Name: Timothy Redmond
Start: 2022-11-29T00:00:00.000Z
End: 2022-11-30T00:00:00.000Z
Location: Teatro Comunale

Organization

Conductor

Timothy Redmond

Singer

Violinist

Ilya Gringolts

Violin 1

Instrumentalist

Violin

Fondazione Haydn di Bolzano e Trento

Orchestra

Orchestra Sinfonica Haydn di Bolzano e Trento

Trento

Italy

Centro Servizi Culturali S. Chiara

Teatro Auditorium Trento

Bolzano

Teatro Comunale

Timothy Redmond: Pelléas et Mélisande, Op. 80 Fauré (+2 Mas)

Public

Pelléas et Mélisande, Op. 80

Concerto for Violin and Orchestra No. 1 in G Minor op.26

Pelléas and Mélisande Suite, Op. 46

Approved

Accordionist

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 gamba

Viola d’amore Player

Violino Piccolo Player

Violist

Actor

Broadcasting

Chefdirigent Musiktheater

Choir

Choreographer

Chorus Director

Chorus master

Composer

Costume designer

Dancer

Dramaturge

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Lighting designer

Makeup artist

Orchestra Operations

Other

Photographer

Poet

Repetiteur

Set designer

Sound designer

Stage Manager

Stage director

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Baritone

Mezzo-soprano

Bass-baritone

Countertenor

Bass

Soprano

Contralto

Tenor

Alto

Child vocalist

Continuo

Silent

Spoken

Pelléas et Mélisande, a symbolist drama written by Maeterlinck in 1892, was one of the most loved works at the turn of the century, and especially by musicians. If the opera that inspired Debussy in 1902 is famous, the first to write music for Maeterlinck's drama was actually Gabriel Fauré, who composed the incidental music for the English representation in 1898. Music that Maeterlinck himself was enthusiastic about , unlike the clashes he had with Debussy (but there, the stone of contention was the choice of the soprano Mary Garden at the expense of Maeterlinck's lover Georgette Leblanc). The music written by Sibelius in 1905 for the Swedish Theater in Helsinki also had great success, in which the drama had almost twenty performances, filling the theater from the first. The highly romantic Concerto n. 1 op. 26 by Max Bruch, written in 1866, a work beloved by audiences and violinists, so popular that Bruch himself admitted in an interview that it would be the only piece to survive him. He wasn't wrong.

English

Pelléas et Mélisande, dramma simbolista scritto da Maeterlinck nel 1892, fu uno dei lavori più amati a cavallo tra i secoli, e in particolar modo dai musicisti. Se celebre è l’opera che ne trasse Debussy nel 1902, il primo a scrivere musica per il dramma di Maeterlinck fu in realtà Gabriel Fauré, che compose le musiche di scena per la rappresentazione inglese nel 1898. Musiche di cui lo stesso Maeterlinck fu entusiasta, diversamente dagli scontri avuti con Debussy (ma lì, la pietra della discordia fu la scelta del soprano Mary Garden a scapito dell’amante di Maeterlinck Georgette Leblanc). Ottimo successo ebbero anche le musiche scritte da Sibelius nel 1905 per il Teatro Svedese di Helsinki, in cui il dramma ebbe quasi venti repliche, riempiendo il teatro fin dalla prima. Nell’acceso simbolismo che domina il programma si inserisce il romanticissimo Concerto n. 1 op. 26 di Max Bruch, scritto nel 1866, lavoro amatissimo da pubblico e violinisti, talmente popolare che lo stesso Bruch ammise in un’intervista che sarebbe stato il solo brano a sopravvivergli. Non aveva torto.

italiano

Timothy Redmond by Fauré, Bruch, Sibelius, Nuo (2022/2022), Dirigentas Timothy Redmond, Teatro Comunale, Bolzano, Italy

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