OWEN WILLETTS, Contratenor

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CNDM | UNIVERSO BARROCO AUDITORIO NACIONAL DE MÚSICA 11.03.18 | THE ENGLISH CONCERT OWEN WILLETTS, contratenor Los compromisos actuales y futuros de Owen Willetts incluyen: Oberon (Midsummer Night’s dream) en la Virginia Opera, Ottone (L' Incoronazione di Poppea) en la en la Pinchgut Opera y Theater Aachen, Narciso (Agrippina) en Oldenburgisches Staatstheater, Händel Festspiele Göttingen y Brisbane Baroque, Tolomeo (Giulio Cesare) en Theater Bonn, Tullio (Arminio) en Badisches Staatstheater Karlsruhe y Theater an der Wien, un tour con Les Musiciens du Louvre (Marc Minkowski), Eustazio (Rinaldo) y Giustino (rol principal) en Lautten Compagney Berlin, Il trionfo del tempo e del disinganno en Opernhaus Halle, el Mesías (Haendel) en Ulster Orchestra y el Stabat Mater (Pergolesi) con la Orchestra of the Age of Enlightenment. Owen cantó en el coro en la catedral de Lichfield y estudió en la Academia Real de Música, con Noelle Barker, Iain Leadingham y David Lowe. Recientemente Owen ha cantado Orlando (rol principal) en el Theater Heilbronn, Helicon (Caligula) en Staatsoper Hannover, Andronico (Tamerlano) en Buxton Festival, Farinelli and the King (rol principal) en Duke of York Theatre, Famigliari (The Coronation of Poppea) en Opera North, Summer (The Fairy Queen) y la Pasión según San Juan (Bach) en Nationale Reisopera, el rol principal de la ópera Giulio Cesare (Haendel) en Finnish National Opera, Orfeo (Orfeo ed Euridice) y Arsace (Partenope) en Boston Baroque (Martin Pearlman). También ha participado en el Proyecto Jerwood: Awakening Shadow una dramatización de Britten, Canticles en Glyndebourne, el Mesías de Haendel con la Portland Baroque Orchestra, Ottone (L' Incoronazione di Poppea) en la Royal Academy Opera, Reykjavik Summer Opera e Iford Arts Festival, Anfinomus/Humano Fragilitata (Il Ritorno d' Ulisse in Patria) con la Birmingham Opera Company. En conciertos, Owen ha actuado con Les Musicians de Louvre, Telemann Chamber Orchestra, Vancouver Early Music Festival y Lautten Compagney. Ha trabajado con muchos de los grandes nombres de la interpretación histórica, como Laurence Cummings, Christian Curnyn, Emmanuelle Haim, Marc Minkowsi, Martin Pearlman, Howard Arman y Raphael Pichon. CENTRO NACIONAL DE DIFUSIÓN MUSICAL (CNDM) | [email protected] Página | 1 .

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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.
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Download Program
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