La Scena Online is the digital magazine of La Scene Musicale.Contents: News, Concert reviews, CD reviews, Interviews, Obituaries, etc; Editor: Wah Keung Chan; Assistant Editor: Andreanne Venne
ISSN: 1206-9973
The Orchestre Classique de Montréal (OCM) announces the departure of its Artistic Director and Principal Conductor, Maestro Jacques Lacombe.
In the early days of long-playing records, a man in a suit at EMI realised that the Grieg and Schumann concertos were half an hour long, in the same key of A minor and would fit on either side of a plate of shellac without requiring fillers.
Picture this: a cool summer breeze carrying the soothing scent of lavender through the air, warm sunlight sinking into your skin, and the captivating sounds of Argentinian tango performed by a cello and guitar duo.
Toronto Summer Music opened its 2024 festival in the most grand, celebratory manner possible with the local premiere of Les Arts Florissants’ production of Henry Purcell’s The Fairy Queen.
Unlike elements in Beijing who had him arrested on phony morals charges, I have never wavered in my belief that Yundi Li is the most interesting and original pianist to emerge from China.
Composers have learned not to mess with Beethoven. Fewer variations have been written on themes by Beethoven than on any other master’s work.
What small labels do best is backing the owner’s hunches. BIS in Stockholm produced symphonies by Alfred Schnittke when he was unheard outside Russia. Hyperion in south London resurrected 19th century piano concertos. Cedille in Chicago backs off-beat US composers. Manfred Eicher’s ECM in Munich is the engine behind Arvo Pärt, Giya Kancheli and Chick Corea. These labels are often thelion kings of classical recording. We owe the rediscovery of Mieczyslaw Weinberg, a Polish refugee in Soviet Russia, to a father-son team in Colchester, England, operating from a mobile recording unit. Their company, Chandos, released its first Weinberg recording around…
I have no problems with impressionism. It’s what French artists do off the cuff when they can’t be bothered with sketches, what French composers do in a wishy-washy mood. So Debussy, so easily recognised. Expressionism is another matter. A parallel 1900s movement of poets and painters who liked to let it all hang out, it was associated in music chiefly with Schoenberg and his disciples, three of the most buttoned-up composers you could ever wish to avoid. It is supposed to convey ‘powerful feelings’, as if Bach and Handel hadn’t done it better. Schoenberg’s paintings were also deemed ‘expressionist’. The…
It is not everyday that Toronto experiences the world premiere of a new opera. What makes Aportia Chryptich even more special is its quintessential Canadian connection.
Lukas Foss was a classmate of Leonard Bernstein’s at the Curtis Institute and a lifelong friend, though never an equal. While Bernstein blazed to national glory in his annus mirabilis of 1944, Foss was quietly composing his first symphony in the bucolic tranquility of the MacDowell Colony. His Curtis teacher Fritz Reiner premiered the symphony in Pittsburgh a year later but without wider acclaim. Foss’s Americana style sounded both dated and derivative. Aaron Copland did this stuff so much better, and a decade sooner. Foss also composed three ballets that year, but he lacked Bernstein’s On the Town recklessness and…
