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Ensemble - Deutsche Oper Berlin

Rachel Fenlon

Rachel Fenlon

© Agentur
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Die an der kanadischen Westküste aufgewachsene Sopranistin und Pianistin Rachel Fenlon aus Berlin widmet sich der Aufführung von Liederabenden, Kammermusik und Oper sowie der Neuen Musik. Ihre Liederabende, die sie selbst am Klavier begleitet, widmen sich einem Repertoire von George Crumb über Franz Schubert, Benjamin Britten bis hin zu Uraufführungen.

Sie besuchte Meisterklassen bei Malcolm Martineau und arbeitete im Lauf ihrer Karriere mit Künstlern wie Gryphon Trio, Ensemble Nylandia, Shane Kocyzan, Sue Goyette, Graham Forst, Walter Delahunt, Ugo D'Orazio, Esther Gonthier und Leslie Dala, mit Robert Aitken, Matthias McIntire, Roydon Tse, Glynis Leyshon, Christopher Gaze, Rachel Peake, Alan Corbishley, Friction Quartet, Borealis String Quartet, Adrian Brendel, Jonathan Darlington, Alberto Zedda, Timothy Vernon und Bramwell Tovey.

Rachel Fenlon begann ihre berufliche Laufbahn als junge Künstlerin an der Vancouver Opera und interpretierte dort anschließend zahlreiche Hauptpartien wie Pamina / DIE ZAUBERFLÖTE, Mabel / THE PIRATES OF PENZANCE, Zerlina / DON GIOVANNI und zuletzt Susanna / LE NOZZE DI FIGARO. Auch gastierte sie an der Pacific Opera Victoria als Nannetta / FALSTAFF und Queen Guinevere / CAMELOT, beim Ensemble Nylandia als Galatea / ACIS UND GALATEA, beim Vancouver Symphony Orchestra als Lisa / DAS LAND DES LÄCHELNS und beim The Bard on the Beach Festival als Mimi / LA BOHEME. Beim Rossini Opera Festival Pesaro trat sie unter Leitung von Alberto Zedda in Rossinis „Petite Messe Solennelle“ auf.

Als begeisterte Kammermusikerin und Rezitalistin trat sie unter anderem beim Toronto Summer Music Festival, dem Oxford Lieder Festival, Bristol Song Recitals, Ricasoli Recitals Milano, den CBC Studios, Klassik @ Stone Berlin und dem Vancouver International Song Institute auf. Darüber hinaus war Rachel Fenlon drei Spielzeiten „Artist in resident“ bei der Lüneburger Akademie und war dort als Interpretin von Uraufführungen, aber auch als Komponistin selbst zu Gast. Sie ist Gründungsmitglied des Kollektivs New Art/New Media – ein interdisziplinäres Kollektiv für kanadische Künstler – und wurde im August 2019 von FAZIOLI und Showcase Pianos für Videoprojekte ihrer selbstbegleiteten Fenlon & Fenlon gesponsert.

In dieser Spielzeit 2019/20 gab Rachel Fenlon ihr Debüt an der Deutschen Oper Berlin als Solistin im Rahmen von Chaya Czernowins HEART CHAMBER in der Inszenierung von Claus Guth. Des Weiteren gastiert sie in der National SAW Gallery, in Bosawen & Maine, beim Ahrenshoop Festival mit ihrem Soloprogramm von Crumbs „Apparition“ und gibt zudem Liederabende (gemeinsam mit Pianistin Leslie Dala) mit Messiaens „Poemes pour Mi“ und Samy Moussas „Ahania's Lament“ am Canadian Music Centre. Recitals mit Lieder von Ullmann und Berg (am Flügel Ben Crutchley) führt sie zu Orania Classic Berlin.

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22
DEC

Advents-Verlosung: Das 22. Fensterchen

On 7 March 2025, the first part of Tobias Kratzer's Strauss trilogy, ARABELLA, celebrates its revival as part of our ‘Richard Strauss in March’ weeks, with Jennifer Davis as Arabella , Heidi Stober as Zdenka/Zdenko, Thomas Johannes Mayer as Mandryka, Daniel O'Hearn as Matteo and, as in the premiere series, Doris Soffel and Albert Pesendorfer as the Waldner couple. Today we are giving away our DVD, which will not be available in shops until 14 February 2025. We would like to express our heartfelt thanks to NAXOS for giving us the very special opportunity to put ARABELLA in our lottery pot for you almost eight weeks before the official sales launch.

In today's Advent Calendar window, we are giving away two DVDs of ARABELLA – a lyrical comedy in three acts by Richard Strauss and Hugo von Hofmannsthal. If you would like to win one of the two DVDs, please write an e-mail with the subject ‘The 22nd window’ to advent@deutscheoperberlin.de.

Vienna, circa 1860. The financially strapped Count Waldner is lodging with his family in a Viennese hotel. His only path to solvency is for him to secure an advantageous marriage for one of his two daughters – and the family can only afford to present Arabella, the eldest, in the upper circles of society. To conceal the family’s indigence, the parents have raised Zdenka as a boy, dressing her accordingly. Arabella is not short of suitors but has resolved to wait for ‘Mr Right’. When Mandryka, an aristocrat from a distant region, arrives, he and Arabella are instantly smitten. Arabella only asks to be able to bid farewell to her friends and suitors at the Fasching ball that evening. At the ball, Arabella says goodbye to her admirers. There is also the young officer Matteo, with whom Zdenka is secretly in love and with whom she has formed a friendship under the guise of her disguise as a boy. Matteo, however, desires Arabella and is distraught when he realises the hopelessness of his love. Zdenka devises a plan: she fakes a letter from Arabella in which she promises Matteo a night of love together. But instead she wants to wait for him herself in the darkness of the hotel room. Mandryka learns of Arabella's alleged infidelity and goes to the hotel with the ball guests to surprise Arabella in flagrante delicto. Arabella, innocent of this, is initially shocked and saddened by Mandryka’s suspicions but forgives him when the mix-up is revealed for what it is. The two agree to marry, as do Zdenka and Matteo.

Richard Strauss’s orchestral richness and opulence coupled with the period Viennese setting of the work led to ARABELLA being falsely pigeonholed as a light-hearted comedy of errors from its 1933 premiere onwards. In the estimation of Tobias Kratzer, however, who triumphed at the Deutsche Oper with his production of Alexander von Zemlinsky’s THE DWARF, this final collaboration between Strauss and Hugo von Hofmannsthal marks a collision of two world views: the traditional roles of men and women on the one hand – as expressed in Arabella’s famous solo “Und du sollst mein Gebieter sein” – and a modern idea of social interaction on the other – as illustrated by Zdenka with her questioning of gender-based identities. Here, Kratzer turns the spotlight on this disunity between the various character portrayals in ARABELLA and explores these role-specific tensions on a continuum stretching from 19th-century Vienna to the present day. In the category of stage design, Manuel Braun, Jonas Dahl and Rainer Sellmaier were honoured with the renowned German Theatre Award DER FAUST 2023 for this production.

In this recording, under the baton of Sir Donald Runnicles, you will experience Albert Pesendorfer, Doris Soffel, Sara Jakubiak, Elena Tsallagova, Russell Braun, Robert Watson, Thomas Blondelle, Kyle Miller, Tyler Zimmerman, Hye-Young Moon, Lexi Hutton, Jörg Schörner and others, as well as the chorus and orchestra of the Deutsche Oper Berlin. The performances on 18 and 23 March 2023 were recorded by rbb Kultur and Naxos for this DVD.

We would like to thank the Naxos label for the great collaboration over the past few years, which documents recordings of DER ZWERG, DAS WUNDER DER HELIANE, FRANCESCA DA RIMINI, DER RING DES NIBELUNGEN, DER SCHATZGRÄBER, DIE MEISTERSINGER VON NÜRNBERG and ANTIKRIST. Richard Strauss' ARABELLA and INTERMEZZO will be released in the course of 2025.


Closing date: 22 December 2024. The winners will be informed by email on 23 December 2024. The DVDs will then be sent by post. There is no right of appeal.