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Boston Symphony Orchestra Concert Programs, Season 118, 1998-1999
BOSTON SYMPHONY ORCHESTRA 1 I O Z AWA ' T W E N T Y- F I F 1 H ANNIVERSARY SEASO N 1 1 8th Season • 1 998-99 Bring your Steinway: < With floor plans from acre gated community atop 2,100 to 5,000 square feet, prestigious Fisher Hill you can bring your Concert Jointly marketed by Sotheby's Grand to Longyear. International Realty and You'll be enjoying full-service, Hammond Residential Real Estate. single-floor condominium living at Priced from $1,100,000. its absolutefinest, all harmoniously Call Hammond Real Estate at located on an extraordinary eight- (617) 731-4644, ext. 410. LONGYEAR at Jisner Jiill BROOKLINE Seiji Ozawa, Music Director 25TH ANNIVERSARY SEASON Bernard Haitink, Principal Guest Conductor One Hundred and Eighteenth Season, 1998-99 Trustees of the Boston Symphony Orchestra, Inc. R. Willis Leith, Jr., Chairman Nicholas T. Zervas, President Peter A. Brooke, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer Harvey Chet Krentzman, Vice-Chairman Ray Stata, Vice-Chairman Harlan E. Anderson Deborah B. Davis Edna S. Kalman Vincent M. O'Reilly Gabriella Beranek Nina L. Doggett George Krupp Peter C. Read James E Cleary Nancy J. Fitzpatrick Mrs. August R. Meyer Hannah H. Schneider John F. Cogan, Jr. Charles K. Gifford, Richard P. Morse Thomas G. Sternberg Julian Cohen ex-ojficio Mrs. Robert B. Stephen R. Weiner William F. Connell Avram J. Goldberg Newman Margaret Williams- William M. Crozier, Jr. Thelma E. Goldberg Robert P. O'Block, DeCelles, ex-qfficio Nader F Darehshori Julian T. Houston ex-ojficio Life Trustees Vernon R. -
Spring 2008-Final
Wagneriana Endloser Grimm! Ewiger Gram! Spring 2008 Der Traurigste bin ich von Allen! Volume 5, Number 2 —Die Walküre From the Editor ven though the much-awaited concert of the Wagner/Liszt piano transcriptions was canceled due to un- avoidable circumstances (the musicians were unable to obtain a visa), the winter and early spring months E brought several stimulating events. On January 19, Vice President Erika Reitshamer gave an audiovisual presentation on Wagner’s early opera Das Liebesverbot. This well-attended event was augmented by photocopies of extended excerpts from the libretto, with frequently amusing commentary by the presenter on Wagner’s influences and foreshadowings of his future operas. February 23 brought the excellent talk by Professor Hans Rudolf Vaget of Smith College. Professor Vaget spoke about Wagner’s English biographer Ernest Newman, whose seminal four-volume book The Life of Richard Wagner has never been surpassed in its thoroughness. In the early part of the twentieth century, the music critic Newman served as a counterbalance to his fellow countryman Houston Stewart Chamberlain, Wagner’s son-in-law and an ardent Nazi. The talk also included aspects of Thomas Mann’s fictional writings on Wagner, as well as the philoso- pher and musician Theodor Adorno and Wagner’s other son-in-law Franz Beidler. On April 19 we learned the extent of Buddhism’s influence on Wagner’s operas thanks to a lecture and book signing by Paul Schofield, author of The Redeemer Reborn: Parsifal as the Fifth Opera of Wagner’s Ring. The audience members were so interested in what Mr. -
Jean Sibelius Zum 50. Todestag · Voces Intimae · Streichquartett D-Moll Op
JEAN SIBELIUS ZUM 50. TODEstAG · VOCES INTIMAE · STREICHQUARTEtt D-MOLL OP. 56 SKANDINAVISCHE SEHNSUCHT · 18. 22.09.2007 KULLERVO · FINLANDIA · SUITE FÜR ORCHEstER OP. 11 · ALLA MARCIA · SCHERZINO OP. 58 NR. 2 REVERIE OP. 58 NR. 1 · SINFONIE NR. 7 C-DUR OP. 105 · RAKASTAVA · ROMANZE A-DUR OP. 24 NR. 2 · KONZERT FÜR VIOLINE UND ORCHEstER D-MOLL OP. 47 · SO KLINGT NUR DORTMUND 2,50 E KONZERTHAUS DORTMUND · JEAN SIBELIUS ZUM 50. TODESTAG. SO KLINGT NUR DORTMUND. Abo: Jean Sibelius zum 50. Todestag – Festival-Pass I Wir bitten um Verständnis, dass Bild- und Tonaufnahmen während der Vorstellung nicht gestattet sind. GEFÖRDERT DURCH DIE FINNisCHE BOtsCHaft BERLIN 4 I 5 JEAN SIBELIUS ZUM 50. TODEstAG – META4 QUARTET D IENstAG, 18.09.2007 · 20.00 Dauer: ca. 1 Stunde 45 Minuten inklusive Pause Meta4 Quartet Antti Tikkanen Violine · Minna Pensola Violine Atte Kilpeläinen Viola · Tomas Djupsjöbacka Violoncello JEAN SibELIUS (1865 –1957) Fugue for Martin Wegelius JOUNI KaipaiNEN (1956 – ) Streichquartett Nr. 5 op. 70 Andante Sostenuto, semplice – Allegro con impeto e spiritoso Adagio misterioso sospirando – meno Adagio – Tempo primo -Pause- JEAN SibELIUS Streichquartett d-moll op. 56 »Voces Intimae« Andante. Allegro molto moderato Vivace Adagio di molto Allegro (ma pesante) Allegro Einführung mit Intendant Benedikt Stampa um 19.15 Uhr im Komponistenfoyer Gefördert durch Kunststiftung NRW 6I7 PROGRAMM JEAN SIBELIUS ZUM 50. TODEstAG – KLAVIERABEND ANttI SIIRALA · MIttWOCH, 19.09.2007 · 19.00 FRÉDÉRIC CHOpiN 24 Préludes op. 28 Prélude Nr. 1 C-Dur Dauer: ca. 2 Stunden inklusive Pause Prélude Nr. 2 a-moll Prélude Nr. 3 G-Dur Antti Siirala Klavier Prélude Nr. -
23 APRIL WEDNESDAY SERIES 14 Helsinki Music Centre at 19
23 APRIL WEDNESDAY SERIES 14 Helsinki Music Centre at 19 Dima Slobodeniouk, conductor Johannes Piirto, piano Tapiola Chamber Choir, coach Hannu Norjanen J. S. Bach–Webern: Ricercar from “The Musical Offering” 7 min Igor Stravinsky: Concerto in D for string orchestra 12 min I Vivace II Arioso (Andantino) III Rondo (Allegro) Igor Stravinsky: Concerto for piano and wind 18 min instruments I Largo – Allegro II Largo – Listesso tempo ma poco rubato III Allegro – Lento INTERVAL 20 min J. S. Bach – Berio: Contrapunctus XIX 8 min Igor Stravinsky: Symphony of Psalms 22 min I Exaudi orationem meam, Domine (Hear my prayer, O Lord) II Expectans expectavi Dominum (I waited patiently for the Lord) III Alleluja, laudate Dominum (Halleluja! Praise God) Interval at about 19.55. The concert ends at about 20.50. 1 J. S. BACH (1685–1750) – IGOR STRAVINSKY A. WEBERN (1882–1971): CONCERTO (1883–1945): RICERCAR IN D FOR STRING ORCHESTRA During a visit to the royal court at Potsdam in 1747, Johann Sebastian The Concerto in D composed in the Bach was ordered to improvise “in the United States in 1946 for the Basel old style” on a theme given by the King, Chamber Orchestra and Paul Sacher is Frederick the Great. Later that year one of the last works by Igor Stravinsky he sent the King a “Musical Offering” with a historical orientation. In its based on the theme and bearing the sparse approach, its ballet-like play inscription “Regis Jussu Cantio Et with rhythms, it looks for its model to Reliqua Canonica Arte Resoluta (“the Bach’s Brandenburg Concertos. -
Wagner: Das Rheingold
as Rhe ai Pu W i D ol til a n ik m in g n aR , , Y ge iin s n g e eR Rg s t e P l i k e R a a e Y P o V P V h o é a R l n n C e R h D R ü e s g t a R m a e R 2 Das RheingolD Mariinsky Richard WAGNER / Рихард ВагнеР 3 iii. Nehmt euch in acht! / Beware! p19 7’41” (1813–1883) 4 iv. Vergeh, frevelender gauch! – Was sagt der? / enough, blasphemous fool! – What did he say? p21 4’48” 5 v. Ohe! Ohe! Ha-ha-ha! Schreckliche Schlange / Oh! Oh! Ha ha ha! terrible serpent p21 6’00” DAs RhEingolD Vierte szene – scene Four (ThE Rhine GolD / Золото Рейна) 6 i. Da, Vetter, sitze du fest! / Sit tight there, kinsman! p22 4’45” 7 ii. Gezahlt hab’ ich; nun last mich zieh’n / I have paid: now let me depart p23 5’53” GoDs / Боги 8 iii. Bin ich nun frei? Wirklich frei? / am I free now? truly free? p24 3’45” Wotan / Вотан..........................................................................................................................................................................René PaPe / Рене ПАПЕ 9 iv. Fasolt und Fafner nahen von fern / From afar Fasolt and Fafner are approaching p24 5’06” Donner / Доннер.............................................................................................................................................alexei MaRKOV / Алексей Марков 10 v. Gepflanzt sind die Pfähle / These poles we’ve planted p25 6’10” Froh / Фро................................................................................................................................................Sergei SeMISHKUR / Сергей СемишкуР loge / логе..................................................................................................................................................Stephan RügaMeR / Стефан РюгАМЕР 11 vi. Weiche, Wotan, weiche! / Yield, Wotan, yield! p26 5’39” Fricka / Фрикка............................................................................................................................ekaterina gUBaNOVa / Екатерина губАновА 12 vii. -
Maximise Your Enjoyment and Understanding of Wagner’S Music
Wagner Society in NSW Inc. Maximise your enjoyment and understanding of Wagner’s music Newsletter No. 123, December 2011 - January 2012 IT'S ALMOST MEMBERSHIP RENEWAL TIME Yes, it’s surprising how quickly the year slips by, and membership renewal is due by 31 January! Why renew your membership for 2012? The best reason to renew is the expanded range of activities and events that will stimulate, educate and entertain! Our calendar will expand the number of Wagner Society events from eight to ten with more variety and interest than ever before. There will be recitals, lectures, debates, fund-raisers and social occasions, focussed on the buildup to the bicentenary of Wagner's birth and Opera Australia's forthcoming Ring production in Melbourne in 2013. SO, MAXIMISE YOUR ENJOYMENT BY RENEWING YOUR MEMBERSHIP! You can renew your membership now using the renewal form at the back of this newsletter. Hamburg State Opera in two concert performances of Das Rheingold, the opening opera in Richard Wagner’s greatest President’s Report work, The Ring Cycle. In 2000 in Vienna, Ms Young made Welcome to the final newsletter for 2011. musical history when she became the first woman ever to Your Committee has been working energetically (some conduct the complete Ring Cycle. members, it seems, have been writing emails almost around Ms Young will also conduct the performance of Mahler’s the clock) in organising an exciting series of events for next mighty Symphony No. 2, known as the Resurrection year. Indeed, we have such an abundance of riches that, in Symphony that will feature soloists from the Hamburg addition to our regular functions, we will be participating State Opera. -
WAGNER / Рихард Вагнер DISC 3 45’41” (1813–1883) Zweiter Aufzug – Act Two (Conclusion) 1 Xii
lk a Waü GN r W , joNas k e e pe kY au r m iNs or f e ri C m i a a Val H k er e a m Y s N a t D j N G r N e , a r a r e G N i e é V p a p e , N i N a s t e e m m 2 Die Walküre Mariinsky Richard WAGNER / Рихард ВагнеР DISC 3 45’41” (1813–1883) Zweiter Aufzug – Act Two (conclusion) 1 xii. Schwer wiegt mir der Waffen Wucht / My load of armour weighs heavy on me p18 2’28” DiE WAlkÜRE 2 xiii. Dritte Szene: Raste nun hier, gönne dir Ruh’! / Scene Three: Do stop here, and take a rest p18 8’56” (ThE VAlkyRiE / ВалькиРия) 3 xiv. Wo bist du, Siegmund? / Where are you, Siegmund? p19 3’49” 4 xv. Vierte Szene: Siegmund! Sieh auf mich! / Scene Four: Siegmund, look at me p19 10’55” Siegmund / Зигмунд...................................................................................................................................Jonas KAUFMANN / Йонас Кауфман 5 xvi. Du sahst der Walküre sehrenden Blick / you have seen the Valkyrie’s searing glance p20 4’27” hunding / Хундинг................................. ..............................................................................................Mikhail PETRENKO / михаил ПетренКо 6 xvii. So jung un schön erschimmerst du mir / So young and fair and dazzling you look p20 4’58” Wotan / Вотан..........................................................................................................................................................................René Pape / рене ПаПе 7 xviii. Funfte Szene: Zauberfest bezähmt ein Schlaf / Scene Five: Deep as a spell sleep subdues p21 3’01” Sieglinde / Зиглинда........................................................................................................................................................Anja -
The Met: Live in HD Returns for the Sixth Season At
FOR IMMEDIATE RELEASE The Met: Live in HD Returns for the Sixth Season at Participating Cineplex Entertainment Theatres Tickets go on sale for SCENE and Met Opera members on August 19th, and to the general public on August 29th Toronto, ON, (TSX: CGX), August 17, 2011 – Cineplex Entertainment, via our Front Row Centre Events announces the very popular series The Met: Live in HD is returning to participating Cineplex theatres. The 2011-12 season of The Met: Live in HD will feature 11 transmissions broadcast live, via satellite in high definition and 5.1 digital surround sound, beginning on October 15th with Anna Bolena. “We are delighted to once again offer The Met: Live in HD as this series is extremely popular with our guests,” said Pat Marshall, Vice President, Communications and Investor Relations, Cineplex Entertainment. “Performances will sell out well in advance so I recommend purchasing tickets early to avoid disappointment, especially with the great lineup the Met has put together this year.” SCENE and qualified Met Opera members can purchase tickets for the 2011-12 season at participating theatre box offices or, for the first year ever, guests can buy their tickets from the comfort of home, online at www.cineplex.com/events beginning August 19th at 11:00 a.m. EDT, 8:00 a.m. PDT. The on sale date for the general public is August 29th. Season ticket packages are available at a special rate; tickets for individual performances are also available. A group rate is available for groups of 20 or more. For additional information on group rates, please call 1.800.313.4461 or email [email protected]. -
Opéra De Nice Saison Lyrique 2009-2010 Parsifal
Opéra de Nice Saison lyrique 2009-2010 Parsifal Richard Wagner Janvier 2010 à ACROPOLIS Salle Apollon Vendredi 15, 19h Dimanche 17, 14h30 Livret Richard Wagner Coproduction Opéra de Nice, Opéra de Leipzig & Grand Théâtre de Genève Direction musicale • Philippe Auguin Mise en scène et décors • Roland Aeschlimann reprise par Dagmar Pischel Costumes • Susanne Raschig Eclairages • Lukas Kaltenback Chorégraphie • Lucinda Childs Parsifal •Gary Lehman Kundry • Elena Zhidkova Amfortas • Jukka Rasilainen Gurnemanz • Kurt Rydl Titurel •Victor von Halem Klingsor • Peter Sidhom Deux chevaliers Richard Rittelmann • Yuri Kissin Quatre écuyers • Caroline Mutel, Marie Gautrot, William van der Heyden, Antoine Normand Six filles-fleurs de Klingsor • Barbara Ducret, Stéphanie Loris, Marie Gautrot, Catherine Hunold, Caroline Mutel, Lucie Roche Orchestre Philharmonique de Nice Chœur de l’Opéra de Nice Chœur d’enfants de l’Opéra de Nice Ballet Nice Méditerranée Opéra de Nice 1 Argument Acte I Un bois dans le domaine de la confrérie du Graal. Le matin. Gurnemanz, un ancien parmi les chevaliers du Graal et par ailleurs le confident du roi, réveille deux écuyers endormis et les exhorte à reprendre le service. Deux chevaliers du Graal surviennent, annonçant la venue d'Amfortas, le roi du Graal. Malade, celui-ci est transporté vers le lac où il souhaite se baigner. Jusqu'à présent, toutes les tentatives de le guérir ont échoué, même la plus récente, celle de Gawan, dont Gurnemanz lui-même avait été enclin à espérer le succès, bien qu'il sût que le roi ne pourrait être secouru de la sorte. Il se dérobe à la question de savoir qui pourra effectivement guérir le roi. -
CLASSICAL New Release Harmonia Mundi UK
SEPTEMBER 20 2010 CLASSICAL new release harmonia mundi UK ACTES SUD, aeon, AliA vox, AlphA, AmbronAy, ApArTE, ArcanA, Arte vErUm, audite, bEl Air Classiques, calliopE, CHRISTOPHORUS, CSo resoUnD, DEJA-vU, delphiAn, frAproD, fUgA libErA, glossa, harmonia mundi, hat[now]ArT, HYPHEn PRESS mUSiC, K617, KML, lSo livE, mAriinsky, mirArE, mode, nascor, opAl, opEllA novA, orfEo, pAn ClASSiCS, pAradizo, pearl, PHIL.hARMONIE, prAgA DigitalS, radio frAnce, rAm, RAMEE, rCoC, rCo livE, ricercar, SFZ musiC, SignUm Classics, stradivArius, wAlhAll eterniTy, wErgo, WIGMORE hALL LIVE, winter & winter, ysayE available 20th September 2010 call-off 10th Sept STILE ANTICO ON HARMONIA MUNDI hmU907419 music for Compline "This outstanding release ... features absolutely ravishing performances by Stile Antico, one of Britain's newest ensembles and certainly among the most promising vocal groups to come along in the last 20 years. This is an extraordinary recording: In its debut on Harmonia Mundi Stile Antico has given choral music lovers everywhere a reason to celebrate what looks like the beginning of another beautiful relationship!" 10/10, Classicstoday.com hmU807463 heavenly harmonies “The young singers of Stile Antico, in their second disc of Tudor music, are magnificent…glorious music, gloriously sung.” Classical CD of the week, Sunday Times hmU807489 Song of Songs gramophone Editor’s Choice Classic fm magazine Editor’s Choice gramophone Award winner “The sound on this recording is excellent and so is the tuning… a magnificent display of the very best kind of polyphonic music.” bbC music magazine, may 2009 *****/***** hmU807509 John Sheppard media vita “the best yet. Their purity of sound, with a fullness achieved by only 14 voices, reveals Sheppard's rich counterpoint. -
San Francisco Ring 2011 Text: John L. Digaetani
Text: John L. DiGaetani San Francisco Ring 2011 / San Francisco Opera Weaver Kuva: Cory I was very happy to be at the second of the three Ring cycles which the San Francisco opera performed during June of 2011. The star of the whole cycle became Nina Stem- me, a Brünnhilde who reminded many of us of Birgit Nilsson and her singing of that role. Stemme, another Swedish soprano, sang the role gloriously with a large, gorgeo- us voice which could easily be heard over the orchestra. Her top was secure, her mid- dle was very good, and her low notes usually projected well. She can even sing with por- tamento — the shaping and connecting of notes — something Birgit Nilsson could also so. But Stemme is a better actress and can move around the stage with dramatic intent. One wished that her German diction were better, but this was a minor flaw. Certainly drama and acting were real fortes in this Ring, thanks to Francesca Zambello’s forceful direction so that the sympathetic throughout this Ring, making Katy Tucker added tremendous meaning singers’ acting became consistently involved him a wonderful foil to Wotan’s attempts at and visual variety during the musical inter- and motivated. Donald Runnicles provided legality and love. ludes between the scenes, emphasizing natu- excitement from the orchestra thanks to his The production mixed visual styles, with re and its destruction by human greed and conducting an orchestra with a solid and ac- most of the singers appearing in contempo- corporate industry. The theme of industria- curate brass, though one sometimes wished rary dress, but the updating usually made lism and its destruction of nature, while re- for a lovelier tone from the strings. -
Orchestral Works He Had Played in His 35-Year Tenure in the Orchestra
KALEVI AHO ORCHESTRAL WORKS KALEVI AHO – a composer of contrasts and surprises alevi Aho (born in Finland in 1949) possesses one of today’s most exciting creative voices. A composer with one foot in the past and one in the pres- K ent, he combines influences from the most disparate sources and transforms them through his creative and emotional filter into something quite unique. He does not believe in complexity simply for the sake of it. His music always communicates directly with the listener, being simultaneously ‘easy’ yet ‘difficult’, but never banal, over-intellectual, introvert or aloof. In his own words, “A composer should write all sorts of works, so that something will always evoke an echo in people in different life situations. Music should come to the help of people in distress or give them an ex- perience of beauty.” Kalevi Aho is equally natural and unaffected in his symphonies and operas as he is in his intimate musical miniatures. Monumental landscapes painted in broad brush- strokes go hand in hand with delicate watercolours, serious artistic confessions and humour. The spectrum of human emotions is always wide, and he never lets his lis- teners off lightly. He poses questions and sows the seeds of thoughts and impulses that continue to germinate long after the last note has died away. “His slightly unassuming yet always kind appearance is vaguely reminiscent of Shosta- kovich, while his musical voice, with its pluralistic conception of the world and its intricate balance between the deliberately banal and the subtle, is undoubtedly closer to late Mahler.” It is easy to agree with this anonymous opinion of Kalevi Aho.