Der Ruepp

Terry Goodkind zieht die Hörer in seinen Bann und lässt sie nicht wieder los! Eine phänomenale Saga von unendlichem Einfallsreichtum! Wer viel Fantasy hört und liest, dem kommt mit der Zeit so Einiges ins Haus. Denjenigen ist zu sagen, dass sie sich vielleicht daran gewöhnen müssen, mit Allerweltsnamen für die einzelenen Charaktere konfrontiert zu werden und das es gleich ohne große Vorgeschichte zur Sache geht. Genau darin liegt aber auch der sagenhafte Vorteil der Fantasy von Terry Goodkind. Der Zuhörer steht dem Helden in nichts nach, wenn es darum geht, die Entwicklung der Geschehnisse zu verfolgen oder die Länder und Bräuche des Epos zu erkunden…

The conductor György Vashegyi and his ensembles, the Orfeo Orchestra and the Purcell Choir, are fluent in various fields of baroque and classical music, with a particular predilection for French baroque opera.

The conductor György Vashegyi and his ensembles, the Orfeo Orchestra and the Purcell Choir, are fluent in various fields of baroque and classical music, with a particular predilection for French baroque opera. But one of their favourite lines of work is Lutheran sacred music, and a good example of this is this beautiful work, Wer ist der, so von Edom kömmt (“Who is this that comes from Edom?”), a period pasticcio with pieces by various composers. Graun (a composer at the court of Frederick II who was greatly admired by his contemporary colleagues), rubs shoulders here with Telemann and Johann Sebastian Bach, as well as with a mysterious unknown, who wrote several of the most impressive passages in the work.

At the fire department, the coffee gets cold – known to many as the (East) German children's book classic by the author Hannes Hüttner and the illustrator Gerhard Lahr from 1969 - is darn funny: the firefighters just want to recover from their strenuous work with a good cup of coffee, the phone is ringing again and calling for the next operation. The coffee stops untouched and Wachtmeister Meier, Löschmeister Wasserhose and the rest of the troops rush to Grandma Eierschecke in Kaffeestraße 13, where an open oven door has just set the apartment on fire. Fortunately, nothing happened to anyone. As a thank you Grandma Eierschecke puts the after all not charred cake in the bag. But who thinks that this can be eaten comfortably for the next coffee break, of course, was wrong!

Mathis der Maler is the central composition of Paul Hindemith’s output for music theater. The reception began with its successful premiere of a symphony of three orchestral parts from the opera, in March of 1934 in Berlin. That was still before the composer was attacked in the National-Socialist press which prompted a defense of Furtwängler’s in a newspaper article titled “The Hindemith Case”. The opera wasn’t premiered until May 1938, in Zurich, where the Hindemith’s had emigrated to, before moving on to the United States. Much as Mathis, who found his political engagement in the Peasant’s War and his calling to paint solely for the glory of God to collide with the expectation to positions himself on religious matters during the Reformation, Hindemith found himself torn between his refusal to propagate for the Nazis, his urge to follow his inner voice, and the demand that he position himself against the regime. These highly acclaimed performances from 2012 at Theater an der Wien with Opera Star Roland Koch in the title role is finally now available here.

Delving into black magic and folk culture, Weber created with Der Freischütz a new aesthetic that was to nourish the imaginative world of a whole generation of composers. René Jacobs has gone back to the sources of the initial project and here offers us a completely new reading of the very first German Romantic opera: the prologue initially conceived by the librettist is restored to its original place, giving due symbolic and structural weight to the character of the Hermit. A fascinating rediscovery!

Delving into black magic and folk culture, Weber created with Der Freischütz a new aesthetic that was to nourish the imaginative world of a whole generation of composers. René Jacobs has gone back to the sources of the initial project and here offers us a completely new reading of the very first German Romantic opera: the prologue initially conceived by the librettist is restored to its original place, giving due symbolic and structural weight to the character of the Hermit. A fascinating rediscovery!

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Hamburg marked an important year in its history in 1762. The city’s large St. Michael’s Church had been destroyed by fire in 1760, and two years later the magnificent new Baroque structure (as yet without a tower) was dedicated. This event was celebrated as an official state ceremony, and of course Georg Philipp Telemann, the city’s music director, who by then was eighty-one years old, had to supply the music for it.