In compliance with the Prime Ministerial Decree of November 3, 2020, the Teatro Comunale di Bologna informs that all events open to the public are suspended until December 3, 2020.
Therefore, following the previous decree, the symphonic concert on November 27 at PalaDozza conduced by Oksana Lyniv and with violinist Stefan Milenkovich, the meeting with Alessandro Fullin on December 1, are added to the list of shows already suspended until November 24th, following the previous decree. in Foyer Rossini entitled “La bohème: vita d’artista” for the review “Parliamo d’Opera” and the symphonic concert on December 2 at the Auditorium Manzoni conduced by James Conlon.
The management of the Teatro Comunale is working on the rescheduling of the suspended shows; admission tickets already purchased will therefore remain valid for the new dates, which will be communicated as soon as possible.
BEETHOVEN | BRUCH | SCHUMANN
Oksana Lyniv | Stefan Milenkovich, violin
Born in Brody in Ukraine, Oksana Lyniv has always been very active in her home country, where she first held the position of musical director of the Lviv National Academy Opera and Ballet Theater and from 2008 to 2013 as deputy director of the Odessa National Academic Opera and Ballet Theater.
Awarded Artist of the Century in Serbia (2002), Most Humane Person (2003) and Brand Personality of the Year (2010), Stefan Milenkovich is a unique artist, with an extraordinary productive longevity, professionalism and creativity. His musical philosophy and lifestyle are a true definition of eclectic: he explores cultural heritage, human and musical experiences, in order to connect directly with the public, providing enjoyable and engaging performances.
LUDWIG VAN BEETHOVEN
Ouverture from Fidelio op. 72b
Concerto for violin and orchestra n.1
Symphony n. 2 in C major op. 61
Overture from Fidelio op. 72b
Year of composition: 1814
The long work connected to the composition of Fidelio began in 1804, when Beethoven was struck by Jean-Nicolas Bouilly’s Léonore ou l’amour conjugal, and ended in 1814. Despite its bumpy history, it is mistaken to look at the opera as a work carried out by unsatisfied authors tortured by afterthoughts: Fidelio is a cycle of the same enterprise, a series of staggered works at different times, but with the same aim. It summarizes all the aesthetic and technical, dramatic and musical labor of what then becomes Beethoven’s first and only opera. His resumption of the 1814 version was not done in the state of mind of those who remedy errors and imperfections, but in the effort to found a new style. The Fidelio that has come down to us proves to be a prodigy of finesse and wisdom. The theatrical purpose is however lost, because the new music establishes the supremacy of the idea on the stage.
Concerto for violin and orchestra n. 1
Year of composition: 1866
First performance: Koblenz, April 26, 1866
- Allegro moderato
- Finale: Allegro energico
German composer, Bruch was one of the most important figures in nineteenth century music, producing and embracing a vast field of music. He particularly loved the violin and developed this special fondness: the concerto is permeated by a dimension of serenity that contrasts with dramatic moments in which intensely sentimental thematism dominates in an unchallenged way. The initial Allegro moderato has a rhapsodic character that is enriched with Gypsy-flavored sounds united with the orchestra. A combination that creates semantic arabesques, richly creative. The Adagio develops in a more intimate way, working on highly romantic themes, where the violin dominates entirely while the orchestra impetuously supports it. The Finale has a folksy base that alternates with emphatic visions.
Symphony n. 2 in C major op. 61
Year of composition: 1845-1846
- Sostenuto assai; Allegro non troppo
- Scherzo: Allegro vivace
- Adagio espressivo
- Allegro molto vivace
Schumann composes Symphony n. 2 in C major in Dresden between December 1845 and October 1846, in the same years when the first symptoms of mental illness began to appear which would shatter the life of the musician. About the Symphony Schumann writes “I composed it at a time when i was still ill, i feel that people are bound to notice this when they hear the work”. The first movement is full of this struggle and his capricious and obstinate character… only in the final movement did i begin to feel my old self again: but it was only after i had completed the whole symphony that i really felt any better, but it reminds me of a dark period”.
ORCHESTRA OF THE TEATRO COMUNALE DI BOLOGNA
With its long-standing tradition, the Orchestra of the Teatro Comunale di Bologna has been led by Musical Directors like Sergiu Celibidache, Zoltán Peskó, Vladimir Delman, Riccardo Chailly, Daniele Gatti, Michele Mariotti. Some of the conductors who have worked with the ensemble include Gary Bertini, Myung-Whun Chung, James Conlon, Pinchas Steinberg, Valery Gergiev, Eliau Inbal, Vladimir Jurowskij, Daniel Oren, Peter Maag, Neville Marriner, Kurt Masur, Riccardo Muti, Mstislav Rostropovič, Esa Pekka Salonen, Georg Solti, Christian Thielemann, Charles Dutoit, Georges Prêtre. The Orchestra of the Teatro Comunale is often invited abroad (The Netherlands, Romania, Spain, France, and Switzerland) and has played in many prestigious festivals (Amsterdam 1987, Parma 1990, Wiesbaden 1994, Santander 2004 and 2008, Aix en Provence 2005, Savonlinna 2006, Macao 2013, Muscat 2015, Guanajuato in Mexico 2017, Paris 2018). A special connection with Japan has brought to several tours, including the tour in June 2019 in Osaka, Tokyo, Yokohama, Fukuoka, with performances of Rigoletto directed by Alessio Pizzech, and of Il Barbiere di Siviglia directed by Federico Grazzini.
Its numerous recordings include La Favorite conducted by Richard Bonynge; Oberto Conte di San Bonifacio conduted by Zoltán Peskó, Il Barbiere di Siviglia conducted by Giuseppe Patané, La Fille du Régiment conducted by Bruno Campanella, Le Maschere and La Bohème conducted by Gianluigi Gelmetti, La Scala di Seta conducted by Gabriele Ferro, Macbeth, Manon Lescaut, Rigoletto, La Cenerentola, Messa Solenne, and the video production of Vespri siciliani and Giovanna d’Arco and Werther conducted by Riccardo Chailly, Armide conducted by Daniele Gatti, Simon Boccanegra conducted by Michele Mariotti.
The Orchestra, conducted by Michele Mariotti, has recorded a CD under the label Decca with sacred arias sung by Juan Diego Flórez, and an album under Sony with Romantic arias sung by Nino Machaidze. Under Deutsche Grammophon the Orchestra recorded Le Comte Ory with Flórez, and La Nuit de Mai – a selection or arias and songs by Leoncavallo – with Placido Domingo. Under the label PENTATONE it recently released a CD containing overtures by Rossini, to celebrate 150 years since the death of the composer.
In March 2013 the artistic ensembles of the Teatro Comunale di Bologna, led by Michele Mariotti, opened the IV International Festival Mstislav Rostropovich in Moscow, where they performed Verdi’s Messa da Requiem. In October 2015, again with Michele Mariotti on the podium, they opened the Lingotto Music Festival at the Auditorium Giovanni Agnelli in Turin, where they performed Stabat Mater by Rossini, and his Overture and Ballet Music from Guillaume Tell.
After working with the Rossini Opera Festival for nearly thirty years (from 1988 to 2016), the year 2017 brought new collaborations between the Teatro Comunale di Bologna and the Verdi Festival in Parma, where the Orchestra performed, among other productions, the Stiffelio directed by Graham Vick. Staged at the Teatro Farnese, the show was highly appreciated by audience and critics alike and was granted the Special Prize at the 37th edition of the “Franco Abbiati” Critics award. The Orchestra’s engagements with the Verdi Festival for the Fall of 2019 include Luisa Miller at the Chiesa di San Francesco del Prato in Parma, and Aida at the Teatro Verdi in Busseto.
The Teatro Comunale’s 2018 production of La Bohème staged by Graham Vick received the Abbiati Award as best show.