Dmitri Dmitrijewitsch Schostakowitsch Lady Macbeth of Mtsensk, Op. 29 Videos
- Premiere am 1934-01-22 (Lady Macbeth of Mtsensk, Schostakowitsch)
- Veröffentlicht in 1934 (Lady Macbeth of Mtsensk, Schostakowitsch)
- Texte von Dmitri Shostakovich
Letzte Aktualisierung
2024-04-16
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Metropolitan Opera Sonya Yoncheva Sondra Radvanovsky Renée Fleming Cherubini Janai Brugger Ekaterina Gubanova Matthew Polenzani Michele Pertusi Carlo Rizzi Kevin Puts Yannick Nézet Séguin Joyce Didonato O Hara Hara Kyle Ketelsen Sean Panikkar Brandon Cedel William Burden Marco Armiliato Armiliato Rosa Feola Piotr Beczala Christine Goerke Tamara Wilson Evgeny Nikitin Nikitin Brian Mulligan Günther Groissböck Eric Owens Ryan Speedo Green Latonia Moore Moore Stephanie Blythe Meredith Arwady Nathalie Stutzmann Peter Mattei Federica Lombardi Lombardi Ana María Martínez Ying Fang Adam Plachetka Alexander Tsymbalyuk Dmitry Belosselskiy Lawrence Brownlee Morley Verdi Michelle Bradley Quinn Kelsey Olesya Petrova Anita Rachvelishvili Brian Jagde Alvarez George Gagnidze Luca Salsi James Gaffigan Puccini Eleonora Buratto Kristina Mkhitaryan Lavrov Christian Van Horn Donald Maxwell Ailyn Pérez Eva Maria Westbroek Jamie Barton Alice Coote Laurent Naouri Poulenc Bertrand Billy Russell Thomas John Relyea Angela Meade Donizetti Golda Schultz Schultz Javier Camarena Ambrogio Maestri Aleksandra Kurzak Xabier Anduaga Alex Esposito Esposito Joshua Hopkins Hopkins Sumuel Woodbury Michael Volle Bogdan Volkov Marie Nicole Lemieux Jaap Van Zweden Tomasz Konieczny Konieczny Eric Cutler Cutler Michael Spyres Albina Shagimuratova Kate Lindsey Paolo Fanale Brandon Jovanovich Nikolai Schukoff Shostakovich Keri Lynn Wilson Joélle Harvey Sydney Mancasola David Portillo Bellini Allan Clayton Clayton Britten Nicole Car Laura Wilde Wilde Chioldi Lisette Oropesa Benjamin Bernheim Stephen Costello Andrea Mastroni Lise Davidsen Isabel Leonard René Barbera Kang Thomas Ebenstein Roberto Alagna Yusif Eyvazov John Lundgren James Morris Nadine Sierra Ermonela Jaho Ismael Jordi Amartuvshin Angel Blue Dmytro Popov Popov 2022 2023
Sonya Yoncheva, Sondra Radvanovsky & Renée Fleming Headline Metropolitan Opera’s 2022-23 Season. The Metropolitan Opera has announced its 2022-23 season featuring seven new productions. Here is a breakdown of the season. New Productions Sir. David McVicar directs a new production of Cherubini’s “Medea” with Sondra Radvanovsky in the title role. The cast will be rounded out by Janai Brugger, Ekaterina Gubanova, Matthew Polenzani, and Michele Pertusi. Carlo Rizzi conducts. Kevin Puts’ “The Hours” makes its Met premiere in a production by Phelim McDermott. Yannick Nézet-Séguin conducts the production with Joyce DiDonato, Renée Fleming, Kelli O’Hara, Kyle Ketelsen, Sean Panikkar, Brandon Cedel, and William Burden. Giordano’s “Fedora” will be conducted by Marco Armiliato with Sonya Yoncheva, Rosa Feola, Piotr Beczala, and Artur Rucinski. Sir David McVicar directs. Yannick Nézet-Séguin conducts François Girard’s new production of “Lohengrin” with Piotr Beczała, Christine Goerke, Tamara Wilson, Elena Stikhina, Evgeny Nikitin, Brian Mulligan, and Günther Groissböck. Patrick Furrer also conducts two performance. Terence Blanchard’s “Champion” makes its Met debut in a production by James Robinson. Yannick Nézet-Séguin conducts with Eric Owens, Ryan Speedo Green, Latonia Moore, Stephanie Blythe, and Meredith Arwady. Ivo van Hove directs a new production of Mozart’s “Don Giovanni” with Natalie Stutzmann conducting. The cast will be led by Peter Mattei, Federica Lombardi, Ana María Martínez, Ying Fang, Ben Bliss, Adam Plachetka, Alfred Walker, Alexander Tsymbalyuk, and Dmitry Belosselskiy. Mozart’s “Die Zauberflöte” gets a new production with Simon McBurney directing. Lawrence Brownlee, Erin Morley, Kathryn Lewek, Nathalie Stutzmann... Revivals Verdi’s “Aida” returns for 15 performances with Latonia Moore and Michelle Bradley alternating the title role. The cast also includes Quinn Kelsey, Olesya Petrova, Anita Rachvelishvili, Brian Jagde, Marcelo Alvarez, George Gagnidze, Luca Salsi ... Yannick Nézet-Séguin and James Gaffigan conduct Puccini’s “La Bohème” which will be performed with two casts. The first cast will be led by Eleonora Buratto, Kristina Mkhitaryan, Stephen Costell0, Davide Luciano, Alexey Lavrov, Christian Van Horn, and Donald Maxwell. Ailyn Pérez, Eva-Maria Westbroek, Sabine Devielhe, Jamie Barton, Alice Coote, Piotr Buszewski, and Laurent Naouri lead Poulenc’s “Dialogues des Carmélites” with Bertrand de Billy conducting. Verdi’s “Don Carlo” returns to the Met in its Italian version. Russell Thomas takes on the title role alongside Eleonora Buratto as Elisabetta di Valois. The cast also includes Anita Rachvelishvili, Peter Mattei, Günther Groissböck, and John Relyea. Angela Meade also sings in later performances. Donizetti’s “L’Elisir d’Amore” returns for two runs. Golda Schultz leads the first cast which includes Javier Camarena, Davide Luciano and Ambrogio Maestri. Aleksandra Kurzak and Xabier Anduaga lead the second cast which also stars Alex Esposito and Joshua Hopkins. Micheal Sumuel and Amanda Woodbury also perform with Michele Gamba conducting. Michael Volle sings the title role of Verdi’s “Falstaff” with Bogdan Volkov, Hera Hyesang Park, Ailyn Pérez, Marie-Nicole Lemieux, ... Jaap Van Zweden conducts Wagner’s “Der Fliegende Holländer” with Tomasz Konieczny in the title role, Elza van den Heever, Eric Cutler, Richard Trey Smagur, and Dmitry Belosselskiy. Michael Spyres stars in Mozart’s “Idomeneo” with Ying Fang, Albina Shagimuratova, Kate Lindsey, Paolo Fanale... Eva-Maria Westbroek, Brandon Jovanovich, Nikolai Schukoff, and John Relyea lead Shostakovich’s “Lady Macbeth of Mtsensk” with Keri-Lynn Wilson conducting. Mozart’s “The Magic Flute” will return for the holiday season in Julie Taylor’s production and will be conducted by Ducan Ward. It will star Joélle Harvey, Sydney Mancasola, Aleksandra Olczyk, Ben Bliss, David Portillo, Joshua Hopkins, Chris Kenney... Sonya Yoncheva leads Bellini’s “Norma” with Ekaterina Gubanova, Micheal Spyres, and Christian Van Horn. Allan Clayton sings the title role of Britten’s “Peter Grimes” with Nicole Car, Laura Wilde, and Adam Plachetka. Quinn Kelsey, Micheal Chioldi, and Luca Salsi lead Verdi’s “Rigoletto” with Rosa Feola, Lisette Oropesa, Benjamin Bernheim, Stephen Costello, Aigul Akhmetshina, and Andrea Mastroni. Lise Davidsen, Isabel Leonard, Erin Morley, Katharine Goeldner, René Barbera, Kang Wang, Markus Brück, Günther Groissböck, and Thomas Ebenstein lead Strauss’ “Der Rosenkavalier” Aleksandra Kurzak, ... lead Puccini’s “Tosca” with Micheal Fabiano, Roberto Alagna, Yusif Eyvazov, John Lundgren, James Morris, and Željko Lucic. Nadine Sierra, Stephen Costello, and Luca Salsi lead the first cast of “La Traviata.” The second cast will star Ermonela Jaho, Ismael Jordi, and Amartuvshin Enkhbat while Angel Blue stars alongside Dmytro Popov and Arthur Rucinski.
Shostakovich Viganoni Yevgeny Mravinsky Mahler Volkov Bode Bolshoi 1917 1936 1937 1961 2016
Conducted by Sarah Bisley Schneider, recorded live by Franco Viganoni on November 20th 2016 in the Auckland Town Hall, New Zealand. Notes on the work: Shostakovich was old enough – at the age of 11 – to compose a funeral march for the victims of the February revolution that overthrew the Tsar in 1917 as a result of the crisis the world war had brought to Russia. In the second world war, he was famously to compose his seventh symphony to mark the heroic resistance to the Germans of his home city, then called Leningrad. The fifth symphony belongs to the period of Stalinist Terror that preceded the war. In some sense the criticism of Shostakovich’s opera The Lady Macbeth of Mtsensk that erupted after Stalin, Molotov and others went to see it at the Bolshoi on 26 January 1936 marked the opening of that terrifying phase. Pravda published an article ‘Muddle Instead of Music’, denouncing ‘formalism’, the code word for the opposite of ‘socialist realism’. Shostakovich was rightly alarmed. He finished his fourth symphony, but its premiere, scheduled for 11 December, did not take place. ‘Fear was all around.’ The composer asked to speak to Stalin in person, but the phone did not ring. He asked Marshal Tukhachevsky to write a letter on his behalf, though the military hero was himself to be arrested, tortured and executed in 1937. Shostakovich survived, but his music was not performed. Putting the fourth symphony in a drawer – it was not performed till 1961 – Shostakovich started on the fifth in April 1937 at a resort in the Crimea. The short score was completed in Leningrad on 20 July. He played the work to his colleagues in October, and chose Yevgeny Mravinsky to conduct it. It was premiered in the Philharmonia Hall on 21 November. The symphony was in classic four-movement form and moved from tragic opening to apparently triumphant finale. The first movement, a vast span, enormously varied, ends with an inconclusive phrase on the celesta. A grotesque, rather Mahler-ish, scherzo follows. The slow movement – drafted in three days – was at the heart of the work and seems like some kind of requiem, ending with a form of Amen. The finale, which appears to renew a sense of hope and survival, may not be quite what it appears. In the quiet section the composer quotes from his recent setting of Pushkin’s ‘Regeneration’: ‘An artist-barbarian with a drowsy brush Blackens over the painting of a genius And senselessly draws on top of it His own illegitimate designs. But over the years the foreign paint Flakes away like old scales… Thus do delusions vanish From my worried soul And in their place visions arise Of pure, original days.’ According to Simon Volkov Shostakovich himself insisted that the finale was not exultant. ‘The rejoicing is forced, created under threat, as in Boris Godunov.’ The applause for the work was tremendous. Shostakovich’s friends realised that such applause might be taken as a provocation. The chairman of the Leningrad Union of Composers indeed said that the symphony did ‘not bode well for the future of Soviet symphonic music’. But it survived, and so did its composer, endorsing the remark that it was ‘the practical creative answer of a Soviet artist to just criticism’. That endorsement itself may be ironic. Life under such a regime had to be full of irony, spoken or unspoken. ‘He could not disregard the inner deception of our existence’, Bobrovsky wrote of Shostakovich; ‘the pain he experienced for us all, for our spiritual impurity, for the daily desecration of the truth, this was what summoned his muse to life.’ Nicholas Tarling
Dmitri Shostakovich 1906 1964 1975
Dmitri Shostakovich +••.••(...)) KATERINA IZMAILOVA (LADY MACBETH OF MTSENSK) - SUITE Orchestra of the State Moscow K. S. Stanislavsky and V. I. Nemirovich-Danchenko Music Theatre GENNADI PROVATOROV, cond. Recording: 1964 Part I (0:00) Part II (1:56) Part III (4:28) Part IV (6:19) Part V (12:55) Part VI (14:27)
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