Wydawnictwo: Neos
Nr katalogowy: NEOS 12028
Nośnik: 1 CD
Data wydania: styczeń 2021
EAN: 4260063120282
Nr katalogowy: NEOS 12028
Nośnik: 1 CD
Data wydania: styczeń 2021
EAN: 4260063120282
Hefti: Die Schneekönigin
Neos - NEOS 12028
Kompozytor
David Philip Hefti (ur. 1975)
David Philip Hefti (ur. 1975)
Wykonawcy
The Snow Queen, Old Woman, Young Man, Robber Woman - Mojca Erdmann, soprano
Narrator, Gerda - Delia Mayer, speaker
Kay, a Crow - Max Simonischek, speaker
Tonhalle-Orchester Zürich / David Philip Hefti
The Snow Queen, Old Woman, Young Man, Robber Woman - Mojca Erdmann, soprano
Narrator, Gerda - Delia Mayer, speaker
Kay, a Crow - Max Simonischek, speaker
Tonhalle-Orchester Zürich / David Philip Hefti
Nagrody i rekomendacje
Utwory na płycie:
Die Schneekönigin (The Snow Queen)
A musical story for soprano, two speakers and orchestra (2018)
Libretto by Andreas Schäfer
based on motives from the eponymous fairy tale by Hans Christian Andersen
A musical story for soprano, two speakers and orchestra (2018)
Libretto by Andreas Schäfer
based on motives from the eponymous fairy tale by Hans Christian Andersen
David Philip Hefti composed his second music theatre work, Die Schneekönigin (The Snow Queen), in 2018, commissioned by the Tonhalle Society Zurich for its 150th anniversary. The libretto was written by Andreas Schäfer based on motives drawn from Hans Christian Andersen. A work with a large cast, the musical story for soprano, two speakers and orchestra lasts around 75 minutes and is aimed at children (eight years and older), young people and adults alike. The semi-staged premiere took place on 11 November 2018 at the Tonhalle Maag in Zurich, with the Tonhalle-Orchester Zürich and the soloists Mojca Erdmann (The Snow Queen / the Old Woman / the Young Man / the Robber Woman), Delia Mayer (Narrator / Gerda) and Max Simonischek (Kay / a Crow) under the baton of the composer. Eva Buchmann provided the scenic design, Ruth Schölzel the stage set.
The timbres he lets wander through the orchestra oscillate between artificiality and natural harmony, expressiveness and intimacy, chamber music and opulence, silence and noise. In so doing, Hefti constantly explores anew the limits of playing techniques and expressive possibilities. Whether it is the cold chords of the Snow Queen, the warmth of the bass clarinet, or the so-called Sternschnuppen (“shooting stars”) of the strings, flying through the room as overtone glissandi – Hefti’s music theatre piece, like the Snow Queen herself, wishes to captivate the audience.
The timbres he lets wander through the orchestra oscillate between artificiality and natural harmony, expressiveness and intimacy, chamber music and opulence, silence and noise. In so doing, Hefti constantly explores anew the limits of playing techniques and expressive possibilities. Whether it is the cold chords of the Snow Queen, the warmth of the bass clarinet, or the so-called Sternschnuppen (“shooting stars”) of the strings, flying through the room as overtone glissandi – Hefti’s music theatre piece, like the Snow Queen herself, wishes to captivate the audience.
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