Opera and Lied masterclass by Marina Prudenskaya in January 2019 nl

Dates: 13-16 January 2020
Place: Atelier Marcel Hastir, 51 Rue du Commerce, 1000 Brussels, Belgium
Application Deadline: 1 December 2019

Active students will work with the master teacher and a pianist. Observer students will be able to attend private classes. This masterclass is private.
The listeners/observers can be present and listen all day during the lessons of active students, but they can not record, make pictures or distract lessons or teacher. To register as listener, please, contact the organizers by email: masterclass.triomphe.de.lart@gmail.com

CONTACT AND INFO: masterclass.triomphe.de.lart@gmail.com

The master course is given by the world famous mezzo-soprano MARINA PRUDENSKAYA leading mezzo-soprano of Staatsoper Berlin.

DO NOT MISS THE UNIQUE OPPORTUNITY TO IMPROVE YOUR VOCAL TECHNIQUE AND INTERPRETATION WITH A WORLD FAMOUS MEZZO-SOPRANO MARINA PRUDENSKAYA!

We are extremely honored to present Marina Prudenskaya

Born in Saint-Petersburg, Marina Prudenskaya studied first child psychology and children’s education at the State Pedagogical University of Saint Petersburg. Very soon she knew that only music really touched her and decided in parallel to study singing with Professor Evgenia Gorochovskaja at the National Conservatory St. Petersburg. Later, she took private lessons with Brigitte Eisenfeld in Berlin, that she continues to take till today.
Numerous prizes accompany her career. So she was, inter alia, Prizewinner at the International Antonín Dvořák Competition (Karlsbad), she was awarded in 2000 for her portrayal of Carmen by Bizet with the 1st prize at the festival “Moscow Debuts Opera” and in 2003 she won the first prize at the 52nd ARD Music Competition.
Marina has over 20 years of professional experience and a very solid vocal and repertoire skills as well as international experience working with internationally renowned conductors. She performed in houses such as the Teatro alla Scala in Milan, the Mariinsky Theater, Saint-Petersburg, the Stanislawski and Dantschenko Music Theater, Moscow, the National Washington Opera, the Opera House, Beijing, the Hamburg State Opera, the De Nederlandse Opera Amsterdam, the Palau de les Arts in Valencia, the Teatro Real, Madrid, the Maggio Musicale Fiorentino, the Bayreuth Festival, the Festvial in Aix en Provence, the Théatre des Champs Elysées, Paris, the Bavarian State Opera Munich, the Deutsche Oper Berlin , the Theater an der Wien, Covent Garden, London, the Zurich Opera House, the Opera Monte Carlo, the Opera Santiago de Chile, the Opera House in Astana, Kazakhstan, just to name a few.
Marina’s pedagogical work, based on her previous work with the Blagovest Choir in St. Petersburg, is very focused on the interpretation of opera, operetta, lied and oratorio. The singing and breathing technique, that she masters, helps to give her roles the necessary lightness. Also the range of her repertoire including Mozart (Cecilio, Dorabella), Handel (Ariodante, Il Disinganno) and Gluck (Orpheus, Clytemnestra), about Bellini (Romeo, Adalgisa), Rossini (Rosina, Arsace), Verdi (Amneris, Azucena , Eboli, Lady Macbeth), Strauss (Octavian, composer), Mussorkski (Marfa in Chowanschina) and Wagner (Venus, Brangäne, Waltraute, Fricka) all the way to Alban Berg’s Wozzek (Marie) and Jörg Widmann’s “Babylon” (Euphrates) is of crucial importance for the pedagogical work, because the real experience conveys in the more authentic way than the pure theory.
Marina Prudenskaya sang under conductors such as Daniel Barenboim, Zubin Mehta, Mariss Jansons, Hartmut Haenchen, Christian Thielemann, Donald Runnicles, James Conlon, Paolo Carignani, Fabio Luisi , Michael, the brothers Vladimir and Dmitri Jurowski, Marek Janowski, Philippe Auguin, Sebastian Weigle, Jaap van Zweden, Lothar Zagrosek, Andrea Marcon, Alberto Zedda, Manfred Honeck, Renato Palumbo, Stefan Soltesz, Daniel Harding and Christoph Poppen, Ingo Metzmacher, Massimo Zanetti and many others.
She has worked with directors such as, inter alia, Andrea Breth, Robert Carsen, Michael Thalheimer, Philipp Stölzl, Sasha Waltz, Martin Kušej, Calixto Bieito, Carlus Padrissa (La Fura dels Baus), Stefan Herheim, John Dew, Guy Cassiers, David Poutney, Jossi Wieler / Sergio Morabito, Pierre Audi, Hans Neuenfels, Francesca Zambello and Katharina Wagner.
In the season 2019/2020 she will perform inter alia Amneris at the Theatre of Geneva , Azucena at Theatre Cologne, Kundri in Parsifal at the State Opera Wien and Marfa in Khovanshchina at the Berliner State Opera.

Detailed biography:
Her brilliant career began in 1998 at the Stanislavsky and Nemirovich-Danschenko music-theatre in Moscow. There she sang, in addition to the award-winning “Carmen”, the classical, lyrical roles in her field as “Pauline” in “Pique Dame”, “Ratmir” in Glinka’s “Ruslan and Lyudmila” and “Olga” in “Eugene Onegin”.
In 2000 she moved to the Nuremberg State Theatre. There she sang roles like “Dorabella” in “Così fan tutte”, “Nicklausse” in “Les Contes d’Hoffmann” and “Cherubino” in “Le nozze di Figaro”. Moreover, she gained her first experiences in the field of baroque with “Orfeo” in Gluck’s opera, “Clytemnestra” in “Iphigénie en Aulis” or “Bradamante”in Vivaldi’s “Orlando Furioso”. At the same time she was preparing her entry into the dramatic mezzo roles such as “Azucena” in “Il Trovatore” “Preziosilla” in “La forza del destino” and “Mère Marie” in Poulenc’s “Dialogues of the Carmelites”. This wide range of her repertoire, distinguishes the singer to this day and makes her a sought-after mezzo-soprano.
In 2005 Marina Prudenskaya was hired as ensemble member at the Deutsche Oper Berlin and sang, amongst others, “Arsace” in Rossini’s “Semiramide”, “Hansel” in “Hansel and Gretel”, “Preziosilla” in “La forza del destino” and “Fricka”, “Waltraute” and “Erda” in “Der Ring des Nibelungen”. In Katharina Wagner’s “Il Tritico” production she sang “La Zia Principessa” and “Zita”.
In 2007 she joined the ensemble of the Staatsoper Stuttgart. There she sang “Disinganno” in Handel’s “Il Trionfo del Tempo e del Disinganno”, “Bradamante” in “Alcina”,”Cecilio” in Mozart’s “Lucio Silla”, “Rosina” in “Il barbiere di Siviglia”, “Adalgisa” in Bellini’s “Norma”, “Federica d’Ostheim” in Verdi’s “Luisa Miller”, “Amneris” in “Aida”, “Carmen” in “Carmen”, “Brangäne” in “Tristan and Isolde”, the “Octavian” in “Der Rosenkavalier”, the “Fenena” in “Nabucco” and ‘1. Norn”and “Waltraute” in” Götterdämmerung “.
Since 2013 she is permanent ensemble member of the Staatsoper Berlin. There she performed “the 2.Norn” and “Waltraute” in Wagner’s “Gotterdammerung”, “mezzo-soprano” in Helmut Oering / Henry Purcell’s “Ashes Moon or The Fairy Queen”, “Ulrica” in Verdi’s “Un ballo in maschera”, “Azucena” in “Il Trovatore” in a new production by Phillip Stölzel and under the direction of Daniel Barenboim; “Eboli” in “Don Carlos”, the “Ljubascha” in Rimsky-Korsakov’s “The Tsar’s Bride”, the “Venus” in “Tannhäuser”, a new production by Sasha Waltz; the “Composer” in Richard Strauss’s “Ariadne auf Naxos ” and “Herodias” in Salome-both new productions by Hans Neuenfels; “Marie” in Alban Berg’s “Wozzeck”, “Il Disinganno” in Handel’s “Il Trionfo del Tempo e del Disinganno”. She sang also “Gertrud” in “Hänsel und Gretel”, a new production of Achim Freyer , “Neris” in “Medee” , Cherubini and “Euphrat” in a World Premiere of “Babylon” , composed by Jorg Widmann.
Her guest engagements at other famous opera houses make her one of the world’s most sought-after mezzo-sopranos. So she sang “Lady Macbeth” in Macbeth in Antwerpen, “Ljubascha” Rimsky-Korsakov in “The Tsar’s Bride” under the baton of Daniel Barenboim and directed by Dimtri Tcherniakov at the Teatro alla Scala in Milan. As “Ulrica” in “Un Ballo in Maschera” she was at the Teatro alla Scala in Milan under the direction of Damiano Michieletto and under the direction of Daniele Rustioni. At the Mariinsky Theatre, Saint-Petersburg, at the National Theater in Mannheim, at the Hessian State Theatre, Wiesbaden, at Theater Bielefeld and at the Hamburg State Opera she excelled also in the role of “Ulrica”.
She interpreted “Amneris” in “Aida” at the Washington National opera, directed by Francesca Zambello, at Teatro Municipal de Santiago de Chile , Teatro Real Madrid , in Palau de les Arts Valencia , Music Theater Essen under the baton of Stefan Soltesz, at the Teatro Massimo, Palermo, at the Hamburg State Opera, at the Astana Opera, Kazakhstan by a orchestration of Franco Zeffirelli under Keri-Lynn Wilson, at the Grand Theatre Hong Kong Cultural Centre, the Opera House NCPA (National Centre for the Performing Arts in Beijing (Beijing), directed by Francesco Micheli and under the button of Zubin Metha, and the Chemnitz Opera House.
She performed “Preziosilla” in a Gala Performance of ” La Forza del destino ” at the International May festival in Wiesbaden.
She sang “Marfa” in ” Khovanshchina” in Stuttgart, “Eboli ” in “Don Carlo” in Zürich Opera House, the role of “Azucena” in Royal Opera, London under the baton of Gianandrea Noseda and in Opera de Monte Carlo under Daniel Harding. She interpreted the “Orlovsky” in “Die Fledermaus” at the Opéra de Nice, “Ernestina”, ” L’equivoco stravagante ” – Rossini, at the Rossini Opera Festival in Pesaro. The “Romeo” in Bellini’s “I Capuleti i e Montecchi” at the Staatsoper Hannover. The role of “Ariodante” in Handel’s homonymous opera at the Theater Basel. She played “Disinganno” in Handel’s “Il Trionfo del Tempo e del Disinganno” at Stadtheater Bern, the “Mary” in “The Flying Dutchman” and “Erda” in Pierre Audis Inzeneierung “Der Ring des Nibelungen” at De Nederlandse Opera Amsterdam, conducted by Hartmut Haenchen. In Bellini’s “Norma” she sang “Adalgisa” at the Festival Castell Peralada / Spain. At the Maggio Musicale of Florence and the Palau de les Arts in Valencia she sang under Zubin Mehta, the “Flosshilde” and the “Sigrune ” in “Ring der Nibelungen” directed by La Fura dels Baus.

In 2006 she made her debut at the Bayreuth Festival as “Flosshilde” in a new production of “Der Ring des Nibelungen” conducted by Christian Thielemann. 2016, 2017 she returned as “Waltraute” in “Götterdämmerung” and 2018 as “Fricka” back in Bayreuth.
Furthermore, she was, inter alia, at the Ludwigsburg Castle Festival, the Tirolean Landestheater Innsbruck, the Theater Bonn, the Baden State Theatre Karlsruhe, the Aalto-Theater in Essen, at the Frankfurt Opera, the Bavarian State Opera in Munich, at the Aix-en-Provence Festival, the Vienna Festival at the Theater an der Wien, Wigmore Hall, London, at Festival international de musica y Danza de Granada, at the Jerusalem Inernational Chamber music Festival, at Moscow Philharmonie , at theatre des Champs Elysées, and in Philharmonie de Paris to hear.
In addition, Marina Prudenskaya appears regularly as an international concert singer in concert opera productions, concerts or recitals. So she sang the “Isaura” in the acclaimed concert performance of Meyerbeer’s “Margherita d’Anjou” at the Leipzig Opera, the “Bersi” in “Andrea Chenier” by Umberto Giordano conducted by Paolo Carignani at the Alte Oper Frankfurt, the role of “Princess” in “Alexander Dargomyzhsky Russalka” under the baton of Michail Jurowski and the WDR Radio Orchestra at the Philharmonie in Cologne, the “Olga” in “Eugene Onegin” with the Bavarian Radio Symphony Orchestra under Mariss Jansons in the Herkulessaal in Munich and at the Kongresshaus Lucerne; the “Venus” in “Tannhäuser” and the “Waltraute” in “Götterdämmerung” at the Berlin Philharmonie under Marek Janowski. She could also be heard in Ligeti’s “Requiem” at the Teatro Nacional de São Carlos, Lisbon. In the Stadthalle Chemnitz she performed Mahler’s 2nd Symphony under Frank Beermann with the Robert Schumann Philharmonie.
Marina Prudenskaya sang Giuseppe Verdi’s “Messa da Requiem” under Mariss Jansons at the Berlin Philharmonie and the Salzburg Easter Festival with the Berlin Philharmonic Orchestra, as well as at the Gasteig in Munich and in the large hall of the Musikverein in Vienna Musikverein with the Bavarian Radio Symphony Orchestra. She was brilliant and multifaceted with the same Verdi’s “Messa da Requiem” on stage with the Pittsburgh Symphony Orchestra at Heinz Hall, Pittsburgh under Manfred Honeck, under James Conlon and the Deutsches Symphonie-Orchester Berlin, the RSB (Radio Symphony Orchestra Berlin) under Marek Janowski; both at the Berlin Philharmonie, and under Christian Arming with the New Japan Philharmonic Orchestra in the Triphony Hall, Tokyo, Teatro Piccinni, Bari and the Deutsche Oper Berlin under Renato Palumbo, the Musikfest Bremen at the Konzerthaus “Die Glocke” in Bremen under Markus Poschner, in the Musikhalle Stuttgart under the direction of Sylvain Cambreling, the Tampere-talo in Tampere / Finland under the direction of Santtu-Matias Rouvali, in Royal Opera Kopenhagen under Hartmut Haenchen, in Dresden’s Semper Opera and the Frauenkirche in Dresden with the Saxonian Staatskapelle under the baton of Christian Thielemann and in the Auditorio Nacional de Musica , Madrid.
She sang Janáček’s “Glagolitic Mass” at the Gasteig in Munich and in the Lucerne Culture and Convention Centre under Mariss Jansons, and under Philippe Jordan with the Vienna Symphony Orchestra in the Vienna Konzerthaus. Scriabin’s “Symphony No. 1” with the NHK Symphony Orchestra in Tokyo with Vladimir Ashkenazy. Stravinsky’s “Le Rossignol” Jukka Pekka Saraste and under the WDR Symphony Orchestra she intoned in the Cologne Philharmonie. Under Manfred Honeck she sang Antonin Dvorak’s “Stabat Mater” with the Czech Philharmonic Orchestra at the Rudolfinum / Prague. Under Andrea Marcon, she sang with the Venice Baroque Orchestra, the “Alcina” in Vivaldi’s “Orlando Furioso” at the festival in Santiago de Compostela and in Vivaldi’s “Gloria” with the Berliner Philharmoniker at the Berlin Philharmonie.
She sang Schnittke’s “Faust Cantata” under Andrey Boreyko with the Hamburg Symphony Orchestra at the Musikhalle Hamburg, as well as under Vladimir Jurowski with the Orchestra Sinfonica di Milano Giuseppe Verdi at the Auditorium di Milano, but also with the Orquestra Gulbenkian in the Grande Auditório in Lisbon.
She sang Beethoven’s 9th Symphony both at the Usedom Music Festival with the Academic Symphony Orchestra Novosibirsk in Peenemunde under Thomas Sanderling, in the Nuremberg Meistersingerhalle headed by Alexander Shelley, as well as at the Festival de Radio France et Montpellier Languedoc-Roussillon under Christian Arming with Orchestre National Montpellier in the Opéra Berlioz, Montpellier.
At Wagner opera festival in Budapest she sang the “Waltraute” in Richard Wagner’s “Götterdammerung” under the baton of Adam Fischer in the Béla Bartók National Concert Hall. As part of the program of the Richard Strauss Program at the Festival Grafenegg in Grafenegg/Lower Austria she sang the opening concert under the baton of Andrés Orozco-Estrada and the Tonkünstler Orchestra of Lower Austria. At the International Gluck Opera Festival in Nürnberg she sang the “Clytemnestra” from “Iphigenia in Aulis” under the direction of Philippe Augin and the Prague Philharmonia Orchestra. At the International Shostakovich Festival in Gohrisch/Dresden and she sang under the baton of Michail Jurowski “From Jewish Folk Poetry Opus 79” with the Staatskapelle Dresden. In the Concertgebouw in Amsterdam, she sang the “Brangäne” in Richard Wagner’s “Tristan und Isolde” in a concert performance under the baton of Jaap van Zweden with the Radio Philharmonic Orchestra. She gave Beethoven’s “Missa solemnis” in the Kreuzkirche in Dresden, conducted by Sebastian Weigle with the Dresden Philharmonic Orchestra.
Her various and rich song repertoire includes inter alia song cycles by Mahler, Wagner, Shostakovich, Weinberg, Mussorgsky, Rachmaninov, de Falla, Granados and Ligeti.
Marina Prudenskaya sang under conductors such as Daniel Barenboim, Zubin Mehta, Mariss Jansons, Hartmut Haenchen, Christian Thielemann, Donald Runnicles, James Conlon, Paolo Carignani, Fabio Luisi , Michael, the brothers Vladimir and Dmitri Jurowski, Marek Janowski, Philippe Auguin, Sebastian Weigle, Jaap van Zweden, Lothar Zagrosek, Andrea Marcon, Alberto Zedda, Manfred Honeck, Renato Palumbo, Stefan Soltesz, Daniel Harding and Christoph Poppen, Ingo Metzmacher, Massimo Zanetti and many others.
She has worked with directors such as, inter alia, Andrea Breth, Robert Carsen, Michael Thalheimer, Philipp Stölzl, Sasha Waltz, Martin Kušej, Calixto Bieito, Carlus Padrissa (La Fura dels Baus), Stefan Herheim, John Dew, Guy Cassiers, David Poutney, Jossi Wieler / Sergio Morabito, Pierre Audi, Hans Neuenfels, Francesca Zambello and Katharina Wagner.
In the season 2019/2020 she will perform inter alia Amneris at the Theatre of Geneva , Azucena at Theatre Cologne, Kundri in Parsifal at the State Opera Wien and Marfa in Khovanshchina at the Berliner State Opera.