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Wie tönender Schall schlug’s an mein Ohr
vor 2 Stunden
Posts mit dem Label Bryn Terfel werden angezeigt. Alle Posts anzeigen
Posts mit dem Label Bryn Terfel werden angezeigt. Alle Posts anzeigen
Sonntag, 13. September 2009
Donnerstag, 10. September 2009
Reviews
For the first reviews of yesterday in Hamburg click here, here and here =)
(Hope that translations will follow soon, but I'm a little bit busy today...)
Sensual soprano with dangerous intensity
Anna Netrebko, the currently opera‘s most famous diva, needn’t to capture her audience hearts, cause she owns them already.
As the currently most famous opera diva entered the Laeiszhalles’ stage with her breathtaking robe, you dream a short second to be Oskar Matzerath and be allowed to go missing under her skirts with Kashubian dimension and to listen thence to her beautiful voice. But then we pull ourselves together, keep brave our seats and let ears and mind lave in this indescribable feminine melody sound, which La Netrebko let in Lyudmila’s cavatina “Grustno Mne” out of Glinka’s “Ruslan and Lyudmila” stream out of her gorge.
Her always eminent sensual soprano got within the years still more corporal. She shapes each tone like the sound become equivalence yonder bends, which accelerate the men heartbeat. However she isn’t a coquettish female; she sings with a delightful power and unsophisticatedness. Her superb voice is beautiful shaded in the depth and owns a nearly dangerous intensity aloft. During Sylva Varescu’s song “Heia, heia ! In den Bergen ist mein Heimatland” out of the “Gipsy Princess” reeled the coordination between soloist and orchestra, at the aria “Un bel di vedremo” in Puccini’s “Madame Butterfly” overtook Anna Netrebko a tiny ailment, which she handled indeed perfect.
The singer herself seems to be happier as at her both previous performances in Hamburg in CCH and at the Derbypark: disengaged, warm-hearted, like the everlasting girl out of the folk. When the fairly Prague Philharmonic choir sings a few beats without her, then she turns around and listens to the singers. This makes the choir happy – and the audience may meanwhile enjoy her beautiful back view.
The Minsk born mezzo soprano Ekaterina Semenchuk had cloth bad luck: she looked like being dressed by the tailoring Cinderella. But what does such outwardnesses mean, if such a subtle and maestoso knows how to deal with her impavid fathoming the depths voice ? La Semenchuk saved at this stars’ gala evening the musical gravity, which sometimes fall behind cause of the event character of this performance. First during her encore, the “Carmen” aria, melt the singer noticeable and let also visual her hair down.
Bryn Terfel has no problems at all with this. The bass-baritone from Wales is the nee pulling focus, an ingenious player and party boy, who affords little, marked acting trimmings, for clarifying the audience his particular roles. As Sportin’ Life out of “Porgy & Bess” by George Gershwin plays he with pleasure the bay boy with a cigarette in the mouth and profane patter. Terfel can bawl and roar, it’s a delight. As type honest guy with Joe-Cocker-appeal is he not above, to announce the not TV watching audience before his encore “The Impossible Dream” out of “The Man From La Mancha” by Mitch Leigh short the intermediate result of the world championship qualifying game Germany against Azerbaijan – in German. That our language is closer to him then the French one – his “Le veau d’or out of Gounod’s “Faust” stayed completely incomprehensible – proved he furthermore at the touching simple and beautiful sang aria by Wolfram von Eschenbach “O du mein holder Abendstern” out of “Tannhäuser”.
The Prague Philharmonics ploughed valiant till reputable through the inclusive encores 20 pieces of the evening. During the instrumental pieces perverted meanwhile the in places bizarre disproportional hand acting of the conductor Emmanuel Villaume the pleasure by taking a look on stage. Should it be valued as a sign of the audiences’ mellowness, that the absolute “Anna ! Anna !” reeling was missing, the people first stand up from the seats in the end and then however lapsed into even already impolite sluggish rhythmical clapping, which couldn’t allure the three sing stars to no more following encores ? The gigantic triumph was this gala anyway not.
All the more this feeds the dream, to hear Miss Netrebko one time a whole evening long, without gain and also without colleagues impetus. Dito Bryn Terfel, dito Ekaterina Semenchuk. For this would have also Oskar Matzerath bang the drum.
---------------------------------
Breathless aspiration
Successfull concert with Bryn Terfel and Anna Netrebko at the Laeiszhalle
Anna Netrebko, the mirror finish soprano from St. Petersburg, and Bryn Terfel, the singing natural phenomenon from Wales, performed the day before yesterday together at the music hall. The both spoiled by success opera singers are indeed worlds apart.
The avowed soccer fan Terfel, who also interlaces short the score at half time of the German and Welsh world champion ship qualifying games at an arias’ begin, plays so smart, variable and intelligent with his imposing bass-baritone voice, is furthermore such a staggering performer, as if comedic clownish Dulcamara out of Donizetti’s “L’elisir d’amore” or as terrifying dark Mephisto out of Gounod’s “Faust”, that we long for him finally again as guest at the state opera.
The thoroughbred singer shimmers like in dreams stylistically appropriate between Belcanto and Verismo, between Gershwin and Wagner, for with giving his encore “The Impossible Dream” follow still in Sinatra’s footsteps. At the concerts’ peak level, the “Te Deum” out of Puccini’s “Tosca”, are it his enigmatic shaded, lurking hushed and first then heroic crowing notes, with which he paces off vocally perfect the operas’ whole emotion chart.
And Anna Netrebko, the by the promotion flossy silver bullet of the commerce classical, who should vindicate the ticket prices of till 350 Euro ? She seems to be likable, very focused and soprano creamy like always. But her stage presence stays on average. Her well controlled voice may got a little bit dramatic and warmer rotundity after her pregnancy, really unique is her beautiful timbre even not now. (I don’t think so at all – her timbre is totally unique…) And her Butterfly, which comes closer with the big aria “Un bel dì vedremo”, stays the false front of a tragically lover.
Too calculated are the affects, she blows the exposed phrases with too much air, so that her breath runs out for the big aspiration legato. In the duet “Quanto amore” out of Donizetti’s “L’elisir d’amore”, which she plays and acts adorable together with Bryn Terfel, instead she catchs with coquettish bel canto chirp, light voice and easy parlando. Bellini’s keenly awaited “Sonnambula” aria deprived she us instead: for Netrebko’s fans a meagre result of an exiguous concert, which hold besides Terfel the Prague Philharmonic under Emmanuel Villaume and the mezzo Ekatarina Semenchuk engaged running.
(Hope that translations will follow soon, but I'm a little bit busy today...)
Sensual soprano with dangerous intensity
Anna Netrebko, the currently opera‘s most famous diva, needn’t to capture her audience hearts, cause she owns them already.
As the currently most famous opera diva entered the Laeiszhalles’ stage with her breathtaking robe, you dream a short second to be Oskar Matzerath and be allowed to go missing under her skirts with Kashubian dimension and to listen thence to her beautiful voice. But then we pull ourselves together, keep brave our seats and let ears and mind lave in this indescribable feminine melody sound, which La Netrebko let in Lyudmila’s cavatina “Grustno Mne” out of Glinka’s “Ruslan and Lyudmila” stream out of her gorge.
Her always eminent sensual soprano got within the years still more corporal. She shapes each tone like the sound become equivalence yonder bends, which accelerate the men heartbeat. However she isn’t a coquettish female; she sings with a delightful power and unsophisticatedness. Her superb voice is beautiful shaded in the depth and owns a nearly dangerous intensity aloft. During Sylva Varescu’s song “Heia, heia ! In den Bergen ist mein Heimatland” out of the “Gipsy Princess” reeled the coordination between soloist and orchestra, at the aria “Un bel di vedremo” in Puccini’s “Madame Butterfly” overtook Anna Netrebko a tiny ailment, which she handled indeed perfect.
The singer herself seems to be happier as at her both previous performances in Hamburg in CCH and at the Derbypark: disengaged, warm-hearted, like the everlasting girl out of the folk. When the fairly Prague Philharmonic choir sings a few beats without her, then she turns around and listens to the singers. This makes the choir happy – and the audience may meanwhile enjoy her beautiful back view.
The Minsk born mezzo soprano Ekaterina Semenchuk had cloth bad luck: she looked like being dressed by the tailoring Cinderella. But what does such outwardnesses mean, if such a subtle and maestoso knows how to deal with her impavid fathoming the depths voice ? La Semenchuk saved at this stars’ gala evening the musical gravity, which sometimes fall behind cause of the event character of this performance. First during her encore, the “Carmen” aria, melt the singer noticeable and let also visual her hair down.
Bryn Terfel has no problems at all with this. The bass-baritone from Wales is the nee pulling focus, an ingenious player and party boy, who affords little, marked acting trimmings, for clarifying the audience his particular roles. As Sportin’ Life out of “Porgy & Bess” by George Gershwin plays he with pleasure the bay boy with a cigarette in the mouth and profane patter. Terfel can bawl and roar, it’s a delight. As type honest guy with Joe-Cocker-appeal is he not above, to announce the not TV watching audience before his encore “The Impossible Dream” out of “The Man From La Mancha” by Mitch Leigh short the intermediate result of the world championship qualifying game Germany against Azerbaijan – in German. That our language is closer to him then the French one – his “Le veau d’or out of Gounod’s “Faust” stayed completely incomprehensible – proved he furthermore at the touching simple and beautiful sang aria by Wolfram von Eschenbach “O du mein holder Abendstern” out of “Tannhäuser”.
The Prague Philharmonics ploughed valiant till reputable through the inclusive encores 20 pieces of the evening. During the instrumental pieces perverted meanwhile the in places bizarre disproportional hand acting of the conductor Emmanuel Villaume the pleasure by taking a look on stage. Should it be valued as a sign of the audiences’ mellowness, that the absolute “Anna ! Anna !” reeling was missing, the people first stand up from the seats in the end and then however lapsed into even already impolite sluggish rhythmical clapping, which couldn’t allure the three sing stars to no more following encores ? The gigantic triumph was this gala anyway not.
All the more this feeds the dream, to hear Miss Netrebko one time a whole evening long, without gain and also without colleagues impetus. Dito Bryn Terfel, dito Ekaterina Semenchuk. For this would have also Oskar Matzerath bang the drum.
---------------------------------
Breathless aspiration
Successfull concert with Bryn Terfel and Anna Netrebko at the Laeiszhalle
Anna Netrebko, the mirror finish soprano from St. Petersburg, and Bryn Terfel, the singing natural phenomenon from Wales, performed the day before yesterday together at the music hall. The both spoiled by success opera singers are indeed worlds apart.
The avowed soccer fan Terfel, who also interlaces short the score at half time of the German and Welsh world champion ship qualifying games at an arias’ begin, plays so smart, variable and intelligent with his imposing bass-baritone voice, is furthermore such a staggering performer, as if comedic clownish Dulcamara out of Donizetti’s “L’elisir d’amore” or as terrifying dark Mephisto out of Gounod’s “Faust”, that we long for him finally again as guest at the state opera.
The thoroughbred singer shimmers like in dreams stylistically appropriate between Belcanto and Verismo, between Gershwin and Wagner, for with giving his encore “The Impossible Dream” follow still in Sinatra’s footsteps. At the concerts’ peak level, the “Te Deum” out of Puccini’s “Tosca”, are it his enigmatic shaded, lurking hushed and first then heroic crowing notes, with which he paces off vocally perfect the operas’ whole emotion chart.
And Anna Netrebko, the by the promotion flossy silver bullet of the commerce classical, who should vindicate the ticket prices of till 350 Euro ? She seems to be likable, very focused and soprano creamy like always. But her stage presence stays on average. Her well controlled voice may got a little bit dramatic and warmer rotundity after her pregnancy, really unique is her beautiful timbre even not now. (I don’t think so at all – her timbre is totally unique…) And her Butterfly, which comes closer with the big aria “Un bel dì vedremo”, stays the false front of a tragically lover.
Too calculated are the affects, she blows the exposed phrases with too much air, so that her breath runs out for the big aspiration legato. In the duet “Quanto amore” out of Donizetti’s “L’elisir d’amore”, which she plays and acts adorable together with Bryn Terfel, instead she catchs with coquettish bel canto chirp, light voice and easy parlando. Bellini’s keenly awaited “Sonnambula” aria deprived she us instead: for Netrebko’s fans a meagre result of an exiguous concert, which hold besides Terfel the Prague Philharmonic under Emmanuel Villaume and the mezzo Ekatarina Semenchuk engaged running.
Samstag, 5. September 2009
Article at the Hamburger Abendblatt cause of Anna's upcoming concert at the Laeiszhalle
She combines carnality, beauty and voice
Wistfulness and joie de vivre: Opera gala with Anna Netrebko
Cause of the world class voices it could be the concert of the year, when the Russian soprano Anna Netrebko and the Welsh bass-baritone Bryn Terfel enter the stage of the Laeiszhalle on 09th September.
The young diva is after her baby break - junior Tiago get one year old this Saturday - in the best of voice, how her first concerts and avid critics show. Recently she already took the risk, normally rather chary with such things, to give a Liederabend with Daniel Barenboim as piano partner at the Salzburger Festspiele, which makes totally other demands on the creativity of a voice as the more robust singing at the opera stage.
The "Süddeutsche Zeitung" attested her aside from a "adorable pianissimo": "The always balmy undercoat of her voice got still darker, fuller. Maybe she had to force the highs a little bit more then before, but she is there - immaculate and clear." And talks of the "magnificent sound intoxication" of her exuding voice.
Anna Netrebko got even more self confident. She knows, that her voice changes; her already velvet dark touched soprano gains incremental on dramatical format, but she also uses her strong point, which catapulted her into the soprano fach world league: the incomprehensible homogeneity over the whole vocal range - without least traces of index change. She is really take to it like the duck to water, if the arias are about Russian wistfulness and foaming joie de vivre.
In Hamburg she sings the coming Wednesday at the Laeiszhalle - and world class vocal perfection will be there twice: With Bryn Terfel assists Netrebko one the bigs at the bass-baritone fach. He sings - the program has meanwhile been completed - arias out of Gounod's "Faust", Wagner's "Tannhäuser" and Puccini's "Tosca". Anna Netrebko adds inter alia a scene out of Glinka's "Ruslan and Lydmilla", gives the "Barcarola" at the Markusplatz in Venice out of Offenbach's "Les contes d'Hoffmann" its wistful passion back and sings also "Un bel di vedremo" out of Puccini's "Madame Butterfly".
Both are accompanied, and also the Russian mezzo colleague Ekaterina Semenchuk who joins at this gala, by the Prague Philharmonia Orchestra and the Prague Philharmonic Choir, under the direction of Emmanuel Villaume.
Wistfulness and joie de vivre: Opera gala with Anna Netrebko
Cause of the world class voices it could be the concert of the year, when the Russian soprano Anna Netrebko and the Welsh bass-baritone Bryn Terfel enter the stage of the Laeiszhalle on 09th September.
The young diva is after her baby break - junior Tiago get one year old this Saturday - in the best of voice, how her first concerts and avid critics show. Recently she already took the risk, normally rather chary with such things, to give a Liederabend with Daniel Barenboim as piano partner at the Salzburger Festspiele, which makes totally other demands on the creativity of a voice as the more robust singing at the opera stage.
The "Süddeutsche Zeitung" attested her aside from a "adorable pianissimo": "The always balmy undercoat of her voice got still darker, fuller. Maybe she had to force the highs a little bit more then before, but she is there - immaculate and clear." And talks of the "magnificent sound intoxication" of her exuding voice.
Anna Netrebko got even more self confident. She knows, that her voice changes; her already velvet dark touched soprano gains incremental on dramatical format, but she also uses her strong point, which catapulted her into the soprano fach world league: the incomprehensible homogeneity over the whole vocal range - without least traces of index change. She is really take to it like the duck to water, if the arias are about Russian wistfulness and foaming joie de vivre.
In Hamburg she sings the coming Wednesday at the Laeiszhalle - and world class vocal perfection will be there twice: With Bryn Terfel assists Netrebko one the bigs at the bass-baritone fach. He sings - the program has meanwhile been completed - arias out of Gounod's "Faust", Wagner's "Tannhäuser" and Puccini's "Tosca". Anna Netrebko adds inter alia a scene out of Glinka's "Ruslan and Lydmilla", gives the "Barcarola" at the Markusplatz in Venice out of Offenbach's "Les contes d'Hoffmann" its wistful passion back and sings also "Un bel di vedremo" out of Puccini's "Madame Butterfly".
Both are accompanied, and also the Russian mezzo colleague Ekaterina Semenchuk who joins at this gala, by the Prague Philharmonia Orchestra and the Prague Philharmonic Choir, under the direction of Emmanuel Villaume.
Mittwoch, 2. September 2009
No concert at the red square ?!
The concert isn't on Jonas' schedule anymore, his first date at this season is first on 15th at the ROH.
Furthermore this is out of the latest interview of Bryn Terfel with the Hamburger Abendblatt (cause of his concert together with Anna in Hamburg this month):
[...]Actually was even a concert at the red square in Moscow planned, where next to Netrebko and Terfel also the at the moment precious tenor Jonas Kaufmann was named to sing. This date was cancelled, the perfomance in Hamburg remained. Without Kaufmann.[...]
Really sad that she will now not sing together with Jonas =( I think she should sing with him more often ! Their voices are matching good together !
Mittwoch, 26. August 2009
Anna, Ekaterina & Bryan - A great trio for Hamburg
Here's the program for Anna's concert on 09th September at the Laeiszhalle in Hamburg together with the mezzo-soprano Ekaterina Semenchuk and the bass-baritone Bryn Terfel, Emmanuel Villaume conducting the Prague philharmonia and the choir.Program:
M. Glinka:Overture of Ruslan and Ludmila
Ludmila’s scene out of Ruslan and Ludmila (1. Act), Anna Netrebko & Choir
P. I. Tchaikovsky:„Da, chas nastal“ out of Die Jungfrau von Orleans, Ekaterina Semenchuk
J. Offenbach:Can-can aus Orphée aux enfers
„Barcarolla“ out of Les contes d’Hoffmann, Anna Netrebko, Ekaterina Semenchuk & Choir
C. Gounod:„Le Veau d’Or “ out of Faust, Bryn Terfel & Choir
G. Bizet:„Habanera“ out of Carmen, Ekaterina Semenchuk & Choir
E. Kalman:„Heia! Heia! In den Bergen…” out of The Gypsy Princess, Anna Netrebko & Choir
Break
V. Bellini:„Care compagne…Come per me sereno” out of La sonnambula, Anna Netrebko & Choir
G. Verdi:„Va pensiero” out of Nabucco, Choir
„Rataplan, rataplan” out of La forza del destino, Ekaterina Semenchuk & Choir
R. Wagner:„Pigerchor“ out of Tannhäuser, Choir
„Oh, du mein holder Abendstern“ out of Tannhäuser, Bryn Terfel
P. Mascagni:Intermezzo out of Cavalleria Rusticana
G. Puccini:„Un bel di vedremo” out of Madama Butterfly, Anna Netrebko
„Tre sbirri, una carozza …Va Tosca…Te Deum” out of Tosca, Bryn Terfel & Choir
Donnerstag, 16. Juli 2009
Anna & Bryn - Let's rock Hamburg !
Anna Netrebko: Star soprano visits Hamburg
Summit at the Laeiszhalle
Two world stars - Anna Netrebko and the bass-baritone Bryn Terfel: On 09th September will be the classical concert of the year. The advance sale starts tomorrow at the Hamburger Abendblatts' ticket shops.
At the christening of the cruiser "Mein Schiff" was she in Hamburg, but without singing. Now are "Elbklassik", the Hamburg-based subsidiary company of the concert promoter Peter Schwenkow, and the Hamburger Abendblatt taking Anna Netrebko for one concert to the Laeiszhalle in Hamburg. On 09th September it's getting down there to a summit of that special kind: The Russian star soprano performs together with Bryn Terfel, the great Welsh bass-baritone, one of the most demanded exponents of his voice. Schwenkow could made this coup perfect after the by him organised Netrebko concert at the last friday at the Munich Königsplatz (14 500 audience). The advance sale for this evening starts on Friday morning at 08:00 a.m.
The singers' covenant was so short term, that the accompanying orchestra is not yet decided already, but till now only who will conduct the concert: the international seasoned maestro Emmanuel Villaume, who will become the director of the Slovenian philharmonics in September. Also the programme is not yet stipulated in all its particulars, but it could be geared to the Munich concerts' programme, where she was accompanied by the baritone Dmitri Hvorostovsky. There were in the first half exclusively sang acts of Russian composers - cutouts of Tchaikovsky's operas "Pique Dame", "Iolanta" and "Eugene Onegin"as well as Michail Glinka's "Ruslan and Lydmila". The second part was more international with acts of Strauss and Wagner as well as cutouts out of operas of Verdi, Puccini, Mascagni and Leoncavallo.
Anna Netrebko rehearsals currently at Baden-Baden for the premiere of Tchaikovsky's opera "Iolanta" on 18th July and gives a Liederabend with Daniel Barenboim at the Salzburger Festspiele on 11th August.
[...]
At Hamburg is the setting for this performance much more intimate than in Munich; the Laeiszhalle is a guarantor for a dignified concert atmosphere and a good acoustics - best condictions for savour two of the greatest voices of our times.
Tickets: 55- 285 Euro
Hamburger-Abendblatt- Ticket-Hotline: 040/30 30 98 98. (not forget the german prefix +49)
or
www.abendblatt.de/ticketshops
Summit at the Laeiszhalle
Two world stars - Anna Netrebko and the bass-baritone Bryn Terfel: On 09th September will be the classical concert of the year. The advance sale starts tomorrow at the Hamburger Abendblatts' ticket shops.
At the christening of the cruiser "Mein Schiff" was she in Hamburg, but without singing. Now are "Elbklassik", the Hamburg-based subsidiary company of the concert promoter Peter Schwenkow, and the Hamburger Abendblatt taking Anna Netrebko for one concert to the Laeiszhalle in Hamburg. On 09th September it's getting down there to a summit of that special kind: The Russian star soprano performs together with Bryn Terfel, the great Welsh bass-baritone, one of the most demanded exponents of his voice. Schwenkow could made this coup perfect after the by him organised Netrebko concert at the last friday at the Munich Königsplatz (14 500 audience). The advance sale for this evening starts on Friday morning at 08:00 a.m.
The singers' covenant was so short term, that the accompanying orchestra is not yet decided already, but till now only who will conduct the concert: the international seasoned maestro Emmanuel Villaume, who will become the director of the Slovenian philharmonics in September. Also the programme is not yet stipulated in all its particulars, but it could be geared to the Munich concerts' programme, where she was accompanied by the baritone Dmitri Hvorostovsky. There were in the first half exclusively sang acts of Russian composers - cutouts of Tchaikovsky's operas "Pique Dame", "Iolanta" and "Eugene Onegin"as well as Michail Glinka's "Ruslan and Lydmila". The second part was more international with acts of Strauss and Wagner as well as cutouts out of operas of Verdi, Puccini, Mascagni and Leoncavallo.
Anna Netrebko rehearsals currently at Baden-Baden for the premiere of Tchaikovsky's opera "Iolanta" on 18th July and gives a Liederabend with Daniel Barenboim at the Salzburger Festspiele on 11th August.
[...]
At Hamburg is the setting for this performance much more intimate than in Munich; the Laeiszhalle is a guarantor for a dignified concert atmosphere and a good acoustics - best condictions for savour two of the greatest voices of our times.
Tickets: 55- 285 Euro
Hamburger-Abendblatt- Ticket-Hotline: 040/30 30 98 98. (not forget the german prefix +49)
or
www.abendblatt.de/ticketshops
or
Mittwoch, 20. Mai 2009
Gala concert with JK and Bryn Terfel on 04th September in Moscow
At Jonas' schedule on his homepage you can read that he will give a gala concert with Anna and Bryn on 04th September at the Roter Platz in Moscow ! Wow ! Lucky you, who are able to be there !!! I will try to find a more about it, but have a bit patience ;)
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