MEMETERIA by Thomas May

Music & the Arts

Shostakovich: Cello Sonata No. 1

Haunted by this work now, which was positioned in the middle of last night’s Summer Festival of the Seattle Chamber Music Society — in an enthralling performance by Seattle Symphony principal cellist Efe Baltacıgil and pianist Adam Neiman.

The program also included Beethoven’s “Spring” Sonata (Augustin Hadelich and Alessio Bax) and a winning account of Schumann’s E-flat major Piano Quintet (Andrew Wan, Benjamin Beilman, Jonathan Vinocour, Astrid Schween, George Li).

Filed under: chamber music, Seattle Chamber Music Society, Shostakovich

Götterdämmerung Caps Triumph of SFO Ring

Götterdämmerung-SFO

Iréne Theorin as Brünnhilde with members of the San Francisco Opera Chorus in Wagner’s “Götterdämmerung.” Photo: Cory Weaver/San Francisco Opera

Here’s the final installment of my coverage for Musical America of San Francisco Opera’s extraordinary Ring cycle.

SAN FRANCISCO—If Siegfried highlights Zambello’s ability to tease out vital, three-dimensional characters from a deceptively simple surface, Götterdämmerung shows her clarifying the most complex component of the entire cycle–an installment which introduces an entire generation of characters new to the Ring–with a gripping theatrical momentum. The night/day dichotomy of the Prologue aptly summed up the diametrical viewpoints of this staging…

continue

Ring review: Part 1

Ring review: Part 2

Ring review: Part 3

Filed under: directors, Musical America, review, Ring cycle, Runnicles, Wagner

Happy 4th of July

Happy Independence Day, courtesy of two children of immigrants.

Filed under: Bernstein, George Gershwin, New York Philharmonic

SFO’s Newly Forged Ring: Siegfried as More Than a Prequel

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Daniel Brenna as Siegfried and David Cangelosi as Mime in Wagner’s “Siegfried.” Photo: Cory Weaver/San Francisco Opera

Continuation of my coverage of San Francisco Opera’s Ring for Musical America:

SAN FRANCISCO—From an emotional force akin to Greek tragedy to the straightforward exploits of a superhero: for a director, one of the main challenges posed by the Ring’s third evening is how to bridge that gulf, all the while clarifying the stakes in Siegfried so that the audience will buy into the return to full-on tragic mode in the cycle’s mammoth finale….

continue [behind Musical America‘s paywall — but will be open access Friday afternoon]
Part 1 here

Filed under: Musical America, review, Ring cycle, San Francisco Opera, Wagner

Gianandrea Noseda to Zurich Opera

What a coup for Zurich Opera: Gianandrea Noseda has accepted Andreas Homoki’s invitation to become chief conductor at Zurich Opera, following the travail at Teatro Regio in Turin, Italy, which led Noseda to resign his post there.

According to Michael Cooper for the New York Times: “Mr. Noseda thought it over, and decided that the chance to conduct Wagner’s epic Ring cycle for the first time, in a new production, was impossible to refuse.”

And so lured by the Ring, Noseda will start his post in 2021 as general music director in Zurich, succeeding Fabio Luisi (himself off to take the reins at the Dallas Symphony). The Ring will follow in the spring of 2022.

Cooper’s report is here.

Christian Wildhagen has published a very interesting interview for the NZZ (in German). The maestro explains at greater length what, in addition to the prospect of doing a Ring, is so attractive about the post (my translation):

The “Ring” remains the central challenge for every opera conductor and every major house — one of the greatest challenges ever. But overall I am also tempted by the opportunity to work with the musicians of the Philharmonia intensively on the so-called German repertoire. I already did a “Tristan” at my previous house, the Teatro Regio Torino, as well as “Salome” by Richard Strauss and, three years ago, a “Lohengrin” in St. Petersburg. The opportunity to expand on these explorations in Zurich, in the center of German-speaking Switzerland, makes the invitation particularly appealing to me. All the more so since the timing for this artistic development seems to coincide with my personal journey.

Filed under: conductors, music news, Zurich Opera

Happy Birthday, Esa-Pekka Salonen!

Today the Maestro turns 60 years young.

Great conductor, great composer:

Filed under: anniversary, conductors, Mahler

San Francisco Opera Reforges Its Ring

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Iréne Theorin as Brünnhilde and Greer Grimsley as Wotan in Wagner’s “Die Walküre.”
Photo: Cory Weaver/San Francisco Opera

Here’s Part 1 of my review for Musical America of San Francisco Opera’s Ring, directed by Francesca Zambello and conducted by Donald Runnicles:

SAN FRANCISCO—One sure gauge of a successful Ring production is when it consistently leads you to a liminal state: to a kind of hovering between rapt focus on the moment and deliberation about what it all implies. Over the course of San Francisco Opera’s Ring, I found myself taking that threshold for granted, encouraged to ponder the connections, musical and dramatic, that are essential for Wagner’s project to make its desired impact.

continue [behind MA’s paywall]

Filed under: directors, Musical America, review, Ring cycle, San Francisco Opera, Wagner

Happy Birthday, George Walker!

The wonderful American composer George Walker turns 96 today. And he’s still very much at work, with a symphonic world premiere coming up in the new Seattle Symphony season: Sinfonia No. 5, in which he reflects on the massacre at a Charleston church in 2015.

The clip above is from a 2012 interview, just before George Walker reached the age of 90.
Happy Birthday, George!

Filed under: American music, George Walker

Michael Tilson Thomas: Music and Emotion through Time

Filed under: Michael Tilson Thomas

Seattle Symphony’s New Venue

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Octave 9 can create a 360° shared virtual experience with a surround video screen, in-the-round seating and responsive video and acoustics. (Rendering by LMN Architects)

Seattle Symphony just announced that it will open its new Octave 9: Raisbeck Music Center in February 2019.

Octave 9 will be located in what has been called the Soundbridge Seattle Symphony Music Discovery Center (corner of Second Avenue & Union Street). The new initiative, according to SSO, is intended to create “a versatile, immersive environment for inventive performances, education opportunities, and community engagement” — which is reminiscent of the “salle modulable” paradigm that has been realized, for example, at the Pierre Boulez-Saal in Berlin.

Why the name? “Octave 9: Raisbeck Music Center is named in honor of Seattle philanthropists James and Sherry Raisbeck, who provided a $2 million matching challenge to transform the former Soundbridge. The name, created by LORE Naming, was inspired by the size of a concert grand piano, which spans just over seven octaves. A nine-octave range, then, pushes past the boundaries, redefining what is musically possible.”

SSO’s press release continues: “Combining a modular surround video screen with 13 moveable panels, 10 ultra-short-throw projectors, motion-capture cameras, and a state-of-the-art Meyer Sound Constellation® Acoustic System with 42 speakers and 30 microphones, the technology in Octave 9 can create a 360° shared virtual experience or disappear into the background for a more traditional setting.”

The first artist-in-residence at Octave 9 will be the cellist Seth Parker Woods, the subject of my Strings magazine cover story last summer. “During his residency, he will premiere a number of new works for cello and multimedia commissioned by the Seattle Symphony from a diverse group of composers and visual artists.”

read more about Octave 9

Filed under: music news, Seattle Symphony, Seth Parker Woods

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