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Thread: Latest concerts

  1. #1201
    Senior Member Radames's Avatar
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    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

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  3. #1202
    Senior Member Radames's Avatar
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    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.

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    Senior Member starthrower's Avatar
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    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

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    Senior Member Fritz Kobus's Avatar
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    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."

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  9. #1205
    Senior Member Radames's Avatar
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    Mahler's 3rd at Tangewood last night. Bernstein 100 bash tonight.

  10. #1206
    Senior Member Templeton's Avatar
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    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.

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  12. #1207
    Senior Member Radames's Avatar
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    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.

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  14. #1208
    Sr. Moderator Taggart's Avatar
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    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.

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    Wonderful concert yesterday evening in York
    Steven Isserlis and friends performing

    Brahms Scherzo. FAE
    Schumann Slow movement of violin concerto ( arr himself)
    Faure String Quartet
    Messiaen Vocalise for Cello and Piano
    Beethoven Cello Sonata in A Major
    Encore Schumann 4th sketch for Pedal Piano

    The other musicians were
    Anthony Marwood
    Irene Rival
    Violin

    Elvind Ringstad Viola
    Ian Brown Piano

    Such a lovely evening

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  18. #1210
    Senior Member Gordontrek's Avatar
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    A bunch of amazing works last night:

    Bernstein- Slava! A political overture
    Gershwin- Piano Concerto in F w/Gilles Vonsattel
    Stravinsky- Symphony in Three Movements
    Bernstein- Symphonic Dances from West Side Story

    Loved every minute of it.

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  20. #1211
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    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
    Recently listened on BBC to the Franz Schmidt 4th Symphony with the Berlin Phil/Kirill Petrenko, at the London Proms, Sept. 1. It's at the BBC website under BBC I-Radio, Proms 66 and is up for around 8 more days. Highly recommended!

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  22. #1212
    Senior Member senza sordino's Avatar
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    Last night I went to our opening night of our local professional orchestra. We have a new conductor, Otto Tausk. He has some big shoes to fill. Bramwell Tovey was very popular and here 18 years. Tovey was on the radio, visited schools, did lots of outreach. He was a part of the community. But now it's Tausk's turn leading the helm.

    The first piece was a new commission: Helix by Edward Top. It was okay, quite easy to listen to, nothing weird. But also nothing special. Mr Top introduced his piece, speaking to us. A simple theme repeated at different speeds by different members of the orchestra.

    The second piece was Poulenc Concerto for Two Pianos. Soloists were the Jussen Brothers from Holland. Their images can be seen here on the current listening thread. This is a fun piece and they certainly entertained us. The piece was well played and well received by the audience. They gave an encore. Not sure what they played for the encore, a duet. Parts of it sounded like Mozart 40th, and then ended as a kind of boogie woogie cutting contest. Quite enjoyable

    After intermission the orchestra played the complete Firebird by Stravinsky. This was so good. The orchestra sound great, truly a fantastic orchestra that probably don't get full recognition out here on the fringes of the know world. And Otto Tausk really does a magical job, they really sounded great last night.

    There weren't a lot of people there, more than half full, but less than three quarters full. I've seen the hall much more full than this. I wonder if people just didn't buy tickets because Bramwell Tovey isn't here. I waited some time before renewing last spring, I was skeptical. Maybe others just stayed away all together.

    Indeed, Otto Tausk has some big shoes to fill, but last night, he went a long way to proving himself. It was a really impressive debut concert for our new leader.

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  24. #1213
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    Esa-Pekka Salonen and the Philharmonia at Festival Hall on Sunday.

    Prelude and Liebestod from Tristan and Isolde, Schoenberg's Verklarte Nacht and Bruckner 7.

    The Prelude was sombre and the Liebestod transcendent. I'm not at all familiar with Verklarte Nacht but found it beautiful and captivating.

    The Bruckner 7 was a really interesting and compelling performance. A really flowing first movement followed by a relatively fleet but intense adagio. The scherzo had real bite and drive. The final movement is often my least favourite in this symphony, it doesn't seem to do justice to what's gone before. Salonen pushed it hard and it was utterly gripping. More intense and gripping than many performances, but also joyful.

    The performance is being broadcast on Radio 3 tonight, I'm looking forward to listening again.
    Last edited by Kollwitz; Oct-02-2018 at 20:35.

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    I´m, not much of a writer, but I want to try and put my feelings into words what I experienced tonight.

    This was my 2nd Classical Concert, and what a concert it was!

    Die Glocke in Bremen, Germany is only about 45 minutes away from where I live, so, that´s nice!

    It was a concert of an International Youth Orchester, playing :

    Liszt´s Prometheus

    Ufos First, a composition from Clemens Rynkowski for Theremin (which he played) and Orchestra

    The Planets from Holst

    This time we had seats front row center. It turns out, that was a very wise choice !!! ( for my taste).

    The sound was FANTASIC!! I could hear every single instrument very clearly, and, although it wasn´t as loud as a Rock concert, it was plenty loud! I didn´t bring my SPL meter, but I would guess peaks of 100-105 dbA.

    Those horns and drums had POWER! Really amazing what a 105 piece orchestra sounds like from up close!

    It turns out, I have been listening to classical music too quietly. But seriously, that would be a little too loud for me on an everyday basis. But it sure sounded good

    It was really moving to see all these young people, playing so passionately. I actually got a bit choked up when they played Jupiter.

    For an encore they played a piece that I wasn´t familiar with, and they ROCKED the house! All 105 members stood up half way through the piece, played the rest of it, and just plain kicked ***! They got a standing ovation and I was screaming my head off, just like at a Metal show Others were, too.

    No one around me knew what piece they played, but I was able to catch a young violinist before she left the stage and asked her what it was. She showed me her sheet music so I could take a picture of it

    It was Danzon No. 2 from Arturo Marquez. An amazing piece!

    My Heavy Metal buddy, with whom I have attended many shows, was really impressed by his first classical concert. He wants to see more! Me too

    Anyway, it was a fantasic evening, the tickets only cost €15 and the young people played perfectly, with lots of enthusiasm.

    I can´t wait for my next live Symphony Since I really enjoyed the sonic impact of being up front, we´re going to try for balcony seats near the front next time.
    Last edited by Judas Priest Fan; Oct-06-2018 at 11:52.

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  28. #1215
    Senior Member Merl's Avatar
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    Quote Originally Posted by Judas Priest Fan View Post
    I can´t wait for my next live Symphony Since I really enjoyed the sonic impact of being up front, we´re going to try for balcony seats near the front next time.
    Nice review, mate. My first classical concerts were when i was younger (late teens)but i had to go on my own cos my mates were only into metal (i loved metal and orchestral music). Good that your mate loved it too. There's room in yer life for metal and classical music. Keep enjoying both. Btw, i first saw Judas Priest on the Killing Machine tour back in 1979, at Manchester Apollo. Great gig. Only a few weeks later i was at the Free Trade Hall in Manchester listening to a performance of Holst"s Planets by the Halle Orchestra.

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