Nathalie Stutzmann will make her Bayreuth Festival debut in 2023 leading a production of Wagner’s Tannhäuser, an opera she already performed in 2017 at Monte-Carlo opera to great critical acclaim. She will be the second woman in history on the podium of the Bayreuth Theater.
Nathalie Stutzmann is the sponsor of the 15th edition of ‘Tous à l’Opéra’ which will be held from May 6 to 8, 2022.
This event has already reached more than one million people since 2007 and has become an unmissable event for the French audience. More than 30 opera houses and companies will participate in the event, destined for encouraging the widest possible audience to enter opera houses. On the programme, a wide range of free events open to all: open rehearsals, concerts, costume and make-up workshops, backstage tours, meetings with professionals…
More information on Tous à l’Opéra’s website.
Nathalie Stutzmann was scheduled to make her Metropolitan Opera debut in 2021 (cancelled due to Covid-19) and will finally debut in 2023. She will conduct two new productions of Mozart’s Don Giovanni (performances from May 5 to June 2) and Die Zauberflöte (performances from May 19 to June 10). Both will have live worldwide movie theater transmissions. Click here for more details about the productions.
Nathalie Stutzmann will become Atlanta Symphony Orchestra’s Fifth Music Director from the 2022-2023 season. She will be the first woman to serve as the ASO’s music director and only the second woman to lead a major American orchestra, following in the footsteps of Marin Alsop. As the fifth Music Director in the ASO’s history, Stutzmann follows Henry Sopkin, Robert Shaw, Yoel Levi and Robert Spano.
“It is a privilege to be named Music Director of the Atlanta Symphony Orchestra. The devoted commitment to music of the ASO musicians touches my heart. They have beautiful open minds, and they love to work hard, to be challenged and to take the necessary risks to serve the music and bring the highest levels of emotion to their audience. There is a special chemistry between the orchestra and me that we all immediately recognized, and this is the perfect time for us to deepen our relationship. After doing such wonderful work with Robert Spano over the past 20 years, the orchestra is in top shape, and I look forward to working with this incredible ensemble to chart new artistic territory. As a singer, I am also thrilled about the prospect of working with the ASO Chorus, which is one of America’s finest choirs. We are planning several ambitious projects, including performances of Mozart’s Requiem in March 2022 and of Bach’s St. Matthew Passion, a life-changing experience for any orchestra, during the 2022-23 season. It is also very important for us to connect with the Atlanta community, sharing our infectious love of music. Fulfilling the community’s hopes and expectations is a huge responsibility and a legacy that I am honored to continue.”
In her new album, Nathalie Stutzmann shines a light on the deep-voiced female singers of the Baroque era, often overshadowed by the extravagant talents and reputations of castrato singers like Farinelli and Caffarelli. Her programme of Handel, Vivaldi, Porpora, Bononcini, Caldara and Gasparini displays the variety of operatic roles – both female and male – assumed by contraltos like Vittoria Tesi and Anna Marchesini.
“We must remember that the opera composers of the early 18th century saw the female contralto and the male castrato as vocally interchangeable,” says Stutzmann, “and that the voice most closely resembling a castrato is not the countertenor – produced using a falsetto technique – but the contralto, which is a natural voice.”
Stutzmann both sings and conducts Orfeo 55.
Order the album here: https://w.lnk.to/nscFA
