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Composer Thomas Addis performed in Dresden for the first time
Dresden.As a composer, he is cheerful and talented, as conductor of an orchestra, due to his complex requirements, he is endearing ordeal. Thomas Addis, born in London in 1971, made his guest debut in Dresden. As a composition commissioned by the Dresden Music Festival, it presents the premiere of a suite from Shakespeare’s opera “The Tempest” at Kulturplast Dresden today. Addis himself conducts the London Philharmonic Orchestra. Vikingur Alafson takes the solo part of Addis’ Piano Concerto In Seven Days, a resonant paraphrase of the Creation account. In the second part, Peter Tchaikovsky’s Fourth Symphony will be heard today in Kulturpalast Dresden.
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It is a coincidence that the internationally successful Briton now only comes to Dresden. It fits in perfectly with the music festival’s dazzling array of guests, such as Glashütte Music Award laureates John Adams and Barbara Hannigan, who Adès experienced wonderful collaborations at the premiere of Gerald Barry’s opera “Alice’s Adventures Under Ground” in Los Angeles and London in 2016. Surprisingly, it None of Adès’ three operas has been published in Semperoper. The movie “The Tempest” would fit perfectly into the new batch of works out there. With “Powder Her Face” (1995), Adès did not achieve one of the most enduring successes in the younger musical theater with the famous sex scene of the Duchess of Argyle with a hotel clerk. “Powder Her Face” had two productions at the Magdeburg Theatre.
Fantastic results that cheer the crowd
The pavilion created for Dresden based on Adès’ opera “The Tempest” (The Tempest) also reflects experiences with other productions since the world premiere at London’s Covent Garden Royal Opera in 2004. During two years of the pandemic, Adès watched and won his compositions by Looking back also at “The Tempest” with a different relationship. In his pavilion, he combines two design options for dried plants: on the one hand, he chose those moments in the score that were most appreciated by the public and his favorite people. Then he diversified it using symphonic composition techniques, transferred vocal parts to orchestral composition and reinvented some sections.
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Adès succeeds because the audience immediately understands his results, and therefore enjoys them, which are always great. He considers it a privilege to be able to compose for a large orchestra as a young man. He has always pushed all the available robotic capabilities to the limits of their potential. “Musicians are like that,” adds Thomas Addis dryly, without revealing that he always sees himself as an inspiring team player at rehearsals. One of his convictions is: “In creative and artistic processes, it is important to allow for emotions. You have to embrace joy and sadness equally when they are there. There are great works of art where comedy turns into tragedy and vice versa. This polarity enhances my creative energy.”
Wonderful and profound human
The theme of Shakespeare’s “The Tempest” (The Tempest) is wonderful and deeply human, the second piece by Adès an extraordinary account of creation in the form of a piano concerto. With Tchaikovsky’s Fourth Symphony, which he still considers an understated musical epic poet, Adès fulfills a wish: “There are few composers who develop and develop musical events with such emotional expression.”
And when will there be the next opera of Thomas Addis? “I am currently not in extensive research on a topic. But if I discover a suitable one, I will immediately jump into it.”
by Roland H Dippel