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| Date | Event | Composer/Work |
|---|---|---|
| Thursday 18-Mar-10 17:00 |
 Oper FrankfurtParsifal |
Oper Frankfurt Sebastian Weigle, Conductor Jochen Schmeckenbecher, Baritone: Amfortas Magnus Baldvinsson, Bass: Titurel Alfred Reiter, Bass: Gurnemanz Frank van Aken, Tenor: Parsifal Lilli Paasikivi, Soprano: Kundry Simon Bailey, Bass: Klingsor |
| More Info... | ||
| Oper Frankfurt, Frankfurt, Germany Thursday 18-Mar-10 17:00 Oper Frankfurt Parsifal's experiences Kilingsor's world, Flower Maidens, Kundry's love and the name she bestows upon him before he returns years later armed with the initiation requisite, the holy spear. This is followed by Kundry washing his feet, annointing him, Kundry's baptism and the revelation of the Grail before Kundry, whose love Parsifal has rejected for years, sinks dead to the floor. A white dove, accompanied by the harp, flies out of the cupola and hovers over Parsifal's head. He is the new King of the Knights of the Holy Grail. Sung in German. Sebastian Weigle, Conductor Jochen Schmeckenbecher, Baritone: Amfortas Magnus Baldvinsson, Bass: Titurel Alfred Reiter, Bass: Gurnemanz Frank van Aken, Tenor: Parsifal Lilli Paasikivi, Soprano: Kundry Simon Bailey, Bass: Klingsor | ||
| Friday 19-Mar-10 19:00 |
Oper Frankfurt Così fan Tutte |
Oper Frankfurt Yuval Zorn, Conductor Christof Loy, Director Juanita Lascarro, Soprano: Fiordiligi Jenny Carlstedt, Mezzo-soprano: Dorabella Trevor Scheunemann, Bass: Guglielmo Jeremy Ovenden, Tenor: Ferrando |
| More Info... | ||
| Oper Frankfurt, Frankfurt, Germany Friday 19-Mar-10 19:00 Oper Frankfurt It seems improbable that it is possible to find new aspects in an opera like Così fan tutte today, but that is precisely what Christof Loy managed to achieve in his Frankfurt production. The white, sparse stage design - without any furniture and with only minimal requisites - works like a magnifying glass; focussing the attention entirely on the performers and their reactions to events. A loving look at the two couples unravels, young, inexperienced people who are forced to become more understanding and mature. Everything in this production is felt and developed through the music. Dramatic moments of despair, fun, tomfoolery and a profound look at the being and nature of love. This production was enthusiastically and unanimously praised by the public and press: Christof Loy had clearly hit a nerve with his production of Così fan tutte - for which he was voted Director of the Year and awarded the Faust Prize by the German Bühnenverein. This production now returns to the stage, with some changes to the cast. Sung in Italian with German surtitles. Yuval Zorn, Conductor Christof Loy, Director Juanita Lascarro, Soprano: Fiordiligi Jenny Carlstedt, Mezzo-soprano: Dorabella Trevor Scheunemann, Bass: Guglielmo Jeremy Ovenden, Tenor: Ferrando | ||
| Saturday 20-Mar-10 19:00 |
Oper Frankfurt Orlando Furioso |
Oper Frankfurt Andrea Marcon, Conductor Daniela Pini, Mezzo-soprano: Alcina Brenda Rae, Soprano: Angelica Florian Plock, Bass: Astolfo |
| More Info... | ||
| Oper Frankfurt, Frankfurt, Germany Saturday 20-Mar-10 19:00 Oper Frankfurt They all meet on Alcina's magic island: heroes, lovers, happy and rejected people. It seems as if incompatible triangular constellations and motives from Ariostos' epos grow together in Vivaldi's score, creating bewildering and fantastical situations. Orlando, who is not very popular, blows his top: he loves Angelica, who has fallen in love with Medoro and who seeks Alcina's help to get rid of the annoying admirer. Alcina, always looking out for a new man uses her magic to try and bend Ruggiero, Bradamante's bridegroom, to her will. But Bradamante is more powerful than her magic and they all join forces against Alcina. Angelica and Medoro's love for one another is driving Orlando mad, so mad that he smashes a statue, which destroys Alcina's power. Released from his madness he renounces and finds true happiness. The times when Vivaldi was marked down as a purely instrumental composer are over. His 67 operas (written between 1713 and 1741) made this venetian, alongside Alessandro Scarlatti, one of the most fruitful operatic composers of his time. Orlando Furioso marked the exact middle point of Vivaldi's operatic career; fourteen years earlier his first opera, Ottone in villa, was performed for the first time and fourteen years later he died, before his last opera was performed in Vienna. In Orlando Furioso Vivaldi disolved the conventional form of dramma per musica, introducing confusion, intertwined love stories and new musical methods. His musical portraits are believable, profound and - despite the firmly aria forms - always inspired. Orlando Furioso's unconventional dramaturgy and expressive music make it one of Vivaldi's most important operas. Sung in Italian with German surtitles. Andrea Marcon, Conductor Daniela Pini, Mezzo-soprano: Alcina Brenda Rae, Soprano: Angelica Florian Plock, Bass: Astolfo | ||
| Sunday 21-Mar-10 17:00 |
Oper Frankfurt Parsifal |
Oper Frankfurt Sebastian Weigle, Conductor Jochen Schmeckenbecher, Baritone: Amfortas Magnus Baldvinsson, Bass: Titurel Alfred Reiter, Bass: Gurnemanz Frank van Aken, Tenor: Parsifal Lilli Paasikivi, Soprano: Kundry Simon Bailey, Bass: Klingsor |
| More Info... | ||
| Oper Frankfurt, Frankfurt, Germany Sunday 21-Mar-10 17:00 Oper Frankfurt Parsifal's experiences Kilingsor's world, Flower Maidens, Kundry's love and the name she bestows upon him before he returns years later armed with the initiation requisite, the holy spear. This is followed by Kundry washing his feet, annointing him, Kundry's baptism and the revelation of the Grail before Kundry, whose love Parsifal has rejected for years, sinks dead to the floor. A white dove, accompanied by the harp, flies out of the cupola and hovers over Parsifal's head. He is the new King of the Knights of the Holy Grail. Sung in German. Sebastian Weigle, Conductor Jochen Schmeckenbecher, Baritone: Amfortas Magnus Baldvinsson, Bass: Titurel Alfred Reiter, Bass: Gurnemanz Frank van Aken, Tenor: Parsifal Lilli Paasikivi, Soprano: Kundry Simon Bailey, Bass: Klingsor | ||
| Saturday 27-Mar-10 19:00 |
Oper Frankfurt Così fan Tutte |
Oper Frankfurt Yuval Zorn, Conductor Christof Loy, Director Juanita Lascarro, Soprano: Fiordiligi Jenny Carlstedt, Mezzo-soprano: Dorabella Trevor Scheunemann, Bass: Guglielmo Jeremy Ovenden, Tenor: Ferrando |
| More Info... | ||
| Oper Frankfurt, Frankfurt, Germany Saturday 27-Mar-10 19:00 Oper Frankfurt It seems improbable that it is possible to find new aspects in an opera like Così fan tutte today, but that is precisely what Christof Loy managed to achieve in his Frankfurt production. The white, sparse stage design - without any furniture and with only minimal requisites - works like a magnifying glass; focussing the attention entirely on the performers and their reactions to events. A loving look at the two couples unravels, young, inexperienced people who are forced to become more understanding and mature. Everything in this production is felt and developed through the music. Dramatic moments of despair, fun, tomfoolery and a profound look at the being and nature of love. This production was enthusiastically and unanimously praised by the public and press: Christof Loy had clearly hit a nerve with his production of Così fan tutte - for which he was voted Director of the Year and awarded the Faust Prize by the German Bühnenverein. This production now returns to the stage, with some changes to the cast. Sung in Italian with German surtitles. Yuval Zorn, Conductor Christof Loy, Director Juanita Lascarro, Soprano: Fiordiligi Jenny Carlstedt, Mezzo-soprano: Dorabella Trevor Scheunemann, Bass: Guglielmo Jeremy Ovenden, Tenor: Ferrando | ||
| Sunday 28-Mar-10 18:00 |
Oper Frankfurt Daphne |
Oper Frankfurt Sebastian Weigle, Conductor Matthew Best, Bass: Peneios Tanja Ariane Baumgartner, Soprano: Gaea Maria Bengtsson, Soprano: Daphne Daniel Behle, Tenor: Leukippos Lance Ryan, Tenor: Apollo |
| More Info... | ||
| Oper Frankfurt, Frankfurt, Germany Sunday 28-Mar-10 18:00 Oper Frankfurt A pastoral tragedy in dark times. While Karl Böhm, to whom Strauss dedicated this opera, conducted the final rehearsals at the Semperoper in Dresden german troops were occupying the Sudentenland. It was the ninth and last world premiere of a Strauss opera in the opera house that was completely destroyed in 1945. But the smell of war was already in the air in 1938. At the end of Daphne a miracle takes place: the title figure transforms herself into a part of nature. As her name implies, she mutates into a laurel. After much too-ing and fro-ing between Strauss and his librettist Joseph Gregor they found the solution: Salvation is: »everything disturbing must go - the tree alone, it sings!« With Daphne, the mythological fisherman's (daughter of River Penios) daughter, begins, so may one believe, the start of the modern history of opera. In 1597 Jacopo Peri, with Rinuccini's libretto, created this first work of a new and promising form of artistry. The old mythological legend about the beautiful woman who couldn't, and did not want to, love a man, has inspired many over the centuries. Ovid's Metamorphosisses are a reworking of this ancient material. Plutarch's version brought the childhood friend and love smitten king's son Leukippos into play, and Strauss advances the tale further into an allegory of surpressed human nature. Strauss keeps the musical spheres of the woman and her suitor far apart from one another. Lyrical, chamber music like tones contrast dazzlingly with dionysian orchestral passages. Sung in German. Sebastian Weigle, Conductor Matthew Best, Bass: Peneios Tanja Ariane Baumgartner, Soprano: Gaea Maria Bengtsson, Soprano: Daphne Daniel Behle, Tenor: Leukippos Lance Ryan, Tenor: Apollo | ||
| Wednesday 31-Mar-10 19:00 |
Oper Frankfurt Orlando Furioso |
Oper Frankfurt Andrea Marcon, Conductor Daniela Pini, Mezzo-soprano: Alcina Brenda Rae, Soprano: Angelica Florian Plock, Bass: Astolfo |
| More Info... | ||
| Oper Frankfurt, Frankfurt, Germany Wednesday 31-Mar-10 19:00 Oper Frankfurt They all meet on Alcina's magic island: heroes, lovers, happy and rejected people. It seems as if incompatible triangular constellations and motives from Ariostos' epos grow together in Vivaldi's score, creating bewildering and fantastical situations. Orlando, who is not very popular, blows his top: he loves Angelica, who has fallen in love with Medoro and who seeks Alcina's help to get rid of the annoying admirer. Alcina, always looking out for a new man uses her magic to try and bend Ruggiero, Bradamante's bridegroom, to her will. But Bradamante is more powerful than her magic and they all join forces against Alcina. Angelica and Medoro's love for one another is driving Orlando mad, so mad that he smashes a statue, which destroys Alcina's power. Released from his madness he renounces and finds true happiness. The times when Vivaldi was marked down as a purely instrumental composer are over. His 67 operas (written between 1713 and 1741) made this venetian, alongside Alessandro Scarlatti, one of the most fruitful operatic composers of his time. Orlando Furioso marked the exact middle point of Vivaldi's operatic career; fourteen years earlier his first opera, Ottone in villa, was performed for the first time and fourteen years later he died, before his last opera was performed in Vienna. In Orlando Furioso Vivaldi disolved the conventional form of dramma per musica, introducing confusion, intertwined love stories and new musical methods. His musical portraits are believable, profound and - despite the firmly aria forms - always inspired. Orlando Furioso's unconventional dramaturgy and expressive music make it one of Vivaldi's most important operas. Sung in Italian with German surtitles. Andrea Marcon, Conductor Daniela Pini, Mezzo-soprano: Alcina Brenda Rae, Soprano: Angelica Florian Plock, Bass: Astolfo | ||
| Thursday 1-Apr-10 19:30 |
Oper Frankfurt Daphne |
Oper Frankfurt Sebastian Weigle, Conductor Matthew Best, Bass: Peneios Tanja Ariane Baumgartner, Soprano: Gaea Maria Bengtsson, Soprano: Daphne Daniel Behle, Tenor: Leukippos Lance Ryan, Tenor: Apollo |
| More Info... | ||
| Oper Frankfurt, Frankfurt, Germany Thursday 1-Apr-10 19:30 Oper Frankfurt A pastoral tragedy in dark times. While Karl Böhm, to whom Strauss dedicated this opera, conducted the final rehearsals at the Semperoper in Dresden german troops were occupying the Sudentenland. It was the ninth and last world premiere of a Strauss opera in the opera house that was completely destroyed in 1945. But the smell of war was already in the air in 1938. At the end of Daphne a miracle takes place: the title figure transforms herself into a part of nature. As her name implies, she mutates into a laurel. After much too-ing and fro-ing between Strauss and his librettist Joseph Gregor they found the solution: Salvation is: »everything disturbing must go - the tree alone, it sings!« With Daphne, the mythological fisherman's (daughter of River Penios) daughter, begins, so may one believe, the start of the modern history of opera. In 1597 Jacopo Peri, with Rinuccini's libretto, created this first work of a new and promising form of artistry. The old mythological legend about the beautiful woman who couldn't, and did not want to, love a man, has inspired many over the centuries. Ovid's Metamorphosisses are a reworking of this ancient material. Plutarch's version brought the childhood friend and love smitten king's son Leukippos into play, and Strauss advances the tale further into an allegory of surpressed human nature. Strauss keeps the musical spheres of the woman and her suitor far apart from one another. Lyrical, chamber music like tones contrast dazzlingly with dionysian orchestral passages. Sung in German. Sebastian Weigle, Conductor Matthew Best, Bass: Peneios Tanja Ariane Baumgartner, Soprano: Gaea Maria Bengtsson, Soprano: Daphne Daniel Behle, Tenor: Leukippos Lance Ryan, Tenor: Apollo | ||
| Friday 2-Apr-10 17:00 |
Oper Frankfurt Parsifal |
Oper Frankfurt Sebastian Weigle, Conductor Jochen Schmeckenbecher, Baritone: Amfortas Magnus Baldvinsson, Bass: Titurel Alfred Reiter, Bass: Gurnemanz Frank van Aken, Tenor: Parsifal Lilli Paasikivi, Soprano: Kundry Simon Bailey, Bass: Klingsor |
| More Info... | ||
| Oper Frankfurt, Frankfurt, Germany Friday 2-Apr-10 17:00 Oper Frankfurt Parsifal's experiences Kilingsor's world, Flower Maidens, Kundry's love and the name she bestows upon him before he returns years later armed with the initiation requisite, the holy spear. This is followed by Kundry washing his feet, annointing him, Kundry's baptism and the revelation of the Grail before Kundry, whose love Parsifal has rejected for years, sinks dead to the floor. A white dove, accompanied by the harp, flies out of the cupola and hovers over Parsifal's head. He is the new King of the Knights of the Holy Grail. Sung in German. Sebastian Weigle, Conductor Jochen Schmeckenbecher, Baritone: Amfortas Magnus Baldvinsson, Bass: Titurel Alfred Reiter, Bass: Gurnemanz Frank van Aken, Tenor: Parsifal Lilli Paasikivi, Soprano: Kundry Simon Bailey, Bass: Klingsor | ||
| Saturday 3-Apr-10 19:30 |
Oper Frankfurt L'Oracolo / Le Villi |
Oper Frankfurt Stefan Solyom, Conductor Ashley Holland, Baritone Bastiaan Everink, Baritone Barbara Zechmeister, Soprano |
| More Info... | ||
| Oper Frankfurt, Frankfurt, Germany Saturday 3-Apr-10 19:30 L'Oracolo / Le Villi Oper Frankfurt Nobody knew Giacomo Puccini. The young music student's first opera was entered in a competiton but did not win. Nonetheless it was performed and really made people sit up and listen. Le Villi was to launch Puccini on his path to world fame. Today almost nobody knows anything about Leoni. While living in London this italian wrote his one act L'oracolo for the baritone Antonio Scotti, who enjoyed worldwide success with the opera for two decades. The work was not performed again after Scotti's death and Leoni was forgotten. Both composers were confronted by the same phenomenon: Belcanto opera was passé, the whole genre was threatened. The acceleration of life was unstoppable; opera had to reinvent itself if it wanted to keep pace. It followed a path which, in hindsight, proved to be a dangerous one: cinema was to come into competition for its audiences. While Le Villi is an early flowering of this development L'Oracolo is almost a late bloomer. In Puccini's work Anna, a girl from the Black Forest who has died of grief, joins the other »Villis« (spirits of betrothed maidens deserted by their lovers) seeking to take revenge on her unfaithful beloved Roberto. An emotive opera which touches the audience. Leoni sets in his crimi in San Francisco's china town. The action is fast and furious, almost cinematographic: no scene lasts longer than three minutes. Drama rules the moment. Both works exploit curiousity about exotica and local colour, be it the Black Forest or a chinese enclave in America. The sadness about the threat to this art form, which after 300 hundred years appeared to be in deep crisis, is hidden in both works which are full of the desire to prevent its demise. This desire remains undiminished today: reason enough to bring both operas - the early work of a master and the success of a forgotten composer - onto the stage once more. Sung in Italian with German surtitles. Stefan Solyom, Conductor Ashley Holland, Baritone Bastiaan Everink, Baritone Barbara Zechmeister, Soprano | ||
| Sunday 4-Apr-10 19:30 |
Oper Frankfurt Daphne |
Oper Frankfurt Sebastian Weigle, Conductor Matthew Best, Bass: Peneios Tanja Ariane Baumgartner, Soprano: Gaea Maria Bengtsson, Soprano: Daphne Daniel Behle, Tenor: Leukippos Lance Ryan, Tenor: Apollo |
| More Info... | ||
| Oper Frankfurt, Frankfurt, Germany Sunday 4-Apr-10 19:30 Oper Frankfurt A pastoral tragedy in dark times. While Karl Böhm, to whom Strauss dedicated this opera, conducted the final rehearsals at the Semperoper in Dresden german troops were occupying the Sudentenland. It was the ninth and last world premiere of a Strauss opera in the opera house that was completely destroyed in 1945. But the smell of war was already in the air in 1938. At the end of Daphne a miracle takes place: the title figure transforms herself into a part of nature. As her name implies, she mutates into a laurel. After much too-ing and fro-ing between Strauss and his librettist Joseph Gregor they found the solution: Salvation is: »everything disturbing must go - the tree alone, it sings!« With Daphne, the mythological fisherman's (daughter of River Penios) daughter, begins, so may one believe, the start of the modern history of opera. In 1597 Jacopo Peri, with Rinuccini's libretto, created this first work of a new and promising form of artistry. The old mythological legend about the beautiful woman who couldn't, and did not want to, love a man, has inspired many over the centuries. Ovid's Metamorphosisses are a reworking of this ancient material. Plutarch's version brought the childhood friend and love smitten king's son Leukippos into play, and Strauss advances the tale further into an allegory of surpressed human nature. Strauss keeps the musical spheres of the woman and her suitor far apart from one another. Lyrical, chamber music like tones contrast dazzlingly with dionysian orchestral passages. Sung in German. Sebastian Weigle, Conductor Matthew Best, Bass: Peneios Tanja Ariane Baumgartner, Soprano: Gaea Maria Bengtsson, Soprano: Daphne Daniel Behle, Tenor: Leukippos Lance Ryan, Tenor: Apollo | ||
| Monday 5-Apr-10 17:00 |
Oper Frankfurt Parsifal |
Oper Frankfurt Sebastian Weigle, Conductor Jochen Schmeckenbecher, Baritone: Amfortas Magnus Baldvinsson, Bass: Titurel Alfred Reiter, Bass: Gurnemanz Frank van Aken, Tenor: Parsifal Lilli Paasikivi, Soprano: Kundry Simon Bailey, Bass: Klingsor |
| More Info... | ||
| Oper Frankfurt, Frankfurt, Germany Monday 5-Apr-10 17:00 Oper Frankfurt Parsifal's experiences Kilingsor's world, Flower Maidens, Kundry's love and the name she bestows upon him before he returns years later armed with the initiation requisite, the holy spear. This is followed by Kundry washing his feet, annointing him, Kundry's baptism and the revelation of the Grail before Kundry, whose love Parsifal has rejected for years, sinks dead to the floor. A white dove, accompanied by the harp, flies out of the cupola and hovers over Parsifal's head. He is the new King of the Knights of the Holy Grail. Sung in German. Sebastian Weigle, Conductor Jochen Schmeckenbecher, Baritone: Amfortas Magnus Baldvinsson, Bass: Titurel Alfred Reiter, Bass: Gurnemanz Frank van Aken, Tenor: Parsifal Lilli Paasikivi, Soprano: Kundry Simon Bailey, Bass: Klingsor | ||
| Thursday 8-Apr-10 19:30 |
Oper Frankfurt L'Oracolo / Le Villi |
Oper Frankfurt Stefan Solyom, Conductor Ashley Holland, Baritone Bastiaan Everink, Baritone Barbara Zechmeister, Soprano |
| More Info... | ||
| Oper Frankfurt, Frankfurt, Germany Thursday 8-Apr-10 19:30 L'Oracolo / Le Villi Oper Frankfurt Nobody knew Giacomo Puccini. The young music student's first opera was entered in a competiton but did not win. Nonetheless it was performed and really made people sit up and listen. Le Villi was to launch Puccini on his path to world fame. Today almost nobody knows anything about Leoni. While living in London this italian wrote his one act L'oracolo for the baritone Antonio Scotti, who enjoyed worldwide success with the opera for two decades. The work was not performed again after Scotti's death and Leoni was forgotten. Both composers were confronted by the same phenomenon: Belcanto opera was passé, the whole genre was threatened. The acceleration of life was unstoppable; opera had to reinvent itself if it wanted to keep pace. It followed a path which, in hindsight, proved to be a dangerous one: cinema was to come into competition for its audiences. While Le Villi is an early flowering of this development L'Oracolo is almost a late bloomer. In Puccini's work Anna, a girl from the Black Forest who has died of grief, joins the other »Villis« (spirits of betrothed maidens deserted by their lovers) seeking to take revenge on her unfaithful beloved Roberto. An emotive opera which touches the audience. Leoni sets in his crimi in San Francisco's china town. The action is fast and furious, almost cinematographic: no scene lasts longer than three minutes. Drama rules the moment. Both works exploit curiousity about exotica and local colour, be it the Black Forest or a chinese enclave in America. The sadness about the threat to this art form, which after 300 hundred years appeared to be in deep crisis, is hidden in both works which are full of the desire to prevent its demise. This desire remains undiminished today: reason enough to bring both operas - the early work of a master and the success of a forgotten composer - onto the stage once more. Sung in Italian with German surtitles. Stefan Solyom, Conductor Ashley Holland, Baritone Bastiaan Everink, Baritone Barbara Zechmeister, Soprano | ||
| Friday 9-Apr-10 19:30 |
Oper Frankfurt Simon Boccanegra |
Oper Frankfurt Friedemann Layer, Conductor Željko Lučić, Baritone: Simon Boccanegra Thorsten Grümbel, Bass: Jacopo Fiesco Kosma Ranuer, Baritone: Paolo Albani Barbara Haveman, Soprano: Maria Boccanegra (Amelia Grimaldi) |
| More Info... | ||
| Oper Frankfurt, Frankfurt, Germany Friday 9-Apr-10 19:30 Oper Frankfurt The sea! What magic it held for Verdi! In both Otello and Boccanegra this element is used to great effect. Civil war ruled 14th Century Genoa with the aristocracy and plebeians fighting for power. After Boccanegra, a corsair, is elected Doge he hopes that Fiesco will permit him to marry his dauchter Maria, with whom he already has a child. Fiesco agrees on condition that Boccanegra hand his daughter over to his care, but Boccanegra does not know where she is. Fiesco keeps Maria's death a secret from him. Amelia has grown up with the Grimaldo family. She loves Gabriele Adorno, an aristocrat. During a visit by Boccanegra to arrange a marriage between Amelia and Paolo Albani father and daughter recognise each other. The wedding is not going to take place and Paolo decides to take revenge. He arranges for Amelia to be kidnapped, blackmails Adorno into murdering the Doge, which Amelia prevents, and finally puts poison in the Doge's drinking water. Before Boccanegra dies he is reconciled with his enemy Fiesco and calls on Adorno to marry Amelia and rule after him. The chorus, in oratorio style in Christof Loy's brave production stand in silence for minutes on end at the start of the work, and leave the scene of the tragedy just as quietly at the end. Sung in Italian with German surtitles. Friedemann Layer, Conductor Željko Lučić, Baritone: Simon Boccanegra Thorsten Grümbel, Bass: Jacopo Fiesco Kosma Ranuer, Baritone: Paolo Albani Barbara Haveman, Soprano: Maria Boccanegra (Amelia Grimaldi) | ||
| Saturday 10-Apr-10 19:30 |
Oper Frankfurt Daphne |
Oper Frankfurt Sebastian Weigle, Conductor Matthew Best, Bass: Peneios Tanja Ariane Baumgartner, Soprano: Gaea Maria Bengtsson, Soprano: Daphne Daniel Behle, Tenor: Leukippos Lance Ryan, Tenor: Apollo |
| More Info... | ||
| Oper Frankfurt, Frankfurt, Germany Saturday 10-Apr-10 19:30 Oper Frankfurt A pastoral tragedy in dark times. While Karl Böhm, to whom Strauss dedicated this opera, conducted the final rehearsals at the Semperoper in Dresden german troops were occupying the Sudentenland. It was the ninth and last world premiere of a Strauss opera in the opera house that was completely destroyed in 1945. But the smell of war was already in the air in 1938. At the end of Daphne a miracle takes place: the title figure transforms herself into a part of nature. As her name implies, she mutates into a laurel. After much too-ing and fro-ing between Strauss and his librettist Joseph Gregor they found the solution: Salvation is: »everything disturbing must go - the tree alone, it sings!« With Daphne, the mythological fisherman's (daughter of River Penios) daughter, begins, so may one believe, the start of the modern history of opera. In 1597 Jacopo Peri, with Rinuccini's libretto, created this first work of a new and promising form of artistry. The old mythological legend about the beautiful woman who couldn't, and did not want to, love a man, has inspired many over the centuries. Ovid's Metamorphosisses are a reworking of this ancient material. Plutarch's version brought the childhood friend and love smitten king's son Leukippos into play, and Strauss advances the tale further into an allegory of surpressed human nature. Strauss keeps the musical spheres of the woman and her suitor far apart from one another. Lyrical, chamber music like tones contrast dazzlingly with dionysian orchestral passages. Sung in German. Sebastian Weigle, Conductor Matthew Best, Bass: Peneios Tanja Ariane Baumgartner, Soprano: Gaea Maria Bengtsson, Soprano: Daphne Daniel Behle, Tenor: Leukippos Lance Ryan, Tenor: Apollo | ||
| Sunday 11-Apr-10 15:30 |
Oper Frankfurt Simon Boccanegra |
Oper Frankfurt Friedemann Layer, Conductor Željko Lučić, Baritone: Simon Boccanegra Thorsten Grümbel, Bass: Jacopo Fiesco Kosma Ranuer, Baritone: Paolo Albani Barbara Haveman, Soprano: Maria Boccanegra (Amelia Grimaldi) |
| More Info... | ||
| Oper Frankfurt, Frankfurt, Germany Sunday 11-Apr-10 15:30 Oper Frankfurt The sea! What magic it held for Verdi! In both Otello and Boccanegra this element is used to great effect. Civil war ruled 14th Century Genoa with the aristocracy and plebeians fighting for power. After Boccanegra, a corsair, is elected Doge he hopes that Fiesco will permit him to marry his dauchter Maria, with whom he already has a child. Fiesco agrees on condition that Boccanegra hand his daughter over to his care, but Boccanegra does not know where she is. Fiesco keeps Maria's death a secret from him. Amelia has grown up with the Grimaldo family. She loves Gabriele Adorno, an aristocrat. During a visit by Boccanegra to arrange a marriage between Amelia and Paolo Albani father and daughter recognise each other. The wedding is not going to take place and Paolo decides to take revenge. He arranges for Amelia to be kidnapped, blackmails Adorno into murdering the Doge, which Amelia prevents, and finally puts poison in the Doge's drinking water. Before Boccanegra dies he is reconciled with his enemy Fiesco and calls on Adorno to marry Amelia and rule after him. The chorus, in oratorio style in Christof Loy's brave production stand in silence for minutes on end at the start of the work, and leave the scene of the tragedy just as quietly at the end. Sung in Italian with German surtitles. Friedemann Layer, Conductor Željko Lučić, Baritone: Simon Boccanegra Thorsten Grümbel, Bass: Jacopo Fiesco Kosma Ranuer, Baritone: Paolo Albani Barbara Haveman, Soprano: Maria Boccanegra (Amelia Grimaldi) | ||
| Friday 16-Apr-10 19:30 |
Oper Frankfurt Simon Boccanegra |
Oper Frankfurt Friedemann Layer, Conductor Željko Lučić, Baritone: Simon Boccanegra Thorsten Grümbel, Bass: Jacopo Fiesco Kosma Ranuer, Baritone: Paolo Albani Barbara Haveman, Soprano: Maria Boccanegra (Amelia Grimaldi) |
| More Info... | ||
| Oper Frankfurt, Frankfurt, Germany Friday 16-Apr-10 19:30 Oper Frankfurt The sea! What magic it held for Verdi! In both Otello and Boccanegra this element is used to great effect. Civil war ruled 14th Century Genoa with the aristocracy and plebeians fighting for power. After Boccanegra, a corsair, is elected Doge he hopes that Fiesco will permit him to marry his dauchter Maria, with whom he already has a child. Fiesco agrees on condition that Boccanegra hand his daughter over to his care, but Boccanegra does not know where she is. Fiesco keeps Maria's death a secret from him. Amelia has grown up with the Grimaldo family. She loves Gabriele Adorno, an aristocrat. During a visit by Boccanegra to arrange a marriage between Amelia and Paolo Albani father and daughter recognise each other. The wedding is not going to take place and Paolo decides to take revenge. He arranges for Amelia to be kidnapped, blackmails Adorno into murdering the Doge, which Amelia prevents, and finally puts poison in the Doge's drinking water. Before Boccanegra dies he is reconciled with his enemy Fiesco and calls on Adorno to marry Amelia and rule after him. The chorus, in oratorio style in Christof Loy's brave production stand in silence for minutes on end at the start of the work, and leave the scene of the tragedy just as quietly at the end. Sung in Italian with German surtitles. Friedemann Layer, Conductor Željko Lučić, Baritone: Simon Boccanegra Thorsten Grümbel, Bass: Jacopo Fiesco Kosma Ranuer, Baritone: Paolo Albani Barbara Haveman, Soprano: Maria Boccanegra (Amelia Grimaldi) | ||
| Saturday 17-Apr-10 19:30 |
Oper Frankfurt L'Oracolo / Le Villi |
Oper Frankfurt Stefan Solyom, Conductor Ashley Holland, Baritone Bastiaan Everink, Baritone Barbara Zechmeister, Soprano |
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| Oper Frankfurt, Frankfurt, Germany Saturday 17-Apr-10 19:30 L'Oracolo / Le Villi Oper Frankfurt Nobody knew Giacomo Puccini. The young music student's first opera was entered in a competiton but did not win. Nonetheless it was performed and really made people sit up and listen. Le Villi was to launch Puccini on his path to world fame. Today almost nobody knows anything about Leoni. While living in London this italian wrote his one act L'oracolo for the baritone Antonio Scotti, who enjoyed worldwide success with the opera for two decades. The work was not performed again after Scotti's death and Leoni was forgotten. Both composers were confronted by the same phenomenon: Belcanto opera was passé, the whole genre was threatened. The acceleration of life was unstoppable; opera had to reinvent itself if it wanted to keep pace. It followed a path which, in hindsight, proved to be a dangerous one: cinema was to come into competition for its audiences. While Le Villi is an early flowering of this development L'Oracolo is almost a late bloomer. In Puccini's work Anna, a girl from the Black Forest who has died of grief, joins the other »Villis« (spirits of betrothed maidens deserted by their lovers) seeking to take revenge on her unfaithful beloved Roberto. An emotive opera which touches the audience. Leoni sets in his crimi in San Francisco's china town. The action is fast and furious, almost cinematographic: no scene lasts longer than three minutes. Drama rules the moment. Both works exploit curiousity about exotica and local colour, be it the Black Forest or a chinese enclave in America. The sadness about the threat to this art form, which after 300 hundred years appeared to be in deep crisis, is hidden in both works which are full of the desire to prevent its demise. This desire remains undiminished today: reason enough to bring both operas - the early work of a master and the success of a forgotten composer - onto the stage once more. Sung in Italian with German surtitles. Stefan Solyom, Conductor Ashley Holland, Baritone Bastiaan Everink, Baritone Barbara Zechmeister, Soprano | ||
| Sunday 18-Apr-10 19:30 |
Oper Frankfurt Daphne |
Oper Frankfurt Sebastian Weigle, Conductor Matthew Best, Bass: Peneios Tanja Ariane Baumgartner, Soprano: Gaea Maria Bengtsson, Soprano: Daphne Daniel Behle, Tenor: Leukippos Lance Ryan, Tenor: Apollo |
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| Oper Frankfurt, Frankfurt, Germany Sunday 18-Apr-10 19:30 Oper Frankfurt A pastoral tragedy in dark times. While Karl Böhm, to whom Strauss dedicated this opera, conducted the final rehearsals at the Semperoper in Dresden german troops were occupying the Sudentenland. It was the ninth and last world premiere of a Strauss opera in the opera house that was completely destroyed in 1945. But the smell of war was already in the air in 1938. At the end of Daphne a miracle takes place: the title figure transforms herself into a part of nature. As her name implies, she mutates into a laurel. After much too-ing and fro-ing between Strauss and his librettist Joseph Gregor they found the solution: Salvation is: »everything disturbing must go - the tree alone, it sings!« With Daphne, the mythological fisherman's (daughter of River Penios) daughter, begins, so may one believe, the start of the modern history of opera. In 1597 Jacopo Peri, with Rinuccini's libretto, created this first work of a new and promising form of artistry. The old mythological legend about the beautiful woman who couldn't, and did not want to, love a man, has inspired many over the centuries. Ovid's Metamorphosisses are a reworking of this ancient material. Plutarch's version brought the childhood friend and love smitten king's son Leukippos into play, and Strauss advances the tale further into an allegory of surpressed human nature. Strauss keeps the musical spheres of the woman and her suitor far apart from one another. Lyrical, chamber music like tones contrast dazzlingly with dionysian orchestral passages. Sung in German. Sebastian Weigle, Conductor Matthew Best, Bass: Peneios Tanja Ariane Baumgartner, Soprano: Gaea Maria Bengtsson, Soprano: Daphne Daniel Behle, Tenor: Leukippos Lance Ryan, Tenor: Apollo | ||
| Thursday 22-Apr-10 19:30 |
Oper Frankfurt Simon Boccanegra |
Oper Frankfurt Friedemann Layer, Conductor Željko Lučić, Baritone: Simon Boccanegra Thorsten Grümbel, Bass: Jacopo Fiesco Kosma Ranuer, Baritone: Paolo Albani Barbara Haveman, Soprano: Maria Boccanegra (Amelia Grimaldi) |
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| Oper Frankfurt, Frankfurt, Germany Thursday 22-Apr-10 19:30 Oper Frankfurt The sea! What magic it held for Verdi! In both Otello and Boccanegra this element is used to great effect. Civil war ruled 14th Century Genoa with the aristocracy and plebeians fighting for power. After Boccanegra, a corsair, is elected Doge he hopes that Fiesco will permit him to marry his dauchter Maria, with whom he already has a child. Fiesco agrees on condition that Boccanegra hand his daughter over to his care, but Boccanegra does not know where she is. Fiesco keeps Maria's death a secret from him. Amelia has grown up with the Grimaldo family. She loves Gabriele Adorno, an aristocrat. During a visit by Boccanegra to arrange a marriage between Amelia and Paolo Albani father and daughter recognise each other. The wedding is not going to take place and Paolo decides to take revenge. He arranges for Amelia to be kidnapped, blackmails Adorno into murdering the Doge, which Amelia prevents, and finally puts poison in the Doge's drinking water. Before Boccanegra dies he is reconciled with his enemy Fiesco and calls on Adorno to marry Amelia and rule after him. The chorus, in oratorio style in Christof Loy's brave production stand in silence for minutes on end at the start of the work, and leave the scene of the tragedy just as quietly at the end. Sung in Italian with German surtitles. Friedemann Layer, Conductor Željko Lučić, Baritone: Simon Boccanegra Thorsten Grümbel, Bass: Jacopo Fiesco Kosma Ranuer, Baritone: Paolo Albani Barbara Haveman, Soprano: Maria Boccanegra (Amelia Grimaldi) | ||
| Friday 23-Apr-10 19:30 |
Oper Frankfurt Daphne |
Oper Frankfurt Sebastian Weigle, Conductor Matthew Best, Bass: Peneios Tanja Ariane Baumgartner, Soprano: Gaea Maria Bengtsson, Soprano: Daphne Daniel Behle, Tenor: Leukippos Lance Ryan, Tenor: Apollo |
| More Info... | ||
| Oper Frankfurt, Frankfurt, Germany Friday 23-Apr-10 19:30 Oper Frankfurt A pastoral tragedy in dark times. While Karl Böhm, to whom Strauss dedicated this opera, conducted the final rehearsals at the Semperoper in Dresden german troops were occupying the Sudentenland. It was the ninth and last world premiere of a Strauss opera in the opera house that was completely destroyed in 1945. But the smell of war was already in the air in 1938. At the end of Daphne a miracle takes place: the title figure transforms herself into a part of nature. As her name implies, she mutates into a laurel. After much too-ing and fro-ing between Strauss and his librettist Joseph Gregor they found the solution: Salvation is: »everything disturbing must go - the tree alone, it sings!« With Daphne, the mythological fisherman's (daughter of River Penios) daughter, begins, so may one believe, the start of the modern history of opera. In 1597 Jacopo Peri, with Rinuccini's libretto, created this first work of a new and promising form of artistry. The old mythological legend about the beautiful woman who couldn't, and did not want to, love a man, has inspired many over the centuries. Ovid's Metamorphosisses are a reworking of this ancient material. Plutarch's version brought the childhood friend and love smitten king's son Leukippos into play, and Strauss advances the tale further into an allegory of surpressed human nature. Strauss keeps the musical spheres of the woman and her suitor far apart from one another. Lyrical, chamber music like tones contrast dazzlingly with dionysian orchestral passages. Sung in German. Sebastian Weigle, Conductor Matthew Best, Bass: Peneios Tanja Ariane Baumgartner, Soprano: Gaea Maria Bengtsson, Soprano: Daphne Daniel Behle, Tenor: Leukippos Lance Ryan, Tenor: Apollo | ||
| Saturday 24-Apr-10 19:30 |
Oper Frankfurt Simon Boccanegra |
Oper Frankfurt Friedemann Layer, Conductor Željko Lučić, Baritone: Simon Boccanegra Thorsten Grümbel, Bass: Jacopo Fiesco Kosma Ranuer, Baritone: Paolo Albani Barbara Haveman, Soprano: Maria Boccanegra (Amelia Grimaldi) |
| More Info... | ||
| Oper Frankfurt, Frankfurt, Germany Saturday 24-Apr-10 19:30 Oper Frankfurt The sea! What magic it held for Verdi! In both Otello and Boccanegra this element is used to great effect. Civil war ruled 14th Century Genoa with the aristocracy and plebeians fighting for power. After Boccanegra, a corsair, is elected Doge he hopes that Fiesco will permit him to marry his dauchter Maria, with whom he already has a child. Fiesco agrees on condition that Boccanegra hand his daughter over to his care, but Boccanegra does not know where she is. Fiesco keeps Maria's death a secret from him. Amelia has grown up with the Grimaldo family. She loves Gabriele Adorno, an aristocrat. During a visit by Boccanegra to arrange a marriage between Amelia and Paolo Albani father and daughter recognise each other. The wedding is not going to take place and Paolo decides to take revenge. He arranges for Amelia to be kidnapped, blackmails Adorno into murdering the Doge, which Amelia prevents, and finally puts poison in the Doge's drinking water. Before Boccanegra dies he is reconciled with his enemy Fiesco and calls on Adorno to marry Amelia and rule after him. The chorus, in oratorio style in Christof Loy's brave production stand in silence for minutes on end at the start of the work, and leave the scene of the tragedy just as quietly at the end. Sung in Italian with German surtitles. Friedemann Layer, Conductor Željko Lučić, Baritone: Simon Boccanegra Thorsten Grümbel, Bass: Jacopo Fiesco Kosma Ranuer, Baritone: Paolo Albani Barbara Haveman, Soprano: Maria Boccanegra (Amelia Grimaldi) | ||
| Sunday 25-Apr-10 19:30 |
Oper Frankfurt Daphne |
Oper Frankfurt Sebastian Weigle, Conductor Matthew Best, Bass: Peneios Tanja Ariane Baumgartner, Soprano: Gaea Maria Bengtsson, Soprano: Daphne Daniel Behle, Tenor: Leukippos Lance Ryan, Tenor: Apollo |
| More Info... | ||
| Oper Frankfurt, Frankfurt, Germany Sunday 25-Apr-10 19:30 Oper Frankfurt A pastoral tragedy in dark times. While Karl Böhm, to whom Strauss dedicated this opera, conducted the final rehearsals at the Semperoper in Dresden german troops were occupying the Sudentenland. It was the ninth and last world premiere of a Strauss opera in the opera house that was completely destroyed in 1945. But the smell of war was already in the air in 1938. At the end of Daphne a miracle takes place: the title figure transforms herself into a part of nature. As her name implies, she mutates into a laurel. After much too-ing and fro-ing between Strauss and his librettist Joseph Gregor they found the solution: Salvation is: »everything disturbing must go - the tree alone, it sings!« With Daphne, the mythological fisherman's (daughter of River Penios) daughter, begins, so may one believe, the start of the modern history of opera. In 1597 Jacopo Peri, with Rinuccini's libretto, created this first work of a new and promising form of artistry. The old mythological legend about the beautiful woman who couldn't, and did not want to, love a man, has inspired many over the centuries. Ovid's Metamorphosisses are a reworking of this ancient material. Plutarch's version brought the childhood friend and love smitten king's son Leukippos into play, and Strauss advances the tale further into an allegory of surpressed human nature. Strauss keeps the musical spheres of the woman and her suitor far apart from one another. Lyrical, chamber music like tones contrast dazzlingly with dionysian orchestral passages. Sung in German. Sebastian Weigle, Conductor Matthew Best, Bass: Peneios Tanja Ariane Baumgartner, Soprano: Gaea Maria Bengtsson, Soprano: Daphne Daniel Behle, Tenor: Leukippos Lance Ryan, Tenor: Apollo | ||
| Saturday 1-May-10 19:00 |
Oper Frankfurt Lucia di Lammermoor |
Oper Frankfurt Maurizio Barbacini, Conductor Aris Argiris, Tenor: Enrico Peter Marsh, Tenor: Arturo Joseph Calleja, Tenor: Edgardo Brenda Rae, Soprano: Lucia |
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| Oper Frankfurt, Frankfurt, Germany Saturday 1-May-10 19:00 Oper Frankfurt Murder, madness and suicide are the results of an intrigue spun by her own brother. Lucia takes refuge in her own, mad, world from a male community which holds true emotions in contempt. These emotional extremes dominate Donizetti's tragic opera, which was based on Sir Walter Scott's popular novel of 1819. Salvatore Cammarano's libretto neglects the political history behind the conflict between the Ashtons and Ravenswoods, reduces the number of characters in the novel and concentrates on the conflicts between Enrico Ashton, his sister Lucia and her beloved Edgardo. Great enmity reigns between the catholic, aristocratic Ravenswood, and protestant Ashton families. Edgardo, the last of the Ravenswoods, has become impoverished and the Ashtons have come to power. Edgardo holds Enrico Ashton responsible for the death of his father. Enrico wants to strenghthen his own political alliances by forcing his sister Lucia to marry the influencial Lord Bucklaw. But Lucia loves Edgardo and her heart is torn. Drawn to the romantic traits of the novel, Donizetti focusses on the characterisation of a brutal male society and their sacrificial victim, Lucia. In this, probably his most famous score, Donizetti puts the art of Belcanto ornamentation at the service of the drama of the soul, making it one of the finest operas of its kind Sung in Italian with German surtitles. Maurizio Barbacini, Conductor Aris Argiris, Tenor: Enrico Peter Marsh, Tenor: Arturo Joseph Calleja, Tenor: Edgardo Brenda Rae, Soprano: Lucia | ||
| Sunday 2-May-10 18:00 |
Oper Frankfurt Das Rheingold |
Oper Frankfurt Sebastian Weigle, Conductor Terje Stensvold, Bass-baritone: Wotan Dietrich Volle, Bass-baritone: Donner Richard Cox, Tenor: Froh Kurt Streit, Tenor: Loge Jochen Schmeckenbecher, Bass-baritone: Alberich Hans-Jürgen Lazar, Tenor: Mime Alfred Reiter, Bass-baritone: Fasolt Magnus Baldvinsson, Bass: Fafner Martina Dike, Mezzo-soprano: Fricka |
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| Oper Frankfurt, Frankfurt, Germany Sunday 2-May-10 18:00 Oper Frankfurt Sung in German. Sebastian Weigle, Conductor Terje Stensvold, Bass-baritone: Wotan Dietrich Volle, Bass-baritone: Donner Richard Cox, Tenor: Froh Kurt Streit, Tenor: Loge Jochen Schmeckenbecher, Bass-baritone: Alberich Hans-Jürgen Lazar, Tenor: Mime Alfred Reiter, Bass-baritone: Fasolt Magnus Baldvinsson, Bass: Fafner Martina Dike, Mezzo-soprano: Fricka | ||
| Saturday 8-May-10 19:00 |
Oper Frankfurt Lucia di Lammermoor |
Oper Frankfurt Maurizio Barbacini, Conductor Aris Argiris, Tenor: Enrico Peter Marsh, Tenor: Arturo Joseph Calleja, Tenor: Edgardo Brenda Rae, Soprano: Lucia |
| More Info... | ||
| Oper Frankfurt, Frankfurt, Germany Saturday 8-May-10 19:00 Oper Frankfurt Murder, madness and suicide are the results of an intrigue spun by her own brother. Lucia takes refuge in her own, mad, world from a male community which holds true emotions in contempt. These emotional extremes dominate Donizetti's tragic opera, which was based on Sir Walter Scott's popular novel of 1819. Salvatore Cammarano's libretto neglects the political history behind the conflict between the Ashtons and Ravenswoods, reduces the number of characters in the novel and concentrates on the conflicts between Enrico Ashton, his sister Lucia and her beloved Edgardo. Great enmity reigns between the catholic, aristocratic Ravenswood, and protestant Ashton families. Edgardo, the last of the Ravenswoods, has become impoverished and the Ashtons have come to power. Edgardo holds Enrico Ashton responsible for the death of his father. Enrico wants to strenghthen his own political alliances by forcing his sister Lucia to marry the influencial Lord Bucklaw. But Lucia loves Edgardo and her heart is torn. Drawn to the romantic traits of the novel, Donizetti focusses on the characterisation of a brutal male society and their sacrificial victim, Lucia. In this, probably his most famous score, Donizetti puts the art of Belcanto ornamentation at the service of the drama of the soul, making it one of the finest operas of its kind Sung in Italian with German surtitles. Maurizio Barbacini, Conductor Aris Argiris, Tenor: Enrico Peter Marsh, Tenor: Arturo Joseph Calleja, Tenor: Edgardo Brenda Rae, Soprano: Lucia | ||
| Sunday 9-May-10 18:00 |
Oper Frankfurt Billy Budd |
Oper Frankfurt Paul Daniel, Conductor Richard Jones, Director John Daszak, Tenor: Captain Vere Peter Mattei, Baritone: Billy Budd Clive Bayley, Bass: John Claggart |
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| Oper Frankfurt, Frankfurt, Germany Sunday 9-May-10 18:00 Oper Frankfurt Richard Jones, the great british director, said; »Benjamin Britten's opera Billy Budd is a work about a member of an established society, which is responsible for legally ordering the execution of another person. It has blood on its hands but also harbours a hidden and powerful attraction for this person.« Billy Budd deals with the tragic relationship between the young, stuttering sailor Billy and Captain Vere. Billy, press-ganged from a merchant ship, enters a climate of terror and tough military drills. Claggart, the master-at-arms, accuses Billy of planning a mutiny. Billy's stuttering prevents him from defending himself and he strikes out, dealing Claggart a fatal blow. The captain must sentence him to death, even though he knows he is putting an innocent head on the block. Captain Vere would never be able to forget that in this »fateful moment he sacrificed his heart to the law«. Sung in English with German surtitles. Paul Daniel, Conductor Richard Jones, Director John Daszak, Tenor: Captain Vere Peter Mattei, Baritone: Billy Budd Clive Bayley, Bass: John Claggart | ||
| Monday 10-May-10 19:00 |
Oper Frankfurt Lucia di Lammermoor |
Oper Frankfurt Maurizio Barbacini, Conductor Aris Argiris, Tenor: Enrico Peter Marsh, Tenor: Arturo Joseph Calleja, Tenor: Edgardo Brenda Rae, Soprano: Lucia |
| More Info... | ||
| Oper Frankfurt, Frankfurt, Germany Monday 10-May-10 19:00 Oper Frankfurt Murder, madness and suicide are the results of an intrigue spun by her own brother. Lucia takes refuge in her own, mad, world from a male community which holds true emotions in contempt. These emotional extremes dominate Donizetti's tragic opera, which was based on Sir Walter Scott's popular novel of 1819. Salvatore Cammarano's libretto neglects the political history behind the conflict between the Ashtons and Ravenswoods, reduces the number of characters in the novel and concentrates on the conflicts between Enrico Ashton, his sister Lucia and her beloved Edgardo. Great enmity reigns between the catholic, aristocratic Ravenswood, and protestant Ashton families. Edgardo, the last of the Ravenswoods, has become impoverished and the Ashtons have come to power. Edgardo holds Enrico Ashton responsible for the death of his father. Enrico wants to strenghthen his own political alliances by forcing his sister Lucia to marry the influencial Lord Bucklaw. But Lucia loves Edgardo and her heart is torn. Drawn to the romantic traits of the novel, Donizetti focusses on the characterisation of a brutal male society and their sacrificial victim, Lucia. In this, probably his most famous score, Donizetti puts the art of Belcanto ornamentation at the service of the drama of the soul, making it one of the finest operas of its kind Sung in Italian with German surtitles. Maurizio Barbacini, Conductor Aris Argiris, Tenor: Enrico Peter Marsh, Tenor: Arturo Joseph Calleja, Tenor: Edgardo Brenda Rae, Soprano: Lucia | ||
| Wednesday 12-May-10 19:30 |
Oper Frankfurt Billy Budd |
Oper Frankfurt Paul Daniel, Conductor Richard Jones, Director John Daszak, Tenor: Captain Vere Peter Mattei, Baritone: Billy Budd Clive Bayley, Bass: John Claggart |
| More Info... | ||
| Oper Frankfurt, Frankfurt, Germany Wednesday 12-May-10 19:30 Oper Frankfurt Richard Jones, the great british director, said; »Benjamin Britten's opera Billy Budd is a work about a member of an established society, which is responsible for legally ordering the execution of another person. It has blood on its hands but also harbours a hidden and powerful attraction for this person.« Billy Budd deals with the tragic relationship between the young, stuttering sailor Billy and Captain Vere. Billy, press-ganged from a merchant ship, enters a climate of terror and tough military drills. Claggart, the master-at-arms, accuses Billy of planning a mutiny. Billy's stuttering prevents him from defending himself and he strikes out, dealing Claggart a fatal blow. The captain must sentence him to death, even though he knows he is putting an innocent head on the block. Captain Vere would never be able to forget that in this »fateful moment he sacrificed his heart to the law«. Sung in English with German surtitles. Paul Daniel, Conductor Richard Jones, Director John Daszak, Tenor: Captain Vere Peter Mattei, Baritone: Billy Budd Clive Bayley, Bass: John Claggart | ||
| Thursday 13-May-10 19:00 |
Oper Frankfurt Lucia di Lammermoor |
Oper Frankfurt Maurizio Barbacini, Conductor Aris Argiris, Tenor: Enrico Peter Marsh, Tenor: Arturo Joseph Calleja, Tenor: Edgardo Brenda Rae, Soprano: Lucia |
| More Info... | ||
| Oper Frankfurt, Frankfurt, Germany Thursday 13-May-10 19:00 Oper Frankfurt Murder, madness and suicide are the results of an intrigue spun by her own brother. Lucia takes refuge in her own, mad, world from a male community which holds true emotions in contempt. These emotional extremes dominate Donizetti's tragic opera, which was based on Sir Walter Scott's popular novel of 1819. Salvatore Cammarano's libretto neglects the political history behind the conflict between the Ashtons and Ravenswoods, reduces the number of characters in the novel and concentrates on the conflicts between Enrico Ashton, his sister Lucia and her beloved Edgardo. Great enmity reigns between the catholic, aristocratic Ravenswood, and protestant Ashton families. Edgardo, the last of the Ravenswoods, has become impoverished and the Ashtons have come to power. Edgardo holds Enrico Ashton responsible for the death of his father. Enrico wants to strenghthen his own political alliances by forcing his sister Lucia to marry the influencial Lord Bucklaw. But Lucia loves Edgardo and her heart is torn. Drawn to the romantic traits of the novel, Donizetti focusses on the characterisation of a brutal male society and their sacrificial victim, Lucia. In this, probably his most famous score, Donizetti puts the art of Belcanto ornamentation at the service of the drama of the soul, making it one of the finest operas of its kind Sung in Italian with German surtitles. Maurizio Barbacini, Conductor Aris Argiris, Tenor: Enrico Peter Marsh, Tenor: Arturo Joseph Calleja, Tenor: Edgardo Brenda Rae, Soprano: Lucia | ||
| Friday 14-May-10 19:30 |
Oper Frankfurt Billy Budd |
Oper Frankfurt Paul Daniel, Conductor Richard Jones, Director John Daszak, Tenor: Captain Vere Peter Mattei, Baritone: Billy Budd Clive Bayley, Bass: John Claggart |
| More Info... | ||
| Oper Frankfurt, Frankfurt, Germany Friday 14-May-10 19:30 Oper Frankfurt Richard Jones, the great british director, said; »Benjamin Britten's opera Billy Budd is a work about a member of an established society, which is responsible for legally ordering the execution of another person. It has blood on its hands but also harbours a hidden and powerful attraction for this person.« Billy Budd deals with the tragic relationship between the young, stuttering sailor Billy and Captain Vere. Billy, press-ganged from a merchant ship, enters a climate of terror and tough military drills. Claggart, the master-at-arms, accuses Billy of planning a mutiny. Billy's stuttering prevents him from defending himself and he strikes out, dealing Claggart a fatal blow. The captain must sentence him to death, even though he knows he is putting an innocent head on the block. Captain Vere would never be able to forget that in this »fateful moment he sacrificed his heart to the law«. Sung in English with German surtitles. Paul Daniel, Conductor Richard Jones, Director John Daszak, Tenor: Captain Vere Peter Mattei, Baritone: Billy Budd Clive Bayley, Bass: John Claggart | ||
| Saturday 15-May-10 19:30 |
Oper Frankfurt Das Rheingold |
Oper Frankfurt Sebastian Weigle, Conductor Terje Stensvold, Bass-baritone: Wotan Dietrich Volle, Bass-baritone: Donner Richard Cox, Tenor: Froh Kurt Streit, Tenor: Loge Jochen Schmeckenbecher, Bass-baritone: Alberich Hans-Jürgen Lazar, Tenor: Mime Alfred Reiter, Bass-baritone: Fasolt Magnus Baldvinsson, Bass: Fafner Martina Dike, Mezzo-soprano: Fricka |
| More Info... | ||
| Oper Frankfurt, Frankfurt, Germany Saturday 15-May-10 19:30 Oper Frankfurt Sung in German. Sebastian Weigle, Conductor Terje Stensvold, Bass-baritone: Wotan Dietrich Volle, Bass-baritone: Donner Richard Cox, Tenor: Froh Kurt Streit, Tenor: Loge Jochen Schmeckenbecher, Bass-baritone: Alberich Hans-Jürgen Lazar, Tenor: Mime Alfred Reiter, Bass-baritone: Fasolt Magnus Baldvinsson, Bass: Fafner Martina Dike, Mezzo-soprano: Fricka | ||
| Sunday 16-May-10 15:30 |
Oper Frankfurt Lucia di Lammermoor |
Oper Frankfurt Maurizio Barbacini, Conductor Aris Argiris, Tenor: Enrico Peter Marsh, Tenor: Arturo Joseph Calleja, Tenor: Edgardo Brenda Rae, Soprano: Lucia |
| More Info... | ||
| Oper Frankfurt, Frankfurt, Germany Sunday 16-May-10 15:30 Oper Frankfurt Murder, madness and suicide are the results of an intrigue spun by her own brother. Lucia takes refuge in her own, mad, world from a male community which holds true emotions in contempt. These emotional extremes dominate Donizetti's tragic opera, which was based on Sir Walter Scott's popular novel of 1819. Salvatore Cammarano's libretto neglects the political history behind the conflict between the Ashtons and Ravenswoods, reduces the number of characters in the novel and concentrates on the conflicts between Enrico Ashton, his sister Lucia and her beloved Edgardo. Great enmity reigns between the catholic, aristocratic Ravenswood, and protestant Ashton families. Edgardo, the last of the Ravenswoods, has become impoverished and the Ashtons have come to power. Edgardo holds Enrico Ashton responsible for the death of his father. Enrico wants to strenghthen his own political alliances by forcing his sister Lucia to marry the influencial Lord Bucklaw. But Lucia loves Edgardo and her heart is torn. Drawn to the romantic traits of the novel, Donizetti focusses on the characterisation of a brutal male society and their sacrificial victim, Lucia. In this, probably his most famous score, Donizetti puts the art of Belcanto ornamentation at the service of the drama of the soul, making it one of the finest operas of its kind Sung in Italian with German surtitles. Maurizio Barbacini, Conductor Aris Argiris, Tenor: Enrico Peter Marsh, Tenor: Arturo Joseph Calleja, Tenor: Edgardo Brenda Rae, Soprano: Lucia | ||
| Thursday 20-May-10 19:30 |
Oper Frankfurt Billy Budd |
Oper Frankfurt Paul Daniel, Conductor Richard Jones, Director John Daszak, Tenor: Captain Vere Peter Mattei, Baritone: Billy Budd Clive Bayley, Bass: John Claggart |
| More Info... | ||
| Oper Frankfurt, Frankfurt, Germany Thursday 20-May-10 19:30 Oper Frankfurt Richard Jones, the great british director, said; »Benjamin Britten's opera Billy Budd is a work about a member of an established society, which is responsible for legally ordering the execution of another person. It has blood on its hands but also harbours a hidden and powerful attraction for this person.« Billy Budd deals with the tragic relationship between the young, stuttering sailor Billy and Captain Vere. Billy, press-ganged from a merchant ship, enters a climate of terror and tough military drills. Claggart, the master-at-arms, accuses Billy of planning a mutiny. Billy's stuttering prevents him from defending himself and he strikes out, dealing Claggart a fatal blow. The captain must sentence him to death, even though he knows he is putting an innocent head on the block. Captain Vere would never be able to forget that in this »fateful moment he sacrificed his heart to the law«. Sung in English with German surtitles. Paul Daniel, Conductor Richard Jones, Director John Daszak, Tenor: Captain Vere Peter Mattei, Baritone: Billy Budd Clive Bayley, Bass: John Claggart | ||
| Friday 21-May-10 18:30 |
Oper Frankfurt Don Carlos |
Oper Frankfurt Carlo Franci, Conductor David McVicar, Director Kwangchul Youn, Bass: Phillip II, King of Spain Annalise Raspagliosi, Soprano: Elisabetta di Valois, Queen of Spain Carlo Ventre, Tenor: Don Carlos Tanja Ariane Baumgartner, Mezzo-soprano: Princess Eboli, her lady-in-waiting |
| More Info... | ||
| Oper Frankfurt, Frankfurt, Germany Friday 21-May-10 18:30 Oper Frankfurt Sung in Italian with German surtitles. Carlo Franci, Conductor David McVicar, Director Kwangchul Youn, Bass: Phillip II, King of Spain Annalise Raspagliosi, Soprano: Elisabetta di Valois, Queen of Spain Carlo Ventre, Tenor: Don Carlos Tanja Ariane Baumgartner, Mezzo-soprano: Princess Eboli, her lady-in-waiting | ||
| Saturday 22-May-10 19:30 |
Oper Frankfurt Das Rheingold |
Oper Frankfurt Sebastian Weigle, Conductor Terje Stensvold, Bass-baritone: Wotan Dietrich Volle, Bass-baritone: Donner Richard Cox, Tenor: Froh Kurt Streit, Tenor: Loge Jochen Schmeckenbecher, Bass-baritone: Alberich Hans-Jürgen Lazar, Tenor: Mime Alfred Reiter, Bass-baritone: Fasolt Magnus Baldvinsson, Bass: Fafner Martina Dike, Mezzo-soprano: Fricka |
| More Info... | ||
| Oper Frankfurt, Frankfurt, Germany Saturday 22-May-10 19:30 Oper Frankfurt Sung in German. Sebastian Weigle, Conductor Terje Stensvold, Bass-baritone: Wotan Dietrich Volle, Bass-baritone: Donner Richard Cox, Tenor: Froh Kurt Streit, Tenor: Loge Jochen Schmeckenbecher, Bass-baritone: Alberich Hans-Jürgen Lazar, Tenor: Mime Alfred Reiter, Bass-baritone: Fasolt Magnus Baldvinsson, Bass: Fafner Martina Dike, Mezzo-soprano: Fricka | ||
| Sunday 23-May-10 19:30 |
Oper Frankfurt Billy Budd |
Oper Frankfurt Paul Daniel, Conductor Richard Jones, Director John Daszak, Tenor: Captain Vere Peter Mattei, Baritone: Billy Budd Clive Bayley, Bass: John Claggart |
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| Oper Frankfurt, Frankfurt, Germany Sunday 23-May-10 19:30 Oper Frankfurt Richard Jones, the great british director, said; »Benjamin Britten's opera Billy Budd is a work about a member of an established society, which is responsible for legally ordering the execution of another person. It has blood on its hands but also harbours a hidden and powerful attraction for this person.« Billy Budd deals with the tragic relationship between the young, stuttering sailor Billy and Captain Vere. Billy, press-ganged from a merchant ship, enters a climate of terror and tough military drills. Claggart, the master-at-arms, accuses Billy of planning a mutiny. Billy's stuttering prevents him from defending himself and he strikes out, dealing Claggart a fatal blow. The captain must sentence him to death, even though he knows he is putting an innocent head on the block. Captain Vere would never be able to forget that in this »fateful moment he sacrificed his heart to the law«. Sung in English with German surtitles. Paul Daniel, Conductor Richard Jones, Director John Daszak, Tenor: Captain Vere Peter Mattei, Baritone: Billy Budd Clive Bayley, Bass: John Claggart | ||
| Monday 24-May-10 18:30 |
Oper Frankfurt Don Carlos |
Oper Frankfurt Carlo Franci, Conductor David McVicar, Director Kwangchul Youn, Bass: Phillip II, King of Spain Annalise Raspagliosi, Soprano: Elisabetta di Valois, Queen of Spain Elza van den Heever, Soprano: Elisabetta di Valois, Queen of Spain Carlo Ventre, Tenor: Don Carlos Tanja Ariane Baumgartner, Mezzo-soprano: Princess Eboli, her lady-in-waiting |
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| Oper Frankfurt, Frankfurt, Germany Monday 24-May-10 18:30 Oper Frankfurt Sung in Italian with German surtitles. Carlo Franci, Conductor David McVicar, Director Kwangchul Youn, Bass: Phillip II, King of Spain Annalise Raspagliosi, Soprano: Elisabetta di Valois, Queen of Spain Elza van den Heever, Soprano: Elisabetta di Valois, Queen of Spain Carlo Ventre, Tenor: Don Carlos Tanja Ariane Baumgartner, Mezzo-soprano: Princess Eboli, her lady-in-waiting | ||
| Saturday 29-May-10 18:00 |
Oper Frankfurt Don Carlos |
Oper Frankfurt Carlo Franci, Conductor David McVicar, Director Kwangchul Youn, Bass: Phillip II, King of Spain Annalise Raspagliosi, Soprano: Elisabetta di Valois, Queen of Spain Elza van den Heever, Soprano: Elisabetta di Valois, Queen of Spain Carlo Ventre, Tenor: Don Carlos Tanja Ariane Baumgartner, Mezzo-soprano: Princess Eboli, her lady-in-waiting |
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| Oper Frankfurt, Frankfurt, Germany Saturday 29-May-10 18:00 Oper Frankfurt Sung in Italian with German surtitles. Carlo Franci, Conductor David McVicar, Director Kwangchul Youn, Bass: Phillip II, King of Spain Annalise Raspagliosi, Soprano: Elisabetta di Valois, Queen of Spain Elza van den Heever, Soprano: Elisabetta di Valois, Queen of Spain Carlo Ventre, Tenor: Don Carlos Tanja Ariane Baumgartner, Mezzo-soprano: Princess Eboli, her lady-in-waiting | ||
| Thursday 3-Jun-10 15:30 |
Oper Frankfurt Das Rheingold |
Oper Frankfurt Sebastian Weigle, Conductor Terje Stensvold, Bass-baritone: Wotan Dietrich Volle, Bass-baritone: Donner Richard Cox, Tenor: Froh Kurt Streit, Tenor: Loge Jochen Schmeckenbecher, Bass-baritone: Alberich Hans-Jürgen Lazar, Tenor: Mime Alfred Reiter, Bass-baritone: Fasolt Magnus Baldvinsson, Bass: Fafner Martina Dike, Mezzo-soprano: Fricka |
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| Oper Frankfurt, Frankfurt, Germany Thursday 3-Jun-10 15:30 Oper Frankfurt Sung in German. Sebastian Weigle, Conductor Terje Stensvold, Bass-baritone: Wotan Dietrich Volle, Bass-baritone: Donner Richard Cox, Tenor: Froh Kurt Streit, Tenor: Loge Jochen Schmeckenbecher, Bass-baritone: Alberich Hans-Jürgen Lazar, Tenor: Mime Alfred Reiter, Bass-baritone: Fasolt Magnus Baldvinsson, Bass: Fafner Martina Dike, Mezzo-soprano: Fricka | ||
| Saturday 5-Jun-10 18:30 |
Oper Frankfurt Don Carlos |
Oper Frankfurt Carlo Franci, Conductor David McVicar, Director Kwangchul Youn, Bass: Phillip II, King of Spain Annalise Raspagliosi, Soprano: Elisabetta di Valois, Queen of Spain Elza van den Heever, Soprano: Elisabetta di Valois, Queen of Spain Carlo Ventre, Tenor: Don Carlos Tanja Ariane Baumgartner, Mezzo-soprano: Princess Eboli, her lady-in-waiting |
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| Oper Frankfurt, Frankfurt, Germany Saturday 5-Jun-10 18:30 Oper Frankfurt Sung in Italian with German surtitles. Carlo Franci, Conductor David McVicar, Director Kwangchul Youn, Bass: Phillip II, King of Spain Annalise Raspagliosi, Soprano: Elisabetta di Valois, Queen of Spain Elza van den Heever, Soprano: Elisabetta di Valois, Queen of Spain Carlo Ventre, Tenor: Don Carlos Tanja Ariane Baumgartner, Mezzo-soprano: Princess Eboli, her lady-in-waiting | ||
| Sunday 6-Jun-10 19:30 |
Oper Frankfurt Das Rheingold |
Oper Frankfurt Sebastian Weigle, Conductor Terje Stensvold, Bass-baritone: Wotan Dietrich Volle, Bass-baritone: Donner Richard Cox, Tenor: Froh Kurt Streit, Tenor: Loge Jochen Schmeckenbecher, Bass-baritone: Alberich Hans-Jürgen Lazar, Tenor: Mime Alfred Reiter, Bass-baritone: Fasolt Magnus Baldvinsson, Bass: Fafner Martina Dike, Mezzo-soprano: Fricka |
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| Oper Frankfurt, Frankfurt, Germany Sunday 6-Jun-10 19:30 Oper Frankfurt Sung in German. Sebastian Weigle, Conductor Terje Stensvold, Bass-baritone: Wotan Dietrich Volle, Bass-baritone: Donner Richard Cox, Tenor: Froh Kurt Streit, Tenor: Loge Jochen Schmeckenbecher, Bass-baritone: Alberich Hans-Jürgen Lazar, Tenor: Mime Alfred Reiter, Bass-baritone: Fasolt Magnus Baldvinsson, Bass: Fafner Martina Dike, Mezzo-soprano: Fricka | ||
| Friday 11-Jun-10 18:30 |
Oper Frankfurt Don Carlos |
Oper Frankfurt Carlo Franci, Conductor David McVicar, Director Kwangchul Youn, Bass: Phillip II, King of Spain Annalise Raspagliosi, Soprano: Elisabetta di Valois, Queen of Spain Elza van den Heever, Soprano: Elisabetta di Valois, Queen of Spain Carlo Ventre, Tenor: Don Carlos Tanja Ariane Baumgartner, Mezzo-soprano: Princess Eboli, her lady-in-waiting |
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| Oper Frankfurt, Frankfurt, Germany Friday 11-Jun-10 18:30 Oper Frankfurt Sung in Italian with German surtitles. Carlo Franci, Conductor David McVicar, Director Kwangchul Youn, Bass: Phillip II, King of Spain Annalise Raspagliosi, Soprano: Elisabetta di Valois, Queen of Spain Elza van den Heever, Soprano: Elisabetta di Valois, Queen of Spain Carlo Ventre, Tenor: Don Carlos Tanja Ariane Baumgartner, Mezzo-soprano: Princess Eboli, her lady-in-waiting | ||
| Saturday 12-Jun-10 19:30 |
Oper Frankfurt Das Rheingold |
Oper Frankfurt Sebastian Weigle, Conductor Terje Stensvold, Bass-baritone: Wotan Dietrich Volle, Bass-baritone: Donner Richard Cox, Tenor: Froh Kurt Streit, Tenor: Loge Jochen Schmeckenbecher, Bass-baritone: Alberich Hans-Jürgen Lazar, Tenor: Mime Alfred Reiter, Bass-baritone: Fasolt Magnus Baldvinsson, Bass: Fafner Martina Dike, Mezzo-soprano: Fricka |
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| Oper Frankfurt, Frankfurt, Germany Saturday 12-Jun-10 19:30 Oper Frankfurt Sung in German. Sebastian Weigle, Conductor Terje Stensvold, Bass-baritone: Wotan Dietrich Volle, Bass-baritone: Donner Richard Cox, Tenor: Froh Kurt Streit, Tenor: Loge Jochen Schmeckenbecher, Bass-baritone: Alberich Hans-Jürgen Lazar, Tenor: Mime Alfred Reiter, Bass-baritone: Fasolt Magnus Baldvinsson, Bass: Fafner Martina Dike, Mezzo-soprano: Fricka | ||
| Saturday 12-Jun-10 19:30 |
Bockenheimer Depot, Frankfurt La Giuditta |
Oper Frankfurt Felice Venanzoni, Conductor Giullaume Bernardi, Director Brenda Rae, Soprano: Giuditta Julian Prégardien, Tenor: Holofernes Christiane Karg, Soprano: Achiot Matthias Rexroth, Countertenor: Ozias |
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| Bockenheimer Depot, Carlo Schmid Platz, 60325 Frankfurt, Germany Saturday 12-Jun-10 19:30 Oper Frankfurt She seduced Holofernes, made him drunk, beheaded him and held his head before her people to give them courage for their fight against Nebuchadnezzar, the Assyrian king. One of the best loved oratorios of the 18th century is the tale of Judith from the Bible: the story of the brave widow, daughter of Israel, who lived in Betulia, occupied by Holofernes' troops, and freed her people fascinated late baroque painters, sculptors and musicians. The story of this opera by the portugese composer de Almeida had been set to music dozens of times in the past. The original text, by an unknown writer, which served as de Almeida's model, was tailored to 18th Century oratorio form: it is split into two parts, inbetween which a sermon would have normally been given. Its single dramatic high point, the beheading of the tyrant, makes the material more suited to performance in a church than an opera. As little is known about the first performance of this opera sacra as is about the composer himself. A grant he received from the King of Portugal enabled him to study in Rome for six years, until 1726, where he wrote, influenced by Alessandro Scarlatti, pieces for the portugese embassy. La Giuditta came into being in the last year of his time in Rome and was performed for the first time for the Ambassador, who had commissioned it. After returning to his home country Almeida became a carneval's operatic composer at the Royal Court in Lisbon, where he devoted himself to »serious« church music. Very few of his works remain intact today but they prove he had an extraordinary theatrical instinct and is an unfairly forgotten musician: his main work, La Giuditta is being performed in a staged version for the first time since the work was written. Sung in Italian with German surtitles. Felice Venanzoni, Conductor Giullaume Bernardi, Director Brenda Rae, Soprano: Giuditta Julian Prégardien, Tenor: Holofernes Christiane Karg, Soprano: Achiot Matthias Rexroth, Countertenor: Ozias | ||
| Sunday 13-Jun-10 18:00 |
Oper Frankfurt The Damnation of Faust (Fausts Verdammnis) |
Oper Frankfurt Julia Jones, Conductor Harry Kupfer, Director Alice Coote, Mezzo-soprano: Marguerite Matthew Polenzani, Tenor: Faust Simon Bailey, Bass: Mephisto Thorsten Grümbel, Bass-baritone: Brander |
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| Oper Frankfurt, Frankfurt, Germany Sunday 13-Jun-10 18:00 The Damnation of Faust (Fausts Verdammnis) Oper Frankfurt Words and notes held equal value for Berlioz, for whom operatic composition was a double art. »It is all about tying together poetry and music.« This appears to be the reason why this Shakespeare and Goethe enthusiast looked long and hard before he found a subject which stimulated him to compose. The typical early german figure of the devil pact maker, this obscure mixture of hybris and despair, was also the thematic heart of his Symphonie fantastique with its burlesque parody of the Dies irae, which mutates into the witches' sabbath dance. Berlioz had already worked fragments of Goethe's work in his Huit scènes de Faust of 1829 but it was not until 1845/46 that he drew near to completing Damnation. Berlioz uses the forces of two choruses and a childrens' chorus. The choral passages of the work, from the bawling students in Auerbach's cellar to the heavenly angels in the epilogue, are unique in operatic literature. Berlioz' Faust accents stronger still the failed artistic genius of the hero, who breaks all tabus in his thirst for knowledge. Berlioz turns Goethe's simple, innocent Gretchen into a passionate and disappointed female figure. In a decisive moment Berlioz freed himself from Goethe's model. As a resumée of the Age of Enlightenment the hero is redeemed at the end of Faust II. This is not granted to Berlioz' Faust whose ecstatic horse ride takes him to Hell, as in the old folk tale. Sung in Italian with German surtitles. Julia Jones, Conductor Harry Kupfer, Director Alice Coote, Mezzo-soprano: Marguerite Matthew Polenzani, Tenor: Faust Simon Bailey, Bass: Mephisto Thorsten Grümbel, Bass-baritone: Brander | ||
| Monday 14-Jun-10 19:30 |
Bockenheimer Depot, Frankfurt La Giuditta |
Oper Frankfurt Felice Venanzoni, Conductor Giullaume Bernardi, Director Brenda Rae, Soprano: Giuditta Julian Prégardien, Tenor: Holofernes Christiane Karg, Soprano: Achiot Matthias Rexroth, Countertenor: Ozias |
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| Bockenheimer Depot, Carlo Schmid Platz, 60325 Frankfurt, Germany Monday 14-Jun-10 19:30 Oper Frankfurt She seduced Holofernes, made him drunk, beheaded him and held his head before her people to give them courage for their fight against Nebuchadnezzar, the Assyrian king. One of the best loved oratorios of the 18th century is the tale of Judith from the Bible: the story of the brave widow, daughter of Israel, who lived in Betulia, occupied by Holofernes' troops, and freed her people fascinated late baroque painters, sculptors and musicians. The story of this opera by the portugese composer de Almeida had been set to music dozens of times in the past. The original text, by an unknown writer, which served as de Almeida's model, was tailored to 18th Century oratorio form: it is split into two parts, inbetween which a sermon would have normally been given. Its single dramatic high point, the beheading of the tyrant, makes the material more suited to performance in a church than an opera. As little is known about the first performance of this opera sacra as is about the composer himself. A grant he received from the King of Portugal enabled him to study in Rome for six years, until 1726, where he wrote, influenced by Alessandro Scarlatti, pieces for the portugese embassy. La Giuditta came into being in the last year of his time in Rome and was performed for the first time for the Ambassador, who had commissioned it. After returning to his home country Almeida became a carneval's operatic composer at the Royal Court in Lisbon, where he devoted himself to »serious« church music. Very few of his works remain intact today but they prove he had an extraordinary theatrical instinct and is an unfairly forgotten musician: his main work, La Giuditta is being performed in a staged version for the first time since the work was written. Sung in Italian with German surtitles. Felice Venanzoni, Conductor Giullaume Bernardi, Director Brenda Rae, Soprano: Giuditta Julian Prégardien, Tenor: Holofernes Christiane Karg, Soprano: Achiot Matthias Rexroth, Countertenor: Ozias | ||
| Wednesday 16-Jun-10 19:30 |
Bockenheimer Depot, Frankfurt La Giuditta |
Oper Frankfurt Felice Venanzoni, Conductor Giullaume Bernardi, Director Brenda Rae, Soprano: Giuditta Julian Prégardien, Tenor: Holofernes Christiane Karg, Soprano: Achiot Matthias Rexroth, Countertenor: Ozias |
| More Info... | ||
| Bockenheimer Depot, Carlo Schmid Platz, 60325 Frankfurt, Germany Wednesday 16-Jun-10 19:30 Oper Frankfurt She seduced Holofernes, made him drunk, beheaded him and held his head before her people to give them courage for their fight against Nebuchadnezzar, the Assyrian king. One of the best loved oratorios of the 18th century is the tale of Judith from the Bible: the story of the brave widow, daughter of Israel, who lived in Betulia, occupied by Holofernes' troops, and freed her people fascinated late baroque painters, sculptors and musicians. The story of this opera by the portugese composer de Almeida had been set to music dozens of times in the past. The original text, by an unknown writer, which served as de Almeida's model, was tailored to 18th Century oratorio form: it is split into two parts, inbetween which a sermon would have normally been given. Its single dramatic high point, the beheading of the tyrant, makes the material more suited to performance in a church than an opera. As little is known about the first performance of this opera sacra as is about the composer himself. A grant he received from the King of Portugal enabled him to study in Rome for six years, until 1726, where he wrote, influenced by Alessandro Scarlatti, pieces for the portugese embassy. La Giuditta came into being in the last year of his time in Rome and was performed for the first time for the Ambassador, who had commissioned it. After returning to his home country Almeida became a carneval's operatic composer at the Royal Court in Lisbon, where he devoted himself to »serious« church music. Very few of his works remain intact today but they prove he had an extraordinary theatrical instinct and is an unfairly forgotten musician: his main work, La Giuditta is being performed in a staged version for the first time since the work was written. Sung in Italian with German surtitles. Felice Venanzoni, Conductor Giullaume Bernardi, Director Brenda Rae, Soprano: Giuditta Julian Prégardien, Tenor: Holofernes Christiane Karg, Soprano: Achiot Matthias Rexroth, Countertenor: Ozias | ||
| Thursday 17-Jun-10 19:30 |
Oper Frankfurt The Damnation of Faust (Fausts Verdammnis) |
Oper Frankfurt Julia Jones, Conductor Harry Kupfer, Director Alice Coote, Mezzo-soprano: Marguerite Matthew Polenzani, Tenor: Faust Simon Bailey, Bass: Mephisto Thorsten Grümbel, Bass-baritone: Brander |
| More Info... | ||
| Oper Frankfurt, Frankfurt, Germany Thursday 17-Jun-10 19:30 The Damnation of Faust (Fausts Verdammnis) Oper Frankfurt Words and notes held equal value for Berlioz, for whom operatic composition was a double art. »It is all about tying together poetry and music.« This appears to be the reason why this Shakespeare and Goethe enthusiast looked long and hard before he found a subject which stimulated him to compose. The typical early german figure of the devil pact maker, this obscure mixture of hybris and despair, was also the thematic heart of his Symphonie fantastique with its burlesque parody of the Dies irae, which mutates into the witches' sabbath dance. Berlioz had already worked fragments of Goethe's work in his Huit scènes de Faust of 1829 but it was not until 1845/46 that he drew near to completing Damnation. Berlioz uses the forces of two choruses and a childrens' chorus. The choral passages of the work, from the bawling students in Auerbach's cellar to the heavenly angels in the epilogue, are unique in operatic literature. Berlioz' Faust accents stronger still the failed artistic genius of the hero, who breaks all tabus in his thirst for knowledge. Berlioz turns Goethe's simple, innocent Gretchen into a passionate and disappointed female figure. In a decisive moment Berlioz freed himself from Goethe's model. As a resumée of the Age of Enlightenment the hero is redeemed at the end of Faust II. This is not granted to Berlioz' Faust whose ecstatic horse ride takes him to Hell, as in the old folk tale. Sung in Italian with German surtitles. Julia Jones, Conductor Harry Kupfer, Director Alice Coote, Mezzo-soprano: Marguerite Matthew Polenzani, Tenor: Faust Simon Bailey, Bass: Mephisto Thorsten Grümbel, Bass-baritone: Brander | ||
| Friday 18-Jun-10 19:30 |
Bockenheimer Depot, Frankfurt La Giuditta |
Oper Frankfurt Felice Venanzoni, Conductor Giullaume Bernardi, Director Brenda Rae, Soprano: Giuditta Julian Prégardien, Tenor: Holofernes Christiane Karg, Soprano: Achiot Matthias Rexroth, Countertenor: Ozias |
| More Info... | ||
| Bockenheimer Depot, Carlo Schmid Platz, 60325 Frankfurt, Germany Friday 18-Jun-10 19:30 Oper Frankfurt She seduced Holofernes, made him drunk, beheaded him and held his head before her people to give them courage for their fight against Nebuchadnezzar, the Assyrian king. One of the best loved oratorios of the 18th century is the tale of Judith from the Bible: the story of the brave widow, daughter of Israel, who lived in Betulia, occupied by Holofernes' troops, and freed her people fascinated late baroque painters, sculptors and musicians. The story of this opera by the portugese composer de Almeida had been set to music dozens of times in the past. The original text, by an unknown writer, which served as de Almeida's model, was tailored to 18th Century oratorio form: it is split into two parts, inbetween which a sermon would have normally been given. Its single dramatic high point, the beheading of the tyrant, makes the material more suited to performance in a church than an opera. As little is known about the first performance of this opera sacra as is about the composer himself. A grant he received from the King of Portugal enabled him to study in Rome for six years, until 1726, where he wrote, influenced by Alessandro Scarlatti, pieces for the portugese embassy. La Giuditta came into being in the last year of his time in Rome and was performed for the first time for the Ambassador, who had commissioned it. After returning to his home country Almeida became a carneval's operatic composer at the Royal Court in Lisbon, where he devoted himself to »serious« church music. Very few of his works remain intact today but they prove he had an extraordinary theatrical instinct and is an unfairly forgotten musician: his main work, La Giuditta is being performed in a staged version for the first time since the work was written. Sung in Italian with German surtitles. Felice Venanzoni, Conductor Giullaume Bernardi, Director Brenda Rae, Soprano: Giuditta Julian Prégardien, Tenor: Holofernes Christiane Karg, Soprano: Achiot Matthias Rexroth, Countertenor: Ozias | ||
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