Atvars LAKSTĪGALA was the principal conductor of the Liepāja Symphony Orchestra from 2010 to 2017. Since 2009 he has been a guest conductor at the Latvian National Opera. He played french horn professionally from 1997 until 2010 as soloist, chamber and orchestra musician. Lakstīgala has won several international competitions. He has also been nominated for the Latvian Great Music Award several times and won the prestigious award in 2010 for best debut and in 2017 for best concert of the year.
He studied music at Jazeps Vitols Latvian Academy of Music, graduating as a French horn player (class of prof. Arvīds Klisans), wind orchestra conductor (class of prof. Janis Purins) and symphonic orchestra conductor (class of prof. Imants Resnis), further improving professional mastery with Vassily Sinaisky, Leonid Grin, Neeme Jarvi, Paavo Jarvi, Heinrich Schiff and other distinguished teachers.
From 2009 to 2011 Atvars Lakstigala studied at the Berlin University of the Arts with professor Lutz Koehler
With Liepāja Symphony orchestra A. Lakstīgala produced a large number of works by composers from Latvia and abroad, conducted concerts trough Latvia and toured in Asia and Europe.
His work with Latvian National Opera includes the operas La Traviata, Un ballo in maschera, Macbeth, Tosca, Mikhail and Mikhail Play Chess, Eugene Onegin, and Puccini’s Triptych as well as ballets Giselle, Lady of the Camellias and Three Meetings. Lakstīgalas enjoyed great success conducting at the prestigious Sigulda International Opera Festival, with performances of Arvīds Žilinskis opera Zelta Zirgs (The Golden horse), G.Verdi’s Falstaff as well as Tosca and a gala concert in 2016 and 2018 featuring famous Latvian soprano Marina Rebeka.
Chritics and music lovers are highly appreciated A.Lakstigalas recorded seventeen CD albums and conducted concerts with Lithuanian State symphony orchestra, Latvian National Symphony orchestra, the Orchestra Sinfonica di Bari, the Orchestra Sinfonica di Roma, KODA chamber orchestra, Milli Reasürans chamber orchestra in Turkey, the Philharmonie Südwestfalen in Germany, Tallin chamber orchestra and the Kammerphilharmonie Graubünden in Switzerland. He has also conducted Prokofiev Cinderella’s performances by the Scottish Ballet in Glasgow, Inverness and Aberdeen as well as thenpremiere of Nikolai Kapustin’s Concerto with the Orquestra Jazz Sinfônica in São Paulo, Brasil. Recent and future engagements include concert in Yuri Bashmet festival with The Belarusian State Academic Symphony Orchestra and music director and conductor for original open air G.Puccini’s “Tosca” production in Sigulda Opera festival. In july of 2021 Atvars made his debut in Israel as music director for G.Puccini’s opera “La Boheme”.
CD albums
Odradek records:
1. https://www.odradek-records.com/album/majesty/
2. http://www.odradek-records.com/album/lso/
3. http://www.odradek-records.com/album/pina-napolitano-lso-atvars-lakstigala/
4. https://www.amazon.com/Liepaja-Concerti-Vol-ATVARS-LAKSTIGALA/dp/B078859J7Q
Wergo records:
1. https://en.schott-music.com/shop/sala-musica-appassionata-credo-album-plus-booklet-noq51738.html
2. https://www.prestomusic.com/classical/products/8189048--vasks-flute-concerto-symphony-no-3
Dana cord records:
https://www.prestomusic.com/classical/products/8036465--trumpet-concertos#reviews
Skani records:
1. https://www.lmic.lv/en/skani/catalogue?id=175
2. https://www.lmic.lv/en/skani/catalogue?id=168
3. https://www.lmic.lv/en/skani/catalogue?id=167
4. https://www.lmic.lv/en/skani/catalogue?id=133
5. https://www.lmic.lv/en/skani/catalogue?id=131
6. https://www.lmic.lv/en/skani/catalogue?id=143
7. https://www.lmic.lv/en/skani/catalogue?id=136
Only published recording, where I am playing french horn:
https://open.spotify.com/track/41KnkJsO7KesMU2GyQHyzm?si=5a701e9462bf4c15
Galerie
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“Constantine Orbelian stands astride two great societies, and finds and promotes synergistic harmony from the best of each.”(Fanfare) For over 25 years the brilliant American pianist /conductor has been a central figure in Russia’s musical life — as Music Director of the Moscow Chamber Orchestra and the Philharmonia of Russia, and as frequent guest conductor with other illustrious Russian orchestras. He toured with American stars in Russian music centers, and Russian stars in North American music centers, and extended these splendid collaborations to tours in Europe, UK, Japan, Korea, and other music capitals throughout the world.
Orbelian’s appointment in 1991 as Music Director of the Moscow Chamber Orchestra was a breakthrough event: he is the first American ever to become music director of an ensemble in Russia. This “American in Moscow” is well known as a tireless champion of Russian-American cultural exchange and international ambassadorship through his worldwide tours. In January 2004, Orbelian was awarded the coveted title “Honored Artist of Russia,” a title never before bestowed on a non-Russian citizen.
“Orbelian has star quality, and his orchestra plays with passion and precision,” The Audio Critic wrote of his acclaimed series of over 30 recordings on Delos. Among his concert and televised appearances are collaborations with stars Ewa Podles, Sondra Radwanovsky, Lawrence Brownlee, Renée Fleming and Dmitri Hvorostovsky, and with Van Cliburn in Cliburn's sentimental return to Moscow. Opera News calls Orbelian “the singer’s dream collaborator,”and commented that he conducts vocal repertoire “with the sensitivity of a lieder pianist.” Orbelian’s frequent collaborations with Hvorostovsky include repertoire from their Delos recordings “Where Are You, My Brothers?” and "Moscow Nights," featured on many tours and telecasts, including historic live telecasts from Moscow’s Red Square, and also appearances in Hvorostovsky’s annual series of concerts “Hvorostovsky and friends” in Moscow and St.Petersburg. He was also the conductor of another historic Red Square performance of two world opera starts – Dmitri Hvorostovsky and Anna Netrebko – in June 2013.
Orbelian’s first film production, "Renée Fleming and Dmitri Hvorostovsky: An Odyssey in St. Petersburg," was filmed in St. Petersburg's most glorious palaces, and stars Renée Fleming and Dmitri Hvorostovsky in opera scenes and arias. The film is in some ways a culmination of Orbelian's efforts in St. Petersburg, since he is the founder of the annual Palaces of St. Petersburg International Music Festival.
Born in San Francisco to Russian and Armenian emigré parents, Constantine Orbelian made his debut as a piano prodigy with the San Francisco Symphony at the age of 11. After graduating from Juilliard in New York, he embarked on a career as a piano virtuoso that included appearances with major symphony orchestras throughout the U.S., U.K., Europe, and Russia. His recording of the Khachaturian piano concerto with conductor Neeme Järvi won “Best Concerto Recording of the Year” award in the United Kingdom.
Four times Grammy Nominee in the category classical vocal/opera recording :
- in 2014 for the recording of Rossini’s virtuoso arias performed by the American tenor Lawrence Brownlee with the Kaunas City Symphony Orchestra (Lithuania) under Constantine Orbelian. It was a remarkable event both for the conductor and the orchestra which he had led since 2013;
- in 2017 for the recording of “Russia cast Adrift” vocal cycle with the great Dmitri Hvorostovsky and St.Petersburg Symphony orchestra under Constantine Orbelian;
- in 2018 for the best opera recording: Verdi’s Rigoletto with the great Dmitri Hvorostovsky and the Kaunas Symphony Orchestra;
- in 2019 for classical arias recording with the American tenor Stephen Costello and the Kaunas Symphony orchestra.
Orbelian’s recordings have also received six ICMA (International Classical Music Award) nominations between 2014 and 2020.
In 2001 Orbelian was awarded the Ellis Island Medal of Honor, an award given to immigrants, or children of immigrants, who have made outstanding contributions to the United States. In 2012 he was awarded the Order of Friendship by Russia in recognition of his contribution to promoting Russian culture in and outside the country, and in 2015 – the Order of Friendship by Republic of Armenia.
In November 2017 he received a very special “Concord” prize from the Union of Armenians as the “Pride of the Nation”.
In June 2016 Constantine Orbelian was appointed Artistic Director of the A.Spendiaryan National Opera and Ballet Theatre of Armenia, and in 2017 became its General Director.
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The conductor Prof. Anthony Bramall studied singing at the Guildhall School of Music and Drama in his native London, graduating with honors. There followed a two-year supplementary course in conducting with Maestro Vilem Tausky.
In 1981 Bramall moved to Germany to become assistant to the Music-Director of the Municipal Theatre Pforzheim. In 1984 at the Third Hans Swarovsky International Conducting Competition in Vienna he was awarded the special prize for interpretation of music of the 20th Century. Bramall debuted in 1987 with the Vienna Chamber Orchestra at the Konzerthaus in Vienna -- and the recording industry took notice: he recorded three CDs for the Naxos label with the Slovak Philharmonic and the Slovak Radio Symphony Orchestra; radio recordings with the then RIAS Orchestra of Berlin followed. He was appointed to conducting positions in the municipal theatres Augsburg, Coburg and the State-Opera Hanover.
A milestone in Bramall’s career was his collaboration with the Semperoper Dresden, home of the world famous Staatskapelle : in 1992 he conducted the new production of Rossini's "La Cenerentola". This success was followed by engagements for „La Bohème“ and „La clemenza di Tito“. In the summer of 2003 Bramall directed the premiere of Dresden’s new production of "Madama Butterfly".
In 1995 Bramall was appointed General Music-Director of the Municipal Theaters Krefeld and Mönchengladbach. At the same time his burgeoning career as a guest-conductor -- in Augsburg, Berlin, Bonn, Darmstadt, Dresden, Düsseldorf, Hanover, Karlsruhe and Wiesbaden as well as in Bratislava, Bucharest and Poznan – established his excellent reputation in Germany and neighbouring countries. In December 2003 he made his debut in Japan with five concerts with the Tokyo Metropolitan Symphony Orchestra, and in the summer of 2006, he conducted three concerts with the NHK Orchestra, Tokyo.
In 2002 Bramall became General Music-Director of the State-Theatre in Karlsruhe , where he began his first "Ring" in 2004 with the premiere of "Das Rheingold ". This was followed in October 2005 by "Die Walküre", "Siegfried" in September 2006, and in December 2006, the Karlsruhe Ring cycle was completed with the premiere of "Götterdämmerung". In October 2007 Bramall enjoyed an overwhelming success with the premiere of Strauss's "Die Frau ohne Schatten". He made his debut at the Bavarian State-Opera in Munich in January 2004 with -- once again -- "La Cenerentola". In February 2005, he first visited the USA for concerts in Charlotte, NC., and in November, he debuted in Sweden with a new production of Verdi's "Falstaff " in Gothenburg. In April 2006 in Italy Bramall conducted seven performances of "Die Walküre" in Cagliari, Sardinia. Since then, he has returned five times to conduct symphony concerts at the Teatro Lirico.
At the end of the season 2007/8 he left the Staatstheater Karlsruhe and spent three years in Weimar as Professor of conducting at the Hochschule für Musik Franz Liszt in Weimar. As a freelance conductor, he was in charge of new productions of "The Pirates of Penzance" and "The Love for Three Oranges" at the State-Theatre, Gärtnerplatz in Munich; in February 2010 he returned to the Teatro Lirico di Cagliari in Sardinia to conduct a concert performance of the opera "I Shardana" by Ennio Porrino.
At the beginning of the season 2011/12 Bramall became permanent guest conductor at the Leipzig Opera , where he led a new production of "Tosca" to great acclaim. Since the season 2012/13 he has been Deputy General Music-Director , where he conducted a new production of "Nabucco" by Giuseppe Verdi, produced by Dietrich Hilsdorf. In September 2013 he returned to Cagliari for a new stage production of "I Shardana", produced by Davide Livermore. At the Leipzig Opera, he will conduct the premieres of Donizetti's "Don Pasquale" (February 2014) and Stravinsky's "The Rake's Progress" (April 2014), as well as the Ballet-premiere „Pax 2013“.
In September 2017 Anthony Bramall was appointed chief conductor of the Staatstheater am Gärtnerplatz in Munich. He began a cooperation with the Komische Oper Berlin, where he premiered Richard Ayres’ opera "Peter Pan" and conducted the revivals of "Don Giovanni" and "Der Zauberer von Oz".
Galerie
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Predrag Gosta has been recognized as one of the most interesting and multi-faceted conductors of his generation. He is the artistic director of New Trinity Baroque, a widely-acclaimed and recorded period-instrument orchestra in London; the music director and chief conductor of the Gwinnett Ballet Theatre in Atlanta, USA; the artistic director and chief conductor of the New Belgrade Opera and the Makris Symphony Orchestra in Serbia; and the artistic director of the Belgrade Early Music Festival and the Belgrade Baroque Academy. He also served as the assistant conductor of the National Philharmonic in Washington DC and was a faculty member at Oxford College of Emory University in Atlanta.
Gosta was initially trained as a violinist, since the age of six, but later continued his studies in singing, harpsichord and conducting. After starting his studies at the Belgrade Music Academy, he continued his undergraduate education in voice and harpsichord at Trinity College of Music in London, where he received a full scholarship together with a full scholarship from the Leverhulme Trust. Subsequently, he finished postgraduate studies also at Trinity, after which he moved to the United States where he received three Master of Music degrees (in voice, choral and orchestral conducting) at Georgia State University in Atlanta. A recipient of a graduate assistantship and several scholarships - including the prestige Regents Opportunity Scholarship - his further studies in conducting were with Gustav Meier (USA), Jorma Panula (Finland), Colin Metters (UK), Ennio Nicotra (Italy), Alexander Polyanichko, Vladimir Ponkin and Andrei Anikhanov (Russia), Jonathan Brett (England), Dejan Savic (Serbia) and Emmanuel Siffert (Switzerland). Currently, Gosta is conducting doctoral research at the Faculty of Music of the University of Oxford and is a Junior Member of the Christ Church in Oxford. His work focuses on the English opera between 1790 and 1850.
Equally at home with the concert, opera or ballet, Predrag Gosta performed in USA, United Kingdom, Russia, Sweden, Finland, Sweden, Germany, Poland, Switzerland, Mexico, Bulgaria, Serbia, Croatia and Montenegro. He collaborated with artists such as sopranos Evelyn Tubb and Juilliane Baird; mezzo-soprano Vivica Genaux; contralto Marijana Mijanovic; baroque violinists Florian Deuter, Ilia Korol, John Holloway, Antoinette Lohmann and Ingrid Matthews; recorder virtuosos Marion Verbruggen, Emma Murphy and Karolina Bäter; harpsichordists Steven Devine and Ottaviano Tenerani; lutenists Anthony Rooley and Michael Fields; baroque trumpet players Justin Bland and Nathaniel Mayfield; and many others. He appeared at festivals such as the Piccolo Spoleto Festival in Charleston, Boston Early Music Festival and Amherst Early Music Festival in the USA; Dartington International Summer School and Festival in the UK; Sastamala Gregoriana Festival in Finland; Korkyra Baroque Festival and Varaždin Baroque Evenings in Croatia; Budva Theatre Festival in Montenegro; and the Belgrade Early Music Festival in Serbia – to mention a few. His guest conducting engagements include renowned orchestras such as the London Symphony Orchestra, the Russian National Orchestra in Moscow, the St. Petersburg State Capella "Glinka", the National Philharmonic in Washington DC, and others. He has been engaged as a guest music director in opera houses in Biel and Solothurn (Switzerland), Ruse and in Burgas (Bulgaria), Lexington (KY), Lüneburg (Germany), and his native Belgrade (Serbia), performing operas such as Mozart's "Lucio Silla" and "Mitridate", Puccini's "Madama Butterfly", Handel's "Orlando" as well as Monteverdi's "L'Incoronazione di Poppea" and "L'Orfeo", for which he received the Best Opera Award from the magazine "Musica Classica" as well as the Artist of the Year Award from the Serbian Association of Musicians (UMUS).
Predrag Gosta is an active recording artist with over a dozen recordings to his credit with his period-instrument ensemble New Trinity Baroque (including a critically acclaimed CD of Purcell's opera "Dido & Aeneas"), three with the acclaimed London Symphony Orchestra (produced by the Grammy Award-winning artist Michael Fine and recorded by the Grammy Award-winning engineer Wolf-Dieter Karwatky at the Abbey Road Studios in London), and two with the Makris Symphony Orchestra. As an active educator, he regularly presents masterclasses in historical performance practice and in conducting. Gosta is a member of the Conductor's Guild, the British Harpsichord Society and the Royal College of Organists, among others. He is the President of the Makris Music Society in Washington DC (which promotes the music of composer Andreas Makris), as well as the principal editor of the UrtextEditions.com and the Mediterranean Press.
SELECTIONS FROM THE PRESS:
Mozart: Mitridate, re di Ponto (Theater Solothurn, 13/04/2018)
Solothurner Zeitung, 16/04/2018
...Als Glücksfall für die Produktion erweist sich Predrag Gosta. Der serbisch-US-amerikanische Dirigent gilt als Spezialist für Alte Musik und erarbeitete die schwierigen, barock angelegten Partien mit seinen Sängerinnen äusserst detailliert, folgte ihnen mit dem spritzigen Sinfonie Orchester Biel Solothurn bis in die kleinste Phrasierung. Fazit: Mozarts Jugendwerk und frühe Seria wurde vom Tobs-Ensemble sehens- und hörenswert aufbereitet.
Silvia Rietz
Berner Zeitung, 16/04/2018
...Das Sinfonie Orchester Biel-Solothurn unter der Leitung von Predrag Gosta serviert ein rhythmisch aufgeladenes und tänzerisch-höfisch verspieltes Mozart-Soufflé der Extraklasse bei dem auch die feinen Töne und einzelne Instrumentensoli transparent aufblitzen.
Peter Wäch
Der Stimme der Kritik, 14/04/2018
...Der Eindruck, den die Produktion hervorruft, wäre nicht so nachhaltig, wenn sich nicht eine Riege von Könnern in ihren Dienst gestellt hätte. Das beginnt mit dem sehr beachtlichen Dirigat des Barockspezialisten Predrag Gosta, der bereits bei "Lucio Silla" vor einem Jahr eine Stimme veranlasst hatte, bei seinem Eintritt in den Orchestergarben nach der Pause "Bravo Maestro!" zu rufen. Dieser Ruf sei hiermit für "Mitridate" nachgeholt... Das Sinfonie Orchester Biel Solothurn, erfahren mit dem Stil des jungen Mozart, spielt engagiert, wach und federnd und führt die Zuhörer zu den überraschenden Schönheiten der Komposition mit der Beiläufigkeit souveräner Maestria. Das Orchester in Mailand kann nicht anders geklungen haben als das der Premiere in Solothurn. Jedenfalls nicht besser...
Michel Schaer
Monteverdi: L'Orfeo (New Belgrade Opera / Madlenianum, 18/11/2017)
Musica Classica, 06/02/2018
The Award for the Best Concert Performance in 2017 goes to "L'Orfeo" by Monteverdi, presented by the New Belgrade Opera and Opera-Theatre Madlenianum on November 18, 2017, conducted by Maestro Predrag Gosta.
Aleksandra Paladin
Mozart: Lucio Silla (Theater Solothurn, 21/04/2017; Theater Biel, 08/04/2017)
NZZ am Sonntag, Zürich, 30/04/2017
...Dirigent Predrag Gosta dirigiert Mozarts Frühwerk leichtfüssig und so klug ausgehorcht, dass man die Ohren gar nicht tief genug in den Orchestergraben hineinstecken kann. Das Sinfonieorchester Biel Solothurn nimmt Gostas Ideen begeistert auf...
Christian Berzins
Berner Zeitung, 25/04/2017
...Das Sinfonie-orchester Biel-Solothurn unter der Leitung von Predrag Gosta lässt die Frische dieses selten gespielten Dreiakters in reichen Schattierungen erklingen und wirkt selbst nach zwei Stunden unverbraucht...
Peter Wäch
Solothurner Zeitung, 11/04/2017
Dirigent Predrag Gosta... geleitete das Sinfonie Orchester Biel Solothurn mit Esprit, tänzerischer Dynamik und satten Klangfarben durch die Partitur. Vorwärtsstrebende Musiker im Graben sowie ein homogenes und junges Ensemble auf der Bühne liessen die Produktion auch musikalisch glänzen.
Silvia Rietz
Der Stimme der Kritik, 09/04/2017
...Mit diesem "Lucio Silla" schuf das kleinste Stadttheater der Schweiz den Höhepunkt des Opernjahrs, jedenfalls soweit der Horizont der "Stimme" reicht. Am Champagnertisch treffen sich die Gäste wie in Trance. "Diese Kostüme!", ruft die ehemalige Kostümfrau der Münchner Staatsoper. "Diese Stimmen!", strahlt die Klavierspielerin. "Und erst die Intelligenz, mit der die Räume geschaffen werden!", stellt der Grafiker fest. Man spricht von nichts anderem als vom Glanz dieser Premiere. Dann geht die Vorstellung weiter. Dirigent Predrag Gosta betritt den Orchestergraben. Da ruft eine laut vernehmliche Stimme aus der Galerie: "Bravo, Maestro!" Wenn so viel zusammenkommt, kann man, ohne zu übertreiben, von einem Ereignis reden.
Michel Schaer
Dido and Aeneas (CD, New Trinity Baroque, 2004)
Opera Magazine March 2005
There's clean singing from the choir, and impeccable work from the 13-piece band (including five continuo players). Predrag Gosta shows good musical instincts, and, unlike some period performers, you feel he’s willing to depart from the strict letter of the score if they lead him that way…
Early Music America, October 2009
An excellent 2002 Edition Lilac recording [of Purcell's "Dido & Aeneas"] featuring Predrag Gosta leading the Atlanta-based Chorus and Orchestra of New Trinity Baroque... This is a wonderfully colorful yet always musical performance. It is what Noorman attempted but failed in the Parrott recording. Gosta's ensemble is excellent... the playing is so sensitive and secure. The choral work is excellent, too, with a true sense of character projected by the nameless witches, sailors, and attendants. ...Recording definitely well worth acquiring – a true sleeper.
REPRESENTATIVE OPERATIC REPERTOIRE:
G.F. HANDEL: Acis & Galatea, Orlando, Giulio Cesare, Alcina, Ariodante
C. MONTEVERDI: L’Orfeo, L'Incoronazione di Poppea, Il ritorno d’Ulisse in Patria
W.A. MOZART: Lucio Silla, Mitridate, Don Giovanni, Die Zauberflöte
G.B. PERGOLESI: La Serva Padrona
G. PUCCINI: Madama Butterfly, La bohème
H. PURCELL: Dido and Aeneas, King Arthur, The Fairy Queen
S. STORACE: The Siege of Belgrade
G.PH. TELEMANN: Pimpinone
G. VERDI: La traviata, Un ballo in maschera
Galerie
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Christian Frattima, born in 1984, is one of the emerging stars of the Italian orchestra conducting". He graduated in violin with honors in 2003 at the age of 19 and won numerous violin competitions. His multifaceted talent led him to obtain a degree in Astronomical Physics, an Economics degree, a master's degree in performing arts management and a master's degree in musicology, but above all a master's degree in symphonic conducting at the Lithuanian National Academy of Music. He participated in numerous international masterclasses under the guidance of masters such as Jorma Panula, Dejan Pavlov and Valery Ghergiev and immediately began conducting in more than fifteen countries. Among conducted opera titles we recall: "L’incoronazione di Poppea", at Klaipeda Opera Theatre, directed by Jurate Wensk "Le nozze di Figaro" at Lithuanian National Opera, directed by Emilio Sagi, "Otello", at LNOBT directed by Eimuntas Nekrosius. "Cavalleria Rusticana" and “Pagliacci” at Teatro F. Cilea directed by Alessio Pizzech, “Aida”, at Cairo Opera House, directed by Hisham el Tally. “Salome”, at Borg Opera, directed by Pierre Dufais. “La Serva Padrona” and “Livietta e Tracollo”, by G. B. Pergolesi, at Milan Teatro Litta, directed by Athos Collura. “Dido and Aeneas” by H. Purcell, at Festival dei Punti Cardinali, directed by Susanna Guerrini.
Among conducted orchestras: Sinfonietta Riga, Bulgarian National Symphonic, Filarmonica della Franciacorta, Lithuanian National Chamber Orchestra, S.Petesburg Symphony Orchestra, Samara Philharmonic Orchestra, F. Cilea Theater Orchestra, Lithuanian National Orchestra, Poitiers Chamber Orchestra, Cairo Symphony Orchestra, and many others.
Fascinated by ancient music, Frattima was one of the first conductors to stage baroque operas in the Baltic countries. In 2015 he founded "Coin du Roi", the only Italian company specializing in historically informed opera, with which he carries out a very intense historical research and performing activity of baroque and classical authors. With Coin du Roi, Frattima staged in HIP Italian premiere, the works "Xerxes" by G. F. Handel, and "Apollo et Hyacinthus’’ by W. A. Mozart, as well as many repertoire baroque and classical operatic titles.
He is currently artistic supervisor of Riga & Rundale International Early Music Festival and MusicaRiva festival, guest conductor of more than twenty international orchestras and author of numerous musicological essays in four languages, among which we recall, "Physical, psychological and mathematical aspect in the formation of a conductor'' [2010] and, "Jazz, folk and Slavonian music influence in Ligeti's etudes pour le piano'' [2012]. Frattima is also a producer and presenter of documentaries about early music, for national and international broadcasters, among which we recall “Retorica e Affetti - alba, mezzodì and sunset of the baroque opera'' for Sky Classica HD [2016]. From 2020 to 2027, Beethoven's years, Christian Frattima will record with Coin du Roi orchestra, Beethoven's instrumental Opera Omnia (symphonies, concerts, romances, mass) on historical instruments and following historically informed praxis.
Critics have written of him:
Frattima’s conducting was very precise, various, colourful. Tempos were rightly fast, stylistically interpretation was extremely correct as well as the constant attention thorough the singers.
Danilo Boaretto (Operaclick)
Ce même souci philologique a conduit Christian Frattima, directeur musical de la Société et de l’Ensemble Coin du Roi, à adopter diapason à 415 et instruments anciens. De ces choix et de sa lecture de la partition découle une exécution musicale d’une grande beauté, où le lyrisme a peut-être la plus belle part, mais susceptible d’éclats, grâce aux trompettes installées dans la tribune, et même de force, évidemment soigneusement contenue. Dans une partition où Händel semble s’être ingénié à rassembler ses procédés les plus éprouvés, Christian Frattima cisèle méticuleusement chaque nuance, y compris certains échos comme échappés des oratorios contemporains ou à venir, qui témoignent de l’évolution du compositeur.
Maurice Sallese (Forum Opera)
In Teatro Litta’s pocket-square orchestra pit, conductor Christian Frattima led the young Coin du Roi Orchestra (on period instruments in its uncut version) through broad, beefy, languidly-paced legatos with confident drive and garrulous texture.
Courtney Smith (BachTrack)
The orchestra, conducted by Frattima was in tune and rich of nuances; the stereophonic disposition of the instrumental ensemble in three different places of the theatre created a very interesting sound.
Ettore Napoli (Amadeus)
Coin du Roi orchestra played with unfailable technique, and Frattima’s conducting shaped a very deep sound. The concertation was historically informed, but the emotional approach was very modern, intense, strong.
Marco Nebuloni (Fermata Spettacolo)
The real column of the spectacle was Christian Frattima, who conducted with great knowledge and talent a difficult score. Light hands and musical unity are characteristics of this young conductor, surely deserving more international attention.
Umberto Fornasier (operaeballetto.it)
Christian Frattima studied the manuscript of Berlin Staatsbibliothek and other original scores. The Maestro, who was very exigent, accurately cared about musical exegesis: the Latin libretto was sung according the German ecclesiastic pronunciation, grace notes and cadenzas were composed by him and orchestra tuning was 430 Hz, the diapason used by Mozart. Orchestra musicians, specialized in the early repertoire, play on period instruments with catgut strings and 18th century style bows. Orchestra’s execution is brilliant, secure and refined.
Daniele Capuzzi (revolart.it)
Frattima’s work was very interesting in the reconstruction of the musical text and also in the care of some important details regarding middle 18th century executive praxis. His conducting were brilliant and moving, Maestro was able to give back the freshness and the originality of the young Mozart.
Elena Percivaldi (classicaonline.it)
It is useless to repeat how fine did Maestro Christian Frattima, artistic director of Coin du Roi, in his musical exegesis work. His hand is recognizable: expressivity, precision, sense of beauty and modernity, noticeable even in 18th century repertoire. Frattima’s temper and aesthetic taste is surely high-level. Only one in Italy, Frattima does not just discover the rare pearls of baroque music, but also commits to reconstruct musical scores and librettos from manuscripts, in order to give back a more authentic result, possible thanks to his indubitable qualities of musician and conductor.
Marco Nebuloni (Fermata Spettacolo)
Dirigent Christian Frattima schaffte zusammen mit dem Orchestra Coin du Roi dank gut gesetzter Tempi, philologischer Korrektheit, Schönheit im Klang und ausdrucksstarker Präzession eine Hommage an das 18. Jahrhundert. Die rhythmisch ausgefeilten Pergolesithemen lässt er elegant mit einer Leichtigkeit aufleben.
[Christian Frattima conducted the orchestra with brilliant tempos, historically informed precision and sound nobility: a tribute to the 18th century. Sophisticated Pergolesis’s rhythms were faced with neatness.]
Florian Amort (opernkritik.de)
Maestro Christian Frattima led the small ensemble with delicate phrasing and well-judged piano-fortepiano
dynamic modulations.
Jonathan Sutherland (BachTrack)
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Sébastien Rouland ist seit Anfang der Saison 2018/19 Generalmusikdirektor des Saarländischen Staatstheaters in Saarbrücken.
Als Cellist ausgebildet, war Sébastien Rouland bereits in frühen Jahren von der Orchesterleitung begeistert. Seit 2002 hat er Opernproduktionen in Berlin, Stuttgart, Wiesbaden, Essen, Paris, Lyon, Marseille, Strasbourg, Wien, Luzern, St Gallen, Bern, Lissabon, Tel Aviv und Mexico City geleitet, um nur einige Städte zu nennen. Er konnte sich damit als einer der vollkommensten und vielseitigsten Dirigenten seiner Generation etablieren. Sein umfangreiches Repertoire spannt sich von der historischen Aufführungspraxis im Bereich der Barockmusik bis hin zur Moderne.
2015 feierte er mit Glucks Alceste sein erfolgreiches Debüt an der Opéra national de Paris. Zur Eröffnung der Spielzeit 2017/18 dirigierte er am Saarländischen Staatstheater mit großem Erfolg bei Publikum und Presse die Grand Opéra Guillaume Tell von Gioachino Rossini. Diese hochgelobte Produktion wurde vom Fernsehen des Saarländischen Rundfunks für Arte aufgezeichnet und ist als Stream bei Arte Concert zu sehen. Er stand außerdem am Pult in einer Neuproduktionen von Kuhlaus Lulu am Königlichen Theater in Kopenhagen und für eine Wiederaufnahme von Les Contes d'Hoffmann am New National Theatre Tokyo.
Auf den Konzertpodien war Sébastien Rouland mit Orchestern wie dem RSO Frankfurt, dem Orchester der Händelfestspiele Halle, der Badischen Staatskapelle in Karlsruhe, den Essener Philharmonikern, dem Norwegischen Rundfunkorchester, dem Sinfonieorchester St. Gallen, der Camerata Zürich, dem Orchestre Philharmonique de Luxembourg, Les Musiciens du Louvre und dem Orchestre National de Lyon zu erleben.
Zu seinen Verpflichtungen in der Saison 2018/19 gehören neben seine symphonische Konzertsaison mit dem Saarländischen Staatsorchester fünf neue Opernproduktionen: Mozarts Cosi fan tutte an der Hamburgischen Staatsoper, Bizets Carmen am Aalto-Theater in Essen, Adolphe Adams Le postillon de Lonjumeau an der Opéra Comique in Paris sowie Cherubinis Médée und Gounods Faust am Saarländischen Staatstheater in Saarbrücken.
Die von ihm dirigierte Produktion von La vie parisienne an der Opéra national de Lyon wurde von Virgin Classics als DVD veröffentlicht.
• Adam: Le Postillon de longjumeau
• Albeniz: Iberia
• Bach: St jean/ Cantates/Mathäus
• Beethoven : 9 Symphonies/concerto 3 et 5
• Berlioz: Damnation de Faust /Nuits d'été / Symphonie Fantastique
• Bizet: carmen/pêcheurs de perles/Symphonie en ut
• Borodine :Les danses polovstiennes
• Boieldieu: La Dame Blanche
• Brahms: Concerto Double violon violoncelle
• Britten: illuminations simple symphonie /phèdre
• Bruckner: 4eme Symphonie
• Cavalli:
• Chabrier: Le roi malgré lui
• Charpentier: Te deum
• Chausson: symphonie
• Cherubini: Médée
• Debussy: Petite suite/Danse sacrée danse profane/La mer
• Donizetti: L'elisir d'amore
• Duruflé: Requiem
• Dukas: L'apprenti sorcier
• Franck césar : Symphonie
• Gershwin: Rapsody in blue /un américain à Paris
• Glass: akenaton
• Grieg
• Gluck: Orphée et Eurydice (toutes versions) /Armide/Alceste/Iphigénie en Tauride et Aulide
• Gounod: Faust/Roméo et Juliette/ Le Médecin malgré lui (vidéo Pelly)
• Haendel: Alcina/ Il trionfo/Rinaldo /Almira/ Semele /hercule /concerti grossi /fire works music/ le messie / dixit dominus
• Haydn : Concerto ré et ut violoncelle/ symphonies
• Halevy: La juive
• Holst: Les planètes
• Honneger: Le roi pausole
• Kayser: Croesus
• Kuhlau: Lulu
• Lalo: symphonie espagnole
• Lehar: Das Land des Lächeln
• Lully:le médecin malgré lui
• Massenet: Werther /Manon/Cendrillon
• Messager : l'amour masque /monsieur Beaucaire
• Meyerbeer: Robert le diable
• Moussorski : La nuit sur le mont chauve
• Mozart: Don Juan /le nozze / cosi/idomeneo /lucio silla /entfhurung/die Zauberflote/ requiem symphonie sol min/concerto piano 21/concerto clarinette/jupiter/
• Offenbach: La vie parisienne/belle helene/grande duchesse/orphee / Périchole /contes d'hoffman / concerto pour violoncelle
• Orff: carmina burana
• Pergolese: stabat mater / serva padrona
• Poulenc : Les mamelles de tiresias/ sinfonietta / concert champêtre /deux piano
• Purcell: Dido and Enea
• Rameau: Platee / dardanus/ hypolite et aricie
• Ravel: ma mère l'oie valse noble et sentimentale
• Rossini: Cenerentola/Guillaume tell/Moïse en Égypte/ petite messe
• Roussel: sinfonietta
• Saint saens: Samson et Dalila/ 3 ème symphonie / concerto piano 2eme et 5eme /et violoncelle
• Smetana: La moldau
• Strauss: la chauve-souris
• Schumann: Das Paradies und die Peri
• Verdi : Don Carlo
• Villa-Lobos: Magdalena
• Wagner: Vaisseau fantôme / Ring
Dernière modification : 4 juil. 2019
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The Dutch, 1950-born conductor Gerard Oskamp, since September 2013 the Music Director of the Mitteldeutsche Kammer-philharmonie (Central German Chamber Orchestra) was during 2002-2007 Generalmusikdirektor at the Landestheater Schleswig-Holstein in Flensburg, Germany.
He was educated as a cellist and played three years in the Philharmonic Orchestra Rotterdam. At the same time he studied conducting with Edo de Waart, Hans Swarowsky and later Ferdinand Leitner.
His career as a conductor started 1976 winning the first price in the „John Player“-competition in Bournemouth, England. This followed a close cooperation with the Bournemouth Symphony Orchestra and other orchestras in England.
Gerard Oskamp won 1980 the first price in the international conducting-competition of the Hungarian Broadcasting. A year later he gave his opera-debut at the Budapest State Opera with „La Traviata“.
During the next fifteen years he spent much time in northern Europe, where he worked as a much demanded guest with numerous orchestras in all Scandinavian countries. In 1986 Gerard Oskamp became Chief-conductor of the Stavanger Symphony Orchestra and was till 1998 artistic director of the Norwegian Wind-ensemble.
From 1994 Gerard Oskamp worked for three years as musical director of the opera in Rostock, Germany. At the same time he conducted numerous productions at the Opera in Graz and was a regular guest at the Philharmonia Hungarica.
Although he certainly conducts the complete musical repertoire, Oskamp is well-known as a specialist for performing Mozart compositions in a true stylistic manner, resulting from his education within the Dutch barock and classical tradition. Also his Beethoven interpretations find highest acclaim!
During the thirty-five years of his career Gerard Oskamp produced more than twenty records and CD-s. Recently he recorded with the young star pianist Anna Fedorova the 3rd piano concerto of Rachmaninov. A live TV-recording of their November 2015 concert in the Amsterdam Concertgebouw is available on YouTube under:
https://www.youtube.com/watch?v=DFDHyz_HPQ8
As guest conductor he performed with over hundred and twenty orchestras from Seoul till Mexico City.
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Der Dirigent Filip Pavišić wurde in Zagreb/Kroatien geboren, wo er in der Musikschule französisches Horn zu spielen lernte und seine musikalische Ausbildung in diesem Fach genoss, als auch in den Fächern Klavier und Musiktheorie. Filip Pavisic studierte franz.Horn an der Musikakademie in Zagreb und im Anschluß Dirigieren in der Klasse von Vjekoslava Šuteja. Parallel dazu besuchte er Seminare im Fach Dirigieren von Saša Britvića, Krešimir Šipuš, Klaus Arp und Jurij Simonov in Budapest im Jahre 2007 und 2008. Nach seinem Diplom an der Musikakademie in Zagreb, machte er eine zweijährige Fortbildung bei Uroš Lajovic und begann sein Aufbaustudium an der Universität der Musik und darstellenden Kunst in Wien. Während seiner Studienzeit in Wien nahm er an Seminaren von Fabio Luisi und Sir Simon Rattle teil. Gleich nach seinem Studium wurde er an der Staatsoper in Osijek/Kroatien als Dirigent engagiert, dessen Operndirektor er im Jahre 2011 wurde (bis heute). Die erfolgreichsten Produktionen waren vor allem die Premiere der Oper der Komponistin Sanja Drakulić und dem Librettisten Miro Gavran` Kraljevi i konjušari` im Jahre 2011 bei der 26. Musik-Biennale in Zagreb. Nach 31 Jahren Pause schaffte es Filip Pavišić die symphonischen Konzerte wieder auf den Spielplan zu setzen. Auch setzt er sich aktiv dafür ein, das Ballett nach 40 Jahren wieder auf die Bühne des Theaters in Osijek zu bringen. `Der Nussknacker`von Tschaikowsky sei als Beispiel genannt, in dem er mit den Solisten des Balletts des Staatstheaters Zagreb Edina Pličanić und Tomislav Petranović und den Ballett-Solisten des Staatstheaters Split Karpilovska und Mihai Mezei zusammenarbeitet.
Besonders hervorzuheben ist die Premiere Bellinis Oper `Norma`, die bis dato in der 107-jährigen Geschichte des Theaters nie aufgeführt wurde. Für diese Aufführung wird ihm der Preis in der Kategorie für das beste Dirigat und die beste Interpretation zuteil bei der Verteilung der Ehrungen des `Hrvatskoga Glumista`. Für seine Interpretion und Aufführung der Oper `Tosca`von Puccini bekommt er im Jahre 2018 die gleiche Ehrung.
Als Dirigent trat er mit der Zagreber Philharmonie auf, mit dem kroatischen Radio-und Fernsehorchester und Chor, dem Orchester des Staatstheaters Rijeka, der Belgrader Staatsoper, der Philharmonie Witold Lutoslawski, dem Symphonieorchester Dubrovnik, dem Liszt-Wagner Orchester, dem Cantus-Ensemble, dem Kammerorchester Pro Arte, der Philharmonie Sarajevo, dem kroatischen Kammerorchester, dem Kammerorchester Varaždin.
Er trat mit dem Akademie-Chor Ivan Goran Kovačić auf, dem Kammerchor Ivan Filipović, dem Chor und Orchester der Musikakademie in Zagreb. Im Jahre 2011 nimmt er an dem Internationalen Wettbewerb junger Dirigenten Lovro von Matačić teil und plaziert sich im Finale. Er ist mehrfacher Stipendiat des Fondes Lovro und Lilly Matačić.
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Christian Fitzner is a German conductor, born 1962 in Stuttgart.
From early childhood on he underwent intensive musical education attending classes for horn, pianoforte and chamber music. In 1978 he started studying at the conservatory Staatliche Hochschule für Musik und Darstellende Kunst Stuttgart and was first trained as hornist and pianist by Johannes Ritzkowsky, Mahir Cakar and Hermann Baumann. Afterwards he studied conducting with Prof. Thomas Ungar and received his diploma as a conductor in 1988. During his studies he participated at many international conducting courses in Siena, Weimar, Vienna, Salzburg, Assisi and Szombathely with Ferdinand Leitner, G. Roshdestwensky, S. Celibidache, Rolf Reutter, etc..
These years saw him on the conductor’s desk of the Württembergische Philharmoniker Reutlingen, Orchester Baden-Baden, New Symphonic Orchestra Boston, Südwestdeutsches Kammerorchester and the Orchestra Filharmonica di Russe.
From 1987 to 1993 he was director of the Städteorchester Wangen im Allgäu. During this time he assumed in 1990 conductorship of the Landesjugendkammerorchester Nordrhein-Westfalen. To this orchestra he had been associated already as an assistant since 1986. In 1992 he was engaged both by the Bilkent-University in Ankara as well as by the German-Portuguese Youth Symphony Orchestra. At the same time he performed successfully in many concerts abroad. Furthermore, he embellished the visit of German President Johannes Rau in Lisbon. Several recordings on disk and for broadcast were produced for the Westdeutsche Rundfunk.
In 1993 Christian Fitzner accepted a professorship at the Staatliche Hochschule für Musik und Darstellende Kunst Stuttgart. At the beginning of 1994 he was requested for the position of the Artistic Director of the Philharmonische Kammerorchester Wernigerode. This proved to be the beginning of a most successful collaboration, including for instance the foundation of the Schlossfestspiele Wernigerode in 1996.
Continuosly he worked as a guest conductor with orchestras such as the Broadcast Symphony Orchestra Johannesburg / South Africa and on occasions like the Merano Music Festival.
In 1999 Christian Fitzner was appointed Musical Director of the Philharmonische Kammerorchester Wernigerode. In 2004 he was awarded with the Art Prize of the Town of Wernigerode.
At the turn of the year 2009/2010 he toured with the Junge Kammerphilharmonie Nordrhein-Westfalen for three weeks with vast success Chinese capital towns including Shanghai and Peking.
The 20th anniversary of the German Reunification inspired him to found a German youth orchestra whose purpose would be to deal with the past and recent German history in musical terms. The domicile of the Orchester Deutsche Einheit will be Wernigerode as a historical centre of the country. Young people from all parts of Germany shall come together for the musical exchange as well as the political and historical.
The inception of the Orchester Deutsche Einheit will take place in July 2010 at the opening of the Schloßfestspiele Wernigerode under the patronage of the Minister for Economic Affairs Rainer Haseloff. For the turn of the year 2010/2011 the orchestra was invited to tour China under the conductorship of Christian Fitzner.
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Born in Aspe (Spain), Daniel Abad Casanova is considered one of the most promising Spanish conductors of his generation. Is currently the Music Director of Comunidad Valenciana Chamber Orchestra, the one that has carried out numerous concerts with great success of critique and publicly. Daniel Abad Casanova has an in-depth academic education: studied Piano at the Conservatoire of Music of Alicante and Orchestra Conducting and Choir Conducting at the Conservatoire of Music of Valencia with Maestros Manuel Galduf and Eduardo Cifre, and further expanded studies with Neil Thomson and John Farrer in the Royal School of Music (London ) and with Jorma Panula in Hochschule für Musik Franz Liszt (Weimar). Also attends Conducting Workshops with Maestro Jesús López Cobos in Alcalá de Henares University and with Maestro Yaron Traub in Valencia University. The range of his repertoire includes all kinds of works and styles, from early music through to cutting edge contemporary scores. Amongst the conducted orchestras are Albacete Symphony Orchestra, Youth Baroque Orchestra of Comunidad Valenciana, The New Professionals Orquestra (London), Jena Philarmoniker (Germany), Filarmónica “Oltenia” Craiova (Romania), Miguel Hernández University Symphony Orchestra, Ciutat d’Elx Symphonic Orchestra, Symphonic Orchestra of Teatro Chapí, City of Llíria Orchestra, etc…
Likewise he has conducted Federacion de Sociedades Musicales de la C. Valenciana Symphonic Band and Las Palmas de Gran Canaria Symphonic Band. In 2010 he is selected to take part in the X International Conducting Competition from the Cadaqués Orchestra. During the 2013/14 season conducts The Soldier's Tale (I.STRAVINSKY) in different stages with soloists of City of Llíria Orchestra and choreographed by Toni Aparisi. He has worked with prestigious musicians such as Manuel Ausensi, Antonio Gandía, Simón Orfila, Sandra Pastrana, Aurelio Gabaldón, Alicia García, Carmen Romeu, María Macià, Monserrat Martí, etc… As an operatic and zarzuela conductor, Daniel Abad Casanova has conducted performances like Julio Caesare, Carmen, L’elisir d’amore, Cavalleria Rusticana, La Traviata, La Revoltosa, La Boda de Luis Alonso, etc.
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Julio César Opera, Haendel, Final |
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O mio babbino caro, Gianni Schicchi Opera, G. Puccini |
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Mass of the Children, J. Ruttert |
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Gloria en Re M, A.Vivaldi |