It has been 40 years since the Los Angeles Philharmonic last performed Arnold Schoenberg’s violin concerto and Hollywood was all a-quiver to hear its challenging 12-note rows (well, all of my Angeleno friends, at least). The work was down to be played this weekend, its first hearing in Disney Hall.
Only waddayaknow? First the soloist, Christian Tetzlaff, calls in sick. Then the conductor Christoph Eschenbach sends a doctor’s note.
The new soloist is Augustin Hadelich. New conductor is Edo de Waart. Only change: no Schoenberg.
They’re playing the Beethoven concerto, saddos.
A study for the Medical Journal of Australia finds dangerously self-destructive tendencies in the art of opera. Four researchers examined a canon of 337 operas, written over four centuries. Their findings:
In 112 (33%), there was completed suicide alone, non-fatal suicidal acts or suicidal thoughts alone, or both. There was at least one suicide in 74 operas (22%); female characters accounted for 56% of these. Non-fatal suicidal acts or suicidal thoughts were found in 48 operas (14%); male characters accounted for 57% of these. Suicide, non-fatal acts and suicidal thoughts always followed an undesirable event or situation. Cutting or stabbing was the most common method of suicide (26 cases). Other methods included poisoning (15 cases), drowning (10 cases), hanging (four cases), asphyxiation (four cases), “supernatural” methods (four cases), immolation (three cases), jumping from a height (two cases), shooting (one) and blunt trauma (one). Mass suicide occurred on two occasions…
In conclusion, the representation of suicide in opera is too prominent to be ignored. While many opera buffs may focus on the musical elements rather than the action and libretti of this art form, the depiction of suicide in operatic works adds to our understanding of the cultural dimensions of suicide over time, and thus to our overall understanding of this tragic outcome.
Read the full report here.
Members of the Royal Philharmonic Orchestra yesterday played water glasses – at least that’s what they said was in them – on behalf of the charity WaterAid. This New Year’s resolution is of limited duration.
New placements have been announced for the coveted Jette Parker Young Artists Programme at the ROH.
The five lucky candidates are: Australian soprano Lauren Fagan (pictured), Australian baritone Samuel Johnson, British bass James Platt, Australian tenor Samuel Sakker and Ukrainian bass-baritone Yuriy Yurchuk. They were chosen from some 390 applicants in 58 countries.
The head of Blüthner, Christian Blüthner-Haessler, reckons about 11,000 in Germany, down from 40,000 in the 1990s.
The only other countries where piano making is still alive are Austria with Bösendorfer and Italy with Fazioli.
In France, Pleyel has shut down. Steinway have yet to clarify plans under new owners. The rest of the industry is in China. Interesting interview here (auf Deutsch).
As the shock sets in, tributes are starting to flow for Eva Ganizate, the young French soprano who was killed on her bicycle the day after her 28th birthday. Natalya Anna Romaniw, a fellow-student at the Guildhall, offers us these spontaneous, moving impressions of Eva:
Eva would be surprised to find me writing this but I’m also confident that she would laugh and encourage me to write as much as I can.
My memories of Eva are of elegance, style and sweetness. She introduced me to my first taste of Parma ham and laughed hideously when I spat it out. We once had a brief conversation in the lift- where I, as a young, cocky 18 year old undergrad dictated to her what bel canto was “Yes Natalya, bel canto is so good for the voice! What bel canto are you currently singing?”
“Well, bel canto just means beautiful singing…so at the moment it’s Strauss!”
She laughed and tried to sway my opinion but was sweet enough to let me have that one.
Although only a year older than me (27) Eva consistently managed to surprise me with her passion, knowledge and love for music and this was so prominent in her voice. Her tone sweet and somewhat vulnerable, a voice that we all remember for being able to float all the way up to the sweetest, softest pianissimos.
Many of my GSMD (Guildhall) colleagues will remember her for her portrayal of Nina in Massenet’s Cherubin, I don’t think anyone could have been more perfect for that role, a young, sweet girl, patiently waiting to be loved by the young page.
Although Eva’s talents have been short lived, they are strongly remembered by all who knew her and will live on and inspire all of us to be as passionate as she was. My fondest memory is when the fire alarm went off at sundial court at 3am or some stupid hour (one of many times!) and she swanned out of her flat wearing her beautiful long, flowing white dressing gown, paired with cheeky red patent shoes.
That was Eva. Many were in awe of such natural beauty, inside and out. Pale white skin with rosy cheeks and long, thick, curly black hair that framed a face so kind and gentle. Her lively spirit and profound beauty still live strong today. Chantes avec les anges, chérie. Resteras dans nos coeurs. Bisous x
My first 2014 album of the week on Sinfinimusic is a piano concerto by Tchaikovsky. Not Piotr Ilyich. Nor Boris Tchaikovsky, the Soviet-era stand-in. This one’s André Tchaikovsky, and I find his music enthralling. So good, in fact, I don’t care what his real name is.
Read the review here. The composer’s equally intriguing diaries are coming out this month from Toccata.
Takao Hensch, professor of molecular and cellular biology at Harvard, is working on a drug that will enable anyone to gain perfect pitch.
Do we not hate that? Imagine an audience where every person pops a pill before the concert so that they can pick up every false intonation.
Somebody, take this professor out for a drink and give him a shove in the right direction.
The magazine, which at first found it unnecessary to inform readers of a change of ownership (you read it first on Slipped Disc), has decided on a reversion to founding principles:
Some alterations have been made. You will find more reviews of a greater length, and the reviews themselves spread more expansively throughout the whole magazine. More pages are being devoted to reissues, and a new feature discusses a recording widely held to be a catalogue benchmark. There are of course interviews and features that help add context to new releases, but recording is at the root of everything we publish.
We wish them luck.
Friends have informed us of the death of Eva Ganizate, a popular and talented French soprano who was at the start of an international career.
Eva had gone to the Yonne region for a short break to celebrate her birthday. She was out cycling with a friend on Saturday when she was hit by a car on a two-lane road at La Belliole, between Saint-Valérien and Domats, and died on the spot.
A popular student at the Guildhall School of Music and Drama, she appeared last year as Lisette (La Rondine) at Nancy, conducted by José Cura, Mimi (La Bohème) at Huddersfield Town Hall, Donna Elvira (Don Giovanni) at Dortmund, Eurydice (Orphée aux Enfers) in Paris and Amsterdam, Clorinda (La Cenerentola) at the Britten Theatre in London and Daphne (Euridice) for British Youth Opera.
She had been due to appear this month at the Monnaie in Brusels in Les Mamelles de Tirésias (Poulenc), starting January 16.
Our profound sympathies to her family and many friends.
UPDATE: First tribute here.
Boris Giltburg, Reine Elisabeth winner, sets me off for the day.
The world’s most followed cellist has given a forthright interview to The Strad, explaining why she does it her way.
Zoe Keating, with 1.2 million Twitter fans, wanted a classical career. Moving to California two decades ago, she set about practising the Shostakovich cello sonata for six months before presenting herself for audition at the San Francisco Conservatory. The panel immediately asked, ‘who’s your teacher?’
‘I don’t have one,’ said the applicant, her hands shaking at the looks of disapproval.
‘Maybe you should come back when you’re ready,’ they said.
After that, says Keating, ‘I figured that classical music could just kiss my ass. I was so angry, I couldn’t even bear to set foot in a concert hall.’
The magazine is not online. You’ll have to buy a print copy to read the full, abrasive interview.
The audition attitude will strike many readers as dauntingly familiar. Has anything changed since then at San Francisco Conservatory?
