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

[Judith]

The Proms.

Going to see Joshua Bell and ASMF

Looking forward

[ComposerOfAvantGarde]

Next week, Tilson Thomas makes his debut with this group. Will be my first time hearing Yende, and much looking forward to that, but I'm really looking forward to hearing the orchestra play Carl Ruggles for the first time.

The MET Orchestra
Michael Tilson Thomas, Conductor
Pretty Yende, Soprano

Ruggles Evocations
Mozart Exsultate, jubilate
Mahler Symphony No. 4

--Bruce

Carl Ruggles is such a big name in American music! Have they not played his music simply because they are more of an opera orchestra or has there been some ongoing problem with not playing music from their own country? I am surprised!

[bhodges]

Carl Ruggles is such a big name in American music! Have they not played his music simply because they are more of an opera orchestra or has there been some ongoing problem with not playing music from their own country? I am surprised!

Your first point is part of the reason. As an opera orchestra, they basically play only at the Met for 99% of the year. But every year for the last few decades, usually in the spring, they do three concerts at Carnegie Hall, where they play mostly non-operatic repertoire.

My hunch is that James Levine was not much of a Ruggles fan (though he did like other American composers such as Babbitt and Wuorinen), and he conducted most of these concerts in previous years. But Tilson Thomas is very much committed to mid-20th century composers whom he has dubbed "American mavericks." Should be an interesting evening.

--Bruce

[ritter]

Just bought tickets for Bernd-Alois Zimmerman's Die Soldaten at the Teatro Real here in Madrid. It's fot June 3 (the last performance of the run—the Spanish premiere will be on May 16.)

The conductor will be Pablo Heras-Casado, and the producer Calixto Bieito. I'm really looking forward to this rare opportunities of seeing one of the seminal operas of the 20th century fully staged. It might be a shattering (but also, I hope, very fulfilling)  experience. 

Well, I've just arrived home after seeing Die Soldaten in the Teatro Real, and am overwhelmed. I've generally been ambivalent about Bernd-Alois Zimmerman, but after tonight, I am convinced Die Soldaten is an operatic masterpiece, and contains some extraordinary music (both in the huge climatic scenes—the prelude, the apocalyptic finale—and in the more intimate, nocturnal moments). The spate of recent, major productions of this opera (the Ruhrtriennale one that travelled to New York and our fellow GMGer Brewski mentioned, the coproduction between Salzburg and La Scala, the one in Munich under Kirill Petrenko, and this one—which has also been given in Zurich and Berlin), is a clear sign that Die Soldaten's time "has come"  , and that the work is receiving the appreciation it deserves. 

Calixto Bieito's staging was imposing (the huge orchestra was onstage—on a scaffold-like structure, and dressed in army fatigues—while the platform that covered the pit was where most of the action was enacted). Typical Bieito, with high doses of violence and explicit sex, very much in line (and fittingly so) with his staging of Wozzeck some years ago—although in this occasion his trademark nudity was absent. The weak point of the production was the use of a single set (the aforementioned  scaffolding) for a work with so many scenes (some of them simultaneous), which could lead—even those familiar with the plot—to confusion. Pablo Heras-Casado led a taut and vigorous performance (it's uncanny how this man's conducting gestures remind me of those of his teacher Pierre Boulez ). The cast was uniformly strong, with Susanne Elmark outstanding—vocally and theatrically—as Marie. It was a pleasure to see two veterans like Hanna Schwarz (whom I had seen as Fricka in the "Jahrhundertring" in Bayreuth almost 39 years ago now!) and Iris Vermilion onstage.



A great, great evening at the opera...

[ComposerOfAvantGarde]

Well, I've just arrived home after seeing Die Soldaten in the Teatro Real, and am overwhelmed. I've generally been ambivalent about Bernd-Alois Zimmerman, but after tonight, I am convinced Die Soldaten is an operatic masterpiece, and contains some extraordinary music (both in the huge climatic scenes—the prelude, the apocalyptic finale—and in the more intimate, nocturnal moments). The spate of recent, major productions of this opera (the Ruhrtriennale one that travelled to New York and our fellow GMGer Brewski mentioned, the coproduction between Salzburg and La Scala, the one in Munich under Kirill Petrenko, and this one—which has also been given in Zurich and Berlin), is a clear sign that Die Soldaten's time "has come"  , and that the work is receiving the appreciation it deserves. 

Calixto Bieito's staging was imposing (the huge orchestra was onstage—on a scaffold-like structure, and dressed in army fatigues—while the platform that covered the pit was where most of the action was enacted). Typical Bieito, with high doses of violence and explicit sex, very much in line (and fittingly so) with his staging of Wozzeck some years ago—although in this occasion his trademark nudity was absent. The weak point of the production was the use of a single set (the aforementioned  scaffolding) for a work with so many scenes (some of them simultaneous), which could lead—even those familiar with the plot—to confusion. Pablo Heras-Casado led a taut and vigorous performance (it's uncanny how this man's conducting gestures remind me of those of his teacher Pierre Boulez ). The cast was uniformly strong, with Susanne Elmark outstanding—vocally and theatrically—as Marie. It was a pleasure to see two veterans like Hanna Schwarz (whom I had seen as Fricka in the "Jahrhundertring" in Bayreuth almost 39 years ago now!) and Iris Vermilion onstage.



A great, great evening at the opera...

Fantastic reading your thoughts! For such a significant opera it is interesting to hear that directors are doing more unusual stagings. Sounds very effective, in this case! (although the Munich production is certainly visually stunning and very emotionally impacting)

I am interested in hearing Heras-Casado in more recent repertoire......I have only really heard some Mendelssohn and Bartok recordings he has made.

[ComposerOfAvantGarde]

Going to see this with a friend of mine on Thursday evening

Andrea Molino conductor
Thomas Hampson baritone
Melbourne Symphony Orchestra

Mahler Totenfeier
Mahler Lieder eines fahrenden Gesellen
Messiaen Le Tombeau Resplendissant
R. Strauss Tod und Verklärung

[NikF]

Treitler Kvartetten: String Quartet Recital

'One of Sweden's most sought after young string quartets to perform works by Valborg, Dutilleux, Bartok and Dvorak.'

I've no idea of the exact programme, but that's not necessarily a bad thing.

[North Star]

Hearing just the Dutilleux Ainsi la nuit (his only string quartet) live is worth it. A very atmospheric work, and one of my favourite string quartets.

[bhodges]

Well, I've just arrived home after seeing Die Soldaten in the Teatro Real, and am overwhelmed. I've generally been ambivalent about Bernd-Alois Zimmerman, but after tonight, I am convinced Die Soldaten is an operatic masterpiece, and contains some extraordinary music (both in the huge climatic scenes—the prelude, the apocalyptic finale—and in the more intimate, nocturnal moments). The spate of recent, major productions of this opera (the Ruhrtriennale one that travelled to New York and our fellow GMGer Brewski mentioned, the coproduction between Salzburg and La Scala, the one in Munich under Kirill Petrenko, and this one—which has also been given in Zurich and Berlin), is a clear sign that Die Soldaten's time "has come"  , and that the work is receiving the appreciation it deserves. 

Calixto Bieito's staging was imposing (the huge orchestra was onstage—on a scaffold-like structure, and dressed in army fatigues—while the platform that covered the pit was where most of the action was enacted). Typical Bieito, with high doses of violence and explicit sex, very much in line (and fittingly so) with his staging of Wozzeck some years ago—although in this occasion his trademark nudity was absent. The weak point of the production was the use of a single set (the aforementioned  scaffolding) for a work with so many scenes (some of them simultaneous), which could lead—even those familiar with the plot—to confusion. Pablo Heras-Casado led a taut and vigorous performance (it's uncanny how this man's conducting gestures remind me of those of his teacher Pierre Boulez ). The cast was uniformly strong, with Susanne Elmark outstanding—vocally and theatrically—as Marie. It was a pleasure to see two veterans like Hanna Schwarz (whom I had seen as Fricka in the "Jahrhundertring" in Bayreuth almost 39 years ago now!) and Iris Vermilion onstage.



A great, great evening at the opera...

Wow! Even with your hesitation about the set, this looks fantastic. If there's any justice, a DVD would be in the works. (PS, I have heard Heras-Casado just once, conducting the International Contemporary Ensemble (ICE), and he was terrific.)

Thanks for this fascinating report.

Going to see this with a friend of mine on Thursday evening

Andrea Molino conductor
Thomas Hampson baritone
Melbourne Symphony Orchestra

Mahler Totenfeier
Mahler Lieder eines fahrenden Gesellen
Messiaen Le Tombeau Resplendissant
R. Strauss Tod und Verklärung

Treitler Kvartetten: String Quartet Recital

'One of Sweden's most sought after young string quartets to perform works by Valborg, Dutilleux, Bartok and Dvorak.'

I've no idea of the exact programme, but that's not necessarily a bad thing.

Two great-looking concerts, and I agree with North Star about the Dutilleux.

--Bruce

[king ubu]

Thanks for that report, ritter - really scolding myself for not catching it in Zurich! 

[André]

Kent Nagano will be conducting the St Luke Passion by Penderecki next month. I'm considering going with some friends, but it's out of town (the summer festival venue some 60 km away), so maybe yes, maybe no...

[Draško]

Tomorrow night:

Takemitsu: Requiem for Strings
Dorman: Frozen in Time
Holst: The Planets

Simone Rubino, percussion
Academic Choir Collegium Musicum
Belgrade Philharmonic
Eiji Oue, conducting

[king ubu]

Ordering tickets for the next season ... crazy, ain't it? But I just bought two for a recital by Krystian Zimerman at Lucerne's great KKL, June 18, 2019 

[king ubu]

phew, just overspent on opera tickets for the 2018/19 season at Zurich opera ... all cheapest seats, but over a dozen tickets (so I don't end up - like in the season ending soon - buying single tickets for 200$ because there's no other decent ones left ) - (personal) highlights include:

- a new production (Barrie Kosky) of Schreker's "Die Gezeichneten" (cond. by Vladimir Jurowski, line-up incl. Catherine Naglestad)
- a new production (Jetske Mijnssen, cond. Emmanuelle Haïm) of Rameau's "Hippolyte et Aricie" (Stéphanie d'Oustrac and Cyrille Dubois in the title roles and Mélissa Petit also in the cast)
- a new production (Jan Philipp Gloger, cond. Enrique Mazzola) of Rossini's "Il turco in Italia" (with Julie Fuchs)
- Ottavio Dantone conducting Vivaldi's "La verità in cimento" (Gloger production repeat), with Delphine Galou, Julie Fuchs and Christophe Dumaux in the line-up (and also favourite ensemble member Deniz Uzun)
- William Christie conducting Händel's "Semele" (prod. Robert Carsen, a repeat) with Cecilia Bartoli in the title role (and Dumaux and Uzun again)
- Strauss' "Der Rosenkavalier" (boring - I expect - Bechtolf production repeat, Luisi conducting) with Krassimira Stoynova, Anna Stéphany and Sabine Devieilhe 
- Diana Damrau singing Lucia di Lammermoor and Nello Santi conducting (and playing the piano)
- Anja Harteros singing Donna Leonora in the Homoki production of "La forza del destino" (cond. Luisi) that has just had its premier (sans Harteros, which is why I am waiting...)
- Evelyn Herlitzius singing Elektra, Simone Young conducting (Kusej production repeat)
- Ottavio Dantone conducting (another - boring? - Bechtolf repeat of) "Le nozze di Figaro" (again, never saw a production of it) with Regula Mühlemann as Susanna (got to see here in a stage production now, after two concerts w/chamber orchestras)
- a new production (Floris Visser, cond. Marco Armiliato) of Massenet's "Manon" (with Piotr Beczala)
- Bizet's "Les Pêcheurs de perles" (a repeat)
- lieder recitals by Anja Harteros and Julie Fuchs what was I thinking? actually by Anna Stéphany
- finally, a new production of "Così fan tutte" (never saw it live yet) by Kirill Serebrennikov, provided evil Vlad will not run his next war after the soccer propaganda event is over, and will let Serebrennikov travel to Switzerland ... I'm sceptical though, but they'll have a plan B I'm sure and I want to see this best of all operas in a real production!

whew! 

ah, yes, in case anyone wonders: will be skipping Ligeti's "Le grand macabre", not expecting this to be better than the recent Lucerne production - I guess it's really a planning accident that Zurich is running that - besides Schreker - as this season's 20c opera - and frankly, it's nowhere near a match to Holliger's astonishing "Lunea" ... I'll get another fix of 20c opera in Milan in November, I hope, with Kurtág's "Fin de partie"!

[ComposerOfAvantGarde]

king ubu, despite not going to Le grand macabre this time around it looks like you are up for many incredible performances! (and man, seeing both Simone Young and Barrie Kosky up there is generating a bit of pride within me for my otherwise insignificant nation when it comes to opera......)

I would love to see Anja Harteros perform one day. I watched her in a livestream of Tannhäuser which was wonderful, but I hear she rarely performs outside of Europe, which is a shame for me!

[king ubu]

king ubu, despite not going to Le grand macabre this time around it looks like you are up for many incredible performances! (and man, seeing both Simone Young and Barrie Kosky up there is generating a bit of pride within me for my otherwise insignificant nation when it comes to opera......)

I would love to see Anja Harteros perform one day. I watched her in a livestream of Tannhäuser which was wonderful, but I hear she rarely performs outside of Europe, which is a shame for me!

I'm excited indeed! Harteros (as Lizzy in "Don Carlo" and in a concert with orchestral songs by Strauss - missed her Tosca last fall) and Damrau (the soprano parts other than "Olimpia" in "Les Contes d'Hoffmann" in Munich and the title role in "Maria Stuarda" just recently in Zurich), for me, have been the most exciting and amazing opera experiences ... Bartoli would probably be up there if I'd seen her a few years earlier, she's still amazing of course, but ... also d'Oustrac was amazing (in "Médée" under Christie's baton), and Stéphany (it's actually her doing the second lieder programme, not Fuchs - Fuchs did an orchestral Rameau/Gluck programme a while ago, the only occasion I so far had to see her in person), Devieilhe (her Rameau disc!), Fuchs and Petit have all become dear to me in the past couple of seasons (only saw Devieilhe - and Fuchs - on stage once so far but am also enjoying them on disc).

As for Kosky, I saw the repeat of his "Macbeth" last season and it was quite amazing indeed!

Young left me a bit ambiguous - saw her conduct "Parsifal" just a few months ago ... and I'm afraid I might never come to terms with Wagner for too many intellectual/historical reasons, but she did a fine job conducting, all things considered (and the production by Claus Guth was interesting, too ... it's really the music, the "play", the (non-existing/silly-to-the-utmost) "plot", all the underlying murmur that has me protest to the hypnotizing force that the music definitely has, nonethelss)

[Wanderer]

- a new production (Barrie Kosky) of Schreker's "Die Gezeichneten" (cond. by Vladimir Jurowski, line-up incl. Catherine Naglestad)

This held my attention, as well, when perusing the Zurich season and I would've considered it had it been scheduled for 2019 rather than this autumn. Enjoy!

[king ubu]

This held my attention, as well, when perusing the Zurich season and I would've considered it had it been scheduled for 2019 rather than this autumn. Enjoy!

Thanks - new season starts in September here, old one closes in June (Tonhalle, jazz clubs) or July (opera).

I still have what I hope to be a great "Incoronazione di Poppea" coming up, again with Dantone conducting - look at that line-up:
https://www.opernhaus.ch/en/spielplan/calendar/lincoronazione-di-poppea/season_11232/

[Wanderer]

Thanks - new season starts in September here, old one closes in June (Tonhalle, jazz clubs) or July (opera).

I still have what I hope to be a great "Incoronazione di Poppea" coming up, again with Dantone conducting - look at that line-up:
https://www.opernhaus.ch/en/spielplan/calendar/lincoronazione-di-poppea/season_11232/

It does look very promising! My last opera-going of the season was an excellently performed and superbly sung Věc Makropulos in our new opera house a couple of weeks ago. There will be more Janáček next season, namely Jenůfa in October, which I'm certainly going to attend.

[king ubu]

It does look very promising! My last opera-going of the season was an excellently performed and superbly sung Věc Makropulos in our new opera house a couple of weeks ago. There will be more Janáček next season, namely Jenůfa in October, which I'm certainly going to attend.

A (jazz) musician friend just raved about Janácek's operas recently ... have seen the old production of Jenufa in Zurich (around 2000, don't know exactly, they had another one later I think) and loved it back then. Need to explore those Mackerras (and Neuman and Gregor) recordings one day.