Less cowbell + MORE Nov 22nd
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Symphony Hall, BirminghamSimon Rattle brought nobility and urgency while Peter Donohoe played as if visited by the spirit of RachmaninovBut for the vision and tenacity of Simon Rattle, Symphony Hall and its stunning acoustic would not have come into being and the City of Birmingham Symphony Orchestr.... More »
Welcome to January on Planet HugillJanuary started with the Planet Hugill list, Hilary and my list of our memorable events from 2013.Sondheim, Handel and new operaOur post Christmas treat was Stephen Sondheim's Candide at the Menier Chocolate Factory. Second Movement's Rough for Opera gave us three .... More »
Capriccio was a great pleasure on Friday night, March 4. This was a co-production of Opera Philadelphia and The Curtis Institute, presented in the intimate Pearlman Theater at the Kimmel Center.
Richard Strauss’ last opera, with a libretto by Strauss and the conductor Clemens Krauss, was premiere.... More »
Usher Hall, EdinburghMälkki's conducting brought luminosity, lightness and clarity, but Liebeck didn't take control of Prokofiev's violin concertoSusanna Mälkki has a knack for weightlessness. The Finnish conductor brings luminosity to the darkest score and somehow makes a sprawling symphony orche.... More »
This is the final song from Strauss's 1887–88 Schlichte Wiesen, comprising five settings of Felix Ludwig Julius Dahn's poetry. While Dahn's text here may seem a little Gemütlich for modern tastes, Strauss sets it with great sincerity, beautifully contrasting the woman's calm sagesse wit.... More »
Victoria will explain how she and I happened to meet, and strike sparks from each other. What excited me was the large audience she gets for the American Modern Ensemble, the new music group she runs with her composer husband, Robert Paterson. I fear I can be a broken record on the subject of audience, but I’m not going to stop saying that classical music needs new listeners…
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It is remarkable that the Royal Academy of Music Opera should have managed to field two such excellent casts for their production of Massenet’s Cendrillon this week. And there is nothing to choose between them – this is not a case of Cast A and B, or Jules and Massenet, – no, it is this cast and the other one…
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Is there any other opera that inspires so much tolerance in the audience as Die Frau ohne Schatten? Everything is so impossibly difficult that one feels even grateful that singers, conductor, director, members of the orchestra et al have agreed to do this possibly for the same fee they would receive for, say, Carmen… In any case, the Bavarian State Opera can certainly boast to have a new production against which there could be little competition this day…
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It’s you-know-who’s birthday today. I wanted to find something to post that is out of the ordinary, but close to my heart. So I’ve hunted down some video – from the Teatro Real, Madrid – of The Little Sweep, the children’s opera that involves major audience participation in some wonderful mass songs…
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Marti Newland (YouTube.com)COMPLETE: From the Diary of Sally Hemings, William Bolcom/Sandra Seaton (44:54)https://www.youtube.com/watch?v=qXKjftIR5rs&feature=youtu.be Artis Wodehouse Published on Nov 19, 2013Soprano Marti Newland and pianist Artis Wodehouse of MELODEON perform live in concert a unique 2001 American musical masterwork written by composer William Bolcom in collaboration with librettist and playwright Sandra Seaton called “From the Diary of Sally Hemings” on Sunday, Nov…
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Psychotherapist Dr Gerald Stein witnessed the incident last week at the Kaufmann Concert Hall of the 92nd Street Y. Why would someone do that? He wonders. And then he gives us free analysis. Read on here.
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An auction of the meager remains of the bankrupt New York City Opera’s property musical instruments, some bits of scenery and costumes is scheduled for December 12. [New York Times]
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The British seaside village of Aldeburgh is the hub of a substantial industry devoted to the composer, and especially now, during the centenary of his birth.
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No matter how you slice it, overseeing the development of an opera seems a lot like marshaling forces for the invasion of a small country. Hagen’s recently performed (a fully-staged, “pre-professional” workshop) full-length “opera noir,” A Woman in Morocco is no exception.
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