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January 2017
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Charlotte Hellekant

Charlotte Hellekant’s vocal expressiveness and strong stage presence are just two of her qualities which have helped build a career which is equally successful on both the opera stage and concert platform, performing repertoire ranging from the baroque to contemporary classics.

Hellekant has made her mark on both sides of the Atlantic, notably at The Metropolitan Opera, Opéra national de Paris and Glyndebourne Festival. Recent lyric roles include Charlotte (Werther) with Deutsche Oper Berlin and Carmen with Royal Swedish Opera, whilst outstanding Handel interpretations include Ino (Semele) at the Théâtre des Champs Elysées and Cornelia (Giulio Cesare) under Marc Minkowski for Opernhaus Zürich. She also sang Marguérite in La Fura dels Baus’ spectacular production of La damnation de Faust at Salzburger Festspiele under Sylvain Cambreling, sung the role of Judith in Duke Bluebeard’s Castle in concert at the Bergen Festival under Edward Gardner and performed in Sasha Waltz & Guests’ beautifully choreographed staging of L’Orfeo under the baton of Pablo Heras-Casado. Last season Charlotte Hellekant curated, produced and performed in Hedvig Leonora, a staged celebration of the life of the 17th century Swedish Regent at Drottningholms Slottsteater.

Hellekant has inspired some of the world’s leading composers to write especially for her, including Toshio Hosokawa who created the role of Murasame for her in his acclaimed Matsukaze. Subsequently, Hosokawa wrote his monodrama The Raven for her, which she premiered in Brussels, Luxembourg, Amsterdam, Paris and Japan with Ensemble Lucilin. Hellekant also received particular acclaim for her tour de force performance as Sweden’s schizophrenic King Erik XIV - a role also created for her - in Mikko Heiniö’s eponymous opera.

In concert Hellekant is a regular guest with many notable conductors and orchestras, including Christoph von Dohnányi at the BBC Proms, Christoph Eschenbach and NDR Sinfonieorchester, Esa-Pekka Salonen and the Philharmonia Orchestra, Mariss Jansons and the Oslo Philharmonic Orchestra, Jukka-Pekka Saraste and the Finnish Radio Symphony Orchestra and Los Angeles Philharmonic under Gustavo Dudamel. Last season saw performances of Mahler’s Symphony No.8 with the Utah Symphony (Thierry Fischer), Duke Bluebeard’s Castle with Malmö Symphony Orchestra (Vladimir Sinaisky), Mahler’s Symphony No.3 with the New Zealand Symphony (Edo de Waart), Berio’s Folksongs and Canteloube’s Chants d’Auvergne with the Norrköping Symphony (Martin Fröst) and Janáček’s Glagolitic Mass with the Orquesta y Coro Nacionales de España (Xian Zhang). 

Opera performances in the 2016/17 season include her debut as Clairon (Capriccio) in a new production by David Marton for La Monnaie conducted by Lothar Koenigs and Sasha Waltz & Guests’ staging of Matsukaze at both La Monnaie and at Teatr Wielki. Concert highlights include Lili Boulanger’s rarely performed cantata Faust et Hélène with the Oslo Philharmonic Orchestra under James Gaffigan and Missa Solemnis with the Orchestre Philharmonique de Monte Carlo under Gianluigi Gelmetti.