Aurélie Franck
Mezzosoprano
CALENDAR
LUDWIG VAN BEETHOVEN
Sinfonie Nr. 6 F-Dur op. 68 „Pastorale“
Messe C-Dur op. 86
Balthasar-Neumann-Ensemble
Balthasar-Neumann-Chor & -Solisten
THOMAS HENGELBROCK, conductor
2.02.2020 | 17:00 | Baden-Baden | Festspielhaus (+infos)
3.02.2020 | 20:00 | Paris | Théâtre des Champs-Elysées (+infos)
4.02.2020 | 20:00 | Bruxelles | Bozar (+infos)
7.02.2020 | 18:30 | Dortmund | Konzerthaus (+infos)
9.02.2020 | 18:00 | Hamburg | Laeiszhalle (+infos)
11.02.2020 | 20:00 | Bremen | Glocke (+infos)
12.02.2020 | 20:30 | Athens | Megaron (+infos)
LUDWIG VAN BEETHOVEN
Christus am Ölberg op. 85
Oratorium für Soli, Chor und Orchester
RUNDFUNKCHOR BERLIN
BERLINER PHILHARMONIKER
Sir SIMON RATTLE, conductor
5. & 6.03.2020 | 20:00 (+infos)
Berliner Philharmonie
Masterclass Calixto Bieito
Copyright Simon Hertling
LUDWIG VAN BEETHOVEN
Fidelio
CHORWERK RUHR
BERLINER PHILHARMONIKER
KIRILL PETRENKO, conductor
MATEJA KOLEZNIK, Stage director
4. 7. & 13.04.2020 | 18:00 (+infos)
Baden-Baden | Festspielhaus
LUDWIG VAN BEETHOVEN
Missa solemnis D-Dur op. 123
CHORWERK RUHR
BERLINER PHILHARMONIKER
KIRILL PETRENKO, conductor
Baden-Baden | Festspielhaus
GUSTAV MAHLER
Sinfonie Nr. 3 d-Moll
ELINA GARANCA, mezzosoprano
AURELIUS SÄNGERKNABEN CALW
BERLINER PHILHARMONIKER
CHORWERK RUHR DAMEN
YANNICK NÉZET-SÉGUIN, conductor
Baden-Baden | Festspielhaus
A NEW WAY OF SINGING
“KLARHEIT UND NATÜRLICHE SCHÖNHEIT DER STIMME, OHNE VORDERGRÜNDIGES OPERNSOUND”
Penelope, Odysseus, Lautten Compagney & Taschenoper Lübeck
Honestly, I have no idea where it comes from… My family is 100% made of non-musicians. I came home one day claiming to my parents that I wanted to learn piano. Did I hear something on the playground? Well, I have a vague souvenir of a little girl singing a scale and I guess it hypnotized me. I wanted to learn music! An that’s how I have been playing piano 10 years long before I even thought about singing. But piano was hard for me, it was so much work for so little result!! I had to find MY instrument. Singing came much more naturally : I had the musical background and finally I was able to express myself in a way that piano didn’t allow me to.
And from that moment on, I’ve never been able to do anything else of my life.
Some call it passion. Others call it a necessity. I call it obstinacy.
Because, believe me, in this job you will need it. A lot of it.
Nerone, L’incoronazione di Poppea (Rheinsberg’s festival)
1st Witch, Dido & Aeneas (Innsbrucker Festwochen)
Solo Mezzo, Hiérophanie, Claude Vivier (Konzerthaus Berlin)
Ramiro, La Finta giardiniera (Bode-Museum Berlin)
