Ernst Julius Otto News
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2024-04-24
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2024-03-03 12:13:00
BPO/Thielemann - Bruckner, 29 February 2024
[…] and 0, in performances from Christian Thielemann, conducting from memory, and the Berlin Philharmonic. I was grateful for the opportunity, though I cannot say they are symphonies to which I shall return in a hurry, not when there is so much neglected Haydn and even Mozart. The 1863 ’Study’ Symphony in F minor has had ‘00’ attached on account of its preceding the work known as ‘0’. Written at the end of Bruckner’s studies with Otto Kitzler, it is not unpleasant, but it is difficult to imagine anyone would bother with it if it were the work of someone else. For one thing, like the ‘Nullte’, it seems to last considerably longer than it does. I was convinced, until I looked at my watch, that the programme’s estimated timings had been exceeded. The first movement opened promisingly, sounding surprisingly close to Mendelssohn at times, without ever sounding quite ‘like’ him. […]
The Boston Musical Intelligencer
2024-02-08 18:08:24
Dance Music of the Germania Musical Society
[…] Mexican war, and preceded the election of General Taylor, were then at their height. At the close of the series a complimentary benefit was tendered to the orchestra for a number of resident musicians and amateurs, and the event called together the first and only crowded house of the season. This concert took place at the Tabernacle on the 11th of November, and a number of vocal and instrumental soloists, then popular, assisted, including Madam Otto, Mrs. Horn, Messrs. Timm and Scharfenberg, and Signor De Begnis. The performance throughout pleased amazingly, and its success served to revive the drooping spirits of the members. The gleam of light, however, was of brief duration. Before the close of the month, two other orchestras arrived from Europe, each with a reputation already established. One, the “Saxonia,” was of fair ability, which the other was no less than the famous orchestra of Joseph Gungl, […]
2024-02-04 11:53:00
The Golden Cockerel, Komische Oper, 3 February 2024
SchillertheaterKing Dodon – Alexander Roslavets Prince Guidon – Pavel Valuzhin Prince Aphron – Hubert Zapiór General Polkan – Alexander Vassiliev Amelfa – Margarita Nekrasova Golden Cockerel – Julia Muzychenko, Daniel Daniela Ojeda Yrureta Queen of Shemakha – Kseniia Proshina Astrologer – James Kryshak First Boyar – Taiki Miyashita Second Boyar – Jan-Frank Süße Dancers – Michael Fernandez, Lorenzo Soragni, Silvano Marraffa, Kai Chun ChungDirector – Barrie KoskyAssistant director – Denni SayersSet design – Rufus DidwiszusCostumes – Victoria BehrChoreography – Otto PichlerDramaturgy – Olaf A. Schmitt, Meike LieserLighting – Franck Evin Orchestra and Chorus of the Komische Oper (chorus director: David Cavelius)James Gaffigan (conductor)Images: Monika Rittershaus Two productions, very different, of Rimsky-Korsakov’s last opera, The Golden Cockerel, within two years: James Conway for English Touring Opera, which I saw in Hackney, and now Barrie Kosky’s new production for Berlin’s Komische Oper in its temporary home in Charlottenburg. Both are experienced, though neither was […]
2024-01-08 19:12:00
Apollosaal, Staatsoper Unter den LindenJacques-Christophe Naudot: Flute Concerto in G major, op.17 no.5 Louis Couperin: Pavanne in F-sharp minor François Couperin: Concert Royal no.4 in E minor Joseph Bodin de Boismortier: Suite no.4 in A major Nicolas Bernier: Cantata: Le Caffé Regina Koncz (soprano)Thomas Meyer (flute)Laura Volkwein, Jueyoung Yang (violins)Otto Tolonen (viola da gamba)Matthias Wilke (harpsichord/director) Autumn’s Barocktage brought Charpentier’s Médée to the Staatsoper Unter den Linden, conducted by Simon Rattle and directed by Peter Sellars. I was alas in the end unable to go, but as a consolation prize heard this intelligently programmed concert of French Baroque music from soprano Regina Koncz and members of the Staatskapelle Berlin in their Preussens Hofmusik incarnation, directed from the harpsichord by Staatskapelle violist Matthias Wilke. Jacques-Christophe Naudot was represented by a flute concerto in G major, a fine introduction to the concert and performance as a whole both in instrumentation and in uniting […]
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