Felix Mendelssohn Bartholdy: Elijah, op. 70
Christian Gerhaher, Elijah
Julia Kleiter, The Widow
Mauro Peter, Obadiah/Ahab
Wiebke Lehmkuhl, The Queen
Philharmonia Zurich
Zurich Opera Chorus
Gianandrea Noseda, musical director
Andreas Homoki, director
Hartmut Meyer, stage design
Mechthild Seipel, costumes
Franck Evin, lighting design
Ernst Raffelsberger, choral rehearsals
Claus Spahn, dramaturgy
Quasthoff's masterclass
with Thomas Quasthoff
and his master students
Franz Schubert: Die Winterreise, D 911, op 89
Julian Prégardien, Tenor
Daniel Heide, Klavier
Béla Bartók: Herzog Blaubarts Burg
Francis Poulenc: La voix humaine
Florian Boesch, Herzog Blaubart
Christel Loetzsch, Judith
Vera Lotte Boecker, La Femme
Orchester der Tiroler Festspiele Erl
Martin Rajna, Musical Direction
Claus Guth, Stage Director
Monika Pormale, Stage
Anna Sofie Tuma, Costumes
Michael Bauer, Light
Yvonne Gebauer, Dramaturge
N.N., Soprano I
Simone Schneider, Soprano II
Natasha Te Rupe Wilson, Soprano III
Stine Marie Fischer, Alto I
Maria Theresa Ullrich, Alto II
Benjamin Bruns, Tenor
Johannes Kammler, Baritone
David Steffens, Bass
Cornelius Meister, Conductor
Staatsorchester Stuttgart
Staatsopernchor & Kinderchor Stuttgart
Manuel Pujol, Rehearsal master Staatsopernchor Stuttgart
Bernhard Moncado, Rehearsal master Kinderchor
With Gustav Mahler's monumental Eighth Symphony, Cornelius Meister and the State Orchestra continue their Mahler cycle and, together with eight vocal soloists, the children's choir and the State Opera Choir, bring the symphony concert series to a crowning conclusion. Shortly after completing the score, Mahler said in 1907: "The symphony must be like the world. It must encompass everything". This central credo for Mahler is reflected in the variety of forms and musical characters of his Eighth Symphony. Baroque fugue techniques can be found in it as well as a tonal language influenced by Richard Wagner. The first and only two performances during his lifetime were Mahler's greatest triumph. After the premiere in 1910, Thomas Mann commented that Mahler embodied "the most serious and sacred artistic will of our time".
FURTHER INFORMATIONS & TICKETSBéla Bartók: Herzog Blaubarts Burg
Francis Poulenc: La voix humaine
Florian Boesch, Herzog Blaubart
Christel Loetzsch, Judith
Vera Lotte Boecker, La Femme
Orchester der Tiroler Festspiele Erl
Martin Rajna, Musical Direction
Claus Guth, Stage Director
Monika Pormale, Stage
Anna Sofie Tuma, Costumes
Michael Bauer, Light
Yvonne Gebauer, Dramaturge
Sabine Devieilhe, Soprano
Pauline Buet, Violoncello
David Violi, Piano
Staged Recital
with Lieder and Chansons by Josephine Baker, Edith Piaf, Francis Poulenc, Erik Satie, Stephen Sondheim and others.
In the French musical tradition, straddling the line between serious and entertaining music is much more common than in Germany. Composers such as Francis Poulenc and Erik Satie were masters of this balancing act. But even with regard to the chansons of Édith Piaf, the label ‘entertainment’ means next to nothing. Sabine Devieilhe, who achieved world fame as a captivating Mozart interpreter and is one of the most sought-after singers in her field, dedicates herself to the aforementioned musicians in an exciting scenic-musical project and also sheds light on the relationship between French and US culture with excursions to Josephine Baker and Stephen Sondheim.
FURTHER INFORMATIONS & TICKETSThomas Quasthoff, Voice
Rüdiger Baldauf, Trumpet
Wolfgang Meyer, Guitar
N.N., Soprano I
Simone Schneider, Soprano II
Natasha Te Rupe Wilson, Soprano III
Stine Marie Fischer, Alto I
Maria Theresa Ullrich, Alto II
Benjamin Bruns, Tenor
Johannes Kammler, Baritone
David Steffens, Bass
Cornelius Meister, Conductor
Staatsorchester Stuttgart
Staatsopernchor & Kinderchor Stuttgart
Manuel Pujol, Rehearsal master Staatsopernchor Stuttgart
Bernhard Moncado, Rehearsal master Kinderchor
With Gustav Mahler's monumental Eighth Symphony, Cornelius Meister and the State Orchestra continue their Mahler cycle and, together with eight vocal soloists, the children's choir and the State Opera Choir, bring the symphony concert series to a crowning conclusion. Shortly after completing the score, Mahler said in 1907: "The symphony must be like the world. It must encompass everything". This central credo for Mahler is reflected in the variety of forms and musical characters of his Eighth Symphony. Baroque fugue techniques can be found in it as well as a tonal language influenced by Richard Wagner. The first and only two performances during his lifetime were Mahler's greatest triumph. After the premiere in 1910, Thomas Mann commented that Mahler embodied "the most serious and sacred artistic will of our time".
FURTHER INFORMATIONS & TICKETSFranz Schubert: Die schöne Müllerin op. 25, D 795
Julian Prégardien, Tenor
Daniel Heide, Piano
Manuela Linshalm, Puppeteer, Narration