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Biografia  Ainārs Rubiķis took up his position as Music Director of the Komische Oper Berlin at the start of the 2018/19 season. Latvian-born, he came to international attention as winner of the 2010 Gustav Mahler Conducting Competition. The following year, he was recipient of the second Nestlé and Salzburg Festival Young Conductors Award...read more

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Askonas Holt

Biografia  Ainārs Rubiķis took up his position as Music Director of the Komische Oper Berlin at the start of the 2018/19 season. Latvian-born, he came to international attention as winner of the 2010 Gustav Mahler Conducting Competition. The following year, he was recipient of the second Nestlé and Salzburg Festival Young Conductors Award...read more

Dettagli di rappresentanza:

Askonas Holt
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  • Repertorio (17)
Compositore e OperaRuoloProduzioni
Bizet
CarmenConductor4
Dvořák,A
RusalkaConductor4
Eggert
M - Eine Stadt sucht einen MörderConductor1
Enescu
OedipeConductor2

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Endless consumer terror or: Ecce homo! Barrie Kosky directs “Rise and Fall of the City of Mahagonny” by Kurt Weill and Bertolt Brecht in the Komische Oper. Berlin- A man is stabbed to death alone on the stage. It is wide and empty and bordered on the sides by two mirror walls. He's in his blood for a long time and one can feel sorry for him, and the longer he lies, the more sorry for him. Invisible from outside, the choir sings "Can't help a dead man" - and does so with dripping irony because its members have just killed him in harmony. In the orchestra, mendacious regret rushes along with kettledrums and trumpets, warning and admonishing, pathetic and distant at the same time. So now ends in the comic opera "Rise and Fall of the City of Mahagonny" by Kurt Weill to the text by Bertolt Brecht.
Irene Bazinger
D.he need for large, cyclical contexts seems great. Barrie Kosky, director of the Komische Oper Berlin, would like his new production of “Rise and Fall of the City of Mahagonny” as a kind of “second season” after Arnold Schönberg'sUnderstand the opera “Moses and Aaron” that was written at the same time (to draw the line even further to Jerry Bock's musical “Anatevka” as the third part of such a trilogy). Kosky has staged both works at his house in recent seasons. Meanwhile, Vincent Huguet is continuing his trilogy of three operas by Wolfgang Amadeus Mozart on libretti by Lorenzo Da Ponte at the Staatsoper Unter den Linden. The French director would like to tell a story of sexuality in three parts, inspired by Michel Foucault's “Sexuality and Truth”. Due to the corona, the order of the premieres was hailed: "Le nozze die Figaro", part two of Huguet's story of a mature man in a marital crisis, was presented as a streaming premiere last season, "Così fan tutte", The order is not unimportant, since Huguet's updating staging proceeds strictly chronologically and would like to span a panorama from the years after 1968 to today. “Così” forms the starting point as a piece that tells of sexual liberation. Huguet is able to tell the story of Fiordiligi and Dorabella, who are seduced to infidelity by their own fiancés in disguised form, as a story of emancipation: by consciously affirming their feelings or, as Don Alfonso, the steering head behind Experiment, formulated in the end: your “need of the heart”.
Clemens Haustein

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