#Tölzer Knabenchor

[transparentgentlemenmarker]

The Tölzer Knabenchor from Munich.

#tölzer knabenchor #munich

[clamarcap]

Passus duriusculus

Johann Sebastian Bach (1685 - 1750): Weinen, Klagen, Sorgen, Zagen, cantata BWV 12 su testo di Salomo Franck (forse) e Samuel Rodigast (n. 7); eseguita per la prima volta a Weimar il 22 aprile 1714. Paul Esswood, contraltista; Kurt Equiluz, tenore; Max van Egmond, basso; Tölzer Knaben­chor, dir. Gerhard Schmidt-Gaden; King’s College Choir Cambridge, dir. David Willcocks; Leon­hardt-Consort, dir.…

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#Alexander Wilhelm Gottschalg #Anton Grigor&039;evič Rubinštejn #Artur Aksenov #Blandine Ollivier #Catherine-Adelaide Méran #David Willcocks #Gerhard Schmidt-Gaden #Gustav Leonhardt #Johann Sebastian Bach #King&039;s College Choir Cambridge #Kurt Equiluz #Leonhardt-Consort #Max van Egmond #passus duriusculus #Paul Esswood #Salomo Franck #Samuel Rodigast #Tölzer Knabenchor #Thibaut Duret #Vladimir Horowitz

[michaelcosio]

Provided to YouTube by RCA Red Seal

Musica Poetica II: Aus Goethes "Faust": Wie traurig steigt die unvollkommene Scheibe - Hexeneinmaleins - Die grauen Weiber - Walpurgisnachttraum · Der Tölzer Knabenchor · Carl Orff

Carl Orff & Gunhild Keetman: Musica Poetica

℗ 1966 BMG Entertainment

Released on: 2014-08-29

Lyricist: Johann Wolfgang von Goethe Chorus Master: Gerhard Schmidt-Gaden Associated Performer: Ein Instrumentalensemble Associated Performer: Der Kammerchor der staatlichen Hochschule für Musik, München Chorus Master: Fritz Schieri Producer: Südwest-Tonstudio Associated Performer: Stuttgarter Sprechchor Chorus Master: Heinz Mende Unknown: Godela Orff-Büchtemann

[musicwithoutborders]

Carl Orff & Gunhild Keetman, Musica Poetica I.Gassenhauer . Der Tölzer Knabenchor I Musica Poetica, 1964

#Carl Orff #nowhere #Gunhild Keetman

[sardies]

Voci d’Europa, venerdì e sabato il Tölzer Knabenchor a Porto Torres

Porto Torres. Altre serate di grande musica nel cartellone del 40° Festival internazionale Voci d’Europa iniziato lo scorso 2 settembre. La basilica di San Gavino a Porto Torres ospiterà venerdì 8 e sabato 9 il coro tedesco di voci bianche Tölzer Knabenchor, uno dei gruppi polifonici maschili più famosi e di successo, con più di 150 concerti e opere all’anno. In programma anche le esibizioni del…

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#Voci d&039;Europa

[concupiscience]

[jessiidabashi]

Lauft, ihr Hirten, allezugleih.

et un deuxième morceau !Bonne semaine !

avec une Cantate de  Johann Michael Haydn 1775

#Jess #boysopra #Haydn #Cantate #Tölzer Knabenchor #classique

[en--dear]

Johann Sebastian Bach | Matthäus - Passion / St Matthew Passion (BWV 244)

#tunes #I know this is maybe ... niche... but this is exquisite #also fun fact! - I was lucky enough to see the Tölzer Knabenchor perform live :3

[officialwagnerrant]

Wagnerrant Review #4 - Mishaps and Emotion

Work: Tannhäuser House: Bayerische Staatsoper Date of performance: 11.07.2021

Team Director: Romeo Castellucci Conductor: Asher Fish With: Georg Zeppenfeld, Klaus Florian Vogt, Simon Keenlyside, Dean Power, Andreas Bauer Kanabas, Ulrich Heß, Martin Snell, Lise Davidsen, Elena Pankratova, Sarah Gilford, Soloists of the Tölzer Knabenchor

Review: @dichterfuerstin

With Jonas Kaufmann’s Tristan debut right next to Anja Harteros’ Isolde debut (Watch the stream on staatsoper.tv, July 31st, 5PM CEST, it’s worth it), it’s hard to believe that the event I was looking forward to the most in the 2020/21 opera season was a performance of a four-year-old production that I’ve seen online before. But it was and so I did everything to get my hands on tickets for this season’s only performance of Tannhäuser at Bayerische Staatsoper. I cannot describe how happy I was when I got them and how sad I am now that it’s over. I hope that writing this review will help me revive those five hours at Bayerische Staatsoper – truly a special evening.

The best part of the entire production is the opening scene. Romeo Castellucci uses the fairly long overture and Venusberg music to visualise Tannhäuser being lured to Venus. A group of topless woman shoots arrows at a picture of a human eye, later the picture changes to that of a human ear, bewitching Tannhäuser’s senses until he gives in. A Tannhäuser-double walks on stage and climbs up the backdrop. This entire scene is choreographed flawlessly, every arrow compliments the music, and their placement on the backdrop is planned in a way where it works both for the picture of the eye and for the ear.

Castellucci did everything himself in this 2017 production of Tannhäuser. He directed, designed the sets, the costumes, and even the lighting. Solely the choreography by Cindy van Acker isn't his work. The result is a stunning unity of visuals on stage. It’s those that tell the story, not the characters. Elena Pankratova, who returned to the production to replace Daniela Sindram, pretty much only had to sit around as Venus, but she doesn’t have to move. It’s the mountain of flesh she’s sitting in, and the fact that both her and her lovers seem to melt away in fat and skin, that explains to the audience that Venus is a personification of both Lust and Gluttony. In act two, the singers could just stand in the wings to sing their lines. Not their acting tells us how they define love, but a single word written on a cube serving as altar and speaker’s desk at the same time. When Tannhäuser finally bursts out the confession that he’s been with Venus the words disappear and instead black colour gets spray-painted around in the cube. The black, forbidden aspect of Tannhäuser’s soul. The entire production gradually becomes blacker. While act one is even fairly colourful – fleshy pink for Venus, and bloody red for the Wartburg-knights’ costumes the deer they’re hunting, act two is white with only implied skin and nudity, though a lot of it, and act three is black until the curtain-call. This third act is the most impactful part of Castellucci’s production. It doesn’t raise nearly as much questions as act one and two – why do the knight’s costumes look like BDSM-fetish outfits? Why are there feet all over the stage during the Sängerkrieg? It shows the passage of time in the most impactful way. While more and more ridiculous numbers appear on the black screen – millions and millions and millions of year pass, the audience is shown the process of corpses rotting. And it’s not Tannhäuser’s and Elisabeth’s corpses, the names on the graves are those of the singers – Klaus and Lise. The message of this image? Tannhäuser and Elisabeth can’t be together in this timeline, but their story surpasses their lifetime. But no matter how powerful the imagery: Once again the singers do pretty much just stand and sit around while the stage speaks for them. Thus they can’t convince through their acting choices, but have to put everything into their voices.

And they do. Especially Georg Zeppenfeld convinces as Landgraf Hermann. He is probably the most reliable singer of our time, he doesn’t seem to have off-days. And as always he’s at his best in this performance. His voice carrying easily through the performance and singing a dignified, powerful Landgraf. And no matter what happens, he always remains calm.

The opposite of calm is obviously Tannhäuser. Klaus Florian Vogt debuted the role in this back in 2017 and hasn’t been replaced for even one year ever since. With good reason: His unusually light voice is a perfect fit for the sometimes too self-assured, sometimes insecure Tannhäuser. In addition to this, Vogt noticeably puts his whole soul into his performance, even though he apparently did not have the time to fully revise his, which led to a kind of sad “In ihr liegt in Maria” instead of the famous “Mein Heil liegt in Maria” and other mishaps. He makes up for his mess-ups by making his Tannhäuser especially emotional. He’s not afraid of letting a character’s emotions influence the sound and spices up the Romerzählung by singing with a different voice when quoting the pope, in comparison to when he’s just Tannhäuser. Lise Davidsen as Elisabeth is equally impressive. Having heard her as Sieglinde just some weeks before, I remembered her sometimes not being loud enough to get over a Wagnerian orchestra. This time however, she was in perfect form and every single one of her notes reached the audience, even the more quiet and scared lines in act three. I loved those especially. Davidsen dares to give her Elisabeth an insecure, questioning tone for “Sie sind’s” and “Sie kehren heim” and thus makes the audience really understand how much she fears Tannhäuser not coming back. With their voices harmonizing perfectly, with their acting skills, their creativity and emotion, Davidsen and Vogt make a great duo and we can only hope to hear them together in many more productions – next up is Die Walküre in Bayreuth.

The most impressive performance, however, delivers Simon Keenlyside as Wolfram von Eschenbach. Stepping in for another singer with just one day’s notice is hard, especially if this singer is Christian Gerhaher, munich’s favourite baritone. But Keenlyside, most well-known for his Mozart-interpretations mastered his unexpected Wagner-Challenge with ease. He acted as if he’d been rehearsing the production for weeks, and his big voice filled the Nationaltheater with ease, while always embracing Wolfram’s character. Not once he slipped into just singing his lines. Of course one could criticise that he never seemed to keep his hands still, unusual, when you’re used to Gerhaher’s interpretation of Wolfram von Eschenbach, but let’s be honest: This would be nothing more than beckmessering. Keenlyside is not the only one stepping in, though the others had about two weeks to prepare for their roles. Elena Pankratova, returning as Venus for Daniela Sindram, who was supposed to take over the role this season, and like Zeppenfeld and Vogt an original cast member in Castellucci’s production sings, as if she had planned to come back to Venus, her strong Soprano outshines the unflattering costume her director gave her.

Last but not least, Asher Fish conducted the performance for Simone Young. While it would have been nice to see a female conductor for diversity’s sake, opera is a world still very much dominated by men, one cannot complain about Fish’s conducting. He works out orchestra parts that are hardly noticeable, sometimes works them out too much, like when Tannhäuser is discovered by the Wartburg-society in act one he pronounces the more rhythmic parts so hard the music ends up sounding like traditional dance music you’d expect at German fairs. But just like Vogt seems to have finally found his libretto in act two, the conducting gets more balanced and with sensible dynamic- and tempo choices Fish gives the opera the amount of tragedy and sadness it needs, together with the mixture of euphoria and anger Tannhäuser’s descriptions of love in act two need.

Even if not everything went well – the choir could have been more balanced, the very first set change in act didn’t go as smoothly as it’s supposed to go, and not everyone knew their lines – the performance was touching, very nice to see, and fantastic to hear. I’m so glad to have been there, and cast and crew deserved all of the applause they got – certainly more than ten minutes of clapping and cheering.

#tannhäuser #wagnerrant review #richard wagner #not a rant #opera

[dailyclassical]

What’s In a Theme: J.S. Bach’s use of a 1630 chorale by  Johann Heermann in his Passions

St. Matthäus-Passion, BWV 244 (composed 1727) 　 Part 1: 3. Chorale: Herzliebster Jesu, was hast du verbrochen  00:00 　　19, 20. Recitative: O Schmerz! Hier zittert das gequälte Herz -- 　 　　　　Chorale: Ich will bei meinem Jesu wachen 00:51 　 Part 2: 46. Chorale - Wie wunderbarlich ist doch diese Strafe!  02:43 Performed by tenor Kurt Equiluz; the Wiener Sängerknaben conducted by Hans Gillesberger; the Regensburger Domspatzen with Christoph Lickleder conducting; King's College Choir Cambridge conducted by David Willcocks; Concentus musicus Wien with Nikolaus Harnoncourt conducting St. Johannes-Passion, BWV 245 (comp. 1724) 　 Part 1: 3. Chorale: O große Lieb, o Lieb ohn alle Maße  03:42 　 Part 2: 17. Chorale: Ach großer König, groß zu allen Zeiten  04:29 Performed by Tölzer Knabenchor conducted by Gerhard Schmidt; Gaden Concentus musicus Wien conducted by Nikolaus Harnoncourt St. Lukas-Passion, BWV 246 (unknown authorship, hand-copied by Bach to meet a deadline in 1730) 　 Part 1: 19. Chorale: Ich werde dir zu Ehren alles wagen  05:51 Performed by the Alsfelder Vokalensemble and Barockorchester Bremen with Wolfgang Helbich conducting

Neumeister Chorales, BWV 1090-1120 　 BWV 1093: Herzliebster Jesu, was hast du verbrochen  06:29 Performed by Kay Johannsen on organ

Chorale: O daß ich könnte Thränen g'nug vergießen https://hymnary.org/text/o_dass_ich_koennte_trnen_gnug_versiessen

St. Lukas-Passion, BWV 246 　 Part 2: 42. Chorale: Daß du nicht ewig Schande mögest tragen  09:14 Performed by the Alsfelder Vokalensemble and Barockorchester Bremen with Wolfgang Helbich conducting

#Bach #classical music #baroque music #Johann Heermann #choral music #St Matthew Passion #St John Passion #German composers

[bauerntanz]

Ostern 2020. Zeit für Johann Sebastian Bach.

#Ostern 2020. Zeit für Johann Sebastian #Bach: Die Matthäus Passion. 

Ostern 2020. Zeit für Johann Sebastian Bach. Die Matthäus Passion. 

Johann Sebastian Bach | Matthäus Passion  (BWV 244)

Ein Konzert des Tölzer Knabenchor und der Hofkapelle München unter der Leitung von Christian Fliegner. Solisten: Elias Mädler, Pascal Pfeiffer, Lionel Wunsch, Daniel Henze, Laurenz Ströbl – Benjamin Glaubitz,…

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#(BWV 244) #Benjamin Glaubitz #Christian Fliegner #Daniel Henze #Elias Mädler #Georg Gädker #Hofkapelle München #Johann Sebastian Bach #Julian Habermann #Laurenz Ströbl #Lionel Wunsch #Pascal Pfeiffer #Samuel Hasselhorn #Tölzer Knabenchor

[lesser-known-composers]

Walter Braunfels (1882-1954): Konzert für Orgel, Knabenchor und Orchester, op.38 (1927). I. Fantasie II. Choral - Interludium [10:49] III. Fuge [27:30] Iveta Apkalna, organo Tölzer Knabenchor Münchner Symphoniker diretti da Hansjörg Albrecht. Cover image: painting by Caspar David Friedrich.

#Walter Braunfels

[nenfouis-pas-tes-souvenirs]

So, 12. Sep 2021 | 20 Uhr

Philharmonie Berlin

NEUWIRTH Keyframes for a Hippogriff – Musical Calligrams in memoriam Hester Diamond

BRUCKNER Symphonie Nr. 4 Es-Dur (2. Fassung von 1878/1880)

Andrew Watts | Countertenor

Tölzer Knabenchor

Berliner Philharmoniker

Jakub Hrůša | Dirigent

[inspirationfr]

Johann Sebastian Bach | St Matthew Passion (BWV 244) performed live in concert by Tölzer Knabenchor & Hofkapelle München conducted by Christian Fliegner. Soloists Tölzer Knabenchor (Tölz Boys' Choir) Benjamin Glaubitz, Evangelist Julian Habermann, Tenor Georg Gädker, Christus Samuel Hasselhorn, Bass

[concupiscience]

[jessiidabashi]

HAENDEL Alcina - "Barbara !" Elias MÄDLER, Soliste du Tölzer Knabenchor ...*

OBERTO Crudel; l'immergerò pria nel tuo seno.

Barbara! io ben lo so, è quello il genitor, che l'empio tuo furor cangiato ha in fera.

OBERTO cruel; I will plunge it first into your breast.

Barbara! I know well, that's the parent, that your wicked fury has changed in fera.

et on finit cette semaine en musique !

#Jess #boysopran #Elis Mädler #Haendel #Alcina #Tölzer Knabenchor #classique