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2024-03-29
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2024-03-27 14:38:44
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The Boston Musical Intelligencer
2024-03-25 20:45:39
Atmospheric But Not Dreary
Odyssey Opera, in partnership with the Boston Modern Orchestra Project (BMOP), presents the New England premiere of Dominick Argento’s opera The Voyage of Edgar Allan Poe, on Friday, April 5, 2024, ay the Huntington Theater in Poe’s birthplace of Boston. For one-night only, the Grammy Award-winning conductor Gil Rose leads a formidable cast including tenor Peter Tantsits as Poe, the Odyssey Opera chorus, the acclaimed BMOP orchestra in a semi-staged version. A world premiere studio recording will follow on BMOP/sound. Synopsis and history HERE. Tickets HERE An interview with the conductor follows. FLE: We’ve talked many times, but I’ve never actually delved into your biography at all. So what guru or mentor formed your interest in in looking up unjustly neglected works? GR: Oh, Wow, it’s a good question. You stumped me right out of the gate. One person that had a big effect on me was the author Joe […]
2024-03-21 10:56:00
For young classical audiences the sound is the message
In David Hepworth's recommended history of EMI's Abbey Road studios he makes an observation that may just hold the key to unlocking the new younger audience that classical music has sought for so long in vain. Writing about the increasing importance of pop music in late 1950s Hepworth explains that "whereas the people working in classical music wanted to record music, the people in pop increasingly wanted to record sounds". The ultimate example of studio-created sound taking priority over music culminated in the seminal “Sgt. Pepper’s Lonely Hearts Club Band" which took five-and-a-half months of sound-shaping at Abbey Road for the album's13 tracks to be completed. Classical dogma dictates that the music takes priority - note perfect interpretations, historically informed performances, pedigree of the musician, concert hall etiquette etc. In the classical world sound is the servant of music, as in the never-ending search for the acoustically perfect […]
2024-01-23 08:23:00
Homage to Liszt: Benjamin Grosvenor on astonishing form in Liszt and Brett Dean in Lucerne
Brett Dean: Faustian Pact - Benjamin Grosvenor - Le Piano Symphonique at Lukaskirche, Lucerne (Photo: Philipp Schmidli für das Luzerner Sinfonieorchester)Brett Dean: Faustian Pact, Hommage à Liszt (first performance), Liszt: Sonata in B minor, Chopin: Sonata No. 3; Benjamin Grosvenor; Le Piano Symphonique at Lukaskirche, LucerneReviewed 19 January 2024Benjamin Grosvenor combines astonishing virtuosity alongside intimacy and sheer power in Liszt's sonata and Brett Dean's new piece inspired by Grosvenor's performance of the LisztWhat did the piano sonata mean for those who came after Beethoven. Chopin' first mature sonata (no 2 in B flat major from 1839) has become one of the icons of the piano repertoire, but for Robert Schumann the work demonstrated that Chopin could not handle sonata form. Chopin wrote his Sonata No. 3, in B minor (a key not used by Beethoven for his sonatas) in 1844, partly to counter these criticisms.Chopin adhered to the traditional four-movement sonata […]
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