- Opernkompagnie
- Vereinigtes Königreich
Letzte Aktualisierung
2024-05-02
Aktualisieren
Randle Xavier Hetherington Ritter Buckley
A new, chamber opera by Cambridge University (Girton College) music finalist Rhiannon Randle, 'Temptations' is an intensely dramatic re-imagining of Satan's temptation of Jesus in the desert, portrayed through the eyes of starving Israelites, and touches upon the question of truth in today's society. The work is a setting of sonnets by Girton College's chaplain, Rev. Dr. Malcolm Guite (from his best-selling book 'Sounding The Seasons') complemented by passages from the Gospels of St. Luke and St. Matthew. This intense half an hour will be a boost to your Week 2! Special thanks to Ian Christians of Orpheus and Bacchus for his support. Cast Jesus - Henry Hawkesworth Satan - Xavier Hetherington Narrator - James Robinson Israelite Father - Robert Haylett Israelite Mother - Imogen Sebba Israelite Son - Edward Button Band Flute/Piccolo/Alto Flute - Katie Walton Oboe/Cor Anglais - Alice Kelly Clarinet/Bass Clarinet - David Mears Bassoon - Matt Lewis Horn - Benedict Collins Rice Trumpet - Colin Ritter Danskin Percussion - Susie Alaghband-Zadeh Harpsichord/Percussion - Nadanai Laohakunakorn Harp - Ciara McGlade Violin I - Josh Michaels Violin II - Gabriella Jones Viola I - Henrietta Hill Viola II - Nathalie Green-Buckley 'Cello I - Joe Davies 'Cello II - Ben Michaels Double Bass - Dominic Nudd Production Team Composer and Producer - Rhiannon Randle Libretto - Malcolm Guite Director - Harriet Cartledge Musical Director - Joel Sandelson Assistant Musical Director - Nadanai Laohakunakorn Publicity - Rhiannon Randle and Henrietta Hill
Osada Ken David Masur Masur Duffy Sokolowski Winkler 1867 1916
Four Nights of Dream (http•••) OPERA | WORLD PREMIERE PRODUCTION Japan Society 110th Anniversary Commision (Based on a novel by Natsume Soseki) Wednesday, September 13, 7:30 PM Friday, September 15, 7:30 PM Saturday, September 16, 7:30 PM Wednesday, September 13, 7:30 PM—followed by a MetLife Meet-the-Artists Afterparty Friday, September 15, 7:30 PM—followed by an artist Q&A Saturday, September 16, 7:30 PM A frustrated samurai. An unwieldy herd of pigs. A mysterious murder. A woman’s dying wish. Four surreal stories from Japanese author Natsume Soseki’s +••.••(...)) Ten Nights of Dream come to life in Four Nights of Dream, a new chamber opera that traverses the subconscious through colorful melodies and piercing emotions. For this original production, New York vocalists and Tokyo instrumentalists come together to perform within a spellbinding and ever-morphing set. Performed in English. Music and Libretto: Moto Osada Conductor: Ken-David Masur Director: Alec Duffy Singers: Marisa Karchin, Gloria Park, Christopher Sokolowski, Makoto Winkler, Jesse Malgieri, Rocky Sellers Instrumentalists: Tokyo Bunka Kaikan Chamber Orchestra Set Designer: Mimi Lien Costume Designer: Oana Botez Lighting Designer: Tuce Yasak Tickets $55/$45 Japan Society members Four Nights of Dream was originally commissioned by Vadstena-Akademien's Artistic Director Nils Spangenberg and premiered at Vadstena Castle in Sweden with generous support from The Japan Foundation, American Composers Forum, The Scandinavia-Japan Sasakawa Foundation, and The Barbro Osher Pro Suecia Foundation. This production of Four Nights of Dream is co-produced with Tokyo Bunka Kaikan. / Visit: (http•••) Like: (http•••) Follow: (http•••) Watch: (http•••) Join: (http•••) Teach: (http•••)
Bergen National Opera Schultze 1928
Tickets available at: (http•••) Commissioned by Bergen National Opera for BNO Young Voices artist Ingvild Schultze-Florey this new chamber opera gives voice to Nadja, the object of André Breton’s fascination in his 1928 semi-autobiographical surrealist novel Nadja. André Breton’s celebrated surrealist novel Nadja is an undeniably strange book, even an estranged book. Breton’s narrative begins with the question ‘Who am I?’ yet it is only in the chance encounter of a young woman, the eponymous Nadja, that this question finds its own disturbed echo: ‘who am I…would amount to whom I haunt.’ Nadja was not only impoverished but also mentally vulnerable and it was in her troubled state that Breton romanticised an example of authentic surrealism; wilfully misrecognising or distorting her suffering for what could be his art. As abruptly as their lives converged, Breton severed contact, and the relationship was abandoned. Nadja descended into insanity and lived out the rest of her short life in sanatoriums, never to be visited by Breton and never – in the brief narrative of his novel – to be returned to, or reflected upon. She is what haunts the book and, within the book, the presence through which Breton attempts to understand himself. When she becomes most real and most present, Breton recoils and she is made absent. This opera imagines her voice, so conspicuously missing and misinterpreted. A voice that is heard from out of time, out of a struggle with madness, love and neglect and now returning: a restless memory perpetually encountered.
Lso Paul Silverthorne Richards Ligeti Mathews 1994 2012
Soundhub Showcase Concert, Friday 22 June, LSO St Luke's Paul Silverthorne viola Block by Adam de la Cour Block came about through a mix of diverse influences over a two week period. The initial starting point was Freud's quote concerning the death drive (Todestrieb): "the hypothesis of a death instinct, the task of which is to lead organic life back into the inanimate state" ...which was then mixed in with some experiments with the octatonic scale; general writing by ear; and many moments of writer's block. Hora Spoitorilor by Emma-Ruth Richards Hora Spoitorilor explores one variation on the Romanian folk song of the same name that much of the thematic material for my new chamber opera is built on; the opera is a rescue story of one of the thousands of young Romanian girls that are sex trafficked into Britain every year. This image is from Vanessa Beecroft's sculptural performance in Spasimo Palermo, which Nic, the librettist ((http•••)) was greatly inspired by. Rite by Richard Bullen 'The viola is seemingly just a big violin but tuned a fifth lower. In reality the two instruments are worlds apart. They both have three strings in common, the A, D and G string. The high E-string lends the violin a powerful luminosity and metallic penetrating tone which is missing in the viola. The violin leads; the viola remains in the shade. In return the low C-string gives the viola a unique acerbity, compact, somewhat hoarse, with the aftertaste of wood, earth and tannic acid.' Gyorgy Ligeti, preface to Viola Sonata (1994) Part reflection on Ligeti's comment, part exploration of the ceremonial aspects of musical performance, Rite was written at the request of the talented young violist Diana Mathews who gave the first performance at St John the Bapist Church, Wimbledon in February 2012. It is designed to be performed in a large, resonant space.
Nicht mehr?
Jeden Tag sucht soclassiq nach neuen Artikeln, Videos, Konzerten und so weiter über klassische Musik und Oper, ihre Künstler, Veranstaltungsorte, Orchester....
New Chamber Opera ? Wir haben noch nicht viele Inhalte zu diesem Thema gesammelt, aber wir suchen weiter.
oder
- Opernkompagnien (Europa).
- Indizes (in alphabetischer Reihenfolge): N...