NZZ Panel Discussion

Iso Camartin | Vesselina Kasarova et al.

Sun, 16481

KKL Luzern, Auditorium

Vergangenes Konzert

Summer Festival

12.08.-11.09. 2016




    NZZ Panel Discussion

    Iso Camartin | Vesselina Kasarova et al.

    Iso Camartin  literary and cultural scholar
    Vesselina Kasarova  mezzo-soprano
    Eva Rieger  musicologist and journalist
    Gerhard Stadelmaier  theater critic
    Martin Meyer  leader of the NZZ Panel Discussion

    Discussion about the festival theme “PrimaDonna”
    (in German)

    Primadonna, Prima Donna: a magical phrase that makes the hearts of all opera lovers leap for joy. It makes us think not just of the major female roles of the operatic repertory from the Baroque to verismo, but also of singers who embodied such roles, filling them with soul and powerful presence. Yet the prima donna is not just at home in the wide field of music. She can also operate in other cultural and social spheres, being understood as different or more modern. Wherever strong and smart women have influence, the mysterious effect becomes manifest: the aura of a power that goes beyond the existing framework, pushing it into other dimensions. No wonder that the male world remains a little fearful of such prima donnas. Which will be the topic of discussion for this panel – all with a touch of humor.

    Iso Camartin

    Vesselina Kasarova

    Vesselina Kasarova, a native of Stara Zagora in Bulgaria, began studying piano at the age of four and graduated from music high school. After receiving a degree as a pianist, she made the switch to a career in singing. While still a vocal student at the Sofia Academy, she began singing her first major roles with the State Opera of the Bulgarian capital. After winning the Gütersloh New Voices competition in 1989, she began an engagement with the Zurich Opera. Two years later, in 1991, she made her Salzburg Festival debut as Annio in La clemenza di Tito; shortly after came her first appearance at the Vienna State Opera as Rosina in Il barbiere di Siviglia. She has since appeared with the world’s most eminent opera companies, including La Scala in Milan, the Royal Opera House in London, Geneva Opera, Barcelona Opera, Florence Opera, Berlin State Opera, Bavarian State Opera, Chicago Lyric Opera, the Metropolitan Opera, as well as the great musical theater stages in Paris. She has performed with such conductors as Nikolaus Harnoncourt, Colin Davis, Riccardo Muti, Seiji Ozawa, and Daniel Barenboim. She has become especially known as an interpreter of Mozart’s operas, bel canto, and the French repertoire. In the 2008-09 season she performed Bizet’s Carmen at the Vienna State Opera zu erleben and Rossini’s Matilda di Shabran at London’s Covent Garden and also appeared in a new production of Handel’s Agrippina in Zurich. Vesselina Kasarova also appears as a lieder recitalist and concert performer throughout Europe and the United States. She has recorded many operas and solo recitals, including complete recordings of Mozart’s La clemenza di Tito, Rossini’s Tancredi and L’italiana in Algeri, Bellini’s Capuleti e i Montecchi, Donizetti’s La Favorite, and Massenet’s Werther. She has received several ECHO Klassik awards. 

    This concert marks Vesselina Kasarova’s LUCERNE FESTIVAL debut.

    Eva Rieger

    Martin Meyer

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