Thomas Hampson © Kristin Hoebermann

Festival Academy: Lied

After just under two weeks of intensive work with Thomas Hampson and Thomas Quasthoff, the young singers and accompanists assemble for the last time (at least this season) to perform the final concert of the Lied Academy on the stage of the Stadthalle in Heidelberg. Together with Thomas Hampson they will be offering an intriguing bill of fare presenting the fruits of the stimuli they have received from the Lied Academy and underlining the international status of Heidelberg as a centre for the art of song.

€ 15 day ticket I  € 75 Lied Academy Pass
Free admission for pupils and students
At Ballsaal Stadthalle Heidelberg
In cooperation with Ruprecht-Karls-Universität Heidelberg
Special thanks to
Stiftung Heidelberger Frühling

 

 

 

Ruth Ziesak © Rosa Frank

“Dialectics of Freedom. From Self-Determination to Surveillance of Men”

“Dare to be free” is the motto of this year’s Heidelberger Frühling. We associate the attainment of freedom above all with the Enlightenment and the idea of revolution. No one embodied the idea of freedom with greater élan than Schiller. But he also noted and analysed its dialectics. The stoutest champions of the Enlightenment did their best to assert liberty with despotic means, for example in secret societies like the Illuminati with their sophisticated surveillance apparatus. And when the great revolution finally came, it soon resembled a reign of terror and itself came up with the paradoxical phrase “despotism of freedom”. The dialectics involved were perilous, leaving their mark on many movements that proclaimed liberty on their banners, only to transform it into coercion and compulsion in practice. Goethe’s Faust is a case in point. Initially achieving personal freedom by divesting himself of all the shackles hamstringing his life so far, he ends up proclaiming liberty but using main force to impose it on others.

The venue for the whole event is the ballroom of Stadthalle Heidelberg.

Tamara Banješević

Tamara Banješević

Tamara Banješević  is a Serbian soprano currently living and working in Germany. Since season 12/13, Tamara Banješević is a part of the ensemble of the National Theater in Mannheim. There she can be heard as Ännchen in Der Freischütz, Nannetta in Falstaff, Giulia in Rossini’s La Scala di Seta, Pamina in Magic Flute for children, Tebaldo and Voce dal cielo in Don Carlo, Frasquita in Carmen, or as Ninetta in Prokofiev’s The Love for Three Oranges. At the 2013 Easter Festival in Baden-Baden, Tamara made her very successful debut as a wicked sister Maguelone in P. Viardots Salon Opera Cendrillon, accompanied by members of Berlin Philharmonic Orchestra and in 2015 she will be returning to the famous festival as a Milliner in “Der Rosenkavalier”, conducted by Sir Simon Rattle, directed by Brigitte Fassbaender and accompanied by Berlin Philharmonic Orchestra. In summer 2014 she will be joining the Mozart Residency at the Aix en Provence Festival in France.
While still a student at the university, she gave a number of highly praised performances such as Barbarina in “Le nozze di Figaro” with GMD Dan Ettinger and Sand/Dewman in Humperdinckt’s “Hansel and Gretel” at the National Theater Mannheim, Susanna in “Le Nozze di Figaro” at E. T. A. Hoffmann Theater Bamberg; Anna Reich ”Die lustigen Weiber von Windsor” at Schloss Weikersheim under the baton of Peter Kuhn, and direction of Jakob Peters-Messer.
This young soprano has had the opportunity to gain concert experience at the venues like the Liederhalle Stuttgart and Beethovenhalle Bonn while performing R. Schumann’s Faust Scenes at the Internationale Bachakademie Stuttgart with maestro Helmuth Rilling and the SWR Orchestra Stuttgart; Heidelberger Frühling Festival, Opera d’Avignon and in 2014 at the Joseph Keilberth Saal – Konzerthaus Bamberg and Mozart Saal – Rosengarten Mannheim.
In her native Serbia, Tamara Banješević was rewarded with eight First Prizes in Serbian National Singing Competitions. In 2012 she won the First Prize at the 24th International Singing Competition in Marmande, France, as well as the Second Prize at the International Singing Competition of Opera Academy Baden-Baden and was a finalist at the 49th International Singing Competition in Toulouse, France.
Tamara Banješević holds a bachelor degree in music from the University of Music in Mannheim, Germany. Her talents are further honed in master classes given by Margreet Honig, Angelika Kirchschlager, Helen Donath, Thomas Hampson, Rudolf Piernay, Thomas Quasthoff and Wolfram Rieger and was a recipient of many awards including DAAD, Rotary Club, Lions Club, Bruno-Frey-Stiftung and the scholarship to participate in the Lied Academy of the International Music Festival Heidelberger Frühling.

Christina Pluhar © Marco Borggreve

Christina Pluhar & L‘Arpeggiata

“Music for a while shall all your cares beguile”. Has there ever been a more eloquent tribute to the salutary power of music than Purcell’s setting of these verses by John Dryden? Purcell was very much at home in London’s theatres, whose declared aim was to magic their audiences away into other (and better) worlds. For plays typically combining dance, song and the spoken word, Purcell wrote countless songs and incidental scores of bewitching beauty. With “Music for a While”, Christina Pluhar and her L’Arpeggiata ensemble have devised a homage to this late-17th century Orpheus britannicus, assembling early music specialists and jazz performers for the purpose and thus carrying on very much in Purcell’s liberal theatrical tradition. May the “while” be a very long one!

“Zugabe” Jörg Tröger in conversation with Christina Pluhar

Hanna Elisabeth Müller © Chris Gonz

Hanna-Elisabeth Müller & Juliane Ruf

Dazzled by Richard Strauss’ magnificent operas, one is sometimes tempted to lose sight of the fact that he is also one of the great Lied composers. In the course of his life he penned no fewer than 200 of these small-scale masterpieces. Alban Berg’s “Seven Early Songs” are an intriguingly ambivalent works, oscillating between his admiration for Strauss and the ideas of his teacher Arnold Schoenberg. To the ears of his contemporaries, Mussorgsky’s “Nursery” cycle must have sounded primitive and awkward, but the “wrong-note” harmonies were an intentional side-effect of his highly original musical idiom. Hanna-Elisabeth Müller’s “nursery” as a Lied singer was Thomas Hampson’s master-class at the 2009 Frühling. She is now a member of the Bavarian State Opera ensemble and in 2014 made her much-acclaimed debut in Arabella at the Salzburg Festival.

Hanna-Elisabeth Müller is
SWR2 New Talent

 

In cooperation with Ruprecht-Karls-Universität Heidelberg

Special thanks to
Freundeskreis Heidelberger Frühling

 

 

Jörg Tröger in an interview with Hanna-Elisabeth Müller

Hanna-Elisabeth Müller © Chris Gonz