Bass-baritone (+1)

Bass-baritone, Composer

Thomas Forde

Bass-baritone

Composer

Artist

Approved

2017

2015

2013

2012

2011

2010

2008

2007

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include virtual contributors

Pianist

Instrumentalist

Violinist

Cellist

Violist

Flautist

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Percussionist

Guitarist

hornist

Organist

Oboist

Bassoonist

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Contrabassist

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Harp player

Saxophonist

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Tenor Violinist

Timpani

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Musette de cour Player

Viola Pomposa Player

Archlutenist

Continuo

Vibraphonist

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Cornettist

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Stage director

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Set designer

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Actor

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Stage Manager

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Writing and performance

Chorus Director

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Extra

Baritone

Singer

Bass

Mezzo-soprano

Soprano

Contralto

Tenor

Countertenor

Spoken

Child vocalist

Silent

Alto

With the support of the Friends of the Zurich Opera Conductor - Ingo Metzmacher Production - Peter Stein Stage design - Ferdinand Wögerbauer Costumes - Anna Maria Heinreich Lighting design - Joachim Barth Choir mastering - Ernst Raffelsberger, Lev Vernik Choreography - Lia Tsolaki Orchestra - Orchestra of the Zurich Opera With Lauri Vasar (Kowaljow), Valeriy Murga (Jakowlewitsch), Alexej Sulimov (sergeant), Michael Laurenz (Ivan), Leonid Bomstein (nose); Liliana Nikiteanu (Podtotschina), Eva Liebau (daughter of Podtotschina), Cornelia Kallisch (an elegant matron), Liuba Chuchrova (Praskowja Ossipowa); Tomasz Slawinski (employee of an advertisements desk), Pavel Daniluk (a doctor / 2nd house servant / 5th master / 1st acquaintance of Kowaljoff); Ivana Rusko (pretzel seller), Margaret Chalker (a mother / a walking mother); Andreas Winkler (doorman / 2nd policeman / 1st man), Patrick Vogel (5th policeman / 2nd man / 2nd acquaintance of Kowaljoff), Benjamin Bernheim (7th policeman / 3rd man), Boguslaw Bidzinski (8th policeman / 7th gentleman), Miroslav Christoff (9th policeman / an old man), Jan Rusko (1st son / Jarischkin), Martin Zysset (Pjotr ​​Fjodorowitsch / Colonel), Reinhard Mayr (1st house servant / 1st policeman / 4th Mr. / 3rd friend of Kowaljoff), Eugevny Sevastyanov (3rd house servant / 4th policeman / speculator), David Steffens (4th house servant / 6th policeman), Kresimir Strazanac (5th house servant / 10th policeman / 9th master) , Cheyne Davidson (6th house servant / a father), Andreas Hörl (7th house servant / coachman of the stagecoach / 6th master / a guard), Morgan Moody (8th house servant / 2nd son), Giuseppe Scorsin (coachman / Iwan Iwanowitsch ), Joa Helgesson (count's lackey / policeman Sommergarten), Thomas Forde (Haiduk / 3rd policeman / policeman Sommergarten), Ilker Arcayürek (8th gentleman); Eva Liebau (soprano solo); Leonid Semenov (Mirza), Jakob Köhn (acquaintance, accompanying gentleman); Zarina Tadjibaeva (accompanying lady); Oleg Zhukov (acquaintance, traveler) One morning the innocent Petersburg college assessor Platon Kuzmich Kovalyov wakes up - and has no more nose. Just go away, the nose. Kovalyov rubs his eyes in confusion, but the nightmare has only just begun! Instead of taking its place in the face of the honorable Kowaljow again, the nose strolls shamelessly through the city and sees no reason whatsoever to return to Kowaljow - after all, she has experienced an improbable social rise in a very short time, her social rank now corresponds to one high officials. The already desperate Kovalev not only sees himself exposed to the scorn and ridicule of his fellow men without a nose, but also almost bites his teeth off the Russian bureaucracy ... Shostakovich was just 22 years old when he wrote his first opera "The Nose" based on the story by Nikolaj Gogol; until the end of his life this would remain his most courageous work for music theater. Shostakovich makes no distinction between serious music and light music; without taboo he puts a chorale behind a gallop, an alienated folk song next to a lament; a coarse polka stands suddenly next to delicate and filigree passages, and expressive cantilenas are followed by playful lightness. In addition to strings, wind instruments and a large percussion apparatus, the orchestra also features a singing saw and a whistle, and Shostakovich's activity as a silent film pianist is reflected in numerous cinematic composition techniques such as parallel scenes, hard cuts and dissolves. Gogol's template provided the right material for this: the tragic and the comic, the real and the fantastically dreamy are suddenly juxtaposed in the narrative, and the banality of the desires and fears of the Russian petty bourgeoisie is brought into a sharp light.

Thomas Forde

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