What concerts are you looking forward to? (Part II)

Started by Siedler, April 20, 2007, 05:34:10 PM

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listener

Quote from: jess on January 14, 2020, 01:17:12 AM
What a programme! Wish I could have seen it. How was it?
The Chin concerto 1st mvt based on consecutive fifths a ninth apart G-D, A-E, once realized becomes a set of fantasy-variations, the last is a chaconne so there's a good bit to grab on to.  The Saaeijaho is a lot of vistuoso honking by a peripatetic clarinet, like a unicorn in a garden.
Soloists were terrific and participated in another program a couple of days later of pieces for solo violin (Bach to Rochberg) and eastern European folk and popular music with the clarinet having a great time jazzing things up.  It's part of a week of discovering new music which is in turn rediscovering influences from the past.

Tonight:  Thomas ADÈS Orchestral Suite from his opera Powder Her Face and Max Richter's The Four Seasons revisited.   Not a tone-row in anything anymore!
"Keep your hand on the throttle and your eye on the rail as you walk through life's pathway."

André

Quote from: listener on January 16, 2020, 10:05:56 PM
The Chin concerto 1st mvt based on consecutive fifths a ninth apart G-D, A-E, once realized becomes a set of fantasy-variations, the last is a chaconne so there's a good bit to grab on to.  The Saaeijaho is a lot of vistuoso honking by a peripatetic clarinet, like a unicorn in a garden.
Soloists were terrific and participated in another program a couple of days later of pieces for solo violin (Bach to Rochberg) and eastern European folk and popular music with the clarinet having a great time jazzing things up.  It's part of a week of discovering new music which is in turn rediscovering influences from the past.

Tonight:  Thomas ADÈS Orchestral Suite from his opera Powder Her Face and Max Richter's The Four Seasons revisited.   Not a tone-row in anything anymore!

Nice choice of words, I like that !

bhodges

Quote from: listener on January 12, 2020, 12:30:01 AM
Last night: Nicole Lizée: Behind the Sound of Music for Orchestra and Glitch
Unsuk Chin: Violin Concerto    Viviane Hagner Violin
Kaija Saariaho: D'om le vrai sens    Kari Kriikku, Clarinet (making unusual sounds and wandering about the stage and audience)
Vancouver Symphony,  Otto Tausk, cond.    both concertos played by the performers for whom they were written

Quote from: jess on January 14, 2020, 01:17:12 AM
What a programme! Wish I could have seen it. How was it?

Somehow missed commenting on this fantastic-looking concert -- and with three women composers, to boot. Was just talking about the Vancouver Symphony the other night, to a friend planning a trip there.

--Bruce


Brian

Quote from: Brian on January 11, 2020, 03:37:37 PM
Tonight!

Copland | Quiet City
Julia Wolfe | Fountain of Youth
Barber | Andromache's Farewell
Rimsky-Korsakov | Scheherazade

Lisa Larsson, soprano (Barber)
Dallas SO | Fabio Luisi

An enterprising program from our new chief conductor - three Americans of very different styles (including at least one local premiere), plus a beloved warhorse.

EDIT: Actually it was Lise Lindstrom, soprano.

Really interesting first half that detoured through unusual bits of Americana. Quiet City is an interesting way to start a concert, especially building up to the unbridled, very cinematic energy of "Fountain of Youth," where Wolfe combines a drum set, action movie suspense rhythms, and Glassian minimalism in a pretty exciting way. Lindstrom gets to really belt it out in "Andromache's Farewell," an iconic rage aria if such a thing ever existed.  ;D

In Scheherazade, Luisi was a mostly steady guide but clearly has a weakness for the fallacy that more instruments = faster and fewer instruments = slower. In his official biography, Luisi takes care to note that he has Langgaard in his repertoire (!!!). (Symphony No 4, Leaf-Fall.)

bhodges

Quote from: Brian on January 17, 2020, 07:37:17 AM
Really interesting first half that detoured through unusual bits of Americana. Quiet City is an interesting way to start a concert, especially building up to the unbridled, very cinematic energy of "Fountain of Youth," where Wolfe combines a drum set, action movie suspense rhythms, and Glassian minimalism in a pretty exciting way. Lindstrom gets to really belt it out in "Andromache's Farewell," an iconic rage aria if such a thing ever existed.  ;D

In Scheherazade, Luisi was a mostly steady guide but clearly has a weakness for the fallacy that more instruments = faster and fewer instruments = slower. In his official biography, Luisi takes care to note that he has Langgaard in his repertoire (!!!). (Symphony No 4, Leaf-Fall.)

And thanks for this, too -- another very cool concert. Neither the Barber nor the Copland seem to show up on concert programs lately.

I have enjoyed Luisi here in his Met Orchestra appearances, so if you all get some Langgaard...I mean, how wonderful is that?

--Bruce

vers la flamme

Beethoven's Violin Concerto in D, Lutoslawski's Concerto for Orchestra, and Knussen's Two Organa. Tomorrow afternoon. Very excited.  :)

André

Nice program ! A few weeks ago I heard Lutoslawski's 4th symphony in concert. Seeing as well as hearing is fascinating. What an inventive mind!

vers la flamme

Quote from: André on January 18, 2020, 07:50:53 AM
Nice program ! A few weeks ago I heard Lutoslawski's 4th symphony in concert. Seeing as well as hearing is fascinating. What an inventive mind!

Wow!! I'm jealous. I need to listen to his 4th symphony again soon. It may be the best of the four.

André

Quote from: André on January 16, 2020, 10:27:28 AM
Tonight, with the Montreal Symphony and conductor Kent Nagano:

- Schubert, symphonies 2 and 4
- Mozart, concerto for two pianos. Paul Lewis and Angela Hewitt, pianos.

These two Schubert symphonies are among my favourites. The Mozart comes as a nice bonus, especially with such sensitive artists.

This takes the prize for the most disappointing concert I've ever attended  ???. Nagano's concept of the schubertian orchestra is a band of 42 (ok by me) where the strings play with no vibrato, no expression other than prissy swells and diminuendos and where anything above a single f is strictly verboten. Schubert's manically driven allegros were played strictly in tempo and as softly as possible. The constant holding back from all sections quickly became maddening. Winds were not constrained and came out beautifully, but to hear the pair of horns and trumpets straining to rein in the sound in the exuberant final chords of symphony 2:I and IV was infuriating.

Mozart's Double concerto is in E flat, a proud, noble key in Mozart. The swaggering orchestral introduction was played in a funereal, deadpan manner. Fortunately, pianists Angela Hewitt and Paul Lewis were splendidly in tune and in synch with each other. But it takes two (in this case three) to tango, and here one of the partners forgot to show up.

This was part of a Schubert festival where all the symphonies will be played, along with lieder (Hewitt accompanying Ian Bostridge) and sonatas (Lewis). I read a critic mentioning that in one of the previous concerts (symphonies 5 and 8 ) the strings sounded emaciated. It seems this is Nagano's conception of the 19 year old Schubert's symphonies  ???. I left at the intermission. I didn't want to hear the big, dark 4th symphony reduced to a couple string beans on an empty plate. Not my kind of dish.

listener

Vancouver Symphony  Boulez Mémoriale (... explosante-fixe ... Originel) *
Ravel Pavane pour une infante défunte  Saint-Saëns Cello Concerto No. 1
Berlioz    Symphonie fantastique
Jun Märkl  cond.  István Várdai, cello
and an encore: Kodaly: Capriccio 
good evening altogether!
"Keep your hand on the throttle and your eye on the rail as you walk through life's pathway."

Wanderer

Tomorrow at the Greek National Opera:

Alban Berg
: Wozzeck

Wozzeck: Tassis Christoyannis

Drum Major: Peter Wedd

Andres: Vassilis Kavayas

Captain: Peter Hoare

Doctor: Yanni Yannissis

Apprentice I: Vangelis Maniatis

Apprentica II: Michalis Psyrras

Madman: Panagiotis Priftis

Marie: Nadine Lehner

Margret: Margarita Syngeniotou

Conductor
Vassilis Christopoulos

Director
Olivier Py

ritter

That looks enticing, Wanderer. A live Wozzeck is always a treat IMHO, and Tassis Chritoyannis is a very interesting and versatile singer. I only know him in repertoire which is very distant from Berg—he recorded the complete songs of a Reynaldo Hahn recently—and he's first-rate.

Florestan

Quote from: ritter on January 25, 2020, 01:41:28 PM
Tassis Chritoyannis is a very interesting and versatile singer. I only know him in repertoire which is very distant from Berg—he recorded the complete songs of a Reynaldo Hahn recently—and he's first-rate.

He's a specialist in French songs --- he has recorded Lalo, Godard, Gounod and Fernand de la Tombelle (who?) in a succesful partnership with Jeff Cohen. You should check them out.
Every kind of music is good, except the boring kind. — Rossini

SurprisedByBeauty

Looking forward to the BRSO w/SIR SIMON RATTLE & ERIC TERWILLIGER

The latter is the superb solo horn player who is being seen off into retirement with the Strauss Horn Concerto. I really wanted to hear him... and so I shall.

Whole Program:

Robert Schumann
Genoveva, op. 81. Ouvertüre

Richard Strauss
Konzert für Horn und Orchester Nr. 2 Es-Dur, TrV 283

Pause

Hector Berlioz
Roméo et Juliette, op. 17. Liebesszene

Jean-Philippe Rameau
Les Boréades. Suite für Orchester


A couple days before that: https://www.br-klassik.de/programm/konzerte/ausstrahlung-1874442.html

Linus Roth & Jose Gallardo in Weinberg Sonatas with a hint of Beethoven.

Mieczysław Weinberg   Violinsonate Nr. 3, op. 37
Violinsonate Nr. 6, op. 136
Rhapsodie über moldawische Themen, op. 47 Nr. 3
Ludwig van Beethoven   Violinsonate A-Dur, op. 47 - "Kreutzer-Sonate"

Mirror Image

Quote from: Wanderer on January 25, 2020, 01:28:07 PM
Tomorrow at the Greek National Opera:

Alban Berg
: Wozzeck

Wozzeck: Tassis Christoyannis

Drum Major: Peter Wedd

Andres: Vassilis Kavayas

Captain: Peter Hoare

Doctor: Yanni Yannissis

Apprentice I: Vangelis Maniatis

Apprentica II: Michalis Psyrras

Madman: Panagiotis Priftis

Marie: Nadine Lehner

Margret: Margarita Syngeniotou

Conductor
Vassilis Christopoulos

Director
Olivier Py

I'd love to see Wozzeck in concert. I hope you enjoy it!

Judith

Lovely concert yesterday evening at Leeds Town Hall

Royal Liverpool Philharmonic Orchestra
Conducted by Vasily Petrenko

Performing 

Rossini Overture - William Tell 
Vaughan Williams The Lark Ascending (soloist Stephanie Childress)

Schubert Songs with Orchestra (soloist Benjamin Appl):-
arr Jackson Die Forelle
arr Webern Du bist die Ruh
arr Brahms Geheimes
arr Reger Am Tage aller Seelen
arr Liszt Erikonig

Beethoven Symphony no 6🎼🎼

Wanderer

#5917
Quote from: ritter on January 25, 2020, 01:41:28 PM
...Tassis Christoyannis is a very interesting and versatile singer. I only know him in repertoire which is very distant from Berg—he recorded the complete songs of a Reynaldo Hahn recently—and he's first-rate.

Yes, he's very good. He also sang Rodrigo in our recent production of Don Carlo. Random note: Christoyiannis is an abbreviation he uses for international audiences; in Greece he uses his full surname Χριστογιαννόπουλος/Christogiannopoulos.

Wanderer

This week in Rome:


Arcadi Volodos in recital
Monday 3 February 2020

Arcadi Volodos, pianoforte

    Liszt: Sonetto 123 del Petrarca
    Liszt: La lugubre Gondola II
    Liszt: San Francesco d'Assisi: La predica agli uccelli
    Liszt: Ballata n. 2
    Schumann: Bunte Blätter: Marcia; Musica della sera
    Schumann: Humoreske op. 20

Sala Santa Cecilia, Accademia Nazionale di Santa Cecilia.



Bellini: I Capuleti e i Montecchi
Tuesday 4 February 2020
Conductor Daniele Gatti
Director, set, costume, lighting designer Denis Krief
CHORUS MASTER Roberto Gabbiani

CAST

ROMEO Vasilisa Berzhanskaya
GIULIETTA Mariangela Sicilia
TEBALDO Iván Ayón Rivas
LORENZO Nicola Ulivieri
CAPELLIO Alessio Cacciamani

Teatro dell'Opera di Roma Orchestra and Chorus


bhodges

Yesterday I heard cellist Alban Gerhardt with the New York Philharmonic in Brett Dean's 2018 Cello Concerto. More on both (excellent all around) in an upcoming review for The Strad.

But perhaps most revelatory was my first encounter with Australian conductor Simone Young, who also led stirring versions of the Four Sea Interludes from Britten's Peter Grimes, and Elgar's Enigma Variations. It was inspiring to see another accomplished woman at the podium, among others working today. The orchestra seemed to like her, too.

(Photo: Klaus Lefebvre)

--Bruce