The next season at the Royal Opera

By on March 18, 2017

Victoria Borisova Ollas opera Dracula on the big stage, a mix of classical, neoclassical and modern with the Royal Ballet and a performance for babies. It is some of the news when the Opera announces new Season program!

Opera
The Russo-Swedish composer Victoria Borisova Ollas opera Dracula has first performance around Halloween. Artistic team, with director Linus Fellbom at the head, creating a set of horror romance, victorian fashion, epic choirs, heartbreak, revenge and blood.

It will be a Dracula with women around the title role tells their story. The young sopranos Elisabeth Meyer and Sanna Gibbs makes some of the leading characters, while Ola Eliasson portray Dracula’s party.

Opera premieres are also on Verdi’s Aida, Rossini’s Cinderella and Tchaikovsky’s Eugene Onegin. In Aida sung the title role of Christina Nilsson, who is currently completing the final semester of the Master program at the University College of Opera. Christina, who comes from Ystad is both Jenny Lind scholarship as the winner of the big Stenhammar Competition in 2016.

In Cinderella makes the title role of mezzo-soprano Johanna Rudström who already sung several parties at the Opera, while the tenor Ole Alexander Bang debuts at the Opera in the role of the prince. Ole Alexander, who comes from Hammarö outside Karlstad, make in spring the role as Chief Technician 1 in Aniara at Malmö Opera. The role of Lensky in Eugene Onegin made by Joel Annmo, which debuted last year as Pelléas in Debussy’s Pelléas and Mélisande.

Katarina Dalayman returns to the Royal Opera for, among other things successfully Metropolitan performances in Rusalka. At the Royal Opera Catherine will make three major roles for the first time in her career: Amneris in Aida, Kostelnička in Jenufa and Klytäimnestra in Elektra, where the title role is made of Irene Theorin and with the female conductor Simone Young on the podium. The role of Chrysothemis sung by the young soprano Cornelia Beskow.

Opera Director Birgitta Svendén can also, in cooperation with the Baltic Sea Festival, presenting a prestigious performances of Stravinsky’s Oedipus Rex, directed by Polar Prize winner Peter Sellars and with Esa-Pekka Salonen on the podium.

Ballet / Dance

When the ballet boss Johannes Öhman presents his final season, he gladly hand over with an exciting mix of classical, neoclassical and modern.

Again and again, one must recall the obvious that even the classics were modern in its time”, says Öhman.

This season’s big dance premiere is Puur by the Belgian choreographer Wim Wandekeybus, a modern dance piece that revolves around the killing of the innocent, from Herod to contemporary genocide.

On the program stands further audience and critics successes like Juliet and Romeo and fairytale ballets like Alice in Wonderland and Sleeping Beauty. The latter choreographed by Marcia Haydée.

Mats Ek’s Juliet and Romeo, which after the first performance at the Opera in 2013, been successful around the world with the Royal Ballet, will now awaited revival in Stockholm as well as Christopher Wheeldons Alice in Wonderland, which originally premiered at the Royal Opera House in London.

There is something of the contents of the Royal Ballet, which is now a leading repertory company in the dance world with a wide repertoire and some of the best dancers there is to see.

Young on the at the Opera

Anna Karinsdotter, artistic director of the Young on the Opera, presents an activity that ranges from the very young to teenagers.

“At what age is a person ready to meet art?”, asks Anna and in Myriads of worlds, in concept and choreography by Dalija Acin Thelander, invites the smallest 3-18 months, but even other ages.

My brother is Don Juan, which had it’s first performance in 2014 to an audience between 13-15 years, coming back after a notable guest appearance last fall in Mannheim, Germany where the work opened the opera festival “Happy New Ears”.

The Young on the Opera takes another step in its educational activities and make several projects framework of the Creative School. The goal is to strengthen children’s right to culture and the vision that art can make a difference for the children – the future audience.

 
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