Symphony Concert N° 7

Christoph Eschenbach Conductor
Venera Gimadieva Sopran
Elisabeth Kulman Alt
Pavol Breslik Tenor
René Pape Bass
State Opera Chorus Dresden

Antonín Dvořák

  • »Stabat mater« für Soli, Chor und Orchester op. 58

The sounds of comfort

The image of the despairing mother reflects unbridled grief for the dead son. The medieval poem »Stabat mater dolorosa« describes the pain-filled mother standing at the Cross when the inconceivable has come to pass. The creation of Dvořák’s »Stabat mater« was also accompanied by dire misfortune in the life of the Czech composer: Between 1875 and 1877, three of his children died. The composer’s »Stabat mater« provides some comfort by giving expression to this grief.

Expected concert duration without an interval: 100 minutes

  • 13.02.2019
    20:00 Uhr
    Semperoper
    Tickets
    Ticket price:
    36.00 – 67.00 €
  • 14.02.2019
    20:00 Uhr
    Semperoper
    Tickets
    Ticket price:
    23.00 – 67.00 €

Christoph Eschenbach

Conductor

Christoph Eschenbach is one of a select group of artists equally acclaimed for their brilliance at the piano and on the conductor’s rostrum. This will be confirmed once again in the current season when he not only conducts in Dresden and at Salzburg’s Easter Festival but also displays his keyboard mastery at a chamber music recital. After holding top positions with the NDR Symphony Orchestra, the Orchestre de Paris and the Philadelphia Orchestra, since the autumn of 2010 Eschenbach has been a prime

mover on North America’s music scene as music director of the National Symphony Orchestra and the John F. Kennedy Center in Washington. Strongly committed to fostering the next generation of musicians, he is until today principal conductor of the Orchestral Academy of the Schleswig-Holstein Music Festival, and has played a pivotal role in the careers of such current stars as Lang Lang and David Aaron Carpenter.

Venera Gimadieva

Hailed as ›the new voice of Russia‹ and the star of the Bolshoi Theatre in Moscow, Venera Gimadieva has quickly become one of the most sought-after lyric coloratura sopranos in Europe. Her performances as Violetta La traviata have earned sensational reviews, with the Guardian describing her Glyndebourne Festival debut in the role as »thrilling… She is a soprano of huge presence, compelling to watch, with a voice of thrilling security and range, and a special quality to her quieter singing that makes you hang on every note. It's a remarkable, touching Glyndebourne debut.«

Engagements in the 2017-18 season include the title role of Lucia di Lammermoor (for returns to the Semperoper Dresden and the Teatro Real, Madrid, as well as her house debut at the Bayerische Staatsoper); Elvira I puritani (Wiener Staatsoper) and a recital at the Wigmore Hall.

Highlights of the 2016-17 season included the Queen of Shemakha The Golden Cockerel (for house debuts at La Monnaie, Brussels and Santa Fe Opera, as well as a return to the Teatro Real, Madrid); the title role of Lucia di Lammermoor in Zürich and Beijing; and Violetta La traviata in Dresden.

Other recent highlights include Violetta La traviata for both her debut at the Royal Opera House, Covent Garden and her USA debut at the Hollywood Bowl with the LA Philharmonic Orchestra; Norina (»Don Pasquale«) at the Bolshoi; the title role of »Lucia di Lammermoor« in Limoges, Reims and Rouen; Giulietta »I Capuleti e i Montecchi« at the Deutsche Oper Berlin; and

Elvira »I puritani« at the Teatro Real Madrid; her first Juliette »Roméo et Juliette« opposite Juan Diego Flórez’s first Roméo in Lima, Violetta »La traviata« (La Fenice, Glyndebourne Festival Opera, Paris Opera, Opéra de Limoges, Opéra de Reims, Hungarian State Opera and Savonlinna Opera Festival), Gilda »Rigoletto« (Hungarian State Opera), and an appearance at the BBC Proms with the John Wilson Orchestra.

Until recently Gimadieva was a member of the ensemble at the Bolshoi Theatre in Moscow, having studied on their young artist programme, as well as at the Kazan Music College and the St. Petersburg State Conservatoire. Her roles at the Bolshoi have included Gilda »Rigoletto«, Marfa »The Tsar’s Bride«, Ksenia »Boris Godunov«, Amina in a new production of »La Sonnambula« (a performance that won the 2014 Golden Mask award for Best Female Performer in Opera), Violetta in a new production of »La traviata« by Francesca Zambello, the title role of Rimsky-Korsakov’s »The Snow-Maiden«, the Queen of Shemakha in a new production of »The Golden Cockerel« by Kirill Serebriannikov and conducted by Vassily Sinaisky, Sirin in Rimsky-Korsakov’s »The Legend of the Invisible City of Kitezh» and Maiden »Fevronia«, and Serpina in Pergolesi’s »La serva padrona«. Concert performances in Moscow include Brahms’s »Ein deutsches Requiem« with the Russian National Orchestra conducted by Mikhail Pletnev at the Tchaikovsky Concert Hall.

Pavol Breslik

Die steile Karriere des Tenors Pavol Breslik begann im Jahr 2005, als er bei der Kritikerumfrage der Zeitschrift »Opernwelt« zum »Nachwuchssänger des Jahres« gekürt wurde. Von 2003 bis 2006 gehörte Breslik dem Ensemble der Berliner Staatsoper Unter den Linden an, wo er u. a. mit zahlreichen Mozart-Partien zu hören war. Mit diesen gastierte er dann auch am Teatro Verdi in Triest, am Piccolo Teatro in Mailand, am Théâtre de la Monnaie in Brüssel, beim Glyndebourne Festival, bei den Wiener Festwochen und beim Festival von Aix-en-Provence.

Als Jaquino in »Fidelio« trat er im Pariser Théâtre du Châtelet auf. Inzwischen debütierte er auch bei den Salzburger Festspielen, an der New Yorker MET, am Royal Opera House Covent Garden in London sowie an der Bayerischen Staatsoper.

Auch auf den Konzertpodien ist Pavol Breslik ein gern gesehener Gast und musizierte hier mit Orchestern wie dem London Philharmonic Orchestra, dem London Symphony Orchestra dem Orchestre National de France sowie dem Los Angeles Philharmonic unter Dirigenten wie Kurt Masur, Sir Colin Davis, Riccardo Muti oder Gustavo Dudamel.

René Pape

Bass

One of the preeminent singers in the world of classical music, René Pape is a popular guest artist at all the top opera houses, orchestras and festivals. Born in the Saxon capital, he was a boy chorister in the city’s famous Kreuzchor before going on to study at the Dresden Conservatory of Music. He has been an ensemble member of Berlin State Opera since 1988, where he has performed the great bass roles such as Méphistophélès in Gounod’s »Faust«, Philipp II in»Don Carlo«, Rocco in »Fidelio«, Gurnemanz in »Parsifal«, King Heinrich in »Lohengrin« and King Marke in »Tristan«. In other new productions at the State Opera he has appeared as Figaro, Don Giovanni, Boris Godunov, Gremin in »Eugen Onegin« and Wotan in »Rheingold« and »Walküre «, all under the baton of Daniel Barenboim. 

René Pape has been invited to perform at New York’s MET and the Lyric Opera of Chicago, La Scala in Milan, the Bavarian and Vienna State Operas, the Semperoper as well as the Bayreuth and Salzburg Festivals. In addition to his work on the operatic stage, the bass can regularly be heard in concert. He has won several Grammys and ECHO Classical Music Awards, such as the ECHO of 2009 awarded for his solo album »Gods, Kings & Demons« recorded together with the Staatskapelle Dresden.

State Opera Chorus Dresden

Had it not been for Carl Maria von Weber, Dresden’s opera chorus would not have been founded, or at least not on October 8, 1817. It was Weber who obtained royal approval for this initiative; after all, it was his artistic mission (and personal ambition) to establish a German opera company alongside the tradition-steeped Italian opera. Besides suggesting other reforms for the staging of opera, he argued that it was now essential to have a regular choir. The choir started to participate in the traditional Palm Sunday concerts as early as 1827. Major landmarks in its history include the performances in 1846, 1847 and 1849 of Ludwig van Beethoven’s Ninth Symphony under the later Kapellmeister Richard Wagner, who was forced to flee Dresden shortly after the last-mentioned performance.

Currently comprising 89 singers, the Dresden State Opera Chorus has now become one of Europe’s finest opera choruses and has been acclaimed as such in virtually every premiere review in recent years. This preservation of tradition, coupled with a growing awareness of quality, is indebted to such artists as Joseph Metzner, Wilhelm Fischer, Karl Maria Pembaur, Ernst Hintze, Gerhart Wüstner, Franz Peter Müller-Sybel, Hans-Dieter Pflüger, Matthias Brauer and Pablo Assante, who have led the choir through difficult times to the present day. The Dresden State Opera Chorus is currently directed by Jörn Hinnerk Andresen, who since assuming his post in 2014 has maintained and developed such qualities as tonal coherence, refinement and reliably consistent precision.

The State Opera Chorus of today has to a significant degree been shaped by its collaboration with the conductor Giuseppe Sinopoli, who died far too early and dedicated much time and effort to developing the choir’s artistic potential. Nowadays, the choir frequently demonstrates its qualities in operatic productions and concert performances. Radio, television and CD recordings bear further testimony to the immense prowess on account of which the State Opera Chorus is much sought after in many places besides Dresden: the choir receives invitations to perform at festivals, on tours and in concerts and has since 2013 worked together with the Staatskapelle Dresden at the Salzburg Easter Festival, which has been directed by Christian Thielemann ever since. October 8, 2017 marks the 200th anniversary of the founding of the Dresden State Opera Chorus.