Festival De Pascua De Salzburgo Vídeos
- Salzburgo
- Austria
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2024-05-13
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Marcelina Beucher Beucher Carl Orff Montgomery Dame Kiri Te Kanawa Anne Gjevang Siegfried Jerusalem Ioan Holender George Enescu Concertgebouw Orchestra Osterfestspiele Salzburg Teatro Opera Roma George Enescu Festival Royal Concertgebouw Orchestra Dutch National Opera Lyric Opera Chicago Vienna State Opera Metropolitan Opera 1895 1982 1986 2014
50th International Vocal Competition 's-Hertogenbosch (IVC) Category Opera | Oratorio Finals 14 September 2014 Theater aan de Parade 's-Hertogenbosch, Netherlands Marcelina Beucher (1986), soprano - Poland - "In Trutina" - Carmina Burana - Carl Orff, 1895-1982 South Netherlands Philharmonic, conductor Kenneth Montgomery Jury Opera | Oratorio Dame Kiri Te Kanawa - soprano Anne Gjevang - mezzo-soprano Siegfried Jerusalem - tenor Kenneth Montgomery - conductor Dominic Seldis - 1st solo double bass Royal Concertgebouw Orchestra Pieter Alferink - impresario Jesús Iglesias Noriega - head artistic affairs Dutch National Opera Evamaria Wieser - artistic consultant Osterfestspiele Salzburg, casting Lyric Opera Chicago, Teatro dell'Opera di Roma Ioan Holender - former intendant Vienna State Opera, adviser The Metropolitan Opera, Spring Festival Tokyo, artistic director George Enescu Festival Bucharest (president of the jury)
José Cura Shakespeare Dorothea Röschmann Alvarez Benjamin Bernheim Christa Mayer Mayer Georg Zeppenfeld Bror Magnus Tødenes Csaba Szegedi Gordon Bintner Christian Thielemann Lacroix Lemaire Moor Salzburg Easter Festival Sächsische Staatskapelle Dresden 2016
JOSÉ CURA, "OTELLO" / Atto 2 (Scena 3 ~ 5), from "Ciò m'accora.(Jago)" to "Sì, pel ciel marmoreo giuro!". in Salzburg Easter Festival in 2016 For the 400th anniversary year of Shakespeare's death. / JOSÉ CURA, "OTELLO" / 2016 Salzburg Easter Festival / March 19 and 27 at Grosses Festspielhaus in Salzburg JOSÉ CURA SHONE IN THE TITLE ROLE Here the Otello is tenor José Cura. He looks magnificent, this victorious Venetian general, his costumed appearance inspired by the splendor of the Serenissima. And he splendidly blares “Esultate"! / NZZ Otello: JOSÉ CURA Desdemona: Dorothea Röschmann Iago: Carlos Alvarez Cassio: Benjamin Bernheim Emilia: Christa Mayer Lodovico: Georg Zeppenfeld Rodrigo: Bror Magnus Tødenes Montano: Csaba Szegedi Araldo: Gordon Bintner Conductor: Christian Thielemann Director: Vincent Boussard Costumes designer: Christian Lacroix Stage designer: Vincent Lemaire Choir: Sächsischer Staatsopernchor, Dresden und Salzburger, Orchestra: Sächsische Staatskapelle, Dresden JOSÉ CURA AS OTELLO LEFT LITTLE TO BE WISHED FOR. / DNN, March 2016 Argentinian JOSÉ CURA is a reputable tenor and Otello has been one of his major roles throughout his career. His experience, together with a well elaborated technique and strong stage presence, help him to present a homogenous and convincing interpretation. The Salzburg Easter festival convinces again with its high quality. / Opera Online JOSÉ CURA—as a singer, conductor and director who is intimately familiar with Otello— stepped into the title role and presented his short-tempered commander with solid vocal line. Applause at the end of the evening. / Salzburg24 JOSÉ CURA is still a singer who goes to the limit, he has an Italian flair in his voice, and he sings some beautiful melodic lines. As a performer, he is intense; his Otello is a brooder, an intellectual, almost a sage. One is happy watching him—but any opera with Cura would be just as good. / Kurier A superb new Otello from the Salzburg Easter Festival: Cura is a commanding Otello with his richly coloured tenor and both fragile delicacy and fiery ardour. / Südwestpresse JOSÉ CURA sings as an aging Otello, broken from the start, the radiant, heroic youthfulness far in the past; he is withdrawn from the beginning. JOSÉ CURA's tenor still has plenty of brilliance… / Wiener Zeitun JOSÉ CURA convinces as Otello with his colorful tenor, fragile delicacy and fiery glow. At the end much applause, not necessarily fiery but persistent. / SWP The Festival called on JOSÉ CURA for their Otello. His is a strong voice, used with a certain intelligence and defends himself and the role well: JOSÉ CURA saved the performance. There is shrewd understanding in his singing; there is emotion; he is truly formidable. In the end, Cura did well despite the problems with the production and an orchestra that was not always helpful. / The Wanderer What I really liked about the singing and acting of the Otello of JOSÉ CURA was the range, subtlety and depth. Cura presented a fully human, attractive but deeply flawed Moor. He was endlessly fascinating. An earlier Salzburg recording was the BBC’s top pick for an Otello video (before this one came out of course). I think this one beats it on every count. / OperaRamblings (DVD)
José Cura Shakespeare Dorothea Röschmann Alvarez Benjamin Bernheim Christa Mayer Mayer Georg Zeppenfeld Bror Magnus Tødenes Csaba Szegedi Gordon Bintner Christian Thielemann Lacroix Lemaire Moor Salzburg Easter Festival Sächsische Staatskapelle Dresden 2016
JOSÉ CURA, "OTELLO" / Atto 3 (Scena 1 ~ 4), from ARALDO to "Dio! mi potevi scagliar". in Salzburg Easter Festival in 2016 For the 400th anniversary year of Shakespeare's death. / JOSÉ CURA, "OTELLO" / 2016 Salzburg Easter Festival / March 19 and 27 at Grosses Festspielhaus in Salzburg JOSÉ CURA SHONE IN THE TITLE ROLE Here the Otello is tenor José Cura. He looks magnificent, this victorious Venetian general, his costumed appearance inspired by the splendor of the Serenissima. And he splendidly blares “Esultate"! / NZZ Otello: JOSÉ CURA Desdemona: Dorothea Röschmann Iago: Carlos Alvarez Cassio: Benjamin Bernheim Emilia: Christa Mayer Lodovico: Georg Zeppenfeld Rodrigo: Bror Magnus Tødenes Montano: Csaba Szegedi Araldo: Gordon Bintner Conductor: Christian Thielemann Director: Vincent Boussard Costumes designer: Christian Lacroix Stage designer: Vincent Lemaire Choir: Sächsischer Staatsopernchor, Dresden und Salzburger, Orchestra: Sächsische Staatskapelle, Dresden JOSÉ CURA AS OTELLO LEFT LITTLE TO BE WISHED FOR. / DNN, March 2016 Argentinian JOSÉ CURA is a reputable tenor and Otello has been one of his major roles throughout his career. His experience, together with a well elaborated technique and strong stage presence, help him to present a homogenous and convincing interpretation. The Salzburg Easter festival convinces again with its high quality. / Opera Online JOSÉ CURA—as a singer, conductor and director who is intimately familiar with Otello— stepped into the title role and presented his short-tempered commander with solid vocal line. Applause at the end of the evening. / Salzburg24 JOSÉ CURA is still a singer who goes to the limit, he has an Italian flair in his voice, and he sings some beautiful melodic lines. As a performer, he is intense; his Otello is a brooder, an intellectual, almost a sage. One is happy watching him—but any opera with Cura would be just as good. / Kurier A superb new Otello from the Salzburg Easter Festival: Cura is a commanding Otello with his richly coloured tenor and both fragile delicacy and fiery ardour. / Südwestpresse JOSÉ CURA sings as an aging Otello, broken from the start, the radiant, heroic youthfulness far in the past; he is withdrawn from the beginning. JOSÉ CURA's tenor still has plenty of brilliance… / Wiener Zeitun JOSÉ CURA convinces as Otello with his colorful tenor, fragile delicacy and fiery glow. At the end much applause, not necessarily fiery but persistent. / SWP The Festival called on JOSÉ CURA for their Otello. His is a strong voice, used with a certain intelligence and defends himself and the role well: JOSÉ CURA saved the performance. There is shrewd understanding in his singing; there is emotion; he is truly formidable. In the end, Cura did well despite the problems with the production and an orchestra that was not always helpful. / The Wanderer What I really liked about the singing and acting of the Otello of JOSÉ CURA was the range, subtlety and depth. Cura presented a fully human, attractive but deeply flawed Moor. He was endlessly fascinating. An earlier Salzburg recording was the BBC’s top pick for an Otello video (before this one came out of course). I think this one beats it on every count. / OperaRamblings (DVD)
Pierre Boulez Paul Sacher Béla Bartók Luciano Berio Paul Hindemith Arthur Honegger Igor Stravinsky Richard Strauss Boris Blacher Richard Rodney Bennett Alfredo Casella Ernst Krenek Rolf Liebermann Michael Tippett Mstislav Rostropovich Schola Cantorum Salzburg Easter Festival 1926 1933 1976 2001
Work introduction Without Paul Sacher, one could succinctly say, the history of music in the 20th century would look very different. In 1926, the Swiss conductor and patron of music founded the Basle Chamber Orchestra to perform new music and, in 1933, the renowned Schola Cantorum Basiliensis as a teaching and research centre for ancient music; but most importantly he commissioned more than 100 compositions and led over 200 world premieres during his active musical life. The most important of these, created at his instigation, include Béla Bartók’s Music for Strings, Percussion and Celesta, Corale by Luciano Berio, Paul Hindemith’s symphony Die Harmonie der Welt, Arthur Honegger’s Second and Fourth Symphonies, Igor Stravinsky’s Concerto en re and the Metamorphosen by Richard Strauss, as well as works by Boris Blacher, Richard Rodney Bennett, Alfredo Casella, Ernst Krenek, Rolf Liebermann and Sir Michael Tippett. Paul Sacher turned 70 in 1976; for the occasion, Mstislav Rostropovich asked 12 renowned contemporary composers to write a piece for violoncello. Messagesquisse [“Sketched Message”] for solo cello and six violoncellos is the work Boulez contributed to congratulating Sacher. He added a foreword to the score to express his intentions: Messages are often secretly hidden Music has this advantage: It dispenses with words, The messages are essentially personal, decoded by everyone according to the time. A cipher – symbolic (reduced) Notes – symbolic (multiplied) Rhythms – symbolic (split up) in order to add a certain number of messages, diverse, divergent, in order thus to let some emotions to pass by, certainly not symbolic ones. The violoncello is the instrument of choice, alone, exclusively able to reflect itself, able to grow out of itself. Is a conductor necessary? Perhaps, to gain time – as always! Only the metronome marks are missing, but who cares about the Possible when one wants the Impossible? This manuscript Dear Paul Is just as much testimony as it is a message … Testimony to the cordial bonds made over all the years by you to me With deep and faithful affection. Pierre Boulez Salzburg Easter Festival 2001
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