Podcasts about komische oper berlin

A coalition deal is reached in Germany, France sees opportunities in US academic flight, Turkey's opposition change tack, and Slovakia gets tough on bears. Also on the show: an iconic opera house fights for survival amidst Berlin's culture cuts, plus a conversation with Patrick Strickland, author of ‘You Can Kill Each Other After I Leave: Refugees, Fascism, and Bloodshed in Greece.'

Seit einigen Tagen kursieren die Gerüchte um, dass sich beim Thema Einsparungen die Augen der Koalition auch auf den Sanierungsfall Komische Oper richten und sogar ein Verkauf des Hauses im Raum steht. Was sagt unser Berliner Kommentator Albrecht Selge zu diesem Fall?

Kosky, Barrie www.deutschlandfunkkultur.de, Fazit

Kirill Serebrennikow hat "Le Nozze di Figaro" in Berlin inszeniert: Zunächst ein Sozialdrama, gibt der Regisseur Mozarts Oper später eine surreale, kapitalismuskritische Ebene. Ein ungeheuer unterhaltsamer Abend, lobt Kritiker Uwe Friedrich. Friedrich, Uwe www.deutschlandfunkkultur.de, Fazit

Here is the second of a two part series in celebration of David Savran's new book, Tell It to the World: The Broadway Musical Abroad, a monumental study on transnationalism and the Broadway-style musical. In the first part, David and I spoke about (and played examples from) the rich culture surrounding musicals in South Korea. Today's episode focuses on Germany and the influx of Broadway musicals since World War II. Although the German-speaking world has a long tradition of popular music theatre, most notably operetta, the arrival of American musicals (beginning in 1955 with Kiss Me, Kate) made a very big splash. In 1961, My Fair Lady opened in West Berlin, became a sensational success, and permanently changed the shape of German musical theatre. Both Kiss Me, Kate and My Fair Lady are part of the first wave of Broadway musicals that have become part of the standard repertoire in state-subsidized theatre (the others include Cabaret, Anatevka (Fiddler on the Roof), West Side Story, La Cage aux Folles, and Hair). We also look at the development of home-grown Broadway-style musicals in both West and East Germany from the 1960s through the 1980s and their subsequent impact on the work of experimental theatre makers. The next to last chapter of the book studies the musical farces directed by the great theatrical innovator, Herbert Fritsch, since 2011. The last focuses on the work of Barrie Kosky at the Komische Oper Berlin and how he turned that house into the foremost theatre in Germany for innovative re-imaginings of Broadway musicals, with emphasis on iconoclastic stagings by Kosky (and other directors) of the work of Kurt Weill. We play examples from many of the thrilling productions about which David writes which deserve to be known by a much wider audience. Along the way we also listen to nearly a century's worth of performances by some legendary performers of German operetta and musicals, including Fritzi Massary, Olive Moorefield, Gisela May, Max Hansen, Dagmar Manzel, Horst Schulze, Ruth Rosenfeld, Julia Migenes, Julia Koci, and the late Rainer Luhn. 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.  

Guest conductor Erina Yashima leads the Charlotte Symphony in a program that includes Beethoven's Triple Concerto and Berlioz's Symphonie Fantastique . Yashima recently finished her tenure as Assistant Conductor of the Philadelphia Orchestra. And she recently started in her new position as First Kapellmeister at the Komische Oper Berlin. She talks about the works on the orchestra program, the differences between American and European orchestras, and the importance of music education in her native Germany. Pictured: Erina Yashima by Todd Rosenberg Photography/ Askonas Holt .

Er wollte einer von vielen werden, nämlich Tenor, wurde dann schließlich jedoch der Erste und Einzige, nämlich "Countertenor". Ein Stimmfach, dass in seiner Heimat, der ehemaligen DDR, gänzlich unbekannt war, eventuelle Vorbilder aus dem Ausland für ihn unzugänglich. Mit viel Fleiß und Ehrgeiz gelang es ihm schließlich, seinen Traum zu erfüllen und sich in kürzester Zeit einen Namen im In- und Ausland zu machen. Noch heute steht der mittlerweile 68jährige Sänger auf der Bühne und ist ein strahlendes Vorbild für heutige Generationen von Countertenören weltweit. Wieso die Komische Oper Berlin bei ihm sowohl schöne Erinnerungen als auch Bauchschmerzen auslöst, was den Gluck'schen "Orpheus" zu seinem persönlichen "Tristan" macht und warum es durchaus auch "blöde" Rollen gibt, von denen man sich lösen muss, erzählt der unverwechselbare Sänger Jochen Kowalski in der neuesten Episode von "Parlando - Der Operntalk".

Nach zehn Jahren verabschiedet sich Barrie Kosky als Intendant von der Komischen Oper Berlin mit einer quietschbunten Revue mit all seinen Stars. Ein mitreißender Abend mit Überlänge und leichten Schwächen.Uwe Friedrich im Gespräch mit Andrea Gerkwww.deutschlandfunkkultur.de, FazitDirekter Link zur Audiodatei

Constantine Costi is a director, writer and the co-artistic director of Red Line Productions at the Old Fitz working across opera, film, and theatre. He was named one of the 21 hottest creatives of 2021 by The Australian.Most recently Constantine directed Handa Opera on Sydney Harbour La Traviata for Opera Australia, as well as Verdi's Requiem for Ensemble Apex and Phoenix Central Park, and is currently preparing a Kurt Weill Double Bill for The Old Fitz Theatre of Mahagonny Songspiel and The Seven Deadly Sins.In 2020 he directed the feature film A Delicate Fire for Pinchgut Opera based on the madrigals of Barbara Strozzi, wrote the libretto of a new Australian opera Cassandra for Victorian Opera by composer Simon Bruckard, directed Monochromatic; a video series of piano portraits for Phoenix Central Park, and directed an online Don Giovanni production for the Shanghai Opera with Maestro Xu Zhong.Constantine has also directed Karakorum starring David Wenham (Australian Brandenburg Orchestra); the award-winning production of Bittersweet Obsessions, and Messiah which played to standing ovations and sell-out seasons in Sydney, Melbourne and Brisbane; Puccini's Suor Angelica (Opera Projects Sydney); and Il Tabarro at Alfie's Sydney.Constantine has directed revivals of Harry Kupfer's Otello (OA), Il Viaggio a Reims (Dutch National Opera, OA and Royal Danish Opera), Sir David Mc Vicar's Vienna State Opera production of Falstaff(National Centre of Performing Arts, Beijing); and La Traviata (OA).He also assistant directed productions of Ring Cycle (Chen Shi-Zheng) and Wozzeck (Salzburg Festival, OA, Canadian Opera Company, Metropolitan Opera); Hunde Gottes (Schauspielhaus Vienna); and The Marriage of Figaro (OA). Constantine has also worked with director Chen Shi-Zheng as assistant director of Puccini's Turandot (OA, Handa Opera on Sydney Harbour), as well as co-directing Werther with director Elijah Moshinsky (OA).Other work includes directing and co-creating the world premiere of jazz musical The Overcoat (Belvoir's 25A); co-writing the immersive theatre experience Visiting Hours (Vivid Festival); and directing The Space Between the Fuel and the Fire (NIDA).Constantine is the recipient of The Berlin New Music Opera Award with The Opera Foundation for Young Australians where he worked with Komische Oper Berlin's directing team on the premiere of Tchaikovsky's Eugene Onegin directed by Barrie Kosky.Other directing credits include: The Hypochondriac, The Shewing-up of Blanco Posnet (NIDA); Young Artist's Program Showcase (Opera Australia); Thomas Arne's The Sailor's Return (Nagambie Lakes Opera Festival); The Master and Margarita after Bulgakov (Aboriginal Centre of the Performing Arts); Accidental Death of an Anarchist by Dario Fo (Zenith Theatre); and The Canterbury Tales by Chaucer (George Georgiou Inc). Constantine has previously been a member of the Belvoir Artists' Workshop and was affiliate director with Griffin Theatre.Constantine's screen credits include: music videos, I Know What You're Hiding (Hedge Fund) and Into My Arms (Bloods) for Triple J Unearthed; and the short films Ferguson & Daisy & Ursula, andDonny.The STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Wolfgang Amadeus Mozart: Die Zauberflöte | Sprecher: Felix von Manteuffel, Komische Oper Berlin 1 CD, 56 Min. | 12 € (UVP) | Speaklow ||

George Orwell: 1984 - Hörspiel | Aus dem Amerikanischen von Michael Walter | Regie +Bearbeitung: Klaus Buhlert | Mit Franz Pätzold, Felix Goeser, Elisa Plüss, Jens Harzer u.v.a. | 4 CDs, 4 Std. 10 Min. | 24 € (UVP) | Der Hörverlag, BR2/ DLF || Antonio Tabucchi: Indisches Nachtstück - und ein Briefwechsel | übersetzt von Karin Fleischanderl | Sprecher: Martin Feifel, Lutz Magnus Schäfer | 3 CDs, 3 Std. 6 Min. | 18 € (UVP) | Der Diwan || Volker Kutscher, Kat Menschik: Mitte | Sprecher: Leonard Scheicher, Walter Kreye, Felix von Manteuffel | 2 CDs, 2 Std. 8 Min. | 20 € (UVP) | HörbuchHamburg / Osterwold Audio || Wolfgang Amadeus Mozart: Die Zauberflöte | Sprecher: Felix von Manteuffel, Komische Oper Berlin 1 CD, 56 Min. | 12 € (UVP) | Speaklow ||

Working as a souffleuse for an opera allows you to embody every single character of the piece and live the performance at its fullest, being connected to the singers, the musicians and the chef of the orchestra. Fabienne Jost has been working at the Komische Oper Berlin for the past 6 years after a career of 20 years as an opera singer through Germany and Europe. Get to know about her job and her passion for text in this episode. Mentioned in this episode: • Komische Oper Berlin • vocal coaching • Oedipe • Orphée • Dialogues des Carmélites • Régine Crespin • Poulenc • Le Chevalier à la rose

Felix Nickel, Solocellist der Komischen Oper Berlin und Ex-Mitglied des Kuss-Quartetts, erzählt, wie es ist, nach einem Jahr ohne Konzert plötzlich als Solist vor dem eigenen Orchester zu sitzen und im Live-Stream ein neues Stück zu spielen. Er schwärmt von Friedrich Guldas Cellokonzert und von der Lust am ewigen Scheitern im Streichquartett und erklärt, welche Vorteile dann doch das Leben im Orchestergraben hat.

Alexander Lewis is currently rehearsing for our production of The Merry Widow, returning as Count Danilo after originating the role in this production to great acclaim in 2017. The Australian tenor, known both for his performances in opera and musical theatre, has performed in some of the world’s most prestigious opera houses, including The Royal Opera House Covent Garden, The Metropolitan Opera and Komische Oper Berlin. In this interview with our Artistic Director, Lyndon Terracini, Lewis talks about growing up with Australian operatic royalty, returning to rehearsals after an eight-month break, and finding his own way into the world of music.

Named as one of the leading dramatic mezzo-sopranos of today, Tanja Ariane Baumgartner has an international standing, performing in Bayreuth Festival, Edinburgh Festival, London Royal Opera House, Deutsche Oper Berlin, Komische Oper Berlin, Hamburg State Opera, etc. Being a member of the Frankfurt Opera since 2009 she gifted the world roles that don’t fade. Her debut in Salzburg festival was in 2010 and today she completes the triangle of R. Strauss Elektra, alongside Lithuanians Asmik Grigorian and Aušrinė Stundytė. In the interview she discusses Klytämnestra in Warlikowski’s directing, how she is dealing with quarantine, and what is most important for teaching the new generation of opera singers.

Was verbindet Arnold Schönberg und Samuel Beckett? Nun, sie haben Stücke für Stimmen geschrieben. Drei dieser Monodramen haben nun in der Komischen Oper Berlin Premiere: "Pierrot Lunaire" nennt sich der Abend mit Dagmar Manzel, von Barrie Kosky inszeniert. Kai Luehrs-Kaiser war dabei.

From the Producer's Office is a series of informal podcasts with Opera Holland Park's Director of Opera, James Clutton. In conversation with creatives and collaborators across the industry, we explore the process of putting opera on stage, and how the artists approach their craft. In this episode, James is joined by Australian theatre and opera director, and Artistic Director of Komische Oper Berlin, Barrie Kosky.

The writers of Who's Afraid of the Working Class? reunite for Anthem, choreographer Hofesh Shechter brings his Grand Finale back to Australia, we travel to the Komische Oper Berlin to find out how to make opera for everyone, and British comedian Sarah Millican takes control.

The writers of Who's Afraid of the Working Class? reunite for Anthem, choreographer Hofesh Shechter brings his Grand Finale back to Australia, we travel to the Komische Oper Berlin to find out how to make opera for everyone, and British comedian Sarah Millican takes control.

Die Deutsche Oper Berlin, die Komische Oper Berlin und die Staatsoper Unter den Linden arbeiten mit vielen Künstlerinnen, Künstlern und Institutionen aus dem Vereinigten Königreich zusammen. Was bedeutet der Brexit konkret für diese Opernhäuser – für Engagements, Neuproduktionen, Kooperationen und Gastspiele? Eckhard Weber hat sich in der Berliner Opernszene umgehört.

In this first edition of “Leitmotifs,” host Fredrika Brillembourg is joined by Anisha Bondy, an assistant director at the Komische Oper Berlin. Their talk focuses on Brody’s career, her work with directors such as Barrie Kosky and Andreas Homoki, and her involvement in the Komische Oper’s outreach program “Selam Opera!” – an intercultural program that brings opera to the city.

Theatre and opera director Barrie Kosky talks us through his brilliantly outlandish reimagining of Mozart's The Magic Flute, we learn about the integral, but sometimes unnoticed, work of sound designers with J. David Franzke, and Ursula Yovich's Barbara and the Camp Dogs takes us on a wildly funny and unflinchingly honest musical road trip from Sydney to Katherine.

Mit Erich Wolfgang Korngolds "Die tote Stadt" eröffnete die Komische Oper Berlin ihre neue Spielzeit. Bei der Neuproduktion des 1923 uraufgeführten Werkes gab der kanadische Regisseur Robert Carsen sein Hausdebüt. Kathrin Hasselbeck führt das Gespräch mit Kritiker Uwe Friedrich.

Für die Komische Oper Berlin hat Intendant Barrie Kosky "Die Perlen der Cleopatra" von Oscar Straus ausgegraben - und mit Dagmar Manzel in der Titelrolle der Operette prominent besetzt. Die fränkische Tatort-Kommissarin glänzt dabei als schwer berlinernde und forsche ägyptische Königin.

Zur Zeit gibt es in den deutsch-russischen Beziehungen wirklich nicht viel zu lachen. Umso wichtiger sind Künstler wie der russische Regisseur Kirill Serebrennikov, der Rossinis Klassiker "Der Barbier von Sevilla" als modernes Versteckspiel inszeniert hat. Sein Motto: Wer sich überfordert fühlt, kommt automatisch auf neue Ideen. Peter Jungblut hat sich den neuen, durchgeknallten Barbier angeschaut.

Wer wissen will, wie Europa und die Welt wirklich ticken, der sollte nicht nach Brüssel oder zur UNO pilgern, sondern sich mit "Aschenputtel" beschäftigen - meint Kritiker Peter Jungblut und empfiehlt Massenets "Cendrillon" an der Komischen Oper Berlin.

Coming off the back of his triumphant second season at Komische Oper Berlin, Barrie Kosky returns to Melbourne for NEON Festival's inaugural keynote conversation. A recording of the conversation from 20 July 2014 at Southbank Theatre.

SHOWROOM MILE FASHION WEEK BERLIN.We experienced the all public fashion places :LAC ET MEL hosted by Quartier 206 Berlin Top-Label @ Galeria KaufhofLabels: Miroike, AVR ::van Reimersdahl::, von Wedel & Tiedeken, Esther Perbandt, FRANZIUS Labo Mode – Galeries Lafayette Labels: Magdalena Schaffrin, Seelenkleid by Ella Haberlach, Volutio by Anna Kleihues, Collection of Hope Streetwear to Haute Couture: Berlin’s creative at DomAquaréeLabels: Wingenbach, Urban Speed & swertdesign, Luxxus Fashion Department, AvR van Reimersdahl, Xiao Miao, Atelier Mohr,Reinberger & Wiencke, IchJane, BlackWhite, Mazooka, Hypnosis & Natascha Loch, Mauerfall made by BERLIN, FHTW / 30 paar Hände Lette-Verein Fashion Stories at Berlin Story SalonAMD Academy for Fashion & Design Berlin experimentalises at Komische Oper Berlin

SHOWROOM MILE FASHION WEEK BERLIN.We experienced the all public fashion places :LAC ET MEL hosted by Quartier 206 Berlin Top-Label @ Galeria KaufhofLabels: Miroike, AVR ::van Reimersdahl::, von Wedel & Tiedeken, Esther Perbandt, FRANZIUS Labo Mode – Galeries Lafayette Labels: Magdalena Schaffrin, Seelenkleid by Ella Haberlach, Volutio by Anna Kleihues, Collection of Hope Streetwear to Haute Couture: Berlin’s creative at DomAquaréeLabels: Wingenbach, Urban Speed & swertdesign, Luxxus Fashion Department, AvR van Reimersdahl, Xiao Miao, Atelier Mohr,Reinberger & Wiencke, IchJane, BlackWhite, Mazooka, Hypnosis & Natascha Loch, Mauerfall made by BERLIN, FHTW / 30 paar Hände Lette-Verein Fashion Stories at Berlin Story SalonAMD Academy for Fashion & Design Berlin experimentalises at Komische Oper Berlin