André Morsch Vidéos
artiste lyrique
Anniversaires
- baryton;baryton-basse;basse
Dernière mise à jour
2024-05-02
Actualiser
Henk Neven Een Lopes Montgomery André Morsch Paula Murrihy Thomas Cooley Berend Eijkhout David Wilson Johnson Cappella Amsterdam 2019
In oktober 2019 tourt het Orkest van de Achttiende Eeuw door Nederland en Belgie met een semi-concertante uitvoering van Mozarts 'Don Giovanni'. Beleef deze klassieker van Mozart in een nieuwe regie van Jeroen Lopes Cardozo. Wie zal de grote verleider Don Giovanni te slim af zijn en zijn spoor van vernietiging ongedaan maken? Orkest van de Achttiende Eeuw en Cappella Amsterdam | Kenneth Montgomery dirigent André Morsch bariton (Don Giovanni) | Katharine Dain sopraan (Donna Anna) | Paula Murrihy sopraan (Donna Elvira) | Henk Neven bas (Leporello) | Thomas Cooley tenor (Don Ottavio) | Rosanne van Sandwijk mezzosopraan (Zerlina) | Berend Eijkhout bas (Masetto) | David Wilson-Johnson bas (Il Commendatore) | Jeroen Lopes Cardozo regie Meer informatie: orchestra18c.com
Johann Sebastian Bach Peters Gast Marchi Steiger Schwind Zander Robin Tritschler André Morsch Padraic Rowan Haller Christian Senn Coca Loza Theater Basel Knabenkantorei Basel Sinfonieorchester Basel
‹Matthäus-Passion› Oratorium von Johann Sebastian Bach (http•••) Johann Sebastian Bach schuf mit der ‹Matthäus-Passion› ein musikalisches Ritual für die gläubige Gemeinde seiner Zeit. Die Berichte von Leiden, Sterben und Auferstehung gehören zu den Fundamenten der europäischen Kultur. Doch was bedeutet die Passion für eine diverse Gesellschaft, in der die christliche Religion zunehmend an Relevanz verliert? Im Zentrum von Benedikt von Peters Inszenierung steht eine Gruppe von Kindern, die die Passion nachspielen. Orchester, Sänger*innen, Chöre und Publikum kommen als grosse Gemeinschaft zusammen. Singvereine aus Basel und Umgebung sind zu Gast und unterstützen den Chor des Theaters, und auch das Publikum ist zum Singen eingeladen. Eine Koproduktion mit der Deutschen Oper Berlin. Musikalische Leitung – Alessandro De Marchi Inszenierung – Benedikt von Peter Regie-Mitarbeit – Ulrike Jühe Bühne – Natascha von Steiger Kostüme – Magdalena Schwind Videodesign – Bert Zander Lichtdesign – Roland Edrich Chorleitung – Michael Clark Dramaturgie – Niels Nuijten Mit: Robin Tritschler, André Morsch, Padraic Rowan, Álfheiður Erla Guðmundsdóttir, Beth Taylor, Jasmin Etezadzadeh, Nathan Haller, Christian Senn, Alexandre Beuchat, José Coca Loza, Jasin Rammal-Rykała, Vinicius Costa da Silva, Faye Rownes, Carla Haisch Chor des Theater Basel Extrachor des Theater Basel Mädchenkantorei Basel Knabenkantorei Basel Sinfonieorchester Basel Video: Bonny Orbit
Brussels Philharmonic Bart Van Reyn Ilse Eerens Fabio Trümpy André Morsch Wolfgang Amadeus Mozart 2021
Bart Van Reyn conducts Vlaams Radiokoor & Brussels Philharmonic Ilse Eerens (soprano), Héloïse Mas (alto), Fabio Trümpy (tenor), André Morsch (bass) Wolfgang Amadeus Mozart Requiem in D minor, KV 626: Benedictus recorded on April 30, 2021 at the Koekelberg Basilica in Brussels by Evil Penguin Productions (http•••)
Julius Röntgen Auerbach Marcel Beekman Bauer André Morsch Lachner Hauptmann Louis Plaidy Carl Reinecke Julius Stockhausen Stockhausen Liszt Coenen Daniël Daniël Lange Heinze Johannes Verhulst Pablo Casals Brahms Grieg Schumann Reger Debussy Zwinger Niederrheinisches Musikfest Felix Meritis 1855 1869 1870 1873 1874 1877 1878 1884 1885 1886 1891 1898 1912 1924 1925 1926 1930 1932
Julius Röntgen +••.••(...)) Aus Goethe's Faust : for orchestra, organ, choir and soloist (1930) 1. Prolog im Himmel - 00:00 2. Lied des Erdgeistes - 07:05 3. Easter Chorus: Christ' ist erstanden! - 09:32 4. Vor dem Tor - 14:14 5. Fausts Traum - 19:30 6. Auerbach's Keller in Leipzig - 25:19 7. Es war ein König in Thule - 32:49 8. Fausts Anrufung an den Erdgeist - 36:36 9. Zwinger - 38:59 10. Was machst du mir vor Liebchens Tur - 43:58 11. Walpurgisnacht - 45:55 12. Chorus mysticus - 54:48 Orchestra: Orkest van het Oosten Conductor: David Porcelijn Choir: Koor van de Nationale Reisopera Machteld Baumans (soprano) - Gretchen Marcel Beekman (tenor) - Bauer André Morsch (baritone) - Erdgeist André Post (tenor) - Brander Mark Richardson (baritone) - Bettler Dennis Wilgenhof (bass) - Mephistopheles Julius Röntgen was a composer, conductor and pianist, son of Engelbert Röntgen. The most celebrated member of the family, he studied composition with Friedrich Lachner, harmony and counterpoint with Hauptmann and E.F. Richter and the piano with Louis Plaidy and Carl Reinecke. He began composing at the age of nine, and in 1869 he made his début as a composer at the Niederrheinisches Musikfest in Düsseldorf with a duo for two violins, performed by his father and Joseph Joachim. After giving concerts in Düsseldorf, Hamburg and Baden-Baden he settled in Cannstatt +••.••(...)) as accompanist to the baritone Julius Stockhausen. He visited Liszt in Weimar in 1870. From 1877 to 1925 Röntgen lived in Amsterdam, where he became a piano teacher at the music school in 1878 (the school acquired conservatory status in 1884). From 1912 to 1924 he was director of the Amsterdam Conservatory, succeeding Frans Coenen and Daniël de Lange, and he remained there as a piano teacher until 1926. He succeeded G.A. Heinze as conductor of the choral society Excelsior +••.••(...)) and Johannes Verhulst as conductor of the Amsterdam Toonkunstkoor +••.••(...)); he also directed the Felix Meritis concerts for some time. As a pianist, he gave many recitals, was accompanist to the Dutch baritone Johannes Messchaert and Pablo Casals and, with his sons Julius Röntgen and Engelbert Röntgen, formed the Röntgen Trio before World War I. During his stay in Amsterdam he became friendly with Brahms, who visited the Netherlands in 1884 and 1885; he was also friendly with Grieg, who dedicated his Lyrische Stücke op.54 to him (1891). In 1925 he retired to a villa in Bilthoven to spend the remaining years of his life composing and writing; after World War II the Gaudeamus Foundation was established in his house. A prolific composer, Röntgen belongs to the late Romantic school. His early works show the influence of Schumann (in the Serenade for Wind op.14) and Brahms (in the Toskanische Rispetti op.9); in other works a Scandinavian influence can be detected, even in some written before his acquaintance with Grieg. He was also attracted by the folk music of many countries, especially evident in his Boerenliedjes en contradansen. In later years the influence of Reger is apparent in his polyphonic works, and the bitonal Symphony of 1930 looks back to Debussy.
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