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

[bhodges]

One of the good things about the BBC SO (aside from being a great orchestra with regular conductors like Oramo and Storgårds ) is that sooner or later most of their concerts get broadcast one way or another.  This one, as it happens, is being broadcast live on BBC Radio 3, available for download soon after.

OK, that is great news, thank you. When I have recovered from the Shostakovich here, I will wait a few days and do an A/B comparison with the broadcast. PS, I totally agree: BBC SO is a great ensemble. Have heard many outstanding concerts with them over the years.

--Bruce

[Brian]

I didn't know there was an orchestration of "Andean Walkabout"! The string quartet version is super fun.

[bhodges]

I didn't know there was an orchestration of "Andean Walkabout"! The string quartet version is super fun.

Yes, agree. I haven't heard the larger version either, so am looking forward.

--Bruce

[bhodges]

Meanwhile, next Tuesday, the excellent pianist George Li is doing this program at the 92nd Street Y, which will be livestreamed and available for 72 hours after. (Admission: $20.) Yes, I'm most looking forward to the Qigang Chen (whose work is rarely performed here), but even I will stick around for the Liszt.

https://www.92y.org/event/george-li

Schumann, Arabeske in C Major, Op. 18
Schumann, Fantasie in C Major, Op. 17
Qigang Chen, Instants d'un opera de Pekin
Liszt, Sonata in B Minor, S. 178

--Bruce

[Mountain Goat]

This afternoon in Hoddinott Hall in Cardiff:

Kapralova: Suita Rustica
Prokofiev: Piano Concerto No. 1
Martinu: Symphony No. 1

Vadym Kholodenko (piano), BBC National Orchestra of Wales/Elena Schwarz

[Wanderer]

Though the Otello looks familiar, what caught my eye is the director! His Lohengrin production at the Met, booed on its opening night but later loudly cheered, was one of the greatest things I've seen. Do feel free to report!

--Bruce

Just saw this.

I'm all down for a good and thought-provoking opera production, however the adulation directors are seemingly treated with nowadays in opera I find insufferable (thank you, Germany, for inflicting this bane upon us). There were numerous people present that night that were obviously only interested in the theatrical aspect of the production and not the music. I was forced to shush two chatting women behind me during the first three minutes; they seemed to be thinking they were in a cafe and commenting was allowed. I was stern enough and no other intervention was necessary, although distant shushing from across the hall was heard from time to time, especially right after intermissions.

The production was in my opinion a success; very beautiful visually, luminous and static. Only stylised movements were allowed (sometimes to a fault) and the singers were always singing towards the public even when they were in intimate conversations. This seemed to alienate many, however I found it was brilliant. It was the exact opposite of other directors having people distractingly running in and out of the stage for no apparent reason during long arias, for instance; here, music was allowed to take precedence and the singers were staying put for as long as their music numbers demanded - no other distractions other than revolving/descending/moving pieces of scenery and dramatic lighting. This economy of movement seemed to complement Verdi's music and orchestration and was further enhanced by lighting that was particularly exquisite; in many instances it created captivating luminous Rothkoesque paintings in the background.
Everyone sang beautifully and the house orchestra and chorus was excellent, as well. My final impression was very positive; a successful production that did not divert from the music.

[kyjo]

Hello everyone! I'll be performing two of my most cherished works from the cello and piano repertoire - Janáček's Pohadka (Fairy Tale) and Mendelssohn's Cello Sonata no. 1 alongside the fantastic pianist Érico Freire Bezerra tonight at 9PM at the Eastman School of Music. I hope some of you can tune in! Here's the link to the livestream: https://www.esm.rochester.edu/live/kilbourn/

Enjoy!

[bhodges]

Just saw this.

I'm all down for a good and thought-provoking opera production, however the adulation directors are seemingly treated with nowadays in opera I find insufferable (thank you, Germany, for inflicting this bane upon us). There were numerous people present that night that were obviously only interested in the theatrical aspect of the production and not the music. I was forced to shush two chatting women behind me during the first three minutes; they seemed to be thinking they were in a cafe and commenting was allowed. I was stern enough and no other intervention was necessary, although distant shushing from across the hall was heard from time to time, especially right after intermissions.

The production was in my opinion a success; very beautiful visually, luminous and static. Only stylised movements were allowed (sometimes to a fault) and the singers were always singing towards the public even when they were in intimate conversations. This seemed to alienate many, however I found it was brilliant. It was the exact opposite of other directors having people distractingly running in and out of the stage for no apparent reason during long arias, for instance; here, music was allowed to take precedence and the singers were staying put for as long as their music numbers demanded - no other distractions other than revolving/descending/moving pieces of scenery and dramatic lighting. This economy of movement seemed to complement Verdi's music and orchestration and was further enhanced by lighting that was particularly exquisite; in many instances it created captivating luminous Rothkoesque paintings in the background.
Everyone sang beautifully and the house orchestra and chorus was excellent, as well. My final impression was very positive; a successful production that did not divert from the music.

Thanks so much for this, and for taking the time to go into such detail. That does sound very "Wilson-y," all around. (Too bad about the chatters; these days, some people really do think they're at home -- when they're not.)

Hello everyone! I'll be performing two of my most cherished works from the cello and piano repertoire - Janáček's Pohadka (Fairy Tale) and Mendelssohn's Cello Sonata no. 1 alongside the fantastic pianist Érico Freire Bezerra tonight at 9PM at the Eastman School of Music. I hope some of you can tune in! Here's the link to the livestream: https://www.esm.rochester.edu/live/kilbourn/

Enjoy!

Congratulations! What a beautiful pairing. 

--Bruce

[Symphonic Addict]

Hello everyone! I'll be performing two of my most cherished works from the cello and piano repertoire - Janáček's Pohadka (Fairy Tale) and Mendelssohn's Cello Sonata no. 1 alongside the fantastic pianist Érico Freire Bezerra tonight at 9PM at the Eastman School of Music. I hope some of you can tune in! Here's the link to the livestream: https://www.esm.rochester.edu/live/kilbourn/

Enjoy!

Watching right now. So cool, Kyle. Congratulations to all involved!

[kyjo]

Watching right now. So cool, Kyle. Congratulations to all involved!

Thank you for tuning in, Cesar!

[foxandpeng]

Very much looking forward to RVW #2 and #7 at Manchester's Bridgewater Hall on 9 April under John Wilson. Will be replayed on BBC Radio 3 on 12 April, I think.

Anyone else in attendance?

Coffee anyone? Wine? Pint?

[Ganondorf]

Reporting right back from Salome performance. It was absolutely phenomenal. I loved it. The one relatively weak link was the singer of Jochanaan and I suspect this has more to do with my fundamental dislike of the character of Jochanaan in general than through any real defect of singer's. The singer of Herodias was magnificent, not a repulsive hag she's often being portrayed as but retaining much of her genuine charm and beauty. Take that, Jochanaan. Kind of reminds me of portrayal of Gertrude in Branagh's Hamlet film. The singer of Herod was superb, bringing his OCD neurotics well on display. And of course there is Salome, brilliantly sung and acted by the singer. And the singer actually looks like a young woman despite immense vocal skills! From the side cast I have to mention the five Jews. Their arguing scene reaches magnificent proportions. As for the conductor and orchestra, I have never heard such a fine playing of this opera even on the records. The many nuances of the score are distinctly heard and I have never had as many shivers down my spine during Salome as
tonight. The production had many ingenious interpretations of certain aspects although I am sure this is not the first time Salome makes out with Jochanaan who is very much alive and unharmed. A riveting performance. I can only conclude that as great as this opera is while only heard, it absolutely must be seen live.

[bhodges]

Reporting right back from Salome performance. It was absolutely phenomenal. I loved it. The one relatively weak link was the singer of Jochanaan and I suspect this has more to do with my fundamental dislike of the character of Jochanaan in general than through any real defect of singer's. The singer of Herodias was magnificent, not a repulsive hag she's often being portrayed as but retaining much of her genuine charm and beauty. Take that, Jochanaan. Kind of reminds me of portrayal of Gertrude in Branagh's Hamlet film. The singer of Herod was superb, bringing his OCD neurotics well on display. And of course there is Salome, brilliantly sung and acted by the singer. And the singer actually looks like a young woman despite immense vocal skills! From the side cast I have to mention the five Jews. Their arguing scene reaches magnificent proportions. As for the conductor and orchestra, I have never heard such a fine playing of this opera even on the records. The many nuances of the score are distinctly heard and I have never had as many shivers down my spine during Salome as
tonight. The production had many ingenious interpretations of certain aspects although I am sure this is not the first time Salome makes out with Jochanaan who is very much alive and unharmed. A riveting performance. I can only conclude that as great as this opera is while only heard, it absolutely must be seen live.

Very envious! It is a great piece in so many ways. And in addition to seeing it live for the first time, as you note in your last sentence, hearing and seeing it makes an enormous difference. And glad that the scene with the Jews had an impact; it usually gets overlooked (or overshadowed) by elements in the rest of the opera. (The last production I saw was at the Met, and not sure that sequence had similar impact.) Good for the director for keeping things interesting on all fronts.

It really is a brilliant score. Anyway, thanks for the report, and sounds like you will be recalling the experience for a long time. 

--Bruce

[Ganondorf]

Anyway, thanks for the report, and sounds like you will be recalling the experience for a long time. 

You're welcome! And yes, I most certainly will be. 

[Iota]

Reporting right back from Salome performance. It was absolutely phenomenal. I loved it. The one relatively weak link was the singer of Jochanaan and I suspect this has more to do with my fundamental dislike of the character of Jochanaan in general than through any real defect of singer's. The singer of Herodias was magnificent, not a repulsive hag she's often being portrayed as but retaining much of her genuine charm and beauty. Take that, Jochanaan. Kind of reminds me of portrayal of Gertrude in Branagh's Hamlet film. The singer of Herod was superb, bringing his OCD neurotics well on display. And of course there is Salome, brilliantly sung and acted by the singer. And the singer actually looks like a young woman despite immense vocal skills! From the side cast I have to mention the five Jews. Their arguing scene reaches magnificent proportions. As for the conductor and orchestra, I have never heard such a fine playing of this opera even on the records. The many nuances of the score are distinctly heard and I have never had as many shivers down my spine during Salome as
tonight. The production had many ingenious interpretations of certain aspects although I am sure this is not the first time Salome makes out with Jochanaan who is very much alive and unharmed. A riveting performance. I can only conclude that as great as this opera is while only heard, it absolutely must be seen live.

Sounds great, Ganondorf! And am in complete sympathy with your final point. The difference in the sense of involvement in a live as opposed to a recorded experience, seems particularly marked in opera.

I've only seen Salome once, in the ROH, Covent Garden (late 80's early 90's?), which I enjoyed a lot. There was one real 'Blimey!' moment (me and the friend I was with at least had no idea it was coming) when at the climax of Salome's Dance of the Seven Veils, Maria Ewing suddenly ripped off her dress, threw her arms wide open and stood defiantly staring down the world at the front of the stage, completely naked! Back then it seemed a bold and unprecedented thing to do in an opera house. The stage director was hubby Peter Hall ..

[bhodges]

Sounds great, Ganondorf! And am in complete sympathy with your final point. The difference in the sense of involvement in a live as opposed to a recorded experience, seems particularly marked in opera.

I've only seen Salome once, in the ROH, Covent Garden (late 80's early 90's?), which I enjoyed a lot. There was one real 'Blimey!' moment (me and the friend I was with at least had no idea it was coming) when at the climax of Salome's Dance of the Seven Veils, Maria Ewing suddenly ripped off her dress, threw her arms wide open and stood defiantly staring down the world at the front of the stage, completely naked! Back then it seemed a bold and unprecedented thing to do in an opera house. The stage director was hubby Peter Hall ..

I think that this may be the performance on her DVD! (I have not yet seen it.)

[asin]B00005RIXS[/asin]

--Bruce

[bhodges]

In June, Joel Sachs will retire from Juilliard after more than 50 years. One of his best achievements has been the creation of the adventurous New Juilliard Ensemble, which over the years has given scores of concerts and world premieres. His final concert with the group will be on Monday, April 11 at 7:30pm, and the concert will be livestreamed (free) at the link below. Note: The concert will not be archived.

The only composer I know is Desenne, whose work is quite interesting.

Program:
Yangfan XU Fantastic Creatures of the Mountains and Seas (Lennox Thuy Duong, Narrator)
Paul FREHNER Sometimes the Devil Plays Fate (Mary Beth Nelson, Mezzo-Soprano)
Diana SYRSE The Invention of Sex (Diana Syrse, Soprano)
Paul DESENNE Sinfonía Burocràtica ed'Amazzònica

https://www.juilliard.edu/event/154341/new-juilliard-ensemble

--Bruce

[Iota]

I think that this may be the performance on her DVD! (I have not yet seen it.)

[asin]B00005RIXS[/asin]

--Bruce

Indeed, that's the one, thanks for digging it out. Though I enjoyed the performance at the time, I'm not sure it wowed me enough to want to get the DVD. But may check out some reviews, see if they shake out any memories. 

[Wanderer]

At the Megaron Spring Festival:


Tomorrow:

Debussy:  Sonata for cello and piano in D minor
Brahms: Sonata for cello and piano No. 1
Mendelssohn/Liszt:  Auf Flügeln des Gesanges, Opus 34 No. 2
Debussy: Clair de lune from Suite bergamasque
Dvořák: Měsíčku na nebi hlubokém from Rusalka
Albinoni: Adagio in G minor
Tchaikovsky: Valse sentimentale, Opus 51 No. 6
Elgar: Nimrod from Enigma Variations, Opus 36
Joplin: The Entertainer
Monti: Csárdás


Gautier Capuçon, cello
Jérôme Ducros, piano


...and on Monday:

Schubert: Piano Sonata No. 13 in A major, D. 664
Debussy: Suite bergamasque
Beethoven: Piano Sonata No. 32, Op. 111


Maria João Pires, piano

[Wanderer]

Thanks so much for this, and for taking the time to go into such detail. That does sound very "Wilson-y," all around.

De nada! And indeed, his personal stamp is unmistakeable.


Next night at the opera will be on Thursday with Gounod's Faust.


Faust
Ivan Magrì

Méphistophélès
Yanni Yannissis

Valentin
Dionysios Sourbis

Wagner
George Mattheakakis

Marguerite
Irina Lungu

Siébel
Miranda Makrynioti

Marthe
Anna Agathonos


Conductor
Pierre Dumoussaud

Director, choreographer, movement coach
Renato Zanella

Sets
Alessandro Camera

Costumes
Carla Ricotti

Lighting
Jacopo Pantani

Chorus master
Agathangelos Georgakatos



With the participation of the GNO Orchestra, Chorus and Ballet, as well as students of the GNO Professional Dance School.