Übersetzung für "Opernbetrieb" in Englisch

Who are the winners/losers in the opera business?

Individual coaching by opera-world professionals supports young performers as they focus on their career and making a name for themselves.

In the Opera Children's Orchestra, children between the ages of 7 and 12, who were previously selected by their music teachers from a musical and pedagogical point of view, actively participate in opera operations.

The young musicians immerse themselves in the opera business by attending rehearsals, workshops and making music together under the direction of the Berlin conductor Max Renne.

In addition to his regular opera duties, he was responsible for rehearsing many concert performances (including Der Ring des Nibelungen, Parsifal and Wozzeck) and CD productions (such as Zemlinsky’s Traumgörge).

In the mid-18 century, this oldest and most venerable institution of Russian music and musical education, which had traditionally specialised in church music, was put in charge of opera as well.

Both in its extensive concert activities and opera productions at the Deutsches Nationaltheater Weimar, the Staatskapelle has worked to cultivate its great tradition in combination with innovative aspects.

The opera Artemisia by composer Francesco Cavalli was performed for the first time in 1657 in Venice, at a time when regular performances of opera had become firmly established, with eight to ten new operas being staged per year.

ClassiX 2.0 – Classics in the digital presentBased on an analysis of the classical music audience and of digital business models the "3rd Austrian Mobile Music Day" will be sounding the contexts of technology, quality standards and aesthetics, as well as focus on innovative application possibilities for concert and opera companies.

The first opera (1981) from the seven-part "Licht" cycle breaks all boundaries of what is normal in the opera business.

Together with the librettist Giovanni Faustini, Cavalli also developed the public opera business in the lagoon city, including the use of a smaller orchestra than in earlier courtly opera performances.

A few months later, on 17th March 1990, performances became regular and since then, the general public have been able to enjoy the many operas, ballets and classical music concerts which are performed here on a regular basis.

Following the Second World War, Walter Felsenstein's concept of musical theatre revolutionised European opera, and to this day remains an important point of reference for the great majority of musical theatre directors seeking to be contemporary in their work.

When the Salzburg Festival and Wien Modern dedicated a core theme to Friedrich Cerha on the occasion of his 85th birthday, the Neue Oper Wien was the only Austrian opera institution to honour him with the scenic work Baal.

In the critical and simultaneously humorous pastiche about the opera world, she played a culturally zealous and perfect, spirited Diva.

Together with the librettist Giovanni Faustini, Cavalli further developed the public opera business in the lagoon city and established a smaller orchestration.

With her extraordinary acting abilities, her subtle playing of roles as well as her efforts to present the musical text as authentically and precisely as possible (especially with older works or translations), she thrilled musicians and the public alike, setting new standards for the operatic world of her time.

A former airport hangar, a shopping mall, the former Nazi Party Rally Grounds, the turbine hall of a power station – the more unusual the venue and intense the topic the more the Pocket Opera Company Nuremberg moves away from the classic world of opera to that of its audience.

His musical experiences in Buenos Aires had been of the highest possible order: he had admired Erich Kleiber and Fritz Busch, he had sat at the continuo during an unsettling and impressive "Matthäus-Passion" under Furtwängler; he had learnt the ins and outs of the opera business and heard some of the world's best singers, from Maria Callas to Lauritz Melchior.

Many important musicians have conducted the orchestra, both in the opera and in the regular concert series that have been held since 1842, among them Gaspare Spontini, Felix Mendelssohn Bartholdy, Giacomo Meyerbeer, Otto Nicolai, Felix von Weingartner, Richard Strauss, Erich Kleiber, Wilhelm Furtwängler, Herbert von Karajan, Franz Konwitschny, and Otmar Suitner.

Many important musicians have conducted the orchestra, both in the opera and in the regular concert series that have been held since 1842: Gaspare Spontini, Felix Mendelssohn Bartholdy, Giacomo Meyerbeer, Felix von Weingartner, Richard Strauss, Erich Kleiber, Wilhelm Furtwängler, Herbert von Karajan, Franz Konwitschny, and Otmar Suitner are just a few of the conductors who have decidedly influenced the instrumental and interpretive culture of Staatskapelle Berlin.

As the world of opera has grown increasingly international, NEUE STIMMEN has also continued to develop, with preliminary auditions, which are led by members of the NEUE STIMMEN jury, now taking place around the globe. In 2017, they were held in 24 cities, including New York, Los Angeles, Riga, Shanghai, London, Toronto, Moscow, Cape Town, Sydney and Berlin.