Christoph Willibald von Gluck News
German opera composer (1714–1787)
Commemorations 2024 (Birth: Christoph Willibald von Gluck)
- pipe organ
- opera, classical music, ballet
- Kingdom of Bohemia, Archduchy of Austria
- composer, conductor
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2024-03-12
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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
[…] 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.
2024-02-19 09:17:00
In Relations: exploring links from Meyerbeer, to Loewe, to Mendelssohn, to Schumann, to Emilie Mayer and Frances Allitsen.
In Relations: Meyerbeer, Loewe, Mendelssohn, Schumann, Emilie Mayer, Frances Allitsen; Eva Zalenga, Doriana Tchakarova; hänssler CLASSIC Reviewed 13 February 2024An engaging recital with an intelligent programme that explores the complex web that linked composers and poets, male and female during the 19th century In Relations from hänssler CLASSIC features soprano Eva Zalenga and pianist Doriana Tchakarova in a programme that moves from Meyerbeer, to Loewe, to Mendelssohn, to Schumann, to Emilie Mayer and Frances Allitsen. So, a disc of Romantic composers both male and female, then, but the concept is a little deeper than that. Whilst Schumann and Mendelssohn were friends, they were also linked to Meyerbeer as all three set poems by Marianne von Willemer, the only woman who ever co-authored one of Goethe's works. Carl Loewe made music with Mendelssohn, and taught Emilie Meyer, who set poems by Heine. Heine in his turn was enthusiastic about Loewe's settings of his poetry. And Goethe […]
2024-01-30 12:30:00
Salzburg Mozartwoche (3) - Mozart and Salieri, 28 January 2024
[…] which Emmanuel Pahud joined Leleux and Camerata Salzburg. I cannot claim to be a great fan of the lone Andante, KV 315/285e, probably an alternative slow movement for the G major Flute Concerto, KV 313/285c, but it was certainly played well here, with an Italianate long-breathedness that Salieri would surely have admired too. That said, a sense of the ballet – to my ears – is also suggestive of French music. (Think, for instance, of Gluck’s ‘Dance of the Blessed Spirits’.) Nothing wrong with that: Mozart often blends different stylistic influences. It is not always clear to me, though, quite how those different traits come together. Pahud’s arrangement of the C major Rondo for Violin and Orchestra, KV 373/285c, clearly struck a note of recognition among the audience. Hand on heart, do I think it works as well for the flute as for the violin? No, but it offers new […]
2023-12-12 12:45:00
Mayer/Berliner Barock Solisten/Goltz - JCF Bach, CPE Bach, JS Bach, and Johann Christoph Bach, 11 December 2023
[…] their bows. This went ‘down’ all the way to the violone/double bass, Ulrich Wolff’s playing as nimble and expressive as that of anyone else. Another aria-like second movement followed, Mayer splendidly long-breathed, strings varying vibrato for expressive rather than dogmatic reasons. I found the harpsichord registration (a lute stop, I think) distracting, even irritating, but could see others in the audience responding more positively. Dramatic string interjections prior to the cadenza would surely have impressed Gluck. Likewise, in the finale, gestures told, whilst always forming part of a larger picture. Bright, incisive, string playing was matched by Mayer’s perky despatch of his part. It was a fine dialogue, enjoyable and nourishing in equal measure. The Third Brandenburg Concerto was given by three violins, three violas, two cellos, one double bass, and harpsichord continuo. Polished and lively, the first movement was a model of chamber-scale performance, wondrous transparency ensuring one could […]
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