Karl Böhm News
Austrian conductor (1894-1981)
Commemorations 2024 (Birth: Karl Böhm)
- classical music
- Austria, Germany
- conductor, music director, composer
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2024-03-19
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2024-03-16 09:57:00
From Early Music to contemporary: the Royal Festival Hall organ is 70 and organist James McVinnie is celebrating with a Southbank Centre residency
[…] arts are facing. So the hall and the organ are both a great enterprise and an ideal for us today.The result is an organ that James sees as ideal for music from the 16th and 17th centuries, anything that has counterpoint including Bach and French classical. James' recital on the afternoon of 23 March 2024 has a programme of the type of music that Downes would have had in his ears, Sermisy, Praetorius, Sweelinck, Pachelbel, Böhm, Buxtehude and Bach [see Southbank Centre website]. But in his second recital on the evening of 23 March, James is exploring the other end of the repertoire with a performance of Infinity Gradient, the 2021 tour-de-force for organ and 100 speakers by American composer and sound artist Tristan Perich. James wanted to give a pair of concerts to show how adaptable the organ is, from Early Music to the present day. In a way, […]
2024-02-03 12:46:00
BPO/Gatti - Schoenberg, Strauss, and Wagner, 2 February 2024
[…] often have my doubts about the wisdom of pairing the first-act Prelude to the so-called ‘Liebestod’; again, such was the conviction of this performance that such doubts never arose, and not only because Liszt’s description is better jettisoned for Wagner’s own: ‘Isoldes Verklärung’. The intensity of the Prelude had to be heard to be believed, vibrato but a single example of its expressive richness at a dramatic temperature at least equal to that of Karl Böhm, albeit in less of a hurry. Not only did the music unfolded as if in a single breath; it offered testament to Schopenhauer’s one, all-pervasive Will, of which it stands as the closest and dearest representation. The Prelude’s inability or unwillingness to close was so apparent that it seemed, for once, a natural move to expunge its pantonal presentiments through Isolde’s transfiguration. That second part flowed as if against the most inviting of tides, […]
2024-01-30 12:30:00
Salzburg Mozartwoche (3) - Mozart and Salieri, 28 January 2024
Grosser Saal, MozarteumMozart: Die Zauberflöte, KV 620, Overture; Andante for flute and orchestra in C major, KV 315/285e; Rondo for flute and orchestra in C major, KV 373/285c (arr. Pahud) Salieri: Concerto for flute and oboe in C major Mozart: Symphony no.38 in D major, KV 504, ‘Prague’Emmanuel Pahud (flute)Camerata SalzburgFrançois Leleux (oboe/conductor)Images: Wolfang Lienbacher This was an interesting concert of music by Mozart and Salieri, the lesser known music faring better for me than the celebrated symphony on the programme. There is nothing unusual in that, of course, especially in repertoire in which very different aesthetics are in play—and ultimately, it may be of greater importance to grant an opportunity to rarely heard music than to present a Prague Symphony to rival Karl Böhm or Daniel Barenboim. The Magic Flute Overture, well known though it may be, stood somewhere in between. Tempi were apt and François Leleux took evident […]
2024-01-17 17:37:00
Così fan tutte, Komische Oper, 14 January 2024
[…] his full three arias: a pity but not the end of the world. Alma Sadé’s Despina likewise not only acquired new depth as Despina, but contributed that greater range. (And what a relief it was, for once, not to have to endure the usual ‘silly voices’.) Erina Yashima’s direction of the orchestra proved similarly impeccable. Hers was not the sort of deeply personal reading that leads one to speak of a particular standpoint, ‘Böhm’s Così’ or ‘Muti’s’; but it performed a different, more readily theatrical function, near-faultless in its incitement, mirroring, and at times questioning of the action onstage. That I barely noticed her tempi as such speaks for itself: there was a ‘rightness’ in context that could not be gainsaid. Nor could the excellence of the orchestral playing in a score in which any false move, any slight infelicity of intonation or phrasing, will stand out like […]
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