DOCSLIB.ORG

RESUMÉ Slávka Zámečníková - Soprano Großbeerenstrasse 37 , 12107 Berlin

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
RESUMÉ Slávka Zámečníková - Soprano Großbeerenstrasse 37 , 12107 Berlin RESUMÉ Slávka Zámečníková - soprano Großbeerenstrasse 37 , 12107 Berlin www.slavkazamecnikova.com UPCOMING ENGAGEMENTS Drusilla - L´incoronzione di Poppea Berlin State Opera 2018/2019 Sophie - Werther Prague National Theatre 2018/2019 Une chasseresse - Hippolyte et Arice Berlin State Opera 2018/2019 Rosina - Betrothal in a Monastery Berlin State Opera 2018/2019 Erste Dame - Die Zauberflöte Berlin State Opera 2018/2019 Contessa Ceprano - Rigoletto Berlin State Opera 2018/2019 Sopran - Kopernikus / C.Vivier Berlin State Opera 2018/2019 Sopran/Septette - Babylon / J. Widmann Berlin State Opera 2018/2019 Recital with Štefan Kocán Rudolfinum Prague 2018/2019 G.Rossini - Stabat mater Konzerthaus Berlin 2019/2020 L.v.Beethoven - Christus am Ölberge Konzerthaus Berlin 2019/2020 F. Mendelssohn-Bartholdi - Paulus op. 36 Sudecka Philharmonic 2019/2020 PERFORMED ROLES Ännchen - Der Freischütz (cover) Berlin State Opera 2018/2019 Stimme des Falken - Frau ohne Schatten Berlin State Opera 2018/2019 Fiordiligi - Cosí fan tutte (studied) Opera Studio of Berlin State Opera 2018/2019 Sophie - Werther Prague National Theatre 2017/2018 Sophie - Werther Slovak National Theatre 2017/2018 Nanetta - Falstaff (cover) Berlin State Opera 2017/2018 Miss Jessel - Turn of the Screw Berlin State Opera 2017/2018 Erste Dame - Die Zauberflöte Berlin State Opera 2017/2018 Flora Bervoix - La Traviata Berlin State Opera 2017/2018 Contessa - Le Nozze di Figaro Opera Studio HfM Berlin 2016 Frau Fluth - Die lustigen Weiber von Windsor Opera Studio HfM Berlin 2016 Woglinde - Das Rheingold Opera Studio HfM Berlin 2016 Musetta - La Bohéme Opera Studio HfM Berlin 2015 Pamina - Die Zauberflöte Opera Studio Bratislava 2015 Mathilde - Mathilde de Guise Opera Studio Bratislava 2014 CONCERT WORKS G.Mahler - Symphony No.4 Warsaw Philharmonic Orchestra/ Prague Spring Festival 2018 J.Haydn - Missa brevis Sancti Joannis de Deo Slovak Philharmonic 2017 W.A.Mozart - Requiem, KV 626 Galina Vishnevskaya Opera Festival in Sochi 2017 F. Mendelssohn Bartholdy - Psalm 42 op.42 Rheingau Music Festival 2017 W.A.Mozart - Exsultate, jubilate, KV 165 Slovak Philharmonic 2014 W.A.Mozart - Missa Brevis in D Slovak Philharmonic 2013 AWARDS International Competition Accademia Belcanto in Graz (A) 1.Prize + Hamburger Kammeroper Award + 2018 Maria Callas Festival in Sao Paolo Award 22. International Mikulas Schneider-Trnavsky Competition (SK) 1. Prize + 4 Special Awards 2017 51. International Antonin Dvorak Competition (CZ) 1. Prize + 5 Special Awards 2016 Otto Edelmann Competition in Vienna (A) 3. Prize + Audience Award+ Daegu Opera House Award 2016 Concorso Lirico Internationale di Portofino (IT) Special Award of Eva-Maria Wieser 2016 International Vocal Competition Imrich Godin (SK) 1. Prize + EMCY Award 2015 Competition of Slovak Conservatories (SK) 1. Prize + Music Center Award 2013 EDUCATION Opera Studio Berlin State Opera 2017-2019 Master of Music Hochschule für Musik Hanns Eisler Berlin 2019 Corso d´Opera Montepulciano (IT) 2016 Bachelor of Music Hochschule für Musik Hanns Eisler Berlin 2014 -2016 DiS.art Conservatory in Bratislava 2009 -2015 VOICE TEACHERS CONDUCTORS MASTERCLASSES Anna Samuil Daniel Barenboim Brigitte Fassbaender Julia Várady Simon Rattle Anna Tomowa-Sintow Deborah Polaski Massimo Zanetti Luciana D´Intino Abbie Furmansky Julien Salemkur Francisco Araiza Wolfram Rieger Daniel Cohen Thomas Quasthoff Božena Ferancová Simone Young Patricia McCaffrey René Morloc VIDEO RECORDINGS Charles Gounod - Depuis le jour "Louise" W.A. Mozart - E Susanna non vien...Dove sono "Contessa" Otto Nicolai - Nun eilt herbei "Frau Fluth" (Louise) (Le Nozze di Figaro) (Die lustigen Weiber von Windsor) https://www.youtube.com/watch?v=KR6g51EDn-Q https://www.youtube.com/watch?v=jVTka8QHUOs https://www.youtube.com/watch?v=Gdl3HzwRjiA.
Load more

Recommended publications
  • 24 August 2021
    24 August 2021 12:01 AM Bruno Bjelinski (1909-1992) Concerto da primavera (1978) Tonko Ninic (violin), Zagreb Soloists HRHRTR 12:11 AM Wolfgang Amadeus Mozart (1756-1791) Piano Sonata in C major K.545 Young-Lan Han (piano) KRKBS 12:21 AM Johannes Brahms (1833-1897) 3 Songs for chorus, Op 42 Danish National Radio Choir, Stefan Parkman (conductor) DKDR 12:32 AM Giovanni Battista Viotti (1755-1824) Serenade for 2 violins in A major, Op 23 no 1 Angel Stankov (violin), Yossif Radionov (violin) BGBNR 12:41 AM Joseph Haydn (1732-1809),Ignace Joseph Pleyel (1757-1831), Harold Perry (arranger) Divertimento 'Feldpartita' in B flat major, Hob.2.46 Academic Wind Quintet BGBNR 12:50 AM Joaquin Nin (1879-1949) Seguida Espanola Henry-David Varema (cello), Heiki Matlik (guitar) EEER 12:59 AM Toivo Kuula (1883-1918) 3 Satukuvaa (Fairy-tale pictures) for piano (Op.19) Juhani Lagerspetz (piano) FIYLE 01:15 AM Edmund Rubbra (1901-1986) Trio in one movement, Op 68 Hertz Trio CACBC 01:35 AM Edvard Grieg (1843-1907) Peer Gynt - Suite No 1 Op 46 Bergen Philharmonic Orchestra, Ole Kristian Ruud (conductor) NONRK 02:01 AM Richard Strauss (1864-1949) Metamorphosen Auckland Philharmonia Orchestra, Giordano Bellincampi (conductor) NZRNZ 02:28 AM Max Bruch (1838-1920) Violin Concerto No. 1 in G minor, op. 26 James Ehnes (violin), Auckland Philharmonia Orchestra, Giordano Bellincampi (conductor) NZRNZ 02:52 AM Eugene Ysaye (1858-1931) Sonata for Solo Violin in D minor, op. 27/3 James Ehnes (violin) NZRNZ 02:59 AM Robert Schumann (1810-1856) Symphony No.
    [Show full text]
  • German Arias Concert Program
    Graduate Vocal Arts Program Bard College Conservatory of Music OPERA WORKSHOP Stephanie Blythe and Howard Watkins, instructors “Thank you, do you have anything in German?” Friday, March 5 at 8pm Wo bin ich? Engelbert Humperdinck (1854 - 1921) from Hänsel und Gretel Diana Schwam, soprano Ryan McCullough, piano Nimmermehr wird mein Herze sich grämen Friedrich von Flotow (1812 - 1883) from Martha Joanne Evans, mezzo-soprano Elias Dagher, piano Glück, das mir verblieb Erich Wolfgang Korngold (1897 - 1957) from Die tote Stadt Jardena Gertler-Jaffe, soprano Diana Borshcheva, piano Einst träumte meiner sel’gen Base Carl Maria von Weber (1786 - 1826) from Der Freischütz Kirby Burgess, soprano Gwyyon Sin, piano Witch’s Aria Humperdinck from Hänsel und Gretel Maximillian Jansen, tenor Diana Borshcheva, piano Da Anagilda sich geehret… Ich bete sie an Reinhard Kaiser (1674 - 1739) from Die Macht der Tugend Chuanyuan Liu, countertenor Ryan McCullough, piano Arabien, mein Heimatland Weber from Oberon Micah Gleason, mezzo-soprano Gwyyon Sin, piano Da schlägt die Abschiedsstunde Wolfgang Amadeus Mozart (1756 - 1791) from Der Schauspieldirektor Meg Jones, soprano Sung-Soo Cho, piano Mein Sehnen, mein Wähnen Korngold from Die tote Stadt Louis Tiemann, baritone Diana Borshcheva, piano Wie du warst Richard Strauss (1864 - 1949) from Der Rosenkavalier Melanie Dubil, mezzo-soprano Elias Dagher, piano Presentation of the Rose Strauss from Der Rosenkavalier Samantha Martin, soprano Elias Dagher, piano Arie des Trommlers Viktor Ullman (1898 - 1944) from Der Kaiser von Atlantis Sarah Rauch, mezzo-soprano Gwyyon Sin, piano Weiche, Wotan, weiche! Richard Wagner (1813 - 1883) from Das Rheingold Pauline Tan, mezzo-soprano Sung-Soo Cho, piano Nun eilt herbei! Otto Nicolai (1810 - 1849) from Die lustigen Weiber von Windsor Alexis Seminario, soprano Elias Dagher, piano SYNOPSES: Wo bin ich? Hänsel und Gretel Engelbert Humperdinck, Adelheid Wette, 1893 Gretel has just awakened from a deep sleep in the forest.
    [Show full text]
  • Verdi Otello
    VERDI OTELLO RICCARDO MUTI CHICAGO SYMPHONY ORCHESTRA ALEKSANDRS ANTONENKO KRASSIMIRA STOYANOVA CARLO GUELFI CHICAGO SYMPHONY CHORUS / DUAIN WOLFE Giuseppe Verdi (1813-1901) OTELLO CHICAGO SYMPHONY ORCHESTRA RICCARDO MUTI 3 verdi OTELLO Riccardo Muti, conductor Chicago Symphony Orchestra Otello (1887) Opera in four acts Music BY Giuseppe Verdi LIBretto Based on Shakespeare’S tragedy Othello, BY Arrigo Boito Othello, a Moor, general of the Venetian forces .........................Aleksandrs Antonenko Tenor Iago, his ensign .........................................................................Carlo Guelfi Baritone Cassio, a captain .......................................................................Juan Francisco Gatell Tenor Roderigo, a Venetian gentleman ................................................Michael Spyres Tenor Lodovico, ambassador of the Venetian Republic .......................Eric Owens Bass-baritone Montano, Otello’s predecessor as governor of Cyprus ..............Paolo Battaglia Bass A Herald ....................................................................................David Govertsen Bass Desdemona, wife of Otello ........................................................Krassimira Stoyanova Soprano Emilia, wife of Iago ....................................................................BarBara DI Castri Mezzo-soprano Soldiers and sailors of the Venetian Republic; Venetian ladies and gentlemen; Cypriot men, women, and children; men of the Greek, Dalmatian, and Albanian armies; an innkeeper and his four servers;
    [Show full text]
  • IDOMENEO EN MEXICO (O Un Pretexto Para Pasearse Por Algunos Mitos Griegos) II ROBERTO KRETSCHMER
    Este País 95 Febrero 1999 IDOMENEO EN MEXICO (o un pretexto para pasearse por algunos mitos griegos) II ROBERTO KRETSCHMER Mozart adoraba a su Idomeneo. Hasta el fin de sus días lo consideró su ópera consentida, la primogénita de sus siete óperas maestras. Y no es difícil entender por qué. Después de un deprimente pero no improductivo receso de diez años, en que aquel niño prodigio que deleitó a las cortes europeas no logra todavía transformarse y ser reconocido como el genio musical que él sabía que traía adentro —súbitamente, Deus ex machina—, el melómano y excelente flautista Karl Theodor, príncipe elector Bavaria, le encarga la composición de una ópera seria para el carnaval de 1781. Es probable que el frugal príncipe bávaro —por recomendación de Cannabich, director de la orquesta de Mannheim— acudiera por razones económicas al jovenzuelo Mozart (su súbdito, pues Salzburgo era parte de Bavaria entonces) y a Varesco, un jesuita italiano oriundo de Trieste pero radicado y mal pagado en Salzburgo, donde además murió en la miseria en 1805. Ordenar una ópera seria a consagrados como Gluck, Paisiello, Mercadante o Salieri, y usando a un libretista como Metastasio, hubiera salido demasiado caro. En cambio Mozart y Varesco, ambos radicados en la lánguida Salzburgo y aún lejos de la fama, aceptarían gustosos el encargo por un honorario mucho menor (Varesco recibió a regaña-dientes 90 ducados y Mozart 200 [?] ducados; un ducado era igual a 20 dólares actuales). Y así fue. ¡Su tacañez; nuestra ganancia! De no haber sido así, tendríamos más de lo mismo de Paisiello o de Salieri.
    [Show full text]
  • L'œuvre À L'affiche
    37 affiche xp 2/06/05 10:13 Page 120 L'œuvre à l'affiche Recherches: Elisabetta Soldini avec la contribution de César Arturo Dillon, Georges Farret Calendrier des premières représentations du Barbier de Séville d’après A. Loewenberg, Annals of Opera 1597-1940, Londres 1978 et Pipers Enzyklopädie des Musiktheaters, éd. C. Dahlhaus et S. Döhring, 1991 Le signe [▼] renvoie aux tableaux des pages suivantes. Sauf indication contraire signalée entre parenthèses, l’œuvre a été chantée en italien: [Ang] anglais, [All] allemand, [Bulg] bulgare, [Cro] croate, [Dan] danois, [Esp] espagnol, [Est] estonien, [Finn] finnois, [Flam] flamand, [Fr] français, [Héb] hébreu, [Hong] hongrois, [Lett] letton, [Lit] Lituanien, [Née] néerlandais, [Nor] norvégien, [Pol] polonais, [Rou] roumain, [Ru] russe, [Serb] serbe, [Slov] slovène, [Sué] suédois, [Tch] tchèque CRÉATION: 20 février 1816, Rome, Teatro Argentina. [▼] 1869: décembre, Le Caire. 1871: 3 novembre, Paris, Athénée. 1818: 10 mars, Londres, Her Majesty’s Theatre. - 16 juillet, Barcelone. - 1874: 29 septembre, Helsinki. [Finn] - 2 décembre, Zagreb. [Cro] 13 octobre, Londres, Covent Garden. [Ang] 1875: Le Cap. 1819: 1er janvier, Munich. - Carnaval, Lisbonne. - 3 mai, New York [Ang] - 1876: Tiflis. - Kiev. [Ru] 27 mai, Graz. [All] - 28 septembre, Vienne, Theater auf der Wieden. [All] - 1883: 23 novembre, New York, Metropolitan. 26 octobre, Paris, Théâtre-Italien. 1884: 8 novembre, Paris, Opéra-Comique. 1820: 6 septembre, Milan, Teatro alla Scala. - 29 septembre, Prague. [All] - 1905 : Ljubljana. [Slov] 3 octobre, Braunschweig. [All] - 16 décembre, Vienne, Kärntnertor- 1913 : 3 mai, Christiania (Oslo). [Norv] Theater. [All] - 18 décembre, Brünn. [All] 1918 : Shanghai. [Ru] 1821: 25 août, Madrid. - 31 août, Odessa. - 19 septembre, Lyon.
    [Show full text]
  • Chicago Symphony Orchestra Riccardo Muti Zell Music Director Y H P a R G O T O H P
    ChiCago Symphony orCheStra riCCardo muti zell muSiC direCtor y h p a r g o t o h P g r e b n e s o R d d o T OCTOBER 13 @15, 2017 ZELLERBACH HALL, UC BERKELEY FALL 2017 ORCHESTRA RESIDENCY ABOUT THE ARTISTS Salzburg mozarteum and the golden Johann Strauss award by the Johann Strauss Society of Vienna. he is also an honorary member of Vienna’s gesellschaft der musikfreunde, the Vienna hofmusikkapelle, the Vienna philhar - monic, and the Vienna State opera. in addition to his distinguished appoint - ments as music director, muti has received innumerable international honors. he is a Cavaliere di gran Croce of the italian republic, officer of the French legion of honor, and a recipient of the german Verdienstkreuz. Queen elizabeth ii bestowed on him the title of hon - y h orary Knight Commander of the British em - p a r g pire, russian president Vladimir putin awarded o t o h P him the order of Friendship, and pope Bene - g r e dict XVi made him a Knight of the grand b n e s Cross First Class of the order of Saint gregory o R d d the great—the highest papal honor. muti also o T has received israel’s Wolf prize for the arts, Riccardo Muti Sweden’s prestigious Birgit nilsson prize, Spain’s Born in naples, italy, riccardo muti is one of prince of asturias award for the arts, Japan’s the preeminent conductors of our day. in 2010, order of the rising Sun gold and Silver when he became the 10th music director of the Star decoration, and the gold medal from italy’s Chicago Symphony orchestra (CSo), he had ministry of Foreign affairs as well as the more than 40 years of experience at the helm of prestigious “presidente della repubblica” award maggio musicale Fiorentino (1968–1980), the from the italian government.
    [Show full text]
  • Vienna Philharmonic Orchestra Probably No Individual Composer Has Ever En- Gether, “I Was Leader of the Second Violins
    CAL PERFORMANCES PRESENTS PROGRAM NOTES Friday, February 25, 2011, 8pm Franz Schubert (1797–1828) anything else, he learned it all from God him- Zellerbach Hall Symphony No. 2 in B-flat major, D. 125 self”) and the famed Antonio Salieri (“You can do everything, you are a genius”), but also by his Composed in 1815. fellow students. Josef von Spaun, who became a lifelong friend, wrote of their school days to- Vienna Philharmonic Orchestra Probably no individual composer has ever en- gether, “I was leader of the second violins. Little gendered such an avalanche of new music as Schubert stood behind me and fiddled. [Many Semyon Bychkov, conductor flowed from Franz Schubert’s pen in 1815. There orchestras, except for the cellists, performed are almost 200 separate works from that one standing until the mid-19th century.] Very soon, year: the Second and Third Symphonies, a string I noticed that the little musician far surpassed quartet, two piano sonatas and four other large me in rhythmic surety. This aroused my interest PROGRAM piano works, two Masses, four choral composi- and made me realize with what animation the tions, five operas and 146 songs, eight coming in lad, who seemed otherwise quiet and indifferent, a single day in May. Schubert capped the year’s gave himself up to the impression of the beauti- Franz Schubert (1797–1828) Symphony No. 2 in B-flat major, D. 125 (1815) activities by producing Der Erlkönig on New ful symphonies which we played.” The school or- Year’s Eve. He was 18. chestra tackled works by Haydn, Mozart (“You Largo — Allegro vivace A year earlier, in the autumn of 1814, could hear the angels sing,” Schubert wrote of Andante Schubert had been exempted from compul- the G minor Symphony) and early Beethoven, Menuetto: Allegro vivace sory 13-year (!) military service because of his as well as such lesser masters as Krommer, Presto vivace short stature (barely five feet) and terrible eye- Kozeluch, Méhul and Weigl.
    [Show full text]
  • In Consideration of the Performers and Other Members of the Audience, Please Enter Or Leave a Performance at the End of a Composition
    In consideration of the performers and other members of the audience, please enter or leave a performance at the end of a composition. Cameras and recording equipment are not permitted. Please turn off all electronic devices, and be sure that all emergency contact cell phones and pagers are set to silent or vibrate. This event is free to all UNI students, courtesy of the Panther Pass Program. Performances like this are made possible through private support from patrons like you! Please consider contributing to School of Music scholarships or guest artist programs. Call 319-273-3915 or visit www.uni.edu/music to make your gift. The Merry Wives of Windsor by Otto Nicolai Directed by Mitra Sadeghpour* based on the play by Shakespeare, adapted by Hermann von Mosenthal Music Preparation by Korey Barrett*+ and Tina Su* Conducted by Rebecca Burkhardt* ACT I Scene 1: A courtyard outside the Ford and Page houses Stage Manager . .Dylan Nicole Martin Scene 2: A room in the Ford house Assistant Stage Manager . Nick Mayhugh Choreographers . Mandy Masmar*+ and Jennifer Hampton Scenic and Lighting Design . Lawrence Guadagnoli+ and Chris Tuzicka ACT II Technical Director, Scenic and Props Design . Lawrence Guadagnoli+ Scene 1: A room at the Garter Inn Costume Coordinator . .Danielle Mason Scene 2: A courtyard outside the Ford and Page houses Musical Preparation and Rehearsal Pianists . .Korey Barrett*+ and Tina Su* Scene 3: A room in the Ford house Chorus Master . .Korey Barrett*+ Assistant Chorus Master . Morgan Kramer Scenic . .Jenna Guy and Michael Hellman Hair and Makeup . Mallory Rustad ACT III Poster and Cover Design .
    [Show full text]
  • Staged Treasures
    Italian opera. Staged treasures. Gaetano Donizetti, Giuseppe Verdi, Giacomo Puccini and Gioacchino Rossini © HNH International Ltd CATALOGUE # COMPOSER TITLE FEATURED ARTISTS FORMAT UPC Naxos Itxaro Mentxaka, Sondra Radvanovsky, Silvia Vázquez, Soprano / 2.110270 Arturo Chacon-Cruz, Plácido Domingo, Tenor / Roberto Accurso, DVD ALFANO, Franco Carmelo Corrado Caruso, Rodney Gilfry, Baritone / Juan Jose 7 47313 52705 2 Cyrano de Bergerac (1875–1954) Navarro Bass-baritone / Javier Franco, Nahuel di Pierro, Miguel Sola, Bass / Valencia Regional Government Choir / NBD0005 Valencian Community Orchestra / Patrick Fournillier Blu-ray 7 30099 00056 7 Silvia Dalla Benetta, Soprano / Maxim Mironov, Gheorghe Vlad, Tenor / Luca Dall’Amico, Zong Shi, Bass / Vittorio Prato, Baritone / 8.660417-18 Bianca e Gernando 2 Discs Marina Viotti, Mar Campo, Mezzo-soprano / Poznan Camerata Bach 7 30099 04177 5 Choir / Virtuosi Brunensis / Antonino Fogliani 8.550605 Favourite Soprano Arias Luba Orgonášová, Soprano / Slovak RSO / Will Humburg Disc 0 730099 560528 Maria Callas, Rina Cavallari, Gina Cigna, Rosa Ponselle, Soprano / Irene Minghini-Cattaneo, Ebe Stignani, Mezzo-soprano / Marion Telva, Contralto / Giovanni Breviario, Paolo Caroli, Mario Filippeschi, Francesco Merli, Tenor / Tancredi Pasero, 8.110325-27 Norma [3 Discs] 3 Discs Ezio Pinza, Nicola Rossi-Lemeni, Bass / Italian Broadcasting Authority Chorus and Orchestra, Turin / Milan La Scala Chorus and 0 636943 132524 Orchestra / New York Metropolitan Opera Chorus and Orchestra / BELLINI, Vincenzo Vittorio
    [Show full text]
  • Belshazzar's Feast
    CONCERT PROGRAM Friday, February 24, 2017 at 8:00PM Saturday, February 25, 2017 at 8:00PM Sir Andrew Davis, conductor John Relyea, bass St. Louis Symphony Chorus Amy Kaiser, director NICOLAI Overture to The Merry Wives of Windsor (1810–1849) (Die lustigen Weiber von Windsor) (1849) ELGAR Falstaff, Symphonic Study in C minor, op. 68 (1913) (1857–1934) Falstaff and Prince Henry – Eastcheap – Gadshill – The Boar’s Head, revelry and sleep Dream Interlude: Jack Falstaff, now Sir John, a boy, and page to Thomas Mowbray, Duke of Norfolk – Falstaff’s march – The return through Gloucestershire – Interlude: Gloucestershire. Shallow’s orchard – The new king – The hurried ride to London – King Henry V’s progress – The repudiation of Falstaff, and his death INTERMISSION WALTON Belshazzar’s Feast (1931) (1902–1983) Thus spake Isaiah If I forget thee, O Jerusalem – Babylon was a great city In Babylon Belshazzar the King made a great feast – Praise ye, the God of Gold – Thus in Babylon, the mighty city – And in that same hour – Then sing aloud to God our strength The trumpeters and pipers Then sing aloud to God our strength John Relyea, bass St. Louis Symphony Chorus Amy Kaiser, director 23 ACKNOWLEDGMENTS These concerts are part of the Wells Fargo Advisors Orchestral Series. Sir Andrew Davis is the Felix and Eleanor Slatkin Guest Artist. The concert of Friday, February 24, is underwritten in part by a generous gift from Linda and Paul Lee. Pre-Concert Conversations are sponsored by Washington University Physicians. Large print program notes are available through the generosity of The Delmar Gardens Family, and are located at the Customer Service table in the foyer.
    [Show full text]
  • New • Nouveaute • Neuheit
    NEW • NOUVEAUTE • NEUHEIT 08/09-(6) Title: Otto Nicolai (1810-1849) Variations brillantes op. 26 Overtures on „Die lustigen Weiber von Windsor“ „Die Heimkehr des Verbannten“ „Ein feste Burg ist unser Gott“ „Vom Himmel hoch“ Artists: Johannes Pieper, clarinet Philharmonie Südwestfalen David Stern, cond. 1 CD Order No.: MDG 601 1268-2 UPC-Code: The More, the Merrier There is more to Otto Nicolai than The Merry Wives of these plans. As the conductor at the Royal Theater in Windsor. When this German composer died at the Berlin, Nicolai was able to implement his ideas and to early age of thirty-nine in the middle years of the celebrate an acclaimed premiere on 9 March 1849. A nineteenth century, he bequeathed a richly varied stroke kept the composer from experiencing the oeuvre to posterity. His music is now being work’s enduring success: he died on 11 May 1849. documented in full by the Southern Westphalian Philharmonic under David Stern in the best MDG Interpretive Triumphs quality. The Variations brillantes op. 26 for clarinet The Southern Westphalian Philharmonic under its and orchestra, the featured work of Vol. 2, is framed former principal conductor David Stern is an by two secular and two sacred overtures. outstanding cultural ambassador of this German region. The Orchestra of the German Land of North Festive Occasion Rhine-Westphalia since 1992, the ensemble regularly Nicolai, a native of Königsberg, felt at home in guests at the German Opera of the Rhine in churches and opera houses throughout his life. He Düsseldorf and in the opera houses in Cologne and first attracted attention at the age of twenty-three in Essen.
    [Show full text]
  • Oral History Center University of California the Bancroft Library Berkeley, California Frederica Von Stade Frederica Von Stade
    Oral History Center University of California The Bancroft Library Berkeley, California Frederica von Stade Frederica von Stade: American Star Mezzo-Soprano Interviews conducted by Caroline Crawford in 2011, 2012, 2014, 2015 Copyright © 2020 by The Regents of the University of California Oral History Center, The Bancroft Library, University of California, Berkeley ii Since 1954 the Oral History Center of The Bancroft Library, formerly the Regional Oral History Office, has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the nation. Oral History is a method of collecting historical information through recorded interviews between a narrator with firsthand knowledge of historically significant events and a well-informed interviewer, with the goal of preserving substantive additions to the historical record. The recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is bound with photographs and illustrative materials and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ********************************* All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Frederica von Stade dated February 2, 2012. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley.
    [Show full text]