January 28, 2022

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Amid Virus Surge, Salzburg Pageant Pronounces Subsequent Summer time

Amid Virus Surge, Salzburg Festival Announces Next Summer

Austria went into lockdown just lately to counter a document variety of coronavirus circumstances. However in Salzburg, the place the surge has been sharp, there are plans for a brighter future.

On Friday the Salzburg Pageant, classical music and opera’s most storied annual occasion, introduced its 2022 summer time season — again to prepandemic scale, with greater than 200 occasions over six weeks starting July 18.

A double invoice of Bartok’s “Bluebeard’s Fort” and Orff’s not often carried out “De Temporum Tremendous Comoedia” shall be staged by Romeo Castellucci and carried out by Teodor Currentzis. The soprano Asmik Grigorian will star in all three one-acts of Puccini’s “Il Trittico.” The director Barrie Kosky and the conductor Jakub Hrusa will collaborate on Janacek’s “Kat’a Kabanova.”

Cecilia Bartoli will take the principle position in Rossini’s “Il Barbiere di Siviglia,” and Shirin Neshat’s 2017 production of Verdi’s “Aida” and Lydia Steier’s 2018 staging of Mozart’s “Die Zauberflöte” will get return engagements. There’s a wealthy lineup of spoken drama, orchestra live shows — many that includes the competition’s home band, the Vienna Philharmonic — and recitals, together with the standard enviable array of pianists.

The season would be the first below Kristina Hammer, the competition’s ne-w president, whose appointment was announced on Nov. 24. A advertising and communications specialist, Hammer follows Helga Rabl-Stadler’s quarter-century tenure, and she or he joins Markus Hinterhäuser, the inventive director, and Lukas Crepaz, the finance director, in a triumvirate that may proceed to barter the pandemic, in addition to oversee a significant renovation of the competition’s theaters.

Hammer’s appointment “is a acutely aware step taken by the board as a way to additional internationalize the Salzburg Pageant,” Wilfried Haslauer Jr., the area’s governor, mentioned in a press release.

Buoyed by authorities subsidies and sponsorship offers, Salzburg has been in a position to climate the pandemic, placing on a fairly robust season in 2020 for restricted audiences and returning to one thing akin to regular in 2021. The commemoration of the centennial of the competition, which was established in 1920, ended up being unfold over the previous two years.

The Overture Spirituelle, per week or so of occasions initially instituted to attract audiences within the quiet interval earlier than the operas are operating in earnest, comes into its personal subsequent summer time as really “a competition within the competition,” Hinterhäuser mentioned in an interview.

Some distinguished Overture ensembles embrace Currentzis’s MusicAeterna; Klangforum Wien; John Eliot Gardiner’s Monteverdi Choir and English Baroque Soloists; the Tallis Students; and “Messiah” forces led by Jordi Savall. Their performances lead as much as the premiere of “Bluebeard” and “De Temporum Tremendous Comoedia” — a grand, frantically apocalyptic oratorio unveiled at Salzburg in 1973 — and a live performance model of Wolfgang Rihm’s 1979 chamber opera “Jakob Lenz.” (Among the many different highlights: The actress Isabelle Huppert takes the meaty spoken title position in Honegger’s oratorio “Jeanne d’Arc au Bûcher.”)

Of the six staged operas, two are revivals, and a 3rd (“Barbiere”) may have premiered in June on the Salzburg Whitsun Pageant, which Bartoli directs. That is an unusually excessive proportion of rehashes for a competition that prides itself on its formidable slate of recent productions. However Hinterhäuser insisted that each the “Aida” and “Die Zauberflöte” can be considerably rethought variations of reveals that weren’t wholly profitable of their authentic incarnations.

“I’m satisfied it’s the proper factor artistically, and from the financial facet,” he mentioned.

Among the many Vienna Philharmonic’s live shows is an formidable juxtaposition, led by Daniel Barenboim, of the second acts of Saint-Saëns’s “Samson et Dalila” and Wagner’s “Parsifal,” with Elina Garanca, Brandon Jovanovich and Michael Volle singing in each. Amid a broad re-evaluation of touring because the pandemic wears on, the one American ensemble scheduled to look is the Pittsburgh Symphony Orchestra under Manfred Honeck, on the ultimate day of the competition, Aug. 31.

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