Johann Urban Alois Hoffstetter News
composer
- Germany
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2024-03-29
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2020-05-15 08:42:34
Care pupille: The London Concert 1746 - Samuel Mariño in soprano arias by Handel and Gluck
[…] the music from the opera survives. Mariño sings an aria for the character Cleopatra, 'Care pupille amate', a character recently incarnated on disc by soprano Isabel Bayrakdarian on DELOS [see my review] CD booklet has a fine article giving the background to the arias, including brief plot summaries, but there are no texts which is tricky for the lesser known operas. Throughout, Mariño is vividly and stylishly supported by Hoffstetter and the orchestra of the Halle Festival. I was particularly struck by their playing of the Gluck arias and sinfonia, where the composer's writing really gives the instruments chance to shine. When it comes down to it, little of this programme links to that 1746 concert but the performers have put together an intriguing programme of lesser known arias by the two composer contemporaries. Mariño's is a voice that I would be interested […]
2016-12-12 01:00:00
Domenico Cimarosa (1749-1801) Gli Orazi e i Curiazi, Opera Seria in Two Acts (1796) Michael Hoffstetter, Ludwigsburger Schlossfestspieler (Period Instruments) Oehms Classics OC 910 (2006) 2-Disc set [Flac & Partial Scans]
2014-03-18 01:37:18
[…] can be enjoyed for the slow, airy, and romantic qualities of so many other pieces. Third, is Handel’s Symphonie Pastorale from The Messiah . It has what tends to be my favorite traits in classical music: lightness, airiness, but above all, a smooth and calm melody. Fourth is Haydn’s String Quartet in F, Op. 3 No. 2 (Note: most music scholars nowadays tend to be believe that it was written by Romanus Hoffstetter ). This album seems to have a theme of pieces that are short, light, airy, and sweet. To that end, the music takes the listener on a journey that is calm and relaxing. Fifth is Mendelssohn’s Nocturne from A Midsummer’s Night Dream . This piece has an interesting quality to it. Continuing with the album’s theme of slow and calm pieces, it achieves those feelings with its instrumentation and melodies. Sixth, is […]
2013-02-15 09:15:10
[…] cast as an after thought she combined a clear soprano with strong acting. The ENO chorus once again proved to be a strong card in the production, playing to a tee a ground of self-centred, cruel posse of voyeurs. The choreography in what would have been the third act was particularly chilling. In the pit the ENO orchestra were on top form, with warm string playing and clearly etched support from wind and brass. Michael Hoffstetter – a conductor I more commonly associate with baroque and early classical repertoire – brought a real clarity and chamber quality to much of Verdi’s score. My only wont was for a bit more flexibility – ebb and flow as it were. This production was undoubtedly thought provoking and strongly directed. There is no denying that Konwitschny’s vision hurtles towards the tragic denouement but I couldn’t help thinking that this Traviata was a creative […]
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