{"id":28942,"global_id":"www.lifevictoria.com\/en\/?id=28942","global_id_lineage":["www.lifevictoria.com\/en\/?id=28942"],"author":"1","status":"publish","date":"2026-08-26 10:09:06","date_utc":"2026-08-26 10:09:06","modified":"2026-09-30 17:19:58","modified_utc":"2026-09-30 17:19:58","url":"https:\/\/www.lifevictoria.com\/en\/event\/elisabet-strid-john-sunderland\/","rest_url":"https:\/\/www.lifevictoria.com\/en\/wp-json\/tribe\/events\/v1\/events\/28942","title":"Elisabet Strid & John Sunderland","description":"

Elisabet Strid & John Sunderland<\/h1>\n

Tuesday, 18 May 2027- 20h<\/strong><\/p>\n

Sala Dom\u00e8nech i Montaner \u2013 Sant Pau Recinte Modernista <\/h2>\n

\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\tView on Google Maps
\n\t\t\t\t\t<\/a>
\n\t\t\t\t\tBuy tickets<\/a>
\n\t\t\t\t\tProgramme<\/a>
\n\t\t\t\t\t<\/add-to-calendar-button>\t\t\t\t<\/p>\n

\"elisabet_strid_600x600\"<\/figure>\n
    \n
  • \n\t\t\t\t\t\t\t\t\t\tElisabet Strid<\/strong>, soprano<\/em>\n\t\t\t\t\t\t\t\t\t<\/li>\n
  • \n\t\t\t\t\t\t\t\t\t\tJohn Sunderland<\/strong>, piano<\/em>\n\t\t\t\t\t\t\t\t\t<\/li>\n
  • \n\t\t\t\t\t\t\t\t\t<\/li>\n
  • \n\t\t\t\t\t\t\t\t\t\tLIFE New Artists<\/strong>\n\t\t\t\t\t\t\t\t\t<\/li>\n
  • \n\t\t\t\t\t\t\t\t\t\tPaula L. Atanet<\/strong>, piano<\/em>\n\t\t\t\t\t\t\t\t\t<\/li>\n
  • \n\t\t\t\t\t\t\t\t\t\tPatricia Rijnhout<\/strong>, soprano<\/em>\n\t\t\t\t\t\t\t\t\t<\/li>\n<\/ul>\n

    \nWesendonck: Wagner\u2019s Exile
    \n<\/h2>\n

    Soprano Elisabet Strid and pianist John Sunderland present a recital centred on one of the most fascinating song cycles of the Romantic era: Richard Wagner\u2019s Wesendonck Lieder<\/em>. Composed to five poems by Mathilde Wesendonck, the wife of one of Wagner\u2019s patrons in Zurich, these songs occupy a unique place in the composer\u2019s output. Two of them, Im Treibhaus<\/em> and Tr\u00e4ume<\/em>, were described by Wagner himself as \u201cstudies\u201d for Tristan und Isolde<\/em>, the opera that would forever revolutionise the language of Western music. Wagner\u2019s relationship with Mathilde, marked by an intense emotional closeness, coincided with a period of political exile. After taking part in the Dresden uprisings of 1849, the composer was forced to leave Germany and settle in Switzerland. It was in this context of displacement, far from his homeland and immersed in a complex personal situation, that both the Wesendonck Lieder<\/em> and the first ideas for Tristan<\/em> took shape. Elisabet Strid, who sings Br\u00fcnnhilde in the Royal Opera House\u2019s new Ring<\/em> cycle in London, makes her LIFE Victoria debut alongside pianist John Sunderland.<\/p>\n

    \t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/p>\n

    \n\n<\/p>\n

    I<\/h3>\n

    \nEdvard Grieg (1843\u20131907)
    \n<\/strong>
    \n<\/h5>\n

    \nV\u00e5ren
    \n Solveigs sang
    \n Med en vandlilje
    \n En svane
    \n Fra Monte Pincio \n<\/p>\n


    \nWilhelm Peterson-Berger (1867\u20131942)
    \n<\/strong>
    \n<\/h5>\n

    \n Vainos s\u00e5nger\n<\/p>\n


    \nWilhelm Stenhammar (1871\u20131927)
    \n<\/strong>
    \n<\/h5>\n

    \n Stj\u00e4rn\u00f6ga\n<\/p>\n


    \nWilhelm Peterson-Berger
    \n<\/strong>
    \n<\/h5>\n

    \nAsp\u00e5kerspolska\n<\/p>\n


    \nCarl Leopold Sj\u00f6berg (1861\u20131900)
    \n<\/strong>
    \n<\/h5>\n

    \nTonerna\n<\/p>\n


    \nHugo Alfv\u00e9n (1872\u20131960)
    \n<\/strong>
    \n<\/h5>\n

    \n S\u00e5 tag mit hjerte\n<\/p>\n


    \nJean Sibelius (1865\u20131957)
    \n<\/strong>
    \n<\/h5>\n

    \n Flickan kom ifr\u00e5n sin \u00e4lsklings m\u00f6te\n<\/p>\n

    II<\/h3>\n


    \nRichard Wagner (1813\u20131883)
    \n<\/strong>
    \n<\/h5>\n

    \nWesendonck Lieder WWV 91
    \n<\/em>
    \nDer Engel
    \n Stehe still!
    \n Im Treibhaus
    \n Schmerzen
    \n Tr\u00e4ume<\/p>\n

    \u2018Liebestod\u2019
    \n<\/em>de Tristan und Isolde WWV 90\n<\/p>\n

    \n\n<\/p>\n

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