Silvia Careddu News
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2024-04-24
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Norman Lebrecht - Slipped disc
2021-03-10 18:20:08
Vienna’s ousted principal finds a seat in Paris
The Italian flute player Silvia Careddu has been named solo flute at the Orchestre National de France. Silvia, 44, was selected as principal by the Vienna Philharmonic but in January 2019 was refused tenure after less than eighteen months on grounds that were neither unanimous nor entirely clear. They will cherish her in Paris.
2020-07-15 08:01:40
Vienna 1910: the Alban Berg Ensemble Wien in sophisticated and vibrant accounts of works by Mahler, Schoenberg and Richard Strauss
[…] listening to this arrangement, without the surface gloss of the large orchestra and dazzling voices, we can hear the commonalities too. Hearing that trio boiled down to a chamber piece is revelatory, especially in performances as beautiful and as intelligent as this. The Alban Berg Ensemble Wien was formed when the members of of Hugo Wolf Quartet (Sebastian Gurtler, Regis Bringolf, Subin Lee, Florian Berner) joined forces with Ariane Haering (piano), Silvia Careddu (flute), and Alexander Neubauer (piano). What is remarkable about these performances is that the ensemble both brings out the differences in the three works, yet also allows us to see the commonalities. Technically these accounts of the music are all superb, but the ensemble goes well beyond that and plays with a sophistication and vibrancy which is all their own. Gustav Mahler (1860-1911), arr. Martyn Harry - Adagio from Symphony No. 10 […]
2020-03-01 13:35:00
Pierre Boulez SaalBoulez: Sonatine for flute and piano Messagesquisse for solo cello and six cellos, arr. for violas by Christophe Desjardins Éclat/Multiples Silvia Careddu (flute) Denis Kozhukhin (piano) Yulia Deyneka (viola) Boulez Ensemble François-Xavier Roth (conductor) An excellent afternoon concert of works by Pierre Boulez opened with what may well be the best – certainly among the best – performance, live or recorded, of the flute and piano Sonatine I have heard, from Silvia Careddu and Denis Kozhukhin. Self-trans-form-ation, free yet determined, proved the ultimate answer to questions of form and per-form-ance alike. From the opening piano bars, harmonically a characteristic mix of Debussy and Schoenberg, yet never quite to be pinned down to them, through waves of sound, rising and vanishing into nothingness, and frenetic treading over hot toccata-coals, to a theatre of cruelty suggestive of highly irregular clockwork – until one listened and […]
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