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Parsifal and Canada: a Documentary Study
Parsifal and Canada: A Documentary Study The Canadian Opera Company is preparing to stage Parsifal in Toronto for the first time in 115 years; seven performances are planned for the Four Seasons Centre for the Performing Arts from September 25 to October 18, 2020. Restrictions on public gatherings imposed as a result of the Covid-19 pandemic have placed the production in jeopardy. Wagnerians have so far suffered the cancellation of the COC’s Flying Dutchman, Chicago Lyric Opera’s Ring cycle and the entire Bayreuth Festival for 2020. It will be a hard blow if the COC Parsifal follows in the footsteps of a projected performance of Parsifal in Montreal over 100 years ago. Quinlan Opera Company from England, which mounted a series of 20 operas in Montreal in the spring of 1914 (including a complete Ring cycle), announced plans to return in the fall of 1914 for another feast of opera, including Parsifal. But World War One intervened, the Parsifal production was cancelled, and the Quinlan company went out of business. Let us hope that history does not repeat itself.1 While we await news of whether the COC production will be mounted, it is an opportune time to reflect on Parsifal and its various resonances in Canadian music history. This article will consider three aspects of Parsifal and Canada: 1) a performance history, including both excerpts and complete presentations; 2) remarks on some Canadian singers who have sung Parsifal roles; and 3) Canadian scholarship on Parsifal. NB: The indication [DS] refers the reader to sources that are reproduced in the documentation portfolio that accompanies this article. -
Opera Festivals
2012 Festivals Opera JMB Travel Consultants - Opera specialists for 26 years, sharing your passion DestinationsAix-en-Provence Opera Festival ...........................4 Salzburg Opera Festival .......................................8 Bregenz Opera Festival ........................................5 Puccini Opera Festival .........................................9 Bayreuth Opera Festival .......................................5 Puccini Opera and Wine Escorted Tour ................9 Munich Opera Festival .........................................6 Verona Opera Festival........................................10 Macerata Opera Festival ......................................6 Wexford Opera Festival .....................................11 Pesaro – The Rossini Opera Festival .....................7 Wexford Opera Festival Escorted Tour ................11 Savonlinna Opera Festival ...................................7 Call to discuss your requirements with our specialists on 01242 221300 JMB Travel is one of the leading UK tour operators specialising solely in Opera, and has 26 years’ unrivalled Introductionexperience in catering to the particular needs of the Opera lover. We couple that professionalism and care of the individual’s requirements with a huge choice that covers over 10 different Music Festivals noted for their Opera, where well over 50 different productions will be performed during the season. The holidays include virtually in every case, the best grade The air holidays and flights in this brochure are ATOL protected opera ticket, -
Tristan & Isolde
Wagner Society of New Zealand Patron: Sir Donald McIntyre NEWSLETTER Vol. 12 No. 2 September 2014 Tristan & Isolde: TRIUMPH! Mixed Emotions July 2014: two performances of Wagner one in each hemisphere and two different reactions. In Auckland the response to the APO’s concert performance brought the audience to its feet cheering. In the words of Jeanette Miller and Richard Green: “More’s the pity if it were to prove a once-in-a-lifetime concert experience—the massed standing ovation that greeted the final chord of the Auckland Philharmonia’s Tristan und Isolde was surely testament enough that New Zealand audiences have a hunger for more of the same. 12,000 miles away (give or take a few) the audience in Bayreuth was Eckehard Stier conducts while Daveda Karanas (Brangäne) keeps watch. Photo: Adrian Malloch also on its feet reacting to Frank Castorf’s ‘radically deconstructed’ Those members of the Wagner the Steersman, opened Act 1. We Ring with a different sort of hunger Society who were lucky enough to were then enthralled by Annalena in mind. Lance Ryan, who sings attend the Auckland Philharmonia’s Persson’s Isolde and Daveda Karanas the role of Siegfried in this year’s concert performance of Tristan & as Brangäne. Persson’s voice was bright production, gave the following Isolde not only became part of history, and clear while Karanas’ singing was quote to The Guardian: “I have attending the New Zealand premiere contrastingly rich and lustrous giving never come across an audience with of the work, but were treated to a the impression that she always had so much hatred, so much anger, wonderful performance. -
Kritiker-Umfrage
TH JB_17 140-153 8_Hitparade.qxp_Layout 1 28.07.17 12:40 Seite 144 Kritiker-Umfrage Stück Inszenierung Bühnenbild, Schauspielerin Schauspieler Gesamtleistung & Kostüme eines Theaters Dramaturgie der Saison Margarete Simon Stone Regie: Ulrich Rasche und Bühne: Márton Agh, Valery Tscheplanowa als Margarete Joachim Meyerhoff in nach Melle Kammerspiele Affenzeller nach Tschechow Dramaturgie: Sebastian Huber, Mundruczó «Scheinleben», und Helena in nach Goethe «Die Welt im Rücken», München «Der Standard» «Drei Schiller «Die Räuber», Wiener Festwochen «Faust», Volksbühne Berlin und Burgtheater Wien Schwestern» Residenztheater München Kostüme: Ersan Mondtag, Bach als Franz in Schiller «Die Räuber», «Die Vernichtung», Konzert Residenztheater München Theater Bern Irene Bazinger Susanne Lipp Regie: Enrico Lübbe und Bühne: Anna Viebrock, Marthaler Lina Beckmann als Zarina in Akhtar Jens Harzer als Cyrano de Schauspielhaus «Frankfurter nach Interviews Dramaturgie: Torsten Buß und «Bekannte Gefühle, gemischte «The Who and the What», Bergerac in nach Rostand Hamburg Allgemeine mit Nasser Clara Probst, nach Brecht, Eisler Gesichter», Volksbühne Berlin Schauspielhaus Hamburg «Cyrano de Bergerac», Zeitung» El-Ahmad und Aischylos «Die Perser/ Kostüme: Janina Brinkmann, Thalia Theater Hamburg «NASSER Die Maßnahme», Regener und Haußmann «Die #7Leben» Schauspiel Leipzig Danksager», Berliner Ensemble Kristin Becker Simon Stone Regie: Herbert Fritsch «Pfusch», Bühne: Lizzie Clachan, Stone/ Cathrin Störmer als Natascha Wolfgang Michalek als Volksbühne Stuttgart -
La Classica Collezione Autunno Estate 2012•2013 Concerti 2012.2013 Concerti 2012.2013
Torino . Auditorium Rai LA CLASSICA COLLEZIONE AUTUNNO ESTATE 2012•2013 CONCERTI 2012.2013 CONCERTI 2012.2013 Si affronta la stagione con un po’ di orgoglio: confessiamolo. Ancora una ricorrenza: quella della prima (burrascosa) Il recente successo all’estero, soprattutto nella sala dei Berliner esecuzione del Sacre di Stravinskij, presentato sempre da Juraj Philharmoniker e al Musikverein di Vienna, con programmi Valcˇuha, insieme al compositore russo più amato da Stravinskij anche rischiosi viste le orchestre che si aggirano in quei stesso: Cˇajkovskij, di cui si propone lo Schiaccianoci. “luoghi sacri”, ci invogliano a far bene. E persino meglio, se ci Continua inoltre il “ciclo Brahms”, già splendidamente iniziato riesce. E poi non si può negare che la scelta di Juraj Valcˇuha la scorsa stagione da Semyon Bychkov, e continuano le grandi come Direttore principale sia stata vincente: lo constatiamo a composizioni sacre: il Requiem tedesco di Brahms diretto da ogni concerto. Juraj Valcˇuha, La Creazione di Haydn affidata a Christopher Dunque partiamo con voglia di far bene. Hogwood (forse ricorderete il suo Requiem di Mozart, una delle serate più gremite e applaudite delle ultime stagioni) e Il Messia Il 2013 è l’anno dei due grandi operisti ottocenteschi che di Händel con Ottavio Dantone sul podio. rappresentano in musica due civiltà essenziali nell’universo E fra gli altri direttori ricordiamo Semyon Bychkov, Tomas Netopil, teatrale: è il duecentesimo anniversario della nascita di Giuseppe Christian Arming, Andrey Boreyko, Daniele Rustioni, -
FBM19 Pressemappe 0.Pdf
• • • PRESSEMITTEILUNG Neue Hörwelt auf der Buchmesse: Frankfurt Audio Mit Melanie Raabe, Rafik Schami, Iny Lorentz, Mieze Katz, Rita Falk, Sascha Lobo, Lars Amend und stern Crime / Podcast-Wettbewerb / Frankfurt Audio Summit mit Michael Krause von Spotify Der Audiobereich gehört international zu den wachstumsstärksten Segmenten in der Medienbranche. Auf der diesjährigen Frankfurter Buchmesse rückt die Welt der Hörbücher, Podcasts und Audio-Trends ins Rampenlicht: Frankfurt Audio heißt der neue Themenbereich, der ein Areal in Halle 3.1 mit einer eigenen Bühne, der Frankfurt Audio Stage, und eine Fachkonferenz am Messedonnerstag, den Frankfurt Audio Summit, umfasst. „Bei Frankfurt Audio dreht sich alles um das gesprochene Wort. Hörbare Inhalte waren schon immer präsent auf der Buchmesse. Im neuen Frankfurt Audio Areal werden die Trends rund um Hörbuch und Podcast nun in einem zentralen Bereich erlebbar“, sagt Matthäus Cygan, Director Business Development Trade International bei der Frankfurter Buchmesse, der den Themenbereich initiiert hat. „Auf mehr als 600 Quadratmetern werden im Frankfurt Audio Areal deutschsprachige Hörbuchverlage neben internationalen Streamingplattformen anzutreffen sein. Ein hochkarätiges Fachprogramm für Akteure aus der Publishing- und Audio-Branche wird durch Veranstaltungen mit bekannten Autorinnen, Hörbuchsprechern und Podcasterinnen ergänzt.“ Bestseller-Autorinnen und Podcaster: spannende Stimmen auf der Bühne Auf der Frankfurt Audio Stage (Halle 3.1 L 59) werden Gäste mit guter Stimme erwartet: Autor und Erzähler Rafik Schami, das Autorenpaar hinter Iny Lorentz, Sascha Lobo und DJ-Legende Talla2XLC stellen ihre neuesten Hörbücher vor. Die Frontfrau der Berliner Elektropop-Band MIA, Mieze Katz, interviewt gemeinsam mit RollingStone-Autor Ralf Niemczyk die Bestseller-Autorin Rita Falk. Wie schreibt man als Buchautorin einen Podcast? Melanie Raabe, Bestseller-Autorin und federführende Kraft hinter der erfolgreichen Podcast-Serie Der Abgrund, steht Rede und Antwort auf der Bühne. -
Newsletter September 2011 (PDF)
Newsletter September 2011 CHAIRMAN’S INTRODUCTION Dear Member, The Committee hopes you had an enjoyable summer. Some Members were in Bayreuth and Bruce Arnold, who was previously there in 1959, has kindly offered to give us the first talk after summer, comparing and contrasting his two visits. We have largely finalised our schedule of talks until next summer and hope you will find that at least some of them are of interest to you. Dates to the end of 2011 are now fixed, but further details are needed, and some possible changes may occur, for 2012. We will update the website as information becomes available and the next Newsletter will also provide more details. A key part of the year will be our continuing Study Days on Wagner’s Operas with Derek Watson. We continue with Lohengrin in October and hope in spring to follow with Tristan. That we are having talks twice this year is following representations from Members. This newsletter also contains a review of the trip to Karlsruhe by Mary Spollen and I contribute a short note on the Congress in Wrocław this year. Ian Fox kindly supplied a bibliography for those interested in following up some of the things discussed in his lecture last November, while Michael Marr reminds us of the website. Lastly, Chris McQuaid has offered some thoughts on the new production of Tannhäuser in Bayreuth this year. We look forward to seeing you at meetings Kind regards, Anthony Linehan, Chairman 2 SOCIETY PROGRAMME OF EVENTS 2011/ 2012 Our wide-ranging programme of lectures was very well attended over the past months and plans for the forthcoming season are well advanced. -
Salzburg Festival 2020
SALZBURG FESTIVAL 18 July – 30 August 2020 Salzburg Festival 2020 Helga Rabl-Stadler, President Markus Hinterhäuser, Artistic Director SALZBURG FESTIVAL 18 July – 30 August 2020 CONTENTS Preface by the Directorate of the Salzburg Festival ………………………………. p. 2 The 2020 Salzburg Festival: Facts and Figures …………………..……………….. p. 4 Press Text on the Programmme of the 2020 Salzburg Festival ..…………………. p. 6 Opera …………………………………………………………………………………… p. 6 Drama ….……………………………………………………………………………… p. 12 Concerts …………………………………………………………………………… p. 16 Celebrations ……………………………………………………………………………. p. 21 Jung & Jede*r (Young & Everyman) ………………………………………………. p. 24 Sponsors ……………………………………………………………………………… p. 27 Tickets, Value Creation, Service ……………………………………………………. p. 30 Man Ray / William Kentridge ………………………………..……………………….. p. 31 Photos ………………………………………………………………………………….. p. 32 The Salzburg Festival presents its programme in the following cities: Salzburg, Vienna, Munich, Frankfurt, Berlin, Hamburg, Zurich, London, Paris, New York, Moscow, Beijing, Seoul and Tokyo. Press Office of the Salzburg Festival | +43-662-8045-351 | [email protected] | www.salzburgerfestspiele.at 1 SALZBURG FESTIVAL 18 July – 30 August 2020 PREFACE by the Directorate of the Salzburg Festival A festival to shine as a guiding light in the search for one’s own identity, for the meaning of life, but also for the restoration of the identity of whole peoples — that was the thought uppermost in the minds of the artists and citizens who a century ago founded the Salzburg Festival as ‘one of the first deeds of peace’. Chief among them were that magician of the theatre Max Reinhardt, the poet Hugo von Hofmannsthal, the composer Richard Strauss, the stage designer Alfred Roller and the conductor Franz Schalk. Through our Ouverture spirituelle under the sign of Pax — Peace we call back to mind in this anniversary year of 2020 that founding principle of the Festival as a project dedicated to peace. -
Summer 2010 Den Reif Geb’ Ich Nicht! Volume 7, Number 3 –Das Rheingold
Wagneriana Lasst mich in Ruh’! Summer 2010 Den Reif geb’ ich nicht! Volume 7, Number 3 –Das Rheingold From the Editor e are busy planning the upcoming season and have a number of interesting events in the works. The first is a talk and book signing by Professor Nicholas Vazsonyi, author of Richard Wagner: Self-Promotion and W the Making of a Brand, published by Cambridge University Press. The book was very well received when it was released last March. A reviewer from the Wall Street Journal wrote: “Written with panache and élan, conveying with refreshing brevity a palpable sense of Wagner's indefatigable industry . the first scholarly text to take seri- ously Wagner’s incessant self-promotional activity, Mr Vazsonyi’s book assumes considerable importance not only in musicology but also in the history of marketing.” According to Opera magazine, “It is . a cracking good read as we learn about Wagner’s abilities to turn himself into a ‘brand’ or to act as his own ‘PR agent.’ An important book, too, as Vazsonyi foregrounds an aspect of Wagner we hear too little about, re-aligning a great 19th-century figure through the filter of an avowedly 21st-century sensibility.” This book was also reviewed by Professor Hans Rudolf Vaget in the spring issue of Wagneriana. For details on the October 16 talk and book signing, see the back page. Our second event is a talk and audiovisual presentation by Hilan Warshaw, a talented young filmmaker and musician. This event was originally planned for September, but the date has now been changed to November 13. -
Graduation 2021
GRADUATION 2021 Message from the President It is with pride that we take a moment to recognize the many accomplishments of our newest graduates – even if we cannot gather together at this time. Graduation is an important milestone achieved through hard work, discipline and commitment, and it deserves our recognition and praise. It is a time when people reflect on their experiences, remember the good times and appreciate those who helped them to achieve their goals. There may have been times when this day seemed unimaginable. I hope the process of getting to this point, as difficult as it may have been at times, offered each of you opportunities for personal growth, as well as the development of skills and the acquisition of knowledge. Graduation is also a time to look to the future. For some, the future will involve the pursuit of further education. Douglas College has excellent transfer pathways to other post-secondary institutions and our graduates do very well. For those who have completed their education, the next step may be to find a job. Douglas College provides support for graduates seeking employment. Whether you continue your studies or begin your career, all our graduates are welcome to access the services of the Career Centre and are encouraged to stay in contact with Douglas College through Alumni Relations. On behalf of the Douglas College community, we offer our heartfelt congratulations and best wishes to the graduating class of 2021! Dr. Kathy Denton, President Douglas College 1 2020/2021 Douglas College Board Doyinsola -
Das Hab Ich Mir Irgendwie Poetischer Vorgestellt
GESCHÄFTSBERICHT BURGTHEATER GMBH 2018/2019 Das hab ich mir irgendwie poetischer vorgestellt Maria Milisavljevic, Beben europa flieht nach europa Miroslava Svolikova willkommen beim karneval der wirklichkeit! VorwortKapitel Mit der Spielzeit 2018/19 endete meine fünfjährige Intendanz. Als ich die Direk- tion des Burgtheaters im Frühjahr 2014 zunächst interimistisch übernahm, ging es darum, das Haus aus einer schweren Krise zu führen und zu konsolidieren. Im Rückblick scheinen mir meine Bemühungen, diese Konsolidierung nie auf Kosten des künstlerischen Niveaus zu erreichen, als geglückt. Das Burgtheater konnte seine ungebrochene Strahlkraft und Attraktivität für das Publikum wiedergewin- nen und erhalten – ein Erfolg, der sich sowohl in zahlreichen Auszeichnungen und Einladungen zum Berliner Theatertreffen niederschlug wie auch ganz beson- ders im Publikumszuspruch und in den Einnahmen. In der Saison 2018/19 standen nicht weniger als 25 Premieren – darunter neun Ur- und Erstaufführungen – auf dem Spielplan, deren großer inhaltlicher Bogen – von Klaus Manns Mephisto bis Zu der Zeit der Königinmutter von Fiston Mwanza Mujila – und die Vielfalt der Regiehandschriften – von Claus Peymann und Simon Stone bis zu Andrea Breth und Johan Simons (um nur einige zu nennen) – die breite künstlerische Basis meiner Direktionszeit widerspiegelt. Die Zustimmung zu dieser vielfältigen Programmierung war nicht nur am Zu- spruch des Publikums erkennbar, sondern auch an entsprechenden Auszeich- nungen: Steven Scharf erhielt den Nestroy 2019 in der Kategorie „Bester Schau- spieler“ („Medea“, „Woyzeck“), Johan Simons wurde für „Woyzeck“ mit dem Nes- troy 2019 für die beste Regie ausgezeichnet und last but not least erhielt Andrea Breth den Nestroy 2019 für ihr Lebenswerk. Die meistbesuchten Produktionen am Burgtheater waren Mephisto nach dem Roman von Klaus Mann sowie Glaube Liebe Hoffnung von Ödön von Horváth, im Akademietheater The Who and the What von Ayad Akhtar und Der Kandidat von Carl Sternheim nach Flaubert. -
144 Kritiker*Innen-Umfrage
TH JB_19 140-155 5_Hitparade.qxp_Layout 1 14.08.19 10:21 Seite 144 Kritiker*innen-Umfrage Stück Inszenierung Bühnenbild, Schauspielerin Schauspieler Gesamtleistung & Kostüme eines Theaters Dramaturgie der Saison Margarete PeterLicht nach Regie: Claudia Bauer, PeterLicht Bühne: Martin Selg, Susanne Anna Drexler als Marie in Büchner Nils Kahnwald als Moderator, Volkstheater Affenzeller Molière «Tartuffe nach Molière «Tartuffe oder Kennedy «Coming Society», «Woyzeck», BurgtheaterWien Orest usw. in Christopher Rüping Wien «Der Standard» oder Das Das Schwein der Weisen», Volksbühne Berlin «Dionysos Stadt», Münchner Schwein der Theater Basel Kostüme: Kamila Polívková, Grill - Kammerspiele Weisen» parzer «König Ottokars Glück und Ende», Volkstheater Wien Irene Bazinger Wolfram Höll Regie: Volker Lösch und Bühne: Nina von Mechow, Sandra Gerling als einzig Sehende Edgar Selge als König Lear, Schauspielhaus «Frankfurter «Disko» Dramaturgie: Kerstin Behrens, Tschechow «Drei Schwestern», in nach José Saramago «Die Stadt Shakespeare «König Lear», Hamburg Allgemeine Thomas Freyer und Ulf Schmidt Deutsches Theater Berlin der Blinden», Schauspielhaus Schauspielhaus Hamburg Zeitung» «Das blaue Wunder», Kostüme: Josa Marx, nach Wilde Hamburg Theater Dresden «Salome», Maxim Gorki Theater Berlin Kristin Becker Sibylle Berg Regie: Robert Icke, nach Aischylos Bühne: Hildegard Bechtler, nach Sylvana Krappatsch als Klytämnestra Matthias Leja als Agamemnon keines Stuttgart/Berlin «Wonderland «Orestie», Schauspiel Stuttgart Aischylos «Orestie», Schauspiel in nach