BACKJenny Mollica appointed as ENO’s director of Baylis
English National Opera (ENO) has appointed Jenny Mollica as director of Baylis, its learning and participation department.
In the last four years, ENO Baylis has exposed more than 20,000 young people to opera through Opera Squad residencies and Baylis in the Balcony, a scheme providing free tickets to schools for dress rehearsals. Focusing on young people aged 11 – 18, it has this year extended to working with schools in Luton and Liverpool as well as in London.
‘Baylis is the core of ENO and is integral to everything we do – making opera accessible to all, inspiring people across the country and engaging with children and young adults in an exciting and dynamic way,’ says ENO chief executive Stuart Murphy. ‘Jenny has a brilliant vision for where she would like to take Baylis and we are all looking forward to working with her.’
Dirigent Stephan Zilias wird Generalmusikdirektor in Hannover
Die Intendantin des Niedersächsischen Staatstheaters, Laura Berman, hat Stephan Zilias als neuen Generalmusikdirektor der Staatsoper Hannover vorgeschlagen. Es bestand Einigkeit im Aufsichtsrat darüber, die Verhandlungen mit ihm zum Abschluss zu bringen. Damit wird zum Beginn der Spielzeit 2020/21 die Stelle nach einjähriger Vakanz wieder besetzt, nachdem der Vertrag von Ivan Repusic im Sommer 2019 endete.
Stephan Zilias studierte Klavier und Dirigieren in Köln, Düsseldorf und London. Zu seinen Lehrern zählten Pierre-Laurent Aimard und Tamara Stefanovich (Klavier), sowie Volker Wangenheim, Rüdiger Bohn und Colin Metters (Dirigieren). Wichtige musikalische Impulse erhielt er durch Meisterkurse bei Bernard Haitink, Gianluigi Gelmetti und Ilan Volkov.
In der Saison 2018/19 wurde Stephan Zilias Kapellmeister und Assistent von Donald Runnicles an der Deutschen Oper Berlin.
Conductor Stephan Zilias becomes general music director in Hanover
The artistic director of the Lower Saxony State Theater, Laura Berman, has proposed Stephan Zilias as the new general music director of the Hanover State Opera. The Supervisory Board agreed to bring the negotiations with him to a conclusion. This means that the position will be filled again after a one-year vacancy at the start of the 2020/21 season, after Ivan Repusic’s contract ended in summer 2019.
Stephan Zilias studied piano and conducting in Cologne, Düsseldorf and London. His teachers included Pierre-Laurent Aimard and Tamara Stefanovich (piano), as well as Volker Wangenheim, Rüdiger Bohn and Colin Metters (conducting). He received important musical impulses through master classes with Bernard Haitink, Gianluigi Gelmetti and Ilan Volkov.
In the 2018/19 season, Stephan Zilias became conductor and assistant to Donald Runnicles at the Deutsche Oper Berlin.
Palazzetto Bru Zane 2020, Offenbach et Wachs au Théâtre Marigny
L’opérette signée Palazzetto Bru Zane revient en 2020 avec une nouvelle production Lischen et Fritzchen de Jacques Offenbach et Un mari dans la serrure de Frédéric Wachs. Les deux opérettes seront au programme du Théâtre Marigny du 28 février 2020 au 5 mars 2020. Un diptyque qui célèbre l’humour à la française typique de l’époque du deuxième empire. Croirait-on que les opéras et opérettes en un acte représentent presque les deux tiers du répertoire lyrique français de l’époque romantique, tant ils sont peu joués aujourd’hui ? Dans les grands théâtres, ces ouvrages avaient pour mission de servir de lever de rideau aux pièces en trois actes et d’adapter ainsi la durée des soirées lyriques qui devaient occuper le spectateur pendant trois ou quatre heures d’affilée.
Palazzetto Bru Zane 2020, Offenbach and Wachs at the Théâtre Marigny
The operetta by Palazzetto Bru Zane returns in 2020 with a new production of Lischen et Fritzchen by Jacques Offenbach and Un mari dans la serrure by Frédéric Wachs. Both operettas will be on the programme of the Théâtre Marigny from 28 February 2020 to 5 March 2020. A diptych that celebrates the French-style humour typical of the Second Empire era. Would you believe that one-act operas and operettas represent almost two-thirds of the French lyrical repertoire of the Romantic period, so little of them are performed today? In the great theatres, these works were intended to serve as a curtain-raiser for three-act plays, thus adapting the length of the lyrical evenings that were to occupy the audience for three or four hours at a time.