Orlin Anastassov News
Bulgarian singer
- bass
- Bulgaria
- opera singer, performing artist
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Prima la musica
2013-01-29 05:02:17
Khovanshchina
Handel operas have taught me not to worry too much if the plot of an opera is impenetrable on paper. It's usually much clearer when it comes to life. I've not yet had the chance to apply this theory to Meyerbeer's Il Crociato in Egitto, still one of the more confusing operas of my acquaintance – although that's partly because all the characters have names beginning with 'A'– but it was a heartening thought on Friday when I headed into the Opéra Bastille for my first ever Khovanschchina. Attempting to study up on the plot ahead of time would be futile, Twitter had assured me, and even my date – a former Prince Andrei himself – was fuzzy on what it was all about. Fair enough. I've seen it now, and while I have a vague grasp on the contours of it – Tsar vs Streltsy vs Old Believers – […]
2012-02-20 20:01:12
Royal Festival Hall, LondonComplete performances of Roméo et Juliette come along every few years, and always raise the same question – whether this dramatic symphony is one of Berlioz's greatest and most original achievements, or whether it is actually an intractable hybrid of elements that are impossible to reconcile. Even Berlioz agnostics would agree the score contains some wonderful music, passages that really are among the finest things he composed, and which would make anyone want the work to succeed – and for a performance to fuse everything into a coherent musical and dramatic unity.If any conductor could engineer that, it should be Mark Elder. His account with the Orchestra of the Age of Enlightenment, the Schola Cantorum of Oxford and the BBC Symphony Chorus, and a fine trio of soloists promised to have the right ingredients. The way in which Elder launched into the opening part, too, strings bristling, […]
2012-02-20 14:08:00
Opera without words - Berlioz Roméo et Juliette - Elder, OAE,
Mark Elder and the Orchestra of the Age of Enlightenment brought Berlioz Roméo et Juliette to the Royal Festival Hall. Extracts from the piece are heard often enough, but hearing the whole work shows Berlioz's intentions more clearly. This Roméo et Juliette is an orchestra-drama, where the story unfolds in the vivid musical tableaux the music evokes. Voices are only part of the orchestral palette, used solo or tutti when needed. to develop orchestral colour. This is a hybrid form, an opera with arias and no "roles". Just as Mendelssohn wrote Lieder ohne Worte, Berlioz writes opera without words, This Roméo et Juliette was conceived to be heard on stage, for much of its impact is visual and theatrical. Hence the large orchestra and unusual instruments, and the massed choirs, on this occasion dressed in jewel-hued shirts to highlight effect. Although much is made of […]
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