DER ROSENKAVALIER Richard Strauss
IN MEMORY OF LEYLA GENCER
2017.03.30 LÜTFİ KIRDAR ICEC - 20.00
Semi-Staged
Version
Opera
in three acts with Turkish surtitles
Turkish
Premier
Borusan
Istanbul Philharmonic Orchestra (BIPO)
Sascha
Goetzel conductor
Yekta
Kara stage director
The
Marschallin, Princess Marie Thérèse von Werdenberg ANNE
SCHWANEWILMS soprano
Baron
Ochs auf Lerchenau ALFRED
MUFF bass
Octavian DOROTTYA
LANG mezzo-soprano
Herr
von Faninal MARTIN
GANTNER baritone
Sophie CHEN
REISS soprano
Valzacchi ALEXANDER
KRAVETS tenor
MEMBERS OF ACADEMY BIPO
Marianne
BURCU HANCI soprano
Annina
ELİF TUĞBA TEKIŞIK mezzo-soprano
Police
Inspector, Footman, Baron’s Servant OZAN BEKTAŞ KUTLAR baritone
Marschallin’s
Major-Domo, Faninal’s Major-Domo, Innkeeper MUZAFFER DİNGİL tenor
Notary,
Messenger, Waiter ERDİ CAN AYBAŞ baritone
Singer
GÜRKAN GİDER tenor
Hatmaker
HÜLYA ŞAHİN soprano
1st
Orphan CEREN AYDIN AKKOÇ soprano
2nd
Orphan NİHAN BİÇER soprano
3rd
Orphan, Footman PINAR DUYGU ÇINAR mezzo-soprano
Vendor
of Pets, Footman, Messenger, Waiter BERK DALKILIÇ tenor
Footman,
Messenger, Baron’s Servant, Waiter EMRE GÜNGÖR bass
CHOIR MEMBERS
Sopranos:
Hazal Aracı, Ezgi Naz Eren, Su Bige Korucu,İlayda Önal, Arun Su Özbülbül, Buse
Özgel
Tenors:
Anıl Önder, Alp Utku
Baritones:
Emre Beyhatun, Emre Gülnar, Ziya Azbazdar, Mazlum Aras Doğan
BORUSAN
CHILDREN’S CHOIR
Gülsen
Yavuzkal, chorus master
Zeynep
Akın, Can Beraha, Metin Çirik, Eylül Kahraman, Jasmin Öztürk, Serdar Berk
Yılmaz, Yasemin
Sönmez (silent)
Prompter
Michale
Mader
Correpetitors
Barış
Büyükyıldırım, Werner
Lemberg, Jendrik
Springer, Fügen
Yiğitgil
Diction
Benno
Schollum
Production
Manager
Kerem
Tüzün
Video
Editing
Selçuk
Metin
Lighting
Kemal
Yiğitcan
Conduits
Ayşe
Somer
Bahadır
Özkoca
Surtitles
Banu
Kurç (Faprika)
Esra
Tütüncüoğlu
Photos © BORUSAN SANAT / ÖZGE BALKAN, Istanbul
BACHTRACK
2017.02.10
Meaning behind every note: A Turkish première for Der Rosenkavalier by Mark Pullinger
Turkey is not the first country one associates with opera, yet ask any aficianado to name a Turkish opera singer one name will spring to their lips. Leyla Gencer (née Çeyrekgi) was born in Polonezköy (near Istanbul) to a Turkish father and a Polish mother in 1928. She found fame, mostly in Italy, as a bel canto soprano, especially well known for her Donizetti, contributing to the renaissance of the composer’s operas during the 20th century. She made her La Scala debut in the world première of Poulenc's Dialogues of the Carmelites (as Madame Lidoine) and performed 19 roles there between 1957-1983. She made few commercial recordings, but there is a tremendous RAI studio performance of Il trovatore (despite some poor lip-synching) from 1957 which catches her in her considerable prime.
Later in her life, Gencer dedicated herself to teaching and was artistic director of the academy at Opera Studio at La Scala. When she died in 2008, Gencer’s ashes were brought from Milan, in accordance with her wishes, and scattered into the Bosphorous.
There’s now a singing competition in her honour in Turkey and every season the Borusan Istanbul Philharmonic Orchestra puts on an operatic performance in her honour. This year, Sascha Goetzel, the orchestra’s music director since 2009, has chosen to put on Strauss’ Der Rosenkavalier, an opera never before performed in Turkey. The Marschallin isn’t a role associated with Gencer, so I wondered why it had been chosen.
“As far as I know, Leyla Gencer never sang Rosenkavalier,” explains Goetzel. “Our annual Leyla Gencer production is meant to bring opera on stage in Istanbul in her spirit. She was not only an outstanding soprano, but also an exceptional personality and teacher, leading the Opera Studio at La Scala for many years. By supporting young Turkish singers in our opera productions with the Borusan Istanbul Philharmonic we are continuing what she set out to achieve.”
Goetzel was a long-time violinist in the Vienna Philharmonic before turning to conducting, so knows Rosenkavalier very well. “It’s easy to talk for hours and probably days - if not weeks! - about Rosenkavalier and what makes this piece so unique. What strikes me particularly in almost every phrase is the interaction between the poetry of words and the poetry of music. Hugo von Hofmannsthal and Richard Strauss created an incomparable culmination of harmony between the two in the tradition of Richard Wagner, but in addition Richard Strauss ingeniously combines a connection between Wagnerian orchestral instrumentation and pre-Wagnerian baroque opera with Mozartian structure and development.
After Salome and Elektra, I
think it’s fair to say that with Rosenkavalier he revolutionised
German opera – and indeed opera in general.”
Goetzel’s Marschallin in Istanbul is Angela Denoke, who also takes on the role when he conducts the opera in Vienna later this season. Goetzel is full of admiration for the German soprano. “She is an outstanding artist and I have always admired her approach towards and sincerity within each role she has sung, especially in the German repertoire. It means a lot to me personally that she agreed to do it and of course for both of us it will be wonderful to see each other again in May at the Vienna State Opera for their beautiful Rosenkavalier production.
"With casts every conductor and director has naturally certain preferences. I always try to have a good character cast, by which I mean that I want to feel the voices and personalities of the singers fitting really comfortably in their roles. I think you can feel immediately if a singer feels comfortable in a role and simply loves to perform it, or if he/she struggles to find a connection with the character. I try to support the singers by inviting them for roles with which they really want to grow, to get deeper and deeper inside the character and make it really special. If everybody on stage has forgotten during the evening of the performance who they really are because they represent their character on stage 100%, then I’m happy – and so are the singers and indeed the audience.” Alongside Denoke are fine young singers Dorottya Láng (Octavian) and Chen Reiss (Sophie). Veteran Swiss bass-baritone Alfred Muff is the irascible Baron Ochs.
The Borusan’s opera this year, as Goetzel explains, is more than a concert performance, directed by Yekta Kara. “We will have an orchestra pit specially created for the first time in Lütfi Kirdar Concert Hall and a stage where the play will be fully staged with minimum stage and light choreography, but with costumes and multimedia support. We’d like the audience to dive deep into the singers’ emotions. Various cameras will show live close up pictures at the back of the stage. It’s a very exciting format which will bring the audience very close to the singers and the musicians.”
BIFO is a young orchestra. Since its establishment in 1999, from an enlarged Borusan Chamber Orchestra, it has become associated with exotic scores like Scheherazade and Respighi’s colourful Belkis, Queen of Sheba, two scores it shortly takes to the Hong Kong Festival. Yet the orchestra relishes the chance to play opera. “They love to support the drama and passion and also learn to phrase and breathe naturally with the singers,” enthuses Goetzel. “Opera orchestras have the “biggest ears” in the classical music world because they constantly have to listen with at least one ear tuned to the singers they accompany.
“In Richard Strauss’ operas, the demands on the orchestral forces are enormous and the scores are technically highly challenging for the individual players as well as for the ensemble. For a symphony orchestra to master a work like Rosenkavalier is a major challenge because the musicians need to combine all elements, their symphonic sound without the voices, the pure accompaganto and then the culmination of poetry of words and poetry of music. We have to tell a story with the orchestra just as the singers do, and our words are the notes, everything has to be narrative or atmospheric, there is a meaning behind every note.”
Der Rosenkavalier is performed in the Lütfi Kırdar International Convention and Exhibition Centre, Istanbul on 30th March 2017.
Article sponsored by the Borusan Istanbul Philharmonic Orchestra.
Goetzel’s Marschallin in Istanbul is Angela Denoke, who also takes on the role when he conducts the opera in Vienna later this season. Goetzel is full of admiration for the German soprano. “She is an outstanding artist and I have always admired her approach towards and sincerity within each role she has sung, especially in the German repertoire. It means a lot to me personally that she agreed to do it and of course for both of us it will be wonderful to see each other again in May at the Vienna State Opera for their beautiful Rosenkavalier production.
"With casts every conductor and director has naturally certain preferences. I always try to have a good character cast, by which I mean that I want to feel the voices and personalities of the singers fitting really comfortably in their roles. I think you can feel immediately if a singer feels comfortable in a role and simply loves to perform it, or if he/she struggles to find a connection with the character. I try to support the singers by inviting them for roles with which they really want to grow, to get deeper and deeper inside the character and make it really special. If everybody on stage has forgotten during the evening of the performance who they really are because they represent their character on stage 100%, then I’m happy – and so are the singers and indeed the audience.” Alongside Denoke are fine young singers Dorottya Láng (Octavian) and Chen Reiss (Sophie). Veteran Swiss bass-baritone Alfred Muff is the irascible Baron Ochs.
The Borusan’s opera this year, as Goetzel explains, is more than a concert performance, directed by Yekta Kara. “We will have an orchestra pit specially created for the first time in Lütfi Kirdar Concert Hall and a stage where the play will be fully staged with minimum stage and light choreography, but with costumes and multimedia support. We’d like the audience to dive deep into the singers’ emotions. Various cameras will show live close up pictures at the back of the stage. It’s a very exciting format which will bring the audience very close to the singers and the musicians.”
BIFO is a young orchestra. Since its establishment in 1999, from an enlarged Borusan Chamber Orchestra, it has become associated with exotic scores like Scheherazade and Respighi’s colourful Belkis, Queen of Sheba, two scores it shortly takes to the Hong Kong Festival. Yet the orchestra relishes the chance to play opera. “They love to support the drama and passion and also learn to phrase and breathe naturally with the singers,” enthuses Goetzel. “Opera orchestras have the “biggest ears” in the classical music world because they constantly have to listen with at least one ear tuned to the singers they accompany.
“In Richard Strauss’ operas, the demands on the orchestral forces are enormous and the scores are technically highly challenging for the individual players as well as for the ensemble. For a symphony orchestra to master a work like Rosenkavalier is a major challenge because the musicians need to combine all elements, their symphonic sound without the voices, the pure accompaganto and then the culmination of poetry of words and poetry of music. We have to tell a story with the orchestra just as the singers do, and our words are the notes, everything has to be narrative or atmospheric, there is a meaning behind every note.”
Der Rosenkavalier is performed in the Lütfi Kırdar International Convention and Exhibition Centre, Istanbul on 30th March 2017.
Article sponsored by the Borusan Istanbul Philharmonic Orchestra.
ŞALOM MAGAZINE
2017 May
Anısına
GÜLLÜ ŞÖVALYE
Seni doğru şekilde sevmek için
kendime söz verdim!
Senin başka birine olan
aşkını bile seviyorum!
kendime söz verdim!
Senin başka birine olan
aşkını bile seviyorum!
DER ROSENKAVLIER
Hab' mir'sgelobt, Ihnliebzuhaben
in der richtigen Weis'.
Dassichselbst Sein Lieb'
zueinerandernnochliebhab!
(Final Trio'su – Marşalin)
Dassichselbst Sein Lieb'
zueinerandernnochliebhab!
(Final Trio'su – Marşalin)
Opera eleştirmeni Michel Parouty'nin deyişiyle "kusursuzluğun bir simgesi, çağımızın son divası" Leyla Gencer (1928-2008), kırk yılı aşan aktif müzik yaşamı boyunca, sesinin benzersiz tınısı, dramatik yetenekleri ve mükemmel performanslarıyla opera tarihine adını "La Diva Turca" olarak yazdırmış, titiz bir araştırmacılıkla günışığına çıkardığı yapıtlarla, eğitmenliği ve yenilikçiliğiyle opera dünyasının en önemli figürlerinden biri olmuştur.
Borusan Holding'in kültür ve sanat alanındaki girişimlerinin ilki olarak 1999'da Gürer Aykal yönetiminde oluşturulan Borusan İstanbul Filarmoni Orkestrası (BIFO), İKSV'nin düzenlediği Uluslararası Leyla Gencer Şan Yarışması'nın da orkestrası.
Kuruluşundan beri Leyla Gencer'e farklı bir bağlılık gösteren BIFO, ünlü sopranomuzun anısına konserler düzenleyerek başladığı saygı yolculuğunu birkaç yıldır, ünlü operaların uluslararası kadrolarla sahnelenen konser versiyonlarıyla sürdürüyor. 30 Mart 2017'de izlediğimiz, Richard Strauss'un "Der Rosenkavalier Güllü Şövalye"sinin görkemli sahnelemesi, kesinlikle son yılların en müthiş müzik ve sahne olayı. Richard Strauss'un "müzik için komedi" olarak tanımladığı operası "Güllü Şövalye", Hugo von Hofmannsthal'ın librettosunu yazdığı, üç perdelik bir komik operadır.
İki trajik çalışmanın ardından, "Bundan sonra bir Mozart operası yazacağım" demiş olan Strauss, bu eğlenceli öyküde tam aradığını bulmuş gibidir. Strauss, bu müzikli komediyi bestelerken, kıpır kıpır parlak orkestrasyonu, valslerden da esinlenen müzik örgüsü, Mozart'ın operaları için yarattığı ses evrenine yakın tarzını, sözcüklerle müziğin şiirselliği arasında bir denge kurmak amacıyla hayran olduğu diğer besteci Wagner'in "müzikal drama" unsurlarıyla besleyerek eşsiz bir kişisel müzik dili oluşturmuştur. İlk kez 1911'de sahnelenmiş olan "Der Rosenkavalier / Güllü Şövalye'nin yüz küsur yıl sonra Türkiye'deki bu ilk temsili Yekta Kara'ya emanet edilmiş. İstanbul doğumlu Yekta Kara, Münih Devlet Müzik Akademisi Opera ve Şan Bölümü'nden burslu olarak mezun olmuş, ayrıca Münih Devlet Müzik Akademisi Opera Rejisi Bölümü'nü ve İstanbul Belediye Konservatuvarı Tiyatro Bölümü'nü bitirmiştir. 1983'ten bu yana Mimar Sinan Güzel Sanatlar Üniversitesi'nde öğretim üyeliğini sürdüren, üniversitenin Opera Ana Sanat Dalı Başkanı Yekta Kara, Türkiye'de sahneye koyduğu sayısız yapıtın yanı sıra pek çok ülkede konuk yönetmen olarak çalışmış olan, sayısız ödül sahibi bir opera efsanesi. Görsel işitsel sanatın doruğu olan operanın da bütün sanatlar gibi, gelişmek ve evrilmek zorunda olduğunu iyi bilen Kara, büyük bir konser salonunda sahnelemesine karşın, "Güllü Şövalye "yi, klasik bir konser versiyonu olarak değil, görselliğini ve dramatik dokusunu koruyan, çağcıl, hareketli ve etkileyici sahnelenmiş bir yorumla ele alıyor. Lütfi Kırdar'ın parterindeki bir kısım ön sıra kaldırılarak seyirci seviyesinde oluşturulan düzlüğe orkestra yerleştirilmiş. Sahne platformunun siyah fon perdesinin önünde, minimum elemanlarla, ama işlevsel aksesuar ve mobilyalarla minimalist bir dekor oluşturulmuş. Yekta Kara, her perdenin giriş müziği çalarken koro elemanlarının rahatlıkla değiştirdiği bu dekorda, her çağa uygun güncel kostümler giymiş solistlerinden ve korosundan dört dörtlük bir oyunculuk elde ediyor.
Bir üst kademede de çift işlevli dev ekran var. Gerçek saraylarda çekilmiş görüntüler benzersiz bir dekor oluştururken, sahnedeki olaylar da perdeye anında yansıtılıyor. Tabii ki en tepede de üst yazılar var. BIFO, artık sadece Türkiye'nin değil, Avrupa'nın da saygın senfonik toplulukları arasında yer alan üst düzey bir orkestra. Sascha Goetzel yönetimindeki "Güllü Şövalye" yorumu her türlü övgünün üzerinde. Kusursuz birliktelikleri, çok başarılı müzikal yorumları kadar "ensemble" sesin kalitesi ve madeni nefeslilerin tınısı dört dörtlük.
Sahnelemenin nefis bir sürprizi de bu uluslararası ekibe destek olan, sesleri ve oyunculuklarıyla çok başarılı Türk gurubu. Başta, mezzosoprano sesiyle getirdiği etkileyici yorumunu parlak bir oyunculukla tamamlayan Elif Tuğba Tekışık ve operanın tek aryasını söyleyen İtalyan Tenor Gürkan Gider'in öne çıktığı Akademi BIFO var. Borusan Sanat'ın genç sanatçıların profesyonel opera sahnelerine hazırlanması amacıyla kuruduğu eğitim programı Akademi BİFO'nun 12 üyesiyle birlikte Türk solistlerin oluşturduğu koro ve Borusan Çocuk Korosu ünlülerin performansına üst düzeyde katılıyorlar.
"Seni doğru şekilde sevmek için kendime söz verdim!" diye başlayan, Marşalin'in, Octavian ve Sophie'nin seslerinin iç içe girerek, birbirini tamamlayarak benzersiz bir sarmal oluşturduğu, orkestranın, insan sesinin, müzik ve şiirle mükemmel şekilde bütünleştiği bu törensel doruğa, Schwanewilms, Láng ve Reiss'in getirdiği "divine / tanrısal" yorum!
Başta Yekta Kara olmak üzere, bu benzersiz sanat olayının bütün yaratıcılarını tebrik ediyorum. Gelecek yılın yeni mucizesini sabırsızlıkla beklerken hepinize sanat dolu günler dilerim.
OPERA MAGAZINE
2017 August
Excerpts
