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Ensemble - Deutsche Oper Berlin

Stefano Ranzani

Stefano Ranzani

Als einer der prominentesten Dirigenten seiner Generation gastiert Stefano Ranzani regelmäßig an den wichtigsten Opern- und Konzerthäusern wie dem Teatro alla Scala in Mailand, an der Wiener Staatsoper, der Washingtoner Oper, am Gran Teatre del Liceu in Barcelona, am Teatro Real Madrid, am Teatro del Maggio Musicale Fiorentino, am Teatro Colón in Buenos Aires, beim Glyndebourne Festival, an der Opéra Comique in Paris, an der Deutschen Oper Berlin, am Opernhaus in Zürich, an der Bayerischen Staatsoper München, am Teatro Municipal in Santiago de Chile, an der Dallas Opera und der Hamburgischen Staatsoper.

Des Weiteren widmet er sich dem sinfonischen Repertoire und feierte 1987 ein erfolgreiches Debüt mit dem Orchester der Mailänder Scala, woraufhin er regelmäßig von ihnen eingeladen wird. Stefano Ranzani dirigierte viele namhafte Orchester. Gastdirigent war er u. a beim Maggio Musicale Fiorentino, beim I Pomeriggi Musicali in Mailand, am Mozarteum in Salzburg, beim I Pomeriggi Musicali in Mailand, am Mozarteum in Salzburg, beim Orchester des Teatro Regio und dem RAI Orchestra in Turin. Er dirigierte die English Northern Philharmonia, das Orchestra Regionale della Toscana, das Haydn-Orchester Bozen, das Orchester des Bayerischen Rundfunks, die Berliner Philharmoniker, die Hamburger Symphoniker, das Tokyo Philharmonic Orchestra und das Stradivari Orchestra.

Von 2007 bis 2008 war Stefano Ranzani Musikdirektor des Teatro Massimo Bellini in Catania.

Zu seinen jüngsten Verpflichtungen zählen Dirigate wichtiger Inszenierungen wie IL TRITTICO an der Metropolitan Opera, LUCIA DI LAMMERMOOR am Teatro del Maggio Musicale Fiorentino, am Teatro Regio di Parma und an der Deutschen Oper Berlin, I DUE FOSCARI und ADRIANA LECOUVREUR am Teatro alla Scala, CAVALLERIA RUSTICANA, DER BAJAZZO, EIN MASKENBALL, SIMON BOCCANEGRA und STIFFELIO am Opernhaus Zürich. ORLEANSKAYA DEVA dirigierte er an der Washington National Opera. Weiters führen ihn seine Engagements mit I VESPRI SICILIANI nach Modena und Piacenza, LA BOHEME an die Metropolitan Opera New York und die Opéra national de Paris, MADAMA BUTTERFLY an die Bayerische Staatsoper in München, TOSCA an die Staatsoper Berlin, SIMON BOCCANEGRA und LUCIA DI LAMMERMOOR ans Teatro alla Scala. Sinfonische Konzerte gibt er mit dem Orchester des Teatro Filarmonico in Verona, dem Orchester I Pomeriggi Musicali in Mailand und dem Haydn-Orchester Bozen.

In seiner Heimatstadt Mailand schloss Stefano Ranzani sein Violinstudium 1979 ab. Anschließend studierte er Klavier, Komposition und Dirigieren bei Leonard Bernstein. 1980 wurde er einer der ersten Violinisten des Orchesters des Teatro alla Scala und der Filarmonica della Scala. 1983 begann seine Karriere als Dirigent mit einer Assistenz bei Gianandrea Gavazzeni.

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05
DEC

Adventskalender in der Tischlerei: Das 5. Fensterchen

Today in the Tischlerei: ‘Rossini, Liszt and more’
with Kangyoon Shine Lee (tenor) and Songyeon Catarina Kim (piano)
5pm / Tischlerei
Duration: approx. 25 minutes / free admission


The evening begins with musical declarations of love: love is illuminated in all its facets – from the idealised, the yearning to the devoted and the melancholy – in three songs by Franz Liszt and an aria from Rossini's IL BARBIERE DI SIVIGLIA. Franz Liszt's ‘Enfant, si j'etais roi’ (‘Child, if I were king’) and ‘Oh! Quand je dors’ (‘Oh! When I sleep’) are settings of poems by Victor Hugo. In the first, the beloved is given everything imaginable – but it can never be enough. The second poem describes a nocturnal vision of the beloved, who appears like an angel, kisses the sleeping person and fills them with heavenly love. Liszt's ‘Liebestraum Nr. 3’ (‘Oh dear, as long as you can love’) is one of a series of three songs that Liszt later arranged in a purely instrumental form and which became emblematic of romantic piano music. The original text was written by Ferdinand Freiligrath and deals with the transience of love and the resulting need to cherish and cultivate it in the here and now. You will hear the Korean pianist Songyeon Catarina Kim at the piano. She then lovingly accompanies our ensemble member Kangyoon Shine Lee in an aria that he will sing again on our main stage from 31 March 2025, when he takes on the role of Count Almaviva in Katharina Thalbach's production of Rossini's IL BARBIERE DI SIVIGLIA: the cavatina ‘Ecco, ridente in cielo’. In it, Almaviva sings about the beauty of the morning and his ardent love for Rosina – it is a lyrical and romantic beginning to an otherwise predominantly comedic opera. It is followed by the song ‘La danza’ from Rossini's collection of songs ‘Les soirées musicales’, published about 20 years later, which describes the joyful hustle and bustle of a Neapolitan festival. The musical basis for this song is the tarantella, a fast, rhythmic folk dance from southern Italy. The programme will conclude with a contemplative Christmas favourite, ‘O Holy Night’.

Lyric tenor Kangyoon Shine Lee was born in Seoul. He first graduated from the Korea National University of Arts before studying with Kammersänger Prof. Roman Trekel at the Hanns Eisler School of Music Berlin from 2022. In 2021, Kangyoon Shine Lee won the Belvedere Competition and received an engagement at the Deutsche Oper Berlin. He made his house debut on 27 December 2022 as Almaviva in Rossini's IL BARBIERE DI SIVIGLIA and also sang in DAS WUNDER DER HELIANE. In the 2024/25 season, he will be part of the ensemble here at the theatre and can be heard in roles such as Tamino in Mozart's MAGIC FLUTE and the children's version THE FAIRY TALE OF THE MAGIC FLUTE, as Count von Lerma / DON CARLO, Cavalier Belfiore / IL VIAGGIO A REIMS, Malcolm / MACBETH, Walther von der Vogelweide / TANNHÄUSER and Pang / TURANDOT.

The South Korean pianist Songyeon Catarina Kim studied piano at Kyunghee University in Seoul. She has won numerous Korean and international competitions. Since 2021, she has been studying Lied interpretation with Prof. Wolfram Rieger at the Hanns Eisler School of Music Berlin. She is currently studying chamber music with Prof. Wolfram Rieger as part of her concert exam. During her studies, she was a répétiteur in lessons with KS Prof. Roman Trekel, Prof. Anna Korondi, KS Prof. Ewa Wolak, Prof. Martin Bruns and Prof. Christine Schäfer, as well as a répétiteur in masterclasses with KS Brigitte Fassbaender and KS Prof. Thomas Quasthoff. She has also worked as a répétiteur for scenic instruction at the Immling Festival, the Darmstadt Theatre and the Erfurt Theatre. In the 2024/25 season, she will work as a répétiteur at IMMMERMEEEHR at the Deutsche Oper Berlin.