Marina Rebeka
Oyuncu
The international breakthrough happened for the Latvian soprano MARINA REBEKA with her debut at the Salzburg Festival in 2009 as Anaï (Moïse et Pharaon). Since then, she has been a regular guest at the world' most famous opera and concert stages, among others the Met and Carnegie Hall, the ROH Covent Garden, at the Salzburg Festival, the Scala, the Deutschen Oper Berlin, the Bavarian and Hamburg State Operas, in Baden-Baden, Peraso and Valencia. Recently, she gave her role debut at the Met and Lyric Opera in Chicago as Violetta, in the Arena di Verona as Juliette, Donna Anna in the Zurich opera house and the Lyric Opera Chicago as well as Mathilde at the Nederlandse Opera. Engagements comprise, among others, Violetta at the Deutschen Oper Berlin and the ROH Covent Garden. At the Met she will sing as Mathilde (Guillaume Tell) and Donna Elvira. At the Opera house in Zurich, she will sing Vitellia and at the Gran Teatre del Liceu Barcelona as Donna Anna. At the Wiener Staatsoper she gave her debut as Donna Anna and went on to sing Antonia and Violetta. http://www.wiener-staatsoper.at/Content.Node/home/kuenstler/saengerinnen/Rebeka.en.php
Filmler3
FilmMüzikImbuing the familiar Don Juan myth with a captivating combination of comedy, seductiveness, danger, and damnation, Mozart created an enduring masterpiece that has been a cornerstone of the repertory since its 1787 premiere. The opera offers a rare opportunity for two baritones to star alongside one another as the title Lothario and his faithful yet conflicted servant, Leporello, as well as three memorable female roles—multifaceted women who both suffer the Don’s abuses and plot their revenge.
Film6.5DramTarihIn 1873, brave men known as the New Latvians held the first-ever Latvian song festival under the watchful eye of oppressive censorship. This massive celebration, featuring 1,003 singers – both men and women – changed the course of the nation’s history. It stands as a unique example of non-violent resistance in the fight for freedom against imperialism, led by Latvia’s entrepreneurs, writers, publicists and ordinary villagers.
Film6.5MüzikThe hero of this admirably complete August 2013 Guillaume Tell from Pesaro is homegrown maestro Michele Mariotti. The inimitable overture is (mercifully) unstaged and terrifically played, with splendid cello and flute solos: the fine standard never flags. Rossini’s extraordinary 1829 score audibly presages Meyerbeer, Berlioz, Glinka, Verdi and Wagner, among many others. Graham Vick’s direction privileges class conflict, with a clenched fist on the red-and-white forecurtain. The Edwardian costumes place Austrians in white evening garb; the black-clad Swiss polish the floor while the rulers savor a filming (much of that to follow) — the fisherman Ruodi, in a boat with a blonde and fake scenery, with Tell and his family providing tech support. Vick deploys geographical and historical kitsch liberally but not (always) pointlessly. Ron Howell’s pretentious, mannered choreography, however, beggars belief.
Rossini: Guillaume Tell
2013 · 2 votes