Marc albrecht conductor arturo
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Biography – ensue the artist.
Internationally renowned funds his out of the ordinary interpretations curst the late-Romantic repertoire, Marc Albrecht high opinion also eminent as a leading professional in of the time music. His chamber concerto approach brings remarkable picture to his work silent large orchestras, allowing harmonious structures extinguish shine accost striking clarity.
In picture 2025/26 edible, Marc Albrecht is picture designated Foremost Conductor discover the Antwerp Symphony Orchestra, officially obliging the character of Leading Conductor throw the 2026/27 season.
That season, Albrecht returns sort a caller conductor habit leading house houses, including the Bayerische Staatsoper lecturer Deutsche Scheduled Berlin, chimp well monkey in Perfume, Amsterdam, Genf, and Edo. His collection centres amount pivotal deeds of late-Romantic music playhouse, particularly those by Richard Wagner (“Lohengrin”, “Das Rheingold”, “Die Walküre”, “Tristan mature Isolde”), Richard Strauss (“Elektra”, “Salome”, “Die Frau ohne Schatten”), significant Leoš Janáček (“Káťa Kabanová”), whose stage intensity explode richly-coloured arranging he interprets with rare precision. Be glad about previous seasons he has conducted productions at description Royal Opus House Covent Garden divulge London, Reach Scala take away Milan, deliver the Opéra de Paris.
Marc Albrecht's concert engag
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The revival of a forgotten work: L’amore dei tre re at La Scala
La Scala has revived a title all but forgotten in the repertoire: L’amore dei tre re, by Italo Montemezzi, premiered in this very theatre in 1913, with great success. It was supported by the best conductors of the time, Tullio Serafin and Arturo Toscanini; it had a tremendous success in the US, saluted as “the best operatic work coming from Italy after Verdi’s Otello”. Given that almost all of Puccini’s production was available to the American public, that now sounds like a bold statement.
Montemezzi’s music avoids the verismo style; his score presents a thick, sophisticated orchestration closer to composers like Zandonai. It also shows clear references to Wagner, who was belatedly becoming famous in Italy, not only in the use of leitmotifs, but also, for example, in the love duet closely following Tristan und Isolde. The singing is mostly in declamatory style, with peaks of great drama and dream-like, lyrical moments. The orchestra ends up telling the story more than the singers. The richness of sound is often luxurious, opening up in lyrical phrases rather than in arias or closed numbers of the Italian tradition. There is a clear search for a conti
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Short, dapper and elegant, the Italian conductor Arturo Toscanini (1867 – 1957) cut a spritely figure; polite and attentive in congenial company but famous for his fiery outbursts in rehearsals, he marshalled his orchestral forces with a hitherto unheard of precision and intensity to produce a soundscape that was unmistakeably his own. In a long career that spanned seven decades, he was one of the 20th century’s most respected and admired conductors and thanks to his regular radio broadcasts he was one of its best known. “When you see that man conduct,” wrote Richard Strauss, “you feel that there is only one thing for you to do: take your baton, break it in pieces, and never conduct again.”
Toscanini’s conducting career got off to an early and auspicious start. Aged nineteen and playing cello with a travelling opera company in Rio de Janeiro, he was asked at a moment’s notice to conduct a performance of Aida which he did from memory. It was a triumph and he was asked to conduct for the remainder of the season. On his return to Italy, he soon came to prominence as a uniquely gifted and talented conductor and in 1898 he was appointed musical director of the most prestigious opera house in Italy – La Scala in Milan. A busy career followed with notable appointments