Arthur Sullivan News
English composer of the Gilbert & Sullivan duo (1842-1900)
- piano, pipe organ
- opera, incidental music, song, symphony, ballet, cantata, oratorio
- United Kingdom of Great Britain and Ireland
- composer, organist, conductor, music teacher
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2024-04-20
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The Boston Musical Intelligencer
2024-03-27 22:04:28
The storied Sudbury Savoyards’s recent production of one of Gilbert & Sullivan’s least-performed works, Princess Ida, or Castle Adamant, at the Kirschner Auditorium Theater at Lincoln-Sudbury Regional High School from February 24 - March 2, 2024, achieved a rousing success. [] The post appeared first on The Boston Musical Intelligencer.
2024-03-17 16:39:00
NYO-USA All-Stars. Yannick Nezet-Sequin, conductor; Daniil Trifonov, piano. March 14, 2024.
[…] in Love."I heard Shostakovich's Leningrad symphony before, in 2018, performed by the NY Phil, conducted by van Zweden. There I expressed the feeling (or tried to) that the description of the piece made it sound intriguing, but the actual music was much less so. Tonight I got a similar feeling. Many different interpretations of the piece were offered, mostly about whether Shostakovich was being sincere or cynical when he composed the music. The Annotator Jack Sullivan even allowed that the current interpretation is affected by today's culture. Which is well and good, but I have to ask how would a different culture - mainland Chinese, for instance - interpret it? For me the more basic question is, what did Shostakovich have in mind when he wrote this? I find the following quote in the Program Notes, attributed to Shostakovich, puzzling: "I have nothing against calling the Seventh the 'Leningrad' Symphony, but […]
2024-03-14 10:00:52
On this day in 1885 W.S. Gilbert and Arthur Sullivan’s The Mikado premiered in London
2024-02-29 12:31:30
[…] lifetime of wit, wisdom and theatrical audacity distilled in this inventive peach of a show.Ditching the masonic mumbo-jumbo and gussying up the dialogue, McBurney has you laughing out loud. A dozen actors, their movement beautifully choreographed, bustle around without ever pulling focus; singers inhabit the auditorium without it feeling gratuitous. There’s aerial wizardry, tiny shadow puppets, some inventive and immaculately coordinated live video (Ben Thompson) and equally ingenious deployment of an onstage foley artist (Ruth Sullivan).
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