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项目简介

 

CURRICULUM VITAE

He finished his diploma in the National Conservatory in 1979 with the highest score in the class of Marcos Rom?o. 
He studied as a fellow of the Gulbenkian Foundation in Paris with Guy Deplus and Jacques Lancelot and in Munchen with Gerd Starke where he got the Meisterdiplom with distinction. 
Took a course in Postgraduate Contemporary Music at the University of Alcalá de Henares in Spain with Arthur Tamayo, and Traditional Repertoire in England with George Hurst. Was considered one of the brightest students who passed through the Canford Academy. 
Obtained a Master’s Degree in Orchestral Conducting from the University of Sheffield. 
Mentor and co-organizer of the World Congress of Clarinet 2009 in Oporto. 
He was artistic director of Guimar?es’s Festival and Academy. 
He is the artistic director of ESMAE’s Symphonic Orchestra, Marcos Rom?o International Clarinet Meeting, and founding member of Opera North.
Collaborates regularly as a teacher, soloist and conductor with the Venezuelan System of Youth Orchestras and Children.Performed or taught in more than thirty countries in Asia, Europe, America and North Africa. Speaks Spanish, Italian, French, German, Polish, and English
He was a professor in the conservatories of Coimbra, Figueira da Foz, Castelo Branco, Lisbon, Academy of évora and the Amadores da Música, University of Aveiro, Católica of Oporto, and Lisbon Superior School of Music. 
Taught seminars and masterclasses at universities and conservatories in Gdansk, Freiburg, Munich, Marseille, Sao Paulo, Beijing, Tianjin, Shanghai, Yangi, as well as in academies and Oviedo festivals, Musicalta, Venezuelan System of Youth Orchestras, Bogotá, Belo Horizonte (Winter Festival), Vigo, La Coru?a, Pontevedra, Valencia, Buenos Aires, Hong Kong, Macau, Santiago, Chile, Lima, Chicago, Nancy and Starogard, Porto Alegre, San Jose, Montevideo, Asunción, Katowice, Camerino and Atri.
His students play in every Portuguese Orchestras (better ratio by nationality / instrument) and teach the best schools. They are also holders of international awards.
Has taught students from over 30 nationalities.
Currently teaches at the Escola Superior de Música e Artes do Espectáculo do Porto (ESMAE).

He was soloist in the Symphonic Youth Orchestra in 1973 and represented Portugal in the World Youth Orchestra in 1977 (Korea and Japan) and 1982 (Hungary) and 1983 (Spain). 
He was soloist in the orchestra of the National Opera House of S?o Carlos and in the Régie Sinfónica where he was the only Portuguese. 
Member of the Group of Lisbon Contemporary Music with Jorge Peixinho. 
Founder and inspirer of many chamber music groups, and was director of Solistas do Porto. 
Played with Orquestra Gulbenkian, Sinfónica Portuguesa, Orquestra Clássica do Porto, Régie Symphony, Radio Lisbon and Porto, Sao Paulo, Shanghai, Philharmonic of Beiras, Orquestra do Norte, Orquestra Sinfónica do Algarve, and Zurich Symphony. 
Guest soloist of world congresses in USA, Belgium, France, Sweden, Canada, Japan, Spain and Italy.
Has performed in the festivals of Sintra, Estoril, Nancy, Shanghai, Macau, Rabat, S?o Paulo, Belo Horizonte, Caracas, S?o José, Santos, Lima, Yangi, Musicalta, Oviedo, Guimar?es, Aveiro, Vila Real, Povoa de Varzim, Pacos Brand?o, Thorn, Algarve, Madeira, Azores, Folle Journée (CCB), Camerino, Atri and Porto Alegre.
Since 1998 has developed in parallel a fruitful conducting career where he has conducted all Portuguese orchestras, plus others such as City of Madrid, Simón Bolívar, Philharmonic of Flanders, Oviedo Festival Orchestra of Madrid, Gran Mariscal Ayacucho, Orchestra of the Municipal Theater of Caracas, Maracay, San Felipe, Harmos Festival, Musicalta, Interregional German Orchestra and Zurich Symphony.
Currently is ESMAE’s chief conductor with whom national and international reference live recordings were produced.
Has conducted operas such as Sousa Carvalho’s O Amor Industrioso, Haydn’s Il Boticário, Mozart ‘s Cosi Fan Tutte, Don Giovanni and The Magic Flute, Jo?o Arroyo’s Amor de Perdi??o, Kurt Weill’s Kleine Mahagony and the Seven Deadly Sins, Alexandre  Delgado’s O Doido e a Morte, Ravel’s The Spanish Hour, and Schoenberg’s Pierrot Lunaire.
Jury member in the prestigious competitions of Viana da Mota Competition, Toulon, Constancia, Seville, Warsaw, Caracas, Kortrik, Ghent, Brasilia and president of Valentino Bucchi in Rome.

1st Prize Arts and Ideas (chamber music and soloist). 
1st Prize New Values Of Culture (chamber music and soloist). 
Received numerous positive press reviews in Public, Daily News, Zurcher Zeitung, Monde De La Musique and ICA. 
Voted unanimously Honorary Member of the International Clarinet Association. 
Was awarded the title of Latin American Personality In Clarinet for services rendered to the particular instrument and music in general by the Clariperu Association. 
Clarinet Of Our Time, with Pedro Burmester, for Saphir.
Concerts of Kurpinsky and Canongia, for Numerical.
Portuguese Composers, for Strauss.
Quartet for Clarinet, for Transmedia. 
A Portrait, with Michiko Tsuda, for Pan Classics. 
Around Fado, not yet edited. 
Symphony Orchestra and Singing, not yet edited.
Jorge Peixinho, Olga  Pratts, Gerardo Ribeiro, Anabela Chaves, Elizabeth Matos, Irene Lima, António Rosado,  Pedro Burmester, Gerard Caussé, Luciano Pavarotti, Edita Gruberova, Quarteto Prazac, Walter Boeykens, Karl Leister, Jacques Lancelot, Louis Claret, Wilfried Strehle, Larry Combs, Sequeira Costa, among others. 

“Of the excellent interpretation of António Saiote we mostly remember an intelligent delimitation of sonorous plans, resultant of an organic phrasing, always very expressive emission, and of a natural and extremely flexible presence, where the gesture always corresponds to the sound.” 
Fernando Lapa, Public, 1995 

“António Saiote played with virtuosic brilliance, very appealing and expressive throughout, with great style, control, and conviction.” 
James Gillespie, Magazine of the International Association of the Clarinet, 1992

 “The clarity and the security of his markings are indications that an excellent clarinetist can become an excellent conductor.” 
Alexandre Delgado, Público, 1997 

“In the remaining parts, the trio was well, with most special prominence for the performance of António Saiote. The clarinetist played in splendid form, with very polished sounds, and an extraordinary feeling of phrase. Saiote possesses the quality to vary the timbres without sacrificing the continuity of the time, fact that not always is present in soloists of international reputation. Watchful of the other musician’s nuances, Saiote did not seek false protagonisms and played exquisitely many of naturalistic details in the German texts.” 
Rui Pereira, Public, 2003 

“The Remix Ensemble disclosed a cohesion optimized for the seriousness, precision and energy of the conducting of António Saiote, fundamental piece of the whole set.” 
Cristina Fernandes, Public, 2001 

“António Saiote, conductor, discloses same to the qualities that are recognized in him as a clarinetist: refined felt of phrase; organic drawing of lines, points, plans; expressive reading of all. The clarinet is an extraordinary ductile instrument; the conducting of António Saiote also: He is simple and rigorous, but modulated and with flexible gesture, he shows us that sound has life (it is born, grows and dies).” 
Fernando Lapa, Public, 1997 

“António Saiote, to consider such a suggestive program, revealed qualities as competence, musicality, and charisma, and that explains the unquestionable success of this concert. António Saiote discloses that type of empathy that is capable of immobilizing a large number of people for one and perfect objective, in the short time of one week. Also, the conducting of António Saiote is clear and expressive. Elegant, also. The teacher knows how to be understood (…) as it cannot be forgotten the perfect conducting of the orchestra in the last picture of the Pines of Rome, from the light melody of the beginning until the tremendous finale, in long and a skillful crescendo.” 
Fernando Lapa, Public, 1999 

他曾在巴黎的古尔本基安基金会与普勒斯和雅克?郎洛斯一起学习,在慕尼黑和嘉德斯达克一起以优异的成绩获得了硕士学位。在西班牙阿尔卡拉大学与亚瑟·塔马约一起学习了一门研究生音乐课程,以及在英国与乔治·赫斯特学习了传统曲目。他被认为是坎福德学院的最聪明的学生之一。获得谢菲尔德大学管弦指挥硕士学位。2009年,在波尔图的世界大会担任导师和协办人。他是吉马良斯音乐节和学院的艺术总监。他是ESMAE交响乐团的艺术总监,马科斯·罗茂国际单簧管会议的艺术总监,也是北歌剧院的创始成员。作为一名教师、独奏者和指挥者,他经常与委内瑞拉的青年管弦乐团和儿童乐团合作。讲西班牙语、意大利语、法语、德语、波兰语和英语。
他是科英布拉音乐学院、菲盖拉达福什、布朗库堡、里斯本、埃武拉和阿马多雷斯学院、阿威罗大学、波尔图天主教大学、里斯本高级音乐学院的教授。
在格但斯克、弗莱堡、慕尼黑、马赛、圣保罗、北京、天津、上海、大学和学院,以及在院校和奥维耶多节日,委内瑞拉青年交响乐团,波哥大,贝洛奥里藏特(冬节),戈比,维哥拉科鲁尼亚,蓬特韦德拉,瓦伦西亚,布宜诺斯艾利斯,香港,澳门,圣地亚哥,智利,利马,芝加哥,南茜、阿雷格里港、圣若泽、蒙得维的亚、亚松深,卡托维兹,卡梅里诺和阿特里等大学和音乐学院教授讲座和大师班。
他的学生们在每一个葡萄牙管弦乐队演奏(按国籍和乐器的比例更好),并在最好的学校教书。他们也是国际奖项的持有者,教过30多个国家的学生。1973年,他在交响青年管弦乐团担任独奏,并在1977年(朝鲜和日本)和1982年(匈牙利)和1983年(西班牙)代表葡萄牙参加世界青年管弦乐团。他是圣卡洛斯国家歌剧院管弦乐队的独奏者,也是其中唯一的葡萄牙人。与乔治.?赫配希尼奥一起的里斯本当代音乐的成员。他是众多室内乐组的创始人和启发者,同时也是Solistas do Porto的指挥家。他曾与古尔本基安交响乐团,乐团码头控制室古典交响乐,电台里斯本和港口,圣保罗,上海爱乐乐团的北部边缘的阿尔加维,苏黎世和交响乐团一起演奏。他是美国、比利时、法国、瑞典、加拿大、日本、西班牙和意大利的世界代表大会的嘉宾独奏者。在辛特拉节日、埃斯托利尔、南茜、上海、澳门、拉巴特、圣保罗、贝洛奥里藏特、加拉加斯,圣何塞、桑托斯、利马、奥维耶多、吉马良斯、阿威罗、维拉房、阿尔加维,马德拉群岛,亚速尔群岛,卡梅里诺和阿雷格里港演奏。
自1998年以来,他一直在进行着卓有成效的指挥生涯,并指挥了所有的葡萄牙管弦乐队,还有马德里市、西蒙·玻利瓦尔、弗兰德斯的爱乐乐团、马德里的奥维多音乐节管弦乐队、格拉·马萨卡尔·阿耶库乔、加拉加斯、马拉凯、圣斐利贝、哈摩斯音乐节、音乐学院、国际德国交响乐团和苏黎世交响乐团。是 Viana da Mota 著名比赛的仲裁委员会委员,土伦、康斯坦、塞维利亚、华沙、加拉加斯、科特里克、根特、巴西利亚和罗马瓦伦蒂诺的主席。
艺术与观念一等奖(室内乐、独奏)
新文化价值一等奖(室内乐、独奏)
在公众、每日新闻、《苏士黎时报》、Monde De La Musique和ICA获得了大量正面的新闻评论。
被一致推选为国际单簧管协会荣誉会员。
在克拉内瓦荣获拉丁美洲人的头衔,以便服务于克拉利秘鲁协会的特殊乐器和音乐。
我们的单簧管时光 与佩德罗.伯梅斯特 为赛菲尔.
kurpinsky和canongia音乐会 为数字
葡萄牙的作曲家,为施特劳斯,四方单簧管,为跨媒体,一幅肖像,与美智子津田,为了古典音乐,陪伴法多,未出版,交响乐团和演唱,未出版
乔治. 佩希尼奥,奥尔加.普拉茨,赫拉尔.多里韦罗,安娜贝拉.查维兹,伊丽莎白.马托斯,艾琳. 利马,安东尼. 罗萨多,佩德罗. 伯梅斯特,杰拉德. 喀斯,卢西亚诺. 帕瓦罗蒂,艾迪塔. 格鲁贝娃,夸尔特托.普拉扎克,沃尔特. 布伊肯斯,卡尔.莱斯特,雅克. 兰斯洛特,路易斯.克拉雷特,维尔弗里德. 施特雷勒,拉里.库姆斯,斯基拿.高士德等等。
“对安东尼奥的出色诠释,我们大多记得的评价是:措辞得当,富有表现力,自然而灵活,手势总是与声音相对应。”费尔南多.拉帕. 帕布利克. 1995“安东尼奥在艺术上的才华,很有吸引力,很有表现力,有很好的风格,控制,和信念。”詹姆斯.吉莱斯皮,国际单簧管协会杂志,1992年“他清晰明了的指挥表明一个优秀的单簧管演奏家可以成为一个优秀的指挥家。”亚历山大. 德尔加多. 帕布利克.1997“在剩下的部分,三重唱很好,是安东尼奥最突出的表演,这位单簧管演奏者以华丽的形式演奏,以非常优美的声音,和一种非凡的措辞感。他具有不用再延续时间内改变音色的才能。事实上并不是一直是出现在国际有名的独奏中。对其他音乐家的细微差别的观察中,他并没有寻求虚假的主角们,并在德国的文本中精致的扮演了许多自然主义的细节。佩雷拉.帕布利克.2003“混音合奏呈现了一种安东尼奥指导作品的那种严肃,准确和活力的结合,整集的基础部分。克里斯蒂娜,费尔南多,帕布利克,2001
“安东尼奥,作为指挥家呈现了同样的品质,这样的品质足以体现他作为一名单簧管手的品质:措辞精炼,有机绘制点、线、所有的计划;表现性阅读。单簧管是一个非凡的易延展的乐器;安东尼奥的指挥也是:他简单而严谨,但姿态灵活多变,但灵活的调和与节目的声音和手势,他告诉我们声音有生命的(它是出生的,生长的和死亡的)。
费尔南多.拉帕. 帕布利克. 1997“安东尼奥,能够激发人们想象力,显示了诸如能力、音感、魅力等品质,这就致使一场音乐会无可置疑的成功。安东尼开启了这种移情能力,他能在短短的一周把大部分人固定为一个完美目标。此外,安东尼奥的指挥也很清晰和富有表现力并且很优雅。老师知道如何被理解(…),因为在罗马松树的最后一幅照片的管弦乐队的完美指挥不能被遗忘的,从开始的淡淡的旋律直到宏伟的结局,以一种持续的熟练的渐强音。”
费尔南多.拉帕. 帕布利克. 1999

 

曲目

 

亚伦·科普兰——平民号角,
塞缪尔·巴伯——柔板,
莫扎特管乐小夜曲

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