Organization

Lucerne Festival zu Ostern

Conductor

Antonio Pappano

Singer

Mezzo-soprano

Elīna Garanča

Orchestra

Orchestra dell'Accademia Nazionale di Santa Cecilia

Concert

Lucerne

Switzerland

Concert Various

Public

Approved

Accordionist

Instrumentalist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Chefdirigent Musiktheater

Choir

Choreographer

Chorus Director

Chorus master

Composer

Costume designer

Dancer

Dramaturge

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Lighting designer

Makeup artist

Orchestra Operations

Other

Photographer

Poet

Repetiteur

Set designer

Sound designer

Stage Manager

Stage director

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Contralto

Soprano

Tenor

Baritone

Countertenor

Bass

Bass-baritone

Alto

Child vocalist

Continuo

Silent

Spoken

In the 19th century, people in Europe began to dream of foreign countries and people. The East in particular emerged to become a place of longing. “I want to see Damascus and Persia’s cities with their airy minarets. I want to see beautiful silk turbans over dark faces with gleaming teeth,” proclaims Maurice Ravel’s song cycle Shéhérazade, which evokes a distant dream world through melismas and lascivious chromaticism. Nikolai Rimsky-Korsakov had already chosen the figure of the Eastern storyteller Sheherazade from A Thousand and One Nights as the heroine of a tone poem a few years earlier. He characterizes the foreign beauty using arabesques and a delicate violin solo that is meltingly seductive, while the murderous Sultan appears with brass-armored, tyrannical chords. Rimsky’s colorful, sensuous orchestration also reveals an important motif of Orientalist fashion: exoticism and eroticism are closely related, separated only by a letter. In contrast, matters become entirely Italian in Gioachino Rossini’s Algeria, where the concert evening begins with a triumph of brio and good humor.

English

Im 19. Jahrhundert begann man in Europa von fremden Ländern und Menschen zu träumen. Vor allem der Orient stieg zu einem Sehnsuchtsort auf. «Ich möchte Damaskus sehen und Persiens Städte mit den luftig-leichten Minaretten. Ich möchte schöne Turbane aus Seide sehen über dunklen Gesichtern mit schimmernden Zähnen», heisst es in Maurice Ravels Liedzyklus Shéhérazade, der mit Melismen und lasziver Chromatik eine ferne Traumwelt beschwört. Nikolai Rimsky-Korsakow hatte die Figur der orientalischen Märchenerzählerin Scheherazade aus Tausendundeiner Nacht schon einige Jahre zuvor zur Heldin einer Tondichtung erkoren. Er charakterisiert die fremde Schöne mit Arabesken und einem zarten Violinsolo von verführerischem Schmelz, während der mordlüsterne Sultan mit blechgepanzerten, tyrannischen Akkorden auftritt. Rimskys farbenprächtige, sinnliche Instrumentation verrät auch ein wichtiges Motiv der Orientmode: Exotik und Erotik sind eng miteinander verwandt, nur ein Buchstabe trennt sie. Ganz und gar italienisch geht es dagegen in Gioachino Rossinis Algerien zu, wo der Abend beginnt: mit einem Triumph des Brio und der guten Laune.

Deutsch

Concert by Various, sek 28 rgp 2022, Nuo (2022/2022), Dirigentas Antonio Pappano

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