Tuesday, September 27, 2016
Make your plans now to attend the first concert by pianist Valentina Lisitsa in Silicon Valley. Here are details: Venue: De Anza College Visual & Performing Arts Center Address: 21250 Stevens Creek Blvd. Cupertino, CA 95014 Date: Saturday, October 15, 2016 at 8:00 PM City: Cupertino, CA Email: firstname.lastname@example.org Ticket Price Range: $45 to $60 Call for Tickets: 650-332-4978 PROGRAM: Beethoven Piano Sonata No. 23 in F minor, Op. 57, Appassionata Ravel “Gaspard de la nuit” (Trois poèmes pour piano d’après Aloysius Bertrand) Rachmaninoff Sonata no. 1 in D minor,op. 28 Mussorgsky Pictures at an Exhibition Here is Ms. Lisitsa, performing the third movement from Beethoven’s Moonlight Sonata:
Philharmonic Hall, Liverpool Vasily Petrenko brought fire and precision to Beethoven’s Ninth and the Royal Liverpool Philharmonic Orchestra played with fierce concentrationThe choral climax of Vasily Petrenko’s Beethoven cycle with his Royal Liverpool Philharmonic Orchestra – all the symphonies played over 10 days – coincided with the arrival in town of the Labour party conference. No prizes for guessing where the spirit of brotherly love was more convincing – and it wasn’t in the conference centre down the hill by the Mersey.To judge by the fire and precision that Petrenko brought to the Ninth Symphony, this was a season-starting cycle to treasure. Petrenko may appear a coolly restrained presence on the podium, but his orchestra played throughout with a fierce concentration that spoke of total rapport. Continue reading...
Under the supervision of renowned pedagogue Markand Thakar, up to 10 Fellows will conduct the internationally acclaimed Baltimore Chamber Orchestra in works by Mozart, Elgar, Haydn, and Beethoven. A number of Associates will also be accepted. Associates participate in all activities outside of conducting the ensembles. The Winter Conducting Workshop, held on the campus […]
A review in the Abendzeitung attacks the music director for his cursory rehearsal practices. The performance of Beethoven’s Eroica was, writes Robert Braunmüller, ‘casually improvised’. Textures were cloudy, ensemble flawed. The Munich Philharmonic sounded shoddy. Gergiev’s pianist, his pal Denis Matsuev, received a similar drubbing. Gergiev’s rehearsal absences are well attested, but in all his years with the LSO I don’t remember London critics calling him out so frankly. Read here. Not drowning but waving.
A survey by New York singers’ agent Doug Schwalbe reveals that the leading North American orchestras are still desperately dependent on a tiny handful of dead white males. Doug looks at performances by seven orchestras – NY Phil, LA Phil, Boston, San Fran, Toronto, Philadelphia and Dallas – since 2011. He reports that Beethoven and Mozart accounted for over 15% of the 9,676 pieces performed. That proportion rises to 24% when he adds Tchaikovsky and Brahms. And you wonder why people have stopped going. Contact email@example.com to see the full charts.
Barbican, London The Norwegian pianist’s performance was technically and musically, but lacked personality and riskLeif Ove Andsnes’s recital was a legacy from last season, when he featured in one of the LSO’s artist portraits. The solo appearance that was part of that residency had to be postponed, and rescheduling it now, Andsnes stuck more or less to his original programme, or at least to the same collection of composers: Beethoven, Sibelius, Debussy and Chopin.There was, though, something rather routine about it all. The Beethoven sonata with which Andsnes opened, the E flat Op 31 No 3, promised better in its clear outlines, clean textures and crisply sprung rhythms. It wasn’t especially characterful or witty, just a genial, well-mannered account of the most easygoing of the Op 31 sonatas. The piano pieces by Sibelius, though, needed something more than good manners to make them seem worthwhile. Andsnes had plundered several collections to make his sequence, from the Impromptus of the early 1890s to the weird, spiky Rondino of 1912, and the Schumann-like Elegiaco of a few years later, but there was never enough personality, in the music or the performances, to make them memorable. Continue reading...
Great composers of classical music