Lutz-Michael Harder News
German lyric tenor
- tenor
- Germany
- opera singer, university teacher
Last update
2024-03-29
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2024-02-24 09:51:00
The Lady of Satis House: composer Jacques Cohen talks about finally bringing his 2012 Charles Dickens-inspired monodrama to disc
Jacques Cohen: The Lady of Satis House - Marie Vassiliou at Tete-a-Tete: The Opera Festival in 2012 (Photo: Claire Shovelton)Jacques Cohen's operatic monodrama The Lady of Satis House premiered in 2012. A commission from Bill Bankes-Jones' Tete-a-Tete: The Opera Festival, it was directed by Joe Austin, designed by Emily Harwood and performed by soprano Marie Vassiliou and the Piatti Quartet. 2012 was also the bicentenary of Charles Dickens' birth and faced with writing the opera in six weeks, Jacques chose Miss Havisham from Great Expectations as the subject, drawing his text from Dickens' book.Jacques Cohen (Photo: Lester Barnes)Now, some 12 years after those first performances, the work has appeared on disc, on the Meridian label, again performed by Marie Vassiliou with the Tippett Quartet. The disc also features two of Jacques' works for string quartet, When the Bough Breaks: Three Lullabies for String Quartet and From Behind Glass: Tone Poem […]
2024-02-06 18:50:00
Rusalka, Staatsoper Unter den Linden, 4 February 2024
Rusalka – Christiane Karg Prince – Pavel Černoch Foreign Princess – Anna Samuil Vodník – Mika Kares Ježibaba – Anna Kissjudit Gamekeeper – Adam Kutny Kitchen Boy – Clara Nadeshdin Nymphs – Regina Koncz, Rebecka Wallroth, Ekaterina Chayka-Rubinstein Huntsman – Taehan Kim Director – Kornél MundruczóDesigns – Monika PormaleLighting – Felice RossVideo – Rūdolfs BaltiņšChoreography - Candaş BaşDramaturgy – Kata Wéber, Christoph Lang Staatsopernchor Berlin (chorus director: Gerhard Polifka)Staatskapelle BerlinRobin Ticciati (conductor)Images: Gianmarco BresadolaRusalka (Christiane Karg) Director Kornél Mundruczó comes like a breath of fresh air to unsettle our conceptions of Dvořák’s last and, by some way, greatest opera and thus to do precisely what the material demands; or rather, it comes as something bitterly stale, menacing, even poisonous to accomplish what fresh air on its own might not be able. It is certainly refreshing, though it should not be, to have a production that takes class seriously as a form […]
2024-01-05 17:27:00
Der Rosenkavalier, Staatsoper Unter den Linden, 2 January 2024
Die Feldmarschallin, Fürstin Werdenberg – Julia Kleiter Der Baron Ochs auf Lerchenau – Günther Groissböck Octavian – Marina Prudenskaya Herr von Faninal – Roman Trekel Sophie – Golda Schultz Jungfer Marianne Leitmetzerin – Anna Samuil Valzacchi – Karl-Michael Ebner Annina – Katharina Kammerloher Police Officer – Friedrich Hamel The Marschallin’s Major-domo – Florian Hoffmann Faninal’s Major-domo – Johan Krogius House Servant – Jens-Eric Schulze Notary – Dionyios Avgerinos Landlord – Johan Krogius Singer – Andrés Moreno Garcia Milliner – Regina Koncz Vendor of Pets – Michael Kim Leopold – Oliver Chwat Lackeys, Waiters – Sooongoo Lee, Felipe Martin, Insoo Hwoang, Thomas Vogel Three noble orphans – Olga Vilenskaia, Anna Woldt, Verena Albertz Lerchenauschen – Peter Krumow, Stefan Livland, Mike Keller, Thomas Vogel, Ben Bloomfeld, Andreas Neher Paper artist – Tomas Höfer Mohammed – Joseph UmohDirector – André HellerAssistant director – Wolfgang SchillySet designs – Xenia Hausner, Nanna NeudeckCostumes – Arthur […]
2023-10-25 12:17:00
Kammermusiksaal Beethoven: Overture: Coriolan, op.62 Mozart: Piano Concerto no.21 in C major, KV 467 Haydn: Symphony no.98 in B-flat major Jan Lisiecki (piano)Chamber Orchestra of EuropeAndrew Manze (conductor) In some ways, this concert proved a mixed bag, but it was well planned and it came right where ultimately it mattered. Beethoven’s Coriolan Overture was the weakest of the three performances. The symphonic Beethoven continues to elude not only, it seems, the grasp of most though not all contemporary conductors; this seems often to hold for audiences too, seemingly unaware as they lap up the latest fads of what they are missing. Was ever there a time when we needed Beethoven more? Not since the 1940s when, ironically, such music seemed better able to speak. Listen to Furtwängler in this overture, and the tragic impulse will never have felt more immanent. Alas, justified postwar suspicion of totalities has now degenerated into […]
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