Emily Fons News
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2024-03-28
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2024-02-03 12:46:00
BPO/Gatti - Schoenberg, Strauss, and Wagner, 2 February 2024
PhilharmonieSchoenberg: Verklärte Nacht, op.4 (1943 version for string orchestra) Strauss: Tod und Verklärung, op.24 Wagner: Tristan und Isolde: Prelude to Act I and ‘Liebestod’ Berlin Philharmonic OrchestraDaniele Gatti (conductor)Images: Stephan RaboldRepertoire, orchestra, and conductor: a marriage made in heaven—or, if we are to be Nietzschean about it, in the ‘voluptuousness of hell’ with which he diagnosed Wagner’s Tristan und Isolde. In this cleverly devised programme, Daniele Gatti and the Berlin Philharmonic took us through three works of explicit transfiguration, that transfiguration, transcendence, or whatever we want to call it in each case following something darker, more malign, more voluptuous and yes, both heavenly and hellish—or, as Nietzsche would have it, beyond good and evil. The Berliners followed their outstanding Schoenberg programme of the previous week, under Kirill Petrenko, with a Verklärte Nacht of equal distinction. I often have my doubts about the version for string orchestra – what does […]
The Boston Musical Intelligencer
2024-01-22 18:04:24
Angela Hewitt encouraged the Gardner crowd to hear anew the timeless power of J S Bach’s WTC as Fons et origo of Western music; she also brought deep engagement to Schumann’s “cry of the heart to Clara’s heart.” [] The post appeared first on The Boston Musical Intelligencer.
2023-10-16 17:31:00
BPO/Hrůša - Dvořák, 13 October 2023
Philharmonie Dvořák: Stabat Mater, op.58Corinne Winters (soprano)Marvic Monreal (mezzo-soprano)David Butt Philip (tenor)Matthew Rose (bass)Rundfunkchor Berlin (chorus director: Gijs Leenaars)Berlin Philharmonic OrchestraJakub Hrůša (conductor) © Bettina Stöß / Berliner PhilharmonikerDvořák’s Stabat Mater is clearly a favourite work for Jakub Hrůša. Six years ago he conducted it in this same hall, Berlin’s Philharmonie, with the Berlin Radio Symphony Orchestra; in 2023, it was the turn of the Berlin Philharmonic. Hrůša has called the piece a ‘wonderful gift’; he, a fine team of soloists, chorus, and orchestra in turn offered a wonderful gift to the audience with this performance. If the work, like many others, is not without unevenness, much of it has the composer firing on all cylinders. At a time when, even by current standards, our world is overwhelmed with grief, it will surely have spoken clearly and directly to many. It certainly did so to me. A first movement of quite extraordinary power did […]
2022-04-12 16:09:00
Semperoper Mozart: Overture: La clemenza di Tito, KV 621 Haydn: Symphony no.93 in D major Mozart: Masonic Funeral Music, KV 477/479a; Vesperae solennes de Confessore, KV 339: ‘Laudate Dominum’; Requiem in D minor, KV 626; Ave verum corpus, KV 618, interspersed with Gregorian chant and readingsNikola Hillebrand (soprano)Marie Henriette Reinhold (contralto)Sebastian Kohlhepp (tenor)Mikhail Timoshenko (bass)Ulrich Tukur (reciter)Dresden Chamber Choir (chorus director: Tobias Mäthger)Dresden Kreuzchor (chorus director: Karl Pohlandt)Sächsische Staatskapelle DresdenManfred Honeck (conductor) Whilst much of the Staatskapelle Dresden is in Salzburg for the Easter Festival, those players staying at home are offering a good deal of Mozart: complementing, for those able and willing to take the two-hour rail journey, the current Mozart festivities in Berlin. (Salzburg, ironically, is giving Wagner, Bruckner, and Shostakovich.) Manfred Honeck and the Dresden orchestra here paired Mozart with Haydn, culminating in an imaginative presentation of the Requiem—part of it, anyway—interspersed with plainsong and […]
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