News
28.03.2022
Not just “Carmen”: the new editorial project “Bizet’s Other Operas”
Fishergate Music is publishing successive critical new editions of Georges Bizet’s lesser-known operas.The first works, “Djamileh” and “Don Procopio”, are already available in score, vocal score and orchestral parts. “La Jolie Fille de Perth”, “La Maison du Docteur”, “Le Docteur Miracle” and “Ivan IV” will follow. The performance material, available on hire, can be obtained from Bärenreiter · Alkor. »more«
18.01.2022
Pyotr Tchaikovsky’s “Eugene Onegin” from Bärenreiter
Pyotr Tchaikovsky’s “Eugene Onegin” is probably the most frequently-performed Russian opera. But its success was not assured from the outset. Now this stagework is being published by Bärenreiter in an edition reflecting the latest state of research, taking into consideration the somewhat complicated history of its composition. The new edition finally clears up the many mistakes and inconsistencies in the previous editions of the score. It follows the 1885 St Petersburg version which can be regarded as the final authorised version since Tchaikovsky prepared it for the second edition of the score published by Jürgenson in 1891. »more«
17.02.2022
Music out of music. Philipp Maintz’s new ensemble work and chorale preludes
Philipp Maintz places an instrumental protagonist from his chamber opera “Thérèse” after Émile Zola at the centre of his new ensemble work “c’est une volupté de plus”: the accordion, as the secret protagonist in the septet, forms a kind of musical continuation and a portrait of the main character Thérèse Raquin, whose affair ends in the murder of her husband and suicide: “her search, her hope for an escape and the associated futility which becomes despair – this all becomes ‘music out of music’”, says Philipp Maintz. »more«
18.01.2022
“La clemenza di Tito” – even with social distancing
Anna Skryleva, General Music Director in Magdeburg, made a virtue out of necessity brought about by the pandemic for the new production of Mozart’s last opera she conducted in May 2020, reducing the orchestral writing to just twenty musicians in a careful, yet sensitive arrangement. The result is a translucent chamber music version, which promises to become an attractive option for smaller opera houses well beyond the current restrictions. The performance material is now available on hire from Bärenreiter/Alkor (Photo: Nilz Böhme). »more«
07.09.2021
Theatrically rich with varied chorus and dance scenes - Telemann’s opera for Hamburg “Die wunderbare Beständigkeit der Liebe oder Orpheus”
Georg Philipp Telemann’s Orpheus opera for the Gänsemarkttheater in Hamburg stands apart from typical works of its time in its opulence. Unfortunately the surviving sources are incomplete. But now, a basis for effective performances is provided by the volume from the Telemann Selected Edition published by Bärenreiter.Amongst Telemann’s surviving Hamburg stage works, “Die wunderbare Beständigkeit der Liebe oder Orpheus” (TVWV 21:18) can be regarded as the most unusual, and at the same time the most problematic in its surviving form. »more«
04.09.2021
Glance – Dream – Transition. Manfred Trojahn’s prologue to Verdi’s “Don Carlo”
Manfred Trojahn has been commissioned to write an instrumental prologue to Verdi’s “Don Carlo” by the Salzburg Easter Festival and the Semperoper Dresden. The orchestral composition “Blick – Traum – Übergang” introduces the four-act Italian version of the opera. Trojahn’s prologue does not recount “the external plot of the Fontainebleau act”, according to director Vera Nemirova, but “it creates a musical space for this encounter and for the short-lived utopia of these two people’s happiness.” Nemirova’s production received its first performance in Dresden on 22 October 2021 conducted by Ivan Repusic, when Trojahn’s Prologue will finally be premiered. »more«
08.10.2021
Magnificent music and drama - A conversation with René Jacobs about Telemann’s opera “Orpheus”
In 1994 René Jacobs made his debut at the Deutsche Staatsoper Berlin with Telemann’s “Orpheus”. 27 years later the renowned conductor returns to a work he loves, highlighting its uniqueness. He was inspired by Wolfgang Hirschmann’s critical new edition, which was published in the Telemann Edition in 2011. Bärenreiter has now produced performance material for the forthcoming series of concert performances in major European cities. »more«
