Carl Maria von Weber News
German Romantic composer (1786–1826)
- guitar, piano
- classical music, opera
- Prince-Bishopric of Lübeck
- composer, conductor, pianist, guitarist, classical guitarist, music critic
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2024-03-17
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2024-03-13 08:05:00
Little short of a revelation: Michael Spyres, Les Talens Lyriques & Christophe Rousset explore Wagner's influences with In the Shadows
In the Shadows: Auber, Bellini, Berlioz, Halévy, Méhul, Meyerbeer, Rossini, Spontini, Weber, Wagner; Michael Spyres, Les Talens Lyriques, Christophe Rousset; EratoReviewed 12 March 2024A wonderfully imaginative recital, showcasing both the wide range and variety of Wagner's musical influences as well as Spyres' own virtuosity and adaptabilityThe mature Richard Wagner would have wanted you to think that his art sprang directly from his imagination, without the influence of other composers, but the reality was more complex. The young Richard was something of a sponge, soaking up influences from all over. For instance, in 1833 Würzburg Theatre staged Giacomo Meyerbeer's Robert le Diable (premiered in Paris in 1831), it was the operatic event of the year. Richard Wagner's brother Albert was singing the title role and had managed to get Richard a job as chorus master at the theatre. 20-year-old Richard rehearsed the choruses of Meyerbeer's opera and this first exposure to the piece […]
2024-02-20 10:00:00
From Harald en Italie to Le prophète in New York: 2024 Bard Summerscape focuses on Berlioz and his world
[…] a vehicle for Enrico Caruso, and returned in 1977 with James McCracken and Marilyn Horne, since then I am not sure whether the opera has had a performance in the USA.In concert there is a chance to hear not only Berlioz' Symphonie Fantastique but the far rarer Lélio, ou Le retour à la vie: monodrame lyrique, plus songs, the Te Deum, selections from Les Troyens, Le mort d’Ophélie, Harold en Italie and La damnation de Faust, alongside music by Reicha, Weber, Le Sueur, Spontini, Thomas, Gluck, Auber, Meyerbeer, Rossini, Liszt, Wagner, Saint-Saens, Bizet, Faure, Viardot, Farrenc, Bertin, Grandval, Cherubini, Paganini, Halevy, Adam, Strauss, Ernst, Mendelssohn, Schumann, Hiller, Gottschalk, Raff, Rimsky-Korsakov, Debussy, Varese and Messiaen.Full details from the Fisher Center website.
The Boston Musical Intelligencer
2024-02-08 18:08:24
Dance Music of the Germania Musical Society
[…] Carroll Hall proved soon to be too small for the increasing crowds, and the performance were continued at the Holliday Street Theater. Now followed success as great as it was unexpected. Eight concerts were given to crowded houses, and the members of the orchestra were wonderfully elated. Many excellent compositions were now performed for the first time in America, among them Beethoven’s Third, Fifty, Sixth, and Seventh* Symphonies, Spohr’s Consecration of Tones, overtures by Mozart, Weber, Mendelssohn and Spohr, a large amount of chamber music, and, in connection with the Musical Fund Society of Philadelphia, Rosini’s “Stabat Mater,” and Romberg’s “Lay of the Bell.” The business agent of the orchestra, Mr. Helmsmüller, was at his wits’ end to plan suitable announcements for many of these concerts. At the very beginning of the series, so unexpectedly successful, he had advertised the “Farewell Concert.” Now he was obliged to follow it up […]
2024-02-06 18:50:00
Rusalka, Staatsoper Unter den Linden, 4 February 2024
Rusalka – Christiane Karg Prince – Pavel Černoch Foreign Princess – Anna Samuil Vodník – Mika Kares Ježibaba – Anna Kissjudit Gamekeeper – Adam Kutny Kitchen Boy – Clara Nadeshdin Nymphs – Regina Koncz, Rebecka Wallroth, Ekaterina Chayka-Rubinstein Huntsman – Taehan Kim Director – Kornél MundruczóDesigns – Monika PormaleLighting – Felice RossVideo – Rūdolfs BaltiņšChoreography - Candaş BaşDramaturgy – Kata Wéber, Christoph Lang Staatsopernchor Berlin (chorus director: Gerhard Polifka)Staatskapelle BerlinRobin Ticciati (conductor)Images: Gianmarco BresadolaRusalka (Christiane Karg) Director Kornél Mundruczó comes like a breath of fresh air to unsettle our conceptions of Dvořák’s last and, by some way, greatest opera and thus to do precisely what the material demands; or rather, it comes as something bitterly stale, menacing, even poisonous to accomplish what fresh air on its own might not be able. It is certainly refreshing, though it should not be, to have a production that takes class seriously as a form […]
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