DOCSLIB.ORG

William Christie Conducts Les Arts Florissants in Aix-En-Provence Festival Production of Charpentier’S David Et Jonathas at BAM

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
William Christie Conducts Les Arts Florissants in Aix-En-Provence Festival Production of Charpentier’S David Et Jonathas at BAM William Christie conducts Les Arts Florissants in Aix-en-Provence Festival production of Charpentier’s David et Jonathas at BAM Zurich Opera House General Director Andreas Homoki makes US directorial debut Bloomberg is the BAM 2013 Winter/Spring Season sponsor David et Jonathas US Premiere By Marc-Antoine Charpentier Les Arts Florissants An Aix-en-Provence Festival production Conducted by William Christie Directed by Andreas Homoki Scene design by Paul Zoller Costume design by Gideon Davey Lighting design by Franck Evin Cast: Pascal Charbonneau (David), Ana Quintans (Jonathas), Neal Davies (Saül), Kresimir Spicer (Joabel), Dominique Visse (La Pythonisse), and Fréderic Caton (Archis) BAM Howard Gilman Opera House (30 Lafayette Ave) Apr 17, 18 & 20 at 7:30pm; Apr 21 at 2pm Tickets start at $30 In French with English titles Iconic Artist Talk: William Christie Moderated by John Heilpern Apr 21, 11am BAM Fisher (Fishman Space) Tickets: $20 ($10 for Friends of BAM) A Special Screening for Friends of BAM: Atys in HD, introduced by William Christie Apr 18, 6:15pm BAM Rose Cinemas Tickets by RSVP and for Friends of BAM only “Andreas Homoki’s production… is not be missed, especially as it is conducted by the great William Christie and performed by members of his group Les Arts Florissants.” —The Guardian Les Arts Florissants plays the music “with a sensuality and passionate rigor that is simply astonishing” —The New York Times Brooklyn, NY/March 5, 2013—Following their landmark revival of Atys in 2011, esteemed conductor William Christie and his early music ensemble Les Arts Florissants return to BAM with another French Baroque gem: David et Jonathas, in a production directed by the general manager of Zurich Opera House Andreas Homoki, making his US debut. First presented in 1688, Marc-Antoine Charpentier’s David et Jonathas dramatizes one of the most celebrated male loves in the Bible: that of the young Israeli prince, Jonathas, and its future king, David. Israeli King Saül, jealous of David’s military prowess and suspicious of his affection for his son Jonathas, banishes the young shepherd, who then flees to the opposing Philistine camp. Saül’s hatred leads him to a battle that claims both his and Jonathas’ lives, paving the way for David’s ascension to the throne. David et Jonathas was originally conceived as a series of interludes woven into a five-act biblical play, now lost, by the Jesuit priest Étienne Chamillart. William Christie first presented the opera in concert and recorded it in 1988. It wasn’t until 2012 at Aix-en-Provence that he was able to present it in a full production by Andreas Homoki, who updated the setting to the Mediterranean in the early 20th century and highlighted the work’s pacifist message. Its ingenious staging places the action within a constantly-moving wooden frame, which expands and contracts to reveal a series of flashbacks of happier times for the two young protagonists. Comparing their story to that of Romeo and Juliet, Homoki said that Charpentier found a “poignantly intense music tone” to portray the doomed relations between David and Jonathas and that the piece reminds us of the “power of love to erase borders and to transform hate into love.” For the past 30 years, William Christie has led the international revival of French Baroque music and many of his acclaimed productions are seen in New York on BAM’s stages. To celebrate his long- standing relations with BAM, starting with his first appearance with Atys in 1989, an Iconic Artist Talk will be held on Apr 21. Maestro Christie will discuss his music career, as seen through his considerable number of engagements at BAM, with longtime theater critic, author, and current Vanity Fair columnist John Heilpern. About the Artists William Christie, harpsichordist, conductor, musicologist, and teacher, is the inspiration behind one of the most exciting musical adventures of the last 30 years. Born in Buffalo, William Christie studied at Harvard and Yale Universities and has lived in France since 1971. He founded Les Arts Florissants in 1979 and received major public recognition in 1987 with the production of Atys at the Opéra Comique in Paris (the production’s US debut was presented at BAM in 1989; its much-anticipated revival was presented at BAM in September 2011). His pioneering work has led to a renewed appreciation of 17th- and 18th-century French repertoire. He is equally adept at other European repertoire and has given many acclaimed performances of works by Monteverdi, Rossi, Scarlatti, Purcell, Handel, Haydn, and Mozart. His extensive discography (more than 100 recordings, many of which have won awards in France and abroad) with Harmonia Mundi and Warner Classics/Erato is proof of this versatility. William Christie has a particularly busy operatic career and has collaborated with renowned directors such as Jean-Marie Villégier, Robert Carsen, Alfredo Arias, Jorge Lavelli, Graham Vick, Adrian Noble, Andrei Serban, and Luc Bondy. In great demand as a guest conductor, he has been invited by the Berlin Philharmonic, Orchestra of the Age of Enlightenment, the Metropolitan Opera of New York, the Zurich Opernhaus, and the Opéra national de Lyon. Christie is Commandeur of l’Ordre de la Légion d’Honneur as well as Officier of l’Ordre des Arts et des Lettres. He was elected to the Académie des Beaux-Arts in 2008 and received the 2005 Georges Pompidou Prize as well as the Liliane Bettencourt Choral Singing Prize awarded by the Académie des Beaux-Arts in 2004. The vocal and instrumental ensemble Les Arts Florissants is one of the most renowned and respected early music groups in the world. Dedicated to the performance of Baroque music on original instruments, the ensemble was founded in 1979 by William Christie and takes its name from a short opera by Marc-Antoine Charpentier. Les Arts Florissants played a pioneering role in the resurgence of interest for a repertoire which had up until then been neglected but which is now widely performed and admired. Les Arts Florissants has also embarked upon contemporary repertoire, giving the premiere of Motets III – Hunc igitor terrorem by Betsy Jolas in 1999, to mark the ensemble’s 20th anniversary. Since its first appearance in 1989 (Atys), Les Arts Florissants has brought many of its notable productions to BAM, including Atys (1992, revived in 2011), Castor et Pollux and Les Indes Galantes (1993), Médée (1994), Orlando (1996), Hippolyte et Aricie (1997), Zoroastre (1998), Odes & Birthday Music by Henry Purcell (1999), Theodora (2000), Il Ritorno d'Ulisse in Patria (2002), Les Boréades (2003), Hercules (2006), Dido and Aeneas, Actéon, and The Fairy Queen (2010). Starting with the 2012/13 season, Andreas Homoki took up the position of general manager of the Zurich Opera House where his Der fliegende Holländer was presented in a co-production with the Teatro alla Scala Milan and the Norske Opera in Oslo. In addition, in April 2013, he will direct Lady Macbeth of the Mtsensk District. His production of Charpentier’s David and Jonathas, staged in the summer of 2012 for the Aix-en-Provence Festival, can also be seen at the Edinburgh Festival, the Opéra Comique Paris, and BAM. His international career was launched in 1992 with Die Frau ohne Schatten at the Grand Théâtre de Genève, a production which was revived the following year at the Châtelet in Paris and won the French Theatre Critics Award for Best Opera in the 1993/94 season. In 2002 Andreas Homoki succeeded Harry Kupfer as principal stage director of the Komische Oper in Berlin, and a season later was appointed general manager, where he remained until the 2011/12 season. Under his direction the Komische Oper Berlin was nominated “Best Opera House of the Year” by the magazine Opernwelt in 2007. David et Jonathas marks his US debut. French-Canadian tenor Pascal Charbonneau (David) studied at McGill University in Montreal and the Atelier Lyrique de l’Opéra de Montréal. He was awarded the Oratorio/Lied prize at the Julian Gayarre International Singing Competition. Recent professional highlights include David et Jonathas at the Festival d’Aix-en-Provence‚ Edinburgh International Festival, Opéra Comique, BAM‚ Acis and Galatea at La Fenice and Aix-en-Provence‚ Sweeney Todd and My Fair Lady at the Châtelet‚ From the House of the Dead at Opera National du Rhin‚ Knight Crew at Glyndebourne‚ and St. John Passion at Washington National Cathedral. After earning a degree in Sculpture in 1998, soprano Ana Quintans (Jonathas) pursued her vocal studies at Lisbon Conservatory and later at the Flanders Opera Studio in Ghent with a Gulbenkian Foundation scholarship. She has worked with distinguished conductors and stage directors and her recordings include Fauré’s Requiem with Sinfonia Varsovia and Michel Corboz, and Charpentier’s Judicium Salomonis with Les Arts Florissants and William Christie. Performances on DVD include Drusilla in Monteverdi’s L’incoronazione di Poppea and a Witch in Purcell’s Dido and Aeneas. Welsh bass-baritone Neal Davies (Saül) studied at King's College, London, and at the Royal Academy of Music. He also studied at the International Opera Studio, Zurich under the patronage of Dame Gwyneth Jones. He won the Lieder Prize at the 1991 Cardiff Singer of the World Competition. He has been a regular guest at the Edinburgh Festival (performing under Gennady Rozhdestvensky, Donald Runnicles, and Charles Mackerras). Recordings include Benjamin Britten's A Midsummer Night's Dream under Sir Colin Davis, Messiah and Theodora under Paul McCreesh, Vivaldi’s cantatas
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]
  • 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]
  • 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]
  • 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]
  • Central Opera Service Bulletin Volume 29, Number A
    CENTRAL OPERA SERVICE BULLETIN VOLUME 29, NUMBER A CONTENTS NEW OPERAS AND PREMIERES 1 NEWS FMNQKRA COMPANIES 18 GOVERNMENT AND NATIONAL ORGANIZATIONS 24 27 ODNFERENOS H MEM AND REMWftTED THEATERS 29 FORECAST 31 ANNIVERSARIES 37 ARCHIVES AND EXHIBITIONS 39 ATTENTION C0MP0SH8. LIBRE11ISTS, FIAYWRHMTS 40 NUSIC PUBLISHERS 41 EDITIONS AND ADAPTATIONS 4t EOUCATION 44 AFPOINTMEMIS AND RESIGNATIONS 44 COS OPERA SURVEY USA 1988-89 OS INSIDE INFORMATION 57 COS SALUTES. O WINNERS (4 BOOK CORNER 66 OPERA HAS LOST. 73 PERFORMANCE LIST INC. 1969 90 SEASON (CONT.) 83 Sponsored by the Metropolitan Opera National Council CENTRAL OPERA SERVICE BULLETIN Volume 29, Number 4 Fall/Winter 1989-90 CONTENTS New Operas and Premieres 1 News from Opera Companies 18 Government and National Organizations 24 Copyright 27 Conferences 28 New and Renovated Theaters 29 Forecast 31 Anniversaries 37 Archives and Exhibitions 39 Attention Composers, Librettists, Playwrights 40 Music Publishers 41 Editions and Adaptations 42 Education 44 Appointments and Resignations 46 COS Opera Survey USA 1988-89 56 COS Inside Information 57 COS Salutes. 63 Winners 64 Book Corner 66 Opera Has Lost. 73 Performance Listing, 1989-90 Season (cont.) 83 CENTRAL OPERA SERVICE COMMITTEE Founder MRS. AUGUST BELMONT (1879-1979) Honorary National Chairman ROBERT L.B. TOBIN National Chairman MRS. MARGO H. BINDHARDT Please note page 56: COS Opera Survey USA 1988-89 Next issue: New Directions for the '90s The transcript of the COS National Conference In preparation: Directory of Contemporary Opera and Music Theater, 1980-89 (Including American Premieres) Central Opera Service Bulletin • Volume 29, Number 4 • Fall/Winter 1989-90 Editor: MARIA F.
    [Show full text]
  • Edinburgh Research Explorer
    Edinburgh Research Explorer Art as utopia Citation for published version: Kelly, E 2014, 'Art as utopia: Parsifal and the East German left', Opera Quarterly, vol. 30, no. 2-3, pp. 246- 66. https://doi.org/10.1093/oq/kbu021 Digital Object Identifier (DOI): 10.1093/oq/kbu021 Link: Link to publication record in Edinburgh Research Explorer Document Version: Peer reviewed version Published In: Opera Quarterly General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 01. Oct. 2021 Final author version. Opera Quarterly, Advance Access published October 20, 2014, doi:10.1093/oq/kbu021. Art as Utopia: Parsifal and the East German Left Elaine Kelly The reception of art in the early years of the German Democratic Republic was governed by two significant factors. The first was the premise that the conditions of state socialism would inevitably yield to a communist utopia. The second was that art would facilitate this evolution by illuminating the seeds for utopian development that already existed both in the GDR and in the Germanic cultural heritage more generally.
    [Show full text]
  • Evelyn Herlitius Held Her First Lied Recital in 2011 at the Dresden Semperoper
    Saverio Clemente Andrea De Amici Luca Targetti Evelyn Herlitzius studied at the Hochschule für Musik und Theater in Hamburg and had her first engagements in Flensburg, Saarbrücken and Karlsruhe. Since her debut at the Dresden State Opera in 1997 as Leonore in Fidelio, she has been regularly invited back, interpreting Elisabeth and Venus in Tannhäuser, the title roles in Jenufa and Salome, Kundry in Parsifal, Färberin in Die Frau ohne Schatten and Jeanne in Die Teufel von Loudon. She has performed with all the major opera companies throughout Europe and Japan, including Berlin, Hamburg, Stuttgart and Vienna State Operas, the Deutsche Oper Berlin (complete Ring Cycle in 2010), De Nederlandse Opera, Teatro alla Scala in Milan (Lady Macbeth of Mtsensk/Katerina Izmaylova and Wozzeck/Marie), Gran Teatre del Liceu in Barcelona (Die Walküre/Brünnhilde opposite Plácido Domingo and Parsifal/Kundry in 2011) and Teatro de la Maestranza in Seville, to name but a few. Recently she sang Turandot in Rome. She also enjoys a busy concert career. Sir Simon Rattle engaged her for Schönberg's Erwartung with the Berlin Philharmonic Orchestra for concerts in Berlin and New York in 2009 and for Die Walküre (Brünnhilde) in 2012. Pierre Boulez invited her to sing the Glagolitic Mass with the Vienna Philharmonic Orchestra in March 2010. She also Evelyn Herlitius held her first Lied recital in 2011 at the Dresden Semperoper. Soprano After her debut at the Bayreuth Festival in 2002 as Brünnhilde, Ms. Herlitzius was invited back for: Ring Cycle in 2003 and 2004; Parsifal (Kundry) in 2006 and 2007; and a new production of Lohengrin (Ortrud) in 2010.
    [Show full text]
  • Classical Opera Repertoire Contemporary Operas Concert Singer Co
    BIOGRAPHY (long) Early in his life, Vienna-born Andreas Jankowitsch learned how to play the piano. He was soprano soloist at the Vienna Boys’ Choir and studied organ, composition and singing at the Vienna University of Music with Walter Berry, Robert Holl and Franz Lukasovsky. It was during his studies that he joined the ensemble of the Salzburg Regional Theatre, working together with Harry Kupfer and Stephane Deneve. Shortly after his engagement in Salzburg, he has been singing at renowned international theatres in Germany (Berlin, Darmstadt), Spain (Zaragossa, Valencia, Gijon, Bilbao), Italy (Udine, Pordenone), France (Lyon), Austria (Festspiele Bregenz, Festspielhaus Salzburg) and in many other countries. Classical opera repertoire Appearing as "Don Giovanni" in Tobias Moretti’s opera debut in Bregenz, Andreas Jankowitsch started his career as freelance singer. Numerous engagements brought him to famous stages all over Europe. His comprehensive opera repertoire includes works from Haydn (Buonafede), Mozart (Leporello, Don Giovanni, Papageno, Guglielmo, Figaro), Beethoven (Don Pizarro), Lortzing (Baculus), Weber (Freischütz - Kaspar), Rossini (Bartolo, Basilio), Gounod (Mephisto), Puccini (Sharpless, Scarpia), Offenbach (Villains), Debussy (Golaud), Strauss (Jochanaan), Janacek (Jenufa), Smetana (The Bartered Bride - Krushina) to contemporary music (Hindemith, Henze, Glanert und Aribert Reimann). Contemporary operas For Andreas Jankowitsch it is also important to perform modern music on a regular basis. In this genre, he has given virtuoso performances in mono-operas including Grigori Frid´s "Letters of van Gogh", Wolfram Wagner´s "Endlich Schluß" and Tsippi Fleischer´s "Cain and Abel". In particular, he was praised by the critics for his title role in Wolfgang Mitterer’s comic opera “Baron Munchhausen”, which had its premiere during the “Wien Modern” festival in 2011.
    [Show full text]