The Glenn Gould Foundation awarded the 14th Glenn Gould Prize to Gustavo Dudamel in a ceremony at New York’s Carnegie Hall. Along with the main prize for Dudamel, the Glenn Gould Protégé Prize was awarded to conductors Andrés David Ascanio Abreu and Enluis Montes Olivar. The Protégé Prize winners were selected by Dudamel for the honor. Read More →
Classeek has published the full schedule of the Classeek Ambassador Program for the 2024-2025 season. Since its inception in 2017, the Ambassador Program has been dedicated to discovering, nurturing, and supporting the next generation of classical musicians. Read More →
Lincoln Center, New York
Lincoln Center for the Performing Arts has announced Mariko Silver as its next and twelfth President and Chief Executive Officer. Silver will join Lincoln Center on September 23, 2024. Read More →
Fandango; Luigi Boccherini: Streichquintette Nrn. 12, 60, 73 & 7; La Ritirata, Josetxu Obregon; # Glossa GCD 923110; Aufnahme 10.2023 Veröffentlichung 02.08.2024 (58’35) - Rezension von Alain Steffen
Tänzerischen Schwung sucht man in dieser mit Fandango betitelten Aufnahme vergebens. Hier wird gespielt, als hätten die Tänzer ein steifes Knie. Auch die leidenschaftlichen Bewegungen, die einen Fandango ausmachen, fehlen ebenso wie rhythmische Prägnanz und knisternde Spannung. Das gilt nicht nur für das Fandango-Quintett Nr. 77, sondern auch für die übrigen vier hier eingespielten Streichquintette von Luigi Boccherini. Read More →
Ivan Fischer
(c) Alfonso Salgueiro / Philharmonie Luxembourg
The Budapest Festival Orchestra (BFO) will host a free concert titled Concert for Peace, featuring guest artists from Ukraine, Russia, Israel, and Palestine, on August 31 at 7 p.m. in Budapest’s Heroes’ Square. Read More →
Yannik Nézét-Séguin
(c) George Etheredge
The Metropolitan Opera in New York today announced the contract extension of its Music Director, Yannick Nézet-Séguin, through the 2029–30 season. Only the third Music Director in the company’s history, Nézet-Séguin began his tenure in the 2018-19 season. Read More →
The 31st edition of the Verbier Festival came to a close after 18 days of music. 2024 will go down as the second-best ticketing year since the Festival’s inception, with 11% growth over 2023. 20 concerts were sold out. Nearly 40,000 tickets were issued for this edition.
Vivaldi x2; Antonio Vivaldi Doppelkonzerte für Flöte, Oboe, Violine und Cello; La Serenissima, Adrian Chandler, Leitung & Violine; # Signum SIGCD909; Aufnahme 2022, Veröffentlichung 02.08.2024 (70’09) - Rezension von Alain Steffen
Diese interessante Zusammenstellung von den selten gespielten Doppelkonzerten von Antonio Vivaldi ist eine echte Bereicherung für das Repertoire, zumal die Interpretationen der Musiker von La Serenissima authentisches Musizieren garantieren. Darüber hinaus spürt man die Spielfreude in jedem Takt, und das historische Instrumentarium wird gekonnt in den Dienst der Sache gestellt. Read More →
‘Musik und Gender in Luxemburg’ hat der luxemburgischen Sängerin und Komponistin Béby Kohl-Thommes (1923-2016) ein neues Portal gewidmet. Für den biografischen Text und die Aufarbeitung des Archivmaterials zeichnet der Musikologe Marvin J. Deitz verantwortlich, in enger Zusammenarbeit mit Dany Kohl. Read More →
71-year-old French pianist Mikhail Rudy has just released an album with Le Palais des Dégustateurs, which includes a number of solo works as well as recordings of two concertos, the one by Grieg and Prokofiev's 2nd. Remy Franck spoke with him about these recordings and his new novel, Le Disciple. (Version française voir ci-dessous)
Mikhail Rudy
Maître, you’ve appeared on television, performed in the theater, given dance recitals, made films and written several books, including the recent novel Le Disciple, published by Presses de la Cité. Where does this desire to push back the boundaries of your artistic activity come from?
Ever since I was a child, I’ve been drawn to the world of creation in all its forms. I grew up in the Ukrainian provincial town of Donetsk, where it was difficult to access works of art, and I had to work very hard to get them. In return, I had the freedom to choose according to my own intuition. When I arrived in Moscow at the age of 16, things were much more regulated. I was surprised to find that my fellow students had been trained to be interested only in piano and classical music. I was very lucky not to be formatted. Read More →
