Theater An Der Wien Vidéos
théatre situé à Vienne, Autriche
- Mariahilf
- Autriche
Dernière mise à jour
2024-04-17
Actualiser
1906 Odeon Theater Wien Böhm Carlo Böhm
Dann geh' ich ins Maxim aus dem 3. Akt der Operette "Die lustige Witwe" (Franz Lehar) Carlo Böhm, Theater an der Wien Wien, 1906 Odeon 8400
Martina Koppelstetter Mathis Nitschke Helmuth Rilling Armin Jordan Goodwin Constantinos Carydis Gast Hänsel Suzuki Reich Guth Herzog Purcell Monteverdi Gioacchino Rossini Bach Hiller Schumann Britten Sibelius Bauer Münchener Biennale Festival Musica Stadttheater Klagenfurt Theater Ulm Tiroler Landestheater Théâtre Champs Élysées Theater Wien 2003 2007 2012 2015 2016 2017
Mezzosopran/Alt, Lied, Konzert, Oper: barocke und zeitgenössische Musik; experimentelles Musiktheater (Mathis Nitschke). Eigene Konzertreihe: kunst.salon auf wanderschaft (zusammen mit Monika Lichtenegger und Michel Watzinger): Musik und Literatur verbinden, neue Interpretationen und Kompositionen anregen. Mitglied der Gruppe 3Gesang (mit Ruth Geiersberger, Performance, und Georg Glasl, Zither): Verbindung von zeitgenössischer und bayr. Volksmusik Dozentin für Ariengestaltung am Masterstudiengang Musiktheater an der August -Everding-Akademie, München. Stimmbildnerin beim Münchner Mädchenchor Nach der Musikhochschule München nahm sie Engagements an verschiedenen Opernhäusern an, widmete sich aber auch gleichermaßen dem Konzert- und Liedgesang. Die Mezzosopranistin arbeitete mit Dirigenten wie Enoch zu Guttenberg, Helmuth Rilling, Armin Jordan, Alicja Mounk, Paul Goodwin und Constantinos Carydis und war Gast u.a. beim Rheingau-Musikfestival, den Internationalen Festwochen in Stuttgart, dem Osterklang Wien und dem International Festival of Music in Bath/England. Martina Koppelstetter ist eine gefragte Interpretin für zeitgenössische Musik. Sie war wiederholt Gast bei der Münchener Biennale für modernes Musiktheater und trat bei Konzerten der Reihe „das neue werk“ des NDR in Hamburg, beim A.Devantgart-Festival und bei „musica viva“ des BR in München auf, sowie bei den Tagen für Neue Musik in Darmstadt und Witten. Sie gastierte am Stadttheater Klagenfurt, Theater Ulm, Tiroler Landestheater und am Staatstheater am Gärtnerplatz, München, dem Sie von 2003 bis 2007 als Ensemblemitglied angehörte. Dort war sie u.a. als Dorabella, Hänsel, Suzuki, Orlofsky, Nancy und Frau Reich zu hören und arbeitete mit Regisseuren wie Claus Guth, Doris Dörrie und Katharina Wagner. In der Saison 2012/13 debutierte Martina Koppelstetter an der Opéra National de Montpellier mit „What next?“ von E. Carter und „Jetzt“ von Mathis Nitschke, sowie als „Fili“ in Händels „Acis and Galatea“ am Théâtre des Champs-Élysées, Paris, und dem Theater an der Wien. Im Sommer 2015 u.a. erarbeitete sie mit Mathis Nitschke dessen interaktive Kurzoper im öffentlichen Raum „Viola“ in der Titelrolle, im Rahmen des Festivals „pasing by“ in München. Eine Fortsetzung dieses Aufsehen erregenden Konzeptes bildete „Katharina“ im September 2016 im Rahmen von „München dezentral“. (katharina.mathis-nitschke.com). 2017 wird sie in nun die „Maya“ im gleichnamigen Werk des Komponisten verkörpern. Eine enge Zusammenarbeit verbindet die Künstlerin auch mit dem Ensemble für Alte und Neue Musik Così facciamo. Hier war sie als Herzog Polinesso in Händels „Ariodante“ und als Sorceress in „Dido & Aeneas“ von H. Purcell zu hören sowie als Messagiera und Proserpina in „L'Orfeo“ und als Ottavia in „L'incoronazione di Poppea“ von C. Monteverdi. Mit dieser Partie war sie zuletzt 2016 u.a. im Münchener Cuvilliéstheater zu erleben. Zu ihren Einspielungen zählen die „Petite Messe Solennelle“ von Gioacchino Rossini, die „h-moll-Messe“ von Bach, „Der kleine blaue Bergsee“ und „Peter Pan“ von Wilfried Hiller (Deutsche Grammophon) und eine Reihe von Liedaufnahmen mit Werken von R. Schumann, B. Britten, R. Spring und J. Sibelius beim HR und BR. Martina Koppelstetter arbeitet als Gesangspädagogin u.a. beim Münchner Mädchenchor und hat eine Dozentur für Ariengestaltung im Masterstudiengang Musiktheater an der Bayerischen Theaterakademie inne. Buchempfehlung: „Strudlhofstiege“ von Heimito von Dodoerer „Alles hat seine Zeit“ Ole Knausgard „Warum ich fühle, was du fühlst“ Joachim Bauer Kontakt: www.koppelstetter.com
Ruggero Leoncavallo Colin Davis Pierre Boulez Bernard Haitink Pereira Richard Rodney Bennett Jaroslav Kyzlink Smetana Montgomery Philip Glass Biel Schoenberg Britten Gluck Tchaikovsky Opernhaus Zürich Theater Wien Zürcher Kammerorchester
BVOF Conductor Darren Hargan explains the Ruggero Leoncavallo masterpiece Pagliacci. Darren was born in Ireland, Darren Hargan trained with a full scholarship at the Royal Academy of Music in London. He subsequently received a Master’s degree in conducting from the Conservatorio della Svizzera Italiana where he studied with renowned contemporary music specialist Arturo Tamayo, and Professor of conducting at the Zürcher Hochschule der Künste Marc Kissoczy. He has also participated in masterclasses with Colin Davis, Colin Metters, Pierre Boulez and Bernard Haitink. After conducting the world premiere of Gerard McBurney’s opera The Airman’s Tale in London, he was appointed to the position of assistant musical director at the Internationales Opernstudio, Zurich, and was engaged as pianist and vocal coach at the Opernhaus Zürich under Alexander Pereira. As assistant conductor he worked at the Wexford Opera Festival with Stewart Robinson for Richard Rodney Bennett’s The Mines of Sulphur, and with Jaroslav Kyzlink for Smetana’s Hubička. Later he assisted Kenneth Montgomery for Don Giovanni at Le Grand Théâtre de Genève, and Philip Glass for his opera In the Penal Colony with the Zürcher Kammerorchester. As a guest he has worked at the Theater Luzern and Theater Biel-Solothurn. His operatic repertoire includes Hansel and Gretel, La Bohème, Lucia di Lamermoor, L’Elisir d’amore, La Cenerentola, Le nozze di Figaro and La finta giardiniera, With his own ensemble he has conducted Schoenberg’s Pierrot Lunaire and Verklärte Nacht as well as Britten’s The Rape of Lucretia, The Turn of the Screw and a new production of A Midsummer Night’s Dream in Switzerland and England for the Britten Centenary. He has also conducted many projects with period instruments including a new production of Gluck’s Armide with French classical instruments. He has conducted the Karlsbader Sinfonieorchester in music by Tchaikovsky and stepped in at short notice to conduct Il barbiere di Siviglia in Lugano with an all-star cast. Darren was the assistant conductor for the production of Der fliegende Holländer at the Summer Opera Festival in Selzach. He has most recently worked as guest pianist and assistant conductor at Theater an der Wien.
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