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Ensemble - Deutsche Oper Berlin

Jennifer Holloway

Jennifer Holloway

© Arielle Doneson
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Die amerikanische Sopranistin Jennifer Holloway begann die Saison 2021/22 als Sieglinde in konzertanten Aufführungen des ersten Aktes WALKÜRE mit dem Orchestre de Paris unter Jaap van Zweden. Danach wurde sie an der Staatsoper Hamburg für ihr Rollendebüt als Chrysothemis in der Neuproduktion von Strauss’ ELEKTRA erwartet. Ebenfalls an der Staatsoper Hamburg wird sie in der Saison ein weiteres Rollendebüt als Elisabeth in Wagners TANNHÄUSER geben. De Nederlandse Opera Amsterdam präsentiert die Sopranistin als Salome in einer Neuproduktion der Strauss-Oper. In Belgien wird sie die Titelpartie in César Francks selten gespielter Oper HULDA in konzertanten Aufführungen und für eine Aufnahme übernehmen.

Zu den Höhepunkten der letzten Spielzeiten zählen die Grete in einer Neuproduktion von Schrekers DER FERNE KLANG an der Oper Frankfurt, ihr Rollendebüt als LOHENGRIN-Elsa an der Oper Leipzig, der Komponist (ARIADNE AUF NAXOS) am Teatro Colon Buenos Aires, Cassandre in LES TROYENS und Salome an der Semperoper Dresden, ihr Debüt als Sieglinde in DIE WALKÜRE an der Staatsoper Hamburg sowie in konzertanten Aufführungen des ersten Aufzugs im Wiener Konzerthaus unter Joana Mallwitz und Salome in Bilbao und Atlanta. Seitdem entwickelt sich Jennifer Holloway verstärkt in Richtung lyrisch-dramatischer Sopran, wobei sie vorerst zentrale Mezzopartien wie Komponist (ARIANDE AUF NAXOS) oder Octavian (DER ROSENKAVALIER) beibehält.

Zu Beginn ihrer Karriere basierte ihr Repertoire auf den großen Mezzo-Rollen von Mozart und Händel wie Dorabella (COSI FAN TUTTE), Cherubino (LE NOZZE DI FIGARO), Idamante (IDOMENEO), Irene (TAMERLANO) an Häusern wie Teatro Real Madrid oder der Los Angeles Opera, dazu die Titelrolle in SERSE, aber auch Donna Elvira in DON GIOVANNI an der Canadian Opera Toronto. Sie gastierte beim Glyndebourne Festival in Neuproduktion von HÄNSEL UND GRETEL (Hänsel) und FALSTAFF (Meg Page), beim Maggio Musicale in Florenz, am Théâtre du Capitole Toulouse (Rameaus HIPPOLYTE ET ARICIE), am Théâtre du Châtelet in Paris, am Opera Theatre of St. Louis, beim Bard Music Festival als Anne de Boleyne in Saint-Saëns HENRY VIII und beim Chautauqua Music Festival New York, bei dem sie ihren ersten Octavian im ROSENKAVALIER sang. Große Erfolge konnte sie außerdem als Adalgisa in Bellinis NORMA in Bordeaux und London, als Giovanna (ANNA BOLENA) in Lissabon und als Octavian (ROSENKAVALIER) in Buenos Aires feiern.

Im Konzert war sie bislang u.a. in Zemlinskys „Lyrischer Symphonie“ mit dem Gürzenich Orchester Köln und in Mozarts „Messe c-moll“ unter Bertrand de Billy in Dresden zu hören.

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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.