#vesselina kasarova | Explore Tumblr Posts and Blogs

verdiprati · 4 years

Text

Looking ahead . . . in spite of it all

The last time I published an unofficial list of Dame Sarah Connolly’s upcoming performances, it was with hesitation, knowing that she had months of treatment for breast cancer ahead of her and that she might need to withdraw from some of her performance engagements. That was in late October, 2019. I had, at the time, no inkling that a then-unknown respiratory virus would begin infecting humans over the winter and rapidly break out into a deadly pandemic, resulting in the widespread closure of public spaces and devastating the performing arts.

The change log appended to my previous unofficial schedule post shows that on March 23, 2020, I made the first round of edits to reflect corona-cancellations. Since then, I have been quietly monitoring the status of Dame Sarah’s scheduled gigs and crossing them off as their cancellations have become known to me.

I have also picked up on a few new dates that we can very tentatively look forward to. It is hard to say how long the coronavirus crisis will go on; even when large, indoor public gatherings become possible again, some arts organizations may have had to slash their offerings—or may have succumbed completely—due to the financial fallout of the pandemic. In the meantime, we are starting to see some companies like the Bayerische Staatsoper, Wigmore Hall, and the Royal Opera House offer small-scale, live musical performances with no live audiences, just online streaming.

Now that Dame Sarah is about to perform in one such livestream-only concert—tomorrow’s Das Lied von der Erde in Covent Garden, also notable for being her first live performance since withdrawing from the stage for cancer treatment over the winter—it seems like the right moment to refresh my list of her upcoming performances and start anew.

See my current list after the jump.

This is the point in the post where I normally give a condensed list highlighting the cities where Dame Sarah is scheduled to appear in live performance, so that readers can tell at a glance whether she is coming anywhere near them. This list must now be read with a giant asterisk, as some performances may be online-only (so it doesn’t matter where you live), and others may be much more prone to cancellation than normal!

That said—British performance sites on the horizon at the moment are the Royal Opera House (for online viewing only) and Wigmore Hall in London, plus the Lieder Festival in Oxford (also online only). Audiences in continental Europe might get to see Dame Sarah in Barcelona, Berlin, Hamburg, Amsterdam, or Luxembourg. An as-yet-unconfirmed operatic run may be in store for the 2021-2022 season in New York.

The usual disclaimers:

This is not an authoritative list. These are the upcoming performances by Dame Sarah Connolly that I have been able to learn about from Dame Sarah’s new website, Dame Sarah’s agent's website (Askonas Holt), Operabase, Bachtrack, Dame Sarah's Twitter, and generally ferreting around the web.

I sometimes list concerts that are not yet officially confirmed; you should of course check official sources before making plans and be aware that cast changes and cancellations can happen at any time. This obviously goes triple in the COVID-19 era.

I have added links to venue, ticketing, and broadcast information where available. Tips on new information are always welcome! Please contact me via email (verdiprati [at] selveamene [dot] com), Tumblr messaging, or ask box (plain prose only in the ask box; anything with links or an email address will get eaten by Tumblr filters) with corrections or additions.

[Livestream only] Mahler, Das Lied von der Erde at the Royal Opera House, London, June 20, 2020. With David Butt Philip and members of the ROH orchestra; Antonio Pappano conducts. The performance will be livestream-only; no audience will be seated in the house. Tickets are £4.99 and grant you not only live access, but also the ability to view the concert on demand for two weeks following the performance.

[New!] Recital at Wigmore Hall, London, September 16, 2020. With Malcolm Martineau, in the Wigmore’s 1:00 p.m. “lunchtime” slot. Songs by Poulenc, Roussel, Mahler, and Bridge, capped by a pair of songs newly written by Bob Chilcott for Dame Sarah. At the time of this writing, Wigmore Hall expects to admit live audiences of 10%-20% capacity during the autumn season under socially-distanced reopening guidelines, but the situation for live performance in the UK remains fluid, to put it mildly. The website says that “More details on how to access tickets will be released in the coming weeks. All concerts will go ahead, with or without an audience.”

[Livestream] The recital, like all the others in Wigmore Hall’s autumn 2020 season, will be streamed for free on their livestreaming site. It appears that you can also use this YouTube link.

[Canceled] Recital at Wigmore Hall, London, September 30, 2020. With Roderick Williams and Julius Drake; the first concert of the Wigmore’s Mendelssohn and Liszt series. Public booking is scheduled to open on July 14. UPDATE: As of July 31, this recital is no longer listed on the Wigmore Hall website. Update, August 22: see above for a newly-scheduled Wigmore recital by Dame Sarah.

[New! Livestream only] Handel, Solomon (title role) and Foundling Anthem with the English Concert, October 1, 2020. Also starring Sophie Bevan, Soraya Mafi, and James Way; conducted by Harry Bickett. Selections from both works will be performed as part of a concert titled “Handel – The Philanthropist.” Tickets to the livestream are free; donations are requested to both The English Concert and Bart’s Heritage, the fund for renovating St Bart’s Hospital, which will be the venue for the performance.

[Livestream only] Recital at the Oxford Lieder Festival, October 10, 2020. With Eugene Asti (pianist) as well as “emerging artist” William Thomas (bass)—apparently part of Barbara Hannigan’s Momentum initiative, which is supported by both Dame Sarah and the Oxford Lieder Festival. Schumann’s Fraunliebe und -leben and Mahler’s Rückert-lieder bookend an assortment of songs by Haydn, Arne, Bush, Quilter, Howells, and Britten. The livestream ticket (£12, or £5 for under-35s) includes access to a post-performance Q&A session with the artists. Video will remain available until November 1. Notably, the £250 “Pioneer Pass” for the whole festival gets you bonus goodies including “Two guest tickets to Dame Sarah Connolly’s recital, to share with friends” and “Exclusive artist interviews and other content.”

[New!] “Pappano & Friends” chamber concert at the Barbican, London, November 1, 2020. With Ian Bostridge, the Carducci Quartet, and Antonio Pappano. Tickets are being sold separately for a limited live audience (£20) and for a video livestream of the performance (£12.50). The listed program comprises just two works: Ralph Vaughn Williams’ song cycle On Wenlock Edge and an arrangement of Ernest Chausson’s Poème de l’amour et de la mer. I don’t really know either work, but a little googling suggests to me that Bostridge will sing the RVW and Dame Sarah will sing the Chausson. Tickets go on sale to the general public on September 11 at 10:00 a.m., and a few of the live audience tickets will be held back from the earlier Barbican members’ sale for the general sale, so if you want to try to attend in person, be ready to act swiftly at that time.

[Livestream] As mentioned above, there is a fee of £12.50 for access to the livestream. The Barbican website says, “We advise you to watch the performance live, but the stream will be available to watch back for 48 hours after the live broadcast.”

[New!] Mozart’s Requiem with the English National Opera, London, November 6 and 7, 2020. Fellow vocal soloists are Elizabeth Llewellyn, Toby Spence, and Brindley Sherratt. With the ENO Chorus and Orchestra conducted by Martyn Brabbins. As of this writing early on September 15, the ENO website says “Ticket details will be announced soon.” ENO plans to perform for a live, socially distanced audience; livestreaming has been mentioned only as a backup option in case government restrictions make it impossible to host a live audience in the Coliseum.

[New!] Forum participation, International Vocal Competition, 's-Hertogenbosch, Netherlands, December 2, 2020. Having postponed its opera and oratorio competition until 2022 due to the COVID-19 pandemic, the IVC announced that it would sponsor a multi-day series billed as “IVC Mozart Masterclasses & More” late in 2020. Masterclasses will be led by Vesselina Kasarova, Roberta Alexander, and Thomas Oliemans; Dame Sarah doesn’t seem to have the same role, but the IVC promises that she will be among several “leading professionals” who will “talk with the participants about the future of their profession” as part of “a forum ... about the future as it now looks for (young) singers.” Singers who were born no earlier than December 5, 1987 and who can cough up €500 for the experience may register by October 1, 2020. Members of the public may buy tickets to the events beginning “at the end of August.”

Handel, Agrippina (title role) at the Dutch National Opera, Amsterdam, January 17-29, 2021. The production is Barrie Kosky’s (previously seen at the Bayerische Staatsoper and the ROH, and later moving on to the Staatsoper Hamburg). Ottavio Dantone conducts; co-stars include Ying Fang (Poppea), Franco Fagioli (Nerone), Gianlucca Buratto (Claudio), and Tim Mead (Ottone). As of this writing (June 19, 2020), single ticket sales are indefinitely suspended due to the coronavirus crisis.

Stravinsky, Oedipus Rex (Jocaste) at the Dutch National Opera, Amsterdam, March 10-27, 2021. In a double bill with the new commission From ‘Antigone’ by Samy Moussa. Other singers in the Oedipus cast include Sean Panikkar (Oedipus), Bastiaan Everink (Creon), Rafał Siwek (Tiresias), and Ramsey Nasr (Speaker). Erik Nielsen conducts; Wayne McGregor directs. As of this writing (June 19, 2020), single ticket sales are indefinitely suspended due to the coronavirus crisis.

Stravinsky, Oedipus Rex (Jocaste) with the NDR Elbphilharmonie Orchester, Hamburg, April 10 and 11, 2021. Even though these concert performances follow on the heels of Dame Sarah’s engagement for the same opera in Amsterdam, the two gigs appear to be administratively and artistically unrelated. Her co-stars in Hamburg include Brenden Gunnell (Oedipus), Tomasz Konieczny (Creon), and Sir John Tomlinson (Tiresias); the MDR Rundfunkchor Leipzig supplies the men’s chorus. Alan Gilbert conducts. The program also includes Le sacre du printemps. Under a special policy instituted in response to the uncertainties of the coronavirus pandemic, tickets can be pre-ordered starting May 26, 2020, with payment due when it is confirmed that the performance will go forward, no later than six weeks before the concert. There’s some background information about the Stravinsky pieces on the NDR website.

Stravinsky, Oedipus Rex (Jocaste) with the NDR Elbphilharmonie Orchester at the Philharmonie Luxembourg, April 19, 2021. Co-stars, conductor, and chorus are the same team as in the Hamburg performances, and the Luxembourg program likewise includes Le sacre du printemps. Tickets go on sale February 22, 2021.

[New!] Recital for St Luke’s Music Society, London, May 8, 2021. With Joseph Middleton. Repertoire TBA. Note that “during the COVID crisis tickets may be restricted to Friends only.” Tickets are £18 and Friends membership is £35; the tickets for Dame Sarah’s recital go on sale December 13.

Recital at the Concertgebouw, Amsterdam, May 18, 2021. With Julius Drake. Songs by Mendelssohn, Liszt, Elgar, Debussy, Ravel, and Chaminade.

Elgar, The Dream of Gerontius with the Berliner Philharmoniker, Berlin, May 27, 28, and 29, 2021. With Allan Clayton and Roderick Williams, as well as the Rundfunkchor Berlin; Simon Rattle conducts.

[Livestream] The concert on the 29th will be livestreamed on the Berliner Philharmoniker’s Digital Concert Hall platform.

[Unconfirmed / details TBA] Tour with the Wiener Symphoniker, October 2-5, 2021. Dame Sarah’s name appears along with that of conductor and violinist Andrés Orozco-Estrada (who will take over as music director of the Wiener Symphoniker in the 2020-2021 season) in this list of orchestra tours on the website of agents Dr. Raab & Dr. Böhm. Details of the repertoire and cities for the tour will presumably be revealed when the Wiener Symphoniker announces its 2021-2022 season.

[New date!] Recital at Sant Pau Recinte Modernista [PDF], Barcelona, November 15, 2021. With Julius Drake. Part of the LIFE Victoria series of recitals; originally announced for November 27, 2019, but postponed due to Dame Sarah’s treatment for breast cancer; rescheduled for October 2020, and further postponed due to the coronavirus pandemic. Themed as a “Viennese journey by the hand of Alma Mahler,” the recital includes songs by Brahms, Wolf, Debussy, Alma Mahler, Gustav Mahler, and Zemlinsky.

[Livestream? TBC] This article in the Catalan newspaper La República says of the combined 2020-2021 season that “Tots els concerts es retransmetran en streaming, independentment de si pot assistir-hi públic o no” (“All concerts will be streamed, regardless of whether the audience can attend or not”). I have been unable, however, to confirm this detail on the LIFE Victoria website or in the PDF of the combined season announcement.

[Unconfirmed / details TBA] Brett Dean, Hamlet (Gertrude) at the Metropolitan Opera, New York, sometime in 2021-22. Allan Clayton, who starred in the title role of Brett Dean’s Hamlet at Glyndebourne in 2017, mentioned in an interview with the Telegraph that he would be reprising the role at an unspecified date and venue in the US. When prompted on Twitter, Dame Sarah indicated that she would be participating in the revival, too (“I shall be misunderstanding my confused boy again”). In a later interview with Opera News, Clayton reportedly specified that he would reprise Hamlet at the Met. The Future Met Wiki places the production at the Met in the 2021-2022 season (as does this New York Times article). Hat tip to Christopher Lowrey, who sang Guildenstern in the original production at Glyndebourne, whose tweet praising Allan Clayton brought the Telegraph interview to my attention. (No indication whether Lowrey will also be cast in the American revival.) Additional hat tip to the Tumblrer who submitted information on this topic via the ask box.

Previous versions of this list can be found under the schedule tag on this blog. This list published June 19, 2020. Updated June 22 to reflect the further postponement of the LIFE Victoria recital. Updated July 22 with the new date of the LIFE Victoria recital and the addition of the IVC forum. Edited July 28 to correct the closing date of DNO Agrippina to January 29 (not 27). Edited August 1 to reflect the cancelation of the September 30 recital at Wigmore Hall. Edited August 22 to add the September 16 recital at Wigmore Hall and update the Oxford recital with more details. Edited August 29 to add the English Concert livestream and fill in the repertoire for the September 16 Wiggy recital. Edited September 8 to add the Barbican “Pappano & Friends” concert. Edited September 15 to add the ENO Mozart Requiem and belatedly fill in some details on the Oxford Lieder Festival recital. Edited September 21 to add the recital for St Luke’s Music Society. I may continue to edit this list as I receive new information.

#sarah connolly #schedule #performances

3 notes · View notes

angelic-shippings · 5 years

Text

Franz Buchrieser, comédien, Graz

What his works offer in terms of sophisticated drama and rich colors is timelessly convincing. I don't think about being a star. I have enough respect for my beloved music and for the audience. In general, I am attached to Zurich from the bottom of my heart, since my first stay. I came here in 1989 as a completely inexperienced young singer, and it was simply incredible how I was received and helped at the opera house. I will never forget that. I find it remarkable how many good athletes a country as small as Switzerland produces. That's why I don't understand why the Swiss public is constantly talking about a lack of success. Ideally, my ideas match those of the director, then the emphasis is on my personal interpretation. But it can be just as enriching to take a different approach because I can then discover new facets. Something that I am currently only performing according to the director's instructions may not show its full effect until later. I started with the second Norn and Wellgunde in the "Götterdämmerung", two small lots, but in one large apparatus. Everyone helped me a lot, the conductor Ralf Weikert, the colleagues, the company office, everyone. Good luck in a short time? Yes, yes - but worked hard. In the initial phase I also listen to recordings, but mainly to get a picture of the orchestral sound. However, I deliberately leave some aspects of the game "free" during the preparation, because these often only finally come about during the staging. Because there are many components that cannot be foreseen during your own preparation. I was simply fascinated by the difficult "instrument" voice. Singing is something very special. Unlike playing an instrument, it is a direct expression of the body. From 1997 onwards it will increasingly turn to the song, especially the German one Zurich, where she lives, she will try Schubert, Schumann and Brahms - "It is still too early for Wolf" - before she comes to Munich with it in March '97. In the same year she will record duets in Munich with the Gruberova and record Mozart arias with Sir Colin Davis and the Dresden Staatskapelle. "Tancredi" will be released with the Bavarian Radio Orchestra this autumn. Vesselina Kasarova is still frightened today. But back in March 1992, she took the hearts of Munich by storm. If the environment is not right, you get sick. As simple as that.

Even my vocal cords feel it when I get home. We singers are very sensitive to air pollution, the respiratory tract is irritated immediately, which I experienced just now when I was in New York for a few weeks.

Caractéristiques

There is this strong contrast between the slow arias, which I particularly love, and the effective coloraturas. The expression of this music, in my opinion, cannot be done entirely without vibrato. Bulgarian mezzo-soprano Vesselina Kasarova over here and the German soprano Ricarda Merbeth has been awarded the professional title “Austrian Chamber Singer” at the Vienna State Opera. Vesselina Kasarov sang almost a dozen parts in the Haus am Ring. In May, however, she will perform again at the Zurich Opera House.

#couleur des yeux schwarzenegger

1 note · View note

cosmic-brownie-vomit · 5 years

Text

Despo Rutti

In conversation, she is refreshingly open and serious. She wants to strictly separate work and private life, that is very important for her soul. A wish that is not always easy to implement, because as an "artist you not only have to learn to move on stage", but also "to present yourself privately without revealing your private life". The word "learning" has a central place in the Bulgarian singer's vocabulary. She is always on the lookout for something new, if she wants to develop further, whether at work or privately. He approaches production with a great love and says more in a few words than those who speak a lot but do little in the end. It's actually similar with directors. Nikolaus Harnoncourt was also very important to me as a conductor. That is his high standard. The Bulgarian mezzo-soprano Vesselina Kasarova is one of the few singers who still understand this art today.

Despo Rutti

For me, the Swiss calm has nothing to do with boredom. More with serenity, intimacy or correctness. I like that the people here are correct, that the people here are not lying. But there are brave pioneers who tackle these challenges and have already implemented successful best practice solutions. With the new platform AUSTRIAN WORLD SUMMIT, these projects are brought up on the curtain and above all regions and cities are supported in the implementation of their “green infrastructure”. Zurich was also the starting point for Kasarova's steep career. In 1989, the then opera house director Christoph Groszer heard them in a concert in Sofia and immediately engaged them.

Suggest a new topic for this album

Then I learn from the piano reduction, which is not a problem for me, because I was also trained as a pianist and actually discovered singing when I accompanied singers. Everything is in the grades for me and I learn quickly.

I don't see this figure as a brutal or even primitive woman. She is confident, knows that iphone 11 bazooka phone case she almost all men can have it, but it is not ordinary, although it is sometimes portrayed as such.

#couleur des yeux schwarzenegger

1 note · View note

akikonatsuko · 5 years

Text

Franz Buchrieser, comédien, Graz

Even if she sings Isabella in "L'Italiana in Algeri" in Vienna, Zurich, Amsterdam and Florence, even if her "Tancredi", sensation of the Salzburg Festival in 1992, will soon be recorded and there are other Rossini roles in her repertoire , She describes her voice as rather bright, not exactly a typical mezzo-soprano. In addition to coloratura parts, she can sing both lyrical and dramatic roles. If one can describe the essence of Belcanto at all, it may be that it speaks directly to our hearts through its warmth and humanity expressed in the tonal language. When compiling the songs, I made sure that there was a change between sad and happy pieces, between rest and movement. I will never just stay with Mozart and Rossini. Bellini, for example, is becoming more and more important to me, and I would also like to make a “Favorita” in a few years. As part of her exclusive contract with the company RCA, a number of new recordings have been made in the past few months that confirm the artist's exceptional position. A recital devoted exclusively to Rossini, which only came on the market a few weeks ago, does the trick to explain the secret of its success.

Write your review.

It is very difficult to find a good musician you can trust. For voice training, I still visit my teacher in Sofia, Ressa Koleva, as often as possible. If you do not yet know a game, you will only gradually discover where the difficulties lie, what is possible and what is not.

Filmographie comme comédien

When Violeta Urmana, the current Kundry in Bayreuth, sings a single "Parsifal" (with those differently shaded a, which mean all of heaven and all of hell), if she endlessly tortures the curse of that wonderfully worldly demonic woman through existence ", as it were, only speaks, even lets it crumble out of itself tonelessly and the infamous laugh, the mockery of Christ on the cross, as a top note between shrill despair and blissful singing happiness, then it runs ghostly over your back. Then the lead pain of Wolfgang Wagner's production is quickly forgotten. Urmana has mastered what has become rare and was the calling card of the great bel cantist, the perfect balance between intensity and distance, between expression and control. If you start things like this too early, the risk is undoubtedly great. I no longer believe that for me today, because I can build on a certain experience. Her debut at the Salzburg Festival was in 1991 as Annio under Sir Colin Davis, Cherubino she sang at the Vienna State Opera with Peter Schneider, and her Dorabella under the baton of Riccardo Muti at the Theater an der Wien delighted audiences and press alike. "Intermediate tones and nuances are the domain of Vesselina Kasarova, whose subtle phrasing and modeling skills combined with her intense acting presence and exquisite timbre create a portrait of Dorabella without any spaces" (NZZ). From the impression she makes privately, the Kasarova should actually always be loved ones who play gentle. Kasarova has a repertoire of 35 mezzo-soprano parts. Her eighth CD "Rossini - Arias & Duets" has just been released by BMG. I do not come from a communist family. Singing and playing belong together, the game is often the most important thing, it also helps with singing. You only really notice whether you really master a game when you play the role on stage. Born in Stara Zagora in southern Bulgaria, Vesselina Kasarova started playing the piano at preschool age. She wanted to be a pianist and has consistently pursued this goal up to the concert diploma. In addition, she sang as a student in a choir, and at 18 she wanted to take the risk of becoming a singer, if the vocal conditions allowed it.

Nevertheless, because of its size, the Zurich Opera is very suitable for trying out certain parts. Mezzo-soprano Vesselina Kasarova has long been one of the most sought-after singers in the world. With arias from the operas "Alcina" click here to read a > and "Ariodante" by Georg Friedrich Händel will be her guest on Monday at the crowning end of the Rendsburg festival season. I congratulate Pachulke and Clélia on finding the solution and posting elegant allusions.

#couleur des yeux schwarzenegger

1 note · View note