Page 81 of 81 FirstFirst ... 31717778798081
Results 1,201 to 1,208 of 1208

Thread: Latest concerts

  1. #1201
    Senior Member Radames's Avatar
    Join Date
    Feb 2013
    Posts
    609
    Post Thanks / Like

    Default

    Summer is past the halfway point now. I did major concert going in July - 26 concerts/operas/ballets. I found yet ANOTHER summer festival to attend - Lake Placid has a sinfonetta. They play Sunday nights. I skipped Tanglewood Sunday to check it out because their program had much more rare repertoire :
    Copland - Old American Songs: "Bought Me a Cat" "Simple Gifts" At the River"
    Aaron Copland - John Henry
    William Grant Still - Serenade for Orchestra
    William Grant Still - Mother and Child, for String Orchestra
    Duke Ellington, arr. M. Gould - Solitutde
    Adolphus Hailstork - Sonata di Chiesa

  2. Likes Joe B, Templeton liked this post
  3. #1202
    Senior Member Radames's Avatar
    Join Date
    Feb 2013
    Posts
    609
    Post Thanks / Like

    Default

    Lake Placid has a Sinfonetta again on Sunday. I never knew there were arrangements of Mahler for small orchestra. They did the mini Mahler 4th. It didn't sound bad. Apparently there's an arrangement with no french horn. I don't think that would be any good. They used the horn in this one. They also had Sa Chen play Rachmaninoff's 2nd concerto. It made a great double header with the Mahler 3rd that I heard by the Francophonie Orchestra up in Montreal in the afternoon. Mahler 3 then Mahler 4.

    Saturday I had 3 concerts at Tangelwood - choral concert at 2:30 - free! Boulanger, Bernstein, Copland, and Vaughn Williams. At 6 pm they did the Schubert Octet and at 8 pm it was Bernstein's Songfest and Sibelius 2nd.

    Friday was Holst Planets at SPAC with the fab Philadelphians. With NASA images.

  4. Likes Templeton liked this post
  5. #1203
    Senior Member starthrower's Avatar
    Join Date
    Dec 2010
    Location
    Syracuse, NY USA
    Posts
    8,279
    Post Thanks / Like

    Default

    I saw Candide last night, and I'm getting tickets for Petrushka/Schumann piano concerto, and Prokofiev violin concerto/Nielsen symphony no.4. And possibly the Emerson String Quartet. All here in Syracuse.
    Short-term thinkers are rewarded with reelection, while those who dare to take seriously our responsibility to future generations commonly find themselves out of office.

    - Marcia Bjornerud, Geologist

  6. Likes Templeton liked this post
  7. #1204
    Senior Member Fritz Kobus's Avatar
    Join Date
    Oct 2011
    Location
    Next to Detroit, Michigan
    Posts
    10,338
    Post Thanks / Like

    Default

    Got tickets for this December to see the following:

    Joyce DiDonato with Yannick Nézet-Séguin, piano.

    Handel's Messiah, which tickets I painfully bought because this year they have a countertenor. I tried Detroit Symphony Orchestra but they don't do Messiah annually. Is it wrong to wish the countertenor be unable to make the concert and be substituted by a female alto?
    "All of Italian opera can be heard in [Bellini's] "Ah! non creda [mirarti]."
    --Renata Scotto in "Scotto, More Than a DIva."

  8. Likes Templeton liked this post
  9. #1205
    Senior Member Radames's Avatar
    Join Date
    Feb 2013
    Posts
    609
    Post Thanks / Like

    Default

    Mahler's 3rd at Tangewood last night. Bernstein 100 bash tonight.

  10. Likes distantprommer, Templeton liked this post
  11. #1206
    Senior Member Templeton's Avatar
    Join Date
    Dec 2014
    Location
    Lancashire, UK
    Posts
    1,029
    Post Thanks / Like

    Default

    Two very special concerts at The Proms, in London, on 1st and 2nd September 2018.

    Berlin Philharmonic Orchestra, conductor Kirill Petrenko. Pianist: Yuja Wang

    Paul Dukas
    La Péri

    Sergei Prokofiev
    Piano Concerto No 3 in C major

    Franz Schmidt
    Symphony No 4 in C major

    and

    Richard Strauss
    Don Juan
    Death and Transfiguration

    Ludwig van Beethoven
    Symphony No 7 in A major

    Kirill Petrenko’s first Proms appearance with the Berlin Philharmonic was always going to attract a lot of attention, so he was clearly under some pressure to perform.

    Prior to the concerts, I had read some sniffy reviews about his programme choices but from the opening blasts of Dukas’s gorgeous and rarely performed ballet suite, La Péri, it was clear that those critics would be eating their words. One could have heard a pin drop during the entire twenty minutes, so engrossing and detailed was the performance. Petrenko was a very expressive, although never over the top conductor, clearly completely engrossed in the music, whilst still conveying direction to the orchestra, which was perfect. A stunning performance.

    Yuja Wang’s performance of Prokofiev’s piano concerto was technically brilliant and completely engrossed my sixteen year old daughter, who had accompanied me. Petrenko and the Berliners seemed happy to play second fiddle to her performance, whilst providing the highest levels of professional accompaniment that one would expect of an orchestra of its standing. She also performed two encores, Rachmaninov’s Prelude in E flat minor and Volodos’s elaboration of Mozart’s “Rondò alla Turca”.

    The first evening culminated with, what was for me, the highlight of the two evenings, the magnificent and heart wrenchingly beautiful Franz Schmidt’s Fourth Symphony. From the opening trumpet solo to the heartbreaking solo cellist conclusion, this was music of the very highest quality. The symphony was written as a memorial to Schmidt’s deceased daughter and the poignancy of this was not lost on me, as I sat there with my daughter by my side. I also recalled a poster on ‘Talk Classical’ who wrote previously of how he had played this piece following the death of his son and how touched I had been, at reading this.

    The orchestra played the entire symphony (around 45 minutes), without a break between movements, making it a seamless experience. I also read that the members of the orchestra had never previously played the piece, so their achievement in performing what, to my ears, was the perfect performance was all the more extraordinary.

    It seemed to me that Petrenko has brought a more lush and romantic, although never cloying sound to the Berlin Philharmonic, which I loved. During the performance, I thought how much his style and interpretations reminded me of Carlos Kleiber, which can only be a good thing in my book.

    All in all, one of the great performances that will live long in the memories of those who attended, I am sure.

    My expectations for the second night were always going to struggle to exceed those of the first and so it turned out to be or so I thought, at the time!

    The performances of the two Strauss tone poems were as excellent as one could have hoped for, very precise, superbly played and conducted. Neither work is a favourite of mine, yet the performances brought them to life in ways that recordings had not previously achieved for me, which is often the beauty of live performances, I find.

    The conclusion of the evening, a performance of what is probably my favourite piece of music, was full of surprises, not all of them welcomed.

    To start off, I was very surprised to see that Petrenko had pared down the size of the orchestra for what I have always considered to be a large orchestral work.

    With the opening of the first movement, my worst fears seemed to be confirmed, as the sound seemed underpowered and somewhat muffled. Things improved from the second movement and by the final movement, the performance had become a true tour de force, culminating in an orgy of ecstasy.

    I have subsequently realised, however, upon listening to a recording on Radio 3 that my impressions within the Royal Albert Hall probably had far more to do with my seating and the general acoustics than any fault on the part of Petrenko and the BPO. It is as if I attended two different performances of the same work.

    Whilst the BPO deserved the standing ovation that it received on the second night, in my opinion they deserved it more on the first night for what was an emotionally overwhelming experience.

    Based upon what I saw and heard, Berliners are destined for true greatness over the coming decade(s).

    As an addendum, the reviews from the British press have been universally superlative, as was the one review in the French press that I saw.
    Last edited by Templeton; Sep-05-2018 at 10:27.

  12. #1207
    Senior Member Radames's Avatar
    Join Date
    Feb 2013
    Posts
    609
    Post Thanks / Like

    Default

    Quote Originally Posted by Templeton View Post
    Two very special concerts at The Proms, in London, on 1st and 2nd September 2018.

    Berlin Philharmonic Orchestra, conductor Kirill Petrenko. Pianist: Yuja Wang

    Paul Dukas
    La Péri

    Sergei Prokofiev
    Piano Concerto No 3 in C major

    Franz Schmidt
    Symphony No 4 in C major
    Wish I could have been at this one. That Dukas piece should be heard more often - MUCH more than Sorcerer's Apprentice. Schmidt is never heard in concert anywhere near me either.

    Summer is officially OVER. I ended it with some classical spree concerts in Montreal. They have done them in previous years but I have never gone because they were at the same time as the Philadelphia Orchestra in Saratoga. 45 minute concerts - I did 7 in 2 days. Highlights: Tchaikovsky 1st Piano Concerto. Mozart 27th Piano Concerto with Alexei Volodin. Verdi and Wagner Choral music. Dances of Galanta by Kodaly was great to hear. John Anthony Lennon's Electric Candlelight Concerto was the only thing I was not really into. I got a free ticket to that though.

    Summer total: 49 concerts in 2 months.
    Last edited by Radames; Sep-05-2018 at 16:44.

  13. Likes Templeton liked this post
  14. #1208
    Sr. Moderator Taggart's Avatar
    Join Date
    Feb 2013
    Location
    Norfolk (ex-Glasgow)
    Posts
    3,673
    Post Thanks / Like
    Blog Entries
    1

    Cool Norwich Baroque with Rachel Podger 15 September 2018

    We saw Rachel Podger with Norwich Baroque in 2015 and were impressed by the performance. We were looking forward to this concert and were not disappointed. Rachel Podger has just been awarded Gramophone's Artist of the Year for 2018 and showed why she deserved that accolade.

    The concert started with Norwich Baroque playing Handel's Concerto Grosso Op6 No. 7. This was a pleasant introduction. The piece covers a range from a complex chromatic slow movement to a rousing hornpipe.

    Rachel Podger then joined them for Bach's Concerto in A major after BWV1055. Unlike Bach's other harpsichord concertos, BWV 1055 has no known precursors, either as an instrumental concerto or as a movement with obbligato organ in a cantata. It has generally been accepted that it is a reworking of a lost instrumental concerto, since Donald Francis Tovey first made the suggestion in 1935, when he proposed the oboe d'amore as the melody instrument. This was a delightful realisation for violin and Rachel Podger inspired Norwich Baroque to new heights.

    The first half finished with Concerto No. 3 in F major, Op. 8, RV 293 by Vivaldi (L'autunno (Autumn) from Le quattro stagioni) (The Four Seasons)). This featured Matthew Wadsworth on Baroque Guitar and Kate Bennet-Wadsworth on cello to fine effect. The duelling between the cello and Rachel Podger was a delight to watch and to hear. She has an impish delight in the music and the cello and the whole orchestra responded to that.

    The second half opened with Locatelli's Concerto Op.1 No. 3 played by Norwich Baroque. The work displays imaginative textures and offers the opportunity for exciting virtuosity which they displayed.

    Next, Rachel Podger played (from the pulpit) some movements from Bach's second cello suite transposed from D minor to A minor. This was a delight from the sombre prelude through the stately allemande to the sarabande retracing the solemnity of the prelude and finishing with a driving 3/8 gigue. An excellent performance greeted with rapturous applause.

    Norwich Baroque returned with Vivaldi's Concerto RV 156 in G minor. Because there is no solo line, this allowed them to show their strengths as they dealt with the the brilliant Allegros with the violins sometimes in unison sometimes in conflict but always with Vivaldi's characteristic rhythmic ingenuity, melodic invention and theatricality.

    Rachel Podger joined them for the finale - Geminiani's Concerto Grosso in D minor, H.143 (La Folia) taken from 12 Concerti Grossi after Corelli's Violin Sonatas of 1729(?). This was a delightful piece with a strong role for the cello of Kate Bennet-Wadsworth and Matthew Wadsworth on theorbo. The Folia is a well known genre and this set of variations provided us with some delightfully sprinted playing from Ms Podger, some sections where the theme was taken up in parts and in canon and a delightful interplay between violin and cello. A rousing finish to a great evening.
    Music begins where words leave off. Music expresses the inexpressible.

  15. Likes Ingélou, Templeton liked this post
Page 81 of 81 FirstFirst ... 31717778798081

Similar Threads

  1. Mendelssohn violin concerts
    By Daniel in forum Solo & Chamber Music
    Replies: 13
    Last Post: Oct-06-2017, 20:11
  2. Recordings vs. Concerts
    By Kurkikohtaus in forum Orchestral Music
    Replies: 63
    Last Post: Feb-12-2016, 16:59
  3. Please help to find Bach piano concerts minus 1
    By solomiyka in forum Orchestral Music
    Replies: 1
    Last Post: Dec-26-2014, 12:20
  4. Orchestra Concerts in NYC
    By violineve in forum News, Concerts and Events
    Replies: 0
    Last Post: Oct-24-2007, 17:35
  5. Symphonic Orchestra Concerts in NYC
    By violineve in forum News, Concerts and Events
    Replies: 0
    Last Post: Oct-24-2007, 17:19

Posting Permissions

  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts
  •