Bluebeard's Castle and Erwartung

The New York Philharmonic

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Bluebeard's Castle and Erwartung

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Location

David Geffen Hall

Directions
Price Range

$28-109

Duration

2 hours with intermission

Date & Times

26

Sep, 2019

Thursday, 7:30 PM

27

Sep, 2019

Friday, 8:00 PM

28

Sep, 2019

Saturday, 8:00 PM

Event Info

A woman wanders a forest at night desperately searching for her lover. Newlyweds Duke Bluebeard (Johannes Martin Kränzle) and Judith (2018 Birgit Nilsson Prize recipient Nina Stemme) tour the Duke’s dark castle, each of its seven rooms more shocking than the last. Jaap van Zweden conducts the US Stage Premiere of Bengt Gomér’s bold production of Bartók’s Bluebeard’s Castle and Schoenberg’s Erwartung (Katarina Karnéus), both psychological one-act operas.

US Stage Premiere of Bengt Gomér’s production of Erwartung and Bluebeard’s Castle in collaboration with the Royal Stockholm Philharmonic Orchestra

Program To Include

Schoenberg

Erwartung

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Bartók

Bluebeard’s Castle

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Artists

Jaap van Zweden

Conductor

Jaap van Zweden

Conductor

Jaap van Zweden

Conductor

Conductor Jaap van Zweden has become an international presence on three continents over the past decade. The 2018–19 season marks his first as the 26th Music Director of the New York Philharmonic. In the 2019–20 season he and the Philharmonic celebrate the ratification of the 19th Amendment with commissions by 19 women composers in Project 19, illuminate three hotbeds of music innovation — Berlin, Reykjavík, and New York — in the hotspots festival, and explore Mahler’s New York. He continues as Music Director of the Hong Kong Philharmonic, a post he has held since 2012. Guest engagements this season include the Leipzig Gewandhaus Orchestra, Amsterdam’s Royal Concertgebouw Orchestra, Munich Philharmonic, Orchestre de Paris, San Francisco Symphony, and Dallas Symphony Orchestra, where he is Conductor Laureate. He has appeared as guest conductor with many other leading orchestras around the globe, among them the Chicago Symphony Orchestra, The Cleveland Orchestra, Los Angeles Philharmonic, Vienna Philharmonic, Berlin Philharmonic, Orchestre national de France, and London Symphony Orchestra.

In his inaugural season as Music Director of the New York Philharmonic, Jaap van Zweden conducts repertoire ranging from five World Premieres to symphonic cornerstones. He presides over three season pillars — each presenting a World Premiere — that contextualize music through programs complemented by citywide collaborations. Music of Conscience explores composers’ responses to the social issues of their time, with music by Beethoven, Shostakovich, John Corigliano, and David Lang. New York Stories: Threads of Our City looks at musical expressions of the immigrant experience in New York, with music by Julia Wolfe. The Art of Andriessen spotlights the music of Dutch composer Louis Andriessen. Maestro van Zweden also welcomes New Yorkers to Phil the Hall, concerts for community and service professionals; the Annual Free Memorial Day Concert; and the Concerts in the Parks, Presented by Didi and Oscar Schafer.

Jaap van Zweden has made numerous acclaimed recordings, the most recent of which features live New York Philharmonic performances of Beethoven’s Symphonies Nos. 5 and 7, released on CD and for streaming and download in February 2018; this release launched the Philharmonic’s partnership with Decca Gold, Universal Music Group’s newly established U.S. classical music label. In 2018 he completed a four-year project with the Hong Kong Philharmonic, conducting the first-ever performances in Hong Kong of Wagner’s Ring Cycle, which have been recorded and released on Naxos Records. His highly praised performances of Lohengrin, Die Meistersinger von Nürnberg, and Parsifal — the last of which earned him the prestigious Edison Award for Best Opera Recording in 2012 — are available on CD and DVD.

Born in Amsterdam, Jaap van Zweden was appointed at age 19 as the youngest-ever concertmaster of Amsterdam’s Royal Concertgebouw Orchestra. He began his conducting career almost 20 years later, in 1996. He remains Honorary Chief Conductor of the Netherlands Radio Philharmonic, where he was Chief Conductor from 2005 to 2013, and served as Chief Conductor of the Royal Flanders Orchestra from 2008 to 2011. Jaap van Zweden was named Musical America’s 2012 Conductor of the Year in recognition of his critically acclaimed work as Music Director of the Dallas Symphony Orchestra and as guest conductor with the most prestigious U.S. orchestras.

In 1997 Jaap van Zweden and his wife, Aaltje, established the Papageno Foundation to support families of children with autism. The Foundation has grown into a multifaceted organization that focuses on the development of children and young adults with autism. The Foundation provides in-home music therapy through a national network of qualified music therapists in The Netherlands; opened the Papageno House in 2015 (with Her Majesty Queen Maxima in attendance) for young adults with autism to live, work, and participate in the community; created a research center at the Papageno House for early diagnosis and treatment of autism and for analyzing the effects of music therapy on autism; develops funding opportunities to support autism programs; and, most recently, launched the app TEAMPapageno, which allows children with autism to communicate with each other through music composition.

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Nina Stemme

Soprano (Bartók)

Nina Stemme

Soprano (Bartók)

Nina Stemme

Soprano (Bartók)

For years, Swedish-born soprano Nina Stemme has been considered a leading singer of dramatic opera’s most challenging roles, including Isolde (in Wagner’s Tristan and Isolde), Brünnhilde and Kundry (Wagner’s Ring Cycle), the title roles in Richard Strauss’s Salome and Elektra, and the title roles in Puccini’s La fanciulla del West and Turandot. Her respect for the roles and the operas themselves and her voice, flexibility, diversity, musicality, and level-headed estimation of her voice’s potential have established her as an artist of global stature.

In 1993 Ms. Stemme won Plácido Domingo’s Operalia competition. She has since furthered the great tradition of her Scandinavian predecessors Kirsten Flagstad and Birgit Nilsson at leading opera houses, whether at The Metropolitan Opera, Milan’s Teatro alla Scala, Bayreuth Festival, Vienna Staatsoper, or The Royal Opera, Covent Garden.

She has received numerous prizes and awards throughout her career, including the titles of Swedish Court Singer and Austrian “Kammersängerin.” The German specialist journal Opernwelt crowned her Singer of the Year twice, in 2005 and 2012. She was awarded the prestigious Birgit Nilsson Prize in a ceremony attended by the Swedish Royal Family at the Royal Swedish Opera in October 2018.

Future projects include appearances in Turandot in Munich, Bartók’s Bluebeard’s Castle in Stockholm, and Elektra in Chicago, as well as Puccini’s Tosca and her role debut as Färberin in Richard Strauss’s Die Frau ohne Schatten at the Vienna Staatsoper.

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Johannes Martin Kränzle

Baritone (Bartók)

Johannes Martin Kränzle

Baritone (Bartók)

Johannes Martin Kranzle

Baritone (Bartók)

German baritone Johannes Martin Kränzle was a member of Frankfurt Opera from 1998 to 2016. There he sang roles including his first Wolfram (in Wagner’s Tannhäuser), Tomsky (Tchaikovsky’s The Queen of Spades), and all the important Mozart roles, working with directors such as Keith Warner (Britten’s Death in Venice), Christof Loy (Paolo in Verdi’s Simone Boccanegra and Don Alfonso in Mozart’s Così fan tutte), and Nicolas Brieger (Henze’s Boulevard Solitude and Das verratene Meer).

Mr. Kränzle’s guest appearances have led him to the Royal Opera House, Covent Garden, as well as Hamburg Staatsoper, Bavarian Staatsoper, Opéra de Paris, and the Salzburg Festival. He made his role debut as Alberich in Wagner’s Das Rheingold in the new Ring Cycle at Milan’s Teatro alla Scala and the Berlin Staatsoper under Daniel Barenboim. In 2014 he made his Metropolitan Opera debut as Beckmesser in Wagner’s Die Meistersinger von Nürnberg under James Levine.

In 2011, the magazine Opernwelt chose Johannes Martin Kränzle as “Singer of the Year” by for his interpretation of Alberich at La Scala and in Berlin as well as for his extraordinary performance in the World Premiere of Wolfgang Rihm’s Dionysos (named “world premiere of the year”) at Salzburg Festival. In 2019 Opernwelt again named Mr. Kränzle “Singer of the Year,” praising his interpretation of Beckmesser in Meistersinger in Bayreuth.

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Katarina Karnéus

Mezzo-Soprano (Schoenberg)

Katarina Karnéus

Mezzo-Soprano (Schoenberg)

Katarina Karneus

Mezzo-Soprano (Schoenberg)

Born in Stockholm, mezzo-soprano Katarina Karnéus studied at Trinity College of Music in London, and at the National Opera Studio. In 1995 she won the BBC Cardiff Singer of the World Competition. She has worked with Simon Rattle, Charles Mackerras, Mark Elder, Roger Norrington, Antonio Pappano, Michael Tilson Thomas, Franz Welser-Möst, and Ivor Bolton.

Ms. Karnéus’s operatic engagements have included appearances at The Metropolitan Opera; Royal Opera House, Covent Garden; and Glyndebourne Festival Opera. Her repertoire includes the great mezzo roles of Handel, Mozart, Rossini, Bizet, Wagner, and Strauss. She has worked with many of the world’s leading orchestras including the Berlin Philharmonic, NDR Symphony, Vienna Symphony, and San Francisco Symphony, and has appeared at the BBC Proms, Edinburgh International Festival, and Salzburg Festival. She has been heard in recital at major venues internationally, including London’s Wigmore Hall, Amsterdam’s Concertgebouw, Lincoln Center, and Brussels’s La Monnaie, and in Washington, DC, and San Francisco.

Recent and future concert engagements include the Hallé Orchestra, BBC NOW, BBC Symphony Orchestra, Accademia nazionale di Santa Cecilia, Orchestre philharmonique de Radio-France, Uppsala Chamber Orchestra, Swedish Radio Symphony Orchestra, Swedish Chamber Orchestra, Vienna Philharmonic, Czech Philharmonic, Orquesta sinfonica Castilla y Leon, Dresden Philharmonie, as well as the Sydney, Melbourne, and Adelaide symphony orchestras and Netherlands Philharmonic. She tours Europe and the US with the San Francisco Symphony, and performs at the Wiener Konzerthaus, Baltic Sea Festival, Edinburgh International Festival, and BBC Proms, and gives recitals at the Concertgebouw, Stockholm Concert Hall, and Wigmore Hall. Operatic engagements include Gothenburg, Stuttgart, Basel, Frankfurt, and Barcelona, and at the Royal Opera House and Opera North.

Katarina Karnéus is a member of the Gothenburg Opera and acts as an international ambassador for the company. She was recently presented with the Litteris et Artibus medal by H.M. The King of Sweden.

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Bengt Gomér

Director / Designer

Bengt Gomér

Director / Designer

Bengt Gomer

Director / Designer

Bengt Gomér, one of Scandinavia’s top scenographers, works in opera, dance, theater, and art projects. He studied the history of art and philosophy at Lund University, and since 1990 he has worked in set and light design at theaters throughout Europe. Mr. Gomér made his directing debut at Sweden’s Dalhalla Opera with Puccini’s Turandot in the summer of 2015.

As a scenographer, Mr. Gomér regularly collaborates with directors including Olivier Tambosi (on Donizetti’s Lucia di Lammermoor, Wagner’s Die Meistersinger von Nürnberg, Verdi’s La Traviata at Landestheater Linz, J. Strauss II’s Die Fledermaus at Theatre Dortmund, Verdi’s Othello at Saarbrücken’s Saarländischer Staatstheater, and Mozart’s Don Giovanni at Zagreb’s National Theatre), Staffan Aspegren (The Fallen Angels at Bergen’s National Theatre, Amadeus at Stockholm’s City Theatre, and Die Fledermaus at Gothenburg Opera), Åsa Melldahl (The Full Monty at Gothenburg’s Stadsteatern, Thomas Jennefelt’s Sport & Fritid at Royal Swedish Opera, Jonas Forssell’s Death and the Maiden at Malmö Opera, and Ibsen’s A Doll’s House at Uppsala City Theatre), Nils Spangenberg (Ullman’s Der Kaiser des Atlantis at Stockholm’s Vasan, Mozart’s The Magic Flute at Confidencen Stockholm and Gävle Theatre, Paer’s Il Molinari, and Moto Osada’s Four Nights of Dream at the International Academy of Vadstena), and Mellika Melouani Melani (Bizet’s Carmen, Verdi’s Rigoletto, Handke’s Offendign the Audience, Breidahl and Frisch’s Ebberöd’s Bank, Jelinek’s Ulrike Maria Stuart, and Khemiri’s The Hundred We Are).

Mr. Gomér’s recent projects include Jelinek’s Die Kontrakte des Kaufmanns at the Royal Dramatic Theatre, Verdi’s Un ballo in maschera at Stockholm’s Folkoperan with Mellika Melouani Melani; Sylvester Levay’s Rebecca at Malmö Opera, and Twelfth Night at Stockholm’s Royal Dramatic Theatre with Åsa Melldahl; Die Meistersinger and Un ballo in maschera at Staatsoper Hannover; and Mozart’s Così fan tutte at Munich’s Cuvilliés Theater with Olivier Tambosi.

Learn more about Bengt Gomér

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