might be that? So was your first reaction to the good news: conductor of the year, this title was reserved only for celebrities, older colleagues! Now it’s a little different.
It is a conductor, which landed at the top, and she is 33 years young. Prominent Joana Mallwitz is, however, already, at least since they came out at the beginning of last season as General music Director of the Staatstheater Nürnberg.
Two nationally-acclaimed premieres has brought out the native Hilde heimerin there, Prokofiev’s “war and peace” and Wagner’s “Lohengrin”, two quite a chunk of so. This is also why she was voted in the critics poll of the magazine “Opera world” to the front. Nuremberg sounds different, since Joana Mallwitz is there, in the ditch or on the Podium of the Symphony concerts. So different, as you have replaced the orchestra. The musicians are putty in your hands (the listener, also) – and this is not because Joana Mallwitz with kindness and effect toward the full recognition and attention. Bribing is different: their authenticity, their craft, their analytical capacities and the required, immense preparatory work. “I’m going to make it to me, ever,” she sighs when asked in an interview.
Boss the boss one will, you don’t need to. “I’m glad, because in Nuremberg the situation is right. Much more important is that it fits and you get the feeling that this place really make a difference.“ And this has to do, as happened recently, even with the extra-musical to. The state theater, in the glory of the Empire, meaning it sounds full and rich. The latter is not true just. Joana Mallwitz would say never, but The title seems to be a small misnomer – because he is not honored by the appropriate financial and human resources.
In the next season, there’s Verdi and Britten
you say: “All of this house, to sacrifice themselves totally, this is impressive and wonderful. On time but the quality does not hold.“ There are a few singers and musicians. But at least a couple of weeks Ago she was with Director Jens-Daniel Herzog in the Munich Art Department. And the talks were apparently not without consequences. There are “fortunately, positive signals from politics” – both from the free state as well as from the city of Nuremberg.
Such questions, Joana Mallwitz to drift a long time ago. The financial constraints of an Opera house had to meet and endure, as she started as an Accompanist in Heidelberg. From morning until late in the evening, she was in the house, was thrown in ideas literally into: “You prepared everything, learned everything, conducted all – an enormous Stress. Only now I realize on how much I can draw. At the time I was finished, I could not hold out for long.“
went further, Joana Mallwitz even take a step, and General music Director in Erfurt was. Actually, you wanted to treat yourself after a time as a freelance conductor, but Nuremberg called. And in the meantime, many other call. At the Frankfurt Opera, she is regularly present (from March with a new “Salome”, directed by Barrie Kosky), as well as in Munich. Here she has conducted Tchaikovsky’s “Eugene Onegin” and in the past Donizetti’s play “love potion”.
About five years of the Treaty of Joana Mallwitz in Nuremberg, Germany. Now run bets, which is more wins then the race to the conductor. In the coming season, conducted in Nuremberg, once the premieres of Verdi’s “Don Carlos” and Britten’s “Peter Grimes”. Back to heavy weights so, for the next season of the next Wagner is configured. “Tristan and Isolde” that will be never.
maintains this Drama Mallwitz, in fact, a special relationship: It was a year and a half, in which she sat day and night at the piano excerpt, couldn’t stop playing. Constantly made a pilgrimage to rehearsals and performances at other houses. A way to deal with the “Tristan” in a private performance, to address the needs you find. “It is a toxic piece. As if you learn an extremely charming, but destructive Person.“
the results of The “Opera world”-survey at a Glance
“Opera house of the year” Opéra national du Rhin , such as the survey of the magazine “Opera world” under 50 music critics in Europe and the USA this year. Appreciated the house, with venues in Strasbourg, Colmar and Mulhouse, which sees itself as the “Opéra d’europe” and by the joy of discovery, original programs, exemplary Repertoire, and creative Esprit has caused a stir, according to the judgment.
The “performance of the year” the “Salome” was selected for the Salzburg festival . For the staging of the Richard Strauss Opera Romeo Castellucci , was also elected to the “Director of the year” and “stage designer of the year” caused. On Asmik Grigorian a record number of votes accounted for, thanks to her spectacular embodiment of the title role: The Lithuanian soprano is with 24 Votes “singer of the year” .
The “orchestra of the year” has been – for the eighth Time – the Bavarian state orchestra is selected. The freestyle does not acknowledge the last the consistently outstanding cooperation with General music Director Kirill Petrenko, told the “world of Opera”.
For the “re-discovery of the year” the theatre of Osnabrück : With “Guercoeur” (1901), a Grand Opera and mystery play, oscillating piece of the French composer Alberic Magnard provided.
The “performance of the year” found on Teatro alla Scala Milan: “Fin de Partie” from György Kurtág .
“costume designer of the year” Ursula Kudrna , do not play only with fairy tale and circus dresses for Mozart’s “the magic flute” at the Salzburg festival, but also by Pieter Bruegel-inspired Furrer’s “Violet snow, in a Beat” at the Berlin state Opera was convincing.
“choir of the year” is allowed to call himself for the twelfth Time, the choir of the Staatsoper Stuttgart . the “young artist of the year” is the Norwegian soprano, Lise Davidsen .
The “CD of the year” has recorded the French soprano Jodie Devos with the Munich radio orchestra under Laurent Campellone: “Offenbach Colorature” (Alpha).
Than “Annoyance of the year” met with the respondents and critics, especially the power struggle for the future of the Opera hall .
