RESUME 2012No Teacher

Total Page：16

File Type：pdf, Size：1020Kb

DEBORAH RAYMOND SOPRANO OPERATIC REPERTOIRE ROLE OPERA COMPANY Salome Salome/R.Strauss Staatsoper Dresden Stadttheater Aachen Utah Opera/ Opera Carolina Arizona Opera Des Moines Metro Opera San Francisco Opera (Cover) Lyric Opera of Chicago (Cover) Opera Co. of Philadelphia (Cover) Marie Wozzeck/Berg Landestheater Coburg Spoleto Festival USA Lyric Opera of Chicago (Cover) La Monnaie Brussels (Cover) Tosca Tosca/Puccini Pamiro Opera Missouri Symphony (Concert) Sacramento Opera Midland Symphony Orchestra Nevada Opera Cio-Cio-San Madama Butterfly/Puccini Mobile Opera Nevada Opera Mimì La Bohème/Puccini Indianapolis Opera Missouri Symphony (Concert) Opera Carolina Midland Symphony Orchestra Nedda I Pagliacci/Leoncavallo Virginia Opera Florentine Opera Milwaukee Die Frau Erwartung/Schoenberg Netherl.Radio Symphony Orch. Indianapolis Opera Northern Arizona University Tatiana Eugene Onegin/Thcaikovsky Landestheater Altenburg Bolshoi Opera of Belorus/Minsk Gerhilde Die Walküre/Wagner La Monnaie Brussels Deutsche Oper Berlin Donna Elvira Don Giovanni/Mozart Arizona Opera Eine Dirne Reigen/Boesmans La Monnaie Brussels (World Premiere) Théatre du Chatelêt/Paris Opéra national du Rhin/ Strasbourg La Protagonista Un Re in Ascolto/Berio Lyric Opera of Chicago (Cover) Ascagne Les Troyens/Berlioz La Monnaie Brussels Marianne Der Rosenkavalier/R. Strauss La Monnaie Brussels Zoe Stephen Climax/Zender La Monnaie Brussels First Woman Antigone/Honegger Concertgebouw/Amsterdam Clown Der Schuhu und die Fliegende Holland Festival, Netherlands Opera Prinzessin/Zimmermann Chorus Lohengrin, Parsifal, Tannhäuser, Bayreuther Festspiele Die Meistersinger, Götterdämmerung/Wagner CONDUCTORS Alexander Anissimov, Michael Borowitz, Daniel Barenboim, Günther Bauer-Schenk, Victoria Bond, Michael Borowitz, Sylvan Cambreling, Randall Fleischer, Christian Fröhlich, Karin Keltner, Jiri Kout, Matthias Kuntzsch, Robert Larsen, James Levine, Peter Mark, Stefan Minde, Kenneth Montgomery, Kent Nagano, Miroslav Pansky, Joseph Rescigno, Timm Rolek, Kasper De Roo, Jerome Shannon. Steven Sloane, Emil Tchakarov, Hans Vonk, Hans Zimmer DIRECTORS Luc Bondy, Patrice Courier, Robert Driver, Malcolm Fraser, Götz Friedrich, Joachim Herz, Harry Kupfer, Robert Larsen, Moshe Leiser, Leon Major, Peter Mussbach, Hans Neugebauer, Jonathan Pape, Zoe Pappas, Michael Scarola, Ellen Schlaefer, Nando Schellen, Marc Verzatt, Ernö Weil, Franz Weiss, Herbert Wernicke CONCERT REPERTOIRE (Performed and or Prepared) COMPOSER WORK WHERE PERFORMED Barber Knoxville:Summer of 1915 Flagstaff Symphony Recital, Arizona State University Beethoven Ninth Symphony Flagstaff Symphony Berg Sieben Frühe Lieder Spoleto Festival USA Recital in Indianapolis Recital in Flagstaff, AZ Britten War Requiem Flagstaff Symphony Fauré Requiem Handel Messiah Master Chorale of Flagstaff Mahler Fourth Symphony Mendelssohn Elijah Flagstaff Symphony Mozart C Minor Mass Flagstaff Symphony Poulenc Gloria Missoula Symphony Ravel Chansons Madécasses Spoleto Festival USA Recital in Indianapolis Recital in Flagstaff, AZ Rorem Ariel (Soprano, Clarinet, Piano) NAU Chamber Concert Series Rossini Stabat Mater Schoenberg Second String Quartet Spoleto Festival USA Sedona Chamber Music Festival Schoenberg Pierrot Lunaire Northern Arizona University R. Strauss Vier Letzte Lieder Verdi Requiem Flagstaff Symphony Wagner Liebestod NAU Orchestra Missoula Symphony Wagner Wesendonk Lieder Recital in Flagstaff, AZ Wagner Liebestod (Tristan und Isolde) Missoula Symphony NAU Orchestra .

Copy Link

Recommended publications

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.
[Show full text]
Levit Spielt Brahms Fr 7
LEVIT SPIELT BRAHMS FR 7. September 2018 2 3 programm programm FR 7. September 2018 Kölner Philharmonie / 20.00 Uhr Johannes Brahms 19.00 Uhr Einführung Konzert Nr. 1 d-Moll Wibke Gerking für Klavier und Orchester op. 15 I. Maestoso II. Adagio III. Rondo. Allegro non troppo ~ 45 Minuten pause Arnold Schönberg Pelleas und Melisande Sinfonische Dichtung op. 5 (nach dem Drama von Maurice Maeterlinck) [I.] Die Achtel ein wenig bewegt – Heftig – Lebhaft – [II.] Sehr rasch – Ein wenig bewegt – [III.] Langsam – Ein wenig bewegter – [IV.] Sehr langsam – Etwas bewegt – In gehender Bewegung – Breit ~ 43 Minuten Jukka-Pekka Saraste Igor Levit Klavier WDR Sinfonieorchester Jukka-Pekka Saraste Leitung sendetermin wdr 3 SA 15. September 2018 20.04 Uhr wdr 3 konzertplayer digitales programmheft Zum Nachhören finden Sie Unter wdr-sinfonieorchester.de dieses Konzert 30 Tage lang im steht Ihnen fünf Tage vor WDR 3 Konzertplayer: wdr3.de jedem Konzert das jeweilige Programmheft zur Verfügung. Titelbild: Igor Levit 4 5 die werke die werke Die Ereignisse freilich überschlugen sich in den 1850er Jahren: 1853 veröffentlichte Schumann den Artikel »Neue Bahnen«, in dem er Brahms eine große Zukunft als Komponist prophezeite: »Am Cla- vier sitzend, fing er an wunderbare Regionen zu enthüllen. Wir wurden in immer zauberischere Kreise hineingezogen. Dazu kam ein ganz geniales Spiel, das aus dem Clavier ein Orchester von wehklagenden und lautjubelnden Stimmen machte. Es waren So- naten, mehr verschleierte Symphonien«. Damit war dem jungen KONZERT NR. 1 D-MOLL Komponisten klar, dass von ihm Sinfonisches erwartet wurde. Ent- sprechend wollte Brahms seine ursprünglich für zwei Klaviere kon- FÜR KLAVIER UND zipierte d-Moll-Sonate umarbeiten.
[Show full text]
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.
[Show full text]
CV English - Noëmi Nadelmann —
CV English - Noëmi Nadelmann — Noëmi Nadelmann is a swiss soprano and one of the leading opera and concert singer of her generation. She made her debut in 1987 at the Teatro La Fenice in Venice as Musetta in 'La Bohème' with Renata Scotto as Mimi. Since that time she has sung major roles in the great opera houses of the world, in the major concert halls and with the world's leading orchestras. Noëmi Nadelmann has sung Musetta at the Metropolitan Opera in New York, Opéra National Paris (Bastille) in Paris (conductor: Daniel Oren), Vienna State Opera, Komische Oper Berlin (conductor: Simone Young), Dutch National Opera Amsterdam (director: Pierre Audi) and the Lyric Opera of Chicago. She has sung Violetta in 'La Traviata' at the Komische Oper in Berlin (director: Harry Kupfer, conductor: Yakov Kreizberg), Hessisches Staatstheater Wiesbaden, Deutsche Oper Berlin (director: Götz Friedrich), Opernhaus Zürich (director: Jürgen Flimm, conductor: Franz Welser- Möst) and the State Opera House Hamburg. She has also sung the title role in 'Lucia di Lammermoor' at the Komische Oper Berlin (director: Harry Kupfer, conductor: Yakov Kreizberg, Vladimir Jurowski) and the State Opera House Hamburg. Noëmi Nadelmann has sung the tiltle role in 'Manon' at the Deutsche Oper Berlin and Marschallin in 'der Rosenkavalier' on their tour to Beijing (conductor: Uwe Schirmer) as well as at the Israeli Opera in Tel Aviv (conductor: Asher Fisch). Armida in 'Rinaldo' she was a tremendous success at the Bavarian State Opera in Munich (director: David Alden, conductor: Harry Bicket) and at the State Opera Berlin (director: Nigel Lowery, conductor: René Jacobs).
[Show full text]
559700 Bk Hanson US
559642 bk Baker US_559642 bk Baker US 22/06/2012 21:07 Page 12 AMERICAN CLASSICS CLAUDE BAKER The Glass Bead Game Awaking the Winds • Shadows • The Mystic Trumpeter St. Louis Symphony Leonard Slatkin • Hans Vonk 8.559642 12 559642 bk Baker US_559642 bk Baker US 22/06/2012 21:07 Page 2 Claude Baker (b. 1948): The Glass Bead Game Hans Vonk Awaking the Winds • Shadows: Four-Dirge Nocturnes • The Mystic Trumpeter The distinguished Dutch conductor Hans Vonk assumed The Glass Bead Game (1982, rev. 1983) attained through a complete consumption and exhaustive the post of Music Director and Conductor of the St. Louis analysis only of the fruits of the past. Such a society, says Symphony in September 1996. A sought-after guest In 1943, the German novelist and philosopher Hermann Hesse, no matter how elite, how intellectual, how esoteric, conductor as well, he appeared with many of the world’s Hesse completed his last and (excepting Narcissus und must stagnate, wither and die. most prestigious orchestras and led performances at major Goldmund) greatest novel, Das Glasperlenspiel. Winner Claude Baker is saying much the same thing in his opera houses in Europe and North America, while also of the 1946 Nobel Prize for Literature, this book, the sum three-movement musical piece based on The Glass Bead remaining active in the musical life of his native Holland. and summit of Hesse’s thought and one of the most truly Game. His work, bearing the same title, is far more than a Vonk was Chief Conductor of the Netherlands Opera from relevant books of the era, was translated into English in programmatic reflection of Hesse’s novel; it is, remarkably, 1976 to 1985, during which time he was also Conductor of 1969 and brought out first with the title The Glass Bead like the novel, a philosophical mirror as well, in which the Netherlands Radio Philharmonic (1973-1979) and Game and subsequently as Magister Ludi (Master of the Baker utilizes Hesse’s methods and imagery to comment Associate Conductor of London’s Royal Philharmonic Game).
[Show full text]
Celebrating Slatkin Booklet FINAL
Marie-Hélène Bernard St. Louis Symphony Orchestra President & CEO Dear Leonard, When you made your conducting debut with the St. Louis Symphony Orchestra in 1968, who could have imagined that we’d gather on the same stage 50 years later to celebrate a remarkable partnership – one that redefined what an American orchestra could – and continues – to be. What you built with the St. Louis Symphony Orchestra starting 50 years ago remains core to our mission. It’s the solid bedrock we’ve been building on for the past five decades: enriching lives through the power of music. Your years with the SLSO reshaped this orchestra, earning it the title of “America’s Orchestra.” You connected with our community – both here in St. Louis and on national and international stages. By taking this orchestra on the road, you introduced the SLSO and St. Louis to the world. You recorded with this orchestra more than any other SLSO music director, championing American composers and music of our time. Your passion for music education led to your founding of the St. Louis Symphony Youth Orchestra, which is the premiere experience for young musicians across our region. Next year, we will mark the Youth Orchestra’s golden anniversary and the thousands of lives it has impacted. We admire you for your remarkable spirit and talent and for your amazing vision and leadership. We are thrilled you have returned home to St. Louis and look forward to many years sharing special moments together. On behalf of the entire St. Louis Symphony Orchestra family, congratulations on the 50th anniversary of your SLSO debut.
[Show full text]
Circling Opera in Berlin by Paul Martin Chaikin B.A., Grinnell College
Circling Opera in Berlin By Paul Martin Chaikin B.A., Grinnell College, 2001 A.M., Brown University, 2004 Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Program in the Department of Music at Brown University Providence, Rhode Island May 2010 This dissertation by Paul Martin Chaikin is accepted in its present form by the Department of Music as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date_______________ _________________________________ Rose Rosengard Subotnik, Advisor Recommended to the Graduate Council Date_______________ _________________________________ Jeff Todd Titon, Reader Date_______________ __________________________________ Philip Rosen, Reader Date_______________ __________________________________ Dana Gooley, Reader Approved by the Graduate Council Date_______________ _________________________________ Sheila Bonde, Dean of the Graduate School ii Acknowledgements I would like to thank the Deutsche Akademische Austauch Dienst (DAAD) for funding my fieldwork in Berlin. I am also grateful to the Institut für Musikwissenschaft und Medienwissenschaft at Humboldt-Universität zu Berlin for providing me with an academic affiliation in Germany, and to Prof. Dr. Christian Kaden for sponsoring my research proposal. I am deeply indebted to the Deutsche Staatsoper Unter den Linden for welcoming me into the administrative thicket that sustains operatic culture in Berlin. I am especially grateful to Francis Hüsers, the company’s director of artistic affairs and chief dramaturg, and to Ilse Ungeheuer, the former coordinator of the dramaturgy department. I would also like to thank Ronny Unganz and Sabine Turner for leading me to secret caches of quantitative data. Throughout this entire ordeal, Rose Rosengard Subotnik has been a superlative academic advisor and a thoughtful mentor; my gratitude to her is beyond measure.
[Show full text]
Tema 7. Escenografía
WAGNERIANA CASTELLANA Nº 53 AÑO 2005 TEMA 7. ESCENOGRAFÍA TÍTULO: “REGIETHEATER”, EL VENENO DE LA OPERA AUTOR: Marcel Prawy “Las palabras bellas no son verdad, las palabras veraces no son bellas.” Esto es lo que cree Lao- Tse. “Regietheater” es un teatro dictado y dominado por el regidor. Esto es para el mundo de la ópera lo que el Sida para el cuerpo humano. Es deber del regidor contar clara y comprensible, al público de hoy, la obra creada por el autor. Cuando lo cuenta de manera incomprensible, si cabe más incomprensible que la pieza misma, ha fracasado. Cuando cuenta la obra de manera diferente a como el autor la ha previsto – cuando según su antojo cambia el contenido de la pieza – engaña al público y este tiene derecho a pedir que le devuelvan el dinero de la entrada. La libertad artística del regidor, en su proyecto visual, tiene los mismos límites que tiene el director de orquesta ante la música. La puesta en escena ha tenido siempre una gran importancia en la historia de la Ópera. Hoy esto es ignorado por los regidores y además, si lo saben, no les importa nada en absoluto. ¿Cómo se logra a través del decorado que sean comprensibles las diferentes fases de la acción? ¿Cómo se crean entradas impresionantes? ¿Cómo se ilumina de manera que la mujer aparezca bella? ¿Dónde se coloca un cantante para que su voz suene lo mejor posible? Es peligroso que el regidor sea quien reparta los papeles, cosa frecuente hoy en día, cuando lo mejor es que sea el director de orquesta quien los escoja.
[Show full text]
Naamloos 2.Pages
JOOST SMEETS CONDUCTOR JOOST SMEETS PAGINA: !1 Joost Smeets Lindepad 3 6017BW Thorn Nederland PHONE: +31 6 22387357 E-MAIL: [email protected] WEBSITE: www.joostsmeets.com VIDEOS: https://vimeopro.com/culture2share/joost-smeets-conductor JOOST SMEETS PAGINA: !2 Biography 1st Prize winner of the Cordoba Conducting Competition Spain 2013, 1st Prize winner of the Black Sea International Conducting Competition Constanta Romania 2014, 1st Prize winner of the London Classical Soloïsts Conducting Competition United Kingdom 2016 2nd Prize winner of the Antal Dorati Int. Conducting Competition Budapest Hungary 2015, 3rd Prize winner (1st and 2nd Prize are not awarded) of the Ferruccio Busoni Int. Conducting Competition Empoli, Italy 2016 Principal Conductor and Artistic Director of the Chamber Philharmonic der Aa Groningen Holland (2010-2016) conducted with great acclaim in his career renowned orchestras in Opera and Symphonic programs including: - Boise Philharmonic Orchestra USA - Letvian National Symphony Orchestra Riga Letvia - North-Netherlands Symphony Orchestra Groningen Holland - Koszalin Philharmonic “Stanislaw Moniuszko” Poland - Wuhan Philharmonic Orchestra China - State Opera Rousse, Bulgaria - MAV Symphony Orchestra Budapest, Hungary - St. Petersburg State Symphony Orchestra Russia - Cordoba Symphony Orchestra Spain - Artez Conservatory Symphony Orchestra Zwolle Holland - Tomsk Philharmonic Orchestra Russia - Limburgs Symphony Orchestra Maastricht Holland - National Bulgarian Opera Bourgas Bulgaria - Württembergische Philharmonie
[Show full text]
Boston Symphony Orchestra Concert Programs, Season 112, 1992-1993
One Hundred and Twelfth Season 1992-93 BOSTON (SYMPHONY ORCHE STRA SEIJI OZAWA, MUSIC DIRECTOR LASSALE THE ART OF SEIKO Bracelets, cases, and casebacks finished in 22 karat gold. EB. HORN Jewelers Since 1839 429 WASHINGTON ST. BOSTON 02108 617-542-3902 • OPEN MON. AND THURS. TIL 7 Seiji Ozawa, Music Director One Hundred and Twelfth Season, 1992-93 &*=^>^ Trustees of the Boston Symphony Orchestra, Inc. J. P. Barger, Chairman George H. Kidder, President Mrs. Lewis S. Dabney, Vice-Chairman Nicholas T. Zervas, Vice-Chairman Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer David B. Arnold, Jr. Nina L. Doggett R. Willis Leith, Jr. Peter A. Brooke Dean Freed Mrs. August R. Meyer James F. Cleary AvramJ. Goldberg Molly Beals Millman John F. Cogan, Jr. Thelma E. Goldberg Mrs. Robert B. Newman Julian Cohen Julian T. Houston Peter C. Read William F. Connell Mrs. BelaT. Kalman Richard A. Smith William M. Crozier, Jr. Allen Z. Kluchman Ray Stata Deborah B. Davis Harvey Chet Krentzman Trustees Emeriti Vernon R. Alden Archie C. Epps Irving W. Rabb Philip K. Allen Mrs. Harris Fahnestock Mrs. George R. Rowland Allen G. Barry Mrs. John L. Grandin Mrs. George Lee Sargent Leo L. Beranek Mrs. George I. Kaplan Sidney Stoneman Mrs. John M. Bradley Albert L. Nickerson John Hoyt Stookey AbramT. Collier Thomas D. Perry, Jr. John L. Thorndike Nelson J. Darling, Jr. Other Officers of the Corporation John Ex Rodgers, Assistant Treasurer Michael G. McDonough, Assistant Treasurer Daniel R. Gustin, Clerk Administration Kenneth Haas, Managing Director Daniel R. Gustin, Assistant Managing Director and Manager ofTanglewood Michael G.
[Show full text]
559700 Bk Hanson US
AMERICAN CLASSICS CLAUDE BAKER The Glass Bead Game Awaking the Winds • Shadows • The Mystic Trumpeter St. Louis Symphony Leonard Slatkin • Hans Vonk Claude Baker (b. 1948): The Glass Bead Game comes to an end, the note “B” begins to disperse it and In that spirit, Claude Baker bases his second movement Awaking the Winds • Shadows: Four-Dirge Nocturnes • The Mystic Trumpeter dominate the movement, and Baker introduces the “Music on a paduana (a slow, courtly dance like a pavane) from of Decline.” The loud, violent outbursts in the winds and Johann Schein’s landmark Banchetto Musicale of 1617, The Glass Bead Game (1982, rev. 1983) attained through a complete consumption and exhaustive percussion signal the end of the “Age of the Feuilleton.” one of the first thematically integrated instrumental works analysis only of the fruits of the past. Such a society, says written in Germany. But Baker does not simply quote the In 1943, the German novelist and philosopher Hermann Hesse, no matter how elite, how intellectual, how esoteric, “…Old age and twilight had set in... the ‘music of Schein work; rather, he alternates it with his own Hesse completed his last and (excepting Narcissus und must stagnate, wither and die. decline’ had sounded... it raged somewhat atonal music, thus making the seventeenth- Goldmund) greatest novel, Das Glasperlenspiel. Winner Claude Baker is saying much the same thing in his as untrammeled and amateurish overproduction century music seem like a dream, like yesterday’s sunlight of the 1946 Nobel Prize for Literature, this book, the sum three-movement musical piece based on The Glass Bead in all the arts.” recalled from behind the veil of memory.
[Show full text]
Michael Faust
Masterclass Φλάουτου 7-9 Μαρτίου 2016, Iόνιος Ακαδημία Michael Faust (Robert Schumann Hochschule, Ντίσελντορφ Συμφωνική Ορχήστρα WDR, Κολωνίας) Επισκέπτης καθηγητής στο πλαίσιο του προγράμματος Erasmus+ Στο σεμινάριο θα συμμετέχουν ενεργά φοιτητές Kατεύθυνσης Eκτέλεσης Φλάουτου του Τ.Μ.Σ. Η παρακολούθηση του σεμιναρίου είναι ανοιχτή για ενδιαφερόμενους ακροατές. Οι ενδιαφερόμενοι μπορούν να ενημερώνονται για τις ακριβείς ώρες διεξαγωγής του σεμιναρίου από την υπεύθυνη διδάσκουσα του Τ.Μ.Σ. , κυρία Ρία Γεωργιάδου ([email protected]). Michael Faust's concert career began in his native Cologne, Germany, in 1975 where he was a student of Cäcilie Lamerichs. Later he studied in Hamburg with Karlheinz Zöller, principal flute of the Berlin Philharmonic, and with Aurèle Nicolet in Basel, Switzerland. Since then Michael has won prizes in prestigious music competitions in Rome, Prague and Bonn. As a 1986 Pro Musicis award winner in New York, he has accorded début concerts in such music centers as Boston, Washington, New York, Paris, Tokyo, and Osaka. Highlights of his solo-career include performances with the WDR-Symphony Orchestra, the St. Louis Symphony Orchestra, and the Hilversum Symphony Orchestra, where he performed Gunther Schuller's flute concerto, with the Gürzenich-Orchestra Köln under Markus Stenz, the NDR-Symphony Orchestra as well as with the Moscow Radio-Symphony and the Spokane Symphony orchestras. He has also played as a soloist in halls like the Concertgebow Amsterdam, Berlin Philharmonic, Keio Hall in Tokyo, the Cologne Philharmonic and many others. In 2003 the renowned composer Mauricio Kagel wrote his only instrumental concerto for Michael Faust, who played his ‘Das Konzert’ in Duisburg, Düsseldorf and Hamburg among other cities.
[Show full text]