Podcasts about deutsche oper

V Berlinu se je v soboto s podelitvijo nagrad zaključil 75. filmski festival Berlinale, zlatega medveda za najboljši film je prejel norveški film o raziskovanju ljubezni ter poželenja, Dreams (Sex Love) Daga Johana Haugeruda. V dvorani Deutsche Oper v Berlinu se je odvila svetovna premiera baleta Sen kresne noči, ki ga je na oder postavila ekipa slovenskih ustvarjalcev. Gre za novo baletno produkcijo, nastalo po motivih Shakespearjeve komedije, koreografa Edwarda Cluga in skladatelja Milka Lazarja. Sklop radijsko-gledaliških literarnih večerov Ars teatralis se nocoj nadaljuje z večerom, posvečenim mladim primorskim literatom. Dogodek bo v neposrednem prenosu mogoče spremljati tudi na programu Ars in Radiu Trst A. Danes 19. uri na programu Ars začenjamo s predvajanjem romana In ljubezen tudi Draga Jančarja. V Slovenj Gradcu pa bo v knjižnici Ksaverja Meška Slovenj Gradec ob 18. uri odprtje razstave z naslovom Vrnitev, ki bo vsebovala tudi zgodnja dela Jožeta Tisnikarja. Vabljeni k poslušanju!

Exactly two years ago I introduced my listeners to the magisterial African American dramatic baritone Eugene Holmes (1932 – 2007). Holmes first found world-wide recognition with he appeared in the first modern revival of Frederick Delius's problematic opera Koanga. Following that earth-shattering success, however, Holmes did not become a world star, but rather for nearly thirty years found his artistic home at the Deutsche Oper am Rhein, where he was the reigning Verdi baritone with the company. His career there was bookended by two rare recordings of spirituals, one from just before his success in Koanga, the other appearing after Holmes had spent nearly twenty years in Düsseldorf. This episode presents a live excerpt from a 1972 London performance of the Delius (a voodoo curse, in fact, as delivered by the title character!), as well as the complete contents of both albums of spirituals. In addition, and perhaps most exciting, the episode is rounded off with two excerpts from a live 1981 Deutsche Oper am Rhein recording of Verdi's dark masterpiece Simon Boccanegra with Holmes in the title role, joined by the exquisite Bulgarian soprano Stefka Evstatieva. In all of these recordings, the power of Holmes's voice and the sensitivity of his expression combine to make these some of the finest recordings of either the spirituals repertoire, or of Verdi, that I have ever heard and are an important addition to the legacy of this woefully under-recorded artist. 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 or yearly support at whatever level you can afford.

On Monday June 3, 2024, a new memorial plaque commemorating African American mezzo-soprano Vera Little (10 December 1928 – 24 October 2012) was unveiled at her former residence in Berlin's Charlottenburg neighborhood. Little is remembered today as the first Black singer to appear as Carmen on the stage of Berlin's Städtische Oper, soon to be renamed the Deutsche Oper Berlin. At the time of that appearance there were cries and protests about her hiring instead of an “equally capable” German singer. And yet, when Little returned to the stage of the Deutsche Oper in 1963, now singing the role of Amneris, she became one of the central singers in the ensemble of that company, being named a Kammersängerin there in 1970. This episode examines the life and career of Vera Little, from her birth in Memphis through her decades-long residence in Berlin. It is a fascinating, circuitous path, and one which is documented only sporadically on recording. On this episode, I play excerpts from Little's only solo recording, a 1957 Decca records release of spirituals recorded in France, as well as her recordings on Deutsche Grammophon of Der junge Lord by Hans Werner Henze, and Richard Strauss's Daphne. In addition, there are live recordings of Little singing Baba the Turk in Stravinsky's The Rake's Progress, Giovanna Seymour in Donizetti's Anna Bolena, and Beroe in Henze's Die Bassariden, which Little created in its 1966 world premiere at the Salzburg Festival. Vera Little was also an author, who published four books of memoir and poetry, and just yesterday I obtained a copy of her first book, 1978's Tears in My Eyes, from which I read a number of excerpts. I had known Little's name for decades, but had never fully explored her legacy before. It is here (and on an accompanying bonus episode) my honor and privilege to present a great (and somewhat forgotten) artist for your delectation. Today's vocal guest stars include Kostas Paskalis, Hilde Güden, Anneliese Rothenberger, and Teresa Żylis-Gara. 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.  

Neuinszenierungen von Carl Maria von Webers Oper gehen seit langem regelmäßig schief. Regisseure misstrauen der deutschen Romantik. Die Bregenzer Festspiele wagen sich dennoch an das einst viel gespielte Werk mit den vielen Wunschkonzertnummern – vom Jägerchor bis zu "Durch die Wälder und die Auen". Im Musiksalon stellen wir die Frage: Was singt man im deutschen Wald; und was steckt dahinter?

Have you ever encountered a singer that no one has apparently heard of, yet once you have discovered them, you feel compelled to introduce them to practically everyone you know? I've had this experience more than a few times over the past five years of producing weekly Countermelody episodes, and today I bring you another such singer: friends, meet Hana Janků, the Czech soprano who lived from 25 October 1950 to 28 April 1995. Her voice is one of steely brilliance that she can taper down to the slightest whisper of a pianissimo. As important as her extraordinary voice was her profoundly-felt and deeply-etched characterizations of all the roles she assumed. As a young music lover, Hana's aims were modest, but thanks to a voice teacher who recognized her gift, she moved from the chorus to a member of the ensemble at the Brno Opera before she was 20. Five years later in Bratislava, she first performed the role with which she would be most closely associated: Puccini's Turandot. Two short years later, after an arduous audition process, she sang the role at La Scala and became a star overnight. Her large repertoire also encompassed roles such Tosca, Gioconda, and Lady Macbeth, French and Russian operas as well as Mozart and Wagner roles, with a large smattering of roles by Czech composers as well, in particular Smetana and Dvořák. Because of political unrest, she made the difficult decision to leave her native Czechoslovakia, performing instead throughout the world, including stints in the ensembles at the Deutsche Oper am Rhein in Düsseldorf and the Deutsche Oper Berlin. Ill health forced her to leave the opera stage prematurely, and she died of cancer in Vienna before she turned 55. Janků left very few commercial recordings, but I have been plumbing the internet for rare live recordings spanning her entire career, encompassing not only her legendary Italian roles, but also roles by Mozart, Gounod, and Othmar Schoeck, as well as a smattering of Czech repertoire. It is an honor to present to you the woman whom Birgit Nilsson dubbed the finest Turandot of her era and who was, as we shall hear, so much more as well! Vocal guest stars include Franco Corelli, Giorgio Merighi, Cornell MacNeil, Roland Hermann, William Holley, and Naděžda Kniplová. 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.  

Last week we celebrated the 97th birthday of our Ur-Diva, Leontyne Price. And today, continuing my Black History Month 2024 theme of “Forgotten Divas,” I present to you a Verdi soprano of similar repertoire and voice to Miss Price, Annabelle Bernard (1935-2005), whose career, unlike Price's, was centered primarily in Europe, specifically at the Deutsche Oper in Berlin, where she was a member of the company for nearly forty years. Born in New Orleans, she received her early musical training from Earl Hogan (uncle of the famous composer and conductor Moses Hogan) and Sister Mary Elise Sisson, whom Bernard herself credited with being her formative and primary musical inspiration. With the patronage of Edith Rosenwald Stern, an heiress to the Sears-Roebuck fortune, Bernard found early success in Europe, winning second prize in the Munich ARD Competition in 1960, settling in Berlin in 1962. Annabelle Bernard was married to the German tenor Karl-Ernst Mercker (1933-2021), who in addition to appearing alongside her in many performances and productions, was also a fierce advocate for his wife during her tenure in Berlin, when she would encounter racism. The two of them retired to New Orleans in 1998, where Bernard became a voice teacher at Xavier University, her alma mater. This episode includes rare live clips of the soprano in works by Verdi, Mercadante, and Dallapiccola, as well as from her sole commercial recording, excerpts from Porgy and Bess in German alongside the iconic African American baritone Lawrence Winters, released in 1964, the year before Winters's untimely death. Mercker's strong lyric tenor is also featured in a few brief excerpts, but the main focus is on the radiant voice and artistry of Annabelle Bernard. Believe me when I tell you that I remain on the lookout for further recordings of this magnificent artist! 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.

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.

Tue, 23 Jan 2024 12:04:38 +0000 https://spielplanaudiodeskription.podigee.io/123-new-episode 8af275e9bfa1996962c67ff49b719573 123 full Wegbeschreibung vom Bahnsteig in Fahrtrichtung Pankow U2 Deutsche Oper in die Kassenhalle der Deutschen Oper no Berliner Spielplan Audiodeskription 140

Tue, 23 Jan 2024 12:08:33 +0000 https://spielplanaudiodeskription.podigee.io/124-neue-episode e7e22d2ac66211680b45eb1b3350f658 124 full Wegbeschreibung vom Bahnsteig in Fahrtrichtung Ruhleben U2 Deutsche Oper in die Kassenhalle der Deutschen Oper no Berliner Spielplan Audiodeskription 137

У молодой оперной певицы Александры Янгель серьезный послужной список: Вальтраута в «Валькирии», Шарлотта в «Вертере», Соня в «Войне и мир» и множество других партий. В новом театральном сезоне она выступит в неожиданном для себя амплуа - в роли Дианы в оперетте Оффенбаха «Орфей в аду» на сцене Deutsche Oper am Rhein. В ней Александре придется не только петь, но и много танцевать. Von Elena Wosowik.

Amy Andersson is an Internationally recognized, Grammy-winning conductor and producer. Named by British music critic Norman Lebrecht as “America's most watched Symphony Orchestra Conductor,” Andersson has been praised for her dynamic musicality, expressive technique and cross genre repertoire. She has toured to over twenty-two countries conducting concerts and recording sessions in symphonic, operatic, film, musical theatre and video game genres. She has appeared on the Late Show with Stephen Colbert, CBS Morning News, CBS Evening News and has garnered press coverage in the Wall Street Journal, Variety, Forbes, and Huffington Post. Andersson is founder and conductor of Orchestra Moderne NYC, which debuted at Carnegie Hall and Lincoln Center, and has won critical acclaim for her charismatic and visionary accomplishments as creator and conductor of Women Warriors: The Voices of Change, a live-to-picture symphony production and documentary film. Women Warriors has won over twenty-four international film and music awards including four Telly Awards, a Hollywood Music in Media Award, a GRAMMY in “Best Classical Compendium, a 2022 BMI “Impact Award,” a 2023 SCL “Jury Award” and has screened at film festivals in more than twelve countries, including the Fimucité International Film Music Festival in Tenerife. Known for her commitment to the music of living composers, she has conducted the works of composers Neal Acree, Elitsa Alexandrova, Peter Boyer, Nathalie Bonin, Jessica Curry, Miriam Cutler, Anne-Kathrin Dern, Greg Edmonson, Isolde Fair, Sharon Farber, Steve Jablonsky, Grant Kirkhope, Penka Kouneva, Bear McCreary, Martin O'Donnell, Kol Otani, Starr Parodi, Lolita Ritmanis, Garry Schyman, Yoko Shimomura, Jeremy Soule, George Strezov, Chance Thomas, Nobou Uematsu, Jack Wall, and Austin Wintory, among others, either on the concert stage or in recording sessions. Andersson has made guest appearances the St. Louis Symphony, Houston Symphony, Seattle Symphony, Oregon Symphony, Rochester Philharmonic, Colorado Symphony, Honolulu Symphony, San Diego Symphony, Florida Orchestra, Spanish Philharmonic, Berliner Symphoniker, Royal Philharmonic Concert Orchestra, Stockholm Concert Orchestra, Spanish National Youth Orchestra, Düsseldorfer Symphoniker, Classic FM Radio Orchestra of Bulgaria, Lithuanian National Symphony Orchestra, Junge Deutsche Philharmonie, Neiderrheinsche Symphoniker, LOH Orchestra Sonderhausen, Giessen Philharmonic, Aalborg Symphony Orchestra, Macedonian Philharmonic, Monte Carlo Philharmonic, Jeunesses Musicales Deutschland, Colorado Music Festival Orchestra, National Orchestral of Mexico, and at free-lance orchestras in Switzerland, Belgium, Netherlands, Italy and Ireland. Andersson regularly conducted opera productions in Germany at the Deutsche Oper am Rhein, National Theater of Mannheim, Stadttheater Aachen, Weikersheim Opera Festival, Rheinsberg Chamber Opera, and Schlosstheater Schwetzinger. In 2017 Andersson completed a two year, world tour of the live-to-picture concert Legend of Zelda: Symphony of the Goddesses. Andersson is a devoted teacher and educator and known also for her work with youth orchestras. She was adjunct conducting faculty at the Universität der Künste Berlin, music director of the famed CPE Bach High School of Performing Arts in Berlin, and adjunct faculty in Media and Film Scoring at Brooklyn College/Feirstein Graduate School of Cinema. In Germany she conducted the Rheinberg Chamber Opera Festival and Weikersheim Opera Festival for four summer seasons of productions that featured rising opera singers and youth orchestras. She is currently conducting faculty at the USC Thornton in the Screen Scoring department, and the Hollywood Music Workshop in Baden, Austria. Current projects include Andersson as co-Executive Producer on the soon to be released film (2023)Tahlequah The Whale: A Dance of Grief, by filmmaker Daniel Kreizberg, featuring the music of Lolita Ritmanis. She is also conductor and co-producer of the soon to be released soundtrack.

Tadeusz Milewski jest pierwszym basem w chórze operowym Deutsche Oper w Berlinie. Ukończył studia na Akademii Muzycznej im. Fryderyka Chopina w Warszawie oraz na Uniwersytecie Mozarteum w Salzburgu. Dlaczego w pracy śpiewaka konieczna jest dobra pamięć, znajomość języków i kondycja fizyczna? Zaprasza Monika Sędzierska KONTAKT: cosmopopolsku@rbb-online.de STRONA: http://www.wdr.de/k/cosmopopolsku BĄDŹ NA BIEŻĄCO: https://www.facebook.com/cosmopopolsku Von Monika Sedzierska.

The TNWAC and American Council on German series "In Focus: Russia's Invasion of Ukraine" presents "One Year Later." Ambassador John C. Kornblum has a long record of service in the United States and Europe both as a diplomat and as a businessman. He is recognized as an eminent expert on U.S.-European political and economic relations, in particular in Central and Eastern Europe. He served as the U.S. Ambassador to Germany from 1997 to 2001. Before that, he occupied a number of high-level diplomatic posts, including U.S. Assistant Secretary of State for European affairs, Special Envoy for the Dayton Peace Process, U.S. Ambassador to the Organization for Security and Cooperation in Europe (Helsinki Process), Deputy U.S. Ambassador to NATO, and U.S. minister and deputy commandant of forces in divided Berlin. From 2001 to 2009, he was chairman of Lazard Freres Germany. He currently serves as senior counsellor to the international law firm Noerr LLP and as a senior adviser to the worldwide consultancy Accenture. Mr. Kornblum has also served on a number of supervisory and advisory boards including those of Thyssen-Krupp, Technologies AG, Bayer AG, Russell Reynolds, and Motorola Europe. He is a member of the boards of the American Chamber of Commerce in Germany, the American Academy in Berlin, the Deutsche Oper in Berlin, and of numerous nonprofit organizations on both sides of the Atlantic. He received a B.A. from Michigan State University in 1964, and he has been the recipient of many awards, including a Knights Cross of the Order of Merit from Germany and an Order of Merit from Austria. Dr. Liana Fix Liana Fix is a fellow for Europe at the Council on Foreign Relations (CFR). She is a historian and political scientist, with expertise in German and European foreign and security policy, European security, transatlantic relations, Russia, and Eastern Europe. She is also the author of A New German Power? Germany's Role in European Russia Policy (Palgrave Macmillan, 2021). Dr. Fix's work focuses on German domestic and foreign policy, the European Union, transatlantic relations, and Europe's relations with Russia and China.

Eugene Holmes (1932 – 2007), baritone supreme, should be remembered as one of the most significant voices of the Twentieth Century and a Black singer on a par with the most revered and celebrated. Though he participated in the creation of some important work (including by Gian Carlo Menotti, Gunther Schuller, and Frederick Delius), and performed with San Francisco Opera, the Wiener Staatsoper, New York City Opera, and the Metropolitan Opera Regional Company, his career remained centered for more than thirty years at his home company, the Deutsche Oper am Rhein. The rare recorded documents that we have of Eugene Holmes, including two self-produced LPs of spirituals and three different recordings of Delius's rare opera Koanga (two of them live), reveal a voice of rare magnitude, range, power, and sensitivity, qualities which made him one of the premier Verdi baritones of his day. But due to a number of factors, including his modesty and his unwillingness to travel far from home, he did not achieve the international recognition that he deserved. I have pulled together all of the recorded material of Eugene Holmes that I could find, and present excerpts from these varied sources. Guest vocalists appearing opposite Holmes include sopranos Claudia Lindsey, Gwyneth Jones, and Barbara Carter, and tenors János B. Nagy and Giorgio Aristo. In the production of this podcast, I was greatly aided by reminiscences provided by his colleagues Bonita Hyman, the German-based African American mezzo-soprano; Stephen Harrison, the retired musical director of the Deutsche Oper am Rhein; and Heribert Klein, member of the committee of UNICEF Deutschland, an organization to which Eugene Holmes was deeply committed. 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. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

Ben entführt euch in die Welt der Musik.

Małgorzata Picz pracuje w Brandenburskiej Orkiestrze Państwowej, Marek Picz śpiewa w chórze Deutsche Oper, a Alicja Picz studiuje historię na Uniwersytecie Humboldtów, choc z muzyką związana jest od dziecka. Wspólnie śpiewają, koncertują i nagrywają płyty. Na rozmowę zaprasza Monika Sędzierska Von Monika Sedzierska.

Für die kulturelle Vielfalt Berlins mit heute etwa noch drei Opernhäusern gibt es diverse Gründe. Einen davon kann man in dem Reichtum seiner Vorstädte ausmachen. Die heutige Deutsche Oper in der Bismarckstraße zum Beispiel ist die Nachfolgeinstitution des alten Deutschen Opernhauses Charlottenburg, mit dessen Eröffnung 1912 die bis 1920 eigenständige, überaus wohlhabende Gemeinde im Westen Berlins ihre kulturellen Ambitionen energisch unterstrich. Klar, dass eine derart selbstbewusste bürgerlich geprägte Kommune mit immerhin 300.000 Einwohnern auch über eigene eingesessene Presseorgane verfügte. Die Neue Zeit war und blieb auch nach der hier wenig beliebten Fusion zu Groß-Berlin eine Charlottenburger Tageszeitung, die in ihrer Ausgabe vom 7. November 1922 mit entsprechend lokalpatriotischem Stolz auf ‘ihr‘ Opernhaus blickt und dessen zehnjähriges Jubiläum zum Anlass nimmt, an den steilen Aufstieg Charlottenburgs von einer biederen Ackerbürgerstadt zur Kulturmetropole zu erinnern. Frank Riede stammt nicht aus Charlottenburg, er liest aber trotzdem.

Ena dagen står han på pulten under Skanstullsbron i Stockholm, andra dagen debuterar han vid anrika operahus ute i Europa. Christian Karlsen brinner för att förmedla musik oavsett tidsepok, plats och publik. Lyssna på alla avsnitt i Sveriges Radio Play. – Musik är det förstorade örats konst, säger dirigenten Christian Karlsen.Han är en engagerad förmedlare av ny musik men också en entusiasmerande förvaltare av de gamla klassikerna, som Haydn och Mozart. De senaste åren har han blivit ett allt mer välkänt ansikte genom sin medverkan i SVT:s Kontrapunkt. Christian Karlsen dirigerar regelbundet i Nederländerna och Storbritannien har bland annat turnerat i Asien med London sinfonietta. Precis innan pandemin bröt ut debuterade han på Deutsche Oper i Berlin och Frankfurt, och i det här programmet får vi följa med när han gör sin debut på Musikverein i Wien där han dirigerar uruppförandet av Chaya Czernowins verk Atara.Vi gör också nedslag vid festivalen Gränslandet under Skanstullsbron i Stockholm, i Umeå med norrskensmusik av Kaija Saariaho och i Eskilstuna, där skolungdomar får möta rysk avantgarde i form av Galina Ustvolskajas musik.I programmet medverkar förutom Christian Karlsen även kompositören och dirigenten George Benjamin, regissören Gunilla Johansson Gyllenspetz och skådespelaren Krister Henriksson.En dokumentär från 2022 av Kerstin Berggren.

Ena dagen står han på pulten under Skanstullsbron i Stockholm, andra dagen debuterar han vid anrika operahus ute i Europa. Christian Karlsen brinner för att förmedla musik oavsett tidsepok, plats och publik. Musik är det förstorade örats konst, säger dirigenten Christian Karlsen.Han är en engagerad förmedlare av ny musik men också en entusiasmerande förvaltare av de gamla klassikerna, som Haydn och Mozart. De senaste åren har han blivit ett allt mer välkänt ansikte genom sin medverkan i SVT:s Kontrapunkt. Christian Karlsen dirigerar regelbundet i Nederländerna och Storbritannien har bland annat turnerat i Asien med London sinfonietta. Precis innan pandemin bröt ut debuterade han på Deutsche Oper i Berlin och Frankfurt, och i det här programmet får vi följa med när han gör sin debut på Musikverein i Wien där han dirigerar uruppförandet av Chaya Czernowins verk Atara.Vi gör också nedslag vid festivalen Gränslandet under Skanstullsbron i Stockholm, i Umeå med norrskensmusik av Kaija Saariaho och i Eskilstuna, där skolungdomar får möta rysk avantgarde i form av Galina Ustvolskajas musik.I programmet medverkar förutom Christian Karlsen även kompositören och dirigenten George Benjamin, regissören Gunilla Johansson Gyllenspetz och skådespelaren Krister Henriksson.En dokumentär från 2022 av Kerstin Berggren.

Культура оживает! На премьере одной из самых классических версий Dornröschen в постановке Марсии Хайде не было ни одного пустого места и ни одной маски. Алена Колесникова беседует с первой солисткой Staatsballett Яной Саленко. Von Elena Wosowik.

Recognized by Opera News as “one of the finest singers of his generation,” American bass-baritone Ryan McKinny has earned his reputation as an artist with something to say. His relentless curiosity informs riveting character portrayals and beautifully crafted performances, reminding audiences of their shared humanity with characters on stage and screen. This season, McKinny brings his agile stage presence and comedic skill to performances of Mozart's Le nozze di Figaro on both U.S. coasts. He first appears as the titular Figaro in a Richard Eyre production at New York City's Metropolitan Opera, with an all-star cast that includes Golda Schultz, Lucy Crowe, Isabel Leonard, and Adam Plachetka. He then makes his Seattle Opera debut reprising the role in a Peter Kazaras production, under the baton of Alevtina Ioffe. In between productions – and coasts – McKinny joins collaborative pianist Kathleen Kelly for a recital at the Lied Center of Kansas, featuring works by Schumann, Debussy, Mahler, and Kurt Weill. In summer 2022, he joins the Boston Symphony at Tanglewood as the title character in Don Giovanni, with Andris Nelsons on the podium. He concludes the season with the Philadelphia Orchestra at Saratoga Performing Arts Center, appearing as soloist in Beethoven's Ninth Symphony with conductor Yannick Nézet-Séguin. Offstage, McKinny continues to adapt the beauty of his art form to the film screen, collaborating on a documentary with Jamie Barton and Stephanie Blythe. Through his work with Helio Arts, he commissions artists to write, direct, and film original stories, leveraging his personal power to help elevate new voices and visions in the classical performing arts world. During the pandemic, he has partnered with artists like J'Nai Bridges, Russell Thomas, John Holiday, and Julia Bullock to create stunning and innovative performances for streaming audiences at Dallas Opera, Houston Grand Opera, Lyric Opera of Chicago, On Site Opera, and the Glimmerglass Festival. McKinny's recent debut as Joseph De Rocher in Jake Heggie and Terrence McNally's Dead Man Walking at Lyric Opera of Chicago was hailed by the Chicago Tribune as an “an indelible performance...an acting tour de force buttressed by a warmly inviting voice.” He has also appeared as the title character in Don Giovanni (Washington National Opera, Lyric Opera of Chicago, Houston Grand Opera), Escamillo in Carmen (Semperoper Dresden, Deutsche Oper Berlin, Staatsoper Hamburg, Houston Grand Opera), and Mozart's Figaro (Washington National Opera, Wolf Trap Opera, Houston Grand Opera). McKinny made a critically acclaimed Bayreuth Festival debut as Amfortas in Parsifal, a role he has performed around the world, including appearances at Argentina's Teatro Cólon, Deutsche Oper am Rhein, and Dutch National Opera. Other Wagnerian roles include Kurwenal in Tristan und Isolde (Deutsche Oper Berlin, Houston Grand Opera, Canadian Opera Company), Biterolf in Tannhäuser and Kothner in Die Meistersinger von Nürnberg, both at the Metropolitan Opera, Wotan in Opéra de Montréal's Das Rheingold, Donner/Gunther in Wagner's Ring cycle (Washington National Opera, Boston Symphony Orchestra, Houston Grand Opera), and the titular Dutchman in Der fliegende Holländer (Staatsoper Hamburg, Milwaukee Symphony, Glimmerglass Festival, Hawaii Opera Theater). McKinny is a frequent guest artist at Los Angeles Opera, where he has sung Count Alamaviva in Le nozze di Figaro, Don Basilio in Il barbiere di Siviglia, and Stanley Kowalski in Previn's A Streetcar Named Desire, opposite Renée Fleming as Blanche DuBois, and at Santa Fe Opera, where he has appeared as Jochanaan in Salome and Oppenheimer in Doctor Atomic. An alumnus of the Houston Grand Opera Studio, Mr. McKinny has made a number of important role debuts on the HGO mainstage, including the iconic title roles of Don Giovanni and Rigoletto. McKinny is a long-time artistic collaborator of composer John Adams and director Peter Sellars, having appeared in Sellars productions of Adams' Girls of the Golden West (San Francisco Opera, Dutch National Opera) and Doctor Atomic (Santa Fe Opera), in addition to Adams' Nixon in China with the Los Angeles Philharmonic. He has also performed under Sellars' direction in Stravinsky's Oedipus Rex (Sydney Festival), Tristan und Isolde (Canadian Opera Company), and Shostakovich's Orango with the London Philharmonia and Los Angeles Philharmonic, the latter comprising Esa-Pekka Salonen's final concerts as music director. Other recent orchestral engagements include Beethoven's Symphony No. 9 and a double bill of Michael Tilson Thomas' Rilke Songs and Mahler's Des Knaben Wunderhorn with San Francisco Symphony, Mahler's Symphony No. 8 and Bernstein's Mass with Gustavo Dudamel and the Los Angeles Philharmonic, Beethoven's Symphony No. 9 with Cleveland Orchestra and National Symphony, Rossini's Stabat Mater at Grant Park Music Festival, Britten's War Requiem with Marin Alsop and Baltimore Symphony Orchestra, and Oedipus Rex with Chicago Symphony. McKinny benefited from early educational opportunities at the Aspen Music Festival, where he sang his first performance of Winterreise accompanied on the piano by Richard Bado, and at the Wolf Trap Opera Company, where he sang Barone di Kelbar in Verdi's Un giorno di regno, Le Gouverneur in Rossini's Le comte Ory and Figaro in Le nozze di Figaro. McKinny made his Carnegie Hall debut in Handel's Messiah with the Musica Sacra Orchestra while still a student at the Juilliard School. The first recipient of Operalia's Birgit Nilsson Prize for singing Wagner, McKinny has also received the prestigious George London-Kirsten Flagstad Award, presented by the George London Foundation to a singer undertaking a significant Wagnerian career. McKinny represented the United States in the 2007 BBC Cardiff Singer of the World Competition, where he was a finalist in the Rosenblatt Recital Song Prize, and he was a Grand Finalist in the 2007 Metropolitan Opera National Council Auditions, captured in the film The Audition.

Bei der Hochzeit zwischen Sophie Eleonore von Sachsen und dem Landgrafen Georg II von Hessen-Darmstadt fand die Uraufführung der ersten deutschen Oper statt.

heute u.a. Deutsch-russische Schriftstellerin Lena Gorelik zählt "Tage des Krieges"; Deutsche Oper am Rhein streicht Moskauer Inszenierung; Armin Nassehis erklärt den "Ausnahmezustand"; Service Kino: "The Batman" und "Cyrano"; Moderation: Stefanie Junker. Von Stefanie Junker.

The Unfolding War in Europe Ambassador John Kornblum Former U.S. Ambassador to Germany and Assistant Secretary of State for European Affairs March 2, 2022 @ 10:00 a.m. CT with moderator Dr. Breck Walker Ambassador John C. Kornblum has a long record of service in the United States and Europe both as a diplomat and as a businessman. He is recognized as an eminent expert on U.S.-European political and economic relations, in particular in Central and Eastern Europe. He served as the U.S. Ambassador to Germany from 1997 to 2001. Before that, he occupied a number of high-level diplomatic posts, including U.S. Assistant Secretary of State for European affairs, Special Envoy for the Dayton Peace Process, U.S. Ambassador to the Organization for Security and Cooperation in Europe (Helsinki Process), Deputy U.S. Ambassador to NATO, and U.S. minister and deputy commandant of forces in divided Berlin. From 2001 to 2009, he was chairman of Lazard Freres Germany. He currently serves as senior counsellor to the international law firm Noerr LLP and as a senior adviser to the worldwide consultancy Accenture. Mr. Kornblum has also served on a number of supervisory and advisory boards including those of Thyssen-Krupp, Technologies AG, Bayer AG, Russell Reynolds, and Motorola Europe. He is a member of the boards of the American Chamber of Commerce in Germany, the American Academy in Berlin, the Deutsche Oper in Berlin, and of numerous nonprofit organizations on both sides of the Atlantic. He received a B.A. from Michigan State University in 1964, and he has been the recipient of many awards, including a Knights Cross of the Order of Merit from Germany and an Order of Merit from Austria. Dr. Breck Walker Breck Walker received his PhD in Diplomatic History from Vanderbilt in 2007. His dissertation was on the foreign policy of the Carter administration. He taught at Sewanee, the University of the South, 2007-2012, and on the University of Virginia's Semester at Sea Program in Spring 2013 and Fall 2015. He worked as a historian in the Historical Office of the Office of Secretary of Defense 2013-2016, researching and writing a book on early Pentagon cyber policy. Prior to becoming a history professor, Breck worked for twenty years as an investment banker, the last ten as co-head of the Corporate Finance Group at J.C. Bradford & Co in Nashville. He has an undergraduate degree from the University of Texas, and J.D. and M.B.A. degrees from Stanford University. Breck serves as a Member of the Board of Directors of the Tennessee World Affairs Council.

TNWAC's Global Dialogue speaker series brings insights, perspectives and analyses difficult to come by. We present leading figures in diplomacy, business, military affairs, think tanks, NGOs and elsewhere to help you understand important issues in global affairs. Today we present Ambassador John C. Kornblum War has come. The first major ground invasion of a country in the heart of Europe – cradle of two World Wars – since WWII. Putin has set fire to Ukraine. Moscow has signaled a ferocious attack and tens of thousands of civilians may be casualties. The potential for refugee flows into Eastern Europe is staggering. NATO is ramping up reinforcement of its Eastern flank. Stock markets are plunging. Oil prices are skyrocketing. For insights and analysis join TNWAC at a live virtual event with Ambassador John Kornblum, preeminent U.S. diplomatic and business voice on European affairs, NATO and U.S. interests. Ambassador John C. Kornblum has a long record of service in the United States and Europe both as a diplomat and as a businessman. He is recognized as an eminent expert on U.S.-European political and economic relations, in particular in Central and Eastern Europe. He served as the U.S. Ambassador to Germany from 1997 to 2001. Before that, he occupied a number of high-level diplomatic posts, including U.S. Assistant Secretary of State for European affairs, Special Envoy for the Dayton Peace Process, U.S. Ambassador to the Organization for Security and Cooperation in Europe (Helsinki Process), Deputy U.S. Ambassador to NATO, and U.S. minister and deputy commandant of forces in divided Berlin. From 2001 to 2009, he was chairman of Lazard Freres Germany. He currently serves as senior counsellor to the international law firm Noerr LLP and as a senior adviser to the worldwide consultancy Accenture. Mr. Kornblum has also served on a number of supervisory and advisory boards including those of Thyssen-Krupp, Technologies AG, Bayer AG, Russell Reynolds, and Motorola Europe. He is a member of the boards of the American Chamber of Commerce in Germany, the American Academy in Berlin, the Deutsche Oper in Berlin, and of numerous nonprofit organizations on both sides of the Atlantic. He received a B.A. from Michigan State University in 1964, and he has been the recipient of many awards, including a Knights Cross of the Order of Merit from Germany and an Order of Merit from Austria.

The Tennessee World Affairs Council in association with the American Council on Germany and Belmont University Center for International Business, and the Nashville Area Chamber of Commerce GLOBAL TOWN HALL Russia's Threat to Ukraine: The Crisis Unfolds -- Ambassador John Kornblum Former U.S. Ambassador to Germany and Assistant Secretary of State for European Affairs February 15, 2022 @ 10:00 a.m. CT with Moderator Dr. Steven E. Sokol President, American Council on Germany This special event is free but please consider becoming a member or making a donation when you register. Thank you. The conversation will be guided by the President of the American Council on Germany, Steven Sokol. -- Ambassador John C. Kornblum has a long record of service in the United States and Europe both as a diplomat and as a businessman. He is recognized as an eminent expert on U.S.-European political and economic relations, in particular in Central and Eastern Europe. He served as the U.S. Ambassador to Germany from 1997 to 2001. Before that, he occupied a number of high-level diplomatic posts, including U.S. Assistant Secretary of State for European affairs, Special Envoy for the Dayton Peace Process, U.S. Ambassador to the Organization for Security and Cooperation in Europe (Helsinki Process), Deputy U.S. Ambassador to NATO, and U.S. minister and deputy commandant of forces in divided Berlin. From 2001 to 2009, he was chairman of Lazard Freres Germany. He currently serves as senior counsellor to the international law firm Noerr LLP and as a senior adviser to the worldwide consultancy Accenture. Mr. Kornblum has also served on a number of supervisory and advisory boards including those of Thyssen-Krupp, Technologies AG, Bayer AG, Russell Reynolds, and Motorola Europe. He is a member of the boards of the American Chamber of Commerce in Germany, the American Academy in Berlin, the Deutsche Oper in Berlin, and of numerous nonprofit organizations on both sides of the Atlantic. He received a B.A. from Michigan State University in 1964, and he has been the recipient of many awards, including a Knights Cross of the Order of Merit from Germany and an Order of Merit from Austria. Steven E. Sokol is the President of the American Council on Germany. Previously, he served as President and CEO of the World Affairs Council of Pittsburgh and prior to that he was the Vice President and Director of Programs at the American Council on Germany. Earlier in his career, Steve served as the Deputy Director of the Aspen Institute Berlin, was the Head of the Project Management Department at the Bonn International Center for Conversion GmbH (BICC), and a Program Officer in the Berlin office of the German Marshall Fund of the United States. He holds a Doctorate in Law and Policy from Northeastern University as well as an M.A. in International Relations and International Economics from the Johns Hopkins University's Paul Nitze School of Advanced International Studies (SAIS) and a B.A. from Wesleyan University. He has also studied at the Ruprecht-Karls-Universität in Heidelberg and as a Fulbright Scholar at the Freie Universität in Berlin.

Oratorien auf der Opernbühne? Bereits Händel bewies: Oratorien sind Opern im anderen Gewand. Aber Bachs Weihnachtsoratorium als Oper? Mehrere Bühnen bringen nun szenische Fassungen heraus, so auch die Deutsche Oper am Rhein. Ein Besuch.Von Stefan Keimwww.deutschlandfunkkultur.de, Rang 1Direkter Link zur Audiodatei

Wieso kaufen Fachbesucher auf der Buchmesse Frankfurt eher Romance, während an den Publikumstagen Fantasy gefragt ist? Tamara diskutiert ihre Beobachtungen mit Vera und dabei stoßén die Zwei tiefer in die Eigentümlichkeiten der verschiedenen Genres und deren Fans vor. Muss ich mich als Autorin je nach Genre anders darstellen? Wie ändert sich der Umgang mit den Leserinnen und Lesern, wenn ich Krimis schreibe? Vera und Tamara diskutieren wie immer voller Leidenschaft und stoßen in Welten vor, die sie noch zuvor betreten haben.Links:Die Zwei auf Twitter - https://twitter.com/talkstelleVera bei 'Buch und Bühne' https://open.spotify.com/episode/54Lrna2A9wRlZfN5ekZ1U1Zeitungsbericht zu Veras Kabarettauftritt - https://www.pressreader.com/germany/rheinische-post-kleve/20211103/282218014013649Infos zu Lady's Crime Night mit Vera - https://vera-nentwich.de/termineDing der WocheTamaras Ding der Woche - "Evita" im Saarländischen Staatsstheater:https://www.staatstheater.saarland/stuecke/musiktheater/detail/evitaVeras Ding der Woche - "Der Nussknacker" in Düsseldorf, Deutsche Oper am Rhein:https://operamrhein.de/de_DE/termin/der-nussknacker.16834154Vielen Dank, dass du unsere Show hörst. Hast du sie schon abonniert? Bitte gib uns auch eine Bewertung, wo immer du uns hörst. Seit Neuestem geht dies auch bei Spotify.Abonniere unseren Newsletter unter http://eepurl.com/hoJYfDFolge uns:Facebook https://www.facebook.com/dzvdtInstagram https://www.instagram.com/dzvdt/Twitter https://twitter.com/Talkstelle

Steinunn Ragnarsdóttir, óperustjóri Íslensku óperunnar kom í þáttinn. Við fengum að vita hvernig árið hefur verið í kófinu fyrir Íslensku óperuna og hvernig veturinn og dagskráin verður framundan. Hann var ansi óheppin hann Ólafur Kjartan Sigurðarson óperusöngvari, eins og hægt var að lesa í facebookfærslu hans frá 23 september sl. "Ég var álíka kátur að mæta í fyrsta skipti til vinnu í Deutsche Oper og þegar ég fyrst mætti í Bayreuth.(Bærojt) Stór draumur að rætast. En, tveimur klukkustundum eftir að þessi mynd var tekin í gær var ég kominn í sjúkrabíl með hnén í maski eftir ömurlegt slys. Og í stað þess að mæta á fyrstu sviðsæfingu á Ragnarökum í dag bíð ég aðgerðar í kvöld." Við slógum á þráðinn til Ólafs til Berlínar og heyrðum hvað gerðist í rauninni og hvernig staðan væri hjá honum, t.d. uppá verkefni hans á næstu mánuðum. Gunnar Hrafn Jónsson kom í þáttinn í dag með nýja dagskrárliðinn Skrýtin veröld, sem verður hjá okkur annan hvern miðvikudag. Þar finnur hann skrýtnar, skemmtilegar og umfram allt áhugaverðar fréttir víðs vegar að og flytur okkur. Í dag sagði hann okkur frá trúðaskorti á Norður Írlandi, frá dularfulla fjárfestinum Mr. Goxx, vandræðalegum mistökum hjá gervigreind Facebook og svo frá Ig Nobel verðlaununum sem voru afhent á dögunum, samhliða sjálfum Nóbelsverðlaununum, en þessi fyrrnefndu verðlauna sem sagt óvenjulegar, furðulegar og jafnvel asnalegar rannsóknir. UMSJÓN GUÐRÚN GUNNARSDÓTTIR OG GUNNAR HANSSON

Steinunn Ragnarsdóttir, óperustjóri Íslensku óperunnar kom í þáttinn. Við fengum að vita hvernig árið hefur verið í kófinu fyrir Íslensku óperuna og hvernig veturinn og dagskráin verður framundan. Hann var ansi óheppin hann Ólafur Kjartan Sigurðarson óperusöngvari, eins og hægt var að lesa í facebookfærslu hans frá 23 september sl. "Ég var álíka kátur að mæta í fyrsta skipti til vinnu í Deutsche Oper og þegar ég fyrst mætti í Bayreuth.(Bærojt) Stór draumur að rætast. En, tveimur klukkustundum eftir að þessi mynd var tekin í gær var ég kominn í sjúkrabíl með hnén í maski eftir ömurlegt slys. Og í stað þess að mæta á fyrstu sviðsæfingu á Ragnarökum í dag bíð ég aðgerðar í kvöld." Við slógum á þráðinn til Ólafs til Berlínar og heyrðum hvað gerðist í rauninni og hvernig staðan væri hjá honum, t.d. uppá verkefni hans á næstu mánuðum. Gunnar Hrafn Jónsson kom í þáttinn í dag með nýja dagskrárliðinn Skrýtin veröld, sem verður hjá okkur annan hvern miðvikudag. Þar finnur hann skrýtnar, skemmtilegar og umfram allt áhugaverðar fréttir víðs vegar að og flytur okkur. Í dag sagði hann okkur frá trúðaskorti á Norður Írlandi, frá dularfulla fjárfestinum Mr. Goxx, vandræðalegum mistökum hjá gervigreind Facebook og svo frá Ig Nobel verðlaununum sem voru afhent á dögunum, samhliða sjálfum Nóbelsverðlaununum, en þessi fyrrnefndu verðlauna sem sagt óvenjulegar, furðulegar og jafnvel asnalegar rannsóknir. UMSJÓN GUÐRÚN GUNNARSDÓTTIR OG GUNNAR HANSSON

Checking in mit Enrico Palvarini Ex Profi Balletttänzer und Selbständig als Pilates Trainer in eigener Praxis in Berlin Thema in dieser Mental Power Podcast Folge: Welchen Stress ein Profi Baletttänzer in der Tanzschule und im Theater erlebt Über die eigene hohe Erwartung, körperlich sowie mental immer fit zu sein und es auch zu bleiben Wie man es schafft, immer hoch konzentriert zu sein, um Verletzungen vorzubeugen Wie Pilates die körperliche Leistungsfähigkeit unterstützt Sportlicher Hintergrund Enrico ist in Verona, Italien geboren. Als Profi Balletttänzer hat er als Solist in Ballettkompanien wie: Ballett der Deutsche Oper am Rhein, Theater Gelsenkirchen, Theater Halle, Theater Dessau, Deutsche Oper Berlin, Theater Dresden, Theater Chemnitz, Gregor Seyffert Compagnie getanzt. Im Jahr 2013 nahm er an dem Trainingsprogramm STOTT PILATES® in München teil und ist derzeit zertifizierter STOTT PILATES® Instructor. 1996 Ballettschule Akademie de Danse (Monte Carlo) 1999 erster Job als Profi Tänzer in Düsseldorf 2007 Nominierung für "prix benois de la Danse" 2007 bis 2013 verschiedene Hauptrollen getanzt Dienstleistungen die Enrico anbietet: STOTT Pilates Unterricht ____________________________________________ https://www.facebook.com/PilatesStudioBerlin https://www.pilatesstudioberlin.com ___________________________________________ Wenn du Fragen hast, melde dich gern bei mir. kontakt@seyffardt.de

Nicht nur die Deutsche Oper feierte an diesem Wochenende Premiere, auch die Staatsoper meldete sich am Sonntag zurück mit Puccini und seiner Oper "La fanciulla del West": Einer Wild-West-Oper, die sehr selten aufgeführt wird. Von Maria Ossowski

Renato Palumbo made his debut at just 18 years of age, conducting a full performance of Verdi's Il Trovatore. It was an auspicious start for the Italian conductor, who would go on to become one of the world's leading Verdi conductors.   Since then, Palumbo has worked with most of the world's great opera companies, including the Deutsche Oper in Berlin, where he was appointed Music Director, and Opera Australia, having conducted our productions of Attila, Anna Bolena, Rigoletto, Verdi's Requiem, La Traviata and Simon Boccanegra.   In 2021, Palumbo conducted our production of Ernani. In this conversation with our Artistic Director, Lyndon Terracini, Palumbo talks about tackling Verdi's breakthrough opera for a contemporary audience, and what he learns from conducting Verdi every day. He also talks about his extraordinary debut and what drew him to music in the first place.

Guter Brandschutz und Sicherheitstechnik können Leben retten. Seit fast 120 Jahre gibt es das Familienunternehmen Fritz Manke in fünfter Generation. Das Unternehmen verkauft ganzheitlichen Brandschutz und Sicherheitstechnik sowohl an Firmen als auch an Privatpersonen. Ein Kunde ist beispielsweise die Deutsche Oper am Rhein in Düsseldorf. Neben diesem Kerngeschäft betreibt das Unternehmen eine Akademie mit Weiterbildungen zu den Themen Sicherheit, Gesundheit, Digitale Transformation und Management. In unserer Podcastfolge am Freitag spricht Lisa Marie Schelig mit Michaela Peiffer von der Firma Fritz Manke. Die Beiden unterhalten sich über Tipps und Trends in Sachen Brandschutz. Spannend ist auch, wie sich das Traditionsunternehmen den neuen Herausforderungen stellt. Wir freuen uns, Sie zu unserem beliebten Wirtschaftspodcast aus Düsseldorf begrüßen zu können. Im Programm Expertengespräche, News aus den Unternehmen und der Wirtschaft, wichtige Termine und die „letzten Worte“. Keine Phrasen, kein Infotainment. Neugierig gehen wir den Dingen auf den Grund, erklären Zusammenhänge und berichten über Hintergründe. Unseren Podcast hören Sie auf den gängigen Podcast-Plattformen ITunes und Spotify und auf www.unternehmerschaft.de.

Thomas Hinterberger is a solo ballet dancer at the Opera National Du Rhin (ONDR) in Mulhouse, France. He got his diploma in ballet dancing from the Academy For Dance and Music in Munich, Germany, in 2001 and he holds a professorship in classic dance and music since 2018.Born in 1980 in Munich (Germany), he trained as a dancer at the Heinz-Bosl-Stiftung in Munich with Konstanze Vernon, Hans-Joachim Mets and Alexander Prokofiev. From 1999 to 2001, he participated in productions with the Bayerisches Staatsballet Munich. He joined the Deutsche Oper am Rhein Düsseldorf in 2001 and he danced Swan Lake, West Side Story, Coppélia et Casse-noisette by Youri Vamos. He joined the Ballet de l'OnR in September 2006.Principal roles: Dichterliebe by Bertrand d'At; Le Marteau sans maître by Maurice Béjart; La Sylphide (Gurn) by August Bournonville version Dinna Bjørn; Immanence by Andonis Foniadakis; Giselle (pas de deux from the grape pickers) Maina Gielgud version, Wedding by Jacopo Godani; Don Quixote by Rui Lopes Graça; Walking Mad and Empty House by Johan Inger; Sinfonietta by Jirí Kylián; Heinz Spoerli's Goldberg Variations; Last Pieces by Anybody and The Nutcracker (Franz) by Jo Strømgren; Pinocchio by Ivan Cavallari; Nó by Deborah Colker,La Strada by Mario Pistoni (Il Matto), Untouched by Aszure Barton, The Rite of Spring by Stephan Thoss, In the Dark Sky, Ed Wubbe, Quintett by William Forsythe (Thomas), Chaplin by Mario Schröder ( Diktator), The Heart of my Heart by Gil Harush, Bless-so-be-IL by Bruno Bouché. And a lot more...He was appointed soloist in January 2018.I think, it is safe to say that this was one of the most challenging years in the history of the ONDR as it had to cancel large parts of this year's season due to the covid pandemic.The performing arts - and especially dance with its necessity of physical proximity and touch - are quite possibly hit the hardest under the lockdowns and as seats remain empty. How all of this affected the opera, ensemble, and Thomas in particular and what this means for the new year and the new season, we will talk about today.SHOW NOTESThomas' CVThomas on LinkedInThomas on InstagramThomas on SzenikmagOpera National Du RhinSaison OFFONR on YouTube"Chaplin" extractPortrait of Choreographer Heinz SpoerliGoldberg Variations, Bayerisches StaatsballetEinstürzende Neubauten"Dance Me To The End Of Love" by Leonard CohenGet Jim's song "Love In The Face Of Fear"This podcast is a Mind The Bump ProductionSupport the show (https://www.buymeacoffee.com/yellowvan)

At Canada’s National Academy of Dance Education, we believe lesson planning is an important part of every dance teacher’s training, which is why, not only do we publish a DANCE EDUCATORS’ PLANNER designed to help dance educator’s plan out their year, but we also include the topic in Part 1 of our Dance Teacher Training Program. Why is planning, progression and goal setting important? We will discuss its value today in and how it allows our dancers to achieve the fullest extent of their talents. Enlightening us with his experience and knowledge on the topic of motivating our dancers through goal setting is the Artistic Director of the West Australian Ballet Mr. Aurélien Scannella. GUEST: Aurelien is a Belgian born dancer, ballet master, choreographer and director. He completed his training at the prestigious Royal Ballet School of Flanders and was subsequently accepted into the Royal Ballet of Flanders. After three years in Flanders he was appointed as a Soloist at Deutsche Oper am Rhein, and then promoted to the role of Principal Dancer the State Theatre Wiesbaden, Deutsche Oper Berlin and Ballett Basel. In 2008, he retired from dancing to focus on teaching. Quickly, Aurélien became one of the most sought after Ballet Masters on the market working with some of the best companies around the world such as Dutch National Ballet, Finnish National Ballet, Royal Swedish Ballet and Hong Kong Ballet. Aurélien took the helm as West Australian Ballet’s Artistic Director in 2013 and has since developed the West Australian Ballet into a versatile and diverse 21st-century company with a total of nine nationalities represented within the company. Disclaimer: Any and all ideas and information presented in the following podcast are those of the presenter. The presenter is not an employee or representative of Dance Education Canada Inc. (“DEC”) and is participating in this podcast on a voluntary basis. The ideas and information they express do not necessarily represent the views of the DEC or its partners, employees or affiliates. The ideas and information expressed herein are for general educational purposes only. DEC makes no representations about the accuracy or suitability of this content. They should not necessarily be applied to specific individual situations. DEC recommends consulting an expert or professional regarding specific medical, legal or business concerns.

Our guest today was born Frankfurt where she began her ballet-training. She was further trained in Munich at the Heinz Bosl Stiftung and the dance academy in Mannheim.For over 20 years she worked as a dancer at the Staatsoper and the Deutsche Oper in Berlin, for Introdanse in Arnheim and for the Scapino Ballet in Rotterdam.Since 2012 she has been working as a free lance ballet master and coach for Scapino Ballet and the Holland Dans Festival to only name a few.Today, she is based in Berlin and works in production and artist management.A warm welcome to our guest: Nicole Kohlmann!===https://www.nicolekohlmann.com/===Find out more about career change for professional dancers at ME IN TEN YEARS. === Photographer: Bryndis Brynjolfsdottir

Francisco Sanchez MartinezTel.: 0171 - 899 14 65Email: francisco.sanchez@gmx.dehttp://www.francisco-sanchez.deCurriculum VitaeTätigkeit als Choreograf(*Choreografisches Profil)Pädagogische Tätigkeitenseit März 2014 Künstlerische Leitung des “In Time!” Tanztheaters Berlinim Tanzhaus Berlin Mitteseit Juli 2013 Freiberufliche Tätigkeit als Choreograf an Schulen fürInklusion-Emigration-Projekte, Berlin2010 - 2013 Ballettdirektor und Chefchoreograf des Theaters Lüneburg2003 - 2018 Freiberufliche choreografische und pädagogische Tätigkeitseit März 2017 Freiberufliche Tätigkeit als Dozent für Tanztheater für dieTheater AG an der “Schule am Bienwaldring”,Sonderpädagogisches Förderzentrum Berlinseit Sept. 2016 Freiberufliche Tätigkeit als Tanzpädagoge für Inklusions-Tanztheater-Projekte an der “Grundschule am Rüdesheimer Platz”, Berlinseit 2015 Freiberufliche Tätigkeit als Dozent für Bewegungskoordination,Feinmotorik, Rhythmik, Kreativität, Raumwahrnehmung und sozialesVerhalten am “Sonderpädagogischen FörderzentrumFinkenkrug-Schule”, Berlinseit Juli 2013 Freiberufliche Tätigkeit als Tanzpädagoge für Ballett, Jazz undzeitgenössischen Tanz an der “Fanny Hensel Musikschule”, BerlinPersönliche DatenGeboren: 14.12.1965 in Zürich (Schweiz)Nationalität: SpanischSprachen: Deutsch - MutterspracheEnglisch - Gut in Wort und SchriftSpanisch - Gut in Wort und SchriftItalienisch - Erweiterte GrundkenntnisseTätigkeit als TänzerBerufsausbildungArbeit mit zahlreichen Choreografen, u.a. Uwe Scholz, Heinz Spoerli, Hans van Manen,Paolo Bortoluzzi, Germinal Casado, Erich Walter, David Pool, Peter Breuer,José de Udaeta, Irene Schneider, Nick Navarro, Jürg Burth1995 - 2004 Friedrichstadtpalast, Berlin1991 - 1995 Vereinigte Städtische Bühnen Krefeld und Mönchengladbach1988 - 1991 Deutsche Oper am Rhein, Düsseldorf1987 - 1988 Capab Ballett, Kapstadt, Südafrika1985 - 1987 Staatstheater Nürnberg1984 - 1985 Badisches Staatstheater, Karlsruhe2002 - 2006 Studium an der Hochschule für Schauspielkunst “Ernst Busch”, BerlinStudiengang Choreografie, Pädagogik und Regie beiProf. Dietmar SeyffertAbschluss mit Auszeichnung1983 - 1984 Hochschule für Musik, Heinz Bosl - Stiftung, MünchenStipendiat der Migros-Stiftung, Tanzstipendium der Stadt Zürich1975 - 1983 Ballettakademie ZürichFebruar 2020Freie choreografische Arbeiten seit 201409/2019 “Maske in Blau”, MusicalChoreografie für den Titel: “Ja, das Temperament”Aufführung 22.09.19, Atze Musiktheater Berlin09/2019 “Töne, Tänze, Tempramente”Da Capo, das Jahreskonzert der Musikschule Fanny Hensel, BerlinAufführung am 22.09.19 im Atze Musiktheater, BerlinRegie Francisco Sanchez MartinezSzenen - Ausschnitt 3. Akt aus der Oper “Orpheus und Eurydike”06/2019 Projektwoche Tanztheater intensivMit 24 Schülern und Schülerinnen derGrundschule am Rüdesheimer PlatzPräsentation 03. - 06.06.201905/2019 Einstudierung schwedischer Volkstänze mit demKammerorchester “Unter den Linden”Rudolf Steiner Haus, Berlin05/2019 “LUCKY PUNCH”Ballett GalaChoreografie Francisco Sanchez MartinezAufführung am 05.05.2019, Werkstatt der Kulturen, Berlin03/2019 “FREMD-SEIN”In-Time TanztheaterRegie und Choreografie Francisco Sanchez MartinezAufführung am 31.03.2019, Pfefferberg Theater, Berlin10/2018 “THE WELCOME SYMPHONY”Ein Projekt mit Schülern aus Willkommensklassen verschiedenerBerliner Schulen in Kooperation mit dem Kammerorchester“Unter den Linden”Leitung und Choreografie Francisco Sanchez MartinezAufführung am 09.10.2018, Fontane-Haus, Berlin07/2018 “Musical Moments”Da Capo, das Jahreskonzert der Musikschule Fanny Hensel, BerlinAufführung am 01.07.18 im Atze Musiktheater, BerlinRegie u. Lichtdesign Francisco Sanchez MartinezChoreografie “Tea for Two” aus dem Musical “No, No Nanette”06/2018 “DER FROSCHKÖNIG”Kinderballett - getanzt von ca. 100 SchülerInnen der MusikschuleFanny Hensel, BerlinAufführung am 03. Juni im Pfefferberg Theater, BerlinInszenierung, Bühnenbild u. Lichtdesign FranciscoSanchez MartinezChoreografie Kati Burchart u. Francisco Sanchez MartinezChoreografisches Profil10/2017 “THE WELCOME SYMPHONY”Projekt mit und für geflüchtete SchülerInnenKooperation zwischen dem Kammerorchester “Unter denLinden” e.V. und dem Bezirksamt Reinickendorf, BerlinWorkshop - Leitung und Choreografie Francisco Sanchez MartinezAufführung am 19.10.2017, Ernst - Reuter - Saal, Berlin07/2017“HEIMAT”Theater AG der Schule am Bienwaldring, Berlin mit demFörderschwerpunkt “Geistige Entwicklung”Regie und Choreografie - Markus Müller Film und CuttingAufführung am 27.09.17 in der TU Berlin05/2017 “DAS ZAUBERSCHLOSS”Kindertanzstück von Kindern für Kinder und ElternAufführung am 13.05.17, Pfefferberg Theater, BerlinIdee, Choreografie und Texte Kati Burchart und FranciscoSanchez Martinez07/2017 “ZAHLEN BEWEGEN”Da Capo - das Jahreskonzert der Musikschule Fanny Henselmit 240 MitwirkendenAufführung am 16. Juli im ATZE Musiktheater, BerlinKonzept, Regie und Choreografie06/2017 “WIR, DU UND ICH”Aufführungsprojekt mit Inklusion - Klassen der Finkenkrug Schule undder Grundschule am Rüdesheimer Platz, BerlinAufführung am 22. und 29. Juni in der Aula der Grundschule amRüdesheimer Platz, BerlinKonzept und Choreografie03/2017 “UNEXPECTED”Aufführung des In Time Tanztheaters im Pfefferberg Theater, BerlinIdee und Choreografie07/2016 “BITTE ANSCHNALLEN”Jahreskonzert “Da Capo” der Musikschule “Fanny Hensel”,ATZE Musiktheater BerlinGesamtregie, Textbuch, Choreografie04/2016 “FUNNY-FAMILY-MITMACH-SINFONIE”Choreografie für das Projekt des “SonderpädagogischesFörderzentrum Finkenkrug-Schule”, BerlinAufführung im Kammermusiksaal der Berliner Philharmonie09/2015 “STARS”Inszenierung und Choreografie, zeitgenössisches TanztheaterNordharzer Städtebundtheater, Kammerbühne Halberstadtund Kammerbühne Quedlinburg07/2015 “TANZ DER SCHWÄNE”ChoreografieBallettgala der Musikschule “Fanny Hensel”, Berlin05/2015 “COOL SCHOOL SYMPHONY”Inszenierung und ChoreografieEin preisgekröntes Projekt des “SonderpädagogischenFörderzentrum Finkenkrug-Schule”, Berlin und desKammerorchesters “Unter den Linden”, BerlinAufführung in der Philharmonie, BerlinInszenierung und ChoreografieNordharzer Städtebundtheater, Halberstadt und Quedlingburg01/2015 “IM WEIßEN RÖSSL”ChoreografieStadttheater Klagenfurt, Regie: Aron Stiehl06/2014 “GUTE NACHT”Ballettgala mit Schülerinnen des Tanzhaus Berlin MitteChoreografie, Aufführung Russisches Haus, Berlin05/2014 “PREPARATORY NOTES FOR A CHICAGO COMEDY”Produktion Goshka Macuga, Choreografische Mitarbeitund Performance8. Berlin Biennale für zeitgenössische Kunst09/2014 “OPHELIAS SCHATTENTHEATER”Gemeinschaftsprojekt der Musikschule Fanny Henselund der Wilhelm-Hauff-Grundschule, BerlinChoreografie des Teilstückes “Begegnung mit dem Tod”Atze Musiktheater, Berlin09/2014 “STRAWINSKY - ABEND”Inszenierung und ChoreografieNordharzer Städtebundtheater, Halberstadt u. Quedlingburg06/2013 “WORK IN PROGRESS”, 2. Stück, Tanztheater “Black out”06/2013 “ZAR UND ZIMMERMANN”, Spieloper05/2013 “ZWISCHENTANGO”, moderner Ballettabend05/2013 “SEHT MICH AN!”, Tanztheater01/2013 “AUF DEM SEIL”, Ballettabend mit Orchester09/2012 “DER FROSCHKÖNIG”, Ballett für Kinder06/2012 “WORK IN PROGRESS”, 1. Stück, Tanztheater “Black out”05/2012 “100% TANZWERK”, moderner Ballettabend01/2012 “BEWEGENDE ZEITEN”, Ballettabend mit Orchester09/2011 Künstlerische Leitung des Tanztheaters “Black Out”mit Laientänzern ab 45 Jahren08/2011 “DER ZAUBERLEHRLING”, Ballett für Kinder05/2011 “ZWISCHENTRÄUME@DIALOG.DE”, moderner BallettabendChoreografische Arbeiten/ Produktionen am Theater Lüneburg02/2011 Künstlerische Leitung “TANZLABOR”,zeitgenössische Choreografien des BallettensemblesTheater Lüneburg01/2011 “BACHGEFLÜSTER”, Ballettabend mit Orchester11/2010 “AIDA”, Musical, Regie Iris Gerath-Prein09/2010 “DES KAISERS NEUE KLEIDER”, Ballett für KinderTrainingSonstigesseit Juli 2013 Tanzpädagoge für Ballett, Jazz und zeitgenössischen Tanzan der “Fanny Hensel Musikschule”, Berlin2010/11 Ballett- und Moderntraining für das BallettensembleTheater Lüneburg2009 Ballett-Training für Studenten der Hochschule für Schauspielkunst“Ernst Busch”, Berlin2008Ballett-Training für arbeitssuchende Tänzer im Auftrag der“Zentralen Bühnen-, Fernseh- und Filmvermittlung” (ZBF)05/2019 Musikschule Kongress17. -19.2019, Berlin11/2017 Fortbildungsseminar für kreative Körper- und Bewegungsarbeitmit schwerst-mehrfachbehinderten Schülern und SchülerinnenGrundlage des Tanztheaters mit dem FörderschwerpunktGeistige EntwicklungTOUSCH Theater und Schule Berlin08-10/13 WeiterbildungsseminarMS Word & Excel 2010 - Microsoft Office Specialist

Am Mittwoch, den 14. Oktober 2020 haben wir via Zoom den vierten Theaterclub des Berliner Spielplan Audiodeskription veranstaltet. Dieses Mal mit einer besonderen Ausgabe: Anlässlich der Woche des Sehens spricht die Moderatorin Lavinia Knop-Walling mit ihren Gästen über das Thema "Wahrnehmungswechsel". Zu Gast sind Joyce Ferse, ihres Zeichens Audiodeskriptorin und Schauspielerin an der Jugend-Theaterwerkstatt Spandau, sowie Lars Gebhardt, Dramaturg an der Deutschen Oper Berlin. Sie sprechen über die Audiodeskription der Oper "Jenufa" und über die Vor- und Nachteile einer offenen AD. Falls Sie uns Feedback geben oder am nächsten Theaterclub teilnehmen möchten, erreichen Sie uns wie immer unter presse@theaterhoeren-berlin.de. Wir wünschen viel Freude beim Hören!

New York-based African American mezzo-contralto Bonita Hyman has performed on some of the world’s leading stages, including the Lyric Opera of Chicago, the Dallas Opera, the Opéra Comique in Paris, the Deutsche Oper am Rhein and the Leipzig Opera, and with a repertoire that includes Maria (Porgy and Bess), Erda (Der Ring des Nibelungen), Suzuki (Madama Butterfly), Azucena (Il trovatore), Ulrica (Un ballo in maschera), Bradamante (Alcina), and Geneviève (Pelléas et Mélisande). She first approached Richard Strauss’ Elektra and the role of the Erste Magd in 2013 with the acclaimed Patrice Chéreau production that went on to have eight revivals at La Scala, Milan (2014 and 2018), the Metropolitan Opera in New York (2016), the Finnish National Opera in Helsinki (2016), the Berlin State Opera (2016 and 2019) and the Teatre del Liceu in Barcelona (2016). This ninth staging is a new production by Krzysztof Warlikowski, presented in this year's 100th anniversary of the Salzburg Festival. In the interview, she compares the two stagings of Elektra, her collaboration with UNICEF this month, and dives deep into the different effects of female oppression that lay at the foundation of this opera.

Ab Sonntag hat die Deutsche Oper begonnen, "Die Walküre" von Richard Wagner aufzuführen. Eine Premierenfeier mit Empfang war es aber nicht, wie Kulturreporterin Barbara Wiegand von der Veranstaltung unter Corona-Bedingungen berichtet.

Our guest today was born and grew up in Ipswich England.He started his dance training at the local ballet school in his hometown. Eventually he moved to London for his ballet education and then to Berlin to pursue a professional dance career at the Deutsche Oper and the Staatsballet Berlin.Today he lives and works with his wife and two children in Osnabrueck Germany.Welcome to our program, Paul Egan…===https://www.theater-osnabrueck.de/===The MITY-Podcast is where former professional dancer tell you about their experience moving into a new career. Find out more about career change for professional dancers at ME IN TEN YEARS.

Domenica 13 settembre, con inizio alle ore 18, si apre a Trieste l'annunciata Attività Artistica Autunno 2020 della Fondazione Lirica Giuseppe Verdi di Trieste. L'avvio  è uno di quegli appuntamenti  irrinunciabili  per gli amanti della lirica. Ritornano a Trieste per l'occasione Marcelo Álvarez - tenore argentino di fama internazionale che ha calcato i palcoscenici più importanti del mondo - e la soprano uruguaiano Maria José Siri fra i maggiori soprani di oggi, vincitrice nel 2017 dell'Oscar della Lirica quale Miglior Soprano. Saliranno sul palco diretti -  dal M° Jordi Bernàcer - assieme all'Orchestra e al Coro della Fondazione (M° del Coro Francesca Tosi.  Entrambi sono già stati acclamati ospiti del TeatroVerdiTS. Álvarez fu il Duca di Mantova in Rigoletto nel 1996 e Sir Edgardo di Ravenswood in Lucia di Lammermoor nel 1999. A Trieste debuttó nel Werther, ruolo che portò poi nei maggiori teatri del mondo. Dal canto suo, Maria José Siri, fu l'ammirata Lucrezia Contarini nel 2011 ne I due Foscari. Recentemente i due grandi artisti hanno cantato assieme: lo scorso agosto nel Puccini Gala all'Arena di Verona, in Manon Lescaut nel 2019 alla Scala di Milano, diretti dal M° Riccardo Chailly e, nel 2017, in Andrea Chénier alla Deutsche Oper di Berlino (M° Ivan Repusic). Sarà davvero interessante ascoltarli, con l'Orchestra e il Coro della Fondazione, In turno unico e senza intervallo saranno proposte alcune tra le più belle pagine operistiche create tra Ottocento e Novecento dai maggiori compositori dell'epoca, in un'elegante alternanza tra celebri arie d'opera, sinfonie e brani corali che spazia da Verdi a Puccini passando per Cilea, Massenet, Giordano. Il concerto d'apertura dell'Attività Artistica Autunno 2020 sarà diretto dal M° JordiBernàcer anziché dal M° Francesco Ivan Ciampa, che non potrà essere a Trieste a causa di un grave lutto familiare. Jordi Bernàcer, assistente di Lorin Maazel, è dal 2015 Resident Conductor alla San Francisco Opera. Collabora tra gli altri con Riccardo Chailly e Zubin Mehta e dirige frequentemente oltre l'Orchestra Nazionale di Spagna,  molte orchestre in tutto il mondo dalle San Francisco Opera e Los Angeles Opera, al Teatro Mariinski di San Pietroburgo. In Italia ha già diretto  “Arturo Toscanini” di Parma, le Orchestre del Teatro Carlo Felice di Genova, Teatro San Carlo di Napoli, Massimo Bellini di Catania. E' stato ospite di prestigiose istituzioni musicali quali Abu Dhabi Classics, il Festival di musica contemporanea di Alicante, il Festival Mozart de La Coruña, il Festival Internazionale di Santander. Concerti e recite sono stati registrati dalla Radio e dalla Televisione Nazionale Spagnola, la RAI, Abu Dhabi Classic FM. Il concerto si svolge nel rispetto di tutti i protocolli anti covid19 vigenti e adeguato distanziamento sociale fra le poltrone. I biglietti sono acquistabili domenica da un'ora prima dell'inizio del concerto oppure  tramite il circuito Vivaticket. Tutte le informazioni sono disponibili sul sito web www.teatroverdi-trieste.com Per riascoltare l'intervista della nostra inviata Monica Ferri al Maestro Jordi Bernàcer:

In this episode, James chats to an old friend and colleague: Dr. Christopher White. Chris is Studienleiter (Head of Music) at the Deutsche Oper, Berlin, and the two of them discuss everything from the role of Studienleiter, to the staggione and repertory systems of opera, Germany's response to COVID-19 and audition tips from the other side of the table. It's a long one, so grab a cup of something and settle in!

Dietmar Schwarz leitet die Deutsche Oper – in Corona-Zeiten ein chaotischer Beruf. Er behilft sich inzwischen mit Open-Air-Oper auf dem Parkdeck und hofft ab Herbst auf reduzierte große Opern. Kulturkorrespondentin Maria Ossowski hat Dietmar Schwarz getroffen.

Vier mal in Folge wurde Martin Schläpfers Ensemble zur „Kompanie des Jahres“ gewählt. Nun verlässt der Choreograf die Deutsche Oper am Rhein. Seine Zukunft ist das Staatsballett in Wien - und eine Stadt, die ihn auch wegen ihrer Behäbigkeit lockt. Martin Schläpfer im Gespräch mit Sigrid Brinkmann www.deutschlandfunkkultur.de, Fazit Hören bis: 19.01.2038 04:14 Direkter Link zur Audiodatei

Lange ersehnt und nun endlich zu wieder hören: das fünfte Podcast Magazin des Berliner Spielplan Audiodeskription von Andreas Brüning ist da! Diesmal berichtet Pest-Darsteller Bozidar Kocevski über die Arbeit an der Quarantäne-Fassung und auch hinter den Kulissen der Oper Jenufa dürfen wir bereits die Ohren spitzen... Das Beitragsbild zeigt eine Szene aus "Die Pest" noch in der Fassung die am Deuschen Theater Berlin in "Der Box" gespielt wurde, Schauspieler Bozidar Koczewski steht auf der Bühne in rieselndem Theaterschnee © Arno Declair. Viel Freude bei Theater hören!

"Lieblingsstücke", so heißt eine noch recht neue digitale Kammermusikreihe, die die Deutsche Oper für ihre Zuschauer*innen bereithält. Was da zu sehen und zu hören ist, verrät uns unser Konzertkritiker Andreas Göbel. Er hat sich die Online-Reihe angeschaut.

Der Regisseur Philipp Stölzl ist seit vielen Jahren auch als Opernregisseur aktiv. 2010 inszenierte er an der Deutschen Oper Wagners "Rienzi“. Die Inszenierung ist bis 1. Juni als Oper on Demand im Internet zu sehen. Eine Empfehlung von unserem Opernkritiker Kai Luehrs-Kaiser.

Host and opera singer Fredrika Brillembourg talks with Dietmar Schwarz, Intendant of the Deutsche Oper Berlin since 2012. They look back on his career in the world of opera and discuss the challenges ahead.

In Paris gelang Giacomo Meyerbeer der große Durchbruch - er schrieb die besten Grand Opéras seiner Zeit. In der Deutschen Oper präsentiert der italienische Dirigent Enrique Mazzola sein "Best of Meyerbeer". Gestern war die Opéra comique "Dinorah ou Le Pardon de Ploërmel" zu hören. Unser Kritiker Kai Luehrs-Kaiser war dabei.

Der 2. Podcast Berliner Spielplan Audiodeskription lässt Sie hinter die Kulissen hören. Es wird über die feierliche Projekteröffnung in der Deutschen Oper Berlin am 23. Oktober 2019 und die ersten Termine mit Audiodeskription im Friedrichstadtpalast-Belrin und am Berliner Ensemble berichtet. Ausserdem werden die nächsten im Rahmen des Spielplan stattfindenden Bühnenstücke mit Live Audio-Kommentar für Menschen mit Sehbehinderung vorangekündigt, wie zum Beispiel „Der kleine König Dezember“ am Deutschen Theater Berlin. Das Beitragsbild ist von Moritz Haase fotografiert, abgebildet ist die Geräteausgabe der Empfängergeräte der Audiodeskription im Berliner Ensemble.

Today Bavarian vocalist David Steffens is enjoying his busy summer in Salzburg – a place where he also spent his student years. This time he is a part of Salzburg Festival, performing in three productions total and therefore visiting the stage of the Salzburg Festspiele almost daily. David Steffens started performing in this festival at the year 2012 when he was selected to participate in the Young Singers Project, but his main career path lays in the opera ensembles in Germany – Stadttheater Klagenfurt and Württembergisches Staatstheater Stuttgart. He had also performed in such opera stages, as Teatro Real Madrid, the Deutsche Oper am Rhein, the Volksoper Vienna, the Opéra national de Lyon, etc. Musicologist Ona Jarmalavičiūtė conducts an interview with the singer in which David Steffens shares his thoughts on this years Salzburg festival, handling three roles at the same time and the process of bringing the music to life.

Paul Hertel (b. 1953) is named as an Austrian composer, music maker, and conductor. His works are performed in a lot of countries, and at such festivals as "Aspekte Salzburg", "Styrian Autumn" “Huddersfield”, “Festival de Ville d’Avray”, "Austria Today" etc. For a long time, Hertel worked as a theater composer and music director at different stages like Vorarlberger Landestheater in Bregenz, Vienna, Graz, Schwäbisch Hall, etc. And as a composer of Film Music and operas, for instance, Deutsche Oper, Berlin. Musicologist Ona Jarmalavičiūtė talked about the journey of life, the subtleties of the music composing process and the part of the musician in Vienna.

Paul Hertel (b. 1953) is named as an Austrian composer, music maker, and conductor. His works are performed in a lot of countries, and at such festivals as "Aspekte Salzburg", "Styrian Autumn" “Huddersfield”, “Festival de Ville d’Avray”, "Austria Today" etc. For a long time, Hertel worked as a theater composer and music director at different stages like Vorarlberger Landestheater in Bregenz, Vienna, Graz, Schwäbisch Hall, etc. And as a composer of Film Music and operas, for instance, Deutsche Oper, Berlin. Musicologist Ona Jarmalavičiūtė talked about the journey of life, the subtleties of the music composing process and the part of the musician in Vienna.

Mezzo-soprano Wallis Giunta is a multi-faceted artist with a variety of interests, a great take on mindful practice, and a truly wonderful personality.  In our conversation, we discuss, among other things, the importance of making choices that will allow you to thrive, how she prepares for a role, and how she uses mental practice to learn and memorize music at a deeper level. We elaborate on: Her journey from Ottawa, Ontario (Canada) to Toronto, New York, and, more recently Leipzig as a member of Oper Leipzig Her experience as a young girl in the Ottawa Youth Choir, and the importance it had in her becoming a professional singer Her experience at the Glenn Gould School and the Canadian Opera Company and the various opportunities she found there How making choices that fit her well were very important in her development and allowed her to thrive Her life as a member of Oper Leipzig Her fun, mindful way of curating a recital program that is meaningful to her How she prepares for a role How she went from a more repetitive form of working on songs to a more mindful and mental approach to practicing as she evolved as an artist o   Translate the text and understand the meaning o   Listen to various recordings and interpretations o   Break it down o   Memorize it How practicing mentally first thing in the morning and last thing before bed is tremendously effective for her and helps her cement the repertoire to memory How she has developed the skill to learn repertoire mentally, now that that is in a place where she feels confident about her technique How singers practice difficult passages How she brings operatic characters to life     ALL ABOUT WALLIS: Wallis Giunta's website Wallis' YouTube channel Wallis' Facebook page Wallis on Instagram The Complete Sherlock Holmes (Knickerbocker Classics) The Complete Sherlock Holmes (2 Volumes)   Irish-Canadian mezzo, Wallis Giunta, has been named “Young Singer of the Year” in the 2018 International Opera Awards, and was named both “Young Artist of the Year” by The Arts Desk and “Breakthrough Artist in UK Opera” in the What's On Stage Opera Awards for her work in 2017. She has been praised by OPERA NEWS for her “delectably rich, silver-toned mezzo-soprano, with a beautiful sense of line and effortless, rapid runs”, with her performance as Mozart's Sesto for the Canadian Opera Company celebrated as “a triumph…remarkable in its combination of intelligence and beauty”. Her 2018/19 season includes debuts with the BBC Proms Festival in a program celebrating Leonard Bernstein, with the Grange Festival as Cherubino at The Barbican, London, with the MDR Sinfonieorchester as Haydn's Berenice, and with the Royal Opera House Muscat in La Traviata. She also debuts the title roles in Carmen and Der Rosenkavalier, along with Rossini's Rosina for Oper Leipzig, and Idamante for Toronto's Opera Atelier. She began the 2017/18 season with two role debuts for Opera North, the title role in Ravel's L'enfant et les sortiléges, and Dinah in Bernstein's Trouble in Tahiti, both to great critical acclaim. She returned to Oper Leipzig, where she has been an ensemble member since 2015/16, for her house roles of Angelina, Cherubino, Rossweise & Wellgunde, and debuted Prince Orlofsky in Die Fledermaus and Der Gymnasiast in a new production of Berg's Lulu. She also returned to the Munich Radio Orchestra, Toronto's Koerner Hall and the Music & Beyond Festival in concert, and debuted at the Oregon Music Festival as Anna I in Weill's The Seven Deadly Sins. The 2016/17 season saw her debuts with Opera North, performing the title role in Rossini's La Cenerentola, with Teatro Communale di Bolzano as Cherubino, and with the Munich Radio Orchestra, Tokyo Metropolitan Symphony Orchestra, and Symphony Nova Scotia in concert. Wallis returned to Opera Atelier to debut the title role in Purcell's Dido & Aeneas, and to both the Toronto Symphony and the Real Orquesta Sinfónica de Sevilla for new productions of Weill's The Seven Deadly Sins. The 2015/16 season saw her make several major European debuts, including for Teatro dell'Opera di Roma (Adams' I Was Looking at the Ceiling and Then I Saw the Sky), Oper Frankfurt (Carmen), Oper Leipzig (La Cenerentola, Le Nozze di Figaro, Faust, Der Ring des Nibelungen), the Hamburg Symphony (Candide), and the Deutsche Oper am Rhein in concert. She also returned to the Edmonton Symphony for Messiah and had her first experience teaching, with a series of masterclasses for Toronto's Tapestry New Opera. Early in 2015, she returned to The Metropolitan Opera as Olga in their new production of The Merry Widow, directed by Susan Stroman. Other recent highlights include returns to the Canadian Opera Company as Dorabella in Atom Egoyan's new production of Cosí fan tutte (2014), to Opera Lyra Ottawa as Cherubino in Le Nozze di Figaro (2015), and to Opera Atelier as Bradamante in a new period-production of Alcina (2014), along with debuts at Madison Opera (2014) and the Taipei Symphony Orchestra as Annio in La Clemenza di Tito (2013). In June 2014, she recorded her first album with the RTÉ National Symphony Orchestra in Dublin (NAXOS), of a new work by American composer, William Perry. Wallis also debuted in 2014 with Toronto's 21C Music Festival in Louis Andriessen's one-woman-opera, Anaïs Nin, and brought her acclaimed recital program of Kurt Weill's The Seven Deadly Sins to Miami, New York, Toronto and Ottawa. She had a whirlwind 2012/13 season, making her Metropolitan Opera debut in Rigoletto, debuting the roles of Sesto & Annio in La Clemenza di Tito with the Canadian Opera Company, making her Paris debut with Le Théâtre du Châtelet as Tiffany in John Adams's I Was Looking at the Ceiling…, and singing Dorabella in the Met + Juilliard production of Cosí fan tutte at Lincoln Center. She also made debuts with Fort Worth Opera, L'Opéra de Montréal, the Edmonton, Seville and Nuremberg Symphonies, the Stuttgart Festivalorchester, and the National Arts Centre Orchestra. Wallis is a passionate recitalist, and has recently performed for the Aspen, Caramoor, Banff, Luminato, Music & Beyond, and Ottawa Chamber Music festivals. She is the grateful recipient of the 2016 Bernard Diamant Prize from the Canada Council for the Arts, the 2013 Novick Career Advancement Grant, the 2013 Sylva Gelber Music Foundation Career Development Award, and multiple prizes from the George London Foundation. Wallis is a 2013 graduate of both the Metropolitan Opera Lindemann Young Artist Development Program & the Juilliard School's Artist Diploma in Opera Studies, and a 2011 graduate of the Canadian Opera Company Ensemble Studio. She has also studied at The Glenn Gould School, the Ravinia Festival's Steans Music Institute, and the International Meistersinger Akademie in Germany, and continues her private studies with Edith Wiens. Wallis is also devoted to animal rights, particularly the rescue and rehabilitation of abandoned domestic rabbits. She is an active rabbit foster parent and finds opportunities to foster and volunteer at shelters as she is performing around the world. She is a volunteer and supporter at Rabbit's Rest Sanctuary & WildRescue in Denton, Texas, and works to draw attention to our societal responsibility towards domesticated animals. Please get in touch if you are interested and would also like to help!   If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support! Visit www.mindoverfinger.com for information about past and future podcasts, and for more resources on mindful practice. For added fun, join the Mind Over Finger Tribe on Facebook where you will find a community of mindful musicians!   THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a huge thank you to my producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/     (As an Amazon Associate I earn from qualifying purchases, which helps cover some of the costs associated with the production of the podcast.  Thank you for your support.)

Facebook Live sensation Jakub Józef Orliński joins Oliver ‘Inside the Huddle’ to talk about how a video of the Polish countertenor went viral, and about just WHO is in charge of writing the ornaments for the Vivaldi and Handel da capo arias Orliński is singing all over the world, and now, as an exclusive recording artist for the Erato label.  (And yes, they do talk about the whole breakdancing thing...) But first, the Deutsche Oper in Berlin recently announced its 2018-2019 season.  Weston and George ‘Crunch the Numbers’ and run the schedule through the Dodson Scale™.  Surely a German opera house will set a new high score, right…? And later, it’s the ‘Two Minute Drill’...  We get you up to speed on everything from the past week in Operaland and our hot takes on those stories... www.facebook.com/OBSCHI1/

I programmet diskuteras violinsonater med Ehnes och Armstrong, pianokonserter av Medtner och Rachmaninov samt Alban Bergs Wozzeck med Hans Graf på pulten. Hanna Höglund har valt galenskap som tema. I panelen Camilla Lundberg, Rainer Clute och Tithi Hahn som tillsammans med  programledaren Johan Korssell betygsätter följande skivor: ELGAR DEBUSSY - RESPIGHI Violinsonater James Ehnes, violin Andrew Armstrong, piano Onyx ONYX 4159 MEDTNER RACHMANINOV Pianokonserter Marc-André Hamelin, piano Londons filharmoniker Vladimir Jurowski, dirigent Hyperion CDA 68145 Referensen Johan jämför med och refererar till en inspelning av Rachmaninovs tredje pianokonsert med pianisten Martha Argerich tillsammans med Berlin-radions symfoniorkester ledda av Riccardo Chailly och inspelad på Philips.  ALBAN BERG Wozzeck Roman Trekel, baryton, Anne Schwanewilms, sopran, m.fl. Houstons symfoniorkester Hans Graf, dirigent Naxos 8.660390-91 Referensen Johan jämför med och refererar till en inspelning där Wozzecks roll sjungs av Dietrich Fischer-Dieskau och Marie görs av Evelyn Lear. Vidare hörs kör och orkester från Deutsche Oper och allt leds av Karl Böhm. Inspelningen gjordes 1965 på DG.  Hannas val Hanna Höglund väljer ur två album med tema  galenskap i musiken. Vi hör valda delar ur Tales of Sound and Fury med Camerata Nordica och Terje Tönnesen, dirigent och violin, Karin Dahlberg, sopran, m fl. inspelad på Bis samt ur The Raven av Toshio Hosokawa med Charlotte Hellekant, mezzosopran, United Instruments of Lucilin och dirigenten Kentaro Kawase. Inspelad på Naxos.  Andra i programmet nämnda eller rekommenderade inspelningar: Nikolai Medtners stycke Skazka (Saga) Rachmaninovs tredje pianokonsert med Grigorij Sokolov och BBCs filharmoniker, Manchester ledda av Yan-Pascal Tortelier på DG. Debussys violinsonat med violinisten Joseph Szigety och Béla Bartók vid flygeln, inspelad på Vanguard Classics. Elgars violinsonat med violinisten Daniel Hope och pianisten Simon Mulligan på Nimbus. Alban Bergs Wozzeck med solister, Wiens filharmoniker och Statsoperas kör under ledning av Claudio Abbado på DG samt med solister, Paris-operans kör och orkester dirigerade av Pierre Boulez på CBS. Svepet Johan sveper över en box innehållande 9 CD med Bruckners nio symfonier där Daniel Barenboim står på pulten framför Staatskapelle Berlin. Utgiven på DG.

It's a bonus episode in our series introducing you to opera in Germany! George's guest is Kirsten Harms, the former Intendantin of the Deutsche Oper Berlin. She’s now a freelance stage director in Germany. You’ll get her take on Berlin’s opera scene and an inside look at her tenure at the Deutsche Oper, as well as her opinion on opera in America... Later, George is joined by Roy Rallo, an American director based in San Francisco, who also is connected to the opera scene in Berlin. His candid opinions about the business of opera will surprise you... Then, George tells you why six weeks isn’t enough time to rehearse an opera, while in his field report from Chicago, Oliver tells you why you better have your poop together if you're going to sing in Marilyn Horne's masterclass, plus Monday Evening Quarterback reviews productions of 'Parsifal' and 'Salome'...

George launches his three-part series introducing you to the opera world of Germany. He'll take you around Berlin, he’ll take you to the provinces, and he’ll give you insights into the wild and wacky world – mostly – that is opera here in Das Vaterland... George's guest this week is Will Robertson, a resident assistant director at the Deutsche Oper in Berlin. Will is one of a handful of American directors who's really found success working overseas in Germany. This interview gives you an all-access pass to the Deutsche Oper... But first, George lets you know why he came to Germany in the first place. And why he had to come back... Plus we’ve got this week’s opera headlines, our Monday Evening Quarterback segment and a special field report from Oliver back in Chicago.

Nos visita Íride Martínez. La soprano costarricense inició estudios de canto en su país para continuar en Europa. Debutó en 1994 en la Ópera de Roma y en 1995 en Colonia. Ha cantado entre otras en la Deutsche Oper de Berlín, la Scala de Milán, Covent Garden de Londres y en el reputado Festival de Salzburgo. Ha sido miembro del elenco de casas de ópera como la de Colonia y la de Hanóver.

Last week, the Deutsche Oper am Rhein in Düsseldorf cancelled a Nazi-themed production of Wagner's Tannhäuser, when the premiere performance prompted booing, mass walkouts and even reports of audience members getting sick. With scenes that reportedly showed Jews being murdered and dying in gas chambers, it certainly shocked — but it was hardly the first revisionist opera production. In this podcast, Naomi Lewin asks three prominent opera-watchers whether Düsseldorf was right to cancel the production, and what radical updates can bring to the art form. To some commentators, the Dusseldorf Tannhauser was a stretch: the opera is set in the Middle Ages and based on a ballad about a bard called Tannhäuser. Yet the intention of the director, Burkhard Kosminski, had a logic that many could understand. In the month of Wagner’s bicentennial, he wanted to link the opera to the Holocaust – an event which the composer’s own ardent anti-Semitism seemed to presage. John Berry, the artistic director of English National Opera, called the Düsseldorf company “extremely well established” and he praised its talented leadership. But a company should also prepare its audience for a provocative concept. "Usually, in an opera house, you receive a model and an outline of the ideas a year, two years, sometimes even longer [beforehand] so the Düsseldorf management would have had a good idea of the overall vision for the piece,” he said. “On the face of it, it does seem shocking that the whole production has been pulled due to the audience response," he continued. "I haven’t heard of that anywhere. But I haven’t seen the piece.” James Jorden, opera critic of the New York Post and editor of the blog Parterre Box, took a sterner view of the company’s cancellation. “The job of opera management is to present the vision of people who create opera – the director, the conductor and the singers,” said Jorden. “It’s a terrible, terrible thing and a cowardly thing to send the message to these artists that we’re not going to support you. If someone complains about your work, we’re out of here. We'll drop you like a hot potato." Anne Midgette, the classical music critic of the Washington Post, noted that Nazi references are not uncommon in German Wagner productions, typically as a way of exploring issues around German nationalism. But what may have ignited the Düsseldorf controversy was the fact that "it actually showed people being killed." Still, Midgette believes that opera has the power to confront and challenge. "You’re dealing with an art form that many, many people approach with a sense that it's safely distant," she said. “A production that puts people being gassed on stage is going in there wanting to grab the audience by the collar."  (In a statement, the Deutsche Oper am Rhein said that although it knew that the production would be "controversial" it did not expect the extreme reactions that followed the premiere.) But when does a strong directorial concept (aka "Regietheater," or "director's theater") lose focus and cross over into what detractors label “Eurotrash?" Berry believes modern updates can be highly successful if essential ingredients are in place. "In the end, whether it’s a modern updating or not, is it well-sung, is the director telling the story, does it have a dramatic and musical power?” Sometimes a concept will completely miss the mark. Jorden recalls seeing a Carmen in Stuttgart where the title character "died six or seven times in the course of the opera – but not at the end." Yet he also remembers Calixto Bieito’s staging of Wagner’s Parsifal, set in an apocalyptic landscape inspired by Cormac McCarthy's novel The Road. "Not only did this make me question completely my ideas of what the opera was about, it still to this day has me wondering what the purpose of religion in human existence is," Jorden said. "I don't think you could ask for a more profound meaning in an operatic performance." Weigh in: What modern updates of operas have you seen that did or didn't work for you? Tell us about it in the comments box below. Photo: Piotr Beczala as the Duke and Oksana Volkova as Maddalena in the Met's "Vegas" Rigoletto (Ken Howard/Metropolitan Opera)

The Sixteen, Harry Christophers from "Monteverdi: Selva morale e spirituale, Vol. 1" (Coro) Buy at iTunes Music Store More On This Album Without doubt, Monteverdi was the greatest of the early baroque European composers. He revolutionized the music of the theater and the church by his dramatic and imaginative use of voices and instruments and by his daring harmonies and rhythms. Next to his Vespers of 1610, the Selva morale e spiritual of 1641 is his most significant and virtuosic collection of sacred music. Over the next few years we intend to record the complete publication with a variety of forces. His much performed Beatus vir is a mere appetizer for this delightful yet thrilling music.BYU Men's Chorus "Goin' Home" (mp3) from "The Pilgrim's Journey Home" (Tantara Records) Buy at iTunes Music Store More On This AlbumLift your spirits with a brand-new collection of inspirational folk hymns and songs. Although life may be difficult, the youthful and energetic voices of the BYU Combined Choirs and Orchestra will inspire and strengthen you on your own journey home.Florilegium & Arakaendar Bolivia Choir, Ashley Solomon "Fuera, Fuera! Haganles Lugar!" (mp3) from "Bolivian Baroque Vol. 3" (Channel Classics Records) Buy at Napster Buy at iTunes Music Store Buy at Amazon MP3 More On This Album Welcome to our third volume of Bolivian Baroque music which was, unusually, recorded in three different venues, in two different countries almost 6250 miles apart. This time the majority of the CD was recorded in Holland (in both the Waalse Kerk in Amsterdam and the Doopsgezinde Kerk in Deventer) during Arakaendar Bolivia Choirís first tour of Europe with Florilegium in 2008. In addition we have included a number of solo organ pieces from the Bolivian archives which James Johnstone recorded on the restored anonymous 18th century Blockwerk organ in the Mission Church of Santa Ana de Velasco. This is the first European recording on this remarkable instrument, its raw sound recorded here for posterity. The music on this volume differs considerably from the other two Channel Classics recordings (CCS 22105 & CCS 24806) as it mainly showcases Arakaendar Bolivia, the choir I set up in 2005. They continue to thrive and have shown tremendous commitment and determination in preparing this challenging and varied programme. We were delighted to be nominated by BBC Music Magazine for the best choir recording of 2008 for our last CD recording, as well as receiving our 5th Editorís Choice from Gramophone magazine. I hope this new volume is received as warmly.The Choir of St Mary's Cathedral, Edinburgh, Duncan Ferguson "Leroy Kyrie" (mp3) from "John Taverner: Sacred Choral Music" (Delphian Records) Buy at Napster Buy at iTunes Music Store Buy at Amazon MP3 More On This Album John Taverner brought the English florid style to its culmination and final flowering; his music is quite unlike anything written by his continental contemporaries and, viewed retrospectively, represents not only the culmination of one period but also the beginning of something new. In his debut recording with the critically acclaimed Edinburgh choir, Duncan Ferguson presents this music with forces akin to those of the sixteenth century ñ a small group of children and a larger number of men. The singers respond with their characteristic freshness, and an emotional authenticity born of the daily round of liturgical performance.Johann Sabastian Bach: MotetsVocalconsort Berlin, Marcus Creed from "Johann Sebastian Bach: Motets" (Harmonia Mundi) More On This Album Album will be availble online around March 22, 2011 The Vocalconsort Berlin was founded in 2003 and made its debut the same year in Monteverdi's LíOrfeo under the direction of RenÈ Jacobs at the Innsbruck Festival. The ensemble specialises in early and high Baroque repertoire, but also interprets Romantic and contemporary music. The Vocalconsort¥s composition can range from quartet to polychoral formations, including also solo performances. It sings both in concert and in operatic and theatrical productions. Under the direction of Marcus Creed, RenÈ Jacobs, Jos van Immerseel and Ottavio Dantone, the ensemble has worked with the Akademie f¸r Alte Musik Berlin and the Accademia Bizantina. With the Akademie f¸r Alte Musik Berlin, it has participated since 2006 in the projects of Sasha Waltz & Guests at Radialsystem V, the new venue for interaction of the arts on the Spree. Marcus Creed, artistic director of the SWR Vokalensemble (South West German Radio Choir) since 2003, studied at Kingís College Cambridge, Christ Church Oxford, and at the Guildhall School of Music in London. From 1977 to 1998 he lived in Berlin, where he was chorusmaster at the Deutsche Oper, taught lied interpretation at the Hochschule der K¸nste, and worked as pianist and conductor with the Gruppe Neue Musik and the Scharoun Ensemble. From 1987 he was artistic director of the RIAS Kammerchor, being awarded many international prizes for his recordings. He has formed close working relationships with the Akademie f¸r Alte Musik Berlin, the Freiburger Barockorchester and Concerto Kˆln, and has appeared at festivals in Berlin, Vienna, Salzburg, Montreux, Edinburgh, Lucerne, Innsbruck, Donaueschingen, Strasbourg, and Gˆttingen. He was appointed Professor of Choral Conducting at the Hochschule f¸r Musik in Cologne in 1998. His recordings of works by Bruckner, Ives, Nono, and Kurt·g with the SWR Vokalensemble have received a number of awards from the critics.