Country: NetherlandsInstrument: Conductor| Date | Event | Composers, Works, Performers |
|---|---|---|
| Thursday 20-Jun-13 05:30pm |
 Het Muziektheater, AmsterdamDie Meistersinger von Nürnberg Holland Festival |
De Nederlandse Opera Marc Albrecht, Conductor David Alden, Director Thomas Johannes Mayer, Bass: Hans Sachs Alastair Miles, Bass: Pogner Pascal Pittie, Tenor: Kunz Vogelgesang Mattijs van de Woerd, Baritone: Konrad Nachtigall Adrian Eröd, Baritone: Sixtus Beckmesser Thomas Oliemans, Baritone: Fritz Kothner Brian Galliford, Tenor: Balthasar Zorn Roberto Saccà, Tenor: Walther von Stolzing Ana Maria Martinez, Soprano: Eva Sarah Castle, Mezzo-soprano: Magdalene Nederlands Philharmonisch Orkest Koor van De Nederlandse Opera Marcel Beekman, Tenor: Ulrich Eisslinger |
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| Het Muziektheater, Amsterdam, Waterlooplein 22, Amsterdam, Netherlands Thursday 20-Jun-13 05:30pm In his only comic opera, Wagner distilled poetry and music into a single unified form that unfolds as an unbroken stream of music-dramatic dialogue. It became a singspiel, partly based on personal experience, about the romance between the bourgeois girl Eva Pogner and the knight Walther von Stolzing, who may only wed his beloved once he has won the annual singing contest. The cobbler Hans Sachs represents, on the one hand, the old guard as a member of the Guild of Mastersingers; on the other hand he is open to modernization and stimulates the knight’s artistic gifts, stoking the conflict between narrow-mindedness and true artistry – a theme certainly not unfamiliar to Wagner himself. Love triumphs in the end, thanks to Sachs’ closing address in which he praises the ‘master’s honour’, a typically German honour one might view with considerable scepticism: the Meistersinger finale was, after all, misused for political purposes.Running time 5 hours 25 minutes with two intervals, in German with Dutch and English surtitles.Image credit: Ada Nieuwendijk Marc Albrecht, Conductor David Alden, Director Thomas Johannes Mayer, Bass: Hans Sachs Alastair Miles, Bass: Pogner Pascal Pittie, Tenor: Kunz Vogelgesang Mattijs van de Woerd, Baritone: Konrad Nachtigall Adrian Eröd, Baritone: Sixtus Beckmesser Thomas Oliemans, Baritone: Fritz Kothner Brian Galliford, Tenor: Balthasar Zorn Roberto Saccà, Tenor: Walther von Stolzing Ana Maria Martinez, Soprano: Eva Sarah Castle, Mezzo-soprano: Magdalene Nederlands Philharmonisch Orkest Koor van De Nederlandse Opera Marcel Beekman, Tenor: Ulrich Eisslinger | ||
| Sunday 23-Jun-13 01:30pm |
Het Muziektheater, Amsterdam Die Meistersinger von Nürnberg Holland Festival |
De Nederlandse Opera Marc Albrecht, Conductor David Alden, Director Thomas Johannes Mayer, Bass: Hans Sachs Alastair Miles, Bass: Pogner Pascal Pittie, Tenor: Kunz Vogelgesang Mattijs van de Woerd, Baritone: Konrad Nachtigall Adrian Eröd, Baritone: Sixtus Beckmesser Thomas Oliemans, Baritone: Fritz Kothner Brian Galliford, Tenor: Balthasar Zorn Roberto Saccà, Tenor: Walther von Stolzing Ana Maria Martinez, Soprano: Eva Sarah Castle, Mezzo-soprano: Magdalene Nederlands Philharmonisch Orkest Koor van De Nederlandse Opera Marcel Beekman, Tenor: Ulrich Eisslinger |
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| Het Muziektheater, Amsterdam, Waterlooplein 22, Amsterdam, Netherlands Sunday 23-Jun-13 01:30pm In his only comic opera, Wagner distilled poetry and music into a single unified form that unfolds as an unbroken stream of music-dramatic dialogue. It became a singspiel, partly based on personal experience, about the romance between the bourgeois girl Eva Pogner and the knight Walther von Stolzing, who may only wed his beloved once he has won the annual singing contest. The cobbler Hans Sachs represents, on the one hand, the old guard as a member of the Guild of Mastersingers; on the other hand he is open to modernization and stimulates the knight’s artistic gifts, stoking the conflict between narrow-mindedness and true artistry – a theme certainly not unfamiliar to Wagner himself. Love triumphs in the end, thanks to Sachs’ closing address in which he praises the ‘master’s honour’, a typically German honour one might view with considerable scepticism: the Meistersinger finale was, after all, misused for political purposes.Running time 5 hours 25 minutes with two intervals, in German with Dutch and English surtitles.Image credit: Ada Nieuwendijk Marc Albrecht, Conductor David Alden, Director Thomas Johannes Mayer, Bass: Hans Sachs Alastair Miles, Bass: Pogner Pascal Pittie, Tenor: Kunz Vogelgesang Mattijs van de Woerd, Baritone: Konrad Nachtigall Adrian Eröd, Baritone: Sixtus Beckmesser Thomas Oliemans, Baritone: Fritz Kothner Brian Galliford, Tenor: Balthasar Zorn Roberto Saccà, Tenor: Walther von Stolzing Ana Maria Martinez, Soprano: Eva Sarah Castle, Mezzo-soprano: Magdalene Nederlands Philharmonisch Orkest Koor van De Nederlandse Opera Marcel Beekman, Tenor: Ulrich Eisslinger | ||
| Monday 1-Jul-13 07:30pm |
Concertgebouw: Main Hall, Amsterdam Puccini's Tosca - Semi-Staged Robeco Summer Nights |
Opera Zuid |
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| Concertgebouw: Main Hall, Amsterdam, Amsterdam, Netherlands Monday 1-Jul-13 07:30pm Puccini's Tosca - Semi-Staged Tickets €42 - €34 - €24Image credit: Rosanna Potenza in Tosca | ||
| Wednesday 3-Jul-13 07:30pm |
Het Muziektheater, Amsterdam Death in Venice |
De Nederlandse Opera Edward Gardner, Conductor Deborah Warner, Director John Graham-Hall, Tenor: Gustav von Aschenbach Andrew Shore, Baritone: Voice of Dionysius Tim Mead, Countertenor: Voice of Apollo Rotterdam Philharmonic Orchestra |
| More info... | ||
| Het Muziektheater, Amsterdam, Waterlooplein 22, Amsterdam, Netherlands Wednesday 3-Jul-13 07:30pm Thomas Mann’s novella Der Tod in Venedig was the inspiration for Britten’s last opera. Gustav Aschenbach, an aging author, is increasingly tormented by artistic self-doubt. He travels to Venice. The god Dionysus appears to him in six different guises, now benignly seductive, now confrontational and combative, accompanying Aschenbach towards death. In Venice the author comes face to face with the personification of beauty: the Polish youth Tadzio, for whom he feels a strong attraction. Here Britten reveals, with uncommon openness, the personal struggles of the social outsider. In the musical accompaniment, Britten uses the orchestra to support the realistic storyline, while exotic gamelan instruments depict Tadzio’s beauty. The youth, incidentally, remains mute throughout, and Aschenbach’s monologues are accompanied by a single piano. The composer’s conclusion is that beauty and perfection inevitably go hand and hand with loss and ruination. Edward Gardner, Conductor Deborah Warner, Director John Graham-Hall, Tenor: Gustav von Aschenbach Andrew Shore, Baritone: Voice of Dionysius Tim Mead, Countertenor: Voice of Apollo Rotterdam Philharmonic Orchestra | ||
| Friday 5-Jul-13 07:30pm |
Het Muziektheater, Amsterdam Death in Venice |
De Nederlandse Opera Edward Gardner, Conductor Deborah Warner, Director John Graham-Hall, Tenor: Gustav von Aschenbach Andrew Shore, Baritone: Voice of Dionysius Tim Mead, Countertenor: Voice of Apollo Rotterdam Philharmonic Orchestra |
| More info... | ||
| Het Muziektheater, Amsterdam, Waterlooplein 22, Amsterdam, Netherlands Friday 5-Jul-13 07:30pm Thomas Mann’s novella Der Tod in Venedig was the inspiration for Britten’s last opera. Gustav Aschenbach, an aging author, is increasingly tormented by artistic self-doubt. He travels to Venice. The god Dionysus appears to him in six different guises, now benignly seductive, now confrontational and combative, accompanying Aschenbach towards death. In Venice the author comes face to face with the personification of beauty: the Polish youth Tadzio, for whom he feels a strong attraction. Here Britten reveals, with uncommon openness, the personal struggles of the social outsider. In the musical accompaniment, Britten uses the orchestra to support the realistic storyline, while exotic gamelan instruments depict Tadzio’s beauty. The youth, incidentally, remains mute throughout, and Aschenbach’s monologues are accompanied by a single piano. The composer’s conclusion is that beauty and perfection inevitably go hand and hand with loss and ruination. Edward Gardner, Conductor Deborah Warner, Director John Graham-Hall, Tenor: Gustav von Aschenbach Andrew Shore, Baritone: Voice of Dionysius Tim Mead, Countertenor: Voice of Apollo Rotterdam Philharmonic Orchestra | ||
| Sunday 7-Jul-13 01:30pm |
Het Muziektheater, Amsterdam Death in Venice |
De Nederlandse Opera Edward Gardner, Conductor Deborah Warner, Director John Graham-Hall, Tenor: Gustav von Aschenbach Andrew Shore, Baritone: Voice of Dionysius Tim Mead, Countertenor: Voice of Apollo Rotterdam Philharmonic Orchestra |
| More info... | ||
| Het Muziektheater, Amsterdam, Waterlooplein 22, Amsterdam, Netherlands Sunday 7-Jul-13 01:30pm Thomas Mann’s novella Der Tod in Venedig was the inspiration for Britten’s last opera. Gustav Aschenbach, an aging author, is increasingly tormented by artistic self-doubt. He travels to Venice. The god Dionysus appears to him in six different guises, now benignly seductive, now confrontational and combative, accompanying Aschenbach towards death. In Venice the author comes face to face with the personification of beauty: the Polish youth Tadzio, for whom he feels a strong attraction. Here Britten reveals, with uncommon openness, the personal struggles of the social outsider. In the musical accompaniment, Britten uses the orchestra to support the realistic storyline, while exotic gamelan instruments depict Tadzio’s beauty. The youth, incidentally, remains mute throughout, and Aschenbach’s monologues are accompanied by a single piano. The composer’s conclusion is that beauty and perfection inevitably go hand and hand with loss and ruination. Edward Gardner, Conductor Deborah Warner, Director John Graham-Hall, Tenor: Gustav von Aschenbach Andrew Shore, Baritone: Voice of Dionysius Tim Mead, Countertenor: Voice of Apollo Rotterdam Philharmonic Orchestra | ||
