Le Silence Des Ombres
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56 0809Englisch.Pdf
A Wien Holding Company Intendant Roland Geyer General sponsors of the Theater an der Wien The Theater an der Wien recieves subsidies from the Cultural Department of the City of Vienna insNoten130x205_4c_E_TheaterRZ 04.06.2008 13:53 Uhr Seite 1 „WHOEVER HEARS BUTTERFLIES LAUGHING, KNOWS THE SCENT OF CLOUDS“ (Novalis) he butterfly is a wonderful symbol of transformation and freedom. And this is a requirement that art repeatedly demands, too. The mysterious Tmetamorphosis of the ugly caterpillar into the magnificent butterfly has sti- mulated man’s imagination from time immemorial. Everyone who watches Where does a butterfly is struck by its beauty, elegance and lightness. The ancient ability to think in images and symbols is inside each one of us – and in the world of opera, too. The opera is a treasure-house of the music call the tune? irrational. It unfolds “our imagination’s most beautiful alternative world.” Mozart himself confessed, “I need only to hear talk about opera, I need only to be in the theatre and hear voices – it suffices to transport me utterly.” The Theater an der Wien, the new opera house, is aiding a development in our city that no one can now fail to notice: more and more people with an interest in culture, and younger people too, are going to the opera! They are looking for a space where dreams and longings can unfold freely with great emotion and even pathos – and the opera provides a meeting place for them: everything appears bathed in “bright” light, and in this light one is drawn in by enchanting sounds. -
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. -
Videografía Y Fonografía
VIDEOGRAFÍA Y FONOGRAFÍA En el listado siguiente ofrecemos una selección de las grabaciones comerciales disponibles, con los papeles principales presentados en este orden: Salome (soprano); Jochanaan (barítono- bajo); Herodes (tenor); Herodías (mezzosoprano); Narraboth (tenor);. Coro y orquesta / Director / Sello discográfico. SALOME EN AUDIO 1947 1960 Maria Cebotari, Marko Rothmüller, Julius Patzak, Maria Kouba, Hans Hotter, Julius Patzak, Kitsa Elisabeth Höngen, Karl Friedrich. Filarmónica de Damassioti, Erich Kienbacher. Orquesta Filarmónica Viena / Clemens Krauss, / CD: Gebhardt. de Viena / Hans Swarowsky / Hermann Lanske. 1974 1949 Teresa Stratas, Hans Beirer, Bernd Weikl, Astrid Ljuba Welitsch, Herbert Janssen, Frederick Jagel, Varnay, Wieslaw Ochman. Orquesta Filarmónica de Kirsten Thorborg, Brian Sullivan. Orquesta de la Viena / Karl Böhm / Götz Friedrich. Sello Unitel Metropolitan Opera House / Fritz Reiner / CD: Gebhardt. 1990 Catherine Malfitano, Simon Estes, Horst 1954 Hiestermann, Leonie Rysanek, Clemens Bieber. Christel Goltz, Julius Patzak, Hans Braun, Margherita Deutsche-Oper de Berlín / Giuseppe Sinopoli / Petr Kenney, Anton Dermota. Orquesta Filarmónica de Weigl Viena / Clemens Krauss. Sello DECCA y Naxos 1997 1961 Catherine Malfitano, Kenneth Riegel, Bryn Terfel, Anja Birgit Nilsson, Gerhard Stolze, Eberhardt Wächter, Silja, Robert Gambill. Royal Opera Covent Garden / Grace Hoffmann, Waldemar Kmentt. Orquesta Christoph von Dohnanyi/ Luc Bondy. Sello Decca Filarmónica de Viena / Sir Georg Solti. Sello DECCA 2007 1968 Nadja Michael, Iris Vermillion, Peter Bronder, Montserrat Caballé, Richard Lewis, Sherrill Milnes, Matthias Klink, Falk Struckmann / Scala de Milán / Regina Resnik, James King. Orquesta Sinfónica de Daniel Harding / Luc Bondy Londres / Erich Leinsdorf. Sello RCA. 2008 1977 Nadja Michael, Michaela Schuster, Thomas Moser, Hildegard Béhrens, Karl Walter Böhm, Jose van Joseph Kaiser, Michael Volle / Royal Opera House, Dam, Agnés Baltsa, Wieslaw Ochman. -
KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas
KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas GEORGES BIZET EMI 63633 Carmen Maria Stuarda Paris Opera National Theatre Orchestra; René Bologna Community Theater Orchestra and Duclos Chorus; Jean Pesneaud Childrens Chorus Chorus Georges Prêtre, conductor Richard Bonynge, conductor Maria Callas as Carmen (soprano) Joan Sutherland as Maria Stuarda (soprano) Nicolai Gedda as Don José (tenor) Luciano Pavarotti as Roberto the Earl of Andréa Guiot as Micaëla (soprano) Leicester (tenor) Robert Massard as Escamillo (baritone) Roger Soyer as Giorgio Tolbot (bass) James Morris as Guglielmo Cecil (baritone) EMI 54368 Margreta Elkins as Anna Kennedy (mezzo- GAETANO DONIZETTI soprano) Huguette Tourangeau as Queen Elizabeth Anna Bolena (soprano) London Symphony Orchestra; John Alldis Choir Julius Rudel, conductor DECCA 425 410 Beverly Sills as Anne Boleyn (soprano) Roberto Devereux Paul Plishka as Henry VIII (bass) Royal Philharmonic Orchestra and Ambrosian Shirley Verrett as Jane Seymour (mezzo- Opera Chorus soprano) Charles Mackerras, conductor Robert Lloyd as Lord Rochefort (bass) Beverly Sills as Queen Elizabeth (soprano) Stuart Burrows as Lord Percy (tenor) Robert Ilosfalvy as roberto Devereux, the Earl of Patricia Kern as Smeaton (contralto) Essex (tenor) Robert Tear as Harvey (tenor) Peter Glossop as the Duke of Nottingham BRILLIANT 93924 (baritone) Beverly Wolff as Sara, the Duchess of Lucia di Lammermoor Nottingham (mezzo-soprano) RIAS Symphony Orchestra and Chorus of La Scala Theater Milan DEUTSCHE GRAMMOPHON 465 964 Herbert von -
Premieren Der Oper Frankfurt Ab September 1945 Bis Heute
Premieren der Oper Frankfurt ab September 1945 bis heute Musikalische Leitung der Titel (Title) Komponist (Composer) Premiere (Conductor) Regie (Director) Premierendatum (Date) Spielzeit (Season) 1945/1946 Tosca Giacomo Puccini Ljubomir Romansky Walter Jokisch 29. September 1945 Das Land des Lächelns Franz Lehár Ljubomir Romansky Paul Kötter 3. Oktober 1945 Le nozze di Figaro W.A. Mozart Dr. Karl Schubert Dominik Hartmann 21. Oktober 1945 Wiener Blut Johann Strauß Horst-Dietrich Schoch Walter Jokisch 11. November 1945 Fidelio Ludwig van Beethoven Bruno Vondenhoff Walter Jokisch 9. Dezember 1945 Margarethe Charles Gounod Ljubomir Romansky Walter Jokisch 10. Januar 1946 Otto und Theophano Georg Friedrich Händel Bruno Vondenhoff Walter Jokisch 22. Februar 1946 Die Fledermaus Johann Strauß Ljubomir Romansky Paul Kötter 24. März 1946 Zar und Zimmermann Albert Lortzing Ljubomir Romansky Heinrich Altmann 12. Mai 1946 Jenufa Leoš Janáček Bruno Vondenhoff Heinrich Altmann 19. Juni 1946 Spielzeit 1946/1947 Ein Maskenball Giuseppe Verdi Bruno Vondenhoff Hans Strohbach 29. September 1946 Così fan tutte W.A. Mozart Bruno Vondenhoff Hans Strohbach 10. November 1946 Gräfin Mariza Emmerich Kálmán Georg Uhlig Heinrich Altmann 15. Dezember 1946 Hoffmanns Erzählungen Jacques Offenbach Werner Bitter Karl Puhlmann 2. Februar 1947 Die Geschichte vom Soldaten Igor Strawinsky Werner Bitter Walter Jokisch 30. April 1947 Mathis der Maler Paul Hindemith Bruno Vondenhoff Hans Strohbach 8. Mai 1947 Cavalleria rusticana / Pietro Mascagni / Werner Bitter Heinrich Altmann 1. Juni 1947 Der Bajazzo Ruggero Leoncavallo Spielzeit 1947/1948 Ariadne auf Naxos Richard Strauss Bruno Vondenhoff Hans Strohbach 12. September 1947 La Bohème Giacomo Puccini Werner Bitter Hanns Friederici 2. November 1947 Die Entführung aus dem W.A. -
Biography November 2020
Patrick Kinmonth Director, Designer Kinmonth paces his direction from the tough first, through a lively second to the turbulent third act with enormous skill. It’s a celebration of theatre with great musical performances in a tasteful, technically, highly professional production that through characterisation and comic situations revive the wit of yesteryear Jan Brachmann, Frankfurter Allgemeine Zeitung, L’Opera seria, La Monnaie, Brussels Patrick Kinmonth is an internationally acclaimed director, set and costume designer for opera, photography and dance. In 2008 Kinmonth made his opera-directing debut, a lauded staging of Madama Butterfly for Cologne Opera. Since then he has directed and designed numerous productions including Samson et Dalila at Deutsche Oper Berlin, Don Giovanni and Rigoletto at Theater Augsburg, Die Gezeichneten, voted Best Opera Production of the season at Cologne Opera, Daphne at Toulouse, Solaris at Cologne Opera, Gassmann’s L’Opera seria at La Monnaie, Brussels and La clemenza di Tito at Badisches Staatstheater Karlsruhe. To open the 17-18 season at Cologne Opera, Kinmonth directed the seldom-heard Dresden version of Tannhäuser, conducted by François-Xavier Roth; he will return in the 19-20 season for Tristan und Isolde with the same creative team. As a designer, Kinmonth’s set and costumes for Robert Carsen’s La traviata graced the re-opening of Teatro La Fenice, Venice in 2004 and now traditionally opens the season. His designs for Wagner’s Ring were created for Cologne Opera and were taken to Venice and Shanghai. The production ran at Gran Teatre del Liceu, Barcelona from 2013-16. Further productions with Carsen include Semele and Die Zauberflöte in Vienna, London, Aix-en-Provence, Antwerp, Lyon and Zürich, and The Cunning Little Vixen, Kát’a Kabanová and Jenůfa. -
Newsletter • Bulletin
NATIONAL CAPITAL OPERA SOCIETY • SOCIETE D'OPERA DE LA CAPITALE NATIONALE Newsletter • Bulletin Summer 2000 L’Été A WINTER OPERA BREAK IN NEW YORK by Shelagh Williams The Sunday afternoon programme at Alice Tully Having seen their ads and talked to Helen Glover, their Hall was a remarkable collaboration of poetry and words new Ottawa representative, we were eager participants and music combining the poetry of Emily Dickinson in the February “Musical Treasures of New York” ar- recited by Julie Harris and seventeen songs by ten dif- ranged by Pro Musica Tours. ferent composers, sung by Renee Fleming. A lecture We left Ottawa early Saturday morning in our bright preceded the concert and it was followed by having most pink (and easily spotted!) 417 Line Bus and had a safe of the composers, including Andre Previn, join the per- and swift trip to the Belvedere Hotel on 48th St. Greeted formers on stage for the applause. An unusual and en- by Larry Edelson, owner/director and tour leader, we joyable afternoon. met our fellow opera-lovers (six from Ottawa, one from Monday evening was the Met’s block-buster pre- Toronto, five Americans and three ladies from Japan) at miere production of Lehar’s The Merry Widow, with a welcoming wine and cheese party. Frederica von Stade and Placido Domingo, under Sir Saturday evening the opera was Offenbach’s Tales Andrew Davis, in a new English translation. The oper- of Hoffmann. This was a lavish (though not new) pro- etta was, understandably, sold out, and so the only tick- duction with sumptuous costumes, sets descending to ets available were seats in the Family Circle (at the very reappear later, and magical special effects. -
Dossier-La-Valquiria.Pdf
GRACIAS A TODOS LOS PATROCINADORES TEMPORADA 2019-2020 QUE HABÉIS HECHO POSIBLE NUESTRO BICENTENARIO DIE WALKÜRE RICHARD WAGNER (1813-1883) Die Walküre (La valquiria) Primera jornada en tres actos del festival escénico Der Ring des Nibelungen Libreto de Richard Wagner Estrenada en el Königliches Hof- und Nationaltheater de Múnich el 26 de junio de 1870 Estrenada en el Teatro Real el 19 de enero de 1899 Producción de la Oper Köln Patrocina: 12, 14, 16, 18, 21, 23, 25, 27, 28 de febrero 5 FICHA ARTÍSTICA Director musical Pablo Heras-Casado Concepción Robert Carsen, Patrick Kinmonth Director de escena Robert Carsen Escenógrafo y figurinista Patrick Kinmonth Iluminador Manfred Voss Responsable de la reposición Oliver Kloeter Reposición de la iluminación Guido Petzold Asistente del director musical Friedrich Suckel Asistente del director de escena Marcelo Buscaino Ayudante del escenógrafo Darko Petrovic Ayudante del figurinista Elisabeth Sauerland Supervisora de dicción alemana Rochsane Taghikhani Reparto Siegmund Stuart Skelton (12, 16, 21, 25, 28) Christopher Ventris (14, 18, 23, 27) Hunding René Pape (12, 16, 21, 25, 28) Ain Anger (14, 18, 23, 27) Wotan Tomasz Konieczny (12, 16, 21, 25, 28) James Rutherford (14, 18, 23, 27) Sieglinde Adrianne Pieczonka (12, 16, 21, 25, 28) Elisabet Strid (14, 18, 23, 27) Brünnhilde Ricarda Merbeth (12, 16, 18, 21, 25, 28) Ingela Brimberg (14, 23, 27) Fricka Daniela Sindram Gerhilde Julie Davies Ortlinde Samantha Crawford Waltraute Sandra Ferrández Schwertleite Bernadett Fodor Helmwige Daniela Köhler Siegrune -
Frankenstein
FRANKENSTEIN Mark Grey PRODUCTIE / PRODUCTION De Munt / La Monnaie 8, 10, 12, 14, 15, 17, 19 & 20 MAART / MARS 2019 DE MUNT / LA MONNAIE Deze productie werd gerealiseerd met de steun van de Tax Shelter van de Belgische Federale Overheid, in samenwerking met Prospero NV en Taxshelter.be powered by ING. / Cette production a été réalisée avec le soutien du Tax Shelter du Gouvernement fédéral belge, en collaboration avec Prospero SA et Taxshelter.be powered by ING. FRANKENSTEIN Frankenstein, or The Modern Prometheus Opera in two acts based on the novel by Mary Shelley Libretto by Júlia Canosa i Serra Music by Mark Grey Opdrachtwerk van de Munt / Commande de la Monnaie Wereldcreatie / Création mondiale BASSEM AKIKI Muzikale leiding / Direction musicale Oorspronkelijk idee en regie / ÀLEX OLLÉ (LA FURA DELS BAUS) Idée originale et mise en scène ALFONS FLORES Decors / Décors LLUC CASTELLS Kostuums / Costumes URS SCHÖNEBAUM Belichting / Éclairages FRANC ALEU Video / Vidéo Regiemedewerkster / SUSANA GOMEZ Collaboratrice à la mise en scène ÀLEX OLLÉ, Dramaturgie JÚLIA CANOSA I SERRA & MARK GREY MARTINO FAGGIANI Koorleider / Chef des chœurs SCOTT HENDRICKS Victor Frankenstein TOPI LEHTIPUU Creature ELEONORE MARGUERRE Elizabeth ANDREW SCHROEDER Walton CHRISTOPHER GILLETT Henry STEPHAN LOGES Blind Man / Father HENDRICKJE VAN KERCKHOVE Justine WILLIAM DAZELEY Prosecutor SYMFONIEORKEST EN KOOR VAN DE MUNT / ORCHESTRE SYMPHONIQUE ET CHŒURS DE LA MONNAIE Konzertmeister NANA KAWAMURA Muziekuitgave / Éditions musicales Virrat Music Duur van de voorstelling: -
FOCUS on 3 PRODUCTIONS I – Phaedra II– La Fin De L'amour
FOCUS ON 3 PRODUCTIONS I – Phaedra II– La Fin de l’Amour (The End of Love) III– Chto (What) I– PHAEDRA Phaedra by Jean Racine staged by Luc Bondy Théâtre Vidy à Lausanne Théâtre de l'Odéon – Festival d’automne Producers: Théâtre Vidy-Lausanne, ETE Kunstfestspiele Reckling hausen Europƒisches Festival, Wiener Festwochen, Theater der Nationen im Rahmen der Zÿrcher Festspiele, Odéon-Théâtre de l'Europe, Festival d'Automne à Paris PRESS REVIEW 1) Lausanne PHAEDRA, LOVE ON THE RUN. In Lausanne, Luc Bondy stages a simple and luminous show. A matter of skin. Strong, [Valérie Dréville] is also a fragile Phaedra, almost a child in the hands of a disquieting Œnone, performed by Dominique Frot. […] But Dominique Frot is also a perfectly attentive partner, a true sister of the night – nothing in the acting of her partner escapes her. René Solis, Libération, March 3, 1998 An exceptional cast, a brilliant production: Racine triumphs in Lausanne Valérie Dréville is astonishing in the title role but never obscures the remarkable performances of the other actors. Œnone,(Dominique Frot) is quite striking as well. An embodiment of possession. A frightening, demonic, gambolling goblin, able to materialize from the depths of horror. A “politician”… Jean-Louis Perrier, Le Monde, Feb. 28, 1998 LOVE UNTO DEATH It’s one of the most awaited productions of this new season: Luc Bondy stages Racine’s Phaedra in Lausanne Astonishing trio Valérie Dréville (Phaedra) and Dominique Frot (Œnone) are just overwhelming. [Dominique Frot] through Oenone, represents all the monstrosity and all the love that can coexist in the heart of a confidante. -
Branding Brussels Musically: Cosmopolitanism and Nationalism in the Interwar Years
BRANDING BRUSSELS MUSICALLY: COSMOPOLITANISM AND NATIONALISM IN THE INTERWAR YEARS Catherine A. Hughes A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2015 Approved by: Annegret Fauser Mark Evan Bonds Valérie Dufour John L. Nádas Chérie Rivers Ndaliko © 2015 Catherine A. Hughes ALL RIGHTS RESERVED ii ABSTRACT Catherine A. Hughes: Branding Brussels Musically: Cosmopolitanism and Nationalism in the Interwar Years (Under the direction of Annegret Fauser) In Belgium, constructions of musical life in Brussels between the World Wars varied widely: some viewed the city as a major musical center, and others framed the city as a peripheral space to its larger neighbors. Both views, however, based the city’s identity on an intense interest in new foreign music, with works by Belgian composers taking a secondary importance. This modern and cosmopolitan concept of cultural achievement offered an alternative to the more traditional model of national identity as being built solely on creations by native artists sharing local traditions. Such a model eluded a country with competing ethnic groups: the Francophone Walloons in the south and the Flemish in the north. Openness to a wide variety of music became a hallmark of the capital’s cultural identity. As a result, the forces of Belgian cultural identity, patriotism, internationalism, interest in foreign culture, and conflicting views of modern music complicated the construction of Belgian cultural identity through music. By focusing on the work of the four central people in the network of organizers, patrons, and performers that sustained the art music culture in the Belgian capital, this dissertation challenges assumptions about construction of musical culture. -
None but Thelonelyheart Amanda Roocroft Malcolm Martineau Tchaikovsky | Debussy | Strauss CD Booklet-Final 24/9/07 17:33 Page 2 CD Booklet-Final 24/9/07 17:33 Page 3
CD Booklet-Final 24/9/07 17:33 Page 1 None but theLonelyHeart Amanda Roocroft Malcolm Martineau Tchaikovsky | Debussy | Strauss CD Booklet-Final 24/9/07 17:33 Page 2 CD Booklet-Final 24/9/07 17:33 Page 3 Amanda Roocroft has secured an international reputation as one of Britain’s most exciting singers, in opera, concert, and in recital. In concert she has appeared with leading orchestras throughout Europe and North America with conductors including Sir Simon Rattle, Zubin Mehta, Mariss Jansons, Ivor Bolton, Sir John Eliot Gardiner, Daniele Gatti, Sir Neville Marriner, Sir Andrew Davis, Sir Charles Mackerras, Valery Gergiev and Bernard Haitink. She enjoys a close relationship with the Royal Opera House, Covent Garden, the Glyndebourne Festival, the English National Opera, the Welsh National Opera and the Bayerische Staatsoper in Munich, and her roles in these houses have included Fiordiligi (Così fan tutte), Countess (Le nozze di Figaro), Donna Elvira (Don Giovanni), Desdemona (Otello), Amelia (Simon Boccanegra), Mimì (La Bohème), Eva (Die Meistersinger), Ginevra (Ariodante), Cleopatra (Giulio Cesare), Jenifer (The Midsummer Marriage), Tatiana (Eugene Onegin) and the title roles in Madama Butterfly, Kát’a Kabanová and Jenu˚fa. Recent opera highlights include Elisabetta (Don Carlo) in Amsterdam (Riccardo Chailly/Willy Decker); Ellen Orford (Peter Grimes) in Salzburg (Sir Simon Rattle/Trevor Nunn); a tour of Japan as the Countess (Le nozze di Figaro) with the Bayerische Staatsoper and Zubin Mehta; and the title role in Jenufa in Berlin, Barcelona and, most recently, at the English National Opera for which she won the 2007 Laurence Olivier Award for Outstanding Achievement in Opera.