Could you recommend a recording of Schubert's Sonata for Arpeggione, but with viola instead of cello? I have the britten/rostropovich and martha argerich/ mischa maisky versions. Thank you!Anyone have suggestions? I've heard the Arpeggione on record only, with cello, not recently, and don't know a thing about recordings of it.
Tuesday, June 30, 2009
Saturday, June 27, 2009
The Los Angeles Times praised Adrianne Pieczonka's role debut as Tosca with Los Angeles Opera in 2008 as "radiant," noting that "she sang with effortless purity and impeccable taste."Uh-oh. Radiance, and even purity, I can deal with, but impeccable taste? Tosca's not the Countess Almaviva, after all; what I want to hear is little filth, and some willingness on the part of the soprano to get down and dirty with the music and the role. It's melodrama, for crying out loud.
Friday, June 26, 2009
Thursday, June 25, 2009
- Governor Mark Sanford of South Carolina goes down, down, down, to Argentina and then in disgrace. "Hiking the Appalachian trail," right.
- Senator John Ensign of Nevada, active in the Promise Keepers earlier in his life, also had an affair, with a former staff member.
Wednesday, June 24, 2009
Monday, June 22, 2009
Sunday, June 21, 2009
Friday, June 19, 2009
Thursday, June 18, 2009
Verdi's audience favorite Il Trovatore features intense action and an all-star cast led by Dmitri Hvorostovsky.
- Buffy Baggott and Marnie Breckenridge, Scene 2
- Buffy Baggot and the chorus, Scene 4
- John Minagro, Marnie Breckenridge, and the chorus, Scene 12
- Caliban Dreams, an opera with libretto by Amanda Moody. The composer and librettist are in discussions with Berkeley Opera and the 6th St. Playhouse in Santa Rosa for a 2011 premiere. Caliban Dreams will feature tenor John Duykers.
- The Machine, an opera with libretto by Mark Streshinsky, planned as a January, 2011 premiere at The Crucible in Oakland, and featuring bass Kenneth Kellog, whom you may have seen at San Francisco Opera in the last couple of years.
- A musical in development with playwright Tanya Barfield, about the black revolutionary movement of the 1960s.
Wednesday, June 17, 2009
Today's Google logo should eventually be on permanent display here.
Bonus clip: Stravinsky conducting sometime in the 1920s. Silent footage with the orchestra in cramped quarters. The composer made some records in the 20s and 30s with the Walter Straram Orchestra; could this footage be from one of those sessions? Do you have any idea what the work might be?
Tuesday, June 16, 2009
- San Francisco Classical Voice, covering the Bay Area
- Boston Musical Intelligencer, under the leadership of Robert Levin
- Chicago Classical Review, looking at the Chicago music scene
- artscriticATL, in Atlanta
- South Florida Classical Review, in S. Florida
- NewMusicBox, covering the new music scene
- Sequenza21, which is so huge it seems like more than an umbrella for composer blogs.
June 21, 2009
Chapel of the Chimes
4499 Piedmont Avenue
5 p.m. to 9 p.m.
Admission is $15 general, $10 students and seniors, $5 kids under 12 (kids under 5 are free). Tickets available from www.brownpapertickets.com.
For information, contact New Music Bay Area at email@example.com or call Allison at (510) 228-3207.
Read all about it here.
On June 29 and 30, fourteen Boston Symphony Orchestra musicians, several of their family members, and six staff members will run the 150 miles between Symphony Hall in Boston and the Main Gate of Tanglewood in Lenox, to mark the beginning of the 2009 Tanglewood season, which opens with an all-Tchaikovsky program led by BSO Music Director James Levine on Friday, July 3. BSO bassist Todd Seeber and BSO violinist James Cooke, both longtime runners, conceived of the Run to Tanglewood.At 2 p.m. on June 29, Todd Seeber, introduced by a brass fanfare and starter pistol, will lead several runners from the Symphony Hall Stage Door on the first leg of the run. The run will continue over 32 legs, each between 3.5 and 6 miles, and will arrive at the Tanglewood Main Gate at approximately 1:15 p.m. on June 30, in anticipation of the first BSO rehearsal at Tanglewood on July 1 and the opening night program on July 3. Each leg will be run by one to four participants. The average run pace will be 6 miles an hour or 10-minute miles.The Lenox community will be invited to Tanglewood to cheer the runners on the final leg of the run from the Tanglewood Main Gate to the Tappan House on the Tanglewood grounds. “Being avid runners ourselves and knowing several other orchestra musicians who love running as much as we do, Todd Seeber and I thought it would be incredibly fun to organize a relay run from Symphony Hall to Tanglewood as a unique way to bring attention to the opening of the 2009 season,” said James Cooke, BSO violinist. “We’re thrilled that the staff agreed and that a few of them will be joining us for the race. With friends and family sponsoring us, we also hope to raise a few funds for the BSO.”For further information about the run or to sponsor a runner, visit tanglewood.org/relay.
Monday, June 15, 2009
Friday, June 12, 2009
Episode One: With Symphonie fantastique, Hector Berlioz confessed his unique artistic vision. It was a symphonic love letter, part psychological self-portrait, part fantasy about the life of an artist, and it expressed his passion for a beautiful woman. Michael Tilson Thomas searches for the inspirations of Berlioz and his music, from his roots in the French Alps to the theater in Paris where the work was premiered, and reveals the musical secrets of this greatest of Romantic symphonies.
Episode Two: American composer Charles Ives created his Holidays Symphony as a haunting sonic portrait of New England at the turn of the 20th century, at turns sentimental and chaotic. Michael Tilson Thomas explores the riddle of Ives the loyal son and businessman versus Ives the musical maverick who made listeners confront their understanding of what music could be. Filmed on location in New England and New York City.
Episode Three: The Fifth Symphony of Dmitri Shostakovich is the story of a fall from grace and redemption. Shostakovich was the golden boy composer until, virtually overnight, his patriotism was questioned and condemned in the most public way possible. Written in 1937 in Stalinist Russia, the Fifth Symphony marked his triumphant return. But the question remains: what did the composer mean to say with this enigmatic music? In scenes filmed in St. Petersburg and Moscow, Michael Tilson Thomas and the San Francisco Symphony offer clues to unlocking Shostakovich’s musical secrets and make the case for how this symphony may have saved his life.
More at Keeping Score.
Thursday, June 11, 2009
THE REVENGE OF THE DEAD INDIANS:
In Memoriam John Cage
a composed film
Monday, June 15, 2009
Sundance Kabuki Cinemas
1881 Post Street, San Francisco, California
This celebration of John Cage's work, influences, and thoughts is neither a feature film nor a documentary: footage of Cage and performances of his music are assembled together with 42 personalities, from well-known artists to market vendors and street cleaners, "found" video and audio landscapes, and theatrically directed readings. The result is an unexpected and fascinating combination of intellectual thought, viewpoints, and opinions.
This one-time film screening, a benefit for Other Minds, includes complimentary beverages and hors d'oeuvres and a chance to hear well-known figures such as Noam Chomsky, Merce Cunningham, Frank Gehry, Ellsworth Kelly, Yoko Ono, and Frank Zappa pay tribute to John Cage.
Seating is general admission. Tickets are available on a step-scale at $15, $25, and $50.
Directed by Henning Lohner
Music: John Cage
Cinematographer: Van Carlson
Length: 129 min
Trailer and Details: http://www.otherminds.org/shtml/Deadindians.shtml
Buy Tickets Now: http://www.brownpapertickets.com/event/67527
View the trailer right here:
Wednesday, June 10, 2009
Monday, June 08, 2009
- Missy Mazzoli, quoted in the Times: “So many composers would write for orchestra at the drop of a hat,” Ms. Mazzoli said. (She has a commission from the ISCM for the League of Composers' new orchestra.)
- Kyle Gann, writing at PostClassic: "I'm not one of the composers who's allowed to write for orchestra much, so I don't teach orchestration." He elaborates on what he means by that, but I gotta say, I hear real differences among "I'm not allowed," "I don't get the commissions others do," and "I'm not going to write for orchestra on spec because I think it'll never be performed." There's also the little matter of his claim that a composer needs to be on the orchestral commission track by grad school. It'd be interesting to track the last decade's worth of new-music commissions in US orchestras and see who is getting commissioned. Also up for discussion, at least in my book: were both Elliott Carter and John Adams on that track in grad school?
Thursday, June 04, 2009
Tuesday, June 02, 2009
- Illness, such as the late Lorraine Hunt Lieberson's withdrawal from Doctor Atomic
- Change in the role's requirements, per this press release about how Richard Paul Fink replaced Friedemann Roehlig in Doctor Atomic (Reading that press release now, one wonders about it.)
- Unprepared artist. A tenor turned up in San Francisco a few years ago for Don Carlo without having learned the part in French. Hello? Didn't you and your agent read the contract?
- Artistic differences/singer doesn't get along with director/singer hates role requirements/director doesn't like singer.