Julien Salemkour News
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2019-11-29 13:48:00
Die Zauberflöte, Staatsoper Unter den Linden, 28 November 2019
Images: Monika RittershausMonastatos (Florian Hoffmann) and Pamina (Serena Sáenz) Sarastro – René Pape Tamino – Julian Prégardien Pamina – Serena Sáenz Papageno – Florian Teichtmeister Papagena – Victoria Randem Queen of the Night – Albina Shagimuratova Speaker, Second Priest – David Oštrek Monostatos – Florian Hoffmann First Lady – Adriane Queiroz Second Lady – Natalia Skrycka Third Lady – Constance Heller First Armoured Man – Jun-Sang Han Second Armoured Man – Frederic Jost First Priest – Andrés Moreno Garcia Three Boys – Members of the Tölz Boys’ Choir Yuval Sharon (director) Mimi Lien, Marc Löhrer (set designs) Walter Van Beriendonck (costumes) Reinhard Traub (lighting) Hannah Wasileski (video) Markus Böhm (sound design) Staatsopernchor Berlin (chorus director: Anna Milukova) Staatskapelle Berlin Julien Salemkour (conductor) As operatic hits go, The Magic Flute takes some beating; it does even so far as Mozart is concerned. Unquestionably Mozart’s greatest […]
All the conducting master class
2019-10-02 16:46:05
Opera Plus Maestro Julien Salemkour (Staatsoper Berlin, Barenboim-Said Akademie)Singers – TBABerlin Sinfonietta W. A. MozartMarch 8th – 14th 2020Berlin, Germany Foto: Martin U. K. Lengemann It is a great honor and pleasure to collaborate for the first time with one of the permanent conductors of the Staatsoper Berlin, and regular guest conductor in many other international […]
2017-04-06 16:45:06
Adams & Korngold: Violin Concertos CD review – Gringolts brings authority and spark to two US classics
Gringolts/Copenhagen Phil/Rouvali/Salemkour (Orchid Classics)Violinist Ilya Gringolts brings together enduring American concertos from the two halves of the 20th century. John Adams says he knew that before he wrote a violin concerto he would have to “solve the issue of melody”, never previously a driving force for him. Whether his 1993 work entirely succeeds on that front is arguable – fast or slow, the violin’s relentless orations don’t seem to expect to arrive anywhere, and seem more like a device to create motion than melody. Still, for a work co-commissioned by the New York City Ballet, that focus on movement and momentum seems apt. It’s played with authority and spark by Gringolts, and Santtu-Matias Rouvali’s colourful orchestra flags only in a brief passage of the third movement. Korngold’s 1947 concerto – this one conducted by Julien Salemkour – is an even better showcase for Grigolts, whose strikingly expansive lyricism keeps schmaltz at […]