in Die Frau ohne Schatten and for concert
performances as Helena in Die Aegyptsiche
Helena, which will be recorded by Oehms
Classics. In concert, she returns to the
Ravinia Festival as Donna Anna in Don
Giovanni under James Conlon and the
Chicago Symphony Orchestra, a role she
also debuts with Edo de Waart and the
Milwaukee Symphony. Additionally, Ms.
Wilson debuts with the National Symphony in Mendelssohn’s Symphony No. 2
(“Lobgesang”) with Matthew Halls.
Recent: Canadian Opera Company, Die
Fledermaus (Rosalinde); Teatro Municipal
de Santiago, Aida (title role); Teatro de la
Maestranza, Aida (title role); Washington
Concert Opera, Il corsaro (Gulnara);
Houston Grand Opera, Don Carlos (Elisabeth de Valois); Théâtre du Capitole, Il
trovatore (Leonora), Albert Herring (Lady
Billows), I due Foscari (Lucrezia); Ravinia
Festival, Idomeneo (Elettra); Washington
National Opera, Un ballo in maschera
(Amelia); Los Angeles Opera, The Turn
of the Screw (Miss Jessel).
Tamara Wilson last performed with the
BSO in November 2013, singing Britten’s
War Requiem with Music Director Marin
Alsop conducting.
About the concert:
Violin Concerto in D Major
Ludwig van Beethoven
Born in Bonn, December 16, 1770;
died in Vienna, March 25, 1827
Although we tend to think that great
musical masterpieces — especially when
they come from the pen of the fist-shaking Beethoven — should embody tragedy,
a struggle against obstacles, and perhaps
hard-won victory, his Violin Concerto
demonstrates that a work can be predominantly conflict-free, serene, and joyful in
spirit and still soar to the highest realms
of artistic expression.
The period from 1806, when the Violin
Concerto was composed, through 1808,
when he introduced his Fifth and Sixth
Symphonies, was one of the most prolific
in Beethoven’s career and brought forth
a number of works that share the Violin
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September– October 2014 |
O v ertur e
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