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Biografie  The soprano Cornelia Zink, who grew up in Ludwigsburg, began her singing studies at the Mozarteum in Salzburg, which she graduated with honors. This resulted in her first permanent engagement at the Cottbus State Theater, where she was part of the ensemble from 2005-2014. There she received the Max Grünebaum Prize for her except...weiterlesen

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Arts Management Dr. Martin C. Turba

Biografie  The soprano Cornelia Zink, who grew up in Ludwigsburg, began her singing studies at the Mozarteum in Salzburg, which she graduated with honors. This resulted in her first permanent engagement at the Cottbus State Theater, where she was part of the ensemble from 2005-2014. There she received the Max Grünebaum Prize for her except...weiterlesen

Repräsentationsdetails:

Arts Management Dr. Martin C. Turba
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  • Repertoire (32)
Komponist*in & WerkRolleProduktionen
Berlioz
L'enfance du ChristVierge Marie1
Bernstein
CandideCunegonde4
Bizet
CarmenMicaëla2
Doderer
LiliomMarie2

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Werner Egk’s operatic version of Peer Gynt is, as demonstrated by the recent performance at the Braunschweig Staatstheater, a highly effective work. Eclectic musically, with affinities to Kurt Weill, Richard Strauss and Paul Hindemith, it is easy on the ear and captures well the themes of Ibsen’s original. I think I can guess why it is not better known. The piece was favoured by Hitler and Goebbels and, although in the post-war period Egk was not condemned in any of the denazification processes, suspicions of him remain, particularly outside Germany. And within Germany his avoidance of modernism has not, in recent years, endeared him to the cognoscenti. A great pity for the Braunschweig performance provided a very satisfying evening of music theatre. It was helped by Dietrich Hilsdorf’s production. He and his designers Dieter Richter and Renate Schmitzer are veterans whose work is justifiably highly regarded in (shall we say) the second division of German opera houses. The settings black austerity for the Norwegian village; glitzy carefree licentiousness for the trolls, and bourgeois luxury for the rich Republic were thoroughly convincing.
Anthony Ogus
In vocally multifaceted characteristics, the baritone exuded his wonderfully striking material in the best tonal balance in a beguiling bel canto. Like a ray of sunshine , Amelia Scicolone warmed up the tragically gloomy scenery with her charming nature and wonderfully easy, treble-proof, flooding soprano as lively Sophie. The smaller roles are also convincing: Rainer Zaun (Le Bailli), Thomas Berau (Johann), Raphael Wittmer (Schmidt) and the NTM children's choir (Anke-Christine Kober). The group of extras as well as the deceased mother (Barbara Troeger) who teasingly haunted the scene contributed to the best success. Conducting the NTM Orchestra ruled Wolfgang Wengenroth , modeled the Massenet score with elegant brushstrokes, made music in a melancholy tone, animated a beautifully-precise aufspielende orchestra to inner tension and deliberate tempos. Such a transparent-inspired excellent overall instrumentation was rarely experienced here at the house.
Gerhard Hoffmann

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