DOCSLIB.ORG

Münchner Philharmoniker Soloist: Janine Jansen VALERY GERGIEV MUSIC DIRECTOR MUNICH PHILHARMONIC ORCHESTRA

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Münchner Philharmoniker Soloist: Janine Jansen VALERY GERGIEV MUSIC DIRECTOR MUNICH PHILHARMONIC ORCHESTRA > PROGRAM Concerts at Conductor: Valery Gergiev Münchner Philharmoniker Soloist: Janine Jansen VALERY GERGIEV MUSIC DIRECTOR MUNICH PHILHARMONIC ORCHESTRA September 22nd and 23rd 2015 Johannes Brahms Violin Concerto in D major, op. 77 .................................................................... 40’ Anton Bruckner Symphony No. 4 in E-flat major, Romantic ........................................................ 68’ September 24th 2015 Sergei Prokofiev Suite No. 1 from Romeo and Juliet, op. 64bis .....................................................10’ Suite No. 2 from Romeo and Juliet, op. 64ter ....................................................10’ Richard Strauss Don Juan, Op. 20 .............................................................................................. 20’ Pyotr Ilyich Tchaikovsky Symphony No. 6 in B minor, op. 74, Pathétique ............................................... 45’ April 1st and 3rd 2016 Sergei Prokofiev Symphony No. 1 in D major, op. 25, Symphonie classique .................................15’ Symphony No. 7 in C sharp minor, op. 131 ........................................................ 30’ Anton Bruckner www.telmondis.fr Symphony No. 3 in D minor, Wagner-Sinfonie .................................................. 60’ Telmondis Distribution is a member of TVFI (tvfrance-intl.com) and IMZ (www.imz.at) April 4th and 5th 2016 Antoine Perset Denis Morlière CEO gEnEral managEr Karol Szymanowski T: + 33 1 40 74 76 20 T: + 33 1 40 74 76 21 Violin Concerto No. 1, op. 35 ............................................................................ 25’ Email: [email protected] Email: [email protected] Sergei Rachmaninoff Emilie Huc Céline Lespagnol Symphonic Dances (Fantastic Dances), op. 45 ................................................. 35’ internaTiOnal Sales and aCquiSiTiOnS managEr internaTiOnal Sales T: + 33 1 40 74 76 78 T: + 33 1 40 74 76 42 Email: [email protected] Email: [email protected] > THES MUNICH PHILHARMONIC > VALERY GERGIEV > JANINE JANSEN Music Director Violinist B The Munich Philharmonic was founded until July 2004 James Levine was Her 1997 début at the Concergebouw Janine Jansen studied with Coosje in 1893, and since then, under the the Chief Conductor of the Munich in Amsterdam made Janine Jansen Wijzenbeek, Philippe Hirshhorn and direction of renowned conductors, Philharmonic, which won the prize known to a wide audience virtually Boris Belkin. She was sponsored by it has vastly enriched Munich’s for the “Best Concert Program in the overnight. Meanwhile she ranks the BBC as a New Generation Artist, musical life. Even in the orchestra’s 2002/2003 Season” from the German internationally as one of the greatest and in September of 2003 she received earliest years, conductors like Hans Music Publishers’ Association in the violinists of her generation. After her the Music Prize from the Netherlands Winderstein and Felix Weingartner spring of 2003. In January 2004, the London début in November of 2002 Culture Ministry, the highest honor guaranteed the high performance Munich Philharmonic made Zubin with the Philharmonia Orchestra conferred by the State on an artist. level. Gustav Mahler conducted the Mehta the first “Conductor Laureate” under the direction of Vladimir orchestra in the world premières of in the orchestra’s history. In May of Ashkenazy, there rapidly followed The young violinist has been presented his 4th and 8th Symphonies, and in 2003, Christian Thielemann signed invitations from major orchestras all with a number of accolades, including November 1911, the world première a contract as new General Music over the world, such as the Koninklijk three Edison Classic Public Awards, of Mahler’s “Das Lied von der Erde” Director. A tour he led to Asia brought Concertgebouworkest in Amsterdam, several Echo Klassik Awards as well took place under Bruno Walter’s the orchestra to Japan, Korea and the Berlin Philharmonic, the as the 2007 NDR Music Prize for her direction. Ferdinand Löwe led the first China in November of 2007. These Philadelphia Orchestra, the Chicago outstanding artistic accomplishments. Bruckner concerts and established the totally successful performances were Symphony Orchestra and the NHK orchestra’s Bruckner tradition, which followed by a repeat tour to Japan for Symphony Orchestra in Tokyo. Janine Jansen plays the Barrere, a was then gloriously continued by five concerts in May of 2010. January violin built by Antonio Stradivari Siegmund von Hausegger and Oswald of 2009 marked the beginning of She has concertized with such distin- in 1727, which was placed at her von Kabasta. Eugen Jochum opened a series of concert performances guished conductors as Lorin Maazel, disposal by the Elise Mathilde Fund the first concert after World War II of “Der Rosenkavalier” by Richard Valery Gergiev, Riccardo Chailly, Neeme on the recommendation of the with the overture to “A Midsummer Strauss in collaboration with the Järvi, Paavo Järvi, Sakari Oramo, Stradivari Society of Chicago. Night’s Dream” by Felix Mendelssohn Festival Theatre in Baden- Baden. Daniel Harding, Mark Elder, Edo de Bartholdy. In the autumn of 1945 the Richard Strauss’s “Elektra” followed Waart and Sir Roger Norrington. orchestra acquired the services of an one year later, and in January 2011 Huber © Andrea outstanding conductor in the person the Munich Philharmonic presented of Hans Rosbaud, who additionally the four symphonies by Johannes For more than two decades Valery Today he is a popular guest on all great took up the cudgels for new music. Brahms. The orchestra traveled with Gergiev has been the acclaimed concert stages. With the Mariinsky His successor, from 1949 to 1965 was Conductor Laureate Zubin Mehta in director of the legendary Mariinsky ensemble he presents highlights of Fritz Rieger, during whose adminis- September of 2010 to South America, Theater in St. Petersburg. Under his the Russian ballet and opera reper- tration the groundwork was laid for where it received the plaudits of supervision it has risen to become toire, Wagner’s Ring Cycle as well as the Philharmonic’s successful youth both press and public. To comme- one of the most renowned examples all symphonies of Shostakovich and work. During the Rudolf Kempe era morate the 100th anniversary of the of Russian culture. Since 2007 Valery Prokofiev. Together with the LSO he (1967-76) the Philharmonic made Munich world première, Christian Gergiev has also served as principal regularly performs at the Barbican, its first tour to what was then the Thielemann led two performances of conductor of the London Symphony the Proms and the Edinburgh U.S.S.R. In 1979 Sergiu Celibidache Gustav Mahler’s Symphony No. 8 in Orchestra and director of the World Festival. During the 2010/2011 season conducted his first series of concerts October 2010. Lorin Maazel assumed Orchestra for Peace which was he conducted both ensembles in a with the Munich Philharmonic, and the position of Chief Conductor of the founded by Sir Georg Solti in 1995. He symphonic cycle on the occasion of was then appointed General Music Munich Philharmonic in 2012. In his is initiator and artistic director of the Mahler’s anniversary in New York. Director of the orchestra in June of the two-year tenure Maazel expanded the festivals “Stars of the White Nights” His career as conductor has been same year. The legendary Bruckner orchestra's repertoire and worked on and “New Horizons” in St. Petersburg, highlighted by numerous awards, concerts made a major contribu- flexible sounds. Since 2015/16 Valery the Moscow Easter Festival, the such as the Grammy, the Polar tion to the orchestra’s international Gergiev is the Music Director of the Gergiev Rotterdam Festivals, etc. Music Prize, the Herbert von Karajan reputation. From September 1999 Munich Philharmonic Orchestra. Award and the Prize of the All-Union Valery Gergiev was born in Moscow. Conductors’ Competition in Moscow. He studied conducting with Ilya Musin at the Leningrad Conservatory. Since the 2015/16 season Valery Already as a student he was granted Gergiev has held the position of the award of the Herbert von Karajan principal conductor of the Munich Conducting Competition in Berlin. Philharmonics. With Gergiev, a In 1978, at the age of 24, Gergiev project was implemented that had become assistant conductor to Yuri been unprecedented in Munich: Temirkanov at the Mariinsky Theater, the performance of all 15 sympho- where he made his debut with nies by Dmitri Shostakovich Prokofiev’s score for Tolstoy’s “War and together with the Mariinsky Peace”. In 2003 he became the first orchestra in the season 2011/12. Russian conductor since Tchaikovsky This type of cyclic cooperation to direct the opening concert for was continued with works by Igor the season at Carnegie Hall. Stravinsky in the season 2013/14. © Andrea Huber © Andrea Hoffmann-Decca © Harald.
Load more

Recommended publications
  • Rachmaninoff, Paganini, & the Piano; a Conversation
    Rachmaninoff, Paganini, & the Piano; a Conversation Tracks and clips 1. Rachmaninoff in Paris 16:08 a. Niccolò Paganini, 24 Caprices for Solo Violin, Op. 1, Michael Rabin, EMI 724356799820, recorded 9/5/1958. b. Sergey Rachmaninoff (SR), Rapsodie sur un theme de Paganini, Op. 43, SR, Leopold Stokowski, Philadelphia Orchestra (PO), BMG Classics 09026-61658, recorded 12/24/1934 (PR). c. Fryderyk Franciszek Chopin (FC), Twelve Études, Op. 25, Alfred Cortot, Deutsche Grammophon Gesellschaft (DGG) 456751, recorded 7/1935. d. SR, Piano Concerto No. 3 in d, Op. 30, SR, Eugene Ormandy (EO), PO, Naxos 8.110601, recorded 12/4/1939.* e. Carl Maria von Weber, Rondo Brillante in E♭, J. 252, Julian Jabobson, Meridian CDE 84251, released 1993.† f. FC, Twelve Études, Op. 25, Ruth Slenczynska (RS), Musical Heritage Society MHS 3798, released 1978. g. SR, Preludes, Op. 32, RS, Ivory Classics 64405-70902, recorded 4/8/1984. h. Georges Enesco, Cello & Piano Sonata, Op. 26 No. 2, Alexandre Dmitriev, Alexandre Paley, Saphir Productions LVC1170, released 10/29/2012.† i. Claude Deubssy, Children’s Corner Suite, L. 113, Walter Gieseking, Dante 167, recorded 1937. j. Ibid., but SR, Victor B-24193, recorded 4/2/1921, TvJ35-zZa-I. ‡ k. SR, Piano Concerto No. 3 in d, Op. 30, Walter Gieseking, John Barbirolli, Philharmonic-Symphony Orchestra, Music & Arts MACD 1095, recorded 2/1939.† l. SR, Preludes, Op. 23, RS, Ivory Classics 64405-70902, recorded 4/8/1984. 2. Rachmaninoff & Paganini 6:08 a. Niccolò Paganini, op. cit. b. PR. c. Arcangelo Corelli, Violin Sonata in d, Op. 5 No. 12, Pavlo Beznosiuk, Linn CKD 412, recorded 1/11/2012.♢ d.
    [Show full text]
  • MUSICWEB INTERNATIONAL Recordings of the Year 2018 This
    MUSICWEB INTERNATIONAL Recordings Of The Year 2018 This is the fifteenth year that MusicWeb International has asked its reviewing team to nominate their recordings of the year. Reviewers are not restricted to discs they had reviewed, but the choices must have been reviewed on MWI in the last 12 months (December 2017-November 2018). The 130 selections have come from 25 members of the team and 70 different labels, the choices reflecting as usual, the great diversity of music and sources - I say that every year, but still the spread of choices surprises and pleases me. Of the selections, 8 have received two nominations: Mahler and Strauss with Sergiu Celibidache on the Munich Phil choral music by Pavel Chesnokov on Reference Recordings Shostakovich symphonies with Andris Nelsons on DG The Gluepot Connection from the Londinium Choir on Somm The John Adams Edition on the Berlin Phil’s own label Historic recordings of Carlo Zecchi on APR Pärt symphonies on ECM works for two pianos by Stravinsky on Hyperion Chandos was this year’s leading label with 11 nominations, significantly more than any other label. MUSICWEB INTERNATIONAL RECORDING OF THE YEAR In this twelve month period, we published more than 2400 reviews. There is no easy or entirely satisfactory way of choosing one above all others as our Recording of the Year, but this year the choice was a little easier than usual. Pavel CHESNOKOV Teach Me Thy Statutes - PaTRAM Institute Male Choir/Vladimir Gorbik rec. 2016 REFERENCE RECORDINGS FR-727 SACD The most significant anniversary of 2018 was that of the centenary of the death of Claude Debussy, and while there were fine recordings of his music, none stood as deserving of this accolade as much as the choral works of Pavel Chesnokov.
    [Show full text]
  • Rachmaninoff's Rhapsody on a Theme By
    RACHMANINOFF’S RHAPSODY ON A THEME BY PAGANINI, OP. 43: ANALYSIS AND DISCOURSE Heejung Kang, B.A., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2004 APPROVED: Pamela Mia Paul, Major Professor and Program Coordinator Stephen Slottow, Minor Professor Josef Banowetz, Committee Member Steven Harlos, Interim Chair of Piano Jessie Eschbach, Chair of Keyboard Studies James Scott, Dean of the College of Music Sandra L. Terrill, Interim Dean of the Robert B. Toulouse School of Graduate Studies Kang, Heejung, Rachmaninoff’s Rhapsody on a Theme by Paganini, Op.43: Analysis and Discourse. Doctor of Musical Arts (Performance), May 2004, 169 pp., 40 examples, 5 figures, bibliography, 39 titles. This dissertation on Rachmaninoff’s Rhapsody on a Theme by Paganini, Op.43 is divided into four parts: 1) historical background and the state of the sources, 2) analysis, 3) semantic issues related to analysis (discourse), and 4) performance and analysis. The analytical study, which constitutes the main body of this research, demonstrates how Rachmaninoff organically produces the variations in relation to the theme, designs the large-scale tonal and formal organization, and unifies the theme and variations as a whole. The selected analytical approach is linear in orientation - that is, Schenkerian. In the course of the analysis, close attention is paid to motivic detail; the analytical chapter carefully examines how the tonal structure and motivic elements in the theme are transformed, repeated, concealed, and expanded throughout the variations. As documented by a study of the manuscripts, the analysis also facilitates insight into the genesis and structure of the Rhapsody.
    [Show full text]
  • Dietfried Bernet Obituary | Music | the Guardian
    Dietfried Bernet obituary | Music | The Guardian http://www.guardian.co.uk/music/2011/jun/28/dietfried-bernet-obituary/print Printing sponsored by: Austrian conductor admired at opera houses across Europe Barry Millington guardian.co.uk, Tuesday 28 June 2011 13.53 EDT larger | smaller Article history Dietfried Bernet, seen here in 2005 at Glyndebourne, where he was conducting The Bartered Bride. Photograph: Mike Hoban/ArenaPAL The distinguished Austrian conductor Dietfried Bernet, who has died aged 71, was a regular visitor to Britain, where he was much admired by the public and critics alike. Indeed, some of his best work was done in England, at the London houses, Glyndebourne and Opera North, though his permanent appointments were elsewhere: Vienna, Mainz and Copenhagen. Born in Vienna, he studied at the Academy of Music and Performing Arts there with Hans Swarowsky and Dimitri Mitropoulos. After making his debut in orchestral concerts in Austria, he went on to act as guest conductor with leading orchestras and at major opera houses. In 1962 he won first prize in the International Conductor's Competition at Liverpool, one of few such events at that time. The financial reward was less significant than the consequent representation by the leading artist management firm Ibbs & Tillett and the invitations to conduct the Royal Philharmonic and Liverpool Philharmonic orchestras in tours all over England. Appointments followed at the Vienna Volksoper (1964) and Vienna State Opera (1966), and numerous engagements with such orchestras as the Berlin Philharmonic, Chicago Symphony, London Philharmonic, Munich Philharmonic and Hungarian National orchestras. In 1974 he became Generalmusikdirektor of the city of Mainz, but continued to guest conduct all over Europe, as well as in North and South America.
    [Show full text]
  • Download the Concert Programme (PDF)
    London Symphony Orchestra Living Music Sunday 5 February 2017 7pm Barbican Hall LSO ARTIST PORTRAIT: JANINE JANSEN Sibelius The Oceanides Bernstein Serenade INTERVAL Nielsen Symphony No 4 London’s Symphony Orchestra (‘The Inextinguishable’) Sir Antonio Pappano conductor Janine Jansen violin Concert finishes approx 8.55pm Filmed and broadcast live by Mezzo 2 Welcome 5 February 2017 Welcome Living Music Kathryn McDowell In Brief Welcome to tonight’s LSO concert at the Barbican, LSO 2017/18 SEASON NOW ON SALE which marks the start of this season’s Artist Portrait series, focusing on violin soloist Janine Jansen. The LSO’s inaugural season with Sir Simon Rattle as Music Director is now on sale. Beginning with a ten- The LSO has performed with Janine Jansen regularly day celebration to welcome him in September, the for many years all over the world, and she is a season features concerts to mark 100 years since favourite with our audiences and with the musicians the birth of Bernstein and 100 years since the death of the Orchestra. Across three concerts we will of Debussy, world premieres from British composers, hear her perform a wide range of repertoire, from the beginning of a Shostakovich symphonies cycle, Bernstein’s Serenade tonight to Brahms’ Violin and a performance of Stockhausen’s Gruppen in the Concerto in March, and finally the Berg Violin Concerto Turbine Hall at Tate Modern. in April, showing the many different sides of her celebrated artistry. alwaysmoving.lso.co.uk This evening’s programme is conducted by another good friend of the LSO, Sir Antonio Pappano.
    [Show full text]
  • Programme Scores 180627Da
    Symposium Richard Wagner and his successors in the Austro-German conducting tradition Friday/Saturday, 2/3 November 2018 Bern University of the Arts, Papiermühlestr. 13a/d A symposium of the Research Area Interpretation – Bern University of the Arts, in collaboration with the Royal Academy of Music, London www.hkb-interpretation.ch/annotated-scores Richard Wagner published the first major treatise on conducting and interpretation in 1869. His ideas on how to interpret the core Classical and early Romantic orchestral repertoire were declared the benchmark by subsequent generations of conductors, making him the originator of a conducting tradition by which those who came after him defined their art – starting with Wagner’s student Hans von Bülow and progressing from him to Arthur Nikisch, Felix Weingartner, Gustav Mahler, Richard Strauss, Wilhelm Furtwängler and beyond. This conference will bring together leading experts in the research field in question. A workshop and concert with an orchestra with students of the Bern University of the Arts, the Hochschule Luzern – Music and the Royal Academy of Music London, directed by Prof. Ray Holden from the project partner, the Royal Academy of Music, will offer a practical perspective on the interpretation history of the Classical repertoire. A symposium of the Research Area Interpretation – Bern University of the Arts, in collaboration with the Royal Academy of Music, London Head Research Area Interpretation: Martin Skamletz Responsible for the conference: Chris Walton Scientific collaborator: Daniel Allenbach Administration: Sabine Jud www.hkb.bfh.ch/interpretation www.hkb-interpretation.ch Funded by the Swiss National Science Foundation SNSF Media partner Symposium Richard Wagner and his successors Friday, 2 November 2018 HKB, Kammermusiksaal, Papiermühlestr.
    [Show full text]
  • Die Münchner Philharmoniker
    Die Münchner Philharmoniker Die Münchner Philharmoniker wurden 1893 auf Privatinitiative von Franz Kaim, Sohn eines Klavierfabrikanten, gegründet und prägen seither das musikalische Leben Münchens. Bereits in den Anfangsjahren des Orchesters – zunächst unter dem Namen »Kaim-Orchester« – garantierten Dirigenten wie Hans Winderstein, Hermann Zumpe und der Bruckner-Schüler Ferdinand Löwe hohes spieltechnisches Niveau und setzten sich intensiv auch für das zeitgenössische Schaffen ein. Von Anbeginn an gehörte zum künstlerischen Konzept auch das Bestreben, durch Programm- und Preisgestaltung allen Bevölkerungs-schichten Zugang zu den Konzerten zu ermöglichen. Mit Felix Weingartner, der das Orchester von 1898 bis 1905 leitete, mehrte sich durch zahlreiche Auslandsreisen auch das internationale Ansehen. Gustav Mahler dirigierte das Orchester in den Jahren 1901 und 1910 bei den Uraufführungen seiner 4. und 8. Symphonie. Im November 1911 gelangte mit dem inzwischen in »Konzertvereins-Orchester« umbenannten Ensemble unter Bruno Walters Leitung Mahlers »Das Lied von der Erde« zur Uraufführung. Von 1908 bis 1914 übernahm Ferdinand Löwe das Orchester erneut. In Anknüpfung an das triumphale Wiener Gastspiel am 1. März 1898 mit Anton Bruckners 5. Symphonie leitete er die ersten großen Bruckner- Konzerte und begründete so die bis heute andauernde Bruckner-Tradition des Orchesters. In die Amtszeit von Siegmund von Hausegger, der dem Orchester von 1920 bis 1938 als Generalmusikdirektor vorstand, fielen u.a. die Uraufführungen zweier Symphonien Bruckners in ihren Originalfassungen sowie die Umbenennung in »Münchner Philharmoniker«. Von 1938 bis zum Sommer 1944 stand der österreichische Dirigent Oswald Kabasta an der Spitze des Orchesters. Eugen Jochum dirigierte das erste Konzert nach dem Zweiten Weltkrieg. Mit Hans Rosbaud gewannen die Philharmoniker im Herbst 1945 einen herausragenden Orchesterleiter, der sich zudem leidenschaftlich für neue Musik einsetzte.
    [Show full text]
  • Brahms Clarinet Quintet & Trio 6 Songs
    martin fröst brahms clarinet quintet & trio 6 songs janine jansen boris brovtsyn maxim rysanov torleif thedéen boris brovtsyn | martin fröst | janine jansen | maxim rysanov | torleif thedéen roland pöntinen BIS-2063 BIS-2063_f-b.indd 1 2014-02-24 14.39 BRAHMS, Johannes (1833–97) Clarinet Quintet in B minor, Op. 115 37'46 1 I. Allegro 12'37 2 II. Adagio – Più lento 11'08 3 III. Andantino – Presto non assai, ma con sentimento 4'34 4 IV. Con moto 9'05 Janine Jansen & Boris Brovtsyn violins Maxim Rysanov viola · Torleif Thedéen cello Six Songs, transcribed by Martin Fröst for clarinet and piano 5 Die Mainacht, Op. 43 No. 2 3'32 6 Mädchenlied, Op. 107 No. 5 1'31 7 Immer leiser wird mein Schlummer, Op. 105 No. 2 3'12 8 Wie Melodien zieht es mir, Op. 105 No. 1 2'09 9 Vergebliches Ständchen, Op. 84 No. 4 1'31 10 Feldeinsamkeit, Op. 86 No. 2 3'22 Roland Pöntinen piano 2 Trio in A minor for Clarinet, Piano and Cello 24'33 Op. 114 11 I. Allegro 7'48 12 II. Adagio 7'39 13 III. Andantino grazioso 4'24 14 IV. Allegro 4'25 Roland Pöntinen piano · Torleif Thedéen cello TT: 78'55 Martin Fröst clarinet 3 n the same way that the world owes Mozart’s Clarinet Concerto, Trio and Quintet to the virtuosity of Anton Stadler, and Weber’s clarinet works to IHeinrich Baermann, so the creation of Brahms’s last four chamber works was sparked by the artistry of Richard Mühlfeld (1856–1907), the principal clarinettist of the Meiningen Orchestra.
    [Show full text]
  • The Blake Collection in Memory of Nancy M
    The Blake Collection In Memory of Nancy M. Blake BELLINI’S NORMA featuring CECILIA BARTOLI This tragic opera is set in Roman-occupied, first-century Gaul, features a title character, who although a Druid priestess, is in many ways a modern woman. Norma has secretly taken the Roman proconsul Pollione as her lover and had two children with him. Political and personal crises arise when the locals turn against the occupiers and Pollione turns to a new paramour. Norma “is a role with emotions ranging from haughty and demanding, to desperately passionate, to vengeful and defiant. And the singer must convey all of this while confronting some of the most vocally challenging music ever composed. And if that weren't intimidating enough for any singer, Norma and its composer have become almost synonymous with the specific and notoriously torturous style of opera known as bel canto — literally, ‘beautiful singing’” (“Love Among the Druids: Bellini's Norma,” NPR World of Opera, May 16, 2008). And Bartoli, one of the greatest living opera divas, is up to the challenges the role brings. (New York Public Radio’s WQXR’s “OperaVore” declared that “Bartoli is Fierce and Mercurial in Bellini's Norma,” Marion Lignana Rosenberg, June 09, 2013.) If you’re already a fan of this opera, you’ve no doubt heard a recording spotlighting the great soprano Maria Callas (and we have such a recording, too), but as the notes with the Bartoli recording point out, “The role of Norma was written for Giuditta Pasta, who sang what today’s listeners would consider to be mezzo-soprano roles,” making Bartoli more appropriate than Callas as Norma.
    [Show full text]
  • Simon O'neill ONZM
    Simon O’Neill ONZM Tenor “Simon O'Neill made a tremendous debut in the title-role, giving notice that he is the best heroic tenor to emerge over the last decade.” Rupert Christiansen, The Telegraph, UK. A native of New Zealand, Simon O’Neill is one of the finest helden-tenors on the international stage. He has frequently performed with the Metropolitan Opera, the Royal Opera House, Covent Garden, Berlin, Hamburg and Bayerische Staatsopern, Teatro alla Scala and the Bayreuth, Salzburg, Edinburgh and BBC Proms Festivals, appearing with a number of illustrious conductors including Daniel Barenboim, Sir Simon Rattle, James Levine, Riccardo Muti, Valery Gergiev, Sir Antonio Pappano, Pietari Inkinen, Pierre Boulez, Sir Mark Elder, Sir Colin Davis, Simone Young, Edo de Waart, Fabio Luisi, Donald Runnicles, Sir Simon Rattle, Jaap Van Zweden and Christian Thielemann. Simon’s performances as Siegmund in Die Walküre at the Royal Opera House, Covent Garden with Pappano, Teatro alla Scala and Berlin Staatsoper with Barenboim, at the Metropolitan Opera with Runnicles in the celebrated Otto Schenk production returning with Luisi in the Lepage Ring Cycle and in the Götz Friedrich production at Deutsche Oper Berlin with Rattle were performed to wide critical acclaim. He was described in the international press as "an exemplary Siegmund, terrific of voice", "THE Wagnerian tenor of his generation" and "a turbo-charged tenor". During this season’s engagements Simon makes his debut at: Tanglewood with the Boston Symphony and Andris Nelsons and the Toronto Symphony with Sir Andrew Davis and Orquestra de la Comunitat Valenciana with Henrik Nánási as Siegmund in concert performances of Die Walküre.
    [Show full text]
  • 1 the Consequences of Presumed Innocence: the Nineteenth-Century Reception of Joseph Haydn1 Leon Botstein
    Cambridge University Press 978-0-521-58052-6 - Haydn Studies Edited by W. Dean Sutcliffe Excerpt More information 1 The consequences of presumed innocence: the nineteenth-century reception of Joseph Haydn1 leon botstein 1 The Haydn paradox: from engaged affection to distant respect The mystery that plagues the contemporary conception and recep- tion of Haydn and his music has a long and remarkably unbroken history. Perhaps Haydn experienced the misfortune (an ironic one when one con- siders the frequency of premature deaths among his great contemporaries or near contemporaries) of living too long.Years before his death in 1809 he was considered so old that the French and English had already presumed him dead in 1805.2 Many wrote condolence letters and a Requiem Mass was planned in Paris. Haydn’s music was both familiar and venerated. Raphael Georg Kiesewetter (1773–1850), writing in Vienna in 1846, reflected the perspective of the beginning of the nineteenth century in his Geschichte der europaeisch-abendlaendischen oder unsrer heutigen Musik. Haydn had ‘ele- vated all of instrumental music to a never before anticipated level of perfec- tion’. Haydn had a ‘perfect knowledge of instrumental effects’ and with Mozart (for whom Haydn was the ‘example and ideal’) created a ‘new school which may be called the German or ...the “Viennese”school’.Theirs was the ‘golden age’ of music. Most significantly, Haydn’s instrumental works represented the standard of what was ‘true beauty’in music.3 Lurking beneath Kiesewetter’s praise of Haydn (and his discreet expressions of doubt about the novelties of Haydn’s successors, including 1 This essay is an expanded and revised form of my essay entitled ‘The Demise of Philosophical Listening’, in Elaine Sisman, ed., Haydn and his World (Princeton: Princeton University Press, 1997), pp.
    [Show full text]
  • FRENCH SYMPHONIES from the Nineteenth Century to the Present
    FRENCH SYMPHONIES From the Nineteenth Century To The Present A Discography Of CDs And LPs Prepared by Michael Herman NICOLAS BACRI (b. 1961) Born in Paris. He began piano lessons at the age of seven and continued with the study of harmony, counterpoint, analysis and composition as a teenager with Françoise Gangloff-Levéchin, Christian Manen and Louis Saguer. He then entered the Paris Conservatory where he studied with a number of composers including Claude Ballif, Marius Constant, Serge Nigg, and Michel Philippot. He attended the French Academy in Rome and after returning to Paris, he worked as head of chamber music for Radio France. He has since concentrated on composing. He has composed orchestral, chamber, instrumental, vocal and choral works. His unrecorded Symphonies are: Nos. 1, Op. 11 (1983-4), 2, Op. 22 (1986-8), 3, Op. 33 "Sinfonia da Requiem" (1988-94) and 5 , Op. 55 "Concerto for Orchestra" (1996-7).There is also a Sinfonietta for String Orchestra, Op. 72 (2001) and a Sinfonia Concertante for Orchestra, Op. 83a (1995-96/rév.2006) . Symphony No. 4, Op. 49 "Symphonie Classique - Sturm und Drang" (1995-6) Jean-Jacques Kantorow/Tapiola Sinfonietta ( + Flute Concerto, Concerto Amoroso, Concerto Nostalgico and Nocturne for Cello and Strings) BIS CD-1579 (2009) Symphony No. 6, Op. 60 (1998) Leonard Slatkin/Orchestre National de France ( + Henderson: Einstein's Violin, El Khoury: Les Fleuves Engloutis, Maskats: Tango, Plate: You Must Finish Your Journey Alone, and Theofanidis: Rainbow Body) GRAMOPHONE MASTE (2003) (issued by Gramophone Magazine) CLAUDE BALLIF (1924-2004) Born in Paris. His musical training began at the Bordeaux Conservatory but he went on to the Paris Conservatory where he was taught by Tony Aubin, Noël Gallon and Olivier Messiaen.
    [Show full text]