A “star event” wrote The Guardian about the performance of Johannes Brahms’ “Second Symphony” with the Bavarian Radio Symphony Orchestra under Mariss Jansons. Recalling that this orchestra is now “among the leading ensembles in the world,” The Guardian asserted that “their style is generous, warm and big-hearted, their relationship with Jansons one of mutual adoration.”
In 1926 Leoš Janáček wrote his contribution to liturgical settings in a language last spoken about a thousand years ago. With the “Glagolitic Mass” he wanted to emphasize the common bonds between the Slavic nations by writing the text in Old Church Slavonic, which used an alphabet devised by Saints Cyril and Methodius called “Glagolitic”. In this “blistering performance” (The Guardian) filmed at the Lucerne Easter Festival 2012, the Bavarian Radio Chorus complemented the instrumental ensemble of the Bavarian Radio Symphony Orchestra under Mariss Jansons to “give a compelling reading with an enormous breadth of dynamics and an impressive presence, and with the Slovak-Russian quartet guaranteeing idiomatic soli” (Neue Zürcher Zeitung).
Aktualisiert: 2023-05-18
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Walter Felsenstein (1901–1975), founder and general director of the Komische Oper in Berlin, was one of the twentieth century’s greatest creative theatre directors, who played a hugely important role in the revival of opera as a theatrical art form. A brilliant artist who directed over 190 productions during the course of his career, he was equally committed to the works, their creators, the ensemble and the audience.
“Vixen is a work I fell strangely in love with […]” said Felsenstein and created a fable with a distinctive dramatic structure. By directing this opera Felsenstein illustrated the amazing nature of the piece with all its philosophical depth and poetical power. His production of The Cunning Little Vixen is supported by the visionary setting of Rudolf Heinrich. The bright and energetic music of the Czech composer Leoš Janáèek comprises humanity and offers pleasant warmth to the stories of gifted poet Rudolf Tìsnohlídek. Felsenstein describes Leoš Janáèek as “[…] a unique and inimitable phenomenon in the history of music.” The production narrates the life story of a little fox. It contains a fine mix of cute and funny elements together with serious realism in one story. Two early performances were given on 11 and 12 May ahead of a guest performance by the Komische Oper in Prague. The premiere took place on 30 May 1956. The magnetic recording of this production by Deutscher Fernsehfunk took place in 1965 at the Adlershof studios. With its profound and touching story the Cunning Little Vixen is an opera like no other.
Aktualisiert: 2019-04-18
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A “star event” wrote The Guardian about the performance of Johannes Brahms’ “Second Symphony” with the Bavarian Radio Symphony Orchestra under Mariss Jansons. Recalling that this orchestra is now “among the leading ensembles in the world,” The Guardian asserted that “their style is generous, warm and big-hearted, their relationship with Jansons one of mutual adoration.”
In 1926 Leoš Janáček wrote his contribution to liturgical settings in a language last spoken about a thousand years ago. With the “Glagolitic Mass” he wanted to emphasize the common bonds between the Slavic nations by writing the text in Old Church Slavonic, which used an alphabet devised by Saints Cyril and Methodius called “Glagolitic”. In this “blistering performance” (The Guardian) filmed at the Lucerne Easter Festival 2012, the Bavarian Radio Chorus complemented the instrumental ensemble of the Bavarian Radio Symphony Orchestra under Mariss Jansons to “give a compelling reading with an enormous breadth of dynamics and an impressive presence, and with the Slovak-Russian quartet guaranteeing idiomatic soli” (Neue Zürcher Zeitung).
Aktualisiert: 2021-05-20
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„Jenůfa“, still Janáček’s most successful and most often performed opera, is a musical study of the social milieu. Christof Loy moves the action of Janáček’s drama, revolving around the strict sacristan (the Kostelnička) who drowns her stepdaughter Jenůfa’s illegitimate child for fear of gossip and concern for her future, to a bare white room in which the passage of the seasons is only hinted. It is the sacristan’s stark prison cell – where he recounts past events and takes the spectator into the story seen in retrospective.
Michaela Kaune sings the title role of Jenůfa with warm soprano,
her despair at her situation palpable at every moment, culminating finally in the discovery of her dead son. Jenůfa’s stepmother is sung by American mezzo-sorano Jennifer Larmore, who delights with her great vocal expressivity and beautiness. Musical Director Donald Runnicles conducts the Orchestra of the Deutsche Oper Berlin, which perfectly balances the churning intensity and textural refinement.
“Sometimes all that is needed is to match the right director with the right piece: Christof Loy and Janáček’s ‘Jenůfa’ are evidently just such a happy case, giving the Deutsche Oper Berlin the rare example of an opera production as intelligent as it is modern.” Opernglas
“Jennifer Larmore as the Kostelnička ... endows the role with singing of uncommon beauty and vulnerability while never slighting its more dramatic moments.” The New York Times
Aktualisiert: 2020-02-13
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„Jenůfa“, still Janáček’s most successful and most often performed opera, is a musical study of the social milieu. Christof Loy moves the action of Janáček’s drama, revolving around the strict sacristan (the Kostelnička) who drowns her stepdaughter Jenůfa’s illegitimate child for fear of gossip and concern for her future, to a bare white room in which the passage of the seasons is only hinted. It is the sacristan’s stark prison cell – where he recounts past events and takes the spectator into the story seen in retrospective.
Michaela Kaune sings the title role of Jenůfa with warm soprano,
her despair at her situation palpable at every moment, culminating finally in the discovery of her dead son. Jenůfa’s stepmother is sung by American mezzo-sorano Jennifer Larmore, who delights with her great vocal expressivity and beautiness. Musical Director Donald Runnicles conducts the Orchestra of the Deutsche Oper Berlin, which perfectly balances the churning intensity and textural refinement.
“Sometimes all that is needed is to match the right director with the right piece: Christof Loy and Janáček’s ‘Jenůfa’ are evidently just such a happy case, giving the Deutsche Oper Berlin the rare example of an opera production as intelligent as it is modern.” Opernglas
“Jennifer Larmore as the Kostelnička ... endows the role with singing of uncommon beauty and vulnerability while never slighting its more dramatic moments.” The New York Times
Aktualisiert: 2019-04-24
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