Emily Pogorelc

Musetta in La bohème
2022-01-09 18:00 (Europe/Helsinki) | Bayerische Staatsoper Nationaltheater, Max-Joseph-Platz 2, München, D-80539, Germany
Composer Giacomo Puccini · Libretto by Giuseppe Giacosa and Luigi Illica
In Italian with English and German surtitles
Conductor: Francesco Lanzillotta
Production: Otto Schenk
Set Design: Rudolf Heinrich
Choruses: Stellario Fagone
Mimì: Angel Blue
Musetta: Emily Pogorelc
Rodolfo: Evan LeRoy Johnson
Marcello: Artur Rucinski
Schaunard: Andrei Kymach
Colline: Nicholas Brownlee
Parpignol: Joel Williams
Benoît: Christian Rieger
Alcindoro: Martin Snell
Ein Zöllner: Theodore Platt
Sergeant der Zollwache: Andrew Gilstrap
Bayerisches Staatsorchester
Chorus and children’s chorus of the Bayerische Staatsoper
Heartache, heartbreak, the whole nine yards – four starving artists – love in a shabby attic loft – the swank boulevards where people live life with a capital “L”, but Mimi is destined to die. Her tiny hand: ice cold! Otto Schenk’s incredibly opulent, eternally valid production continues to fascinate audiences. All of Paris is magically transported onto the stage here. So beautiful you could cry!

Najade in Ariadne auf Naxos
2022-01-18 19:30, 2022-01-23 19:00, 2022-01-26 19:00 (Europe/Helsinki) | Bayerische Staatsoper Nationaltheater, Max-Joseph-Platz 2, München, D-80539, Germany
Opera in one act with one prelude – 1916
Composer Richard Strauss · Libretto by Hugo von Hofmannsthal
In German with English and German surtitles
Conductor: Ulf Schirmer
Production: Robert Carsen
Der Haushofmeister: Udo Wachtveitl
Ein Musiklehrer: Markus Eiche
Der Komponist: Daniela Sindram
Der Tenor/Bacchus: Brandon Jovanovich
Ein Offizier: Granit Musliu
Ein Tanzmeister: Kevin Conners
Ein Perückenmacher: Andrew Hamilton
Ein Lakai: Theodore Platt
Zerbinetta: Erin Morley
Primadonna/Ariadne: Tamara Wilson
Harlekin: Konstantin Krimmel
Scaramuccio: Joel Williams
Truffaldin: Daniel Noyola
Brighella: Evan LeRoy Johnson
Najade: Emily Pogorelc
Dryade: Emily Sierra
Echo: Jessica Niles
Bayerisches Staatsorchester
Is it possible to perform the comic intermezzo “Zerbinetta and her Lovers” and the tragic opera “Ariadne” at the same time? Yes, when you have to. The richest man in Vienna wants it that way. He wants cross-over! Let’s mix up classic and pop – and it works. To the delight of the audience and the recognition of the characters on stage. One of the handsomest and wisest works of the great Munich composer, Richard Strauss, in a production by Robert Carsen. The joy of Strauss!

Niece 2 in Peter Grimes
2022-02-28 19:00 UTC | Bayerische Staatsoper Nationaltheater, Max-Joseph-Platz 2, München, D-80539, Germany
Opera in three acts and a prologue by Benjamin Britten (1945)
Composer Benjamin Britten · Text by Montagu Slater based on the poem by George Crabbe
In English · With Subtitles in German and English
Conductor: Edward Gardner
Production: Stefan Herheim
Peter Grimes: Stuart Skelton
Ellen Orford: Rachel Willis-Sørensen
Balstrode: Iain Paterson
Auntie: Claudia Mahnke
1. Nichte: Lindsay Ohse
2. Nichte: Emily Pogorelc
Bob Boles: Kevin Conners
Swallow: Brindley Sherratt
Mrs. Sedley: Jennifer Johnston
Rev. Horace Adams: Paul Groves
Ned Keene: Konstantin Krimmel
Hobson: Daniel Noyola
Bayerisches Staatsorchester
Chorus of the Bayerische Staatsoper
Children’s chorus of the Bayerische Staatsoper
The opera begins with a showdown – a trial, which should actually take place at the end. A boy has died, drowned while fishing with the fisherman Peter Grimes. The circumstances are suspicious, but evidence for a conviction there is not. The acquittal is ambivalent, the stigma of being of a violent nature sticks to Grimes – as if the townspeople believe it should be so, both opponents and friends. Some see an enemy in the outcast, others the object of their compassion. Grimes is faced with ill will on all fronts, like Sisyphus. A vicious circle! It was also a life-long concern for Britten: “… the struggle of the individual against the masses. The more vicious the society, the more vicious the individual.” Everywhere he turns the snare tightens, until another piece of misfortune seals Grimes’s fate. Britten’s first grand opera is an inexhaustible panorama of interpersonal entanglements, illustrated by the world of simple coastal folk, whose seams are only scantily held together. His music penetrates deep into the soul with its tones for the lonesome individual, the unleashed masses and eternal nature.

Niece 2 in Peter Grimes
2022-03-03 19:00, 2022-03-06 18:00, 2022-03-10 19:00, 2022-03-13 19:00 UTC | Bayerische Staatsoper Nationaltheater, Max-Joseph-Platz 2, München, D-80539, Germany
Opera in three acts and a prologue by Benjamin Britten (1945)
Composer Benjamin Britten · Text by Montagu Slater based on the poem by George Crabbe
In English · With Subtitles in German und English
Conductor: Edward Gardner
Production: Stefan Herheim

Peter Grimes: Stuart Skelton
Ellen Orford: Rachel Willis-Sørensen
Balstrode: Iain Paterson
Auntie: Claudia Mahnke
1. Nichte: Lindsay Ohse
2. Nichte: Emily Pogorelc
Bob Boles: Kevin Conners
Swallow: Brindley Sherratt
Mrs. Sedley: Jennifer Johnston
Rev. Horace Adams: Paul Groves
Ned Keene: Konstantin Krimmel
Hobson: Daniel Noyola
Bayerisches Staatsorchester
Chorus of the Bayerische Staatsoper
Children’s chorus of the Bayerische Staatsoper
The opera begins with a showdown – a trial, which should actually take place at the end. A boy has died, drowned while fishing with the fisherman Peter Grimes. The circumstances are suspicious, but evidence for a conviction there is not. The acquittal is ambivalent, the stigma of being of a violent nature sticks to Grimes – as if the townspeople believe it should be so, both opponents and friends. Some see an enemy in the outcast, others the object of their compassion. Grimes is faced with ill will on all fronts, like Sisyphus. A vicious circle! It was also a life-long concern for Britten: “… the struggle of the individual against the masses. The more vicious the society, the more vicious the individual.” Everywhere he turns the snare tightens, until another piece of misfortune seals Grimes’s fate. Britten’s first grand opera is an inexhaustible panorama of interpersonal entanglements, illustrated by the world of simple coastal folk, whose seams are only scantily held together. His music penetrates deep into the soul with its tones for the lonesome individual, the unleashed masses and eternal nature.

Cherubino in Le nozze di Figaro
2022-05-22, 2022-06-05, 2022-06-09, 2022-06-12, 2022-06-17, 2022-06-19, 2022-06-23, 2022-06-26 and 1 more date | Glyndebourne Opera, GLYNDEBOURNE, Lewes, East Sussex, BN8 5UU, United Kingdom
Opera by W. A. Mozart | Libretto by Lorenzo da Ponte
A revival of the Festival 2012 production. Sung in Italian with English supertitles
Conductor: Giancarlo Andretta
Nicholas Carter (June 26, 30)
Director: Michael Grandage
Figaro: Brandon Cedel
Susanna: Hera Hyesang Park
Count: Germán Olvera
Countess: Amanda Woodbury
Bartolo: Péter Kálmán
Marcellina: Rosie Aldridge
Cherubino: Emily Pogorelc
Don Basilio: François Piolino
Don Curzio: Colin Judson
London Philharmonic Orchestra
The Glyndebourne Chorus
One wedding; one marriage on the rocks; one scheme; one day.
When a womanising aristocrat tries to seduce his valet’s pretty young fiancée, his wife and servants conspire to teach him a lesson in fidelity he’ll never forget. Plots are hatched, promises made (and broken) and disguises donned, as Mozart’s ‘mad day’ unfolds.
A revolutionary comedy in every sense, Mozart and Da Ponte’s adaptation of Beaumarchais’ banned 1778 play about warring masters and servants takes a topical satire and broadens it into a deeply human drama. The battle between both classes and sexes remains sharply bladed, but the characters themselves are rounded by some of Mozart’s most sparkling music into feeling, fallible and all too familiar personalities.
Director Michael Grandage updates the action to the dying days of Spain’s Franco regime in his 2012 production. Giancarlo Andretta and Nicholas Carter conduct.

Cherubino in Le nozze di Figaro
2022-05-24, 2022-05-27, 2022-05-29 | Glyndebourne Opera, GLYNDEBOURNE, Lewes, East Sussex, BN8 5UU, United Kingdom
Conductor: Giancarlo Andretta
Nicholas Carter (June 26, 30)
Director: Michael Grandage
Figaro: Brandon Cedel
Susanna: Hera Hyesang Park
Count: Germán Olvera
Countess: Amanda Woodbury
Bartolo: Péter Kálmán
Marcellina: Rosie Aldridge
Cherubino: Emily Pogorelc
Don Basilio: François Piolino
Don Curzio: Colin Judson
London Philharmonic Orchestra
The Glyndebourne Chorus
One wedding; one marriage on the rocks; one scheme; one day.
When a womanising aristocrat tries to seduce his valet’s pretty young fiancée, his wife and servants conspire to teach him a lesson in fidelity he’ll never forget. Plots are hatched, promises made (and broken) and disguises donned, as Mozart’s ‘mad day’ unfolds.
A revolutionary comedy in every sense, Mozart and Da Ponte’s adaptation of Beaumarchais’ banned 1778 play about warring masters and servants takes a topical satire and broadens it into a deeply human drama. The battle between both classes and sexes remains sharply bladed, but the characters themselves are rounded by some of Mozart’s most sparkling music into feeling, fallible and all too familiar personalities.
Director Michael Grandage updates the action to the dying days of Spain’s Franco regime in his 2012 production. Giancarlo Andretta and Nicholas Carter conduct.
A revival of the Festival 2012 production. Sung in Italian with English supertitles

Niece 2 in Peter Grimes [Festspiele Production]
2022-07-09 19:00, 2022-07-12 19:00 UTC | Bayerische Staatsoper Nationaltheater, Max-Joseph-Platz 2, München, D-80539, Germany

Concert with Rolando Villazón and the Württembergische Philharmonie Reutlingen
2022-07-16 19:30 UTC | Dreiländerhalle, Dr.-Emil-Brichta-Straße 11, Passau, 94036, Germany

Norma in Marina Abramović's 7 Deaths of Maria Callas
2022-11-04 20:00, 2022-11-05 15:00, 2022-11-05 20:00, 2022-11-06 14:00 UTC | Koninklijk Theater Carré, Amstel 115-125, Amsterdam, 1018 EM, Netherlands
Music by Marko Nikodijević and Scenes from the operas of Vincenzo Bellini, Georges Bizet, Gaetano Donizetti, Giacomo Puccini und Giuseppe Verdi
Libretti by Giuseppe Adami and Giovacchino Forzano
With English and German surtitles
Muskalische Leitung (Conductor): Yoel Gamzou
Inszenierung (Director): Marina Abramović
Co-director: Lynsey Peisinger
Film Actor and Performance: Marina Abramović
Film Actor: Willem Dafoe
About 7 Deaths of Maria Callas:
Both Maria Callas and Marina Abramović consider their art their life. For them private person and artist are one and the same: “Could art, should art, be isolated from life? I began to feel more and more strongly that art must be life,” says the artist in her book.
Seven different arias in which Maria Callas shone in her interpretations her entire life long, are performed in concertante by seven singers: “Addio del passato” from La traviata, “Vissi d’arte” from Tosca, “Ave Maria” from Otello, “Un bel dì vedremo” from Madama Butterfly, “Habanera” from Carmen, “Il dolce suono” from Lucia di Lammermoor and the most important aria of all in the soprano’s life: “Casta Diva” from Norma. “In this performance we are taking a very conceptual approach to opera. We are stripping the usual elements of opera down to the minimum, and are bridging the elements of video and performance, narrative storytelling and music with conceptual simplicity.”, Abramović explains. The audience hears her voice commenting on aspects from the opera from her own perspective, at which point the work’s central scene is then sung. At the same time we see in a film how Marina Abramović plays the death of the opera heroine: “I want to reenact the death scenes from seven operas – seven deaths that Maria Callas has died before me”, she reveals. In many scenes the operatic figure does not die alone, but rather is killed by a man. “For Maria Callas the man who kills her on the opera stage was always Aristoteles Onassis,” writes Abramović in her autobiography. As the murderer at her side the artist chose the multiple Oscar-nominated actor Willem Dafoe (Platoon, The Florida Project, At Eternity’s Gate).
The scenes are linked by new music from Serbian composer Marko Nikodijević. As the highlight of the evening the queen of performance art herself comes to the stage and appears as Maria Callas accompanied by Nikodijević’s 20-minute new composition: “This project is very close to my heart. It is about dying of a broken heart, dying for love. I hope the public can find a part of themselves in these timeless subjects.”

Vierte Magd in Elektra
2022-11-17 20:00, 2022-11-20 18:00 UTC | Bayerische Staatsoper Nationaltheater, Max-Joseph-Platz 2, München, D-80539, Germany
Conductor: Vladimir Jurowski
Director: Herbert Wernicke
Bayerisches Staatsorchester

Elektra: Elena Pankratova
Klytämnestra: Violeta Urmana
Chrysothemis: Vida Miknevi
Aegisth: John Daszak
Orest: Károly Szmerédy
Der Pfleger des Orest: Bálint Szabó
Die Vertraute: Xenia Puskorz-Thomas
Die Schleppträgerin: Jasmin Delfs
Ein junger Diener: Kevin Conners
Ein alter Diener: Martin Snell
Die Aufseherin: Sinéad Campbell-Wallace
Erste Magd: Lindsay Ammann
Zweite Magd: Emily Sierra
Dritte Magd: Daria Proszek
Vierte Magd: Emily Pogorelc
Fünfte Magd: Evgeniya Sotnikova
