In CNN segment on YouTube, pianist Roy F. Eaton compares his experiences as an advertising executive of color to the TV series ‘Mad Men’ + MORE

 

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conductors

Prom 64, Berlin Philharmonic Orchestra, Rattle, Royal Albert Hall + MORE

They were, of course, applauded on to the platform – all of them – and when at the close Simon Rattle turned to us and said “I think you know this already but there is no audience in the world like this one” the tacet response was surely implicit that there is no orchestra in the wor.... More »
operas

Donizetti, Maria Stuarda, Metropolitan Opera, review: 'dazzling' + MORE

Joyce DiDonato's Maria combines technical skill with fiery passion, says Rupert Christiansen.... More »
singer

Pianist’s 365 reasons to be cheerful + MORE

PIANIST Galliano Sommavilla’s latest creative feat was born of an attempt to lift himself out of the doldrums..... More »
symphony

Thomas Larcher: What Becomes; A Padmore Cycle review beautifully tailored bespoke songs + MORE

Padmore/Stefanovich/Larcher(Harmonia Mundi)A Padmore Cycle, Thomas Larcher's songs written in 2011 for tenor Mark Padmore, sets poems by Hans Aschenwald and Alois Hotschnig. The gnomic texts sometimes seem to occupy similar territory to those of Schubert's great song cycles. But if Larcher's setting.... More »
concerto

Nathan Vale at Temple Music + MORE

Nathan Vale Schubert, Wolf, folksongs; Nathan Vale, Audrey Hyland; Temple Music at Inner Temple Hall Reviewed by Robert Hugillon Oct 21 2014 Poised and stylish performance from young tenor in a new Emerging Artists SeriesTemple Music launched a new Emerging Artists Series with the recital by t.... More »

Munich’s Rosenkavalier – tasteful?

– www.artsjournal.com/slippeddisc

This is the cover of the Munich Philharmonic’s new season brochure. What do you think?

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The Manhattan String Quartet performed in “100 Years of the String Quartet” at the Tenri Cultural Institute on Wednesday.

Continue Reading On www.nytimes.com »

Miami-based chamber chorus Seraphic Fire and Chicago’s Spektral Quartet joined forces Wednesday night for an even rarer pairing — two quite different versions of the same work, Haydn’s “Seven Last Words of Christ on The Cross” — essentially performed at the same time.

Continue Reading On www.suntimes.com »

Dance with Talk Doesn’t Quite Come Off

– www.seenandheard-international.com

 Various Composers, If Play Is Play…: HeadSpaceDance, Royal Opera House (Linbury Studio Theatre), London, 16.04.2014 (J.O’D) Two Dancers: Christopher Akrill and Gemma Nixon Choreography: Johan Inger Music: ‘Silouan’s Song’ by Arvo Pärt Costume Designs: Sabine Lemaître Lighting Design:Simon Bennison Before the Interval Dancers: Christopher Akrill, Clemmie Sveaas, Jonathan Goddard Choreography and Sound Design:   Luca Silvestrini […]

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Another senior maestro graciously cashes in

– www.artsjournal.com/slippeddisc

Another senior maestro graciously cashes inThe Boston Symphony Orchestra, announcing a replacement for Lorin Maazel, uses the obsequious language of three generations back to welcome the expensive Charles Dutoit on bended knee. Will Boston never wake up? And should we now start referring to cheerful Charlie as Maazel’s Maazel? press release below   Eminent Swiss conductor Charles Dutoit has graciously offered to lead […]

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So You Want To Write An Opera….

– www.newmusicbox.org

I admit I attempted composing for opera long ago as an undergraduate. I remember seeing the Los Angeles Opera’s production of Billy Budd in the late ’90s and then seeing their production of Peter Grimes in the early 2000s, and I was convinced I absolutely had to write an opera.

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Not forgettable: Górecki’s final symphonyHenryk Gorecki Gorecki, Tansman & Stravinsky: Julian Rachlin, London Philharmonic Orchestra, Andrey Boreyko; South Bank Centre Reviewed by Hilary Gloveron April 12 2014 Star rating: 4.5World premiere of Henryk Gorecki’s fourth and final symphonyAlexandre Tansman with his first wife Anna Eleonora BrocinerThis memorial concert has been a long time in the planning but was worth the wait…

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In CNN segment on YouTube, pianist Roy F. Eaton compares his experiences as an advertising executive of color to the TV series 'Mad Men'A CNN segment on YouTube allows pianist Roy F. Eaton to compare his personal experiences as a pioneering advertising copywriter and music director of color to those depicted in the television series Mad Men on http://www.amctv.com/:My “15 minutes” extendshttps://www.youtube.com/watch?v=Pb03Cx1l4JM&list=UUupvZG-5ko_eiXAupbDfxWw Love,Roytinyurl…

Continue Reading On africlassical.blogspot.com »

For her most recent commissioning project, composer and pianist Joann Cho invited a large group of composers to write a solo piano piece for her and asked them to write their piece “for children.”

Continue Reading On www.newmusicbox.org »

One year ago, practically to the day, I posted this picture of what it looks like to search the complete Haydn symphonies on Spotify and lamented “Please: we’ve had digital music for nearly two decades now. Can we start to get our act together on this?” I mean, that list of results is basically useless…

Continue Reading On johnsonsrambler.wordpress.com »

Semperoper’s Ariadne auf Naxos:an Estimable Pleasure

– www.seenandheard-international.com

 Strauss, Ariadne auf Naxos: Soloists, Staatskapelle Dresden, Omer Meir Wellber (conductor). Semperoper, Dresden, 15.4.2014 (MB) Cast Music-Master – Markus Butter Major-Domo – Friedrich-Wilhelm Junge Lackey – Peter Lobert Officer – Michael Auenmüller Composer – Barbara Senator Tenor/Bacchus – Burkhard Fritz Wigmaker – Matthias Henneberg Zerbinetta – Romy Petrick Prima Donna, Ariadne – Marjorie Owens Dancing […]

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Almanac: Paul Hindemith on creation and irrationality

– www.artsjournal.com/aboutlastnight

“The ultimate reason for his humility will be the musician’s conviction that beyond all the rational knowledge he has amassed…

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"Mache dich…"

– jessicamusic.blogspot.com

"Mache dich..."Pick an occasion – any occasion – in the history of music at which you’d have liked to be present… Today I’ll choose the Bach St Matthew Passion as conducted in 1829 by the 20-year-old Felix Mendelssohn. The performance was organised by the young composer and his actor friend Eduard Devrient and the work enjoyed probably its first outing since the death of Bach himself, some 80 years earlier…

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