Whenever a singer decides to change repertory, not in a secret and furtive way, but with total conviction and a veritable challenge, the recognition gained by audience and specialised press counts more than with a common role debut. This happened with Heidi Brunner’s first ever Mère Marie in Poulenc’s Dialogues des Carmélites at the Klagenfurt Theatre, an outright overwhelming production (conducted by Alexander Soddy and staged by Richard Brunel). A summary of some reviews:
Every vocal artist does well to check the development and the displaying options of the own voice at any point of his or her career, to change the direction should the occasion arise or eventually to step forward to new shores of repertoire. Heidi Brunner, only few years ago a convincing interpret of the soprano part of the young Prioress Madame Lidoine in Poulenc’s opera Dialogues des Carmélites at the Theater an der Wien, follows the way which her voice displays. And this way guides her to her role-debut as Mêre Marie, a role from the mezzo-soprano repertoire, where the Swiss singer’s career originally started from. This is, however, no step back, but a large step forward!
Francis Poulenc’s opera has its premiere at the Klagenfurt Stadttheater under the musical direction of principal conductor Alexander Soddy and in the staging of the French director Richard Brunel on February 12th, 2015.
Consecutive performances of the production with the same cast will follow on February 14th, 18th, 20th, 21st, 24th, 26th and on March 1st, 4th and 6th.
Every classical concert programme that is played inBeijinghas a special value, particularly when it takes place at the concert hall of theForbidden City. In this already extraordinary frame, the representation of Kurt Weill’s “The seven deathly sins” is an even more unique project. The satirical ballet with Weill’s music and Bertolt Brecht’s text was premiered 1933 in Paris.
In the course of the seven images, the protagonist Anna passes through the human vices: sloth, pride, wrath, gluttony, lust, greed and envy. A vocal men’s quartet gives the frame to Anna’s refection in the matchless style of the 30ies. The role of Anna (in reality Anna I and Anna II) is a challenge, fitting Heidi Brunner’s manifold palette of expression perfectly. Heidi Brunner already sung this composition with an amazing success last year in Copenhagen. The concert on 28 November in Beijing 2014, together with the China Philharmonic Orchestra, will also be conducted by Lawrence Foster. An extract of the concert in Copenhagencan be found among the audio clips of Heidi Brunner.