Colin Davis News
British conductor
- classical music
- United Kingdom
- conductor, university teacher, musician, music teacher, music director, engineer
Last update
2024-03-25
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2024-03-23 09:49:00
Writing Italian-influenced music in the depths of Northamptonshire: organist William Whitehead on the music of English Baroque composer George Jeffreys
[…] free, but I'd be delighted if you were to show your appreciation by buying me a coffee.Elsewhere on this blogTwo hundred years of music for the horn: Ben Goldscheider in Beethoven, Bowen, Widmann and Watkins - concert reviewQuite an achievement: North London Chorus' ambition rewarded in a performance of Smyth's The Prison that intrigued & engaged - concert reviewFrom Early Music to contemporary: the Royal Festival Hall organ is 70 and organist James McVinnie is celebrating - interviewAlmost an expressionist nightmare: Janáček's Jenůfa at ENO with Jennifer Davis in the title role - opera reviewLittle short of a revelation: Michael Spyres, Les Talens Lyriques & Christophe Rousset explore Wagner's influences with In the Shadows - record reviewUpheaval: cellist Janne Fredens & pianist Søren Rastogi in music by four women composers from the years 1911 to 1918 - record reviewSomething astonishing: Olivia Fuchs' new production of Britten's Death in Venice for Welsh National Opera involved a collaboration with circus arts, NoFit State - opera reviewLumen Christi: I chat to Master of Music, Simon […]
Serenade (Western Classical Music in India)
2024-03-20 18:31:04
Frances Alda was born as Fanny Jane Davis on 31st May 1879 in Christchurch, New Zealand. It was her famous teacher Mathilde Marchesi who evolved “Alda” as the soprano’s last name. Her mother, Leonora Simonsen, was a professional singer. As a child, Alda was taken to Australia to live with her maternal grandparents in a suburb of Melbourne. “I cannot remember a time when I couldn’t beat my boy-playmates at tennis, or swim as fast and as far as they […] The post appeared first on Serenade.
2024-03-19 09:58:00
[…] Rachmaninoff never wrote but should have!Never miss out on future posts by following usThe blog is free, but I'd be delighted if you were to show your appreciation by buying me a coffee.Elsewhere on this blogQuite an achievement: North London Chorus' ambition rewarded in a performance of Smyth's The Prison that intrigued & engaged - concert reviewFrom Early Music to contemporary: the Royal Festival Hall organ is 70 and organist James McVinnie is celebrating - interviewAlmost an expressionist nightmare: Janáček's Jenůfa at ENO with Jennifer Davis in the title role - opera reviewLittle short of a revelation: Michael Spyres, Les Talens Lyriques & Christophe Rousset explore Wagner's influences with In the Shadows - record reviewUpheaval: cellist Janne Fredens & pianist Søren Rastogi in music by four women composers from the years 1911 to 1918 - record reviewSomething astonishing: Olivia Fuchs' new production of Britten's Death in Venice for Welsh National Opera involved a collaboration with circus arts, NoFit State - opera reviewLumen Christi: I chat to Master of Music, Simon […]
2024-03-18 12:48:00
KonzerthausMendelssohn: Symphony no.4 in A major, op.90, ‘Italian’ Mendelssohn: Hymne, op.96 Stravinsky: Symphonies of Wind Instruments Stravinsky: Symphony of Psalms Denis Uzun (mezzo-soprano)Berlin Radio Chorus (chorus director: Philipp Ahmann)Berlin Radio Symphony OrchestraMartyn Brabbins (conductor) Mendelssohn and Stravinsky might not seem the most obvious bedfellows, but this Berlin Radio Symphony (RSB) concert, originally planned with Andrew Davis but conducted by Martyn Brabbins, offered pause for thought as well as enjoyment. Both composers had fraught relationships either with Wagner or his music—and, by extension, with that strain of musical Romanticism. (Even Liszt, that most generous spirited of composers, could refer dismissively to the ‘opposition’ as ‘leipzigerisch’.) The nature of their (neo)classicism is far from the same, but it offers an interesting perspective, even when the music performed is not so markedly in that mould. One could certainly spill a good deal of ink in discussing the relationship of the two Stravinsky works here […]
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