Franz Schubert 1797 - 1828
Gesang der Geister über den Wassern, D 714
Franz Joseph Haydn 1732 - 1809
Symphony no. 49 in F minor, Hob.I:49, "La Passione"
Serguei Prokófiev 1891 - 1953
Aleksandr Nevski
Olesya
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Event Details
Franz Schubert 1797 – 1828 Gesang der Geister über den Wassern, D 714
Franz Joseph Haydn 1732 – 1809 Symphony no. 49 in F minor, Hob.I:49, “La Passione”
Serguei Prokófiev 1891 – 1953 Aleksandr Nevski
Olesya Petrova (mezzo-soprano)
Choir of the Generalitat Orchestra of the Valencian Community
El Cor de la Generalitat Valenciana , under the baton of James Gaffigan , interprets the Aleksandr Nevski cantata that Prokófiev extracted from his soundtrack for Eisenstein’s film of the same name, completely re-orchestrated and provided with a symphonic development. Majestic music, fascinating to the ear of any music lover due to the expressive power of the choral mass, the robustness of the orchestral sound and the poignant tribute to the fallen heroes, which will evoke the beautiful and warm voice of the mezzo-soprano Olesya Petrova. Previously, the male section of the Choir discovers one of Schubert’s best choral pieces, Gesang der Geister über den Wassern, with text by Goethe about nature and human existence, and the OCV highlights the most revolutionary Haydn with Symphony 49, “La Passione”.
Time
(Friday) 7:30 pm
Location
Auditori i Palau de Congressos de Castelló
Av. de la Mare de Déu del Lledó, 50, 12004 Castellón de la Plana, Castellón, Spain
The »opera of all operas«, directed by Kirill Serebrennikov at the Schiller Theatre! After the tale of love and loss in Così fan tutte and the social disparities between servants and
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The »opera of all operas«, directed by Kirill Serebrennikov at the Schiller Theatre! After the tale of love and loss in Così fan tutte and the social disparities between servants and masters in The Marriage of Figaro, Serebrennikov now completes Mozart’s Da Ponte trilogy with arguably the most dangerous of the three operas . . .
A gentleman who’s a playboy, a servant who’s tired of serving, and a long list of cheated women: Don Giovanni takes what he wants and knows how to throw a magnificent party. The servant Leporello grumbles under his master’s seductive exploits, as he’s the one who has to clean up afterward, comforting and even enlightening the duped. But when Don Giovanni kills the Commendatore in a duel over the honour of his daughter Donna Anna, even Leporello has had enough. But his master is already onto his next victim: Zerlina. It is only his former lover Elvira who refuses to countenance his betrayal and tries to warn the other women about the philanderer—of course in vain. Seducing and deceiving, Don Giovanni simply enjoys gambling with his life, until the ghosts of the past come to haunt him . . .
With Don Giovanni, Mozart and Da Ponte successfully created a masterwork of the operatic canon. In this dramma giocoso or ‘lighthearted drama’, they achieved—through Mozart’s sophisticated psychological composition, spellbinding melodies, and brilliant instrumentation—an extraordinary study of human nature that, in Kirill Serebrennikov’s fearless hands, brings up compelling questions about sex, the power of seduction, the pursuit of individual freedom, and the right to defy societal norms.
BY THE WAY
Those curious to see more of Mozart, Da Ponte, and Serebrennikov can also see The Marriage of Figaro with us.
I had such a great experience debuting with NDR Elbphilharmonie Orchester @Elbphilharmonie! I had the additional surprise of having my wonderful colleague Anton Barakhovsky lead the program.
