Maria Mater Meretrix Anna Prohaska, Patricia Kopatchinskaja & Camerata Bern

• Gustav Holst (1874 - 1934): 4 Songs for Voice and Violin, Op. 35:
• 1 Holst: 4 Songs for Voice and Violin, Op. 35: I. Jesu Sweet 02:43
• Walther von der Vogelweide (1170 - 1230): Palästinalied (Arr. for Soprano, Violin and Orchestra by Michi Wiancko):
• 2 Vogelweide: Palästinalied (Arr. for Soprano, Violin and Orchestra by Michi Wiancko) 05:44
• George Crumb (1929 - 2022): Black Angels, Thirteen Images from the Dark Land:
• 3 Crumb: Black Angels, Thirteen Images from the Dark Land: III. Return, God-music 03:50
• Guillaume Dufay (1400 - 1474): Ave maris stella (Arr. for Soprano, Violin and Orchestra by Michi Wiancko):
• 4 Dufay: Ave maris stella (Arr. for Soprano, Violin and Orchestra by Michi Wiancko) 04:20
• Frank Martin (1890 - 1974): Maria-Triptychon:
• 5 Martin: Maria-Triptychon: I. Ave Maria 04:08
• Tomas Luis de Victoria (1548 - 1611): Ave Maria (Arr. for Soprano, Violin and Orchestra by Michi Wiancko):
• 6 Victoria: Ave Maria (Arr. for Soprano, Violin and Orchestra by Michi Wiancko) 01:33
• György Kurtág (b. 1926): Kafka-Fragmente, Op. 24, Pt. 1:
• 7 Kurtág: Kafka-Fragmente, Op. 24, Pt. 1: Berceuse 01:00
• Anonymous: Maria durch ein Dornwald ging (Arr. for Soprano, Violin and Orchestra by Wolfgang Katschner):
• 8 Anonymous: Maria durch ein Dornwald ging (Arr. for Soprano, Violin and Orchestra by Wolfgang Katschner) 03:20
• Frank Martin: Maria-Triptychon:
• 9 Martin: Maria-Triptychon: II. Magnificat 10:52
• Antonio Lotti (1667 - 1740): Crucifixus a 10 voci (Arr. for Violin and Orchestra by Michi Wiancko):
• 10 Lotti: Crucifixus a 10 voci (Arr. for Violin and Orchestra by Michi Wiancko) 02:30
• Lili Boulanger (1893 - 1918): Pie Jesu (Arr. for Soprano, Violin and Orchestra by Michi Wiancko):
• 11 Boulanger: Pie Jesu (Arr. for Soprano, Violin and Orchestra by Michi Wiancko) 03:21
• Patricia Kopatchinskaja (b. 1977): Felino:
• 12 Kopatchinskaja: Felino 01:03
• Hildegarde Von Bingen (1098 - 1179): O Rubor Sanguinis:
• 13 Bingen: O Rubor Sanguinis 01:30
• Franz Joseph Haydn (1732 - 1809): Die Worte des Erlösers am Kreuze, Hob.XX:1:
• 14 Haydn: Die Worte des Erlösers am Kreuze, Hob.XX:1: IV. Sonata No. 3 "Mulier, ecce filius tuus" 09:57
• György Kurtág: Kafka-Fragmente, Op. 24, Pt. 4:
• 15 Kurtág: Kafka-Fragmente, Op. 24, Pt. 4: Wiederum Wiederum 01:39
• Frank Martin: Maria-Triptychon:
• 16 Martin: Maria-Triptychon: III. Stabat Mater 06:36
• Hanns Eisler (1898 - 1962): Die Rundköpfe und die Spitzköpfe, Op. 45:
• 17 Eisler: Die Rundköpfe und die Spitzköpfe, Op. 45: No. 12, Lied der Kupplerin (Arr. for Soprano, Violin and Orchestra by Michi Wiancko) 02:39
• György Kurtág: Kafka-Fragmente, Op. 24, Pt. 3:
• 18 Kurtág: Kafka-Fragmente, Op. 24, Pt. 3: Der Coitus als Bestrafung 00:21
• Franz Joseph Haydn: Die Worte des Erlösers am Kreuze, Hob.XX:1:
• 19 Haydn: Die Worte des Erlösers am Kreuze, Hob.XX:1: IX. Il Terremoto. Presto e con tutta la forza 01:42
• Antonio Caldara (1670 - 1736): Maddalena ai piedi di Cristo:
• 20 Caldara: Maddalena ai piedi di Cristo: Aria. Per il mar del pianto mio 04:51
• Total Runtime 01:13:39

Info for Maria Mater Meretrix

Together with the violinist Patricia Kopatchinskaja Anna developed an extraordinary program called “Maria Mater Meretrix”, including works and arias ranging from Hildegard von Bingen to Caldara and Haydn to György Kurtág, all about the Virgin Mary and Mary Magdalene. The program presents the image of women - saints and whores - throughout the centuries in a musical mosaic. The tour together with the Camerata Bern starts on December 6 in Neumarkt i.d. Oberpfalz, it then continues in Cologne, Frankfurt, Amsterdam, Rotterdam and finally returns to Bern.

Anna Prohaska, soprano
Patricia Kopatchinskaja, violin
Camerata Bern

Anna Prohaska
At 20 years of age Anna Prohaska made her debut at the Berlin Staatsoper Unter den Linden, her artistic home. Since then she has remained an ensemble member adjacent to her international career, working with conductors such as Daniel Barenboim, Philippe Jordan and Simon Rattle. Anna Prohaska has proven extraordinary versatility in any repertoire from Monteverdi to world premieres. Soon she ventured out to other stages such as La Scala di Milano, the Bolshoi Theatre, De Nationale Opera Amsterdam, the Royal Opera House in Covent Garden or the Paris Opera.

Since 2008 Anna is a regular guest at the Salzburg Festival and after having made role debuts as Zerlina, Despina and Deola in Luigi Nonos Al Gran Sole, Carico d’Amore she sang Susanna in Le nozze di Figaro in 2016 and Cordelia in Reimann’s Lear in 2017. Apart from having sung Blonde, Adele and in Rameau’s Les Indes Galantes, Jörg Widmann dedicated the role of Inanna to her in his opera Babylon, conducted by Kent Nagano in 2012.

She is in demand at the leading concert venues of the world which have brought her to the Cleveland Orchestra, LA Philharmonic and Boston Symphony Orchestras, the NHK Symphony Orchestra Tokyo, the London Symphony Orchestra, the Wiener and Berliner Philharmoniker and to the Bavarian Radio Symphony Orchestra under the baton of Claudio Abbado, Franz Welser-Möst, Herbert Blomstedt, Pierre Boulez, Daniel Harding, Mariss Jansons, Yannick Nézét-Séguin, Gustavo Dudamel or Mariss Jansons.

Anna Prohaska is passionately dedicated to historical performance practise, often having sung with Nicolaus Harnoncourt and his Concentus Musicus, the Academy of Ancient Music, the Freiburger Barockorchester or the Akademie für Alte Musik Berlin.

The season of 17/18 brings Anna Prohaska back to Theater an der Wien for Claus Guth’s new production of Handel’s Saul and to the Royal Opera House in Covent Garden for her role debut as Nannetta in Verdi’s Falstaff. At her Berlin artistic home, the newly reopened Staatsoper Unter den Linden, she will be premiering the title role in Monteverdi’s L’incoronazione di Poppea and also performing Debussy oratorios in Berlin and the Vienna Musikverein with the Staatskapelle Berlin and Daniel Barenboim. After having sung at the opening concerts of the new Pierre Boulez Saal, she will fulfil a life-long dream of performing Schönberg’s Pierrot Lunaire under the baton of Zubin Mehta with Daniel Barenboim at the piano.

Anna Prohaska is often invited to the centres of art song like the Schubertiade Schwarzenberg, the Wigmore Hall, to Wien oder Berlin. In 2018, marking the centennial of the end of the First World War, she will tour her „Behind the Lines“ programme including venues such as the the Amsterdam Concertgebouw and the Hamburg Elbphilharmonie.

As an exclusive artist of the Deutschen Grammophon she released numerous solo recitals and operas winning various awards like the ECHO Klassik. Her most recent album Serpent & Fire: Arias for Dido and Cleopatra (2016 by alpha) with Il Giardino Armonico and Giovanni Antonini entered the top of the German classical music charts immediately after release.

Booklet for Maria Mater Meretrix