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Grand Designs: Do you get paid to be on Grand Designs? | TV & Radio | Showbiz & TV

Grand Designs: Do you get paid to be on Grand Designs? | TV & Radio | Showbiz & TV |

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GRAND DESIGNS is still going strong after more than 2 decades on our screens. But do the amateur architects get paid for appearing on the home improvement show?

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Grand Designs: Kevin McCloud shown thermal experiment

Grand Designs kicked off its 21st series at the beginning of 2021 with even more people stretching their imaginations far and wide to build their dream homes. Presenter Kevin McCloud has been witness to thousands of projects over the years and despite the ongoing coronavirus pandemic, the latest season will be no different. The Channel 4 show continues to air every Wednesday night at 9pm. 

Do you get paid to be on Grand Designs?

Those who appear on Grand Designs are building some of the most unique and challenging houses possible.

They usually end up spending hundreds of thousands of pounds, sometimes more and often go way over their planned budget.

Of course, they mostly end up with beautifully designed homes but at a pricey cost.

So it isn’t out of the question to think those who appear on the series would get paid for their projects being filmed.

READ MORE: Grand Designs: Kevin McCloud brands project ‘nuts’

Grand Designs: Do you get paid to be on Grand Designs? (Image: Channel 4/Getty)

Grand Designs: Kevin McCloud has presented Grand Designs since 1999. (Image: Channel 4)


  • Grand Designs: Kevin McCloud brands project ‘nuts’

Nevertheless, those who do star on Grand Designs are not reportedly paid.

There has not been much talk in terms of what arrangements are made prior to filming starting up.

However, it is believed participants are not given any sort of payment for taking part in the show.

Although, there is some compensation rewarded to the ambitious homeowners.

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Grand Designs: Fans took to social media to say how the latest development resembled a ‘crematorium’. (Image: Channel 4)


    Grand Designs: Season 21, episode 4, will be set in Bletchley. (Image: Channel 4)

    While no payment is made for participants to appear on Grand Designs, there is some financial gain.

    The homeowners are reportedly paid in exchange for the workmen building the houses having to put down their tools and get out of sight.

    This is so McCloud can venture around the place, talking to the property owners without it looking as much of a busy and hectic building site.

    Just how much is paid for this loss in precious construction time though is not known.

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    Grand Designs continued with its fourth episode this week entitled Bletchley 2021. 

    This time around, McCloud went to Bletchley, a town just outside of Milton Keynes, Buckinghamshire.

    The latest episode was an exciting one as Grand Designs had teased the project as “the first of its kind in the UK”.

    Taking to the show’s Twitter account, a tweet read: “Energy conservationist Andrew plans to build a radical, self-heating home by storing the warmth of the summer sun into the insulated earth banks.”


    • Grand Designs: Kevin McCloud explains what to do if you find a grave

    In a clip preview, Andrew is seen describing it as a “massive thermal experiment”.

    Wife Margaretta doesn’t sound so positive though as she shares her concerns.

    She says: “How much are we going to get done before the money runs out?

    “I don’t really feel in control of it. It’s really hard because it feels to me a lot like it’s Andrew’s baby.”

    So are Andrew and Margaretta going to be able to complete their new home in time or will their plan for a new life fall apart?

    Grand Designs continues every Wednesday on Channel 4.

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      Grand Designs: applications are open to appear on popular show

      Are you doing a huge home build that you think could make it on Grand Designs? The show is currently looking for participants to appear in upcoming series – so if you fancy chatting architecture with Kevin McCloud, here’s everything you need to know… 

      READ: Meet Grand Designs presenter Kevin McCloud’s four children

      The show’s official Twitter account announced the news on Tuesday, writing: “Are you planning your own Grand Design? We’re looking for exciting new projects, so apply now via our website.” 

      WATCH: Grand Designs presenter Kevin McCloud talks about the thing that disappoints him 

      The application can be found here, and it sounds like there are some specifications for what the Channel 4 show wants for a future series. The application reads: “If your project is exciting and unique – and something you feel we haven’t covered before – we would like to hear from you. Projects must fit the following criteria: We are looking for new residential builds, significant residential conversions or restorations of historic buildings for domestic use.

      Would you like to go on Grand Designs?

      “They have unique or interesting elements in terms of design, materials, construction techniques, location and/or the people involve. Planning permission is in place and you are planning to live in the property yourself. You agree to be involved with the project and are available to be filmed on a regular basis.” 

      The applications are for UK-based developments only “for the foreseeable future”. 

      MORE: Why you will never see Grand Designs star Kevin McCloud’s own house

      MORE: Grand Designs star Kevin McCloud talks marriage breakdowns on show

      The projects can last several years, and the show’s presenter Kevin McCloud has previously opened up about how things can go wrong in that time. He told Stuff: “It’s always a disappointment when my phone rings and someone says, ‘This has happened – he is ill or the relationship has broken down.'” 

      Are you planning your own Grand Design?

      He continued: “We all groan, because all my producer wants to do is deliver a series, and we are always trying so hard to juggle everything. We want stories to go smoothly, and not be compromised. We are both quite ruthless in that way, and anti-jeopardy, but it does get awkward.” 

      Like this story? Sign up to our newsletter to get other stories like this delivered straight to your inbox.

      Nothing remarkable is expected at the Sochi Cultural Olympics, although there were grandiose plans


      11.02. and cultural. According to the organizers, “the interesting and rich cultural program of the Games reflects the cultural richness of Russia. ” It is really intense: the winter international arts festival, which includes classical music concerts, performances, ballet performances, film retrospectives, as well as an equally rich exhibition part.

      The most striking cultural event will be the personal exhibition of the People’s Artist of Russia Sergei Andriyaka at the N. Ostrovsky Literary and Memorial Museum. The curator of the exhibition is the master himself. And further down the list. Photo exhibition Images of Russia created by St. Petersburg photographer Mikhail Nikitin . It includes images of architectural monuments of St. Petersburg and panoramic views of other Russian cities. All-Russian exhibition opened at the Art Museum Sports – art – Sochi ; visitors are presented with 200 works dedicated, of course, to the theme of sports. According to the organizers, the authors of the exposition are the best artists of the country. In the Museum of the History of Sochi – Ancient gold of the Kuban and the Black Sea . Exhibition from the collection of Peterhof Education of bodily strength about sports equipment of the imperial residence of the XVIII – early XX centuries – in the Art Museum. In the midst of the Games, an exhibition of graphics and paintings by Vyacheslav Butusov opens at the city’s railway station.

      Answering the question why modern Russian and Western artists do not take part in the cultural program of the most expensive Olympics in the world, Maria Voevodina , representative of the Sochi 2014 Organizing Committee , assured that “modern Russian art is represented at the exhibitions. In particular, this is Sergey Andriyaka, as well as an exhibition of the Union of Artists of Russia, which presents paintings by both eminent and young and talented artists.”

      We wrote about an initiative to decorate the 200-hectare Olympic Park in the Imeretinskaya Lowland with works of land art (TANR, No. 01, April-May 2012). The scale of the sculptures of the art project promised to be grandiose: from of the Universal Mind of Nikolai Polissky to the 80-meter sculpture of a man with a torch by Zurab Tsereteli . As the sculptor Georgiy Frangulyan , who was a member of the expert council of the project, told us, there will be no park due to lack of budget. “We made a wonderful competition, a wonderful project that would be an ornament to the Olympics. When the whole project was ready, no money was given. Banal, banal.” Answering the question whether the project will be implemented in the future, Frangulyan said: “God forbid that what has been built be preserved in the future. There will be nothing to do with the sculpture park. Some other project may be. Grass will grow, for example. Frangulyan refused to name the approximate cost of the park, but noted that this is not even a drop in the overall budget. “Just nothing compared to the planned number of objects of such significance and size – and these are 65 most powerful objects. And, which is typical, almost all artists have practically reduced their fees to a minimum, because we could not reduce the production part, and due to fees we reduced the cost. Well, it still didn’t help,” he said. – Maria Kramar

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      State Academic Symphony Orchestra of Russia named after E. F. Svetlanov: Moscow State Academic Philharmonic

      September 9, 2013

      Concert Hall named after P. I. Tchaikovsky


      State Academic Symphony Orchestra of Russia

      named after E. F. Svetlanov

      Vladimir Yurovsky,


      Anya Campe


      Elizabeth Kuhlman


      Stefan Finke

      (tenor, Germany)

      Albert Domain


      Taking part in the concert
      Evgeny Liberman (baritone)



      (200th birthday)
      Introduction to the opera Tristan und Isolde
      Five songs to words by Mathilde Wesendonck for mezzo-soprano and chamber orchestra (arranged by H. -W. Henze)
      “Tristan and Isolde” – musical drama (II act)

      Subscription №8:

      State Academic Symphony Orchestra of Russia named after E. F. Svetlanov

      The 200th anniversary of Richard Wagner is being celebrated in a big way around the world. Wagner
      was not just the greatest reformer – he was a great musical
      revolutionary, whose work directed the development of musical art
      along a previously unknown path and predetermined this development on
      decades ahead.

      Wagner’s grand designs demanded
      completely new means of embodiment, a new operatic reform. pushing off
      from ancient Greek tragedy, from the creative searches of Gluck and Beethoven,
      which he considered his ideals in music, Wagner created fundamentally
      a new genre – musical drama based on the synthesis of music and drama,
      monumental ideas, mythological and legendary stories, and gave her
      theoretical justification in his numerous literary works.
      “He wanted to be the new Aeschylus, the new Sophocles, he wanted to unfold on the stage
      such a myth that would unite a huge mass of listeners” (I.

      Wagner’s life was extraordinarily eventful
      all sorts of ups and downs, moving from city to city, from country to
      country. It had grand failures and grand triumphs, an escape from
      creditors and deification by musicians and kings. Attitude
      contemporaries to Wagner (like Wagner to his contemporaries) was far from
      unequivocal, but it was impossible to deny the significance of his work. controversy about
      his work, philosophical views and political views,
      seems to go on endlessly, but his place will forever remain on
      top of the Musical Olympus.

      State Academic Symphony Orchestra of Russia named after E.F. Svetlanov

      The first performance of the orchestra, conducted by Alexander Gauk and Erich Kleiber, took place on October 5, 1936 in the Great Hall of the Moscow Conservatory.

      Over the years, the State Orchestra was led by Alexander Gauk (1936–1941), Natan Rakhlin (1941–1945), Konstantin Ivanov (1946–1965), Evgeny Svetlanov (1965–2000), Vasily Sinaisky (2000–2002), Mark Gorenstein (2002–2011), Vladimir Yurovsky (2011–2021) and Vasily Petrenko (2021– 2022). In 2005, the team was named after E.F. Svetlanov. Since 2021, the post of honorary conductor has been occupied by Vladimir Yurovsky.

      Concerts of the orchestra were held on the most famous stages of the world, including the Great Hall of the Moscow Conservatory, the Tchaikovsky Concert Hall, the Bolshoi Theater of Russia, the Column Hall of the House of the Unions, the State Kremlin Palace in Moscow, Carnegie Hall in New York, Kennedy Center in Washington, Musikverein in Vienna, Albert Hall in London, Salle Pleyel in Paris, National Opera House Colon in Buenos Aires, Suntory Hall in Tokyo. In 2013, the orchestra performed for the first time on Red Square in Moscow.

      Herman Abendroth, Ernest Ansermet, Leo Blech, Andrey Boreyko, Alexander Vedernikov, Valery Gergiev, Nikolai Golovanov, Kurt Sanderling, Otto Klemperer, Kirill Kondrashin, Lorin Maazel, Kurt Mazur, Nikolai Malko, Ion Marin, Igor Markevich , Evgeny Mravinsky, Alexander Lazarev, Charles Munsch, Gintaras Rinkevicius, Mstislav Rostropovich, Saulius Sondeckis, Igor Stravinsky, Arvid Jansons, Charles Duthoit, Gennady Rozhdestvensky, Alexander Sladkovsky, Leonard Slatkin, Yuri Temirkanov, Mikhail Yurovsky and other outstanding conductors.

      Singers Irina Arkhipova, Galina Vishnevskaya, Sergei Lemeshev, Elena Obraztsova, Maria Gulegina, Placido Domingo, Montserrat Caballe, Jonas Kaufman, Dmitry Hvorostovsky, pianists Emil Gilels, Van Cliburn, Heinrich Neuhaus, Nikolai Petrov, Svyatoslav Richter, Maria Yudina, Valery Afanasiev, Eliso Virsaladze, Evgeny Kissin, Grigory Sokolov, Alexei Lyubimov, Boris Berezovsky, Nikolai Lugansky, Denis Matsuev, violinists Leonid Kogan, Yehudi Menuhin, David Oistrakh, Maxim Vengerov, Viktor Pikaizen, Vadim Repin, Vladimir Spivakov, Viktor Tretyakov , violist Yuri Bashmet, cellists Mstislav Rostropovich, Natalia Gutman, Alexander Knyazev, Alexander Rudin.

      In recent years, the list of soloists collaborating with the group has been replenished with the names of singers Dinara Aliyeva, Aida Garifullina, Waltraud Mayer, Anna Netrebko, Khibla Gerzmava, Alexandrina Pendachanskaya, Ildar Abdrazakov, Dmitry Korchak, Vasily Ladyuk, Rene Pape, pianists Marc-Andre Hamelin , Leif Ove Andsnes, Jacques-Yves Thibaudet, Mitsuko Uchida, Rudolf Buchbinder, violinists Leonidas Kavakos, Patricia Kopachinskaya, Julia Fischer, Daniel Hope, Nikolai Znaider, Sergei Krylov, Christophe Baraty, Julian Rachlin, Pinchas Zukerman. Considerable attention is also paid to joint work with young musicians, including conductors Dimitris Botinis, Maxim Emelianychev, Valentin Uryupin, Marius Stravinsky, Philip Chizhevsky, pianists Andrey Gugnin, Lucas Debargue, Philip Kopachevsky, Jan Lisetsky, Dmitry Masleev, Alexander Romanovsky, Nikita Mndoyants, violinists Alena Baeva, Ailen Pritchin, Valery Sokolov, Pavel Milyukov, cellist Alexander Ramm.

      Having first traveled abroad in 1956, the orchestra has since represented Russian art in Australia, Austria, Belgium, Hong Kong, Denmark, Italy, Canada, China, Lebanon, Mexico, New Zealand, Poland, USA, Thailand, France, Czechoslovakia , Switzerland, South Korea, Japan and many other countries.

      The discography of the group includes hundreds of records and CDs released by leading companies in Russia and abroad (Melody, Bomba-Piter, Deutsche Grammophon, EMI Classics, BMG, Naxos, Chandos, Musikproduktion Dabringhaus und Grimm, Toccata Classics, Fancymusic and others). A special place in this collection is occupied by the Anthology of Russian Symphonic Music, which includes audio recordings of works by Russian composers from Glinka to Stravinsky (conductor Yevgeny Svetlanov). Recordings of the orchestra’s concerts were made by TV channels Mezzo, Medici, “Russia 1” and “Culture”, radio “Orpheus”.

      Recently, the State Orchestra performed at the George Enescu Festival in Bucharest, the festivals “Another Space”, “The Universe – Svetlanov!” and XIV Moscow International Festival “Guitar Virtuosi” in Moscow and “Summer. Music. Museum” in Istra; performed world premieres of works by Alexander Vustin, Viktor Ekimovsky, Sergei Slonimsky, Anton Batagov, Andrei Semyonov, Vladimir Nikolaev, Oleg Paiberdin, Efrem Podgaits, Yuri Sherling, Boris Filanovsky, Olga Bochikhina, Olga Raeva, Alexei Retinsky, Russian premieres of works by Beethoven – Mahler, Scriabin – Nemtin, Orff, Berio, Stockhausen, Tavener, Kurtag, Adams, Grise, Messiaen, Dean, Silvestrov, Shchedrin, Tarnopolsky, Gennady Gladkov, Viktor Kissin; took part in the XV International Tchaikovsky Competition, International Competitions for Young Pianists Grand Piano Competition, International Theater Festival named after A. P. Chekhov and International Festival of Arts named after A.D. Sakharov; eight times presented the annual cycle of educational concerts “Stories with the Orchestra”; visited the cities of Russia, Austria, Argentina, Brazil, Great Britain, Germany, Greece, Spain, China, the Netherlands, Peru, Romania, Turkey, Uruguay, Chile, Japan. Chamber evenings with the participation of soloists of the orchestra are regularly held.

      Since 2016, the State Orchestra has been implementing a special project to support composer creativity, which involves close cooperation with contemporary Russian authors. Alexander Vustin was the first “composer in residence” in the history of the State Orchestra.

      Since 1972, the team has been awarded the honorary title of “academic” for outstanding creative achievements; in 1986 he was awarded the Order of the Red Banner of Labor, in 2006, 2011 and 2017. was awarded the gratitude of the President of the Russian Federation. In 2021, the Gramophone award was awarded to a disc with a recording of Shostakovich’s violin concertos made by the State Orchestra conducted by Vladimir Yurovsky (soloist Alina Ibragimova).

      Vladimir Yurovsky

      Born in 1972
      in Moscow. Representative of the Russian musical dynasty: the son of the conductor Mikhail
      Yurovsky, grandson of composer Vladimir Yurovsky, great-grandson of conductor David Blok
      (creator of the State Symphony Orchestra of Cinematography).
      He received his musical education at the Academic Musical College at
      Moscow Conservatory, Dresden High School of Music named after Karl Maria von
      Weber and the Hans Eisler University of Music in Berlin.

      studied with his father, then with Alexander von Brück, Rolf Reuther and Sir
      Colin Davis, was an assistant to Gennady Rozhdestvensky. In 1995 with triumph
      made his international debut at the Wexford Opera Festival
      (opera “May Night” by Rimsky-Korsakov). Since then, he has been collaborating with the largest
      theaters, including Covent Garden (London), Bastille Opera (Paris), Metropolitan Opera
      (New York), Komishe Oper (Berlin), La Fenice (Venice), La Scala (Milan), Grand
      theater of Russia and others. Performs with the Philharmonic Orchestras of Berlin, Vienna and
      New York, Philadelphia, Cleveland, Chicago and Boston Symphony
      orchestras, Staatskapelle Dresden, Royal Orchestra
      Concertgebouw (Amsterdam), orchestras of the Leipzig Gewandhaus, Bavarian Radio,
      Chamber Orchestra of Europe and many others.

      Vladimir Yurovsky
      served as musical director of the Glyndebourne Opera Festival (2001–2013),
      Principal Guest Conductor of the Russian National Orchestra (2005–2009),
      Principal Conductor of the London Philharmonic Orchestra (2007–2021, since 2021
      – Honorary Conductor), Artistic Director of the Festival George Enescu in
      Bucharest (2017–2021). C
      2001 – one of the permanent conductors of the Enlightenment Orchestra. Since 2017
      of the year – Chief Conductor and Artistic Director of the Symphony Orchestra
      Berlin radio. Since the 2021/22 season he has been the music director of the Bavarian
      state opera.

      2011-2021 – artistic
      head of the State Orchestra of Russia named after E. F. Svetlanov (since 2021 – honorary
      conductor). He performed with the band at the festivals “Another Space” (Moscow) and
      Arts Square (St. Petersburg), at the III Russian Symphony Forum (Yekaterinburg), in concerts for
      students of Moscow University and the Gnessin Russian Academy of Music,
      in the cities of Russia, Austria and Germany; carried out world premieres of “Songs
      Lukerya”, “Songs of ascent” and “Three poems by Olga Sedakova” Vustina, AGES Podgaits, Prokofiev’s “Delusions” in
      orchestrated by Gennady Gladkov, Russian premieres of Silvestrov’s Symphony No. 3,
      “Beethoven’s Heiligenstadt Testament” by Shchedrin, Symphonies Nos. 3, 5 and 9
      Beethoven as revised by Mahler, Orff’s Prometheus, Stockhausen’s Group,
      opera-oratorios El Niño (“Baby
      Christ”) Adams, “Pastoral
      symphony” by Dean, a new edition of the musical “An Ordinary Miracle” by Gladkov, complete
      versions of Scriabin-Nemtin’s “Preliminary Action” and a number of other works.

      On the initiative
      conductor in 2012, the tradition of initiation into first-year students was revived
      Academic College of Music at the Moscow Conservatory (in
      Tchaikovsky Museum-Reserve in Klin). In 2017 with the Concert Symphony
      Orchestra of the Moscow Conservatory Vladimir Yurovsky presented the Moscow
      premiere of Stravinsky’s “Funeral Song”. In 2021 at the Tchaikovsky Hall on the eighth
      once the annual cycle of educational concerts “Stories with the Orchestra” took place.

      Yurovsky’s management carried out world premieres of operas Vita Nuova by Vladimir Martynov, Love and Other Demons by Peter Eötvös,
      “King Lear” by Sergei Slonimsky, “Hamlet” by Brett Dean, “The Devil in Love”
      Alexander Vustin, as well as performances of operas by Mozart, Wagner, Verdi,
      Mussorgsky, Tchaikovsky, Glinka, R. Strauss, Stravinsky, Schoenberg, Berg,
      Prokofiev, Schreker, Shostakovich. Yurovsky’s discography includes recordings of symphonies
      Beethoven, Brahms, Liszt, Tchaikovsky, Mahler, Vaughan Williams, Honegger, Enescu,
      Rachmaninov, Prokofiev, Shostakovich, Schnittke, Denisov, Sylvestrov, orchestral
      and choral works by Haydn, Mendelssohn, Wagner, R. Strauss, Medtner, Zemlinsky,
      Ravel, Szymanowski, Stravinsky, Canvas, Britten, Hindemith, Bloch, Casella,
      Kancheli, Ligeti, Martynova, Julian Anderson, Michel van der Aa, Marc-Anthony
      Turnage, operas by Mozart, Glinka, Humperdinck, Rossini, Meyerbeer, Massenet,
      Puccini, Janacek, Rachmaninov, Prokofiev, Berg, Stravinsky and others

      In 2000
      Yurovsky won the Abbiati Prize for “best conductor of the year”, in 2015 – BBC Music Magazine Award for the recording of the opera
      “Nuremberg Meistersingers” Wagner; in 2007 was awarded the Royal
      Philharmonic Society of Great Britain as “Conductor of the Year”, in 2012 and 2014.
      named by the Russian newspaper “Musical Review” “person of the year”, in 2013
      nominated for a Grammy Award. In 2016, Yurovsky was awarded the title of honorary
      Doctor of London Royal College of Music and Honorary Professor
      Moscow State University. In 2021 was awarded the Golden
      Medal of the Royal Philharmonic Society (London).

      Anja Kampe
      Elisabeth Kuhlmann

      Elisabeth Kuhlmann was born in 1973 in Oberpullendorf (Burgenland, Austria). She studied singing initially as a soprano at the Vienna University of Music and Performing Arts (class of Professor Helena Lazarska). In 2001, she made her debut at the Vienna Volksoper as Pamina (Mozart’s The Magic Flute), where she later performed the roles of the Countess and Donna Elvira (Mozart’s Marriage of Figaro and Don Giovanni).

      Since 2004 she switched to the repertoire for mezzo-soprano and countertenor. Her first role in a new role was Boccaccio in the eponymous operetta by Franz von Suppe on the stage of the Vienna Volksoper; in 2005 she performed at the Paris National Opera as Orpheus in Gluck’s opera of the same name. In 2007, she sang the title role in Bizet’s Carmen at the Berlin State Opera Unter den Linden. Since 2005, she has also been performing in projects of historically informed performance, in particular, at the Baroque Music Festival in Schwetzingen, she took part in the performance of the operas “Telemach” by Alessandro Scarlatti and “Justin” by Giovanni Legrenzi. Since 2010, she has been singing on the world’s largest stages – in Vienna, Paris, London, Munich, Berlin, Tokyo, Salzburg, Moscow.

      The singer performed the largest number of roles at the Vienna Volksoper and the Vienna State Opera. Among them are Suzuki (“Madama Butterfly” by Puccini), Nancy (“Martha” Flotova), Ippolita (“A Midsummer Night’s Dream” by Britten), Fenena, Ulrika (“Nabucco”, “Un ballo in maschera” by Verdi), Marina Mnishek (“ Boris Godunov by Mussorgsky), Mrs Quickly (Falstaff by Verdi, the singer sang the same part at the Salzburg Festival 2013), Polina, Olga (The Queen of Spades, Eugene Onegin by Tchaikovsky), Brigitte (Dead City by Korngold) , Floschild, Grimgerd, Waltrauta (“Rhine Gold”, “Valkyrie”, “Death of the Gods” by Wagner), Clairon, Herodias (“Capriccio”, “Salome” by Richard Strauss), Leocadia Begbik (“The Rise and Fall of the City of Mahagonny” by Weill) and others. As Fricka in Wagner’s tetralogy Der Ring des Nibelungen, Kuhlman performed in Vienna, Munich, at festivals in Lucerne, Bucharest and Valencia; at the Vienna Theater an der Wien she sang in Mozart’s operas (Cherubino – “The Marriage of Figaro”; Despina – “That’s what all women do”).

      Collaborated with the world’s leading orchestras and conductors, including Zubin Meta, Kirill Petrenko, Christian Thielemann, Philip Jordan, Herbert Bloomstedt, Maris Jansons, Kent Nagano, Marek Janowski, Riccardo Muti. The closest creative communication has developed between the singer and Nikolaus Harnoncourt. Her concert repertoire includes Bach’s Christmas Oratorio (DVD-recording with the Munich Bach Collegium conducted by Peter Schreyer), Beethoven’s Solemn Mass (CD with the Royal Concertgebouw Orchestra conducted by Nikolaus Arnoncourt), Five Songs on poems by Mathilde Wesendonck Wagner, Stabat Dvořák’s Mater, Mahler’s Songs to verses by Friedrich Rückert, Schnittke’s cantata “The History of Dr. Johann Faust” and other works.

      Took part in various unusual projects, including Mussorgsky Dis-Covered with Arkady Shilkloper Jazz Quartet, Mahler Lieder (Mahler’s Songs) and Wer wagt mich zu höhnen? (“Who dares to mock me?”) with the ensemble Amarcord Wien, Hungaro Tune (“Hungarian Melody”) with a symphony orchestra and jazz musicians. In her latest solo show, La femme c’est moi (“This woman is me”), Elizabeth combines different musical genres and styles. In addition, she performs selected arias from operas and musicals, German Lieder, hits by The Beatles and Michael Jackson arranged by Tsho Theissing for voice and chamber orchestra.

      Since 2015, the artist has focused on solo concert programs (mainly in partnership with her longtime accompanist Eduard Kutrovac) and performances with an orchestra. Her only theater performance in the foreseeable future is scheduled for March 2020 as Freaky in Wagner’s Valkyrie at the Vienna State Opera.

      Stefan Fincke
      Albert Dohmen

      The German bass-baritone Albert Dohmen has won international fame for his brilliant performances of leading roles in the operas of Wagner and Richard Strauss. The singer was born at 1956 in Krefeld (North Rhine-Westphalia). He learned to play the oboe, took private vocal lessons from the American singer Gladys Kuhta. He received his law degree from the University of Cologne. He began his professional musical career in 1982 in the studio of the Deutsche Oper am Rhein (Düsseldorf-Duisburg), in 1986 he became a soloist with the Hessian State Theater in Wiesbaden, where he worked until 1991.

      Albert Domaine’s international career took off in 1997 when he performed the title role in Berg’s Wozzeck at the Salzburg Easter Festival and then at the Salzburg Summer Festival with the Berlin Philharmonic and the Vienna Philharmonic under Claudio Abbado (directed by Peter Stein). ). After that, he collaborated with such eminent conductors as Zubin Meta, Giuseppe Sinopoli, James Conlon, Georg Solti, Antonio Pappano, Georges Pretre, Riccardo Chailly, Valery Gergiev, Marek Yanovsky, Michel Plasson and others.

      The singer’s repertoire includes the parts of Kurvenal, Amfortas, Dutchman, Hans Sachs (Tristan and Isolde, Parsifal, The Flying Dutchman, Wagner’s Nuremberg Meistersingers), Scarpia (Puccini’s Tosca), Don Pizarro ( Fidelio” by Beethoven), Bluebeard (“Duke Bluebeard’s Castle” by Bartók). He has sung on major opera stages in the world, including the Bastille Opera in Paris, the Royal Opera House, Covent Garden in London, the Bavarian State Opera, the Zurich Opera, the Dutch National Opera in Amsterdam, the Liceu Theater in Barcelona, ​​the Vienna State Opera, the Royal Theater in Madrid, Los Angeles Opera, Bunkai Kaikan in Tokyo, etc.

      In 2001, he performed as Jokanaan in a concert performance of Strauss’ Salome at the Tanglewood Festival, in the 2003/04 season he made his debut in this role at the Metropolitan Opera in New York, later performed in Wagner’s Parsifal ( Gurnemanz) in Los Angeles.

      Albert Domain became famous as one of the world’s best interpreters of Wotan in Wagner’s Der Ring des Nibelungen tetralogy. In a full cycle, he performed in this role in Trieste, Geneva, Catania, Hamburg, the Deutsche Oper in Berlin, the Vienna State Opera, the National Opera of the Netherlands, the New York Metropolitan Opera. In 2007 he made his debut as Wotan at the Bayreuth Festival, becoming a permanent member of the Wagner Forum.

      He also sang Hans Sachs and Gurnemanz at the Grand Theater of Geneva, Orestes (Electra by R. Strauss) in Barcelona and Baden-Baden, Don Pizarro at various opera houses in Italy, Madrid and Baden-Baden under the baton of Claudio Abbado, Jokanaan in new production of “Salome” at the National Opera of the Netherlands, Barack (“Woman Without a Shadow” by R. Strauss) in Florence, Commander (“Don Giovanni” by Mozart) at the Vienna State Opera. In 2013 he made his debut as Falstaff in Verdi’s opera of the same name in a new production in Stuttgart, then appeared as King Mark (Tristan und Isolde) at the Vienna State Opera and in the title role in Bartók’s Duke Bluebeard’s Castle in Oviedo, and also made his debut as Rocco (Fidelio) in Geneva.

      The singer’s recent engagements include Schoenberg’s Moses and Aaron (Priest) at the Royal Theater in Madrid, Elektra (Orest) in São Paulo, Der Ring des Nibelungen (Alberich), Ariadne auf Naxos (Music Teacher) and The Flying Dutchman at the Dresden Semperoper, as well as Der Ring des Nibelungen in Tokyo under Christian Thielemann, The Meistersingers of Nuremberg (debut as Veit Pogner) at La Scala in Milan, The Flying Dutchman and Tristan und Isolde at the Liceu Theater in Barcelona, ​​new

      productions of Weber’s Free Gunner (The Hermit) in Vienna, Wagner’s Valkyrie (Hunding) in Bari, Schumann’s Paradise and Peri oratorio at the Teatro Massimo in Palermo.