Dresdner Musikfestspiele

Lance Ryan singt den Tenorpart in Mahlers 8. Sinfonie "Sinfonie der Tausend" mit dem Israel Philharmonic Orchestra unter der Leitung von Omer Meir Wellber bei den Dresdner Musikfestspielen. Das Konzert findet am 21. Mai 2016 in der Dresdner Kreuzkirche statt.

Oper Dortmund

Lance Ryan singt den Tristan in der gefeierten Neuproduktion der Oper Dortmund zum letzten Mal am 29. Mai 2016.

Oper Köln

Lance Ryan singt ab 26. Juni 2016, erstmals an der Oper Köln, den Cavaradossi|Tosca.

Dresden, Semperoper

Lance Ryan singt erstmals die Rolle des Herodes|Salome im Rahmen einer Neuproduktion an der Sächsischen Staatsoper Dresden. Premiere 24. September 2016

Hess. Staatstheater Wiesbaden

Lance Ryan debütiert in der Titelrolle von Peter Grimes am Hessischen Staatstheater Wiesbaden ab 10. Februar 2017.

Oper Dortmund

Lance Ryan singt  Otello in einer Neuproduktion des Theaters Dormtund. Die musikalische Leitung hat Gabriel Feltz, Regie führt Intendant Jens-Daniel Herzog. Premiere am 26. III. 2017

Nederlandse Opera, Amsterdam

Lance Ryan singt Herodes|Salome im Rahmen einer Neuproduktion an der Nederlandse Opera Amsterdem ab dem 9. Juni 2017. Die musikalische Leitung hat Daniele Gatti, Regie führt Ivo van Hove.

Staatstheater Wiesbaden

Lance Ryan singt zur Saisoneröffnung 2017 in einer Neuproduktion die Titelrolle in Tannhäuser am Hessischen Staatstheater Wiesbaden.

15.08.2015

In Dortmund for Tristan und Isolde rehearsals. Today is Ferragosto in Italy and in fact I've had the day-off rather unintentionally. Vivi has arrived and so life has much more depth and perspective. Returning to work hasn't been as shocking as I had feared, although working towards the premiere it will become more intense. It's early days yet.

The tyrannical representation of the production have an increasingly hideous effect upon me, to the point that I shudder when when stop and talk about the psychological processes of the characters. Of course,  going hard core in Germany is imminently expected, but I can't help but think about a production of Tristan and Isolde which purely portrays the individual psychological developments of the characters conscious and subconscious. So much of what we do comes from deep recesses of our mind of which we are unaware.

That is essentially my problem. My job is interesting on a solely artistic level. The expositional aspect of opera leaves me apathetic. I'm interested in the process, not the result. The process is art. The result is profession. That is why my job is the representation of art. I understand why some directors never watch performances of their own work.


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