Organization

Director(a) orquestal

Yannick Nézet-Séguin

Cantante

Soprano

Hanna-Elisabeth Müller

Barítono

Markus Werba

Baritone

Director(a) coral

Gijs Leenaars

Orchestra

Berliner Philharmoniker

Others

Rundfunkchor Berlin

Ein deutsches Requiem, op. 45 -  (Un réquiem alemán)

Uberlingen

Alemania

Brahms’s Ein deutsches Requiem is a powerful, solemn work, yet its message shows the utmost compassion. While the horrors of the last judgement are the focus in traditional requiem settings, Brahms’s work sings sensitively of sorrow and consolation in the face of death. The conductor of this performance is Yannick Nézet-Séguin, music director of the Philadelphia Orchestra and music director designate of the Met in New York.

Berlín

Ein deutsches Requiem Brahms

Public

Un réquiem alemán

Válido

Accordionist

Instrumentista

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da Gambist

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor/actriz

Bailarín(a)

Chorus Director

Compositor(a)

Coreógrafo(a)

Coro

Director(a) de escena

Diseñador(a) de iluminación

Diseñador(a) de sonido

Diseñador(a) de vestuario/Figurinista

Diseñador(a) de video

Dramaturgia

Entrenador(a) vocal

Escenógrafo(a)

Extra

Illustrator

Libretista

Maestro repetidor

Maquillaje

Orchestra Operations

Orquesta

Otro

Peinado

Photographer

Poet

Producción Ejecutiva

Profesor(a)

Radiodifusión

Stage Manager

Traductor(a)

Wig & Makeup Designer

Writer

Writing and performance

Contralto

Bajobarítono

Bajo

Tenor

Mezzosoprano

Contratenor

Alto

Continuo

Papel de hablante

Papel mudo

Vocalista infantil

“I am completely satisfied with your Requiem,” wrote Clara Schumann enthusiastically to Johannes Brahms, who juxtaposed the tragedy of human mortality with the comfort and hope of eternal life in the work. “It is a very powerful piece, and grips the whole person in a way that little else does. The deep seriousness, together with all the magic of poetry has a wonderful, harrowing and soothing effect.” With his German Requiem, Brahms had not created ecclesiastical liturgical music in the classical sense. Rather, the work is a choral cantata based on freely chosen excerpts from the Lutheran Bible which revolve around the basic dualism of life and death, mourning and comfort, transience and transfiguration. There are no intercessions, which are otherwise prominently represented in the Catholic Latin text. Brahms also omits any mention of the redemption of Christ, which is central to the two denominations – something which caused problems at the time: “My Requiem is sung in Bremen every year. But since the name Christ does not occur in it, permission to use the Church is granted only on condition that this deficiency is remedied by a financial contribution.” Textually and musically, each of the seven movements ultimately makes clear just what it is that makes the comforting overall character of this interdenominational requiem: “Death, where is thy sting? O grave, where is thy victory?”

Yannick Nézet-Séguin, future successor to James Levine at the Metropolitan Opera in New York, now conducts Brahms’s Deutsches Requiem in the Berlin Philharmonie. In addition to the orchestra, the performers include the Rundfunkchor Berlin, rehearsed by its chief conductor Gijs Leenaars. The soprano soloist is Hanna-Elisabeth Müller who recently made her debut at the Met. At her side is Wiebke Lehmkuhl who debuted at the Vienna Musikverein and the Lucerne Festival in 2011, and made her first guest appearance at the Salzburg Festival one year after. The demanding baritone role is taken by the Austrian singer Markus Werba.

The concert opens with Carl Philipp Emanuel Bach’s motet “Heilig ist Gott”, composed in 1776 – a ceremonial theophany for contralto, double choir and orchestra, which occasioned the Bach son to employ the full range of tonality at his disposal. Despite its masterful design, the music conveys an impression of the greatest simplicity: “This ʻHeiligʼ,” according to the composer, “is an attempt [...] to attract far greater attention and sensation through ordinary harmonic progressions than any anguished chromaticism is able to achieve. It is my swan song [...], and should serve to ensure that after my death I am not too soon forgotten.”

English

Un réquiem alemán by Brahms, sáb. 21 oct 2017, De (2017/2017), Director Yannick Nézet-Séguin

Créditos de presentación (Elenco & Equipo )

Elenco

Ensamble

Programa, Acerca de & Sinopsis

Fotografías

Más información

Fechas y lugares de actuación

Lugares