“Music is always profoundly human,” Wolfgang Rihm, An Obituary by Berliner Philharmoniker

Wolfgang Rihm, An Obituary by Berliner Philharmoniker

“Create sound events with a mind of their own.”

“Music is always profoundly human.”

“Even my fears, my anxieties and, of course, euphoria.”

Rihm was a composer who was not afraid to show vulnerability within his creative process.

ヴォルフガング・リーム、ベルリン フィルハーモニー管弦楽団による追悼記事

「独自の考えを持つサウンド イベントを創造する。」

「音楽は常に深く人間的です。」 「私の恐怖、不安、そしてもちろん、多幸感さえも。」

リームは創作過程において弱さをさらけ出すことを恐れなかった作曲家でした。

Wolfgang Rihm

Composer in Residence 2024/25: Wolfgang Rihm

Nachtstücke und Arien: Aria II. Mit schlaftrunkenen Vögeln

Juliane Banse

Wolfgang Rihm, LUCERNE FESTIVAL ACADEMY

Music is always humanity.

The concerts, performances, musicians, works, audience, places—all of these things show that music is always human. And they are things that can never be seen again. I never got to see Riem.　

RIP-classicasobi

演奏会、演奏、演奏家、作品、聴衆、場所、すべてからいえるのは音楽が常に人間的だということ。そしてそれらは二度とみられないものだということ。リームは1度もお目にかかれませんでした。

ご冥福をお祈りいたします。

What makes a good listener? - Music Critic, Corinna da Fonseca-Wollheim

Music critic Corinna da Fonseca-Wollheim, In her latest newsletter, mentioned,

"Good listening, then, attends to the multi-layered nature of communication with a multi-stranded beam of attention. You might almost say: good listening is polyphonic."

It’s easy to despair at the decline of listening in our time. Between digital overstimulation, political polarization and our relentless drive for personal optimization it can seem as if the odds are against us.

Which is where music comes in. Especially performances of complex, instrumental, long-form music are an opportunity to train the ear on a web of connected yet distinct lines. And in the absence of words, the part of the mind that wants to jump ahead and formulate a response – and which is so often the reason we stop listening to – grows quiet. When we surrender fully to a musical experience, whether in the concert hall or on the sofa, we get to build both the cognitive patience and the multi-stranded focus that make us better listeners in life.

It all starts with intent and awareness. But once you recognize that a big chunk of human communication is expressed without words, listening to music becomes much more than entertainment. It can serve as the training gym for one of our most vital and underused muscles.

良い聞き手とは？

音楽評論家、コリーナ・ダ・フォンセカ＝ウォルハイム、最新のニュースレターで、「良い聞き手とは、多方向の注意力でコミュニケーションの多層的な性質に配慮することです。良い聞き手とはポリフォニックであると言ってもいいでしょう。」

現代の聞くことの衰退に絶望するのは簡単です。デジタルによる過剰な刺激、政治的二極化、そして個人の最適化への執拗な追求の間で、私たちは不利な状況にあるように思えるかもしれません。

そこで音楽の出番です。特に複雑で器楽の長編音楽の演奏は、つながりながらも明確な線の網に耳を訓練する機会です。そして言葉がなければ、先へ進んで反応をまとめようとする心の部分（そしてそれがしばしば私たちが聞くのをやめる理由）は静かになります。コンサートホールであろうとソファーの上であろうと、音楽体験に完全に身を委ねると、人生でより良いリスナーになるための認知的忍耐力と多面的な集中力の両方を養うことができます。

すべては意図と意識から始まります。しかし、人間のコミュニケーションの大部分は言葉なしで表現されることに気づけば、音楽を聴くことは単なる娯楽以上のものになります。音楽は、私たちの最も重要でありながらあまり使われていない筋肉の 1 つをトレーニングするジムとして役立ちます。

Discover Beginner's Ear: A Mindful Way to Listen - www.wqxr.org

Pianist Alexandre Kantorow, Hard to miss new generation

"The stereotype is that competitions mint quick-fingered but mindless virtuosos, while the Gilmore rewards more mature, idiosyncratic artists. To win both the Tchaikovsky and the Gilmore suggests Kantorow has technical security as well as something to say." By Zachary Woolfe

In 2019, at age 22, Alexandre Kantorow became the first French pianist to win the Tchaikovsky Competition's First Prize, as well as the Grand Prix, awarded only three times before in the competition's history. Hailed by critics as the“reincarnation of Liszt” (Fanfare Magazine), he received the Gilmore Artist Award 2024, considered one of the most prestigious international piano prizes,and awarded only every 4 years. He is the first French artist and youngest winner of the Gilmore Artist Award.

Johannes Brahms - Piano Concerto No. 2

Alexandre Kantorow - Beethoven Piano Concerto No.4

Svetlanov Symphony Orchestra

Vasily Petrenko (conductor)

18 February 2022

Piano Sonata No. 3 in F Minor, Op. 5: I. Allegro maestoso · Alexandre Kantorow · Johannes Brahms

Grammophone review, Throughout this Brahms recital, Alexandre Kantorow throws down an epic gauntlet, casting his sights on dynamic and dramatic extremes. The pianist broods over the first Ballade's Andante, and builds the central triplet section with such overwhelming ferocity that the music runs away from him. However, he is one of the few pianists to successfully articulate the staccatos as a true sorto voce upon the main theme's reiteration. No 2's distinctions between legato and detached phrases gain considerable intensity through his liberal yet clearly thought-out rubato.

Kantorow adopts a siower tempo for No 3's central F sharp major episode, substituting desolation for delicacy; I find the pianist's unorthodox gambit plausible, although others may not. No 4's phrases seem to float independently of each other in an improvisatory state of mind, oblivious to bar lines. Imagine a similarly free-floating yet less hectic parallel to the partial recording of this piece featuring Brahms's associate lona Bibenschütz and you'll understand what I mean.

The pianist zeros in more on the maestoso than on the Allegro in the first movement of the F minor Sonata, milking the second theme for all its worth and extracting every ounce of meaning from the repeated triplet figurations. By contrast, he takes the slow movement's Andante espressivo to be an animated alla breve, where the long lines gorgeously sing out no matter how transparent or thick the textures may be.

Lest we forget that this work was composed by a confident 20-year-old, Kantorow dives into the Scherzo with appropriate abandon. While the Intermezzo transpires beautifully and sensitively, Kantorow's labelmate Jonathan Plowright's far slower interpretation better captures the music's anguished subtext.

Likewise, Plowright's fusion of power and transparency conveys a unified and classically poised finale, whereas Kantorow's more volatile, exploratory reading often gets too loud too soon.

For all Kantorow's impressive finger independence, his Bach/Brahms Chaconne for the left hand gets bogged down in detail, lacking the architectural discipline and cumulative momentum that pianists as disparate as Leon Fleisher, Danil Trifonov, Ivan Ilié and Idil Biret bring to this transcription. In short, this generously filled release stands out for the Ballades and 3/5ths of the Sonata.

このブラームスのリサイタル全体を通して、アレクサンドル・カントロフは壮大な挑戦を挑み、ダイナミックでドラマティックな極限に狙いを定めています。ピアニストは最初のバラードのアンダンテに思いを巡らせ、音楽が彼から逃げ出すほどの圧倒的な激しさで中央の三連音符セクションを構築します。しかし、彼はメインテーマの繰り返しでスタッカートを真のソルトヴォーチェとしてうまく表現した数少ないピアニストの一人です。第2番のレガートと独立したフレーズの区別は、自由でありながら明らかに考え抜かれたルバートによってかなりの強度を増しています。

カントロフは第3番の中央のヘ長調のエピソードに緩やかなテンポを採用し、荒涼とした雰囲気を繊細さに置き換えています。私はピアニストの型破りな戦​​略に納得がいくと思いますが、そう思わない人もいるかもしれません。第4番のフレーズは、小節線を気にせず、即興的な精神状態で互いに独立して浮遊しているようです。ブラームスの仲間であるローナ・ビーベンシュッツをフィーチャーしたこの曲の部分的な録音と、同じように自由に漂いながらも慌ただしさが少ない類似点を想像してみてください。そうすれば、私の言っている意味がおわかりいただけるでしょう。

ピアニストは、ヘ短調ソナタの第 1 楽章でアレグロよりもマエストーソに焦点を絞り、第 2 テーマの価値を最大限に引き出し、繰り返される 3 連音符の音形から意味を余すところなく引き出しています。対照的に、彼は緩やかな楽章のアンダンテ・エスプレッシヴォを活気に満ちたアッラ・ブレーヴェと見なし、テクスチャがどれだけ透明で厚くても、長いラインが美しく歌い上げます。

この作品が自信に満ちた 20 歳の若者によって作曲されたことを忘れないように、カントロフはスケルツォに適切な自由奔放さで飛び込んでいます。間奏曲は美しく繊細に展開しますが、カントロフのレーベル仲間であるジョナサン・プロウライトのはるかにゆっくりとした解釈の方が、音楽の苦悩に満ちたサブテキストをよりよく捉えています。

同様に、プロウライトの力強さと透明性の融合は、統一された、クラシックな落ち着きのあるフィナーレを伝えますが、カントロフのより不安定で探究的な演奏は、しばしばすぐに大音量になりすぎます。

カントロフの指の独立性は素晴らしいものの、左手のためのバッハ/ブラームスのシャコンヌは細部に行き詰まり、レオン・フライシャー、ダニル・トリフォノフ、イヴァン・イリエ、イディル・ビレットなど、さまざまなピアニストがこの編曲にもたらした建築的な規律と累積的な勢いが欠けています。つまり、このたっぷりと詰まったリリースは、バラードとソナタの3/5で際立っています。

Daniil Trifonov at Carnegie 12.12.2024

Thanks to WQXR

Program:

RAMEAU: Suite in A Minor from Nouvelles suites de pièces de clavecin

MOZART: Piano Sonata in F Major, K. 332

MENDELSSOHN: Variations sérieuses

BEETHOVEN: Piano Sonata No. 29 in B-flat Major, Op. 106, "Hammerklavier"

Encores:

GREEN: "I Cover the Waterfront" (after Tatum)

SCRIABIN: Andante from Piano Sonata No. 3, Op. 23

MOMPOU: Variations on a Theme of Chopin: Var. 9. Valse

Happy 80's! Maria João Pires Bach Works

Maria João Pires

BRSO: Maria João Pires celebrates her 80th birthday!

BRSO: Maria João Pires - Mozart Piano Concerto No 9

On July 23, 2024, the pianist Maria João Pires celebrates her 80th birthday!

At the end of June, she was a guest of the Bavarian Radio Symphony Orchestra and played the Piano Concerto in E-flat major, KV 271 ("Jenamy") by Wolfgang Amadeus Mozart under the direction of Giovanni Antonini.

We were allowed to accompany the concert in the dress rehearsal.

Recording

"I have no hesitation in declaring Maria João Pires—a pianist without a trace of narcissism—among the most eloquent master musicians of our time." (Bryce Morrison). Gramophone.co.uk.

Reference System

LFD NCSE Mk.II+

“stand aside and let the music through.”

“I constantly heard such a wealth of inner detail being revealed from some of my favorite recordings.”

“If I wanted everything to sound good no matter what, I would have bought that old McIntosh 275 so many years ago.”

“I get my warm, lush and fuzzy feels and at the same time I hear deeper into the music than ever before. For me, that sound has become my recipe for happiness.”

Mojo2

Spendor S3/5R2

Concerts 2024-2025

10.17.2024

Daniil Trifonov, Piano

Program

TCHAIKOVSKY Piano Sonata in C-sharp Minor, Op. 80

CHOPIN Selected Waltzes

BARBER Piano Sonata, Op. 26

TCHAIKOVSKY Suite from The Sleeping Beauty (arr. Mikhail Pletnev)

10.22.2024

Yulianna Avdeeva, Piano

Program

CHOPIN Three Mazurkas, Op. 59

CHOPIN Barcarolle in F-sharp Major, Op. 60

CHOPIN Prelude in C-sharp Minor, Op. 45

CHOPIN Scherzo No. 3 in C-sharp Minor

CHOPIN Andante spianato and Grande polonaise brillante, Op. 22

LISZT Bagatelle ohne Tonart

LISZT Unstern! Sinistre, disastro

LISZT Piano Sonata in B Minor

10.28.02024

Juilliard Orchestra

Daniela Candillari, Conductor

Sophia Werner, Violin

at Alice Tully Hall

Program

BACEWICZ Overture

BARBER Violin Concerto

SHOSTAKOVICH Symphony No. 10

11.1.2024

New York Philharmonic

Susanna Mälkki Conductor

Leila Josefowicz Violin

Program

Luca Francesconi Duende: The Dark Notes (New York Premiere)

R. Strauss Metamorphosen

Ravel La Valse

11.1.2024

Yarn / Wire

NEW YORK, NY

THE Dimenna Center for Classical Music, CARY HALL

Eric Wubbels - Diagrams of the Ear (Auditory Scene Analysis IV) (2023/24) [WORLD PREMIERE]+

Clara Iannotta - glass and stone (2024) [US PREMIERE]*

+Commissioned by Yarn/Wire and funded by the Fromm Foundation at Harvard University and New York State Council on the Arts

* Commissioned by Yarn/Wire and Festival d’Automne à Paris, funded by EVS Music Foundation.

11.10.2024

Mao Fujita, Piano

Program

A. YASHIRO Selections from Twenty-Four Preludes

SCRIABIN Fantasy in B Minor, Op. 28

LISZT "Sonetto del Petrarca No. 104" from Années de pèlerinage, deuxième année: Italie, No. 5

LISZT "Après une lecture du Dante" (Fantasia quasi sonata) from Années de pèlerinage, deuxième année: Italie, No. 7

MOZART "Ah vous dirai-je, maman"

BEETHOVEN Thirty-Two Variations on an Original Theme in C Minor, WoO 80

BEETHOVEN Piano Sonata No. 23 in F Minor, Op. 57, "Appassionata"

11.12.2024

Performers

Mitsuko Uchida, Piano

Musicians from Marlboro

- Stephanie Zyzak, Violin

- Beth Guterman Chu, Viola

- Oliver Herbert, Cello

Program

GYÖRGY KURTÁG "Play with Infinity" from Játékok, Book III

BEETHOVEN Piano Trio in E-flat Major, Op. 70, No. 2

GYÖRGY KURTÁG Selections from Signs, Games and Messages

R. SCHUMANN Piano Quartet

at Zankel Hall

11.17.2024

Berliner Philharmoniker

Kirill Petrenko, Chief Conductor

Hilary Hahn, Violin

Program

RACHMANINOFF Isle of the Dead

KORNGOLD Violin Concerto

DVOŘÁK Symphony No. 7

11.18.2024

Berliner Philharmoniker

Kirill Petrenko, Chief Conductor

Program

BRUCKNER Symphony No. 5

11.19.2024

*Same as 17th

11.20.2024

Berliner Philharmoniker

Kirill Petrenko, Chief Conductor

at Symphony Hall, Boston

Program

BRUCKNER Symphony No. 5

11.21.2024

Boston Symphony Orchestra 11.21.1024

Symphony Hall, Boston, MA

Andris Nelsons, conductor

Renée Fleming, soprano

Rod Gilfry, baritone

Wendall Harrington, projection designer

MOZART Overture to The Abduction from the Seraglio

MOZART Symphony No. 36, Linz

-Intermission-

Kevin PUTS The Brightness of Light, for soprano, baritone, and orchestra

11.22.2024

Royal Concertgebouw Orchestra

Klaus Mäkelä, Conductor

Lisa Batiashvili, Violin

Program

ELLEN REID New Work (US Premiere, co-commissioned by Carnegie Hall)

PROKOFIEV Violin Concerto No. 2

RACHMANINOFF Symphony No. 2

11.23.2024

Royal Concertgebouw Orchestra

Klaus Mäkelä, Conductor

Program

SCHOENBERG Verklärte Nacht

G. MAHLER Symphony No. 1

11.29.2024

Metropolitan Opera

RICHARD STRAUSS

Die Frau ohne Schatten #1

CONDUCTOR

Yannick Nézet-Séguin

NURSE

Nina Stemme

SPIRIT MESSENGER

Ryan Speedo Green

EMPEROR

Russell Thomas

EMPRESS

Elza van den Heever

DYER'S WIFE

Lise Lindstrom

BARAK, THE DYER

Michael Volle

12.3.2024

Akademie für Alte Musik Berlin

at 92nd Steet Y

Xenia Löffler, baroque oboe; Georg Kallweit, concertmaster and solo violin

J.B. Bach, Orchestral Suite No.1 in G Minor for solo violin, strings and continuo

Telemann, Quintet for two violins, two violas and continuo in E Minor, TWV 44:5

J.S. Bach, Concerto for oboe, strings and continuo in G Minor, BWV 1056(R)

Telemann, Overture from Burlesque de Quixotte, TWV 55:G10

J.S. Bach, Concerto for oboe and violin, strings and continuo in C Minor, BWV 1060(R)

12.5.2024

Czech Philharmonic

Semyon Bychkov, Chief Conductor and Music Director

Daniil Trifonov, Piano

Lyubov Petrova, Soprano

Lucie Hilscherová, Mezzo-Soprano

Dmytro Popov, Tenor

David Leigh, Bass

Daniela Valtová Kosinová, Organ

Prague Philharmonic Choir

Lukáš Vasilek, Choirmaster

Program

DVOŘÁK Piano Concerto

JANÁČEK Glagolitic Mass

12.10.2024

Janine Jansen, Violin Canceled

Denis Kozhukhin, Piano

Program

R. SCHUMANN Violin Sonata No. 1

BRAHMS Violin Sonata No. 2

C. SCHUMANN Three Romances, Op. 22

BRAHMS Violin Sonata No. 3

12.11.2024

New York Philharmonic

Handel’s Messiah

Ton Koopman, Conductor

Maya Kherani, Soprano

Maarten Engeltjes, Countertenor

Kieran White, Tenor

Klaus Mertens, Bass-Baritone

Musica Sacra

12.12.2024

Asmik Grigorian, Soprano

Lukas Geniušas, Piano

Program

TCHAIKOVSKY "Amid the din of the ball," Op. 38, No. 3

TCHAIKOVSKY "Again, as Before, Alone," Op. 73, No. 6

TCHAIKOVSKY "None but the Lonely Heart," Op. 6, No. 6

TCHAIKOVSKY "A tear trembles"

TCHAIKOVSKY Romance in F Minor, Op. 5

TCHAIKOVSKY Scherzo humoristique in D Major, Op. 19, No. 2

TCHAIKOVSKY "I bless you, forests," Op. 47, No. 5

TCHAIKOVSKY "Do not Ask," Op. 57, No. 3

RACHMANINOFF "In the silence of the secret night," Op. 4, No. 3

RACHMANINOFF "Oh, Do Not Sing to Me, Fair Maiden"

RACHMANINOFF "Child, thou art as beautiful as a flower," Op. 8, No. 2

RACHMANINOFF "The Dream," Op. 8, No. 5

RACHMANINOFF "Spring Waters," Op. 14, No. 11

RACHMANINOFF "Oh, do not grieve!" Op. 14, No. 8

RACHMANINOFF "I wait for thee," Op. 14, No. 1

RACHMANINOFF Prelude in G-sharp Minor, Op. 32, No. 12

RACHMANINOFF Prelude in D-flat Major, Op. 32, No. 13

RACHMANINOFF "Twilight," Op. 21, No. 3

RACHMANINOFF "How fair this spot," Op. 21, No. 7

RACHMANINOFF "Let Us Rest," Op. 26, No. 3

RACHMANINOFF "Dissonance," Op. 34, No. 13

12.14.2025

Metropolitan Opera

RICHARD STRAUSS

Die Frau ohne Schatten #5

12.19.2025

Metropolitan Opera

RICHARD STRAUSS

Die Frau ohne Schatten #5

1.21.2025

Chicago Symphony Orchestra

Riccardo Muti, Conductor

Program

BELLINI Overture to Norma

VERDI "Le quattro stagioni" from I vespri siciliani

TCHAIKOVSKY Symphony No. 4

1.28.2025

Les Arts Florissants

William Christie, Artistic Director and Conductor

Ana Vieira Leite, Soprano

Juliette Mey, Mezzo-Soprano

Rebecca Leggett, Mezzo-Soprano

Bastien Rimondi, Tenor

Matthieu Walendzik, Baritone

Program

CHARPENTIER Ouverture from Médée

CHARPENTIER "Pour flatter mes ennemis" from Médée

CHARPENTIER "Qu'il le cherche, mais qu'il me craigne" from Médée

CHARPENTIER "Quel prix de mon amour" from Médée

LULLY "Le sommeil" from Atys

LULLY "Qu'il sait peu son malheur ... Je jure, je promets" from Atys

LULLY "Venez vous livrer" from Atys

RAMEAU Selected Orchestral Dances from Scene 4, No. 5 of Pigmalion

RAMEAU "Règne, Amour" from Pigmalion

RAMEAU "Tu chantais" from Les fêtes d’Hébé

RAMEAU "Par les horreurs du noir Tartare" from Les fêtes d’Hébé

RAMEAU "En vain, contre Thélème" from Les fêtes d’Hébé

RAMEAU "Dansons tous, dansons chantons" from Les fêtes d’Hébé

RAMEAU "Mortels que le plaisir ... Le Ruisseau" from Les fêtes d’Hébé

RAMEAU "Ciel, o ciel" from Les fêtes d’Hébé

RAMEAU "Air tendre" from Les fêtes d’Hébé

RAMEAU "Formons les plus brillants concerts ... Aux langueurs d'Apollon" from Platée

RAMEAU "Puisque Pluton est inflexible ... Non, Neptune aurait beau t'entendre" from Hippolyte et Aricie

RAMEAU "Je ne vous peindrai point les transports de mon cœur" from Les Indes galantes

RAMEAU "Bannissons les tristes allarmes" from Les Indes galantes

RAMEAU Rondeau and "Forêts paisibles" from Les Indes galantes

1.30.2025

The Met Orchestra

Myung-Whun Chung, Conductor

Maxim Vengerov, Violin

Program

ALL-BRAHMS PROGRAM

Violin Concerto

Symphony No. 4

2.6.2025

Concert | Francesco Corti: Harpsichord Suites

at Morgan Library

Program

George Frideric Handel, Overture from Giulio Cesare HWV 17 Suite 1 in A Major HWV 426

Johann Sebastian Bach, French Suite No. 5 in G Major BWV 816

William Babell, Prelude in F Major

George Frideric Handel, Overture from Rinaldo HWV 7 (transcription by William Babell) “Lascia ch’io pianga” from Rinaldo HWV 7 (transcription by William Babell)

Johann Sebastian Bach, French Suite No. 2 in C minor BWV 813

George Frideric Handel, Suite No. 3 in D minor HWV 428

2.12.2025

Theatre of Voices

Paul Hillier, Artistic Director

Additional artists to be announced

Program

MICHAEL GORDON A Western

JULIA WOLFE New Work (US Premiere, co-commissioned by Carnegie Hall)

JOHN LUTHER ADAMS A Brief Descent into Deep Time (US Premiere, co-commissioned by Carnegie Hall)

2.18.2024

Hagen Quartet

at 92nd Steet Y

2.25.2025

Concerto Copenhagen

Lars Ulrik Mortensen, Artistic Director and Harpsichord

Program

MUFFAT Sonata for Strings and Basso Continuo No. 1 in D Major from Armonico tributo

HANDEL Selections from Sonata in G Major, Op. 5, No. 4, HWV 399

J. S. BACH Orchestral Suite No. 1

MUFFAT Sonata for Strings and Basso Continuo No. 2 in G Minor from Armonico tributo

MUFFAT Sonata for Strings and Basso Continuo No. 5 in G Major from Armonico tribute

Lars Ulrik Mortensen

2.28.2025

Vienna Philharmonic

Riccardo Muti, Conductor

Program

SCHUBERT Symphony No. 4, "Tragic"

BRUCKNER Symphony No. 7

3.1.2025

Vienna Philharmonic

Riccardo Muti, Conductor

Program

CATALANI Contemplazione

STRAVINSKY Le baiser de la fée

SCHUBERT Symphony in C Major, "Great"

3.2.2025

Vienna Philharmonic

Riccardo Muti, Conductor

Program

MOZART Symphony No. 41, "Jupiter"

DVOŘÁK Symphony No. 9, "From the New World"

3.5.2025

London Symphony Orchestra

Sir Antonio Pappano, Chief Conductor

Janine Jansen, Violin

Program

G. WALKER Sinfonia No. 5, "Visions"

BERNSTEIN Serenade (after Plato's Symposium)

G. MAHLER Symphony No. 1

3.6.2025

London Symphony Orchestra

Sir Antonio Pappano, Chief Conductor

Yunchan Lim, Piano

Program

RACHMANINOFF Piano Concerto No. 2

WALTON Symphony No. 1

3.18.2025

The Cleveland Orchestra

Franz Welser-Möst, Music Director and Conductor

Asmik Grigorian, Soprano

Program

HAYDN Symphony No. 52 in C Minor

R. STRAUSS Four Last Songs

JANÁČEK Suite from From the House of the Dead (arr. Jílek)

PUCCINI Final Scene from Suor Angelica

3.19.2024

The Cleveland Orchestra

Franz Welser-Möst, Music Director and Conductor

Program

STRAVINSKY Pétrouchka (1947 version)

TCHAIKOVSKY Symphony No. 6, "Pathétique"

4.2.2024

Zlata Chochieva, Piano

Program

J. S. BACH Lento from Organ Sonata No. 6 in G Major, BWV 530 (transcr. Bartók)

R. SCHUMANN Symphonic Etudes

BRAHMS Scherzo in E-flat Minor, Op. 4

RACHMANINOFF Prelude in D Major, Op. 23, No. 4

RACHMANINOFF Prelude in C Minor, Op. 23, No. 7

RACHMANINOFF Prelude in E-flat Minor, Op. 23, No. 9

RACHMANINOFF Prelude in G-flat Major, Op. 23, No. 10

RACHMANINOFF Prelude in E Major, Op. 32, No. 3

RACHMANINOFF Prelude in G Major, Op. 32, No. 5

RACHMANINOFF Prelude in F Minor, Op. 32, No. 6

RACHMANINOFF Prelude in A Minor, Op. 32, No. 8

RACHMANINOFF Variations on a Theme of Corelli

FELIX MENDELSSOHN Scherzo from A Midsummer Night's Dream (arr. Rachmaninoff)

4.9.2025

Mitsuko Uchida, Piano

BEETHOVEN Piano Sonata No. 27 in E Minor, Op. 90

SCHUBERT Piano Sonata in B-flat Major, D. 960

4.23.2024

Boston Symphony Orchestra

Andris Nelsons, Music Director and Conductor

Mitsuko Uchida, Piano

Program

BEETHOVEN Piano Concerto No. 4

SHOSTAKOVICH Symphony No. 15

4.24.2024

Boston Symphony Orchestra

Andris Nelsons, Music Director and Conductor

Yo-Yo Ma, Cello

Program

ALL-SHOSTAKOVICH PROGRAM

Cello Concerto No. 1

Symphony No. 11, "The Year 1905"

5.2.2025

Nina Stemme, Soprano

Roland Pöntinen, Piano

Program

ELGAR Sea Pictures

WEILL Selected Songs

WAGNER Wesendonck Lieder

WAGNER Liebestod from Tristan und Isolde

5.4.2024

Pierre-Laurent Aimard, Piano

Program

J.P. SWEELINCK Echo fantasia in Dorian, SwWV 261

CARTER Night Fantasies

CHOPIN Polonaise-fantaisie in A-flat Major

MOZART Fantasia in C Minor, K. 475

C. P. E. BACH Fantasia in C Major, Wq. 59, No. 6

BEETHOVEN Fantasia in G Minor, Op. 77

IVES The Celestial Railroad

5.17.2025

Evgeny Kissin, Piano

Program

BEETHOVEN Piano Sonata No. 7 in D Major, Op. 10, No. 3

CHOPIN Nocturne in G Minor, Op. 15, No. 3

CHOPIN Nocturne in E-flat Major, Op. 55, No. 2

CHOPIN Nocturne in E Minor, Op. 72, No. 1 (posth.)

CHOPIN Polonaise in A Major, Op. 40, No. 1

SHOSTAKOVICH Piano Sonata No. 2

SHOSTAKOVICH Prelude and Fugue in F-sharp Minor, Op. 87, No. 8

SHOSTAKOVICH Prelude and Fugue in D-flat Major, Op. 87, No. 15

SHOSTAKOVICH Prelude and Fugue in D Minor, Op. 87, No. 24

5.28.2025

Evgeny Kissin, Piano

Gidon Kremer, Violin

Maxim Rysanov, Viola

Gautier Capuçon, Cello

Program

ALL-SHOSTAKOVICH PROGRAM

Violin Sonata

Viola Sonata

Cello Sonata

Franz Welser-Möst + Cleveland Orchestra - Prokofiev

Zlata Chochieva at Wigmore Hall

This event was recorded at Wigmore Hall on Tuesday 26 March 2019

Aleksandr Skryabin (1872-1915)

Mazurka in F sharp minor Op. 3 No. 2

Mazurka in F minor Op. 25 No. 1

Fryderyk Chopin

Mazurka in A minor Op. posth.

Aleksandr Skryabin

Mazurka in F sharp minor Op. 25 No. 7

Franz Liszt (1811-1886)

Valse oubliée S215 No. 2

Interval

Sergey Rachmaninov

Canon in E minor

Prelude in F

Fragments

Oriental Sketch

Piano Sonata No. 1 in D minor Op. 28

Encore

Johann Sebastian Bach (1685-1750)

Flute Sonata in E flat BWV1031

II. Siciliano (arr. Ignaz Friedman)

https://zlatachochieva.com/

https://www.carnegiehall.org/Calendar/2025/04/02/Zlata-Chochieva-Piano-0730PM

Istvan Kertesz - Dvorak

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Rudolf Buchbinder, Pianist - Beethoven

Boulez - Mahler on High fidelity

Reference System,

Head Phone, Meze LIRIC

Dac, Chord Mojo2

Cable, ddHiFi

Concert log 2023-2024 by classicasobi

9.30.2023

Met Opera

JAKE HEGGIE Dead Man Walking

Conductor Yannick - Nézet-Séguin

Sister Helen Prejean - Joyce DiDonato

Joseph De Rocher - Ryan McKinny

Detail

10.5.2023

Chicago Symphony Orchestra

Riccardo Muti, Conductor

Program

PHILIP GLASS The Triumph of the Octagon (NY Premiere)

FELIX MENDELSSOHN Symphony No. 4, "Italian"

R. STRAUSS Aus Italien

Encore:

VERDI Overture to Giovanna d'Arco

Detail

10.28.2023

Simon Bode, Tenor

Jonathan Ware, Piano

Program

WAGNER "Westwärts schweift der Blick" from Tristan und Isolde

DUPARC "Le manoir de Rosemonde"

DUPARC "Sérénade"

DUPARC "Chanson triste"

DUPARC "Phidylé"

DUPARC "Extase"

LISZT "Es war ein König in Thule"

LISZT "Freudvoll und leidvoll," S. 280

LISZT "Es muss ein Wunderbares sein," S. 314

LISZT "Kling leise, mein Lied"

LISZT "Die Loreley"

WOLF Selections from Mörike Lieder

Encore:

WOLF "Verborgenheit" from Mörike Lieder

Detail

11.2.2023

Sergei Babayan, Piano

Program

LISZT Ballade No. 2 in B Minor

VLADIMIR RYABOV Fantasia in C Minor, Op. 21, in memory of Maria Yudina

RACHMANINOFF Étude-tableau in E-flat Minor, Op. 39, No. 5

RACHMANINOFF Étude-tableau in C Minor, Op. 39, No. 1

RACHMANINOFF Allegretto in E-flat Minor from Moments musicaux, Op. 16, No. 2

RACHMANINOFF Maestoso in C Major from Moments musicaux, Op. 16, No. 6

LISZT "Der Müller und der Bach" from Müllerlieder von Franz Schubert

LISZT "Aufenthalt" from Lieder aus Franz Schubert's Schwanengesang

LISZT "Auf dem Wasser zu singen" from 12 Lieder von Franz Schubert

LISZT "Die Stadt" from Lieder aus Franz Schubert's Schwanengesang

LISZT "Gretchen am Spinnrade" from 12 Lieder von Franz Schubert

R. SCHUMANN Kreisleriana

Encores:

BABAYAN Nach R. Schumann

BEETHOVEN Presto from Piano Sonata No. 6 in F Major, Op. 10, No. 2

J. S. BACH Aria from Goldberg Variations

Detail

11.4.2023

Joana Mallwitz, conductor

Anna Vinnitskaya, piano

Program

KODÁLY Dances of Galánta

TCHAIKOVSKY Piano Concerto No. 1

SCHUBERT Symphony in C, The Great

Detail

11.13.2023

Schaghajegh Nosrati, Piano

Program

J. S. BACH Chromatic Fantasia and Fugue in D Minor, BWV 903

BEETHOVEN Piano Sonata No. 15 in D Major, Op. 28, "Pastoral"

HAYDN Fantasia in C Major

ALKAN Symphony for Solo Piano from 12 Etudes in All the Minor Keys, Op. 39

Encores:

ALKAN Barcarolle from Troisième recueil de chants, Op. 65, No. 6

HAYDN Finale (Presto) from Piano Sonata in E-flat Major, Hob. XVI: 52

Detail

11.16.2023

Sir András Schiff, Piano

Program

J. S. BACH Aria from Goldberg Variations

J. S. BACH Capriccio in B-flat Major, BWV 992, "On the Departure of a Most Beloved Brother"

J. S. BACH Chromatic Fantasia and Fugue in D Minor, BWV 903

FELIX MENDELSSOHN Variations sérieuses

BEETHOVEN Piano Sonata No. 17 in D Minor, Op. 31, No. 2, "The Tempest"

HAYDN Variations in F Minor, Hob. XVII: 6

BEETHOVEN Piano Sonata No. 21 in C Major, Op. 53, "Waldstein"

Encores:

COHEN National Anthem of Israel (arr. Sir András Schiff)

MOZART Allegro from Piano Sonata in C Major, K. 545

R. SCHUMANN "Fröhlicher Landmann, von der Arbeit zurückkehrend" from Album für die Jugend

Detail

11.30.2024

Staatskapelle Berlin

Yannick Nézet-Séguin, Conductor

Program

ALL-BRAHMS PROGRAM

Symphony No. 1

Symphony No. 2

Detail

12.1.2024

Staatskapelle Berlin

Yannick Nézet-Séguin, Conductor

Program

ALL-BRAHMS PROGRAM

Symphony No. 3

Symphony No. 4

Detail

12.12.2024

Daniil Trifonov, Piano

Program

RAMEAU Suite in A Minor from Nouvelles suites de pièces de clavecin

MOZART Piano Sonata in F Major, K. 332

FELIX MENDELSSOHN Variations sérieuses

BEETHOVEN Piano Sonata No. 29 in B-flat Major, Op. 106, "Hammerklavier"

Encores:

GREEN "I Cover the Waterfront" (after Tatum)

SCRIABIN Andante from Piano Sonata No. 3, Op. 23

MOMPOU Excerpts from Variations on a Theme of Chopin

Detail

12.28.2023

Wagner Tannhäuser

PRODUCTION Otto Schenk

CONDUCTOR Donald Runnicles

Elizabeth Elisabeth Elza van den Heever

Venus Ekaterina Gubanova

Tannhäuser Andreas Schager

Wolfram Christian Gerhaher

Landgraf Hermann Georg Zeppenfeld

Detail

1.20.2023

The Cleveland Orchestra

Franz Welser-Möst, Music Director and Conductor

Program

KRENEK Little Symphony

G. MAHLER Adagio from Symphony No. 10 in F-sharp Major

BARTÓK String Quartet No. 3 (arr. Stanley Konopka for double string orchestra)

BARTÓK Suite from The Miraculous Mandarin

Detail

1.21.2024

The Cleveland Orchestra

Franz Welser-Möst, Music Director and Conductor

Program

PROKOFIEV Symphony No. 2 in D Minor, Op. 40

WEBERN Symphony, Op. 21

PROKOFIEV Symphony No. 5

Detail

2.14.2024

Maron Khoury, Flute

2.15.2024

Soloists of the Kronberg Academy

Performers

Soloists of the Kronberg Academy

- Maria Ioudenitch, Violin

- Geneva Lewis, Violin

- Brannon Cho, Cello

- Julia Hamos, Piano

Tabea Zimmermann, Viola

Program

BRAHMS Clarinet Trio (transcr. for viola)

HINDEMITH String Quartet No. 4, Op. 22

KORNGOLD Piano Quintet, Op. 15

Detail

3.1.2024

Vienna Philharmonic

Franz Welser-Möst, Conductor

Program

BRUCKNER Symphony No. 9

BERG Three Pieces for Orchestra, Op. 6

Detail

3.2.2024

Vienna Philharmonic

Franz Welser-Möst, Conductor

Program

HINDEMITH Konzertmusik für Blasorchester, Op. 41

R. STRAUSS Symphonic Fantasy from Die Frau ohne Schatten

SCHOENBERG Variations for Orchestra, Op. 31

RAVEL La valse

Detail

3.3.2024

Vienna Philharmonic

Franz Welser-Möst, Conductor

Program

G. MAHLER Symphony No. 9

Detail

3.6.2024

Hagen Quartet

- Lukas Hagen, Violin

- Rainer Schmidt, Violin

- Veronika Hagen, Viola

- Clemens Hagen, Cello

Program

HAYDN String Quartet in C Major, Op. 76, No. 3, "Emperor"

BARTÓK String Quartet No. 2

BEETHOVEN String Quartet in A Minor, Op. 132

Detail

3.9.2024

Rotterdam Philharmonic Orchestra

Lahav Shani, Chief Conductor

Daniil Trifonov, Piano

Program

ARVO PÄRT Swansong

MOZART Piano Concerto No. 9 in E-flat Major, K. 271, "Jeunehomme"

PROKOFIEV Selections from Romeo and Juliet

Detail

3.16.2024

Orchestre de Paris

Klaus Mäkelä, Music Director and Conductor

Program

ALL-STRAVINSKY PROGRAM

The Firebird

The Rite of Spring

Detail

4.8.2024

The Tallis Scholars

Peter Phillips, Conductor

Program

R. WHITE Lamentations for Five Voices

DAVID LANG sun-centered (NY Premiere, co-commissioned by Carnegie Hall)

NICO MUHLY "Recordare, Domine"

ERIC WHITACRE Sainte-Chapelle

PARSONS "Ave Maria"

BYRD All Saints Propers

Encore:

MOUTON "Salva nos, Domine"

Detail

4.12.2024

Ensemble Modern

HK Gruber, Conductor

Wallis Giunta, Mezzo-Soprano

amarcord, Vocal Ensemble

Program

HINDEMITH Kammermusik No. 1, Op. 24

KORNGOLD Much Ado about Nothing Suite

SCHOENBERG Accompaniment to a Cinematographic Scene (arr. Johannes Schöllhorn)

WEILL The Seven Deadly Sins (text by Bertolt Brecht; version for 15 players by HK Gruber and Christian Muthspiel; NY Premiere)

Encores:

EISLER "Ballade vom Wasserrad"

WEILL "Canon Song" from Kleine Dreigroschenmusik

Detail

4.12.2024

Ensemble Modern

Stefan Asbury, Conductor

Program

TANIA LEÓN Indígena

NANCARROW Study No. 7 (transcr. Yvar Mikhashoff in cooperation with Charles Schwobel)

ANDILE KHUMALO Invisible Self

NANCARROW Study No. 6 (transcr. Yvar Mikhashoff in cooperation with Charles Schwobel)

CHRISTOPHER TRAPANI no window without a wall (NY Premiere)

NANCARROW Study No. 12 (transcr. Yvar Mikhashoff in cooperation with Charles Schwobel)

TANIA LEÓN Rítmicas

Encore:

MORRICONE per i 40 anni

Detail

4.20.2024

Emily D'Angelo, Mezzo-Soprano

Sophia Muñoz, Piano

Program

BARTÓK "If I climb"

BARTÓK "Black is the earth"

BARTÓK "Dance of Buchum"

KODÁLY "Evening Song"

HANDY "Morning Star"

JEANINE TESORI "Night Drive / The Desert" from Grounded

JEANINE TESORI "Moon Change" from Caroline, or Change

FRANCIS McPEAKE "Wild Mountain Thyme"

BRITTEN "The Last Rose of Summer"

CLARKE "The Cloths of Heaven"

MacNUTT "Take me to a green isle"

BARBER "Of that so sweet imprisonment"

CLARKE "Down by the sally gardens"

VAUGHAN WILLIAMS "The Brewer"

G. MAHLER "Starke Einbildungskraft"

A. MAHLER "Laue Sommernacht"

A. MAHLER "Die stille Stadt"

A. MAHLER "Waldseligkeit"

A. MAHLER "In meines Vaters Garten"

A. MAHLER "Bei dir ist es traut"

KORNGOLD "Liebesbriefchen"

ULLMANN "Wenn je ein Schönes mir zu bilden glückte"

VITO LEVI Prelude for Piano No. 8

ZEMLINSKY "Heilige Nacht"

ZEMLINSKY "Turmwächterlied"

ZEMLINSKY "Klagen ist der Mond gekommen"

ZEMLINSKY "Briefchen schrieb ich"

Encore:

CHAPÍ "Carceleras" from Las hijas de Zebedeo

Detail

4.24.2024

Bamberg Symphony

Jakub Hrůša, Chief Conductor

Hélène Grimaud, Piano

Program

WAGNER Prelude to Lohengrin

BRAHMS Symphony No. 3

R. SCHUMANN Piano Concerto

WAGNER Overture to Tannhäuser

Encores:

BRAHMS Hungarian Dance No. 18 in D Major

BRAHMS Hungarian Dance No. 21 in E Minor

Detail

5.2.2024

Bavarian Radio Symphony Orchestra

Sir Simon Rattle, Chief Conductor

Lester Lynch, Baritone

Program

HINDEMITH Ragtime (Well-Tempered)

ZEMLINSKY Symphonische Gesänge, Op. 20

G. MAHLER Symphony No. 6

Radio archive

Detail

5.2.2024

Bavarian Radio Symphony Orchestra

Sir Simon Rattle, Chief Conductor

Program

WAGNER Prelude and Liebestod from Tristan und Isolde

THOMAS ADÈS Aquifer (US Premiere, co-commissioned by Carnegie Hall)

BEETHOVEN Symphony No. 6, "Pastoral"

Encore:

DVOŘÁK Slavonic Dance in C Major, Op. 72, No. 7

Detail

5.8.2024

Regula Mühlemann, Soprano

Tatiana Korsunskaya, Piano

Program

SCHUBERT "Viola," D. 786

SCHUBERT "Die Gebüsche," D. 646

SCHUBERT "Der Musensohn," D. 764

R. STRAUSS Mädchenblumen

R. STRAUSS "Ständchen," Op. 17, No. 2

ARGENTO Six Elizabethan Songs

BRIDGE "Golden Hair"

BRIDGE "Mantle of Blue"

BRIDGE "Isobel"

BRIDGE "Berceuse"

BRIDGE "Go Not, Happy Day"

BRIDGE "Love Went A-Riding"

Detail

Klaus Mäkelä, 28, to Lead American Top Orchestra

Mäkelä will become the music director of the Chicago Symphony Orchestra.

He said it has “that intensity — that same sound from the past.”

This is article from New York Times by Javier C. Hernández

“You felt as if anything you would ask, they could actually improve and do more,” he said, recalling his recent guest appearances there. “For a conductor, that is a very, very special feeling because you see that there really are no limits to what you can achieve.”

The orchestra hopes that Mäkelä can help attract new audiences to classical music, including younger concertgoers.

“There is nothing wrong with old people,” Mäkelä said. “But of course, ideally, we would have a very wide-ranging diverse audience.”

During his tenure, Mäkelä said he hoped to tackle standard repertoire like Mahler’s “Resurrection” Symphony and Bach’s St. Matthew Passion, as well as less commonly performed works like Monteverdi’s “Vespro della Beata Vergine” and William Walton’s choral work “Belshazzar’s Feast.”

He also said he would make commissioning new pieces a priority, naming Unsuk Chin, Thomas Larcher, Andrew Norman and Anna Thorvaldsdottir as some of his favorite contemporary composers.

“I feel that we can have a completely new chapter for the orchestra in terms of repertoire, in terms of developing the same amazing sound,” he said, “but having it as flexible as possible.”

The Chicago Symphony is also working to bring more women and people of color into the ensemble. The orchestra has 59 men and 34 women, and only a few Black and Latino members.

Because the pandemic delayed auditions, the orchestra has an unusually high number of vacancies, 15, which Mäkelä said was an “opportunity for change.” He will start weighing in on auditions immediately, the orchestra said.

Mäkelä, who trained at the Sibelius Academy in Helsinki, said some of his models were Esa-Pekka Salonen, a fellow Finn who recently announced he was stepping down from the San Francisco Symphony, pointing to his experiments with music and technology. And he expressed admiration for Kirill Petrenko, the chief conductor of the Berlin Philharmonic, saying he had shown courage in programming.

All article

Kirill Petrenko conducts Strauss’s “Elektra”

A woman in an exceptional situation: Electra is driven by grief, pain and hatred. She wants to avenge the death of her father. The tragedy of the Greek king’s daughter was ideal operatic material for Richard Strauss, who describes the psychological profile of a desperate woman in stormy scenes. Kirill Petrenko conducts a concert performance of the opera. Nina Stemme, an acclaimed soloist in dramatic parts, sings the title role.

4.7.2024 1pm est.

Berliner Philharmoniker

Kirill Petrenko

Michaela Schuster

Nina Stemme

Elza van den Heever

Wolfgang Ablinger-Sperrhacke

Johan Reuter

WORKS

Richard Strauss

Elektra, opera in one act (concert performance)

Michaela Schustermezzo-soprano (Klytemnestra)

Nina Stemmesoprano (Elektra)

Elza van den Heeversoprano (Chrysothemis)

Wolfgang Ablinger-Sperrhacketenor (Aegisth)

Johan Reuterbass-baritone (Orest)

Anthony Robin Schneiderbass (Tutor to Orest)

Anna Denisovasoprano (Trainbearer of Klytemnestra)

Lucas van Lieroptenor (Young servant)

Andrew Harrisbass (Old servant)

Kirsi Tiihonensoprano (Overseer)

Katharina Magieraalto (1st Maid)

Alexandra Ionismezzo-soprano (3rd Maid)

Lauren Fagansoprano (5th Maid)

Marvic Monrealmezzo-soprano (2nd Maid)

Dorothea Herbertsoprano (4th Maid)

Serafina Starkesoprano (Confidante of Klytemnestra)

Detail

Recording

Staatskapelle Dresden • Karl Böhm

Wiki

Libretto by Hugo von Hofmannsthal

Trans in Japanese

Balse Concerti 2025 LA

1.5.2025

Los Angeles Philharmonic

Robin Ticciati, conductor★

Lisa Batiashvili, violin★

Program

DVOŘÁK Prague Waltzes

BEETHOVEN Violin Concerto★

DVOŘÁK Symphony No. 8

Detail

2.2.2025

Los Angeles Philharmonic

Susanna Mälkki, conductor★

Verneri Pohjola, trumpet

Program★

SCHUBERT Symphony No. 8, “Unfinished”

SAARIAHO HUSH U.S. premiere LA Phil commission★

STRAUSS Death and Transfiguration★

Detail

3.9.2025

Los Angeles Philharmonic

Gustavo Dudamel, conductor★

Sasha Cooke, mezzo-soprano★

Program

A. MAHLER Five Songs★

G. MAHLER Symphony No. 5★

Detail

3.16.2025

Los Angeles Philharmonic

Joana Mallwitz, conductor★

Augustin Hadelich, violin★

Program

Marko NIKODIJEVIC GHB/tanzaggregat

TCHAIKOVSKY Violin Concerto★

SCHUBERT Symphony No. 9, “The Great”★

Detail

3.27.2025

Le Concert d’Astrée★

Emmanuelle Haïm conductor★

Program★

HANDEL The Triumph of Time and Disillusion, HWV46a

Detail

4.24.2024

Evgeny Kissin, piano★★★

Program★

BEETHOVEN Piano Sonata No. 7

CHOPIN Nocturnes

CHOPIN Polonaise in A major, Op. 40, No. 1

SHOSTAKOVICH Piano Sonata No. 2

SHOSTAKOVICH Preludes and Fugues

5.9.2024

Max Richter★

Detail

5.11.2025

Artists

Los Angeles Philharmonic★

Esa-Pekka Salonen, conductor★

Pierre-Laurent Aimard, piano★

Program★

BOULEZ Notations IV, for solo piano

BOULEZ Notations IV, for orchestra

DEBUSSY Images: 1. Gigues

BOULEZ

Notations VII, for solo piano

BOULEZ

Notations VII, for orchestra

DEBUSSY Images: 3. Rondes de printemps

BOULEZ Notations II, for solo piano

BOULEZ Notations II, for orchestra

DEBUSSY Fantaisie for Piano and Orchestra

DEBUSSY La mer

Detail

by Classicasobi

On-Air Bartok, Cleveland and Berlin - Welser-Möst and Petrenko

We will see Bartok from Cleveland and Berlin. Welser Most and Petrenko will be on air.

The Cleveland Orchestra

Franz Welser-Möst, conductor

KRENEK Kleine Symphonie

MAHLER Adagio from Symphony No. 10

BARTÓK String Quartet No. 3 (arr. for string orchestra)

BARTÓK Suite from The Miraculous Mandarin

Radio Streaming WCLV 1.13.2024 8pm EST

Program Note

Berliner Philharmoniker

Kirill Petrenko conductor

Henri Dutilleux

Symphony No. 1

Béla Bartók

The Wooden Prince, Pantomime Ballet Music, Sz 60

Live streaming Digital Concert Hall 1.13.2024 1pm EST

Tannhauser, the old-school at Met, proves just as presentable — and arguably more necessary in 2023

Schenk's Tannhäuser, which premiered in 1977 at the Metropolitan Opera on December 2023, was a real song contest by all singers and related artists. They were polishing each other on each stage, relishing their roles, and the last one was memorable, especially the Pilgrims’ Chorus.Tannhauser is not religious teachings or confirmation of personal identity because I am not both Christian or German, but “Discover in Tannhäuser an emotional purgative or therapy – it powerfully exercises feelings of compassion.” Thanks to Joe Horowitz's review (the link at the bottom).

He mentioned Andrew Porter's review in 1977, “To do a Wagner opera in the way Wagner asked for it to be done.” also said, “Schenk Tannhäuser, proves just as presentable — and arguably more necessary — in 2023.”

He explained about Schenk's production, “Many points of conjunction between what the ear hears and the eye sees are unforgettably clinched. The action begins with the erotic Venusberg. Wagner asks for “a wide grotto which, as it curves towards the right in the background, seems to be prolonged till the eye loses it in the distance. From an opening in the rocks, through which the daylight filters dimly, a greenish waterfall plunges down the whole height of the grotto, foaming wildly over the rocks; out of the basin that receives the water a brook flows to the further background; it there forms into a lake, in which Naiads are seen bathing, while Sirens recline on its banks.” Schneider-Siemssen wisely doesn’t attempt all of this – but he poetically renders enough of it to get the job done. At the climax of the Venusberg orgy, Wagner makes everything suddenly and cataclysmically vanish, to be replaced by “a green valley. . . blue sky, bright sun. In the foreground is a shrine to the Virgin. A Shepherd Boy is blowing his pipe and singing.” A credulous rendering of this transformation, abetted by Wagner’s musical imagination, proves as breathtaking today as half a century ago.”

“The arts are today vanishing from the American experience. There is a crisis in cultural memory. How best keep Tannhäuser alive? Flooded with neophytes, the Metropolitan Opera audience is very different from audiences just a few decades ago. What I observed at the end of Tannhäuser was an ambushed audience thrilled and surprised. The Met is cultivating newcomers with new operas that aren’t very good. A more momentous long-term strategy, it seems to me, would be to present great operas staged in a manner that reinforces – rather than challenges or critiques or refreshes – the intended marriage of words and music. For newcomers to Wagner, an updated Tannhäuser would almost certainly possess less “relevance” than Schenk’s 46-year-old staging – if relevance is to be measured in terms of sheer visceral impact. ”

The main artists were, Andreas Schager, Tannhauser, the passionate Wagner voice, "his artistry ran the gamut from joy to despair." Christian Gerhaher, wolfram, "an elegant and intelligent lieder singer, his easy projection was a revelation, carrying the gentleness of his tone and impeccable articulation. Such a feeling of intimate connection to a voice is rare in this enormous building." Ekaterina Gubanova, Venus, "voluptuous sound was thrilling." Elza van den Heever, Elisabeth, " guileless faith with a light, shining tone and feathery vibrato - effortless projection. " Donald Runnicles, the conductor, "keeps an ideal pace, and the orchestra plays with a near-magical blend of color and warmth, full of details, glowing. "

After Gerhaher as Wolfram, sang "Abendstern" at 3rd act, it was tranquillo, the serenity. I've never felt my heart empty at Met like that. Then the key changed, suggesting Sharger Tannhauser's conflicts. He told the story about Rome. His serious Wagner singing was all coming into me because Gerhaher made me ready to observe Sharger's Wagnl art. In the one before the last performance, he was more emotional like Mime in Siegfried. The last day's Van den Heever's openness! I felt her concentration from pianissimo to fortissimo. It was the extra glossy voice, really bravissimo. I saw her mouth open and her jaw almost came off, but such effortless innocence notes and operatic dynamics were naturally associated with her characteristics and the role. Gubanova as Venus, mainly sings in 1st act. There is the famous aria, but I found her beauty in the later when she sang with Scharger, mid-long note, vibrato was more than Van den Heever has. I saw her 1st class mezzo vocal art.

Schager left his message on his SNS, “Being able to stand on stage in front of almost 4,000 enthusiastic visitors every time is something special. Here people laugh, cry and clap during the performance. I think that's great and this energy reaches us on stage and inspires us. Art, which is so often declared dead, is alive, and what's more, it shows us a way in which coexistence among people can work. Art is about emotions and skill and in the end a huge amount of effort goes into making the audience happy and moving.“

This is his word from the heart and We can see that the world's best musicians, audiences, and critics share a common awareness. It is a light in the people who are passionate about classical music.

Lastly, Met Choir's Pilgrims’ Chorus. The amount of voice replaced my all-good memory at Met in 20 years. It remains overwhelming.

Links

Met 2023 Tannhauser detail

FT review

Joe Horowitz review

Beglückt darf nun dich, o Heimat, ich schauen -Tannhauser

Beglückt darf nun dich, o Heimat, ich schauen,

und grüssen froh deine lieblichen Auen;

You can now be happy, O homeland, I look,

and greet your lovely meadows with joy;

nun lass' ich ruhn den Wanderstab,

weil Gott getreu ich gepilgert hab'.

now I'll let the walking stick rest,

because I have made a pilgrimage true to God.

Durch Sühn' und Buss' hab' ich versöhnt

den Herren, dem mein Herze frönt,

I have reconciled through atonement and repentance

the Lord, in whom my heart indulges,

der meine Reu' mit Segen krönt,

den Herren, dem mein Lied ertönt.

who crowns my repentance with blessing,

the Lord to whom my song sounds.

Der Gnade Heil ist dem Büsser beschieden,

er geht einst ein in der Seligen Frieden!

Salvation is granted to the penitent by grace,

He will one day enter blessed peace!

Vor Höll' und Tod ist ihm nicht bang,

drum preis' ich Gott mein Lebelang.

He is not afraid of hell and death,

Therefore I will praise God as long as I live.

Halleluja in Ewigkeit!

Halleluja in Ewigkeit!

O du, mein holder Abendstern - Tannhauser

O du, mein holder Abendstern,

wohl grüsst' ich immer dich so gern:

vom Herzen, das sie nie verriet,

grüss sie, wenn sie vorbei dir zieht,

wenn sie entschwebt dem Tal der Erden,

ein sel'ger Engel dort zu werden!

Oh thou my fair evening star,

I'm always happy to greet you:

from the heart that never betrayed her,

greet her when she passes you,

when she floats away from the valley of the earth,

to become a blessed angel there!

おお、我が美しい宵の明星よ、

いつも喜んでご挨拶させていただきます:

彼女を決して裏切らなかった心から、

彼女があなたとすれ違ったら挨拶してください。

彼女が地の谷から漂っていくとき、

そこで祝福された天使になるために！