Cv Rudi De Vries

Total Page：16

File Type：pdf, Size：1020Kb

RUDI DE VRIES TENOR Schönbergweg 10 NL-1323 GX Almere Tel. +31 36 5362418 Mob. +31 64 10 10 007 [email protected] De Nederlandse zanger Rudi de Vries studeerde in Zwolle, Amsterdam, Wenen, Keulen, Krefeld en bij Christian Papis. Nu wordt hij gecoacht door Brian Masuda. Van 1983 tot en met 1986 was hij lid van de opera studio van de Nederlandse opera stichting in Amsterdam. In 1990 was Rudi de Vries als gast in Genève in de opera "Simon Boccanegra" en in Antwerpen waarhij in meerdere produkties zong. Van 1991 tot 1994 was hij lid van de ensemble’s van Pforzheim en Kaiserslautern, waar hij rollen zong in: “Der Freischütz”, “Mahagonny”, “Ritter Blaubart”, “Rusalka”, “Don Carlos”, “Tosca” en “Wozzeck”. Als freelance zanger was Rudi de Vries verbonden aan de opera’s van Enschede (Die Zauberflöte en Candide), Amsterdam (Salomé en Un ballo di Maschere), Antwerpen (Parsifal, Der Rosenkavalier en Die Frau ohne Schatten), Regensburg (Simon Bolivar), Hagen (Cyrano de Bergerac), Cottbus (Rusalka) en Münster (Ritter Blaubart). Vanaf 1995 tot het einde van de produktie van "The Phantom of the Opera" in Scheveningen zong Rudi de Vries de rol van Ubaldo Piangi bij Joop van den Ende. Bij de Nederlandse opera zong hij twee rollen in de opera De Neus van Sjostakovitsj o.l.v. Gennady Rozhdestvensky. In april/mei 2003 zong Rudi de Vries in de opera De zaak Makropoulos van Leos Janacek in het staatstheater in Oldenburg. In januari 2004 zong Rudi de Vries de rol van Gabriel von Eisenstein bij het Musiktheater Usti o.l.v. Jan Willem de Vriend en regie van Eva Buchman. In de opera Don Carlo van G. Verdi zong Rudi de Vries de rol van “Araldo reale” tijdens het Holland Festival 2004 o.l.v. Riccardo Chailly en in een regie van Willy Decker. Rudi de Vries zong de wereld première van de opera "Wagner Dream" van Jonathan Harvey in een regie van Pierre Audi in Brussel, Luxembourg en Parijs. Hij heeft 4 seizoenen in het Festspielchor van de Bayreuther Festspiele gezongen tussen 1988-2008 en weer vanaf. De afgelopen jaren zong hij verschillende rollen bij de "Gooise Operette" in Bussum en bij "Crescendo" in Leiden. Op het programma voor 2010/2011 staan de volgende operas/operettes: de rol van Mainfroid in Les vêpres siciliennes van G. Verdi met Christof Loy en Maestro Carignani, Fidelio, Billy Budd, Legende. In oktober 2010 zingt Rudi de rol van Rene in Der Graf von Luxemburg bij de "Gooise operette" in 't Spant in Bussum. De regie is in handen van Martin Pleyte en Rutger van Leyden heeft de muzikale leiding. Rudi de Vries zingt de rol van "Der Haushofmeister der Feldmarschallin" in Der Rosenkavalier met Sir Simon Rattle. Vanaf 25 Juli 2011 is Rudi weer te horen in het Bayreuther Festspielchor in Tannhäusser, Lohengrin, Parsifal, Tristan und Isolde en Der Meistersinger von Nürnberg. In November 2011 zingt hij de rol van Edwin in de operette Csardasfürstin bij Operette vereniging Crescendo in Leiden. In 2012 zingt Rudi de Vries de rollen: Il conte di Lerma en Araldo Réale in de opera Don Carlo bij de Nederlandsse Opera o.l.v. Yannick Nézet Séguin. .

Copy Link

Recommended publications

Premieren Der Oper Frankfurt Ab September 1945 Bis Heute
Premieren der Oper Frankfurt ab September 1945 bis heute Musikalische Leitung der Titel (Title) Komponist (Composer) Premiere (Conductor) Regie (Director) Premierendatum (Date) Spielzeit (Season) 1945/1946 Tosca Giacomo Puccini Ljubomir Romansky Walter Jokisch 29. September 1945 Das Land des Lächelns Franz Lehár Ljubomir Romansky Paul Kötter 3. Oktober 1945 Le nozze di Figaro W.A. Mozart Dr. Karl Schubert Dominik Hartmann 21. Oktober 1945 Wiener Blut Johann Strauß Horst-Dietrich Schoch Walter Jokisch 11. November 1945 Fidelio Ludwig van Beethoven Bruno Vondenhoff Walter Jokisch 9. Dezember 1945 Margarethe Charles Gounod Ljubomir Romansky Walter Jokisch 10. Januar 1946 Otto und Theophano Georg Friedrich Händel Bruno Vondenhoff Walter Jokisch 22. Februar 1946 Die Fledermaus Johann Strauß Ljubomir Romansky Paul Kötter 24. März 1946 Zar und Zimmermann Albert Lortzing Ljubomir Romansky Heinrich Altmann 12. Mai 1946 Jenufa Leoš Janáček Bruno Vondenhoff Heinrich Altmann 19. Juni 1946 Spielzeit 1946/1947 Ein Maskenball Giuseppe Verdi Bruno Vondenhoff Hans Strohbach 29. September 1946 Così fan tutte W.A. Mozart Bruno Vondenhoff Hans Strohbach 10. November 1946 Gräfin Mariza Emmerich Kálmán Georg Uhlig Heinrich Altmann 15. Dezember 1946 Hoffmanns Erzählungen Jacques Offenbach Werner Bitter Karl Puhlmann 2. Februar 1947 Die Geschichte vom Soldaten Igor Strawinsky Werner Bitter Walter Jokisch 30. April 1947 Mathis der Maler Paul Hindemith Bruno Vondenhoff Hans Strohbach 8. Mai 1947 Cavalleria rusticana / Pietro Mascagni / Werner Bitter Heinrich Altmann 1. Juni 1947 Der Bajazzo Ruggero Leoncavallo Spielzeit 1947/1948 Ariadne auf Naxos Richard Strauss Bruno Vondenhoff Hans Strohbach 12. September 1947 La Bohème Giacomo Puccini Werner Bitter Hanns Friederici 2. November 1947 Die Entführung aus dem W.A.
[Show full text]
Operaharmony
#OPERAHARMONY CREATING OPERAS IN ISOLATION 1 3 WELCOME TO #OPERA HARMONY FROM FOUNDER – ELLA MARCHMENT Welcome to #OperaHarmony. #Opera Harmony is a collection of opera makers from across the world who, during this time of crisis, formed an online community to create new operas. I started this initiative when the show that I was rehearsing at Dutch National Opera was cancelled because of the lockdown. Using social media and online platforms I invited colleagues worldwide to join me in the immense technical and logistical challenge of creating new works online. I set the themes of ‘distance’ and ‘community’, organised artist teams, and since March have been overseeing the creation of twenty new operas. All the artists involved in #OperaHarmony are highly skilled professionals who typically apply their talents in creating live theatre performances. Through this project, they have had to adapt to working in a new medium, as well as embracing new technologies and novel ways of creating, producing, and sharing work. #OperaHarmony’s goal was to bring people together in ways that were unimaginable prior to Covid-19. Over 100 artists from all the opera disciplines have collaborated to write, stage, record, and produce the new operas. The pieces encapsulate an incredibly dark period for the arts, and they are a symbol of the unstoppable determination, and community that exists to perform and continue to create operatic works. This has been my saving grace throughout lockdown, and it has given all involved a sense of purpose. When we started building these works we had no idea how they would eventually be realised, and it is with great thanks that we acknowledge the support of Opera Vision in helping to both distribute and disseminate these pieces, and also for establishing a means in which audiences can be invited into the heart of the process too .
[Show full text]
Brian Jagde Has Quickly Emerged As One of the Most Engaging and Exciting Artists of His Generation
Saverio Clemente Andrea De Amici Luca Targetti American tenor Brian Jagde has quickly emerged as one of the most engaging and exciting artists of his generation. Jagde begins the 2017/18 season in his highly anticipated role debut as Calaf in Turandot at San Francisco Opera, under the baton of Nicola Luisotti. He then travels to Switzerland for his debut at Opernhaus Zürich as Cavaradossi (Tosca) and sings the role later in the season at the Deutsche Oper Berlin. In February 2018, Jagde makes his first appearance at the Het Concertgebouw in Amsterdam as the tenor soloist for a live radio broadcast performance of Verdi's Requiem, with conductor Edo de Waart and the Radio Filharmonisch Orkest. Mr. Jagde will debut as Der Fremde in a new Christof Loy production of Korngold's rarely performed Das Wunder der Heliane at Deutsche Oper Berlin, and returns to the US for his house debut at Seattle Opera as Radamès in Aida. His most recent seasons have featured important role debuts, including Maurizio (Adriana Lecouvreur) at the Royal Opera House; Radamès in a new production of Aida at San Francisco Opera; and Froh (Das Rheingold) in his first appearance with the New York Philharmonic. House debuts have included Pinkerton (Madama Butterfly) at the Brian Jagde Teatro Massimo, Washington National Opera, and Staatsoper Tenor Hamburg; Don José (Carmen) in a new production at the Teatro San Carlo and the Bayerische Staatsoper; Houston Grand Opera as the Prince (Rusalka); Macduff (Macbeth) at the Teatro Real; Cavaradossi (Tosca) at Oper Stuttgart and Bacchus (Ariadne auf Naxos) at Palm Beach Opera.
[Show full text]
Christian Schmidt
Christian Schmidt Christian Schmidt (*1966) is a German stage and costume designer. He studied stage design at the Mozarteum in Salzburg and at the Academy of Fine Arts in Vienna. He has been collaborating closely with director Claus Guth. Alongside Claus Guth, he produced “Iphgénie en Tauride” (Iphigenia in Tauris) at the Salzburg Festival as well as Wagner’s “Der fliegende Holländer” (The Flying Dutchman) for the Bayreuth Opera Festival and for the ‘Staatstheater am Gärtnerplatz’ in Munich. Other projects were “Der Wildschütz” (The Poacher) by Albert Lortzings, “Der Revisor” (The Government Inspector) by Werner Egks, and Richard Wagner’s early work “Das Liebesverbot” (The Ban on Love). He also designed sets for La Scala in Milan for the productions of “Die Frau ohne Schatten” (The Woman Without A Shadow) and “Lohengrin”, at the Opéra Nationale in Paris for “Rigoletto”, the Vienna Festival Week in 2005, the Gran Teatre del Liceu in Barcelona for “Parsifal”, the Zurich Opera House (such as “Tristan & Isolde” (Tristan and Iseult), “Ariane et Barbe-Bleue” (Ariadne and Bluebeard ) and “Ariadne auf Naxos” (Ariadne on Naxos), the State Opera at the Schiller Theater Berlin for “The Turn of the Screw”, the Frankfurt Opera House (such as “Der Rosenkavalier” (The Knight of thee Rose) and “Daphne”), and the Theater an der Wien (among others, the “Messiah”, “Lazarus” and a Monteverdi cycle). At the Munich Biennale and at the Semper Opera in Dresden, he created the entire original stage and costume design for world premieres of operas by the composers Giorgio Battistelli, Chaya Czernowin, Johannes Maria Staud, and Peter Ruzicka.
[Show full text]
PARSIFAL Parsifal| Temporada 2015-2016
TEMPORADA 2015-2016 PARSIFAL RICHARD WAGNER Parsifal| Temporada 2015-2016 PARSIFAL Página 2 Ficha artística Página 3 Sinopsis Página 4 La trampa de la redención, por Joan Matabosch Página 6 Bychkov y Wagner [de la Revista del Real] Páginas 7-10 Biografías principales Parsifal| Temporada 2015-2016 PARSIFAL Richard Wagner (1813 – 1883) Festival escénico sacro en tres actos. Libreto de Richard Wagner, basado en el poema épico medieval Parzival de Wolfram von Eschenbach. Coproducción de la Ópera de Zúrich y el Gran Teatre del Liceu de Barcelona Equipo artístico Director musical Semyon Bychkov (Abr. 2, 6, 9, 18, 21, 24, 27, 30) Paul Weigold (Abr. 12, 15) Director de escena Claus Guth Escenógrafo y figurinista Christian Schmidt Iluminador Jürgen Hoffmann Coreógrafo Volker Michl Director del coro Andrés Máspero Realizador de la dirección de escena Christoph Zauner Ayudante del director de escena Marcelo Buscaino Ayudante del figurinista Ulrike Zimmermann Ayudante del iluminador Nicolás Fischtel Supervisor de dicción alemana Dominik Dengler Reparto Amfortas Detlef Roth Titurel Ante Jerkunica Gurnemanz Franz Josef Selig Klingsor Evgeny Nikitin Kundry Anja Kampe Parsifal Christian Elsner Dos caballeros del Grial Vicenç Esteve, David Sánchez Escuderos Ana Puche, Kai Rüütel, Alejandro González, Jordi Casanova Seis muchachas flor Ilona Krzywicka, Khatouna Gadelia, Kai Rüütel Samantha Crawford, Ana Puche, Rosie Aldridge Una voz Rosie Aldridge Coro y Orquesta Titulares del Teatro Real Figurantes Magdalena Aizpurua, Javier Cabrera, José Cameán, Santiago
[Show full text]
Donald Runnicles Leads Cso in Program of Works by Elgar, Strauss, and Britten
For Immediate Release: Press Contacts: April 29, 2016 Eileen Chambers, 312-294-3092 Photos Available By Request [email protected] DONALD RUNNICLES LEADS CSO IN PROGRAM OF WORKS BY ELGAR, STRAUSS, AND BRITTEN May 5, 7 and 10, 2016 CHICAGO—Conductor Donald Runnicles leads the Chicago Symphony Orchestra (CSO) in concerts on Thursday, May 5, at 8:00 p.m., Saturday, May 7, at 8:00 p.m., and Tuesday, May 10, at 7:30 p.m. The program includes Benjamin Britten’s Sinfonia da requiem, Richard Strauss’ gripping tone poem Death and Transfiguration, and Edward Elgar’s Enigma Variations. Britten’s Sinfonia da requiem, opens the program. Written in 1940 as a commission for the 2600th anniversary celebrations of the Japanese emperor Hirohito’s ruling dynasty, the piece went unused for the occasion due to its notably mournful tone. Britten’s beautifully orchestrated and strikingly powerful work was later premiered by the New York Philharmonic in Carnegie Hall in 1941. The program continues with one of Richard Strauss’ early tone poems, Death and Transfiguration, which traces a man’s journey through the pain of death to his eventual redemption. Concluding the evening’s program is Elgar’s Variations on an Original Theme, Op. 36 (Enigma) which contains 14 charming and witty musical portraits of the composer’s circle of acquaintances and one of Elgar himself. Arguably one of the most popular English classical works of the 20th century, the Enigma Variations was given its U.S. premiere by the CSO in 1902. Internationally renowned conductor Donald Runnicles serves as General Music Director of the Deutsche Oper Berlin, Chief Conductor of BBC Scottish Symphony Orchestra, and Music Director of the Grand Teton Music Festival, as well as Principal Guest Conductor with the Atlanta Symphony Orchestra.
[Show full text]
Adriana Lecouvreur
FRANCESCO CILEA adriana lecouvreur conductor Opera in four acts Gianandrea Noseda Libretto by Arturo Colautti, based production Sir David McVicar on the play Adrienne Lecouvreur by Eugène Scribe and Ernest Legouvé set designer Charles Edwards Saturday, January 26, 2019 costume designer 8:00–11:20 PM Brigitte Reiffenstuel lighting designer New Production Adam Silverman Last time this season choreographer Andrew George The production of Adriana Lecouvreur associate director Justin Way was made possible by a generous gift from The Sybil B. Harrington Endowment Fund Co-Production of the Royal Opera House, Covent Garden, London; Gran Teatre del Liceu, Barcelona; Wiener Staatsoper; San Francisco Opera; and general manager L’Opéra National de Paris Peter Gelb jeanette lerman-neubauer This production was first seen at the Royal Opera music director Yannick Nézet-Séguin House, London, on November 18, 2010. 2018–19 SEASON The 81st Metropolitan Opera performance of FRANCESCO CILEA’S adriana lecouvreur conductor Gianandrea Noseda in order of vocal appearance mlle. jouvenot Sarah Joy Miller michonnet Ambrogio Maestri poisson Tony Stevenson* mlle. dangeville Samantha Hankey quinault Patrick Carfizzi the abbé of cha zeuil Carlo Bosi the prince of bouillon Maurizio Muraro adriana lecouvreur Jennifer Rowley Saturday, January 26, 2019, 8:00–11:20PM maurizio Piotr Beczała the princess of bouillon Anita Rachvelishvili major- domo Christian Rozakis chambermaid Anne Dyas mlle. duclos Snezhana Chernova pantalone Bill Corry judgment of paris ballet paris Kfir
[Show full text]
Network Notebook
Network Notebook Summer Quarter 2019 (July - September) A World of Services for Our Affiliates We make great radio as affordable as possible: • Our production costs are primarily covered by our arts partners and outside funding, not from our affiliates, marketing or sales. • Affiliation fees only apply when a station takes three or more programs. The actual affiliation fee is based on a station’s market share. Affiliates are not charged fees for the selection of WFMT Radio Network programs on the Public Radio Exchange (PRX). • The cost of our Beethoven and Jazz Network overnight services is based on a sliding scale, depending on the number of hours you use (the more hours you use, the lower the hourly rate). We also offer reduced Beethoven and Jazz Network rates for HD broadcast. Through PRX, you can schedule any hour of the Beethoven or Jazz Network throughout the day and the files are delivered a week in advance for maximum flexibility. We provide highly skilled technical support: • Programs are available through the Public Radio Exchange (PRX). PRX delivers files to you days in advance so you can schedule them for broadcast at your convenience. We provide technical support in conjunction with PRX to answer all your distribution questions. In cases of emergency or for use as an alternate distribution platform, we also offer an FTP (File Transfer Protocol), which is kept up to date with all of our series and specials. We keep you informed about our shows and help you promote them to your listeners: • Affiliates receive our quarterly Network Notebook with all our program offerings, and our regular online WFMT Radio Network Newsletter, with news updates, previews of upcoming shows and more.
[Show full text]
Press Release Season 2019-20 Opernhaus Zürich
Opernhaus Zürich AG Bettina Auge Pressereferentin Falkenstrasse 1 CH-8008 Zürich T +41 44 268 64 34 [email protected] www.opernhaus.ch Press Release, 5 April 2019 THE 2019/20 SEASON AT THE OPERNHAUS ZÜRICH OPERA PREMIERES /// BRAND NEW WITH BARTOLI, A WORLD PREMIERE WITH HAMPSON, MODERN-DAY WITH HERLITZIUS AND OPERETTA WITH DASCH OPERA REVIVALS /// A ROLE DEBUT FOR FLÓREZ, BECZAŁA AS LOHENGRIN, GERHAHER IS WOZZECK AND SCHAGER IS FLORESTAN THE BALLETT ZÜRICH /// A WORLD PREMIERE BY CHRISTIAN SPUCK, AN HOMAGE TO FORSYTHE AND YOUNG CHOREOGRAPHERS CONCERTS, SONG RECITALS AND MORE /// LEONIDAS KAVAKOS, BEATRICE RANA, FABIO LUISI, GIANANDREA NOSEDA AND MANFRED HONECK Zurich, April 5, 2019. The Opernhaus Zürich, one of the most productive houses in Europe, pre- sented its wide-ranging program for the 2019/2020 season at a news conference. The coming season’s foundation will be nine opera premieres and three Ballett Zürich premieres on the main stage, together with seventeen opera revivals and five ballet revivals. Joining them are a premiere by the International Opera Studio at the Theater Winterthur, a new production of the series Junge Choreografen on the Studio Stage, nine concerts by the Philharmo- nia Zürich and the Orchestra La Scintilla, seven song recitals featuring operatic superstars, and a 20 th anniversary opera ball, as well as numerous offerings for children, young adults and families – all told, around 350 individual events. The season is kicked off with a grand opening party and concludes with the traditional live broadcast of opera for all . 1 OPERA PREMIERES Cecilia Bartoli has been a regular guest at the Opernhaus for over 30 years.
[Show full text]
Bernd Loebe to Run Oper Frankfurt Until 2023
Opera Intendant Bernd Loebe to run Oper Frankfurt until 2023 At a meeting last Monday, April 28th 2014, the supervisory board of the Städtische Bühnen Frankfurt GmbH recommended unanimously extending Bernd Loebe's contract as Opera Director and General Manager of Oper Frankfurt to August 31st 2023. Professor Dr. Felix Semmelroth, Chairman of the Board, was instructed, in agreement with the participating heads of department, to conclude an appropriate contract with the Opera Intendant and Managing Director. In view of the high international reputation and continuing success of Oper Frankfurt with audiences and the press and many years of top quality performances Bernd Loebe should continue to steer the fortunes of Oper Frankfurt as Intendant and General Manager of the Städtische Bühnen Frankfurt GmbH in the future. The Board is committed to the artistic profile of Oper Frankfurt and intends, with this decision, to consciously oppose and prevent offers from other houses to Frankfurt's Intendant. Bernd Loebe was born in 1952 in Frankfurt am Main, where he studied law and continued piano lessons after leaving school. He was a regular contributor to the music sections of the Frankfurter Allgemeine Zeitung, Neue Musikzeitung and Opernwelt magazine from 1975 to 1980. He also worked freelance at the Hessische Rundfunk (radio) under Leo Karl Gerhartz. In 1979 he joined the music department of the Hessische Rundfunk where he ended up running all programmes about, and creating several successful and popular series connected with, opera – including an early morning programme called Musik vor dem Alltag. He also reported on various festivals, including Bayreuth and Salzburg, for the company.
[Show full text]
Over 100 Opera Makers
#OPERAHARMONY CREATING OPERAS IN ISOLATION 1 3 WELCOME TO #OPERA HARMONY FROM FOUNDER – ELLA MARCHMENT Welcome to #OperaHarmony. #Opera Harmony is a collection of opera makers from across the world who, during this time of crisis, formed an online community to create new operas. I started this initiative when the show that I was rehearsing at Dutch National Opera was cancelled because of the lockdown. Using social media and online platforms I invited colleagues worldwide to join me in the immense technical and logistical challenge of creating new works online. I set the themes of ‘distance’ and ‘community’, organised artist teams, and since March have been overseeing the creation of twenty new operas. All the artists involved in #OperaHarmony are highly skilled professionals who typically apply their talents in creating live theatre performances. Through this project, they have had to adapt to working in a new medium, as well as embracing new technologies and novel ways of creating, producing, and sharing work. #OperaHarmony’s goal was to bring people together in ways that were unimaginable prior to Covid-19. Over 100 artists from all the opera disciplines have collaborated to write, stage, record, and produce the new operas. The pieces encapsulate an incredibly dark period for the arts, and they are a symbol of the unstoppable determination, and community that exists to perform and continue to create operatic works. This has been my saving grace throughout lockdown, and it has given all involved a sense of purpose. When we started building these works we had no idea how they would eventually be realised, and it is with great thanks that we acknowledge the support of Opera Vision in helping to both distribute and disseminate these pieces, and also for establishing a means in which audiences can be invited into the heart of the process too .
[Show full text]
Premieren Der Oper Frankfurt Ab September 1945 Bis Heute
Premieren der Oper Frankfurt ab September 1945 bis heute Musikalische Leitung der Titel (Title) Komponist (Composer) Premiere (Conductor) Regie (Director) Premierendatum (Date) Spielzeit (Season) 1945/1946 Tosca Giacomo Puccini Ljubomir Romansky Walter Jokisch 29. September 1945 Das Land des Lächelns Franz Lehár Ljubomir Romansky Paul Kötter 3. Oktober 1945 Le nozze di Figaro W.A. Mozart Dr. Karl Schubert Dominik Hartmann 21. Oktober 1945 Wiener Blut Johann Strauß Horst-Dietrich Schoch Walter Jokisch 11. November 1945 Fidelio Ludwig van Beethoven Bruno Vondenhoff Walter Jokisch 9. Dezember 1945 Margarethe Charles Gounod Ljubomir Romansky Walter Jokisch 10. Januar 1946 Otto und Theophano Georg Friedrich Händel Bruno Vondenhoff Walter Jokisch 22. Februar 1946 Die Fledermaus Johann Strauß Ljubomir Romansky Paul Kötter 24. März 1946 Zar und Zimmermann Albert Lortzing Ljubomir Romansky Heinrich Altmann 12. Mai 1946 Jenufa Leoš Janáček Bruno Vondenhoff Heinrich Altmann 19. Juni 1946 Spielzeit 1946/1947 Ein Maskenball Giuseppe Verdi Bruno Vondenhoff Hans Strohbach 29. September 1946 Così fan tutte W.A. Mozart Bruno Vondenhoff Hans Strohbach 10. November 1946 Gräfin Mariza Emmerich Kálmán Georg Uhlig Heinrich Altmann 15. Dezember 1946 Hoffmanns Erzählungen Jacques Offenbach Werner Bitter Karl Puhlmann 2. Februar 1947 Die Geschichte vom Soldaten Igor Strawinsky Werner Bitter Walter Jokisch 30. April 1947 Mathis der Maler Paul Hindemith Bruno Vondenhoff Hans Strohbach 8. Mai 1947 Cavalleria rusticana / Pietro Mascagni / Werner Bitter Heinrich Altmann 1. Juni 1947 Der Bajazzo Ruggero Leoncavallo Spielzeit 1947/1948 Ariadne auf Naxos Richard Strauss Bruno Vondenhoff Hans Strohbach 12. September 1947 La Bohème Giacomo Puccini Werner Bitter Hanns Friederici 2. November 1947 Die Entführung aus dem Serail W.A.
[Show full text]