Anke Vondung News
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2019-05-23 01:02:00
Semperoper Dresden. Mozart’s Don Giovanni. May 22, 2019.
[…] asks the man to dinner. The ghost appears at Giovanni’s house, offers him a chance to repent, and disappears after Giovanni refuses. A group of devils appears and carries Giovanni away. Conductor – Omer Meir Wellber; Don Giovanni – Ildebrando D’Arcangelo, Il Commendatore – Alexandros Stavrakakis, Donna Anna – Elena Gorshnova, Don Ottavio – Joseph Dennis, Donna Elvira – Iulia Maria Dan, Leporello – Evan Hughes, Masetto – Martin-Jan Nijhof, Zerlina – Anke Vondung. Screen grab from the video about this opera in the entrance foyer of Semperoper. This is Act 1 Scene 1. On occasion, a modern stage setting works, this opera is one of them. No doubt in large part due to the timelessness of the story. When the curtain rose, we saw a living room, with a large window, and with several women sitting […]
The Boston Musical Intelligencer
2016-10-28 00:13:51
Consensual Bach and Mozart from Germany
[…] they achieved no real fffs or ppps. In our best local groups, virtually any singer can step out for an aria; I did not have that sense with Neubeurners. And Guttenberg imposed many post-modern hairpins (mini crescendo-decrescendos) and strange stabbing deconstructions of words, along with seemingly arbitrarily accented phrases. This tended to obscure destination and attract unnecessary notice. The four vocal soloists formed something of a misalliance in their ensembles. To begin with both Anke Vondung and Susanne Bernhardt produced mezzo-soprano coloration, even though one was billed as a soprano. Each projected an attractive instrument with pleasant timbre and clear enunciation, but one wanted more contrast between vocal types. A habit of beginning almost every phrase with a forte-diminuendo marred Daniel Johannsen’s bright production. The very tall basso Tareq Nazmi commanded the stage with huge low notes that boomed out in keeping with his stature. Before he plays Sarastro, though, […]
2015-07-09 16:19:07
Mozart: Così fan tutte, K588 As most of you know, I am a great fan of the Mozart operas because they are filled with humor, drama, excitement, and always with Mozart’s amazing music that reflects the emotion of the moment in the opera. This performance is no exception: The four lovers in the story, particularly soprano Miah Persson as the radiant Fiordiligi and Luca Pisaroni’s charismatic Guglielmo, are superb. And Ivan Fischer presides over the Orchestra of the Age of Enlightenment with warmth and totally dramatic sensibility. Here is the list of performers: Miah Persson (Fiordiligi), Anke Vondung (Dorabella), Ainhoa Garmendia (Despina), Topi Lehtipuu (Ferrando), Luca Pisaroni (Guglielmo), Nicolas Rivenq (Don Alfonso) Supported by the Orchestra of the Age of Enlightenment, and the Glyndebourne Chorus , conducted by Ivan Fischer. Here are Sopranos Vondung and Persson singing “Prenderò quel brunettino” from Così fan tutte: […]
2013-04-15 17:58:00
Thigh-slapping Gemütlichkeit
[…] ‘Schubertiade’ or friends’ gatherings that have become the stuff of Schubert legend. Yet despite some fine singing and playing from this clutch of leading Schubertians, I remained unconvinced that they suit a recorded medium. The partsongs and party pieces are a real rejoinder to those (including me of occasion) who think Schubert was a forlorn figure within Viennese society. They are largely jolly works, which require punch and pizzaz in performance. Marlis Petersen, Anke Vondung, Werner Güra and Konrad Jarnot offer a suitably fizzy quartet, with Christoph Berner (on a Rönisch fortepiano) offering equally spirited support. Like much of Schubert's jolliest music, however, it feels like it's protesting a bit too much, a shiny veneer under which darker truths are lurking. Track after track, the thigh-slapping Gemütlichkeit proves a little hard to swallow. The performances are, however, wonderfully true to the spirit of the compositions, not least the […]
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