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

[The new erato]

Awesome, erato! 

Have you picked up this recording?
[asin]B01CIXVWU8[/asin]

Captures this current iteration very well (especially the three drummers).

No, but now I may have to! 😃

[king ubu]

Better for you, imo. You won't be biased. Very few listening experiences are comparable to a live performance of Prometeo.
Oh, I really wish I could be there as well...

Oh yes, I reckon as much ... but I can usually deal with that "gap" quite well (though after a great live experience may not feel like listening to that artist or piece at home for several weeks).

Anyway, yesterday picked up tickets for these, both at Tonhalle Zürich

FR 28.10.16
ORCHESTERMAGIE
19:30 Uhr, Grosser Saal

Tonhalle-Orchester Zürich
Donald Runnicles Leitung
Anja Harteros Sopran

Anton Webern: "Im Sommerwind" Idylle für grosses Orchester
Richard Strauss: Ausgewählte Orchesterlieder
Richard Wagner: Auszüge aus "Götterdämmerung"


MO 14.11.16
ORCHESTERMAGIE
19:30 Uhr, Grosser Saal
KONZERT-Gastorch/Ens. TGZ

Orchestre Révolutionnaire et Romantique
Sir John Eliot Gardiner Leitung
Kristian Bezuidenhout Hammerflügel

Johannes Brahms: Serenade Nr. 2 A-Dur op. 16
Ludwig van Beethoven: Klavierkonzert Nr. 4 G-Dur op. 58
Franz Schubert: Sinfonie Nr. 5 B-Dur D 485

[Spineur]

I got tickets for Owen Wingrave (Paris Opera), a 2 acts opera of Benjamin Britten, based on Henry James novel.
Owen, the heir of a military family refuses to embrace the military carrier his parents had planned for him.
This Britten opera (next to last) was composed during Vietnam war and reflects Britten conviction in a statment about pacifism.

https://www.operadeparis.fr/saison-16-17/opera/owen-wingrave

I am looking forward to this opera and will make a detailed recension, in GMG opera section.

[NikF]

At the end of this month I'll be spending an afternoon in the company of -

Maurice Ravel - Le tombeau de Couperin
Samuel Barber - Violin Concerto
Ralph Vaughan Williams - Symphony No. 5 in D major

BBC Scottish Symphony Orchestra 
Valeriy Sokolov violin
Nicholas Carter conductor

[ComposerOfAvantGarde]

At the end of this month I'll be spending an afternoon in the company of -

Maurice Ravel - Le tombeau de Couperin
Samuel Barber - Violin Concerto
Ralph Vaughan Williams - Symphony No. 5 in D major

BBC Scottish Symphony Orchestra
Valeriy Sokolov violin
Nicholas Carter conductor

Nicholas Carter? The Aussie conductor?

[Senta]

Hello dear GMG friends! My goodness it's been an age since I posted

We just got back from a long trip enjoying SF/Napa/Big Sur etc and fit in two spectacular Stravinsky concerts while there, just had to drop in and share!

The last I'll write about first, which took place Saturday at UC Berkeley -

As part of the Cal Performances series, they hosted the Philarmonia Orchestra and Esa-Pekka Salonen for a weekend residency at Zellerbach Hall - the first program Friday was Sibelius/Beethoven, for Saturday and Sunday, both all Stravinsky.

It's so fitting of course to travel to CA and hear Stravinsky - in the program notes there is a wonderful image from the opening of the hall in 1968, which Stravinsky was in attendance for (he was supposed to conduct but was too frail, so Robert Craft conducted), they actually recreated this historical program of Oedipus Rex/Symphony of Psalms for Sunday:
http://www.berkeleyside.com/2016/10/05/londons-philharmonia-recreates-original-zellerbach-concert-as-part-of-three-day-cal-performances-residency/

For Saturday's concert, this was the bang-up program though (also done as part of their Rituals series earlier this year)-

Philharmonia Orchestra
Esa-Pekka Salonen, conductor

STRAVINSKY:
Fanfare for three trumpets (1953)
Symphonies of Wind Instruments (1920, rev. 1947)
Agon (1953-57)
The Rite of Spring (1911-13)

It's tough to properly describe how phenomenal this was, but I will say it is an absolute privilege to experience them in this repertoire - this is their bread and butter, and it was so brilliantly evident!

The short inventive Fanfare (originally an opening for Agon) led directly into Symphonies of Wind Instruments, which sparkled with wit and clarity, just gorgeous sound from all winds, exceptional precision and intonation, to me virtually flawless - as excellent as their recording.

But then, the revelation - the spectacular Agon, what a score! What color and writing -- and mandolin! I must grab a recording of that ballet soon. So full of detail, awesome solos, great interaction between sections, a perfect reading for anyone not familiar with the piece.

And then (after an intermission to catch our breath from a stifling hall), the piece de resistance - an absolutely freaking mindblowing The Rite of Spring.

First of all, the playing...my gosh, the playing. I have a ton of Philharmonia recordings from various decades, with different conductors, many live broadcast recordings - consistently they are technically amazing, and the same live. Unreal, true sync inside each section. As a whole, they produce a beautifully massive and balanced sound - muscular, vibrant, elegant are words that come to mind.

But also...there is that indescribable something, this electric chemistry and fire-in-the-belly rawness that Salonen totally ignites...pure magic to witness, the kind of musicmaking I wish I got to experience more. The whole place was enveloped in this spell they cast, as if time stopped - from Danse Sacrale to the last note, my heartrate was mired in a relentless emotional crescendo along with the music, barreling full throttle to the sacrifice.

It's incredible to note that they recorded this together back in 1990 - 26 years ago!! As good as that one is, his interpretation has certainly matured with the years, now more restraint with the abandon, less podium airtime, more specific gestures, and quiet moments in which no conducting is even necessary. Better with age, like some of the fine wines we tasted in Napa..

Needless to say, after the last note the audience exploded - there were about five curtain calls, at the last when Salonen gestured for the orchestra to stand, they demurred and motioned him to turn around for the ovation, he became flushed at the enormous reception from the mostly Californian audience...whisking away the concertmaster after the bow with a smile like okay, we're leaving the building!

Couple of other fun random notes:

- They brought along their newest digital foray, Virtual Orchestra - which is actual 360 virtual reality via headset, they were showing the final 4 min. of Sibelius 5th (great choice btw). The viewpoint is that of center first row in the orchestra, pretty nifty for sure - no substitute for live but they are using this a lot for outreach to school kids, which is awesome.

- Berkeley is quite the lively campus, many of the college kids were in attendance, though one seemed to have snuck in at intermission who was obviously on...a substance...no real disturbance but he was quietly escorted away..

- We stayed that night in town and actually were at the same hotel as the Philharmonia! Talked to a few players before and a couple after at the hotel bar...they were really lovely, seemed to be greatly enjoying the US visit and the Stravinsky programs...amusingly the orchestra's call sheet for each day was posted on a large easel in the lobby, and I spied other hotel patrons looking at it in a perplexed fashion

*I'll return to write about the other Stravinsky concert we heard later, must rustle up dinner now!*

[NikF]

Nicholas Carter? The Aussie conductor?

Yeah, that one. http://www.askonasholt.co.uk/artists/conductors/nicholas-carter

[Mirror Image]

Hello dear GMG friends! My goodness it's been an age since I posted

We just got back from a long trip enjoying SF/Napa/Big Sur etc and fit in two spectacular Stravinsky concerts while there, just had to drop in and share!

The last I'll write about first, which took place Saturday at UC Berkeley -

As part of the Cal Performances series, they hosted the Philarmonia Orchestra and Esa-Pekka Salonen for a weekend residency at Zellerbach Hall - the first program Friday was Sibelius/Beethoven, for Saturday and Sunday, both all Stravinsky.

It's so fitting of course to travel to CA and hear Stravinsky - in the program notes there is a wonderful image from the opening of the hall in 1968, which Stravinsky was in attendance for (he was supposed to conduct but was too frail, so Robert Craft conducted), they actually recreated this historical program of Oedipus Rex/Symphony of Psalms for Sunday:
http://www.berkeleyside.com/2016/10/05/londons-philharmonia-recreates-original-zellerbach-concert-as-part-of-three-day-cal-performances-residency/

For Saturday's concert, this was the bang-up program though (also done as part of their Rituals series earlier this year)-

Philharmonia Orchestra
Esa-Pekka Salonen, conductor

STRAVINSKY:
Fanfare for three trumpets (1953)
Symphonies of Wind Instruments (1920, rev. 1947)
Agon (1953-57)
The Rite of Spring (1911-13)

It's tough to properly describe how phenomenal this was, but I will say it is an absolute privilege to experience them in this repertoire - this is their bread and butter, and it was so brilliantly evident!

The short inventive Fanfare (originally an opening for Agon) led directly into Symphonies of Wind Instruments, which sparkled with wit and clarity, just gorgeous sound from all winds, exceptional precision and intonation, to me virtually flawless - as excellent as their recording.

But then, the revelation - the spectacular Agon, what a score! What color and writing -- and mandolin! I must grab a recording of that ballet soon. So full of detail, awesome solos, great interaction between sections, a perfect reading for anyone not familiar with the piece.

And then (after an intermission to catch our breath from a stifling hall), the piece de resistance - an absolutely freaking mindblowing The Rite of Spring.

First of all, the playing...my gosh, the playing. I have a ton of Philharmonia recordings from various decades, with different conductors, many live broadcast recordings - consistently they are technically amazing, and the same live. Unreal, true sync inside each section. As a whole, they produce a beautifully massive and balanced sound - muscular, vibrant, elegant are words that come to mind.

But also...there is that indescribable something, this electric chemistry and fire-in-the-belly rawness that Salonen totally ignites...pure magic to witness, the kind of musicmaking I wish I got to experience more. The whole place was enveloped in this spell they cast, as if time stopped - from Danse Sacrale to the last note, my heartrate was mired in a relentless emotional crescendo along with the music, barreling full throttle to the sacrifice.

It's incredible to note that they recorded this together back in 1990 - 26 years ago!! As good as that one is, his interpretation has certainly matured with the years, now more restraint with the abandon, less podium airtime, more specific gestures, and quiet moments in which no conducting is even necessary. Better with age, like some of the fine wines we tasted in Napa..

Needless to say, after the last note the audience exploded - there were about five curtain calls, at the last when Salonen gestured for the orchestra to stand, they demurred and motioned him to turn around for the ovation, he became flushed at the enormous reception from the mostly Californian audience...whisking away the concertmaster after the bow with a smile like okay, we're leaving the building!

Couple of other fun random notes:

- They brought along their newest digital foray, Virtual Orchestra - which is actual 360 virtual reality via headset, they were showing the final 4 min. of Sibelius 5th (great choice btw). The viewpoint is that of center first row in the orchestra, pretty nifty for sure - no substitute for live but they are using this a lot for outreach to school kids, which is awesome.

- Berkeley is quite the lively campus, many of the college kids were in attendance, though one seemed to have snuck in at intermission who was obviously on...a substance...no real disturbance but he was quietly escorted away..

- We stayed that night in town and actually were at the same hotel as the Philharmonia! Talked to a few players before and a couple after at the hotel bar...they were really lovely, seemed to be greatly enjoying the US visit and the Stravinsky programs...amusingly the orchestra's call sheet for each day was posted on a large easel in the lobby, and I spied other hotel patrons looking at it in a perplexed fashion

*I'll return to write about the other Stravinsky concert we heard later, must rustle up dinner now!*

Welcome back! I'm so jealous! That all-Stravinsky program looks absolutely amazing. Looking forward to reading about your other Stravinsky concert experience and, yes, Salonen really knows his Stravinsky. Seems to be one of his favorite composers.

[Brian]

It's really good to see you back here! Stick around a while, after you tell us about that next concert, will ya

(Most may not know this, but Senta is the first GMGer I ever met.)

[Brian]

Last night!

LECLAIR - Sonata for 2 violins No. 5 in E minor
MOZART - Duo no. 1 for violin and viola
HALVORSEN - Passacaglia on a Theme by Handel

Alexander Kerr, violin (concertmaster of the Dallas Symphony)
Lydia Umlauf, violin (violinist in the Dallas Symphony)

This concert was 1. FREE, and 2. in a COCKTAIL BAR. Did I have four cocktails? Maaaaybe. Was it a terrific performance in a fantastic atmosphere with drinkers who were really interested & excited? Yes!

Tonight!

ROUSE - Rapture
BRUCH - "Violin Concerto" (I assume this means No. 1)
TCHAIKOVSKY - Symphony No. 4

Augustin Hadelich, violin
Dallas Symphony / Jaap van Zweden

This isn't the most adventurous program, but then, I have tickets to most of the most adventurous programs this year (premieres of Rouse symphony and Kernis concerto; Lutoslawski; skipping "Dream of Gerontius", though). And you need some comfort food music sometimes, too.

[Senta]

Aww hi Brian!! Miss you my friend! We had some great concertgoing times! We totally have to get together if you're ever down here or I'm up there

I'm jealous of that cocktail bar concert, what fun...and tonight's too! I love Rouse's Rapture and of course the rest is awesome as well.

So yes I'm finally back to write about the other Stravinsky we saw on our trip - it was this:

Thursday, Sept. 29 2016
Davies Hall

San Francisco Symphony
Michael Tilson Thomas, conductor
Yuja Wang, piano
Mark Inouye, trumpet

BRIGHT SHENG
Dream of the Red Chamber Overture (world premiere, SFS Commission)

SHOSTAKOVICH
Piano Concerto No. 1

STRAVINSKY
Le Chant du rossignol

STRAVINSKY
The Firebird Suite (1919 rev)

And this concert too was fabulous!! Another orchestra/conductor I've wanted to see live for ages.

The first premiere piece is from Bright Sheng's new opera which actually has been currently playing at SF Opera. It was a very pretty, straightforward short piece incorporating Chinese folk themes, lush classic orchestration - made an enjoyable opening and composer was in attendance.

The Shostakovich PC 1..ahhh...this is one of my very, very favorite Shostakovich pieces! Yuja Wang sailed out to a huge reception, in a brilliant one-shoulder turquoise gown with a precarious slit up one side, and even more precarious platform shoes. I don't know how she pedaled in those!! She must have practiced in them! Their performance was so much fun - MTT and Yuja had excellent communication, nice chemistry all-around, Yuja tore into the part with fervor, and wow...Mark Inouye is incredible. Just gorgeous trumpet work. Many curtain calls for this one!

Then, the much anticipated Stravinsky - with Le Chant du Rossignol, first time to hear it live! Fascinating, magical...so much beautiful detail and color, meticulously prepared and played. I really appreciated the programming of this concert in all...perfect bedfellows.

And finally of course, the Firebird Suite - it's always nice to hear an old friend you know by heart!  MTT is quite matter-of-fact in expression, even in this passionate music, but he was extremely clear in gesture and there was a wealth of detail, again beautifully polished playing and phrasing. Amazing dynamic range too - at the beginning it took a second to realize the basses were even playing, really nice..and the final chords were incandescent.

The only thing was, in the Finale I did wish he took slightly slower tempi, just so we could savor the orchestra's sound and the release of reaching that final radiance! In all, it was a really top-notch performance, and if we had not heard the Philharmonia a week later, I would still be just as awestruck..

Interestingly, MTT seemed to be most enjoying himself in the Shostakovich, and indeed you could really hear and feel the chemistry take off with all musicians, it was such a treat! For their Stravinsky, namely Firebird, sensitive focus came most to the fore, but the emotion stopped just a bit short of truly becoming one with the music and giving yourself over to it.

Hearing the Philharmonia, we frankly walked away overwhelmed (and slightly out of breath), that's how absolutely exhilarating and devastating Rite was. From beginning to end of the concert, the orchestra and Salonen were just so incredibly committed and locked in for every moment, playing as if there were no tomorrow.

I know, it's not really fair to compare - for one, you have an orchestra on a Thursday night in their home hall, and an orchestra on a Saturday night at the end of an overseas tour, and very different programs but..just interesting to observe.

In all, both concerts would absolutely rank top among the best orchestral performances I've ever heard in my life, and I'm so glad it worked out for us to see them...hopefully someday we will get to hear both groups again in other repertoire too!

And yes I promise I will stick around for a bit this time - was just perusing some interesting threads! And I will post back when we decide on a few other upcoming concerts we may attend

[GioCar]

Tomorrow evening at La Scala:

Benjamin Britten: The Turn of the Screw
Teatro alla Scala Orchestra
Conductor: Christoph Eschenbach
Staging: Kasper Holten
Sets and costumes: Steffen Aarfing
Lights: Ellen Ruge
Dramaturge: Gary Kahn

The Prologue/Peter Quint: Ian Bostridge
The Governess: Miah Persson
Miles: Sebastian Exall
Flora: Louise Moseley
Mrs Grose: Jennifer Johnston
Miss Jessel: Allison Cook


Can't wait! 

[Christo]

October 27, Maison de la Radio, Paris: http://www.maisondelaradio.fr/evenement/concerts-du-soir/lalo-ravel-saint-saens

[TheGSMoeller]

November 5th
Atlanta Symphony Orchestra & Chorus
Robert Spano

ELGAR - Sea Pictures*
VAUGHAN WILLIAMS - A Sea Symphony

Jamie Barton - Mezzo-Soprano*
Tamara Wilson - Soprano
Brian Mulligan - Baritone

I am so excited for this concert, Sea Symphony has been a personal favorite of mine for many years. ASO had scheduled this a few years ago but had a musician strike which resulted in the cancellation of that concert, so I'm glad to see they re-programmed it this year. This will be my first time seeing both pieces performed live in concert.

[Reckoner]

From last week!

13 Oct, London
Sitkovetsky Piano Trio

Mozart: Fantasy in D minor, K379
Tchaikovsky: Piano Trio in A minor

[king ubu]

Bought a ticket for the final show in Lucerne Saturday next week ... will be on vacation next week, but returning Friday evening. Looking forward a lot!

Luigi Nono - Prometeo

Musikalische Leitung: Clemens Heil
Szenische Einrichtung: Benedikt von Peter
Bühne: Natascha von Steiger
Kostüme: Ulrike Scheiderer
Kostüme: Andrea Pillen
Video: Bert Zander
Licht: David Hedinger
Einstudierung Chor: Mark Daver
Dramaturgie: Brigitte Heusinger
Dirigent II: Matilda Hofmann
Dirigent II: Joachim Enders

Mit: Aki Hashimoto (Sopran I), Diana Schnürpel (Sopran II), Susanne Otto (Alt I), Karin Torbjörnsdóttir (Alt II), Denzil Delaere (Tenor), Caroline Vitale (Sprecherin), Robert Maszl (Sprecher), Roberto Fabbriciani (Flöte) (09.09. / 11.09. / 12.09.), Maruta Staravoitava (Flöte) (15.09. / 18.09. / 24.09. / 30.09. / 29.09. / 08.10. / 09.10. / 15.10.) , Andrea Nagy (Klarinette / Kontrabassklarinette), Jean-Philippe Duay (Posaune), Jozsef Bazsinka (Tuba / Euphonium)

Chor des Luzerner Theaters, Experimentalstudio des SWR, Luzerner Sinfonieorchester, Statisterie des Luzerner Theaters

http://www.luzernertheater.ch/prometeo


Review (in German):
http://www.nzz.ch/feuilleton/buehne/saisoneroeffnung-am-luzerner-theater-hoerend-ins-offene-ld.116155

This was plain amazing! You keep hearing how low-volume "Prometeo" is and how much silence and stuff ... true that, but in this very intimate set-up, it also got really loud and intense, again and again. The set-up with the audience in the middle (free-seating, and there were two short breaks where you could change your position) and the orchestras, soloists and choir on two galleries all around, was really good. For the first two thirds I was just under the solo singers (some of them, at least), then I changed to the opposite end and instead of seeing conductor Clemens Heil from opposite, I was just next to him (and could hear him take deep breaths on some of the ... what's the word, "starts"? "Auftakt" in German). The electonics guys sat in the middle on a lengthy table with two huge scores on their mixing desk and some computers etc, I had a good sight on them in the first two thirds, as well. The texts were pojected onto the ceiling and the wooden planks around the audience - the set-up was resembling a Shakespearean type of "globe theatre" with the musicians and singers on the first and second tiers. Lights were switched off for those sections of the orchestra(s) and voices that were not playing (and for the second conductor, too).

Best concert/event/stage show of the year for sure!



Also, last week, in Hamburg (Laeiszhalle, 12 October):

Johann Sebastian Bach
Partita Nr. 1 B-Dur BWV 825

Frederic Rzewski
Dreams II

Ludwig van Beethoven
33 Veränderungen C-Dur über einen Walzer von Diabelli op. 120 »Diabelli-Variationen«

Igor Levit, piano

A great concert, too (but nothing compares to the Nono, actually nothing I ever witnessed does - a once-in-a-lifetime thing really, too bad I was at the closing show, would love to see it once more, maybe positioned differently) - the Bach was wonderful as a kick-off, the Rzewski (which Levit announced in a very likeable short address to the audience) a mixture of somewhat boring/bland and really good, I found (I think it was the third part I liked best), and I did occasionally find it a bit difficult to remain focused. He didn't have a page turner for a tablet slider for this.

Then after the break, the main beef ... and wow, was it great to hear the Diabelli variations live! He added a short encore, the "Für Elise" bagatelle ... and I guess he thoroughly wowed the audience once more by the sheer beauty and tenderness of his performance.

I'm not 100% sure he's a great interpreter yet, but his playing is on such a high level and his musicianship not far behind ... definitely will keep watching him and listen to his upcoming releases!



Finally, while roaming through Hamburg, I saw that every Thursday at 4.30 p.m. there's half an hour of organ music on the Arp Schnitger organ in St. Jacobi. This is what we heard Gerhard Löffler (cantor of St. Jacobi) play:

Donnerstag 13. Oktober 36.

Matthias Weckmann, 1616–1674
Praeambulum primi toni

Johann Sebastian Bach, 1685–1750
An Wasserflüssen Babylon BWV 653
Von Gott will ich nicht lassen BWV 658
Vor deinen Thron tret ich hiermit BWV 668

Nicolaus Bruhns, 1665–1697
Praeludium e-moll


The Bruhns was clearly the highlight to my ears, the Bach being all rather quiet and slow (and me being rather tired) ... and wow does this organ sound gorgeous. Warm, full-bodied, soft ... I didn't read up the entire history, but there's a long German wiki entry on this organ and it's reconstruction:
https://de.wikipedia.org/wiki/Orgel_der_Hauptkirche_Sankt_Jacobi_%28Hamburg%29
The english entry alas is much shorter.


No concerts now for a week (considering a jazz concert on Sunday though, definitely attending another one next week on Thursday and then Anja Harteros on Friday next week).

[ritter]

This was plain amazing! You keep hearing how low-volume "Prometeo" is and how much silence and stuff ... true that, but in this very intimate set-up, it also got really loud and intense, again and again. The set-up with the audience in the middle (free-seating, and there were two short breaks where you could change your position) and the orchestras, soloists and choir on two galleries all around, was really good. For the first two thirds I was just under the solo singers (some of them, at least), then I changed to the opposite end and instead of seeing conductor Clemens Heil from opposite, I was just next to him (and could hear him take deep breaths on some of the ... what's the word, "starts"? "Auftakt" in German). The electonics guys sat in the middle on a lengthy table with two huge scores on their mixing desk and some computers etc, I had a good sight on them in the first two thirds, as well. The texts were pojected onto the ceiling and the wooden planks around the audience - the set-up was resembling a Shakespearean type of "globe theatre" with the musicians and singers on the first and second tiers. Lights were switched off for those sections of the orchestra(s) and voices that were not playing (and for the second conductor, too).

Best concert/event/stage show of the year for sure!


....

Thanks for this great review, king ubu! I haven't listened to Prometeo for ages (I own the Metzmacher recording) and have never experienced it live. I'm sure the effcect of the work in the flesh must be completely different (and much more gripping) thnt on record. I envy you! 

Cheers,

[king ubu]

Thanks for this great review, king ubu! I haven't listened to Prometeo for ages (I own the Metzmacher recording) and have never experienced it live. I'm sure the effcect of the work in the flesh must be completely different (and much more gripping) thnt on record. I envy you! 

Cheers,

Thanks!

Actually, I forgot to mention that already when getting off the train in Lucerne I bumped into an old acquaintance (he was the flute teacher of my sister at the high school I went to and part of a small reading circle which I began attending around the time I finished high school - and even before that he had quite an influence on my musical tastes ... I fondly remember a concert of Cage's "Branches" we all attended a few years back, I also have the CD that ensemble made back then, somewhere) ... anyway, he was at the Zurich Tonhalle staging of "Prometeo" a couple of years back (2014 I think, part of the "Festspiele", the high-brow-even-more-expensive-crappity-concerts that close the annual season in June) ... and he was initially hesitant thus to go to Lucerne and hear "Prometeo" again. He was just as flashed as I was and said the Zurich version was nowhere near as good (the location being so much bigger, it probably was as quiet as they say ...)

Also, on the way home today, I could finally pick up the col legno recording of "Prometeo" - glad I could snatch it up (a new/sealed copy, and for a really good price too, around 15€, including shipping). Quite sure it will take me ages to listen to it, the live experience is too good to fool with it ...

[GioCar]

^^^
When I was in my twenties I had the opportunity to attend the premiere of Prometeo - the revised/final version - in Milan, but unfortunately I don't remember a lot of that. I was with my girlfriend who had almost no interest in classical/contemporary music so that evening turned out to be quite a problematic one...What a mistake to take her to that performance...

I really wish I had the chance to see it live again.

Anyway, back to a traditional "bourgeois"  concert:
Next Saturday at La Scala
Johannes Brahms: Tragische Ouverture
Franz Liszt: Concerto No. 1 in for piano & orchestra (Benjamin Grosvenor at the piano)
Johannes Brahms: Symphony No.2
Riccardo Chailly conducting La Filarmonica della Scala

[SimonNZ]

How was the Britten Turn Of The Screw with Bostridge, GioCar?