Heinz Holliger © Priska Ketterer
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Heinz Holliger © Priska Ketterer
Ensemble of the LUCERNE FESTIVAL ACADEMY | Heinz Holliger | soloists
The “Identities” series illuminates various aspects of the Festival theme. That applies as well to the second program that Heinz Holliger will prepare this summer with the LUCERNE FESTIVAL ACADEMY: In Lunea Holliger, who has aways been interested in outsider figures and in the dark side of the artist’s existence, sets texts by the restless and inwardly conflicted poet Nikolaus Lenau. To put it more precisely: 23 lines of text by Lenau, “jotted down quickly, like flashes of lightning,” which Holliger shapes into impressive miniature dramas. The Hungarian György Kurtág is also a master of musical as well as emotional concision. In his song cycle Messages of the Late Miss R. V. Troussova, which made him internationally famous in 1981 – when he was already 55 – he uses verses by Rimma Dalos to imagine the story of a failing love and an abandoned, deeply wounded woman: “You took my heart / into the palms of your hands / and turned it carefully around.” Huge feelings in the tiniest possible form.
Ensemble der LUCERNE FESTIVAL ACADEMY © Priska Ketterer/LUCERNE FESTIVAL
Ensemble of the LUCERNE FESTIVAL ACADEMY
It was in the summer of 2004, that Pierre Boulez and Michael Haefliger founded the LUCERNE FESTIVAL ACADEMY – thus establishing an educational campus devoted exclusively to new music. Every summer since then, some 130 young, highly gifted musicians from all around the world are given the opportunity to study contemporary scores and modernist classics in detail through daily rehearsals, workshops, and lessons and then to present their insights in performance. Serving as instructors are members of the Ensemble intercontemporain from Paris, one of the most renowned ensembles in the field of contemporary music. Besides the LUCERNE FESTIVAL ACADEMY Orchestra, in which all of the students are consolidated, various additional ensembles join together to present their own concert programs. Individual artistic initiative is also encouraged, such as in the series titled LUCERNE FESTIVAL 40min, LUCERNE FESTIVAL Lounge, and at the Buvette, in which Academy participants present projects they have developed on their own. It’s not only instrumentalists who benefit from the Academy’s praxis-oriented training – the institution is also a prime choice for conductors and composers. Each year offers a master class in conducting; in 2014 it will be led by Heinz Holliger, who will initiate participants into the secrets of the métier with works of Claude Debussy and Bernd Alois Zimmermann. In addition to that commissions are given to young composers. In the summer of 2014, the LUCERNE FESTIVAL ACADEMY presents a focus on vocal symphonic music with its performance of Luciano Berio’s Coro and is therefore expanding its training mandate to 40 highly talented young singers. Selected members of the newly formed LUCERNE FESTIVAL ACADEMY Chorus will also have an opportunity to take a master class in voice with “artiste étoile” Barbara Hannigan.
February 2014Other dates
Heinz Holliger © Julieta Schildknecht
Heinz Holliger was born in 1939 in Langenthal in the Canton of Bern. In Bern, Paris, and Basel he studied oboe (with Émile Cassagnaud and Pierre Pierlot), piano (with Sava Savoff and Yvonne Lefébure), and composition (with Sándor Veress and Pierre Boulez). His international career as an oboist, which has taken him to the major music centers around the world, began in 1959, when he won first prize at the International Music Competition in Geneva; in 1961 he also emerged as victor at the ARD Music Competition in Munich – and made his debut at the Internationale Musikfestwochen Luzern, which later became known as LUCERNE FESTIVAL. Heinz Holliger has expanded the playing techniques of his instrument and continues to focus intensively on contemporary music, as well as on works that are not as well known. Numerous composers, among them Henze, Ligeti, and Lutosławski, have dedicated new scores to him. In 1977 Holliger began his conducting career, which soon took him to the most renowned orchestras, such as the Berlin and Vienna Philharmonics, the Cleveland Orchestra, the Royal Concertgebouw Orchestra Amsterdam and the Philharmonia Orchestra. He has also enjoyed a long-term partnership with the Chamber Orchestra of Europe. The works of Heinz Holliger were featured in 1998 when he was composer-in-residence at the IMF Luzern. In 2002 his opera Schneewittchen was premiered in Zurich, where Lunea, his setting of scenes from Lenau, will also be produced in 2018. Holliger has received numerous distinctions, including the Sonning Music Prize (1987), the Frankfurt Music Prize (1988), the Siemens Music Prize (1991), the Premio Abbiati of the Biennale di Venezia (1995), the Zurich Festival Prize (2007), and, most recently, the Robert Schumann Prize (2017). Since 2016 he has been a member of the American Academy of Arts and Sciences.
LUCERNE FESTIVAL (IMF) debut on 31 August 1961 as oboe soloist in the Passacaglia concertante by Sándor Veress, with Rudolf Baumgartner conducting the Lucerne Festival Strings.
Die in Moskau geborene Sopranistin Natalia Zagorinskaya nahm 1984 ihr Gesangsstudium am Tschaikowsky-Konservatorium in ihrer Heimatstadt auf, wo sie von Vera Kudriavtseva unterrichtet wurde. 1991 wurde sie in das Ensemble der Moskauer Helikon-Oper verpflichtet, wo sie sich wichtige Partien ihres Fachs erarbeitete, etwa die Lisa in Pique Dame und die Tatiana in Eugen Onegin von Tschaikowsky, Katerina Ismailowa aus Schostakowitschs Lady Macbeth, Alice Ford in Verdis Falstaff oder Emilia Marty in Janáčeks Die Sache Makropulos. An der Helikon-Oper sang sie auch die Blanche in der russischen Erstaufführung von Poulencs Dialogues des Carmélites. Mit ihrem Moskauer Ensemble ging sie auf Gastspielreise in die USA, nach Grossbritannien, Deutschland, Frankreich und Spanien, in die Schweiz und den Libanon. Vor allem als Interpretin zeitgenössischer Werke hat sich Natalia Zagorinskaya internationale Reputation erworben – hier stehen die Vokalzyklen György Kurtágs im Mittelpunkt ihrer Arbeit. 2009 führte sie beispielsweise die Lieder nach Gedichten von Anna Achmatowa in der New Yorker Carnegie Hall, im Pariser Palais Garnier, im Amsterdamer Concertgebouw und im Wiener Musikverein auf. Mit den Botschaften des verstorbenen Fräulein V. R. Troussova war sie bei den Salzburger Festspielen und im Wiener Konzerthaus zu Gast. Beide Zyklen interpretierte sie 2011 zum 85. Geburtstag des Komponisten in Budapest, und auch bei seinem Neunzigsten im Jahr 2016 wirkte sie an mehreren Festkonzerten mit. Ausserdem hat Natalia Zagorinskaya auch Kurtágs Szenen aus einem Roman, Requiem für einen Freund und die Quatre caprices in ihrem Repertoire, dazu Werke von Dallapiccola, Carter, Barraqué, Boulez und Nono. Natalia Zagorinskaya ist Trägerin des russischen Nationaltheaterpreises «Die goldene Maske» und wurde als «People’s Artist of Russia» ausgezeichnet.
A native of London, the baritone Ivan Ludlow studied at the Guildhall School of Music and received his training at the National Opera Studio. He currently appears at many of the major European opera houses, including those in Paris, Lyon, Naples, Toulouse, Strasbourg, and Athens, as well as the Vlaamse Opera, working with such conductors as Adám Fischer, Gustav Kuhn, Franck Ollu, and Christophe Rousset. Ludlow’s repertoire ranges from Monteverdi through Mozart’s lead baritone roles and bel canto to Tchaikovsky’s Eugene Onegin, the Count in Strauss’s Capriccio, and works by Britten and Stravinsky. He also regularly performs contemporary music: for example, his schedule for summer 2013 includes engagements as Harrison Birtwistle’s Gawain at the Salzburg Festival. Ivan Ludlow is a passionate lieder singer and is one of the founding members of the London Bridge Ensemble.