will sing the alto part in Beethoven’s 9th education she studied singing at the Mozarteum in Salzburg and comple- Symphony.
    [Show full text]