Classeek, the support platform for young classical musicians, is constantly expanding. Its media catalog, which already includes podcasts, concerts and videos, is now available on new platforms, and constantly offers new content. Read More →
Plans were unveiled yesterday for a proposed development of the London Symphony’s St Luke’s facilities in East London, building on its 20-year history as a major center for recording, live performance and the education programs. Read More →
Gabriel Fauré: Requiem op. 48; Johannes Brahms: Begräbnisgesang op. 13; Dorothee Mields, Kresimir Strazanac, Collegium Vocale Gent, Orchestre des Champs-Elysées, Philippe Herreweghe NIFCCD 151; Liveaufnahme 08.2021, Veröffentlichung 05.04.2024 (42'15) - Rezension von Remy Franck
Die vorliegende Aufnahme des Fryderyk-Chopin-Instituts Warschau wurde 2021 live beim 17. Internationalen Musikfestival ‘Chopin und sein Europa’ im Moniuszko-Auditorium der Polnischen Nationaloper in Warschau aufgezeichnet. Read More →
Georg Friedrich Händel: Arien aus Oratorien; Al Danger disdaining (Deborah) + Return, o God of Hosts (Samson) + Fury, with red-sparkling Eyes (Alexander Balus) + Susanna-Ouvertüre + In the Battle(Deborah) + O sacred Oracles of Truth (Belshazzar) + Symphony & Be firm, my Soul (Joseph und seine Brüder) + O Lord, whose Mercies numberless (Saul) + Upt the dreadful Steeep ascending (Jephta); Oscar Verhaar, Countertenor, La Sfera Armoniosa, Mike Fentross; # Challenge Classics CC72973; Aufnahme 2023, Veröffentlichung 05.04.2024 (65') – Rezension von Remy Franck
Wenn Marie-Nicole Lemieux die Arie ‘Fury, with red-sparkling eyes’ – aus Händels Alexander Balus singt, klingt ihre Stimme männlich. Oscar Verhaar macht daraus eine Frauenrolle, denn seine Countertenor-Stimme klingt definitiv feminin. Das ergibt für mich ein ernstzunehmendes Problem in allen Arien, in denen Verhaar eine Männerrolle verkörpert. Read More →
Francois Couperin: Concerts Nouveaux Nr. 5 ,6, 9 +Concerts Royaux Nr. 2 & 4; Emanuel Abbühl, Oboe, Oboe d'amore, Cor Anglais, David Tomas, Fagott, Carla Sanfelix, Cello, Benoit Fallai, Theorbe, Miklos Spanyi, Cembalo; # Genuin GEN 24873; Aufnahmen 2022/2023, Veröffentlichung 05.04.2024 (77'22) - Rezension von Remy Franck
Die Kammermusik-Suiten ‘Concerts royaux’ und ‘Nouveaux concerts, ou les goûts réunis’ von François Couperin wurden für den Hof von Ludwig XIV. geschrieben. Sie bestehen jeweils aus einem Präludium und einer Abfolge von Tänzen. Jede Suite kann von einem Solocembalo oder einem Ensemble mit einem Bass und drei Melodieinstrumenten, wie einer Violine, einer Gambe und einer Oboe oder Flöte, gespielt werden. Read More →
Laut einem Bericht des brasilianischen Magazins Concerto läuft das Symphonieorchester von Minas Gerais Gefahr, ein Opfer im Streit um die Führung des lokalen Konzertsaales zu werden. Read More →
Edo de Waart
Dutch conductor Edo de Waart, 82, is retiring as conductor after a career spanning more than sixty years. De Waart has been chief conductor of the Dutch Radio Philharmonic Orchestra (RFO) for many years and was due to give two more concerts with the orchestra this coming weekend, but has canceled them. He announced that it was no longer possible for him and called it « a difficult decision ». Read More →
Anastassia Boutsko from ICMA Jury member Deutsche Welle has made an interview with Serbian violinist Lana Zorjan, winner of the 2024 Discovery Award.
Lana Zorjan
You are just fifteen and already a seasoned musician who can look back on a great career: numerous solo appearances with great orchestras, major prizes… But how did it come that you are a musician?
That will probably sound almost too simple: I come from a family full of musicians. My parents are musicians, my dad is an opera singer, mother is a violinist, she’s a violin teacher. Both granddads are also musicians. Read More →
Kedrick Armstrong
The Oakland Symphony has named Kedrick Armstrong, currently principal conductor of the Knox-Galesburg Symphony in Western Illinois, as its next music director. Read More →
Filmmaker Bruno Monsaingeon has been awarded a Special Achievement Award at the International Classical Music Awards 2024 (ICMA). Patrick Jézéquel from ICMA'sa French Jury member ResMusica, made the following interview.
Bruno Monsaingeon
(cx) Alexis Joly
Bruno Monsaingeon, at the very beginning of Filmer la musique, you legitimize your undertaking by saying that « if words stumble over sounds, images reinforce them. » Does that mean you’re filming as a musician, given that you’re a violinist?
I could never have made my films without my knowledge of the repertoires of the violin, the piano, the cello and the quartet. What’s more, as a filmmaker myself, I necessarily have a relationship with the score. The idea is not to make a documentary about music, but to film it for its own sake. Read More →
