#Marko Letonja

[mozart2006]

Staatsoper Stuttgart - Jenůfa

Foto ©Martin Sigmund Dopo il grande successo della ripresa di Katja Kabanova dello scorso febbraio, la Staatsoper Stuttgart ripropone in questi giorni il bell’ allestimento di Jenufa Continue reading Untitled

[lesser-known-composers]

Felix Weingartner - Symphony No. 6 in B Minor "La tragica", Op. 74

Andante moderato, Allegro un poco grave, Adagio, Vivace

Marko Letonja (Conductor), Sinfonieorchester Basel (Orchestra)

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Arvo Pärt - Fratres | Musikalischer Weihnachtsgruß der Bremer Philharmon...

Bremen Philharmonic Orchestra, conductor Marko Letonja, with Arabella Steinbacher, solo violin

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Good Morning, This is Louise.

Episode 90 - Song of the Indian Guest

featuring sound and dialogue from Marguerite Dura's India Song

with music by Carlos D'Alessio & Nikolai Rimsky-Korsakov

realized by David Carbonara, London Symphony Orchestra, Paul Whiteman & His Orchestra, Fritz Kreisler, Milana Chernyavska & Nicolas Koeckert, Nicolas Koeckert, MarimbaMix, Vienna Les Orpheistes, Felix Carasco & Mario Hossen, Sergey Lemeshev, Ekaterina Donchenko, Chorus of the Bolshoi Theatre, The Great Symphonic Orchestra of the All-Union Radio and Television & Mikhail Pletnev, Roglit Ishay & Tatjana Masurenko, Wolf Harden & Takako Nishizaki, Marcela Roggeri & James Strauss, Lorina Gore, Tasmanian Symphony Orchestra & Marko Letonja, Willem Moolenbeek, Don Cossack Choir of Serge Jaroff & Serge Jaroff, Lev Kuznetsov, Bolshoi Theatre Choir, Yuri Simonov & Orchestra of the Bolshoi Theatre, Yorkshire Building Society Band, Nicholas J. Childs & Manfred Obrecht, Masayuki Kino & Hikaru Yoshiyama, Xenia Belmas, Boris Mersson & Mark Drobinsky, Rosa Ponselle, Pavel Chekin, Vassily Nebolsin & Orchestra of the Bolshoi Theatre, Dmitri Smirnoff, Olesya Rostovskaya, Alexey Kruglov & Yulia Ikonnikova, Daniel Gaede & Phillip Moll  

with ambient field recordings by Rambalac

Namo Guan Shi Yin Pusa Thank you for listening

💙

[demoura]

MARCHA NA PRAIA GRANDE , UM VELUDO DE LEGUMES AO ALMOÇO E MANON DE MASSENET /OLIVIER PY DEPOIS DA SESTA : terça feira ,depois de uma marcha na Praia Grande foi tempo para amena conversa com os meus amigos Ferro que quiseram prolongar o banquete da véspera oferecendo-me um tupperware com a sopa “veludo de legumes “ arte da Drª juíza . Foi o meu almoço .Depois da sesta foi um streaming onde Patricia Petibon cintilou como a sedutora Manon Lescaut na ópera de Jules Massenet e dirigida por Olivier Py . Sou como Pierre Boulez um admirador da música de Massenet e também do polémico encenador .

Em fevereiro de 2016, a nova produção de Manon reuniu pela segunda vez a soprano Patricia Petibon e o diretor Olivier Py no palco do Grand Théâtre de Genève - após a famosa Lulu em 2010.

Está não é uma das obras mais conseguidas de Olivier Py . A abertura tem a sua marca com bailarinas de seios nus e calções de lantejoulas montando homens desvestidos com fatos convencionais Olivier Py exagera no burlesco que por vezes se transforma em grotesco e a produção torna-se por vezes esquizoide . Mas a música de Massenet e a actuação da ruiva soprano Petibon que além da qualidade de voz tem uma presença em palco magnética e exibe grande souplesse no manejo do corpo em cenas mais cruas .

Ao lado de Petibon (Manon), Bernard Richter (Chevalier des Grieux) e Pierre Doyen (Lescaut) cantam sob a batuta de Marko Letonja. Ópera cômica em cinco atos sobre um libreto de Henri Meilhac baseado no romance de Abbé Prévost, L'Histoire du chevalier Des Grieux e Manon Lescaut. Apresentada pela primeira vez na Opéra Comique em 1884. pela primeira vez na Opéra Comique

Dirigido por Olivier Py

Direção musical Marko Letonja With

Patricia Petibon (Manon Lescaut)

Bernard Richter (O Cavaleiro do Grieux)

Pierre Doyen (Lescaut)

Omar Garido (O hoteleiro)

Bálint Szabó (O Conde de Grieux)

Seraina Perrenoud (Javotte)

Mary Feminear (carrinho de passeio)

Marina Viotti (Roseta)

Rodolphe Briand (Gillot de Morfontaine)

Marc Mazuir (Monsieur de Brétigny) Coro do Grand Théâtre

Diretor do coro Alan Woodbridge

Orquestra da Suíça Francófona

[kunst-kultur]

Aus Liebe zur Musik

60´Bremer Philharmoniker mit ihrem speziellen coronabedingten Streaming-Konzert. Unter Generalmusikdirektor Marko Letonja und jeweils nur mit den einzelnen Sparten des Orchesters. Ein Konzert ganz anders zu hören und zu erleben. https://www.kunoweb.de/musik-und-klang/ @Bremer_Phil

[robertemeryofficial]

The barefooted Maestro

The journalist Jeremy Clarkson has his gargantuan stomach and the pianist Glenn Gould had his wooden chair. Novelist Mary Shelly (think Frankenstein) wrote with a Boa Constrictor around her neck, and artist Salvador Dalí carried around a piece of Spanish driftwood. Nigel Kennedy performs in an Aston Villa t-shirt and Robert Emery, yes that's me, conducts barefoot.

Most creative people have a little foible or two. But over the years I've had more people ask me about my bare feet than I've had hangovers; and now you know what a large-scale problem this is, I've decided to address it.

Is it because I can feel the music more with my naked skin touching the ground and feeling the vibrations?

No. I'm not that clever. Dame Evelyn Glennie can do this - but even though she is a percussionist, she is actually very clever; and also profoundly deaf, so she had a good reason to learn that skill.

Is it because I connect more with the music?

No. That is just a silly idea and anyone who says that is more pompous than Jacob Rees-Mogg - and that's a difficult task to achieve.

Is it because I get hot waving my arms around, so this helps cool me down?

No. I mean, yes I do get hot, and yes, it probably does keep me slightly cooler than a pair of Church's formal black patent leather shoes with Paul Smith formal black cotton socks - but that's not the reason.

Is it because it's cheaper?

Now we are just getting to the ridiculous; of course having no shoes is cheaper than having shoes; especially Church's - but that's a silly answer to a stupid question.

Is it to gain attention?

No. I can do that without my feet thank you very much. I've never been very good at dancing, and I don't have especially beautiful feet, so I wouldn't naturally highlight them.

At this point, I imagine the hot water is starting to boil in a quest for a simple answer. So here you are:

Back in 2010 I was young and foolish. I was also conducting the Sinfonieorchester Basel. It was three performances of a European band called the Lovebugs, fused with one of the worlds great orchestras, resulting in a hybrid of rock energy with classical and filmic excitement. To make myself comfortable in long, arduous rehearsals, I often took my shoes and socks off; and I'm afraid to say, even wore shorts. I know you're disappointed and can't understand how someone could be so careless, but it's incredible how scruffy and Hagrid-esq performers are when they don't have an audience to play to.

Now, fast-forward to three minutes before making my big entrance in front of a screaming, excited audience who range from the pre-pubescent through to the odd octogenarian. I'm doing my side-of-stage ritual. It's not a superstitious thing, and occasionally I don't need to do this, but sometimes I lack the energy to go and do my job. My theory is that a couple of hours before a performance, my body and mind start to go into a slumber of subconscious relaxation. I don't want to eat. Don't want to talk. Don't want to move. Actually, I don't want to do anything; especially go on stage. And that's the irony - because I love being on stage. I've learned by now that it's just my way of conserving the massive amount of energy needed to perform like a lunatic version of Jiminy Cricket. It's the calm before the storm. And with any storm, there needs some brewing time, like a good cuppa.

My brewing time involves jumping up and down on the spot. Waving my arms in circles, and generally trying to make the stage management as uncomfortable as possible with my psychedelic movements. That puts a smile on my face and also fires up the starter motor for the energy I need.

So back to the side of the stage and pre-pubescent octogenarian folk. I'm waiting to make my entrance when the promotor looks at me with horror. "What on earth are you doing?" he screamed at me. I froze.

For the first time in my life, I thought I was going to be fired. I imagined Alan Trump or Donald Sugar peering around the corner with their wagging finger, but I didn't know why.

"Why are you wearing shoes" barks the promotor. At this point, I'm more confused than my cat, who is called Penguin. "Why am I wearing shoes? Because I'm about to go on stage and conduct the Basel Symphony Orchestra" I retort. And then, he composed the fateful sentence that has plagued me all my career:

"If you conduct in rehearsals bare-foot because you feel most comfortable, why don't you conduct in concerts bare-foot. Isn't it about time concert halls were less formal? Take those shoes and socks off right now and go have fun!"

So I did. I went on stage and had the biggest buzz not only when the mixed-aged audience erupted, but with the second wave of applause that came when they saw my little bare feet. The next day, the front page of the Basler Zeitung had a photo of my feet, with a caption of 'the cool barefooted conductor'.

I had no idea back then that feet were like Marmite. People either loved me conducting barefooted or hated it. There seemed to be nothing in between. Of course the attention it gave me with the second applause and the newspaper cover massaged my ego, so one could say I told a little white lie when I said I didn't do it for the publicity. But scouts honour, I didn't know that publicity would arise from something we all do at least once a day!

Nevertheless, I'm not a fan of stirring up things (unless it's on the last Sunday before Advent), so I've decided, here and now, that I'll stop with the whole barefoot thing in concerts. I can't be bothered with the negativity around what should be a fun, laughable little quirk. So I'll say good luck to Clarkson with his beer-barrel and Kennedy with his football shirt; I hope they can continue with their fanciful follies. As for Dali, Shelly and Gould, it's interesting they are remembered not for their oddities, but for the creations they left us. Perhaps I should have learned from this, but then I wouldn't have been called 'the cool barefooted conductor'; and with all that patent leather and cotton, I'd be too hot.

Book & Music recommendations discussing Conducting & Sinfonieorchester Basel

The Conductor - A fascinating novel; not the story of Shostakovich. This is the story of a man caught in the white heat of obsession. A man who inspired an entire city, much less a ragged orchestra of half-starved musicians, to an act of resistance and hope in a time of war. Karl Eliasberg. The Conductor.

The Great Conductors - Most Popular Symphonies and Orchestral Favorites - A remarkable 30-CD collection brings together 30 world-class conductors representing the cream of crop - including Herbert von Karajan, Arturo Toscanini, Otto Klemperer, Pierre Monteux, Eugene Ormandy, Bruno Walter, Sir Thomas Beecham, Leonard Bernstein, Leopold Stokowski, Sir Georg Solti and George Szell.

Weingartner: Complete Symphonies [Marko Letonja, Sinfonieorchester Basel] - Marko Letonja and the Basel Symphony Orchestra set out on this adventurous journey of discovery with devotion and virtuosic skill over these 7 disks. Felix Weingartner an internationally acclaimed conductor and a highly influential figure in Basel's music world he also bequeathed to posterity an extensive compositional oeuvre marked by timeless freshness.

Stravinsky:Petrouchka [Sinfonieorchester Basel; Maki Namekawa, Dennis Russell Davies] - A beautiful recording of this incredible piece.

Brucker: Complete Symphonies [Tapiola Sinfonietta; Northern Sinfonia; Sinfonieorchester Basel, Mario Venzago] - 10 CD’s and a DVD of Mario Venzago conducting.

Related & Recommended Posts

[joaquimblog]

A mig Ring de Viena avui us porto el Ring que ha tingut lloc durant el mes de maig a Estocolm, sota la direcció del director eslovac Marko Letonja.i amb un planter de cantants “locals” que encapçala la gran Nina Stemme com a Brünnhilde i amb un únic invitat no suec, el gran Falk Struckmann que sense ser un baix rotund s’imposa com a  Hagen a Götterdämmerung.

Que un país com Suècia pugui nodrir tot un Ring amb cantants locals diu molt del país nòrdic, amb una històrica i memorable contribució a la gran història de l’òpera. La llista seria llarguíssima i ens acabaríem deixant a algú, però el que és més estimulant és que en aquest il·lustre·elebc no hi són tots i tots admirem altres cantants suecs amb Theorin al capdavant, que també podrien nodrir un altre Ring. Admirable!

La solidesa vocal és excepcional en noms tan habituals com la radiant Stemme, l’imponent Wotan de Ludgren, el encara resistent Siegfried de Cleveman, Dalayman retornant als seus orígens (Fricka i Waltraute excel·lents) després dels intens reeixits d’esdevenir una soprano dramàtica wagneriana  o la veu heroica d’accents wagnerians de Weinius, però ja podem començar a anotar un nou nom a la llista de sopranos a considerar, Cornelia Beskow que canta una Sieglinde esplèndida amb una veu important. També l’Erda de Katarina Leoson és magnífica i quins baixos! i el Mime i l’Alberich, i en definitiva Suècia ella soleta li passa la ma per la cara a Bayreuth sense despentinar-se.

  Richard Wagner DER RING DES NIBELUNGEN

Kungliga operans kör Kungliga hovkapellet.

Director musical: Marko Letonja.

Das Rheingold

Wotan – John Lundgren Donner – Kristian Flor Froh – Joel Annmo Loge – Jonas Degerfeldt Alberich – Johan Edholm Mime – Niklas Björling Rygert Fasolt – Lennart Forsén Fafner – Rasmus Bodén Fricka – Katarina Dalayman Freia – Susanna Stern Erda – Katarina Leoson Woglinde – Vivianne Holmberg Wellgunde – Susann Végh Flosshilde – Johanna Rudström

Estocolm 24 de maig del 2017

http://sverigesradio.se/sida/avsnitt/897421?programid=2359

Die Walküre

Brünnhilde – Nina Stemme. Wotan – John Lundgren. Hunding – Lennart Forsén. Sieglinde – Cornelia Beskow. Fricka – Katarina Dalayman. Siegmund – Michael Weinius. Helmwige – Sara Olsson. Gerhilde – Susanna Stern. Orthilde – Angela Rotondo. Waltraute – Marie-Louise Granström. Siegrune – Monika Mannerström Skog. Rossweisse – Johanna Rudström. Grimgerde – Kristina Martling. Schwertleite – Katarina Leoson.

Estocolm 25 de maig del 2017

http://sverigesradio.se/sida/avsnitt/897427?programid=2359

Siegfried

Siegfried – Lars Cleveman. Brünnhilde – Nina Stemme. Mime – Niklas Björling Rygert. Wotan – John Lundgren. Alberich – Johan Edholm. Fafner – Lennart Forsén. Skogsfågeln – Marianne Hellgren Staykov. Erda – Katarina Leoson.

Estocolm, 27 de maig del 2017

http://sverigesradio.se/sida/avsnitt/897443?programid=2359

Götterdämmerung

Siegfried – Lars Cleveman Brünnhilde – Nina Stemme Waltraute – Katarina Dalayman Hagen – Falk Struckmann Gunter – Ola Eliasson Gutrune – Sara Olsson Alberich – Johan Edholm Första nornan – Katarina Leoson Andra nornan – Susann Végh Tredje nornan – Angela Rotondo Woglinde – Vivianne Holmberg Wellgunde – Susann Végh Flosshilde – Johanna Rudström

Estocolm, 29 de maig del 2017

http://sverigesradio.se/sida/avsnitt/900334?programid=2359 

M’agradaria parlar-vos amb profunditat d’aquest Ring però encara no ho he pogut escoltar-lo amb deteniment, el que he fet és escoltar-lo “en diagonal”fer, espero en aquest cap de setmana llarg dedicar-hi el temps necessari però com que també he pensat que a molts de vosaltres també us aniria bé aquest cap de setmana per dedicar-hi el temps necessari, he cregut convenient anunciar-ho aquí i anar per feina.

Bon cap de setmana

DER RING DES NIBELUNGEN DIRIGIT PER LETONJA A ESTOCOLM 2017 A mig Ring de Viena avui us porto el Ring que ha tingut lloc durant el mes de maig a Estocolm, sota la direcció del director eslovac 

[guillaumedesardes]

Marko Letonja // conductor // Paris 2013

[lesser-known-composers]

Felix Weingartner (1863-1942) - Symphony No. 6 in B Minor "La tragica", Op. 74

Andante moderato, Allegro un poco grave, Adagio, Vivace

Marko Letonja (Conductor), Sinfonieorchester Basel (Orchestra)

[lesser-known-composers]

Felix Weingartner (1863-1942) : "King Lear", Op.20 (1896)

Sinfonieorchester Basel - Marko Letonja

[lesser-known-composers]

Felix Weingartner (1863-1942) - Das Gefilde der Seligen, Op. 21

Orchestra: Sinfonieorchester Basel Conductor: Marko Letonja

[lesser-known-composers]

Felix Weingartner (1863-1942) - Symphonic Music, Vol. 6 - Frühling Op.80

Orchestra: Sinfonieorchester Basel Conductor: Marko Letonja

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Claude Debussy - Deux Danses | Musikalischer Weihnachtsgruß der Bremer P...

Bremen Philharmonic Orchestra, conducted by Marko Letonja, solo harp: Amandine Carbuccia

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Engelbert Humperdinck - Hänsel und Gretel Suite | Weihnachtsgruß der Bre...

Wishing you all a beautiful Christmas season!

[lesser-known-composers]

Felix Weingartner - Symphony 3 (1910)  

Marko Letonja - Basel Symphony Orchestra