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Offenbach's operetta "Bluebeard" comes to Mainz

"The social entanglements" Regiseeur Soren Schumacher Jacques Offenbach will always interesting. Also comes in its opinion in the operetta "Bluebeard," the aspect of "human, humorous satire with a political sting" to. He is pleased with the work on a piece of fun, twists and profundity, as he says. At the Great House of the State Theatre, he has worked this season for the first time as guest director and this Saturday brings the three-act "Opéra bouffe" the premiere. Conductor, Thomas Dorsch, who just recently worked as a conductor here, and as for this season at the Oldenburg State Theatre Musical Top section is active.

Schumacher has moved the work in the 1920s in a gangster milieu somewhere between Al Capone and the godparents. "We have had much to laugh at the rehearsals," he offers a view of the prevailing atmosphere. And although "Blue Beard" is anything but a dance opera, the dances of the 20s such as the Charleston will play a role. And there's a machine gun ballet, but is yet to reveal any details.

in the Mainz Ensemble Schumacher has identified a "crazy game like" what's in this piece an absolute advantage. Already in the design conversation to have the cast immediately into the concept into it can find. On stage, after all, it had succeeded all over to work in the sometimes unfamiliar roles inside. Also on management level right chemistry. Director and conductor in this work combines a "mutual openness and creativity," as Schumacher puts it.

One may be curious on what has made the production of the 1866 Mainz premiered work. Even the presentation is bizarre enough, it's all about those Bluebeard, who just want to get rid of his fifth wife in unclean way, while the neighbor is looking out for. But he believes this to see Boulotte, it frees the dead believed to ex-wives and confronts the knight with them.

• For the premiere on 7 November at 19.30 clock is it still remaining tickets
• Other performances are at 1, 18 and 31 November and on 17 December. More will follow in 2010.
• cards are available at 06131/2851-222.
• more information and online booking: www.staatstheater-mainz.de

Published in the Mainzer Allgemeine Zeitung

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Positively recital with Michael Nagy and Gerold Huber at the Frankfurt Opera

Since his debut in the ensemble of the Frankfurt Opera has the charismatic baritone Michael Nagy is fast becoming a crowd favorite. That was also a recital for the exceptionally well-attended opera house. The enthusiasm for the singer is consistent across all age groups, which perhaps may also have a positive influence on the reception of the genus have lied. Of course, this effect would be gone, Nagy would watch the show merely as a compulsory exercise in addition to the major roles. Of this he is far away. But the positive program compilation makes clear, has gone with what sincerity and diligence of the singer at the evening approached.

The twelve songs to poems by Justinus Kerner, Op 35 are similar to the well-known Schumann cycle "Dichterliebe", closely intertwined and are rarely performed on stage but closed. In the second part Eichendorff texts in settings of Othman Schoeck, Robert Schumann and Erich Wolfgang Korngold is heard. Nagy, who was successful in prestigious song contests, has retained despite intensive opera presence a very fine sense of drama and its musical gem in a confined space. With clear articulation and sharply trained sense of tonal subtleties, he can both Schumann's romanticism and Korngold's immediacy to the listener get close to authentic. At the piano he is none other than Gerold Huber, one of the most sought-after accompanist, with an unerring sense of unconditional dialogue and wide shaft to the side.

• The next recital at the Oper Frankfurt on 17 November 2009. The mezzo-soprano Michaela Schuster and the pianist Markus Schlemmer interpret songs by Mozart, Brahms, Wolf, Duparc, Mendelssohn, Strauss and Obradors.
• tickets at 069-1340400 or online
• information here

Published in the Frankfurter Neue Presse

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Electronic ears cinema in the Wiesbaden State Theatre

order following knowledge, there is unfortunately no detour: Electronic music is not danceable so far, no crowds. The small community of curious and sworn expert at the foyer of the State Theatre among themselves. Has invited the music-theater workshop of the house, which is under the direction of Ernst-August and is expected Klötzke fortunately with the necessary support of the Friends of the State Theatre. Four events are in this season in the program, the first waves even with a visitor-friendly title. "Ears Cinema" sounds friendly and accommodating. After his eyes closed and images that arise in the head. What could therefore argue against a visit?

The electronic music label responsible "indigestible", or at least "difficult acceptable" to. Only rarely can watch the performers in the concert, which at least one important factor for Customized planning a musical evening excludes. But just at this concert it is made easy to the listener. The works that resound from the speakers next to the rows of seats could also provide the soundtracks to films or the background noise for radio plays. Partly at least, and in highly concentrated form. In any case, the path for those who paid off who succeed with imagination and openness to engage in a cleverly designed offering.

The audience itself is required, must be the "missing" part replace with your own imagination or have what is offered simply as a pure act on the program. But the forward-looking view of the gold ornate theater set-up and input in any case offers no additional insight. The highlight of the evening is certainly the premiere of Bernd Leukert, who had traveled to do so. His title "The horse does not eat cucumber salad" comes not from him, but by the inventor Philipp Reis, who spoke the words to his newly invented telephone, to test it first.

It is this first performance demonstrates the exciting possibilities of the genre-listening experience that can be both entertaining and stimulating. Since Zugdurchsagen mix with bells ringing, because a lightning rends the crash scene, orchestral tutti bodies alternate with exotic and synthetically generated music pieces. The Work is a production on its effectiveness on a particular rhythm and a musical approach that are not based necessarily on tones must result. Exciting as a thriller published in 1996, the composition "La Grande Vallee" by Lionel Marchetti comes, and Alain de Filippis "Ton Dieu nes'appell-ti-il pas ego?" From the year 1993 and Jérome Noetinger "Gloire à .. . of 1991 reveal a telling dramatic.

• The next event of the music-theater-workshop held on 9 November 2009 at 19.30 clock in the foyer of the State Theatre. The ensemble plays works by Mauricio Kagel chronophonie and Vinko Globokar.
• cards: 0611-132325 or vorverkauf@staatstheater-wiesbaden.de
• more information

Published in Wiesbaden Kurier

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Purcell's "Dido and Aeneas" confident in Mainz under the direction of Michael Schneider and directed by Arila Siegert

who want to experience again, how to make a three hundred year old opera absolutely fresh and at ease on stage brings, without the viewer to allow even a moment of boredom, which is the latest musical theater production at the Mainz Staatstheater down urgently to my heart. Granted, "Dido and Aeneas by Henry Purcell already takes an hour and is built together with the additional benefits of early-music expert and director Michael Schneider Arila Siegert have installed no longer than a television drama. But the very compact form could indeed quite tempted to take the design to be taken lightly.

Not in Mainz. Arila Siegert manages an uncommonly vivid example of skillful, exciting people management and relationship-rich interactions. The story itself is quite simple, yet offers many possibilities for dramatization, which have been used almost exclusively by the director. To avoid misunderstanding: the production has no activist paint. On the contrary: each of the scene is illuminated exactly Arila Siegert even begrudge each section its own pace, so that just this evening an intense immersion takes place, like a fast-paced action in Above and sweeping manner. A perfect fit will be geared to well-defined costumes by Susan Maier-Staufen. The same black-white-consequence Hans Dieter Schaal is on a stage set, which does away with a few, but effective elements. Ten boats could if necessary easily and effectively in an enchanted wood and walk back.

Purcell's "Masque" in three acts is based on an episode from the fourth book of Virgil's "Aeneid" back. The textbook has provided the English poet Nahum Tate. Dido, Queen of Carthage, has fallen in love with the Trojan War Lord Aeneas. But as she promised her husband on his death bed has to get married anymore, but to care only about the welfare of the city, created for them the internal conflict. By a trick Aeneas is sent back at sea, Dido feels betrayed and dies of a broken heart, so to speak.

in Mainz will be displayed at the beginning of Claudio Monteverdi's "Lamento d'Arianna" as a cautionary example of Dido. Regina Paetz of "Young Ensemble" is a full-bodied as empathetic narrator, who are given by the scene a very intimate effect. In the role of Dido Tatjana Charalgina convinced from the beginning with equally finely sung piano agencies such as the increase to a whopping passionate appeal. In Patrick Popeschin her a throaty, agile and versatile emerging Dido is there to help. Sharp contours and brilliant vocalization are the Altus Dmitry Egorov (Young Ensemble) from a thoroughly demonic witch figure. Anne Full Müller acts as Belinda sometimes a bit reserved. Another member of the Young Ensemble "but it can certainly expand its pleasant timbre and acting talent in the future even more confident. Her colleague Aurora Perry, however, shows a sparkling stage presence, her voice is tremendous presence and enrich the scenes where she is involved in quite an extraordinary way.

brings Especially the chorus of students from the Conservatory of Mainz again additional Momentum into the action. Sonically always very precise and sophisticated comments on the nine-member ensemble of the events, fills the vital scenes. The selection of the national orchestra, which receives for its crystal clear interpretation of great applause, is a great compliment for the dedicated performance of this extraordinary task to pronounce. appeared

In different versions, including the Frankfurter Neue Presse

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Henry Purcell's "Dido & Aeneas" comes on the stage of the Mainz State Theatre

Although only 60 minutes is "Dido and Aeneas" as the only full-fledged opera by Henry Purcell. Basically, the three-act piece classified yet strong in the tradition of English in mythological scenes inspired "Masque" field. Too short, however, to today to guarantee a full-length evening. So, conductor Michael Schneider, director Arila Siegert have for their production Mainz other shorter musical works by Purcell, Matthew Locke's teachers and some 100 years older Italian composer Claudio Monteverdi colleagues added together. So that individual scenes can be intensified further emotionally. Particularly well known among monodic Monteverdi's "Lamento d'Arianna" is.

The model for the opera comes from Virgil's "Aeneid" and was created by what was then known poet Nahum Tate. The premiere took place in a boarding school for Damsels in Chelsea is instead formed, on whose behalf the work probably. Carthage's Queen Dido falls in love with the Trojan hero Aeneas, but she promised her late husband to marry no more. Nevertheless, the two come closer, but their happiness is soon smothered by a sorceress List in the bud.

For director Arila Siegert it is about the fateful consequences that occur when one gets involved with a love. "This is the internalization of love and sorrow told," she explained. The feeling of abandonment-sein occurs later in the center. "Love is eternal pain," says she, therefore it is the Interpret action and timeless. "As rare as is the happiness of today, it was at that time also," said their view.

Michael Schneider, a renowned expert in historical performance practice, finds it especially exciting to revive the ancient tragedy, as it was taught in the beginnings of opera, again. A musical challenge was the "extremely polyphonic music of Purcell, whose complexity and density. The staging of Arila Siegert, who has staged in Mainz last Mozart's "Le nozze di Figaro", relies on the focus of individual scenes. "It will seem as if time has stopped and you can immerse yourself in each state," makes them curious about the implementation.

An important optical role play for ten one hundred-pound boats from set designer Hans Dieter Schaal and "restrained costumes by Susan Maier-Staufen, which reflect in particular the duality between light and dark again," said the director.

• The premiere on 3 October in the small house is already sold out, maybe there are remaining tickets at the box office.
• Other performances include the 12, 22 and 29 October, both at 19.30 clock.
• cards under 06131/2851-222
• More information: www.staatstheater-mainz.de

Published in the Allgemeine Zeitung Mainz

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Mendelssohn's "Elijah" with Conservatory Choir in Mainz listed

For Ronald R. Pelger that evening was an avowed dearest wish come true - and successful meeting this would not have taken place. In the packed Christ Church, the choir director of the Peter-Cornelius-Conservatory with over 200 participants, especially adolescents and young adults, the oratorio "Elijah" by Felix Mendelssohn-Bartholdy has been listed. An event that obviously knew only winners. Especially for the young choristers of the Conservatory this evening is a defining, in some cases probably even for pioneering musical experience key have been, from which they can still live off years later. Because it is more than extraordinary, to be able to perform at a young age such a work to a level that is comparable with that of the experienced oratorio choirs in the region.

Already in the first cycles is clear that the daring experiment has succeeded Pelger. Clear and precise articulation decrease his direction are the foundations on which we operate, the choir, there will also be extremely clean intonation through all the parts through. In dealing with the soloists, the choir shows as informal and interactive, in the mass scenes, the young singers are strong and enthusiastic, skip but never the border with uncontrollable exuberance. Very agile, sometimes mysterious, are working in different dynamic degrees, in the foreground in all this remains a surprisingly stringent held by homogeneous sound that is spiced with refreshing appeal.

Conservatory Director Gerhard Scholz had received reports from parents that their kids sing at home again and again a fraction of the "Elijah" to himself. 200 years after the birth of the composer's probably a not survive from the hand pointing to evidence of cross-generational intensity of this music, the fashions and trends. A stroke of luck for the performance is the Rheinische Akademie Mainz orchestra, choir and soloists, attentive and always accompanied reliable shape. Daniel Sans takes experience and brilliant tone, the tenor part, Birgit Schmickler (mezzo soprano) precipitated with marrowy clear timbre, while Thomas Peter with earthy bass Elias role does and Sabine Goetz contributing to their bright, unclouded radiant soprano.

Prepared for the Mainzer Allgemeine Zeitung

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At the Wiesbaden State Theatre starts the season with Giuseppe Verdi's opera "Il Trovatore", directed by Cesare Lievi.

in the streets is war. Manrico, the Troubadour moves, backed by a layer of an outcast and Fiend. around with his urban guerrilla, acting at the industrial stage walls Csaba Antal resplendent graffiti, the state power is gearing up for battle. The direction of Cesare Lievi limited to hints of the deep rivalry that exists here and that goes far beyond political disputes also.

It's about revenge, which both the gypsy Azucena and the Count di Luna is driving to the limit. He wants to avenge his brother, accused the Cursed decades into the fire. They in turn bent on revenge for their mother, the father brought the count to the stake. The perfidy of this is that their satisfaction until the pain of the young count gets. The has no idea that the insurgents Manrico, Azucena has raised the as a son of that brother is, which he believes he died of his time in the flames. It was a fatal error by the gypsy who killed her own child in this cruel way. executed only when the count of the revolutionary leader leaves, she reveals to him the just completed fratricide.

owes the effective implementation of its Lievi opera singers. Above all, take Jeniece Golbourne the Wiesbaden audience by storm. Azucena as she looks with long matted hair, in a stooping posture and gestures with unsteady on their European debut enormous demonic. Timbre and punchy, it is a great asset to the Old World. Like few other singers of her absolutely authentic portrayal, never succeeds in at the expense of vocal performance goes, but it fits with associated.

Tatjana Plotnikova raves as Leonora with great ease for her lover and has subsequently formulated emotional tight top notes, this full-bodied piano places. Luis Chapa is to experience sound as Manrico, Tito You puts a lot of pressure in the musical interpretation of the count, as Ferrando is Bernd Hofmann made a thoroughly convincing figure. Rounding out the successful premiere of a careful, sometimes furious triumphant orchestra under the direction of the striking Argentine guest conductor Mario de Rose. Impressive crowd scenes contributed by the choir.

Other performances include on 17, 20, 24 and 27 Every September at 19.30 clock
cards: 0611-132325 or www.staatstheater-wiesbaden.de

Pub among others in the Frankfurter Neue Presse

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charm and determine the pace of opening the season at the State Theater in Mainz Peer Boysen's staging of the Opera "Carmen"

If the eyes sparkle in the glow of torches and the goose bumps running up and down you can be sure that the staging will be a popular success. But so it is now George Bizet's evergreen "Carmen", in Peer Boysen at the State Theatre Mainz is directing. He has not conjured this sumptuous set design, but leaves the viewer freely look into the flies, from the strutting down the hugely admired Carmen. Quite an industrial character Atmosphere that has something cold and rigid, like the establishment of the choruses sometimes seems quite cool. Strangely uninvolved they spread initially on the Stage remain in their dispute over Carmen's little fight but ultimately uninterested.

But the little scratches on the fascination of this opera, which is also in Mainz with great passion and with a certain pathos to shot the one hand and with a charming, certainly tragic ending of lightness on the other side of the stage. Boysen, who works for the fourth time in Mainz known, the Opera as both "large English Human Drama" and "French Entertainment ". Between the heavy and the light lies the tension, he said before the premiere. Operatic seriousness is the love suffering sergeant Don José fatal, while the fleet exercise in Carmen coquettish skirmishes.

succeed is exactly these contrasts pointedly with a Peer Boysen ensemble acting and a well-attuned Orchestra under the baton of Music Director Catherine Rückwardt effortlessly. Michael Wade Lee sings Don Jose with a lot of power but without violence and are very well understood by the poor fool that is already taken too much of the magic of his supposed love for the seductive factory worker to have backbone to prove it.

is particularly outstanding performance by Tara Venditti, a tremendously sensual and often infamous Carmen Agreement. Her voice is a seductive one, which she uses with masterly finesse and smoothness. It is aware of their role in the almost magical powers with which they are men, especially the one can impose his will across the border out their plans. Dietrich Greve gives off a testosterone-stuffed bull fighter against Don José must contribute almost pathetic. Susanne Geb Micaela gets soft and comfortable. Original Show-effects as the original flamenco group or the variety of the smugglers insert a handy complement Production of charm and pace, d AFor ensure that the gravity does not maintain the upper hand.

tickets at 2851222 or www.staatstheater-mainz.de
Further performances on 20 and 25 September and by April 2010

Published in the Frankfurter Neue Presse

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Simone Kermes has arias from the Naples of the 18th Century included

Naples belonged to the 18th Century not only the most important commercial cities of Europe, but was a seminal figure in art. From there, made great composers for the stage in the world to go to great consideration. Few are aware of her work today even larger scale. One of the is known to the present, the librettist and "Poeta Cesaro" at the Viennese court, Pietro Metastasio. He wrote the lyrics for major opera by Giovanni Pergolesi, Alessandro Scarlatti and other great composers. The soprano Simone Kermes

has now been placed under the evocative title "Lava" opera arias from this time together, including some who were the first time ever on CD. The sounding flows out of the city at the foot of Vesuvius are connected to a tremendously entertaining and musically exciting interpreted impression. They are from operas that today almost no longer be listed on stage. But the singer does with these sections together with the blunt and often electrifying play "Le musiche nove" conducted by Claudio Osele quite curious.

From Leonardo Leo's "Il Demetrio (1735) imparts to the aria" Manca sollecita "in a very atmospheric and tense piano, so that the shaking to the breeze, of which she sings, is able to literally feel. Lightly dabbed vowels, sensual melodies and played around a short startling outbreak bring the audience close to the play enormously. Sometimes followed by brilliantly sung, sweeping and far into the suddenly soaring coloratura almost spoken acting rough milestones in the deep Regions. The place around the Siface aria "Come nave in mezzo all'onde" is from Johann Adolf Hasse's VIRIAT "(1739) vivid contrasts - just as you would expect on a ship sailing on rough waters. At least, the picture that is sung. In the Arbace aria "Vo solcando un mar crudele" from Leonardo Vinci's "Artaserse" (1730), they screwed themselves with brilliant virtuosity in the fervently recited misery tragedy of his existence.

The CD 2009 is released on "German Harmonia Mundi. For more information: www.lava-music.ch

Published in Wiesbaden Kurier

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music as their mother tongue - Trio Jean Paul at the Rheingau Music Festival

Faster, higher, further, that is, currently, the standards by which to run in Berlin the athletes to race, jump or throw. In the music business, it is often very similar. The more skillful, the superior in the art, the greater the prospect of full concert halls and lucrative recording contracts. It sometimes gets the musical content in the background, are required and supplied power to the extreme. Seldom seen as such a sincere playing music ensemble such as the Trio Jean Paul, the now not occurred for the first time at the Rheingau Music Festival at Schloss Johannisberg.

Some people notice it on so that they attend the concert for the sake of a friend or supervisor, according to comments from falling between the pieces. Then, when erect, the hairs on their arms because a passage is particularly under the skin, that's a sign of the direct approach to the three musicians have succeeded. The violinist Ulf Schneider, cellist Martin Lohr and pianist Eckart Heiligers have found a way to explain the music to their mother tongue. Far from merely playing the notes, they are with looks and body position close to the sounds, become one with the composition.

It is a calm virtuosity that comes into play here is music to its own sake. This is achieved by the noble passages in the piano trio in A major (Hob XV: 18) and D minor (Hob XV: 23) by Joseph Haydn just as vivid and immediate as in the atmospheric density passages of the Piano Trio No. 1 in D minor, Op 49 and No 2 in C minor, Op 66 by Felix Mendelssohn-Bartholdy. The works of the jubilee, the one born before 200, the other died the same year, blow this evening not pass over the heads of the audience but are almost made a physical experience, an intensive.

The airiness of the game can forget the heat in the room. Formulations charming, flirtatious delays and a cultured tone constantly pull in thrall. Merry Shriek with delight at a brisk rate Haydn are appealing contrast to feather-light movement with maximum phonetic substance in an Andante. The Trio Jean Paul delivers the extraordinary precision with ease in the interaction, the Mendelssohn-Bartholdy's rich demand scores, with phrasing courageous go to the musician a joyful insistence. If you experience this form of creative enthusiasm, it is hard to believe that the ensemble has performed for 18 years and each time anew such a dedicated individual interpretation.

Published in Wiesbaden, Courier / Wiesbaden Tagblatt

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Book Launch: Kästrich - an independent forum for art

often leave artistic initiatives facilities and only traces in the memories of those who share it. Especially at the local level, the sustainability of lived to create art is difficult, even if it has lured international protagonists. Harald Kubiczak occurs against the duck now, in the case of the "Kästrich. Over ten years he has led in 1990, launched an independent forum for art and embossed, developed his ideas and networking skills to become a vital center of the artistic life of the state capital. Now he has also produced a book that looks at these ten years with an interval of once a decade. In the publication "Kästrich - an independent forum for art," the first copy he now has enough of Cultural Affairs Peter Krawietz, he documented with about 350 illustrations and text that had taken place exhibitions, installations, performances and concerts with over 70 artists from home and abroad.

Together with Daniel Graves of the artists first took over a disused tobacco and magazine store in Kästrich. Chance had his fingers in play, because Kubiczak, who grew up in Mainz and studied has parked his car there one day. decency as the sale a year later, pulled the "Kästrich" around, also in a tobacco shop in the Breidenbacher road. The first residence brought some surprises with it, including many books and other products from the former store, which should provide the basis for the first exhibition.

Krawietz appreciates the art project as "one of the few forums for contemporary art" in his time. Especially the independent cultural scene has acquired in Mainz are many merits. In the "Kästrich" in particular the art was shown, which have long not been included in publicly funded institutions. Through a private sponsor who wishes to remain anonymous, he has now Kubiczak the publication in the specially established publishing house "circuit style" can make.

Harald Kubiczak has the "Kästrich" always seen as a place without limits, where also was able to get there "ordinary public." There was a "reflection on life, reality and art as well as to the relationship." At that time it has managed to be accepted in the neighborhood next to the local shops take for granted. Neighbors came in, attended the exhibitions or new installations, many children are always curious entered. For Kubiczak was the "more interesting than an area into which any pure trusts." Many impetus came from the Dutch artist Paul Panhuysen, in Amsterdam the "Apollohuis" has operated. But many other artists were on. From October 1992 to September 1993, she produced some of them together a little magazine titled "Observation", in which they exchanged with each other.

The book was published in paperback consciously accept a catalog of rules, but after Kubiczaks ideas again and again to encourage to take it on hand. This is thanks to the diversity of its content and the attractive presentation of the work entirely.

www.circuit The book is available for 14 € on -art.org relate to.

Abbreviated published in the Mainz general Newspaper

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The baritone Christian Gerhaher and pianist Gerold Huber left at the Rheingau Music Festival at Schloss Johannesberg permanent mark

Gerhaher and Huber maintain one of the deepest musical friendships between men of the present. Since they have 21 years of vo Schumann's "Dichterliebe" worked together, they are fused into a unity. "It has something to do with loyalty - as in a marriage," has Gerhaher once said. And while divorced a year up to 200,000 marriages in Gerhaher and Huber have to say terribly much. Now, they rarely have to Franz Schubert in the context of listed "Swan Songs" lasting impression. Gerhaher covers the entire emotional spectrum and works in every song as authentically as though He prepared only on those lines. About the technical abilities of the musicians do not need a word to be lost anymore. What they are, is the sincerity and enthusiasm for the song composition as high art. With great sincerity, they feel the essence of music and text and share their innermost thoughts for this one. Personal one can hardly give these songs. If Gerhaher breaks the first lines in "The City" more talking than singing, or the heart Selend in "Atlas" with power out of it, when Huber beautiful lyrical accompaniment in "The Fisher Maiden" light and nicely designed, or from the infinite sadness "Your picture" transports, get Schubert year of his death brought very close.

Published in the Frankfurter Neue Presse
Photo source: http://ionarts.blogspot.com/2007_12_01_archive.html

Can A Sinus Infection Raise Blood Pressure?

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Rheingau Music Festival opens with Mahler's Ninth in Kloster Eberbach

's figures has become habit and impressive. Within two months in the Rheingau features 141 concerts in 38 venues, for which 115,000 tickets are sold. From a tiny sequence of four events, Michael Herrmann and his team created with the Rheingau Music Festival one of the leading classical music festivals in Europe. Meanwhile, sophisticated jazz and entertainment events have been added. All this with a minimum of public Financing, if you count out the support of public service broadcasting and state-controlled enterprises once. At the opening of the 22nd Festival Kloster Eberbach burst at the seams, as Prime Minister of Hesse and festival patron Roland Koch opened the mega-series. The rejoiced beyond the broadcast of the concerts of Hesse and praised the "business idea" and the Lord's personal performance.

It is a tradition that the Hessischer Rundfunk, the first concert of the season in his culture channel live broadcast, this time was also the inhabitants of Catalonia on the speaker to experience the sounds from the Rheingau. A monumental work in not less Experience stunning scenery but you have to spot to make it really work on you. Gustav Mahler's Symphony No. 9 in D major, completed the last of him, stood on the desks of the musicians of the Frankfurt Radio Symphony Orchestra, which was conducted by its music director Paavo Järvi. Järvi has long been one of the greats of his profession, has just extended his contract until 2013 and Frankfurt takes over next year, in addition, the Orchestre de Paris, which of course has already played at the festival.

It is exactly the kind music that tolerates a festival of this size at the start. As powerful sounds from the depths of the orchestra are dragged out, while previously an extreme pianissimo every sound made individually experienced. It is the fascinating interplay of individuals and groups, which is celebrated in the composition and so masterfully arranged by the HR-Symphony Orchestra with impressive precision and great musical enthusiasm. The morbid charm of the ninth, breaking again and again to power his car with his part in the conquest. The orchestra succeeds once more the thrilling interpretation stark tonal contrasts, the musical forces of nature with a timid reluctance deliberately does not connect. Niklas summer

more gigs under www.rheingau-music-festival.de

How Cold Do Wine Cellars Get

Interactive's "Faust" ends in the gas chamber

Dr. Heinrich Faust has no desire to celebrate. In any case, the multi scholars a misanthrope who shows no interest in social events. That takes care of his "Famulus" Fritz Otto Wagner, little. He is determined to his master a celebration of the 60th Birthday align and if all goes well, to give him another wife. The year is 1929, are located in the Upper Webergasse 43 and take an illustrious Civil society and their staff. Heinrich Faust, the name is not randomly selected, like in the role of the enraptured man of spirit that makes seemingly inspired by nothing quite worldly. His zealous servant suspects in the burgeoning Nazism his chance to finally find the recognition that has so far denied him life.

is once again the team from the "Artists' House 43" a special form of interactive theater managed to be in the texts from Goethe's "Faust 1" interwoven with contemporary bonds. As appears "to take care a little," a Scottish officer with Jewish roots, the British occupation forces is a member, but merely want to. Soon he becomes the victim of the already hard-fascist umhauchten community, as well as his sister Margaret, who later appears out of nowhere and wins the fist of its own. The stabs with the help of Mephisto's jealous brother, Margaret is holed because of "incest". died together with fist in her room, enveloped by a light smoke. Immediately becomes clear what is implied with it. But first celebrated bourgeois-clear with a slight flick dent marks. This is due Eisenhof Sophie, an actress who turns into a devilish temptress and determined Faust's way to destruction.

The audience does not remain immovable witness, but shall directly participate as guest host, will be treated, and participates in the dance will be addressed by the actors and integrated. This is possible only with a very-present ensemble that far has more to do but to stay in a given role. Gottfried Herbe, long-time member of the Wiesbaden State Theatre, gives the thumb a graceful note, as if he is able to convey the multiple conversion of plastic and exciting. Ariane mallet is its dangerous sensual temptress whose charms apparently not he succumbs and wegbeißt with ghastly growling inner potential adversaries. Wolfgang Vielsack sycophantic allegiance is with the Fritz Otto Wagner, whose hour has come when he may distribute Jewish stars. Mario Krichbaum demonstrates versatility, not only has to speak with a Scottish accent, but later give barking hearing because of him has a spirit that denies, quickly rendered harmless. Thordis Howe is ultimately a fragile Margaret, as she stands in the book.

Further performances on 25, 26, 27, 28 June, 4, 10 and 11 June 19 each clock
cards cost 33, concessions € 28 tickets at
www.kuenstlerhaus43.de or at the Tourist Info Wiesbaden

Published in Wiesbaden Tagblatt
photos: Susanne Müller

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Faust - a classic for

"Dr. Heinrich Faust, "after the successful play Romeo and Juliet, a major new production of the kuenstlerhaus43 in Wiesbaden. In the title role, this time the well-known and popular actor Gottfried Herbe plays one in the years come physician, in the former British-occupied world spa. In 1929 he celebrated his 60th Birthday, and he does not like the public, invites his best friend of the Wagner Famulus to a surprise party.

The audience of the theater are the guests of this celebration and experience along the way Goethe's most famous play. Accompanied once again the Hofköche from Wiesbaden, invite suitable for a small Wirtschaftskrisenmahl. Thanks to the young ensemble of kuenstlerhaus43 , with 9 actors and musicians, experienced an old classic in an unusual setting important an exciting rebirth.

Premiere: Friday, 19 June 19 clock

Other dates: 25 / 26 / 27 / 28 June, 4 / 10 / 11 / July, at 19 clock

Admission: € 28 plus booking fee 33/Ermäßigt (includes welcome drink & small Wirtschaftskrisenmahl of the Wiesbaden Hofköche)

sales: Tourist Information Wiesbaden 0611-172 99 30 or online under www.kuenstlerhaus43.de

Is The Feeldoe A Good Product

anticipation to experience not only to Bach - Daniel Hope plays for St. John's in Mainz

three Geiger will be on 7 June 20 musical clock in the Church of St. John's and meet with their Concert contribute to the urgently needed restoration of the church is given a further financial support. The Mainz violinist Caroline Adomeit, the son of Rev. Dr. Bettina Opitz Chen, Ikki Opitz, who is engaged at the Deutsche Oper Berlin, as well as the internationally renowned Daniel Hope has put together an exciting program for it. We spoke with Daniel Hope of the concert.


How come this contact is really about?

I am using for a long time friend of Ikki. He is one of my oldest friends, because I was with him at the Yehudi Menuhin School. He is an outstanding violinist and we have a long friendship, he For me an important person. The family I've known since I was a little boy. When I talked to Ikkis mother and she told me was that the church needs help, I immediately agreed to hire me. Luckily I was in this period and could easily join free.

What is special about this friendship that keeps them so long?

We were struck by two very intense at the school. I was at the time of eight, he was nine, and for me personally it was very hard. I was in the boarding school I was very homesick and Ikki then very supportive of me and this time made bearable. So I have very fond memories it. We have not since been seen regularly, but there have been many meetings and it seems to us then, as in these 20 years is no time have passed.


As an artist, you always get charity requests. How do you choose that?

you're right, I am asked very often. Some I have to say, but I can not of course do everything. It needs to give me personal access. Some of Amnesty International, because I find this fantastic work is important. Here is the access of the Opitz family was given. But even through the person of Mrs. Opitz-Chen, which is involved heavily in the restoration. That is very honorable, and think it be great if I can help.

How did you select the pieces?

have denied us by phone and e-mail. Each brought his wish list and we have brought under one roof. It was important that there should be a good concert for the audience. The Double Concerto in D minor by Johann Sebastian Bach with Ikki as a child I played from time to time and we wanted to perform it again later in a concert. We have never had it and I'm delighted that we now have the chance. Then we found it interesting to divide the "Four Seasons" by Antonio Vivaldi with us, even to the different characters of the sentences highlight.

They will be accompanied by members of the Philharmonic State Orchestra Mainz, they do not know. Is this a risk?

No, I have full confidence in the musicians of this evening. We are all there to support the church, which will succeed and I certainly hope that the audience will be numerous.

tickets cost 20 € and are available in advance at the art gallery hunter Schöfferstrasse 6 or purchased at the box office. For more information: www.johannis-mainz.de

Photo: Felix Broede / German Grammophon

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8th Symphony concert of the Philharmonic State Orchestra Mainz

It was a bittersweet evening concert, which had caused the Philharmonic State Orchestra Mainz his audience in the Great House there. The lush Symphony No. 1 in D major by Gustav Mahler, the "Titan", in which afflicted the composer four years and seven years after its premiere, he finally in 1906, revised again, filled the entire second half. With its wealth of tonal impressions Mahler had already claimed the contemporary audience enormously, Theodor W. Adorno spoke of the "swallowed" the composition of their program was. Also in the Mainz interpretation of programmatic content was barely visible, On the contrary: the enormous show of strength came here a fascinating example of almost absolute power of the musical design of musicians, the duties under the direction of Peter Hirsch a surprisingly closed impression.

had already earlier, the instrumentalists their creative flair with two unusual works of the 20th Century proved. The beginning of the 1950s created "Variations for Orchestra" by Luici Dallapiccola composed of eleven espressiven miniatures that seem even then blown gently, are sometimes thrown out with all the anger. The orchestra put the pieces always very clear and gave the music outright. In the acts of its versatility Work equally highly entertaining, it follows him like a banned as a result of acrobatic circus numbers - always with the expectation of a new and surprising twist that always occurs with predictable safety. The orchestra was found to be least willingly and with all its aural skills for this presentation available.

Luigi Nono's tribute to murdered by the Nazis in 1943, communist writers Julius Fucik (not to be confused with the same wind music composers) from the Czech Republic on the other hand gets torn up as expected and disturbing. A year after its composition in 1951, Nono was the way even the Communist party in Italy at. The oppressive interrogation situation that Nono has captured device to a single charge of individual, lost acting brass phrases to monotonous, long lying strings sounds. This is a short dialogue, in Mainz Greg Trakis and Stefan Walz, unfortunately, presented somewhat schematically.

Abbreviated published in the Allgemeine Zeitung Mainz

Nembutal, How Is It Made

anniversary concert in the Wiesbaden Begkirche

When the mountain church was inaugurated 130 years ago, they met in the immediate vicinity, about 100 feet, upset a neighboring community. Just ten years before the synagogue was opened on Michel Berg, köännte today to celebrate anniversary of 140, would they are not on the morning of the 10th was November 1938 by the National Socialists and their obedient followers destroyed and half a year later, seventy years ago, therefore, completely demolished. Quite consciously remembered Bergkirchen Cantor Christian Pfeifer at the anniversary concert also to this part of the Wiesbaden church history.

With the choir of the Mount Church offers the community a very powerful chorus, the line breaks in Whistler for greatness and thereby permanently as one of the most versatile vocal ensemble of the city turns out. Even with the Brahms motet "Why is light given to the weary," presented the 50 singers of her spectrum of sounds to the test. Gentle homogeneity in the overall appearance and high sensitivity in the implementation of the score draw from the choir as well as the huge dynamic subtleties, which they use as a design element.

In other works, such as the excerpts from Joseph Gabriel Rheinberger's Mass in E flat was a very clear voice guidance, by which the various vocal groups demonstrated clear of each other deposed, and yet a deep and comprehensible understanding of the musical context. Also impressive is the meaty moments in extreme pianissimo.

Andreas Carthusians had imagined at the beginning of the rarely played Organ Sonata No. 1 of Christian Fink, which was simultaneously performed with the inauguration of the Mount Church "Wiesbaden Tonkünstlerfest. The work is very lush and full of lies
chromatic games, worked the Carthusian sent out had been realized and resolute. Together with the solo cellist of the Wiesbaden State Orchestra, Stephan Breith,
he performed on harmonium, among them "Kol Nidrei Adagio" by Max Bruch. The two musicians conveyed the expressive melodies and sentimental but without too much pathos.

Abbreviated published in the daily paper Wiesbaden / Wiesbaden Kurier

Play Elfbowing Online

at the International May Festival in Wiesbaden involved with the Mozart opera "Don Giovanni" in Carlos Wagner's staging

It is a good tradition that the host of the festival not only involved with the beginning of a new production, but also contributes a moving piece in a particular occupation. This year it is Mozart's "Don Giovanni" directed by Carlos Wagner, who had started with it in September last year, the Time. (review of 08/09/2009 ) As a guest, the baritone Thomas J. Mayer for the title role, Erwin Schrott as Leporello and his henchman, Swiss tenor Nernard judges had been obtained, which fits in seamlessly with the Wiesbaden-based ensemble.

Once again, the opera-goers were able to experience how the smart people led by Carlos Wagner perfect in every scene worked. Every moment has its own power, the scenes go easily into each other, without plot holes allow. Using Rifail Ajdarpasic and Ariane Isabell Unfried, who have chosen a more classical set and in the most unobtrusive costumes by Christof Cremer Wagner has created a timeless production that does not impose itself. Nevertheless, it does not bypass any conflict. Neither of the Giovanni, which allows excessive ego, no self-doubt, yet the impact of the social worlds of prekariösen couple, Zerlina and Masetto in the top layer of the Dons and Donnas.

Erwin Schrott Leporello is as pithy with lots of wit for the taking, Thomas J. Meyer is a powerfully convincing Don Giovanni. Bernard Judge clearly focused Don Ottavio is characterized by a very harsh design. Tatiana Plotnikova sensitive fills the Donna Anna to life. Stirring and with flawless, brilliant color height thrilled Aga Mikolaj as Donna Elvira. Under the leadership of Music Director Marc Piollet does the State Orchestra of lean and transparent, is proving to be extremely flexible and provides the idea an unwavering tonal foundation.


Published in the Frankfurter Neue Presse

See also: resumption of production by Peter Mussbach Frankfurt (08/03/2009)

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opera concertante evening with Baroque opera "The beautiful and faithful Ariadne by Johann Georg Conradi at the International May Festival. An evening without

nearly 300 years, they slept undiscovered before him. The opera "The beautiful and faithful Ariadne" was written in 1691 for the Hamburg Opera on Gänsmarkt citizens and discovered only in 1972. Incidentally, in 1722 the non-famous composer Reinhard Keiser's work to a libretto by Christian Heinrich Postel had worked once again. Johann Georg Conradi also enjoyed a certain popularity throughout his life, was among other things, some years employed as a conductor in Hamburg, having previously worked in Ansbach and Oettingen.

in Wiesbaden was now the "Ensemble Mattiacis" under the artistic direction of Thomas de Vries as far as possible this unknown opera accepted, though only in concert version in the sumptuous lobby of the State Theater, which is a perfectly adequate stage for the baroque work. The course of the story but this one was just not what would catch the light of the presentation certainly exciting yet. The sisters Ariadne and Theseus, Phaedra vie for the prince of Athens. Apparently has decided to Ariadne, but they can back to Naxos, to return to their sister back.

The Ensemble Mattiacis "could under the economical line of Répérant Yvon, from the harpsichord only a few Impulses seemed to convey the colors in the works in moderation. Too often intonation problems stood in the way, is very attracted to the musicians back in a little inspired routine. Vocally, however, the ensemble could convince the most part. Emma Pearson were very clear terms, direct response and a vibrant focus for an expressive Phaedra, Sharon Kempton was able to revive the emotional substantial margin between love and anger. Thomas de Vries' Minos became powerful but highly mobile, Theseus Gustavo Quaresma however somewhat schematically.


Published in the Frankfurter Neue Presse

Masterbation And Cholesterol,

but Joni Mitchell

Behind the stage is to see a colorful picture, which is not right circles, but certainly comes up with round forms, which lay close to a cyclical thoughts. The work of Sabine Gustke also adorns the cover of the just in time for the CD delivered last weekend by Annette Marquard, Kate Nelson and Tilmann Höhn. The two singers and guitarist have embarked together on a retrospective journey of Joni Mitchell, while at very different parts of her musical and personal life made station. In the intimate setting of the mirror room of the Walhalla-Theater now quite different moods were represented in the left the large audience to take you.

With her warm, powerful timbre Annette Marquard it had taken to interpret the title track. Musically, they explored the profound subtleties of the music from empathetic. With "River" Kate Nelson presented the first time that night their light and unobtrusive brilliant voice with the same empathy that should be in later in such an exciting contrast to the timbre of her colleague. "Little Green", so the audience learns, Joni Mitchell wrote at the age of 19, when she released her daughter for adoption. Kate Nelson brought this very special lullaby with soft, slightly velvety coloring up close to the ears of the audience.

With "Night Ride Home" Annette Marquard was quickly subdued the rocky departure from past melancholy, not least thanks to the six strings Tilmann Höhn incisive rhythmic design. In any case, the guitarist was found that night corresponded repeatedly as an outstanding instrumentalist, whose dexterity with a high level of musical ingenuity. With "Map of Canada", he could also persuade a soloist, technical excellence combined with a tight-knit sound surfaces.

The fact that the voices of the singers have to say to each other a lot, was very particular in "Chinese Coffee" on. About the earthy tone of Annette Marquard lay Kate Nelson's rough-smooth bright appearance without any unpleasant friction. In addition, it was the two musicians again and again during the play the roles swap. Later it was found that Annette Marquard may well reach a very pithy sound while Kate Nelson introduced into a pleasantly iridescent metallic touch.

pity that have managed some of the pieces listed this evening on the CD. The approach to the title however, demonstrates a high degree of autonomy of the musical performers. Although the make from their high respect for Joni Mitchell no secret, but this can not keep their personal interpretation and design.

The CD "Circle Games" can currently be purchased at the price of 15 € on www.annettemarquard.de or www.tilmannhoehn.de .

Published in Wiesbaden Tagblatt
Photo: wita / Uwe Stotz

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The State Theatre Mainz shows the scenic premiere of Rolf Riehm's "The terrible, violent children" directed by Gisbert Jäkel.

It is not clear what accounts for the disturbing fact that performance. Is it the seal of the ancient Greeks Hesiod's Theogony, which is about Uranus, who held his children in captivity and therefore was castrated by his son Kronos brutal? Or the bold, sometimes grueling, and in any Case seems to fit exactly to the events measured music by Rolf Riehm, which was created six years ago? Finally there is the sometimes bizarre, but always directly responsive production by Gisbert Jäkel the Little House of the Mainz State Theatre.

Riehm himself is convinced that the text "has scheduled no dust" to his book "The Terrible-violent children" despite his age, the message was: "Only by force are interpersonal relationships change." He hits the bow of Hesoid to former President George Bush in his preparation for the Iraq war. Actually, the work was not intended for stage performance, Riehm saw it as a "film without images" on. The question of the Mainz but it was really thrilled and Jäkel is even convinced that the music of his pictures and almost provoking predecessor.

Gisbert Jäkel, who came to this work for the first time to the Mainz State Theater, is responsible for the stage, which is characterized by an expansive concrete wall, in which previously a huge hole was torn. Probably by an explosion of insight into the family life of the old gods sex is now possible. Musically decomposed Riehm the events permanently into its component parts, questions and skillfully created musical object constructs. The voltage Permament between music and action will result in the short hours and have enormous present.

The roles are clearly distributed, while overwhelming soprano Ana Durlovski with vocal brilliance and the apparent ability to artistic friction by the act out, the dancers Rogério Cruz a flaming entzürnter Kronos, the clumsy, last only a paltry vegetating Uranus ( Wilfried Günther), the long hoped-for revenge will be given. Clemens salvation and the ensemble of the Philharmonic State Orchestra Mainz plumb the musical characteristics of the challenging score in all its depths and groove and leave it to the lead role in a Musical work with haunting scenic illustration. no one else around, which alone makes the evening remarkable.

Released including the Frankfurter Neue Presse

Antiique Juice Squeezers

Götz Alsmann is in the Alte Oper Frankfurt neither angels nor devils, but once again a brilliant entertainer of the highest standard.

Actually he wants but does not know whether he or angels but rather more of a devil. But because he believes in various hells for different occupational groups, is idol Alsmann hell
not really want. In the devilish Department of jazz musicians namely, he has probably play together with all the greats of his profession and would get taken by none other than Count Basie the notes. But he would have to play "Schnappi, the small Crocodile. With "Angel or Devil" Alsmann is back with a new program in Frankfurt and his three companions rhythm, melody and text in the Luggage.

Its still the finest strength lies in the varied arrangements that represent not only
accompanying sounds for the star at the center. Three percussionists, he has gathered around him, each one an absolute individualist with a particular penchant for the team. Altfried Maria Sicking vierklöppelig swirls around between vibration and xylophone, and also pointed lips for muted trumpet solos, Rudi Marhold runs on drums, probably as some tendonitis and Markus Paßlick always discover again accompanied by new exotic percussion toys to each track a very unique atmosphere swab. Michael Müller Ottomar controls finally in the red bass thread.

Alsmann is himself a master of mimicry and the key combinations. As he casually tapping chords, sweeps his eyes around searching, sometimes he makes a face to the boyish grimace or raises his eyebrows half a millimeter. Musically, there are between good-time dances to melancholy beautiful love sighs all
Alsmann-Schlager-jazz repertoire. Gooseflesh breaking is his "ghost rider" does not deutschtümelnd his love song to all the Germanic female names you can put in a song.

Published in the Frankfurter Neue Presse