 |
 |
 |
TITAN
Programme
LIEDER EINES FAHRENDEN GESELLEN
Gustav Mahler - Arr. Iain Farrington
1. Wenn mein Schatz Hochzeit macht
2. Ging heut morgen übers Feld
3. Ich hab' ein glühend Messer
4. Die zwei blauen Augen von meinem Schatz
FIRST SYMPHONY in D M
Gustav Mahler - Arr. Iain Farrington /Adapt. Isabel Costes
1. Langsam, schleppend
2. Scherzo: Kräftig bewegt, doch nicht zu schnell
3. Trauermarsch: Feierlich und gemessen, ohne zu schleppen
4. Stürmisch bewegt
Ensemble de La Orquesta Sinfónica Del Atlántico, ODA
Baritone soloist
Conductor: Mtra. Isabel Costes
Lieder Eines Fahrenden Gesellen (The Songs of the Wandering Comrade)
By the time Gustav Mahler began his career, Schubert was an acknowledged master of a respected genre and an obvious model for the young composer's early attempts at Lieder. Mahler had earlier written several stand-alone songs for voice and piano, but it was not until late 1883 that he wrote his first song cycle.
Mahler wrote the poetry for the Lieder eines fahrenden Gesellen himself, although he was heavily influenced by the popular verses in the collection Des Knaben Wunderhorn ("The Magic Horn of Youth", selections from which he would later set for voice and orchestra). These poems are thought to be autobiographical; Mahler presents himself as "a traveller who has faced adversity, who has gone out into the world and wandered alone".
He originally wrote six poems but reduced the Cycle to four. During this time, Mahler also worked on his first symphony, honing the techniques that would distinguish him as one of the last great Romantic symphonists. Around 1890, Mahler decided to orchestrate the piano part of Lieder eines fahrenden Gesellen, returning his first song cycle to its symphonic sensibility.
Mahler wrote the poetry for the Lieder eines fahrenden Gesellen himself, although he was heavily influenced by the popular verses in the collection Des Knaben Wunderhorn ("The Magic Horn of Youth", selections from which he would later set for voice and orchestra). These poems are thought to be autobiographical; Mahler presents himself as "a traveller who has faced adversity, who has gone out into the world and wandered alone".
He originally wrote six poems but reduced the Cycle to four. During this time, Mahler also worked on his first symphony, honing the techniques that would distinguish him as one of the last great Romantic symphonists. Around 1890, Mahler decided to orchestrate the piano part of Lieder eines fahrenden Gesellen, returning his first song cycle to its symphonic sensibility.
First Symphony in D major
Several facts about Mahler emerge in connection with this First Symphony. First, his activities as a composer of songs (lieder) were inextricably intertwined with his work as a symphonist. In this case, themes from his Songs of a Wandering Comrade, which he began in 1883, play a central role in the overture and third movement of the First Symphony.
It was in 1884 that he first scribbled down the themes that would eventually make it into the Symphony. In 1889 the First Symphony was premiered in Budapest in its original five-movement version. After the premiere he revised it for further performances, ultimately excising an entire movement and premiering the work in (almost) its present form in Berlin in 1896.
Mahler began the First Symphony with an elaborate programme derived from the early German Romantic writers Jean Paul and E.T.A. Hoffmann - writers whose ecstatic imagery and descriptions of the grotesque and macabre certainly left their mark on Mahler's music - and the medieval Italian poet Dante Alighieri - the finale of the Symphony at one point bore the descriptive title Dall' Infierno al Paradiso. The visual arts also played a major role, especially Moritz von Schwind’s woodcut The Hunter’s Funeral Procession (1850), in which the forest animals carry the dead hunter’s coffin—a key impetus for the funeral procession’s third movement.
But Mahler eventually distanced himself from these influences, leaving a four-movement Symphony with a sonata-allegro overture, an energetic, earthy dance movement, the funeral procession, and a finale whose storm dissolves in light. And though it is a product of his years as a traveler, the Symphony, in its final form, already affirms Mahler’s complete mastery, an unequivocal announcement that the traveler has finally arrived.
About “Titan”
Mahler wrote the poetry for Lieder eines fahrenden Gesellen himself, although he was greatly influenced by the popular verses in the collection Des Knaben Wunderhorn («The Magic Horn of Youth», selections from which he would later set for voice and orchestra).
Several facts about Mahler emerge in connection with this First Symphony. Themes from his Songs of a Wandering Comrade, begun in 1883, play a central role in the overture and third movement of the First Symphony. It was in 1884 that he first scribbled down the themes that would eventually enter the Symphony. In 1889 the First Symphony was premiered in Budapest in its original five-movement version. After the premiere he revised it for further performances, ultimately excising an entire movement and premiering the work in (almost) its present form in Berlin in 1896.
Concerts
RAJIV CEREZO
Rajiv Cerezo is a Spanish baritone (Madrid, 1992), although his maternal family is originally from India. He began his flute studies at the El Escorial Conservatory (Madrid), finally graduating in singing at the Escuela Superior de Canto de Madrid, under the tutelage of important teachers such as the soprano Milagros Poblador, Ana Rodrigo, Santiago Calderón, where he obtained high grades, as well as with the maestro Vincenzo Spatola.
After passing through various choral groups such as the Coro de la Comunidad de Madrid (JORCAM and ORCAM), he was selected for the CRESCENDO program, a training program for young opera solo singers promoted by the Teatro Real in Madrid. He has also participated in several projects of the Berlin Opera Studio and the Lyric Opera Academy.
He has participated in various competitions, being a finalist in the national singing competition organized by the Wagnerian Association of Madrid, at the Teatro Real, as well as in the International Competition of Logroño and the International Zarzuela Competition of Valleseco.
He has participated in various opera productions, interpreting various roles such as Papageno (Die Zauberflöte), Figaro (Le Nozze di Figaro), Doktor Falke and Einsenstein (Die Fledermaus), Buontempone (Il Buontempone, by Francisco Asenjo Barbieri, world premiere), Amonasro (Aida), Schaunard (La Boheme), Don Giovanni (Don Giovanni), Nogales (Luisa Fernanda), as well as in other musical productions such as the production of Carmina Burana, by Carl Orff, under the stage direction of La Fura dels Baus.
He has sung in several Spanish and European theaters such as the Teatro Real (Madrid), Teatro Calderon (Madrid), Teatro Olympia (Valencia), Teatro del Canal (Madrid), Teatro Auditorio (San Lorenzo de El Escorial), Teatro Auditorio Jose Luis Perales (Cuenca) Koln Philharmonie (Cologne), Teatro de Paris (Paris), Tropiques Atrium Scene Nationale (Martinique), Auditorio Nacional (Madrid), Auditorio Alfredo Kraus (Las Palmas de Gran Canaria), Palacio de Congresos (Zaragoza), Teatro Tívoli (Barcelona), Auditorio de Palma (Palma de Mallorca).
He has worked under the guidance of several musical directors such as Karel Marek Chichon, Manuel Coves, Sir Neville Marriner, Miguel Roa, among others.
In 2023, in addition to touring throughout Spain with the staging of Carmina Burana by Carl Orff, in the title role, He performed the role of Nogales in the zarzuela Luis Fernanda, by Federico Moreno Torroba, at the Teatro Real in Madrid, under the direction of Karel Mark Chichon and together with the mezzo-soprano Elina Garança. In addition to that, during 2023 he debuted in the role of Don Giovanni, in the opera of the same name, as well as in the role of Papageno, in the opera “Die Zauberflote”, by the same composer, in the city of Weimar in Germany. He has worked in France, specifically in Paris and on the island of Martinique, performing the role of Figaro in the Opera Le Nozze di Figaro. In 2024 he has performed new roles for his career such as Count Almaviva in the Opera “Le nozze di Figaro” or the roles of Maestro Spinelloccio and the notary Ser Amantio di Nicolao. in the Opera “Gianni Schicchi”. In November he will debut the roles of Dancario and Morales in the Opera “Carmen” with the LG Artist Management company.
After passing through various choral groups such as the Coro de la Comunidad de Madrid (JORCAM and ORCAM), he was selected for the CRESCENDO program, a training program for young opera solo singers promoted by the Teatro Real in Madrid. He has also participated in several projects of the Berlin Opera Studio and the Lyric Opera Academy.
He has participated in various competitions, being a finalist in the national singing competition organized by the Wagnerian Association of Madrid, at the Teatro Real, as well as in the International Competition of Logroño and the International Zarzuela Competition of Valleseco.
He has participated in various opera productions, interpreting various roles such as Papageno (Die Zauberflöte), Figaro (Le Nozze di Figaro), Doktor Falke and Einsenstein (Die Fledermaus), Buontempone (Il Buontempone, by Francisco Asenjo Barbieri, world premiere), Amonasro (Aida), Schaunard (La Boheme), Don Giovanni (Don Giovanni), Nogales (Luisa Fernanda), as well as in other musical productions such as the production of Carmina Burana, by Carl Orff, under the stage direction of La Fura dels Baus.
He has sung in several Spanish and European theaters such as the Teatro Real (Madrid), Teatro Calderon (Madrid), Teatro Olympia (Valencia), Teatro del Canal (Madrid), Teatro Auditorio (San Lorenzo de El Escorial), Teatro Auditorio Jose Luis Perales (Cuenca) Koln Philharmonie (Cologne), Teatro de Paris (Paris), Tropiques Atrium Scene Nationale (Martinique), Auditorio Nacional (Madrid), Auditorio Alfredo Kraus (Las Palmas de Gran Canaria), Palacio de Congresos (Zaragoza), Teatro Tívoli (Barcelona), Auditorio de Palma (Palma de Mallorca).
He has worked under the guidance of several musical directors such as Karel Marek Chichon, Manuel Coves, Sir Neville Marriner, Miguel Roa, among others.
In 2023, in addition to touring throughout Spain with the staging of Carmina Burana by Carl Orff, in the title role, He performed the role of Nogales in the zarzuela Luis Fernanda, by Federico Moreno Torroba, at the Teatro Real in Madrid, under the direction of Karel Mark Chichon and together with the mezzo-soprano Elina Garança. In addition to that, during 2023 he debuted in the role of Don Giovanni, in the opera of the same name, as well as in the role of Papageno, in the opera “Die Zauberflote”, by the same composer, in the city of Weimar in Germany. He has worked in France, specifically in Paris and on the island of Martinique, performing the role of Figaro in the Opera Le Nozze di Figaro. In 2024 he has performed new roles for his career such as Count Almaviva in the Opera “Le nozze di Figaro” or the roles of Maestro Spinelloccio and the notary Ser Amantio di Nicolao. in the Opera “Gianni Schicchi”. In November he will debut the roles of Dancario and Morales in the Opera “Carmen” with the LG Artist Management company.