It’s good to see that some people are already getting into the holiday spirit!
When Scott Freck, the general manager of the North Carolina Symphony made the call to virtuoso pianist, Pascal Rogé, to inform him of their inability to honor his contract for a performance of the Poulenc Concerto for Two Pianos because of financial constraints, he was more than likely ready for a verbal beat-down, or at the least a serious case of embarrassment.
What he didn’t expect, was Rogé offering not only to play the concert for free, but also to bring his wife, Ami Rogé, to play alongside him.
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Posts Tagged ‘concert’
Pianist Pascal Roge Is Definition Of Classy
Class Act of the Day
Classical Is In The (White) House
Roof Not Yet On Fire
A blogger with The Washington Post followed up on yesterday’s performance at the White House, commenting that the presidential exposure and attitude towards classical music is encouraging. A White House spokesperson said the event won’t be the last to feature classical music, and those in attendance noticed how the President seemed very involved in the performances.
While the press did not have access to the masterclasses conducted by world class musicians including Sharon Isbin and Joshua Bell, they were allowed to hear the two performances of the day as well as Mrs. Obama’s remarks. Click to read the perspectives of the Washington Post and Baltimore Sun.
If you missed our last article on the event, read it here.
Michelle Obama Advocates for Classical Music
Turns White House Into Concert Hall
A post on WQXR reports that First Lady Michelle Obama will host an event at the White House on Friday to advocate extra-curricular arts programs. The event will feature world class musicians Joshua Bell, Sharon Isbin, Awadagin Pratt, and Alisa Weilerstein, all of whom will teach 120 middle and high school students from around the country. Following their seminars, the musicians will give a recital in the White House’s East Room. The concert will be attended by the students and guests, as well as the First Family.
Source: WQXR.
A Night At The Met: Verdict – They Still Got It
And Renée Flemming is still beautiful
Most news coming from the Metropolitan Opera these days has not been uplifting. From the boos toward director Luc Bondy after Tosca, to the similar signs of vexation shown to maestro Daniele Gatti after Aida, this native New Yorker is a tad worried that we are developing a penchant for being hard impossible to please. Could this reputation possibly prevent performers from coming to New York? Probably not, since New York is “where dreams are made,” after all. However, I’m afraid we may yet become known as a city full of critics—not the art lovers and appreciators we are. Because I had not yet visited my favorite opera house this season, I splurged and purchased tickets for myself and a musician-colleague to Friday night’s performance of Der Rosenkavalier featuring Renée Fleming.
Perhaps it was the mediocre review given by the New York Times on Tuesday’s opening night, the flowing negativity for the other two productions currently at the venue, or the absence of James Levine, but let’s just say that I was hesitant to purchase last-minute-tickets for the sold out show (thanks to allshows.com for the tickets, but damn you for the 200% inflation without even delivering them to will-call). Upon arriving and immediately ordering champagne with the last of my cash, I took my seat.
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The New Yorker: Why So Serious?
Let's Put a Smile on that Face
While concertgoers today might resent those who unknowingly applaud or whisper between movements of a piece, it seems such gaffes have only recently begun to draw frowns. The familiar silent audience who applauds in appropriate places is of relatively new invention. Relative of course to the age of the music which makes up the classical repertoire. As it turns out, classical concerts used to be noisy, social gatherings where aristocrats could mingle and the public could turn bourgeois into a verb.
The September 8th issue of The New Yorker featured the article “Why So Serious?” In it, writer Alex Ross chronicles the history of classical concert tradition.
Ross cites examples from performances at the Paris Opera, and recitals by the pianist credited with creating modern piano performance tradition, Franz Liszt. Ross compares Liszt’s recitals to “The Ed Sullivan Show,” claiming that Liszt would solicit suggestions from the audience for subjects to improvise at the piano. Furthermore, Liszt is said to have modulated not only between tonal centers, but entire pieces. As Ross explains it:
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YOLA Dudamel! LA Phil Opens Season at Hollywood Bowl
In his first public appearance as Music Director of the Los Angeles Philharmonic, Gustavo Dudamel, the poster child of El Sistema, walked on stage at the Hollywood Bowl Saturday afternoon to a crowd of 18,000. Greeted by tremendous applause, he raised his baton and gave his first downbeat… to 200 children from southern Los Angeles.
Sporting a “YOLA” t-shirt, the Maestro conducted the Youth Orchestra of Los Angeles’s undoubtedly most important concert yet. YOLA was founded two years ago, inspired by El Sistema—the highly successful Venezuelan music education system based on the Suzuki Method. YOLA has been much more than a prototype for the future of music education; it has already changed the lives of both orchestra members and their families.
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Not So Warm Welcome for Gatti
New York misses Levine
The beginning of Fall has different meanings for everyone. Some love the changing colors, the cooler temperatures, or as is the case with this writer, the exodus of summer tourism from New York City. All kidding aside, the beginning of the concert season for the country’s major orchestras and opera companies is always an interesting sight. Opening night reviews can truly make or break a career season. The introduction of Gustavo Dudamel with the Los Angeles Philharmonic was met with spectacular reviews, much as Alan Gilbert with the New York Philharmonic.
Unfortunately, not all welcomes are quite so warm… View Full Article »
VLOG #1: ICSO Wrap Up
It was late
Again, we would like to thank Steven Stucky and Jeffery Meyer for speaking with us this past week. And thank you to OUR VIEWERS! Thank you so much for spreading the word about The Sound Post. We love you all and will continue to bring you somewhat scholarly articles from the world of classical music everyday. We have a special interview with Sanford Reuning next week. Please send all questions or comments to Ian@soundpostnews.com, or find me on twitter at twitter.com/iansalmon. Video after the jump.
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Exclusive: Interview With Conductor Jeffery Meyer
Johannes Approves
Today’s interview is with Dr. Jeffery Meyer. He is the Director of Orchestras at Ithaca College, Artistic Director of the St. Petersburg Chamber Philharmonic, and Artistic Director of the Water City Chamber Orchestra. Meyer will lead the opening performance of Ithaca College’s 09-10 season tomorrow night, Saturday October 3rd. One of the works on the program is Jeu de Timbres by Steven Stucky, who we interviewed yesterday (see his interview here).
Also scheduled is Ravel’s Ma Mère l’Oye (Mother Goose Suite), and Berlioz’s Symphony Fantastique, op. 14. The concert takes place tomorrow night, Saturday October 3rd, at 8:15pm in Ford Hall, Ithaca College.
Please click on through for the video interview and full written transcript.
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Exclusive: Interview With Steven Stucky
The Sound Post Welcomes Ian Salmon
Our very own Ian Salmon conducted an exclusive interview with composer Steven Stucky regarding the performance of his work, Jeu de Timbres. The piece will be performed by the Ithaca College Symphony Orchestra this Saturday, October 3rd, 2009 in Ford Hall at Ithaca College under the direction of Dr. Jeff Meyer. Click to the full article for the video and transcript of the interview.
This is the premier of our video blog series, and will be followed by another interview tomorrow, October 2nd, 2009, with Ithaca College Director of Orchestras Jeff Meyer. So stay tuned, and keep an eye on our new videos page.
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