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Jeanne d'Arc au bûcher (Joan of Arc at the Stake), Honegger
Dalīties
Teatro Real de Madrid (2022)
Lomās:
Camilla Tilling,
Sylvia Schwartz,
Elena Copons,
Enkelejda Shkoza,
Enkelejda Shkoza,
Sébastien Dutrieux,
Charles Workman,
Torben Jürgens,
Claudio Ezio Malgesini,
Gleisy Lovillo,
Liliana Rugiero,
Olgica Milevska,
Pilar Belaval,
Angel Alvarez,
Bartomeu Guiscafré,
César de Frutos,
Elier Muñoz,
Harold Torres,
Igor Tsenkman,
Jose Carlo Marino,
Koba Sardalashvili,
María Fidalgo,
Maria Melnychyn,
Inmaculada Laín,
Ana Maria Fernandez,
Sebastián Covarrubias,
Legipsy Álvarez,
Alexander González,
María Ángeles Pérez,
Mónica Redondo,
Victora Gonzalez,
Cristina Herreras,
Anna Mishchenko,
Olga Guseva,
Carolina Bardas Rodríguez,
María de los Ángeles Gómez Rojas,
Vilma Ramírez Álvarez,
Elena Castresana,
Debora Abramowicz,
Laura Suárez,
Tina Silc,
Montserrat Martín,
Oxana Arabadzhieva,
Gaizka Gurruchaga,
Irene Garrido,
Aurora Parra,
Luciana Micheli Hernandez,
Concepcion Perez Boj,
Lucia Gonzalez Casanueva,
Chantal Garcia Santos,
María Alcalde,
Adela López,
Pilar Cuadrado,
So Hyun Park,
Sara Lopez De La Torre,
Nazaret Cardoso,
Rosaida Castillo,
Ana Arán,
David Romero,
Javier A. Gonzalez
07 - 17 jūnijs 2022 (8 izrādes)
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Teatro Real, Madrid, Spain
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Joan of Arc at the Stake by Honegger, The Blessed Damozel by Debussy, No (2022/2022), Režisēja Alex Ollé, Diriģents Juanjo Mena, Teatro Real, Madrid, Spain

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Izvēlieties DarbsJeanne d'Arc au bûcher (Joan of Arc at the Stake), Honegger

Lomās

Instrumentācija

Radoša komanda

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Programma, Informācija un Apraksts

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Programma

2

Jeanne d'Arc au bûcher (Joan of Arc at the Stake), Honegger
Opera
La Damoiselle Élue (The Blessed Damozel), Debussy
Oratorio / Orchestral
The adoration of the celestial lady and the fanatical mob setting a woman accused of witchcraft at the stake constitute the extremes of the medieval representation of the feminine that unifies this stimulating double program. There is no shortage of connections between the two works, because even when both deny the title of "opera" - we are dealing with a symbolist cantata in Debussy's case and a dramatic oratorio in Honegger's - they were composed with Wagner in mind. On the one hand, a young Debussy capable of playing the piano from memory Tristan und Isolde, before renouncing the spell of the "old wizard" in Pelléas et Mélisande. On the other, a Honegger at the peak of his career, fascinated - as well as his librettist Paul Claudel - by the Wagnerian concept of "total work of art", but ready to reach it with totally new wickers. With contrasting and perfectly complementary durations and musical and dramatic registers, La damoiselle élue shines like a stained glass window by Fra Angelico, while the modal coloring, the polytonal aggregates and the phantasmagoric timbre of Jeanne d'Arc au bûcher's Martenot waves seem to reflect its light. on the stone walls.
Informācija ir pieejama: English

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