boulezian
boulezian is a English-speaking blog specialized in the field of classical music and opera. As such, boulezian is a qualified source of soclassiq, like All the conducting master class or The Boston Musical Intelligencer and many others. The oldest article indexed by soclassiq is dated 2017-07-11. Since then, a total of 683 articles have been written and published by boulezian.
boulezian blog activity
With 35 articles published in the last 90 days, boulezian is currently a not very active news source. "Not very active" does not mean that boulezian is less interesting than another more prolific source. Each blog follows a specific editorial line, publishing according to its own rhythm.
This editorial activity is increasing compared to the previous period.
The last article in boulezian, "Die Frau ohne Schatten, Semperoper Dresden, 27 March 2024", is dated 2024-03-28. By 2023, this source had published 64 articles (33 since the beginning of 2024).
boulezian in the last 36 months
Weekly publications:
boulezian All indexed sources
boulezian has been selected by soclassiq to be among its qualified sources because we believe that its articles fully contribute to the knowledge of classical music and opera. Because it is up to everyone to make their own opinion, to love boulezian or to prefer other writings, all our visitors and members are invited to discover boulezian. If you like it, feel free to add it to your browser bookmarks or soclassiq bookmarks (for its members, with the button below). This will allow you to come back to it easily and regularly.
The latest articles from boulezian
Add this page to your soclassiq bookmarks
2024-03-28 15:57:00
Die Frau ohne Schatten, Semperoper Dresden, 27 March 2024
Evelyn Herlitzius (Die Amme), Miina-Liisa VĂ€relĂ€ (Baraks Frau), Komparserie; all images © Semperoper Dresden/Ludwig OlahEmperor â Eric Cutler Empress â Camilla Nylund Nurse â Evelyn Herlitzius Spirit-Messenger â Andreas Bauer Kanabas Barak â Oleksandr Pushniak Dyerâs Wife â Mina-Liisa VĂ€relĂ€ Apparition of Youth â Martin Mitterrutzner Voice of the Falcon â Lea-ann Dunbar Voice from Above â Christa Mayer Guardian of the Threshold of the Temple â Nikola Hillebrand The One-Eyed â Rafael Fingerlos The One-Armed â Tilmann Rönnebeck The Hunchback â Tansel Akzeyebek Childrenâs Voices â Nikola Hillebrand, Sofia Savenko, Lea-ann Dunbar, Stephanie Atanasov, Dominika Ć krabalovĂĄ, Michal Doron Servants â Bryndis Gudjonsdottir, Sofia Savenko, Dominika Ć krabalovĂĄDirector â David BöschSet designs â Patrick BannwartCostumes â Moana StembergerLighting â Fabio AntociVideo â Falko Herold, Patrick BannwartDramaturgy â Johann Casimir EuleChildrenâs Chorus (director: Claudia Sebastian-Bertsch) of the Semperoper Dresden Chorus (director: AndrĂ© Kellinghaus) of the Semperoper DresdenSĂ€chsische Staatskapelle DresdenChristian Thielemann (conductor)  [âŠ]
2024-03-25 23:45:00
Der Ring des Nibelungen, Staatsoper Unter den Linden, 18, 19, 21, and 24 March 2024
Images: Monika RittershausBrĂŒnnhilde (Anja Kampe)Wotan/Wanderer â Tomas Konieczny Donner, Gunther â Roman Trekel Froh â Siyabonga Maqungo Loge â Rolando VillazĂłn Fricka â Claudia Mahnke Freia â Anett Fritsch Erda, Rossweisse â Anna Kissjudit Alberich â Johannes Martin KrĂ€nzle Mime â Stephan RĂŒgamer Fasolt â Matthew Rose Fafner â Peter Rose Woglinde â Evelin Novak Wellgunde â Natalia Skrycka Flosshilde, Siegrune â Ekaterina Chayka-Rubinstein Siegmund â Robert Watson Sieglinde â Vida MikneviÄutÄ Hunding â RenĂ© Pape BrĂŒnnhilde â Anja Kampe Gerhilde â Clara Nadeshdin Helmwige â Christiane Kohl Waltraute â Michal Doron, Violeta Urmana Schwertleite â Alexandra Ionis Ortlinde, Third Norn â Anna Samuil Grimgerde â Aytaj Shikhalizada Siegfried â Andreas Schager Woodbird â Victoria Randem Hagen â Stephen Milling Gutrune â Mandy Friedrich First Norn â Marina Prudenskaya Second Norn â Kristina StanekDirector â Dmitri TcherniakovRevival directors â Lilli Fischer, Thorsten CölleCostumes â Elena ZaytsevaLighting â Gleb FilshtinskyVideo â [âŠ]
2024-03-23 15:27:00
R.I.P. Maurizio Pollini (1942-2024)
(Frankfurter Allgemeine Zeitung)Maurizio Pollini was one of the guiding lights of my musical life: which is to say, he and his music-making were with me from the moment in my teens when I became seriously interested in music. More, composers and performers alike, are gone now than remain with us; I shall not tempt fate by naming those who are left. One of my very first cassette purchases â it may even have been the first â was his recording of Mozartâs Piano Concertos nos 19 and 23 with Karl Böhm and the Vienna Philharmonic. I love it more than I can say. Mozartâs music requires but one thing: perfection. Perfection it receives in what, I suspect, will always be one of my Desert Island Discs. In my first London concert, a Prom for which I took the bus up to London and back to Sheffield for a birthday treat [âŠ]
2024-03-18 12:48:00
KonzerthausMendelssohn: Symphony no.4 in A major, op.90, âItalianâ 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 musicâand, by extension, with that strain of musical Romanticism. (Even Liszt, that most generous spirited of composers, could refer dismissively to the âoppositionâ as âleipzigerischâ.) 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 [âŠ]
2024-03-12 12:40:00
Aimard/RSB/Popelka - Schoenberg and Mahler, 9 March 2024
PhilharmonieSchoenberg: Piano Concerto, op.42 Mahler: Symphony no.1 Pierre-Laurent Aimard (piano)Berlin Radio Symphony OrchestraPetr Popelka (conductor)Images: Peter MeiselThe worldâs near-silence for Schoenbergâs anniversary year continues to deafen. Perhaps everywhere is waiting for September, when his birthday falls, and all will be revealed in a flurry of ânew seasonâ announcements. And perhaps eternal Friede will descend upon the Erde this Christmas. In the meantime, Berlin, mostly at the Philharmonie, where there is an exhibition from the Arnold Schönberg Center in the foyer, continues to do better than most. Pierre-Laurent Aimard, who is certainly doing his bit, joined the Berlin Radio Symphony Orchestra (RSB) and Petr Popelka for an outstanding performance of the Piano Concerto, probably the best I have heard liveâand a match for the best on record. The opening was unusual: difficult to put my finger (or ear) quite on how, but Aimardâs solo put me in mind a soliloquy, with [âŠ]
2024-03-06 12:30:00
Hercules, Komische Oper, 3 March 2024
Hercules â Brandon Cedel Dejanira â Paula Murrihy Iole â Penny Sofroniadou Hyllus â Caspar Singh Lichas â Susan Zarrabi Priest of Jupiter â Noam Heinz Choral soloists â Martin Fehr, Taiki MiyashitaDirector â Barrie KoskyDesigns â Katrin Lea TagDramaturgy â Zsolt HorpĂĄcsy, Johanna WallLighting â Joachim KleinAssistant director â Tobias RibitzkiChoral Soloists of the Komische Oper (director: David Cavelius) Orchestra of the Komische OperDavid Bates (conductor)Images: Monika RittershausDejanira (Paula Murrihy), Lichas (Susan Zarrabi) Handelâs âmusical dramaâ â an interesting term, though we can sometimes make too much of such things â Hercules has never proved especially popular. The composerâs public at the time and for a long while after tended to prefer his Biblical oratorios. Since the revival and, latterly, the craze for his Italian opere serie, they have ruled the roost. Semele, another âmusical dramaâ, âafter the manner of an oratorioâ, has fared better since its modern stage [âŠ]
2024-03-21 10:16:00
The Queen of Spades, Deutsche Oper, 20 March 2024
PIQUE DAME von Pjotr I. Tschaikowskij, Premiere am 9. MĂ€rz 2024 in der Deutschen Oper Berlin, copyright: Marcus LieberenzCountess (Doris Soffel) and Hermann (Martin Muehle)Hermann â Martin Muehle Tomsky â Lucio Gallo Prince Yeletsky â Thomas Lehman Chekalinsky â Chance Jonas-OâToole Surin â Kyle Miller Chaplitsky â Andrew Dickinson Narumov â Artur Garbas Master of Ceremonies â Jörg Schörner The Countess â Doris Soffel Lisa â Maria Motolygina Pauline â Karia Tucker Governess â Nicole Piccolomini Masha â Arianna Manganello Childrenâs commander â Sofia Kaspruk Little Hermann â Aleksandr Sher Little Lisa â Alma Kraushaar Stage piano â Jisu Park Old servant â Wolfgang SiebnerDirector â Sam BrownDesigner â Stuart NunnChoreography â Ron HowellVideo â Martin EidenbergerLighting â Linus FellbornAssistant directors â Constanze Weidknecht, Silke SenseDramaturgy â Konstantin ParnianChildrenâs Chorus of the Deutsche Oper (director: Christian Lindhorst)Chorus of the Deutsche Oper (director: Jeremy Bines)Statisterie, and Opernballet of the Deutsche OperSebastian [âŠ]
2024-03-15 10:40:00
KammermusiksaalMendelssohn: Psalm 115, âNicht unserm Namen, Herrâ, MWV A 9 Fanny Hensel: Hiob Mendelssohn: Ave Maria, op.23 no.2, MWV B 19 Mendelssohn: Hör mein Bitten, MWV B 49 Bach: Cantata, âDie Elenden sollen essenâ, BWV 75: Sinfonia to the second part Mendelssohn: Psalm 114, âDa Israel aus Ăgypten zog,â op.51 Anna Prohaska (soprano)Benjamin Bruns (tenor)Ludwig Mittelhammer (bass)RIAS Chamber ChoirKammerakademie PotsdamJustin Doyle (conductor) A delightful and enlightening concert from the RIAS Chamber Choir, Kammerakademie Potsdam, Justin Doyle, and an excellent trio of vocal soloists: focusing on Mendelssohn, but also including a cantata by his sister Fanny Hensel and a sinfonia by the familyâs musical house god, Johann Sebastian Bach. Mendelssohnâs setting of verses from the 115th Psalm was the first of five such large-scale settings he made for soloists, chorus, and orchestra between 1829 and 1844. It revealed almost equally strong influence from Bach and Handel, the latter in particular occasionally [âŠ]
2024-03-09 12:50:00
Parsifal, Deutsche Oper, 8 March 2024
Amfortas â Jordan Shanahan Titurel â Andrew Harris Gurnemanz â GĂŒnther Groissböck Parsifal â Klaus Florian Vogt Kundry â Irene Roberts Klingsor â Joachim Göltz Knights of the Grail â Patrick Cook, Youngkwang Oh Esquires â Sua Jo, Arianna Manganello, Kieran Carrel, Chance Jonas-OâToole Flowermaidens â Flurina Stucki, Sua Jo, Arianna Manganello, Hye-Young Moon, Mechot Marrero, Marie-Luise DreĂen Voice from Above â Marie-Luise DreĂenDirector â Philipp StölzlCo-director â Mara KurotschkaSet designs â Conrad Moritz Reinhardt, Philipp StölzlCostumes â Kathi MaurerLighting â Ulrich NiepelRevival director â Silke Sense Chorus, Men of the Extra Chorus, and Childrenâs Chorus of the Deutsche Oper, Berlin (chorus masters: Jeremy Bines and Christian Lindhorst)Opern-Ballet, Statisterie, and Orchestra of the Deutsche Oper, BerlinDonald Runnicles (conductor)PARSIFAL von Richard Wagner, Deutsche Oper Berlin, copyright.Image: Matthias BausMemory plays all manner of tricks: major and minor. I could have sworn I had seen Philipp Stölzlâs Deutsche Oper Parsifal twice before this, [âŠ]
2024-03-08 11:10:00
Pierre Boulez SaalJonathan Harvey: String Quartet no.1 (1977) Cathy Milliken: In Speak for string quartet (2023, world premiere) Toshio Hosokawa: Oreksis for piano quintet (2023, world premiere) Birtwistle: String Quartet: The Tree of Strings (2007)Irvine Arditti, Ashot Sarkissjan (violins)Ralf Ehlers (viola)Lucas Fels (cello) Tomoki Kitamura (piano) On 7 March 1974, the Arditti Quartet gave its first concert at the Royal Academy of Music, music to honour Krzysztof Penderecki on bestowal of an honorary degree. Fifty years later to the day and several changes of personnel later â Irvine Arditti the one constant â the Quartet celebrated at Berlinâs Pierre Boulez Saal its fiftieth birthday, followed by a reception hosted by the Paul Sacher Stiftung, which also hosts the ensembleâs archive . True to its spirit, here was a mixture of new and newer: two Arditti commissions, Jonathan Harveyâs First String Quartet (the first ever) and Harrison Birtwistleâs The Tree of [âŠ]