Kirill Petrenko News
Russian conductor
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2024-04-24
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2024-04-07 13:30:39
Elektra
Nina Stemme dances to death with Michaela Schuster, Elza van den Heever, and Johan Reuter in a live performance from Berlin conducted by Kirill Petrenko The post appeared first on parterre box.
2024-03-28 15:57:00
Die Frau ohne Schatten, Semperoper Dresden, 27 March 2024
[…] his repertoire, which can be exaggerated, he is rarely a conductor to step twice in the same interpretative river. Where once he had gloried in the full throttle of Strauss’s huge orchestra, now he was far more sparing in unleashing it. This was a highly lyrical account, in the outstanding, never-erring Staatskapelle Dresden at least as much as onstage. Much might have been chamber music, though there was also a greater affinity, not unlike Kirill Petrenko in Munich, albeit softer, more soloistic, with the harmonic world of Schoenberg’s Five Orchestral Pieces, op.16. It is here, surely, that Strauss comes closest to Schoenberg, as opposed to vice versa (ironically, given what by now he was saying about the composer to whom, not so long before, he had proved commendably generous). If I missed something of the extraordinary, grinding dissonance Thielemann conjured in his Vienna Philharmonic recording of the Fantasy on themes […]
2024-02-16 15:10:00
Batiashvili/BPO/Petrenko - Brahms, Szymanowski, and Strauss, 15 February 2024
Philharmonie Brahms: Tragic Overture in D minor, op.81 Symanowski: Violin Concerto no.1, op.35 Strauss: Symphonia Domestica, op.53 Lisa Batiashvili (violin)Berlin Philharmonic OrchestraKirill Petrenko (conductor)Image: Lena Laine For me, the highlight of this concert from the Berlin Philharmonic and Kirill Petrenko was the performance of Szymanowski’s First Violin Concerto, for which they were joined by the equally outstanding violinist Lisa Batiashvili. Almost any few bars – the sound and the direction it took – would have been enough to justify attendance; it was not, though, necessary to choose. Its opening, a fairyland in which orchestral children of Mendelssohn and Debussy took flight to the emergent strains of a silken violin line spun with longing and languor presaged what was to come, such interactions, melodic, harmonic, rhythmic, and timbral the stuff on which dreams were made on—at quite a temperature. Whatever its twists and turns, there was no doubting the musical line […]
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 it […]
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