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sonyclasica · 2 months

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FESTIVAL STRINGS LUCERNE

EASTBOUND

Para su nuevo álbum Eastbound, Festival Strings Lucerne ha grabado unas extraordinarias rarezas románticas con arreglos para orquesta de cuerdas.

Consíguelo AQUÍ

Entre las joyas incluidas está "Bilder aus Osten" de Robert Schumann, hábilmente adaptada a un ambicioso estilo sinfónico por Friedrich Hermann, alumno de Mendelssohn, que fue redescubierta por Festival Strings Lucerne hace unos años. También incluye otra bella pieza de Schumann, la apacible y onírica "Abendlied", magistralmente adaptada por Johan Svendsen.

La orquesta también presenta una grabación en primicia mundial del "Andante" de Antonin Dvorak de su Cuarteto de cuerda Op. 9, arreglado por Martin Braun en 2020. También incluye la entrañable Serenata para orquesta de cuerda de Dvorak, célebre por su belleza bohemia y uno de los clásicos originales del repertorio romántico para conjunto de cuerda. El álbum concluye con el animado "Scherzo" del compositor austriaco Franz Schenker, que con una dinámica de danza y una melodía vibrante casi recuerda a Dvořák.

Daniel Dodds

Daniel Dodds es violinista y pedagogo, y desde 2012 es director artístico del Festival Strings Lucerne, además de primer concertino del conjunto, cargo que asumió en 2000. Dodds, de ascendencia australiano-china, ha actuado como solista con directores como Zubin Mehta, Vladimir Ashkenazy y Oksana Lyniv, en colaboración con orquestas como Festival Strings Lucerne, la Orquesta Sinfónica de Lucerna, la Orquesta de la Svizzera Italiana, la Orquesta Sinfónica de Melbourne y la Australian World Orchestra.

Festival Strings Lucerne

Festival Strings Lucerne se fundó en 1956, estableciéndose rápidamente entre las orquestas de cámara más distinguidas de Europa y de todo el mundo. La orquesta ofrece un amplio repertorio en su propio ciclo de conciertos en la KKL de Lucerna y como conjunto invitado en el Festival de Lucerna, al tiempo que actúa regularmente en salas de conciertos europeas como la Elbphilharmonie de Hamburgo, la Philharmonie de Berlín, el Het Concertgebouw de Ámsterdam y el Musikverein de Viena. La orquesta, cuyo repertorio abarca desde la música barroca hasta la contemporánea, ha estrenado más de cien obras de compositores como Jean Françaix, Frank Martin, Bohuslav Martinů, Sándor Veress, Iannis Xenakis, Krzystof Penderecki, Klaus Huber y Peter Ruzicka.

Contenido Del Set:

ROBERT SCHUMANN (1810–1856)

Bilder aus Osten op. 66 (1849)

Arrangement for String Orchestra by Friedrich Hermann (1878/1884)

1 I. Lebhaft

2 II. Nicht schnell und sehr gesangvoll zu spielen

3 III. Im Volkston

4 IV. Nicht schnell

5 V. Lebhaft

6 VI. Reuig, andächtig

ANTONÍN DVOŘÁK (1841–1904)

7 Andante 8:07

Arrangement of the 2nd movement from String Quartet No. 5, Op. 9

by Martin Braun (2020)

World Premiere Recording

ANTONÍN DVOŘÁK (1841–1904)

Serenade for Strings in E Major, Op. 2 2

8 I. Moderato

9 II. Tempo di Valse

10 III. Scherzo

11 IV. Larghetto

12 V. Finale

ROBERT SCHUMANN (1810–1856)

13 Abendlied

From 12 Klavierstücke für kleine und große Kinder op. 85 Nr. 12

Arrangement for String Orchestra by J. Svendsen

FRANZ SCHREKER (1878–1934)

14 Scherzo for String Orchestra (1900)

#festival strings lucerne

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classicalmusicdaily · 7 months

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Zoltan Nagy started his international career as the youngest ensemble member of the Vienna State Opera. Recognized by opera critics for his strengths in both dramatic and comic roles, he is regularly invited to perform as a guest artist in many of Europe’s leading opera houses. Zoltan’s most requested role is Escamillo (Carmen), a role he has performed in over 12 productions in theatres like Bilbao (ABAO), Teatro Massimo di Palermo, Teatro Grande di Brescia, Teatro Ponchielli di Cremona, Teatro Sociale di Como, RTE Orchestra in Dublin, Romanian National Opera Bucharest and Cluj, the Shaanxi Grand Opera House in China, the State Theatre of Nuremberg, among others. As a permanent guest soloist of the Hungarian State Opera, Budapest, Zoltan has been invited to perform the role of Guglielmo (Cosi Fan Tutte), Silvio (Pagliacci), the title role in Kodaly’s Hary Janos, and Schaunard (La Bohème), a title he has performed at Oper Leipzig, Opera de Nice, Singapore Symphony Orchestra (in concert), Vlaamse Opera Antwerpen, and Opera Ghent among others. Zoltan made his Bolshoi Theatre of Moscow debut with the role of Count Almaviva (Le Nozze di Figaro). He has sung Haraschta (The Cunning Little Vixen) at the Hamburg State Opera, Dr Falke (Die Fledermaus) at Teatro Verdi Trieste, Calchas (Iphigenie en Aulide) in Athens, Schmied (Egk’s Peer Gynt) in Theater an der Wien, where he also had the privilege to join Edita Gruberova for her gala concert. Zoltan made his debut as Alberich (Siegfried) at Teatro Campoamor in Oviedo. He sang Marcello in a new production of La Bohème at Teatro Comunale di Sassari, portrayed the role of Dulcamara in a new production of L’Elisir d’Amore at the Romanian National Opera, and was invited to give masterclasses at the Xi’an University of Music in China. Count Tomski was a role debut in a new production of Tchaikovsy’s Pique Dame at the Opera Festival Heidenheim accompanied by the Stuttgarter Philharmoniker. Zoltán returned to Oviedo for a new production of Götterdämmerung where he performed the role of Alberich. He sings the role of Theseus in the Essen Philharmonic’s CD live recording of Bohuslav Martinu’s Ariane directed by Czech conductor Tomas Netopil, released in 2016 on Supraphon. Zoltan has worked with conductors such as Marco Armiliato, Pinchas Steinberg, Ulf Schirmer, Renato Palumbo, Fabio Luisi, Marc Minkowski, John Wilson, Alejo Perez, Tomas Netopil, Guillermo Garcia Calvo, Leo Hussain, Marcus Bosch among others. Some of the stage directors Zoltan has collaborated with are: Peter Konwitschny, Damiano Michieletto, Inga Levant, Stefano Poda, Calixto Bieito, Paris Mexis, Thorsten Fischer, Georges Delnon, Maurizio Scaparro, and Immo Karaman. He has collaborated with the Vienna Philharmonic, Robert Schumann Philharmonie, RSO Vienna, Vienna Symphony Orchestra Singapore Symphony Orchestra, National Taiwan Symphony Orchestra, Orchestra of the Romanian National Radio, Hungarian National Philharmonic Orchestra among others. Zoltan studied at the Gheorghe Dima Music Academy in his hometown Cluj-Napoca under Professor Gheorghe Roşu. Upon graduation, he received a full scholarship to study at the prestigious Mozarteum University in Salzburg for a Masters degree in voice performance with Professor Boris Bakow. He has won prizes at various singing competitions including the Romanian National Song Competition, the Hariclea Darclee International Voice Competition, and “Debut”, the European Opera Singing Competition in Germany. In 2012 Zoltan participated in the Salzburg Festival’s Young Singers Project, and was then selected to sing in the Festival’s production of Das Labyrinth. Recent engagements included two new production of La Wally and Jenufa at Theater an der Wien, a new production of The Raise and Fall of the city of Mahagonny in Parma. Future higlights of his saison include a debut at Regio Torino as Escamillo, a ROH debut in La Bohème as Schaunard and a debut at Komische Oper Berlin in the Love of the three oranges as Leander.

Dear Zoltan, I’m so glad to meet you, this time in Italy! And I am very much looking for- ward to your house debut at Teatro Regio di Parma! What has been your relationship with the Italian theatres throughout your career and what does this event mean to you? In my nearly 15 years of international career I have been lucky enough to be part of some wonder- ful productions all over the world starting with Vienna until Singapore, but singing ocasionally in Italy, becomes each time on of the highlights of my season. My first ever concert accompanied by an orchestra abroad was actually in Palermo when I was 22. Since then I was dreaming about singing one day at Teatro Massimo which was closed for renovation those years. Several years later my dream came true and I was indeed portraying the role of Escamillo in that amazing opera house… I always used to say, that a part of my heart is in Italy. I’ve also worked on several occa- sions at Teatro Verdi in Trieste, one of them was a very funny production of Die Fledermaus (Dr. Falke) with the late Gianluigi Gelmetti conducting who I was very fond of. I have beautiful memo- ries of Sardegna where I’ve done a new production of La Bohème as Marcello, and later a Pagliacci as Silvio. Singing at Teatro Regio in Parma is an absolut honor for me not only because of the enormous tradition that surrounds this opera house but also because of the fact that I am a guest artist in a very unusual production that should make history in Parma. Tell us more about this opera, about the role that you’re about to perform and the produc- tion that will be on stage at Regio di Parma this month (April)? Rise and Fall of the City of Mahagonny is an opera, although I like to call it rather music theater/ music play… composed between 1927-1929 by Kurt Weill on Bertold Brecht’s libretto, where I will interpret the role of Trinity Moses. When I first saw the score, I said to myself… “oh, I’ll deifinitely need some time to learn this music and get used to certain rhytms“. I’ve seen it challenging but I ended up having great fun singing this part and enjoying Weill’s geniality. The opera was a scandal on its premierere in Leipzig in 1930, presenting the decandece of the society which is more then actual nowadays where money is everything. I hope the audience will be receptive, of course, one should not expect a coservative staging for this type of music. I’m sure everyone will leave the the- ater whistling the Alabama song at the end of the performance… and realizing hopefully how en- joyable this music is. reposted from https://opera-charm.com/

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leeyunceo · 1 year

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Berliner Philharmoniker

Dirigent : Daniel Barenboim

Klavier : Martha Argerich

• Philharmonie Berlin, Großer Saal

So 08.01.2023 um 20:00 Uhr

Robert Schumann · Klavierkonzert a-Moll op. 54

Johannes Brahms · Symphonie Nr. 2 D-Dur op. 73

+ encore : Georges Bizet · Jeux d‘Enfant, op.22 „Petit mari, petite femme“ (Klavier : Daniel Barenboim, Martha Argerich)

원래는 차이코프스키 피아노 협주곡 1번과 루토슬라프스키의 오케스트라를 위한 협주곡으로 편성된 공연이었다. 생전에 바렌보임이 지휘하고 마르타 아르헤리치가 연주하는 차피협을 라이브로 들을 수 있다니 기대가 꽤 컸는데… 공연 5일 전쯤에 프로그램이 슈만 피아노 협주곡과 브람스 교향곡 2번으로 변경되었다는 메일을 받았다. 차피협에 대한 기대가 너무 컸던 탓인지 처음 소식을 접했을 땐 다소 아쉬웠다. 그럼에도 아르헤리치를 슈만의 어린이 정경으로, 바렌보임을 브람스 피아노 협주곡 1번으로 입문했던 인연으로 개인적으로는 나름 의미있는 편성이기도 했다. 두 분 모두 연세가 연세이다보니 공연까지 여러모로 우여곡절이 많았다. 특히 바렌보임 옹의 경우에 원래 슈타츠카펠레와 함께 내한할 예정이었는데, 건강악화로 오지 못했고, 회복을 위해 지휘 활동을 아예 잠정 중단하겠다고까지 선언한 바 있었지만 다행히 극적으로 1월 초에 다시 복귀를 선언하셔서 어찌 바렌보임 옹을 영접할 수 있었다.

아르헤리치의 슈만 협주곡은 서정적이면서도 아르헤리치 특유의 강인함, 당참 같은 ��이 여전히 이글거렸다. 확실히 젊은 시절같이 불같은 타건까지는 아니었지만 <미나리>에서의 윤여정 선생님을 연상케하는 호탕한 면모가 돋보였다. ‘이 할미가 피아노란 뭔지 한 수 보여주마.’라는 듯한…! 슈만 협주곡이 2악장과 3악장을 연달아서 연주하기에, 뭐랄까 본격적인 3악장의 콘체르토가 아닌 하이라이트로 두 악장만 들은 듯한 기분이 들어 아쉬운 감이 있었다.(너무 좋아서 감질맛나는 아쉬움) 그 둘을 실물로 보자니 물론 특유의 아우라가 있었지만, 한편으론 영락없이 노부부 할아버지 할머니 같은 푸근한 인상이 있었다. 1부의 슈만 협주곡이 끝나고 둘은 함께 비제의 <어린 남편, 어린 아내>을 듀엣으로 연주했다. 백발이 자욱한 두 거장이 옹기종기 피아노 앞에 앉아 악보를 넘겨가면서 연주를 하는데 그 광경을 보자니 정말 울컥했다. <어느 60대 노부부 이야기>도 아닌, 자그마치 80대 노부부의 이야기를(실제 부부는 아니지만) 어린이의 놀이를 빌려 소꿉놀이하듯 조곤조곤 읊조리는게 참 순수하면서도 아련하게 들리는 것…

바렌보임은 건강문제로 줄곧 연단에 앉아서 지휘를 했다. 안 그래도 공연이 시작되기 하루 전, 바에 앉아있는데 테이블에 놓여진 신문 첫 면에 바렌보임이 31년간 함께해 온 슈타츠카펠레의 은퇴를 결정했다는 기사를 보고 다소 놀랐다. 그도, 아르헤리치도, 베를린 필의 단원들도 모두 그날의 연주가 어떤 의미인지를 가슴깊이 이해하고, 또 임하고 있다는 것이 멀리 관중석에서도 느껴졌다. 정말 모두들 혼신의 힘을 다해 연주했고, 동시에 다들 얼굴에 환한 미소를 띄고 있었다. 그렇게 함께 소리를 만들 수 있다는 건 축제와도 같은 일이 아닌가. 포근한 브람스 교향곡 2번까지 모두 마친 후, 관중들은 어려운 결정을 내렸을 바렌보임을 위해 연신 뜨거운 기립박수를 건넸다. 박수갈채 속에서 그는 자신이 받은 꽃다발에서 꽃을 한 송이씩 뽑아 베를린필 여성 단원 한분 한분께 나누어주었다. 슈만과 브람스, 그리고 멋쟁이 신사 바렌보임까지 그야말로 낭만주의 오브 낭만주의의 정점을 찍은 날이었다…

모쪼록 비 내리고, 축축하고 쌀쌀한 악명 높은 1월의 베를린이었음에도, 그날 베를린 필에서의 저녁은 봄날처럼 따듯하고 온화했다. 어렸을 적 주말을 맞아 할머니 할아버지 댁에 다녀온 포근함을 다시금 그곳에서 느꼈다. 앞으로도 오래오래 건강히 행복하게 음악해주세요. 영광이었고 감사했습니다.

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bookshelfdreams · 6 years

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Übrigens, falls jemand am Montag zu #wirsindmehr wollte und es nicht geschafft hat - die Theater Chemnitz geben am Freitag (07.09.) Beethovens Neunte (das ist die mit der Ode an die Freude), gemeinsam mit der Robert-Schumann-Philharmonie, dem Chor und Solisten der Oper und noch anderen regionalen und überregionalen Sängern, Ballet, Schauspiel und Figurentheater. Das wird garantiert auch richtig geil. Los geht’s um 19:00 auf dem Theaterplatz, der Eintritt ist frei.

(ich mach das sonst nicht aber ich hab nur eine begrenzte Reichweite, also: wär echt nice wenn ihr das rebloggen könntet)

#german stuff #wirsindmehr #ich wünschte ich müsste am sa nicht arbeiten dann würde ich dahin gehen #vllt mach ich es trotzdem mal sehen

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verdiprati · 6 years

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UPCOMING PERFORMANCES BY DAME SARAH CONNOLLY

[NOTE: this post is now out of date. Check the schedule tag on my blog for the most recent version of this list.]

After the jump: an unofficial schedule of Dame Sarah Connolly’s future performances. Those of you in Britain may catch a performance in London, Cardiff, Leeds, Oxford, Gloucester, Bath, or Chipping Campden. Those on the Continent may see her in Berlin, Madrid, Paris, Antwerp, Amsterdam, Geneva, Zeist, or Baden-Baden. And finally, those of us in North America have a recital in Philadelphia to look forward to! Don’t live near one of these places? Take in a concert from afar: I am adding online broadcast and livestream details as they become available.

This is not an authoritative list. These are the upcoming performances by Dame Sarah Connolly that I have been able to learn about from Dame Sarah’s agent's website (Askonas Holt), Operabase, Bachtrack, Dame Sarah's Twitter, and generally ferreting around the web.

I sometimes list concerts that are not yet officially confirmed; you should of course check official sources before making plans and be aware that cast changes and cancellations can happen at any time.

I have added links to venue, ticketing, and broadcast information where available. Tips on new information are always welcome! Please contact me via email (verdiprati [at] selveamene [dot] com), Tumblr messaging, or ask box (plain prose only in the ask box; anything with links or an email address will get eaten by Tumblr filters) with corrections or additions.

[Masterclass] Public masterclass at Wigmore Hall, London, September 19, 2018. Part of Dame Sarah’s residency at the Wigmore.

Wagner, Das Rheingold and Die Walküre (Fricka in both) at the Royal Opera, London, September 24 through October 28, 2018. A revival of Keith Warner’s Ring Cycle, with Antonio Pappano conducting. For cast and date details, see the ROH web pages linked above. The October 28 performance will be livecast to cinemas; the October 18 performance, also marked “Filming,” is presumably a dry run for the camera crews and/or a chance to gather additional footage for promos and perhaps an eventual DVD release (we can hope). Rheingold dates: September 24; October 2, 16, and 26. Walküre dates: September 26; October 4, 18, and 28.

[New! Broadcast] There will be an audio-only broadcast of Das Rheingold by BBC Radio 3 on Saturday, October 27—conveniently timed to prime listeners for the livecast of Die Walküre the following day. If you can’t listen at the time of broadcast, though, you should be able to find the Rheingold audio archived on the BBC website for a month following.

[Cinema livecast] As mentioned above, the October 28 performance of Die Walküre is scheduled for livecast to cinemas. You can use this page to search for a screening near you. Oddly, no screenings are being shown in the US at the time of this writing, but I know of at least one deferred screening in New York, at Symphony Space on November 25.

[New! Broadcast] There will be an audio-only broadcast of Die Walküre by BBC Radio 3 on Saturday, November 3. As with all BBC Radio 3 programming, I would expect it to stay online for a month after broadcast. It seems like a fair guess that the other two Ring operas will be broadcast on subsequent Saturdays; check the Radio 3 website when the time gets closer, if you are interested.

Mahler, Das Lied von der Erde at the Royal Festival Hall, London, September 29, 2018. With Stuart Skelton and the London Philharmonic Orchestra conducted by Vladimir Jurowski. In a concert with Mitsiko Uchida playing Mozart’s Piano Concerto No. 27.

Appearance at “Opera For All” anniversary show at the English National Opera, London, October 10, 2018. The exact program has not (to my knowledge) been announced, but a blog post from ENO says “The performance will feature moments from operas that have played an important part in ENO’s history, including Britten’s Peter Grimes, Handel’s Alcina, Gilbert and Sullivan’s Iolanthe Verdi’s Rigoletto and Wagner’s Ring Cycle.” Dame Sarah has sung roles in Alcina, Iolanthe, and the Ring Cycle, but I believe Alcina is the only one she has performed at ENO, and my hunch is that she will offer one or two of the Handel arias she has sung to such acclaim at ENO over the years.

Mahler, Das Lied von der Erde at the Philharmonie Berlin, October 14, 2018. With Torsten Kerl Robert Dean Smith and the Rundfunk-Sinfonieorchester Berlin conducted by Vladimir Jurowski.

[Broadcast] The concert is scheduled for live broadcast on Deutschlandfunk Kultur.

Recital of English song at the Oxford Lieder Festival, October 22, 2018. With Eugene Asti. Songs in English by numerous British composers including Rebecca Clarke, Muriel Herbert, and Sally Beamish. There is a good deal of overlap with the selections on Dame Sarah’s recent album “Come to Me in My Dreams.”

Concert with Tenebrae at Wigmore Hall, London, October 24, 2018. Part of Dame Sarah’s yearlong residency at the Wigmore. The mostly English repertoire centers on a new piece by Judith Bingham setting poetry by Ivor Gurney. The choir throws in some Schoenberg at the end.

Purcell, Dido and Aeneas (Dido) in concert at the Concertgebouw, Amsterdam, November 3, 2018. With the Early Opera Company conducted by Christian Curnyn, in a concert also featuring John Blow’s Venus and Adonis (which does not include Dame Sarah in the cast). Dame Sarah’s co-stars are Jonathan McGovern, Lucy Crowe, Dame Felicity Palmer Avery Amereau, and Rowan Pierce.

[New! Broadcast] Thank you to the astute reader who pointed out that, as mentioned on the Early Opera Company’s website (and less explicitly on the Concertgebouw site), this concert will be broadcast live on NPO Radio 4 as part of the NTR Saturday Matinee series. Recordings from the series seem to be kept available online for quite a while, so you should have ample chance to hear the concert even if you cannot tune in at the hour of live broadcast.

Tippett, A Child of our Time at the Paris Philharmonie, November 7 and 8, 2018. With Michelle Bradley, Mark Padmore, John Relyea, and the Orchestre de Paris conducted by Thomas Adès in a concert also featuring symphonic works by Berlioz and Adès.

[New! Broadcast] The Orchestre de Paris website says, “Concert du 7 novembre enregistré et diffusé sur France Musique en différé et disponible à la réécoute sur le site internet de France Musique en streaming pour une période de 3 ans.” I never took French but read that to mean that we can expect a deferred broadcast of the November 7 concert, available for replay for three years. I have not been able to find a date of broadcast yet but I will keep an eye out for it.

Recital at the Bath Mozartfest, Guildhall, Bath, November 13, 2018. With Joseph Middleton. Repertoire to include “Deh, per questo istante solo” from La Clemenza di Tito as well as songs by Schubert, Ravel, Debussy, Gurney, and Ireland. UPDATE: Dame Sarah withdrew from the concert and was replaced by Louise Alder.

"L’invitation au voyage,” song recital at Wigmore Hall, London, November 16, 2018. With James Newby and Joseph Middleton. The repertoire is Ravel-centric but not all by Ravel himself. Part of Dame Sarah’s residency at the Wigmore and also part of a Ravel song series being presented by the venue over the course of the year.

Beethoven, Missa Solemnis at deSingel, Antwerp, November 21, 2018. Part of a tour by Le Concert Olympique and the Arnold Schoenberg Chor. With Malin Hartelius, Steve Davislim, and Hanno Müller-Brachmann; conducted by Jan Caeyers.

[New! Deferred broadcast] Recital at the Schubertíada Vilabertran. With Malcolm Martineau and Jonathan Brown. Works by Brahms, Mahler, Gurney, Richard Rodney Bennett, and Frank Bridge. Recorded at the live performance on August 18, 2018; scheduled for broadcast [PDF] on Catalunya Música November 23, 2018.

Beethoven, Missa Solemnis at the Philharmonie Berlin, November 23, 2018. Part of a tour by Le Concert Olympique and the Arnold Schoenberg Chor. Tickets appear to be on sale here. With Malin Hartelius, Steve Davislim, and Hanno Müller-Brachmann; conducted by Jan Caeyers.

Beethoven, Missa Solemnis at the Festspielhaus Baden-Baden, December 1, 2018. Part of a tour by Le Concert Olympique and the Arnold Schoenberg Chor. With Malin Hartelius, Steve Davislim, and Hanno Müller-Brachmann; conducted by Jan Caeyers.

Appearance at the Glyndebourne Tour: Golden Anniversary Celebration at the Queen Elizabeth Hall, London, December 4, 2018. Sir Thomas Allen and Sir John Tomlinson are also appearing at the concert, and the Glyndebourne website says “More performers will be announced in the coming weeks.” The program has not been announced yet but I will be surprised if Dame Sarah does not reprise an aria or two from Giulio Cesare. This event does not yet appear on the Southbank Centre’s calendar, and I don’t see a way to purchase tickets online, but they apparently are available by phoning the Glyndebourne box office.

Wagner, Das Rheingold (Fricka) at the Teatro Real, Madrid, January 17 through February 1, 2019. In a production by Robert Carsen; conducted by Pablo Heras-Casado. Co-stars include Greer Grimsley (Wotan) and Sophie Bevan (Freia) among others.

Berlioz, L’Enfance du Christ with the BBC National Orchestra of Wales at Hoddinott Hall, Cardiff, February 15, 2019. Sir Andrew Davis conducts; the other vocal soloists in the all-Brit, all-excellent lineup are Andrew Staples, Roderick Williams, and Matthew Brook.

Recital with Julius Drake at the Concertgebouw, Amsterdam, March 5, 2019. Works by R. Schumann, Brahms, Wolf, A. Mahler, and Zemlinsky.

Recital with Julius Drake at the Grand Théâtre de Genève, March 7, 2019. I don’t see the repertoire mentioned on the theater’s website as of this writing, but presumably it will be similar to the works presented in Amsterdam and Philadelphia in the duo’s other recitals this month.

Recital with Julius Drake at the Teatro de la Zarzuela, Madrid, March 11, 2019. Works by Brahms, Wolf, Roussel, Debussy, and Zemlinsky.

[New details!] Recital with Julius Drake at Wigmore Hall, London, March 15, 2019. Contrary to my earlier guess, Connolly and Drake are not repeating material from their recitals in Amsterdam and Madrid, but rather are preparing a completely different program for the Wigmore. It is described by Dame Sarah’s agency, Askonas Holt, thus: “On 15 March 2019, Sarah offers Dominick Argento’s cycle from Virginia Woolf’s posthumously published A Writer’s Diary, which won the composer the Pulitzer Prize in 1975, and Schumann’s moving late settings of texts attributed to Mary Stuart. She is partnered by pianist Julius Drake and actor Emily Berrington, who will intersperse the songs with reading from Woolf’s diaries and also from Schiller’s ‘Mary Stuart’, in a new translation made especially for the event.” Dame Sarah adds on Twitter, “There will be more songs in the second half.”

Recital with Julius Drake at the Kimmel Center, Philadelphia, March 22, 2019. Sponsored by the Philadelphia Chamber Music Society. Repertoire includes works by Brahms, Wolf, Roussel, Debussy, and Zemlinksy.

[New!] Berlioz, Les nuits d’été at the Chipping Campden Music Festival, May 21, 2019. In a program with orchestral works by Fauré and Mendelssohn. Thomas Hull conducts the Academy Orchestra. As of this writing, the 2019 program has not yet been published on the Festival’s website, but the season brochure is available upon request, and that is how I obtained these concert details.

[Details TBA] Appearance at the Internationaal LiedFestival Zeist (Netherlands), late May, 2019. The festival dates are May 17-26. Programming details have not yet been released as of this writing, but Dame Sarah is mentioned as one of the performing artists.

Elgar, The Dream of Gerontius with the Hallé and three choruses at Victoria Hall, Leeds, June 1, 2019. Barry Banks and David Soar are the other vocal soloists; Simon Wright conducts.

Mahler, Des Knaben Wunderhorn (extracts) and Janáček, Glagolitic Mass at the Maison de la Radio, Paris, June 20, 2019. With the Orchestre National de France and the Choeur de Radio France, conducted by Jukka-Pekka Saraste. The other soloists for the Glagolitic Mass are Simona Šaturová, Mati Turi, and Christof Fischesser.

[Broadcast] This concert will be broadcast live on France Musique.

Recital with Malcolm Martineau at Wigmore Hall, London, July 23, 2019. Part of Dame Sarah’s yearlong residency at the Wigmore. Repertoire TBA. Listed in the season preview brochure [PDF].

Berlioz, La damnation de Faust (in concert, presumably) at the Three Choirs Festival, Gloucester, July 27, 2019. With Peter Hoare, Christopher Purves, and David Ireland. Tickets go on sale to the general public on April 24.

Bob Chilcott, A Christmas Oratorio (premiere) at the Three Choirs Festival, Gloucester, August 1, 2019. With Nick Pritchard and Neal Davies. Note that this is an afternoon concert, not the main evening concert for August 1. (Multi-mezzo fans may want to stick around to hear Anna Stéphany do Les nuites d’été in the evening.) Tickets go on sale to the general public on April 24.

[Unconfirmed / details TBA] Handel, Agrippina at the Dutch National Opera. In June 2018, opera critic Hugh Canning tweeted the news that the Royal Opera is planning to offer Barrie Kosky’s new production of Agrippina with Joyce DiDonato in the title role during the ’19/’20 season; in a reply that has now been deleted, Dame Sarah mentioned that she and Alice Coote would do the same production in Amsterdam and Munich. (If you are a member of the Sarah Connolly fan group on Facebook, you can scroll back in time to June and see a screenshot there.) Subsequent discussion revealed that Coote would get the Munich gig (in July 2019), so Connolly must be the Amsterdam Agrippina. The DNO has already announced its ’18-’19 season and Agrippina isn’t in it, so presumably we’re looking towards ’19-’20 or beyond.

[Unconfirmed / details TBA] Brett Dean, Hamlet (Gertrude) somewhere in the United States. Allan Clayton, who starred in the title role of Brett Dean’s Hamlet at Glyndebourne in 2017, mentioned in a recent interview with the Telegraph that he would be reprising the role at an unspecified date and venue in the US. When prompted on Twitter, Dame Sarah indicated that she would be participating in the revival, too (“I shall be misunderstanding my confused boy again”). Hat tip to Christopher Lowrey, who sang Guildenstern in the original production at Glyndebourne, whose tweet praising Allan Clayton brought the Telegraph interview to my attention. (No indication whether Lowrey will also be cast in the American revival.)

[Details TBA] A future appearance at the Opéra national de Paris is mentioned in the current bio that can be downloaded from Dame Sarah’s page on the Askonas Holt website (click “Publicity Pack”). I cannot find her name mentioned anywhere in the 2018-2019 season, so I suppose we must wait until at least the fall of 2019 if not later.

Previous versions of this list can be found under the schedule tag on this blog. This list published September 10, 2018. Edited September 15 to add the live broadcast of Dido from the Concertgebouw and to update the program details for the ENO concert. Edited September 18 to fill in details of Dame Sarah’s recital with Julius Drake at the Wigmore Hall in March. Edited October 16 to add the Chipping Campden concert and the Rheingold radio broadcast. Edited October 18 to update the cast list for the Concertgebouw concert with the Early Opera Company. Edited October 25 to add the radio broadcast of the ROH Die Walküre. Edited November 8 to add the radio broadcasts of A Child of Our Time and the Vilabertran recital. Edited November 19 to reflect (very belatedly) Dame Sarah’s withdrawal from the Bath Mozartfest recital. I may continue to edit this list as I receive new information.

#sarah connolly #schedule #performances

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montessori-chemnitz · 6 years

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Rhapsodie in School

Die Theaterpädagogin der Städtischen Theater Chemnitz, Heike Vieth, fragt mich unerwartet bei einer Opernaufführung, ob meine Schüler Lust hätten, eine Generalprobe der Robert-Schumann-Philharmonie zu besuchen und danach die Solisten im Rahmen des Projektes „Rhapsodie in School“ näher kennenzulernen. Allerdings müsste während des Konzertes absolute Ruhe herrschen. Ich denke an unsere aufgeweckten Schüler und bin mir nicht sicher. Also frage ich die KollegInnen der Grundstufe. Drei Klassen wollen vollständig mit, 15 weitere Schüler aus den anderen Klassen sowie zehn Schnupperkinder. Können 80 Schüler leise sein?

http://www.montessori-chemnitz.de/de/aktuelles/2017_11_26-rhapsodie_in_school.html

#chemnitz #Montessori #schule #theatre #Theater #philharmonie #projekt #rhapsodieinschool

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whileiamdying · 5 years

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Full-length concert: http://www.digitalconcerthall.com/concert/51856/?a=youtube&c=true Robert Schumann: Symphony No. 2 (4th movt) / Sir Simon Rattle, conductor · Berliner Philharmoniker / Recorded at the Berlin Philharmonie, 23 March 2019 The Berliner Philharmoniker's Digital Concert Hall: http://www.digitalconcerthall.com Subscribe to our newsletter: http://www.digitalconcerthall.com/newsletter Website of the Berliner Philharmoniker: http://www.berliner-philharmoniker.de

#IFTTT #YouTube #Berliner Philarmoniker

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tmnotizie · 4 years

Link

MACERATA – Sabato 1 febbraio, alle 21, al Teatro Lauro Rossi di Macerata concerto evento della star italiana del pianoforte, Beatrice Rana, per la stagione di Appassionata grazie alla collaborazione della Società Civile dello Sferisterio-Eredi dei Cento Consorti.

Dotata di un talento travolgente, rigore tecnico e appassionato virtuosismo restituiti al pubblico grazie ad una spiccata capacità comunicativa oltre che interpretativa, Beatrice Rana ha conquistato la ribalta mondiale a soli diciotto anni vincendo il primo premio e tutti i premi speciali al Concorso internazionale di Montréal.

Da allora, era il 2011, e ancora più due anni dopo con il secondo premio e il premio del pubblico al prestigioso concorso Van Cliburn, è stata una felice e inarrestabile fila di successi che ha scosso il mondo della musica classica internazionale e suscitato ammirazione e interesse da parte di sedi concertistiche, direttori d’orchestra, critici e pubblico in molti paesi.

A Macerata la pianista ventisettenne salentina propone un suggestivo viaggio fra le pagine più significative della letteratura pianistica: comincia con il Concerto nach Italienischen Gusto (Concerto alla maniera italiana) BWV 971 di Johann Sebastian Bach, compositore molto amato dalla Rana per l’umanità e la ricchezza di emozioni che riesce a trasmettere con la sua musica.

Il programma del concerto di sabato prevede poi la Sonata n.3 op. 14 di Robert Schumann: nota anche come Concerto senza orchestra, è considerata un autentico capolavoro del Romanticismo musicale, pervaso com’è da una tensione febbrile e percorso da una successione di idee musicali che rivelano l’aspetto più immaginifico del compositore tedesco.

La seconda parte del concerto si apre con il terzo quaderno di Iberia di Isaac Albéniz, opera simbolo del repertorio pianistico di primo Novecento intriso dei profumi della Andalusia, terra natale del compositore, e, come quella, evocativo di misteri e soffuso di nostalgia.

La serata si conclude nel segno di Igor’ Stravinskij, genio assoluto e profondo innovatore del quale Beatrice Rana suonerà Petruška. Riduzione pianistica del celebre balletto, quest’opera del 1921 rifugge dalle morbidezze romantiche e tardo-romantiche per mostrare una natura inedita: percussiva, tagliente, ritmicamente incisiva, ricca di timbri inauditi per l’epoca, che colpiscono ancora oggi l’ascoltatore.

Un programma denso e impervio per la giovane, già affermatissima interprete che si esibisce nelle sale da concerto e nei festival più rinomati al mondo, tra cui la Konzerthaus e il Musikverein di Vienna, la Philharmonie di Berlino, il Concertgebouw di Amsterdam, il Lincoln Center e la Carnegie Hall di New York, la Tonhalle di Zurigo, la Wigmore Hall di Londra, il Théâtre des Champs-Elysées di Parigi, per citarne alcuni. Collabora con direttori del calibro di Yannick Nézet-Séguin, Antonio Pappano, Fabio Luisi, Riccardo Chailly, Yuri Temirkanov, Gianandrea Noseda, fra gli altri, e registra in esclusiva per Warner Classics.

Nel 2015, il suo primo album con il Concerto per pianoforte n. 2 di Prokofiev e il Concerto per pianoforte n. 1 di Tchaikovsky, registrato insieme ad Antonio Pappano e all’Accademia Nazionale Santa Cecilia di Roma, ha ricevuto riconoscimenti internazionali tra cui il prestigioso Editor’s Choice del Gramophone Magazine e il Premio Newcomer of the Year del BBC Music Magazine.

L’anno 2017 rimarrà una pietra miliare nella sua carriera grazie alla pubblicazione delle Variazioni Goldberg di Bach, registrazione elogiata in tutto il mondo ed è stata incoronata da due importanti riconoscimenti, “Young Artist of the Year” ai Gramophone Awards e “Discovery of the year” agli Edison Awards. Premio Abbiati come miglior solista nel 2016 e Cavaliere della Repubblica nel 2017, nel 2018 Beatrice Rana è stata scelta come ‘artista femminile dell’anno’ ai Classic BRIT Awards della Royal Albert Hall di Londra per la sua registrazione Bach.

La stagione 2019-2020 dei Concerti di Appassionata è organizzata dall’assessorato alla Cultura del Comune di Macerata insieme all’Associazione Musicale Appassionata, con il sostegno di MiBACT, Regione Marche, Società Civile dello Sferisterio-Eredi dei Cento Consorti, APM, Fondazione Cassa di Risparmio di Macerata, Università degli studi di Macerata, Istituto Confucio, ANMIG.

In collaborazione con Marche Concerti, Consorzio Marche Spettacolo e Accademia di Belle Arti di Macerata. Valli Pianoforti è partner tecnico.

Biglietti a 5, 15 e 20 euro presso la Biglietteria dei Teatri (mart.-sab. 10-12, 16.30-19.30, T 0733-230735) e online su Vivaticket (con diritti di prevendita). Per informazioni www.comune.macerata.it, www.appassionataonline.it, T 0733-230777.

#Marche #TMNotizie

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lesser-known-composers · 1 month

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Grete von Zieritz J(1899-2001) - apanische Lieder: No. 9, Einsamkeit ·

Sophie Klussmann ·

Robert-Schumann-Philharmonie · Jakob Brenner ·

#Grete von Zieritz #lieder #classical music #Youtube

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sonyclasica · 2 years

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ERIC LE SAGE

JARDINS SUSPENDUS

25 miniaturas de piano compuestas por 23 compositores franceses entre 1860 y 1946. CD disponible el 28 de octubre de 2022.

Consíguelo AQUÍ

Eric Le Sage es reconocido como el representante de la escuela de piano francesa, generalmente conocida por su sonido muy suave, su verdadero sentido de la estructura y fraseo poético. Cuando tenía 20 años, el Financial Times lo describió como "un discípulo extremadamente cultivado de la gran tradición francesa del piano de Schumann". En 2010, el Die Zeit elogió su "estética y claridad ideales del piano francés". Nacido en 1964 en Aix en Provence, Eric Le Sage ganó importantes concursos internacionales como el de Porto en 1985 y el Concurso Robert Schumann en Zwickau, en 1989. También ganó el Concurso Internacional de Leeds ese mismo año, lo que le permitió actuar bajo la batuta de Sir Simon Rattle. Eric ha ofrecido recitales y conciertos de música de cámara en grandes recintos de todo el mundo como Wigmore Hall, Carnegie Hall, Paris Philharmonie, Salzburg Mozarteum, Taipei National Concert Hall, Konzerthaus Vienna, Berlin Philharmonie, y suele actuar como invitado solista con orquestas del más alto nivel como Los Angeles Philharmonic, Philadelphia Orchestra,

Toronto Symphony Orchestra, Berlin’s Konzerthaus Orchester, NHK Symphony Orchestra, Tokyo Metropolitan Orchestra y con directores como Edo de Waart, Pablo Gonzalez, Sir Jeffrey Tate, Alexander Liebreich, Kazuki Yamada , Michael Stern, Sir Simon Rattle o Yannick Nézet-Seguin. La mayoría de las grabaciones de Eric Le Sage con RCA-BMG, Naïve, EMI y Alpha fueron ampliamente aclamadas y premiadas con los reconocimientos más prestigiosos de Francia.

SOBRE JARDINS SUSPENDUS

Entre la Belle Epoque y los "locos años 20", alrededor a dos guerras mundiales que tenían que sanar, en el vértigo de todos los renacimientos y la marcha del progreso, la música necesitaba calma, humanidad e intimidad natural. Mientras la electricidad, el gramófono, la bicicleta y el metro parisino se introducían en la vida cotidiana de la gente, mientras las mujeres se emancipaban después de haber sostenido el país durante la Gran Guerra, 24 compositores franceses cultivaban su secreto espíritu en varias miniaturas de piano. En ese momento, la música de los músicos evolucionaba, sin expresar la misma urgencia de fractura y de liberación como la de otros artistas creadores, entonces influenciados por las nuevas corrientes como el Dadaísmo y el Surrealismo. Sus composiciones eran ya surrealistas y libres, suspendidas fuera del tiempo como jardines musicales colgantes y aparentemente menos preocupadas por la expresión que por la impresión, por las ideas que por los sentimientos. Entre César Franck, Ernest Chausson y Jehan Alain, los tres incluidos en un solo siglo, los compositores que han suspendido sus jardines en este disco han vivido casi todos entre el siglo XIX y el XX. Dupont, Cras, Aubert, D'Indy, Hahn, Ibert, Pierné, Vierne, Samazeuilh, Schmitt, Chaminade, Boulanger, Honegger, Tailleferre, Séverac, Saint-Saëns, Poulenc, Satie… Todos ellos representan un periodo especialmente prolífico para la música francesa, aunque la posteridad no se ofrezca a cada uno de ellos en la medida de su talento. Sus jardines colgantes, a menudo secretos, siempre interiores, no son sin duda representativos de todas las ambiciones artísticas que sus protagonistas han desplegado en sus Obras, pero se presentan, con profundidad y sinceridad, como pequeños y poco conocidos refugios.

Evocando hábilmente la naturaleza y los paisajes bucólicos, cada uno propone su propia lectura de un posromanticismo colorido, deteniendo el tiempo y añadiendo los necesarios toques de misterio y nostalgia.

TRACKLIST

1. Les Heures dolentes: V. Après-midi de dimanche - Gabriel Dupont (1878-1914)

2. Paysages: I. Maritime - Jean Cras (1879-1932)

3. Trois morceaux pour piano : I. D'un vieux jardin - Lili Boulanger (1893-1918)

4. Le rossignol éperdu: No. 52, Hivernale - Reynaldo Hahn (1874-1947)

5. Gnossienne No. 2 - Erik Satie (1866-1925)

6. Matin sur l'eau - Jacques Ibert (1890-1962)

7. Valse nonchalante in D-Flat Major, Op. 110 - Camille Saint-Saëns (1835-1921)

8. Tableaux de voyage, Op. 33: IV. Lac vert - Vincent d'Indy (1851-1931)

9. Deux pièces pour piano, Op. 7: II. Impression d'Automne - Louis Vierne (1870-1937)*

10. 15 Pièces, Op. 3: VI. Prélude - Gabriel Pierné (1891-1974)

11. 3 Esquisses, Op.7: II. Nocturne - Louis Aubert (1877-1968)

12. La maison dans les dunes: IX. Clair d'étoiles - Gabriel Dupont (1878-1914)

13. Premières valses: V. A l'ombre rêveuse de Chopin - Reynaldo Hahn (1874-1947)**

14. Gnossienne No. 1 - Erik Satie (1866-1925)

15. Deux Valses : Valse lente (Arr. for Solo Piano) - Germaine Tailleferre (1892-1983)*

16. Le Chant de la mer: I. Prélude - Gustave Samazeuilh (1877-1967)

17. Musiques Intimes, Book 1, Op. 16: I. Doux et calme - Florent Schmitt (1870-1958)

18. 6 Romances sans paroles, Op. 76: I. Souvenance - Cécile Chaminade (1857-1944)

19. Souvenir de Chopin - Arthur Honegger (1892-1955)

20. Paysage, Op. 38 - Ernest Chausson (1855-1899)

21. Valse des musiques de soie - Francis Poulenc (1899-1963)

22. Suite facile: II. Comme une barcarolle - Jehan Alain (1911-1940)

23. Valse romantique - Déodat de Severac (1872-1921)*

24. Gnossienne : N°3 - Erik Satie (1866-1925)

25. Vers la vie nouvelle - Nadia Boulanger (1887-1979)

26. Prélude, fugue et variations, Op. 18 : I. Prélude - César Franck (1822-1890)

#eric le sage

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hittveu · 5 years

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Kultur- und Festspielstadt Bad Elster Aktuelle Presseinformationen zu Veranstaltungen der Chursächsischen Veranstaltungs GmbH für die KW 21

ROMANTISCHER LIEDERABEND ERÖFFNET CLARA-SCHUMANN-JAHR IN BAD ELSTER! Zum Auftakt der Bad-Elster-Veranstaltungen im Clara-Schumann-Jahr 2019 gedenkt am Montag, den 20. Mai ein stimmiger Konzertabend dem 123. Todestag von Clara Schumann. Die aus dem Vogtland stammende Sopranistin Michéle Rödel und der tschechische Pianist Radim Vojíř laden um 19.30 Uhr mit »Die gute Nacht, die ich Dir sage« zu einem romantischen Liederabend für die große Pianistin in das König Albert Theater Bad Elster ein. Anlässlich des Clara-Schumann-Jahres 2019 zum 200. Geburtstag der berühmten, auch in (West-) Sachsen verwurzelten, Pianistin widmen wir der Jubilarin an ihrem Todestag einen romantischen Liederabend. Dabei stehen vor allem Lieder im Fokus, die ihr großes Kompositionstalent belegen: Zärtliche Vertonungen wie »Sie liebten sich beide«, »Mein Stern« oder »Der Mond kommt still gegangen« stehen so in einer Reihe mit den Liedkompositionen ihres berühmten Ehemannes wie »Frauenliebe und -leben« oder dem ihr zum Hochzeitstag gewidmeten »Du meine Seele, du mein Herz«. Abgerundet wird dieser romantische Liederabend mit Liedkompositionen ihres innig vertrauten Freundes Johannes Brahms… Tickets: 037437/ 53 900 | http://www.koenig-albert-theater.de

LIEBLINGSLIEDER IM THEATERCLUB! Am Dienstag den 21. Mai lädt das Musikerpaar Scarlett O‘ und Jürgen Ehle mit einer feinen Auswahl ihrer Lieblingslieder um 19.30 Uhr im TheaterClub zu einem stimmigen Songabend in das Theatercafé Bad Elster ein. Seit der Jahrtausendwende sind sie als Musikerpaar unterwegs. In diesen Bühnenjahren haben sich bei Scarlett Seeboldt (Ex-Wacholder) und Jürgen Ehle (u.a. Pankow, Dresen-Prahl-Band) dank diverser Programme und Projekte mehr als nur ein paar Lieblingslieder angesammelt. Beide mögen es, für ihr Publikum, manches Mal aber auch zusammen mit ihrem Publikum zu singen – und “basteln” deshalb ihr Live-Programm immer wieder neu. Lassen Sie sich überraschen und seien Sie dabei, wenn zwei Ausnahmemusiker sich im Theatercafè Bad Elster die Ehre geben. Tickets: 037437/ 53 900 | http://www.koenig-albert-theater.de

Der Klassik-Tipp der Woche: SCHUMANN-ENKELIN GRATULIERT DEM KÖNIG ALBERT THEATER! Die renommierte internationale Pianistin und Ur-Ur-Urenkelin von Clara & Robert Schumann, Heike-Angela Moser und ihr Bühnenpartner Davide Osellame gastieren am Mittwoch, den 22. Mai um 19.30 Uhr anlässlich des 105. Geburtstages im König Albert Theater Bad Elster. Heike-Angela Moser ist eine renommierte internationale Pianistin. Gemeinsam mit ihrem italienischen Bühnenpartner Davide Osellame schenkt sie Bad Elster am Theatergeburtstag im Clara-Schumann-Jahr 2019 einen virtuosen, vierhändigen Kammermusikabend romantischer Klavierkompositionen von Schumann und Schubert! Auf dem Programm stehen die zum Teil noch in Zwickau entstandenen Polonaisen Robert Schumanns, die 1845 komponierten kanonischen Studien, die er seinem Zwickauer Klavierlehrer widmete, und die f-Moll-Fantasie von Franz Schubert, der für den jungen Schumann ein großes Vorbild war. Tickets: 037437/ 53 900 | http://www.koenig-albert-theater.de

Der Konzert-Tipp der Woche: SWINGENDE GOLDMEISTER IM KÖNIGSBAD! Chris Dunker und Philipp Ohleyer sind die Goldmeister der Nation! Mit ihrem feinen Mix aus deutschem Hip Hop und Swing machen sie nun am Freitag, den 24. Mai um 19.30 Uhr auf ihrer »Alles Gold Tour« im König Albert Theater Station. Dieses angesagte Duo beweist: Deutscher Rap und Swing passen perfekt zusammen! In diversen Sessions entstand zunächst als Jux die Idee, alte Dixie-Titel mit deutschen Texten zu mischen und sie in Rap-Manier zu performen. Das Ergebnis fühlt sich an, als hätten Goldmeister ein neues Sound-Elixier gefunden! Denn wie von Zauberhand verbinden sich hier die Songs aus der Feder deutscher Hip-Hop-Größen wie Peter Fox, den Fanta 4, Fettes Brot, Jan Delay und ihre Eigenschöpfungen zu einem organischen wie virulenten Future-Mix der groovt und echt Spaß macht. Goldmeister hat den Hop-Jazz erfunden und findet damit nun Bad Elster: Yeah! Für ihr aktuelles Album »Alles Gold« haben Chris Dunker und Philip Ohleyer von Goldmeister in der Erinnerungskiste gekramt und ihre liebsten HipHop-Klassiker, wie erfahrene Mixologen, mit Oldtime Jazz gepaart. Entstanden ist ein Cocktail, der sich sehen lassen kann – ein Sound, der groovt, swingt, direkt ein Schmunzeln auf die Lippen zaubert und zum Hüftschwung animiert. Tickets: 037437/ 53 900 | http://www.koenig-albert-theater.de

LIEBESLYRIK & TANGOPOESIE MIT FRITZ KARL! Der äußert beliebte und bekannte österreichische Schauspieler Fritz Karl präsentiert am Sonnabend, den 25. Mai gemeinsam mit dem Ensemble Tango de Salón um 19.30 Uhr eine Verissimo-Lesung mit Tangomusik im König Albert Theater Bad Elster. Der vielfach ausgezeichnete TV-Star Fritz Karl liest an diesem Abend unter dem Titel »Du hörst mir ja doch nie zu« humorvoll zynische Kurzgeschichten des brasilianischen Satirikers und Bestsellerautors Luis Fernando Verissimo. Das Publikum erlebt dabei eine Lesung, die atmosphärisch verstärkt durch die virtuosen Klänge der exzellenten Musiker zu einem spannenden Theaterabend wird. Zwischen Heiterkeit und hintergründigem Ernst steht hier im Zentrum die Liebe in all ihren Spielarten. Kabarett, literarische Feinheiten, Skurriles, Seriosität, Humor und Ironie liegen dicht beieinander und Fritz Karl gibt diesen unterschiedlichen Facetten meisterhaften Glanz! Das österreichisch-ukrainische Tango-Ensemble Tango de Salón ist ein Ableger der »Österreichischen Salonisten«. Die fünf Musiker sind u.a. Mitglieder im Ensemble Sonare Linz, Concert-Schrammeln, Gitarreduo Hasard, Akkordeonduo DYAS sowie als Pädagogen und Kammermusiker tätig. Tickets: 037437/ 53 900 | http://www.koenig-albert-theater.de

Der Unterhaltungs-Tipp der Woche: DÉSIRÉE NICK ZWISCHEN GLAMOUR UND GROTESKE! Am Sonntag, den 26. Mai öffnet sich um 19.00 Uhr der Vorhang für eine glamouröse Kabarett-Revue der letzten lebenden Diseuse im König Albert Theater: Bad Elster freut sich auf das Theaterwunder Désirée Nick! Die begnadete Entertainerin vereint in sich alle Diven dieser Welt – nun widmet sich die kesse Dame den Grande Damen des Kabaretts und Bad Elster freut sich auf Glamour und Groteske! Blandine Ebinger, Ehefrau und Muse Friedrich Hollaenders und Stimme der vom Elend gezeichneten Weimarer Republik, konnte so viel mehr als singen: Mit Krächzen, Gurren, Flöten, Fiepen und Kreischen wurde sie der erste Popstar der Cabaret- und Chansonszene Berlins. Ihr folgten Lotte Lenya, Ada Hecht, Gisela May, die Dietrich und all die anderen legendären Berliner Diseusen; eine Ur-Berliner Spezies, fähig, eine ganze Oper in ein einziges Lied zu pressen. Welch tapfere, neuzeitliche Berlinerin wird diese illustre Gattung der Diseusen, fast schon weggebissen von fanatischen Chansonetten, vorm Aussterben retten? Natürlich La Nick – die letzte Lebende ihrer Art. Zwischen Glamour und Groteske quiekt, lispelt, gurrt und murrt keine wie sie – Hollaender hätte einen Purzelbaum geschlagen! Ein Hoch auf Désirée Nicks unverwüstliche Kehle – mit der sie diesmal zur Wiederbelebung einer legendären Spezies einlädt: als Blandine Reloaded! Am Flügel begleitet wird Désirée Nick von Niclas Ramdohr. Tickets: 037437/ 53 900 | http://www.koenig-albert-theater.de

Abgerundet wird das Programm in den Königlichen Anlagen zur Rhododendronblüte der Kultur- und Festspielstadt Bad Elster mit verschiedenen Kammermusikprogrammen von Ensembles der Chursächsischen Philharmonie und Folklore-Konzerten mit Orchestern der Musikregion Vogtland. Die Veranstaltungen können selbstverständlich jederzeit mit Rahmenprogrammen aus Erholung & Kulinarium kombiniert werden. Alle Infos zum Aufenthalt: 037437 /53 900 | http://www.badelster.de

VORSCHAU BAD ELSTER

Di 28.05. | 19.30 Uhr | Königliches Kurhaus »NEUSEELAND« Dia-Multivisionsshow von Sigrid Wolf-Feix

Mi 29.05. | 19.30 Uhr | König Albert Theater MOSEN’S BRASS BAND: »Mosen Querbeats!« Big-Band-Konzert

Do 30.05. | 17.00 Uhr | NaturTheater Saisoneröffnung NaturTheater Bad Elster 2019 DIE KASTELRUTHER SPATZEN Das große Volksmusikfest (Südtirol)

Fr 31.05. | 19.30 Uhr | König Albert Theater ARNULF RATING: »Tornado« Politkabarett

Sa 01.06. | 20.00 Uhr | NaturTheater Saisoneröffnung NaturTheater Bad Elster 2019 KARAT Sommer-Open-Air

So 02.06. | 15.00 Uhr | NaturTheater Saisoneröffnung NaturTheater Bad Elster 2019 »DIE GOLDENE GANS« Open-Air-Märchen für die ganze Familie

Quelle: Chursächsische Veranstaltungs GmbH

Chursächsische SommerNews Bad Elster Kultur- und Festspielstadt Bad Elster Aktuelle Presseinformationen zu Veranstaltungen der Chursächsischen Veranstaltungs GmbH für die KW 21…

#Bad Elster #Deutschland #Kabarett #Konzert #Kultur #Kunst #Musik #Sachsen #Veranstaltung #Vogtland

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verdiprati · 6 years

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Upcoming performances by Dame Sarah Connolly

[NOTE: this post is now out of date. Check the schedule tag on my blog for the most recent version of this list.]

After the jump: an unofficial schedule of Dame Sarah Connolly’s future performances. Those of you in Britain may catch a performance in London, Cardiff, Leeds, Oxford, Bath, Lewes, Cheltenham, or Painswick. Those on the Continent may see her in Berlin, Madrid, Paris, Antwerp, Amsterdam, Geneva, Zeist, Baden-Baden, Vilabertran (Catalunya), or Capestang (Languedoc). And finally, those of us in North America have engagements in New York and Philadelphia to look forward to! Don’t live near one of these places? Take in a concert from afar: I am adding online broadcast and livestream details as they become available.

This is not an authoritative list. These are the upcoming performances by Dame Sarah Connolly that I have been able to learn about from Dame Sarah's website (not currently being updated), her agent's website (Askonas Holt), Operabase, Bachtrack, Dame Sarah's Twitter, and generally ferreting around the web.

Recital at St Mary’s Church, Painswick, Glos., May 12, 2018. With Joseph Middleton; sponsored by the Painswick Music Society. Works to include songs by Vaughan Williams, Gurney, Parry, Howells, Holst, Britten, Tippett, “and others,” as well as the premiere of a new song cycle by Sally Beamish.

Handel, Giulio Cesare (title role) at Glyndebourne, June 10, 15, 20, 23, and 29; July 6, 10, 13, 15, 20, 24, and 28, 2018. In a revival of the legendary 2005 production by David McVicar, with the Orchestra of the Age of Enlightenment conducted by William Christie (June 10 - July 6) and Jonathan Cohen (July 10 - 28). With Joélle Harvey as Cleopatra, plus Christophe Dumaux and Patricia Bardon reprising the roles of Tolomeo and Cornelia respectively; also starring Anna Stéphany (Sesto), John Moore (Achilla), and Kangmin Justin Kim (Nireno).

Bach, cantata selections in a concert with Mahan Esfahani at the Cheltenham Music Festival, Syde Manor, Cheltenham, July 1, 2018. Specifically, Dame Sarah is scheduled to sing “arias from Bach’s cantatas Widerstehe doch der Sünde and Ich habe genug and a complete performance of Vergnügte Ruh, beliebte Seelenlust,” according to the festival website.

Recital for the Cheltenham Music Festival at the Pittville Pump Room, Cheltenham, July 4, 2018. With Joseph Middleton. They will be performing “a survey of composers from the Royal College of Music,” including songs by Stanford, Parry, Vaughan Williams, Holst, Gurney, Howells, Bridge, Britten, and Tippett.

[New!] Recital of English song at the BBC Proms, Cadogan Hall, London, August 6, 2018. With Joseph Middleton. The repertoire includes works by Britten, Bridge, Vaughn Williams, Parry, Holst, and several others—all of whom “studied or taught at the Royal College of Music”—with two world premieres by Mark-Anthony Turnage and Lisa Illean.

[Broadcast] All BBC Proms performances are broadcast live on BBC Radio 3, and they generally remain available for listening on demand for about a month after broadcast.

[New! Details TBA] Appearance at a charity concert for the Ligue contre le cancer, Capestang, Languedoc, August 11, 2018. I don’t see any information about the concert on the Ligue’s website as of this writing, but Dame Sarah’s participation is mentioned in this English-language writeup and there is concert information here.

Recital at the Schubertíada Vilabertran, August 18, 2018. With pianist Malcolm Martineau and viola player Jonathan Brown. Repertoire includes songs by Brahms, Mahler’s Kindertotenlieder, and a selection of traditional English songs.

[New! Masterclass] Public masterclass at Wigmore Hall, London, September 19, 2018. Part of Dame Sarah’s residency at the Wigmore. Tickets go on sale to the general public May 29.

Wagner, Das Rheingold and Die Walküre (Fricka in both) at the Royal Opera, London, September 24 through October 28, 2018. A revival of Keith Warner’s Ring Cycle, with Antonio Pappano conducting. For cast and date details, see the ROH web pages linked above. As of this writing, the ROH is only allowing customers to purchase tickets for an entire cycle of the four operas; I’m not sure whether they’ll allow separate booking later. The October 28 performance will be livecast to cinemas; the October 18 performance, also marked “Filming,” is presumably a dry run for the camera crews and/or a chance to gather additional footage for promos and perhaps an eventual DVD release (we can hope).

[Broadcast] As mentioned above, the October 28 performance of Die Walküre is scheduled for livecast to cinemas. You can use this page to search for a screening near you—if you live in the UK or Europe. At the moment, there do not appear to be any screenings scheduled on the other continents.

[New!] Appearance at “Opera For All” anniversary show at the English National Opera, London, October 10, 2018. Repertoire TBA. Somewhat ironically, tickets for “Opera For All” start at a hefty £45 for a few seats far back in the Upper Circle and Dress Circle, and climb steeply to £75 for the next cheapest price bracket.

Mahler, Das Lied von der Erde at the Philharmonie Berlin, October 14, 2018. With Torsten Kerl and the Rundfunk-Sinfonieorchester Berlin conducted by Vladimir Jurowski.

[Broadcast] The concert listing on the RSB website includes a notation “Konzert mit Deutschlandfunk Kultur,” implying (I believe) that it will be broadcast on said radio station.

[New details!] Recital of English song at the Oxford Lieder Festival, October 22, 2018. With Eugene Asti. Details of the repertoire do not appear on the OLF website as of this writing, but we are promised “an array of wonderful English song, from Bridge to Britten and Holst to Howells.”

[New details!] Concert with the Tenebrae Consort at Wigmore Hall, London, October 24, 2018. Part of Dame Sarah’s yearlong residency at the Wigmore. The mostly English repertoire centers on a new piece by Judith Bingham setting poetry by Ivor Gurney. The choir throws in some Schoenberg at the end. Ticket sales open to the general public on May 29.

Blow, Venus and Adonis and Purcell, Dido and Aeneas in concert at the Concertgebouw, Amsterdam, November 3, 2018. With the Early Opera Company conducted by Christian Curnyn. Dame Sarah’s co-stars are Jonathan McGovern, Lucy Crowe, Susan Bickley, and Rowan Pierce. Tickets go on sale June 1.

[New!] Recital at the Bath Mozartfest, Guildhall, Bath, November 13, 2018. With Joseph Middleton. Repertoire to include”Deh, per questo istante solo” from La Clemenza di Tito as well as songs by Schubert, Ravel, Debussy, Gurney, and Ireland. The Bath Box Office website says “Online booking for this event opens at 09:30 on 30 Jul 2018.”

[New!] Beethoven, Missa Solemnis at deSingel, Antwerp, November 21, 2018. Part of a tour by Le Concert Olympique and the Arnold Schoenberg Chor. With Malin Hartelius, Steve Davislim, and Hanno Müller-Brachmann; conducted by Jan Caeyers.

[New!] Beethoven, Missa Solemnis at the Philharmonie Berlin, November 23, 2018. Part of a tour by Le Concert Olympique and the Arnold Schoenberg Chor. Tickets appear to be on sale here. With Malin Hartelius, Steve Davislim, and Hanno Müller-Brachmann; conducted by Jan Caeyers.

[New!] Beethoven, Missa Solemnis at the Festspielhaus Baden-Baden, December 1, 2018. Part of a tour by Le Concert Olympique and the Arnold Schoenberg Chor. With Malin Hartelius, Steve Davislim, and Hanno Müller-Brachmann; conducted by Jan Caeyers. NOTE: As of this writing, Dame Sarah’s name does not appear on the Festspielhaus website and another mezzo soloist is listed for this concert, but I have confirmed with Dame Sarah’s agent that the information from Le Concert Olympique is accurate and she is scheduled to appear in this concert.

[New!] Wagner, Das Rheingold (Fricka) at the Teatro Real, Madrid, January 17 through February 1, 2019. In a production by Robert Carsen; conducted by Pablo Heras-Casado. Co-stars include Greer Grimsley (Wotan) and Sophie Bevan (Freia) among others.

[New!] Berlioz, L’Enfance du Christ with the BBC National Orchestra of Wales at Hoddinott Hall, Cardiff, February 15, 2019. Sir Andrew Davis conducts; the other vocal soloists in the all-Brit, all-excellent lineup are Andrew Staples, Roderick Williams, and Matthew Brook.

Recital with Julius Drake at the Concertgebouw, Amsterdam, March 5, 2019. Works by R. Schumann, Brahms, Wolf, A. Mahler, and Zemlinsky.

[New!] Recital with Julius Drake at the Grand Théâtre de Genève, March 7, 2019. I don’t see the repertoire mentioned on the theater’s website as of this writing, but presumably it will be similar to the works presented in Amsterdam and Philadelphia in the duo’s other recitals this month.

[New!] Recital with Julius Drake at the Teatro de la Zarzuela [PDF], Madrid, March 11, 2019. Works by Brahms, Liszt, Roussel, Debussy, and Zemlinsky.

Recital with Julius Drake at Wigmore Hall, London, March 15, 2019. Part of Dame Sarah’s yearlong residency at the Wigmore. Repertoire TBA, but may have some works in common with those programmed for Connolly and Drake’s other recitals in the same month. Listed in the season preview brochure [PDF].

Wagner, Götterdämmerung (Waltraute) at the Metropolitan Opera, New York, April 27, May 4, and May 11, 2019. In a revival of Robert Lepage’s production of the Ring cycle, with all shows to be conducted by Philippe Jordan. Dame Sarah’s co-stars in Götterdämmerung include Christine Goerke (Brünnhilde), Stefan Vinke / Andreas Schager (sharing the role of Siegfried), Edith Haller (Gutrune), Eric Owens (Hagen), Evgeny Nitikin (Gunther), and Tomasz Konieczny (Alberich).

[New! Details TBA] Appearance at the Internationaal LiedFestival Zeist (Netherlands), late May, 2019. The festival dates are May 17-26. Programming details have not yet been released as of this writing, but Dame Sarah is mentioned as one of the performing artists.

[New!] Elgar, The Dream of Gerontius with the Hallé and three choruses at Victoria Hall, Leeds, June 1, 2019. Barry Banks and David Soar are the other vocal soloists; Simon Wright conducts.

Recital with Malcolm Martineau at Wigmore Hall, London, July 23, 2019. Part of Dame Sarah’s yearlong residency at the Wigmore. Repertoire TBA. Listed in the season preview brochure [PDF].

[New! Unconfirmed / details TBA] Handel, Agrippina at the Dutch National Opera. Hugh Canning recently tweeted the news that the Royal Opera is planning to offer Barrie Kosky’s new production of Agrippina with Joyce DiDonato in the title role; in a reply that has now been deleted, Dame Sarah mentioned that she and Alice Coote would do the same production in Amsterdam and Munich. (If you are a member of the Sarah Connolly fan group on Facebook, you can see a screenshot there.) Subsequent discussion revealed that Coote would get the Munich gig (in July 2019), so Connolly must be the Amsterdam Agrippina. The DNO has already announced its ‘18-’19 season and Agrippina isn’t in it, so presumably we’re looking towards ‘19-’20 or beyond.

Previous versions of this list can be found under the schedule tag on this blog. This list published May 8, 2018. Edited May 11 to add the Berlioz concert with the BBC NOW. Edited May 13-14 to add the Missa Solemnis tour dates. Edited May 18 to add the Teatro de la Zarzuela recital. Edited June 3 to add the Zeist festival. Edited June 4 to add the Capestang charity concert. Edited June 6 to add the Leeds Gerontius. Edited June 20 to add the (unconfirmed) Amsterdam Agrippina. Edited June 26 to add the Bath Mozartfest recital. I may continue to edit this list as I receive new information.

#sarah connolly #schedule #performances

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informer82 · 6 years

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Titel: 20180122 II Ciclo Entre Música y Arquitectura - La disciplina Text: La Fundación Arquitectura COAM organiza este segundo ciclo de diálogos para reflexionar sobre el territorio superpuesto entre la Música y la Arquitectura. Inauguración del ciclo con el Coro de Arquitectos de Madrid. En esta inauguración contaremos con el compositor y director de orquesta José María Sánchez-Verdú y la arquitecta Ángela García Paredes, además de la actuación del Coro de Arquitectos de Madrid. Programa: · Actuación del Coro de Arquitectos de Madrid · Presentación de Alberto Humanes · Diálogo entre José María Sánchez-Verdú y Ángela García Paredes Ángela García de Paredes (1958) es arquitecta por la ETSAM (1982), doctora (2015) con premio extraordinario UPM de Tesis Doctoral en 2016 por la tesis "La arquitectura de José M. García de Paredes, Ideario de una obra". Vicepresidenta de la Fundación Manuel de Falla. Profesora de Proyectos Arquitectónicos en la ETSAM. Profesora invitada en otras universidades como el IUAV de Venecia e invitada como crítica y conferenciante en GSD Harvard, ETH Zurich, EPFL Lausanne, New York CU, FADU Buenos Aires, Ibero México, Politecnico di Milano, TU München, UDK Berlín, entre otras. En 1990 se asocia con Ignacio Pedrosa, como Paredes Pedrosa Arquitectos. Su obra ha sido expuesta en diversas Bienales de Arquitectura Españolas, de Venecia e Iberoamericanas y han obtenido el Premio Europan 1991 y 1996, Premio ar+d Award 1999, Premio Arquitectura de la Comunidad de Madrid 2005, Premio Nacional de Arquitectura Española 2007, Gold Medal International Prize for Sustainable Architecture 2012, Premio Mansilla COAM 2012 y 2014, Premio Eduardo Torroja de Ingeniería y Arquitectura 2014, Premio Europeo de Intervención en Patrimonio Arquitectónico 2015, Premio COAM +10 2017 y la Medalla de Oro al Mérito en las Bellas Artes 2014. José M. Sánchez-Verdú (1968) estudió Composición, Musicología y Dirección en España, Italia y Alemania. Es licenciado en Derecho (Complutense) y Doctor por la Universidad Autónoma de Madrid. Ha obtenido premios como el Förderpreis de la Siemens-Stiftung (Múnich), Irino-Prize (Tokio), Premio de la Junge Deutsche Philharmonie, Premio Nacional de Música, Premio de la Bergischen Biennale (Wuppertal), Premio Ibn Arabi, Premio de honor de la SMR de Cuenca, etc. Sus obras (orquesta, música de cámara, instalaciones y obras escénicas con especiales dramaturgias basadas en la luz, el color, la arquitectura, el movimiento, etc.) han sido presentadas en Berlín, Múnich, Hamburgo, Stuttgart, Viena, Lucerna, Venecia, Salzburgo, Madrid, El Cairo, Buenos Aires, etc. Ha sido “compositor en residencia” en importantes festivales y orquestas en Alemania, Austria, Suiza, España, Polonia y Perú. Ha sido profesor de composición en importantes centros alemanes (Hannover y Dresde), y ha sido invitado para cursos y conferencias por instituciones como las Hochschulen de Múnich, Bremen, Universität der Künste Berlin, la Hanyang University de Seúl, o la Sibelius Academy Helsinki, a cuyo Academic Council (Composition) pertenece. Actualmente es profesor de Composición en la Robert Schumann Hochschule de Düsseldorf y en el CSMA en Zaragoza. Sus obras se editan por Breitkopf & Härtel., Hochgeladen von: Fundacion Arquitectura COAM, http://ift.tt/2nlzqG0

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