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38E Festival International D'opéra Baroque
38e festival international d’opéra baroque BEAUNE & romantique 38e Festival International d’Opéra Baroque & Romantique 2020 du 10 juillet au 2 août . 4 week-ends © JM Pettina/Caisse des Dépôts - Fotolia : Dmitry Vereshchagin, Okalinichenko, Vladimir Karpenyuk, KazantsevAlexander, CHROMAKEY ltd 2013, Narinbg. CHROMAKEY ltd 2013, KazantsevAlexander, Vladimir Karpenyuk, Okalinichenko, Vereshchagin, Dmitry : des Dépôts - Fotolia © JM Pettina/Caisse Mécénat POUR LA RÉUSSITE DES JEUNES TALENTS Depuis deux cents ans, la Caisse des Dépôts joue un rôle innovant dans le développement économique et social de notre pays. Son mécénat accompagne l’émergence des nouveaux talents de la musique classique, de la danse, de l’architecture et du paysage. @CaissedesDepots - www.groupecaissedesdepots.fr “Je suis la Musique et, par mes doux accents, Sais apaiser tous les cœurs tourmentés Et enflammer d’amour ou de noble courroux Les esprits les plus glacés” “Et quand j’aurai attendri le cœur du roi des ombres, Je t’entraînerai avec moi pour revoir les étoiles. Et si un cruel destin me le refuse, Je resterai avec toi dans la mort. Adieu terre, adieu ciel et soleil, adieu !” Prologue et Acte II de l’Orfeo de Monteverdi Le Festival d’Opéra Baroque et Romantique de Beaune s’est vu décerner EUROPE FOR FESTIVALS le premier Label EFFE (Europe for Festivals, Festivals for Europe) par la FESTIVALS FOR EUROPE Communauté Européenne, témoignant de l’excellence et de l’engagement EFFE LABEL 2015-2016 artistique de ses productions ainsi que leur dimensions internationales. Serse de Haendel Dir. Ottavio Dantone Riccardo Novaro Cour des Hospices - Juillet 2019 Photo Jean-Luc Cottier du 10 juillet au 2 août 2020 S o m m a i r e Éditorial pages 4 & 5 Calendrier page 7 Opéras & Oratorios pages 09 à 15 Die Zauberflöte de Mozart 9 Armida de Salieri 10 Il Ritorno di Ulisse in patria de Monteverdi 11 Pasticcio « Tell Me The Truth About Love » de Haendel, Vivaldi.. -
Takte 1-09.Pmd
[t]akte Das Bärenreiter-Magazin Wundersame Mischungen Ernst und komisch zugleich: Haydns „La fedeltà premiata” 1I2009 Das geheime Leben Informationen für Miroslav Srnka auf Entdeckungstour Bühne und Orchester Plädoyer für ein großartiges Repertoire Marc Minkowski über die französische Oper des 19. Jahrhunderts [t]akte 481018 „Unheilvolle Aktualität“ Abendzauber Das geheime Leben Telemann in Hamburg Ján Cikkers Opernschaffen Neue Werke von Thomas Miroslav Srnka begibt sich auf Zwei geschichtsträchtige Daniel Schlee Entdeckungstour Richtung Opern in Neueditionen Die Werke des slowakischen Stimme Komponisten J n Cikker (1911– Für Konstanz, Wien und Stutt- Am Hamburger Gänsemarkt 1989) wurden diesseits und gart komponiert Thomas Miroslav Srnka ist Förderpreis- feierte Telemann mit „Der Sieg jenseits des Eisernen Vorhangs Daniel Schlee drei gewichtige träger der Ernst von Siemens der Schönheit“ seinen erfolg- aufgeführt. Der 20. Todestag neue Werke: ein Klavierkon- Musikstiftung 2009. Bei der reichen Einstand, an den er bietet den Anlass zu einer neu- zert, das Ensemblestück „En- Preisverleihung im Mai wird wenig später mit seiner en Betrachtung seines um- chantement vespéral“ und eine Komposition für Blechblä- Händel-Adaption „Richardus I.“ fangreichen Opernschaffens. schließlich „Spes unica“ für ser und Schlagzeug uraufge- anknüpfen konnte. Verwickelte großes Orchester. Ein Inter- führt. Darüber hinaus arbeitet Liebesgeschichten waren view mit dem Komponisten. er an einer Kammeroper nach damals beliebt, egal ob sie im Isabel Coixets Film -
Vincent B Oussard
V I N C E N T B O U S S A R D – Stage Director After his debut as a stage director at the Studio Theatre of the Comédie-Française, Vincent Boussard devoted himself to opera-staging since 2001. Since then he has staged more than 40 different opera, from Cavalli, Mozart and Bellini to French Grand Opéra, Wagner, Puccini, up to Kurt Weill and contemporary composers. He has worked for some the world leading companies including Salzburg Easter Festival, Opéra Royal de La Monnaie de Bruxelles, Opéra National du Rhin, Opéra de Marseille, Théâtre du Capitole de Toulouse, Aix-en-Provence Festival, Deutsche Oper Berlin, Frankfurt Opera, Staatsoper Hamburg, Bayerische Staatsoper in Munich, Gran Teatre del Liceu de Barcelona, Kungliga Operan in Stockholm, Theater an der Wien, San Francisco Opera, New National Theatre in Tokyo, Korea National Opera in Seoul, Innsbruck Festival, Festival dei Due Mondi in Spoleto and many others. He has already worked with such conductors as Christian Thielemann, Daniel Harding, Yves Abel, Rinaldo Alessandrini, Lionel Bringuier, Riccardo Frizza, Alexander Joel, Andreas Spering, René Jacobs and William Christie, among others. Some of his productions have been TV-broadcasted and released on DVD: Don Giovanni, Dido & Aeneas, Frühlingserwachen (awarded “Diapason d’or“), I Capuleti e i Montecchi, La Favorite, Madama Butterfly, Un Ballo in Maschera and Otello. Among his most important productions, it can be mentioned Otello (conductor Christian Thielemann) at Easter Festival in Salzburg and at Semperoper Dresden, Haendel’s Agrippina and Bernstein’s Candide at Staatsoper Berlin, I Capuleti e I Montecchi at Bayerische Staatsoper in Munich, Carmen at Kungliga Operan in Stockholm, Madama Butterfly and La fanciulla del West at Staatsoper Hamburg, Così fan tutte, Cavalli’s Eliogabalo and Cimarosa’s Il matrimonio segreto at La Monnaie in Brussels, Le nozze di Figaro at Festival International d'Art Lyrique d'Aix en Provence. -
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. -
The Ultimate On-Demand Music Library
2020 CATALOGUE Classical music Opera The ultimate Dance Jazz on-demand music library The ultimate on-demand music video library for classical music, jazz and dance As of 2020, Mezzo and medici.tv are part of Les Echos - Le Parisien media group and join their forces to bring the best of classical music, jazz and dance to a growing audience. Thanks to their complementary catalogues, Mezzo and medici.tv offer today an on-demand catalogue of 1000 titles, about 1500 hours of programmes, constantly renewed thanks to an ambitious content acquisition strategy, with more than 300 performances filmed each year, including live events. A catalogue with no equal, featuring carefully curated programmes, and a wide selection of musical styles and artists: • The hits everyone wants to watch but also hidden gems... • New prodigies, the stars of today, the legends of the past... • Recitals, opera, symphonic or sacred music... • Baroque to today’s classics, jazz, world music, classical or contemporary dance... • The greatest concert halls, opera houses, festivals in the world... Mezzo and medici.tv have them all, for you to discover and explore! A unique offering, a must for the most demanding music lovers, and a perfect introduction for the newcomers. Mezzo and medici.tv can deliver a large selection of programmes to set up the perfect video library for classical music, jazz and dance, with accurate metadata and appealing images - then refresh each month with new titles. 300 filmed performances each year 1000 titles available about 1500 hours already available in 190 countries 2 Table of contents Highlights P. -
Emmanuelle De Negri’S Career Demonstrated Remarkable Breadth of Repertoire and Emoti Onal Range
From its very beginning Emmanuelle de Negri’s career demonstrated remarkable breadth of repertoire and emoti onal range. Aft er a fl ying start as Yniold in Debussy’s Pelléas et Mélisande (Edinburgh and Glasgow 2005: “poignant brightness” wrote Opera magazine), and as “a real revelati on” (Il Giornale della Musica) in the ti tle-role of Bernardo Pasquini’s oratorio Sant’ Agnese (Innsbruck Festi val 2008), she established an enduring performing relati onship with William Christi e and les Arts Florissants, for whom outstanding performances have included Purcell’s The Fairy Queen, The Indian Queen, and Dido and Aeneas, Handel‘s Susanna and Silete venti , Monteverdi’s Selva morale e spirituale, and numerous roles in French Baroque operas including Rameau’s Hippolyte et Aricie (at Aix-en- Provence and Glyndebourne) and Platée (at the Theater an der Wien, the Opéra Comique and in New York), Lully’s Atys (Sangaride – “a sensati on” according to Opéra magazine), and Campra’s Les Fêtes véniti ennes (at the Opéra Comique, Caen and Toulouse). Emmanuelle has made regular performances with other prominent French ensembles such as Pulcinella, Les Folies Françoises, Les Enfants d‘Apollo, Raphaël Pichon’s Pygmalion, Vincent Dumestre‘s Le Poème Harmonique, Le Banquet Céleste, Les Paladins, and Les Accents. For Emmanuelle Haïm and her Concert d’Astrée, Emmanuelle also sung in Rameau’s Castor et Pollux (in Lille, Dijon, Montpellier and Beaune), and recently, in a new producti on Emmanuelle of Rameau‘s Les Boréades staged by Barrie Kosky (at the Opéra de Dijon), de Negri leading to unanimous praise from the press, “we kneel before Emmanuelle de Negri.. -
Avi Shoshani Temporadas De Ópera Anne-Sophie Mutter Riccardo Muti
REVISTA DE MÚSICA Año XXVI - Nº 267 - Octubre 2011 - 7 € DOSIER Temporadas de ópera ENCUENTROS Avi Shoshani ACTUALIDAD Anne-Sophie Mutter Riccardo Muti ESTUDIO El estado de las orquestas REFerencias Iberia de Debussy Año XXVI - Nº 267 Octubre 2011 C M Y CM MY CY CMY K OCTUBRE ENERO 01 Los caminos del mundo 06 Fronteras abolidas 11 Poemas sin palabras E. Rautavaara: Cantus Arcticus M. Finnissy: Zortziko S. Rachmaninov: Rapsodia M. Ravel: Concierto para piano (estreno absoluto, encargo sobre un tema de Paganini es y orquesta en sol mayor OSE) R. Strauss: Muerte y J. Haydn: Sinfonía nº67 A. Dorman: Frozen in Time transfiguración B. Bartok: El Mandarín J. Brahms: Sinfonía nº4 R. Strauss: Till Eulenspiegel tiempo Maravilloso (suite) Martin Grübinger, percusión Andrés Orozco-Estrada, Alice Sara Ott, piano Andrés Orozco-Estrada, director de Andrey Boreyko, director director Joaquín Achúcarro, piano 02 Mendelssohniana ENERO-FEBRERO MAYO música F. Mendelssohn: Sinfonía nº1 07 Clásicos y modernos 12 Nostalgias compartidas P.I. Tchaikovsky: Variaciones rococó J. Dillon: White Numbers A. Dvorák: Concierto para F. Mendelssohn: Sinfonía nº4 (estreno absoluto, encargo violoncello y orquesta OSE) I. Fedele: Txalaparta-Folk Gabriel Mesado, violoncello E. Schulhoff: Sinfonía nº2 Dance II (estreno absoluto, (miembro OSE) A. Zemlinsky: Cymbeline encargo OSE) Andrés Orozco-Estrada, director L.V. Beethoven: Sinfonía nº3 C. Franck: Psyché Orquesta F. Mendelssohn: Sinfonía nº5 Petra Fröse, soprano Daniel Müller-Schott, violoncello Dos estudios de concierto para Gerd Albrecht, director Oreka TX Sinfónica clarinete, corno di bassetto y Andrey Boreyko, director orquesta MARZO de Euskadi Sinfonía nº3 MAYO-JUNIO Juan Navarro, clarinete 08 Viñetas del Euskadiko (miembro OSE) Nuevo Mundo 13 En el calor de la noche Sara Zufiaurre, corno di A. -
Emmanuelle De Negri
###!rsbar is s!co" ###!rsbar La Falconnière - A2 - F-69340 -Francheville France- s!co"- 97 747 Tel+33 - 617 6 724 rsb@rsbartis Fax4 30 861 +33 / Artists Agenceartistique management RSBartists Photo © 'bdllah Lasri S E OPRANO MMANUELLE DE N EGRI BIOGRAPHIE Lors de ce e saison 2015-2016, la so'rano (""an)elle de *e+ri 'o)rs)i ses o)rn,es in erna ionales avec les Ar s Florissan s, so)s la direction de -illia" .hris ie : ainsi no)s 'o)vons l0en endre dans Les F1 es 2,ni iennes 3 To)lo)se e *ew 4or5, dans )n 'ro+ra""e $0Airs s,rie)x e 3 boire en ()ro'e e ( a s-6nis e des ex rai s de 7,$,e e de 8or,ades en version de concer 3 7adri$! *o)s la re ro)vons ,+ale"en 3 l09',ra *a ional de Lille, a) :,; re de .aen e a) :ea er an der -ien, so)s la direction $0(""an)elle <a=", dans le r>le $0A"as re ?@erse de .avalli), ainsi B)0en o)rn,e franDaise des *oEEe di Fi+aro avec la .oo',ra ive 9'era, dans le r>le de S)sanna! La)r,a e <F8. de lGaca$,"ie e)ro',enne $e ")siB)e en 2008, c0es 'ar le violoncelle B)0(""an)elle de *e+ri fai ses 're"iers 'as dans la ")siB)e, avan $Gin ,+rer en chan le .onserva oire de *H"es ')is le .*F7 de Iaris, 'o)rs)ivan en 'arallèle des , )$es de Le res 7odernes e des co)rs de h,; re avec Flavio IoliEEi (for"a ion JoK Har A! 71"e si elle chan e avec alen l0ora orio ?Jen, Lacobs l)i conMe le r>le-ti re $) 7ar irio de San GA+nese, de IasB)ini diri+, 'ar Alessandro di 7archi e "is en scène 'ar 2incen 8o)ssard a) Fes ival $GNnnsbrOckA& c'es dans le re+is re de l0o',ra B)0elle es 'ar iculière"en re"arB),e, an elle allie 3 ses B)ali ,s vocales )n v,ri able alen de co",dienne. -
36E Festival International D'opéra Baroque & Romantique 2018
36e festival international d’opéra baroque BEAUNE & romantique 1983 - 2018 35e anniversaire 36e Festival International d’Opéra Baroque & Romantique 2018 du 06 au 29 juillet . 4 week-ends Cour des Hospices . Basilique Notre-Dame LES HOSPICES DE BEAUNE (XVE SIÈclE) Beaune, capitale des fameux vins de Bourgogne, est une vieille cité d’Art et d’Histoire. Elle fut l’une des capitales des ducs de Bourgogne dont le duché s’étendit jusqu’aux Pays-Bas. L’Hôtel-Dieu de Beaune, plus connu sous le . MUSÉE CONDÉ DE CHANTILLY — PARIS . DR E Hospices nom d’Hospices de Beaune, fut fondé en 1443 par Nicolas Rolin, chancelier des ducs, pour servir d’hôpital et d’hospice. Exceptionnel témoin de l’art franco-flamand du XVe siècle avec son célèbre toit aux tuiles colorées et vernissées, il ren- ferme, entre autres chefs-d’oeuvre, le polyptyque de Van der Weyden du XVe siècle. ILLUSTRATION DE COUVERTURE : LE DONNEUR DE SÉRÉNADES - ANTOINE WATTEAU, XVIII L’une des plus && belles églises de la région où l’on retrouve toute l’histoire de l’architecture reli- gieuse bourgui- gnonne du XIIe au XVIe siècle, dans un ensemble où domine le style roman. Sa construc- tion commença vers 1120. On remarquera le magnifique cloître roman attenant à la basilique ainsi que le décor sculpté des chapiteaux représentant des animaux musiciens (chèvre jouant de la harpe, lion hippocéphale tenant une cloche et une flûte), l’Arche de Noé, les cueilleurs de fruits... Basilique Dans le choeur on peut admirer de superbes tapisseries flamandes du XVe siècle évoquant en dix-sept tableaux les principaux épisodes de la vie de la Vierge. -
Georg Friedrich Händel Ariodante
Divertimento 3 Georg Friedrich Händel Ariodante Sonntag 24. November 2019 18:00 Bitte beachten Sie: Ihr Husten stört Besucher und Künstler. Wir halten daher für Sie an den Garderoben Ricola-Kräuterbonbons bereit. Sollten Sie elektronische Geräte, insbesondere Mobiltelefone, bei sich haben: Bitte schalten Sie diese zur Vermeidung akustischer Störungen unbedingt aus. Wir bitten um Ihr Verständnis, dass Bild- und Tonaufnahmen aus urheberrechtlichen Gründen nicht gestattet sind. Wenn Sie einmal zu spät zum Konzert kommen sollten, bitten wir Sie um Verständnis, dass wir Sie nicht sofort einlassen können. Wir bemühen uns, Ihnen so schnell wie möglich Zugang zum Konzertsaal zu gewähren. Ihre Plätze können Sie spätestens in der Pause einnehmen. Bitte warten Sie den Schlussapplaus ab, bevor Sie den Konzertsaal verlassen. Es ist eine schöne und respektvolle Geste den Künstlern und den anderen Gästen gegenüber. Mit dem Kauf der Eintrittskarte erklären Sie sich damit einverstanden, dass Ihr Bild möglicherweise im Fernsehen oder in anderen Medien ausgestrahlt oder veröffentlicht wird. Vordruck/Lackform_1920.indd 2-3 17.07.19 10:18 Divertimento 3 Caroline Jestaedt Sopran (Dalinda) Ana Maria Labin Sopran (Ginevra) Marianne Crebassa Mezzosopran (Ariodante) Yuriy Mynenko Countertenor (Polinesso) Valerio Contaldo Tenor (Lurcanio) Paco Garcia Tenor (Odoardo) James Platt Bass (Re di Scozia) Les Musiciens du Louvre Marc Minkowski Dirigent Sonntag 24. November 2019 18:00 Erste Pause nach Akt I, gegen 19:10 Zweite Pause nach Akt II, gegen 20:30 Ende gegen 21:45 PROGRAMM Georg Friedrich Händel 1685 – 1759 Ariodante HWV 33 (1734) Dramma per musica in drei Akten Unbekannter Textdichter nach Antonio Salvis »Ginevra, principessa di Scozia« 2 ZUM WERK Die Handlung Erster Akt Im mittelalterlichen Schottland liebt die schottische Königstoch- ter Ginevra den Ritter Ariodante. -
M O N T E V E R
MONTEVERDI Music is the servant of the words 2012 LET US INNOVATE by Simone Kotva FROM IMITATION OF NATURE MONTEVERDI’S REVERSAL TO NATURAL IMITATION At the turn of the sixteenth century, the cusp of Monteverdi christened his musical aesthetics the We should see what are the rhythms of a self- The sentence immediately preceding Plato’s antici - what historians have since called “the modern era,” seconda prattica , or Second Practice. Its purpose disciplined and courageous life, and after looking at pation of Monteverdi’s motto is a discussion of the Claudio Monteverdi poses the perennial question was to oppose the establishment, what he called those, make meter and melody conform to the leitmotif of Classical philosophy, namely the “self- of every artist: how do my compositions relate to the First Practice of music theory. Monteverdi speech of someone like that. We won’t make disciplined and courageous life,” or human nature. those of past masters? How does innovation characterised the First Practice (whether justly or speech conform to rhythm and melody . Plato’s belief (which was also Aristotle’s) was that relate to imitation? not), as concerned exclusively with the rules of (Republic 400a; my emphasis) human nature was formed through a life-long pro - “pure” harmony stripped of any relation to text, cess of cultivating good habits. These good habits For Monteverdi, living in a time of vitriolic polemics rhythm and melody. It philosophical foundations The final sentence mirrors the emphatic declara - would eventually lead to good virtues, -
Federico Maria Sardelli
F EDERICO M ARIA S A R D E L L I – Conductor In 1984 Federico Maria Sardelli, originally a flutist, founded the Baroque orchestra Modo Antiquo, with which he appears, as both soloist and conductor, at major festivals throughout Europe and in such concert halls as Concertgebouw Amsterdam, Théâtre des Champs-Elysées Paris, Tchaikovsky Concert Hall Moscow and Auditorium Parco della Musica in Rome. He is regularly invited as a guest conductor by many prestigious symphony orchestras, including Orchestra Barocca dell’Accademia di Santa Cecilia di Roma, Gewandhaus Lipzig, Maggio Musicale Fiorentino, Filarmonica Arturo Toscanini, Orchestra Filarmonica di Torino, Staatskapelle Halle, Kammerakademie Potsdam, Real Filarmonia de Galicia, Orchestra dei Pomeriggi Musicali di Milano. Federico Maria Sardelli has been a notable protagonist in the Vivaldi renaissance of the past few years: he conducted the world premiere recording and performance of many Vivaldi’s operas. In 2005, at Rotterdam Concertgebouw, he conducted the world premiere of Motezuma , rediscovered after 270 years. In 2006 he conducted the world premiere of Vivaldi’s L’Atenaide at Teatro della Pergola in Florence. In 2012 he recorded the last eight Vivaldi works reappeared ( New Discoveries II , Naïve) and conducted the world premiere of the new version of Orlando Furioso , rediscovered and reconstituted by him (Festival de Beaune, Naïve recording). In 2007 he has been Principal Conductor of Händel Festspiele in Halle, where he conducted Ariodante. Among the most important production he has conducted, Giasone by Francesco Cavalli at Vlaamse Opera Antwerp, Olivo e Pasquale at Festival Donizetti Bergamo, Dido and Aeneas at Teatro Regio Turin, La Dafne and Alceste at Maggio Musicale Fiorentino, Händel’s Teseo at Tchaikovsky Concert Hall in Moscow.