Tuesday, December 6, 2016
From tonight, the Vienna Opera will be streaming in ultra-high definition. press release: New dimension of WIENER STAATSOPER live at home: La traviata in new HDR image mode for first time on 29 November Today, Tuesday, 29 November 2016, the WIENER STAATSOPER’s live at home programme will be broadcasting Giuseppe Verdi’s La traviata for the first time ever as a live stream in UHD quality using the new HDR image mode, making it possible to achieve an unprecedented picture quality. The opera features a star-studded cast, with Marina Rebeka in the title role, Charles Castronovo as Alfredo, Dmitri Hvorostovsky as Giorgio Germont, all under the musical direction of maestra Speranza Scappucci. HDR stands for “high dynamic range” and represents the latest revolution in television, making for even brighter, high-contrast images with greater depth of colour and a sharper picture. The new technology enhances areas of the image that were previously either too dark or too light. “This new technology opens up a new dimension for us. Particularly in opera, we are very often faced with dark backgrounds and brightly illuminated singers and stage scenery in the foreground. The human eye has no problem with this, and can see as much of the detail in both bright and dark areas. HDR now makes it possible to broadcast operas and ballets with the original lighting envisaged by the stage director without compromising the TV pictures or using additional TV lighting disturbing to the audience. Thus HDR delivers a whole new, fantastic quality at several levels! And we are delighted that we have once again been able to introduce a cutting-edge innovation in co-operation with Samsung,” explains Dominique Meyer, Director of Vienna State Opera. Samsung, technical partner to the Wiener Staatsoper, has integrated this new image standard in its complete current SUHD TV and UHD TV range. An HDR-enabled Samsung TV set is required in order to be able to receive La traviata in HDR. “We have established yet another milestone in the development of streaming technology with the new UHD live stream in HDR mode. Samsung not only offers terminal equipment for this new standard, but also high-quality content in collaboration with the Wiener Staatsoper. The opera experience is transmitted to TV screens around the world not only with high-fidelity sound, but also in optimal visual quality,” says Sunghan Kim, Managing Director of Samsung Electronics Austria.
Royal Opera House, London Anita Rachvelishvili is a thrilling Azucena and Richard Farnes brings emotional subtlety to the score, but David Bösch’s production is patchyNow in its first revival, David Bösch’s production of Il Trovatore relocates Verdi’s great examination of factionalism and infanticide to a modern, if unspecified, war zone. The transposition suggests an intention to take the work seriously rather than treat it as melodrama, and there are, indeed, unsettling scenes involving the humiliation of prisoners by soldiers that resonate with events in recent conflicts. Continue reading...
Najmiddin Mavlyanov and Maria Agresta in Il trovatore, The Royal Opera © 2016 ROH. Photograph by Catherine Ashmore The @RoyalOperaHouse Orchestra responded wonderfully well to Richard Farnes tonight. Many more collaborations please. #ROHtrovatore — Mark Valencia (@MarkValencia) December 4, 2016 @TheRoyalOpera #ROHtrovatore Some changes to this revival? No love birds? It seemed much bleaker this time. @AnitaRachveli was thrilling. — seneca (@seneca2008) December 5, 2016 Anita Rachvelishvili as Azucena was the pick of an otherwise underwhelming cast. January’s principals look better on paper #ROHtrovatore — Thomas Corrie (@didymuscoombe) December 4, 2016 Najmiddin Mavlyanov and Maria Agresta in Il trovatore, The Royal Opera © 2016 ROH. Photograph by Catherine Ashmore Even with her powerful singing she couldn't save tonight performance @TheRoyalOpera #ROHTrovatore pic.twitter.com/GCuAjZBX1N — Emad Sultan (@docculture) December 4, 2016 Thank you @Maria_Agresta and @AnitaRachveli for honouring Verdi #ROHtrovatore pic.twitter.com/OOgDPPlk3W — Aymeric Lavin (@AymericOpera) December 4, 2016 An incandescent @AnitaRachveli setting this #ROHtrovatore ablaze. Brava! pic.twitter.com/0oW8pi3xkm — Andrés Rial (@AJRG0) December 4, 2016 Il trovatore, Royal Opera House © 2016 ROH. By Clive Barda David Bösch production #ROHTrovatore irredeemably bad stand and deliver except with 2 exceptions cast don't deliver. TenorBaritone — John Johnston (@JohnVecchio) December 4, 2016 @RoyalOperaHouse #iltrovatore was fireworks. THAT LAST ACT!!! oh boy — Nathan Ellis (@Nathanana) December 5, 2016 @joshspero Il Trovatore. Loving it so far. Azucena's got a right set of lungs on her! — deborah (@dlsmithies) December 4, 2016 Press reviews: The Stage ★★★ Bachtrack ★★ What did you think of Il trovatore? Let us know via the comments below. Il trovatore runs until 9 February 2017. Tickets are still available. The production will be broadcast live to cinemas on 31 January 2017. Find your nearest cinema .
The Herald inaugurates today a new era of weekly Friday appearance and it will continue to cover the relevant news in classical music: opera, ballet and concerts. This first review concerns (paradoxically) the last concerts of the Mozarteum Argentino´s season. As it has done in some earlier years, it said goodbye with masterpieces of the choral-symphonic repertoire, in this case presented by two Berlin visitors: the Rundfunkchor (Radio Choir) and -curiously with an Italian appellation- the Orchestra L´Arte del Mondo. It is a pity that this review only covers the first of the two different programmes, but as will be apparent to readers, this is due to the clash of the second (Tuesday) concert with no less than the Bach great Mass at another venue. On Monday the Colón heard Brahms´ "A German Requiem" ; on Tuesday the "pièce de résistance" was Mozart´s Requiem, and as it lasts one hour, it was heard preceded by a Brahms motet, "Warum ist das Licht gegeben" ("Why is light given") and a curious a cappella arrangement of Mahler´s Adagietto from the Fifth Symphony. The Rundfunkchor was founded in 1925 and has had an important trajectory; its current Director (since last year) is Gijs Leenaars, born 1978 in Nijmegen, Holland, succeeding a famous choral specialist, Simon Halsey. L´Arte del Mondo is much younger; it was founded by Werner Ehrhardt in 2004. As they came in this tour, the choir lists 51 singers, among them the two soloists we heard, soprano Anne Bretschneider (a native Berliner) and baritone Artem Nesterenko (born 1989, Novosibirsk), whose surname is the same as that of a famous bass heard at the Colón in 1982. And the orchestra came with 53 players (among them Ehrhardt as violinist, he is generally conductor) plus two invited BA musicians (tuba, harp). Leenaars conducted. Brahms´ very particular Requiem lasts about seventy minutes and discards the habitual text used by Mozart or Verdi, for it uses versicles from the Old and the New Testaments in the Luther translation; "German" simply because Brahms uses that language. Brahms was incited by both Robert Schumann and his wife Clara Wieck to write a requiem, though they didn´t imagine it would be so original. Also, its progress wasn´t linear; e.g., the second of its seven parts was the reelaboration of a movement from a two-piano sonata that was never finished; other five parts were written later, and the work had a first première in three parts in Vienna (1867) and in six in Bremen (1868); later he added the lovely part with soprano, and it was only in 1869 that the whole score was heard at the Leipzig Gewandhaus. It was soon recognised as a masterpiece and both in length and quality his most valuable contribution to the choral-symphonic repertoire. In 1869 he was 35 and had already written such major works as the First Piano Concerto and the First Sextet. In modern times there has been a plethora of marvelous recordings (Karajan, Klemperer, Sinopoli, et al) and the work has been done quite often in our city; sample: between 1955 and 1968 the Asociación Wagneriana, then a basic institution, presented it three times with its own choir and orchestra. Since that already remote time, it has lost none of its attraction. This year it was offered in BA at the Auditorio de Belgrano (conductor Domínguez) and at La Plata´s Argentino (Vieu). It is a work that shows Brahms´ best qualities: sustained melodic inspiration, sensitivity to the meaning of the words (from the Psalms, epistles of Paul and Peter, Revelation, Isaiah, Matthew, St.James, Proverbs), total counterpoint mastery, an unerring sense of contrast. There´s not a banal or weak moment though it requires total concentration from artists and audience, for it is tryingly dense. The music goes from consoling and serene to stark and granitic, and requires very firm intonation both orchestral and choral. The version we heard was honorable and at times more than that, but it had flaws at various points. I found the choir more even in their performance than the orchestra, who had some maladjustments and doubtful attacks. The speeds were correct but at times the necessary tension wasn´t achieved. The solo singers were musical and pleasant, though the parts can be sung with more personality. And Leenaars, although well-schooled, isn´t yet commanding enough for such powerful music. For Buenos Aires Herald
I am very fond of music for wind instruments. There is some great music composed for the Oboe by many composers such as Mozart. And Albrecht Mayer has been playing principal Oboe for the Berlin Philharmonic for many years, as well. Now we have a new recording that features Mr. Mayer’s artistry. The album is called ‘Vocalise’, and the selections are as listed below: Bach, J S: Magnificat in D major, BWV243: Esurientes implevit bonis, arr. Andreas N. Tarkmann Sinfonia Varsovia Debussy: Clair de Lune (from Suite Bergamasque), with the Academy of St Martin in the Fields Fauré: Pavane, Op. 50, with the Academy of St Martin in the Fields Hahn, R: A Chloris, with the Academy of St Martin in the Fields Handel: Trio Sonata, HWV 393 in G minor, with Jakub Haufa (violin), and Monika Razynska (harpsichord) Lascia ch’io pianga (from Rinaldo), with the Sinfonia Varsovia Sarabande from Suite in D minor, HWV437 Solomon: Will the Sun Forget to Streak? Verdi prati (from Alcina) Humperdinck: Abendsegen ‘Abends will ich schlafen gehn’ (Hänsel und Gretel) Marcello, A: Adagio from Oboe Concerto in D minor, with the New Seasons Ensemble Marcello, B: Se morto mi brami Mozart: Ma che vi fece, o stelle…Sperai vicino il lido, K368, with the Mahler Chamber Orchestra, Claudio Abbado conducting. Ravel: Pavane pour une infante défunte, with the Academy of St Martin in the Fields Schumann: Romance in A major, Op. 94 No. 2, with Markus Becker (piano) Vivaldi: The Four Seasons: Winter, RV297: Largo Weismann, J: Variations for oboe and piano, Op. 39: Var. IV – Lento, molto tranquillo, with Markus Becker (piano) All performed by Albrecht Mayer (oboe) Here is Mr. Mayer in the Oboe concerto by Richard Strauss:
Royal Opera House, London Jonathan Kent’s contemporary take on Puccini’s opera doesn’t always work, but Sondra Radvanovsky shines as the tragic heroine and Pappano brings precision and power to the scoreIt was with this, his third opera, that Puccini made his international breakthrough. In 1894, a year after its Turin premiere, music critic and later playwright George Bernard Shaw welcomed Manon Lescaut to Covent Garden, even hazarding a prescient guess that, on this basis alone, “Puccini seems to me more like the heir of Verdi than any of his rivals.” Founded on the 34-year-old Italian’s exploratory, post-Wagnerian harmony and conspicuous flair for orchestration, the score’s remarkable technical assurance impresses again in this revival of Jonathan Kent’s production, first seen two years ago. Continue reading...
Giuseppe Verdi (10 October 1813 - 27 January 1901) was an Italian Romantic composer, mainly of opera. He was one of the most influential composers of the 19th century. His works are frequently performed in opera houses throughout the world and, transcending the boundaries of the genre, some of his themes have long since taken root in popular culture - such as "La donna è mobile" from Rigoletto, "Va, pensiero" (The Chorus of the Hebrew Slaves) from Nabucco, "Libiamo ne' lieti calici" (The Drinking Song) from La traviata and the "Grand March" from Aida. Although his work was sometimes criticized for using a generally diatonic rather than a chromatic musical idiom and having a tendency toward melodrama, Verdis masterworks dominate the standard repertoire a century and a half after their composition.
Great composers of classical music