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Erlend Tvinnereim
Erlend Tvinnereim (born 3 August 1981 in Bergen, Norway) is a Norwegian tenor based in Zürich, Switzerland. He has in recent years been much used as a concert singer in Switzerland, Germany and Scandinavia, and in the season 08/09 he performed as "young artist" at the opera in Basel where he cased several significant roles. Career Tvinnereim attended the Toneheim Folkehøgskole (2000–01), and continued his vocal studies at the Grieg Academy, University of Bergen, and he earned a Bachelor's degree at the Institute of Music in Trondheim at Trondheim Musikkonsevatorium (NTNU), with Professors Kåre Bjørkøy and Harald Bjørkøy. He has since 2006, been a resident of Zurich, Switzerland, where he has completed his "Konzertdiplom" and "Soloist Diploma" at the Academy of Music in Zurich. After further studies with Scot Weir and the song class with Hartmut Höll at the University for Music and Theater Zurich in March 2009, he made his concert diploma with honors in June 2011, the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bergen
Bergen (), historically Bjørgvin, is a city and municipality in Vestland county on the west coast of Norway. , its population is roughly 285,900. Bergen is the second-largest city in Norway. The municipality covers and is on the peninsula of Bergenshalvøyen. The city centre and northern neighbourhoods are on Byfjorden, 'the city fjord', and the city is surrounded by mountains; Bergen is known as the "city of seven mountains". Many of the extra-municipal suburbs are on islands. Bergen is the administrative centre of Vestland county. The city consists of eight boroughs: Arna, Bergenhus, Fana, Fyllingsdalen, Laksevåg, Ytrebygda, Årstad, and Åsane. Trading in Bergen may have started as early as the 1020s. According to tradition, the city was founded in 1070 by King Olav Kyrre and was named Bjørgvin, 'the green meadow among the mountains'. It served as Norway's capital in the 13th century, and from the end of the 13th century became a bureau city of the Hanseatic Leag ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hartmut Höll
Hartmut Höll (born November 24, 1952) is a German pianist and music professor.J. B. Steane, "Hartmut Höll", Grove Music Online Biography Höll was born in Heilbronn. He trained in Stuttgart, Milan and Munich, specializing in art song accompaniment. From the time of his début in 1973 he has worked closely with the soprano (later mezzo-soprano) Mitsuko Shirai, winning the Hugo Wolf Competition in Vienna, the Robert Schumann Competition at Zwickau (1974) and international prizes in 1976 in Athens and 's-Hertogenbosch. For many years their recitals have been acclaimed throughout Europe and the United States, as well as in Japan, the Middle East and South America. They have also recorded extensively together. Höll was also frequent accompanist to Dietrich Fischer-Dieskau, from 1982 until the singer's retirement in 1993.Slonimsky and Kuhn, "Hartmut Höll", ''Baker's Biographical Dictionary of Musicians'', Centennial Edition, Volume 3, page 1588 Their recording of Beethoven's songs w ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Solomon (Handel)
''Solomon'', HWV 67, is an oratorio by George Frideric Handel. The anonymous libretto – currently thought to have been penned by the English Jewish poet/playwright Moses Mendes (d.1758) – is based on the biblical stories of the wise king Solomon from the First Book of Kings and the Second Book of Chronicles, with additional material from ''Antiquities of the Jews'' by ancient historian Flavius Josephus. The music was composed between 5 May and 13 June 1748, and the first performance took place on 17 March 1749, with Caterina Galli in the title role at the Covent Garden Theatre in London, where it had two further performances. Handel revived the work in 1759. The oratorio contains a short and lively instrumental passage for two oboes and strings in Act Three, known as "The Arrival of the Queen of Sheba", which has become famous outside the context of the complete work, and was featured at the 2012 London Olympics opening ceremony as James Bond (Daniel Craig) goes to meet ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Belshazzar (Handel)
''Belshazzar'' ( HWV 61) is an oratorio by George Frideric Handel. The libretto was by Charles Jennens, and Handel abridged it considerably.G.F. Handel, "Belshazzar", ed. Friedrich Chrysander. Leipzig: 1864. Reprint by Kalmus Miniature Scores. Melville, NY: Belwin Mills. Jennens' libretto was based on the Biblical account of the fall of Babylon at the hands of Cyrus the Great and the subsequent freeing of the Jewish nation, as found in the Book of Daniel. Handel composed ''Belshazzar'' in the late Summer of 1744 concurrently with ''Hercules'', during a time that Winton Dean calls "the peak of Handel's creative life". Dean, Winton''Handel's Dramatic Oratorios and Masques'' London: Oxford University Press, 1959. pp. 435 It premiered the following Lenten season on 27 March 1745 at the King's Theatre, London. It fell into neglect after Handel's death, with revivals in the United Kingdom in 1847, 1848 and 1873. With the revival of interest in Baroque music and historically inform ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Theodora (Handel)
''Theodora'' ( HWV 68) is a dramatic oratorio in three acts by George Frideric Handel, set to an English libretto by Thomas Morell. The oratorio concerns the Christian martyr Theodora and her Christian-converted Roman lover, Didymus. It had its first performance at Covent Garden Theatre on 16 March 1750. Not popular with audiences in Handel's day, ''Theodora'' is now recognised as a masterpiece. It is usually given in concert, being an oratorio, but is sometimes staged. Context, analysis, and performance history Handel wrote ''Theodora'' during his last period of composition. He was sixty-four years old when he began working on it in June 1749. He had written the oratorios ''Solomon'' and ''Susanna'' the previous year. ''Theodora'' would be his penultimate oratorio. ''Theodora'' differs from the former two oratorios because it is a tragedy, ending in the death of the heroine and her converted lover. It is also Handel's only dramatic oratorio in English on a Christian subject. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Messiah (Handel)
''Messiah'' (HWV 56) is an English-language oratorio composed in 1741 by George Frideric Handel. The text was compiled from the King James Bible and the Coverdale Bible, Coverdale Psalter by Charles Jennens. It was first performed in Dublin on 13 April 1742 and received its London premiere nearly a year later. After an initially modest public reception, the oratorio gained in popularity, eventually becoming one of the best-known and most frequently performed choral works in Western culture#Music, Western music. Handel's reputation in England, where he had lived since 1712, had been established through his compositions of Italian opera. He turned to English oratorio in the 1730s in response to changes in public taste; ''Messiah'' was his sixth work in this genre. Although its Structure of Handel's Messiah, structure resembles that of Opera#The Baroque era, opera, it is not in dramatic form; there are no impersonations of characters and no direct speech. Instead, Jennens's text ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Magnificat (Bach)
Johann Sebastian Bach's Magnificat, BWV 243, is a musical setting of the biblical canticle Magnificat. It is scored for five vocal parts (two sopranos, alto, tenor and bass), and a Baroque orchestra including trumpets and timpani. It is the first major liturgical composition on a Latin text by Bach. In 1723, after taking up his post as Thomaskantor in Leipzig, Bach set the text of the Magnificat in a twelve movement composition in the key of E-flat major. For a performance at Christmas he inserted four hymns ('' laudes'') related to that feast. This version, including the Christmas interpolations, was given the number 243.1 (previously 243a) in the catalogue of Bach's works. Likely for the feast of Visitation of 1733, or another feast in or around that year, Bach produced a new version of his Latin Magnificat, without the Christmas hymns: instrumentation of some movements was altered or expanded, and the key changed from E-flat major to D major, for perf ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Christmas Oratorio
The ''Christmas Oratorio'' (German: ''Weihnachtsoratorium''), , is an oratorio by Johann Sebastian Bach intended for performance in church during the Christmas season. It is in six parts, each part a cantata intended for performance on one of the major feast days of the Christmas period. It was written for the Christmas season of 1734 and incorporates music from earlier compositions, including three secular cantatas written during 1733 and 1734 and a largely lost church cantata, BWV 248a. The date is confirmed in Bach's autograph manuscript. The next complete public performance was not until 17 December 1857 by the Sing-Akademie zu Berlin under Eduard Grell. The ''Christmas Oratorio'' is a particularly sophisticated example of parody music. The author of the text is unknown, although a likely collaborator was Christian Friedrich Henrici (Picander). The work belongs to a group of three oratorios written in 1734 and 1735 for major feasts, the other two works being the ''Asce ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
St Mark Passion, BWV 247
The ''St Mark Passion'' (german: Markus-Passion), BWV 247, is a lost Passion setting by Johann Sebastian Bach, first performed in Leipzig on Good Friday, 23 March 1731 and again, in a revised version, in 1744. Though Bach's music is lost, the libretto by Picander is still extant, and from this, the work can to some degree be reconstructed. History Unlike Bach's earlier existing passions (''St John Passion'' and ''St Matthew Passion''), the ''Markus-Passion'' is probably a parody—it recycles previous works. The ''St Mark Passion'' seems to reuse virtually the whole of the Trauer Ode ''Laß, Fürstin, laß noch einen Strahl'', BWV 198,Wilhelm Rust. "Vorwort" (Preface) of Bach-Gesellschaft Ausgabe, Vol. 20.2: ''Kammermusik für Gesang – Band 2''. Bärenreiter, 1873, pp. VIII–IX. along with the two arias from ''Widerstehe doch der Sünde'', BWV 54. In addition, two choruses from the ''St Mark Passion'' were reused in the Christmas Oratorio. This leaves only a c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
St Matthew Passion
The ''St Matthew Passion'' (german: Matthäus-Passion, links=-no), BWV 244, is a '' Passion'', a sacred oratorio written by Johann Sebastian Bach in 1727 for solo voices, double choir and double orchestra, with libretto by Picander. It sets the 26th and 27th chapters of the Gospel of Matthew (in the Luther Bible) to music, with interspersed chorales and arias. It is widely regarded as one of the greatest masterpieces of Baroque sacred music. The original Latin title translates to "The Passion of our Lord J susC[hrist">rist.html" ;"title="susC[hrist">susC[hristaccording to the Evangelist Matthew".Markus Rathey. 2016. ''Bach's Major Vocal Works. Music, Drama, Liturgy'', Yale University Press History The ''St Matthew Passion'' is the second of two Passion settings by Bach that have survived in their entirety, the first being the '' St John Passion'', first performed in 1724. Versions and contemporaneous performances Little is known with certainty about the creation proc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
St John Passion
The ''Passio secundum Joannem'' or ''St John Passion'' (german: Johannes-Passion, link=no), BWV 245, is a Passion or oratorio by Johann Sebastian Bach, the older of the surviving Passions by Bach. It was written during his first year as director of church music in Leipzig and was first performed on April 7, 1724, at Good Friday Vespers at the St. Nicholas Church. The structure of the work falls in two halves, intended to flank a sermon. The anonymous libretto draws on existing works (notably by Barthold Heinrich Brockes) and is compiled from recitatives and choruses narrating the Passion of Christ as told in the Gospel of John, ariosos and arias reflecting on the action, and chorales using hymn tunes and texts familiar to a congregation of Bach's contemporaries. Compared with the ''St Matthew Passion'', the ''St John Passion'' has been described as more extravagant, with an expressive immediacy, at times more unbridled and less "finished". The work is most often heard toda ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Evangelist (Bach)
The Evangelist in the music of Johann Sebastian Bach is the tenor part in his oratorios and Passions who narrates the exact words of the Bible, translated by Martin Luther, in recitative secco. The part appears in the works ''St John Passion'', ''St Matthew Passion'', and the ''Christmas Oratorio'', as well as the '' St Mark Passion'' and the ''Ascension Oratorio Lobet Gott in seinen Reichen, BWV 11''. Some cantatas also contain recitatives of Bible quotations, assigned to the tenor voice. Bach followed a tradition using the tenor for the narrator of a gospel. It exists (and is also often called ''the Evangelist'') in earlier works setting biblical narration, for example by Heinrich Schütz ('' Weinachtshistorie'', ''Matthäuspassion'', ''Lukaspassion'', ''Johannespassion''). In contrast, the vox Christi, voice of Christ, is always the bass in Bach's works, including several cantatas. Music and sources The Evangelist reports in secco recitatives accompanied by basso continuo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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