Ópera Estatal De Stuttgart Vídeos
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2024-05-07
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Torsten Hofmann Hofmann David Steffens Steffens Stine Fischer Rolle Staatsoper Staatsoper Stuttgart
Trefft Torsten und David! Torsten Hofmann (Tenor) und David Steffens (Bass) sprechen mit Stine Marie Fischer (Alt) darüber, warum sie lieber in Stuttgart bleiben möchten, als ständig die Welt zu bereisen und wie sich Lampenfieber im Konzert von dem auf der Opernbühne unterscheidet. „Die Vorstellungen machen in unserem Job vielleicht 10 Prozent aus.“ In der Interviewreihe Ensemble-Leben verraten Sänger*innen des Ensembles der Staatsoper Stuttgart, was die anderen 90 Prozent beinhalten und sprechen über Themen, die es selten auf die Opernbühne schaffen: Wie kann man eine ganze Karriere lang stimmlich und körperlich fit bleiben? Wie lange dauert es, bis man eine große Rolle auswendig gelernt hat? Passen Karriere und Familie zusammen? Und was hat es mit dem Lampenfieber auf sich? Hier lernen Sie unser Ensemble besser kennen – und die Musik kommt natürlich auch nicht zu kurz. www.staatsoper-stuttgart.de
Modest Mussorgski Sergej Newski Staatsoper Staatsoper Stuttgart 1869 2020 2022
BORIS von Modest Mussorgski/Sergej Newski Ab 5. März 2022 wieder in der Staatsoper Stuttgart zu erleben. Von zwei Seiten nähert sich Mussorgski einem düsteren Kapitel der russischen Geschichte: Dem psychischen Verfall des Zaren, den ein vergessen geglaubtes Verbrechen einholt, stellt er die Psychologie der leidenden Massen gegenüber.Aus dieser anonymen Menge löst Newski mit Secondhand-Zeit sechs Schicksale heraus: Geschichten von Liebesbeziehungen und Lebensträumen, die von den Kriegen und ideologischen Kämpfen des 20. Jahrhunderts zermalmt wurden. In einer bildgewaltigen Inszenierung überkreuzen sich die Partituren von 1869 und 2020, bilden eine Polyphonie kollektiver und individueller Erinnerung. Täter und Opfer ringen um Worte und Gehör. Und mit der Frage, welche Version der Geschichte die Zukunft bestimmt. staatsoper-stuttgart.de
Sergej Newski Helmut Lachenmann Roosevelt Arsenal Staatsoper Stuttgart Staatsoper 1941 1948 2016 2021
“I don't portray fear, but I deal with that discomfort, a certain confinement within a situation, that is perhaps overcome with the help of music,” Sergej Newski states in the new episode of 'Freedom from Fear.' But also outside of his often humanistic compositions, he thinks that, to deal with fear, now more than ever, international collaborations - not only between institutions in the field of music but also between people - have to be continued or even intensified. Sergej Newski studied composition in his hometown Moscow as well as in Dresden and Berlin. He was influenced by Friedrich Goldmann, Matthias Spahlinger and Helmut Lachenmann, among others. In his vocal music, which dominates his creative efforts, Newski works with a comprehensive arsenal of sounds composed of tones, noises and diverse forms between speech and song. He constantly finds new ways to give this material an order easily understood audibly, creating manifold transitions between the individual material levels. Sergej Newski‘s compositions are performed by leading interpreters of New Music and can regularly be heard at international festivals. * Sources & Further Information: Portrait of Sergej Newski: (http•••) Sergej Newski on the political Situation in Russia (2016): (http•••) "Die Einfachen" / "The simple ones": (http•••) Lev Ponomaryov's open letter: "(http•••) "Boris" at Staatsoper Stuttgart: (http•••) * About "Freedom from Fear:" In his 1941 State of the Union address, President Franklin D. Roosevelt proclaimed four goals for “people everywhere in the world“: Freedom of speech, freedom of worship, freedom from want, and freedom from fear. These Four Freedoms became part of the United Nations Declaration of Human Rights. Roosevelt equated "Freedom from Fear" mainly with overcoming war and violence. Today, the global consequences of the pandemic, climate change, and of rapid digital evolution and the resulting social change trigger fears all over the world. As social seismographs, the protagonists of the "Freedom from Fear" video series reflect on the significance of the right to live without fear in search of answers: How can literature, dance, music, philosophy, and politics conquer social fears? * 1941 proklamierte US-Präsident Franklin D. Roosevelt in seiner Rede zur Lage der Nation vier Ziele, die für alle Menschen weltweit gelten sollten: die Freiheit der Rede, die Freiheit der Religionsausübung, die Freiheit von Not und die Freiheit von Angst. Sie alle sind 1948 in die Allgemeine Erklärung der Menschenrechte der Vereinten Nationen aufgenommen geworden. Während Roosevelt mit „Freedom from Fear“ vor allem die Überwindung von Krieg und Gewalt im Blick hatte, sind es heute die globalen Folgen der Pandemie, der Erderwärmung, der rasanten digitalen Entwicklung und des damit einhergehenden gesellschaftlichen Wandels, die weltweit Ängste auslösen. Als Seismographen unserer Gesellschaft reflektieren die Protagonist:innen der Videoreihe „Freedom from Fear“ die Bedeutung des Rechtes auf eine Leben ohne Angst und suchen nach Antworten, wie Literatur, Kunst, Tanz, Musik, Philosophie und Politik soziale Angst überwinden kann.
Aagaard Oestvig Zemlinsky Hoffmann Maria Rajdl Berg Richard Strauss Schein Staatsoper Bayerische Staatsoper Deutsche Oper Berlin Staatsoper Stuttgart Theater Basel Carltheater 1889 1914 1919 1922 1926 1927 1930 1933 1942 1944 1946 1968
Karl Aagaard Oestvig +••.••(...)) was a Norwegian tenor whose brief career took him to many of the major operatic stages of Central Europe. Born Carl August Engelhard Aagaard-Østvig in Oslo, he received his musical and vocal training in Germany, primarily at Cologne’s Hochschule für Musik. After completing his studies, Oestvig received a contract from Staatsoper Stuttgart, where he made his debut in 1914. The following year, he created the roles of the Lay Brother and Giovanni de Salviati in the world premiere of Max von Schilling’s Mona Lisa. During his five years with the Staatsoper, Oestvig (he had abandoned Østvig in favor of a more Germanic stage name) sang a variety of roles and made guest appearances at the Theater Basel and the Bayerische Staatsoper. In 1919, the tenor accepted a contract with the Vienna Staatsoper. In October of that same year, Oestvig created the role of the Emperor in the world premiere of Strauss’ Die Frau Ohne Schatten. Three years later, he sang the title role in Zemlinsky’s Der Zwerg at its Vienna premiere. The tenor became a favorite of Viennese audiences, singing such roles as Manrico in Il Trovatore, Pinkerton in Madama Butterfly, Cavaradossi in Tosca and the title role in Les Contes d’Hoffmann. In 1926, Oestvig was invited to appear in an operetta at Vienna’s Carltheater. The Staatsoper refused to let the tenor accept the contract, which led to tremendous tension with the management. Oestvig, who had previously been allowed to accept concert engagements throughout Europe and North America, considered the management’s reaction unreasonable and resigned from the Staatsoper. He appeared in Budapest and Hamburg before accepting a contract with Deutsche Oper Berlin in 1927. Oestvig spent three years with the company but by this point, his voice was noticeably deteriorating. His contract was allowed to quietly expire in 1930, after which he relocated to Dresden. In the fall of 1930, Oestvig sailed to North America for a series of performances in Chicago. In October of the following year, he crossed the Atlantic for the last time for appearances in Buenos Aires and New York. Oestvig returned to the Deutsche Oper Berlin for one final performance in 1933 and retired from the stage at the early age of 44. Following his departure from the opera world, Oestvig spent the rest of the 1930s working as a voice teacher and opera coach along with his second wife, soprano Maria Rajdl. The war years were particularly troubling for Oestvig. Although he accepted a position as stage director with The National Theatre of Oslo in 1942, this was during the German occupation, a particularly turbulent time in the theater’s history. Audiences often boycotted the company’s performances and rumors circulated that Oestvig was a Nazi sympathizer. The ex-tenor’s 19 year old son, up and coming film actor Karl Aagaard Østvig, Jr., was killed on the Eastern front on Christmas Day, 1944. After the war, Oestvig was labeled a Nazi collaborator and stripped of his post with the theater. That same year (1946), the National Theatre’s director, Gustav Berg-Jæger, was arrested and imprisoned as a Nazi collaborator. Despite his protestations, the tenor was also imprisoned, albeit briefly. Following his release (and, it would seem, exoneration), returned to his home in Oslo. Embittered by his experiences, the aging singer withdrew from public life and concentrated on teaching and coaching for the final two decades of his life. Oestvig passed away in Oslo on July 21, 1968 at the age of 79. Karl Aagaard Oestvig is still considered one of the greatest tenors that Norway ever produced. He began his career in lyric roles but was quickly lured into the Wagnerian repertoire, taking on such roles as Parsifal, Siegmund and Tannhäuser. Although he possessed a baritonal timbre from the beginning, the assumption of such dramatic roles at so early an age may not have been a wise choice. By the time he reached his early 30s, Oestvig’s voice had begun to thicken and a noticeable wobble crept into his tone. At 44, his singing days were over, perhaps providing a lesson illustrating the perils of succumbing to the temptation of too heavy a repertoire. In spite of his later vocal issues, Oestvig was greatly admired by Richard Strauss for his portrayals of Bacchus in Ariadne auf Naxos and the Emperor in Die Frau Ohne Schatten. The tenor also excelled in such roles as Canio in Pagliacci, Max in Jonny Spielt Auf, Don José in Carmen, Pedro in Tiefland, Walther in Die Meistersinger and the title role in Lohengrin. His catalogue of recordings is small, consisting of all too few titles made during the early 1920s for The Gramophone Company in Berlin. These discs showcase a dark, robust instrument, probably a full spinto by nature, with an impressive lower and middle range. Here, Oestvig sings the Preislied, “Morgenlich leuchtend im rosigen Schein” from Wagner’s Die Meistersinger. This recording was made in Berlin in 1922.
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