Staatstheater Stuttgart Vídeos
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2024-05-06
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Tichina Vaughn Verdi Angel Blue Eric Owens Woodcock Metropolitan Opera Seattle Opera Greek National Opera Staatstheater Stuttgart Opera Budapest Opera Graz Arena Verona Semperoper Theater Wien 1989 1990 1992 1996 1998 2003 2006 2010 2018 2019 2020 2021
Tichina Vaughn Interview on The Jim Masters Show LIVE as host Jim Masters welcomes the renowned mezzo-soprano to the show as his special guest. Tichina Vaughn has built a standout international reputation. Her formal vocal study began shortly after high school at Georgia State University, but her early years were steeped in musical activity: studying clarinet, playing in marching and concert bands, and singing as a choir member and soloist. Tichina received her Bachelor’s degree in Vocal Performance from the University of North Carolina School of the Arts in 1989. Even before her graduation, Tichina’s unmistakable voice drew attention from some of the world’s foremost opera houses – and after winning the 1989 Metropolitan Opera National Council Auditions, she joined the Met’s Young Artist Development program and made her stage debut there as Lily in the Gershwins’ Porgy and Bess in 1990. Tichina’s first leading role on a major opera stage, Amneris in a Seattle Opera production of Verdi’s Aida, arrived just two years later in 1992. Her interpretation sparked immediate attention from the opera community, and invitations to reprise the role began to pour in from companies around the globe. Soon, Tichina was recognized as an emerging Verdian mezzo-soprano, regularly taking on leading roles such as Princess Eboli in Don Carlos and the mezzo-soprano soloist in Verdi’s Requiem throughout the early 1990s. In 1996, Tichina made her European debut as Mistress Quickly in Staatstheater Stuttgart’s production of Falstaff, which marked the beginning of both her long relationship with the company and her robust European career. From 1998 to 2006, she continued to perform with the Staatstheater Stuttgart as a principal artist, eventually earning the distinction of Kammersängerin, the German honorific title for opera singers of the highest merit. Throughout her years in Stuttgart, Tichina’s list of signature roles blossomed as her aptitude for the works of Wagner became evident, culminating with her appearances as Fricka (Die Walküre) and Waltraute (Götterdämmerung) in the Staatstheater Stuttgart’s full recording of Wagner’s Ring cycle via Naxos in 2006. Now one of opera’s most sought-after mezzo-sopranos, Tichina has quite literally performed around the globe, with previous engagements on international stages including the National Opera Hong Kong, Greek National Opera, Budapest National Opera, Hamburg Opera, Opera Graz, and countless others. She made numerous appearances with the Arena di Verona summer festival in Italy starting in 2003, and from 2010 to 2018, she was engaged as a principal artist at Semperoper Dresden. In addition to her 1989 Metropolitan Opera National Council Auditions award, Tichina is the recipient of the Opera Index Vocal Award, Living Heritage Foundation Award, the Consul General’s Award for Cultural Diplomacy from the Consulate General Milan, and many other prestigious accolades.. Tichina returned to the Metropolitan Opera to reprise the role of Lily for the first time at the Met since her 1990 debut. She can be heard on the 2020 recording of the same production with Angel Blue and Eric Owens, which won Best Opera Recording at the 2021 GRAMMY Awards. An active voice teacher and mentor, Tichina returned to North Carolina in October 2019 and February 2020 as an artist-in-residence at her alma mater, the University of North Carolina School of the Arts. At UNCSA, Tichina led a series of master classes and mentored fellows of the A.J. Fletcher Opera Institute one on one, offering private vocal coaching and individualized career counseling. UNCSA School of Music interim dean Tony Woodcock described the residency as “a real plus for our graduate students as they transition to roles as entrepreneurial professional artists… and all of our voice students (are) inspired by her wisdom and her artistry.” Tichina has continued to perform,including an October 2020 production of Porgy and Bess with Austria’s Theater an der Wien. The current season includes role debuts at the Metropolitan Opera as the Innkeeper in Boris Gudonov and Maria in Porgy and Bess as well as house debuts in Boston (Champion), Cincinnati (Aida), and Utah (The Flying Dutchman). Subscribe to our YouTube channel and click the notification bell so you never miss any of our series episodes. If you enjoyed this video episode, please give it a thumbs up like and leave a comment for us! Thank you! Like! Follow! Subscribe! Facebook: www.facebook.com/jimmasterstv Instagram: www.instagram.com/jimmasterstv Twitter: www.twitter.com/jimmasterstv #TichinaVaughn #TichinaVaughInterview #TichinaVaughnsoprano #thejimmastersshow #thejimmastersshowlive #jimmasterstv
Staatsoper Staatstheater Stuttgart
Welche Schwierigkeiten und Probleme sich bei der Errichtung und Nutzung des sogenannten Interimtheaters – das zehn Jahre als Ersatz für das abgebrannte Hoftheater am Schloßplatz diente – auftaten und welchen Herausforderungen sich Architekten und Theaterintendanz bei der Bewältigung des Neubauprojekts zu stellen hatten, das lässt sich anhand des Aktenbestandes der Württembergischen Hof- bzw. Staatstheater im Ludwigsburger Staatsarchiv heute noch im Detail nachvollziehen. Insbesondere die teils kuriose Korrespondenz zwischen dem Intendanten Joachim zu Putlitz und dem Architekten Max Littmann bieten lebendige Einblicke in den Alltag des Baubetriebs. Und was die Baugeschichte der Stuttgarter Hoftheater nun mit der Uraufführung von „Ariadne auf Naxos“ verbindet, das erfahren Sie auch in dieser Lesung. Aus dem Aktenbestand der Staatstheater Stuttgart im Staatsarchiv Ludwigsburg Von und mit Martin Laiblin und Gabriele Hintermaier Ein Film von Foxframes Filmproduktion (http•••)
Prato Stabile Staatstheater Stuttgart Badisches Staatstheater Badisches Staatstheater Karlsruhe Teatro Metastasio Slovak National Theatre 2013
The European Theatre Convention (ETC), Europe's leading non-profit network of public theatres, is using the occasion of its 25th anniversary to examine the role of European theatre at a time of uncertainty and crisis on the continent. In its first ever ETC Spring Theatre Tour +••.••(...) April 2013), a select number of young artists and theatre-makers, leading media and key cultural stakeholders have been invited to join together on a unique trans-European bus journey to witness not only how theatre as an art form participates in political and social agendas but to visit some of the theatres that make that happen. Starting at the Staatstheater Stuttgart, Germany, the ETC Spring Theatre Tour will continue from west to Eastern Europe, travelling to the ETC member theatres - Théâtre de la Place, Liège, Belgium, Badisches Staatstheater Karlsruhe, Germany, Schauspielhaus Zürich, Switzerland, Teatro Metastasio di Prato Stabile della Toscana, Prato, Italy, Slovene National Theatre, Maribor, Slovenia, Slovak National Theatre, Bratislava, Slovakia and Zagreb Youth Theatre (z/k/m), Zagreb, Croatia, along the way. In engaging with these venues the tour aims to promote the culturally and politically relevant but often unsung work developed by Europe's publicly-funded repertory theatres that these venues represent. While guests on the bus will join diverse local audiences in watching an inspiring mix of productions in each selected venue, the theatres will also promote a specific theme. The programme of the ETC Spring Tour thus reflects or questions central topics relevant in the context of today's European culture. These themes will be addressed through a series of enlivening talks, activities, on-site tours and rehearsals, both at the theatres and during the bus journey itself. The themes are Theatre & Politics in the City (Stuttgart), The Way from Theatre Schools to Professional Stage (Liège), Theatre for the Very Young (Karlsruhe), Theatre & Media (Zürich), Theatre and the Decadence of Europe (Prato), Theatre in Nation Building (Maribor), The Paradox of the Old and New (Bratislava) and The Contemporary Play (Zagreb).
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