Wagner worldwide

Wagner worldwide

“Distant Resonance” is an artistic research project scheduled to run for three years. “Sounding Situations” is teaming up with Kampnagel, Radialsystem Berlin, the Deutsche Oper Berlin and various other institutions to explore the ways in which its own sound and sensation and story are connected to and resonate with distant locations. The first part of the “Wagner Worldwide” trilogy is set to premiere in the Tischlerei of the Deutsche Oper Berlin. “Wagner Worldwide” is a work of musical theatre for a female singer and scalable orchestra, presented from multiple perspectives. Interrelations at a global level coincide with individual ties to political events on a personal, emotional level. The setting: a prime-time newsroom. “Wagner Worldwide” is an attempt to illustrate the area of overlap between the activities of the Wagner mercenary group made up of Russian paramilitaries and the mythological deeds depicted by Richard Wagner. Exploring how the feelings of the general public are informed by current global myths, the project aims to deconstruct these myths and set up opposing narratives. Music is provided by instrumentalists involved with, and influential within, Berlin’s alternative “Echtzeit” scene, a community whose work is known for generating compositions in the area of overlap between reduction, minimalism, new music and post-Cage soundscapes. The assumption is that Echtzeit pieces challenge the prevailing polarising interpretation of Wagner’s works. Over the course of five scenes, “Wagner Worldwide” overlays the political research of “Sounding Situations” onto the musical cosmos of “Echtzeit Wagner”. “Sounding Situations” is a crucible for highly innovative works of musical theatre that bring together drama, music and audiences in a physical and yet imaginary space for the purpose of artistic expression. Its projects conjure up moments in which political art, topical issues, artistic magic and notions of reality and utopia meld into a multilayered opus. Since ...

Wagner worldwide

“Distant Resonance” is an artistic research project scheduled to run for three years. “Sounding Situations” is teaming up with Kampnagel, Radialsystem Berlin, the Deutsche Oper Berlin and various other institutions to explore the ways in which its own sound and sensation and story are connected to and resonate with distant locations. The first part of the “Wagner Worldwide” trilogy is set to premiere in the Tischlerei of the Deutsche Oper Berlin. “Wagner Worldwide” is a work of musical theatre for a female singer and scalable orchestra, presented from multiple perspectives. Interrelations at a global level coincide with individual ties to political events on a personal, emotional level. The setting: a prime-time newsroom. “Wagner Worldwide” is an attempt to illustrate the area of overlap between the activities of the Wagner mercenary group made up of Russian paramilitaries and the mythological deeds depicted by Richard Wagner. Exploring how the feelings of the general public are informed by current global myths, the project aims to deconstruct these myths and set up opposing narratives. Music is provided by instrumentalists involved with, and influential within, Berlin’s alternative “Echtzeit” scene, a community whose work is known for generating compositions in the area of overlap between reduction, minimalism, new music and post-Cage soundscapes. The assumption is that Echtzeit pieces challenge the prevailing polarising interpretation of Wagner’s works. Over the course of five scenes, “Wagner Worldwide” overlays the political research of “Sounding Situations” onto the musical cosmos of “Echtzeit Wagner”. “Sounding Situations” is a crucible for highly innovative works of musical theatre that bring together drama, music and audiences in a physical and yet imaginary space for the purpose of artistic expression. Its projects conjure up moments in which political art, topical issues, artistic magic and notions of reality and utopia meld into a multilayered opus. Since ...

Wagner: Die Walküre

Richard Wagner’s opera »Die Walküre« is a passionate exploration of big themes such as love and betrayal, loyalty and rebellion. The god Wotan wanted to rule through contracts rather than violence but, as a result of broken promises, becomes increasingly entangled in problems until blood begins to flow. Finding no solutions, Wotan finally cries: »One thing alone do I want: the end!« But his daughter Brünnhilde thwarts his plans… At the Hamburg International Music Festival, there is an opportunity to experience the opera in historical original sound for the first time under conductor Kent Nagano. At the festival, Kent Nagano is not conducting »his« orchestra, the Hamburg State Opera, but rather the Dresdner Festspielorchester, Concerto Köln and a top-class cast of soloists, who explore the playing and singing techniques of the 19th century. »More intimate tone colours, a more multi-layered and transparent sound, freed from the ballast of the centuries,« say the performers about the project, which seems to have been tailor-made for the transparent acoustics of the Elbphilharmonie Grand Hall. One of Wagner’s most famous pieces, the »Ride of the Valkyries« – famously used by director Francis Ford Coppola as background music to a helicopter attack in the anti-war film »Apocalypse Now« – thus sounds altogether different.

Richard Wagner: Siegfried

Jetzt zieht er in die Welt: Der freie Held Siegfried soll wieder richten, was Wotan, der Göttervater, zu Beginn der Geschichte vermasselt hat. Endlich ist Teil drei von Wagners »Ring des Nibelungen« im Originalklang-Projekt von Kent Nagano zu erleben.Im Rahmen dieses Projekts (das ursprünglich unter der Überschrift »Wagner-Lesarten« bekannt wurde und in dem überhaupt die Idee zu einem Originalklang-Ring entstand und realisiert werden konnte und zwar mit großzügiger Unterstützung des Landes NRW und der Kunststiftung nrw) erkundet der entdeckungsfreudige Maestro gemeinsam mit Concerto Köln, dem Dresdner Festspielorchester und einer exquisiten Sängerschar fortgesetzt die historisch informierten Dimensionen der Tetralogie. Musikalisch beredt erzählen sie nun davon, wie Siegfried im Wald aufwächst, das Schwert Nothung neu schmiedet, den Drachen Fafner tötet, von diesem arglos den »Ring des Nibelungen« gewinnt, Wotans Speer zerschlägt und liebend die Walküre Brünnhilde erweckt.The Wagner CyclesEin Projekt der Dresdner Musikfestspiele Gefördert vom Kuratorium KölnMusik e.V.

Debussy Wagner Berlioz

Debussy Wagner Berlioz

Westbam meets Wagner

Elektronische Musik trifft auf die Meisterwerke Richard Wagners

Richard Wagner / Siegfried

Performed by the musicians of Concerto Köln and the Dresdner Festspielorchester under the direction of Kent Nagano, this Siegfried is the fruit of years of research into what would be a historically informed reading of Wagner’s operas.

Summer Concert with Wagner

Helena Munktell’s romantic Suite for large orchestra is a piece that the Royal Stockholm Philharmonic Orchestra has never before performed in its entirety. The music was composed in 1895, and like the now often performed Bränningar, this suite was premiered in Monte Carlo in the late 19th century.Next, we hear the young Swedish soprano Jessica Elevant tackle Wagner's Wesendonck Songs – music filled with burning longing and celestial beauty. Jessica Elevant has recently gained attention for her participation in Daniel Nelson's opera Pride and Prejudice at the Norrlandsoperan. This marks her debut with the Royal Stockholm Philharmonic Orchestra.Another debutant is Sergej Bolkhovets – as a conductor, that is. He has previously been a violin soloist with the orchestra. He leads the orchestra in Shostakovich's first symphony. Already in this symphony, Shostakovich demonstrates his phenomenal ability to handle the orchestra. It's personal music with humorous twists and great finesse. A remarkable symphonic debut by a 19-year-old composer.

Mozart Wagner Dowland Schumann