#conducted by semyon bychkov!

[mariacallous]

Russian soldiers have shot dead a Ukrainian musician in his home after he refused to take part in a concert in occupied Kherson, according to the culture ministry in Kyiv.

Conductor Yuriy Kerpatenko declined to take part in a concert “intended by the occupiers to demonstrate the so-called ‘improvement of peaceful life’ in Kherson”, the ministry said in a statement on its Facebook page.

The concert on 1 October was intended to feature the Gileya chamber orchestra, of which Kerpatenko was the principal conductor, but he “categorically refused to cooperate with the occupants”, the statement said.

Kerpatenko, who was also the principal conductor of Kherson’s Mykola Kulish Music and Drama Theatre, had been posting defiant messages on his Facebook page until May.

The Kherson regional prosecutor’s office in Ukraine has launched a formal investigation “on the basis of violations of the laws and customs of war, combined with intentional murder”. Family members outside Kherson lost contact with the conductor in September, it said.

Condemnation by Ukrainian and international artists was swift. “The history of Russia imposing a ‘comply or die’ policy against artists is nothing new. It has a history which spans for hundred of years,” said the Finnish-Ukrainian conductor Dalia Stasevska, who was scheduled to conduct the Last Night of the Proms at London’s Albert Hall last month before it was cancelled because of the Queen’s death.

“I have seen too much silence from Russian colleagues,” she said. “Would this be the time for Russian musicians, especially those living and working abroad, to finally step up and take a stand against the Russian regime’s actions in Ukraine?”

A fortnight ago Stasevska drove a truck of humanitarian supplies into Lviv from her home in Finland, before conducting the INSO-Lviv orchestra in a concert of Ukrainian contemporary music.

“We know the Russian regime is hunting activists, journalists, artists, community leaders, and anyone ready to resist the occupation,” said the prizewinning Ukrainian novelist turned war crimes investigator Victoria Amelina.

“Yet, even knowing the current pattern and history, we cannot and, more importantly, shouldn’t get used to hearing about more brutal murders of a bright, talented, brave people whose only fault was being Ukrainian.”

She drew a parallel between Kerpatenko and Mykola Kulish, the Ukrainian playwright after whom the theatre where the conductor worked is named.

“Kulish was shot on 3 November 1937, near Sandarmokh, with 289 other Ukrainian writers, artists and intellectuals. Yuriy Kerpatenko was shot in his home in Kherson in October 2022,” she said.

The Russians’ actions were “pure genocide”, said the conductor Semyon Bychkov from Paris, where he was performing as music director of the Czech Philharmonic. The St Petersburg-born conductor left Russia as a young man in the 1970s.

“The tragic irony of this is that talk about the superiority of Russian culture, its humanism,” he said. “And here they murdered someone who is actually bringing beauty to people’s lives. It is sickening.

“The bullets don’t distinguish between people. It didn’t make me feel worse that this man was a conductor, it just confirmed the pure evil that’s been going on even before the first bombs fell on Ukraine.”

The novelist Andrey Kurkov, author of Death and the Penguin, said: ““Now the name of Yuriy Kerpatenko will be added to the list of murdered artists of Ukraine. I increasingly think that Russia is not only seeking to occupy Ukrainian territories, but also diligently destroying Ukrainian identity, an important part of which is Ukrainian culture.”

Ukrainian author Oleksandr Mykhed, who joined the military at the outbreak of the war, and whose home was destroyed by Russian shelling, said: “Russia is trying to reconstruct the Soviet Union in the occupied territories. To reconstruct something improbable.

“One of the key components of Soviet policy was the destruction of culture of the enslaved countries. Murder of cultural figures, purging of libraries, banning of national languages.

“The modern occupiers are fully following this strategy. Destroying culture, sports, education.

“And when our territories are deoccupied, we will learn about dozens and hundreds of such terrible stories. Stories of destruction and heroic resistance.”

“It is absolutely terrifying,” said chief stage director of Kyiv’s National Opera of Ukraine, Anatoliy Solovianenko. “Whether he was a doctor, or a worker, or an artist, it makes no difference. He was a human, and he refused to comply.”

[svensklangblr]

(not to brag but i literally am seeing mozart’s 3rd violinconcert and tchaikovsky’s 2nd symphony this thursday)

[nyphil]

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Principal Trumpet Christopher Martin, Ethan Bensdorf, and Liam Day lead the charge at the beginning of “The Hero’s Battlefield” in R. Strauss’s “Ein Heldenleben.” The three trumpet players walk backstage from their seats onstage. A stagehand opens the stage door behind the double basses so their sound carries to the audience and the trumpeters get their cue by watching the monitor in front of them. 🎺 Semyon Bychkov conducts this and Bruch’s Concerto for Two Pianos, May 2–4. ✨Student Rush available! #nyphil #nyphilharmonic #orchestra #backstage #offstage (at David Geffen Hall) https://www.instagram.com/p/Bw5tRFNBDUe/?utm_source=ig_tumblr_share&igshid=d08xu7cedcqb

[sonyclasica]

ORQUESTA FILARMÓNICA DE VIENA Y GUSTAVO DUDAMEL

CONCIERTO DE VERANO 2019

El viernes 26 de julio sale a la venta en formatos DVD y Blu-Ray el Concierto de Verano 2019 de la Orquesta Filarmónica de Viena bajo la dirección de Gustavo Dudamel.

¡Consíguelo aquí!

Sony Classical se complace en anunciar el lanzamiento de El Concierto de Verano 2019 de este año con la Filarmónica de Viena, dirigida por Gustavo Dudamel y la pianista Yuja Wang como solista. El Concierto de Verano se realizó este año el 20 de junio de 2019. Es un evento anual al aire libre, que se lleva a cabo desde 2008. El mágico parque del Palacio de Schönbrunn en Viena, Austria, ofrece el escenario perfecto para el concierto, que es gratuito para todos los residentes y visitantes de la ciudad. Los ilustres directores que han dirigido anteriormente la orquesta en este evento son Georges Prêtre, Daniel Barenboim, Franz Welser-Möst, Valery Gergiev, Lorin Maazel, Christoph Eschenbach, Zubin Mehta y Semyon Bychkov.

Gracias a su ubicación declarada Patrimonio de la Humanidad por la UNESCO en el parque barroco de Schönbrunn con el palacio como telón de fondo, el Concierto de Noche de Verano añade así encanto visual a su excelente calidad musical. Este evento ofrece música clásica en su máxima expresión, accesible a un público amplio. Millones de espectadores y oyentes en más de 80 países pueden seguir el concierto en línea, en la televisión y la radio, y hasta 100.000 vieneses y sus invitados se reunieron en el Gran Parterre en el corazón del Parque Schönbrunn para el evento.

El programa del Concierto de la Noche de Verano 2019 de la Filarmónica de Viena se centró en la historia musical de los Estados Unidos de América: las obras que se escucharon este año se compusieron en o para los EE.UU., a la vez que mantienen vínculos con la tradición musical vienesa.

Gustavo Dudamel, director musical y artístico de la Filarmónica de Los Ángeles, es uno de los directores más premiados de su generación. Gustavo Dudamel, uno de los pocos músicos clásicos que realmente llegó al público general sin perder la más alta integridad musical, ha aparecido tres veces en el programa 60 Minutesde CBS y se le dedicó un especial de PBS, Dudamel: Conducting a Life. Hizo un cameo en la galardonada serie Mozart in the Jungle de Amazon Studio y, junto con los miembros de YOLA, se convirtió en el primer músico clásico que participó en el espectáculo de Medio tiempo de la Super Bowl en EEUU.

Dudamel ha sido director invitado habitual de la Filarmónica de Viena, también durante sus giras. Tocó con la orquesta por primera vez en 2007, regresó en 2010, y encantó a una amplia audiencia en el Concierto de Noche de Verano 2012 en Viena. Dos años más tarde, abrió la temporada 2014 en el Theater an der Wien y en la tradicional Semana Filarmónica de Viena en Japón ese mismo año. En 2017, fue el director más joven en dirigir el famoso Concierto del Día de Año Nuevo de la Filarmónica de Viena.

Gran defensor de la educación musical y el desarrollo social a través del arte, el propio Dudamel fue formado por su experiencia infantil con El Sistema, el extraordinario programa de educación musical inmersivo iniciado en 1975 por José Antonio Abreu. Al cumplir 19 años, como Director Musical de la Orquesta Sinfónica Simón Bolívar, Dudamel también lleva a cabo el trabajo de su último mentor con su compromiso continuo con El Sistema en Venezuela y ha apoyado numerosos proyectos inspirados en el Sistema en todo el mundo.

La pianista nacida en Beijing, Yuja Wang, es célebre por su talento, carisma y cautivadora presencia en el escenario. Surgió en la escena internacional en 2007 cuando reemplazó a Martha Argerich como solista con la Boston Symphony Orchestra. En 2017, Yuja Wang fue nombrada Artista del Año de Musical America.

La pianista se une a las giras de algunos de los conjuntos y directores más venerados del mundo. Esta temporada lo hace con la Boston Symphony Orchestra, bajo la batuta de Andris Nelsons, seguida por la Berlin Philharmonic Orchestra y Kirill Petrenko, así como la Munich Philharmonic y Valery Gergiev, a modo de ejemplo. También actuó con la Orquesta Filarmónica de Viena en Versalles en el centenario de la finalización de la Gran Guerra con un simbólico "Concierto por la Paz". En 2019, aparece como Artista en residencia en tres de los principales lugares del mundo: el Carnegie Hall de Nueva York, el Wiener Konzerthaus y también en la Filarmónica de Luxemburgo.

La tradición de 177 años de la Filarmónica de Viena se remonta a 1842, cuando Otto Nicolai dirigió un Gran Concierto con todos los miembros del "Teatro Hof-Opern" imperial. Este evento fue originalmente llamado "Academia Filarmónica" y es considerado como el origen de la orquesta. Desde su fundación, la orquesta ha sido dirigida por el comité administrativo, un órgano elegido democráticamente, que trabaja con autonomía artística, organizativa y financiera. Todas las decisiones se toman sobre una base democrática durante la reunión general de todos los miembros.

También ya disponible en CD y formato digital.

CONTENIDO

Yuja Wang piano Filarmónica de Viena

Gustavo Dudamel director

               Leonard Bernstein

1.            Candide: Overture Allegro molto con brio

               Johann Strauss II

2.            Jubilee Waltz*

               Jubiläums-Walzer

               George Gershwin

3.            Rhapsody in Blue

               Orquestación: Ferde Grofé

               Max Steiner

4.            Casablanca – Suite*

               Música de la película de Michael Curtiz

               John Philip Sousa

5.            Stars and Stripes Forever

               Samuel Barber

6.            Adagio para cuerdas

               del Cuarteto de Cuerdas, Opus  11

               Carl Michael Ziehrer

7.            Sternenbanner-Marsch op. 460

               The Star-Spangled Banner March

               Antonín Dvořák

               Sinfonía No. 9 en mi menor “Del Nuevo Mundo” op. 95

               e-Moll »Aus der Neuen Welt« ·

8.            IV.          Allegro con fuoco

Bises Aaron Copland Hoe–Down from Rodeo

Johann Strauß, Jr. Wiener Blut (Sangre de Viena), vals, op. 354

* Interpretada por primera vez en un concierto de la Filarmónica de Viena.

THE SUMMER NIGHT CONCERT 2019

http://www.sommernachtskonzert.at

THE VIENNA PHILHARMONIC

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GUSTAVO DUDAMEL

Website / Facebook / Instagram

YUJA WANG

Website / Facebook / Instagram

[davidpwilson2564]

Bloglet

Wednesday, May1, 2019

It is time to buy a pair of shoes, for the gig.  This accomplished (sticker shock!) I begin wending my way back home via Columbus Avenue.  (I know I won't take those shoes out of the box until opening night.)  Roger Parrett, trumpeter, is sitting on the bench that Magnolia Bakery has provided.  We worked together for years.  Is he retired?  He tells me he is asked to play for some musician memorials.  He jokes about asking those who are about to go to give him some notice so he can get his chops in shape. (Brass instruments, if neglected, can be particularly unforgiving.) I haven't seen him in a long time there  is much to catch up on.  But Roger, being loquacious, is one of those people you are likely never to get caught up with.  We talk of one thing another sometimes having to shout as trucks roar past.  He mentions a Radio City gala he played for in which Henny Youngman (I used to see him standing in front of Carnegie Deli) was called out of retirement.  Roger said Henny, who was beginning to have memory lapses, used a teleprompter.  I am trying to picture this scene. (Those one liners scrolling by...)  We talk about some of the gigs we did.  After all while I realize: this is quite enough catching up and I'm going to have to move on.  This I do.  Will I ever see him again?  He almost died (he told me all about it) after running up some stairs to catch a train.  Funny man, a riot.  I guess I could talk to him for hours. 

Thursday, May 2, 2019

A M...Geffen Hall.  Open rehearsal, New York Phil.  Semyon Bychkov conducting.  R. Strauss "Ein Heldenleben."  "A Hero's Life," the composer being the hero.   Followed by a piece I've never heard or even heard of.  Max Bruch "Concerto for Two Pianos and Orchestra" played by the Labeque sisters, one of whom is Mrs. Bychkov.  The sisters are dressed in black. They are a class act, as is Maestro Bychkov but the piece (though I am a fan of Bruch) is not without it longueurs. 

Note: As I was writing the above Bruch's "Kol Nidre" came on the radio.  His most famous piece, yes?  And there is that great, rarely performed, concerto for Clarinet and Viola (!). 

It is a beautiful spring-like day. 

Friday, May 3, 2019

Movie, on loan from Netflix, "Green Book."  Don Shirley's trip to the Deep South.

I had look up Shirley. I had in my mind he was still alive, still living in one of those great apartments adjacent to Carnegie Hall.  Perhaps I thought this because of the recent David Hadju piece about Shirley in the N Y Times.  I'd have to look at this article again. 

'Green Book" won some Academy Awards but I can't remember what they were.  Some said the movie was a variation on "Driving Miss Daisy."  (I liked the play, which was short and sweet but felt they did too much elaboration with the film.  I digress.)

Odd dream in which I am playing an outdoor concert and everyone is talking about the latest news: that Robert Mueller has been fired. (!) 

[whatstheweather]

Review: A Refugee Crisis, Composed Into a Symphony

By ANTHONY TOMMASINI The New York Philharmonic gave the American premiere of Thomas Larcher’s Symphony No. 2, “Kenotaph,” with Semyon Bychkov conducting. Published: April 25, 2019 at 10:39AM from NYT Arts https://nyti.ms/2IHQ1Ou via IFTTT

[topnewsfromtheworld]

Review: A Refugee Crisis, Composed Into a Symphony

By ANTHONY TOMMASINI The New York Philharmonic gave the American premiere of Thomas Larcher’s Symphony No. 2, “Kenotaph,” with Semyon Bychkov conducting. Published: April 25, 2019 at 01:00AM from NYT Arts https://nyti.ms/2IHQ1Ou

[hulusan]

Review: A Refugee Crisis, Composed Into a Symphony

By ANTHONY TOMMASINI The New York Philharmonic gave the American premiere of Thomas Larcher’s Symphony No. 2, “Kenotaph,” with Semyon Bychkov conducting. Published: April 25, 2019 at 04:30AM from NYT Arts https://nyti.ms/2IHQ1Ou

[izayoi1242]

Review: A Refugee Crisis, Composed Into a Symphony

By ANTHONY TOMMASINI The New York Philharmonic gave the American premiere of Thomas Larcher’s Symphony No. 2, “Kenotaph,” with Semyon Bychkov conducting. Published: April 25, 2019 at 09:00AM from NYT Arts https://nyti.ms/2IHQ1Ou via IFTTT

[2700fstreet]

OPERA / 2018-2019

EUGENE ONEGIN

TEACHER AND PARENT GUIDE

Washington National Opera Open Rehearsal Music by Pyotr Ilyich Tchaikovsky Libretto by Pyotr Ilyich Tchaikovsky and Konstantin Shilovsky Based on the novel by Alexander Pushkin

Student Guide: Eugene Onegin

Parents, Teachers, and Caregivers: We’ve Got You Covered

Hey there, adults. We’re sure you’re already familiar with the concept of opera but, just in case you’re looking for a refresher or you want to go deeper, here are some thoughts that may be of interest:

Opera A 400-year-old genre born in Italy that was cultivated throughout Europe from the sixteenth to the nineteenth centuries and eventually made its way to the United States (that’s right, Americans write operas, too). As you’ve probably guessed, there will be singing. Lots of it. Just think of it as heightened speech. A soprano may hit a really high note when she’s angry or scared. A bass might lay down a low note when he wants to be extra menacing.

Outside of the opera house, Eugene Onegin lives a whole other life as one of the most celebrated pieces of Russian literature of all time. Written over a span of eight years by the eminent national author Alexander Pushkin, the unusual novel-in-rhyming-verse is equal parts satirical social commentary and pure, unadulterated nostalgia. Its central tragic love story (boy meets girl, boy snubs girl only to discover, too late, he actually loves her) is about as good as dramatic irony gets, and its heroine, Tatiana, is viewed by many as the ultimate moral ideal—a perfect example of grace and dignity under pressure.

It’s no wonder then, that Pyotr Ilyich Tchaikovsky (cheye-KOFF-skee)—then a reasonably successful composer but only a moderately successful operatic composer—was almost instantly enchanted by Eugene Onegin. Indeed, he was so enthusiastic about the story that, legend has it, he began an outline for the opera almost the very minute he finished reading the book. He wrote to his brother Modeste on the subject, saying:

“I am under the spell of [Pushkin’s] verse, and I am drawn to compose the music as it were by some irresistible attraction. I am lost in the composition of the opera.”

Tchaikovsky’s music and Pushkin’s story turned out to be a match made in opera heaven (and it wouldn’t be the only time Tchaikovsky used Pushkin as inspiration—see The Queen of Spades, for example). Dubbed a set of “lyric scenes in three acts,” Tchaikovsky’s Eugene Onegin gives audiences a glimpse into the most riveting moments of Pushkin’s sprawling drama, while occasionally softening the characters to make them more sympathetic. The composer’s facility with folk tunes helped him paint a vivid picture of country life, and his gift for soaring melody lent itself perfectly to Onegin’s more intimate scenes such as Tatiana’s now famous letter aria and Lensky’s heartbreaking lament. Add these elements together and you’re left with a romantic opera with a nationalistic flare that has international appeal. Eugene Onegin remains a beloved fixture in opera houses across the globe.

Some recordings and resources you may want to check out:

Eugene Onegin with Dmitri Hvorostovsky, Nuccia Focile, and Neil Shicoff, conducted by Semyon Bychkov

Eugene Onegin with Thomas Hampson, Karita Mattila, and Piotr Beczala, conducted by Jiří Bělohlávek

Eugene Onegin with Bernd Weikl, Teresa Kubiak, and Stuart Burrows, conducted by Sir Georg Solti

The original novel. Widely considered one of the greatest pieces of literature Russia has ever produced, Alexander Pushkin’s Eugene Onegin draws on the likes of Byron and Shakespeare, resulting in a rhyming epic poem that explores art, love, social class, and authentic feeling in the early nineteenth-century Russian hinterlands.

Tchaikovsky’s Eugene Onegin, 2007. Captured at New York’s Metropolitan Opera, this video features Valery Gergiev (conductor) and Dmitri Hvorostovsky (Onegin) in a critically-acclaimed production that also stars soprano Renée Fleming and tenor Ramón Vargas.

You’re ready for Tchaikovsky’s Eugene Onegin.

-

All photos by Todd Rosenberg for the Lyric Opera of Chicago

Writer: Eleni Hagen

Content Editor: Lisa Resnick

Logistics Coordination: Katherine Huseman

Producer and Program Manager: Tiffany A. Bryant

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David M. Rubenstein Chairman

Deborah F. Rutter President

Mario R. Rossero Senior Vice President Education

Timothy O’Leary General Director

Francesca Zambello Artistic Director

Major support for WNO is provided by Jacqueline Badger Mars.

David M. Rubenstein is the Presenting Underwriter of WNO.

WNO acknowledges the longstanding generosity of Life Chairman Mrs. Eugene B. Casey.

WNO's Presenting Sponsor

This performance is made possible by the Kimsey Endowment; The Morris and Gwendolyn Cafritz Foundation and the U.S. Department of Education.

Major support for educational programs at the Kennedy Center is provided by David M. Rubenstein through the Rubenstein Arts Access Program.

© 2019 The John F. Kennedy Center for the Performing Arts

[mastcomm]

Carnegie Hall’s New Season: Here’s What We Want to Hear

The classical music world has been changing, and some of those shifts will be felt at Carnegie Hall.

Carnegie announced Tuesday that next season would feature the Berlin Philharmonic’s first concerts at the hall under its new chief conductor, Kirill Petrenko; the City of Birmingham Symphony Orchestra’s first with its music director, Mirga Grazinyte-Tyla; and the Carnegie debut of Teodor Currentzis and the orchestra he founded, MusicAeterna.

“With the orchestras, there are a huge number of firsts,” Clive Gillinson, the hall’s executive and artistic director, said in an interview.

Rhiannon Giddens, the singer, songwriter, banjo player and musical polymath, will be featured in a Perspectives series in which she will trace the connections between popular and classical songs, team up with other banjo players to explore the experience of African-American women and delve into the complicated history of minstrelsy.

Jordi Savall, the early-music specialist and viola da gamba virtuoso, and Yannick Nézet-Séguin, the music director of the Philadelphia Orchestra and the Metropolitan Opera, will also be featured in series. A festival called “Voices of Hope: Artists in Times of Oppression” will explore musical responses to injustice, and Andrew Norman will hold the Richard and Barbara Debs Composer’s Chair.

Among dozens of offerings, what to hear? This is the best of the best: the performances we at The New York Times are most looking forward to.

Los Angeles Philharmonic, Oct. 7-9

There are three opportunities to hear Gustavo Dudamel conduct the West Coast’s leading ensemble at Carnegie this fall, in the orchestra’s first hall appearance in 30 years. The season-opening gala on Oct. 7 features a brief John Adams fanfare, Grieg (Lang Lang playing the Piano Concerto) and more Grieg (selections from “Peer Gynt”); Oct. 9 brings Mahler’s Sixth Symphony. But in between is the most promising program, with two New York premieres: a curtain-raiser by the young composer Gabriella Smith and Andrew Norman’s Violin Concerto (with the always-fascinating Leila Josefowicz), with the gentle chaser of Ginastera’s “Estancia.” JOSHUA BARONE

City of Birmingham Symphony Orchestra, Oct. 23-24

Conducting sensation Mirga Grazinyte-Tyla and her orchestra, which is celebrating its centenary this year, give two concerts that perfectly showcase their tastes and flair for programming. One adeptly balances the familiar with the new and unusual, with Ravel’s “La Valse” and Debussy’s “La Mer” framing Mieczyslaw Weinberg’s Violin Concerto and Thomas Adès’s “Angel Symphony,” which they will premiere this spring. The other focuses on British music, with Tippett’s oratorio “A Child of Our Time” following Sheku Kanneh-Mason as the soloist in Elgar’s Cello Concerto. DAVID ALLEN

MusicAeterna, Nov. 4

One of the great stories in classical music over the past decade has been how the Greek-born, Russian-trained conductor Teodor Currentzis formed his own idiosyncratic orchestra in Siberia, garnering a Sony recording contract and triumphing around the world. Their American debut last year at the Shed was one of the major events of the cultural year, and now Currentzis and the orchestra will bring their blistering intensity to Carnegie, with Tchaikovsky’s “Pathétique” Symphony and the Adagio from Mahler’s Symphony No. 10. MICHAEL COOPER

American Composers Orchestra, Nov. 5

As part of Andrew Norman’s composing residency, this ensemble presents the New York premiere of “Begin,” a chamber-orchestra piece first heard in Los Angeles last year. The rest of the program is just as tantalizing, with world premieres by Ellen Reid, Jane Meenaghan and George Lewis. SETH COLTER WALLS

Jordi Savall, Nov. 5 and 9

Four days after Mr. Savall leads his period-instrument orchestra Le Concert des Nations and vocal ensemble La Capella Reial de Catalunya in Monteverdi’s glorious Vespers in Carnegie’s main auditorium, he’ll bring those groups downstairs, to the more intimate Zankel Hall, for Monteverdi’s complete “Madrigals of War and Love,” a rare chance to hear a collection of genre-blurring pieces that altered music history. ANTHONY TOMMASINI

Lise Davidsen, Nov. 12

In the wake of feverish hype in the opera world, the Norwegian soprano Lise Davidsen made her Metropolitan Opera debut this fall in Tchaikovsky’s “The Queen of Spades” and, if anything, surpassed the high expectations. Her silvery voice had both thrilling power and nuanced expressivity. It will be fascinating to hear her in a recital setting; with the pianist James Baillieu, she sings works by Grieg, Mahler, Berg (“Seven Early Songs”) and Wagner (“Wesendonck Lieder”). ANTHONY TOMMASINI

Berlin Philharmonic, Nov. 18-20

When I went to Berlin last year for Kirill Petrenko’s debut concerts as the Philharmonic’s chief conductor, I was struck by the excitement he generated among its players. Now New Yorkers will be able to judge for themselves. This program, featuring the great dramatic soprano Nina Stemme singing Brünnhilde’s Immolation Scene from Wagner’s “Götterdämmerung,” gives him a chance to show off his operatic chops, which he honed during a memorable run at the Bavarian State Opera in Munich. (In a rarity for Carnegie, this program is played twice, on Nov. 18 and 20; on the 19th, the Philharmonic performs Webern, Mendelssohn and Brahms.) MICHAEL COOPER

Ksenija Sidorova, Feb. 3

The Carnegie lineup is full of superb voices, violinists, pianists — the meat and potatoes of classical music. So less conventional instruments pop out, like the accordion played by this Latvian virtuoso. “Revelatory,” according to my colleague James R. Oestreich, Ms. Sidorova will perform arrangements of Bach, Mozart and Tchaikovsky alongside works tailor-made for accordion by Sofia Gubaidulina, Alfred Schnittke and others. ZACHARY WOOLFE

Louisville Orchestra, Feb. 20

Go ahead and call the Louisville Orchestra a “regional” (as opposed to “major”) ensemble. That’s a meaningless distinction for the many people excited by the adventurous programs the dynamic young conductor Teddy Abrams and his excellent players have been giving. For example, the concert they will present at Carnegie will offer Andrew Norman’s “Sacred Geometry,” Copland’s “Appalachian Spring” (with dancers from Louisville Ballet) and Jim James’s song cycle “The Order of Life,” performed with its composer, a Louisville native and the leader of the rock band My Morning Jacket. ANTHONY TOMMASINI

Boston Symphony Orchestra, April 14

For all my worries about the direction that the Boston Symphony has taken under its music director, Andris Nelsons, there have been two pluses during his tenure so far: his Shostakovich survey (steadily being released on record to considerable acclaim) and his opera. A Shostakovich opera, then, ought to come off well, especially this composer’s best, “Lady Macbeth of Mtsensk.” The soprano Kristine Opolais is scheduled as Katerina, with Brandon Jovanovich as Sergey. DAVID ALLEN

Mark Padmore and Mitsuko Uchida, April 16

The tenor Mark Padmore once told me he was reminded of all the words for “rehearsal” when working with the pianist Mitsuko Uchida: “In French, ‘répétition,’ which speaks for itself; in German, ‘probe’ — proving or trying. In English, it has nothing to do with hearing. Its etymology is to till the earth in preparation for seed. Working with Mitsuko, all three of those things, those attitudes to rehearsing, are absolutely present.” Now imagine how they’ll sound in “Dichterliebe” and other Schumann works. JOSHUA BARONE

Alexandre Tharaud, April 18

This is, as always, a good season for piano recitals at Carnegie, with Vikingur Olafsson, Daniil Trifonov, Igor Levit and Jean-Yves Thibaudet all making solo appearances worthy of anticipation. But Mr. Tharaud’s program is particularly intriguing. It bridges the gap between the French Baroque — Couperin, Rameau and the more obscure composers Jean-Henri d’Anglebert and Joseph-Nicolas-Pancrace Royer — and the French early 20th century, with works by Ravel and Reynaldo Hahn that will benefit from this artist’s sensual grace. ZACHARY WOOLFE

Met Orchestra, June 10

It’s been many years since the great mezzo-soprano Waltraud Meier last sang at Carnegie, which makes her return with this superb ensemble — freed from its Lincoln Center pit after the opera season ends — a true event. Wagner’s lush “Wesendonck Lieder” is on the agenda, conducted by Semyon Bychkov, who fills out the evening leading Shostakovich’s “Leningrad” Symphony. ZACHARY WOOLFE

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Check out our Instagram Score-y today to learn about Shostakovich’s Symphony No. 5, which we perform tonight through Tuesday (5/22). Semyon Bychkov conducts the program and is your guide in this Score-y! #nyphil #nyphilharmonic #scorey #symphony #shostakovich #shosty5 #orchestra (at New York Philharmonic)

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FILARMÓNICA DE VIENA, GUSTAVO DUDAMEL Y YUJA WANG

CONCIERTO DE VERANO 2019

Sony Classical se complace en anunciar el lanzamiento del Concierto de Verano 2019 de este año con la Filarmónica de Viena, dirigida porGustavo Dudamel y la pianista Yuja Wang como solista. Sony Classical lanzará este concierto único en CD y formato digital el 5 de julio, y en formatos DVD y Blu-ray, el 26 de julio.  

El Concierto de Verano se realizó este año el 20 de junio de 2019. Es un evento anual al aire libre, que se lleva a cabo desde 2008. La serie anterior fue el "Concierto para Europa", que tuvo lugar desde 2004 hasta 2007. El mágico parque del Palacio de Schönbrunn en Viena, Austria, ofrece el escenario perfecto para el concierto, que es gratuito para todos los residentes y visitantes de la ciudad. Los ilustres directores que han dirigido anteriormente la orquesta en este evento son Georges Prêtre, Daniel Barenboim, Franz Welser-Möst, Valery Gergiev, Lorin Maazel, Christoph Eschenbach, Zubin Mehta y Semyon Bychkov.

Gracias a su ubicación declarada Patrimonio de la Humanidad por la UNESCO en el parque barroco de Schönbrunn con el palacio como telón de fondo, el Concierto de Noche de Verano añade así encanto visual a su excelente calidad musical. Este evento ofrece música clásica en su máxima expresión, accesible a un público amplio. Millones de espectadores y oyentes en más de 80 países pueden seguir el concierto en línea, en la televisión y la radio, y hasta 100.000 vieneses y sus invitados se reunieron en el Gran Parterre en el corazón del Parque Schönbrunn para el evento.

El programa del Concierto de la Noche de Verano 2019 de la Filarmónica de Viena se centró en la historia musical de los Estados Unidos de América: las obras que se escucharon este año se compusieron en o para los EE.UU., a la vez que mantienen vínculos con la tradición musical vienesa.

Gustavo Dudamel, director musical y artístico de la Filarmónica de Los Ángeles, es uno de los directores más premiados de su generación. Gustavo Dudamel, uno de los pocos músicos clásicos que realmente llegó al público general sin perder la más alta integridad musical, ha aparecido tres veces en el programa 60 Minutes de CBS y se le dedicó un especial de PBS, Dudamel: Conducting a Life. Hizo un cameo en la galardonada serie Mozart in the Jungle de Amazon Studio y, junto con los miembros de YOLA, se convirtió en el primer músico clásico que participó en el espectáculo de Medio tiempo de la Super Bowl en EEUU.

Dudamel ha sido director invitado habitual de la Filarmónica de Viena, también durante sus giras. Tocó con la orquesta por primera vez en 2007, regresó en 2010, y encantó a una amplia audiencia en el Concierto de Noche de Verano 2012 en Viena. Dos años más tarde, abrió la temporada 2014 en el Theater an der Wien y en la tradicional Semana Filarmónica de Viena en Japón ese mismo año. En 2017, fue el director más joven en dirigir el famoso Concierto del Día de Año Nuevo de la Filarmónica de Viena.

Gran defensor de la educación musical y el desarrollo social a través del arte, el propio Dudamel fue formado por su experiencia infantil con El Sistema, el extraordinario programa de educación musical inmersivo iniciado en 1975 por José Antonio Abreu. Al cumplir 19 años, como Director Musical de la Orquesta Sinfónica Simón Bolívar, Dudamel también lleva a cabo el trabajo de su último mentor con su compromiso continuo con El Sistema en Venezuela y ha apoyado numerosos proyectos inspirados en el Sistema en todo el mundo.

La pianista nacida en Beijing, Yuja Wang, es célebre por su talento, carisma y cautivadora presencia en el escenario. Surgió en la escena internacional en 2007 cuando reemplazó a Martha Argerich como solista con la Boston Symphony Orchestra. En 2017, Yuja Wang fue nombrada Artista del Año de Musical America.

La pianista se une a las giras de algunos de los conjuntos y directores más venerados del mundo. Esta temporada lo hace con la Boston Symphony Orchestra, bajo la batuta de Andris Nelsons, seguida por la Berlin Philharmonic Orchestra y Kirill Petrenko, así como la Munich Philharmonic y Valery Gergiev, a modo de ejemplo. También actuó con la Orquesta Filarmónica de Viena en Versalles en el centenario de la finalización de la Gran Guerra con un simbólico "Concierto por la Paz". En 2019, aparece como Artista en residencia en tres de los principales lugares del mundo: el Carnegie Hall de Nueva York, el Wiener Konzerthaus y también en la Filarmónica de Luxemburgo.

La tradición de 177 años de la Filarmónica de Viena se remonta a 1842, cuando Otto Nicolai dirigió un Gran Concierto con todos los miembros del "Teatro Hof-Opern" imperial. Este evento fue originalmente llamado "Academia Filarmónica" y es considerado como el origen de la orquesta. Desde su fundación, la orquesta ha sido dirigida por el comité administrativo, un órgano elegido democráticamente, que trabaja con autonomía artística, organizativa y financiera. Todas las decisiones se toman sobre una base democrática durante la reunión general de todos los miembros.

Repertorio del Concierto de Verano 2019

Yuja Wang piano Filarmónica de Viena

Gustavo Dudamel director

               Leonard Bernstein

1             Candide: Overture Allegro molto con brio

               Johann Strauss II

2             Jubilee Waltz*

               Jubiläums-Walzer

               George Gershwin

3             Rhapsody in Blue

               Orquestación: Ferde Grofé

               Max Steiner

4             Casablanca – Suite*

               Música de la película de Michael Curtiz

               John Philip Sousa

5             Stars and Stripes Forever

               Samuel Barber

6             Adagio para cuerdas

               del Cuarteto de Cuerdas, Opus  11

               Carl Michael Ziehrer

7             Sternenbanner-Marsch op. 460

               The Star-Spangled Banner March

               Antonín Dvořák

               Sinfonía No. 9 en mi menor “Del Nuevo Mundo” op. 95

               e-Moll »Aus der Neuen Welt« ·

8             IV.           Allegro con fuoco

Bises Aaron Copland Hoe–Down from Rodeo

Johann Strauß, Jr. Wiener Blut (Sangre de Viena), vals, op. 354

* Interpretada por primera vez en un concierto de la Filarmónica de Viena.

 THE SUMMER NIGHT CONCERT 2019:

http://www.sommernachtskonzert.at

FILARMÓNICA DE VIENA

Website / Facebook

GUSTAVO DUDAMEL

Website / Facebook / Instagram

YUJA WANG

Website / Facebook / Instagram

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Bloglet

Monday, April 22, 2019

Now there is an instrumental "Good Bless America" during the seventh inning stretch at Yankee Stadium.  Not that recording of Kate Smith belting it out.  Going back a bit...Ronan Tynan, one of the Irish Tenors, used to sing it (I think, often, in person).  But he was heard to say something about some prospective buyers at his condo.  ("I hope they're not Jewish.")  Why did he say this.  We've all said things we've later regretted but...   His duties at Yankee Stadium were discontinued.  Kate Smith sang  a song, way back when, that is now thought offensively racist.  (The title turns up in a Marx Brothers movie.  Groucho says it. But still that movie is shown. As for the song, Paul Robeson sang it so it must have been a standard.)  A big garbage bag was put over Ms. Smith statue (in Philadelphia? wasn't the same recording played at Philadelphia Flyers games?).  "God Bless" is still performed but without singing.  Performed, I think, on an organ.  This memory: In my years with the Pride of the Southland Band we often played "Dixie" when  the Vols scored a touchdown. 

Tuesday, April 23, 2019

Three extremely accomplished mallet percussionist died within a few days of each other.  Dave Samuels (of Spyro Gyra fame), Jack Jennings, and Dave Carey. Jack and Dave were big names in the jingle era.  Of the three I only got to know Dave Carey. He was a great musician and a lot of fun to be around. 

Wednesday, April 24, 2019

Morning.  Open rehearsal of N Y Phil at Geffen Hall.  Semyon Bychkov conducting.  Two works, one of them a N Y premiere.  Brahms Fourth and Thomas Larcher's Symphony No. 2, subtitled "Kenotaph."  Larcher's piece is said to be a response to the immigration of Syrian and Iraqi refugees of 2015. It is one of the most difficult pieces I've ever heard. I didn't get it but  don't think a layman like me could be helped along by a second hearing.  I'll have to wait to read what the reviewers have to say about it.  So...two symphonies, one with a story and one without.  The Brahms was wonderful. (Masterful, ageless, etc.)  It was programed first, not on the evening program but for the morning rehearsal.  Some people crept out during the Larcher. 

Afternoon.  A meeting at the Union regarding what used to be called the freelance orchestras.  Over the years the ones that have survived have  acquired contracts and rosters. If you weren't on the roster when the contracts came into being you were out of luck.  The list of orchestras grows ever smaller as these ensembles either go under or are scaled down to chamber music size. It cannot be called a joyous occasion but it is good to see some old friends.  (As we talk about all the groups that have gone under [I was part of several of them] a phrase springs to mind: Saying Kaddish.)

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The New York Philharmonic gave the American premiere of Thomas Larcher’s Symphony No. 2, “Kenotaph,” with Semyon Bychkov conducting.

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The New York Philharmonic gave the American premiere of Thomas Larcher’s Symphony No. 2, “Kenotaph,” with Semyon Bychkov conducting.