The Sound Post

Deutsche Grammaphone Releases Kleiber Discography

Colin — Fri, 30 Jul 2010 04:10:00 +0000

To celebrate what would have been Carlos Kleiber’s 80th birthday, Deutsche Grammaphone has consolidated his entire discography into one collection. Known for refusing more engagements than he took, Kleiber maintained an esoteric mystique while solidifying his reputation as a foremost conductor of the 20th century.

Though his recording career was neither long nor prolific, what he did he put on tape were all compelling performances of monolithic works in the repertoire. The four operas in the collection are Der Freischütz, Tristan und Isolde, Die Fledermaus, and La Traviata. Accompanied by three CD’s worth of symphonies, the collection outlines Kleiber’s sparse but extraordinary career.

Though the maestro took a lifetime to conduct the same number of performances Toscanini practically did in a year, the precision, elegance, and involvement in the music is evident in what Carlos Kleiber’s legacy.

Buy the CD here or see article on The Guardian.

Jarvi, DiDonato, Lang Lang, Jansen, Kissin win ECHO Klassik Award

Colin — Wed, 28 Jul 2010 14:05:09 +0000

Paavo Jarvi, conductor of the Cincinnati Symphony Orchestra, has been named conductor of the year by The German Phono Academy in Berlin for his recordings of Beethoven’s 2nd and 6th “Pastoral” symphonies.

Similarly, Lang Lang and Joyce DiDonato each won instrumentalist and singer of the year, respectively. Janine Jansen, Evgeny Kissin, and 6 others won concert recording of the year.

Additionally, the Czech Philharmonic Orchestra won best world recording of the year under the baton of Sir Charles Mackerras, who passed away this month.

The ECHO Klassik Awards will be presented in October at the philharmonic hall in Essen. For more information see the article on Billboard.

Tilson Thomas Opens BSO at Tanglewood

Colin — Tue, 27 Jul 2010 18:23:11 +0000

What might have been simply a guest-conducted performance of Mahler’s second symphony has since generated significant buzz as people speculate about the BSO’s future.

Michael Tilson Thomas conducted the Boston Symphony Orchestra on opening night at Tanglewood, the orchestra’s summer residency in Lenox, Massachusetts. While The Boston Globe praised the performance, and astutely compared Levine’s and MTT’s vastly different Mahlers, other publications addressed the underlying suspicion that Levine will be directing fewer and fewer performances.

Rumors aside, the music world looks forward to Levine’s speedy recovery and return to his post at the BSO.

Related articles: The Boston Globe, Berkshire Eagle

TSP Returns from Hiatus in Maine

Colin — Tue, 27 Jul 2010 17:02:56 +0000

The Sound Post has returned from Washington, ME after three weeks at the Conductor’s Retreat at Medomak. Stay tuned for more updates and an exclusive look at the Conductor’s Retreat.

Singer Belts Nine Months After Lung Transplant

Colin — Wed, 23 Jun 2010 20:23:02 +0000

Charity Tillemann-Dick is a world class soprano with a world class story. Just nine months after undergoing a double lung transplant in tandem with open heart surgery, the tenacious diva regaled her doctor’s with a performance of Puccini’s aria O mio babbino caro.

Before her surgery, Tillemann-Dick battled her condition for 4 years on and off the stage. She continued to perform despite failing health, afraid that a hiatus from singing would stall her momentum. Read on for the CNN video of her performance and link to the original article.

See the CNN article here.

Follow Up: Fleming Goes Pop

Colin — Wed, 23 Jun 2010 05:57:35 +0000

Renée Fleming recently talked with CNN about her newest album, Dark Hope, which was released on June 8 in the US. Dark Hope is an all-pop cover album that represents a departure from the operatic prima donna role that earned Fleming international fame. Inspired by new, edgy and eccentric lyrics, Fleming created not only a new image, but also a new voice for her popular debut.

See The Sound Post’s review of the single Endlessly here, and click through to watch both the CNN and WQXR interviews with Ms. Fleming.

WQXR Podcast:

Philadelphia Names Yannick Nézet-Séguin Music Director

Colin — Mon, 21 Jun 2010 22:33:20 +0000

The Philadelphia Orchestra has appointed Yannick Nézet-Séguin as the next music director—its first since Christopher Eschenbach stepped down in 2006. Until now, Charles Dutoit acted as Chief Conductor while the orchestra negotiated a period of nebulous leadership. Nézet-Séguin will begin a seven year contract immediately under the title “music director designate,” and after two seasons will assume the full role of music director starting in 2012-2013.

Nézet-Séguin’s appointment hopefully marks the end of a rocky year among the Philly’s top officials. After the orchestra’s chief executive and board chairman both resigned last year, the resulting vacuum created instability that affected the organization’s online presence, recording contract, and tour schedule. Nézet-Séguin hopes to work with the current administration to harness the quality of the musicians while sorting out the logistical hurdles.

At the same time, Nézet-Séguin will earn his reputation in the United States, as he has conducted primarily in Canada and Europe in the past. But at just 35, he will take the helm at one of America’s top symphonies in a time when revitalization seems key.

See also: New York Times, The Philadelphia Orchestra Press Release

Soprano Renée Fleming to Release Alt Rock Cover Album

Colin — Thu, 03 Jun 2010 02:32:58 +0000

Knock-out soprano Renée Fleming will release her new pop album, Dark Hope, on June 8 in the United States. Already out in Europe, the album represents the underside of Fleming’s newest leaf: popular music.

Her classical credits bud with acclaimed performances in the world’s best opera houses, multiple solo albums, and the moniker of “America’s Favorite Soprano.” None of this, however, receives a mention in the liner notes of her new release. Instead, Fleming wants to earn her alt-rock plaudits with a breathy, alto-range timbre that reflects little of her previous professional exploits. That tone, though antithetical to her pure, operatic upper register, is a tool she carefully crafted to convey an authentic pop feeling. Fleming and her producers have consistently asserted that the album is not a “crossover” but a purebred rock/pop release. The difference, they stress, is that a crossover album is classically styled performances of popular songs. Fleming’s recording is pop covers of pop songs.

The approach seems similar to the classical tradition in that Fleming plays the role of performing artist. She embraces the popular works of current artists and interprets them through her own musical lens, much like an artist performing a piece by a venerated composer. The single “Endlessly,” by Muse, is currently the only song on Dark Hope that has been released in the United States. It is available via iTunes.

The performance is reminiscent of the original in all the right ways: tempo, style, and yearning are all there. However Fleming’s own take on the song is evident in her phrasing. Through her choice of emphasis, she tells a different story than does Muse’s Matt Bellamy. Her female artistry contrasts with Bellamy’s and contributes to her reboot of “Endlessly.”

The only fault I found was with the instrumentation. Muse uses a delicate balance of drum set, piano, and synth to propel the otherwise andante threnody. But Fleming’s iteration, while not lethargic, is more subdued. The strings are effective but synthesized, and therefore cannot provide the same rich, varied sounds as a live instrument. Muse’s original does use heavy synth, but the sounds are overtly electronic as opposed to instrumental representations. Simply put, synth instruments cannot adequately complement a voice like Fleming’s. I do look forward to hearing the rest of the album, given the incredible talent and musicality that is evident on this single.

Related Articles:
New York Times review by Anthony Tommasini
New York Times review by Jon Pareles

Dudamel and LA Phil Come to East Coast

Colin — Mon, 24 May 2010 02:57:45 +0000

Last Thursday and Friday, Gustavo Dudamel gave tri-staters the opportunity to see him conduct for the first time since his inauguration as music director of the Los Angeles Philharmonic. At Avery Fisher Hall on Thursday, Dudamel and pianist Jean-Yves Thibaudet performed Leonard Bernstein’s Symphony No. 2 “The Age of Anxiety.” Times critic Anthony Tommasini called the performance “arresting” and said the work “if sometimes wild and brassy, was basically wonderful.” However, he was not as enamored with the LA rendition of Tchaikovsky’s Symphony No. 6 “Pathetique.”

Tommasini felt that technical faults in the performance hinted at under-preparation despite Dudamel’s emotive and carefully executed direction. While the lush, expressive lyricism lent itself to a poignant interpretation from the maestro, The NY Times thought the orchestra’s inability to deliver resulted in a performance that was “rough and unfocused.”

But on Friday, The Sound Post was able to see Dudamel continue his east coast performances with a similar program in Prudential Hall at the New Jersey Performing Arts Center. Dudamel and Thibaudet began the performance by repeating the same pristine execution of Bernstein’s 2nd Symphony “The Age of Anxiety” from the night before. Thibaudet’s sensitivity and thoughtfulness at the piano denied any personal anxieties and were matched by the orchestra’s care and attention throughout all six segments. After intermission, Dudamel returned with one of his specialties: Mahler’s Symphony No. 1 “Titan.”

Brimming with expressive and eloquent gesture, Dudamel stimulated the LA Phil into an energized performance of the Mahler after a brief warm up in the first movement. Perhaps an over-familiarity with the work made the opening seem too comfortable, but a playful emphasis of the dance-like elements in the second movement demanded the attention of both orchestra and audience and set the tone for rest of the piece.

As the orchestra drifted between the folk and klezmer duality of the third movement, Dudamel guided the music through each color of the opposing themes. Finally, the gloves came off, and the orchestra shined in the explosive fourth movement—its intimacy with Mahler was evident in the fiery, finger-and-embouchure-crushing passages that riddle the movement. Complete with a standing horn section in the finale, the performance exuded the majesty and prowess of the “Titan” and brought the crowd to its feet moments after Mahler’s powerful full-stop ending.

Brahms and Tchaikovsky Live On

Colin — Fri, 07 May 2010 20:59:06 +0000

Johannes Brahms and Pyotr Ilyich Tchaikovsky, two great masters of classical music, were born on this date, May 7th, over a century ago. In 1833 and 1840 respectively, these men each entered the world destined to become two of its most influential composers. The profundity of both composers’ works helped shape the topography of Romanticism, combining worldly humanism with classical discipline. While Robert Schumann accurately predicted that Johannes Brahms would succeed Beethoven—a foresight which spoke to his acumen as a critic—Tchaikovsky similarly carved a wake through Russia and Europe with poignant works telling of crisis and wandering.

With great respect and reverence should these musical giants be remembered. Their works represent an era of musical humanism and affectation that has timelessly endured concert programs worldwide. So today, go and listen to what they’ve left us, as their work emanates the same potency today as it did in their lifetimes.