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40059_Omslag:Omslag LG 07-03-21 17.32 Sida 1 KUNGLIGA OPERANS årsredovisning 2006 40059_s1-19:balett 07-03-26 13.49 Sida 1 Teaterchefen inleder ■ I en verksamhet som Kungliga 2006 bl a omfattat en baletturné till ett Operans, där det konstnärliga resulta- antal orter från Hallunda till Piteå. tet står i centrum, finns det skäl att sär- skilt betona ett humanistiskt och ska- Ny svensk musikdramatik är ett själv- innehåll ✿ pande uppdrag, som genomsyrar alla klart ansvar för Kungliga Operan som anställdas insatser. Publiken har fortsatt nationalscen. Operan har under senare Teaterchefen inleder 1 år anammat erfarenheter från svensk att strömma till Operan – 2006 noterar Produktioner 2 vi åter ökade publiksiffror. Matinéer på barnteater genom att beställa och urupp- Balett – Stora scenen, Opera – Stora scenen, lördagar och söndagar bidrar till att göra föra flera operor för barn på mindre sce- Konserter, turnéer och övriga arrangemang, utbudet av opera och balett tillgängligt ner, t ex Rotundan, medan det på Stora Förvaltningsberättelse 22 även för publik utanför Stockholms - scenen är Kungliga Baletten som satsat området. på den yngsta publiken. Nu blev Carl Resultaträkning 32 Verksamhetsåret 2006 designerades Unander-Scharins Loranga, Masarin och Balansräkning 33 av regeringen som ett år för mångfald. Dartanjang den första barn- & familje- Kassaflödesanalys 34 Genom den övernationella karaktären operan på Stora scenen på mer än ett hos konstarterna opera och balett är decennium. Noter 36 Kungliga Operan sedan den grundades Operaverksamheten bjöd samman- Revisionsberättelse 39 lagt på fyra nyinstuderingar, sju reper- en mångkulturell arbetsplats, där konst- Föreställningsverksamhet och besökare 40 närer från all världens hörn alltid kun- toarverk och fem premiärer. Den inter- nat mötas. Operan arbetar också helt nationellt uppmärksammade nyuppsätt- Bolagsstyrningsrapport 43 naturligt med en repertoar på många ningen av Wagners Nibelungens ring i Styrelse och personal 46 språk medan dansen och musiken lika regi av Staffan Valdemar Holm fortsat- självfallet överskrider språkliga och kul- te under 2006 med andra och tredje turella gränser. Internationalism och kul- delen, Valkyrian och Siegfried. En ita- niorkester fortsatte med konsertanta turell mångfald är för Kungliga Operan liensk repertoarkontrast blev nyuppsätt- framföranden av Trubaduren medan oskiljaktiga begrepp. ningen av Verdis Trubaduren, som inte Kungliga Operans kör medverkade i Ver- getts på Operan på närmare trettio år. dis Requiem både i Norr köping, Linkö- Mångfaldsåret 2006 markerades Kungliga Baletten bjöd under året på ping och i Stockholms Konserthus. ändå av några speciella projekt. Årets en rik repertoar av sammanlagt fjorton Hovsångerskan Birgit Nilssons bort- första svenska uruppförande, Daniel balettverk, bl a urpremiärer på två gång gav anledning till en minneskon- Börtz Svall, en opera om hedersmord, beställningsverk: Krzysztof Pastors sert med Kungliga Hovkapellet och en passade sällsynt bra in i en allt vidare Tristan på Stora scenen och Gunnlau- rad framstående solister. Husets stora diskussion om kollisionen mellan oför- gur Egilssons Ossuarium i Rotundan. I tradition levandegjordes genom två nya enliga och i några fall oacceptabla kul- höstens premiärprogram Colours in gick utgåvor i den internationellt uppmärk- turmönster, som en svensk invandrings- två Sverigepremiärer: Alonzo Kings Hän- sammade CD-serien Royal Swedish politik och vi alla som medborgare måste del och Mauro Bigonzettis Kazimir’s Opera Archives, hantera. Uppsättningen arbetades fram Colours. Samarbetet med SR/P2 ledde under i dialog med flera verksamheter, som på året till att – förutom minneskonserten fältet arbetar med offren för hedersre- På Drottningholms slottsteater gav – sex av Operans laterat våld. Produktionen av Svall blev Operan Den fångne Cupido och Fiska- produktioner en modell för ett nytt slags samarbete, rena eller Skärgårdsflickan, bägge av genom radion som involverade fem institutioner. Mary Skeaping till musik av Purcell spreds till en stor Samtidigt kom 2006 att bli det år då respektive jubilaren Joseph Martin publik långt utan- vi permanentade en ny avdelning för Kraus. för huvudstaden. pedagogisk verksamhet för barn och Kammarmusik och romanser presen- ■ ungdom, som bl a särskilt vänt sig till teras två gånger i veckan under hela skolor och daghem i områden med ett säsongen vid de mycket populära lunch- starkt inslag av nya svenskar. Den verk- konserterna där sångare och musiker får samheten utvidgas under innevarande utvecklas konstnärligt i en repertoar som år och ses nu som en fast del i teaterns kontrasterar mot den på Stora scenen. pedagogik- och publikarbete, som under Samarbetet med Norrköpings symfo- Anders Franzén, Teaterchef & VD 1 40059_s1-19:balett 07-03-22 18.15 Sida 2 PRODUKTIONER opera Susann Végh och Maurizio Graziani, Carmen. FOTO: ALEXANDER KENNEY 40059_s1-19:balett 07-03-22 18.15 Sida 3 Fr v Maria Fontosh och Karl-Magnus Fredriksson, Eugen Onegin. Susann Végh och Hillevi Martinpelto, Figaros bröllop FOTO:ALEXANDER KENNEY Kungliga Hovkapellet och Kungliga Operans kör, med kormästare Folke Alin och Christina Hörnell, har medverkat vid Operans egna produktioner under 2006. Carmen Eugen Onegin Figaros bröllop Musik: Georges Bizet. Text: Henri Musik: Pjotr Tjajkovskij. Text: Pjotr Musik: Wolfgang Amadeus Mozart. Meilhac och Ludovic Halévy efter en Tjajkovskij och Konstantin Sjilovskij Svensk text: Britt G. Hallqvist. Scenografi novell av Prosper Mérimée. Översättning efter Alexander Pusjkins versroman Eugen och kostym: Lennart Mörk. Koreografi: för text maskin: Lasse Zilliacus baserad på Onegin. Svensk text för textmaskin: Lasse Regina Beck-Friis. Regi: Knut Caj Lundgrens text 1972. Scenografi: John Zilliacus. Scenografi: Hartmut Hendriksen. Hammarklaver: Lars David Conklin. Kostym: Clare Mitchell. Ljus: Schörghofer. Kostym: Tatiana Nilsson. Dirigent: Gregor Bühl. Hans-Åke Sjöquist. Koreografi: Ivo Tulubieva. Ljus: Franck Evin. Koreografi: Cramér. Regi: Ann-Margret Pettersson. Edvald Smirnov. Regi: Dmitri Bertman. I rollerna: Figaro: Johan Edholm. Susanna: Dirigent: Christian Badea/Joakim Dirigent: Tobias Ringborg. Hilde Leidland. Doktor Bartolo: Lennart Unander. Forsén. Marcellina: Marianne Eklöf. I rollerna: Larina: Agneta Lundgren. Cherubino, grevens page: Susann Végh. I rollerna: Carmen: Martina Dike/Susann Tatjana: Maria Fontosh/Lena Hoel. Olga: Greve Almaviva: Anders Larsson. Basilio: Végh. Don José: Maurizio Graziani. Larisa Kostyuk. Filipjevna: Ingrid Tobiasson. Niklas Björling Rugert/Magnus Kyhle. Escamillo: Johan Edholm/Gunnar Lenskij: Stefan Dahlberg/Jonas Degerfeldt. Grevinnan Almaviva: Hillevi Martinpelto. Lundberg. Micaëla: Hilde Leidland/Sara Eugen Onegin: Karl-Magnus Antonio: Magnus Lindén. Barbarina: Elin Olsson. Zuniga: Magnus Lindén/Per-Arne Fredriksson/Jesper Taube. Furst Gremin: Carlsson. Don Curzio: Pierre Gylbert. Två Wahlgren. Moralès: Ola Eliasson. Dancaïre: Lennart Forsén. Monsieur Triquet: Magnus flickor: Malin Lindström, Anita Weinius/Sara Tord Wallström. Remendado: Magnus Kyhle. Zaretskij: Björn Blomqvist. Silvmark, Jessica Forsell. Kyhle/Carl Unander-Scahrin. Frasquita: Elin Försångaren: Anders Blom/Pierre Gylbert. Carlsson. Mercédès: Thérèse Badman Guillot: Ola Strangeways. Den spanske ■ PREMIAR: 21 MAJ 1979 Stenius. Lillas Pastia: Rudolf Suttner. ambassadören: Srdjan Kaljevic. ANTAL FORESTALLNINGAR: 5 Danssolo: Kate Lind Af Hageby/Nicole ANTAL BESOKARE: 4 990 Ransley. Barnkör från Sollentuna ■ PREMIAR: 10 JUNI 2005 Musikklasser. Musikalisk instudering barn- ANTAL FORESTALLNINGAR: 5 kör Gisela Hök-Ternström. Elever från ANTAL BESOKARE: 3 212 Kungliga Svenska Balettskolan. ■ PREMIAR: 21 APRIL 1999 ANTAL FORESTALLNINGAR: 10 ANTAL BESOKARE: 10 260 3 40059_s1-19:balett 07-03-22 18.15 Sida 4 Lena Hoel, Lena Nordin, Jonas Degerfeldt i Maria Stuarda FOTO: MATS BACKER FOTO: MATS Loranga, Masarin Manon Lescaut Maria Stuarda nypremiär och Dartanjang urpremiär Musik: Giacomo Puccini. Libretto: Marco Musik: Gaetano Donizetti. Text: Giuseppe Praga, Domenico Oliva, Luigi Illica och Bardari efter Friedrich von Schillers skåde- Giuseppe Giacosa efter Abbé Prévosts spel. Svensk text för textmaskin: Lasse Musik: Carl Unander-Scharin. roman. Svensk text för textmaskin: Lasse Zilliacus. Scenbilder: Roj Friberg. Kostym: Scenografi: Peder Freiij och Karl Dunér. Zilliacus. Scenografi: Lars Östbergh. Karin Erskine. Ljus: Hans-Åke Sjöquist. Kostym: Peder Freiij. Ljus: Hans-Åke Kostym: Annsofi Nyberg. Ljus: Hans-Åke Regi: Ann-Margret Pettersson. Dirigent Sjöquist. Regi: Karl Dunér. Libretto: Sjöquist. Koreografi: Carina Jarlemark. David Parry. Barbro Lindgren. Dirigent: Tobias Regi: Knut Hendriksen. Dirigent: Roland Ringborg/ Böer/Sergio La Stella/Pier Giorgio I rollerna: Elisabetta: Ingrid Tobiasson. Joakim Unander. Morandi/Tobias Ringborg. Maria Stuarda: Majella Cullagh/Lena Nordin. Roberto Dudley: Jonas Degerfeldt. I rollerna: Loranga: Ola Eliasson/Olle I rollerna: Manon Lescaut: Inessa Giorgio Talbot: John Erik Eleby. Guglielmo Persson. Masarin: Katarina N. Leoson/ Galante/Sara Olsson. Lescaut: Jeremy Cecil: Tord Wallström/Gunnar Lundberg. Susann Végh. Dartanjang: John Erik Carpenter/Anders Larsson/Gunnar Anna Kennedy: Lena Hoel. Eleby/Ketil Hugaas. Tjyven Gustav: Niklas Lundberg. Chevalier Des Grieux: Björling Rygert/Carl Unander Scharin. Aleksandrs Antonenko/Lars Cleveman/ ■ PREMIÄR: 27 JANUARI 1990 Morfar i trädet: Magnus Kyhle/Ulrik Qvale. Tomas Lind/Mika Pohjonen. Geronte de NYPREMIÄR: 18 JANUARI 2006 Polisen: Magnus Kyhle/Ulrik
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    Opera Bands and Artists List Szeged Symphony https://www.listvote.com/lists/music/artists/szeged-symphony-orchestra-265888/albums Orchestra Marek Torzewski https://www.listvote.com/lists/music/artists/marek-torzewski-11768532/albums Frederic Toulmouche https://www.listvote.com/lists/music/artists/frederic-toulmouche-20001877/albums Dominique Girod https://www.listvote.com/lists/music/artists/dominique-girod-16056863/albums Livia Budaï-Batky https://www.listvote.com/lists/music/artists/livia-buda%C3%AF-batky-26988123/albums Vitaliy Kil'chevskiy https://www.listvote.com/lists/music/artists/vitaliy-kil%27chevskiy-19850392/albums Yaniv D'Or https://www.listvote.com/lists/music/artists/yaniv-d%27or-16131484/albums Malvīne Vīgnere- https://www.listvote.com/lists/music/artists/malv%C4%ABne-v%C4%ABgnere-gr%C4%ABnberga- Grīnberga 16363082/albums Rosa Rimoch https://www.listvote.com/lists/music/artists/rosa-rimoch-29419597/albums Karine Babajanyan https://www.listvote.com/lists/music/artists/karine-babajanyan-18628035/albums Jean-Baptiste Mathieu https://www.listvote.com/lists/music/artists/jean-baptiste-mathieu-11927434/albums Opera Las Vegas https://www.listvote.com/lists/music/artists/opera-las-vegas-16960608/albums Vicente Forte https://www.listvote.com/lists/music/artists/vicente-forte-11954634/albums Albert Lim https://www.listvote.com/lists/music/artists/albert-lim-23887792/albums Alban Berg https://www.listvote.com/lists/music/artists/alban-berg-78475/albums Bedřich Diviš Weber https://www.listvote.com/lists/music/artists/bed%C5%99ich-divi%C5%A1-weber-79023/albums
  • Wagner the Ring an Orchestral Adventure Arranged by Henk De Vlieger

    Wagner the Ring an Orchestral Adventure Arranged by Henk De Vlieger

    WAGNER THE RING AN ORCHESTRAL ADVENTURE ARRANGED BY HENK DE VLIEGER ROYAL SWEDISH ORCHESTRA · LAWRENCE RENES BIS-2052 BIS-2052_f-b.indd 1 2013-08-23 15.15 WAGNER, Richard (1813–83) The Ring 65'05 An orchestral adventure based on Richard Wagner arranged by Henk de Vlieger (b. 1953) (Schott Music) Das Rheingold 1 Vorspiel 4'19 2 Das Rheingold 2'02 3 Nibelheim 2'19 4 Walhall 3'36 Die Walküre 5 Die Walküren 3'54 6 Feuerzauber 3'34 Siegfried 7 Waldweben 2'14 8 Siegfrieds Heldentat [Siegfried’s Horn Call: Kristina Kärlin] 6'37 9 Brünnhildes Erwachen 6'16 2 Götterdämmerung 10 Siegfried und Brünnhilde 4'21 11 Siegfrieds Rheinfahrt [Siegfried’s Horn Call: Kristina Kärlin] 5'38 12 Siegfrieds Tod 5'42 13 Trauermusik 6'12 14 Brünnhildes Opfertat 8'22 Royal Swedish Orchestra Jannica Gustafsson leader (Kung liga Hovkapellet) Lawrence Renes conductor 3 The present arrangement of Wagner’s music to The Ring was made in 1991 by Henk de Vlieger, with the ambition of retaining wherever possible the main line of the story. His method was to select the most important orchestral passages from the cycle, linking them together in such a way as to create a unified symphonic work – a symphonic poem. The musical con - nec tions between these excerpts, as a result of Wagner’s leitmotif tech nique, are retained and with them at least a part of the original coher - ence. The excerpts have in most cases been taken over without alterations; only occasionally has an essential vocal line been replaced by wind instruments.
  • FY13 Annual Report View Report

    FY13 Annual Report View Report

    ANNUAL REPORT 2012–13 3 Introduction 5 Metropolitan Opera Board of Directors 7 2012–13 Season Repertory & Events 14 2012–13 Artist Roster 15 The Financial Results 46 Patrons Introduction The Metropolitan Opera’s 2012–13 season featured an extraordinary number of artistic highlights, earning high praise for new productions, while the company nevertheless faced new financial challenges. The Met presented seven new stagings during the 2012–13 season, including the Met premieres of Thomas Adès’s The Tempest and Donizetti’s Maria Stuarda, the second of the composer’s trilogy of Tudor operas (with the third installment planned for a future season). All seven new productions, plus five revivals, were presented in movie theaters around the world as part of the Met’s groundbreaking Live in HD series, which continued to be an important revenue source for the Met, earning $28 million. Combined earned revenue for the Met (Live in HD and box office) totaled $117.3 million. This figure was lower than anticipated as the company continued to face a flat box office, complicated by the effects of Hurricane Sandy, the aftermath of which had a negative impact of approximately $2 million. As always, the season featured the talents of the world’s leading singers, conductors, directors, designers, choreographers, and video artists. Two directors made stunning company debuts: François Girard, with his mesmerizing production of Parsifal on the occasion of Wagner’s bicentennial, and Michael Mayer, whose bold reimagining of Verdi’s Rigoletto in 1960 Las Vegas was the talk of the opera world and beyond. Robert Lepage returned to direct the highly anticipated company premiere of Thomas Adès’s The Tempest, with the composer on the podium.