Salome opera cleveland

The piece wrapped up with the cello section playing the theme from the first section while the soloist played rapid scales before taking over the theme. Just as we were falling into the music again, we were brought up short by seven distinct timpani strokes, played by Tom Freer, who did an excellent job throughout the entire piece.

Almost immediately, the audience of Severance Hall rose to its feet requesting several curtain calls from Ms. Weilerstein and Maestro Bringuier. The latter made sure to acknowledge the members of the orchestra who had featured solos as well as the entire group that played so well. Weilerstein offered a lovely encore in the form of a Bach minuet which garnered her still more bows.

She is a very accomplished musician and seems to truly understand what she is playing; however I do wish that she would tie her hair back from her face! Each time I see her play I'm afraid that her long hair is going to get caught in the fingerboard of her cello as she bends over the instruments and becomes engrossed in what she is playing.

A tiny jewel of a piece, The Spider's Feast, hasn't been played by the orchestra in fifty-five years, but hearing Maestro Bringuier's interpretation's was a joy. His style lent itself particularly well to the evocative portraiture of this work and the orchestra made a good showing.

The various insects were portrayed by the strings, flute, oboe, clarinet and English horn always well played by Robert Walters with drama lent by harpist Trina Struble. Various sections of the orchestra were gently quieted by the Maestro so he could bring out just what he wanted to be featured so that it almost became a "guide" to the instruments themselves. It's difficult to put a new spin on such a familiar piece as The Firebird, but it was here that Maestro Bringuier's abilities to work with this orchestra shown.

He connected with every chair, making each sound just the way he wanted and the result was a shining whole- exhilarating and fresh. The musicians were fully vested in the conductor's plan and seemed to enjoy themselves as much as he, and we, were. Again, he was called for multiple bows and he took the time to personally knowledge soloists and section leaders and thank them for their participation.

All too often nowadays, things are rushed and orchestra members treated as automatons, there to showcase a conductor. It's such a pleasure to watch a relationship building between the podium and the orchestra floor, and it's no small wonder that Lionel Bringuier has had such success at such a young age.

He's one of those "micromanaging" conductors, very physical, with nothing getting by him, but who respects the knowledge and artistry of the members of the orchestra he's leading.

I do hope that he comes back to Severance Hall in the near future. Ton Koopman Photo by Jaap van de Klomp Every once in a while, I've been privileged to be in a concert hall or opera house on an evening when everything just works so perfectly that you don't want to leave when the event ends.

The last time I experienced that was in November of during a performance of Le nozze di Figaro in Paris, and then again, in Severance Hall on the first Thursday in May of this year.

A Baroque music specialist, his passion for the music is infectious, traveling through the orchestra and extending out into the house. He resembles nothing so much as a genial elf, complete with white hair and beard; his hands, sans baton, mold and shape the music into something that reaches into the soul of the listener.

He also likes to bring works that haven't been heard here, which makes for an enlightening program, educating without effort! Opening the program was Introduzione teatrale, Opus 4, No. Jung-Min Amy Lee served as concertmaster for the abbreviated ensemble, playing the solo line with a bright tone.

He was very simply, amazing. The composer placed the opening Allegro in the upper registers of the instrument with brutally hard fingerings, while the the Adagio showcased Kosower's exquisite singing tones. The cast brings new voices to the stage of the Opernhaus: the promising Russian Elena Stikhina a member of the ensemble at the Mariinski Theater in St. Petersburg is our Salome. Lithuanian bass-baritone Kostas Smoriginas makes his debut in Zurich in the role of Jochanaan.

The musical performances were no less spectacular. An der Bayerischen Staatsoper dirigierte sie u. Ab wird sie Chefdirigentin des Sydney Symphony Orchestra sein. Andreas Homoki was born into a Hungarian musical family in in Germany, and studied school music and German in Berlin West.

He received his first invitation to stage direct in Geneva in , and his production there of Die Frau ohne Schatten received international acclaim. He was a freelance stage director from to , and his works appeared in Cologne, Lyon, Leipzig, Basel, Berlin, Amsterdam, and Munich. He was appointed principal stage director of the Komische Oper Berlin in , succeeding Harry Kupfer in that role, and was further named Intendant in That production would later appear in Edinburgh, Paris, and New York.

Mechthild Seipel wurde in Bochum geboren. Diese verbindet sie nun seit vielen Jahren. Gemeinsam arbeiteten sie u. Hier arbeitete er u. Es folgten Produktionen u. In Schwerin inszenierte er u. Seit ist er freischaffender Regisseur und Choreograf. Als Gastregisseur hat er am Mariinsky Theater in St.

Diese Partie sang er u. Franz I. Konzerte sang sie zudem u. Petersburg zu erleben. Im Februar sang sie Salome an der Scala in Mailand.

Sein Repertoire im Konzertbereich umfasst u. Mauro Peter stammt aus Luzern. Zuletzt sang Mauro Peter u. Louis und beim Aspen Music Festival. Seither sang er u. Zuletzt sang er u. Am Theater St. Gallen war er zuletzt u.

Konzertant sang er u. Eine enge Zusammenarbeit verbindet ihn seit mit dem Luzerner Theater, wo er seither u. Er gewann zahlreiche Preise bei Gesangswettbewerben, u. Baumgartner studiert. Gallen und Biel. Fabio Dorizzi ist ein Schweizer Tenor mit italienischen Wurzeln. Er besuchte Meisterkurse bei Prof. Mit dem Improvisations-Trio «Elastomikarusch» trat er u. Martin Zysset ist in Solothurn geboren und aufgewachsen.

Er liess sich im Fach Klarinette ausbilden und absolvierte gleichzeitig ein Gesangsstudium, das er mit Meisterklassen bei Ernst Haefliger und Edith Mathis abrundete. Hier konnte er sich ein breites Repertoire von buffonesken wie dramatischen Rollen erarbeiten, u.

Petersburg und sang dort eine Solopartie in der Bach-Kantate Lasst uns sorgen, lasst uns wachen. Voices of the Future». In der Folge war er international u. Andrejs Krutojs unterrichtet seit Gesang am Konservatorium in Lausanne. Als Stammsolist der Accademia Barocca Lucernensis arbeitet er mit einem historisch orientierten Ensemble, welches unbekannte Werke aus dem Barock neu erarbeitet. Luis Magallanes, Tenor, stammt aus Venezuela.

Stanislav Vorobyov stammt aus Russland und studierte am Moskauer Konservatorium. Oleg Davydov studierte Gesang in Moskau und St. Am Konservatorium in St.

Er gewann diverse Preise und Auszeichnungen, darunter den zweiten Platz bei der 7. International Opera Competition in St. Bei Hilde Zadek in Wien bildete er sich weiter. Moritz und Opera Viva mit. Also a little different for this year the Orchestra is taking the opera on the road for two performances at New York's Carnegie Hall before returning to Cleveland with a final performance on Saturday, May 25th.

As opera in concert I wasn't sure what to expect, perhaps an "opera sized" orchestra with soloists on stage. Instead, The Cleveland Orchestra came out in full-force with a densely packed stage full of musicians and an usual platform for the singers projecting as a peninsula into the sea of musicians accessed by removing a section of the decorative organ pipes that typically grace the back of the Severance Hall stage. This staging was visually satisfying -- in that it both elevated the majority of singers above the orchestra and lessened the gap between singer and surtitles -- but may have contributed to the one less than desirable thing that both Rachel and I noted: The men's voices, particularly, tended to disappear in the musical expanse of the instruments--the "problem" didn't seem as pronounced with the women who typically clearly cut through.

Gabriel Faure was among the first, and certainly notthe last, to call S alome ' a symphonic poem with voices added. And I rather liked it. I typically have a hard time with fully staged opera because of how many moving parts are involved -- there's the set, the blocking movements of singers and props , singing along with reading surtitles if there's any hope to follow the plot , and music, and opera in concert really cuts to the core.

You can listene to the singers and the orchestra while reading the surtitles and not have to worry about interpreting the set or the blocking or the costuming -- thus the closest I think I've come to truly following the story in an opera.