Thüringer Opernstudio Als Erfolgsmo
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N°14 an Der Quelle: Einblicke in Das Institut Für Musikwissenschaft Weimar-Jena | Die Seele Auf Der Zunge: Zu Gast in Prof. J
N°14 Das Magazin der Hochschule iszt Einblicke in das Institut für Musikwissenschaft Weimar-Jena L N°14 An der Quelle: | Die Seele auf der Zunge: Zu Gast in Prof. Jörg Brückners Hornklasse | Auf Liebesfüßen: Wie klingt die Oboe d‘amore? Großer Sprung: Cellistin Camille Thomas unterschrieb einen Exklusivvertrag bei der Deutschen Grammophon Spielzeit 2018/19 Premierenauswahl Musiktheater Cabaret Musical von John Kander 28. September 2018 Großes Haus Gera Der Vogelhändler Operette von Carl Zeller 30. September 2018 Großes Haus Altenburg Weiße Rose Kammeroper von Udo Zimmermann 4. November 2018 · Heizhaus Altenburg Foto: Ronny Ristok Die verkaufte Braut Komische Oper von Bedřich Smetana 19. Oktober 2018 Großes Haus Gera Die Entführung aus dem Serail Singspiel von Wolfgang Amadeus Mozart 11. November 2018 Großes Haus Altenburg Hoffmanns Erzählungen Fantastische Oper von Jacques Offenbach 30. November 2018 Großes Haus Gera Oedipe Oper von George Enescu 24. Februar 2019 Großes Haus Altenburg Die Passagierin Oper von Mieczysław Weinberg 8. März 2019 Großes Haus Gera Geliebtes Klärchen Collage von Kay Kuntze 7. April 2019 Großes Haus Altenburg Untergang der Titanic Große Oper von Wilhelm Dieter Siebert 28. Juni 2019 Landestheater Altenburg Kartentelefon 0365 8279105 Theater&Philharmonie Thüringen 2 Liszt - Das Magazin der Hochschule 2018www.tpthueringen.de Liebe Leserinnen und Leser, seit ihren frühesten Anfängen hat die Musik, mehr als alle anderen Das Institut gilt in seiner heutigen Ausrichtung als Modell für eine Künste, eine intime Nähe zur Wissenschaft gehabt. Lust zu Theo- zukunftsorientierte Musikwissenschaft. Neben dem für alle Musik- riebildung, Formelhaftigkeit, Gesetzlichkeit und Wiederholbarkeit berufe unverzichtbaren europäischen „Kerngeschäft“ (Alte Musik, gehören zum Wesen der Musik wie zur Wissenschaft. -
5. September 2020 Vladimir Jurowski 2 BEETHOVEN – SINFONIE NR
5. September 2020 Vladimir Jurowski 2 BEETHOVEN – SINFONIE NR. 7 „Der Stil also, den Schönberg und seine Schule sucht, ist eine neue Durchdringung des musika- lischen Materials in der Horizontalen und in der Vertikalen, eine Polyphonie, die ihre Höhepunkte bisher gefunden hat bei den Niederländern und bei Bach, und dann weiter bei den Klassikern.“ Anton Webern 4 PROGRAMM 5 Johann Sebastian Bach Anton Webern (1685 – 1750) (1883 – 1945) Fuga (2. Ricercata) à 6 voci aus Variationen für Orchester op. 30 5. September 2020 „Ein musikalisches Opfer“ BWV 1079, für Orchester gesetzt Alfred Schnittke Samstag /19 Uhr von Anton Webern (1934 – 1998) Philharmonie Berlin Concerto grosso Nr. 1 für zwei Alban Berg Violinen, Cembalo, präpariertes (1885 – 1935) Klavier und Streichorchester Drei Bruchstücke für Gesang und › Preludio. Andante Orchester aus der Oper „Wozzeck“ › Toccata. Allegro op. 7 nach Georg Büchners › Recitativo. Lento Drama – für den Konzertgebrauch › Cadenza VLADIMIR JUROWSKI eingerichtet von Alban Berg, Be- › Rondo. Agitato – Meno mosso – Anne Schwanewilms / Sopran arbeitung für kleines Orchester Tempo I Erez Ofer / Violine von Eberhard Kloke › Postludio. Andante – Allegro – Nadine Contini / Violine › Langsam (I. Akt, Szenen 2, 3) Andante Helen Collyer / Klavier und Cembalo › Thema, sieben Variationen und Kinderchor der Staatsoper Unter den Linden Berlin Fuge (III. Akt, Szene 1) Vinzenz Weissenburger / Choreinstudierung › Langsam (III. Akt, Szenen 4, 5) Ralf Sochaczewsky / Assistent des Chefdirigenten Rundfunk-Sinfonieorchester Berlin Liebe Konzertbesucher*innen! Schön, dass Sie da sind! Lassen Sie uns gemeinsam dafür sorgen, dass das nicht nur so bleiben, sondern bald wieder zur erfreulichen Normalität werden kann! Bitte beachten Sie die allgemeine Hygiene-, Husten- und Nies-Etikette, folgen Sie der besonderen Wegführung innerhalb des Hauses und halten Sie den Mindestabstand von 1,5 Metern ein. -
Programm 2013 2014
Programm 2013 2014 200. Geburtstag Verbandsreisen Opernbesuche Semperoper Dresden 15.09.2013, 29.09.2013 und Exkursionen La Juive (Die Jüdin) Informationen und Anmeldung in der Oper von Jacques Fromental Haléyy Geschäftsstelle, Telefon 0341 30 86 89 33, E-Mail [email protected] 25.01.2014 (mit Bus) Oper Leipzig Elektra Oper von Richard Strauss 12. 09.2013 bis 17. 09.2013 22.09.2013, 10.11.2013 Von der samländischen Küste Das Rheingold auf die Kurische Nehrung Vorabend zum Bühnenfestspiel „Der Ring des Großer Schlosshof des Residenzschlosses Dresden Ostpreußen: Königsberg, Ostseebad Rauschen, Nibelungen“ von Richard Wagner Tilsit, Kurische Nehrung. Konzertbesuch im 07.06.2014 Dom von Königsberg/Kaliningrad aus Anlass von 29.09.2013, 13.10.2013, 16.10.2013, 01.03.2014, Feuersnot (halbszenisch) Richard Wagners 200. Geburtstag. 28.05.2014 Singgedicht von Richard Strauss Das Liebesverbot 21. 03.2014 bis 25. 03.2014 Große Komische Oper von Richard Wagner Mit Richard Wagner in die Schweiz Dresdner Musikfestspiele (in Vorbereitung) 07.12.2013, 22.12.2013, 05.01.2014, 11.01.2014 Luzern, Tribschen, Seelisberg, Zürich mit Opern- Die Walküre 23.05.2014 bis 10.06.2014 besuch „Der fliegende Holländer“ Erster Tag des Bühnenfestspiels „Der Ring des Programm erscheint Ende September 2013 Nibelungen“ von Richard Wagner www.musikfestspiele.com 20.04.2014, 25.04.2014, 25.05.2014, 06.06.2014, 27.06.2014 Mittelsächsisches Theater Freiberg Stadtführungen Die Feen Romantische Oper von Richard Wagner 27.10.2013 zum Thema Tannhäuser (szenisch-konzertant) -
Der Rosenkavalier« Launches Opera Video Stream of the Semperoper at the Easter Weekend
Semperoper Dresden: Richard Strauss as Easter gift PRESS RELEASE Anne Schwanewilms ©Semperoper Dresden/Photo: Matthias Creutziger »Der Rosenkavalier« launches opera video stream of the Semperoper at the Easter weekend Dresden, 9 April 2020: With a production of Richard Strauss’s »Der Rosenkavalier« from the year 2000, the Semperoper Dresden is for the first time inviting music fans to enjoy star- studded opera via an online stream this Easter weekend. Director Uwe Erik Laufenberg staged the work, which premiered in Dresden in 1911, as a modern homage to the composer, a greatly beloved figure at the Semperoper. The celebrated Strauss interpreter Anne Schwanewilms appears as the Feldmarschallin under the baton of Fabio Luisi. From Maundy Thursday (April 9, 2020) to Easter Monday (April 13, 2020), this video recording from Tokyo’s NHK Hall in 2007 is available for streaming through our website semperoper.de under »Semperoper at home«. This weekend’s opera stream has been made possible by the generous granting of broadcasting rights by MDR and EuroArts. The DVD version of the performance is available for purchase. Thanks to UNITEL GmbH, »Semperoper at home«-streams will also be offered on the following weekends with a recording of Pietro Mascagni’s »Cavalleria rusticana« (April 17 - 19, 2020) and Ruggero Leoncavallo’s »Pagliacci« (April 24 – 26, 2020) from Salzburg’s Large Festival Hall in 2015. Originally director Philipp Stölzl staged this co-production between Saxon State Opera and the Salzburg Easter Festival as an operatic double bill; the Dresden premiere took place in January 2016. The star-studded cast, headed by Annalisa Stroppa and Jonas Kaufmann, perform under Christian Thielemann, Principal Conductor of the Dresden Staatskapelle. -
The Digital Concert Hall
Welcome to the Digital Concert Hall he time has finally come! Four years have Emmanuelle Haïm, the singers Marlis Petersen passed since the Berliner Philharmoniker – the orchestra’s Artist in Residence – Diana T elected Kirill Petrenko as their future chief Damrau, Elīna Garanča, Anja Kampe and Julia conductor. Since then, the orchestra and con- Lezhneva, plus the instrumentalists Isabelle ductor have given many exciting concerts, fuel- Faust, Janine Jansen, Alice Sara Ott and Anna ling anticipation of a new beginning. “Strauss Vinnitskaya. Yet another focus should be like this you encounter once in a decade – if mentioned: the extraordinary opportunities to you’re lucky,” as the London Times wrote about hear members of the Berliner Philharmoniker their Don Juan together. as protagonists in solo concertos. With the 2019/2020 season, the partnership We invite you to accompany the Berliner officially starts. It is a spectacular opening with Philharmoniker as they enter the Petrenko era. Beethoven’s Ninth Symphony, whose over- Look forward to getting to know the orchestra whelmingly joyful finale is perfect for the festive again, with fresh inspiration and new per- occasion. Just one day later, the work can be spectives, and in concerts full of energy and heard once again at an open-air concert in vibrancy. front of the Brandenburg Gate, to welcome the people of Berlin. Further highlights with Kirill Petrenko follow: the New Year’s Eve concert, www.digital-concert-hall.com featuring works by Gershwin and Bernstein, a concert together with Daniel Barenboim as the soloist, Mahler’s Sixth Symphony, Beethoven’s Fidelio at the Baden-Baden Easter Festival and in Berlin, and – for the European concert – the first appearance by the Berliner Philharmoniker in Israel for 26 years. -
Digital Concert Hall Where We Play Just for You
www.digital-concert-hall.com DIGITAL CONCERT HALL WHERE WE PLAY JUST FOR YOU PROGRAMME 2016/2017 Streaming Partner TRUE-TO-LIFE SOUND THE DIGITAL CONCERT HALL AND INTERNET INITIATIVE JAPAN In the Digital Concert Hall, fast online access is com- Internet Initiative Japan Inc. is one of the world’s lea- bined with uncompromisingly high quality. Together ding service providers of high-resolution data stream- with its new streaming partner, Internet Initiative Japan ing. With its expertise and its excellent network Inc., these standards will also be maintained in the infrastructure, the company is an ideal partner to pro- future. The first joint project is a high-resolution audio vide online audiences with the best possible access platform which will allow music from the Berliner Phil- to the music of the Berliner Philharmoniker. harmoniker Recordings label to be played in studio quality in the Digital Concert Hall: as vivid and authen- www.digital-concert-hall.com tic as in real life. www.iij.ad.jp/en PROGRAMME 2016/2017 1 WELCOME TO THE DIGITAL CONCERT HALL In the Digital Concert Hall, you always have Another highlight is a guest appearance the best seat in the house: seven days a by Kirill Petrenko, chief conductor designate week, twenty-four hours a day. Our archive of the Berliner Philharmoniker, with Mozart’s holds over 1,000 works from all musical eras “Haffner” Symphony and Tchaikovsky’s for you to watch – from five decades of con- “Pathétique”. Opera fans are also catered for certs, from the Karajan era to today. when Simon Rattle presents concert perfor- mances of Ligeti’s Le Grand Macabre and The live broadcasts of the 2016/2017 Puccini’s Tosca. -
Digital Concert Hall Programme 2018/2019 3
2 DIGITAL CONCERT HALL PROGRAMME 2018/2019 3 WELCOME TO THE DIGITAL CONCERT HALL The 2018/2019 season marks a very special Zubin Mehta. Another highlight is the return phase in the history of the Berliner Philhar- on two occasions of Sir Simon Rattle, and moniker. Following on from the end of the with several debuts, new artistic connections Simon Rattle era, it is characterised by look- will also be made. Among the top-class guest ing forward to a new beginning when Kirill soloists is the pianist Daniil Trifonov to name Petrenko takes up office as chief conductor. but one, the Berliner Philharmoniker’s current Although this is not due until the summer of Artist in Residence. 2019, exciting joint concerts are on the hori- zon, beginning with the season opening con- Another special feature of this season: cert which is dedicated to the core repertoire the 10th anniversary of the Digital Concert of the Berliner Philharmoniker: a Beethoven Hall. On 17 December 2008, this unprece- symphony and two symphonic poems by dented project went online, followed by a first Richard Strauss. In the Digital Concert Hall live broadcast on 6 January 2009. Since then, we are also showing a tour concert from Lu- around 50 live concerts have been shown cerne, a programme with works by Schoen- per season. The video archive now holds more berg and Tchaikovsky in the spring of 2019, than 500 concert recordings, from the and Kirill Petrenko appears at the helm of the present day back to the Karajan era. There National Youth Orchestra of Germany as well. -
Strauss' Four Last Songs
Richard Strauss: Four Last Songs A discographical survey by Ralph Moore I consider forty-six recordings of the Vier Letzte Lieder here, which is a goodly number, but by no means the total of all of those released in the nearly seventy years since their premiere in 1950. A survey cannot hope – or even want – to encompass every version but I have tried to include the most notable and have deliberately missed out a few which I know to be less than premium quality but have also reviewed one or two in the “caveat emptor” category as best avoided (see also MWI review index). These songs feature frequently in lists of personal nominations for favourite recordings, such as in the BBC radio programme “Desert Island Discs”. They are not a cycle as such, but all deal with the readiness for death and emanate a sense of calm, resignation and even transfiguration; I quote unashamedly from Wikipedia: “Towards the end of Im Abendrot, after the soprano's intonation of ‘Ist dies etwa der Tod?’ (‘Is this perhaps death?’), Strauss musically quotes his own tone poem Death and Transfiguration, written 60 years earlier. As in that piece, the quoted seven-note phrase (known as the ‘transfiguration theme’) has been seen as the fulfilment of the soul through death.” They are amenable to successful performance by a range of soprano voice-types, from the mezzo- tinged soprano falcon of Jessye Norman to the light, lyric sopranos of Lucia Popp or Anneliese Rothenberger, and although one or two sopranos have come a cropper in attempting them, there are many more admirable and even superlative recordings than failures. -
Leonore 1805!
1 – 2018 2 Márton Illés Misato Mochizuki die Uraufführungen the Premieres in Donaueschingen 2017 8 Helmut Lachenmann interview – Marche fatale 16 fidelio 1814? Leonore 1805! aus dem Opernkatalog von Breitkopf & Härtel from the Breitkopf & Härtel opera catalogue 22 termine januar – april events january – april 27 Eislers symphonische filmmusik Eisler’s symphonic film music auf CD, im radio und im konzert on CD, on the radio and in concert 34 neue noten, bücher & CDs new scores, books & CDs 36 impressum masthead Paul-Alexandre Dubois mit Köpfen in Misato Mochizukis „Têtes“ Paul-Alexandre Dubois with heads in Misato Mochizuki’s “Têtes” Márton Misato Illés Mochizuki selbstbewusst suggestiv self-assured suggestive english version on page 4 die Uraufführungen in Donaueschingen 2017 Mit zwei erfolgreichen Uraufführungen waren die Donaueschinger Musiktage für die Neue Musik bei Breitkopf 2017 ein besonderes Ereignis. Autor: Frank Reinisch Márton Illés erhielt für sein Orchesterstück Stimmen, die sich verfransen, die oszillie- Ez-tér (Es-Raum) den Preis des SWR Sym- ren und wunderbar flirren“ (Torsten Möller, phonieorchesters, das sich damit zu einer Schweizer Musikzeitung). 3 weiteren Aufführung des Stücks verpflich- tet. Das Votum des Orchesters ist eindeutig: Akustisch wie optisch überzeugte Têtes von Misato Mochizuki. Der japanischen Komponistin gelangen sechs Ritualszenen, 1 – 2018 „ die die Balance zwischen Brutalität und Die Komposition stellt auf sehr drastischer Komik ausloteten und die Bari- tonstimme von Paul-Alexandre Dubois auf eigene Weise Fragen und gibt eine Entwicklungsreise vom Melodram über selbstbewusste Antworten. Fragen rhythmisiertes Sprechen bis zum arienhaf- zum Beispiel nach dem Entstehen ten Ausdruck schickten. von Klängen – wo kommen sie her, wer produziert da gerade, was Der französische Text von Dominique Quélen wir hören? Auch für routinierte basiert auf der englischen Kolonialprosa von Orchestermusiker hat dieses Stück Lafcadio Hearn, erweitert die Vorlage aber noch Überraschendes parat. -
Sir Colin Davis Discography
1 The Hector Berlioz Website SIR COLIN DAVIS, CH, CBE (25 September 1927 – 14 April 2013) A DISCOGRAPHY Compiled by Malcolm Walker and Brian Godfrey With special thanks to Philip Stuart © Malcolm Walker and Brian Godfrey All rights of reproduction reserved [Issue 10, 9 July 2014] 2 DDDISCOGRAPHY FORMAT Year, month and day / Recording location / Recording company (label) Soloist(s), chorus and orchestra RP: = recording producer; BE: = balance engineer Composer / Work LP: vinyl long-playing 33 rpm disc 45: vinyl 7-inch 45 rpm disc [T] = pre-recorded 7½ ips tape MC = pre-recorded stereo music cassette CD= compact disc SACD = Super Audio Compact Disc VHS = Video Cassette LD = Laser Disc DVD = Digital Versatile Disc IIINTRODUCTION This discography began as a draft for the Classical Division, Philips Records in 1980. At that time the late James Burnett was especially helpful in providing dates for the L’Oiseau-Lyre recordings that he produced. More information was obtained from additional paperwork in association with Richard Alston for his book published to celebrate the conductor’s 70 th birthday in 1997. John Hunt’s most valuable discography devoted to the Staatskapelle Dresden was again helpful. Further updating has been undertaken in addition to the generous assistance of Philip Stuart via his LSO discography which he compiled for the Orchestra’s centenary in 2004 and has kept updated. Inevitably there are a number of missing credits for producers and engineers in the earliest years as these facts no longer survive. Additionally some exact dates have not been tracked down. Contents CHRONOLOGICAL LIST OF RECORDING ACTIVITY Page 3 INDEX OF COMPOSERS / WORKS Page 125 INDEX OF SOLOISTS Page 137 Notes 1. -
2 September 2016 Page 1 of 12
Radio 3 Listings for 27 August – 2 September 2016 Page 1 of 12 SATURDAY 27 AUGUST 2016 Clarinet Sonatina Vladimir Jurowski conducts Zemlinsky Jozef Luptacik (clarinet), Pavol Kovac (piano) ZEMLINSKY: Eine Florentinische Tragodie Op. 16; Songs (6) to SAT 01:00 Through the Night (b07pjj6n) 6:02 AM poems by Maurice Maeterlinck Op. 13 The Danish National Symphony Orchestra in Copenhagen Rautavaara, Einojuhani (1928-2016) Heike Wessels (mezzo soprano), Sergey Skorokhodov (tenor), Cantus Arcticus - ©a concerto for birds and orchestra© (Op.61) Albert Dohmen (baritone), Petra Lang (mezzo soprano), London John Shea presents a concert of Haydn, Boieldieu, Stravinsky and Finnish Radio Symphony Orchestra, Jukka-Pekka Saraste Philharmonic Orchestra, Vladimir Jurowski (conductor) Ravel with the Danish National Symphony Orchestra conducted (conductor) LPO LPO0078 (CD mid-price) by Alain Altinoglu. 6:21 AM 1:01 AM Schubert, Franz (1797-1828) ZEMLINSKY: Der Kreidekreis Haydn, Joseph [1732-1809] Fantasy in C major for piano (D.760) ©Wandererfantasie© Renate Behle, Roland Hermann, Reiner Goldberg, Siegfried Symphony No 95 in C minor H.1.95 Alfred Brendel (piano) Lorenz, Celina Lindsley, Radio-Symphonie-Orchester Berlin, Danish National Symphony Orchestra, Alain Altinoglu 6:42 AM Stefan Soltesz (conductor) (conductor) Bach, Carl Philipp Emanuel (1714-1788) CAPRICCIO C5190 (2CD budget) 1:20 AM Quartet No.1 in A minor, Wq.93/H.537 Boieldieu, Francois-Adrien [1775-1834] Les Adieux. Zemlinsky - The Mermaid Harp Concerto in C major ZEMLINSKY: Sinfonietta Op. 23; Die Seejungfrau Xavier de Maistre (harp), Danish National Symphony Orchestra, SAT 07:00 Breakfast (b07qbh10) New Zealand Symphony Orchestra, James Judd (conductor) Alain Altinoglu (conductor) Saturday - Martin Handley NAXOS 8570240 (CD budget) 1:41 AM Zemlinsky: String Quartets, Volume 1 Godefroid, Felix [1818-1897] Martin Handley presents Radio 3©s classical breakfast show, ZEMLINSKY: String Quartet No. -
Intendant Roland Geyer General Sponsor
Intendant Roland Geyer General sponsor The Theater an der Wien receives subsidies A Wien Holding Company from the Cultural Department of the City of Vienna WHERE THE MOMENT FASCINATES “People go to the opera or the theatre to be enthralled, impressed, hor- The 2010/11 season presents many different kinds of love: an artist’s rified, touched, engrossed, liberated, diverted, galvanised, plucked out love, a husband’s love, love between brothers and sisters, a mother’s of their own time and supplied with illusions. Since ancient times the love, the love of God, the love of poets and several more besides. overriding principle has always been that a performance of a drama Sometimes this love dies on the same day that it was aroused without it must draw the audience into an emotional relationship with the pro- ever being revealed to the person who ignited it. Sometimes this love tagonists so that the audience empathises with the performer’s situa- makes life torment and plunges the lover into despair or madness. tion. All this is so obvious that art is defined by its very capacity to lib- Could it be that love is inherently pathological? In the forthcoming erate, enthral and uplift – in other words to fascinate, ideally at every season Theater an der Wien will be showing ten choice operatic pro- moment. If it does not do this, it is not art.” ductions from Händel to Britten, from Mozart to Strauss, from Rameau to Poulenc plus two of the most recent works by Neumeier and Catán. In view of this, the question arises of whether art can be appreciated at These shows offer the chance to see again stars of opera that include all if no empathy is aroused.