Christoph Heinrich News
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2024-03-28
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2024-03-25 04:00:00
Eine Liederreise: Von Gellert zu Beethoven (Gotthold Schwarz, Michael Schönheit)
Gellert Songs & Odes by:Carl Phiipp Emanuel Bach (1714-1788)Knut Lambo (1714-1783)Johann Friedrich Doles (1715-1797)Johann Adam Hiller (1728-1804)Johannes Schmidlein (1722-1772)Justin Heinrich Knecht (1752-1817)Ludwig van Beethoven (1770-1827)Gotthold Schwarz, Baritone; Michael Schönheit, Fortepiano(Period Instruments) Carus[Flac & Scans]
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
[…] the Opera Comique back in 2012 [see my review] and for all the added weight on his voice some 12 years later, he still has the ability to thrill here.Spontini moved his sphere of operations to Berlin following failures in Paris after the Restoration, but it his Parisian operas, La Vestale (1807) and Fernand Cortez (1809) that were his most influential. Spontini's Agnes von Hohenstaufen (1829) was his only major German opera, and we hear Heinrich's 'Der Strom wälzt ruhig seine dunklen Wogen'. That this is the first recording of the aria in German says a lot for how much still needs doing in terms of restoring Spontini's output. Here, it is a novelty hearing the French style with the underlying Italian accents but with German language. Spyres makes you wish to hear more, and if you played it to someone blind, then I think they might struggle to pinpoint […]
The Boston Musical Intelligencer
2024-03-10 22:28:25
Musica Sacra's Danish modernist guest conductor Heinrich Christensen put together a very well-engineered and very well sung Pilgrim’s Progress of minimalism last night at First Church in Cambridge. [] The post appeared first on The Boston Musical Intelligencer.
2024-02-23 18:56:49
[…] Scottish National Orchestra, in Glasgow, during Cop26 in 2021. For the London premiere her collaborators were the Aurora Orchestra and Aurora Voices, whose intensity match Kopatchinskaja’s uncompromising vision and the almost dogged commitment of her playing.It’s unsparing stuff. We walk into the venue to the unnerving sound of Giacinto Scelsi’s Okanagon with its rhythmic thuds and clanging gongs. We hear the tramp of marching feet as Kopatchinskaja leads on a small group of players for Heinrich Biber’s Battalia à 10, written in 1673, its movements interwoven with extracts from George Crumb’s Black Angels for amplified string quartet, composed in protest at the Vietnam war. The effect is unnerving as Biber’s strident dissonance, remarkable for the 17th century, collapse and morph into Crumb’s bitter musical aphorisms.
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