Berg, Alban Wozzeck Op. 7 (1914-1921), Oper

Total Page:16

File Type:pdf, Size:1020Kb

Berg, Alban Wozzeck Op. 7 (1914-1921), Oper Berg, Alban Wozzeck Op. 7 (1914-1921), Oper für Solisten, Chor und Orchester (4 Flöten [auch Piccoli], 4 Oboen [4. auch Englisch Horn], 4 Klarinetten, Bassklarinette, 3 Fagotte, Kontrafagott, 4 Hörner, 4 Trompeten, 4 Posaunen, Kontrabasstuba, 2 Paar Pauken, 1 Paar Becken, grosse Trommel, mehrere kleine Trommeln, Rute, grosses Tamtam, kleines Tamtam, Triangel, Xylophon, Celesta, Harfe, Streicher *Auf der Bühne: -Mehrere kleine Trommeln (I. Akt, 2. Szene) -Eine Militärmusik (1. Akt, 3. Szene): Piccolo, 2 Flöten, 2 Oboen, 2 Klarinetten, 2 Fagotte, 2 Hörner, 2 Trompeten, 3 Posaunen, Kontrabasstuba, Grosse Trommel mit Becken, kleine Trommel, Triangel) -Eine Heurigen- (Wirtshaus-) Musik (II. Akt, 4. Szene: 2 Fiedeln (um einen ganzen Ton höher gestimmte Geigen), Klarinette, Ziehharmonika bzw. Akkordeon, 2-4 Gitarren (unison), Bombardon (bzw. Basstuba) -Ein Pianino (III. Akt, 3. Szene) *Womöglich abgesondert vom grossen Orchester: -Ein Kammerorchester (II. Akt, 3. Szene) in der Besetzung von Arnold Schönbergs Kammersymphonie: Flöte (auch Piccolo), Oboe, Englischhorn, 2 Klarinetten, Bassklarinette, Fagott, Kontrafagott, 2 Hörner und ein Solo-Streichquintett. *Alle diese Ensembles können aus den Musikern des grossen Orchesters gebildet werden 3 Akte (15 Szenen) W Alma Maria Mahler zugeeignet Christoph Jäggin: CH-Gitarre ▼ Gesamtübersicht ▼ Literaturverzeichnis ▼ Register TEX Georg Büchner V 1) Wien: Universal Edition, U.E. 7379, 1955 (nach den hinterlassenen endgültigen Korrekturen des Komponisten, rev. v. H[ans] E[rich] Apostel) 2) Wien: Universal Edition, UE 7379 / UE 12100, 1985 und 1988 (Taschenpartitur) BIBL Basel: Musik-Akademie (1) / Basel: Musikwissenschaftliches Institut (1) / Basel: Paul-Sacher-Stiftung (1,2) / Basel: Universitätsbibliothek (1) D 90’ UA 14. Dezember 1925 / Berliner Staatsoper / Ltg. Erich Kleiber T 1) CBS Records M2K 79251, 1971 / Walter Berry, Fritz Uhl, Isabel Strauss; Paris National Opera Orchestra & Choruses, Pierre Boulez 2) LP Hamburg: Deutsche Grammophon 413 804-1 GG2 / 3) CD Hamburg: Deutsche Grammophon 423587-2, 1988 / Abbado / Froschauer / Grundheber, Raffeiner, Langridge, Zednik, Haugland, Sramek, Maly, Jelosits, Behrens, Gonda, Lehner, Kamenik / Wiener Philharmoniker / Wiener Staatsopernchor / Wiener Sängerknaben 4) London: The Decca 417 348-2, 1988 / Anja Silja, Eberhard Waechter u.a.; Wiener Staatsopernchor; Wiener Philharmoniker; Christoph von Dohnányi (Ltg.) 5) CD Palladio PD 4126.27, 1993 / Mack Harrell, Eileen Farrell, Frederick Jagel, Joseph Mordino, David Lloyd, Ralph Herbert, Edwina Eustis, Adolph Anderson, Hubert Norville, Bess Ann Herdt (Singstn) ; Chorus of the High School of Music and Art ; Chorus of the Schola Cantorum ; New York Philharmonic Orchestra ; Dimitri Mitropoulos (Dir.) 6) Hamburg: Teldec Classics International 4509-99206-2, 1996 / Franz Grundheber (Spr) ; Mark Baker (T) ; Endrik Wottrich (Spr) ; Graham Clark (T) ; Günter von Kannen (B) ; Siegfried Vogel (Spr) ; Roman Trekel (Bar) ; Peter Menzel (T) ; Waltraud Meier (S) ; Dalia Schaechter (A); Henrik Zauber (Singst) ; Motoki Kinoshita (Singst) ; Chor und Kinderchor (KCh) der Deutschen Staatsoper Berlin; Ernst Stoy (ChDir.) ; Anna Sylvan (ChDir.) ; Staatskapelle Berlin ; Daniel Barenboim (Dir.) 7) CD Sony MH2K 62759, 1997 / Eileen Farrell, Dorothy Dow (S) ; Edwina Eustis (Mez) ; Joseph Mordino, David Lloyd, Frederick Jagel (T) ; Mack Harrell, Hubert Norville (Bar) ; Ralph Herbert, Adolph Anderson (B) ; Hugh Ross (ChDir.) ; Dimitri Mitropoulos (Dir.) ; High School of Music and Art Chorus ; Chorus of the Schola Cantorum ; New York Philharmonic 8) CD [New York]: Andante AN3060, 2004 / Walter Berry, Max Lorenz, Murray Dickie, Peter Klein, Karl Dönch, Harald Pröglhöf, Marjan Rus, William Wernigk, Christel Goltz, Polly Batic (Singst) ; Karl Böhm (Dir.) ; Orchestra and Chorus of the Vienna State Opera Christoph Jäggin: CH-Gitarre ▼ Gesamtübersicht ▼ Literaturverzeichnis ▼ Register 9) DVD München: Arthaus Musik, [2001] / Franz Grundheber (Wozzeck) ; Hildegard Behrens (Marie) ; Chorus and Orchestra of the Vienna State Opera ; Claudio Abbado (Dir) 10) DVD Chatsworth (Calif.): Image Entertainment ID9275RADVD, [2000?] / Franz Grundheber (B/Wozzeck) ; Hildegard Behrens (S/Marie) ; Walter Raffeiner, Philip Langridge, Heinz Zednik, Aage Haugland (weitere Singstn) ; Chorus and Orchestra of the Vienna State Opera ; HelmutFroschauer (ChDir.) ; Claudio Abbado (Dir.) 11) CD Köln: EMI Classics 7243 5 556865 2 7, 1999 / Bo Skovhus, Jan Blinkhof, Jürgen Sacher, Chris Merritt, Frode Olsen, Konrad Rupf, Kay Stiefermann, Frieder Stricker, Angela Denoke, Renate Spingler, Findlay A. Johnstone (Singstn) ; Ingo Metzmacher (Dir.) ; Chor der Hamburgischen Staatsoper ; Philharmonisches Staatsorchester Hamburg PHK Basel: Musik-Akademie (3) / Basel: Musikwissenschaftliches Institut (1,3, 4) / Basel: Paul-Sacher-Stiftung (1,2,5,6,7,8,10,11) / Basel: Universitätsbibliothek (9) / Bern: Hochschule der Künste (3) / Bern: Stadt- und Universitätsbibliothek (3,9) LIT Forneberg, Erich: Wozzeck von Alban Berg, a.a.O. Petersen, Peter: Alban Berg: Wozzeck, a.a.O. Vogelsang, Konrad: Dokumentation zur Oper «Wozzeck» von Alban Berg: die Jahre des Durchbruchs, 1925-1932, a.a.O. Christoph Jäggin: CH-Gitarre ▼ Gesamtübersicht ▼ Literaturverzeichnis ▼ Register .
Recommended publications
  • ARSC Journal
    A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers.
    [Show full text]
  • Verdi Week on Operavore Program Details
    Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr.
    [Show full text]
  • Richard Strauss's Ariadne Auf Naxos
    Richard Strauss’s Ariadne auf Naxos - A survey of the major recordings by Ralph Moore Ariadne auf Naxos is less frequently encountered on stage than Der Rosenkavalier or Salome, but it is something of favourite among those who fancy themselves connoisseurs, insofar as its plot revolves around a conceit typical of Hofmannsthal’s libretti, whereby two worlds clash: the merits of populist entertainment, personified by characters from the burlesque Commedia dell’arte tradition enacting Viennese operetta, are uneasily juxtaposed with the claims of high art to elevate and refine the observer as embodied in the opera seria to be performed by another company of singers, its plot derived from classical myth. The tale of Ariadne’s desertion by Theseus is performed in the second half of the evening and is in effect an opera within an opera. The fun starts when the major-domo conveys the instructions from “the richest man in Vienna” that in order to save time and avoid delaying the fireworks, both entertainments must be performed simultaneously. Both genres are parodied and a further contrast is made between Zerbinetta’s pragmatic attitude towards love and life and Ariadne’s morbid, death-oriented idealism – “Todgeweihtes Herz!”, Tristan und Isolde-style. Strauss’ scoring is interesting and innovative; the orchestra numbers only forty or so players: strings and brass are reduced to chamber-music scale and the orchestration heavily weighted towards woodwind and percussion, with the result that it is far less grand and Romantic in scale than is usual in Strauss and a peculiarly spare ad spiky mood frequently prevails.
    [Show full text]
  • Beata Kornatowska Wspomnienia Głosem Pisane : O Autobiografiach Śpiewaków
    Beata Kornatowska Wspomnienia głosem pisane : o autobiografiach śpiewaków Acta Universitatis Lodziensis. Folia Litteraria Polonica 16, 140-154 2012 140 | FOLIA LITTERARIA POLONICA 2 (16) 2012 Beata Kornatowska Wspomnienia głosem pisane. O autobiografiach śpiewaków W literackim eseju Güntera de Bruyna poświęconym autobiografii czytamy: Opowiadający dokonuje pewnego okiełznania tego, co zamierza opowiedzieć, wtłacza to w formę, której wcześniej nie miało; decyduje o początku i zakończeniu, układa szczegóły [...] w wybranych przez siebie związkach, tak że nie są już tylko szczegółami, ale nabierają znaczenia, i określa punkty ciężkości1. Przy lekturze wspomnień znanych śpiewaków trudno oprzeć się wrażeniu, że przyszli na świat po to, żeby śpiewać. Już dobór wspomnień z dzieciństwa ma coś z myślenia magicznego: wydarzenia, sploty okoliczności, spotkania — wszystko to prowadzi do rozwoju kariery muzycznej. Dalsze powtarzalne elementy tych wspomnień to: odkrycie predyspozycji wokalnych i woli podję- cia zawodu śpiewaka, rola nauczycieli śpiewu i mentorów (najczęściej dyrygen- tów), największe sukcesy i zdobywanie kolejnych szczytów — scen kluczowych dla świata muzycznego, pamiętne wpadki, kryzysy wokalne, podszyte rywali- zacją relacje z kolegami, ciągłe podleganie ocenie publiczności, krytyków i dy- rygentów, myśli o konieczności zakończenia kariery, refleksje na temat doboru repertuaru, wykonawstwa i — generalnie — muzyki. W tle pojawiają się rów- nież wydarzenia z historii najnowszej, losy kraju i rodziny, kondycja instytucji muzycznych, uwarunkowania personalne. Te uogólnione na podstawie sporej liczby tekstów z niemieckiego kręgu ję- zykowego2 prawidłowości w organizowaniu wspomnień „głosem pisanych” chciałabym przedstawić na przykładzie wyróżniających się w mojej ocenie ja- kością autobiografii autorstwa ikon powojennej wokalistyki niemieckiej — Christy Ludwig ...und ich wäre so gern Primadonna gewesen. Erinnerungen („...a tak chciałam być primadonną. Wspomnienia”)3 i Dietricha Fischer-Dies- kaua Zeit eines Lebens.
    [Show full text]
  • A Culture of Recording: Christopher Raeburn and the Decca Record Company
    A Culture of Recording: Christopher Raeburn and the Decca Record Company Sally Elizabeth Drew A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music This work was supported by the Arts & Humanities Research Council September 2018 1 2 Abstract This thesis examines the working culture of the Decca Record Company, and how group interaction and individual agency have made an impact on the production of music recordings. Founded in London in 1929, Decca built a global reputation as a pioneer of sound recording with access to the world’s leading musicians. With its roots in manufacturing and experimental wartime engineering, the company developed a peerless classical music catalogue that showcased technological innovation alongside artistic accomplishment. This investigation focuses specifically on the contribution of the recording producer at Decca in creating this legacy, as can be illustrated by the career of Christopher Raeburn, the company’s most prolific producer and specialist in opera and vocal repertoire. It is the first study to examine Raeburn’s archive, and is supported with unpublished memoirs, private papers and recorded interviews with colleagues, collaborators and artists. Using these sources, the thesis considers the history and functions of the staff producer within Decca’s wider operational structure in parallel with the personal aspirations of the individual in exerting control, choice and authority on the process and product of recording. Having been recruited to Decca by John Culshaw in 1957, Raeburn’s fifty-year career spanned seminal moments of the company’s artistic and commercial lifecycle: from assisting in exploiting the dramatic potential of stereo technology in Culshaw’s Ring during the 1960s to his serving as audio producer for the 1990 The Three Tenors Concert international phenomenon.
    [Show full text]
  • 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
    [Show full text]
  • Contents: 1000 South Denver Avenue Suite 2104  Biography Tulsa, OK 74119  Critical Acclaim
    Conductor Jack Price Managing Director 1 (310) 254-7149 Skype: pricerubin [email protected] Rebecca Petersen Executive Administrator 1 (916) 539-0266 Skype: rebeccajoylove [email protected] Olivia Stanford Marketing Operations Manager [email protected] Karrah O’Daniel-Cambry Opera and Marketing Manager [email protected] Mailing Address: Contents: 1000 South Denver Avenue Suite 2104 Biography Tulsa, OK 74119 Critical Acclaim Website: DIscography http://www.pricerubin.com Testimonials Indiana University Review Video LInks Complete artist information including video, audio and interviews are available at www.pricerubin.com Grzegorz Nowak – Biography Grzegorz Nowak is the Principal Associate Conductor of the Royal Philharmonic Orchestra in London. He has led the Orchestra on tours to Switzerland, Turkey and Armenia, as well as giving numerous concerts throughout the UK. His RPO recordings include Mendelssohn’s ‘Scottish’ and ‘Italian’ Symphonies, Shostakovich’s Symphony No.5, Dvořák’s Symphonies Nos. 6–9, all the symphonies of Schumann and complete symphonies and major orchestral works of Brahms and Tchaikovsky. He is also the Music Director & Conductor of the Orquesta Clásica Santa Cecilia and Orquesta Sinfonica de España in Madrid. Recordings of Grzegorz Nowak have been highly acclaimed by the press and public alike, winning many awards. Diapason in Paris praised his KOS live recording with Martha Argerich and Sinfonia Varsovia as ”indispensable…un must”, and its second edition won the Fryderyk Award. His recording of The Polish Symphonic Music of the XIX Century with Sinfonia Varsovia won the CD of the Year Award, the Bronze Bell Award in Singapore and Fryderyk Award nomination; the American Record Guide praised it as “uncommonly rewarding… 67 minutes of pure gold” and hailed his Gallo disc of Frank Martin with Biel Symphony as “by far the best”.
    [Show full text]
  • Download the Concert Programme (PDF)
    London Symphony Orchestra Living Music Wednesday 15 February 2017 7.30pm Barbican Hall UK PREMIERE: MARK-ANTHONY TURNAGE London’s Symphony Orchestra Mark-Anthony Turnage Håkan (UK premiere, LSO co-commission) INTERVAL Rachmaninov Symphony No 2 John Wilson conductor Håkan Hardenberger trumpet Concert finishes approx 9.30pm Supported by LSO Patrons 2 Welcome 15 February 2017 Welcome Living Music Kathryn McDowell In Brief Welcome to tonight’s LSO concert at the Barbican, THE LSO ON TOUR which features the UK premiere of one of two works by Mark-Anthony Turnage co-commissioned by the This month, the LSO will embark on a landmark LSO this season. Håkan is Mark-Anthony Turnage’s tour of the Far East. On 20 February the Orchestra second work for trumpeter Håkan Hardenberger; will open the UK-Korea Year of Culture in Seoul, regular members of the audience will remember the followed by performances in Beijing, Shanghai and LSO’s performance of the first concerto, From the Macau. To conclude the tour, on 4 March the LSO will Wreckage, in 2013. It is a great pleasure to welcome make history by becoming the first British orchestra this collaboration of composer and soloist once again. to perform in Vietnam, conducted by Elim Chan, winner of the 2014 Donatella Flick LSO Conducting The LSO is very pleased to welcome conductor Competition. A trip of this scale is possible thanks to John Wilson for this evening’s performance, and the support of our tour partners. The LSO is grateful is grateful to him for stepping in to conduct at to Principal Partner Reignwood, China Taiping, short notice.
    [Show full text]
  • DVORÁK of Eight Pieces for Piano Duet
    GRZEGORZ NOWAK CONDUCTS DVO RÁK Symphonies no 6 - 9 Carnival Overture 3 CDs ˇ composer complied in 1878 with a set Symphony No.6 in D major, Op.60 the Vienna cancellation must have galled ANTONÍN DVORÁK of eight pieces for piano duet. These did the composer, was a resounding success. I. Allegro non tanto The work was published in Berlin in 1882 as (1841-1904) much to enhance his reputation abroad, II. Adagio and in 1884 he was invited to conduct ‘Symphony No.1’, ignoring the fact it actually III. Scherzo: Furiant-Presto had five symphonic predecessors, and leading his Stabat Mater in London, where his Antonín Dvorˇák was born in what was IV. Finale: Allegro con spirito to a situation where the celebrated work we music became immensely popular. In then known as Bohemia, in the small In the mid-1870s Dvorˇák, then in his now know as the Ninth appeared in print village of Mühlhausen, near Prague. 1891 he was made an honorary Doctor mid-thirties, was still struggling to gain as the Fifth. He was apprenticed as a butcher in of Music by Cambridge University and recognition and renown outside his native Dvorˇák’s earlier symphonies were strongly the following year made the first of his country. In 1874 he was awarded the first his father’s shop, encountering strong influenced by those of Beethoven. Indeed, visits to America, a country that would of several Austrian State Stipendium grants, paternal opposition to his intended his First Symphony, which was composed through which he made the acquaintance career as a musician.
    [Show full text]
  • January 19, 2020 Luc De Wit 3:00–4:40 PM
    ALBAN BERG wozzeck conductor Opera in three acts Yannick Nézet-Séguin Libretto by the composer, based on the production William Kentridge play Woyzeck by Georg Büchner co-director Sunday, January 19, 2020 Luc De Wit 3:00–4:40 PM projection designer Catherine Meyburgh New Production set designer Sabine Theunissen costume designer Greta Goiris The production of Wozzeck was made possible lighting designer Urs Schönebaum by a generous gift from Robert L. Turner A co-production of the Metropolitan Opera; Salzburg Festival; the Canadian Opera Company, Toronto; and Opera Australia general manager Peter Gelb jeanette lerman-neubauer music director Sunday matinee performances at the Met are Yannick Nézet-Séguin sponsored by the Neubauer Family Foundation 2019–20 SEASON The 75th Metropolitan Opera performance of ALBAN BERG’S wozzeck conductor Yannick Nézet-Séguin in order of vocal appearance the captain the fool Gerhard Siegel Brenton Ryan wozzeck a soldier Peter Mattei Daniel Clark Smith andres a townsman Andrew Staples Gregory Warren marie marie’s child Elza van den Heever Eliot Flowers margret Tamara Mumford* puppeteers Andrea Fabi the doctor Gwyneth E. Larsen Christian Van Horn ac tors the drum- major Frank Colardo Christopher Ventris Tina Mitchell apprentices Wozzeck is stage piano solo Richard Bernstein presented without Jonathan C. Kelly Miles Mykkanen intermission. Sunday, January 19, 2020, 3:00–4:40PM KEN HOWARD / MET OPERA A scene from Chorus Master Donald Palumbo Berg’s Wozzeck Video Control Kim Gunning Assistant Video Editor Snezana Marovic Musical Preparation Caren Levine*, Jonathan C. Kelly, Patrick Furrer, Bryan Wagorn*, and Zalman Kelber* Assistant Stage Directors Gregory Keller, Sarah Ina Meyers, and J.
    [Show full text]
  • Mo 29. Januar 2018 20.30 Uhr | Philharmonie —–– Die Künstler
    Casual ConCert INGO METZMACHER Im Anschluss Casual Concert Lounge Mo 29. Januar 2018 20.30 Uhr | Philharmonie —–– Die Künstler INGO METZMACHER dJ UNd LIVE ACT IN dER CAsUAL CONCERT LOUNGE begann seine Laufbahn beim Ensemble Modern und an der Brüsseler Oper. Von 1997 bis 2005 war er Generalmusikdirektor in Hamburg, da- JOHANN FANGER nach Chefdirigent an der Niederländischen Nationaloper, von 2007 bis ist Musiker, DJ, Produzent, Komponist und engagiertes Mitglied der 2010 Chefdirigent und Künstlerischer Leiter des DSO. In den letzten Berliner Elektronik- und Nightlife-Szene. Neben seinen weltweiten En- Jahren dirigierte er international beachtete Aufführungen von Musik- gagements als DJ und Live Act hat er in den letzten Jahren unter dem theaterwerken Luigi Nonos, Bernd Alois Zimmermanns, Harrison Birt- Pseudonym Johan Nikolai Musik für internationale Theater-, Tanz-, wistles und Wolfgang Rihms bei den Salzburger Festspielen. Zudem Film- und Fernsehproduktionen komponiert. Außerhalb seiner musikali- gab er zahlreiche Konzerte u. a. mit den Wiener und Berliner Philhar- schen Tätigkeiten ist er als Kurator für verschiedene Berliner Klubs und monikern, dem Chicago und BBC Symphony Orchestra, dem Orchestre Konzertstätten tätig, u. a. seit der Saison 2011|2012 für die Gestaltung de Paris, der Tschechischen Philharmonie, der New Japan Philharmonic der Casual Concert Lounge des Deutschen Symphonie- Orchesters Ber- und dem Russischen Nationalorchester. Seine Diskographie enthält lin mitverantwortlich und dort als DJ in Residence auf der Bühne aktiv. eine Gesamtaufnahme der Symphonien von Karl Amadeus Hartmann Er wirkte bei den DSO-Remix Wettbewerben ›INTO A NEW WORLD – mit den Bamberger Symphonikern, die Uraufführung von Hans Werner dvořák 24 loops‹ und ›Romantic Revolution – bruckner unlimited‹ als Henzes Neunter Sinfonie mit den Berliner Philharmonikern, Olivier künstlerischer Berater mit.
    [Show full text]
  • Magazin Musikfest Berlin 2012
    31.8 — 18.9 Magazin Musikfest Berlin 2012 VORWORT Vom 31. August bis 18. September startet das Berliner Konzertleben mit dem Musikfest Berlin in die neue Spielzeit 2012/13, veranstaltet von den Ber- liner Festspielen in Kooperation mit der Stiftung Berliner Philharmoniker. An 20 Tagen werden in der Phi l harmonie und deren Kammermusiksaal, im Großen Sendesaal des rbb, im Konzerthaus Berlin, in der Akademie der Künste, im Tempodrom, Kühlhaus Berlin und in der Heilig-Kreuz-Kirche 25 Veranstaltungen mit rund 80 Werken von 30 Komponisten präsentiert, aufgeführt von 24 Orchestern, Chören, Instrumental- und Vokalensembles und über 60 Solisten. 2012 ist nicht nur das Jahr der amerikanischen Präsident- schaftswahlen, sondern es jährt sich auch der Geburtstag des gro- ßen, vor zwanzig Jahren verstorbenen amerikanischen Komponis- ten John Cage zum hundertsten Mal. Cage wiederum huldigte 1976 – im Jahr des Bicentennial der Gründung der Vereinigten Staaten – seinem Heimatland mit einer orchestralen Komposition, die er Apartmenthouse 1776 nannte und Seiji Ozawa und dem Boston Sym- phony Orchestra, dem Chicago Symphony und Cleveland Orchest- ra, dem Los Angeles und New York Philharmonic und dem Phi- ladelphia Orchestra widmete. Mit der Widmung von Apartment- house 1776, das die religiösen und musikalischen Prägungen der Gründerjahre Nordamerikas – protestantische, sephardische, indi- anische und afroamerikanische Lieder – versammelt, wurde so die Feier der amerikanischen Gründerzeit zugleich zur Sache der gro- ßen Orchester erklärt. 1976, anlässlich der Bicentennial-Feiern erfolgte auch – in einer Produktion der Houston Grand Opera – erstmals die ungekürzte Aufführung von George Gershwins 1934/35 entstandener Oper Porgy and Bess. »Oh, we’re leavin’ for the Promise’ Lan’, Leavin’ for the Promise’ Lan’«, singt Bess in ihrem Spiritual am Ende des ersten Aktes, den Tod des von Crown erschlagenen Robbins betrauernd.
    [Show full text]