THE BBC AWARDS
Vote for the recording Prima Donna by Nathalie Stutzmann and Orfeo 55
Category opera : www.classical-music.com/awards2012
You just have to click on “Cast your votes now”, fill the information about you and click on “Start voting”.
BEWARE : YOU HAVE TO VOTE IN EVERY CATEGORY (THERE ARE FIVE) AND FINISH IT IN ORDER TO VALIDATE YOUR PARTICIPATION.
END OF THE VOTES ON FEBRUARY 29th
Agenda 2012
As for all artists, my calendar is subject to change. We update it every months, so please come back regularly to visit us and check the “Concerts” list.
Nathalie
Prima Donna Tour
Nathalie Stutzmann & Orfeo 55 will be on tour with Prima Donna this summer.
To see more concerts, click here.
Nathalie Stutzmann is regarded as one of the most remarkable musical personalities of our time and one of a few genuine contralto voices.
A fine example of a comprehensive musician, she studied piano, bassoon, chamber music and conducting thoroughly from an early age.
Nathalie Stutzmann regularly works with the greatest conductors: Seiji Ozawa, Sir Simon Rattle, Mariss Jansons, Sir John Eliot Gardiner, Christoph Eschenbach, Jukka Pekka Saraste, Marc Minkowski… and performs with the most prestigious orchestras, such as the Berliner Philharmoniker, the New York Philharmonic, the London Symphony Orchestra, the Wiener Philharmoniker, the Orquesta Nacional de España, the Orchestre de Paris…
In addition to her intense activity as a singer, she devotes part of her career to her commitments as a conductor. Two outstanding masters took her under their wings to support her with her projects and practise the symphonic repertoire: the renowned Jorma Panula (a teaching legend, who trained Simon Rattle among others), and her long-time accomplice Seiji Ozawa.
In November 2008, she officially made her debut as a conductor at the invitation of Seiji Ozawa, and conducted several concerts in Japan with the Mito Chamber Orchestra.
In 2009, she founded her own chamber orchestra, Orfeo 55, an ensemble that plays both Baroque and modern instruments, which allows her to venture in the most diverse repertoires.
Her experience as a Romantic musician and her knowledge of older genres allow her to tackle Vivalvi and Mozart as well as Beethoven, Wagner or Brahms.
Her approach, both loose and rigourous, her science of phrasing and the emotional intensity of her interpretations, her exceptional mastery in the service of the passion she conveys: these are some of the elements that make her so popular in the eyes of her audience and the musicians she conducts.
“Orfeo 55 goes against the current trend of out-and-out virtuosity display, cultivating explosive and spectacular brio. The concept of Orfeo 55 is that of a rather straightforward, rigourous, rhythmic Baroque: bows biting hard into the strings, catguts resonating, without weakening the musicians’ velocity. The magnificent gestures of Nathalie’s conducting seem to embrace her musicians’ every move. Thus they tend towards a sort of homogeneous breathing, unanimously seeking expressiveness through this common impetus, which can be seen in Vivaldi’s two concertos for solo orchestra… Debut of a great conductor, she prints the same legatos as in her singing with an exemplary grace and musicality.” – Georges Masson
Orfeo 55 has already performed in Metz, Paris, Avignon, Madrid and Valencia, but also at the festivals of Saint Riquier, Sisteron and Sablé-sur-Sarthe. During the 2010-2011 season, Orfeo 55 will be playing a Bach programme in Metz and Bordeaux, return to Paris and perform at the Cuenca festival in Spain, and will also make its debut at the Amsterdam Concertgebouw and the Opera of Monte-Carlo. The festivals of Menton and Vichy, among others, are also in the plans for the summer of 2011.
This season, Nathalie Stutzmann will be performing a classical and Romantic repertoire as the guest conductor of Finland’s Kuopio Symphonic Orchestra, of the Pomeriggi Musicali of Milan and of the Symphonic Orchestras of Montpellier, Nancy and Metz.
On the occasion of the 100th anniversary of the passing of Gustav Mahler, Nathalie Stutzmann will be performing numerous concerts around his repertoire. She will be the guest of Sir Simon Rattle for the third and eighth Symphonies at the Berliner Philharmoniker, at the London Royal Festival Hall and at the Amsterdam Concertgebouw. She will also be interpreting Mahler in Munich (Bayerische Rundfunk Orchester and Mariss Jansons), Washington (National Symphony Orchestra and Christoph Eschenbach), London (London Philharmonic Orchestra and Kazushi Ono) and São Paulo (Orquestra Sinfônica do Estado de São Paulo and Giancarlo Guerrero).
During this season, Nathalie Stutzmann will also be singing at the Salle Pleyel in Paris, at the Boston Symphony Hall and at the Auditorio Nacional de Madrid…
Knight of the French Order of Arts and Letters, Nathalie Stutzmann also teaches interpretation around the world.
EPK Prima Donna
When she founded the Orfeo 55 ensemble in 2009, Nathalie Stutzmann fulfilled one of her oldest dreams: having her own chamber orchestra.
With this project, aside from leading a brilliant career as a contralto, and more recently as an ever-more-acclaimed guest conductor, Nathalie Stutzmann digests twenty-five years of career and a whole life dedicated to music in contact with the greatest musicians and conductors with whom she regularly worked: from Herbert von Karajan to Simon Rattle or Seiji Ozawa, among others, but also leading figures of Baroque music such as John Eliott Gardiner, Marc Minkowski, etc.
At the head of Orfeo 55, she imposes the musical rigour, expressive freedom and emotional intensity that forged her reputation as a singer and conductor.
Although Vivaldi, Bach, Handel and Pergolèse do hold a central place in the ensemble’s programmes, Nathalie Stutzmann doesn’t mean to restrict her repertoire to the Baroque period. Indeed, the musicians of the ensemble practise both Baroque and modern instruments, which allows them to tackle the most diverse repertoires while adapting their instruments with the greatest flexibility.
A multifaceted ensemble, Orfeo 55 adapts its personnel to each specific piece. Each musician of the ensemble is hired individually based on his musical and technical skills, his musical criteria, his flexibility and integration to the spirit of the ensemble.
Orfeo 55 likes to offer a very personal view of the works Nathalie Stutzmann is truely passionate about, to share them in interpretations that favour the greatest expressivity, sensual colours, both vocal and instrumental, and round, warm tones suited to big, modern concert halls such as the Arsenal de Metz, where Orfeo 55 is a resident.
Building on the intense work accomplished in merely more than a year, Orfeo 55 has already established itself centre stage, performing in all the capitals of Europe, before touring in the United States and Japan during the 2012-2013 season.
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Linköping
March 8 2012
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Växjö
March 9 2012
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Tingsryd
March 10 2012
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Malmö
March 11 2012
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Grenoble
March 15 2012
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Frankfurt
March 18 2012
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WASHINGTON
March 22 2012
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March 24 2012
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KRAKOVIE
April 6 2012
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PARIS
April 8 2012
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LA CHAUX DE FOND
May 11 2012
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ROTTERDAM
May 31 2012
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SULLY sur loire
June 8 2012
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Le Brassus – SUISSE
June 9 2012
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Metz
June 14 2012
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St Denis
June 16 2012
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st Michel en thièrache
June 24 2012
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Nathalie Stutzmann : Prima Donna
SCORES
L’OLIMPIADE
Frontispice de la partition autographe de L’olimpiade (Venise 1734) – Fond Foà 39, folio 7r – Ministero per i Beni e le Attività Culturali, Biblioteca Nazionale Universitaria di Torino. Reproduction interdite
“Gemo in un punto e fremo”
Seconde page du manuscrit de l’air Gemo in un punto e fremo - partition autographe de L’olimpiade (Venise 1734) – Fond Foà 39, folio 104 r – Ministero per i Beni e le Attività Culturali, Biblioteca Nazionale Universitaria di Torino. Reproduction interdite
Lascia almen che ti consegni
Première page du manuscrit non autographe de l’air Lascia almen ch’e ti consegni de La costanza trionfante (Venise 1716) – Collection privée – Château de Berkeley (Grande Bretagne) - Avec l’aimable autorisation de M. David Smith, archiviste. Reproduction interdite.
“Arsilda regina di Ponto”
FIRST PAGE
Frontispice du livret d’Arsilda regina di Ponto (Venise, 1716) – Avec l’aimable autorisation du Deutsches Historisches Institut in Rom, Musikgeschichtliche Abteilung – Reproduction interdite.
CAST
Liste des personnages et interprètes d’Arsilda regina di Ponto (Venise, 1716) – Avec l’aimable autorisation du Deutsches Historisches Institut in Rom, Musikgeschichtliche Abteilung – Reproduction interdite.
air “Io sento in questo seno”
Page intérieure du livret d’Arsilda regina di Ponto (Venise, 1716) comportant l’air d’Arsilda Io sento in questo seno – Avec l’aimable autorisation du Deutsches Historisches Institut in Rom, Musikgeschichtliche Abteilung – Reproduction interdite.
caricatures
ANTONIA-MARGHERITA MERIGHI
Antonio Maria Zanetti il Vecchio, Antonia Margherita Merighi, penna e inchiostro bruno su traccia di matita nera. Venezia, Fondazione Giorgio Cini, Gabinetto dei Disegni e delle Stampe (inv. 36614, foglio 39) – Photographical credit: Venezia, © Fondazione Giorgio Cini/ Matteo De Fina.
“LA GREGHETTA”
Antonio Maria Zanetti il Vecchio, La Greghetta, penna e inchiostro bruno su traccia di matita nera. Venezia, Fondazione Giorgio Cini, Gabinetto dei Disegni e delle Stampe – Photographical credit: Venezia, © Fondazione Giorgio Cini/ Matteo De Fina
Nathalie Stutzmann, artiste totale
Lire l’article de Jean-Bertrand REYS, Nathalie Stutzmann, artiste totale.
