Podcasts about christof loy

durée : 00:17:28 - Les Midis de Culture - par : Marie Labory - Les critiques discutent de "Il Trittico", trois opéras en un de Giacomo Puccini, mis en scène par Christof Loy et dirigés par Carlo Rizzi à l'Opéra Bastille. Un voyage de la tragédie au drame entre la France et l'Italie, magnifié par l'émotion que procure la soprane Asmik Grigorian. - réalisation : Laurence Malonda, Camille Mati - invités : Marie Sorbier Productrice du "Point Culture" sur France Culture, et rédactrice en chef de I/O; Zoé Sfez Productrice de La Série musicale sur France Culture

durée : 00:27:20 - Les Midis de Culture - par : Marie Labory - Au programme du débat critique, de l'opéra et du théâtre, avec "Il Trittico" de Giacomo Puccini dirigé par Carlo Rizzi et mis en scène par Christof Loy à l'Opéra Bastille, et "L'Hôtel de Libre Echange" de Georges Feydeau, mis en scène par Stanislas Nordey au Théâtre de l'Odéon. - réalisation : Laurence Malonda, Camille Mati - invités : Zoé Sfez Productrice de La Série musicale sur France Culture; Marie Sorbier Productrice du "Point Culture" sur France Culture, et rédactrice en chef de I/O

durée : 00:05:31 - Classic & Co - par : Anna Sigalevitch - Ce matin, Anna Sigalevitch nou sparle d'"Il trittico" de Puccini dans une mise en scène de Chrisof Loy sous la direction de Carlo Rizzi, c'est jusqu'au 28 mai à l'opéra Bastille, puis ce sera diffusé le 14 juin sur France Musique…

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Christof Loy wurde in der Zeitschrift "Opernwelt" schon mehrfach als Regisseur des Jahres ausgezeichnet, kein Wunder: Er dringt psychologisch genau vor, und agiert schnörkellos und sensibel mit den Sängern und Sängerinnen. Wichtig ist ihm auch Entdeckerfreude. Mit Herzblut hievt er Unbekanntes, Vernachlässigtes und wenig Gespieltes auf die Opernbühne. Christof Loy glaubt an die Magie des Musiktheaters und ist ein bedingungslos Liebender der Oper.

Fuchs, Jörn Florian www.deutschlandfunk.de, Kultur heute

Albéric Magnard gehört zu den bislang noch großen unbekannten der frühen Moderne. 1914 wird er bei der Verteidigung seines Besitzes von deutschen Truppen erschossen, sein Haus mit ihm und einem Teil der Partitur seiner Oper „Guercoeur“ verbrannt. Nur einmal ist dieses musikalische Ideendrama über die Desillusionierung eines Freiheitskämpfers und Liebenden über eine französische Bühne gegangen. Jetzt hat sich die Opéra national du Rhin in Strasbourg an die Wiederentdeckung eines Meisterwerks gemacht in einer Inszenierung von Christof Loy, unter der musikalischen Leitung von Ingo Metzmacher und mit Stéphane Degout in der Titelpartie.

Jonathan Tetelman is quickly becoming one of the opera world's most in-demand tenors — not only for the distinctive radiance and warmth of his voice, but also for the wide palette of emotions he brings to the characters he portrays. But as I discovered during a recent sit-down with Tetelman, early in his career the Chilean-American singer had many doubts about whether he could take on the deeply dramatic roles he's become known for. In fact, he almost pulled out of one of his first big European engagements — portraying Paolo in Riccardo Zandonai's Francesca da Rimini at Deutsche Oper Berlin — because of that self-doubt. "I knew the story and thought it would be a good challenge for me," Tetelman shared in our conversation. "But as I was preparing the role, I noticed how heavy and difficult the role was, and I almost pulled the plug on the whole thing, because I felt like I wasn't ready to do it." Then the Covid-19 pandemic forced the world into lockdown, which gave Tetelman six months to immerse himself in the role, unpack its complexities, and build the mental and physical fortitude he needed to make Paolo a character of flesh and blood — not an easy feat for a young singer. "To perform this very dramatic role at 32 was really kind of an eye-opening experience, and an exciting possibility for me to perform other dramatic repertoire in the future. At the time I was really only singing things like Rodolfo and Alfredo, much more lyric repertoire. To get a taste of the verismo, it hooked me immediately." Tetelman credits his success in that production to its director, Christof Loy. "It was the first time I worked with a director who helped me bring out my characterization, and also helped me understand the characterization of my colleagues in a better way. Working with him really challenged me, but it was the thing that was kind of missing in my presentation. From then on I used a lot of the tools and ideas that he gave me for this production." Those tools and ideas have only increased Tetelman's meteoric rise in the years since that Deutsche Oper Berlin production. His first two albums for Deutsche Grammophon, 2022's Arias and last year's The Great Puccini, received rave reviews, with the former winning Tetelman the 2023 Opus Klassik Award for Young Talent of the Year. And this month he's bringing the nuanced approach to character-building he honed with Loy to two major Puccini role debuts at the Metropolitan Opera: Ruggero in a new production of La Rondine, and the naval officer Pinkerton in Anthony Minghella's Madama Butterfly. For Tetelman, building a legacy in the opera world now means not only bringing artistry to the music he performs, but also caring for the characters represented in opera — and helping audiences see themselves in the emotional turmoil and triumph these characters experience. "They're supposed to be human and they're supposed to be full of emotion and everything that embodies humanity. And I think the music is just the vessel that allows us to feel those emotions. I want to be one of those people who can really bring those things out, and help other people understand and feel what these characters feel." Madama Butterfly is on stage at the Metropolitan Opera through May 11. Tetelman's latest album, The Great Puccini, is available across all major streaming platforms. — Classical Post® is created and produced by ⁠Gold Sound Media⁠® LLC, a leading New York marketing agency serving the performing arts industry. Explore how we can ⁠grow your audience⁠ to make a lasting impact in your community.

Women of Substance with Dr. Scarlett Horton⁣ Episode 71 - Dr. Scarlett Horton interviews Jennifer Larmore __________⁣ Jennifer Larmore is an American mezzo-soprano, a Grammy winner with over 100 recordings to her name, a Chevalier of the French government, Richard Tucker winner, Hall of Famer and an author! Add straight actress to the list with her appearance in a new Netflix series entitled *King the Land.* She has a wide-ranging repertoire, having begun with coloratura roles from the Baroque and bel canto then adding music from the Romantic and Contemporary periods. She began her career at Opera de Nice in 1986 with Mozart’s La Clemenza di Tito and went on to sing at virtually every major opera house in the world, including the Metropolitan Opera, La Scala, Paris Opera, Tokyo, Berlin Deutsche Oper, and London Covent Garden. She is a two-time Grammy Award winner who has recorded widely for the Teldec, RCA, Harmonia Mundi, Deutsche Grammophon, Arabesque, Opera Rara, Bayer, Naive, Chandos, VAI and Cedille labels in over one hundred CDs to date as well as DVDs of “Countess Geschwitz” in Lulu, Jennifer Larmore in Performance for VAI, Il Barbiere di Siviglia (Netherlands Opera), L’Italiana in Algeri (Opera de Paris), La Belle Hélène (Hamburg State Opera), Orlando Furioso (Opera de Paris) and Jenufa (Deutsche Oper Berlin). She has recorded three charming books on tape for Atlantic Crossing Records with stories by Kim Maerkl entitled Mozart’s Magical Night with Hélène Grimaud and the Bavarian State Orchestra, Puccini’s Enchanted Journey with story by Kim Maerkl, and The King’s Daughter with story and music for flute and string orchestra by Kim Maerkl with the flute player Natalie Schwaabe. With the pianist Antoine Palloc, she has made many International recital tours, including appearances in Amsterdam, Paris, Madrid, Hong Kong, Seoul, Tokyo, Vietnam, Vienna, London, San Juan, Prague, Melbourne, Brussels, Berlin, Rio de Janeiro, Lisbon, Sao Paolo, Athens and Copenhagen, as well as all the major American venues. Symphonic repertoire has played a large role in this mezzo’s career with the works of Mahler, Schoenberg, Mozart, de Falla, Debussy, Berlioz and Barber featuring prominently. Miss Larmore has enjoyed great collaborations with world orchestras under the direction of Muti, Lopez-Cobos, Bernstein, Runnicles, Sinopoli, Masur, von Dochnanyi, Jacobs, Mackerras, Nelson, Spinosi, Abbado, Barenboim, Bonynge, Maazel, Osawa and Guidarini. Jennifer’s repertoire has expanded to include roles such as “Marie” in Berg’s masterpiece Wozzeck, which she sang to great success at the Grand Théâtre de Genève. Berg is now a specialty of Miss Larmore, with her having sung “Countess Geschwitz” in Berg’s Lulu at Covent Garden in the Christof Loy production with Antony Pappano, then again in Madrid. At Paris Opera Bastille she sang in the Willy Decker production and she reprised the role yet again in a new production of William Kentridge with Lothar Zagrosek conducting for the Nederlandse Opera, and at the Rome Opera. She has also become well known for “Kostelnička Buryjovka” in Janacek’s Jenůfa which she performed with Donald Runnicles at Berlin Deutsche Oper. The DVD of this production was nominated for a Grammy. She reprised her “Kostelnička” in this same production for the New National Theater in Tokyo. ”Lady Macbeth” in Verdi’s opera Macbeth is a role she debuted in a striking new production of Christof Loy at the Grand Théâtre de Genève, then in the Bob Wilson production in Bologna and Reggio Emilia. Her first “Eboli” was in the French version of Don Carlos at the Caramoor Music Festival in New York, with Will Crutchfield conducting, and she sang “Jocasta” in Stravinsky’s Oedipus Rex at the Bard Festival. Adding to her growing list of new repertoire, Miss Larmore debuted the role of ”Mère Marie” in Les dialogues des carmélites at the Caramoor Festival, New York. She went back to her roots with “Ottavia” in Monteverdi’s l’Incoronazione di Poppea at the Theater an der Wien in October 2015 and returned there in December 2016 for her debut in the role of “Elvira” in Mozart’s Don Giovanni. Debuts for more new roles came in 2017 with the title role of La Belle Hélène at Hamburg State Opera, and then “Anna 1” in Kurt Weill’s The Seven Deadly Sins for the Atlanta Opera. In 2018 she debuted the role of “La Dama” in Hindemith’s Cardillac for the Maggio Musicale in Firenze, “Fidalma” In Il Matrimonio Segreto for Opera Köln, and “Marcellina” In Le Nozze di Figaro in Tokyo. Engagements in 2019 included concerts in Grenoble, Olten and Magève with OpusFive, “Marcellina” in Paris at the Théâtre des Champs-Elysées, and she returned to Opera Köln in the title role of a new production in her on-going collaboration with Doucet/Barbe of La Grand Duchesse de Gérolstein. 2020 was an interesting year, but also because she debuted “Herodias” in Salome for the Atlanta Opera before going into lockdown. Continuing with their collaboration, in 2021, Jennifer sang ”Genevieve” in their new production of Pelleas et Melisande in Parma. Miss Larmore, in collaboration with the double bass player Davide Vittone, created an ensemble called Jennifer Larmore and OpusFive. This a string quintet offering programs that are entertaining and varied with Songs and Arias, Cabaret/Operetta and Movies and Broadway. They have given concerts in Seville, Pamplona, Valencia, Las Palmas, Venice, Amiens, Olten, Aix en Provence, Dublin, and Paris. At the Magève Festival in August, 2018 they presented a World Premiere work by composer Scott Eyerly, called Creatures Great and Small on the theme of animals. In July of 2022, Jennifer and OpusFive performed at the Liestal Stimmen zu Gast Festival in a program entitled America! Throughout her career Jennifer Larmore has garnered awards and recognition. In 1994 Jennifer won the prestigious Richard Tucker Award. In 1996 she sang the Olympic Hymn at the Closing Ceremonies of the Olympics in Atlanta. In 2002, “Madame” Larmore was awarded the Chevalier des arts et des lettres from the French government in recognition of her contributions to the world of music. In 2010 she was inducted into the Georgia Music Hall of Fame in her home state of Georgia. In addition, to her many activities, travels, performances and causes, author Jennifer Larmore is working on books that will bring a wider public to the love of opera. Her book “Una Voce” explores the world and psychology of the performer. Miss Larmore is widely known for teaching and giving master classes and in 2018, she went to New York’s Manhattan School of Music, Santiago, Chile, Luxembourg, Atlanta, and to the new Teatro Nuovo at Suny Purchase College, New York. She began the New Year 2019 with master classes for the Atlanta Opera and Kennesaw State University in Kennesaw, GA. In March, 2019 Miss Larmore gave master classes and workshops at the École Normale and for the Philippe Jaroussky Academy in Paris. In 2020 she gave classes at the École Normale, Atlanta Opera, Kennesaw State University, Luxembourg, and on ZOOM for the Kiefersfelden Master Classes and Utah Valley University. In 2022 classes were in Malta, Tirol, Lausanne, Sion, Martina Franca and Valencia! In 2023 she began the year with a master class at the Eva Lind Akademie in Achenkirch, Austria! Miss Larmore lives in Paris with her husband and little Opera dog Buffy. “Train up a child in the way he should go [and in keeping with his individual gift or bent]...” Proverbs 22:6a (AMPC) In this episode, Scarlett and David interview Jennifer about how her love for the arts was nurtured and encouraged at a very young age, which opened doors for her gift in great places. Your faith will be inspired as you watch. __________ https://JenniferLarmore.info https://ScarlettHorton.com __________ TO SUPPORT THIS PODCAST: https://gvly.org/s/NNHT.5REoBw OR TEXT Proverbs31 to 844-544-7171

Women of Substance with Dr. Scarlett Horton⁣ Episode 71 - Dr. Scarlett Horton interviews Jennifer Larmore __________⁣ Jennifer Larmore is an American mezzo-soprano, a Grammy winner with over 100 recordings to her name, a Chevalier of the French government, Richard Tucker winner, Hall of Famer and an author! Add straight actress to the list with her appearance in a new Netflix series entitled *King the Land.* She has a wide-ranging repertoire, having begun with coloratura roles from the Baroque and bel canto then adding music from the Romantic and Contemporary periods. She began her career at Opera de Nice in 1986 with Mozart’s La Clemenza di Tito and went on to sing at virtually every major opera house in the world, including the Metropolitan Opera, La Scala, Paris Opera, Tokyo, Berlin Deutsche Oper, and London Covent Garden. She is a two-time Grammy Award winner who has recorded widely for the Teldec, RCA, Harmonia Mundi, Deutsche Grammophon, Arabesque, Opera Rara, Bayer, Naive, Chandos, VAI and Cedille labels in over one hundred CDs to date as well as DVDs of “Countess Geschwitz” in Lulu, Jennifer Larmore in Performance for VAI, Il Barbiere di Siviglia (Netherlands Opera), L’Italiana in Algeri (Opera de Paris), La Belle Hélène (Hamburg State Opera), Orlando Furioso (Opera de Paris) and Jenufa (Deutsche Oper Berlin). She has recorded three charming books on tape for Atlantic Crossing Records with stories by Kim Maerkl entitled Mozart’s Magical Night with Hélène Grimaud and the Bavarian State Orchestra, Puccini’s Enchanted Journey with story by Kim Maerkl, and The King’s Daughter with story and music for flute and string orchestra by Kim Maerkl with the flute player Natalie Schwaabe. With the pianist Antoine Palloc, she has made many International recital tours, including appearances in Amsterdam, Paris, Madrid, Hong Kong, Seoul, Tokyo, Vietnam, Vienna, London, San Juan, Prague, Melbourne, Brussels, Berlin, Rio de Janeiro, Lisbon, Sao Paolo, Athens and Copenhagen, as well as all the major American venues. Symphonic repertoire has played a large role in this mezzo’s career with the works of Mahler, Schoenberg, Mozart, de Falla, Debussy, Berlioz and Barber featuring prominently. Miss Larmore has enjoyed great collaborations with world orchestras under the direction of Muti, Lopez-Cobos, Bernstein, Runnicles, Sinopoli, Masur, von Dochnanyi, Jacobs, Mackerras, Nelson, Spinosi, Abbado, Barenboim, Bonynge, Maazel, Osawa and Guidarini. Jennifer’s repertoire has expanded to include roles such as “Marie” in Berg’s masterpiece Wozzeck, which she sang to great success at the Grand Théâtre de Genève. Berg is now a specialty of Miss Larmore, with her having sung “Countess Geschwitz” in Berg’s Lulu at Covent Garden in the Christof Loy production with Antony Pappano, then again in Madrid. At Paris Opera Bastille she sang in the Willy Decker production and she reprised the role yet again in a new production of William Kentridge with Lothar Zagrosek conducting for the Nederlandse Opera, and at the Rome Opera. She has also become well known for “Kostelnička Buryjovka” in Janacek’s Jenůfa which she performed with Donald Runnicles at Berlin Deutsche Oper. The DVD of this production was nominated for a Grammy. She reprised her “Kostelnička” in this same production for the New National Theater in Tokyo. ”Lady Macbeth” in Verdi’s opera Macbeth is a role she debuted in a striking new production of Christof Loy at the Grand Théâtre de Genève, then in the Bob Wilson production in Bologna and Reggio Emilia. Her first “Eboli” was in the French version of Don Carlos at the Caramoor Music Festival in New York, with Will Crutchfield conducting, and she sang “Jocasta” in Stravinsky’s Oedipus Rex at the Bard Festival. Adding to her growing list of new repertoire, Miss Larmore debuted the role of ”Mère Marie” in Les dialogues des carmélites at the Caramoor Festival, New York. She went back to her roots with “Ottavia” in Monteverdi’s l’Incoronazione di Poppea at the Theater an der Wien in October 2015 and returned there in December 2016 for her debut in the role of “Elvira” in Mozart’s Don Giovanni. Debuts for more new roles came in 2017 with the title role of La Belle Hélène at Hamburg State Opera, and then “Anna 1” in Kurt Weill’s The Seven Deadly Sins for the Atlanta Opera. In 2018 she debuted the role of “La Dama” in Hindemith’s Cardillac for the Maggio Musicale in Firenze, “Fidalma” In Il Matrimonio Segreto for Opera Köln, and “Marcellina” In Le Nozze di Figaro in Tokyo. Engagements in 2019 included concerts in Grenoble, Olten and Magève with OpusFive, “Marcellina” in Paris at the Théâtre des Champs-Elysées, and she returned to Opera Köln in the title role of a new production in her on-going collaboration with Doucet/Barbe of La Grand Duchesse de Gérolstein. 2020 was an interesting year, but also because she debuted “Herodias” in Salome for the Atlanta Opera before going into lockdown. Continuing with their collaboration, in 2021, Jennifer sang ”Genevieve” in their new production of Pelleas et Melisande in Parma. Miss Larmore, in collaboration with the double bass player Davide Vittone, created an ensemble called Jennifer Larmore and OpusFive. This a string quintet offering programs that are entertaining and varied with Songs and Arias, Cabaret/Operetta and Movies and Broadway. They have given concerts in Seville, Pamplona, Valencia, Las Palmas, Venice, Amiens, Olten, Aix en Provence, Dublin, and Paris. At the Magève Festival in August, 2018 they presented a World Premiere work by composer Scott Eyerly, called Creatures Great and Small on the theme of animals. In July of 2022, Jennifer and OpusFive performed at the Liestal Stimmen zu Gast Festival in a program entitled America! Throughout her career Jennifer Larmore has garnered awards and recognition. In 1994 Jennifer won the prestigious Richard Tucker Award. In 1996 she sang the Olympic Hymn at the Closing Ceremonies of the Olympics in Atlanta. In 2002, “Madame” Larmore was awarded the Chevalier des arts et des lettres from the French government in recognition of her contributions to the world of music. In 2010 she was inducted into the Georgia Music Hall of Fame in her home state of Georgia. In addition, to her many activities, travels, performances and causes, author Jennifer Larmore is working on books that will bring a wider public to the love of opera. Her book “Una Voce” explores the world and psychology of the performer. Miss Larmore is widely known for teaching and giving master classes and in 2018, she went to New York’s Manhattan School of Music, Santiago, Chile, Luxembourg, Atlanta, and to the new Teatro Nuovo at Suny Purchase College, New York. She began the New Year 2019 with master classes for the Atlanta Opera and Kennesaw State University in Kennesaw, GA. In March, 2019 Miss Larmore gave master classes and workshops at the École Normale and for the Philippe Jaroussky Academy in Paris. In 2020 she gave classes at the École Normale, Atlanta Opera, Kennesaw State University, Luxembourg, and on ZOOM for the Kiefersfelden Master Classes and Utah Valley University. In 2022 classes were in Malta, Tirol, Lausanne, Sion, Martina Franca and Valencia! In 2023 she began the year with a master class at the Eva Lind Akademie in Achenkirch, Austria! Miss Larmore lives in Paris with her husband and little Opera dog Buffy. “Train up a child in the way he should go [and in keeping with his individual gift or bent]...” Proverbs 22:6a (AMPC) In this episode, Scarlett and David interview Jennifer about how her love for the arts was nurtured and encouraged at a very young age, which opened doors for her gift in great places. Your faith will be inspired as you watch. __________ https://JenniferLarmore.info https://ScarlettHorton.com __________ TO SUPPORT THIS PODCAST: https://gvly.org/s/NNHT.5REoBw OR TEXT Proverbs31 to 844-544-7171

This week's “Forgotten Diva” is the mezzo-soprano / contralto Gwendolyn Killebrew (26 August 1941 – 24 December 2021), who made an indelible contribution to opera in particular during the active years of her career (1965 – 2009). Though the majority of her career was centered at the Deutsche Oper am Rhein in Düsseldorf, she sang the world over with some of the most important opera companies (including the Metropolitan Opera, San Francisco Opera, the Salzburg Festival, Bayreuth, Washington Opera, Santa Fe Opera, La Monnaie, and the Bayerische Staatsoper), conductors (Pierre Boulez, Gary Bertini, Michael Gielen, Herbert von Karajan, Zubin Mehta, Georg Solti), and stage directors (Patrice Chéreau, Jean-Pierre Ponnelle, August Everding, Giancarlo del Monaco, Christof Loy, and John Dew). She had an enormous repertoire from Monteverdi and Handel to Henze and Fortner, excelling in particular in various Wagner roles. She was also a superb actor, who, through the use minimal gestures and stage business, made an enormous impact. This episode presents her in a wide range of material, including both live and commercial recordings ranging from Cavalieri to Zimmermann, alongside such fellow singers as Teresa Stratas, Carlo Bergonzi, Hermann Prey, Stuart Burrows, Sherrill Milnes, and Gail Gilmore led by conductors Leonard Bernstein, Gary Bertini, Bohumil Gregor, Berislav Klobučar, James Levine, Heinz Wallberg, and Eve Queler. Of special interest is a rare live recording of her prize-winning performance of “Asie” from Ravel's Shéhérazade at the 1967 International Voice Competition in Montréal. The episode opens with brief memorial tributes to soprano Wilhelmenia Fernandez and pianist Thomas Muraco. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford.

Friedrich, Uwewww.deutschlandfunkkultur.de, FazitDirekter Link zur Audiodatei

Dass er aus der Corona-Not eine Tugend machen konnte, das bewies er schon 2020 bei den Salzburger Festspielen: Opern- und Schauspielregisseur Christof Loy legte damals eine den Vorgaben entsprechend gekürzte, aber gerade in ihrer Reduzierung sehr berührende Cos? fan tutte-Inszenierung vor. Ein Lichtblick in einem weitgehend ausgefallenen Festspielsommer! Als die Kulturstätten weiterhin geschlossen blieben, hatte Loy eine neue Beschäftigungsidee für zwangsisolierte Sängerinnen und Sänger. Gemeinsam mit der Dutch National Opera realisierte er erstmals ein Filmprojekt, das jetzt als DVD bei Naxos erschienen ist: Springtime in Amsterdam erzählt die Geschichte von vier Personen, deren Schicksale sich in Amsterdam kreuzen, weil sie während einer nicht näher definierten "Krise" im Transit steckenbleiben. Zufall oder Schicksal? Das ist die Frage in Loys Musikfilm, dessen turbulent improvisierte Handlung sich in vier Sprachen von einem Operettenhit zum nächsten hangelt. Sehr amüsant, auch aufgrund der hervorragenden Sängerdarsteller, findet Alexandra Maria Dielitz...

Hør dramaturg Hedda Høgåsen-Hallesby fortelle om Tsjajkovskijs opera Eugen Onegin, og om denne oppsetningen, i regi av Christof Loy.

Fuchs, Jörn Florianwww.deutschlandfunk.de, Kultur heuteDirekter Link zur Audiodatei

„Il trittico“, das Tryptichon ist die Zusammenfassung von drei einaktigen Opern zu einem Ganzen. Giacomo Puccini hat ein solches Tryptichon geschaffen. Gestern ging die Premiere der Salzburger Festspiele im Großen Festspielhaus über die Bühne. radio klassik Stephansdom Opernliebhaber Richard Schmitz berichtet. „Il trittico“ wird sehr selten an einem Abend gespielt. Es ist das Verdienst der Salzburger Festspiele, alle drei Opern ins Programm genommen zu haben. Mit der Oper „Gianni Schicchi“ ist Giacomo Puccini ähnliches gelungen wie Giuseppe Verdi mit „Falstaff“. Mit der Konzentration der Ausdrucksmittel ist eine Partitur entstanden, die keinen Ton zu viel aber auch keinen zu wenig enthält. Es geht um die Fälschung eines Testamentes im Florenz der Renaissance und um den pfiffigen Bauern Gianni Schicchi. Köstlich wird die geldgierige Familie des Erblassers karikiert. Nach dieser Oper versteht man nicht, dass Gianni Schicchi bei Dante in dessen Divina Commedia in der Hölle schmort. Die zweite Oper führt in die Welt der kleinen Hafenarbeiter an der Seine in Paris. Michele, der Besitzer eines kleinen Frachtkahns erdrosselt seinen Gehilfen Luigi, weil dieser ihn mit seiner Frau Giorgetta betrügt. Die Leiche wird unter einem Mantel versteckt. Deshalb „Il tabarro“, der Mantel. Giacomo Puccini und sein Librettist Giuseppe Adami haben da eine Vertiefung eines banalen Eifersuchtsmordes zu einer psychologischen Tragödie geschrieben. Mit Giovacchino Forzano, der schon für „Gianni Schicchi“ das Textbuch geschrieben hatte, entstand „Suor Angelica“, die Geschichte eines adligen Mädchens, das nach der Geburt eines unehelichen Sohnes ins Kloster gesteckt wurde und dort Selbstmord begeht, als sie erfährt, dass ihr Sohn schon vor zwei Jahren gestorben ist. Alle drei Opern sind vollwertige Werke; ob man sie wirklich in dieser Reihenfolge spielen muss, bleibe dahingestellt. Christof Loy verlegt die Handlungen in die Gegenwart und erzählt die Geschichten schnörkellos in praktikablen Bühnenbildern von Etienne Pluss. Das geht sich bei den beiden ersten Opern gut aus. Erbschaftsstreitigkeiten und Frauenmord im Transportgewerbe gibt es auch heute. Bei Schwester Angelica spießt es sich. Schon im 19. Jahrhundert hat man keine Mädchen mehr ins Kloster gesperrt, weil sie ein uneheliches Kind zur Welt gebracht haben; heute schon gar nicht. Selbstverständlich liegt es nahe die drei Stücke aufzuführen, wenn man eine Singschauspielerin wie Asmik Grigorian zur Verfügung hat. Und tatsächlich ist sie das Ereignis des Abends. Als Lauretta kann sie ihren Vater überreden, ein Verbrechen zu begehen, als Giorgetta erleidet sie die Zerrüttung ihrer Ehe und entdeckt ihren toten Geliebten unter dem Mantel, schließlich erlebt sie als Angelica unerfülltes Mutterglück. Asmik Grigorian setzt ihren geschmeidigen, wunderbaren Sopran ein und kann mit Puccinis Hilfe zu Tränen rühren. Nur bei der Angelica fällt ihr das schwer, da spießt sich einiges, die lässt kalt. Wie auch die Tante Prinzessin von Karita Mattila. Eine blonde Businesstussy im Kostüm kann kaum Entsetzen und Wut hervorrufen. Die sollte viel herrischer und boshafter klingen. Überlegen und pfiffig Misha Kiria als Gianni Schichi, nachdenklich bis zum Mord Roman Burdenko als Michele. Die übrigen 23 Sängerinnen und Sänger kann ich nicht alle aufzählen, aber sie hatten alle Festpielniveau. Dass die Wiener Philharmoniker mit Franz Welser-Möst prächtig harmonisierten, braucht man nicht zu betonen. Das Publikum war begeistert - auch ich war es nach den ersten zwei Opern. Meine Einschätzung der „Angelica“ hat sich auch nach dieser luxuriösen Realisation nicht verbessert. W

Friedrich, Uwewww.deutschlandfunkkultur.de, FazitDirekter Link zur Audiodatei

Wie könnte angesichts des russischen Kriegs gegen die Ukraine ein verantwortungsbewusster Pazifismus aussehen? Ist Pazifismus überhaupt eine Option? Antworten des Berliner Philosophen Olaf L. Müller (Humboldt-Universität Berlin) / "Almost Fly" - die neue sechsteilige Serie von Florian Gaag erzählt von der Frühphase des Hip-Hop in Deutschland Anfang der 90er Jahre / "Der Schatzgräber" - Franz Schrekers Märchen-Oper, inszeniert von Christof Loy in Berlin

Der Inszenierung von Franz Schrekers „Schatzgräber“ an der Deutschen Oper fehle das psychologische Gespinst der Handelnden um die mordende Königin, bedauert Kritiker Uwe Friedrich. Die musikalische Umsetzung sei dagegen ein Grund, das Werk kennenzulernen. Uwe Friedrich im Gespräch mit Marietta Schwarzwww.deutschlandfunkkultur.de, FazitDirekter Link zur Audiodatei

In der heutigen Episode sprechen wir mit Oliver Brunner, dem Schauspieldirektor des Staatstheater Darmstadt, der ein genuines Interesse an Projektentwicklungen, immersiven Stoffen und dem Öffnen von Genregrenzen hat und so nicht nur die Beschränkungen von Institutionen verschiebt, sondern auch Freier Szene Zugang zu Institutionen ermöglicht, umso Partizipation zu generieren und im gleichen Atemzug Privilegien zu hinterfragen. Wir suchen gemeinsam nach Möglichkeiten und Ideen, wie und ob die Freie Szene Institutionen befruchten kann und wie Herangehensweisen aussehen könnten. Oliver Brunner, geboren 1969 in Hann.Münden, studierte an der Ludwig-Maximilians-Universität in München Neuere Deutsche Literaturwissenschaft, Theaterwissenschaft und Kommunikationswissenschaft / Zeitungswissenschaft. Nach Abschluss des Studiums 1997 mit einer Magisterarbeit über Thomas Bernhards Roman "Auslöschung. Ein Zerfall" war er Regieassistent an den Münchner Kammerspielen, Intendanz Dieter Dorn. Hier arbeitete er u.a. mit Antoine Uitdehaag, Peter Wittenberg und Christof Loy zusammen. Ab der Spielzeit 2001/2002 wurde er persönlicher künstlerischer Mitarbeiter von Dieter Dorn am Bayerischen Staatsschauspiel. 2003 inszenierte er die deutsche Erstaufführung von Marie NDiayes "Hilda" im Theater im Haus der Kunst (mit Juliane Köhler, Thomas Loibl, Lena Dörrie). Von 2006 bis 2011 war Oliver Brunner Künstlerische Direktor und Stellvertreter des Intendanten am Bayerischen Staatsschauspiel. 2011/12 übernahm er die Gesamtleitung der 30. Bayerischen Theatertage 2012 am Theater Augsburg. Ab der Spielzeit 2012/13 war er als Schauspieldramaturg, Produktionsleiter (Schwerpunkt Brechtfestival) und Stellvertreter der Intendantin Juliane Votteler am Theater Augsburg beschäftigt. Hier u.a. Zusammenarbeiten mit Anne Lenk, Hans-Werner Kroesinger und Ludger Engels. Ab der Spielzeit 2014/15 bildete Oliver Brunner als Künstlerischer Betriebsdirektor Schauspiel, zusammen mit der Chefdramaturgin und Regisseurin Maria Viktoria Linke die Künstlerische Leitung Schauspiel am Theater Augsburg. Hier u.a. Zusammenarbeiten mit Christoph Mehler, Christian Weise, Paul Georg Dittrich, Matthias Fontheim, Katrin Plötner und Bernadette Sonnbichler. Seit der Spielzeit 2016/17 ist Oliver Brunner Schauspieldirektor am Staatstheater Darmstadt. WIR: Oliver Brunner: https://www.staatstheater-darmstadt.de/kuenstler/oliver-brunner.102/ Frauke Meyer: https://www.fraukemeyer.art/ Susanne Petridis: https://www.die-marktfrau.com/ Wenn Ihr Feedback, Anmerkungen oder Themenanregungen habt, meldet Euch bei Susanne unter susanne@die-marktfrau.com oder bei Frauke unter post@fraukemeyer.art Die jeweiligen Podcastfolgen werden alle zwei Wochen am Freitag ab 15 Uhr hörbar sein. D.h. die nächste Folge könnt Ihr ah dem 08.04.22 hören.

Autor: Fuchs, Jörn Florian Sendung: Kultur heute Hören bis: 19.01.2038 04:14

Eine „Once in a lifetime experience!“ Bei den diesjährigen Salzburger Festspielen singt Elsa Dreisig die Fiordiligi in Mozarts „Così fan tutte“. Eine sehr moderne Frauenrolle, wie sie sagt. Wie es der jungen Sängerin mit der Inszenierung von Christof Loy geht, warum sie am liebsten ohne aufwendige Kostüme singt und wie die Truppe am Ende zum richtigen Team wurde, hat sie im Gespräch erzählt.

French soprano Elsa Dreisig today is a beneficiary of the Liz Mohn Culture and Music Foundation at the Staatsoper Berlin’s International Opera Studio and a member of the Opéra-Théâtre de Clermont-Ferrand. In 2015 she won second prize in the Queen Sonja international music competition in Norway and since then singer can often be found performing at song recitals and concerts. Her Fiordiligi debut in Berlin was abruptly canceled due to the pandemic restrictions this spring. Eager to get back to work, Elsa Dreisig is offered to bring this role on stage in the 100th Salzburg festival this summer. W. A. Mozart‘s Cosi Fan Tutte staged by Christof Loy was an unexpected new project, uniting such singers as Marianne Crebassa, Andre Schuen, Bogdan Volkov, Lea Desandre and Johannes Martin Kränzle. In the interview soprano Elsa Dreising elaborates on the rehearsing process of Cosi Fan Tutte during the times of pandemic, her approach to Fiordiligi, and her take on opera singer‘s life today.

Kan man se paralleller fra Eugen Onegin til dagens datingkultur? Hvem var Onegin? Dramaturg Hedda Høgåsen-Hallesby møter operasjef Annilese Miskimmon, regissør Christof Loy og psykolog Sissel Gran.

Hør dramaturg Hedda Høgåsen-Hallesby fortelle om Tsjajkovskijs opera Eugen Onegin, og om denne oppsetningen, i regi av Christof Loy.

The Travelling Entertainer goes to the opera! Our guest is non other than Robert Pomakov, musician and internationally performing Opera Singer!In the 2019-2020 season, Canadian bass Robert Pomakov makes a number of important house debuts including debuts with Opéra National de Paris as the Bonze in Madama Butterfly directed by Robert Wilson, Den Norske Opera as Gremin in Christof Loy’s production Tchaikovsky’s Eugene Onegin , and Cincinnati Opera as Vodník in Rusalka. He returns to the Metropolitan Opera to cover the roles of Fiesco in Simon Boccenegra and Timur in Turandot. Concert engagements include Beethoven’s Missa Solemnis with the Calgary Philharmonic under the baton of Music Director Rune Bergmann.Mr. Pomakov has been a prize winner in several of the world's premier singing competitions: a finalist in the Queen Elizabeth Competition in Belgium, second place at the Belvedere Competition in Vienna and third place in Plácido Domingo's Operalia. Mr. Pomakov was decorated with the Simeon, the First Honorary Medal from the Ministry of Culture of the Republic of Bulgaria, and with a diploma from the Minister of Culture for his achievements in opera's art and special merit to Bulgarian culture and its dissemination all over the world, an encouragement award in the George London Foundation Competition, an world. Other prizes have included first prize in the Oratorio Society of New York's completion, an award from the Marilyn Horne Foundation Competition, the Victoria Scholars Grant, Second Prize in the Canadian Music Competition, and First Prize in the Kiwanis Music Festival in Toronto. Pomakov is a graduate of the Curtis Institute of Music.

Christof Loy ist zurück an der Bayerischen Staatsoper. In der ersten Premiere der Saison am 26. Oktober inszenierte er mit Le nozze di Figaro bereits seine siebte Oper an unserem Haus. Zusammen mit Constantinos Carydis, der an der Bayerischen Staatsoper zuletzt Pelléas et Mélisande musikalisch leitete, erarbeitete er Wolfgang Amadeus Mozarts Opera buffa, die doch vielschichtiger ist als ein bloßer heiterer Opernabend.

En bortglömd klassiker får premiär på Kungliga Operan 10 december när Giordanos Fedora sätts upp – idag mest känd för den vackra tenorarian Amor ti vieta. Kulturjournalisten Sofia Nyblom möter dirigenten Tobias Ringborg, biträdande regissör Anna Thomson och inte minst regissören Christof Loy som kommer tillbaka till Operan för fjärde gången. Plus hyllade sopranen Asmik Grigorian som axlar rollen som den narcissistiska furstinnan Fedora : för första gången på Operans scen sedan 1883 då ingen mindre än den stora Sarah Bernhardt spelade talrollen. Podden är ett samarbete mellan Operan och produktionsbolaget Munck.

In Alban Bergs "Wozzeck" hält die Psychoanalyse Einzug auf der Bühne. So bringt es Christof Loy, der die Oper in Frankfurt inszeniert hat, auf den Punkt. Andreas Bomba war für BR-KLASSIK bei der Premiere dabei.