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Regula Muehlemann © Guido Werner Photography

Regula Mühlemann

»Fairy Tales«

Friday 21 October 2022
19:30 – ca. 21:30
Mozart-Saal

 

Performers

Chaarts Chamber Artists, Ensemble

Regula Mühlemann, Sopran

Programme

»Fairy Tales«

Jacques Offenbach

Komm' zu uns (Die Rheinnixen)

Benjamin Britten

Be kind and courteous (Tytanias Arie aus »A midsummer night's dream« op. 64)

Come, now a roundel (Tytanias Arie aus »A midsummer night's dream« op. 64)

Henry Purcell

The plaint »O let me weep« (Arie der Juno aus »The Fairy-Queen« Z 629) (1692)

Edvard Grieg

Solveigs vuggesang »Solveigs Wiegenlied« op. 23/26 (Peer Gynt) (1874–1875)

En svane »Ein Schwan« op. 25/2 (1876/1894)

Peer Gynt-Suite Nr. 2 op. 55 (1874–75/1891)

Solveigs sang »Solveigs Lied« op. 23/19 (Peer Gynt) (1874–1875)

***

Jacques Offenbach

Alles hüllt sich in Dunkel (Arie aus »Die Rheinnixen«)

Giuseppe Verdi

Ninfe! Elfi! Silfi! … Sul fil d’un soffio eteseo (Feenlied der Nannetta aus »Falstaff«) (1893)

Claudio Monteverdi

Amor (Lamento della ninfa) (1638))

Edvard Grieg

Peer Gynt-Suite Nr. 1 op. 46 (1874–75/1888)

Jules Massenet

Ah! Douce enfant (Arie der Fee aus »Cendrillon«) (1899)

Adolphe Adam, Alfred de Clémenceau de Saint-Julien

Fée Rose (Flötensolo aus dem Ballett »La filleule des fées«)

Antonín Dvořák

Měsíčku na nebi hlubokém »Lied an den Mond« (Arie der Rusalka aus »Rusalka« op. 114) (1900–1903)

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Zugabe:

Felix Mendelssohn Bartholdy

Neue Liebe op. 19a/4 (Sechs Gesänge) (1832)

Charles Gounod

Ah! Je veux vivre »Ich will leben in dem Traume« (Walzerlied der Julia aus »Romeo und Julia«) (1867)

Note

Medienpartner Der Standard

Subscription series Das STANDARD-Konzerthaus-Abo

Links https://regulamuehlemann.com

Presented by Wiener Konzerthausgesellschaft

Fairy Songs

Regula Mühlemann and the international chamber ensemble CHAARTS are travelling on »wings of song«. They fuse grand opera, filigree Singspiel and brilliant orchestral suites into gripping immediacy. In the dialogue between the singer and eleven musicians, oases of the finest musicality as well as sound spaces of remarkable richness open up.

Embedded in Grieg's first Peer Gynt Suite, delicate fairy and wonder creatures cavort on the imaginary opera stage of this concert. With goblin-like episodes, delirious passages and romantic sound images, a musical arc of great narrative power unfolds.

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