Emily Pogorelc

Cherubino in Le nozze di Figaro
2022-05-24 | 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

Cherubino in Le nozze di Figaro
2022-05-22 | 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.

Soprano Soloist in Brahms Requiem
2022-03-17 19:30 UTC | Eldborg Concert Hall in Harpa Concert Hall, Austurbakki 2, Reykjavík, 101, Iceland
CONDUCTOR
Bertrand de Billy
SOLOISTS
Emily Pogorelc, soprano
Jóhann Kristinsson, baritone
CHOIRS
Mótettukórinn choir and Söngsveitin Fílharmónía choir

PROGRAM
Olivier Messiaen Les Offrandes oubliées
Johannes Brahms Ein deutsches Requiem

On February 2, 1865, Johannes Brahms received an urgent telegram from his brother Fritz: “If you want to see our mother once again, come immediately.” At age 76 Brahms’ mother died of a stroke. The loss affected the composer profoundly, and almost immediately he began work on A German Requiem. The requiem mass was a venerable musical genre by the time Brahms began to compose his, but Brahms’ requiem would be unlike any other. Instead of setting the traditional Catholic, Latin text used by Mozart Berlioz, and countless others, Brahms created his own highly personal version from excerpts of the Lutheran Bible and apocrypha. Musically, the requiem was a major milestone in Brahms’ career. Indeed, it would be the longest and most grandly scored piece he would ever write. Few of Brahms’ works display their influences as openly as the German Requiem does; numerous passages clearly evoke the music of Schumann, Beethoven and Bach. At the same time, every measure is unmistakably Brahms. Observe the masterwork in concert with the Iceland Philharmonic in the stunning Harpa Concert Hall.

Niece 2 in Peter Grimes
2022-03-13 19:00, 2022-03-10 19:00, 2022-03-06 18:00, 2022-03-03 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.

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.

Najade in Ariadne auf Naxos
2022-01-26 19:00, 2022-01-23 19:00, 2022-01-18 19:30 (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!

Musetta in La bohème
2022-01-09 18:00 (Europe/Helsinki), 2022-01-07 19:00 (Europe/Paris), 2022-01-05 19:30 (Europe/Paris) | 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!

Adina in L'elisir d'amore
2021-12-17 19:30 UTC | Bayerische Staatsoper Nationaltheater, Max-Joseph-Platz 2, München, D-80539, Germany
Composer Gaetano Donizetti · Felice Romani after Eugène Scribe
Italian with English and German surtitles
Musikalische Leitung: Evelino Pidò
Inszenierung: David Bösch
Adina: Emily Pogorelc
Nemorino: Bogdan Volkov
Belcore: Andrè Schuen
Dulcamara: Erwin Schrott
Giannetta: Jessica Niles
Bayerisches Staatsorchester
Chor der Bayerischen Staatsoper
Variety is a scarce commodity in the glum little village depicted by Gaetano Donizetti and his librettist Felice Romani – the only prospects beyond the stifling confines of this backwater seem to be the illusion of a hero’s life as a soldier, even if it might lead to an untimely death.
But what wonders a little bottle of Bordeaux can work! Shrinking violet Nemorino really turns up the volume courting Adina after just a couple of sips of the love elixir he purchased from miracle doctor, Dulcamara. And the potion promptly takes effect. Nemorino turns into a daredevil, preferring to die in battle rather than see his beloved Adina fall into the hands of strapping Sergeant Belcore. The ambitious Adina cannot resist the charms of the bold Nemorino – and even Dulcamara is flabbergasted at the energy and transformation released by his deception: this woebegone world of dolorous yearning is suddenly filled with color and fantasy.
And the listeners are left with the hope that this music might be able to transform them, too.Running Sneakers | Men’s shoes

Adina in L'elisir d'amore
2021-12-14 19:00 UTC | Bayerische Staatsoper Nationaltheater, Max-Joseph-Platz 2, München, D-80539, Germany
Composer Gaetano Donizetti · Felice Romani after Eugène Scribe
Italian with English and German surtitles
Musikalische Leitung: Evelino Pidò
Inszenierung: David Bösch
Adina: Emily Pogorelc
Nemorino: Bogdan Volkov
Belcore: Andrè Schuen
Dulcamara: Erwin Schrott
Giannetta: Jessica Niles
Bayerisches Staatsorchester
Chor der Bayerischen Staatsoper
Variety is a scarce commodity in the glum little village depicted by Gaetano Donizetti and his librettist Felice Romani – the only prospects beyond the stifling confines of this backwater seem to be the illusion of a hero’s life as a soldier, even if it might lead to an untimely death.
But what wonders a little bottle of Bordeaux can work! Shrinking violet Nemorino really turns up the volume courting Adina after just a couple of sips of the love elixir he purchased from miracle doctor, Dulcamara. And the potion promptly takes effect. Nemorino turns into a daredevil, preferring to die in battle rather than see his beloved Adina fall into the hands of strapping Sergeant Belcore. The ambitious Adina cannot resist the charms of the bold Nemorino – and even Dulcamara is flabbergasted at the energy and transformation released by his deception: this woebegone world of dolorous yearning is suddenly filled with color and fantasy.
And the listeners are left with the hope that this music might be able to transform them, too.Best Sneakers | Air Jordan Sneakers

Adina in L'elisir d'amore
2021-12-11 18:00 UTC | Bayerische Staatsoper Nationaltheater, Max-Joseph-Platz 2, München, D-80539, Germany
Composer Gaetano Donizetti · Felice Romani after Eugène Scribe
Italian with English and German surtitles
Musikalische Leitung: Evelino Pidò
Inszenierung: David Bösch
Adina: Emily Pogorelc
Nemorino: Bogdan Volkov
Belcore: Andrè Schuen
Dulcamara: Erwin Schrott
Giannetta: Jessica Niles
Bayerisches Staatsorchester
Chor der Bayerischen Staatsoper
Variety is a scarce commodity in the glum little village depicted by Gaetano Donizetti and his librettist Felice Romani – the only prospects beyond the stifling confines of this backwater seem to be the illusion of a hero’s life as a soldier, even if it might lead to an untimely death.
But what wonders a little bottle of Bordeaux can work! Shrinking violet Nemorino really turns up the volume courting Adina after just a couple of sips of the love elixir he purchased from miracle doctor, Dulcamara. And the potion promptly takes effect. Nemorino turns into a daredevil, preferring to die in battle rather than see his beloved Adina fall into the hands of strapping Sergeant Belcore. The ambitious Adina cannot resist the charms of the bold Nemorino – and even Dulcamara is flabbergasted at the energy and transformation released by his deception: this woebegone world of dolorous yearning is suddenly filled with color and fantasy.
And the listeners are left with the hope that this music might be able to transform them, too.buy footwear | Yeezy Boost 350 Trainers

Soloist in The Mozartists Concert: 1771— Mozart’s Perspective
2021-11-22 19:30 UTC | Cadogan Hall, 5 Sloane Terrace, London, SW1X 9DQ, United Kingdom
Ian Page’s ground-breaking MOZART 250 project continues with a fascinating survey of Mozart’s activities in 1771. The vivacious programme features symphonies and arias that he wrote himself as well as highlights from operas by Paisiello and Hasse that he heard during the course of his travels in Italy.
Ian Page conducts his dynamic period-instrument orchestra, and the soloist is the exciting young American soprano Emily Pogorelc, winner of multiple awards and here making her London concert debut.
Emily Pogorelc, soprano
The Mozartists
Ian Page, conductor
Program
Mozart Symphony No. 12 in G, K.110/75b
Mozart Concert aria, “Non curo l’affetto”, K.74b
Paisiello “Onde amiche… Smarrita, tremante” from Annibale in Torino
Mozart Symphony No. 13 in F major, K.112
Mozart
Aria, “Ah, perchè cercar degg’io” (1st version) from Il sogno di Scipione
Hasse Aria, “Non esser troppo altero” from Il Ruggiero
Mozart Aria, “L’ombra de’ rami tuoi” from Ascanio in Alba, K.111
Mozart Symphony No. 14 in A major, K.114
https://www.mozartists.com/1771-mozarts-perspective/

Zaunschlüpfer in Die Vögel
2021-11-18 19:30 UTC | Bayerische Staatsoper Nationaltheater, Max-Joseph-Platz 2, München, D-80539, Germany
Composer: Walter Braunfels · Libretto by the composer based on Aristophanes
In German with German and English surtitles | New Production
Musikalische Leitung (Conductor): Ingo Metzmacher
Inszenierung (Director): Frank Castorf
Prometheus: Wolfgang Koch
Wiedhopf: Günter Papendell
Nachtigall: Caroline Wettergreen
Zaunschlüpfer: Emily Pogorelc
1. Drossel: Yajie Zhang
2. Drossel: Eliza Boom
Adler: Bálint Szabó
Rabe: Theodore Platt
Flamingo: Granit Musliu
Hoffegut: Charles Workman
Ratefreund: Michael Nagy
Bayerisches Staatsorchester
Chorus of the Bayerische Staatsoper
#BSOvögel
More about Die Vogel (The Birds):
Based on Aristophanes’s ancient comedy, The Birds, the world premiere of his adaptation of the ancient material in Munich in 1920 was a huge breakthrough for composer Walter Braunfels. With unprecedented hubris, the birds believe they are the Gods’ equal and can build their own powerful state, which will practically starve the Gods. How mistaken they are – at once foolhardy and ridiculously risible, with a tragic end for the rebels.
Walter Braunfels version is idiosyncratic and stand-alone – Braunfels adds a deeply romantic aspect to the piece while remaining true to the comedy. He not only understands the new polity of the birds in political terms; he also does so artistically and lyrically. The new state’s failure is attributed to both a lust for power and a misplaced idealisation. The ancient myth is reflected in the sorrowful experiences of a world of yesterday. For Braunfels the ruins of the First World War are visible signs all around of both political and spiritual decay – his opera is a final emphatic uprising against the fragmentation of the present. One hundred years later the work’s first new production now follows at the point of its world premiere.bridgemedia | Men's Casual Shoes, Trainers, Sneakers

Zaunschlüpfer in Die Vögel
2021-11-14 19:00 UTC | Bayerische Staatsoper Nationaltheater, Max-Joseph-Platz 2, München, D-80539, Germany
Composer: Walter Braunfels · Libretto by the composer based on Aristophanes
In German with German and English surtitles | New Production
Musikalische Leitung (Conductor): Ingo Metzmacher
Inszenierung (Director): Frank Castorf
Prometheus: Wolfgang Koch
Wiedhopf: Günter Papendell
Nachtigall: Caroline Wettergreen
Zaunschlüpfer: Emily Pogorelc
1. Drossel: Yajie Zhang
2. Drossel: Eliza Boom
Adler: Bálint Szabó
Rabe: Theodore Platt
Flamingo: Granit Musliu
Hoffegut: Charles Workman
Ratefreund: Michael Nagy
Bayerisches Staatsorchester
Chorus of the Bayerische Staatsoper
#BSOvögel
More about Die Vogel (The Birds):
Based on Aristophanes’s ancient comedy, The Birds, the world premiere of his adaptation of the ancient material in Munich in 1920 was a huge breakthrough for composer Walter Braunfels. With unprecedented hubris, the birds believe they are the Gods’ equal and can build their own powerful state, which will practically starve the Gods. How mistaken they are – at once foolhardy and ridiculously risible, with a tragic end for the rebels.
Walter Braunfels version is idiosyncratic and stand-alone – Braunfels adds a deeply romantic aspect to the piece while remaining true to the comedy. He not only understands the new polity of the birds in political terms; he also does so artistically and lyrically. The new state’s failure is attributed to both a lust for power and a misplaced idealisation. The ancient myth is reflected in the sorrowful experiences of a world of yesterday. For Braunfels the ruins of the First World War are visible signs all around of both political and spiritual decay – his opera is a final emphatic uprising against the fragmentation of the present. One hundred years later the work’s first new production now follows at the point of its world premiere.Sportswear Design | nike shoes,cheap jordan,cheap nike,air jordan shoes,shoes made in China,a-ok-nike.com

Zaunschlüpfer in Die Vögel
2021-11-12 19:30 UTC | Bayerische Staatsoper Nationaltheater, Max-Joseph-Platz 2, München, D-80539, Germany
Composer: Walter Braunfels · Libretto by the composer based on Aristophanes
In German with German and English surtitles | New Production
Musikalische Leitung (Conductor): Ingo Metzmacher
Inszenierung (Director): Frank Castorf
Prometheus: Wolfgang Koch
Wiedhopf: Günter Papendell
Nachtigall: Caroline Wettergreen
Zaunschlüpfer: Emily Pogorelc
1. Drossel: Yajie Zhang
2. Drossel: Eliza Boom
Adler: Bálint Szabó
Rabe: Theodore Platt
Flamingo: Granit Musliu
Hoffegut: Charles Workman
Ratefreund: Michael Nagy
Bayerisches Staatsorchester
Chorus of the Bayerische Staatsoper
#BSOvögel
More about Die Vogel (The Birds):
Based on Aristophanes’s ancient comedy, The Birds, the world premiere of his adaptation of the ancient material in Munich in 1920 was a huge breakthrough for composer Walter Braunfels. With unprecedented hubris, the birds believe they are the Gods’ equal and can build their own powerful state, which will practically starve the Gods. How mistaken they are – at once foolhardy and ridiculously risible, with a tragic end for the rebels.
Walter Braunfels version is idiosyncratic and stand-alone – Braunfels adds a deeply romantic aspect to the piece while remaining true to the comedy. He not only understands the new polity of the birds in political terms; he also does so artistically and lyrically. The new state’s failure is attributed to both a lust for power and a misplaced idealisation. The ancient myth is reflected in the sorrowful experiences of a world of yesterday. For Braunfels the ruins of the First World War are visible signs all around of both political and spiritual decay – his opera is a final emphatic uprising against the fragmentation of the present. One hundred years later the work’s first new production now follows at the point of its world premiere.latest Running Sneakers | Zapatillas de running Nike – Mujer

Soloist in Mozart et les femmes with Rolando Villazón
2021-11-08 19:00 UTC | East Sussex
Emily Pogorelc Joins Orchestre Philharmonique du Luxembourg for an Enchanting Mozart Evening
In a thrilling last-minute addition, soprano Emily Pogorelc joins tenor Rolando Villazón and the Orchestre Philharmonique du Luxembourg under the baton of Elias Grandy for an unforgettable night of Mozart.
This special program explores Mozart and the women who shaped his music, blending breathtaking arias, symphonic masterpieces, and fascinating storytelling. With Villazón as both performer and narrator, the evening brings history to life through music and insight, accompanied by pianist Marie-Sophie Hauzel.
Program:Wolfgang A. Mozart: Symphony N° 36 KV 425 «Linzer»: 1. Adagio – Allegro spiritoso
Wolfgang A. Mozart: «Il mio tesoro intanto» (Don Giovanni)
Wolfgang A. Mozart: «Et incarnatus est» (Mass C minor: KV 427 (417a))
Wolfgang A. Mozart: Symphony N° 36 KV 425 «Linzer»: 2. Poco adagio
Wolfgang A. Mozart: «Ch’io mi scordi di te» KV 505
Wolfgang A. Mozart: Symphony N° 36 KV 425 «Linzer»: 3. Menuetto – Trio
Wolfgang A. Mozart: «Voi che fausti ognor donate» (Il re pastore) KV 208
Wolfgang A. Mozart: «Bella mia fiamma – Resta o cara» KV 528
Wolfgang A. Mozart: «Se all’impero» (La clemenza di Tito)
Wolfgang A. Mozart: Piano concerto N° 23 KV 488: 2. Adagio
Wolfgang A. Mozart: Symphony N° 36 KV 425 «Linzer»: 4. Presto
This evening is a rare opportunity to experience Mozart’s genius through the voices of today’s finest interpreters. Don’t miss your chance to witness this one-night-only performance—secure your tickets now!
This concert happened on 08 November, 2021.
Photos from concert:

Ines in Il Trovatore
2021-11-06 19:00 UTC | Bayerische Staatsoper Nationaltheater, Max-Joseph-Platz 2, München, D-80539, Germany
Composer: Giuseppe Verdi · Libretto: Salvatore Cammarano, finished by Leone Emanuele Bardare, after “El trovador” by Antonio García Gutiérrez
In Italian with German and English surtitles
Conductor: Francesco Ivan Ciampa
Production: Olivier Py
Conte di Luna: George Petean
Leonora: Sondra Radvanovsky
Azucena: Okka von der Damerau
Manrico: Francesco Meli
Ferrando: Bálint Szabó
Ines: Emily Pogorelc
Ruiz: Evan LeRoy Johnson
Ein Zigeuner: Roman Chabaranok
Ein Bote: Joel Williams
Bayerisches Staatsorchester
Chorus of the Bayerische Staatsoper
The fabric of Il Trovatore could hardly be more gloomy: a gypsy who wishes to avenge the death of her mother at the stake, a count who wishes to use the execution of this gypsy to strike at his rival; a horrifying truth that is revealed at the moment of death. All the ingredients of Verdi’s dramatic abundance appear here: mysterious sound worlds, harsh contrasts, vocal brilliance, opulent tableaux. The cohesive narrative style gives way to the variation of suggestive musical images with which Verdi served “the most important part of the drama“: revenge.latest Running Sneakers | New Balance 530 “White” MR530SG – MR530SG

Ines in Il Trovatore
2021-11-03 19:00 UTC | Bayerische Staatsoper Nationaltheater, Max-Joseph-Platz 2, München, D-80539, Germany
Composer: Giuseppe Verdi · Libretto: Salvatore Cammarano, finished by Leone Emanuele Bardare, after “El trovador” by Antonio García Gutiérrez
In Italian with German and English surtitles
Conductor: Francesco Ivan Ciampa
Production: Olivier Py
Conte di Luna: George Petean
Leonora: Sondra Radvanovsky
Azucena: Okka von der Damerau
Manrico: Francesco Meli
Ferrando: Bálint Szabó
Ines: Emily Pogorelc
Ruiz: Evan LeRoy Johnson
Ein Zigeuner: Roman Chabaranok
Ein Bote: Joel Williams
Bayerisches Staatsorchester
Chorus of the Bayerische Staatsoper
The fabric of Il Trovatore could hardly be more gloomy: a gypsy who wishes to avenge the death of her mother at the stake, a count who wishes to use the execution of this gypsy to strike at his rival; a horrifying truth that is revealed at the moment of death. All the ingredients of Verdi’s dramatic abundance appear here: mysterious sound worlds, harsh contrasts, vocal brilliance, opulent tableaux. The cohesive narrative style gives way to the variation of suggestive musical images with which Verdi served “the most important part of the drama“: revenge.Sports Shoes | adidas

Ines in Il Trovatore
2021-10-31 18:00 UTC | Bayerische Staatsoper Nationaltheater, Max-Joseph-Platz 2, München, D-80539, Germany
Composer: Giuseppe Verdi · Libretto: Salvatore Cammarano, finished by Leone Emanuele Bardare, after “El trovador” by Antonio García Gutiérrez
In Italian with German and English surtitles
Conductor: Francesco Ivan Ciampa
Production: Olivier Py
Conte di Luna: George Petean
Leonora: Sondra Radvanovsky
Azucena: Okka von der Damerau
Manrico: Francesco Meli
Ferrando: Bálint Szabó
Ines: Emily Pogorelc
Ruiz: Evan LeRoy Johnson
Ein Zigeuner: Roman Chabaranok
Ein Bote: Joel Williams
Bayerisches Staatsorchester
Chorus of the Bayerische Staatsoper
The fabric of Il Trovatore could hardly be more gloomy: a gypsy who wishes to avenge the death of her mother at the stake, a count who wishes to use the execution of this gypsy to strike at his rival; a horrifying truth that is revealed at the moment of death. All the ingredients of Verdi’s dramatic abundance appear here: mysterious sound worlds, harsh contrasts, vocal brilliance, opulent tableaux. The cohesive narrative style gives way to the variation of suggestive musical images with which Verdi served “the most important part of the drama“: revenge.Running sport media | Nike Air Force 1 Shadow “Lucky Charms” – Gov

Lauretta in Gianni Schicchi
2021-09-19 20:30 (Europe/Helsinki) | Bayerische Staatsoper Nationaltheater, Max-Joseph-Platz 2, München, D-80539, Germany
Composer: Giacomo Puccini · Libretto by Giovacchino Forzano
In Italian with English and German surtitles
Part of Septemberfest
Musikalische Leitung (Conductor): Daniele Rustioni
Gianni Schicchi: Ambrogio Maestri
Lauretta: Emily Pogorelc
Zita: Lindsay Ammann
Rinuccio: Galeano Salas
Gherardo: Caspar Singh
Nella: Mirjam Mesak
Gheradino: Soloist from the children’s choir
Betto di Signa: Christian Rieger
Simone: Martin Snell
Marco: Sean Michael Plumb
La Ciesca: Kayleigh Decker
Maestro Spinelloccio: Donato Di Stefano
Ser Amantio di Nicolao: Andrew Hamilton
Pinellino: Roman Chabaranok
Guccio: Theodore Platt
Bayerisches Staatsorchester
About Septemberfest:
To kick off the season, the newly founded Septemberfest shows that excellence and openness need not be opposites. The highest artistic quality should be accessible to and experienced by the entire breadth of the population. This vision is one of the most important goals of Serge Dorny. For the opening of the September Festival, Jonas Kaufmann will sing live in Ansbach in the Opera for All concert of the Bavarian State Orchestra. For ten days, we then celebrate the opening of the season with a varied program full of surprises. Operas by Giacomo Puccini, Giuseppe Verdi and Richard Wagner and the ballet productions Liaison and Paradigma with different choreographies will be performed in the Prinzregententheater, the Nationaltheater and the Cuvilliés-Theater. A chamber concert by the Orchestra Academy and a song recital with Christian Gerhaher complete the musical program.
Let us celebrate together! As part of the September Festival, you have the opportunity to purchase tickets for all performances on September 18 and 19 at the standard price of €25 or €15 (tickets in the last three seating categories €8) on all seats. Tickets are available from Sat, 24.07.21 by phone and online sales.latest Running | Nike

Liebespaar in Il Tabarro
2021-09-19 17:30 (Europe/Helsinki) | Bayerische Staatsoper Nationaltheater, Max-Joseph-Platz 2, München, D-80539, Germany
Composer: Giacomo Puccini · Libretto by Giovacchino Forzano
In Italian with English and German surtitles
Part of Septemberfest
Musikalische Leitung (Conductor): Daniele Rustioni
Michele: Wolfgang Koch
Luigi: Yonghoon Lee
Il Tinca: Kevin Conners
Il Talpa: Martin Snell
Giorgetta: Eva-Maria Westbroek
La Frugola: Lindsey Ammann
Ein Liedverkäufer: Galeano Salas
Ein Liebespaar: Emily Pogorelc and Galeano Salas
Bayerisches Staatsorchester
About Septemberfest:
To kick off the season, the newly founded Septemberfest shows that excellence and openness need not be opposites. The highest artistic quality should be accessible to and experienced by the entire breadth of the population. This vision is one of the most important goals of Serge Dorny. For the opening of the September Festival, Jonas Kaufmann will sing live in Ansbach in the Opera for All concert of the Bavarian State Orchestra. For ten days, we then celebrate the opening of the season with a varied program full of surprises. Operas by Giacomo Puccini, Giuseppe Verdi and Richard Wagner and the ballet productions Liaison and Paradigma with different choreographies will be performed in the Prinzregententheater, the Nationaltheater and the Cuvilliés-Theater. A chamber concert by the Orchestra Academy and a song recital with Christian Gerhaher complete the musical program.
Let us celebrate together! As part of the September Festival, you have the opportunity to purchase tickets for all performances on September 18 and 19 at the standard price of €25 or €15 (tickets in the last three seating categories €8) on all seats. Tickets are available from Sat, 24.07.21 by phone and online sales.Sportswear free shipping | nike air aggress force women basketball camp 2018 270 Unisex Siyah Spor Ayakkabı Kadin Spor Ayakkabı & Sneaker 3167193 , Sciaky

Liebespaar in Il Tabarro
2021-09-18 16:30 (Europe/Helsinki) | Bayerische Staatsoper Nationaltheater, Max-Joseph-Platz 2, München, D-80539, Germany
Composer: Giacomo Puccini · Libretto by Giovacchino Forzano
In Italian with English and German surtitles
Part of Septemberfest
Musikalische Leitung (Conductor): Daniele Rustioni
Michele: Wolfgang Koch
Luigi: Yonghoon Lee
Il Tinca: Kevin Conners
Il Talpa: Martin Snell
Simone: Martin Snell
Giorgetta: Eva-Maria Westbroek
La Frugola: Lindsey Ammann
Ein Liedverkäufer: Galeano Salas
Ein Liebespaar: Emily Pogorelc and Galeano Salas
Bayerisches Staatsorchester
About Septemberfest:
To kick off the season, the newly founded Septemberfest shows that excellence and openness need not be opposites. The highest artistic quality should be accessible to and experienced by the entire breadth of the population. This vision is one of the most important goals of Serge Dorny. For the opening of the September Festival, Jonas Kaufmann will sing live in Ansbach in the Opera for All concert of the Bavarian State Orchestra. For ten days, we then celebrate the opening of the season with a varied program full of surprises. Operas by Giacomo Puccini, Giuseppe Verdi and Richard Wagner and the ballet productions Liaison and Paradigma with different choreographies will be performed in the Prinzregententheater, the Nationaltheater and the Cuvilliés-Theater. A chamber concert by the Orchestra Academy and a song recital with Christian Gerhaher complete the musical program.
Let us celebrate together! As part of the September Festival, you have the opportunity to purchase tickets for all performances on September 18 and 19 at the standard price of €25 or €15 (tickets in the last three seating categories €8) on all seats. Tickets are available from Sat, 24.07.21 by phone and online sales.bridgemedia | Patike – Nike Air Jordan, Premium, Retro Klasici, Sneakers , Gov

Lauretta in Gianni Schicchi
2021-09-18 14:00 (Europe/Helsinki) | Bayerische Staatsoper Nationaltheater, Max-Joseph-Platz 2, München, D-80539, Germany
Composer: Giacomo Puccini · Libretto by Giovacchino Forzano
In Italian with English and German surtitles
Part of Septemberfest
Musikalische Leitung (Conductor): Daniele Rustioni
Gianni Schicchi: Ambrogio Maestri
Lauretta: Emily Pogorelc
Zita: Lindsay Ammann
Rinuccio: Galeano Salas
Gherardo: Caspar Singh
Nella: Mirjam Mesak
Gheradino: Soloist from the children’s choir
Betto di Signa: Christian Rieger
Simone: Martin Snell
Marco: Sean Michael Plumb
La Ciesca: Kayleigh Decker
Maestro Spinelloccio: Donato Di Stefano
Ser Amantio di Nicolao: Andrew Hamilton
Pinellino: Roman Chabaranok
Guccio: Theodore Platt
Bayerisches Staatsorchester
About Septemberfest:
To kick off the season, the newly founded Septemberfest shows that excellence and openness need not be opposites. The highest artistic quality should be accessible to and experienced by the entire breadth of the population. This vision is one of the most important goals of Serge Dorny. For the opening of the September Festival, Jonas Kaufmann will sing live in Ansbach in the Opera for All concert of the Bavarian State Orchestra. For ten days, we then celebrate the opening of the season with a varied program full of surprises. Operas by Giacomo Puccini, Giuseppe Verdi and Richard Wagner and the ballet productions Liaison and Paradigma with different choreographies will be performed in the Prinzregententheater, the Nationaltheater and the Cuvilliés-Theater. A chamber concert by the Orchestra Academy and a song recital with Christian Gerhaher complete the musical program.
Let us celebrate together! As part of the September Festival, you have the opportunity to purchase tickets for all performances on September 18 and 19 at the standard price of €25 or €15 (tickets in the last three seating categories €8) on all seats. Tickets are available from Sat, 24.07.21 by phone and online sales.best Running shoes brand | Men’s shoes

Violetta Valéry in 7 Deaths of Maria Callas
2021-07-26 19:00 UTC | Bayerische Staatsoper Nationaltheater, Max-Joseph-Platz 2, München, D-80539, Germany
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
Violetta Valéry: Emily Pogorelc
Floria Tosca: Selene Zanetti
Desdemona: Leah Hawkins
Cio-Cio-San: Kiandra Howarth
Carmen: Nadezhda Karyazina
Lucia Ashton: Adela Zaharia
Norma: Lauren Fagan
#BSO7deaths
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.”Running Sneakers Store | Nike
