Bio:
Swedish mezzo-soprano Ann Hallenberg rose to fame in 2003 when she replaced Cecilia Bartoli on one day’s notice in Handel’s IL TRIONFO DEL TEMPO E DEL DISINGANNO at the Opernhaus Zürich. She is now established as one of the world’s leading mezzo-sopranos.
She regularly appears in opera houses and festivals such as Teatro alla Scala Milan, Teatro la Fenice Venice, Teatro Real Madrid, Theater an der Wien, Opernhaus Zürich, Opéra National Paris, Théâtre des Champs-Elysées Paris, Théâtre de La Monnaie Brussels, Netherlands Opera Amsterdam, Vlaamse Opera Antwerp, Bayerische Staatsoper München, Staatsoper Berlin, Semperoper Dresden, Norwegian National Opera, Royal Swedish Opera, Salzburg Festival, Salzburg Whitsun Festival, Edinburgh Festival and the Drottningholm Festival in Stockholm.
Her operatic repertoire includes a large number of roles in operas by Rossini, Mozart, Gluck, Handel, Vivaldi, Monteverdi, Purcell, Bizet and Massenet.
She is highly sought after as a concert singer and she frequently appear in concert halls throughout Europe and North America. She has built an unusually vast concert repertoire that spans music from the early 17th Century works up to 20th-century works. She has performed with orchestras such as the Berliner Philharmoniker, Orchestre de Paris, Orchestre national de France, Royal Concertgebouw Orchestra, Accademia Nazionale di Santa Cecilia, London Symphony Orchestra, BBC Symphony Orchestra, Los Angeles Symphony Orchestra, Orchestre Symphonique de Montréal, Barcelona Symphony Orchestra, Russian National Orchestra, Swedish Radio Orchestra, Royal Stockholm Philharmonic Orchestra and the Danish Radio Orchestra. She enjoys a special close collaboration with the ensembles Les Talens Lyriques, Il Pomo d’Oro and Europa Galante.
Ann Hallenberg regularly works with conductors such as Fabio Biondi, William Christie, Teodor Currentzis, Sir John Eliot Gardiner, Emmanuelle Haïm, Daniel Harding, Andrea Marcon, Cornelius Meister, Marc Minkowski, Riccardo Muti, Kent Nagano, Sir Roger Norrington, Sir Antonio Pappano, Evelino Pidò and Christophe Rousset.
2017 included the title role in AGRIPPINA at Opera Vlaanderen, Marguérite in LA DAMNATION DE FAUST in London and La Côte-Saint-André with Orchestre Révolutionnaire et Romantique, Vagaus in JUDITHA TRIUMPHANS in New York and Illinoi with Venice Baroque Orchestra, Tangia in Gluck’s LE CINESI at Opera Palau de les Arts Reina Sofía in Valencia, Mahler’s RÜCKERT LIEDER in Amsterdam with the Royal Concertgebouw Orchestra, the title role in Vivaldi’s JUDITHA TRIUMPHANS in Venice, Beethoven’s SYMPHONY NO. 9 in Brussels, Antwerp and Gent with the Royal Flemish Orchestra, Bach’s CHRISTMAS ORATORIO in Paris with Orchestre National de France, Elgar’s THE DREAM OF GERONTIUS in Dortmund with Dortmunder Philharmoniker, Bach’s ST JOHN PASSION in Rome with Accademia Nazionale di Santa Cecilia, Medea in Handel’s TESEO in Moscow with Russian National Orchestra, arias by Handel at Teatro Real Madrid, Gismonda in Handel’s OTTONE in Vienna and Beaune, arias written for the castrato Farinelli in Gdansk with Les Talens Lyriques, arias by Rameau and Telemann in Hamburg with Les Talens Lyriques, and recitals with the pianist Magnus Svensson in Madrid as well as in Stockholm Concert Hall.
2018 included Giulietta in Zingarelli’s GIULIETTA E ROMEO at Theater an der Wien, Mahler’s KINDERTOTENLIEDER in Vienna and Salzburg, Berlioz’s LES NUITS D’ÉTÉ in London and Barcelona with the London Symphony Orchestra, Mahler’s SYMPHONY NO 2 in Tokyo and Osaka with Yomiuri Nippon Symphony Orchestra, Bach’s ST MATTHEW PASSION in Amsterdam with the Royal Concertgebouw Orchestra, Verdi‘s REQUIEM in London, Vienna, Munich, Amsterdam, Lucerne, Budapest, Pisa, Luxembourg and Wroclaw with The Monteverdi Choir & Orchestras, Teseo in Handel’s ARIANNA IN CRETA in Halle with Il Pomo d’Oro, Irene in Handel’s THEODORA in London with Arcangelo, arias by Handel in Madrid and Sevilla with Orquesta Barroca de Sevilla, arias by Rameau and Telemann in Brussels with Les Talens Lyriques, cantatas by Vivaldi in Rome with Accademia Barocca di Santa Cecilia, arias by Handel in Athens with Il Pomo d’Oro, arias by Handel in Ernen with Baroque Ensemble Ernen and various baroque arias in Trondheim with Trondheim Baroque.
She has recorded more than 40 CD and DVD. At the International Opera Awards in London in May 2016 her solo-CD “Agrippina” won the award for “Best Operatic Recital”. This was her second win in the category, having also won in 2014. Her latest solo-CD “Carnevale 1729” has received raving reviews. She has so far performed the program in Vienna, Venice, Halle, Bordeaux, Grenoble, Groningen, Tours, Sofia and Froville with Il Pomo d’Oro.
Contact Information
Management/Booking:
Artefact Artist Management
www.artefact.no/artist/ann-hallenberg/
Ann Hallenberg Handel - Ariodante - "Dopo notte" ANN HALLENBERG: FIRST GLOBAL AMBASSADOR OF TEATRO SAN CASSIANO (VENICE, ITALY) "Dopo notte" was performed in...
Mezzo-soprano Ann Hallenberg sings the aria 'Son qual nave ch'agitata' from Farinelli's opera 'Mitridate' during the Utrecht Early Music Festival 2019. The m...
Mezzo-soprano Ann Hallenberg sings 'Quell'usignolo' from the opera 'Merope' by Geminiano Giacomelli during the Utrecht Early Music Festival 2019. The music i...
Human creativity is everywhere. From Brazil it's all being connected in a manner allowing one to move from any creator to any other creator in just a few steps. Artificial Intelligence & algorithms not necessary. Real intelligence, yes.
Raymundo Sodré Global
Via Matrix, artists like Raymundo Sodré (who was crushed under Brazil's dictatorship) can inspire around the world. Sodré's (and Jorge Portugual's) A MASSA is a Brazilian anthem exhorting the powerless to stand up to the powerful.
THE MATRIX IS THE MOTHER SHIP (it carries people to culture; per above, it carries culture too)
THE MATRIX IS CULTURAL DIFFUSION ON A PLANETARY SCALE (Bahia is Ground Zero)
THE MATRIX IS THE INTEGRATED GLOBAL CREATIVE ECONOMY (matrixed economist, Dr. Darius Mans, presents the Africare Award to Luiz Inácio Lula da Silva — Brazil's current president — in 2012)
Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix. — Susan Rogers (personal recording engineer for Prince; recorded "Purple Rain", "Around the World in a Day", "Parade", and "Sign o' the Times"; now director of the Berklee Music Perception and Cognition Laboratory)
Dear Sparrow, Many thanks for this – I am touched! — Julian Lloyd Webber (most highly renowned cellist in the United Kingdom; brother of composer Andrew Lloyd Webber (Evita, Jesus Christ Superstar, Cats...)
This is super impressive work ! Congratulations ! Thanks for including me :))) — Clarice Assad (pianist, composer with works performed by Yo Yo Ma and orchestras around the world)
This Matrix was built by an ex-royalty "rescuer" (Aretha Franklin, Barbra Streisand, Gilberto Gil, Astrud Gilberto, Mongo Santamaria, Jim Hall, Led Zeppelin, Bob Marley and many others) so that deep Brazilian culture, much of it otherwise impossible to find if one is not right there where it is made, might also (via an alternative to major media) be discoverable from all around the world. To do this it integrates this immensity into a system whereby ALL CULTURE EVERYWHERE — from small villages in Africa to Grammy-winning artists in Los Angeles — writers, filmmakers, painters... — can be found from anywhere on the planet.
The Matrix uncoils from the Recôncavo of Bahia, Brazil, final port-of-call for more enslaved human beings than any other such throughout all of human history and from where some of the most physically and spiritually uplifting music ever made (samba and its precursor chula, per the Saturno Brothers above) evolved...
WHAT IS THE RECÔNCAVO? The peninsula upon which Salvador is situated is like the thumb of an open and grasping hand, what is normally thought of as the Recôncavo then being defined by the curved index finger. This way of definition developed when agricultural products were brought to Salvador by boat, sometimes making their way first down the Paraguaçu river after having been carried overland from the sertão (backlands) to Cachoeira, the river debouching into the Bay of All Saints at Maragogipe. The city of Bahia (as it was usually called then) was crouched on the bay, comprised of a commercial district much smaller in area than today (landfill has increased it greatly), the area around the upper section of the elevator, and what is now called Pelourinho.
Much of the remainder of the peninsula was given to sugarcane plantations, and dotted within the Atlantic rainforest were countless quilombos (Afro-Brazilian villages founded during the age of slavery); both are attested to today in commonly used city names. The neighborhood of Garcia was once Fazenda Garcia (fazenda being a farm or plantation), and this denomination is still used today to distinguish one end of Garcia (fim-de-linha) from the other (the Campo Grande end). Neighborhoods Engenho Velho de Federação and Engenho Velho de Brotas are so called for the old mills (engenhos velhos) which pressed the caldo (juice, so to speak) from the cane so laboriously hacked out of the fields. The neighborhood of Cabula is named for an nkisi (deity) of candomblé angola (the first candomblé -- a West African religious belief system -- to arrive in Bahia)...whose rhythms comprise the basis for samba, meaning that the rhythms to which so many in the world inexpertly swayed as Stan Getz's saxophone soared and João and Astrud Gilberto sensuously intoned -- this paragon of suave Brazilian sophistication -- was born in the rough senzalas (slavequarters) of Bahia. Ironically enough, the barefoot senzala version was/is far more sophisticated than the sophisticated version.
But times have changed, and Cabula is now a crowded, non-descript middle-to-working class Salvador city neighborhood (plenty of candomblé around though), and Engenhos Velhos de Federação and Brotas are swarming working class neighborhoods (ditto the candomblé); the senzala samba, the samba chula and samba-de-roda have disappeared. A simplified version -- Bahian pagode -- is heard everywhere in Salvador, but the real-deal stuff has died out here in the big city. It remains, however, a potent force on the remainder of its native ground, the Recôncavo proper, where it is danced to upon pounded earth, under moonlight broken by banana, palm and mango leaves, lifting the souls of its participants almost like something religious, which it was, and gods aside, is (again, per the Saturno brothers in the clip above).
By the same mathematics positioning some 8 billion human beings within some 6 or so steps of each other, people in the Matrix tend to within close, accessible steps of everybody else inside the Matrix.
Brazil is not a European nation. It's not a North American nation. It's not an East Asian nation. It straddles — jungle and desert and dense urban centers — both the equator and the Tropic of Capricorn.
Brazil absorbed over ten times the number of enslaved Africans taken to the United States of America, and is a repository of African deities (and their music) now largely forgotten in their lands of origin.
Brazil was a refuge (of sorts) for Sephardim fleeing an Inquisition which followed them across the Atlantic (that unofficial symbol of Brazil's national music — the pandeiro — the hand drum in the opening scene above — was almost certainly brought to Brazil by these people).
Across the parched savannas of the interior of Brazil's culturally fecund nordeste/northeast, where wizard Hermeto Pascoal was born in Lagoa da Canoa (Lagoon of the Canoe) and raised in Olho d'Águia (Eye of the Eagle), much of Brazil's aboriginal population was absorbed into a caboclo/quilombola culture punctuated by the Star of David.