Sylvia schwartz soprano biography of christopher
Sylvia Schwartz
soprano
© Enrico Nawrath
About
Spanish soprano Sylvia Schwartz is one of the most exciting lyric singers of her generation.
She has appeared at many of the world’s finest opera houses and festivals including La Scala Milan, Berlin Staatsoper, Wiener Staatsoper, Bayerische Staatsoper, The Bolshoi Theatre, Maggio Musicale Fiorentino, Edinburgh, Baden Baden, Salzburg and Verbier festivals.
Sylvia is also much in demand in concert and is a celebrated recitalist and has worked with pianists such as Wolfram Rieger, Charles Spencer and Malcolm Martineau; and with conductors such as Claudio Abbado, Daniel Barenboim, Philippe Jordan, Rene Jacobs, Fabio Luisi, Nikolaus Harnoncourt, Sir Colin Davis, Gustavo Dudamel Patrick Fournillier, Marc Minkowski, Ivor Bolton, Yves Abel, Jean Christophe Spinosi, Helmut Rilling and Christopher Hogwood.
In 2015-2016 her engagements include opera performances at Berlin Staatsoper (Il trionfo del tempo e del disinganno), Teatro Real Madrid (Die Zauberflöte) and Michigan Opera (Die Zauberflöte). In concert, she will appear as a soloist with the Berlin Philharmonic and Sir Simon Rattle, Sydney Symphony Orchestra, Orchestre National de France and Teatro Municipal de São Paulo and with the Rundfunkchor Berlin in Hong Kong & Brussels. She will also give a special recital of ‘Songs for Terezín’ at Teatro Real Madrid.
Sylvia Schwartz & Malcolm Martineau
Varios autores
Concerts
1h 20
Several languages
FULL HD , HD
Several languages
Production
Subscribe
Information
In addition to postponing her LIFE Victoria debut - scheduled for spring 2020 - Sylvia Schwartz's confinement also led her to reflect on the power of escape. Music is precisely one of the quickest ways to escape, how with these vibrations in the air we can flee to other worlds, embarking on perhaps one of the most intense journeys. The soprano presents us with a three-part programme, together with Malcolm Martineau, which also becomes very pictorial (another evasive world): in the first, dedicated to German Lied, we experience romantic evasion through passionate poetry, as in a painting by Friedrich; in the second, we escape through Granados into the world of Goya, an evasion that the composer himself experienced at a time of war - the First World War - which ended his own life; in the third, Poulenc presents us with the most primal and greatest evasion: that of children. Before that, the promising Lluís Calvet i Pey and Èric Varas on piano offer two delightful cycles, as LIFE New Artists: Let us Garlands Bring by Finzi and Chansons gaillardes by Poulenc, in which constant reference is made to an ideal woman... called Sylvia.
Artistic file
Sylvia Schwartz, soprano
Malcolm Martineau, piano
Program
Franz Schubert (1797-1828)
Freude der Kinderjahre
Die Sterne
Du bist die Ruh
Auf dem Wasser zu singen
Heimliches Lieben
Wer kauft Liebesgötter?
Robert Schumann (1810-1856)
Widmung de Myrthen
Jasminenstrauch de Lieder und Gesänge Op. 27
Lied der Braut I de Myrthen
Lied der Braut II de Myrthen
Blume der Ergebung
Volksliedchen
II
Francis Poulenc (1899-1963)
La courte paille
Le sommeil
Quelle aventure!
La reine de coeur
Ba, Be, Bi, Bo, Bu
Les anges musiciens
Le carafon
Lune d’avril
Enrique Granados Christopher Maltman in the title role (center) and Kristinn Sigmundsson as the Commendatore (top) in “Don Giovanni” at the Mostly Mozart Festival. File photo: Jane Hobson. Don Giovanni is a ubiquitous part of opera seasons worldwide, and it is precisely that which makes Ivan Fischer’s production, which returned to New York Thursday night as part of the Mostly Mozart Festival, so brilliant and rewarding. The non-musical elements of budgets, management issues, and production values frequently can drown out what is most essential: the opera itself. Countering this is Ivan Fischer’s concept of Don Giovanni. As conductor and stage director, he is, ultimately, a conduit for Mozart’s score, Da Ponte’s libretto, and the music drama they created. At the Rose Theater at Jazz at Lincoln Center, there was no spectacle, no scenery to applaud, not a hint of the opera house experience. There was only the music, the characters, and the musicians who brought it to life. In the lead was bass Christopher Maltman, whose characterization of the Don as a monumental egoist was creative, insightful, and commanding. This Don was constantly bemused with and entertained by himself, which gave him the charisma of a sociopath. And this was done primarily through his voice, which had a crisp edge and precise articulation. Maltman’s tone was full and with a combination of light and darkness, making a clear contrast with Leporello. The Don is far less a comic role than Leporello, and Maltman’s take on the character—a profound insouciance—is uncommon. This disregard for anything other than his own pleasure was compelling on the surface and tied the knot between comedy, brutality, and the supernatural in a way that standard productions rarely approach. Fischer’s choice of the more dramatically coherent and direct Prague version made this possible, but it still needed realization on stage. In this, all the performers shined. One notable difference between the Prague BACH | B Minor Mass| Gabrieli Consort | Paul McCreesh, cond. “The mezzo-soprano Diana Moore truly encompassed the breadth of Bach's requirements. Her richly expressive Agnus Dei found both awe and majesty: just the performance needed to add depth to McCreesh's lightness of touch.” — The Times (UK) | St Matthew Passion | Gabrieli Consort "The remarkable young mezzo-soprano Diana Moore (whose voice sounds like that of the young Lorraine Hunt) gave a rapturous account of the St. Matthew's alto solos.” — Andante.com BRAHMS | Opus 53 (Alto Rhapsody) | Leith Hill Music Festival 2011 “… the outstanding delivery by contralto Diana Moore of ‘Rhapsody’ (Opus 53) by Johannes Brahms in which the combination of the vocal and orchestral vision brought, perhaps, one of the most memorable sequences of the LHMF of the last decade.” — Simon Ames COPLAND | In the Beginning | Ex Cathedra "If Diana Moore is not the finest mezzo soprano to sing in Chichester Cathedral then, at the very least, she is equal to the very best." — Chichester Observer DURUFLÉ | Requiem | Ex Cathedra "Diana's voice was absolutely captivating and beguiling, filling the Cathedral with a most joyful and happy sound." — Chichester Observer ELGAR | The Dream of Gerontius | Thaxted Festival “... the wonderful ‘Angel's Farewell’ was most sensitively sung by Diana Moore.” — Richard Latham ‘A wonderful Gerontius with the heartstopping Diana Moore lingering long in the memory. A glorious end to Thaxted Festival’ — Donna Sharp, SaffronWalden Early Music Festival | The Dream of Gerontius | Kidderminster Choral Society “Diana Moore was serenely radiant as Gerontius' guardian Angel, quietly ecstatic in her intensity as her charge approached his Judgment (and what a climax Weaver drew from the orchestra!
Diana Moore