Festival Ljubljana je na nedavni tiskovni konferenci v Viteški dvorani Križank predstavil svoj že peti Zimski festival. Ta je najambicioznejši doslej, saj bo obsegal kar osem koncertov, kar je največ doslej in dvakrat več, kot je bilo koncertov na prvem festivalu, ko so bili štirje. Pomembno je, da bosta letos s Festivalom Ljubljana sodelovala oba naša profesionalna orkestra: Slovenska filharmonija in Simfoniki RTV Slovenija, več zborov in vokalnih solistov… Otvoritveni koncert bo 28. januarja, ob 19. 30, v Slovenski filharmoniji.
Matej Šarc, direktor in umetniški vodja Slovenske filharmonije, foto Festival Ljubljana/Darja Štravs Tisu
Naslov koncerta je À la Händel, čeprav bosta na sporedu še deli Bacha in Ferrandinija. Otvoritveni večer Zimskega festivala tako naznanjajo tri ganljive baročne mojstrovine v izvedbi Orkestra in Zbora Slovenske filharmonije, pod taktirko flamskega dirigenta Barta van Reyna, ki se posebej posveča operi ter simfonični in operni glasbi in sodi med iskane belgijske dirigente svoje generacije.
Na sporedu bosta Bachova kantata za zbor Christ lag in Todesbanden, BWV 4 in Ferrandinijeva solistična kantata Il pianto di Maria (Cantata da cantarsi dinanzi al Santo Sepolcro 1739) v devetih stavkih: (1. Recitativo: Giunta l’ora fatal 2. Cavatina: Se d’un Dio fui fatta Madre 3. Recitativo: Ah me infelice! 4. Cavatina da capo: Se d’un Dio fui fatta Madre 5. Recitativo: Ahimè ch’Egli già esclama ad alta voce 6. Aria: Sventurati miei sospiri 7. Recitativo: Sì disse la gran Madre 8. Aria: Pari all’amor immenso 9. Recitativo: Or se per grande orror tremo la terra) za mezzosopran, vrhunec koncerta pa je Händlovo najbolj viharno delo za zbor in soliste Dixit Dominus, HWV 232. Händel je delo, ki je polno vokalne virtuoznosti, strukturne razsežnosti in energičnosti, nedvomno zasnoval, da bi dokazal svojo zmožnost skladati v italijanskem slogu.
Polona Plaznik, foto youtube.com
Za doživeto interpretacijo bodo poskrbele angleška sopranistka Julie Doyle in Slovenki: sopranistka Polona Plaznik ter Barbara Kozelj, uspešna in karizmatična mezzosopranistka, ki z izvrstnimi nastopi navdušuje občinstvo vodilnih svetovnih odrov.
Posnetek s slovensko mezzosopranistko Bernardo Fink
Poslušali bomo tri ganljive baročne mojstrovine izpod rok Bacha, Ferrandinija in Händla, ki jih povezujeta Kristusovo trpljenje in vstajenje.
Vsi obiskovalci so vabljeni na predkoncertni pogovor s Katarino Šter, ki bo potekal mali oziroma Osterčevi dvorani s pričetkom ob 18.30.
Barbara Kozelj, foto Andreas Terlaak
Mednarodna predstavitev Barbare Kozelj
Slovenian mezzosoprano Barbara Kozelj has established herself as a charismatic and versatile soloist and musician. Her performances have brought her to the leading international stages and continue to captivate audiences around the world.
Following her debut with the Royal Concertgebouw Orchestra in 2013 her career has taken flight. A Carnegie Hall debut the year after in St. Matthew Passion with Iván Fischer received critical acclaim, describing her voice as “deep and dark” and “enchanting”. In her appearance as Penelope in Monteverdi’s Il ritorno d’Ulisse in patria at the Barbican hall in London with the Academy of Ancient Music and Richard Egarr the press praised her for “a beautifully calm demeanour, combined with a deep expressivity in the way she sang Monteverdi”.
Barbara has made her BBC Proms debut as the alto soloist in Mozart’s Requiem in 2016 with Budapest Festival Orchestra. She is in great demand on the concert stage and has distinguished herself in various leading opera roles at opera houses in Leipzig, Amsterdam, Essen en Bonn. Her performances have been described by the press as “piercingly beautiful”, “breathtaking”, “deeply expressive” and her voice “gleaming, with a velvety legato”. she aslo made a succesful debut as Brangäne at Oper Leipzig which has opened many doors for her into this repertoire.
Highlights this season and beyond include Asko|Schönberg Ensemble Bettison The light of lesser days; Mahler Das Lied von der Erde with Camerata RCO (members of the Royal Concertegbouw orchestra) at the Flanders Festival Ghent; Wagner Wesendonk Lieder, Respighi Il tramonto and Mozart Requiem
with the Residentie Orkest; Beethoven Symphony No 9 with the Athens State Orchestra; a revival of Tristan und Isolde and her role debut as Magdelone Nielsen Maskarade for Oper Leipzig; Giovanni Battista Ferrandini Il pianto di Maria and Handel Dixit Dominus with Slovenian Philharmonic Orchestra; a world premiere for Alba Rosa Viva! festival at the Muziekgebouw Amsterdam; a recital with organist Tomaž Sevšek at the Liszt Academy Budapest and Rossini Petite messe solenelle and Mozart Requiem with Ensemble Vocal de Lausanne for the Aix-en-Provence Festival de Pâques.
Barbara Kozelj na svoji spletni strani
She has worked with conductors Jaap van Zweden, Gennady Rozdestvensky, Neeme Järvi, Jun Märkl, Paul McCreesh, Kenneth Montgomery, Stefan Soltesz, Reinbert de Leeuw, Antony Hermus, Giordano Bellincampi. She has performed with The Orchestra of the Age of Enlightement, Gabrieli Consort and Players, Academy of Ancienty Music, St.Luke’s Orchestra, Slovenian Philharmonic and most Dutch orchestras. Barbara has a strong affinity with Lieder giving recitals with Julius Drake, Thomas Beijer and Phyllis Ferwerda and composers of this time are writing especially for her.
The basis for her musical development was set in Slovenia at the Academy of Music in Ljubljana and later at the Royal Conservatory in The Hague. She has been coached by Sasja Hunnego, Meinard Kraak, Ann Murray, Graciela Araya and Anne Sofie von Otter. She was a member of The New Opera Academy and the Dutch Opera Studio.
Marijan Zlobec