#Tareq Nazmi

[mozart2006]

Simon Rattle e Symphonieorchester des Bayerischen Rundfunks - Idomeneo

Foto ©BR/Astrid Ackermann Sir Simon Rattle ha iniziato la sua prima stagione da Chefdirigent della Symphonieorchester des Bayerischen Rundfunks, Continue reading Untitled

[lmarodrigues]

Tareq Nazmi Sprecherszene

[infinitelytheheartexpands]

the sheer NERVE I love this guy

[verdiprati]

Mostly Mezzo Mondays: Panthaki, Costanzo, Bridges, Gerhaher, Alder, Hallenberg, Lindsey, et al.

Mostly Mezzo Mondays: a recurring (though not weekly) feature where, on Monday nights, I blog a list of the upcoming broadcasts that have caught my eye on World Concert Hall. My interests: baroque vocal music, art song recitals, and a list of favorite singers.

It’s that time of year when Handel’s Messiah keeps the jam on vocal soloists’ bread. I’m sure there will be plenty of Messiah broadcasts to choose from between now and the 25th, but here’s a good pick already: Sherezade Panthaki, Daniel Moody, Richard Croft, and Benjamin Bevan are the soloists with the Minnesota Orchestra under Nicholas Kraemer. Live broadcast Friday, December 6 on Classical Minnesota Public Radio. (NOTE: although the live concert broadcast starts at 8:00 p.m. Minneapolis time on the 6th, it is listed in the wee hours of the 7th on World Concert Hall, which uses GMT for all broadcast listings.)

Glass’s Akhnaten has definitely gotten under my skin and into my ear since I saw it in New York last month. I’ve been listening to an old recording that someone put on YouTube, but I look forward to getting the Met cast into my MP3 stash. Personally, I like Anthony Roth Costanzo more in Glass than in Handel, and he seems born to play Akhnaten; J’Nai Bridges and Dísella Lárusdóttir are mesmerizing as Nefertiti and Queen Tye, respectively. Live broadcast Saturday, December 7 on WQXR.

I don’t know much about Schumann’s Scenes from Goethe’s Faust but I do know that this cast has a high quotient of noteworthiness: Christian Gerhaher, Christiane Karg, Louise Alder, Ann Hallenberg, Claire Barnett-Jones, Werner Güra, Tareq Nazmi, and Kurt Rydl.��John Elliot Gardiner conducts. Live broadcast Sunday, December 8 on NPO Radio 4.

The world premiere of Olga Neuwirth’s Orlando is up for broadcast from the Wiener Staatsoper, with Kate Lindsey in the title role. Live broadcast Sunday, December 8 on Ö1. 

[demoura]

DOMINGO 14 DE FEVEREIRO : MEMÓRIA DE UM DIA DE S.VALENTIM NOS E.U.A , COVID 19 MANTÉM PRESSÃO ALTA NOS HOSPITAIS , COMPRAS E ALMOÇO PRE -PREPARADO DO SUPERMERCADO ESPANHOL, DER FREICHUTZ , DE CARL MARIA VON WEBER ,A ÓPERA QUE WAGNER ADORAVA : o dia de S. Valentim , dia dos namorados é uma “ tradição importada” que se celebra em Portugal desde há poucos anos como mais um pretexto para surto de consumismo . Recordo aqui em imagem um Valentine’s day que vivemos nos E.U.A quando a Zica me visitou durante o tempo na Universidade de Yale . Ai sim a data é tradição! .Os sinais de abrandamento da pandemia estão reflectidos na diminuição dos novos casos mas infelizmente os números dos internamentos nas enfermarias e nas UCI continuam muito elevados .Não podemos deixar de manter uma permanente disciplina de proteção ! Na minha visita dominical ao Corte Inglês fiz várias compras excelentes mas pela “fadiga dos chefes covid” decidi comprar o almoço no balcão dos pre- preparados : um arroz à valenciana, esparregado e beringelas recheadas . Exceptuando as últimas o resto foi uma desilusão e os preços são demasiado elevados . Experiência que não vou repetir . O melhor do almoço foi o tinto Filoco Casarões 2017 um vinho exuberante ;vermelho cintilante com aroma a frutos do bosque, intenso, muito boa concentração, magnífico equilíbrio proveniente de castas Touriga Nacional, Tinto Cão e Tinta Barroca. Depois foi uma tarde de opera em casa acabando de ver o Der Freischütz de Weber da Ópera Estatal da Baviera transmitido live no Mezzo HD e noutras plataformas a 13 de Fevereiro deste ano . A Ópera em três atos de Carl Maria von Weber (1786 - 1826 ) com libreto de Friedrich Kind teve a sua estreia em Berlim em e 18 de junho de 1821 e foi a “ bala mágica “ para um novo caminho da ópera alemã . “ nunca existiu um compositor mais alemão do que vos ." As palavras de Richard Wagner, ditas junto ao túmulo de Weber em dezembro de 1844, ecoaram ao longo dos séculos. Weber havia morrido em Londres (1826), onde foi enterrado, mas Wagner liderou a campanha para que seus restos mortais fossem devolvidos a Dresden, onde Wagner assumira o antigo posto de Weber como Kapellmeister. Der Freischütz é um thriller operativo que conta a história de Max um caçador sem sorte que para quebrar o feitiço da sua espingarda faz um pacto com o Diabo para poder fundir balas mágicas (FREIKUGELN) que atingirão sempre o alvo sua . Isso é crucial para o próximo concurso de tiro no qual Max quer competir, porque a mão da sua amada Agatha onde é o prémio. Weber tinha-se inspirado nos " gespensterbut,” contos sinistros sobrenaturais de Johann Apel e Friedrich Laun, (1810.) onde o mito do “ caçador de negro “ já era parte ,mas sobretudo na versão dos irmãos Grimm. Dmitri Tcherniakov colocou os caçadores da floresta com penas no chapéu num apartamento ultramoderno utilizando carabinas de mira telescópica . Não me entusiasmou esta recriação . ..Mas a música é belíssima . Está gratuito on demand durante 30 dias . Recomendado . Mantenham todas as cautelas.

Orquestra e Coro da Ópera Estatal da Baviera

Antonello Manacorda (Maestro),Dmitri Tcherniakov (direção de palco),Pavel Černoch (tenor): Max

Anna Prohaska (soprano): Ännchen Golda Schultz (soprano): AgatheKyle Ketelsen (barítono): Kaspar

Boris Prýgl (baixo): OttokarMilan Siljanov (barítono): Kilian Tareq Nazmi (baixo): um eremita

Bálint Szabó (baixo): Kuno

[bereite-dich-zu-leben]

Do, 07. Sep 2017 | 21:30 Uhr

Philharmonie Berlin

MOZART Requiem d-Moll KV 626 (vervollständigt von Franz Xaver Süßmayr)

Julia Lezhneva | Sopran

Catriona Morison | Mezzosopran

Thomas Cooley | Tenor

Tareq Nazmi | Bass

Chorus MusicAeterna

Orchestra MusicAeterna

Teodor Currentzis | Dirigent

[operaeoperanews]

#Repost @tenorkaufmann • • • • • Tonight is the dernière of Beethoven’s Fidelio at the @bayerischestaatsoper. With Anja Kampe & Tareq Nazmi. 📷 by Wilfried Hösl. https://www.instagram.com/p/BtYUDb9hJO4/?utm_source=ig_tumblr_share&igshid=pvr4jnw7uu2l

[mastcomm]

Capital in Trump Mideast Plan Makes ‘a Joke’ of Palestinian Aspirations

ABU DIS, West Bank — Like a monument to dashed hopes, an unfinished Palestinian parliament building stands derelict on a ridge in Abu Dis, an unimposing West Bank suburb of Jerusalem that the Trump administration has proposed as the capital of a future Palestinian state.

A symbol of the possibilities of sovereignty when it was begun in the mid-1990s, the parliament was supposed to have a clear line of sight to the glimmering domes of the revered Al Aqsa Mosque compound in Jerusalem’s Old City, barely two-and-a-half miles away as the crow flies. Today it backs onto a hulking, razor wire-topped concrete wall, a section of Israel’s security barrier that went up in 2005, isolating wingless creatures in Abu Dis from Jerusalem and its holy sites.

Days after the rollout of the long-awaited Trump plan for resolving the Israeli-Palestinian conflict, which strongly favored Israel and disregarded most Palestinian claims, there was little sense of gathering majesty or of Palestinian control here in Abu Dis.

American administrations have tried repeatedly over decades to mediate a peace agreement between Israel and the Palestinians on far more evenhanded terms than the current proposal. But nothing epitomizes the asymmetry more than how it addresses a Palestinian capital.

Palestinians have long aspired to an independent state with East Jerusalem as its capital, but the proposal does away with the long-held notion that the two sides would negotiate the city’s future.

Instead, it gives all the desirable parts of Jerusalem to Israel and proposes a group of obscure, outlying areas of the city as the closest thing to a capital in Jerusalem that the Palestinians should ever get. It offers Palestinians the tiny, crowded Abu Dis, along with troubled faraway neighborhoods technically in East Jerusalem, but also on the other side of the security barrier.

In broad terms, the Trump administration plan would give Israel overall military control from the Jordan River to the Mediterranean Sea. It would allow Israel to annex about 30 percent of the West Bank along with all the Jewish settlements in the territory, though most of the world considers those settlements a violation of international law.

While Israel had long been expected to hold on to some large settlement blocs in the West Bank in return for land swaps, there was also an expectation it would dismantle more isolated settlements in territory designated for a Palestinian state.

And rather than Israel annexing the strategic Jordan Valley in its entirety, previous peace proposals envisaged a special security arrangement, possibly involving third party forces, along the border with Jordan.

In return for the concessions to Israel, the Trump plan makes the Palestinians a heavily conditional offer that stands little chance of being accepted: an entity that they could call a state made up of the Gaza Strip and several enclaves in the West Bank — pockmarked with settlements and surrounded by Israeli territory — that would be linked by roads or other transportation.

While Israel hailed the plan, the Palestinians angrily rejected it out of hand.

One of the neighborhoods designated for the capital, the Shuafat refugee camp, is a gang-ridden slum where the Palestinian police have no jurisdiction and the Israeli police fear to tread. Another, Kufr Aqab, became a Wild West of unregulated and unsafe construction when Israeli policies and sky-high housing prices drove middle-class Arabs to seek homes beyond the security barrier but still inside the Jerusalem municipality.

And then there is Abu Dis, the hilly home of Al-Quds University, which opened in the 1980s when the village was just a 10-minute drive from Damascus Gate — one of the portals leading into Jerusalem’s Old City. Most of Abu Dis was never inside the Jerusalem city limits.

“How can this be a capital?” asked Ahmed Bader, 25, incredulously. He had come in a small truck to collect garbage from a patch of wasteland behind the parliament building. Children rode horses bareback in an adjacent alley.

“Jerusalem has the Aqsa mosque, the churches, business, places to work,” he continued. “What do we have here, in our little town? If I stop my little Vespa in the main street to speak on the phone, cars pile up behind and can’t get past me!”

When the Palestinians say they want Jerusalem as their capital, they do not mean suburbs like Abu Dis, or areas like Shuafat and Kufr Aqab.

Shuafat and Kufr Aqab are part of territory that the Israelis annexed to Jerusalem in 1967, in the heady days after their victory in the Six-Day War.

“Jerusalem is the old walled city. The rest is not Jerusalem,” said Nazmi Jubeh, an archaeologist and historian who runs the Birzeit University Museum in the West Bank. “We mean by Jerusalem — and I think everybody around the world means — the holy sites. This game of playing with words has no meaning at all.”

In myriad ways, the Trump plan seemed to reward the Israelis and punish the Palestinians for what each has considered the other’s bad behavior.

The Israelis relentlessly created facts on the ground, like settlements in the heart of the West Bank aimed at preventing a Palestinian state from coming together. The Palestinians repeatedly resorted to violence, even after Israeli withdrawals, which led Israel to expand its security presence at the Palestinians’ expense and to insist on never uprooting its people again.

In its conceptual map of a Palestinian state, the Trump plan did not even mark the location of a capital, though the document did suggest calling it Al-Quds, the Arabic name for Jerusalem.

It did mark Jerusalem — in Israeli territory.

The Americans determined that Israel should remain sovereign over all parts of Jerusalem, including the ancient holy sites that are inside the security barrier built in the early 2000s after a spate of Palestinian suicide bombings.

At least 120,000 Palestinians live beyond the barrier but still inside the Jerusalem city limits so they can cling to their Jerusalem residency cards, which allow them to work and travel inside Israel. Under the American plan, they would find themselves living in Palestine.

(Inside the barrier, the plan says, the approximately 200,000 Palestinians would get the choice of becoming citizens of Palestine or of Israel, or of maintaining the in-between residency status that most of them have today.)

As a purely geographical matter, the Palestinian capital would be fragmented across several neighborhoods that are miles apart from each other, separated by Israeli communities and major roads, and share little in common. It is not unlike cobbling together a new city from parts of Teaneck, N.J., Queens, and the South Bronx.

The Trump plan promises to manage the feat with new roads, tunnels or bridges.

“If you know these areas, you know they’re just making a joke of you and your national aspiration,” said Mr. Jubeh. “A capital is a symbol,” he added. “These areas are not a symbol for anybody.”

Indeed, the Palestinians are denied even a symbolic toehold in or near the ancient heart of the city. But Israel gets rid of its only refugee camp, and of the violent outland it has become.

In carving off Shuafat, the Trump plan completes what the Israelis first tried to do when they built the security barrier, said Danny Seidemann, an expert on the geography and political history of Jerusalem who is a harsh critic of the Trump plan. It would correct what he said was a mistake in hastily drawing the city boundaries in 1967.

The refugee camp had been a hot spot of violence for years, he said. So the decision was made to build the security wall inside the city “in order to cut them out,” Mr. Seidemann said.

In the Shuafat camp on Thursday, residents laughed at the idea of making their neighborhood a Palestinian showpiece. Water and sewer services in the camp are unreliable at best; the streets contain potholes big enough to lose much of a car.

“It’s a ghost city, not a capital,” said Muhammad Inbawi, 30. “It’s chaos here. At night, we’re ruled by the gangsters. What kind of capital is that? Is Trump sane?”

The place is not so safe by day, either: As Mr. Inbawi spoke, a fog was billowing down the street. It was tear gas fired by Israeli security forces. Crowds of children in school uniforms broke into a run to get away.

Seeing a girl struggling to withstand the effects of the acrid cloud, Mr. Inbawi shouted at no one in particular, “You don’t throw stones when school is letting out!”

Abu Dis, which started out as a sleepy village, now has about 13,000 residents in less than two square miles. It consists of a single main street and higgledy-piggledy alleys shooting off at strange angles.

“We love it,” said Safia, 35, an English teacher who would only provide her first name for fear of repercussions from the authorities. But she added, “Like all Palestinians, I refuse what we call the American-Israeli agreement to take Jerusalem.”

She last visited Jerusalem three years ago to pray during the holy month of Ramadan, a visit that required a special permit from the Israeli authorities.

Tareq Bader, 22, who works in a car accessory store, was last in Jerusalem about 10 years ago. “It’s so close,” he said, “but difficult to get to.”

But he hasn’t lost faith.

“Trump promised Jerusalem to the Jews,” he said. “God promised it to us, and God is greater than Trump.”

Mohammed Najib contributed reporting.

from WordPress https://mastcomm.com/capital-in-trump-mideast-plan-makes-a-joke-of-palestinian-aspirations/

[mozart2006]

SWR Symphonieorchester 2022/23 - Beethoven 9. Sinfonie

SWR Symphonieorchester 2022/23 – Beethoven 9. Sinfonie

Foto ©SWR/Henrik Hoffmann La vita musicale di Stuttgart è ripresa con concerto di apertura della stagione della SWR Symphonieorchester, (more…)

[georgieandgreg3]

Benvenuto Cellini

That evening, we had tickets for a performance of the opera Benvenuto Cellini, by Hector Berlioz, which is regularly performed in Europe, but seldom over here. The Berlin Philharmonic Orchestra was touring out of town this weekend, so their hall, the Philharmonia, was available for use by the Berliner Festspiele music festival. Sir John Elliot Gardinier, a noted Berlioz expert, was conducting the wonderfully named Orchestre Révolutionnaire et Romantique in a semi-staged performance.

The Philharmonia is a new hall, built particularly for orchestral performance, so it is unlike most other performance halls. It is optimized for acoustics, so the audience sits all around and above the performance platform, which is a theatre-in-the-round type of stage, with some tiers for chorus or additional musicians at the “back”. Our seats were above and technically slightly behind the orchestra. In a conventional hall, we would have been up in the wings. However, we had a good view of the action, as the costumed singers performed in and around the orchestra (staging by Noa Naamat). Tenor Michael Spyres both sang and acted very well in the role of the famous bad-boy artist, and was well matched by soprano Sophia Burgos as his love interest, and baritone Lionel Lhote as his comic-villain rival. There were some particularly fine supporting characters as well, notably Tareq Nazmi as Pope Clement, and mezzo Adèle Charvet as Ascanio, Cellini’s trusted apprentice. The Monteverdi Chorus was a major part of the music and action as well, racing around the stage, dispatching the complex choruses with élan, chattering and whooping through the Act 1 finale, which Berlioz effectively recast for orchestra as his Roman Carnival Overture.

The orchestra, which included period instruments such as cor d���Anglaise and ophicleide (a type of baritone horn), got into the act, as well, but most importantly playing Berlioz’ famously difficult score with great energy and without noticeable flaw.

We had the great good luck of catching a 200 line bus right outside the hall, which dropped us right outside our hotel, so we were back in very good time, so we had reasonable time to sleep our last night in Berlin.

[damifph]

Mozart: Die Zauberflöte - Rolando Villazón, Regula Mühlemann, Franz-Josef Selig, Albina Shagimuratova, Christiane Karg, Klaus Florian Vogt, Paul Schweinester, Tareq Nazmi, Levy Sekgapane, Douglas Williams, Johanni van Oostrum, Corinna Scheurle, Claudia Huckle, Aurelius Sangerknaben Calw, RIAS Kammerchor, Justin Doyle, Jory Vinikour, Chamber Orchestra of Europe & Yannick Nézet-Séguin https://apple.co/2LXD4Si

[infinitelytheheartexpands]

“I had to crash this scene but IT’S TOO EARLY FOR THIS OMG”

[verdiprati]

Mostly Mezzo Mondays: DiDonato, Lezhneva, Alder, Hallenberg, et al.

Mostly Mezzo Mondays: a recurring (though not weekly) feature where, on Monday nights, I blog a list of the upcoming broadcasts that have caught my eye on World Concert Hall. My interests: baroque vocal music, art song recitals, and a list of favorite singers.

Joyce DiDonato joins the Orchestre Révolutionnaire et Romantique for an all-Berlioz program at the BBC Proms. Wednesday, September 5 on BBC Radio 3.*

Julia Lezhneva sings baroque arias by Handel, Vivaldi, Porpora, and Graun, interspersed with instrumental pieces by Torelli, in a concert with the Kammerorchester Basel. Thursday, September 6 on SRF 2 Kultur.

This Theodora from the Proms looks promising: it’s got Louise Alder in the title role with Ann Hallenberg as her friend Irene, plus Iestyn Davies (Didymus), Benjamin Hulett (Septimius), and Tareq Nazmi (Valens). With Arcangelo and the Arcangelo chorus, conducted by Jonathan Cohen. Friday, September 7 on BBC Radio 3.*

* BBC Radio 3 generally makes concert broadcasts available for listening on demand for about a month afterward. I’m not sure about SRF 2 Kultur—on a brief browse of the site, I couldn’t find any archived concerts. 

[falliero]

Leonore de Beethoven, par René Jacobs et le Freiburger Barockorchester, avec Marlis Petersen, Robin Johannsen, Dimitry Ivashchenko et Tareq Nazmi (à Philharmonie de Paris)

[infinitelytheheartexpands]

Tareq Nazmi!!!!!

just got onto the Freischuetz stream and this is where we’re at

production looks interesting, Golda Schultz is gorgeous, and the singer playing Aennchen is both beautifully-voiced and beautiful and I want that look