Synonyms for jenufa or Related words with jenufa
Examples of "jenufa"
In 1998 she sang Herodias for the Los Angeles Opera, and in 2009 she appeared as Grandmother Buryjovka in "
" at the Bavarian State Opera.
In her later years, and like many "big" soprano voices, Rysanek reverted to dramatic mezzo-soprano roles like Ortrud in Wagner's "Lohengrin", Herodias in Strauss's "Salome", Klytemnestra in his "Elektra" and the Kostelnička in Janáčeks "
He was one of the most frequent conductors of the Vienna State Opera, giving more than 2000 performances, among which emerge the premieres of Richard Strauss' "Elektra" in 1909 and Leos Janáceks "
" in 1918.
Her translations and adaptations include several plays by Marivaux (Shared Experience, Radio 3), Sophocles’ Theban Plays (RSC), Euripides’ "Hecuba" (ACT, San Francisco), Eduardo de Filippo, Gabriela Preissova’s "
" (Arcola), and Racine ("Phèdre", "Britannicus").
After his studies he held appointments in Hagen, Münster and Bonn. From 2000 to 2003, he was "Generalmusikdirektor" (GMD) at the Osnabrück Theatre. His freelance work since his Osnabrück tenure has included engagements at the Opéra National de Lyon of "Wozzeck" (2003), a Janáček cycle of "
", "Káťa Kabanová" and "The Makropulos Affair" (2004), and "Lohengrin" (2006).
Continuing his success as a guest conductor, he conducted the award-winning 2006 production of "
" at the English National Opera, directed by David Alden. In the summer season of 2008 he conducted productions of "Tosca" at the Royal Swedish Opera and of "Don Giovanni" at Opera Australia.
In 2007, she performed in Basel, where she performed songs of Schubert and French opera arias. The artist also gave a series of Mozart concerts in Warsaw, Zurich, Osnabrück, Pamplona and Toulouse and appeared in recital at the Festival of Sacred Music in Nice, and at the Opera de Toulon (Jano in "
He was known for his interpretations of the standard symphonic and operatic repertoire - works of Beethoven and Wagner -, as well as for championing new works (Alban Berg, Ernst Krenek, Darius Milhaud and Igor Stravinsky). In 1925, he conducted the world première of Alban Berg's opera, "Wozzeck". and the first German performance of Janáček's opera,
Desdemona in Othello, Elizabeth Valois in Don Carlos, Amelia in Simon Boccanegra, Leonora in Il Trovatore, Amelia in Un Ballo Di Maschera , Liu in Puccini's Turandot, Mimi in La Bohème, Tosca in Tosca, Santuzza in Mascagni's Cavalleria Rusticana, Nedda in Leoncavallo's Pagliacci, Isolde in Wagner's Tristan und Isolde, Elizabeth in Tannhäuser, Kundri in Parsifal, Katya in Janacek's Katya Kabanova, Kostelnichka in Janacek's
, Fata Morgana in Prokofiev's Love for Three Oranges, Anoush in Tigranian's Anoush, Shoushan in Tigranian's David Bek and others...
In 2012, Larmore began adding dramatic soprano roles to her repertoire, singing Lady Macbeth in Verdi's "Macbeth" at the Grand Théâtre de Genève and Kostelnicka in Janáček's "
" at the Deutsche Oper Berlin. In 2013, she reprised the role Lady Macbeth for the celebrations of Verdi's bicentenary at the Teatro Comunale di Bologna and in Reggio Emilia. In 2013 she also starred in the world premiere of "The Fall of Fukuyama", a new opera by Gregoire Hetzel and Camille de Toledo.
He was awarded the same award as well in 1987/1988 for Best Show, “
" of Leoš Janáček, performed at the Spoleto Festival which he conducted and Günter Krämer directed. Memorable still remains his conducting of Richard Strauss “Elektra” with Krämer signing the production and Deborah Polaski in the title role as well as Mozart’s “Nozze di Figaro” directed by Gian Carlo Menotti and the part of the Countess sung by the very young Renee Fleming and Susanna sung by Youngok Shin.
Continuing his career in Europe, Mr. Brubaker appeared at the Salzburg Festival,singing the title role in Der König Kandaules, and Alviano in Die Gezeichneten (“Robert Brubaker is a tour-de-force as Alvanio using his light helden tenorvoice to convey the anguish he feels.” - Michael Sinclair, TheOpera Critic); Bacchus in Ariadne auf Naxos at the Royal Opera Covent Garden; Laca in
at the Glynebourne Festival.
Beginning in 1956, he appeared outside Austria, in places such as Milan, Rome, Paris, Amsterdam, Brussels,Teatro Colón in Buenos Aires (Idomeneo,
, Die Frau Ohne Schatten and Les Contes de Hoffmann), Berlin and Munich. He made his debut at the Bayreuth Festival, as Walther von Stolzing in Wagner's "Die Meistersinger von Nürnberg", in 1968. He also appeared regularly at the Vienna Volksoper in operetta, notably "Die Fledermaus".
In 2004 Lavinia made a tour through the Netherlands in the series "Het Debuut" together with the
Quartet. In the period 2006-2008, Lavinia is performing in the series "Rising Stars" with concerts in Cologne (Philharmonie), Amsterdam (Concertgebouw), Paris (Cité-de-la-Musique), Vienna (Wiener Musikverein), Birmingham (Symphony Hall), Athens (Concert Hall), Brussels (Paleis voor schone kunsten), Luxembourg (Philharmonie), Stockholm (Konserthus) and New York (Carnegie Hall).
At Salzburg, she appeared as Eurydice (1931), Reiza (1933) and Donna Elvira (1934). She made her Covent Garden debut as Eva in 1934, and sang Sieglinde in the 1937 Ring Cycles. Her large repertory included the title roles in "Die agyptische Helena", "
" and Gluck’s "Iphigenie en Tauride", Djula in Gotovac's "Ero the Joker", "Pamina", "Tosca" and "Marguerite". Müller possessed a warm, vibrant voice and sang with a rare purity of tone. (Harold Rosenthal)
In November 1995, Morris performed the role of Anthony Candolino in the original production of Terrence McNally's Tony Award-winning "Master Class". In June 1996 he sang Pinkerton with Cheryl Barker in "Madama Butterfly" for Opera Australia. Morris made his Seattle Opera debut in 1999 in Samuel Barber's "Vanessa" and his Metropolitan Opera debut in 2007 as Steva in "
", the latter being broadcast worldwide.
French composer Darius Milhaud made the ground-breaking introduction of marimbas into Western classical music in his 1947 "Concerto for Marimba and Vibraphone". Four-mallet grip was employed to play chords, enhancing interest for the instrument. In the late 20th century, modernist and contemporary composers found new ways to use marimba: notable examples include Leoš Janáček ("
"), Carl Orff ("Antigonae"), Karl Amadeus Hartmann, Hans Werner Henze ("Elegy for Young Lovers"), Pierre Boulez ("Le marteau sans maître") and Steve Reich.
Don Giovanni, Der Ring des Nibelungen (Staatstheater Kassel 1997 - 99), Tristan und Isolde, Tannhäuser, Der Fliegende Holländer (Kassel, Aachen, Festival in Heidenheim, Ferrara, Parma, Padua, Palm Beach Opera / Florida), Wozzeck, Tosca, La Bohème, Madama Butterfly, Il tabarro, Gianni Schicchi, Manon Lescaut, Rigoletto,
, Sibelius': "The maiden in the tower" and Rachmaninow's Francesca da Rimini (First Premiere in Germany), Pagliacci, Cavalleria rusticana and Ernst Krenek's Orpheus und Eurydike.
Kaduce's repertoire includes Donna Anna and Donna Elvira (Mozart's "Don Giovanni"), Violetta (Verdi's "La Traviata"), Mimi and Musetta (Puccini's "La Boheme"), Nedda ("I Pagliacci"), Juliette (Gounod's "Romeo et Juliette"), the title roles in "Suor Angelica", "Rusalka", "Susannah", "
", "Thais", and Richard Strauss's "Salome". Her concert repertoire includes Samuel Barber's "Prayers of Kierkegaard", Alban Berg's"Seven Early Songs", Richard Strauss's" Vier letzte Lieder", and Benjamin Britten's "War Requiem".
Nuccia Focile has appeared in many roles, such as Nannetta in "Falstaff" by Verdi, Nedda in "Pagliacci", Violetta in "Traviata", Elisabeth in Verdi's "Don Carlos", Susanna in "Le Nozze di Figaro", the title role in Madama Butterfly and Katya Kabanova, Tatiana in Onegin, Amelia in "Simon Boccanegra", the title role in
for the Welsh National Opera, Despina in Mozart's "Così fan tutte" for both the Metropolitan Opera and Lyric Opera of Chicago, Adina in Donizetti's "L'elisir d'amore" for Opéra de Monte-Carlo, Mimì for Teatro Comunale di Bologna and Seattle Opera, and Musetta (also in "La bohème") for Royal Opera, London.
Copyright © 2017