7pm, Festpielhaus:

RECITAL BY CAMILLA NYLUND

Camilla Nylund: Soprano

Helmut Deutsch: Piano

Program :

– A. Berg : Sept lieder de jeunesse

– G. Mahler : Rückert lieder

– E.W. Korngold : lieder

– J. Sibelius : lieder

– R. Strauss : lieder

A piano-voice recital can have many strings to its bow, especially when accompanied by a living legend of Lieder, namely Helmut Deutsch. The Finnish soprano brings together pieces from her native country (Sibelius), fragments by a composer she loves as an operatic soloist (Strauss) and a saving cinematic touch (Korngold) but doesn’t forget the cycles. Berg’s Seven Early Lieder convey an early 20th-century Viennese aesthetic, but also hint at future Expressionism. As for Mahler’s Rückert-lieder (1901), originally written for orchestra, they suggest a stripped-down interiority.

7pm, Festpielhaus:

RECITAL BY ALEXANDRA DOVGAN

Alexandra Dovgan: Piano

Program :

– L. V. Beethoven: Sonata for piano No. 31 in A-flat major, Op. 110

– R. Schumann: Sonata for piano No. 2, Op. 22

– C. Franck: Prelude, Chorale and Fugue

– S. Prokofiev: Sonata for piano no. 2

Born in 2007, rising star Alexandra Dovgan is already the winner of five international competitions. It goes without saying that musicality and virtuosity are equal in each repertoire! Beethoven’s innovative form blends references to the voice, counterpoint and rhythmic facetiousness. Schumann incorporates a youthful lied into the second movement of his Piano Sonata No. 2, which includes a motif associated with his wife Clara. The second movement is a provocative work by Prokofiev, composed during his student years. The Prelude, Chorale and Fugue, on the other hand, comes at the end of Franck’s life, echoing Bach’s organ pieces, as well as Beethoven.

7pm, Festpielhaus:

LE CHÂTEAU DE BARBE-BLEUE / LA VOIX HUMAINE, by B. Bartók / F. Poulenc

In co-production with Maggio Musicale Fiorentino

Tiroler Festspiele Erl Orchestra

Martin Rajna: Music Director

Claus Guth: Stage Director

Florian Boesch: Duke Bluebeard

Christel Loetzsch: Judith

Vera Lotte Boecker: La Femme

Despite the a priori dissimilar trajectories of Château de Barbe-Bleue and La Voix humaine, director Claus Guth makes one the keystone of the other in the same evening, where two face-to-face confrontations confront a couple with their finitude. Bartók’s only opera traces a path to Judith – Bluebeard’s recent and last wife – through seven doors, linked to numbers that owe as much to Hungarian musical folklore as to the German and French masters. Poulenc’s monodrama, based on Cocteau’s play, takes place over the telephone; on the other end of the line, a woman reacts live to her lover’s announcement of a break-up, not without a few line breaks…

7pm, Festpielhaus:

RIGOLETTO, by G. Verdi

Asher Fisch: Musical Direction

Ivan Ayon Rivas: The Duke of Mantua

Ludovic Tézier: Rigoletto

Julia Muzychenko: Gilda

Camilla Lehmayer: Giovanna

Andrew Hamilton: Count Monterone

Lukas Enoch Lemcke: Count Ceprano

Camilla Lehmayer: Countess Ceprano

Jolyon Loy: Knight Marullo

Josip Švagelj: Matteo Borsa

Alexander Köpeczi: Sparafucile

Deniz Uzun: Maddalena

The first opera in Verdi’s “popular trilogy”, Rigoletto established the composer’s reputation both in Italy and abroad. Who would have thought that a hunchback – and a baritone at that – would play the lead role in a plot twice rejected by the Venetian censors? Verdi sensed the appeal of his melodies, so much so that he imposed an embargo – no whistling, no singing – on the orchestra’s musicians for the aria La donna è mobile before the first performance. Ludovic Tézier, one of the finest interpreters of the protagonist today, will light up the stage with Julia Muzychenko-Greenhalgh, a young talent to be closely watched.