Name: Stabat Mater, op.58
Start: 2022-10-01T00:00:00.000Z
End: 2022-10-01T00:00:00.000Z
Location: Müpa Budapest

Organization

Conductor

Gábor Hollerung

Soprano

Adrienn Miksch

Mezzo-soprano

Atala Schöck

Tenor

Szabolcs Brickner

Bass

Krisztián Cser

Müpa Budapest

Orchestra

Dohnányi Orchestra Budafok

Others

Budapest Academic Choral Society

Stabat Mater, op.58 -  (Stabat Mater)

Budapest

Hungary

Public

Stabat Mater

Approved

Instrumentalist

Pianist

Violinist

Cellist

Violist

Flutist

Clarinetist

Guitarist

Organist

Percussionist

hornist

Oboist

Bassoonist

Trumpeter

Contrabassist

Trombonist

Harper

Saxophonist

Harpsichordist

Bassist

Accordionist

Tuba Player

Recorder Player

Lutenist

Tenor Violinist

Timpani

Mandoline Player

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Violino Piccolo Player

Viola da gamba

Musette de cour Player

Viola Pomposa Player

Archlutenist

Vibraphonist

Cornettist

Viola d’amore Player

Theorbist

Composer

Stage director

Librettist

Set designer

Costume designer

Choreographer

Lighting designer

Dancer

Actor

Chorus master

Video designer

Dramaturge

Translator

Sound designer

Repetiteur

Makeup artist

Executive producer

Hairstylist

Other

Stage Manager

Choir

Poet

Vocal coach

Teacher

Photographer

Broadcasting

Illustrator

Writer

Writing and performance

Chorus Director

Wig & Makeup Designer

Orchestra Operations

Extra

Singer

Baritone

Bass-baritone

Contralto

Countertenor

Spoken

Child vocalist

Silent

Alto

Continuo

Music historians usually associate the writing of the piece with the loss of his child, and he also lost two other children while composing the work. The Stabat Mater can also be considered one of the outstanding works of Christian culture, because even while communicating endless pain, it finally goes on to express faith in life. The unique value of the piece lies in how, despite the extraordinary emotional profundities, it is always organised into well-disciplined and clearly framed movements, which in their structure, dramaturgy, and relationship to each other show an incredible number of faces of pain. Framing the work are the opening and closing movements. The opening movement is genesis-type music, which can be interpreted as the birth of pain. The beginning of the final movement is a reprise of the first movement. The other movements are mostly march-like in character: the Eia Mater is a funeral march, while the Fac me vere for male choir and tenor soloist is likewise a military march. The most beautiful movement in the piece, the Inflammatus et accensus, written for an alto soloist, is monotone march music conveying the act of moving in place The choral movement that closes the first half of the piece, the Tui nati, is a real rocker. Naturally, not even Dvořák was immune from the influence of Italian opera. The Quis est homo movement is a characteristically operatic quartet incorporating a collision of different types of musical material. A similarly operatic moment is the desperate and pained aria of the bass soloist, with what sounds like a heavenly choir singing from behind the scenes. Supplementing this performance of the Stabat Mater will be projections of both the text and artworks related to the theme of the work.

English

Stabat Mater by Dvořák, No (2022/2022), Diriģents Gábor Hollerung, Müpa Budapest, Budapest, Hungary

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