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Giulia Giammona, Stage Director
Giulia Giammona, Stage Director
Debut with Opera Australia with Eugene Onegin, debut at Teatro alla Scala with a new opera Anna A; Madama Butterfly with Landestheater Linz; at Theater Magdeburg, she conducts Janacek's The Cunning Little Vixen, Turandot, Schtschedrin’s ballet Carmen/Morgenröte eines Stiers and Wunschkonzert. At Oper Leipzig, Skryleva leads new productions of Prokofiev’s Romeo and Juliet and Pique Dame. Carmen (new production) at the Malmö Opera and Der fliegende Holländer at Staatstheater Nürnberg.
Debuts at Auditorium Sinfonica di Milano with works by Farrenc, Skryleva, Chaminade, Bizet/Borne, Stravinsky, with l'Orchestra dell'Accademia Teatro alla Scala, Brahms’ Symphony No. 3 with Bruckner Orchester Linz, with Fort Worth Symphony Orchestra, Orquesta Sinfónica Nacional de Colombia, the Aalborg Symfoniorkester, the Magdeburgische Philharmonie, the Philharmonisches Orchester Landestheater Coburg; Opening concert of the Ultraschall Berlin Festival with the Deutsches Symphonie-Orchester Berlinn; with the Aarhus Symfoniorkester, the Brandenburgisches Staatsorchester Frankfurt (BSOF ); works by Skryleva, Glière, Strauss with the Philharmonisches Orchester der Hansestadt Lübeck.
Anna Skryleva's works as a composer are published by Universal Edition Vienna. Selected compositions/ arrangements: Mirror for Soprano & Orchestra, 3 Impromptus in C for the Orchestra, Lullaby for 2 voices and the orchestra, Mozart’s La clemenza di Tito - Opera Seria in due atti reduced orchestration by Anna Skryleva, Bärenreiter Verlag, Mozart’s La clemenza di Tito - Nr. 15 Aria con Coro, arrangement for Solo Trumpet (ossia piccolo trumpet) & Brass ensemble by Anna Skryleva, Universal Edition, among others.
OPUS KLASSIK 2024 Award for the "World Premiere Recording of the Year" - for "Grete Minde" by Eugen Engel.
Theater Magdeburg
Theater Magdeburg
Carl Nielsen International Competition 2019 Final Round, performance by Blaz Sparovec and Copenhagen Philharmonic, conductor Anna Skryleva.
Carl Nielsen International Competition 2019 Final Round, performance by Blaz Sparovec and Copenhagen Philharmonic, conductor Anna Skryleva.
Under Anna Skryleva’s direction, the tempo is gentle, enveloping, and imbued with boundless romanticism. ...there can be no doubt when it comes to the music: Tchaikovsky’s fervent spirit reigns supreme from beginning to end.
Kein Problem für das DSO, das sich ebenso versiert im Umgang mit Neuer Musik wie mit klassischem Repertoire zeigte, während die schwungvoll und klar dirigierende Skryleva durch ihre Doppelrolle als Dirigentin und Komponistin prädestiniert für die Zusammenarbeit mit zeitgenössischen Komponistinnen und Komponisten ist.
An even greater tsunami of ovations flooded the Gewandhaus Orchestra. The sound coming from the pit was definitely top class. The constant alternation between lyrical expanses and Prokofiev's angular mass scenes for the story ballet, which premiered in Brno in 1938 and was originally planned with a happy ending, was impressive. The dark abruptness of William Shakespeare's tragedy sounds as cultivated and brilliant on Augustusplatz as the slow movements of the love scenes. Anna Skryleva wants nothing to do with the Russian style of ballet conducting - i.e. the sinewy, opulent and somewhat pathetic condensations à la Gennady Rozhdestvensky and Algis Shuraitis. Disciplined and elegiac, it is instead oriented towards the top-class virtues of the Gewandhaus Orchestra: Cantabile beauty with an addictive factor, but also with avoidance strategies against Prokofiev's seething nervous drama. The warning function of the plot against overheated passion in Shakespeare and other adaptations was irrelevant for Lovette and Skryleva.
The Gewandhausorchester Leipzig also contributes to this delightful, acclaimed evening... Under the direction of the conductor Anna Skryleva, they let Prokofiev's music resound in all its sharpness and harshness, but also in its most sensitive lyricism.
“People should expect a strong personal story about the fairness and justice,” Skryleva said. She described the music as having “the sound of late Romanticism” heavily influenced by Richard Wagner, Richard Strauss and Erich Wolfgang Korngold.
Anna Skryleva hat großartige tönende Überzeugungsarbeit geleistet, führt souverän ihr Orchester.
Skryleva and Ulrike Schröder, Theater Magdeburg’s chief dramatic adviser, oversaw the painstaking transcription by external experts of more than 40 individual voice and instrument parts, making use of the shutdown during the pandemic to do so.
Anna Skryleva dirigierte das Gewandhausorchester in einer fesselnden Aufführung der vollständigen Partitur, die die dramatische Spannung aufrechterhielt.
