The music director will conduct Sunday in the Park with George. Who’d have thought?
Also in the mix:
Salonen and the Weimar Republic, Esa-Pekka Salonen’s Exploration of a Fabled Era’s Revolutionary Musical Culture
· A Viennese New Year’s Celebration with Zubin Mehta
· Collaborative Programs by Principal Guest Conductor Susanna Mälkki with Star Violinist Leila Josefowicz
– And a Season-Climax Performance by Dudamel of Schoenberg’s Gurrelieder.
He conducts the MÁV Symphony Orchestra in Budapest this Thursday in a centennial performance of Bartok’s Bluebeard’s Castle. See here.
Apparently, the rehearsal she attended was the Berlioz Grande Messe des morts.
We are shocked to learn of the death of Ida Heinrich, the most successful classical singer ever to emerge from Greenland.
A film collaborator with the Icelandic singer-composer Bjork, she was diagnosed three years ago with cancer and died on February 15.
Each of the German capital’s opera houses has a signature production of the Mozart crowd-pleaser. Barenboim’s Staatsoper unter den Linden has just launched another version, to run in tandem with August Everding’s classic production in Schinkel’s original stage design.
First reviews slate Yuval Sharon’s new show as an unmitigated disaster, but it could have a good outcome. Questions are being asked – finally – about the degree of duplication and the lack of coordination between Berlin’s manifold musical institutions. It’s chaos out there.
They need to instal something like London’s clash system.
Sharon’s idea is that the whole thing is a marionette show presented by children. The singers hang on strings, move jerkily, fly through the air; the dialogue is spoken by pre-recorded offstage children’s voices. It is technically complex, utterly incoherent and musically fatal. Even if the singers were not obviously terrified, suspended in mid-air, exhausted and apparently able to hear neither the orchestra nor each other, the conducting would have scuppered them….
There are a great many conductors out there with both experience and Mozart expertise who could have taken over for the ailing Franz Welser-Möst. De la Parra floundered from the very first chord. She has no ability to bring shape and tension to a phrase, no sense of which tempi might work for the singers, and no idea what to do when things fall apart — which they do, with appalling frequency.