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Epic Exploration Videocast Featuring The Wedding Funeral
The latest episode of Epic Exploration features The Wedding Funeral and explores the blues holes of the New Jersey pine barrens, including the one that is fabled to be the home of the pine barrens’ most infamous cryptid—the Jersey Devil. Hosted by Michael Nagy, Epic Exploration explores interesting, strange, and obscure places with bands and artists. Besides the Jersey Devil’s legendary blue hole…
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Osterfestspiele Baden-Baden 2016 - Tristan und Isolde
Osterfestspiele Baden-Baden 2016 – Tristan und Isolde
Foto ©Monika Rittershaus
Uscendo dal Festspielhaus di Baden-Baden dopo aver assistito alla terza recita del Tristan und Isolde (more…)
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Vladimir Ashkenazy and the Sydney Symphony Orchestra Embark On Their 2012 Season with Beethoven's Choral Symphony and Strauss' Metamorphosen by Andrew Miller
read the full article at http://newyorkarts.net/2012/02/ashkenazy-sydney-symphony-beethoven-choral-symphony-strauss-metamorphosen/
Vladimir Ashkenazy and the Sydney Symphony Orchestra Embark On Their 2012 Season with Beethoven's Choral Symphony and Strauss' Metamorphosen
To open the Sydney Symphony’s 2012 season and the year of their 80th birthday, Vladimir Ashkenazy. artistic director and chief conductor, has put together a generous program of powerful German music. Beethoven’s Ninth finds itself played to mark great occasions, the reopening of Bayreuth in 1953 comes to mind and its own creation came at the end of decades of war in Europe. The Sydney Symphony has not played it for five years — for their 75th anniversary — so it would feel now about due for their attention. The piece is so famous and familiar, though, even as an occasional performance, there is the risk of over familiarity. With so much wonderful inherited music and worthy current music and music which would potentially exist given the opportunity of performance, should the Ninth, or any piece, be played if the performance cannot discover anything new in the piece? For the listeners, they can always seek out new aspects of the piece since one’s disposition and experience in life effect one’s ears so strongly, but it helps to have musicians, like Ashkenazy, full of ideas. “Occasion” implies some shared new experience anyway. But on the other hand, the earthly specificity of an occasion can in a way put a drag on a sublime performance of the Ninth. It is such spiritual, metaphysical music, rooted in itself, in this way a universal piece, somehow worldly events seem to anchor it in time and space in an uncomfortable way, paradoxically perhaps. As a birthday party for a very fine and healthy symphony orchestra with surely many more anniversaries ahead of it, the occasion here did not “get in the way,” as it were, very much, rather the music tended to come first, as it should. A symphony orchestra is after all a selfless crew in many ways.
Pa-pa-pa from Mozart's Die Zauberflöte, sung by Michael Nagy and Regula Mühlemann.
