MEMETERIA by Thomas May

Music & the Arts

Chineke! Makes Proms Debut

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This evening is Prom 62, in which the Chineke! Orchestra makes its BBC Proms debut.
One of Chineke!’s founding cellists is Seth Parker Woods, whom I wrote about for this month’s cover issue of Strings magazine. They’ll also be playing music by George Walker for the first time on a Proms program.

link to broadcast from BBC Radio 3

Filed under: BBC Proms, George Walker, Seth Parker Woods

Patricia Kopatchinskaja in Lucerne

More musical revelations at Lucerne Festival: thrilling Bartók Violin Concerto No. 2 featuring Patricia Kopatchinskaja in an unimprovable program of Bartók and Haydn by Mahler Chamber Orchestra led by the impeccable François-Xaver Roth.
The Haydn (Symphonies 22 and 96) was sleek and proto-Modernist in Roth’s interpretation, overflowing in invention and brought to life by the exquisitely fine-tuned playing of the Mahler Chamber Orchestra.

The Bartók Second — nicely complemented by the Dance Suite — spurred all Kopatchinskaja has to give: from her feistiest, most earth-rooted playing to star-drunk lyricism.

And then there was a post-concert treat in the “Interval,” from Kopatchinskaja plus her parents (dad Viktor on cimbalom and mom Emilia playing violin), with Venezuelan double-bassist Johane Gonzales: incisive Kúrtag and wonderful folk music arrangements.

Last night brought out still another side of Kopatchinskaja’s all-embracing artistry, in a Late Night concert with the Lucerne Festival Academy Orchestra led by Matthias Pintscher.

It’s clear that the Moldovan soloist regards Ligeti’s Violin Concerto as one of the ultimate masterpieces of the repertoire. Hearing her play it, you feel this is the only music in the world that matters, a world within world of where the concept of  virtuosity itself is reimagined from the ground up.

Kopatchinskaja is the perfect violinist to advocate Ligeti’s wildly imaginative ideas, but also the formal ingenuity and, yes, melodic grace of this score. She also brought out the best from the incredibly gifted young Academy musicians. I can’t wait to hear the full ensemble shine in Monday’s all-Cerha concert.

The program also included fascinating performances of composer-in-residence Michel van der Aa’s Hysteresis for clarinet, ensemble, and tape, with Martin Adámek  as the soloist and Ligeti’s Piano Concerto, with pianist Dimitri Vassilakis.

Filed under: Bartók, Haydn, Ligeti, Lucerne Festival, violinists

Alice Goodman: New York Times Profile

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Alice Goodman in Fulbourn, England. Credit Nadine Ijewere for “The New York Times”

My New York Times story on the poet and librettist Alice Goodman is now online:

When “Nixon in China” had its premiere at Houston Grand Opera on Oct. 22, 1987, there had never been anything quite like it. No previous American opera — perhaps no opera, ever — had so boldly dealt with recent political history…

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Filed under: Alice Goodman, American literature, American opera, John Adams, librettists, New York Times, Peter Sellars, Uncategorized

Krapp’s Last Tape

Getting in the mood for Beckett tonight at Edinburgh International Festival.

And companion piece Not I:

 

Filed under: theater

In Search of Identity at Lucerne Festival

160812_16300_EO_LFO_Chailly_Solisten_Choere_P_Fischli_Lucerne_FeThe 2017 Summer Festival — which is all about the theme of “identity” — begins today in Lucerne as Riccardo Chailly leads the Lucerne Festival Orchestra in an all-Strauss program.

From accentus:

“Accentus Music is delivering the live video stream of the Lucerne Festival’s opening concert on Friday, August 11th, at 6:30 p.m. [CET]. The ceremonial act which is going to take place in the KKL Lucerne will be streamed simultaneously open-air at Lucerne’s Inseli Park as well as on Facebook Live. The Lucerne Festival Orchestra and its music director Riccardo Chailly will be performing three symphonic poems by Richard Strauss: Thus Spoke ZarathustraDeath and Transfiguration as well as Till Eulenspiegel’s Merry Pranks. 

Filed under: Lucerne Festival, music news

R.I.P. Barbara Cook

Filed under: American music, Bernstein, music news

Trying to rethink Madame Butterfly at Seattle Opera

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Alexey Dolgov (Pinkerton) and Lianna Haroutounian (Cio-Cio-San); photo by Jacob Lucas

My review for Bachtrack of the new Madame Butterfly production opening Seattle Opera’s season:

How well do we really know Madame Butterfly? So iconic that, for some, it’s the archetype of the art form itself, Puccini’s mega-popular opera has recently been coming in for renewed scrutiny.

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Filed under: Puccini, review, Seattle Opera

Bewitched, Bothered, and Bewildered: Alcina Casts Surprising Spells in Santa Fe

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Elsa van den Heever (Alcina) © Ken Howard for Santa Fe Opera, 2017

My review of Santa Fe Opera’s Alcina for Bachtrack:

George Bernard Shaw crystallised longstanding biases when he declared that Handel’s operas were “only stage concerts for shewing off the technical skill of the singers”. David Alden, a longstanding maverick director and hero of Regie-philes, made his reputation in part through his striking interpretations of Handel. If anything, his production of Alcina, which he first staged at the Opéra National de Bordeaux in 2012 (with many of the same singers), pushes too far in the opposite direction to the theatrically static fossil of Shaw’s stereotype.

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Filed under: directors, Handel, review, Santa Fe Opera

Reena Esmail: Musical America’s New Artist of the Month

reena-esmail-amber2I had the privilege of writing this profile of the remarkable young composer Reena Esmail, Musical America‘s New Artist of the Month:

At Chorus America’s annual conference this past June in Los Angeles, a general session devoted to the topic “The Medicine of Music” featured a singalong demonstration of a new interactive choral work titled Take What You Need.

It wasn’t only the members of Street Symphony and the Urban Voices Project, a community choir of singers from LA’s Skid Row neighborhood, who appeared transformed as they sang this music by Reena Esmail. The large audience of choral professionals from around America joined in, visibly moved by this confirmation of musical meaning.

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Filed under: Musical America, new music, profile

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