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NAC Orchestra Kicks off the Season with Beethoven Festival, Performs all 9 Symphonies

By Newswire on 9 August 2018 Arts Industry, Newswire, Orchestral

The annual FOCUS Festival presents the Beethoven edition, a 10-day immersive classical music experience with concerts and free events such as musical salons, piano marathons, talks & more. Thursday, August 9, 2018– OTTAWA (Canada) – The NAC Orchestra FOCUS Festival’s Beethoven edition opens on Thursday, September 13th, 2018 and runs until Saturday, September 22nd, 2018 at the NAC. Over the course of 10 days, NAC Music Director Alexander Shelley brings to light the creative musical genius of Beethoven the composer, whose work irrevocably changed classical music and bridged the Classical and Romantic Eras. “Beethoven is known around the world as…

Emilie LeBel joins the TSO as Affiliate Composer

By Newswire on 9 August 2018 Arts Industry, Newswire, Orchestral, Toronto

August 8, 2018: The Toronto Symphony Orchestra (TSO) and Interim Artistic Director Sir Andrew Davis proudly announce that Canadian composer Emilie LeBel has been selected as the TSO’s new Affiliate Composer. Described as having a “deft compositional hand, unwilling to hurry ideas,” and a style that is “impressively subtle and sensuous,” Emilie LeBel specializes in concert-music composition focusing on textural landscapes, resonance, and variances in colour. The Affiliate Composer position is the most significant and prestigious opportunity for an emerging composer in Canada, as it provides a chance to compose two works for one of the country’s finest orchestras, allows…

Looking Back on the 41st Season of Festival de Lanaudière

By Newswire on 8 August 2018 Newswire, Orchestral, Piano

Joliette, August 7, 2018 – It was in the full heat of summer that the 41st season of Festival de Lanaudière concluded Sunday. To the delight of festival-goers, however, the performance by Orchestre Métropolitain (conducted by Yannick Nézet-Séguin with soloist Marc-André Hamelin) was more than refreshing! The concert featured Dmitri Shostakovich’s Piano Concerto No. 2 and Symphony No. 7, “Leningrad”. With his usual flamboyance, Nézet-Séguin masterfully led his orchestra to a grandiose finale. This year, the Festival’s Artistic Director Gregory Charles built the Festival program around the evocative theme “All is fair in love and war”, giving audiences at the…

The Ukrainian Dmytro Choni has won the first prize and golden medal of the 19th Paloma O’Shea Santander International Piano Competition

By Newswire on 6 August 2018 Arts Industry, Music Competition, Newswire, Piano

Santander, August 5th 2018.- This evening has been held the Closing Gala and Awards Ceremony of the 19th Paloma O’Shea Santander International Piano Competition. The event has been attended by the President of the Government of Cantabria, Miguel Ángel Revilla; the Mayoress of Santander, Gema Igual; and the President of the Albéniz Foundation and of the Santander Piano Competition, Paloma O’Shea. The Gala, presented by Eva Sandoval, has begun with the six finalists’ performance of Khachaturian’s “Sabre dance” (arrangement by Walden Hughes for 2 pianos and 12 hands). After Mrs. Paloma O’Shea’s brief speech, Miguel Ángel Revilla has handed in…

Muzio Clementi: Keyboard sonatas (Naxos)

By Norman Lebrecht on 3 August 2018 Baroque and Early, Lebrecht Weekly, Piano

The problem with Clementi is that there are no standout works. Where most famous composers write a couple of pieces that are gripping enough to be an entry point to their output, the London-based Italian just wrote and wrote more and more sonatas at roughly the same level of invention, leaving the new listener no idea where to start. Opus 33, published by Longman and Broderip in 1794, is not a bad door-knocker. Clementi employs many of the same devices as Mozart – a seductive melody, a secondary detour and several strong teases before he delivers a resolution. There’s nothing…

A scene from DEMON by Anton Rubinstein; Bard SummerScape; photo by Stephanie Berger.

Rubinstein’s Demon Lover Stalks Bard SummerScape 2018

By Charles Geyer on 2 August 2018 Classical Music, Interviews, La Scena Online, La Scena Spotlight, Opera, Romantic, Vocal, World Music

REVIEW: of the 2018 Bard SummerScape production of Anton Rubinstein’s 1871 opera Demon; and INTERVIEW: with Dr. Leon Botstein (American Symphony Orchestra founder and SummerScape festival artistic director). A warning to all princes of the Caucasus – lock up your daughters! The devil is on the prowl, and he’s feeling amorous. Russian composer Anton Rubinstein’s 1871 opera, Demon, weaves a fascinating yarn of ultimate forbidden love. Based on an earlier, censored poem by Russian poetic genius Mikhail Lermontov, a demon (depicted as the very model of the proud, lonely, passionate Byronic tragic hero) finds himself smitten by the beauty of…

Alan Doyle joins Sun Life Financial at the official launch of the Sun Life Financial Musical Instrument Lending Library program at AC Hunter Public Library in St. Johns, Newfoundland (CNW Group/Sun Life Financial Canada)

Sun Life’s popular Musical Instrument Lending Library program expands to the Newfoundland and Labrador Public Libraries

By Newswire on 31 July 2018 Education, Newswire, Orchestral

ST. JOHN’S, July 31, 2018 /CNW/ – Atlantic Canada continues to expand its musical horizons as the Newfoundland and Labrador Public Libraries has become the latest library on the East coast to join the Sun Life Financial Musical Instrument Lending Library program. Newfoundland native Alan Doyle, actor, producer, best-selling author, and best-known as lead singer for Newfoundland’s beloved Great Big Sea for 20+ years was on hand to help announce the new program. St. John’s is the third city in Atlantic Canada and the tenth in the country to join the Musical Instrument Lending Library program, allowing St John’s area residents the opportunity to borrow…

Met Opera Appoints Matthew Rose as Artistic Consultant to the Lindemann Young Artist Development Program

By Newswire on 31 July 2018 Arts Industry, Newswire, Opera

New York, NY (July 31, 2018) – Matthew Rose has been appointed as the Artistic Consultant to the Metropolitan Opera’s Lindemann Young Artist Development Program, the company’s elite program for artists on the cusp of international opera careers. An acclaimed bass, Matthew Rose has sung at leading opera houses around the world, including the Met, the Royal Opera, Covent Garden, Lyric Opera of Chicago, Deutsche Oper Berlin, and English National Opera. He is an advisory member of the Mahler Foundation and has coached young singers at the National Opera Studio and the Britten-Pears Young Artist Program. In his new role,…

Opera Singers website launches courses for ignored voice type

By Newswire on 30 July 2018 Arts Industry, Education, Newswire, Opera

A jobs & auditions website for opera singers has moved into providing courses for a group of artists traditionally poorly catered for in skills trainings and courses – dramatic singers. In early June this year The Opera Stage put on its first Summer Course for Dramatic Voices in Berlin. The one-week course was taught by pianist/coach Caroline Dowdle (Britten Pears School, Verbier International Music Festival, Royal Opera House Jette Parker Programme). Usually summer and short courses focus on lyric voices, due to the fact that a far greater proportion of young singers fit into these categories. The Opera Stage course allowed larger voiced singers a chance to come together and work intensively on their…

Haydn: Cello concertos (Pentatone)

By Norman Lebrecht on 27 July 2018 Baroque and Early, Lebrecht Weekly, Strings

There’s a debate going on among agents as to whether it is better for an artist to have an exclusive record contract or to work across several labels. Alisa Weilerstein, who has made outstanding recordings of the Elgar, Dvorak and Shostakovich concertos for Decca, has now popped up on a Dutch label with the two Haydn concertos and Schoenberg’s Transfigured Night. Pentatone is a terrific label, run by former Philips professionals. This ought to be a top-drawer recommendation. Why it isn’t is a matter of some perplexity. Weilerstein dispenses with a conductor for these pieces, which is not unusual. But…

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