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About the program

Interview with Juliane Banse:

First you learned to play the violin, then you started ballet, and finally you opted for singing when you were 15. Why did you opt for your own voice as your method of expression?

I loved both the violin and especially the ballet very much, and the decision to leave these two things was not easy. But I had the impression and also made the experience that through my voice I had more room and more possibilities to express myself personally. Singing includes the whole personality, the whole body and mind, and it became more and more clear to me, that this was the best way for me to be an artist.

How did your role of Pamina in The Magic Flute become an international success when you were just twenty?

It was not immediately an international success, the production took place in East-Berlin, when the wall was still up for some more weeks….. But right that after this, I got invited to many other opera houses in Europe to perform this role, it somehow became my “entry ticket”  to the international opera world. Apparently the Berlin production got a lot of attention in the press, as all productions of Harry Kupfer did, when he was leading the Komische Oper.

You have sung quite a lot with symphony orchestras, but you have also performed with András Schiff several times. Which is closer to you?

I cannot answer to this question. These different genres influence each other in a very positive way, I would not want to chose. The very intimate way of working with a great pianist is of course very, very inspiring, but the bigger “frame” of a symphony orchestra gives you other possibilities……it all has its right to be!

You have worked with the BFO before.  What makes the BFO special?

I have worked with the orchestra several times, we did a wonderful production of “Cosi fan tutte”  both in Budapest and in Gran Canaria, and also that great wonderful ” Don Giovanni”  in 2010!!  It is always a great pleasure to work with the BFO and Ivan Fischer, the musicality and the joy of making music, together with their great technical ability is just outstanding!!!

Where would you categorise Dvorak among your many roles?

This is the first time, I sing this peace. In general Dvorak writes very well for the voice, very beautiful lines and melodies, it is always a pleasure to sing Dvorak.

About the piece:

After the extraordinary success in England of the large-scale oratorical Dvořák pieces, “Stabat mater”, ”The Spectre’s Bride” and “Saint Ludmilla” composed in the 1870s and 1880s – the two latter compositions originally commissioned for Leeds and Birmingham – the Requiem was also ordered from Birmingham in 1888.

The busy composer started composing only at the beginning of 1890, on the first day of the year, and due to travelling abroad he had to suspend his work several times. The partiture was ready by the end of October, and the premiere was held a year later, on 9 October 1891 in Birmingham. It was conducted by the composer himself. In the following months, the Dvořák’s masterpiece was performed in other British cities, in Bohemia and in the United States.

Requiem – like Verdi’s death mass composed seventeen years earlier – was originally composed for concert venues, not for clerical purposes.

The concert is generously supported by K&H.

 

Around the concert

Ahoj, terrace!
14 September 2013, 5 pm
Palace of Arts, Outdoor Area

5 pm: Infinite Quintet
Featuring: Petr Kalfus – alto and soprano saxophone, Miroslav Hloucal – trumpet, Viliam Béreš – piano, Petr Dvorský – contrabass, Martin Novak – drums

6: Sato-San To
Featuring: Thom Herian – drums, loops, Oskar Török – trumpet, keyboards, Vojtěch Procházka – keyboards, Jaromír Honzák – double bass

7:30 pm: Tomáš Kočko & Orchestr
Featuring: Tomáš Kočko – vocals, guitars, mandolin, Libuše Černa – violin, viola, vocals, Helena Macháčková – violin, cimbalom, woodwinds, Kamil Tománek – double bass, vocals, Pavel Plch – drums, percussion, cimbalom

8:30 pm: Čankišou
Featuring: Karel Herman – vocals, trumpet, Zdenek Kluka – vocals, drums, percussion, harmonica, Jan Kluka – drums, djembe, percussion, vocals, David Synak – recorders, didgeridoo, alto saxophone, soprano saxophone, jinagovi, vocals, Roman Mrázek – electric bass, vocals, Rene Senko – tenor saxophone, ukulele, vocals, Martin Krajíček – mandolin, guitar, ukulele, vocals

Appearing back to back will be two jazz ensembles that first took the stage with huge success in 2012 at the Palace of Arts’ first regional Jazz Showcase festival: Infinite Quintet will set a mood grounded in traditional bebop and the endless possibilities hidden in modern mainstream music, followed by the reformed Sato-San To, which will be introducing its fresh album material structured around the flows of Nu Jazz, although the former trio, now a quartet, will also be performing a variety of more daring sonic experiments as well. Tomáš Kočko and his band have been dubbed the “Czech Ghymes” on several occasions, but do not object to being referred to as the “Moravian Jethro Tull” either. The eponymous singer-composer performs both poetic settings and his own works with his band mates, who play mainly acoustic instruments with heavy emphasis placed on the mandolin and two cimbaloms.
After the concerts, the P’Art Coffee house will be converted into a cinema, where the audience will be invited to watch a Czech cult film, Miloš Forman’s The Fireman’s Ball.
More information

Tickets

4 400 HUF / 5 700 HUF / 8 000 HUF / 13 000 HUF

Season tickets

Ormándy A (2013/14), Ormándy B (2013/14)


Program

Antonín Dvořák: Requiem

conductor

Iván Fischer

Soloists

Juliane Banse, soprano
Jolana Fogašová, mezzo-soprano
Peter Berger, tenor
Alejandro Marco-Buhrmester, bass
Czech Philharmonic Choir, Brno