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Isabel Karajan (born 25 June 1960 in Vienna) is an Austrian actress. She is a daughter of Herbert von Karajan and Eliette von Karajan.
| The topic of this article may not meet Wikipedia's notability guideline for biographies .(March 2020) |
Isabel Karajan (born 25 June 1960 in Vienna) is an Austrian actress. She is a daughter of Herbert von Karajan and Eliette von Karajan.
After completing her Matura, Isabel Karajan studied acting in Vienna and Paris. [1] [2] She had her first acting engagements with the playhouses in Zurich and Stuttgart, the Thalia theatre Hamburg, [3] the theatre Der Kreis in Vienna [4] and the Théâtre National de la Colline. [5] From 1995 to 1998 Isabel Karajan played the part of the Good Works in Jedermann at the Salzburg Festival. She also performed in Avignon and Adelaide, Australia, as well as at the Teatro Colón in Buenos Aires, [6] the Schauspielhaus Stuttgart, the Münchner Kammerspiele and at the Schaubühne in Berlin. In 2000, she appeared in Jeanne d'Arc au bûcher by Arthur Honegger at the Saito-Kinen Festival in Japan. [7] It's the extraordinary projects that are close to Isabel Karajan's heart. She has been developing her own projects for solo theatrical performances, chamber music or large orchestra with directors such as Klaus Ortner, Jorge Lavelli, Julian Pölsler, Christina Pfrötschner and others for several years. At the Shostakovich Days in Gohrisch, the Salzburg Easter Festival, the Diaghilev Festival of Currentzis in Perm, the Soli Deo Gloria Festival in Goslar and the Kfar Blum Festival in Israel, she presented "Miss Death meets Mr. Shostakovich ", a scenic collage on fear with chamber music by Shostakovich and texts by his contemporaries. Together with members of the Berliner Philharmoniker and the Bamberg Symphony Orchestra, she appeared on stage in Stravinsky's "The Story of the Soldier" and also played "Eight Songs for a Mad King" by Peter Maxwell Davies. At the Saito-Kinen Festival in Japan, she appeared as "Jeanne d`Arc au bûcher" by Arthur Honegger. In 2015, under the direction of Julian Pölsler, "Die Feuerprobe" with poems by Christine Lavant and Op. 40 by Shostakovich. Furthermore, Isabel Karajan, in collaboration with the director Christina Pfrötschner, created a word music collage for the Midsummer Night's Dream.
In 2016, Isabel Karajan starred in Bernstein's "Candide" with the Hamburg Symphony Orchestra under the direction of Jeffrey Tate. This was followed in 2017 by Edgar A. Poe's "The Mask of the Red Death" at the Swiss Alp Classic Festival in Andermatt with Clemens Hellsberg and members of the Vienna Philharmonic. In the summer of 2018 she performed with the composer Beat Furrer at the Salzburg Festival with an interpretation of the "Wüstenbuch" fragment by Ingeborg Bachmann. As leading actress she was involved in the development and successful premiere of the opera "Stillhang" by Christian Spitzenstätter in December 2018 under the direction of Klaus Ortner. Shakespeare's "Midsummer Night's Dream" in the version by F. Mendelssohn Bartholdy described her from the point of view of an orchestra violist together with the Staatskapelle Dresden and the conductor Vladimir Jurowski in three concert evenings in the Semper Oper Dresden in 2019.
For several years, Isabel Karajan collaborated with directors Klaus Ortner, Julian Pölsler and Christina Pfrötschner on their own musical theater projects. She was also in numerous film and television productions by Wolfgang Murnberger, Holger Barthel, Nina Companéez, Alain Michel Blanc, Erhard Riedlsperger, Michi Riebl, Rupert Henning and Patricia Mazuy. [8] [ unreliable source? ]
Karl August Leopold Böhm was an Austrian conductor. He was best known for his performances of the music of Mozart, Wagner, and Richard Strauss.
Herbert von Karajan was an Austrian conductor. He was principal conductor of the Berlin Philharmonic for 34 years. During the Nazi era, he debuted at the Salzburg Festival, with the Vienna Philharmonic, the Berlin Philharmonic, and during World War II he conducted at the Berlin State Opera. Generally regarded as one of the greatest conductors of the 20th century, he was a controversial but dominant figure in European classical music from the mid-1950s until his death. Part of the reason for this was the large number of recordings he made and their prominence during his lifetime. By one estimate, he was the top-selling classical music recording artist of all time, having sold an estimated 200 million records.
The Salzburg Festival is a prominent festival of music and drama established in 1920. It is held each summer, for five weeks starting in late July, in Salzburg, Austria, the birthplace of Wolfgang Amadeus Mozart. Mozart's operas are a focus of the festival; one highlight is the annual performance of Hofmannsthal's play Jedermann (Everyman).
Helen Jeanette Donath is an American soprano with a career spanning fifty years.
Gundula Janowitz is an Austrian lyric soprano singer of operas, oratorios, lieder, and concerts. She is one of the most renowned opera singers of the 20th century and was pre-eminent in the 1960s and 1970s.
Harry Alfred Robert Kupfer was a German opera director and academic. A long-time director at the Komische Oper Berlin, he worked at major opera houses and at festivals internationally. Trained by Walter Felsenstein, he worked in the tradition of realistic directing. At the Bayreuth Festival, he staged Wagner's Der fliegende Holländer in 1978 and Der Ring des Nibelungen in 1988. At the Salzburg Festival, he directed the premiere of Penderecki's Die schwarze Maske in 1986 and Der Rosenkavalier by Richard Strauss in 2014.
The Salzburg Easter Festival is a classical music and opera festival held every year over the extended week before Easter in Salzburg, Austria since 1967.
Edith Mathis is a Swiss soprano and a leading exponent of the works of Wolfgang Amadeus Mozart worldwide. She is known for parts in Mozart operas, but also took part in premieres of operas such as Henze's Der junge Lord.
Michail Vladimirovich Jurowski was a Russian conductor who worked internationally, based in Germany for most of his career. He was particularly interested in the works of Dmitri Shostakovich, in concerts and recordings.
Wilma Lipp was an Austrian operatic soprano and academic voice teacher. A long-time member of the Vienna State Opera, she was particularly associated with the role of the Queen of the Night in Mozart's Die Zauberflöte, a role she performed internationally more than 400 times. She was awarded the title Kammersängerin at age 28, and was an honorary member of the Vienna State Opera, among other honours.
Naděžda Kniplová was a Czech operatic soprano who had an active international career from the 1950s through the 1980s. Kniplová possessed a large voice with a sonorous, metallic, dark timbre that was particularly well suited to the dramatic soprano repertoire. While she was most admired in Czech operas and as Wagnerian heroines, she sang a wide repertoire that also encompassed Italian, Russian, and Hungarian language roles. A fine actress, her performances were praised for their intensity and pathos. However, some critics commented on a certain lack of steadiness or purity in her singing. Her voice is preserved on a number of recordings made on the Supraphon and Decca labels.
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Claire Born was a German operatic soprano. A long-term member of the Vienna State Opera and the Semperoper in Dresden, she appeared at leading international opera houses and festivals, in roles such as Donna Elvira in Mozart's Don Giovanni, Eva in Wagner's Die Meistersinger von Nürnberg and the title role of Ariadne auf Naxos. She performed in world premieres including Hindemith's Cardillac and Othmar Schoeck's Vom Fischer un syner Fru.
Ruth Hesse was a German opera singer. A dramatic mezzo-soprano, she was a member of the Deutsche Oper Berlin from 1962 to 1995, where she took part in the world premiere of Henze's Der junge Lord. She was first invited to the Bayreuth Festival in 1960, where she performed until 1979.
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Michael Hampe was a German theatre and opera director, general manager (Intendant) and actor. He developed from acting and directing plays at German and Swiss theatres including the Bern Theatre, to focus on directing opera and managing opera houses, first at the Mannheim National Theatre, then the Cologne Opera from 1975. He was professor at the Hochschule für Musik und Tanz Köln since 1977. Hampe was influential for both the Salzburg Festival and, after the reunification of Germany, the Dresden Music Festival for which he commissioned and directed world premieres. He directed at international opera houses and festivals, including productions recorded for television, film and DVD.
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