Siegfried Ochs News
German chorus master and composer
- classical music
- Germany
- composer, conductor, choir director
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2024-04-24
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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 Arbesser, […]
2023-01-09 20:26:00
New Jersey Symphony. Xian Zhang, conductor; Daniil Trifonov, piano. January 6, 2023.
[…] various motifs (or tunes, since they can be quite long) he uses to describe the different characters and scenes. (Other examples that come readily to mind are "A Hero's Life" and The Alpine Symphony.) I hadn't taken the time to review these motifs. One can discern several themes in Don Juan, but with Der Rosenkavalier some familiarity with the opera helps. The two well-known motifs from the Suite are "Presentation of the Rose" and "Baron Ochs's Waltz." Several sensual scenes can be observed in the work also.The orchestration for Der Rosenkavalier certainly was more complex than that of Don Juan. Here a third flute/double piccolo was used, and the percussion section included a ratchet. The cymbals for some reason sounded tentative on several occasions.A harpist was used in Don Juan. Also notice a third flutist.Two harps were used in the Der Rosenkavalier Suite.CS and Shirley went to the concert also, […]
2022-04-01 07:11:11
Bringing the House Down: bass Brindley Sherratt on the gala at Glyndebourne for The Meath
[…] Amy lives at The Meath, Brindley and his wife Christina received a booklet, which The Meath had sent to family and friends, containing a wishlist of the things that they would like to acquire to help improve the quality of life of the residents, from a toaster to a people carrier. Brindley thought, why not a concert and decided to ask his friends to help. At the time he was performing the role of Baron Ochs in Richard Strauss' Der Rosenkavalier at Glyndebourne and started to ask singers with whom he was friends. All of them said yes, and the list of participants grew as he mentioned it. Suddenly the idea became an event, which meant that they needed a venue.Some singers approached Brindley about singing in the concert; he finds it very touching that they are supporting something so dear to him.Originally, Brindley had simply thought of a central […]
2021-10-04 06:43:32
'The more light-heartedly you can handle this, the better it would be' - Strauss, Hofmannsthal and Die ägyptische Helena
[…] today’s modernists who hear only with American ears." The original intention had been to use spoken dialogue, which would have given us a radically different type of opera indeed. But, as ever, with the Strauss/Hofmannsthal collaboration things got bigger, longer and more complex! Their first collaboration is perhaps the exception, as Hofmannsthal adapted his libretto for Elektra (1909) from a pre-existing play, however, Der Rosenkavalier (1911) developed from a comic opera (its working title was Ochs auf Lerchenau) to something far more expansive and philosophical. Their next collaboration, Ariadne auf Naxos is a case in point. Originally intended as a 30-minute divertissement to be performed at the end of Hofmannsthal's adaptation of Molière's play Le Bourgeois Gentilhomme, along with Strauss incidental music to the play, the opera ended up lasting ninety minutes, and the performance of play plus opera occupied over six hours. This led to the creation of a […]
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