Browsing: La Scena Online

“FEAST OF VOICES” Beethoven-Bruckner: Piano Sonata No. 8 in C minor Op. 13 “Pathétique” (lst movement) Vaughan Williams: Flos Campi Mahler-Britten: Symphony No. 3 (2nd movement) Bruckner: Te Deum Bruce Williams, viola Julia Taylor, soprano Claudia Chapa, mezzo-soprano Brian Yeakley, tenor Charles Evans, baritone Chorus Austin (Ryan Heller, director) Austin Symphony/Peter Bay Long Center for the Performing Arts Austin, TX October 7, 2017 In his opening remarks, conductor Peter Bay informed the audience that they were about to hear only the second performance ever of Anton Bruckner’s orchestration of the first movement of Beethoven’s “Pathétique” Sonata, making this a U.S.…

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Noa Wildschut, Mozart Yoram Ish-Hurwitz, Gordan Nikolić, Netherlands Chamber Orchestra Warner I’m about to break an iron rule and review a kid playing the violin. And, no, I haven’t given in to peer pressure, though there has been plenty of it from the London agency that signed her at 15, and the record label that followed up. The kid’s 16 now, old enough to take a bit of criticism and interesting enough to warrant adult consideration. Noa Wildschut first appeared on Dutch television at six years old and at the Concertgebouw a year later. The child of two string players…

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COMMUNIQUÉ DE PRESSE POUR DIFFUSION IMMÉDIATE Stingray Classica, la plus importante chaîne télé consacrée à la musique classique, désormais offerte par Vidéotron Montréal, le 4 octobre 2017 —Stingray (TSX : RAY.A; RAY.B), un chef de file des services musicaux multiplateformes interentreprises, a annoncé plus tôt aujourd’hui l’arrivée au pays de Stingray Classica, la destination télévisuelle consacrée à la musique classique la plus prisée au monde. Les abonnés Vidéotron seront les premiers téléspectateurs au Canada à pouvoir profiter des meilleurs concerts de musique classique, opéras et ballets filmés dans des établissements de renom, ainsi que de 50 premières exclusives par année. Stingray Classica est…

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What you miss: A great performance by the polyvalent mezzo Marie-Annick Béliveau as she explored with sounds that go from raspy-bluesy to classical to flat out screaming. Saxophonist Jean Derome also showed a big palette of colours and nuances. The music will please any fan of experimental sounds and dissonant harmonies. For those expecting an opera in the traditional sense, be warned, this is more of a song cycle with staging. The sense of the piece seems to be more to explore ways of expressing love than the search of beauty. Grapes: If you’re not a contemporary music lover and instead enjoy…

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Download/Téléchargez PDF Sommaire / Contents 6     José Evangelista 11   Éditorial 12   Nouvelles de l’industrie 14   Le Quatuor Molinari fête ses 20 ans 15   Le Centre de musique canadienne au Québec 16   La relève / Rising Stars Ballet-Opéra-Pantomime Marc Djokic Jean-Michel Dubé Zoltán Fejérvári Jean-Philippe Fortier Lazure Felix Hong Victor Julien-Laferrière Kirsten Mackinnon Simone Mcintosh Joshua Morris Kelly-Marie Murphy Blake Pouliot Yekwon Sunwoo Zhan Hong Xiao 23   Gregory Charles 24   Guide des concours 26   Élections 28   Gregory Dahl 29   Raphaëlle Paquette 30   Sopranos canadiens 31   Lois Marshall 32   Magda Olivero 35   Ilya Poletaev 36   L’opéra bouffe du…

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Alexander Scriabin: 2nd symphony and piano concerto Kirill Gerstein, piano Oslo Philharmonic, Vasily Petrenko, conductor Lawo classics LWC113 Total duration 01:16:33 What did Alexander Scriabin have in common with Donald J. Trump? Small hands, that’s what. Scriabin’s 1897 piano concerto was an instant hit with similarly endowed artists, although it also won approval from Sergei Rachmaninov, whose mitts were mega-sized. Despite these contemporary endorsements, it has hovered ever since on the repertoire fringes. That may be due to uninspiring first movement, all meander and no meat. But the succeeding andante has one of the most memorable tunes in any piano concerto, as compelling…

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A Handel mash-up and an international co-production comprise AtG’s most expansive season to date TORONTO – Against the Grain Theatre (AtG) returns in its eighth season with BOUND, a pastiche workshop of new interpretations of Handel’s music, and a groundbreaking new production of Berlioz’s arrangement of Glück’s Orphée. AtG’s acclaimed #OperaPub nights return as a monthly fixture at the Amsterdam Bicycle Club, and the company collaborates with Canadian baroque-pop artist Kyrie Kristmanson at the Alliance Française in Toronto. In addition, AtG enters its second season as company-in-residence at the Canadian Opera Company (COC). This December, Artistic Director Joel Ivany and Music Director…

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PREVIEW: of the world premiere of Cerise Lim Jacobs’ new opera REV. 23 (music by Julian Wachner), at Boston’s John Hancock Hall – September 29 at 7:30 p.m.; September 30 at 7:30 p.m.; and October 1 at 3 p.m. Boston-based librettist and myth-maker Cerise Lim Jacobs has an imagination that literally knows no bounds, as amply demonstrated by her newest work, the opera REV. 23, which is set to premiere in Boston this weekend and take audiences on an adventure beyond the End-of-Days. Revving for Take-Off The title, REV. 23, is a shorthand formation designating a chapter of the Bible…

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Editorial or Programming Intern La Scene Musicale Location: Montreal, Quebec Posted: September 26, 2017 Deadline: October 1, 2017 Salary: $12/ hr Young Canada Works: Must be less than 30 years old, Canadian, was a full-time student in Winter 2017 with the intention of returning to full-time studies in Winter 2018. Description Assisting the Editor in chief in his duties; Taking part in all tasks related to the preparation and publication of an arts magazine; Taking part in all editorial and production meetings; Working on production of editorial content under the editor’s supervision; Performing an array of writing and production related tasks; Updating magazine website and…

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When Pierre Boulez became music director of the New York Philharmonic in the 1970s, he refused to conduct Mozart, inserting Haydn instead. It did no good for Haydn. The Mozart lovers deserted in droves, while the cerebral types that Boulez hoped to attract were dismayed to find just as much frivolity in Papa Haydn as in the trivial Amadeus. Haydn’s reputation has taken years to recover. The instant appeal of this recording is that it contains not just two well-known Haydn concertos but three extra pieces that complement and contextualise them. The second benefit is that Steven Isserlis’s performance with…

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