Orchestra del Teatro di San Carlo di Napoli
Conductor Juraj Valčuha
Notturno op.70, n.1, versione per orchestra
Die Walküre, Act I
In Italy – a country pulsating with melodramas and romances – Giuseppe Martucci (1856-1909) was the first to rekindle the fire of pure music and the ideals that have a direct link to this music: the inner reality and the seriousness of a profound life for the soul. Such is the spirit that animates his powerful symphonies, the Piano Concerto No. 1 in B minor and the piano pieces transcribed for orchestra, such as the once very popular Nocturne in G flat major (1891), defended for decades by the major Italian conductors, first among all Arturo Toscanini. This idealism of music was historically parallel to that of the southern philosophers of his time, Bertrando Spaventa and Benedetto Croce. If Schumann and Brahms were the Hegel to Martucci the composer, an equally decisive role was played by Wagner. Martucci was the first to conduct Tristan and Isolde in Italy, in 1888 in Bologna, a performance that revealed to Richard Strauss the enormous “quantity of bel canto hidden” in Wagner’s masterpiece. After being one of the founders of the Società del Quartetto di Napoli (Neapolitan Quartet Society) and having founded the Neapolitan Orchestral, which soon became one of the best Italian orchestras, Martucci revived the musical life of Bologna, before returning to Naples as the director of the Conservatory in 1902, not missing the first conduction of the Valkyrie and the Twilight of the Gods at the Teatro di San Carlo. Performing the first act of the Valkyrie with the San Carlo Orchestra could only start from the name of Wagner’s first Neapolitan apostle, Giuseppe Martucci from Aversa.
Juraj Valcuha is Music Director of the Teatro di San Carlo, Naples and First Guest Conductor of the
Konzerthausorchester Berlin. He was Chief Conductor of the Orchestra Sinfonica Nazionale della Rai from 2009 to 2016.
He studied composition and conducting in Bratislava, St Petersburg (with Ilya Musin) and Paris where he made his debut with the Orchestre National de France in 2005. He has since led the Philharmonia, Leipzig Gewandhaus Orchestra, Swedish Radio Symphony, Dresden Staatskapelle, Munich Philharmonic, Berlin Philharmonic, Amsterdam Royal Concertgebouw, Rotterdam Philharmonic, Maggio Musicale Fiorentino, Orchestra dell’Accademia Nazionale di Santa Cecilia Rome and Milan’s Filarmonica della Scala. In North America Juraj Valcuha has led the New York Philharmonic, Los Angeles Philharmonic, and the Pittsburgh, Boston, San Francisco, Cincinnati, National, Minnesota, Cleveland and Montreal symphony orchestras. Touring with Orchestra della Rai took them to the Abu Dhabi Classics, Cologne, Zurich, Munich, Musikverein in Vienna and Philharmonie in Berlin.
In 2016-17 and 2017-18 he returned to the New York Philharmonic in New York and at Bravo!Vail Festival as well as to the Minnesota, Pittsburgh, San Francisco, Detroit, Cincinnati and Montreal orchestras. He also had his début with the Chicago Symphony and the Cleveland Orchestra. In Europe he joined the Orchestre de Paris, the Munich and Czech Philharmonic, the Philharmonia, Swedish Radio and NDR Elbphilharmonie Orchestra, as well as the Turin’s Rai Orchestra and the Rome’s Accademia di Santa Cecilia.
On the opera stage, he recently conducted Prokofiev’s The Love for three oranges and Faust in Florence, Jenufa and Peter Grimes in Bologna as well as Elektra, Carmen, Tosca, Bartok’s Bluebeard’s Castle, Puccini’s The Girl of the Golden West and Shostakovich’s Lady Macbeth of Mtsensk at Teatro San Carlo di Napoli.
Highlights of Juraj Valcuha’s 2018-19 season include a return engagement with the New York
Philharmonic, productions of Janacek’s Katja Kabanova and Wagner’s Die Walküre in Naples’Teatro San Carlo, Salomé in Bologna, concerts with the BBC, Vienna, Montréal, San Francisco, Pittsburgh, Dallas symphony orchestras and a tour of the Baltic countries with the Konzerthausorchester Berlin.
Robert Dean Smith
He made his debut at the Bayreuth Festival in 1997 as Walther von Stolzing in Die Meistersinger von Nürnberg, returning as Tristan, Lohengrin, and Siegmund in Die Walküre. Additional engagements include performances with the opera houses of Munich, Vienna, La Scala Milan, Paris, MET New York, Berlin, Dresden, London, Bolshoi Moscow, Chicago, Los Angeles, San Francisco, Madrid, Barcelona, Budapest, Toulouse, Zürich, Rome, and Tokyo.
He has performed in concert with the Royal Concertgebouworkest Amsterdam, Vienna Philharmonic, Philadelphia Orchestra, Bayerische Rundfunkorchester, Bayerische Staatsorchester Munich, London Symphony Orchestra, Accademia Nazionale di Santa Cecilia Rome, Staatskapelle Berlin, Orchestre Philharmonique de Radio France, Budapest Festival Orchestra, Orchestre de Paris, Los Angeles Philharmonic, Vienna Symphony, London Philharmonic Orchestra, Hamburg Symphoniker, Symphonica Toscanini, Deutsches Symphonie Orchester Berlin, Monte-Carlo Orchestre Philharmonique, and the Cincinnati Symphony Orchestra.
Robert Dean Smith’s CD recording on Arte Nova of Wagner scenes has been awarded the “Orphée d’Or” by the Académie du Disque Lyrique. Born in Kansas, USA, he studied at Pittsburg (Kansas) State University with Margaret Thuenemann, at the Juilliard School in New York City with Daniel Ferro, and with Professor Janice Harper in Europe. Like many dramatic tenors, he began his career as a baritone and sang for several years in German opera houses. His excellent training and stage versatility allow him to sing a wide variety of repertoire in many different languages and styles.
Camilla Nylund has established herself as one of the world’s leading lyric-dramatic sopranos.
Her title role debut in ‘Rusalka’ at the Salzburg Festspiele in 2008 with the Cleveland Symphony Orchestra under the direction of Franz Werner-Möst garnered rave reviews, gaining acclaim from the international press. The Finnish soprano regularly appears with world-renowned orchestras and conductors and has sung leading roles in opera houses in Zürich, Vienna, Paris, Berlin, Dresden, Köln, Hamburg, Tokyo, Helsinki, Barcelona, San Diego, Amsterdam, Bayreuth, San Francisco, London and Milan.
Throughout her career Ms. Nylund has performed in numerous Strauss and Wagner operas. She has sung the title role in ‘Arabella’ at the Bayerische Staatsoper, Oper Frankfurt, Vlaamse Opera and the Wiener Staatsoper, Chrysothemis in ‘Elektra’ at Dutch National Opera and Semperoper Dresden, Gräfin in ‘Capriccio’ at Oper Köln and in Venice, and the title role in ‘Ariadne auf Naxos’ at the Wiener Staatsoper. As the Marschallin in ‘Der Rosenkavalier’ Ms. Nylund performed in Teatro alla Scala, New National Theatre Tokyo, Dutch National Opera and the Wiener Staatsoper; as Eva in ‘Der Meistersinger von Nürnberg’ she sung at the Hamburgische Staatsoper, Bayerische Staatsoper and the Semperoper Dresden.
Other significant opera productions have included ‘Don Carlo’ (Elisabeth) at Dutch National Opera and ‘Eugene Onegin’ (Tatjana) at the Hamburgische Staatsoper and Semperoper Dresden.
A native of Vaasa in Finland, Camilla Nylund received her musical education with Professor Eva Illes and at the Mozarteum in Salzburg. For her outstanding achievement she was awarded the Lilli Lehmann Medal in 1995 by the International Foundation of the Mozarteum. Since 2003 she has worked with Prof. Irmgard Boas.
After a highly acclaimed debut at the Niedersächsische Staatsoper Hannover she was engaged as a permanent member of the ensemble from 1995-1999. Ms. Nylund made her debut at the Finnish National Opera in 1996 in the role of the Contessa in ‘Le nozze di Figaro’. From 1999 – 2001 she was a member of the ensemble of the Dresden Semperoper where she sung in numerous operas including ‘Così fan tutte’, ‘Falstaff’, ‘La Clemenza di Tito’, ‘Die Meistersinger von Nürnberg’, ‘Arabella’, ‘Tannhäuser’, ‘Der Rosenkavalier’, ‘Der Freischütz’ and ‘Der Fledermaus’. While in Dresden she was the recipient of the prestigious Christel Goltz-Preis. Until 2011 she made various guest appearances at the Dresden Semperoper and in 2016 she will return to sing Tatjana in Tchaikovsky’s ‘Eugene Onegin’.
In 2008 Ms. Nylund was given the title ‘Kammersängerin’ by the state of Saxony. In 2013 she was awarded the prestigious Culture Prize of Sweden for her exceptional accomplishments and the Pro Finlandia Medal of the Order of the Lion of Finland, one of Finland’s highest honours.
(born 1966 in Vágur) is a bass opera singer from the Faroe Islands, who works in operas around the world. He has been building his repertoire with Wagner (Gurnemanz, Hagen, Hunding, Fafner, Pogner, Heinrich) and other leading bass roles such as Osmin/The Abduction from the Seraglio, Timur/Turandot, Sparafucile/Rigoletto, Sarastro/The Magic Flute, Kaspar/Der Freischütz, the Doctor/Wozzeck, Rocco/Fidelio, and Basilio/The Barber of Seville in the ensembles of the Mainz, Ulm, Detmold, Bern, and Mannheim opera companies. In January 2017 he received the Faroese Cultural Prize.
Rúni was born and raised in the village of Vágur on Suðuroy, the southernmost island of the Faroe Islands. He is the son of Árni and Karin Brattaberg, founders of the Faroese wool yarn and knitwear company “Sirri”, based in Vágur.
Rúni first graduated as a documentary photographer in Copenhagen, and worked as a documentary photographer for eight years, before he trained to become a singer. He studied at the Sibelius-Akatemia in Helsinki from 1997 to 1999 and at Internationales Opernstudio IOS in Zurich from 1999 to 2000.
Brattaberg is married to German opera singer Susanne Brattaberg-Jacoby.