Dohnányi: The Veil of Pierrette, Op. 18 ORF Vienna Radio Symphony Orchestra & Ariane Matiakh

• Ernö Dohnányi (1877 - 1960): The Veil of Pierrette, Op. 18, Pt. 1:
• 1The Veil of Pierrette, Op. 18, Pt. 1: No. 1, Moderato05:30
• 2The Veil of Pierrette, Op. 18, Pt. 1: No. 2, Allegretto02:29
• 3The Veil of Pierrette, Op. 18, Pt. 1: No. 3, Valse. Tempo giusto06:11
• 4The Veil of Pierrette, Op. 18, Pt. 1: No. 4, Adagio ma non troppo00:46
• 5The Veil of Pierrette, Op. 18, Pt. 1: No. 5, Molto moderato02:11
• 6The Veil of Pierrette, Op. 18, Pt. 1: No. 6, Largamente17:57
• The Veil of Pierrette, Op. 18, Pt. 2:
• 7The Veil of Pierrette, Op. 18, Pt. 2: No. 1, Walzer17:42
• 8The Veil of Pierrette, Op. 18, Pt. 2: No. 2, Moderato09:08
• The Veil of Pierrette, Op. 18, Pt. 3:
• 9The Veil of Pierrette, Op. 18, Pt. 3: No. 1, Moderato07:58
• 10The Veil of Pierrette, Op. 18, Pt. 3: No. 2, Allegro moderato10:10
• 11The Veil of Pierrette, Op. 18, Pt. 3: No. 3, Tempo giusto00:41
• Total Runtime01:20:43

Info for Dohnányi: The Veil of Pierrette, Op. 18

Who would assume today that after its premiere in 1910 Ernst von Dohnányi’s dance pantomime spread like a wildfire over the stages of the world. The ‘Wedding Waltz’ from Der Schleier der Pierrettecould regularly be heard on musical request programmes on the radio, enjoying similar popularity to the waltz sequence from Richard Strauss’ Der Rosenkavalier. Dohnanyi’s choice of the genre of pantomime was entirely in keeping with the spirit of the age that, following the large-scale, plot-laden ballets of late Romanticism, sought to find in pantomime a more intimate and more naturalistic form of expression. It may come as a surprise that the source for Dohnányi derived from none other than Arthur Schnitzler (1862–1931), one of the salient representatives of fin-de-siècle Austria. With this first complete recording again an important gap is closed in the knowledge of repertoire of this fascinating epochal time of musical history.

ORF Radio-Symphonieorchester Wien
Ariane Matiakh, conductor

Ariane Matiakh
In recognition of her services to French musical life and French culture abroad Ariane Matiakh has been appointed 'Chevalier des Arts et des Lettres' by the French Ministry of Culture in January 2014.

Ever since her huge success replacing James Conlon at very short notice in the 7th Symphony of Shostakovich at the Orchestre National de Montpellier in May 2006, Ariane Matiakh has established a distinctive international profile as a conductor very well suited for the big symphonic repertoire as well as opera and ballet.

Student of among others Leopold Hager and Yuji Yuasa and having had the privilege to assist during her time as chief assistant conductor in Montpellier, maestro's like Armin Jordan, James Conlon, Friedemann Layer and Lawrence Foster her career has developed well beyond her native French borders.

Winning the prestigious "Révélation des Victoires de la musique" in 2009 and being a laureate of the LSO's Donatella Flick-competition in 2008 resulted in many invitations, in France notably from the Philharmonique de Strasbourg, Orchestre National de Lille, Orchestre National de Lorraine, Philharmonique de Nice, Orchestre de l'Opéra de Toulon, Orchestres Colonne et Lamoureux.

Most recently and with a repertoire ranging from Corelli's Weihnachtskonzert to Berlioz' Symphonie Fantastique and R. Strauss Rosenkavalier-Suite she has conducted the Staatsphilharmonic Rheinland-Pfalz (Lutoslawski piano concerto, Beethoven 7th Symphony), the Orchestre du Capitole de Toulouse (Prodiges, french TV show), the Aalborg Symphony Orchestra (Poulenc les Biches, Weill, Milhaud le boeuf sur le toit, Sibelius Pelléas and Mélisande, Debussy la Mer), the Aarhus Symphony Orchestra (Prélude à l'après-midi d'un faune, Ravel concerto left hand), WDR-Symphony Orchestra (extracts of Mahler 3th Symphony, Wagner Tristan und Isolde, Webern Stücke für Orchester), Münchener Rundfunkorchester (Carnaval des animaux), Bochumer Symphoniker (Beethoven 5th Symphony), Israel Camerata (Haydn 34th Symphony, Ginastera Concerto for strings) and has been a regular guest at Stavanger Symphony Orchestra.

Exciting upcoming projects include a.o. her return at the Staatsphilharmonie Rheinland-Pfalz, Aalborg Symphony Orchestra and Aarhus Symphony Orchestra, debuts with the Dresdner Philharmonie, the Gävle Symfoniorkester, Wuppertal and the Heidelberger Sinfoniker, Upsalla Chamber Orchestra as well as the opening concert of the Kurt Weill festival in Dessau. A staged production of Madama Butterfly by Puccini at the Göteborg Opera and at the Dutch National Ballet she is scheduled to conduct the Nutcracker. She will also record a new CD with the Berlin Radio Orchestra.

She has conducted productions of La bohème and La Sonnambula at the Oper Graz, Le Nozze di Figaro at the Komische Oper Berlin, Don Pasquale at the Opera National du Rhin in Strasbourg, Die Fledermaus at the Theater Halle, Britten’s The Turn of the screw at the Opéra de Tours and Giselle, the Nutcracker at the Royal Swedish Opera in Stockholm, Giselle at the Opéra national du Rhin and La Boîte à Joujoux based on music of Debussy for the Opéra de Toulon.

Her first recording for the label Capriccio, featuring works by Francis Poulenc and Jean Françaix with piano-duo Mona and Rica Bard has just been released to great critical acclaim. A second CD for Capriccio with works of Johanna Doderer will appear at the end of 2015.

Ariane Matiakh had the pleasure to work in concert with renowned soloists such as Roberto Alagna, François Frédéric Guy, Nicholas Angelich, Anne Gastinel, Gautier Capuçon, Lawrence Power, David Fray, Kate Aldrich, Laure Favre-Kahn and Marielle Nordmann and choreographes like Maina Gielgud, Eric Margouet or Natalia Makarova.

This album contains no booklet.