Orquestra e Coro Gulbenkyan | Festival de Sintra
Orquestra e Coro Gulbenkian, Festival de Sintra, Sintra, Patrycja Gabrel, soprano, Cátia Moreso, meio soprano, Paula Lobo Antunes, Luis Madureira
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In 1809 – the year of Felix Mendelssohn’s birth – the British poet Lord Byron visited Sintra. Impressed by the spririt of the place, he wrote:

«Lo! Cintra’s glorious Eden intervenes/In variegated maze of mount and glen./-Ah me! What hand can pencil guide, or pen,/To follow half on which the eye dilates,/Trough views more dazzling unto mortal ken/Than those whereof such things the bard relates,/Who to the awe-struck world unlocked Elysium’s gates?».

Lord Byron (1788-1824)

More than 200 years later, Sintra still preserves the aura of an enchanted forest that could easily be imagined as inhabited by elphs and fairies…

Therefore, Midnight Summer Dream – inspired by Shakespeare’s homonymous play – fits perfectly within the soul of the place Byron once described. In a presumably magical concert, this piece by Felix Mendelssohn will be performed by the Gulbenkian Choir and Orchestra. And there would no better hall to welcome it, than the theatre whose name evoques the Marquise of Cadaval – the beneficent fairy who protected and cherished the Music in Sintra for decades.

In  1809 – the year of  Felix Mendelssohn’s birth – the British poet Lord Byron visited Sintra. Impressed by the spririt of the place, he wrote:

«Lo! Cintra’s glorious Eden intervenes/In variegated maze of mount and glen./-Ah me! What hand can pencil guide, or pen,/To follow half on which the eye dilates,/Trough views more dazzling unto mortal ken/Than those whereof such things the bard relates,/Who to the awe-struck world unlocked Elysium’s gates?».

Lord Byron (1788-1824)

More than 200 years later, Sintra still preserves the aura of an enchanted forest that could easily be imagined as inhabited by elphs and fairies…

Therefore, Midnight Summer Dream – inspired by Shakespeare’s homonymous play – fits perfectly within the soul of the place Byron once described. In a presumably magical concert, this piece by Felix Mendelssohn will be performed by the Gulbenkian Choir and Orchestra. And there would no better hall to welcome it, than the theatre whose name evoques the Marquise of Cadaval – the beneficent fairy who protected and cherished the Music in Sintra for decades.

Orquestra e Coro Gulbenkian

Maestro Michael Zilm

Patrycja Gabrel, soprano

Cátia Moreso, mezzo-soprano

Paula Lobo Antunes and Luis Madureira, narrators

 

Franz Schubert – Rosamunde, D. 797, incidental music (excerpts)

1. Ballett-Musik Nr.1

2. Ballett – Musik Nr.2

3. Hirtenmelodien

4. Entreacte Nr.2

5. “Romanze”

6. Entreacte Nr.3

 

Felix Mendelssohn – Midnight Summer Dream

Overture op.21

Incidental Music op.61

MICHAEL ZILM

Michael Zilm was born in Stuttgart, in 1957. Descendant from a family of musicians, he started studying violin at the age of six. Later, he attended violin and viola classes at the University of Music in his hometown. In 1979 he entered Thomas Ungar class for orchestra direction. He has studied under the supervision of Milan Horvat in the Summer Academy of Mozarteum in Salzburg and with Franco Ferrara, Bruno Bartoletti and Carlo Maria Giulini in the Chigiana Academy of Siena. Since 1979 he has kept a close connection with the Maestro Herbert von Karajan. Michael Zilm has also worked as a music assistant of this maestro in the productions of Aida, Parsifal and Falstaff, which were performed in Salzburg Summer and Easter festivals and were later recorded on cd in Berlin and Wien. He made his first appearance as a conductor in 1979, in Stuttgart, in a programme entirely devoted to Webern’s workpieces. His work has been focused on a mainly twentieth century repertoire and he has directed the Nova Música ensemble since 1986. In the same year, he becomes a teacher at the University of Music in Stuttgart. As a maestro he has already directed some of the outstanding european orchestras in the accomplishment of less common orchestra programmes: Deutschen Sinfonieorchester Berlin, RAI Orchestra (Turin), Paris Orchestra, Radio Symphonic Orchestra of Koln, Saarlande Radio Orchestra and Modern Ensemble Group.

Among others, he has performed at the Metz, Frankfurt, Siena, Leipzig e Warsaw festivals. Michael Zilm has already been awarded with many international prizes: 4th Prize in Malko Contest, in Copenhagen; 2nd Prize in César Cui Contest, in Florence; 1st Prize in Vuillermoz Contest, in Besançon (1983); and 1st Prize in Fiterlberg Contest, in Katovice (1987). Since 1991-92 season, he has been the General Music and Theatre Director and Head Maestro of the Norddeutsche Philharmonie, in Rostock. In addition, he is responsible for the concert programming and opera shows, having accomplished the whole cycle of Gustav Mahler. Under his direction the Norddeutsche Philharmonie presents an annual cycle dedicated to the classical composers of the twentieth century, including Béla Bartók, Alban Berg, Leoš Janáček and Arnold Schönberg.

The conception of these programmes was worth an honorable prize for “the best concert programme of the season” in Germany. From 1989 onwards he kept a close cooperation with the Orquestra Gulbenkian , mainly performing plays from the German repertoire. He was a First visiting Conductor of this same orchestra from 1994 to 2001. Since 2005/2006 season he has kept a regular cooperation with the Lisbon Metropolitana Orchestra.

Patrycja Gabrel

Pattycja Gabrel is a graduate in singing and piano (of Fryderyk Chopin Music Conservatory in Warsaw and Escuela Superior Reina Sofia in Madrid, directed by the teacher Tom Krause) She also attended masterclasses with Riri Griest, Charles Kellis , Anita Garanca and Helmut Deutsch.

She was awarded with Alfredo Krause Prize as Best Young Musician in Madrid and also won the Polish Song Art Contest (Classica Radio).

She was given a scholarship by Gulbenkian Foundation of ENOA projects and she has also been in the choir from 2010 to 2014. She is currently pursuing her vocal improvement with the teacher Joana Siqueira.

Patrycja has performed in several Festivals such as d’Aix-en-Provence Festival (“Elektra” by Strauss), Flagey Brahms Festival in Brussels, Festival do Órgão in Madeira.

She is a member of prestigious national ensembles such as Vocal Olissipo Ensamble, Capella Patriarchale and Ludovice Ensemble.

She has performed with the Orquestra do Norte (Avondano’s “Il Mondo de la Luna”), the Metropolitana Orchestra (Mahler’s Fourth Symphony, Ruckert Lieder) Portuguese Chamber Orchestra (Mass in D Major op.86), ESML Orchestra (sacred Oratorio as “Esther”) Warsaw Philarmonic Orchestra and also with The Gulbenkian Orchestra, not only in the Oratory repertoire (Haendel’s “Dixit Dominus”, Stravinsky’s Mass, Giovanni Giorgi’s Mass, Mozart’s “Exultate Jubilate” Motet, Monteverdi’s “Vesperas”) but also on Grieg’s “Peer Gynt“ Suite, Stravinsky’s “Pulcinella”, Broadway Duets with Mezzo-soprano Angelika Kirschlager, Stockhausen’s “Momente”.

As a soloist, she has sung under conductors such as Michel Corboz, Paul McCreesh, Leonardo Garcia Alarcon, Lawrence Foster, Jean-Marc Burfin, Osvaldo Ferreira, Jorge Matta, Joana Carneiro and Jan Wierzba.

In 2015 she recorded the role of Mére in the début of “L’Autre Hiver” Dominique Pauwels’ Opera. Her operatic repertory includes roles as Tatiana (Tchaikovsky’s “Onegin”), Violetta (Verdi’s “La Traviata” de), Queen of the Night (Mozart’s” Magic Flute”), Countess (Mozart’s “Marriage of Figaro”).

Cátia Moreso

Cátia Moreso studied at Guildhall School of Music and Drama, in London, where she was graduated in singing, having also accomplished a Master degree (Opera Studies). As a scholarship student by Calouste Gulbenkian Foundation, she also studied at the National Opera Studio with Susan Waters.

Her operatic repertoire includes: Jocasta in Oedipus Rex, La ciesca in Gianni Schicchi, 3rd Magd in Elektra, Ježibaba in Rusalka, Suzuki in Madame Butterfly, Mother Goose in The Rake’s Progress, Tisbe in La Cenerentola, Eva in Comedie on the Bridge, Clotilde in Norma, First Witch/Enchantress, in Dido and Aeneas, Maddalena and Giovanna in Rigoletto, Mezzo in Peter Eötvos’s Lady Sarashina, Eboli in Don Carlo and La Cieca in La Gioconda, Giano in Il Trionfo d’Amore, Dianora and Elisa in Almeida’s La Spinalba; Hanna Wilson/Tracy in Richard Wargo’s The Losers, 3rd Lady in The Magic Flute, La Baronne in Chérubin, Madame de Croissy and Mère Jeanne in Dialogues des Carmélites; Zanetto in Mascagni’s Zanetto, Carmella in Falla’s La Vida Breve; Marcellina in The Marriage of Figaro , Santuzza in Cavalleria Rusticana , Mrs. Quickly in Falstaff.

In concert, she was a soloist in Verdi, Duruflé, Mozart and Bomtempo’s Requiem, Haydn’s Nelson Mass, Vivaldi’s Gloria and Magnificat, Pergolesi’s Stabat Mater and Magnificat, Bach’s Magnificat, Christmas Oratorio, Easter Oratorio and St. John Passion, Rossini’s Stabat Mater and Petite Messe Solennelle, Bruckner’s Mass No. 3 and Te Deum, Händel’s 2nd harlot Solomon, Mendelssohn’s Elijah and St. Paul, Händel’s Messias and Te Deum, Zelenka’s Te Deum and Beethoven’s Ninth Symphony.

Paula Lobo Antunes

Paula Lobo Antunes lived in New York until the age of five, when she moved to Lisbon, Portugal. After her Medical Biology studies in Edinburgh, she decided to follow her passion for drama and moved to London in order to study at Arts Educational School of Musical Theatre where she graduated.

In 2005, her breakout as an actress was in the Brazilian TV novel Escrava Isaura and since then, she has worked continuously in many different projects. Paula has also taken part in various cinema and theatre projects, including the movies “Corrupção” by João Botelho , “Jacinta” by Jorge Paixão da Costa, or the play “MacBeth” staged by Carlos Avillez and also “Romeo and Juliet” at Studio Theatre in London.

Nowadays, Paula Lobo Antunes is the antagonist Aurora, in the popular SIC TV novel “Vidas Opostas”.

Luís Madureira

Graduate with the Superior Degree of Voice by the National Conservatory of Lisbon, he continued his studies in London, as a scholarship holder of the Secretary of State for Culture, with Professor Peter Harrison.

He holds a degree in Music/Singing by the Lisbon Superior School of Music (ESML) and has a title of Specialist by the Polytechnic Institute of Lisbon (IPL) in 2014.

He divides his activity between teaching, singing, theatre and cinema.
As a singing teacher at ESML, he often supervises vocal and elocution seminars in the most prestigious theatre companies.

His repertoire covers ancient music, lied and mélodie, as well as a large number of composers of the 20th and 21st centuries.

He performed as a soloist in recitals in Portugal, France, Switzerland, Germany, England, USA, Brazil and Mozambique with the pianists Olga Prats, Jorge Moyano, Nuno Vieira de Almeida, João Paulo Santos, João Vasco de Almeida and Jeff Cohen, among others.

In theatre he has worked with Nuno Carinhas, Carlos Quevedo, Filipe La Féria, Ana Támen, Ricardo Pais, Luís Miguel Cintra, Giorgio Barberio Corsetti, Cornelia Geiser, Fernanda Lapa, Sandra Faleiro and with Bento Pinto da França, for television productions.

In cinema, he was directed by Monique Rutler, Joel Farga, Manoel de Oliveira and Ruy Guerra.

He was artistic consultant of OPorto Opera Studio of Casa da Música (2001) and music programmer for Faro National Capital of Culture 2005.
He develops an ongoing work with the pianist Jeff Cohen.