On 21 October, the Nanyang Academy of Fine Arts (NAFA) will stage their first complete operetta at the Lee Foundation Theatre in celebration of their 80th anniversary. The operetta is Johann Strauss’ Die Fledermaus, which will be directed by David Edwards and conducted by Lim Yau, with a cast and orchestra made up of students, teachers and alumni of NAFA. The operetta will be sung in German, with spoken dialogue in English and Mandarin. Continue reading “Work of the Week – Johann Strauss: Die Fledermaus”
This year, Opera Factory Freiburg have built their programme around their production of Viktor Ullmann’s chamber opera Der Kaiser von Atlantis (The Emperor of Atlantis) directed by Joachim Rathke. Complementary to this programming, Atlantis, Anno Schreier’s new prologue and epilogue to Der Kaiser von Atlantis, will be premiered on 13 October at the E-Werk in Freiburg im Breisgau.
Opera Factory Freiburg commissioned Atlantis expressly for their Ullmann programme, however in order to preserve the autonomy of his composition, Schreier avoided motivic references to Ullmann’s music almost entirely. While the prologue can be played as an independent concert work, the epilogue is inseparable from Ullmann’s opera. Klaus Simon, the artistic director of the Opera Factory, will also contribute to the programme with four new arrangements of Ullmann songs for the company’s resident orchestra the Holst Sinfonietta.
Anno Schreier – Atlantis: mystery and menace
Der Kaiser von Atlantis tells the story of a cruel emperor who declares a war on everyone. The character of Death feels usurped and refuses his duties, meaning everyone lives for eternity and the emperor’s war is in vain. A soldier and a girl confront each other in battle, but being unable to kill each other, they fall in love. In an attempt to ease the suffering of the people, Harlequin appeals to the emperor’s compassion by awakening his childhood memories, causing him to finally regret the pain he is causing. Death promises to resume his role and restore order, on the condition that the emperor voluntarily dies.
For me, the word ‘Atlantis’ musically evokes slow sounds rising from the depths, creating a mysterious, yet menacing atmosphere. It is only in two places that a characteristic fanfare from Ullmann’s opera emerges, like a sudden memory or announcement. – Anno Schreier
Following the premiere Atlantis will be staged in four further performances as part of Opera Factory Freiburg’s Ullmann programme.
© Holst-Sinfonietta / Foto: Anke Nevermann
On 5 October, the Latvian National Symphony Orchestra open their season with the world premiere of Pēteris Vasks´ Oboe Concerto in Riga’s Great Guild, Latvia, with Andris Poga conducting and the internationally acclaimed Albrecht Mayer as soloist.
On 29 September 2018, a new production of Arnold Schoenberg’s celebrated opera Moses and Aron directed by Calixto Bieito opens at the Semperoper Dresden, with John Tomlinson and Lance Ryan in the title roles of Moses and Aron. Alan Gilbert will conduct, before beginning his new post as principal conductor of the NDR Elbphilharmonie Orchestra in 2019.
Friedrich Hölderlin’s famous poem Schicksalslied (Song of Destiny) has inspired many composers to create musical settings of the text. Among them is Dieter Schnebel, whose last composition Schicksalslied for speaker, alto voice, chamber choir, chamber ensemble and tape will receive its world premiere on 21 September at the Beethovenfest Bonn. The performance will be given by the Prague Philharmonic Choir and the Symphony Orchestra Flandern conducted by Jan Latham-Koenig, with Franz Mazura and alto Markéta Cukrová as soloists. Continue reading “Work of the Week – Dieter Schnebel: Schicksalslied”
On 14 September, Gavin Bryars’ new Lauda 47 (Faciamo laude a tutt’i sancti) for soprano, tenor and medieval ensemble will be premiered in a midnight concert in Sweden’s Uppsala Cathedral, performed by the Serikon ensemble and featuring soprano Anna Maria Friman with tenor John Potter as vocal soloists. Continue reading “Work of the Week – Gavin Bryars: Lauda 47 (Faciamo laude a tutt’i sancti)”
On 5 September, Richard Ayres’ new work No. 50 (The Garden) for bass voice and ensemble will receive its world premiere at the opening concert of the Gaudeamus Muziekweek in Utrecht. Performed by Asko|Schönberg Ensemble, bass Joshua Bloom and conductor Bass Wiegers, the work will be presented with newly commissioned animations by video artist Martha Colburn. Continue reading “Work of the Week – Richard Ayres: No. 50 (The Garden)”
The world premiere of Peter Eötvös’ orchestral work Reading Malevich will take place on 1 September 2018 at the Lucerne Festival in Switzerland, with Matthias Pintscher conducting the Lucerne Festival Academy Orchestra. The work was commissioned by Roche Commissions, which is a unique cultural program formed by the healthcare company Roche, the Lucerne Festival and the Lucerne Festival Academy. Continue reading “Work of the Week – Peter Eötvös: Reading Malevich”
On 25 August 2018, Fazil Say’s fourth symphony Umut Senfonisi will be premiered by the Dresden Philharmonic and conductor Michael Sanderling at the Kulturpalast Dresden. The orchestra commissioned the work from Say, who will be their Composer-in-Residence for the 2018-19 season. Continue reading “Work of the Week – Fazil Say: Umut Senfonisi”
On 15 August, Thomas Larcher’s The Hunting Gun will receive its world premiere at Bregenz Festival in a production directed by the acclaimed Austrian actor and film director Karl Markovics. Michael Boder will conduct Ensemble Modern, Schola Heidelberg vocal ensemble and an exceptional cast including Sarah Aristidou, Giulia Peri, Olivia Vermeulen, Robin Tritschler and André Schuen. Continue reading “Work of the Week – Thomas Larcher: The Hunting Gun”