Haydn: Orlando Paladino / Harnoncourt
Orlando Paladino (complete opera) (02:39:57)
Kurt Streit Orlando, Jane Archibald Angelica, James Taylor Medoro, Jonathan Lemalu Rodomonte, Mojca Erdmann Eurilla, Markus Schäfer Pasquale, Michelle Breedt Alcina, Paul O'Neill Licone, Markus Butter Caronte
Nikolaus Harnoncourt talks about Haydn’s “Orlando Paladino” (17:24)
Imagine a mountainous island off the coast of a faraway, magical land. Imagine gallant knights and alluring ladies, shepherds and their pretty shepherdess daughters, all in love with each other, only not exactly in the right constellation. Picture all this and find yourself in the midst of the dramma eroicomico in tre atti with the beautiful title Orlando Paladino. By the way, it was composed by a certain Mr. Joseph Haydn. The ending of his heroic and comic drama won’t be revealed here, just this much: the Classical period still knew a lieto fine and its deus ex machina. What is more, the Berliner Philharmoniker were able to convince Nikolaus Harnoncourt to interpret this work with them – it goes without saying as a concertante performance, since the Berliner Philharmonie is not an opera house. And not only the conductor and the orchestra make this concert worthwhile, but also its outstanding soloists. All very good reasons to take a journey to an island off the coast of a faraway, magical land.
Nikolaus Harnoncourt was born in Berlin in 1929 but grew up in Austria. Even while he was still learning to play the cello, he had already developed an intense interest in performing practice – initially of early music – and in the importance of sonority in music-making. He founded the Concentus Musicus of Vienna in 1953, a specialist ensemble performing on period instruments or on replicas of such instruments. Under his direction, the ensemble has become a world-famous institution. Until 1969 Nikolaus Harnoncourt also played the cello with the Vienna Symphony Orchestra. Since the 1970s he has made more and more appearances as a conductor of traditional symphony orchestras and has also worked in the opera house, allowing him to expand his repertory to Viennese Classicism, Romanticism and, more recently, the 20th century. Between 1972 and 1992 he taught performing practice at the Mozarteum in Salzburg. His interest in the subject is also reflected in several books, including Musik als Klangrede. Among the numerous awards that Nikolaus Harnoncourt has received are the Stockholm Polar Prize, the 1997 Robert Schumann Prize, the 2002 Ernst von Siemens Music Prize and the 2005 Kyoto Prize, one of the highest awards in the fields of science and culture, which he received for a lifetime’s achievement in music. He has appeared frequently with the Berliner Philharmoniker since his debut in 1991 and in March 2000 received the orchestra’s Hans von Bülow Medal. His most recent appearances were in early April 2008, when he conducted performances of Bruckner’s Fifth Symphony.
Jane Archibald was born in Canada and studied at the Wilfrid Laurier University, the Orford Arts Centre and the Tanglewood Music Center. She made her United States debut in 2003 as Poppea in Handel’s Agrippina at the Chicago Opera Theater and two years later made her European debut as Konstanze in Mozart’s Die Entführung aus dem Serail within the framework of the Antibes and Lacoste Summer Festivals. Her readiness to take over at the last minute from an ailing colleague and perform the part of Costanza in a staged production of Vivaldi’s Griselda with the Ensemble Matheus in Spain proved little short of a sensation. Jane Archibald has been a member of the Vienna State Opera ensemble since September 2006 and to date has been heard in the city as the Queen of Night in Die Zauberflöte, Sophie in Der Rosenkavalier, Olympia in Les Contes d’Hoffmann, Musetta in La Bohème and the Italian Singer in Capriccio. Her repertory also includes the title roles in Lakmé, Alcina and Ibert’s Angélique as well as Susanna in Le nozze di Figaro and Elvira in L’italiana in Algeri. Guest appearances have taken her to the Marseilles Opera, where she has sung Konstanze and Cleopatra in Handel’s Giulio Cesare, and to the Grand Théâtre de Genève, where her roles have included Zerbinetta in Ariadne auf Naxos and the Queen of Night. Jane Archibald is making her debut with the Berliner Philharmoniker in the present series of concerts.
Michelle Breedt initially studied at the University of Stellenbosch in her native South Africa and had already appeared professionally in Cape Town and Pretoria before she decided to continue her studies at the Guildhall School of Music and Drama in London. Subsequent engagements took her to the Cologne Opera Studio and the Braunschweig State Theatre, where she worked closely with Brigitte Fassbaender as both director and mentor, an association that continues to the present day. Michelle Breedt now works as a freelance artist. Among the companies with whom she has appeared are the Vienna, Hamburg and Dresden State Operas, the Deutsche Oper in Berlin, the Opéra Bastille in Paris and the Zurich Opera. But she has also performed as far afield as China and Japan. Her repertory includes not only Mozart’s mezzo-soprano roles but also Carmen, Brangäne, Octavian and bel canto parts such as Adalgisa and Romeo in I Capuleti e i Montecchi. She made her Bayreuth Festival debt in 2000 as Magdalene in Die Meistersinger von Nürnberg. Michelle Breedt is also much in demand as a concert singer and song recitalist, in which capacity she has appeared on frequent occasions at the Schubertiade in Schwarzenberg, at the Vienna Musikverein, in London’s Wigmore Hall and at the Salzburg Festival. Among the conductors with whom she has worked are Gerd Albrecht, Seiji Ozawa, Christian Thielemann and Franz Welser-Möst. Michelle Breedt is making her debut with the Berliner Philharmoniker.
Markus Butter hails from Austria. He gained his earliest musical experiences as a member of the Vienna Boys’ Choir, later studying at the Johann Joseph Fux Conservatory and the University of the Arts in Graz. He studied lieder with Fritz Schwinghammer at the Munich Academy of Music and also attended masterclasses with Walter Berry. From 2001 to 2005 he was a member of the Deutsche Oper am Rhein, during which time he also appeared at the Ruhr Triennale and with the Staatsoper Unter den Linden. Since 2005 Markus Butter has been a permanent member of the Dresden State Opera. His repertory includes Count Almaviva in Le nozze di Figaro, Papageno in Die Zauberflöte, Escamillo in Carmen, Wolfram von Eschenbach in Tannhäuser, Melot in Tristan und Isolde, Falke in Die Fledermaus, Ford in Falstaff, Marcello in La Bohème and the title role in Tchaikovsky’s Eugene Onegin. In 2000 he appeared for the first time at both the Salzburg Festival and the Linz Bruckner Festival. As a concert soloist Markus Butter has appeared with the Munich Philharmonic, the Central German Radio Symphony Orchestra in Leipzig and the Israel Philharmonic, working with conductors of the eminence of Nikolaus Harnoncourt, Zubin Mehta, Wolfgang Sawallisch and Fabio Luisi. This is his debut with the Berliner Philharmoniker.
Mojca Erdmann was born in Hamburg and was still very young when she learnt to play the violin and sang in the Children’s Chorus at the city’s State Opera. On completing her schooling, she studied singing with Hans Sotin at the Academy of Music in Cologne. From 1997 to 2004 she was a member of the Komische Oper in Berlin, where she was heard in works by Mozart, Verdi, Strauss, Prokofiev, Britten and others. In 2002 she took part in the Federal Singing Competition and won first prize in the concert category and a special prize for contemporary music. She has been a regular visitor to international opera houses and has also appeared widely as a concert singer and song recitalist. In 2004 she took part in the world premiere of Takemitsu: My Way of Life at the Staatsoper Unter den Linden in Berlin and also gave the first performances of Hölderlin settings by Aribert Reimann and Wolfgang Rihm at the AlpenKlassik Festival in Bad Reichenhall. In 2005 Mojca Erdmann was a prizewinner in the North German Radio Music Competition and the following year made her Salzburg Festival debut in the title role of Mozart’s Zaide. She first appeared with the Berliner Philharmoniker in September 2005, when she sang the shepherd boy Jano in concert performances of Leoš Janáček’s Jenůfa. Her most recent appearance with the orchestra was in September 2008 in Ravel’s L’Enfant et les sortilèges, directed by Sir Simon Rattle.
Jonathan Lemalu was born in New Zealand. Although he began regular singing lessons in 1994, it was not until five years later that he enrolled at the Royal College of Music in London and started to study professionally. The previous year he had made his debut with New Zealand Opera as Colline in La Bohème. Subsequent roles with the company have included Bartolo in Le nozze di Figaro and Trulove in The Rake’s Progress. The winner of numerous international competitions, he received the Kathleen Ferrier Award in 2002 and was voted Young Artist of the Year by the Philharmonic Society of London. Jonathan Lemalu is equally in demand as an opera, concert and lieder singer and has appeared all over the world in a repertory extending from early music to the music of the 21st century. In 2003, for example, he took part in the world premiere of John Harbison’s Requiem with the Boston Symphony Orchestra under the direction of Bernard Haitink, and in 2008 he appeared in the Japanese premiere of John Adams’s opera The Flowering Tree. Jonathan Lemalu made his Berliner Philharmoniker debut in early December 2003 in concert performances of Berlioz’s La Damnation de Faust under the direction of Charles Dutoit.
Paul O’Neill was born in Melbourne. He studied singing at the Western Australian Academy of Performing Arts in Perth and in 2004 and 2005 took part in the Young Artist Programme of the West Australian Opera in Perth. Among the roles that he has sung in Perth are Gastone in La traviata, Don Ottavio in Don Giovanni, Monostatos in Die Zauberflöte and Flavio in Norma, but his repertory also includes the Duke of Mantua in Rigoletto, Bruno in I puritani and the Shepherd and Young Sailor in Tristan und Isolde. Paul O’Neill also sang solo tenor roles in various concerts and opera performances with the Chorus of West Australian Opera and has won numerous prizes at international singing competitions. In 2006 a scholarship from a local opera foundation, Australia’s Covent Garden, allowed him to continue his studies at the National Opera Studio in London, after which he joined the Cardiff International Academy of Voice. In November 2007 Paul O’Neill became a member of the International Opera Studio of the Staatsoper Unter den Linden. This is his debut with the Berliner Philharmoniker.
Markus Schäfer studied singing and church music in Karlsruhe and Düsseldorf. A winner of the Federal Singing Competition and the Concorso Caruso in Milan, he attended the Zurich Opera Studio and made his professional stage debut with the Zurich Opera, where he also held his first permanent appointment. Further engagements followed with the Hamburg State Opera and the Deutsche Oper am Rhein. Since 1993 he has pursued a freelance career, appearing in leading opera houses and concert halls both at home and abroad. Central to his repertory are Mozart’s Ferrando, Don Ottavio and Tamino, but he is also closely associated with the part of the Evangelist in Bach’s Passions. Among the conductors with whom Markus Schäfer has worked are René Jacobs, Philippe Herreweghe, Michael Gielen, Kent Nagano and Nikolaus Harnoncourt, under whose direction he sang Pasquale in Haydn’s Orlando paladino at the Theater an der Wien in 2007. As a lieder recitalist, Markus Schäfer has performed to great acclaim in Vienna, at the Schubertiade in Feldkirch and Schwarzenberg and in New York. He took part in a performance of Hans Werner Henze’s Kammermusik 58 with the Scharoun Ensemble of Berlin at the 2008 Salzburg Easter Festival. Since the autumn of 2008 Markus Schäfer has taught at the Hanover Academy of Music and Theatre. This is his debut with the Berliner Philharmoniker.
Born in Japan to American parents, Kurt Streit is now regarded as one of the leading Mozart tenors of his generation. As Tamino he has been heard at the Metropolitan Opera, New York, London’s Royal Opera, the Los Angeles Opera and the Vienna, Munich and Hamburg State Operas, while Mozart’s other leading tenor roles have taken him to opera houses all over the world. Other works that are central to his repertory are the operas of Handel and works by Tchaikovsky, Wagner, Strauss, Janáček and Britten. As a concert singer, Kurt Streit has appeared in all the world’s leading concert halls and at numerous international festivals, where he has worked with such distinguished conductors as Riccardo Muti, Wolfgang Sawallisch, Sir John Eliot Gardiner and Nikolaus Harnoncourt, with whom he has been particularly closely associated over a period of many years. He first appeared with the Berliner Philharmoniker in April 2004, when he sang Ferrando in Così fan tutte under the direction of Sir Simon Rattle. His most recent appearance was as Alfonso in concert performances of Schubert’s Alfonso und Estrella conducted by Nikolaus Harnoncourt in October 2005.
James Taylor initially studied in his native Texas, before a Fulbright Scholarship took him to the Munich Academy of Music in 1991. He then joined the Opera Studio of the Bavarian State Opera, subsequently appearing with the Théâtre de la Monnaie in Brussels and the Stuttgart State Theatre. As a concert singer, James Taylor is now widely regarded as one of the world’s leading interpreters of the Passions, Masses and oratorios of Bach, Handel, Haydn, Mozart, Beethoven and Mendelssohn, although his repertory also includes works by Monteverdi, Dvořák, Britten and Rihm. James Taylor has worked with many of the world’s leading conductors and orchestras as well as with ensembles specializing in early music. He made his debut with the Berliner Philharmoniker in mid-January 2002, when he sang the title role in Handel’s Jephtha under the direction of Nikolaus Harnoncourt. Together with the lutenist Paul O’Dette and the piano accompanist Donald Sulzen, he has also been widely acclaimed as a song recitalist. Since the autumn of 2005 he has been Associate Professor of Voice, teaching oratorio and lieder singing at the University of Yale.