Antanina Dambrauskaitė News
Lithuanian opera singer
Commemorations 2024 (Death: Antanina Dambrauskaitė) 2025 (Birth: Antanina Dambrauskaitė)
- soprano
- Lithuania
- opera singer
Last update
2024-04-24
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2020-01-11 19:26:00
Mirga Gražinytė-Tyla - Raminta Šerkšnytė, CBSO, Deutsche Grammophon
[…] impressionistic palette of delicate colour, highlighted by exotic-sounding percussion and woodwinds. A free-flowing sense of calm prevails, from which the soloists’ voices arise, their lines like incantation, gradually building up to form a chorale as intricate as tracery. In "Naktis" (Night) a solo violin sings, elaborating on the themes of the previous movement. The choir picks up the themes, their lines hushed, undulating and diffuse, providing a backdrop to the two pairs of soloists (Lina Dambrauskaitė, Justina Gringyte, Tomas Pavilionis and Nerijus Masevičius) who sing of love and longing. The brief orchestral interlude marks a transition. The woodwinds create fluttering bird-like figures, which illustrate the references in the text to a dawn chorus followed by the sudden flight of birds. "Rytus. Amzinasis rytas (Morning. Eternal morning) marks not just a new day but a leap into an altogether new level of transcendence. The soloists sing, united in ensemble and as […]
2019-03-24 14:22:00
Iolanta and L’Enfant et les sortilèges, Royal Academy of Music, 18 March 2019
Susie Sainsbury Theatre Images: Robert Workman Iolanta – Samantha Quillish Brigitta – Emilie Cavallo Laura – Yuki Akimoto Marta – Leila Zanette Vaudémont – Shengzhi Ren Alméric – Joseph Buckmaster Robert – Sung Kyu Choi Ibn-Hakia – Darwin Leonard Prakash Bertrand – Niall Anderson King René – Thomas Bennett L’enfant – Olivia Warburton La princesse, La chauve-souris – Alexandra Oomens Le feu, Le rossignol – Lina Dambrauskaitė La théière, Le rainette, Le petit vieillard – Ryan Williams Maman – Tabitha Reyonolds La tasse chinoise, La libellulue – Hannah Poulsom La bergère, Une pastourelle, La chouette – Aimée Fisk La chatte, L’écureuil – Gabrielė Kupšytė L’horloge comtoise, Le chat – James Geidt Le fauteuil, L’arbre – Will Pate Oliver Platt (director)Alison Cummins (designs) Jake Wiltshire (lighting) Emma Brunton (movement and puppetry) Royal Academy Opera Chorus and Sinfonia Gareth Hancock (conductor) […]
2019-03-24 09:38:47
Late romantic journeys: opera by Ravel & Tchaikovsky in a highly satisfying double bill from Royal Academy Opera
The child and the dragonflies - Ravel: L'enfant et les sortileges - Olivia WarburtonRoyal Academy Opera (Photo Robert Workman) Tchaikovsky Iolanta, Ravel L'enfant et les sortileges; Royal Academy Opera, dir: Oliver Platt, cond: Gareth Hancock; Royal Academy of Music Reviewed by Robert Hugill on 22 March 2019 A slightly unlikely but highly satisfying double bill, with superbly engaging performancesWhilst Ravel's opera L'enfant et les sortileges, with its libretto by Colette is not strictly a fairy tale it certainly has that combination of magic, morality and didacticism which is typical of a such tales. And, as such, it made quite a neat pairing with Tchaikovsky's problematical opera Iolanta at Royal Academy Opera's double bill. Both are 'not quite fairy-tales' (Iolanta is based on a Romantic Danish play), and in both the protagonist undergoes a metaphysical journey. And in each opera, the fairy-tale aspect of the piece […]
2018-11-15 16:37:00
Semele, Royal Academy, 14 November 2018
Susie Sainsbury Theatre, Royal Academy of Music Semele (Lian Dambrauskaitė), Jupiter (Ryan Williams), ChorusImages: Robert Workman Semele – Lian Dambrauskaitė Ino – Olivia WarburtonCadmus, Somnus – Thomas BennettAthamas – Alexander SimpsonJupiter – Ryan WilliamsJuno – Frances GregoryIris – Emilie CavalloCupid – Aimée FiskApollo – Joseph BuckmasterPasithea – Maya Colwell Olivia Fuchs (director) Takis (designs)Jake Wiltshire (lighting) Chorus Royal Academy Sinfonia Laurence Cummings (conductor) Semele Handel’s Semele was born of and into a celebrity-obsessed society of conspicuous consumption. Here, in Olivia Fuchs’s new staging for Royal Academy Opera, it unfolds in one still more so obsessed, still more conspicuously consuming: our own. We can sentimentalise the former, view it through a sepia lens, consider it more ‘beautiful’, but we should be foolish to do so. Fashion ruled there as here. An endless supply of minor portraits – ‘endless pleasure[s]’ – […]
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