Nina Bols Lundgren, Soprano

NINA BOLS LUNDGREN, SOPRANO Since debuting from the Royal Academy of Music in Copenhagen in 2009, Nina Bols Lundgren has been much in demand as soloist in oratorios and she has performed with Copenhagen Phil, Odense Symphony Orchestra, Danish National Symphony Orchestra, Aarhus and Odense Symphony Orchestra and NorrlandsOperan, Sweden. In 2008 she made her operatic debut at the Opera of Funen, Denmark, where she sang Norina/DON PASQUALE. Her performance was very well received byt the critics. In 2010 she performed with the New Dutch Academy, and the reception was terrific: Magnificent Dutch Debut Danish Soprano Nina Bols Lundgren... Ms Lundgren wowed The Hagues audience with her sparkle, warmth and technical mastery in an electrifying performance which was also captured by Dutch radio. Following her scintillating debut performance in the Netherlands, the NDA's conductor and artistic director Simon Murphy immediately invited Ms Lundgren back to perform in the NDA orchestras symphonic series in The Hague's Dr Anton Philipszaal (Spuiplein) in Season 2011-2012 in a programme of concert and opera arias by Mozart and Rossini. In 13/14 Nina Bols Lundgren has been soloist in Brahms Requiem in a series of concerts. Nina enjoyed great success in the main role Rosa in the new opera ROSA AND THE ETERNITY at Aarhus Summer Opera 2014 and in 2014/15 she was soloist in NIelsen symphony no. 3 "Espansiva" with Aalborg and Odense Symphony Orchestras, the latter conducted by Nikolaj Znaider. During 2015, 2017 she performed in Odense Symphony Orchestra's production of the Ring, conducted by Alexander Vedernikov. In autumn 2016 Nina Bols Lundgren sang Barbarina LE NOZZE DI FIGARO Nordic Artists Management / Denmark VAT number: DK29514143 http://nordicartistsmanagement.com at Malmö Opera, Sweden. Nina has participated in several international competitions and was finalist and prize winner in 'The Mozart Singing Competion, London in 2007. Nina Bols Lundgren has studied with Professor Susanne Eken and Barbara Bonney. Nordic Artists Management / Denmark VAT number: DK29514143 http://nordicartistsmanagement.com.

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New Dutch Academy the Salon a European Phenomenon 1750 – 1830
7th NDA Mini-Festival • 6 – 8 March 2009 Den Haag Artistic Director Simon Murphy new dutch academy The Salon A European Phenomenon 1750 – 1830 NDA Chamber Soloists and Special Guests Concerts, Lecture Recitals, Multidisciplinary Presentations and Workshops Music by Reichardt, Boccherini, Mozart, Paganini, Beethoven, Molino, Matiegka and Schubert The Festival The NDA festival presents some of the most exciting recent discoveries from the New Dutch Academy’s own Research Lab for the first time in public through a series of highly engaging concert performances, lecture recitals and workshops. The festival’s uniquely personal and welcoming atmosphere sees audience members and musicians join together as one in a vi- brant exploration of new musical and artistic terrain. Each year, special guests and members of the international award winning Hague Baroque Orchestra “The New Dutch Academy” (conduc- tor Simon Murphy), explore a new, groundbreaking multidisci- plinary topic. The festival is sometimes controversial and always cutting edge. Some of the exciting discoveries presented at NDA festivals have fuelled NDA CDs which have subsequently gone on to win international recording industry awards, have launched NDA projects which have redefined music history and have created groundbreaking NDA concert programmes which have turned preconceived ideas on their head. The Salon Poets’ Paradise where father and daughter composed This year’s 7th NDA festival turns its During the festival, particular atten- and performed music set to odes and attention to the phenomenon of the late tion will be paid to the musical figures ballads fresh from the pens of the pres- 18th/early 19th century European Salon, Johann Friedrich Reichardt (1752 – 1814) ent literary luminaries.
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Programme, Programme Concept and Programme Notes © Simon Murphy, 2014
Programme, Programme Concept and Programme Notes © Simon Murphy, 2014 Simon Murphy, Strasbourg Philharmonic Orchestra Concert Programme, Strasbourg, December 2014 Programme Title: Birth of the Symphony or “Grand Tour Symphonique” Simon Murphy conductor Gudrun Sidonie Otto soprano Strasbourg Philharmonic Orchestra A personal welcome from conductor Simon Murphy It is a great pleasure and honour to perform this special, hand-crafted programme for you, here this evening. Taking us on a musical journey visiting some of the glittering 18th century European symphonic centres, the programmes celebrates some specific, distinctive European regional flavours as well as the very special European version of cosmopolitanism which enabled the inspiring, energising cultural exchange which resulted in the creation of such mind-blowing, European cultural phenomena as the symphony and the symphony orchestra. The programme focuses on the period of the “birth of the symphony” and on the enormous energy and vision of this generation of composers which created this expressive medium and musical language in the mid-18th century. In particular, the programme honours the symphonic pioneer Franz Xaver Richter, underlining his special place in the cultural heritage of Strasbourg and the Alsace. Together with fellow Bohemian, Johann Stamitz, Richter was a trail-blazer, a major generator in the process of the creation of the symphony and the symphony orchestra. A central figure at the Mannheim court, Richter's ground-breaking musical impulses gave the new medium of the symphony form and face. After several decades at Mannheim, he became master of music at Strasbourg's Cathedral, preceding Pleyel in the role. Opening the programme this evening is Richter's Symphony in D.
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GRAND TOUR Baroque Road Trip
TRACK INFORMATION LINER NOTES ARTISTS ACKNOWLEDGMENTS Bach, Handel Telemann, Vivaldi Van Wassenaer GRAND TOUR Baroque Road Trip SIMON MURPHY New Dutch Academy TRACK INFORMATION LINER NOTES ARTISTS ACKNOWLEDGMENTS Grand Tour – Baroque Road Trip George Frederick Handel (1685 – 1759) Myrsini Margariti, Soprano 1 Aria “Tornami a vagheggiar” 4. 49 Georg Philipp Telemann (1681 – 1767) Concerto in G for Viola, Strings and Basso Continuo Simon Murphy, Baroque Viola 2 Largo 3. 18 3 Allegro 2. 57 4 Andante 3. 48 ← ← 5 Presto 3. 30 Antonio Vivaldi (1678 – 1741) Concerto in D for Lute, Strings and Basso Continuo Karl Nyhlin, Gallichon 6 Without tempo indication 3. 18 7 Largo 4. 44 8 Allegro 2. 11 Bach, Handel Grand Tour – Baroque Road Trip Johann Sebastian Bach (1685 – 1750) George Frederick Handel (1685 – 1759) Grand Tour – Baroque in the importance of sharing passion, the rich and varied Baroque Concerto (and life itself), it makes it even more instrumentation of Bach’s 6th violins. Van Wassenaer incorporates old I first met Greek mega-diva Myrsini On the album he performs Vivaldi’s for me, in my own personal story. As a feature in Van Wassenaer’s Concerto The Affects E flat – beautiful, majestic and honest, Yeah Baby! a kid, I fell in love with Baroque music, Telemann, Vivaldi Brandenburg Concerto no. 6 in B flat, BWV 1051 Myrsini Margariti, Soprano Road Trip nourishment and inspiration. genre across the continent. Both in amazing when the music transcends Brandenburg Concerto. Scored for 7 school styles such as the church style Margariti in the mid-00’s when she classic Lute Concerto in D, recorded teenager, I auditioned with it (a lot!) Armonico.
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A Message for Queensland Symphony Orchestra 2013
Welcome 2 A messAge for QueenslAnd symphony orchestrA 2013 PeneloPe Wensley AC ROS Bates MP GreG WAnChAP Governor of Queensland The Honourable Ros Bates MP Chairman of the Queensland Patron of the Queensland Minister for Science, Information Symphony Orchestra Symphony Orchestra Technology, Innovation and the In 2013 the Queensland symphony It is with great pleasure and pride, as Patron Arts orchestra will again take you on a journey of entertainment and excitement through the of the Queensland symphony orchestra, Power, passion and beautiful music are the artistic excellence of our talented musicians, that I introduce its program for 2013. It hallmarks of the Queensland symphony carefully and sensitively led by Maestro is a program I have myself been eagerly orchestra for its 2013 season. awaiting, to find out what pleasures are in Johannes Fritzsch. As one of our state’s largest and most valued store for Queensland audiences. every new our 2013 program has at its core many performing arts companies, the Queensland season represents a fresh challenge for the masterful symphonic works that will uplift our symphony orchestra plays a critical role in our orchestra, seeking to strike a balance between audiences through the technical excellence cultural life. presenting familiar, well-loved works and of the orchestra. 2013 has been carefully offering something new and different, wanting The orchestra gives over 100 live crafted with flair and diversity to embrace to satisfy and yet stimulate its most loyal performances each year, employing 88 full- you through memorable performances with and discerning subscribers and also to attract time musicians and, through its annual season, outstanding national and international stars new audiences, to build new generations of touring and community activities, reached and collaborations not only in the Concert hall lovers of orchestral music.
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Media Release – Radio/Streaming
Media Release – Radio/Streaming A Musical Journey – An exciting (virtual) musical adventure through 18th century Europe The Hague, 5 May 2020 Dear Sir/Madam, Cooped up at home with itchy feet, music lovers will be yearning for the outside, dreaming of the romance of travel, of their favourite cultural destinations and the life-affirming, sensual experiences associated with them – that tangy cocktail overlooking the opera house on that sun-drenched piazza, that fresh handcrafted pilsner served in a ceramic mug straight from the wooden barrel in the beer hall in the monastery in Salzburg after a festival show, or that glass of sparkling Sekt as one wanders around, barefoot in the grass, amongst the vines on the rolling hills of the Rheingau. I know I am. Thankfully, even in isolation, music lets us travel – in time, in space, and through the minds of great composers – just by using our own ears. For this reason, I have created A Musical Journey. It takes its inspiration both from the 18th century's tradition of imaginary voyages such as Swift's Gulliver's Travels and the period's voracious appetite for actual physical travel which saw superstar musicians constantly criss-crossing the Continent and the rise of the Grand Tour phenomenon. A Musical Journey takes listeners on an exciting (virtual) musical adventure through 18th century Europe, visiting the glittering musical centres of the time including Rome, Venice, Berlin, Mannheim, Leipzig, London, The Hague and St Petersburg. Including world-première recordings of rediscovered musical gems, this voyage of discovery features tracks from the NDA's recent travel- themed albums, GRAND TOUR Baroque Road Trip and JET SET! Classical Glitterati (PENTATONE), together with works from earlier albums.
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P.J. Leusink (Brilliant Classics
JOHANNSEBASTIANBACH CANTATAS BWV 101,127,95 & 124 In the year 1724 Bach decided 10 wrile a complete cyele (which he did nOl complele) of so-called chorale cantatas: worts !hal were eachbased on oneof !he many Lutheran chorales. both textually and musically. Often this wasa choraJe connected with the sunday for which the cantata was written. This CD presents afew of the most exciting examples. BWV 101(13 August 1724) deals with the hymn 'Nimm von UDS,Herr. du teenerGou',It opens with agrand chorus. with first an orchestral inlrOduction of great passion. amree noIemotive cutting through everything, withcontinuous variarionof the fll'StintervaL The voices enler in canon, preparing forthe chorale melody in the sopranos.Our sins arepul beforeus in grim colours. Afew times the linle motive is combined withclimbing steps of great inleRsiry. The following tenor aria. with lively violin linesandfine wordpaintingon'ruhn', 'fleheo' and 'vergehen', isthe only number without anyreference to the hymn tune.The recitative for sopranocontainsthe melodyin full,and thecontinuo pan is alsobased on it. The recitative text is an appositecommentary on the chorale.The exciting bass aria which followselaborateson the words of tbe chorale in a colourful way: God's wrath is vividly evoked, the whY-<Juestion hangs in theair, the names flareupagain and dlen the oboes play the melody: a numberof intense variation. The tenor once agai'1 sings the hymn abovea lively continuo relatedto themelody and thenoneof Bachsmost beautifuJ duets is sung by alto and soprano. RUle and oboe playa melody of greatintensily based on the chorale and then the chorale tune itself; the soloists sing the beginning of the chorale and follow on with adeeply moving continuation.
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Brilliant Classics 8-CD
AsCENSIONORATORIOBlWII HIMMELFAHRTS-ORATORIUMBI\YII Lobet Gott in seinen Reichen BWV II (Ascension Oratorio) Ich habe genug BWV 82a (for soprano) Sanctus in D major BWV 238 . The radiant Cantata 'Lobel Gott in seinen Reichen', BWV II, also known as the Ascension Oratorio, is an example of an extensive work for an imponant feast in the church year, in this case Ascension Day. On such occasions works were divided into two sections for performance before and after the sennon, as in the present case. The name orato- rio originates from Bach. The work comprises no less than II movements, 1-6 fonning the first section and 7-11 the second. The first section ends with a chorale (no.6), while the cantata begins and ends with complex choral move- ments. The festive opening chorus in D major is given extra radiance by three trumpets, timpani, two flutes and two oboes. Bach borrowed the music from his Cantata 'FroherTag, verlangte Stunden', BWV app. 1.18,written for the reopening of the Thomasschule after extensive rebuilding in 1732.The two arias (nos. 4 and 10) also originate from an earlier work, the wedding cantata 'Auf' Suss entzuckende Gewalt' (without BWV number). The wonderful first aria (no. 4) later became the Agnus Dei in the B Minor Mass. As was customary in oratorios and passions, an evan- gelist (the tenor) sings the narrative in the four secco recitatives nos. 2, 5, 7 and 9. Cantala 82 'Jch habe genug', written in 1727, belongs with the 'Kreuzstab' cantata to the most moving and famous of Bach's solo cantatas.
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Bach and His Dutch Contemporaries
MEDIA RELEASE Level 5, 10 Hickson Road The Rocks Sydney NSW 2000 Australia Phone 61 2 8248 6500 Fax 61 2 8248 6599 sydneyfestival.org.au Bach and His Dutch Contemporaries AUSTRALIAN EXCLUSIVE Simon Murphy and New Dutch Academy, Australia/The Netherlands “The hottest property on the European baroque scene is the New Dutch Academy directed by Simon Murphy, a viola-playing wunderkind” The Australian “sumptuous ... swinging rhythms ... stylish ornamentation ... inventive extemporisation ...The NDA is a big band playing on period instruments ...” BBC Music Magazine “Vibrant, energetic and wonderfully secure playing” Gramophone “18th century Rock 'n Roll!” Luister Photo: Fernando van Teijlingen The Dutch music scene of the 17th and 18th centuries had an energy and effervescence that will never be repeated in music history – but, it turns out, now Sydney music lovers can experience it. For one special concert, Sydney-born conductor and viola player Simon Murphy returns to his homeland together with German star soprano Gudrun Sidonie Otto, period instrument ensemble New Dutch Academy and a treasure chest of rare riches from the Baroque repertoire: Vivaldi, Handel, Telemann, de Fesch, van Wassenaer and more. In this concert, Murphy and the NDA utilise a compact Baroque ensemble of the size and type which Bach himself used at the court in Köthen and at his smaller, intimate concerts in Leipzig. With one instrument per part, the richly intricate part writing of Bach and his contemporaries - as well as the vitality and immediacy of their musical language in performance - comes to the fore. The program features breathtaking Dutch Baroque works by Hacquart – a member of the Huygens circle and the composer of the very first opera written in Dutch – as well as by The Hague statesman Van Wassenaer, by Handel’s Dutch concertmaster De Fesch, and by Dutch-based Bach colleague Schickhardt from his revolutionary L’Alphabet de la musique, a collection of 24 sonatas with one appearing in each of the musical keys.
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827949078767.Pdf
JET SET! Stephen Storace (1762 – 1796) Classical Glitterati Orchestration by Simon Murphy 11 Aria “Domestic peace” * 5. 06 Carl Friedrich Zelter (1758 – 1832) from The Siege of Belgrade Concerto in E-flat major for Viola and Orchestra Simon Murphy, Viola Giovanni Paisiello (1740 – 1816) 1 Allegro con fuoco 8. 09 12 Aria “Nel cor più non mi sento” 1. 48 2 Adagio non troppo 6. 22 from La Molinara 3 Rondo Un poco moderato 9. 02 Carl Friedrich Abel (1723 – 1787) Carl Friedrich Abel (1723 – 1787) Symphony in E-flat major op. 14 no. 2 (WK 26) * Symphony in C major op. 14 no. 1 (WK 25) * 13 Allegro 5. 09 4 Allegro 4. 22 14 Andantino 3. 45 5 Andante 1. 34 15 Tempo di Menuetto 5. 10 6 Allegro ma non Troppo 2. 35 Total playing time: 66. 09 Wolfgang Amadeus Mozart (1756 – 1791) 7 Susanna’s Aria “Deh vieni, non tardar” 3. 18 Simon Murphy, Conductor & Viola from Le Nozze di Figaro Gudrun Sidonie Otto, Soprano The New Dutch Academy – on authentic instruments Johann Friedrich Reichardt (1752 – 1814) Symphony in G major * * world-première recording 8 Without tempo indication 3. 53 9 Andantino 3. 14 10 Presto 2. 37 New Dutch Academy JET SET! Garrick, the painter Gainsborough, designer Classical Glitterati Chippendale and inventor Merlin, are but Violin Tami Troman (Concertmaster), Ewa Chmielewska, Anna Franciska Hajdu, some of the high flyers who are celebrated Paula Pérez Romero, Fumiko Morie, Alba Encinas González by Simon Murphy through the album’s whirlwind, musical Viola Simon Murphy, Arabela Fernandez Sunyer, Nadine Henrichs * programme.
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Hybrid Multichannel
HYBRID MULTICHANNEL Aperghis PentaTone Music B.V. is founded in 2001 by three former executives of Philips Classics to- gether with Polyhymnia International (the former recording centre of Philips Classics). 2 SA-CD The founders of PentaTone believe that surround sound will gradually replace today’s stereo set sound in the same way as mono has taken over from stereo in the past. PentaTone releases all its recordings on hybrid Super Audio CD (SA-CD). PentaTone is creating a new classical catalogue which has been superbly recorded (by Polyhymnia International) in 5-channel surround sound with performances by top classical artists. Current artist roster includes (a.o.): Julia Fischer, Martin Helmchen, Mari Kodama, PTC 5186 156 DSD remastered PTC 5186 072 Original DSD recording PTC 5186 127 DSD remastered Andrew Marriner, Gordan Nikoli´c, Storioni Trio, Philippe Herreweghe, Marek Janowski, “East Meets West” Johann Sebastian Bach Johann Sebastian Bach Paavo Järvi, Vladimir Jurowski, Yakov Kreizberg, Sir Neville Marriner, Kent Nagano, Francis Miroglio Sonatas and Partitas for Solo Violin Toccata & Fuga BWV 565 Mikhail Pletnev, Alexander Vederikov, the New Dutch Academy, the Netherlands Philharmon- Alain Louvier Sonata No.1 in G minor, BWV 1001 Passacaglia, BWV 582 ic Orchestra, the Netherlands Chamber Orchestra, the Concertgebouw Chamber Orchestra, Georges Aperghis Partita No.1 in B minor, BWV 1002 Preludium & Fugue the Russian National Orchestra, the Wiener Symphoniker, the Deutsche Kammerphilharmo- Les Percussions de Strasbourg Sonata No.2 in A minor, BWV 1003 BWV 532 & 543 nie Bremen, the Bolshoi Opera, the Pittsburgh Symphony Orchestra and many others. Partita No.2 in D minor, BWV 1004 Franz Liszt Sonata No.3 in C, BWV 1005 Variations on Bach’s PentaTone has licensed from Universal Music the quadraphonic recordings which were Partita No.3 in E, BWV 1006 “Weinen, Klagen, Sorgen, Zagen” made back in the seventies by Philips Classics.
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Dan Morgan and Brian Wilson
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Revolutionary Romance Arco Chamber Soloists Spohr & Mozart
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