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	Rákoshegyi Bartók Zeneház

< h1 align="center" style="font-size: 14px; border-bottom: 1px solid rgb(214, 214, 214);"> "Brazíliai vendégek"

2018. május. 19. szombat 17:00

Villa Lob os dallamok

Gabriell a Pace (soprano),
Denise de Fr eitas (mezzo),
Licio Bruno (b ass bariton)
és Sonia Rubinsky (zongora)

RELEASE:

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CICLO BRASILEIRO (Brazilian Cicle)

Villa-Lobos and the c onstruction of Brazil in art songs

Featuring Gabriella Pace (soprano), Denise de Freitas (mezzo-soprano) , Licio Bruno (baritone) and Sonia Rubinsky (piano)

Vill a-Lobos is widely known as one of the most prolific and original composers of the 20th century, with an output of over a thousand works. A significant part of his production was devoted to vocal music, with an impressive con tribution to the art song repertoire which still remains to be explored: Vi lla-Lobos left an output of around 150 art songs, ranging from settings of texts by Brazilian poets to unusual harmonizations of national folklore. So metimes sweetly evocative, sometimes highly dramatic, each song is a snapsh ot of Brazilian life, posing great challenges for singers and pianists alik e, from both a technical and an artistic point of view.

This program takes the list ener in a journey through Brazil and its music as conceived by its greatest composer. The four pieces of the „Ciclo Brasileiro“ (1936) for solo piano provide the framework for a selection of twenty songs from different compos itional periods, including selections from the colorful "Typical Brazilian Songs" and the dense "Serestas", as well as the songs from "Forest of the A mazon", Villa-Lobos' summit and summary of a whole life dedicated to Brazil and its culture.

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Sonia Rubinsky was born in Brazil and lived there for t he first thirteen years of her life; she later lived in Israel for seven ye ars, then moved to New York. She gave her first concert when she was five-a nd-a-half years old, gave her first performance as soloist with orchestra w hen she was twelve, and performed for Arthur Rubinstein when she was sixtee n.

Rubinsky studied with Vlado Perlemuter, Beveridge Webster, J acob Lateiner, Olga Normanha and William Daghlian, and graduated from the < a href="https://en.wikipedia.org/wiki/Juilliard_School" style="text-decorat ion-line:none;color:rgb(11,0,128);background:none">Juilliard School wit h a Doctor of Arts degree. She has performed as a soloist or with orchestra s in North America, Europe, Israel and South America. She performs regularl y in Brazil, notably with the Orchestra of the Theatro Municipal of Rio de Janeiro and of São Paulo, the Brazilian Symphony Orchestra, the Campinas Sy mphony, and the São Paulo State Symphony. She has received the prestigious William Petschek Award as well as a "Best Recitalist of the Year" award fro m the São Paulo Association of Music Critics. She won the Carlos Gomes Priz e as Pianist of the Year in 2006, and won a Latin Grammy Award, in 2009, fo r Best Recording of the Year for the 8th disc in a series of complete piano works of Heitor Vill a-Lobos, on the Naxos< /a>label.

Rubinsky has recorded the complete piano works of Heitor Villa-Lobos for the Naxos label. She has also recorded music by John Adams, Debussy, Mozart and others for the Nonesuch/Elektra, Daghlian, Albany Records and Algol Editora labels.

Gabriella Pace is a two time winner of the Carlos Gomes Prize ‘Best Female Singer’ in Braz il. The second in 2010 was for her performance in ‘A Menina das Nuvens by V illa-Lobos. Gabriella has worked with distinguished conductors such as Lori n Maazel, Isaac Karabtchevsky, John Neschling, Rodolfo Fischer and Roberto Minczuk.

Among her roles are Ilia/IDEOME NEO, Pamina/DIE ZAUBERFLÖTE, Susanna/LE NOZZE DI FIGARO, Soer Constance/DIA LOGUES DES CARMELITES, Giulietta/I CAPULETI E I MONTECCHI, Adina/L’ELISIR D ’AMORE, Norina/DON PASQUALE and Adele/DIE FLEDERMAUS. She has also appeared as a soloist in Mahler’s Fourth Symphony, Beethoven’s Ninth Symphony, Orff s CARMINA BURANA, Mendelssohn’s LOBGESANG, Mozart’s REQUIEM, Rossini’s STAB AT MATER, DIE SCHÖPFUNG, MASS IN TEMPORI BELLI and DIE JAHRESZEITEN by Hayd n. With the Raga String Quartet she has sung Schoenberg’s STRING QUARTET OP . 10 NO.2

Recordings include the Requiem Ebraico by Zeisl with OSESP (Orquestra Sinfônica do Estado de São Paulo).< /span>

In season 17/18 Gabriella will sing the part of Adele in DIE FLEDERMAUS with Aarhus Symphony Orchestra.

Gabriella started her music and vocal studies with her father, Héctor Pace, and later on studied with Leilah Farah in São Paul o and Pier Miranda Ferraro in Milan.

Denise de Freitas ~~stands out as an artist of great musical and scenic expressiveness.~~  ~~Ow ner of one of the most important lyric careers in Brazil today.~~

With performances in the most renowned houses in Brazil, such as the Municipal Theater of São Paulo, Theatro Municipal of Rio de Janeiro , Theatro da Paz in Belém, Theatro Amazonas of Manaus, Palácio das Artes in Belo Horizonte, Denise has, in its repertoire, great roles for the mezzo-s oprano voice, including the title role in Carmen and La Cenerentola, Dalila in Samson et Dalila, Adalgisa in Norma, Laura in La Gioconda, Charlotte fr om Werther, Fenena in Nabucco, Azucena in Il Trovatore , The Composer in Ar iadne auf Naxos, Fricka in The Valkyrie, Rosina (The Barber of Seville), Ch erubino in Mozart's Figaro, Nicklausse in The Tales of Hoffmann, Mère Marie in Dialogues of the Carmelites, John from John and Mary, The Boy in L 'Enf ant et les Sortilèges, Siebel in Faust, Principessa in Adriana Lecouvreur, Orfeo in Orfeo and Euridice, among others.

In 2016, under the rule of Maestro Fábio Mechetti, with the Belo Horizonte Philharmonic, she performedMahler's Das Lied von der Erde. .

Internatio nally, Denise de Freitas sang the opera Yerma de Villa-Lobos in Berlin, Par is and Lisbon; on a tour of several European cities, under the regency of M aestro Helmut Hilling was presented in Stabat Mater of Dvořak. In the opera of Bogota, he participated in the scenarios of The Weddings of Figaro, The Tales of Hoffmann and The Barber of Seville, in the above-mentioned roles.

As a concert performer, his interpretations in Mahler's symphonies and, of the same author, Kindertotenlieder and Des Knaben Wunder horn stand out; Berlioz's Les nuits d'été; The Messiah, by Handel; Bach Mag nificat; The love witch, of Falla.

Throughout his career, all these interpretations earned him three awards Carlos Gomes in 2004, 20 09 and 2011. Denise de Freitas also received the Bidú Sayão Award, the MEC Radio Talents Award, was the winner of the Brazilian Song Interpretation Co ntest , and holder of the APCA Prize for the CD Lembrança de Amor, with com positions by Osvaldo Lacerda and Eudóxia de Barros on piano.

Licio Bruno, awarded the Carlos G omes Award 2004 as Best Male Vocal Performer, considered by industry critic s to be one of Brazil’s most prominent and sought-after interpreters of the dramatic baritone repertoire, Licio Bruno has demonstrated his versatility in various different musical genres, such as operas, operettas and musical s, missa cantata and oratorio, chamber music and symphonic repertoires.

Member of th e Hungarian State Opera House opera cast for two years and later Guest Sing er for 8 years consecutively, Bruno performed in La Bohème, I Pagliacci, Co sì Fan Tutte, Carmen and Tannhäuser.

At the 9th Annual Amazonas Opera Festival in 2005, Lic io Bruno experienced an important milestone in his career when he became th e first Brazilian to perform the role of the god Wotan in the historic and successful full production of Wagner’s tetralogy Der Ring des Nibelungen, t he first Brazilian production of this work, under the direction of Maestro Luis Fernando Malheiro and stage direction of Aidan Lang. Numerous critics pointed out the excellence of his vocal and artistic work.
< p style="margin: 0cm 0cm 10pt; line-height: 15.18px; font-size: 11pt; font- family: calibri, sans-serif;"> In 2002, he became the first Bra zilian to portray Wotan in Wagner’s Die Walküre, in the 6th Annual Amazonas Opera Festival, receiving critical acclaim for his performance.

In October 2004, with the Opera of Colombia, in Bogotá, he performed the Four Villains in Les Contes d’Hoffmann, by Offenbach (Lindorf, Coppelius, Miracle and Dappertutto) for the third time in his career.

Bruno’s operatic career includes stage performances in Italy, Spain, Germany, Switzerland, Hungary, Colombia and Brazil, in such roles a s Wolfram (Tannhäuser), Tonio (I Pagliacci), Figaro & Count Almaviva (Le No zze di Figaro), Guglielmo (Così Fan Tutte) and Escamillo (Carmen), Rigolett o (Rigoletto), and The Four Villains (Tales of Hoffmann). In 2001,

Bruno performed “Prologu e in Heaven”, in Arrigo Boito’s Mefistofel, was Friedrich von Telramund in Wagner’s Lohengrin at the Municipal Theater of São Paulo, under the musical direction of Ira Levin to high acclaim by the critics.

He sang Verdi’s Requiem, Beethoven’ s Fidelio (D. Fernando) and made his debut as Jago in the new Italian-Colom bian production of Giuseppe Verdi’s Otello, at the Colón Theater in Bogotá.

Bruno sang also Wolfram in Tannhäuser, Guglielmo in Cosi Fan Tutte, Otello’s Jago; Papagen o in Magic Flute, and had an acclaimed debut in two main roles: Gerard from Giordano’s Andrea Chènier and Barnaba from Ponchielli’s La Gioconda, in Te atro Municipal de Sao Paulo. He was also President Rodrigues Alves in the w orld premiere from O Cientista, opera in 2 acts by the Brazilian composer S ilvio Barbato.

B runo appeared as Figaro in Mozart’s Le Nozze di Figaro in Rio, acclaimed by critics as one of the most interesting roles he has ever made. He also per formed Beethoven’s 9th in Bogotá, Colombia and São Paulo, Brazil and perfor med Orff’s Carmina Burana in Sala São Paulo and Theatro Municipal do Rio de Janeiro, where again critics pointed out his alternate comic, sarcastic an d passionate vein. Debuted: Cav&Pag in Bogotá, Colombia and had a very spec ial debut in the title role FALSTAFF from Verdi’s famous opera in two citie s, Belo Horizonte and São Paulo, Brazil. Rewiewers pointed out the maturity of Licio’s interpretation. He sung also Carlo, from Verdi’s Ernani, perfor med Don Annibale in Il Campanello from Donizetti and Gianni Schicchi in Vit oria and Haydn’s Oratorio “The Creation” in Municipal Theater, SP.

Licio Bruno can also be heard as a chamber musician and is a specialist in Brazilian classical song . He had duos with guitarist Nicolas de Souza Barros - with whom he has per formed Brazilian repertoire extensively - and with British pianist Elizabet h Mucha, wich repertoire ranges from Schubert’s “Winterreise” through Roman tic composers such as Schumann and Rachmaninov to contemporary works by Eng lish composers, Ivor Gurney and Benjamin Britten and French composers, Poul enc and Ravel. He also took part as guest singer in the XIII Rio Internatio nal Cello Encounter, singing Schubert, Ivor Gurney and Mozart. He and piani st Tamás Sálgo had also performed many recitals in duo through several Hung arian cities, sponsored by Brazilian Embassy in Budapest (1997/2000)

Bruno made the first S outh American audition of the contemporary opera A Water Bird Talk, by Domi nick Argento (his first ever operatic monologue), among many recitals and c hamber concerts in Brazil and Europe.

Bruno has been heard  in several cities and seasons o f important orchestras in Brazil, singing Beethoven’s Missa Sollemnis, Neun te Symphonie, Debussy’s L’Enfant Prodigue, in Minas Gerais, Rio de Janeiro, São Paulo, Campos, Vitoria, Santo Andre, Brasilia, Manaus, Belém, Salvador , Bahia - Haendel’s The Messiah with Salvador Baroque Chamber Ensemble. In Rio de Janeiro, he sung Bach’s Johannes Passion with Orquestra Sinfonica Br asileira, and with Theatro Municipal do Rio de Janeiro Bruno sung Orff’s Ca rmina Burana, Rossini’s Barbiere di Siviglia (Bartolo), Gomes’  Guarany (Ca cico), Gounod’s Romeo & Juliette (Capullet) and Donizetti’s Lucia di Lammer moor (Enrico).

B runo debuted Heitor Villa-Lobos opera “A Menina das Nuvens” in São Paulo an d Puccini’s Tosca as Barone Scarpia, at Theatro Municipal do Rio de Janeiro .

Engagements fo r Bruno’s 25th Career Jubileum (1988-2013) included Verdi’s AIDA (Amonasro) and Wagner’s Die Walkure (Wotan) in Theatro Municipal do Rio de Janeiro, B razil, Rossini’s Turco in Italia with Orquestra Sinfonica Brasileira, and R igoletto (title role), and Falstaff (Sir. John) in São Paulo. Also Der Flie gender Holleander (title role) in Argentina (La Plata) and many symphonic c oncerts as Verdi’s Réquiem in Vitória, ES, Fauré’s Requiem and Carmina Bura na in Belo Horizonte and Rio de Janeiro.

He’s also university teacher in 3 subjects:  Singi ng, Ópera Performance and Diction at the Bachelor’s Singing Course from Con servatório Brasileiro de Música do Rio de Janeiro, working as Guest Profess or in many Master Classes he had been given in many cities of Brazil and Co lombia.

~~Licio Bruno~~

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