Conrad Ansorge News
German musician
- piano
- Germany
- composer, pianist
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2024-04-25
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Clairvoyant Classical Music
2019-11-30 14:20:25
Conrad Ansorge – Piano Concerto
2014-03-14 01:00:00
Dietrich Fischer-Dieskau: Piano Songs (Beethoven, Dehmel, Schubert, Schumann)
Ludwig van Beethoven: Piano Songs including opp. 46 48 52 75 83 94 98 Live Recordings Salzburg Festival 1957 - 1965 Vol. 5 Dietrich Fischer-Dieskau, baritone Gerald Moore, piano Recording: Mozarteum Salzburg, August 13th 1965 ORFEO C 140 501 B Total Time: 61:51 Songs after poems from Richard Dehmel Composers: Karol Szymanowski, Max Reger, Alexander Zemlinsky, Conrad Ansorge, Hans Pfitzner, Artur Schnabel, Anton Webern, Richard Strauss Dietrich Fischer-Dieskau, baritone Aribert Reimann, piano Kolja Blacher, violin Recording: February 6th 1985 orfeo C 390 951 B Total Time: 63:12 Franz Schubert: Songs after poems by Johann Wolfgang Goethe Dietrich Fischer-Dieskau, baritone Jörg Demus, piano Gerald Moore, piano Recording: 1960 / 1969 / 1970 Deutsche Grammophon Total Time: 76:00 Robert Schumann: Liederkreis […]
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CNY Café Momus
2013-08-22 14:14:35
Commentary: The 39th anniversary of a ‘Twelfth Night’ classic
[…] nights later on August 22, 1974, the Royal Shakespeare Company (RSC) production of Twelfth Night opened under the direction of Peter Gill. In 1969, John Barton had directed a Chekhovian Twelfth Night for the RSC, and many who had seen it felt that Shakespeare’s broody, autumnal and bittersweet masterwork had finally found its fullest expression. But some who had seen Gill’s staging were having second thoughts about that assessment. Peter Ansorge, in his October 1974 review of the production for Plays and Players, noted how Gill had been “rebuked in some quarters for his reading of the play.” But Gill wasn’t doing anything Shakespeare already hadn’t. All Gill did was to focus on the least-explored aspect of the play’s theme of “doubleness” — sexuality. Gill, Ansorge wrote, didn’t impose a “theory of sexual ambiguity on Twelfth Night, he has brought the theme […]
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