Media Release
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Vita Download
MATTHIAS KREINZ Kontakt: ZAV Musical Berlin Actors & Company +49-030-555599–6831 +43-1-4856151 [email protected] [email protected] [email protected] www.matthiaskreinz.de Geburtstag 05.05.1987 Geburtsort Zürich (CH) Wohnsitz Salzburg (AT) Nationalität Österreich / Schweiz Sprachen Schweizerdeutsch, Deutsch, Englisch Grundkenntnisse in Französisch & Italienisch Führerschein PKW/ B Auszeichnung 2008 Stipendium, Folkwang Universität der Künste, Essen 2010 Schauspiel-Förderpreis der Armin Ziegler-Stiftung, Zürich 2015/16 Stipendiat der Stiftung HOME SUISSE, Wien Ausbildung 2014 – 2017 Theaterpädagogik (BuT®), Institut Angewandtes Theater, Wien Darstellerische, künstlerische & Vermittlungs-Praxis 2008 – 2012 Folkwang Universität der Künste, Essen - Abschluss: Diplom-Bühnendarsteller Schwerpunkte: Gesang, Schauspiel, Tanz, Sprechen 2007 – 2008 Musical-Lehrgang, Musical Factory, Luzern 2002 – 2005 Handelsmittelschule KS Hottingen, Zürich – Abschluss Kaufm. Berufsmatura und Handelsdiplom Berufliche Tätigkeiten (Auszug) 2020 – 2021 Salzburger Landestheater & Deutsches Theater München Resident Director bei „Der Schuh des Manitu“, R: A. Gergen, C: S. Eichenberger 2019 - 2020 sea chefs / TUI Cruises – Theater Manager bei der Mein Schiff-Flotte 2017 - 2019 Salzburger Landestheater - Regieassistent & Abendspielleiter im Musiktheater Zusammenarbeit mit RegiesseurInnen: A. Liedtke, C. P. v. Maldeghem, A. Gergen, J. Spirei, A. Niermeyer, M. Dott, Ch. Lutz und Musik. Ltg: A. Kelly, D. R. Davies, R. Davis, I. Davies 2018/19 Leitung -
Esther Nelson, Stanford Calderwood General
ESTHER NELSON, STANFORD CALDERWOOD GENERAL & ARTISTIC DIRECTOR | DAVID ANGUS, MUSIC DIRECTOR | JOHN CONKLIN, ARTISTIC ADVISOR THE MISSION OF BOSTON LYRIC OPERA IS TO BUILD CURIOSITY, ENTHUSIASM AND SUPPORT FOR OPERA BY CREATING MUSICALLY AND THEATRICALLY COMPELLING PRODUCTIONS, EVENTS, AND EDUCATIONAL RESOURCES FOR THE BOSTON COMMUNITY AND BEYOND. B | BOSTON LYRIC OPERA OVERVIEW: ANNUAL REPORT 2017 WELCOME Dear Patrons, Art is often inspired by the idea of a journey. Boston Lyric Opera’s 40TH Anniversary Season was a journey from Season opener to Season closer, with surprising and enlightening stories along the way, lessons learned, and strengths found. Together with you, we embraced the unexpected, and our organization was left stronger as a result. Our first year of producing works in multiple theaters was thrilling and eye-opening. REPORT Operas were staged in several of Boston’s best houses and uniformly received blockbuster reviews. We made an asset of being nimble, seizing upon the opportunity CONTENTS of our Anniversary Season to create and celebrate opera across our community. Best of all, our journey brought us closer than ever to our audiences. Welcome 1 It’s no coincidence that the 2016/17 Season opened with Calixto Bieito’s renowned 2016/17 Season: By the Numbers 2 staging of Carmen, in co-production with San Francisco Opera. The strong-willed gypsy Leadership & Staff 3 woman and the itinerant community she adopted was a perfect metaphor for our first production on the road. Bringing opera back to the Boston Opera House was an iconic 40TH Anniversary Kickoff 4 moment. Not only did Carmen become the Company’s biggest-selling show ever, it also Carmen 6 ignited a buzz around the community that drew a younger, more diverse audience. -
Johann Strauss: "Die Fledermaus"
JOHANN STRAUSS DIE FLEDERMAUS Operette in drei Aufzügen Eine Veranstaltung des Departments für Musiktheater in Kooperation mit den Departments für Gesang, Bühnenbild- und Kostümgestaltung, Film- und Ausstellungsarchitektur sowie Schauspiel/Regie – Thomas Bernhard Institut Mittwoch, 2. Dezember 2015 Donnerstag, 3. Dezember 2015 Freitag, 4. Dezember 2015 19.00 Uhr Samstag, 5. Dezember 2015 17.00 Uhr Großes Studio Universität Mozarteum Mirabellplatz 1 Besetzung 2.12. / 4.12. 3.12. / 5.12. Musikalische Leitung Kai Röhrig Szenische Leitung Karoline Gruber Gabriel von Eisenstein, Notar Markus Ennsthaller Michael Etzel Bachelor Gesang, 3. Semester Bachelor Gesang, 7. Semester Bühne Anna Brandstätter / Christina Pointner Kostüme Iris Jedamski Rosalinde, seine Frau Sassaya Chavalit Julia Rath Master Musiktheater, 3. Semester Master Musiktheater, 3. Semester Regieassistenz Agnieszka Lis Orlofsky Alice Hoffmann Reba Evans Dramaturgie Ronny Dietrich Master Gesang, 3. Semester Master Musiktheater, 1. Semester Dialogarbeit Ulrike Arp Dr. Falke, Notar Thomas Hansen Darian Worrell Licht Christina Pointner / Anna Ramsauer Master Musiktheater, 3. Semester Master Musiktheater, 1. Semester Musikalische Einstudierung Lenka Hebr, Dariusz Burnecki, Andrea Strobl Alfred, Gesangslehrer Thomas Huber Jungyun Kim Musikalische Assistenz Wolfgang Niessner Master Gesang, 3. Semester Master Musiktheater, 3. Semester Technische Leitung Andreas Greiml, Thomas Hofmüller Frank, Gefängnisdirektor Felix Mischitz Felix Mischitz Bühnen-, Beleuchtungs-, Michael Becke, Sebastian Brandstätter, Markus Ertl, Bachelor Gesang, 5. Semester Bachelor Gesang, 5. Semester Tontechnik und Werkstätten Rafael Fellner, Sybille Götz, Markus Graf, Peter Hawlik, Alexander Lährm, Anna Ramsauer, Elena Wagner Adele, Kammermädchen Jennie Lomm Claire Austin Salonorchester der Universität Mozarteum Master Musiktheater, 3. Semester Master Musiktheater, 3. Semester Violine 1 Kamille Kubiliute Ida, ihre Schwester Domenica Radlmaier Sarah Bröter Violine 2 Elia Antunez Bachelor Gesang, 9. -
2015 in the Penal Colony Program
ESTHER NELSON, STANFORD CALDERWOOD GENERAL & ARTISTIC DIRECTOR DAVID ANGUS, MUSIC DIRECTOR | JOHN CONKLIN, ARTISTIC ADVISOR Rodolfo (Jesus Garcia) and Mimi (Kelly Kaduce) in Boston Lyric Opera’s 2015 production of La Bohème. This holiday season, share your love of opera with the ones you love. BLO off ers packages and gift certifi cates CHARLES ERICKSON T. to make your holiday shopping simple! T. CHARLES ERICKSON T. WELCOME TO THE SEVENTH IN OUR OPERA ANNEX SERIES, which is increasingly attracting national and international attention. Installing opera in non-conventional spaces has sparked a curiosity in the art. The challenges of these spaces are many and due to opera’s inherent demands: natural acoustics (since we do not amplify), adequate performance and production space, audience comfort and social space, location accessibility, parking, safety, and especially important in New England, adequate heat. Our In the Penal Colony comes amid questions and debate on the performance spaces and theatrical environment in Boston. For us, the questions include … why is Boston the only one of the top ten U.S. cities without a home suitable for opera? What are sustainable models to support new performance venues and/or preserve historic theaters? As you may have heard, BLO decided not to renew its agreement with the JesusJJesus GarciaGGarcia as RRoRodolfodldolffo Shubert Theatre after this Season. The reasons are many and complex, but suffi ce in La Bohème it to say that we made an important business and artistic decision. BLO is dedicated to spending signifi cantly more of our budget on direct artistic and production expenses and providing our patrons with a new level of service and comfort. -
2011-2012 Annual Report Welcome 1
2011-2012 Annual Report Welcome 1 Opera at the Academy 2 Opera on the Mall 3 Aurora Series at the Perelman 6 A Season of Firsts 8 Philanthropic Support 10 Financials 14 Annual Gala & Chairman Emeritus 16 Random Acts of Culture 17 Enhancing the Opera Experience 18 Looking Ahead 20 Board of Directors Dear Friends, Daniel K. Meyer, M.D. Chair As we look back on the 2011-2012 Season, we celebrate a number of artistic achievements and major milestones for the Opera Company of Philadelphia. Frederick P. Huff Vice-Chair In the pages ahead you will learn more about a 2011-2012 Season that served as a Joel Koppelman celebration of innovation, with five thrilling operas that ran the gamut from beloved Vice-Chair classics like Carmen to the very cutting edge of opera’s future, with the staging of the first Alice W. Strine opera in our American Repertoire Program, Nico Muhly’s Dark Sisters. A co-commission Vice-Chair and co-production with New York’s Gotham Chamber Opera and Music-Theatre Group, Dark Sisters was the centerpiece of the annual OPERA America conference, which brought Scott F. Richard more than 600 of the leading minds and voices of our industry to Philadelphia in June 2012. Secretary Thomas Mahoney Indeed, it was a year of firsts for the Opera Company of Philadelphia. In the fall, we presented our first live, outdoor Treasurer HD broadcast of our season-opening opera (Carmen) on Independence Mall. We were delighted to present a number of casting firsts, including Ailyn Pérez’s role debut as Micaëla in Carmen, Michelle Johnson’s Company debut as Manon Lescaut, Stephen A. -
Kim Duddy Regisseurin, Choreographin, Autorin
Kim Duddy Regisseurin, Choreographin, Autorin Die Choreographin und Regisseurin Kim Duddy war nach ihrem Studi- um des klassischen Balletts in New York über zehn Jahre als Darstelle- rin am Broadway, wo sie u.a. mit Bob Fosse zusammenarbeitete, bis Cats sie 1987 nach Wien führte. Zu dieser Zeit begann auch ihre Karriere als Choreographin für Fernsehen, Kino und Bühne in Europa. Sie zeichnete für die TV- Shows von Rainhard Fendrich und Peter Alexander und die Kino-Neu- verfilmung von „Im Weißen Rössl - Wehe Du singst“ verantwortlich, choreographierte klassische Ballette wie die Carmina Burana für das Donaufestival oder Casanova am Friedrichstadtpalast, Opern wie „Die Aufteilung der Welt“ an der Oper Kiel, Operetten und Musicals wie „West Side Story“, „Kiss me Kate“, „Sound of Music“, „Guys and Dolls, La Cage“, „Cabaret“, „Joseph“, „Fame“, „Grease“, „Shrek“, „Spama- lot“ sowie „The Bodyguard“ am Beatrix Theater Utrecht und am Teatro Coliseum Madrid. Unter der Direktion Klaus Bachlers leitete sie das Ballett der Volks- oper Wien und schuf für das Haus gefeierte Choreographien. Weiters inszenierte Kim Duddy „Sweet Charity“, „The Rocky Horror Show“, „Barbarella, Tommy, Footloose, Jesus Christ Superstar, Hair, Aida, The Full Monty“, „The Wiz“, „Annie“ und „Cats. Sie schrieb, gemeinsam mit Martin Gellner und Werner Stranka, die Musicals „Rockville“ und „Carmen Cubana – a latin Pop Opera“, die sie auch inszenierte. Zahlreiche weitere Weltpremieren tragen ihre choreographische Handschrift darunter für Stage Entertainment Ich war noch niemals in -
STAGED PRODUCTION of HK GRUBER's Gloria
Contact: Katherine E. Johnson (212) 875-5718; [email protected] National Press Representative: Julia Kirchhausen (917) 453-8386; [email protected] Metropolitan Museum of Art contact: Meryl Cates (212) 650-2684; [email protected] MAY 29–30 AND JUNE 1, 2014, AT THE METROPOLITAN MUSEUM OF ART: STAGED PRODUCTION of HK GRUBER’s Gloria – A Pig Tale Juilliard’s AXIOM Ensemble To Be Conducted by ALAN GILBERT Created by DOUG FITCH and GIANTS ARE SMALL As part of the NY PHIL BIENNIAL, New York Philharmonic Music Director and The Juilliard School’s Director of Conducting and Orchestral Studies Alan Gilbert will lead a staged performance of Gloria – A Pig Tale, a two-act comic opera by HK Gruber (Austria, b. 1943), featuring vocalists affiliated with The Juilliard School — soprano Lauren Snouffer, mezzo- soprano Brenda Patterson, tenor Alexander Lewis, baritone Carlton Ford, and bass Kevin Burdette — as well as Juilliard’s AXIOM ensemble. The performances — May 29–30 and June 1, 2014, at The Metropolitan Museum of Art’s Grace Rainey Rogers Auditorium, and a co- presentation of the New York Philharmonic, The Juilliard School, and Met Museum Presents — will be directed and designed by Doug Fitch, produced by Edouard Getaz, and staged by Giants Are Small; James Smith is production manager, Kate Noll is set designer, and Jeanette Oi-Suk Yew is lighting designer. This unprecedented production will transform the Grace Rainey Rogers Auditorium with an imaginative landscape that brings farm to stage with costumes, sets, and projections. “I enjoy blurring the lines that delineate categories and this production will be no different,” says director/designer Doug Fitch. -
Cultural Memory in Localized Pop Music(Al) I Am from Austria (2017) –
ISSN 1347-2720 ■ 西洋比較演劇研究 Vol.18 No.1 March 2019 A Jukebox Musical, or an »Austro-Musical« ? – Cultural Memory in Localized Pop Music(al) I am from Austria (2017) – Rina TANAKA Abstract I am from Austria (2017) is an Austrian jukebox musical by United Stages Vienna. The performances of this musical—inside and outside of the theater—were concerned with cultural and identity politics as well as the history of the musical with pop music in Vienna. This paper gives a picture of the local prerequisites for I am from Austria in terms of the actual and historical settings of musicals in Vienna, where the imported concepts of the “musical” and later the “jukebox musical” have been indigenized. Looking at the process of production, performance and reception, I am from Austria was the culmination of the attempts to launch an original musical from Vienna together with the financial support of the municipal government, where the cultural-political mission of musical was discussed. Meanwhile, musicals in Vienna were driven by two motivations: (1) to hybridize this genre with European music theater to reactivate Viennese musical theater, and (2) to interpret it in the contemporary context on site for broader and younger audience, following the nature of popular musical theater that the performing style and form are constantly forced to keep up with the rapid transformation of popular culture on site. The latter perspective is crucial to understanding the growth of the potential audience for I am from Austria as a result of the simultaneous and interactive localization of pop music and musical since the 1960s in Austria. -
Art Works Grants
National Endowment for the Arts — December 2014 Grant Announcement Art Works grants Discipline/Field Listings Project details are as of November 24, 2014. For the most up to date project information, please use the NEA's online grant search system. Art Works grants supports the creation of art that meets the highest standards of excellence, public engagement with diverse and excellent art, lifelong learning in the arts, and the strengthening of communities through the arts. Click the discipline/field below to jump to that area of the document. Artist Communities Arts Education Dance Folk & Traditional Arts Literature Local Arts Agencies Media Arts Museums Music Opera Presenting & Multidisciplinary Works Theater & Musical Theater Visual Arts Some details of the projects listed are subject to change, contingent upon prior Arts Endowment approval. Page 1 of 168 Artist Communities Number of Grants: 35 Total Dollar Amount: $645,000 18th Street Arts Complex (aka 18th Street Arts Center) $10,000 Santa Monica, CA To support artist residencies and related activities. Artists residing at the main gallery will be given 24-hour access to the space and a stipend. Structured as both a residency and an exhibition, the works created will be on view to the public alongside narratives about the artists' creative process. Alliance of Artists Communities $40,000 Providence, RI To support research, convenings, and trainings about the field of artist communities. Priority research areas will include social change residencies, international exchanges, and the intersections of art and science. Cohort groups (teams addressing similar concerns co-chaired by at least two residency directors) will focus on best practices and develop content for trainings and workshops. -
PROGRAM BOOK February 2021 CONTENTS FWSO STAFF
Special Gala Section fwsoFort Worth Symphony Orchestra PROGRAM BOOK February 2021 CONTENTS FWSO STAFF EXECUTIVE OFFICE 1 Letter from the Chairman Keith Cerny, Ph.D., President and CEO 2 Letter from the President & CEO Diane Bush, Executive Assistant and Board Secretary 8 About Robert Spano ARTISTIC OPERATIONS 9 Fort Worth Symphony Orchestra Roster Becky Tobin Vice President of Artistic Operations and COO 10 Program 1 :: February 20, 2021 Douglas Adams Orchestra Librarian 14 Artist Profile: James Andrewes Assistant Librarian Kelly Ott Artistic Manager Miguel Harth-Bedoya Victoria Paarup Artistic Operations and Orchestra Yuja Wang Personnel Assistant Manager 17 Executive Committee Jacob Pope Production Manager 18 Board of Directors Lisa Stallings Director of Operations 30 Arts Council of Fort Worth Brenda Tullos Orchestra Personnel Manager Taylor Vogel Director of Education and Community Programs DEVELOPMENT Julie Baker Vice President of Development Mary Byrd Development Coordinator Tyler Murphy Gifts Officer Jonathan Neumann Director of Annual Fund and Special Events FINANCE Bennett Cepak Vice President of Finance and Chief Financial Officer Rebecca Clark Finance and Benefits Assistant Alyssa Grant Controller HUMAN RESOURCES Jacque Carpenter Director of Human Resources MARKETING Carrie Ellen Adamian Chief Marketing Officer Jennifer Aprea Director of Ticket Services and Customer Relations Melanie Boma Tessitura Database Manager Stephen Borodkin Ticket Services Representative Laura Corley Ticket Services Representative Katie Kelly Communications and Digital Marketing Manager Marti Yoder Marketing Manager LETTER FROM THE CHAIRMAN MERCEDES T. BASS Dear Symphony Friends, Good evening! I am deeply grateful to every one of you joining us tonight for this special gala concert starring the incomparable Yuja Wang and your very own world class Fort Worth Symphony Orchestra conducted by Eric Jacobsen. -
CAVALLERIA RUSTICANA/PAGLIACCI Cast Biographies Cavalleria Rusticana
CAVALLERIA RUSTICANA/PAGLIACCI Cast Biographies Cavalleria Rusticana Before making his San Francisco Opera debut in 1993 as Rodolfo in La Bohème, tenor Roberto Aronica (Turiddu) studied with famed singer Carlo Bergonzi and completed his training at the Accademia Chigiana in Siena. He made his professional debut as the Duke of Mantua in Rigoletto at Teatro Municipal in Santiago de Chile. More recent engagements have included Manrico in Il Trovatore at the Teatro Comunale di Bologna, the title role of Don Carlos at the Royal Opera House, Pinkerton in Madama Butterfly at the Gran Teatre del Liceu in Barcelona, Calaf in Turandot at Turin’s Teatro Regio, and Alfredo in La Traviata at the Metropolitan Opera. In 2018, Aronica performs Pinkerton at the Metropolitan Opera, Paolo in Francesca da Rimini at the Teatro alla Scala, and Don Carlo at the Teatro Comunale di Bologna. Russian mezzo-soprano Ekaterina Semenchuk (Santuzza) made her San Francisco Opera debut in 2015 as Federica in Luisa Miller and in 2016 she returned as Amneris in Aida. Her recent engagements include Eboli in Don Carlo at Teatro alla Scala and Royal Opera, Covent Garden; Azucena in Il Trovatore with Rome Opera, St. Petersburg’s Mariinsky Theatre, and Covent Garden; Fricka in Das Rheingold at the Edinburgh International Festival; and Lady Macbeth in Macbeth at Los Angeles Opera opposite Plácido Domingo. Career highlights encompass Marina Mnishek in Boris Godunov at the Metropolitan Opera; Azucena and Amneris at Milan’s Teatro alla Scala; Iocasta in Oedipus Rex and Ascanio in Benvenuto Cellini at the Théâtre des Champs-Élysées; the title role of Carmen at Arena di Verona; Preziosilla in La Forza del Destinoand Amneris with Berlin State Opera; Didon in Les Troyens at the Mariinsky Theatre, Carnegie Hall, and in Vienna and Tokyo; Laura Adorno in La Gioconda and Dalila inSamson et Dalila at Rome Opera; Giovanna Seymour in Anna Bolena at the Vienna State Opera; and Eboli and Azucena at the Salzburg Festival. -
COLD MOUNTAIN Based on the National Book Award–Winning Novel by Charles Frazier
THE SANTA FE OPERA WORLD PREMIERE COLD MOUNTAIN Based on the National Book Award–winning novel by Charles Frazier Jennifer Higdon, composer Gene Scheer, librettist Miguel Harth-Bedoya, conductor Live Recording 1 Content Cold Mountain Jennifer Higdon, Composer Gene Scheer, Librettist The Sante Fe Opera 6 The Santa Fe Opera’s production was co-commissioned and co-produced with Track Information 8 Opera Philadelphia and Minnesota Opera, in collaboration with North Carolina Opera Cast 10 THE SANTA FE OPERA Author’s Note 12 The Santa Fe Opera Orchestra Miguel Harth-Bedoya, Conductor Composer’s Note 14 Librettist’s Note 16 Chorus – Members of The Santa Fe Opera Apprentice Program for Singers Biographies 18 Susanne Sheston, Chorus Master Synopsis 22 Libretto 24 Leonard Foglia, Stage Director Robert Brill, Scenic Design Acknowledgements 103 David C. Woolard, Costume Design American Operas Series 104 Brian Nason, Lighting Design Premium Sound and Outstanding Artists 106 Elaine J. McCarthy, Projection Design Rick Sordelet, Fight Director This recording has been made possible, in part, by Jane Stieren Lacy and an anonymous donor. The world premiere production of Cold Mountain was underwritten by deeply appreciated grants from: Wyncote Foundation The Andrew W. Mellon Foundation Carol Franc Buck Foundation 2 3 4 5 The Santa Fe Opera Track Information CD 1 ACT I (PTC 5186 524) CD 2 ACT II (PTC 5186 525) From the unlikeliest of beginnings — an programs for singers, technicians and arts 1 Scene One: Bill Owens’ farm 4. 33 1 Opening 0. 58 opera company located hundreds of miles administrators; and to foster and enrich an “Peaches In The Summertime” 2 Scene One: Lucinda and Inman duet 7.