Doris Brasch Vidéos
artiste lyrique sud-africaine
- Afrique du Sud
- artiste lyrique
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2024-05-02
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Theater Hof William Shakespeare Brasch Reinhardt Friese Herzog Bryant Steinert Muth Hildebrandt Herbing Stange 1592 2021 2022
Tragödie von William Shakespeare Deutsch von Thomas Brasch Fassung für das Theater Hof von Reinhardt Friese Zum ersten Mal am Theater Hof! PREMIERE Sonntag, 17. April 2022 Grosses Haus // 2 h 20 min (Pause nach 1 h 10 min) Richard, Herzog von Gloucester, ist missgebildet und fühlt sich von der Gesellschaft verachtet. Also beschließt er, da er nicht zum Liebhaber taugt, der beste Bösewicht zu werden, der er sein kann, und sich die Königskrone auf den Kopf zu setzen. Dabei ist ihm jedes Mittel, auch Mord, recht... William Shakespeare, dessen Werk sich das Theater Hof seit Amtsantritt von Intendant Reinhardt Friese jedes Jahr mit einer Produktion widmet, hat 1592 mit „Richard der Dritte“ ein faszinierendes Psychogramm des Bösen geschrieben, das uns als Publikum immer noch gleichermaßen anzieht und abstößt. Dabei geht es um Machtpolitik, die bis zum Äußersten geht, ebenso wie um ganz private Verletzungen, aus denen Rachegefühle entstehen, wie sie die moderne Kultur auch von Figuren wie zum Beispiel dem Joker als Gegner von Batman kennt und thematisiert. Schließlich: Was ist schon aufregender als ein schillerndes Monster? INSZENIERUNG Reinhardt Friese BÜHNE UND KOSTÜM Annette Mahlendorf DRAMATURGIE Thomas Schindler REGIEASSISTENZ, SOUFFLAGE UND ABENDSPIELLEITUNG Kayda Bryant INSPIZIENZ Reinhard Steinert REGIEHOSPITANZ Samuel Wolfram // Leon Mahlendorf KÖNIG EDWARD / RICHMOND Benjamin Muth CLARENCE SEIN BRUDER Oliver Hildebrandt GLOSTER SPÄTER RICHARD III Dominique Bals KÖNIGIN ELISABETH Alrun Herbing KÖNIGIN MARGARET Anja Stange LADY ANNE Aline Adam BUCKINGHAM Volker Ringe ERSTER MÖRDER (TYRELL) Ralf Hocke ZWEITER MÖRDER WACHE Philipp Brammer RATCLIFF Leon Mahlendorf Karten für die weiteren Vorstellungen am 20., 24. und 29.04. sowie am 06. und 14.05. jeweils um 19.30 Uhr im Großen Haus gibt es an der Theaterkasse, Tel.: 09281/7070-290
Johannes Brahms Felix Otto Dessoff Beethoven Johann Sebastian Bach Bülow Clara Schumann Schumann Staples Arnold Schoenberg Edward Elgar Brasch Czech National Symphony Orchestra National Symphony Orchestra 1833 1862 1876 1897 2012
Brahms Symphony No. 1 in C minor, Op. 68 Symphony No. 1 in C minor, Op. 68, by Johannes Brahms was first performed in 1876, conducted by Felix Otto Dessoff, a friend of the composer. It took Brahms at least 14 years to complete, the first sketches dating from 1862. The long gestation of the symphony may be put down to two factors: on the one hand, Brahms' self-critical fastidiousness which led him to destroy many of his early works, and, on the other hand, the expectation of Brahms' friends and the public that Brahms would continue "Beethoven's inheritance" and produce a symphony of commensurate dignity and intellectual scope—an expectation which Brahms felt he could not fulfill easily in view of the monumental reputation of Beethoven. The work is in the typical four movements, scored for two flutes, two oboes, two clarinets, two bassoons, contrabassoon, four horns, two trumpets, three trombones, timpani and strings. Johannes Brahms, (7 May 1833 – 3 April 1897) was a German composer, pianist, and conductor of the Romantic period. Born in Hamburg into a Lutheran family, Brahms spent much of his professional life in Vienna. His reputation and status as a composer are such that he is sometimes grouped with Johann Sebastian Bach and Ludwig van Beethoven as one of the "Three Bs" of music, a comment originally made by the nineteenth-century conductor Hans von Bülow. Brahms composed for symphony orchestra, chamber ensembles, piano, organ, and voice and chorus. A virtuoso pianist, he premiered many of his own works. He worked with some of the leading performers of his time, including the pianist Clara Schumann and the violinist Joseph Joachim (the three were close friends). Many of his works have become staples of the modern concert repertoire. An uncompromising perfectionist, Brahms destroyed some of his works and left others unpublished. Brahms has been considered, by his contemporaries and by later writers, as both a traditionalist and an innovator. His music is firmly rooted in the structures and compositional techniques of the Classical masters. While many contemporaries found his music too academic, his contribution and craftsmanship have been admired by subsequent figures as diverse as Arnold Schoenberg and Edward Elgar. The diligent, highly constructed nature of Brahms's works was a starting point and an inspiration for a generation of composers. Embedded within his meticulous structures, however, are deeply romantic motifs. (From Wikipedia, the free encyclopedia) Photo: By C. Brasch, Berlin (biography) - (http•••) Public Domain, (http•••) Music: Czech National Symphony Orchestra - 2012 (http•••) (http•••)
Theater Hof William Shakespeare Brasch Rosenthal Reinhardt Friese Zamani Steinert Herzog Hildebrandt Jörn Stange Schmitz Schmidt 2018
Komödie von William Shakespeare Deutsch von Thomas Brasch PREMIERE: Samstag, 19. Mai 2018, Gr. Haus // ca. 2.15 h mit Pause TERMINE: So, 27.05.2018 19.30 Uhr, HOF, GR. HAUS Do, 07.06.2018 19.30 Uhr, SELB, ROSENTHAL-THEATER Sa, 09.06.2018 19.30 Uhr, HOF, GR. HAUS Mi, 20.06.2018 19.30 Uhr, HOF, GR. HAUS Fr, 22.06.2018 19.30 Uhr, HOF, GR. HAUS Sa, 23.06.2018 19.30 Uhr, HOF, GR. HAUS So, 24.06.2018 19.30 Uhr, HOF, GR. HAUS MITWIRKENDE: INSZENIERUNG Reinhardt Friese MUSIKALISCHE LEITUNG Michael Falk BÜHNE UND KOSTÜME Annette Mahlendorf DRAMATURGIE Thomas Schindler REGIEASSISTENZ UND ABENDSPIELLEITUNG Jasmin Zamani INSPIZIENZ Reinhard Steinert SOUFLEUSE UND PRODUKTIONSASSISTENZ Kayda Bryant HERZOG SENIOR Volker Ringe HERZOG FREDERICK Ringe AMIENS Philipp Brammer JAQUES Oliver Hildebrandt LE BEAU Sebastian Stielke CHARLES Ralf Hocke OLIVER DE BOYS Dominique Bals ORLANDO DE BOYS Jörn Bregenzer ADAM Anja Stange TOUCHSTONE Marco Stickel OLIVER SCHWACHTEXT Dominique Bals CORIN Peter Kampschulte SILVIUS Sebastian Stielke WILLIAM Philipp Brammer ROSALIND Marina Schmitz CELIA Susanna Mucha PHOEBE Ralf Hocke AUDREY Anja Stange DENNIS Peter Kampschulte GEIGE Annegret Feitisch GITARRE Oliver Schmidt GITARRE Ralf Wunschelmeier
Johannes Brahms James Allen Gähres Haydn Proto Beethoven Bach Eduard Reményi Schumann Clara Wieck Staples Handel Paganini 1833 1854 1856 1859 1861 1862 1863 1867 1878 1881 1885 1897
Ulm Philharmonic James Allen Gähres, conductor Johannes Brahms (1833–1897) Symphony No. 4 in E minor, Op. 98 Third movement: Allegro giocoso (C major) Live recorded during open public concert. Ulm, Germany Cover: Portrait of Johannes Brahms, c.1896, Atelier Carl Brasch, Berlin. Brahms - Symphony No.4 in E minor, Op. 98, 4th mvt - James Allen Gähres, cond., Ulm Phil: (http•••) That Brahms initially approached the symphonic form with trepidation is fairly evident from the chronology of his works. It wasn't until the age of 43 that he completed his First Symphony. Indeed, the composer's output to that point suggests a conscious process of self-education. A number of smaller-scale orchestral works, including the Variations on a Theme of Haydn and the proto-symphonic Piano Concerto No.1, suggest preparation for what Brahms clearly saw as the elusive of compositional enterprises. He was to meet the challenge with a skill and individual spirit, one of Classicism refracted through the prism of high Romanticism that led many to pronounce him heir to Beethoven. Brahms' Fourth Symphony (1885), his last, provides with its serious tone, striking complexities, and inspired construction a fitting valedictory to his work in this genre. That its impact was immediate if initially puzzling is clear from the account by the biographer Max Kalbeck of its first run-through (at two pianos) for a small and distinguished audience: "After the wonderful Allegro...I expected that one of those present would break out in a loud 'Bravo.' Into his blond beard [conductor Hans] Richter murmured something that from afar would be taken as an expression of approval... The others remained persistently quiet... Finally Brahms grumbled, "So, let's go on!" and gave a sign to continue; whereupon [eminent critic Eduard] Hanslick heaved a sigh and quickly exploded, as if he had to relieve his mind and yet feared speaking up too late: 'For this whole movement I had the feeling that I was being given a beating by two incredibly intelligent people...'" Each of the movements bears the distinct stamp of the composer's personality. The first begins with a theme in E minor based upon the interval of a third, which also provides a structural and motivic foundation for the remainder of the work. There is a notable sense of unrest from beginning to end, and the tragic, even fatalistic atmosphere is further and stunningly underlined by the final, minor-key plagal (IV-I) cadence. The second movement, which opens with a brief, melancholy sort of fanfare, gives way to the quietly accompanied winds in perhaps one of the loveliest of any of the composer's themes, granted particular plangency through the use of the flat sixth and seventh scale degrees borrowed from the minor mode. This material is gradually developed into soaring, tutti lyricism that fades into ethereal quiet. The third movement, a lusty, stomping, duple dance, proved so popular in Brahms' lifetime that audiences constantly demanded that it be repeated. The last movement is perhaps most notable of all, cast as it is in the 'archaic' Baroque form of a chaconne – variations over a ground bass. The chaconne's subject is in fact a slight modification of that used by Bach in his Cantata BWV 150; though deceptively simple – essentially an ascending minor scale segment from the tonic note to the dominant, then a leap back to the tonic – Brahms uses this skeleton as the basis for an increasingly elaborate and thematic harmonic framework. From its first presentation, which is not as a bass line, but as a theme in the winds, Brahms gradually weaves some 34 variations that steadily build in intensity, as though in defiance to the oppressive, insistent rotation of the ground. The final variations lead directly into an ending which reconfirms the weight of tragedy and pathos born by the first movement. In every genre in which he composed, Brahms produced works that have become staples of the repertoire. His most ambitious work, the German Requiem (1863–1867), is the composer's singular reinterpretation of an age-old form. The four symphonies – lushly scored, grand in scope, and deeply expressive – are cornerstones of the symphonic literature. Brahms' concertos are, similarly, in a monumental, quasi-symphonic vein: the two piano concertos (1856–1859; 1881) and the Violin Concerto (1878) call for soloists with both considerable technical skill and stamina. His chamber music is among the most sophisticated and exquisitely crafted of the Romantic era. Though the piano sonata never held for Brahms the same appeal it had for Beethoven, he produced a voluminous body of music for the piano. He showed a particular affinity for variations and likewise produced character pieces such as ballades, intermezzi, and rhapsodies. Collectively, these constitute one of the essential bodies of work in the realm of nineteenth century keyboard music.
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