De la Parra – Prégardien “Around the world in music on stage and in life», 30. Sep 2021
The theaters are teeming with love stories between the conductor on duty and the soprano with the aspirations of a prima donna. Clandestine and not. Rarer that the roles are reversed, overturning socio-cultural genres and fashions.
That is to say that an irrepressible passion breaks out between an orchestral conductor on the rise (in the case of the American Mexican Alondra de la Parra) and a tenor with a refined liederist timbor, the German Julian Prégardien. A fusion of passionate thrills that flows from Verdi’s inaugural concert, on an on the road program of contagious beauty.
A kind of tour around the world that the sweet couple joyfully travels, passing from the peasant Bohemia die Mahler (the «Lieder eines fahrenden Gesellen) to the Mediterranean folklore of the» Cinq melodie populaires greques «, but which only she – a musician with charisma and skills in communication on the podium – feeds again: starting with Copland’s Appalachian Spring set among American colonists, at the end with Milhaud’s rouge-pantomime Le boeuf sur le toit, infused with seductive Brazilian melodies.The theaters are teeming with love stories between the conductor on duty and the soprano with the aspirations of a prima donna. Clandestine and not. Rarer that the roles are reversed, overturning socio-cultural genres and fashions.
That is to say that an irrepressible passion breaks out between an orchestral conductor on the rise (in the case of the American Mexican Alondra de la Parra) and a tenor with a refined liederist timbor, the German Julian Prégardien. A fusion of passionate thrills that flows from Verdi’s inaugural concert, on an on the road program of contagious beauty.
A kind of tour around the world that the sweet couple joyfully travels, passing from the peasant Bohemia die Mahler (the «Lieder eines fahrenden Gesellen) to the Mediterranean folklore of the» Cinq melodie populaires greques «, but which only she – a musician with charisma and skills in communication on the podium – feeds again: starting with Copland’s Appalachian Spring set among American colonists, at the end with Milhaud’s rouge-pantomime Le boeuf sur le toit, infused with seductive Brazilian melodies.The theaters are teeming with love stories between the conductor on duty and the soprano with the aspirations of a prima donna. Clandestine and not. Rarer that the roles are reversed, overturning socio-cultural genres and fashions.
That is to say that an irrepressible passion breaks out between an orchestral conductor on the rise (in the case of the American Mexican Alondra de la Parra) and a tenor with a refined liederist timbor, the German Julian Prégardien. A fusion of passionate thrills that flows from Verdi’s inaugural concert, on an on the road program of contagious beauty.
A kind of tour around the world that the sweet couple joyfully travels, passing from the peasant Bohemia die Mahler (the «Lieder eines fahrenden Gesellen) to the Mediterranean folklore of the» Cinq melodie populaires greques «, but which only she – a musician with charisma and skills in communication on the podium – feeds again: starting with Copland’s Appalachian Spring set among American colonists, at the end with Milhaud’s rouge-pantomime Le boeuf sur le toit, infused with seductive Brazilian melodies.The theaters are teeming with love stories between the conductor on duty and the soprano with the aspirations of a prima donna. Clandestine and not. Rarer that the roles are reversed, overturning socio-cultural genres and fashions.
That is to say that an irrepressible passion breaks out between an orchestral conductor on the rise (in the case of the American Mexican Alondra de la Parra) and a tenor with a refined liederist timbor, the German Julian Prégardien. A fusion of passionate thrills that flows from Verdi’s inaugural concert, on an on the road program of contagious beauty.
A kind of tour around the world that the sweet couple joyfully travels, passing from the peasant Bohemia die Mahler (the «Lieder eines fahrenden Gesellen) to the Mediterranean folklore of the» Cinq melodie populaires greques «, but which only she – a musician with charisma and skills in communication on the podium – feeds again: starting with Copland’s Appalachian Spring set among American colonists, at the end with Milhaud’s rouge-pantomime Le boeuf sur le toit, infused with seductive Brazilian melodies.The theaters are teeming with love stories between the conductor on duty and the soprano with the aspirations of a prima donna. Clandestine and not. Rarer that the roles are reversed, overturning socio-cultural genres and fashions.
That is to say that an irrepressible passion breaks out between an orchestral conductor on the rise (in the case of the American Mexican Alondra de la Parra) and a tenor with a refined liederist timbor, the German Julian Prégardien. A fusion of passionate thrills that flows from Verdi’s inaugural concert, on an on the road program of contagious beauty.
A kind of tour around the world that the sweet couple joyfully travels, passing from the peasant Bohemia die Mahler (the «Lieder eines fahrenden Gesellen) to the Mediterranean folklore of the» Cinq melodie populaires greques «, but which only she – a musician with charisma and skills in communication on the podium – feeds again: starting with Copland’s Appalachian Spring set among American colonists, at the end with Milhaud’s rouge-pantomime Le boeuf sur le toit, infused with seductive Brazilian melodies.The theaters are teeming with love stories between the conductor on duty and the soprano with the aspirations of a prima donna. Clandestine and not. Rarer that the roles are reversed, overturning socio-cultural genres and fashions.
That is to say that an irrepressible passion breaks out between an orchestral conductor on the rise (in the case of the American Mexican Alondra de la Parra) and a tenor with a refined liederist timbor, the German Julian Prégardien. A fusion of passionate thrills that flows from Verdi’s inaugural concert, on an on the road program of contagious beauty.
A kind of tour around the world that the sweet couple joyfully travels, passing from the peasant Bohemia die Mahler (the «Lieder eines fahrenden Gesellen) to the Mediterranean folklore of the» Cinq melodie populaires greques «, but which only she – a musician with charisma and skills in communication on the podium – feeds again: starting with Copland’s Appalachian Spring set among American colonists, at the end with Milhaud’s rouge-pantomime Le boeuf sur le toit, infused with seductive Brazilian melodies.The theaters are teeming with love stories between the conductor on duty and the soprano with the aspirations of a prima donna. Clandestine and not. Rarer that the roles are reversed, overturning socio-cultural genres and fashions.
That is to say that an irrepressible passion breaks out between an orchestral conductor on the rise (in the case of the American Mexican Alondra de la Parra) and a tenor with a refined liederist timbor, the German Julian Prégardien. A fusion of passionate thrills that flows from Verdi’s inaugural concert, on an on the road program of contagious beauty.
A kind of tour around the world that the sweet couple joyfully travels, passing from the peasant Bohemia die Mahler (the «Lieder eines fahrenden Gesellen) to the Mediterranean folklore of the» Cinq melodie populaires greques «, but which only she – a musician with charisma and skills in communication on the podium – feeds again: starting with Copland’s Appalachian Spring set among American colonists, at the end with Milhaud’s rouge-pantomime Le boeuf sur le toit, infused with seductive Brazilian melodies.The theaters are teeming with love stories between the conductor on duty and the soprano with the aspirations of a prima donna. Clandestine and not. Rarer that the roles are reversed, overturning socio-cultural genres and fashions.
That is to say that an irrepressible passion breaks out between an orchestral conductor on the rise (in the case of the American Mexican Alondra de la Parra) and a tenor with a refined liederist timbor, the German Julian Prégardien. A fusion of passionate thrills that flows from Verdi’s inaugural concert, on an on the road program of contagious beauty.
A kind of tour around the world that the sweet couple joyfully travels, passing from the peasant Bohemia die Mahler (the «Lieder eines fahrenden Gesellen) to the Mediterranean folklore of the» Cinq melodie populaires greques «, but which only she – a musician with charisma and skills in communication on the podium – feeds again: starting with Copland’s Appalachian Spring set among American colonists, at the end with Milhaud’s rouge-pantomime Le boeuf sur le toit, infused with seductive Brazilian melodies.