Keywords: Chamber Music
| Constance Morvan | Clarinet |
| Elia Cohen Weissert | Cello |
| Michael Cohen Weissert | Piano |
| Kreisleriana op. 16 | Robert Schumann |
| Der Hirte auf dem Felsen | Franz Schubert |
| Klarinetten Trio op. 114 | Johannes Brahms |
These events are similar in terms of concept, place, musicians or the program.
Sonntagsmatinee in der Tradition der Familie Mendelssohn am authentischen Ort
Swiss flutist Eva Oertle performs across Europe, playing with renowned orchestras and at major concert halls. She has toured internationally and released acclaimed CDs. Vesselin Stanev, born in Bulgaria, studied music in Sofia, Moscow, and Paris, winning awards and performing throughout Europe, Russia, and Japan. He collaborates with distinguished conductors and frequently performs chamber music with Eva Oertle.
Zoltán Despond 1992 geboren, erhielt der Cellist Zoltán Despond seine Ausbildung von Pierre-Bernard Sudan in Fribourg und von Marc Jaermann in Lausanne, später von Thomas Grossenbacher an der Hochschule der Künste Zürich, wo er 2018 mit einem Master als Solist abschloss. Wertvolle Hinweise empfing er von Enrico Dindo an der Pavia Cello Academy, daneben besuchte er Meisterkurse bei Dozenten wie Antonio Meneses, Christophe Coin oder Giovanni Sollima. Seine Konzerttätigkeit führt ihn durch ganz Europa. Gern arbeitet er mit Musikern wie Ilya Gringolts, Silvia Simionescu, Marko Milenković oder Anahit Kurtikyan zusammen, während er am Klavier auf Vesselin Stanev, Anna Bertogna oder Richard Octaviano Kogima setzt. Zudem wirkt er regelmässig als Zuzüger beim Luzerner Sinfonieorchester mit. Zoltán Despond hat den Zubaloff-Preis erhalten und wurde vom Fonds Pierre et Renée Glasson und der Friedl Wald-Stiftung ausgezeichnet. Vesselin Stanev Geboren in Varna (Bulgarien). Ausbildung an der Musikakademie in Sofia, bei Dmitri Bashkirov am Tschaikowsky- Konservatorium in Moskau, bei Alexis Weissenberg und am Conservatoire National Supérieur de Musique in Paris. Weiterführende Beratung durch Peter Feuchtwanger, London. Preise beim Tschaikowsky-Wettbewerb in Moskau und beim Concours Marguerite Long – Jacques Thibaud. Auftritte in grossen Konzerthäusern Europas wie der Wigmore Hall in London, der Alten Oper Frankfurt, der Philharmonie Berlin, dem Gewandhaus Leipzig oder der Salle Gaveau in Paris. Reisen in die nordischen Länder, nach Ost- und Südosteuropa, Russland und Japan. Zusammenarbeit mit Dirigenten wie Paul Daniel, Alexander Lazarev, Hubert Soudant und David Zinman. Regelmässige Kammerkonzerte mit der Geigerin Ekaterina Frolova und der Flötistin Eva Oertle. CD-Aufnahmen für RCA, Sony Classical und das bulgarische Label Gega New.
Lurking in the bowels of the Deutsche Oper Berlin is a long-forgotten realm from the dark ages. In this location, a.k.a the set and props depository, the ghosts of King Gunther, Siegfried and Brünhilde are up to no good, ever fighting over who gets to go on stage next. Nothing’s off-limits to Wagner’s offspring when it comes to winning over the audience! And so it goes: murder and mayhem, drama upon drama, day after day. High time for someone to bang some heads together — and do it with humour, too! Wait a sec: humour!? That’s really not something the German crew knows the first thing about. But then Berlin’s underground scene rides to the rescue: a clique of operetta singers will sort it out – but wait: are these hallowed portals really going to host a work of operetta? Whatever would Richard make of it? AB IN DEN RING! is the Tischlerei’s latest collaboration with an independent company and tutti d*amore’s first premiere to be staged at an opera house. It is based on DIE LUSTIGEN NIBELUNGEN, a burlesque operetta by Oscar Straus and his lyricist Rideamus, first performed in Vienna in 1904. The source material is a witty satire aimed at their idol, Richard Wagner, a parody that, in the imperial era, dared to poke fun at themes such as heroism, patriotism and war fever. The operetta’s catchy couplets and jaunty waltzes and marches gave the Austrian composer his first major triumph. Tutti d*amore has rewritten the text, extending and transposing Straus’s satirical look at Wilhelminian Germany into present day society. AB IN DEN RING! is a sharp dig at the culture wars raging in the theatre and opera community between supporters of conservatism and tradition on the one hand and woke progressives on the other. The theatrical sphere fuses with the mythological realm of the Nibelungs, triggering a to and fro over which attitudes should hold sway. A slapstick tussle where – as in a classic operetta - no single side comes out on top. On tutti d*amore The core mission of ...
Lurking in the bowels of the Deutsche Oper Berlin is a long-forgotten realm from the dark ages. In this location, a.k.a the set and props depository, the ghosts of King Gunther, Siegfried and Brünhilde are up to no good, ever fighting over who gets to go on stage next. Nothing’s off-limits to Wagner’s offspring when it comes to winning over the audience! And so it goes: murder and mayhem, drama upon drama, day after day. High time for someone to bang some heads together — and do it with humour, too! Wait a sec: humour!? That’s really not something the German crew knows the first thing about. But then Berlin’s underground scene rides to the rescue: a clique of operetta singers will sort it out – but wait: are these hallowed portals really going to host a work of operetta? Whatever would Richard make of it? AB IN DEN RING! is the Tischlerei’s latest collaboration with an independent company and tutti d*amore’s first premiere to be staged at an opera house. It is based on DIE LUSTIGEN NIBELUNGEN, a burlesque operetta by Oscar Straus and his lyricist Rideamus, first performed in Vienna in 1904. The source material is a witty satire aimed at their idol, Richard Wagner, a parody that, in the imperial era, dared to poke fun at themes such as heroism, patriotism and war fever. The operetta’s catchy couplets and jaunty waltzes and marches gave the Austrian composer his first major triumph. Tutti d*amore has rewritten the text, extending and transposing Straus’s satirical look at Wilhelminian Germany into present day society. AB IN DEN RING! is a sharp dig at the culture wars raging in the theatre and opera community between supporters of conservatism and tradition on the one hand and woke progressives on the other. The theatrical sphere fuses with the mythological realm of the Nibelungs, triggering a to and fro over which attitudes should hold sway. A slapstick tussle where – as in a classic operetta - no single side comes out on top. On tutti d*amore The core mission of ...
Lurking in the bowels of the Deutsche Oper Berlin is a long-forgotten realm from the dark ages. In this location, a.k.a the set and props depository, the ghosts of King Gunther, Siegfried and Brünhilde are up to no good, ever fighting over who gets to go on stage next. Nothing’s off-limits to Wagner’s offspring when it comes to winning over the audience! And so it goes: murder and mayhem, drama upon drama, day after day. High time for someone to bang some heads together — and do it with humour, too! Wait a sec: humour!? That’s really not something the German crew knows the first thing about. But then Berlin’s underground scene rides to the rescue: a clique of operetta singers will sort it out – but wait: are these hallowed portals really going to host a work of operetta? Whatever would Richard make of it? AB IN DEN RING! is the Tischlerei’s latest collaboration with an independent company and tutti d*amore’s first premiere to be staged at an opera house. It is based on DIE LUSTIGEN NIBELUNGEN, a burlesque operetta by Oscar Straus and his lyricist Rideamus, first performed in Vienna in 1904. The source material is a witty satire aimed at their idol, Richard Wagner, a parody that, in the imperial era, dared to poke fun at themes such as heroism, patriotism and war fever. The operetta’s catchy couplets and jaunty waltzes and marches gave the Austrian composer his first major triumph. Tutti d*amore has rewritten the text, extending and transposing Straus’s satirical look at Wilhelminian Germany into present day society. AB IN DEN RING! is a sharp dig at the culture wars raging in the theatre and opera community between supporters of conservatism and tradition on the one hand and woke progressives on the other. The theatrical sphere fuses with the mythological realm of the Nibelungs, triggering a to and fro over which attitudes should hold sway. A slapstick tussle where – as in a classic operetta - no single side comes out on top. On tutti d*amore The core mission of ...
Lurking in the bowels of the Deutsche Oper Berlin is a long-forgotten realm from the dark ages. In this location, a.k.a the set and props depository, the ghosts of King Gunther, Siegfried and Brünhilde are up to no good, ever fighting over who gets to go on stage next. Nothing’s off-limits to Wagner’s offspring when it comes to winning over the audience! And so it goes: murder and mayhem, drama upon drama, day after day. High time for someone to bang some heads together — and do it with humour, too! Wait a sec: humour!? That’s really not something the German crew knows the first thing about. But then Berlin’s underground scene rides to the rescue: a clique of operetta singers will sort it out – but wait: are these hallowed portals really going to host a work of operetta? Whatever would Richard make of it? AB IN DEN RING! is the Tischlerei’s latest collaboration with an independent company and tutti d*amore’s first premiere to be staged at an opera house. It is based on DIE LUSTIGEN NIBELUNGEN, a burlesque operetta by Oscar Straus and his lyricist Rideamus, first performed in Vienna in 1904. The source material is a witty satire aimed at their idol, Richard Wagner, a parody that, in the imperial era, dared to poke fun at themes such as heroism, patriotism and war fever. The operetta’s catchy couplets and jaunty waltzes and marches gave the Austrian composer his first major triumph. Tutti d*amore has rewritten the text, extending and transposing Straus’s satirical look at Wilhelminian Germany into present day society. AB IN DEN RING! is a sharp dig at the culture wars raging in the theatre and opera community between supporters of conservatism and tradition on the one hand and woke progressives on the other. The theatrical sphere fuses with the mythological realm of the Nibelungs, triggering a to and fro over which attitudes should hold sway. A slapstick tussle where – as in a classic operetta - no single side comes out on top. On tutti d*amore The core mission of ...
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