Anna Leese Video
Ultimo aggiornamento
2024-06-01
Aggiorna
Verdi Anna Leese Amitai Pati Pati Wade Kernot Viganoni Gioacchino Rossini 1868 1869 1873 1874 1919
with Anna Leese (soprano), Kristin Darragh (Mezzo-soprano), Amitai Pati (Tenor) and Wade Kernot (Bass). The Aorangi Singers and Aorangi Symphony Orchestra, Sarah Bisley Schneider (Conductor). Live recording by Franco Viganoni, in our fourth World War One commemorative concert entitled "In Search of Peace - 100 years on", honouring the Treaty of Versailles (1919) which marked the end of the Great War. After Gioacchino Rossini's death in 1868, Verdi suggested that a number of Italian composers collaborate on a Requiem in Rossini's honour. He began the effort by submitting the concluding movement, the Libera me. However, on 4 November, nine days before the premiere (which was scheduled for 13 November 1869, the first anniversary of Rossini’s death), the organising committee abandoned it. In the meantime, Verdi kept toying with his Libera me, frustrated that the combined commemoration of Rossini's life would not be performed in his lifetime. On 22 May 1873, the Italian writer and humanist Alessandro Manzoni, whom Verdi had admired all his adult life and met in 1868, died. Upon hearing of his death, Verdi resolved to complete a Requiem - this time entirely of his own writing - for Manzoni. Verdi travelled to Paris in June, where he commenced work on the Requiem, giving it the form we know today. It included a revised version of the Libera me originally composed for Rossini. While the Requiem is essentially a dramatic work, an inevitability considering the composer’s intimate links with the theatre throughout his career, this in no way detracts from the emotional sincerity that is in fact one of its outstanding characteristics - together with its general vitality, the skill of the choral writing and the vivid orchestral colours. It seems probable that today, the value of Verdi’s Mass is greater than that claimed for it in the year 1874, when it received its first performance at the Church of St Mark, Milan. The selection of highlights is as follows: I.Requiem - II. Dies Irae - Mors stupebit - Quid sum miser - Rex tremendae majestatis - Ingemisco - Confutatis - Dies Irae - Lacrymosa III. from the Offertorio: Hostias - quam olim Abrahae - Libera animas V. Agnus Dei - V. Lux aeterna - VII. Libera me
Nzso Handel Gemma New Anna Leese Tucker
Gemma New Conductor Anna Leese Soprano Sarah Court Alto Frederick Jones Tenor Robert Tucker Bass The Tudor Consort Choir Handel Messiah
Staatsoper Linden Franz Schubert Robert Schumann Gustav Mahler Anton Webern Vogel Beckmann Maria Bengtsson Florian Boesch Boesch Leese Johannes Brahms Schönheit Musicbanda Franui 1996 2018
HIMMELERDE I Spielzeit 2018/19 I Maskenmusiktheater von Familie Flöz und Musicbanda Franui | nach Werken von Franz Schubert, Robert Schumann, Gustav Mahler, Anton Webern u. a. HIMMELERDE I Season 2018/19 | maskmusic theatre by Familie Flöz and Musicbanda Franu | after music by Franz Schubert, Robert Schumann, Gustav Mahler, Anton Webern a.o. Musikalische Bearbeitung und Komposition / Musical composition and editing: Markus Kraler , Andreas Schett Musikalische Leitung / musical director: Andreas Schett Inszenierung / director: Michael Vogel Masken / masks: Hajo Schüler Bühne / set: Felix Nolze Kostüme / costumes: Birgit Wentsch Licht / Light: Reinhard Hubert Videodesign / video design: Andreas Dihm Kurzfilme / short films: Mats Süthoff Dramaturgie / dramaturgy: Jana Beckmann Sopran / soprano: Maria Bengtsson Bariton: Florian Boesch Tanz, Choreographie / dancer, choreography: Paul White Maskenspiel / performers: Anna Kistel , Björn Leese , Hajo Schüler , Mats Süthoff MUSICBANDA FRANUI »Wir sehnen uns nach Hause. Und wissen nicht, wohin?« (Joseph von Eichendorff). Menschen können tot sein, ohne es zu bemerken. Himmelerde erzählt von der Sehnsucht nach dem Lebendigen, der Begegnung mit dem Tod und der eigenen Vergänglichkeit. Zentrale Themen und Motive der deutschen Romantik bilden den Ausgangspunkt der Stückentwicklung. »Wenn man einen Trauermarsch im vierfachen Tempo spielt hat man eine Polka« (Franui). Die unverwechselbaren Trauermärsche und Tanzbodenstücke der Osttiroler Musicbanda Franui und das virtuose Maskenspiel des Theaterkollektivs Familie Flöz sind die Stoffe, aus denen HIMMELERDE gemacht ist. Franui verstehen sich als »Umspannwerk zwischen Klassik, Volksmusik, Jazz und zeitgenössischer Kammermusik«. So werden die neu arrangierten Liedkompositionen von Franz Schubert, Gustav Mahler, Johannes Brahms, Robert Schumann und Anton Webern nicht nur in ihrer Schönheit zelebriert, sondern skelettiert, angereichert, übermalt und weitergedacht – Anverwandlungen, die die Grenzen zwischen Interpretation, Bearbeitung, Komposition und Improvisation verschwimmen lassen. Familie Flöz verbindet Physical Theatre, Maskenspiel, Improvisation und Schauspiel. Selbstentwickelte Masken und die Auslassung der Sprache als Kommunikationsmittel prägen die Ästhetik. Passend zur Musik setzen sich die beiden Ensembles mit dem Phänomen der deutschen Romantik des frühen 19. Jahrhunderts auseinander und beschwören die uns bis heute faszinierenden Ursprungsbilder dieser Epoche. The inimitable funeral marches and dance hall pieces by Musicbanda Franui from the East Tyrol region of Austria and the virtuosic masquerades of the Familie Flöz theatre collective provided the material for the piece »himmelerde«, which the two groups developed together. Franui describe themselves as a »transformer at the intersections of classical music, folk music, jazz and contemporary chamber music «. Newly arranged song compositions by Franz Schubert, Gustav Mahler, Johannes Brahms and Robert Schumann are not only celebrated in their beauty, but also sometimes turned upside down, stripped down to their bare bones, augmented, covered with additional layers, and rethought. These adaptations blur the boundaries between interpretation, editing, composition and improvisation. In a completely different artistic context, the internationally renowned Familie Flöz has been masterfully combining physical theatre, masquerade, artistry, improvisation and acts since 1996. The group’s distinctive aesthetic is shaped by masks that they created themselves and by their omission of language as a means of communication. In keeping with the musical repertoire, the two ensembles engage with the early nineteenth century phenomenon of German Romanticism, humorously conjuring the images of this era that fascinate us to this day. Episodic stories feature contemporary characters who identify with the wishes and dreams of the Romantics.
o
- cronologia: Cantanti lirici (Oceania).
- Indici (per ordine alfabetico): L...