Name: Alexander Lonquich
Start: 2023-01-17T00:00:00.000Z
End: 2023-01-18T00:00:00.000Z
Location: Centro Servizi Culturali S. Chiara

Organization

Dyrygent

Alexander Lonquich

Instrumentalista

Piano

Fondazione Haydn di Bolzano e Trento

Orchestra

Orchestra Sinfonica Haydn di Bolzano e Trento

Trydent

Włochy

Centro Servizi Culturali S. Chiara

Teatro Auditorium Trento

Bolzano

Auditorium Bolzano (Konzerthaus Bozen)

Alexander Lonquich: Armida Franz Joseph Haydn (+3 Mas)

Public

Armida

Dances of Galánta

VIII symfonia Beethovena

Piano Concerto No.2 in F Major, op. 102

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 Gambist

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Aktor

Broadcasting

Chefdirigent Musiktheater

Choreografia

Chorus Director

Chór

Dramaturgia

Extra

Fryzjer

Illustrator

Kompozytor / -ka

Korepetytor /- ka

Kostiumy

Libretto

Makijaż

Orchestra Operations

Orkiestra

Other

Photographer

Poet

Produkcja wykonawcza

Przygotowanie chóru

Realizacja dźwięku

Reżyseria

Reżyseria światła

Scenografia

Stage Manager

Taniec

Teacher

Tłumaczenie

Vocal coach

Wideo

Wig & Makeup Designer

Writer

Writing and performance

Kontralt

Śpiewak

Mezzosopran

Kontratenor

Sopran

Bas - baryton

Baryton

Tenor

Alto

Continuo

Głos dziecięcy

Silent

Spoken

Ad aprire il concerto sarà l’Ouverture dell’opera più popolare di Haydn, da lui stesso riconosciuta come la sua migliore: Armida. La trama è una delle tante tratte dal capolavoro di Torquato Tasso, la Gerusalemme Liberata, ma questa volta al centro non è l’eroe Rinaldo ma la sua antagonista, la strega Armida. Il concerto prosegue in un dialogo tra Classicismo e Novecento. Ad Haydn risponde Kodály con le Danze di Galanta, suite dal taglio autobiografico, capace di nostalgici languori e frenetiche impennate, che evoca la musica gitana ascoltata durante l’infanzia nella cittadina slovacca. Un accostamento, questo tra Haydn e Kodály, non casuale: proprio da Galanta venivano gli Esterházy, la celebre famiglia alle cui dipendenze lavorò Haydn per quasi 30 anni. Il dialogo prosegue con l’Ottava Sinfonia di Beethoven, ultimo lavoro ancora immerso in levigate atmosfere classiche del grande compositore di Bonn. E classicissimo è lo scherzo inserito nel secondo tempo (non a caso “Allegretto scherzando”): Beethoven fa il verso al metronomo inventato da Maelzel, che non a caso era anche il promotore del concerto in cui l’Ottava venne eseguita per la prima volta. Chiude la serata il ritorno al Novecento con il meraviglioso Concerto per pianoforte e orchestra n. 2 di Šostakovič, con Alexander Lonquich nella doppia veste di solista e direttore. Šostakovič dedica il concerto al figlio Maxim, anch’egli pianista, e lo immerge in un carattere fiabesco che ispirò anche la Disney per un cortometraggio inserito in Fantasia 2000.

italiano

Opening the concert will be the Overture of Haydn's most popular work, which he himself recognized as his best: Armida. The plot is one of many taken from Torquato Tasso's masterpiece, Gerusalemme Liberata, but this time the center is not the hero Rinaldo but his antagonist, the witch Armida. The concert continues in a dialogue between Classicism and the twentieth century. Kodály replies to Haydn with the Dances of Galanta, an autobiographical suite, capable of nostalgic languors and frenetic upsurges, which evokes the gypsy music heard during his childhood in the Slovakian town. This combination between Haydn and Kodály is not accidental: the Esterházys, the famous family for whom Haydn worked for almost 30 years, came from Galanta. The dialogue continues with Beethoven's Eighth Symphony, last work still immersed in smooth classical atmospheres of the great composer from Bonn. And the scherzo inserted in the second movement is very classic (not by chance “Allegretto scherzando”): Beethoven mimics the metronome invented by Maelzel, who was not by chance also the promoter of the concert in which the Octave was performed for the first time . The evening ends with a return to the twentieth century with the wonderful Concerto for piano and orchestra n. 2 by Shostakovich, with Alexander Lonquich in the double role of soloist and conductor. Šostakovič dedicates the concert to his son Maxim, also a pianist, and immerses him in a fairy-tale character that also inspired Disney for a short film included in Fantasia 2000. Beethoven mimics the metronome invented by Maelzel, who was not by chance also the promoter of the concert in which the Octave was performed for the first time. He closes the evening with the return to the twentieth century with the wonderful Concerto for piano and orchestra n. 2 by Shostakovich, with Alexander Lonquich in the double role of soloist and director. Šostakovič dedicates the concert to his son Maxim, also a pianist, and immerses him in a fairy-tale character that also inspired Disney for a short film included in Fantasia 2000. Beethoven mimics the metronome invented by Maelzel, who was not by chance also the promoter of the concert in which the Octave was performed for the first time. He closes the evening with the return to the twentieth century with the wonderful Concerto for piano and orchestra n. 2 by Shostakovich, with Alexander Lonquich in the double role of soloist and director. Šostakovič dedicates the concert to his son Maxim, also a pianist, and immerses him in a fairy-tale character that also inspired Disney for a short film included in Fantasia 2000. with Alexander Lonquich in the dual role of soloist and director. Šostakovič dedicates the concert to his son Maxim, also a pianist, and immerses him in a fairy-tale character that also inspired Disney for a short film included in Fantasia 2000. with Alexander Lonquich in the dual role of soloist and director. Šostakovič dedicates the concert to his son Maxim, also a pianist, and immerses him in a fairy-tale character that also inspired Disney for a short film included in Fantasia 2000.

English

Alexander Lonquich by Haydn, Kodály, Beethoven, Shostakovich, od (2023/2023), Dyrygent Alexander Lonquich, Centro Servizi Culturali S. Chiara, Trydent, Włochy

Udział w spektaklu (Obsada & realizacja )

Ensemble

Program, informacje i streszczenie

Zdjęcia

Dalsza lektura

Daty i miejsca występów

Miejsca