Dialogues des Carmélites - Kopfsujet

Dialogues des Carmélites

Resumption
As part of OSTERKLANG 2011
Opera in three acts and twelve scenes (1957)
Music & Libretto by Francis Poulenc

cast

actor role
Conductor Bertrand de Billy
Director Robert Carsen
Costume design Falk Bauer
Choreographer Philippe Giraudeau
Light design Jean Kalman
Co-Director Didier Kersten
Marquis de La Force Jochen Schmeckenbecher
Le Chevalier de la Force Yann Beuron
Blanche Patricia Petibon
Madame de Croissy Deborah Polaski
Madame Lidoine Heidi Brunner
Mère Marie Michelle Breedt
Sœur Constance Hendrickje van Kerckhove
Mère Jeanne Magdalena Anna Hofmann
Sœur Mathilde Christa Ratzenböck
L’Aumônier Jürgen Sacher
1er Commissaire Eric Årman
2éme Comissaire Craig Smith
Geôlier | Officier Dominik Köninger
Thierry Andreas Wolf
Chorus Arnold Schoenberg Choir
Mon Tue Wed Thu Fri Sat Sun
April 2011
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Hendrickje van Kerckhove

Sœur Constance

The Belgium soprano studied with Bernadette Degelin at Royal Conservatoire at Antwerp, with Susan Roper and took master-classes with Rudolph Jansen and Robert Alderson. Her career started as Kristin (Boesman: Julie) at Théâtre de La Monnaie, Wiener Festwochen and at the Festival d’Aix-en-Provence, she sang Handels Jephtha at Dusseldorf, Mozart-roles as Blonde (Die Entführung aus dem Serail) at Théâtre Royal de La Monnaie, Zerlina (Don Giovanni) and Despina (Le nozze di Figaro) at Flanders Opera and in Straatsburg (ONR). She worked with Maurizio Barbacini, Patrick Fournillier, Philippe Herreweghe, Zubin Mehta, Kazushi Ono, Marc Soustrot, Bertrand de Billy,Ottavio Dantone and Andreas Spering. Her international break-trough followed in the 2005/06 season making her debuts at Bayerische Staatsoper as Natalia-Medusa (de Felice: Medusa), Oscar (Verdi: Un ballo in maschera) and Voce dal Cielo (Don Carlo). Hendrickje Van Kerckhove was also calles “rising star” by ECHO. At last she sang at Theater an der Wien in 2007 Sœur Constance (Poulenc: Dialogues des Carmélites) and in 2010 Maja (World premiere of Kalitzke’s Die Besessenen) as well as in Strauss’ Ariadne auf Naxos.