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Organization

Sångare

Soprano

Emily Magee

Ursula

Sandra Trattnigg

Regina

Contralto

Stefania Kaluza

Gräfin Helferstein

Baritone

Thomas Hampson

Mathis der Maler

Tenor

Reinaldo Macias

Albrecht von Brandenburg

Bass

Andreas Hörl

Lorenz von Pommersfelden

Benjamin Bernheim

Wolfgang Capito

Gregory Reinhart

Riedinger

Erin Caves

Hans Schwalb

Tomasz Slawinski

Truchsess von Waldburg

Peter Straka

Sylvester von Schaumberg

Patrick Vogel

Der Pfeifer des Grafen von Helferstein

Dirigent

Daniele Gatti

Regissör

Matthias Hartmann

Scenograf

Johannes Schütz

Kostym designer

Victoria Behr

Ljus designer

Jürgen Hoffmann

Körledare

Jürg Hämmerli

Opernhaus Zürich

tyska

Zürich

Schweiz

Opernhaus

Public

engelska

Approved

A cultural commitment by Credit Suisse -------------------------------------------------- ------------------------------ Conductor - Daniele Gatti Production - Matthias Hartmann Stage design - Johannes Schütz Costumes - Victoria Behr Lighting design - Jürgen Hoffmann Choir master - Jürg Hämmerli Orchestra - Orchestra of the Zurich Opera With Emily Magee (Ursula), Sandra Trattnigg (Regina), Stefania Kaluza (Countess Helfenstein); Thomas Hampson (Mathis, the painter), Reinaldo Macias (Albrecht von Brandenburg), Andreas Hörl (Lorenz von Pommersfelden), Benjamin Bernheim (Walter Capito), Gregory Reinhart (Riedinger), Erin Caves (Hans Schwalb), Tomasz Slawinski (Truchsess von Waldburg), Peter Straka (Sylvester von Schaumberg), NN (Der Graf von Helfenstein), Patrick Vogel (Der Pfeifer des Graf von Helfenstein) With the last new production in his time as artistic director of the Zurich Opera House, Alexander Pereira added a work to the repertoire that made operatic history from Zurich, where it was premiered on May 28, 1938. Paul Hindemith composed "Mathis the Painter" in 1934 based on his own text. For him, the opera became a work of confession about the position of the artist in the world. Hindemith also wrestled privately, ostracized by the Nazis in his German homeland, with his intellectual attitude in the midst of war and dictatorship. His symbolic figure is Matthias Grünewald (around 1470 / 75--1528), the creator of the famous Isenheim Altarpiece, who had served the Archbishop of Mainz since 1511. The turbulent epoch of the peasant wars and the religious division at the beginning of the 16th century became synonymous with pre-war Germany. Like Hans Pfitzner in his opera “Palestrina”, Hindemith also conjures up the world of ancient music in “Mathis the Painter”, although his harmonies are a perfect synthesis of the Middle Ages and the modern. His inclination towards Bach, counterpoint and polyphony comes to the fore, as does powerful expressive expression in the Antonius vision. Old German sacred chants are included in the opera and stylistically fit seamlessly into the concept. Burgtheater director Matthias Hartmann, who has already brought out much-discussed productions of “Carmen” and “Rusalka” at our house, will stage Hindemith's artist opera. Under the direction of chief conductor Daniele Gatti, star baritone Thomas Hampson makes his debut in a role that is both musically and dramatically demanding.

MATHIS THE PAINTER - HINDEMITH

Mathis der Maler by Hindemith, Från (2012/2012), Regisserad av Matthias Hartmann,, Dirigent Daniele Gatti, Opernhaus, Zürich, Schweiz

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