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Music for Fontainebleau. The background to Rameau’s opera “Daphnis et Églé”

King Louis XV thinks highly of Rameau’s Daphnis et Églé (1753). But following performances in Fontainebleau, the pastorale héroïque was never staged again during Rameau’s lifetime. With this publication as part of the Opera omnia an authoritative edition is now available.

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Disguise and confusion. The edition of Francesco Cavalli’s masterpiece “L’Erismena”

Following its premiere in 1656 Francesco Cavalli’s L’Erismena was a great success in Venice. An English version was also created. The edition being published as part of the critical edition Francesco Cavalli – Opere offers opportunities for a rediscovery.

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Opera is dead, long live opera!

It’s very much alive, the art form of opera. Contemporary music theatre fills the theatres, like grand opera for a large audience.

 

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L’Opéra français. Musical theatre between revolution and modernism

The series L’Opéra français publishes historical-critical editions of French music theatre works, which offer an authoritative basis for performances.

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Andrea Lorenzo Scartazzini’s “Edward II” in Berlin

Andrea Lorenzo Scartazzini’s third opera follows on from his earlier works with a subject full of archaic power. Edward II was commissioned by the Deutsche Oper Berlin and receives its first performance on 19 February 2017. The opera tells a story from the England of the 14th century about King Edward II, who ruled for twenty unhappy years and left a country in chaos. Power struggles, affairs and intrigues about Edward’s homosexual relationships provide a theatrical subject matter for a drama of relationships and politics. Following Scartazzini’s successful collaboration with the librettist Thomas Jonigk on Der Sandmann, the team comes together again with director Christof Loy for this production. Thomas Søndergård conducts.

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“Werther” in Zurich with the new Bärenreiter edition

A critical edition of Jules Massenet’s Werther with all the authentic versions, taking all the sources into consideration including previously unavailable manuscripts, has long been overdue. The American musicologist Lesley Wright, professor at the University of Hawaii and a distinguished expert in the area of 19th century French opera, has worked on this edition for the last several years. Now it will be put to the test at the Zurich Opera, in close collaboration with the conductor Cornelius Meister. Tatjana Gürbaca is the director in the new production of Massenet’s masterpiece, which has its first performance on 2 April 2017. The title role is sung by no less than the Peruvian star tenor Juan Diego Flórez.

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Monteverdi in Aachen and Hamburg

The Theater Aachen opens the season on 24 September with a new production of Claudio Monteverdi’s L’incoronazione di Poppea, directed by Jarg Pataki and conducted by Justus Thorau. This will be the first performance to use the new Bärenreiter critical edition, prepared by the early baroque specialist Hendrik Schulze with students at the editing seminar at the University of North Texas. On 29 October 2017 the Staatsoper Hamburg presents its contribution to the Monteverdi anniversary year with Willy Decker’s new production of Il ritorno d’Ulisse in patria. The conductor is Václav Luks, who has caused a sensation in the last few years with his Prague ensemble Collegium 1704.

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Music theatre

Premiere in Bregenz: Ľubica Čekovská’s “Impresario Dotcom”
“My music is fundamentally political in expression” - Paul Dessau’s operatic output
Less theatrical, but more successful – Rameau’s “Dardanus”
An army commander torn between two women. Handel’s opera “Alessandro”
Purified Beauty. Handel’s first oratorio in the Halle Handel Edition
A vocal challenge, then as now. Gluck’s “Atto di Bauci e Filemone”
George Frideric Handel’s “Fernando” in Halle
Arcadia breathes a sigh of relief. Handel’s “Il pastor fido” in the Halle Handel Edition
Murderous love. The chamber opera „Thérèse“ by Philipp Maintz and Otto Katzameier
Masterly role characterisation. Handel’s “Giulio Cesare” in the Halle Handel Edition
Reconciled: French and Italian styles. Rameau’s „Les Paladins“ or the mixture of genres
Tragicomic despot. Cavalli’s opera „Il Xerse“ in a new edition
Drama and passion. Christoph Willibald Gluck’s opera „Antigono“
“Violetter Schnee”: Beat Furrer’s new opera for the Berlin Staatsoper
Comedy and musical verismo. Perspectives on composing in Ermanno Wolf-Ferrari
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