tag:blogger.com,1999:blog-10056163862342891252010-04-14T17:46:18.033-04:00Today's Classical Music VideoLa Scena Musicale's award-winning website SCENA.org has been a world leader of classical music and arts news since 1996. Today's Classical Music Video Blog is our video pick of the day.
Read the press release at http://bit.ly/LSMPRVidBlog . Submit your favourite video to todaysvideo@lascena.org.Wah Keung Chanhttp://www.blogger.com/profile/03275462860819708591noreply@blogger.comBlogger91125tag:blogger.com,1999:blog-1005616386234289125.post-18588353533922153752010-04-14T17:46:00.001-04:002010-04-14T17:46:18.077-04:00This blog has moved<br /> This blog is now located at http://videoblog.scena.org/.<br /> You will be automatically redirected in 30 seconds, or you may click <a href='http://videoblog.scena.org/'>here</a>.<br /><br /> For feed subscribers, please update your feed subscriptions to<br /> http://videoblog.scena.org/feeds/posts/default.<br /> <div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1005616386234289125-1858835353392215375?l=www.scena.org%2Fblog%2Fvideo' alt='' /></div>Wah Keung Chanhttp://www.blogger.com/profile/03275462860819708591noreply@blogger.com0tag:blogger.com,1999:blog-1005616386234289125.post-87931670590651578612010-04-14T13:54:00.000-04:002010-04-14T13:54:08.249-04:00Kronos Quartet and Inuit Throat Singer Collaborate on Nunavut<object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/nCSxNOdZEww&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/nCSxNOdZEww&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><span style="font-size: small;"></span><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><span>"A String Quartet in Her Throat," directed by Mark Lawrence, documents the collaboration between Kronos Quartet and Inuit throat singer Tanya Tagaq on a piece called <i>Nunavut</i>. The project began in January 2006 as Kronos and Tagaq came together in the Yukon Territory and created a 15-minute piece that can be described as an "intimate improvisation."<br /><br /><i>Nunavut </i>is part of an evening-length program of the same name that explores the clarity, directness, and unique relationships of music and sounds from the North. More info can be found at <a href="http://www.kronosquartet.org/" target="_blank">www.kronosquartet.org</a>.</span></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><br /></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><span>- Michael Vincent </span></span> </div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><br /></span></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1005616386234289125-8793167059065157861?l=www.scena.org%2Fblog%2Fvideo' alt='' /></div>Crystal Chanhttp://www.blogger.com/profile/00094265258096557162noreply@blogger.com0tag:blogger.com,1999:blog-1005616386234289125.post-86518133719237522792010-04-13T11:31:00.000-04:002010-04-13T11:31:37.206-04:00Karita Mattila sings Sibelius<object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/U2H4EY-LrMI&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/U2H4EY-LrMI&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><span style="font-size: small;"></span><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">This week and next, the Toronto Symphony Orchestra celebrates the music of Finnish composer Jean Sibelius with performances of all seven of his symphonies, plus several tone poems and orchestral pieces with violin solo. Sadly, there won't be any vocal music on the program. Sibelius composed a short opera, <i>Jungfrun i Tornet (Maiden in the Tower)</i> that was not a success, and the composer withdrew it. But he composed nearly 150 songs, some of the most beautiful in the song repertoire. I vividly recall many years ago Elisabeth Soderstrom in Toronto singing these songs - that performance is forever etched in memory. Many singers have recorded them, including Soderstrom of course, but also Kirsten Flagstad, Jussi Bjoerling, Tom Krause, and Birgit Nilsson in the past. Well known modern recordings include those by Barbara Bonney, Karita Mattila, and Solie Isokoski. To celebrate TSO's Sibelius Festival, I have chosen one of Sibelius' most glorious creations, "The Tryst" (Flickan kom ifran sin alsklings mote), sung by Finnish soprano Karita Mattila. She sings with such incredible passion and intensity that you can't help but be moved by her. </span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><br /></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">- Joseph K. So</span></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1005616386234289125-8651813371923752279?l=www.scena.org%2Fblog%2Fvideo' alt='' /></div>Crystal Chanhttp://www.blogger.com/profile/00094265258096557162noreply@blogger.com0tag:blogger.com,1999:blog-1005616386234289125.post-17167063031086277462010-04-12T15:19:00.001-04:002010-04-13T14:36:47.498-04:00Ray Chen at the Queen Elisabeth / Ray Chen au Concours Reine Elisabeth<div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><object height="258" width="425"> <param name="movie" value="http://www.youtube.com/v/sdTr-QTQ-ek&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/sdTr-QTQ-ek&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="258"></embed></object></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><br />Mvt. 2: <a href="http://www.youtube.com/watch?v=CA5h1C_rn8g" target="_blank">http://www.youtube.com/watch?<wbr></wbr>v=CA5h1C_rn8g</a><br />Mvt. 3: <a href="http://www.youtube.com/watch?v=GE0MvnN4MSo" target="_blank">http://www.youtube.com/watch?<wbr></wbr>v=GE0MvnN4MSo</a><br />Mvt. 4: <a href="http://www.youtube.com/watch?v=9KXUa8Euwrw" target="_blank">http://www.youtube.com/watch?<wbr></wbr>v=9KXUa8Euwrw</a></span><span style="font-size: small;"> </span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><br /></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">In this video, the Taiwanese-Australian violinist Ray Chen plays </span><span style="font-size: small;">Cesar Franck's <i>Violin Sonata</i> at the finals of the 2009 Queen Elisabeth International Violin Competition, which he won. He was also the winner of the Yehudi Menuhin Competition in 2008.</span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><br /></span><br /><span style="font-size: small;">Chen, 21, </span><span style="font-size: small;">currently studies at the Curtis Institute of Music under Aaron Rosand. Last month, he signed an exclusive, multi-disc contract with Sony Classical.</span><br /><br /><div style="text-align: center;"><span style="font-size: small;">***</span></div><span style="font-size: small;"><br /></span><br /><span style="font-size: small;">Dans ce vidéoclip, le violoniste taiwanais australien Ray Chen joue la <i>Sonate pour violon </i> de Cesar Franck lors de l’épreuve finale du Concours Reine Elisabeth de Violon en 2009, concours qu’il a d’ailleurs remporté. Il a aussi remporté le Concours international de violon Yehudi Menuhin en 2008. </span><span style="font-size: small;"> </span><br /><br /><br /><span style="font-size: small;">M. Chen, âgé de 21 ans, étudie actuellement au Curtis Institute of Music auprès d’Aaron Rosand. Le mois dernier, il signa un contrat d’enregistrements avec la maison de disques Sony Classical. </span><br /><br /><span style="font-size: small;">- L.H. Tiffany Hsieh; Traduction par Anne Stevens</span></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1005616386234289125-1716706303108627746?l=www.scena.org%2Fblog%2Fvideo' alt='' /></div>Crystal Chanhttp://www.blogger.com/profile/00094265258096557162noreply@blogger.com0tag:blogger.com,1999:blog-1005616386234289125.post-34678247951192057122010-04-10T12:00:00.009-04:002010-04-12T15:35:00.176-04:00Louis Lortie plays Chopin / Louis Lortie joue Chopin<object height="258" width="425"> <param name="movie" value="http://www.youtube.com/v/6PAjUk-83d4&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/6PAjUk-83d4&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="258"></embed> </object><br /><br /><span style="font-size: small;"></span><br /><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">Montreal pianist Louis Lortie, known for his interpretations of Ravel, Beethoven and Chopin, is making a welcome return to Toronto. I last heard him at Roy Thomson Hall with fellow French Canadian Yannick Nezet-Seguin conducting the Ravel piano concerto. This time Lortie is giving an all-Chopin solo recital. I understand from Jeff Embleton, the publicity manager of the Royal Conservatory of Music, that the concert is virtually sold out. But I think the RCM usually holds back a few rush tickets at the huge bargain price of $10, to be sold on the day of the performance - this is not to be missed! Lortie is playing a program of nocturnes and ballads, plus the <i>Barcarolle in F sharp major Op. 60</i>. For today's video, I have chosen Lortie playing the familiar <i>Etude Op. 10 No. 3</i>. It clearly demonstrates a master at the top of his game.... Enjoy!</span><br /><br /><div style="text-align: center;"><span style="font-size: small;">***</span></div><span style="font-size: small;"> </span><br /><span style="font-family: Georgia; font-size: small;">Le pianiste montréalais Louis Lortie, connu pour ses interprétations de Ravel, Beethoven et Chopin, fait un</span><span style="color: red; font-family: Georgia; font-size: small;"> </span><span style="font-family: Georgia; font-size: small;">retour très attendu à Toronto. Je l’ai entendu en concert la dernière fois au Roy Thomson Hall avec son collègue québécois Yannick Nézet-Séguin qui dirigeait le <i>Concerto pour piano </i>de Ravel. Cette fois-ci, M. Lortie donnera un récital solo entièrement consacré à Chopin. Jeff Embleton, le directeur de la publicité du Royal Conservatory of Music m’a dit que le concert affiche déjà complet. Mais, je crois que le RCM garde en réserve</span><span style="color: red; font-family: Georgia; font-size: small;"> </span><span style="font-family: Georgia; font-size: small;">quelques billets de dernière minute pour les vendre le jour du concert au prix modique de 10 $. C’est à ne pas manquer! M. Lortie jouera un programme de nocturnes et de ballades et aussi la <i>Barcarolle en fa dièse majeur op. 60</i>. Aujourd’hui, j’ai choisi un vidéoclip de M. Lortie qui interprète la célèbre <i>Étude op. 10 no3</i>. Ce vidéoclip démontre clairement un maître à son meilleur… Bonne écoute!</span><br /><span style="font-size: small;"> </span><br /><br /><span style="font-size: small;">- Joseph K. So; Traduction par Robert Scott </span></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1005616386234289125-3467824795119205712?l=www.scena.org%2Fblog%2Fvideo' alt='' /></div>Crystal Chanhttp://www.blogger.com/profile/00094265258096557162noreply@blogger.com0tag:blogger.com,1999:blog-1005616386234289125.post-16207608347871053412010-04-09T12:00:00.002-04:002010-04-09T14:53:48.374-04:00Anna Russell Explains Wagner's Ring Cycle / Anna Russell explique L’Anneau du Nibelung de Wagner<span style="font-size: small;"></span><br /><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/TM15dEexiu0&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/TM15dEexiu0&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><br /></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"></span><span style="color: black; font-size: small;"><span style="color: black;"></span></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="color: black; font-size: small;"><span style="color: black;">All of us who love music inevitably take it way too seriously at one time or another. Thank goodness we have had humourists of the stature of Victor Borge, Flanders and Swann, Gerard Hoffnung, Spike Jones, Peter Schickele and many others to puncture our pomposity. Until 2006 we also had our own Anna Russell, an English-born entertainer who lived most of her life in Canada. It should not be forgotten that she made one of her first appearances in one of Sir Ernest MacMillan's legendary Christmas Box concerts in the 1940s. Sir Ernest himself had an extraordinary sense of fun and instantly recognized the uniqueness of Anna Russell's talent.</span></span><br /><br /><span style="color: black; font-size: small;"><span style="color: black;">Anna Russell might be described as a female version of Victor Borge - without the Danish accent - and Sir Thomas Beecham. But you can see for yourself in this excerpt from one of her most famous routines. Nearly every opera is easy prey for parody but Wagner's <i>Ring </i>cycle is, literally, a gift from the gods for comedians and comediennes.</span></span><br /><br /><div style="text-align: center;"><span style="color: black; font-size: small;"><span style="color: black;">***</span></span></div><span style="color: black; font-size: small;"><span style="color: black;"> </span></span><br /><span style="font-family: Georgia; font-size: small;">Tous ceux qui aiment la musique la prennent inévitablement beaucoup trop au sérieux, à un moment donné. Heureusement qu’il y a des humoristes de l’envergure de Victor Borge, Flanders, Swann, Gerard Hoffnung, Spike Jones, Peter Schickele et beaucoup d’autres pour nous dégonfler le melon. Jusqu’en 2006, nous avions aussi notre propre Anne Russell, une artiste anglaise qui a passé la majorité de sa vie au Canada. Il ne faut pas oublier qu’elle a fait ses débuts dans l’un des concerts-bénéfices légendaires <i>Christmas Box</i> de Sir Ernest MacMillan en 1940. Sir Ernest MacMillan possédait un sens extraordinaire pour l’humour et reconnut immédiatement le talent unique d’Anna Russell.</span> <span style="font-family: Georgia; font-size: small;"> </span><br /><br /><span style="font-family: Georgia; font-size: small;">On pourrait décrire Anna Russell comme la version féminine de Sir Thomas Beecham et de Victor Borge (sans l’accent danois). Voyez vous-même dans cet extrait de l’un de ses numéros les plus célèbres. Presque tous les opéras sont faciles à parodier, mais L’Anneau<i> du Nibelung</i> de Wagner est véritablement un cadeau du ciel pour les humoristes. </span><br /><span style="color: black; font-size: small;"><span style="color: black;"> </span></span><br /><br /><span style="color: black; font-size: small;"><span style="color: black;">- Paul E. Robinson; Traduction par Robert Scott</span></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="color: black; font-size: small;"><span style="color: black;"></span></span></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1005616386234289125-1620760834787105341?l=www.scena.org%2Fblog%2Fvideo' alt='' /></div>Crystal Chanhttp://www.blogger.com/profile/00094265258096557162noreply@blogger.com0tag:blogger.com,1999:blog-1005616386234289125.post-35644929379545679592010-04-08T12:00:00.007-04:002010-04-12T15:40:32.017-04:00Slatkin and Hamelin Play Gershwin / Slatkin et Hamelin jouent Gershwin<div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><object height="258" width="425"> <param name="movie" value="http://www.youtube.com/v/Rsgbq9cBsSI&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/Rsgbq9cBsSI&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="258"></embed> </object></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><br /></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="color: black; font-size: small;"> </span><br /><div><span style="color: black; font-size: small;">A few weeks ago conductor Leonard Slatkin found himself in an embarrassing situation. He had just conducted <i>La Traviata</i> at the Met and received a devastating review. The critic claimed that Slatkin, who had never conducted this opera before, was not fully prepared and that the performance suffered as a result. A few days later Slatkin withdrew from conducting all further performances of <i>La Traviata.</i> </span><br /><br /><span style="color: black; font-size: small;">For a conductor of Slatkin's stature this must have been an awful experience. He has a reputation for being one of the most reliable conductors in the business with years of experience heading orchestras in St. Louis, Washington, London, Nashville and Detroit. Perhaps one of the lessons of this episode is that sooner or later, bad things happen to everybody. The challenge is to be able to pull yourself together, dust yourself off, and get back to work. Slatkin did just that a few nights later when he conducted the Juilliard Orchestra in a concert of works by William Schuman. By all accounts, Slatkin did a terrific job, conducting music he had championed all his life.</span></div><div><br /><span style="color: black; font-size: small;">In the video you can see Slatkin conducting music by another American composer, George Gershwin, and with the fine Canadian pianist who seems to be able to play everything in the repertoire, and play it extraordinarily well, Marc-Andre Hamelin. The music is Gershwin's <i>Piano Concerto in F</i> with the Netherlands Radio Philharmonic.</span></div><div><br /><div style="text-align: center;"><span style="color: black; font-size: small;">***</span></div><span style="color: black; font-size: small;"> </span><br /><span style="font-size: small;">Il y a quelques semaines, le chef d'orchestre Leonard Slatkin se retrouvait dans une situation gênante. Il venait de diriger <i>Traviata</i> au Met, et avait été visé par une critique très cruelle. L'auteur de l'article disait que le chef, qui n'avait jamais dirigé cet opéra auparavant, n'était pas prêt et que la performance s’en ressentait. Quelques jours plus tard, Slatkin se retirait de toutes les autres représentations de <i>Traviata</i>. </span><span style="font-size: small;"> </span><br /><br /><span style="font-size: small;">Pour un chef d'orchestre de sa stature, cette expérience a dû être affreuse. Il a la réputation d'être l'un des chefs les plus solides qui soient, avec des années d'expérience à la tête des orchestres de Saint-Louis, Washington, Londres, Nasville et Detroit. Peut-être que la meilleure leçon qu'on puisse tirer de cet épisode est que tôt ou tard, tout le monde subit des revers. Le mieux qu’on a à faire, c’est se relever, se secouer et se remettre au travail. C'est justement ce que Slatkin a fait quelque jour plus tard lorsqu'il a dirigé l'Orchestre de Juilliard dans un concert d'œuvres de William Schuman. La critique est unanime : il s'en est très bien tiré; d'ailleurs, c'est un compositeur qu'il essaye de faire connaître depuis des années. </span><span style="font-size: small;"> </span><br /><br /><span style="color: black; font-size: small;">Dans ce vidéoclip, on voit Slatkin en train de diriger de la musique d'un autre compositeur américain, George Gershwin, avec un pianiste canadien à qui tout semble réussir, Marc-André Hamelin. Il joue le <i>Concerto pour piano en fa</i> avec l'Orchestre philharmonique de la radio néerlandaise. </span><br /><br /><span style="color: black; font-size: small;">- Paul E. Robinson; Traduction par Anne Stevens</span><br /><span style="color: black; font-size: small;"> </span></div><span style="color: black; font-size: small;"></span></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1005616386234289125-3564492937954567959?l=www.scena.org%2Fblog%2Fvideo' alt='' /></div>Crystal Chanhttp://www.blogger.com/profile/00094265258096557162noreply@blogger.com0tag:blogger.com,1999:blog-1005616386234289125.post-29629304226617937872010-04-07T12:50:00.001-04:002010-04-08T13:27:10.240-04:00Giiwedin, First Nations opera premieres in Toronto / L’opéra des Premières nations Giiwedin en grande première à Toronto<div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/nrB5HdXtMtg&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/nrB5HdXtMtg&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><br /></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/oecm9CCJWQc&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/oecm9CCJWQc&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><br /></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">Want to experience something a little different from the typical operatic fare? Native Earth and An Indie(n)Rights Reserve are co-presenting <i>Giiwedin</i>, a First Nations opera, at the Theatre Passe Muraille Mainspace in downtown Toronto from April 8 to 24. Rather than retelling the story of this project, I refer you to the cover story that I have written in the new issue of <i>The Music Scene</i>. First Nations mezzo Marion Newman plays Noodin-Kwe, a 150 year old native woman fighting for her land. Here are two video clips, "trailers" of the opera. While the music in the film footages is baroque in style, the opera contains a myriad of musical genres from classical to jazz. It promises to be a very interesting evening. </span><br /><br /><div style="text-align: center;"><span style="font-size: small;">***</span></div><span style="font-size: small;"> </span><br /><span style="font-family: Georgia; font-size: small;">Voulez-vous voir quelque chose qui est un peu différent d’un opéra typique? Native Earth et An Indie(n)Rights Reserve nous présentent <i>Giiwedin</i>, un opéra des Premières nations au Théâtre Passe Muraille sur la scène <i>Mainspace</i> au centre-ville de Toronto du 8 au 24 avril. Au lieu de vous raconter encore une fois l’histoire de cette oeuvre, je vous renvoie à l’article-vedette dans le dernier numéro de la revue <i>The Music Scene</i>. La mezzo Marion Newman des Premières nations interprète Noodin-Kwe, une femme autochtone âgée de 150 ans qui lutte pour sa terre. Voici deux bandes-annonces de l’opéra. Bien que la musique des bandes-annonces ait un style baroque, l’opéra possède une myriade de genres musicaux qui passe du classique au jazz. Ceci promet d’être une soirée très intéressante. </span><span style="font-size: small;"> </span></div><div style="font-family: Georgia,"Times New Roman",serif;"><br /></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">- Joseph K. So; Traduction par Robert Scott </span></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1005616386234289125-2962930422661793787?l=www.scena.org%2Fblog%2Fvideo' alt='' /></div>Crystal Chanhttp://www.blogger.com/profile/00094265258096557162noreply@blogger.com0tag:blogger.com,1999:blog-1005616386234289125.post-62231180077656589442010-04-06T13:08:00.002-04:002010-04-06T13:58:29.031-04:00Eighth Blackbird featured before their NYC performance at the Kitchen<div style="font-family: Georgia,"Times New Roman",serif;"><object height="258" width="425"> <param name="movie" value="http://www.youtube.com/v/-SccqMucTqM&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/-SccqMucTqM&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="258"></embed> </object></div><div style="font-family: Georgia,"Times New Roman",serif;"><br /></div><div style="font-family: Georgia,"Times New Roman",serif;">- Michael Vincent</div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1005616386234289125-6223118007765658944?l=www.scena.org%2Fblog%2Fvideo' alt='' /></div>Crystal Chanhttp://www.blogger.com/profile/00094265258096557162noreply@blogger.com0tag:blogger.com,1999:blog-1005616386234289125.post-62486919945921123412010-04-05T15:24:00.001-04:002010-04-08T13:21:54.635-04:00Harlem Quartet takes up Strads for Schubert / Le Quatuor de Harlem joue Schubert avec leurs Stradivarius<span style="font-size: small;"><object height="258" width="425"> <param name="movie" value="http://www.youtube.com/v/xCvkdvTwx5E&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/xCvkdvTwx5E&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="258"></embed></object></span><br /><span style="font-size: small;"><br /></span><br /><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><a href="http://www.youtube.com/watch?v=myzchMKm4DM"><span id="goog_402527780">Part 2: Click Here</span></a></span><br /><span style="font-size: small;"><a href="http://www.youtube.com/watch?v=LNU4RbZp0rw">Part 3: Click Here</a></span> <br /><span style="font-size: small;"><a href="http://www.blogger.com/goog_402527790">Part 4:</a><a href="http://www.youtube.com/watch?v=XKZd5eK318I"> Click Here</a></span> <br /><span style="font-size: small;"><a href="http://www.blogger.com/goog_402527794">Part 5:</a><a href="http://www.youtube.com/watch?v=I9-dB1oCoxg"> Click Here</a></span> <br /><span style="font-size: small;"><a href="http://www.blogger.com/goog_402527798">Part 6:</a><a href="http://www.youtube.com/watch?v=-U1AqmzSnBY"> Click Here</a></span> <br /><span style="font-size: small;"><br /></span><br /><span style="font-size: small;">This is a 2008 live performance of the Harlem Quartet playing Schubert's <i>Cello Quintet in C Major</i> with Carter Brey, principal cellist of the New York Philharmonic, at the Library of Congress. The Harlem Quartet, comprised of Ilmar Gavilan (violin), Melissa White (violin), Juan-Miguel Hernandez (viola), and Desmond Neysmith (cello), are all first-place laureates of the Sphinx Competition, an annual competition open to junior high, high school, and college-age black and Latino string players in the States. In this video, each member of the quartet is playing a Stradivarius.</span><br /><br /><div style="text-align: center;"><span style="font-size: small;">***</span></div><span style="font-size: small;"><br /></span><br /><span style="font-family: Georgia; font-size: small;">Voici la prestation sur scène du Quatuor à cordes de Harlem qui joue <i>le Quintette à cordes en do majeur</i> de Schubert avec Carter Brey, premier violoncelle de l’Orchestre philharmonique de New York, à la Bibliothèque du Congrès en 2008. Les membres du</span><span style="color: red; font-family: Georgia; font-size: small;"> </span><span style="font-family: Georgia; font-size: small;">Quatuor de Harlem sont Ilmar Gavilan (violon), Melissa White (violon), Juan-Miguel Hernandez (alto) et Desmond Neysmith (violoncelle). Ils sont tous des lauréats du Concours Sphinx. Ce concours annuel est ouvert aux</span><span style="color: red; font-family: Georgia; font-size: small;"> </span><span style="font-family: Georgia; font-size: small;">joueurs Afro-Américains ou Hispano-Américains</span><span style="color: red; font-family: Georgia; font-size: small;"> </span><span style="font-family: Georgia; font-size: small;">d’instruments à cordes qui sont en âge de fréquenter l’école intermédiaire, l’école secondaire et l’université aux États-Unis. Dans ce vidéoclip, chaque membre du quatuor joue un Stradivarius. </span><br /><br /><span style="font-size: small;"><br /></span><br /><span style="font-size: small;">- L.H. Tiffany Hsieh; Traduction par Robert Scott</span></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1005616386234289125-6248691994592112341?l=www.scena.org%2Fblog%2Fvideo' alt='' /></div>Crystal Chanhttp://www.blogger.com/profile/00094265258096557162noreply@blogger.com0tag:blogger.com,1999:blog-1005616386234289125.post-34158419926894217072010-04-02T14:50:00.002-04:002010-04-04T14:53:41.565-04:00Victor Borge's Mozart Opera<object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/KZ4ZNbiO15M&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/KZ4ZNbiO15M&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><br /><div style="clear: both;">If you haven't seen this Victor Borge routine it may well colour your operatic experiences for the rest of your life. Borge was a great comedian but he was also a musician of rare perception. He was a valuable antidote for people who take 'serious' music - and themselves - too seriously.<br /><br />Victor Borge (1909-2000) was born in Denmark but emigrated to the United States. When he arrived he didn't speak a word of English but he quickly mastered the language and even became famous for exploit double and triple meanings in his performances. He made fun of his piano playing but he was a child prodigy and could play very well indeed.<br /><br />Paul E. Robinson</div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1005616386234289125-3415841992689421707?l=www.scena.org%2Fblog%2Fvideo' alt='' /></div>Wah Keung Chanhttp://www.blogger.com/profile/03275462860819708591noreply@blogger.com0tag:blogger.com,1999:blog-1005616386234289125.post-40501505413490465662010-04-01T12:30:00.004-04:002010-04-12T15:45:59.974-04:00Robert Spano Conducts Golijov / Robert Spano dirige Golijov<div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><object height="258" width="425"> <param name="movie" value="http://www.youtube.com/v/mvTiWPV2da0&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/mvTiWPV2da0&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="258"></embed> </object></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><br /></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="color: black; font-size: small;"></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="color: black; font-size: small;">This is a promo for a new DG recording of Golijov's <i>La Pasion segun San Marcos</i>. The DVD quality is excellent and the performance of this remarkable work is vibrant and exciting. The performance was given at the 2008 Holland Festival. The conductor is Robert Spano, music director of the Atlanta Symphony, and he is obviously totally committed to this eclectic music. Golijov was born in Argentina but moved to Israel when he was in his 20s. He came to the United States in 1986 and quickly established himself as one of the most original and accessible composers of his generation. <i>The St. Mark Passion</i> dates from 2000. It is in the tradition of Bach's great Christian passions but Golijov also draws on his own Jewish roots and the folk and dance music of Latin America.</span><br /><br /><div style="text-align: center;"><span style="color: black; font-size: small;">***</span></div><span style="color: black; font-size: small;"> </span><br /><span style="font-size: small;">Voici un vidéoclip promotionnel pour un nouvel enregistrement de la <i>Passion selon Saint-Marc</i> de Golijov, endisqué par DG. La qualité du DVD est excellente et cette œuvre remarquable est jouée d'une façon vivante et dynamique. L’enregistrement a été réalisé dans le cadre d'un spectacle au festival de Hollande en 2008. Le chef d'orchestre est Robert Spano, directeur musical de l'Orchestre symphonique d'Atlanta, qui est visiblement tout à fait enthousiasmé par cette musique éclectique. Né en Argentine, Golijov s'est établi en Israël quand il était dans la vingtaine. En 1986, il a émigré aux États-Unis, où il est vite devenu l'un des compositeurs les plus originaux et accessibles de sa génération. La <i>Passion selon Saint-Marc</i> date de 2000. Elle s'inscrit dans la tradition des grandes passions chrétiennes de Bach, mais s'inspire également des racines juives du compositeur ainsi que de la musique folklorique et populaire de l'Amérique latine. </span><span style="color: black; font-size: small;"> </span><br /><br /><span style="color: black; font-size: small;">- Paul E. Robinson; Traduction par Anne Stevens</span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="color: black; font-size: small;"></span></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1005616386234289125-4050150541349046566?l=www.scena.org%2Fblog%2Fvideo' alt='' /></div>Crystal Chanhttp://www.blogger.com/profile/00094265258096557162noreply@blogger.com0tag:blogger.com,1999:blog-1005616386234289125.post-41180269841704054852010-03-31T11:06:00.001-04:002010-04-12T15:42:03.919-04:00In Memoriam: Mezzo Blanche Thebom (Sept. 19, 1915 - March 23, 2010) / Hommage à la mezzo-soprano Blanche Thebom (19 septembre 1915 - 23 mars 2010)<div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/LaIo884Cgi4&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/LaIo884Cgi4&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><br /></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><br /></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"> American mezzo-soprano Blanche Thebom, who sang more than 350 performances at the Met, passed away on March 23, at the age of 94 in her home in San Francisco. The cause of death was listed variously as heart failure and pneumonia. A singer noted for her glamour as well as her exciting mezzo, Thebom was born in Pennsylvania of Swedish immigrant parents. She sang in church choirs as a youngster. Legend has it that on a visit to Sweden with her parents in 1938, a pianist who accompanied contralto Marian Anderson heard Thebom sing and recommended that she study voice in New York with former Met soprano Edyth Walker. Thebom made her Met debut in 1944 and stayed until 1967. After her retirement, Thebom taught opera and trained young singers in Arkansas and later in California. She sang a wide-ranging repertoire, from Carmen to Dalila to Brangaene, including the legendary Furtwangler recording with Kirsten Flagstad and Ludwig Suthaus. She was also a famous Eboli - her "O don fatale" always brought down the house. Here is Thebom in that great aria, complete with a brilliant, long-held high B-natural. In this performance she didn't pay too much attention to note values as indicated in the score, holding onto the B flats and the B natural a lot longer than she should have. Given it was a live concert filmed for American TV, I suppose she decided to go for broke!</span></div><div style="font-family: Georgia,"Times New Roman",serif;"><br /></div><div style="font-family: Georgia,"Times New Roman",serif; text-align: center;"><span style="font-size: small;">***</span></div><div style="font-family: Georgia,"Times New Roman",serif;"><br /></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">La mezzo-soprano américaine Blanche Thebom, qui a donné plus de 350 représentations au Met, est décédé le 23 mars à l'âge de 94 ans à son domicile de San Francisco, d’une défaillance cardiaque conjuguée à une pneumonie. Cette prestigieuse cantatrice est née en Pennsylvanie de parents qui avaient immigré de Suède. Pendant sa jeunesse, elle a chanter dans des chorales d'église. D'après la légende, lors d'une visite en Suède avec ses parents en 1938, un pianiste qui était l'accompagnateur de la contralto Marian Anderson a entendu M<sup>me</sup> Thebom chanter et lui a suggéré de faire des études vocales à New York auprès d’une ancienne soprano du Met, Edyth Walker. M<sup>me</sup> Thebom a fait ses débuts au Met en 1944 et sa carrière s'est poursuivie jusqu'en 1967. Après son départ à la retraite, elle a enseigné l'art lyrique et formé des jeunes chanteuses en Arkansas, puis en Californie. Son répertoire était très vaste, de Carmen à Dalila en passant par Brangäne, et elle a participé à l'enregistrement légendaire réalisé par Furtwangler avec Kirsten Flagstad et Ludwig Suthaus. Elle était également réputée pour sa façon de chanter l’air d’Eboli, « O don fatale ». La voici dans ce grand air où elle montre son souffle extraordinaire dans un magnifique <i> si</i> naturel. Dans cette représentation, elle ne faisait pas trop attention aux valeurs de notes qui sont indiquées dans la partition, puisqu'elle a tenu les <i>si bémol</i> et le <i>si </i> naturel bien plus longtemps qu'elle ne l'aurait dû. Je suppose qu'elle avait décidé d'y mettre le paquet parce que c'était un concert diffusé en direct à la télévision américaine! </span><span style="font-size: small;"> </span></div><div style="font-family: Georgia,"Times New Roman",serif;"><br /></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">- Joseph K. So; Traduction par Anne Stevens</span></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1005616386234289125-4118026984170405485?l=www.scena.org%2Fblog%2Fvideo' alt='' /></div>Crystal Chanhttp://www.blogger.com/profile/00094265258096557162noreply@blogger.com0tag:blogger.com,1999:blog-1005616386234289125.post-29219209537882092522010-03-30T13:00:00.002-04:002010-04-12T15:50:01.643-04:00John Adams' Doctor Atomic<div style="color: black; font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/GBmbtr5Uw7I&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/GBmbtr5Uw7I&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object></span></div><div style="color: black; font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><br /></span></div><div style="color: black; font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">John Adams<br /><i>Doctor Atomic</i> (2005)<br />"Batter my heart" (Act I closer)<br /><br />The Metropolitan Opera, New York<br />October 2008<br /><br />Gerald Finley as Robert Oppenheimer<br />MET Orchestra - Alan Gilbert, conductor</span><br /><br /><span style="font-size: small;">*** </span><br /><br /><span style="font-size: small;">John Adams<br />Doctor Atomic (2005)</span><span style="font-size: small;"> </span><span style="font-size: small;">« Batter my heart » (fin du 1<sup>er</sup> acte)<br /><br />The Metropolitan Opera, New York<br />Octobre 2008<br /><br />Gerald Finley dans le rôle de Robert Oppenheimer <br />Orchestre du MET sous la direction d’Alan Gilbert</span><span style="font-size: small;"> </span><span style="font-size: small;"> </span></div><div style="color: black; font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><br /></span></div><div style="color: black; font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">- </span><span style="border-collapse: separate; font-size: small; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Michael Vincent; Traduction par Anne Stevens</span><span style="font-size: small;"> </span></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1005616386234289125-2921920953788209252?l=www.scena.org%2Fblog%2Fvideo' alt='' /></div>Crystal Chanhttp://www.blogger.com/profile/00094265258096557162noreply@blogger.com0tag:blogger.com,1999:blog-1005616386234289125.post-65028712389933832392010-03-29T19:53:00.001-04:002010-04-13T14:25:52.718-04:00Verbier Festival / Le Festival de Verbier<div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><object height="261" width="425"> <param name="movie" value="http://www.youtube.com/v/HP1WFiNCCZU&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/HP1WFiNCCZU&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="261"></embed> </object></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><br /></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">Chamber music doesn't get any better than this. In this edited video from the 2008 </span><span style="font-size: small;">Verbier Festival in Switzerland, </span><span style="font-size: small;">Martha Argerich (piano), Mischa Maisky (cello), Joshua Bell (violin), Henning Kraggerud (violin), and Yuri Bashmet (viola) perform the final movement of one of Shostakovich's best-known chamber works, his <i>Piano Quintet in G minor, Op. 57</i>.</span><br /><br /><div style="text-align: center;"><span style="font-size: small;">***</span></div><span style="font-size: small;"> </span><br /><span style="font-size: small;"> Voici le <i>nec plus ultra</i> de la musique de chambre. Dans ce vidéoclip réalisé en 2008 pendant le Festival de Verbier, en Suisse, Martha Argerich (piano), Mischa Maisky (violoncelle), Joshua Bell (violon), Henning Kraggerud (violon) et Yuri Bashmet (alto) exécutent le dernier mouvement d'une des œuvres de musique de chambre les plus connues de Chostakovitch, son <i>Quintette pour piano en sol mineur </i> o<i>p. 57</i>.</span><br /><br /><span style="font-size: small;">- L.H. Tiffany Hsieh; Traduction par Anne Stevens</span></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1005616386234289125-6502871238993383239?l=www.scena.org%2Fblog%2Fvideo' alt='' /></div>Crystal Chanhttp://www.blogger.com/profile/00094265258096557162noreply@blogger.com0tag:blogger.com,1999:blog-1005616386234289125.post-62818783990954909262010-03-26T11:06:00.001-04:002010-04-13T14:33:02.912-04:00Stephen Sondheim Celebrates His 80th Birthday / Stephen Sondheim fête son 80e anniversaire<div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/8-VXXZLh2a0&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/8-VXXZLh2a0&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object></span><span style="color: black; font-size: small;"><span style="color: black;"> </span></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><br /></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="color: black; font-size: small;"><span style="color: black;">It is hard to believe that Stephen Sondheim, that ever-youthful composer and lyricist, celebrated his 80th birthday (March 22) this week. He has earned a permanent place in the pantheon of great creators for the American musical theatre. But more than that, he may well be simply a great composer and poet. His lyrics are not only clever; they are often insightful concerning the human condition. His music is deceptively simple yet original and refreshing. Sound familiar? Schubert comes to mind. But Schubert was never the man of the theatre that Sondheim became, contributing to some of the greatest American musicals of the past thirty years.</span></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><br /></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="color: black; font-size: small;"><span style="color: black;">He began his career writing lyrics for Leonard Bernstein and <i>West Side Story.</i> Next came a collaboration with Julie Styne on <i>Gypsy. </i>Then he was on his own, writing his own music and lyrics for shows such as <i>A Funny Thing Happened on the Way to the Forum, A Little Night Music, Sweeney Todd, Into the Woods </i>and so many other classics.</span></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><div><span style="font-size: small;"><br /></span><br /><span style="color: black; font-size: small;"><span style="color: black;">One of his best-known songs is "Send in the Clowns." In this video from many years ago he is seen coaching a student at the Guildhall School of Music in London. She sings beautifully and with great sensitivity but Sondheim helps her to really get inside the lyrics and the music, and the attention to detail makes all the difference. I find that Sondheim's creations bountifully repay close attention and repeated listening. Try it for yourself. And if you want another take on "Send in the Clowns", look for Barbra Streisand's performance on YouTube. Streisand at her best and that is, as they say, as good as it gets.</span></span><br /><br /><div style="text-align: center;"><span style="color: black; font-size: small;"><span style="color: black;">***</span></span></div><span style="color: black; font-size: small;"><span style="color: black;"> </span></span><br /><span style="font-size: small;">Difficile de croire que l'éternellement jeune compositeur et parolier Stephen Sondheim vient de fêter son 80<sup>e</sup> anniversaire, le 22 mars dernier! Il a mérité un siège permanent au panthéon des grands créateurs du théâtre musical américain. On peut dire qu'il est tout simplement un grand compositeur et poète. En plus d'être intelligents, ses textes nous font comprendre bien des choses sur la nature humaine. Sa musique peut sembler trompeusement simple, mais elle est en fait originale et rafraîchissante. Cela vous rappelle quelqu'un? Comme Schubert par exemple? Sauf que Schubert n'a jamais été un homme de théâtre comme Sondheim, qui a créé au cours des 30 dernières années certains des meilleurs <i>musicals</i> américains. </span><span style="font-size: small;"> </span><br /><br /><span style="font-size: small;">Au début de sa carrière, il a rédigé les textes de <i>West Side Story </i> pour Leonard Bernstein, puis, il a collaboré avec Julie Styne sur <i> Gypsy</i>. Après cela, il a travaillé seul, composant la musique et les textes pour des œuvres telles que <i>A Funny Thing Happened on the Way to the Forum, A Little Night Music, Sweeney Todd, Into the Woods</i> et bien d'autres classiques du genre. </span><span style="font-size: small;"> </span><br /><br /><span style="font-size: small;">L'une de ses chansons les plus connues s'intitule « Send in the Clowns ». Dans ce vidéoclip, qui date de plusieurs années, on le voit en train de conseiller une étudiante de l'école de musique Guildhall à Londres. Elle chante magnifiquement et avec beaucoup de tendresse, mais Sondheim l'aide à mieux percer les textes et la musique, et l’attention qu’il porte aux moindres détails fait toute la différence. À mon avis, une écoute attentive et répétée des œuvres de Sondheim permet de découvrir des trésors. Vous en jugerez. Pour entendre une autre version de « Send in the Clowns », cherchez celle de Barbra Streisand sur YouTube. Streisand y est au sommet de sa forme. Que demander de plus ? </span><br /><span style="color: black; font-size: small;"><span style="color: black;"> </span></span></div><div><span style="font-size: small;"><br /></span><br /><span style="color: black; font-size: small;"><span style="color: black;">- Paul E. Robinson; Traduction par Anne Stevens </span></span></div><span style="color: black; font-size: small;"><span style="color: black;"></span></span></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1005616386234289125-6281878399095490926?l=www.scena.org%2Fblog%2Fvideo' alt='' /></div>Crystal Chanhttp://www.blogger.com/profile/00094265258096557162noreply@blogger.com0tag:blogger.com,1999:blog-1005616386234289125.post-33073107038885194422010-03-25T11:06:00.005-04:002010-04-13T14:22:24.488-04:00Karajan Conducts Respighi in Japan / Karajan dirige Respighi au Japon<div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/1oqasTguizM&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/1oqasTguizM&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><br /></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="color: black; font-size: small;"><span style="color: black;"></span></span><br /><div style="clear: both;"><span style="color: black; font-size: small;"><span style="color: black;">Early in 1984 Karajan was at war with his own orchestra, the Berlin Philharmonic. The major issue was the engagement of clarinettist Sabine Meyer. She was chosen by audition and approved by Karajan but then after a year's probation was rejected by the members of the orchestra. But Karajan found her playing very much to his liking and dug in his heels against the male chauvinists in the orchestra. At that time, there were no female members and the older players were not about to change that 'tradition.' Karajan regarded the players' rejection of Meyer as a challenge to his authority and the war was on. When the players wouldn't give in he cancelled concerts, tours and recordings with the BPO. For some of his scheduled film projects he hired the Vienna Philharmonic instead.</span></span><br /><br /><span style="color: black; font-size: small;"><span style="color: black;">This situation went on for months until the two sides came to their senses and realized that their best interests lay in working together as before. Their musical rapprochement came in the form of two performances of Bach's B minor Mass at the Berlin Festival in September, 1984. Shortly afterwards they went to Japan together. This video was made at a tour concert given in Osaka on October 18, 1984. It is interesting because the video has never been released commercially. But more importantly, it documents a critical time in the historic relationship between Karajan and the orchestra. As you can see and hear, this performance of the final section from Respighi's <i>Pines of Rome </i>is tremendously powerful and is a fine example of how Karajan could build a climax. And after months of fighting with each other were Karajan and the members of the Berlin Philharmonic back on good terms? See for yourself. The musicians play as if their lives depended on it and at the end, after the final chord, Karajan smiles and even chuckles as if he couldn't believe his own ears what he and the orchestra could do together.</span></span></div><div style="clear: both;"><br /><div style="text-align: center;"><span style="color: black; font-size: small;"><span style="color: black;">***</span></span></div><span style="color: black; font-size: small;"><span style="color: black;"> </span></span><br /><span style="font-size: small;">Au début de 1984, Karajan était en guerre contre son orchestre, la Philharmonie de Berlin. Le principal enjeu de cette guerre était l'engagement de la clarinettiste Sabine Meyer. Elle avait été choisie sur audition et approuvée par Karajan, mais après une période d'essai d'un an elle avait été rejetée par les membres de l'orchestre. Toutefois, Karajan la trouvait très bonne et a décidé de tenir tête aux chauvins de son orchestre. À cette époque-là, celui-ci ne comptait aucune musicienne et les musiciens plus âgés n'étaient pas disposés à déroger à cette « règle ». Karajan considérait que le refus des musiciens était un défi à son autorité, et c'était donc la guerre. Face à l'entêtement des musiciens, il a annulé des concerts, des tournées et des enregistrements. Pour certains de ses projets cinématographiques, il a décidé de faire affaire avec la Philharmonie de Vienne.</span><br /><br /><span style="font-size: small;"> </span><span style="color: black; font-size: small;">Cette situation s'est poursuivie pendant des mois, jusqu'à ce que les deux côtés se rendent compte qu'il était de leur intérêt de collaborer comme avant. Le rapprochement se fit lors de deux représentations de la <i>Messe en si mineur</i> de Bach au Festival de Berlin, en septembre 1984. La tournée au Japon date de peu de temps après, et ce vidéoclip a été réalisé à Osaka le 18 octobre 1984. Son intérêt réside dans le fait qu'il n'a encore jamais connu de diffusion commerciale et, surtout, parce qu'il témoigne d'une période critique dans la relation historique entre Karajan et l'orchestre. Comme vous pouvez le voir et l'entendre, cette performance de la dernière section de <i>Pins de Rome</i> de Respighi est époustouflante et montre bien le génie qu'avait Karajan de faire monter la tension à son paroxysme. Après des mois de guerre, Karajan et les membres de la Philharmonie de Berlin s'étaient-ils réconciliés ? Voyez par vous-même : les musiciens jouent avec un sentiment d'urgence, et à la fin, après le dernier accord, Karajan est tout sourire, comme s'il n'arrivait pas à en croire ses oreilles.<span style="color: black;"> </span></span><br /><br /><span style="color: black; font-size: small;"><span style="color: black;">- Paul E. Robinson; Traduction par Anne Stevens </span></span><br /><span style="color: black; font-size: small;"><span style="color: black;"> </span></span></div><span style="color: black; font-size: small;"><span style="color: black;"></span></span></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1005616386234289125-3307310703888519442?l=www.scena.org%2Fblog%2Fvideo' alt='' /></div>Crystal Chanhttp://www.blogger.com/profile/00094265258096557162noreply@blogger.com0tag:blogger.com,1999:blog-1005616386234289125.post-8804169910673247902010-03-24T11:06:00.002-04:002010-04-12T15:56:13.389-04:00Evergreen tenor Ermanno Mauro sings 'Cielo e Mar' / Le ténor éternellement jeune Ermanno Mauro dans «Cielo e Mar »<div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/UzjNqit_K10&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/UzjNqit_K10&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><br /></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">Since retiring from the stage over a dozen years ago, Canadian tenor Ermanno Mauro has been devoting his time and energy to teaching, - "passing the torch" to the next generation of singers. Among his students are fast-rising Metropolitan Opera tenor David Pomeroy and lyric-coloratura Sinead Sugrue. I have attended masterclasses given by Mauro on a number of occasions, and am always impressed with his willingness to give unstintingly his knowledge and wisdom to the next generation. Often, he would demonstrate a phrase, or sometimes even whole passages of the score - and at the age of 71, Mr. Mauro can still sing, very well thank you, with a large and vital sound. In fact, he will be a soloist in an opera concert given by Wish Opera, a new organization that combines music with fashion, art, dance, photography (<a href="http://www.wishopera.ca/">www.wishopera.ca</a>); Mauro will be joined by baritone James Westman and soprano Sinead Sugrue in an evening of operatic selections. It takes place on March 25 and 27, at 8 pm at the Sandra Faire and Ivan Fecan Theatre. It will be a rare opportunity to hear Mauro, as well as two wonderful young singers in Westman and Sugrue. Deirdre Kelly of Globe and Mail and author of Paris Time Eight will be the Emcee. Here is Ermanno Mauro singing 'Cielo e Mar', Enzo Grimaldi's beautiful aria from <i>La Gioconda</i>. This dates from 1988 in Barcelona - you won't find too many tenors today with such clarion, robust tone and powerful high notes. </span><br /><br /><div style="text-align: center;"><span style="font-size: small;">***</span></div><span style="font-size: small;"> </span><br /><span style="font-size: small;">Depuis qu'il a quitté la scène, il y a une bonne douzaine d'années, le ténor canadien Ermanno Mauro consacre son temps et ses énergies à la relève, car il veut « passer le flambeau ». Parmi ses élèves, on compte le ténor David Pomeroy, qui connaît une carrière fulgurante au Met, et la colorature lyrique Sinead Sugrue. J'ai assisté à plusieurs classes de maître données par Mauro, et je suis toujours impressionné par sa générosité à transmettre son savoir et sa philosophie à la prochaine génération. Souvent, il montre comment chanter une phrase, ou parfois même un passage tout entier, et malgré ses 71 ans, M. Mauro chante encore très bien merci, avec une sonorité ample et vivante. En fait, il est l'un des solistes d'un concert d'opéra donné par une nouvelle organisation, Wish Opera, qui combine la musique avec la mode, les beaux-arts, la danse et la photographie </span><span style="font-size: small;">(<a href="http://www.wishopera.ca/" target="_blank"><span style="color: blue;"><u>www.wishopera.ca</u></span></a></span><span style="font-size: small;">)</span><span style="font-size: small;">, en compagnie du baryton James Westman et de la soprano Sinead Sugrue. Cet événement a eu lieu les 25 et 27 mars à la salle Sandra Faire et Ivan Fecan. C'était une chance rare d'entendre Mauro accompagné de deux étoiles montantes. Les soirées étaient animées par Deirdre Kelly, du <i>Globe and Mail</i>, auteur de <i>Paris Time Eight</i>. Voici Ermanno Mauro dans « Cielo e Mar », le magnifique air d’Enzo Grimaldi dans <i>La Joconde</i>. Réalisé à Barcelone, ce vidéoclip date de 1988, et on aurait du mal à trouver de nos jours un ténor qui peut chanter d'une façon aussi éclatante et avec une telle puissance.</span><br /><span style="font-size: small;"> </span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><br /></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">- Joseph K. So; Traduction par Anne Stevens</span></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1005616386234289125-880416991067324790?l=www.scena.org%2Fblog%2Fvideo' alt='' /></div>Crystal Chanhttp://www.blogger.com/profile/00094265258096557162noreply@blogger.com0tag:blogger.com,1999:blog-1005616386234289125.post-75265931527753970632010-03-23T11:02:00.001-04:002010-04-12T15:59:08.901-04:00AMY X NEUBURG: The Secret Language of Subways / La langue secrète du métro<div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/mSdO2z-RaO4&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/mSdO2z-RaO4&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><br /></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">Amy X Neuburg describes The Secret Language of Subways as “a song cycle about the inane and perpetually unfinished businesses of love and war — and New York.” A stylistically versatile, classically trained singer/composer with a four-octave range, Amy is best known for performances with voice, electronic drums, and live looping in which she creates a chorus of layered voices and rhythms. Two years in the making, Subways consists of intricately composed, multiple layers of cellos topped by Amy’s distinctive and striking vocals; the songs range from intimate art-song ballads to electronics-based pop to Dadaist meanderings to lush symphonic arrangements. Sometimes the cellos are processed with electronic effects, other times heard in the expressive richness of their natural timbres. Neuburg explains:<br /><br />"I conceived most of these songs while sitting on the subway during a 3-year period when I lived part-time in New York — inspired by the rhythmic lull of the train, the fragmented meanderings of my thoughts, the dramas of recent world and personal events, and the deluge of sensory input that is New York itself. New York at that time presented such a vivid example of how life, love and art continue to move forward with full force, in spite of (or perhaps encouraged by) the fears and uncertainties of war."</span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><br /></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">Performers: Amy X Neuburg & The Cello ChiXtet</span><br /><br /><span style="font-size: small;">***</span><br /><br /><span style="font-size: small;">Amy X Neuberg décrit son œuvre The Secret Language of Subways, comme « un cycle de chansons sur quelque chose de fou et de jamais terminé : l'amour, la guerre – et New York ». Cette chanteuse et compositrice au style diversifié et à la formation classique, dont la voix possède une amplitude de quatre octaves, est connu pour ses performances avec voix, percussions électroniques et synchronisations en direct lui permettant de créer un choeur de voix et de rythmes diversifiés. Cette œuvre, qui lui a pris deux ans à composer, consiste en une variété de pages de violoncelle qui contrastent avec la voix distinctive de la chanteuse. Les chansons sont variées : ballades intimistes, pop électronique, fantaisies dadaïstes, arrangements symphoniques veloutés. Parfois, les violoncelles sont traités avec des effets électroniques, d'autres fois on se contente du naturel. </span><span style="font-size: small;"><br /><br /></span><span style="font-size: small;">Voici ce qu’explique l'artiste : « J'ai composé la majorité de ces chansons alors que j'étais assise dans le métro, pendant une période de trois ans où je vivais à temps partiel à New York. J'étais inspirée par le rythme hypnotisant du train, les égarements de mes pensées, les drames de l'actualité mondiale et les tragédies personnelles, et le déluge de stimulations sensorielles qui fait de New York la ville qu'elle est. À cette époque, New York était un exemple parfait de la façon dont la vie, l'amour et l'art continuent d'avancer malgré les craintes et incertitudes de la guerre (ou peut-être à cause d'elles). » </span><br /><br />Musiciens : Amy X Neuburg et The Cello ChiXtet<br /><span style="font-size: small;"></span> <span style="font-size: small;"> </span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><br /></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">- Michael Vincent; Traduction par Anne Stevens </span></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1005616386234289125-7526593152775397063?l=www.scena.org%2Fblog%2Fvideo' alt='' /></div>Crystal Chanhttp://www.blogger.com/profile/00094265258096557162noreply@blogger.com0tag:blogger.com,1999:blog-1005616386234289125.post-73349579423003283142010-03-22T15:26:00.003-04:002010-04-12T16:07:33.277-04:00Denis Matsuev and Borislav Stulev Groove it Up / Denis Matsuev et Borislav Stulev s'amusent<div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/GUmG7gpXgjc&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/GUmG7gpXgjc&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><br /></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">Russian pianist Denis Matsuev stormed Toronto last week, playing Rachmaninoff's <i>Piano Concerto No. 3</i> with the Mariinsky Orchestra under conductor Valery Gergiev. In this video, the virtuoso pianist shows off his groovy, lighter side by teaming up with Russian cellist Borislav Stulev in excerpts from George Gershwin's <i>Porgy and Bess</i>.</span><br /><br /><br /><div style="text-align: center;"><span style="font-size: small;">***</span></div><br /><span style="font-size: small;">Le pianiste russe Denis Matsuev a fait sensation à Toronto la semaine dernière lorsqu'il a joué le <i>Concerto pour piano n</i><sup><i>o</i></sup><i> 3</i>de Rachmaninov avec l'Orchestre Mariinsky dirigé par le Maestro Valery Gergiev. Dans ce vidéoclip, le pianiste virtuose montre son côté fantaisiste en compagnie du violoncelliste russe Borislav Stulev dans des extraits de <i>Porgy and Bess</i> de George Gershwin.</span><br /><br /><span style="font-size: small;">- L.H. Tiffany Hsieh; Traduction par Anne Stevens</span></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1005616386234289125-7334957942300328314?l=www.scena.org%2Fblog%2Fvideo' alt='' /></div>Crystal Chanhttp://www.blogger.com/profile/00094265258096557162noreply@blogger.com0tag:blogger.com,1999:blog-1005616386234289125.post-29636160416090710862010-03-19T12:00:00.003-04:002010-03-19T17:42:19.172-04:00Gergiev Rehearses Tchaikovsky's Eugen Onegin at the Met / Gergiev répète Eugène Onéguine de Tchaïkovski au Met<div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><object height="261" width="425"> <param name="movie" value="http://www.youtube.com/v/LSPtI8t-org&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/LSPtI8t-org&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="261"></embed></object></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><br /></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="color: black; font-size: small;"></span><br /><div style="clear: both;"><span style="color: black; font-size: small;">This video shows Gergiev really in his element, conducting one of the greatest of Russian operas. In this short excerpt you will see him working with the Met Orchestra and singers Yelena Zaremba, Ramon Vargas, Dimitri Hvorostovsky and Renee Fleming. With the orchestra Gergiev works at getting beyond the notes and finding the expression Tchaikovsky had in mind. You will notice that Gergiev is not asking for what <i>he</i> wants but what Tchaikovsky marked in the score. Gergiev may appear to be a highly idiosyncratic musician but his ideas are nearly always based on what is written.</span></div><div style="clear: both;"></div><div style="clear: both;"><span style="color: black; font-size: small;">You will notice also that while Gergiev's incredibly busy schedule suggests he must be a man in a hurry, trying to do ten things at once, in fact he is very methodical and patient in his working methods.</span><br /><br /><span style="color: black; font-size: small;">***</span><br /><span style="color: black; font-size: small;"> </span><br /><span style="font-size: small;">Ce vidéoclip démontre M. Gergiev en plein dans son élément; en train de diriger l’une des plus grands opéras russes. Dans ce court extrait, vous allez l’apercevoir répéter avec l’Orchestre du Met et les chanteurs Yelena Zaremba, Ramon Vargas, Dimitri Hvorostovsky et Renee Fleming. Avec l’orchestre, M. Gergiev cherche à lire au-delà des notes et à trouver l’expressivité que Tchaïkovski avait en tête. Vous remarquerez que M. Gergiev ne demande pas de l’orchestre ce qu’il veut, mais plutôt ce que Tchaïkovski a écrit dans la partition. M. Gergiev peut sembler être un musicien très idiosyncrasique, mais ses idées sont presque toujours basées sur ce qui est écrit. </span><span style="font-size: small;"> </span><br /><br /><span style="font-size: small;">Vous remarquerez aussi que l’horaire fort chargé de M. Gergiev suggère qu’il doit être un homme très pressé, cherchant à faire trop de choses en même temps. En réalité, il est très méthodique et patient dans sa façon de travailler. </span><br /><span style="color: black; font-size: small;"> </span></div><div style="clear: both;"></div><div style="clear: both;"><span style="color: black; font-size: small;">- Paul Robinson; Traduction par Robert Scott </span></div><span style="color: black; font-size: small;"></span></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1005616386234289125-2963616041609071086?l=www.scena.org%2Fblog%2Fvideo' alt='' /></div>Crystal Chanhttp://www.blogger.com/profile/00094265258096557162noreply@blogger.com0tag:blogger.com,1999:blog-1005616386234289125.post-84090732024278666762010-03-18T12:00:00.003-04:002010-03-18T13:01:12.111-04:00Gergiev Conducts La Mer / Gergiev dirige La Mer<div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><object height="261" width="425"> <param name="movie" value="http://www.youtube.com/v/ZoRSTRwGUSY&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/ZoRSTRwGUSY&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="261"></embed> </object></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><br /></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><br /></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="color: black; font-size: small;">There is no busier conductor in the world today than Valery Gergiev. In the past few weeks he has been touring North America with his Mariinsky Theatre Orchestra from St. Petersburg. There were concerts in Toronto, Montreal and Ottawa but even bigger events in New York and Washington. Gergiev brought virtually his entire opera company from Russia to perform gigantic works such as Berlioz' <i>Les Troyens</i> and Prokofiev's <i>War and Peace, </i>plus several lesser-known Russian operas. He also found time to conduct performances of Shostakovich's opera <i>The Nose </i>at the Metropolitan Opera in the same period.</span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="color: black; font-size: small;">One of Gergiev's other jobs is chief conductor of the London Symphony. With that ensemble he has been recording a Mahler cycle, a Shostakovich cycle and a Prokofiev cycle. No wonder Gergiev is often criticized for spreading himself too thin. How can one man conduct so much music and give so many performances? Not surprisingly, some of these performances are less than perfect, to say the least. However, one must admit that on most nights Gergiev is incredibly exciting and charismatic. Watch this video from March, 2007. Gergiev conducts the London Symphony in the final part of Debussy's <i>La Mer. </i>He has the score in front of him but he hardly looks at it. Clearly, he is very well-prepared and the look in his eyes is enough to galvanize everyone in the orchestra.</span><br /><br /><div style="text-align: center;"><span style="color: black; font-size: small;">***</span></div><span style="color: black; font-size: small;"> </span><br /><span style="font-size: small;">Difficile de trouver un chef d’orchestre à l’agenda aussi rempli que Valery Gergiev. En effet, il a passé ces dernières semaines en tournée nord-américaine avec son Orchestre du théâtre Mariinsky de Saint-Pétersbourg. Ils ont fait escale à Toronto, Montréal et Ottawa, mais des engagements encore plus imposants les attendaient à New York et à Washington. Gergiev a amené quasiment toute sa troupe d’opéra de Russie pour produire des oeuvres aussi gigantesques que <i>Les Troyens</i> de Berlioz ou <i>Guerre et paix</i> de Prokofiev, en plus de certains opéras russes moins connus. Il a également trouvé le temps de diriger des performances de l’opéra de Chostakovitch, <i>Le nez</i>, au Metropolitan Opera pendant la même période. </span><span style="font-size: small;"> </span><br /><br /><span style="font-size: small;">Gergiev est également le chef attitré du London Symphony, avec lequel il est en train d’enregistrer des cycles Mahler, Chostakovitch et Prokofiev. Pas étonnant qu’on l’accuse d’en faire trop! Comment est-il possible de produire autant de musique et de donner tant de représentations? S’il n’est pas toujours au meilleur de sa forme, la plupart du temps il réussit à susciter l’enthousiasme de ses auditoires avec son charisme. Regardez ce vidéoclip datant de mars 2007. On y voit Gergiev en train de diriger le London Symphony dans la dernière partie de l’œuvre de Debussy, <i>La Mer. </i> La partition est ouverte devant ses yeux, mais il la regarde à peine. De toute évidence, il la connaît jusqu’au bout des doigts, et il sait galvaniser l’orchestre entier d’un seul regard. </span> <br /><span style="color: black; font-size: small;"> </span><br /><span style="font-size: small;"><br /></span><br /><span style="color: black; font-size: small;">- Paul Robinson; Traduction par Anne Stevens </span></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="color: black; font-size: small;"></span></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1005616386234289125-8409073202427866676?l=www.scena.org%2Fblog%2Fvideo' alt='' /></div>Crystal Chanhttp://www.blogger.com/profile/00094265258096557162noreply@blogger.com0tag:blogger.com,1999:blog-1005616386234289125.post-13225358604424322492010-03-17T12:00:00.005-04:002010-03-17T17:32:36.237-04:00Dmitri and Sondra sing duet from Il Trovatore / Dimitri et Sondra interprètent un duo extrait d’Il Trovatore<div style="font-family: Georgia,"Times New Roman",serif;"><object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/81z1YzH_994&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/81z1YzH_994&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object></div><div style="font-family: Georgia,"Times New Roman",serif;"><br /></div><div style="font-family: Georgia,"Times New Roman",serif;">This week, the big new for vocal fans in Toronto is the appearance of Dmitri Hvorostovsky and Sondra Radvanovsky in a concert at Roy Thomson Hall. They <span style="font-size: 14px; line-height: 19px;"><b><span style="font-weight: normal;"><span style="font-size: small;">will perform with the Orchestre de la Francophonie, under the baton of Constantine Orbelian, a frequent collaborator of baritone. They have recorded many CDs on the Delos label. Jean-Philippe Tremblay, the orchestra’s music director, will conduct orchestral selections from operas by Verdi, Puccini and Mascagni. Hvorostovsky and Radvanovsky had previously performed together in Russia. The Toronto concert marks the start of a North American tour that takes the artists to Montreal’s Place des Arts March 26, Washington’s Kennedy Center March 29, and New York’s Carnegie Hall April 1. For a little teaser of this concert this Saturday, here is a video clip of a concert they gave in Moscow in 2008. This is a duet with Conte di Luna and Leonora, "Mira, d'acerbe lagrima" from Act Four of <i>Il Trovatore</i>. The timbre of Radvanovsky is bright and vibrant, her rhythm and phrasing incisive and exciting. This duet follows a very vocally taxing "D'amor sul'alli rose", with plenty of exquisite high pianissimos. Then the Leonora has to shift gears and sing full throttle in this duet. In this live performance, Radvanovsky soared to a high C sharp in the duet, a note not too many sopranos singing Leonora dare attempt! And of course Hvorostovsky's robust, virile baritone sounds fabulous, as usual.</span></span></b></span><br /><br /><div style="text-align: center;"><span style="font-size: 14px; line-height: 19px;"><b><span style="font-weight: normal;"><span style="font-size: small;">***</span></span></b></span></div><span style="font-size: 14px; line-height: 19px;"><b><span style="font-weight: normal;"><span style="font-size: small;"> </span></span></b></span><br /><span style="font-size: small;">Cette semaine, la grande nouvelle pour les amateurs de chant à Toronto est la venue de Dimitri Hvorostovsky et Sondra Radvanovsky en concert au Roy Thomson Hall. Ils chanteront avec l’Orchestre de la francophonie, sous la direction de Constantine Orbelian, un collaborateur fréquent du baryton. Ils ont enregistré plusieurs CD sous l’étiquette de disques Delos. Jean-Philippe Tremblay, le directeur musical de l’orchestre, dirigera des oeuvres orchestrales des opéras de Verdi, Puccini et Mascagni. M. Hvorostovsky et Mme Radvanovsky ont chanté ensemble auparavant en Russie. Le concert à Toronto lance une tournée nord-américaine qui les amènera à la Place des Arts à Montréal le 26 mars, au Kennedy Center à Washington le 29 mars et au Carnegie Hall à New York le 1<sup>er</sup> avril. Pour un aperçu</span><span style="color: red; font-size: small;"> </span><span style="font-size: small;">de leur concert ce samedi, voici un vidéoclip d’un concert qu’ils ont donné à Moscou en 2008. Ils chantent le duo du Comte di Luna et de Leonora, <i>Mira, d’acerbe lagrima</i> du quatrième</span><span style="color: red; font-size: small;"> </span><span style="font-size: small;">acte d’<i>Il Trovatore</i>. Le timbre de la voix de Mme Radvanovsky est éclatant et vibrant, son rythme est pénétrant et son expression est excitante. Ce duo suit <i>D’amor sul’alli rose,</i> une aria très difficile du point de vue vocal, avec plusieurs pianissimos exquis. Ensuite, dans ce duo, Leonora doit changer de registre</span><span style="color: red; font-size: small;"> </span><span style="font-size: small;">et chanter à pleins poumons. Dans cette prestation sur scène, la voix de Mme Radvanovsky atteint le</span><span style="color: red; font-size: small;"> </span><span style="font-size: small;">do dièse, une note dont peu de chanteuses qui interprètent Leonora osent essayer! Et bien sûr, le baryton robuste et viril de M. Hvorostovsky est fabuleux, comme d’habitude.</span><br /><span style="font-size: 14px; line-height: 19px;"><b><span style="font-weight: normal;"><span style="font-size: small;"> </span></span></b></span></div><div style="font-family: Georgia,"Times New Roman",serif;"><br /></div><div style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: 14px; line-height: 19px;"><b><span style="font-weight: normal;"><span style="font-size: small;">- Joseph K. So</span></span></b></span></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1005616386234289125-1322535860442432249?l=www.scena.org%2Fblog%2Fvideo' alt='' /></div>Crystal Chanhttp://www.blogger.com/profile/00094265258096557162noreply@blogger.com0tag:blogger.com,1999:blog-1005616386234289125.post-59610078027322738122010-03-16T12:28:00.001-04:002010-03-17T12:58:54.744-04:00Steve Reich Directing Bang on a Can / Steve Reich dirige « Bang on a Can »<div style="font-family: Georgia,"Times New Roman",serif;"><object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/fapq0H--lME&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/fapq0H--lME&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object></div><div style="font-family: Georgia,"Times New Roman",serif;"><br /></div><div style="font-family: Georgia,"Times New Roman",serif;">A pioneer of minimalism, composer Steve Reich has not only won a Pulitzer Prize but has also changed the course of modern music. In this exclusive video, Reich directs the Bang on a Can ensemble (BOAC), one of the worlds most well known new music ensembles toward the limits of musical imagination. Here they detangle complex rhythmic phase patterns which extrapolate on simultaneous mixed tempi in a work titled 2x5. Alluding to a rock palate with it instrumentation of electric guitars, bass guitars, and drum sets, the BOAC settles into a groove that easily makes this one of Reich's most rhythmically vibrant pieces.<br /><br /><div style="text-align: center;">***</div><br /><span style="font-size: small;">Le compositeur Steve Reich, un pionnier du minimalisme, a remporté un prix Pulitzer en reconnaissance de son influence sur l'évolution de la musique moderne. Dans ce vidéoclip exclusif, Reich dirige l'ensemble Bang on a Can (BOAC), l'un des groupes musicaux les plus connus du monde qui se situe aux frontières de l'imagination musicale. Ici, il démêle des schémas rythmiques complexes qui se développent sur des tempi mélangés dans une œuvre intitulée «2x5 ». Évoquant la musique rock avec son instrumentation qui fait appel à des guitares électriques, des basses et des batteries, le BOAC crée une sonorité digne d'une des œuvres de Reich les plus vivantes sur le plan rythmique.</span> </div><div style="font-family: Georgia,"Times New Roman",serif;"><br /></div><div style="font-family: Georgia,"Times New Roman",serif;">- Michael Vincent; Traduction par Anne Stevens</div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1005616386234289125-5961007802732273812?l=www.scena.org%2Fblog%2Fvideo' alt='' /></div>Crystal Chanhttp://www.blogger.com/profile/00094265258096557162noreply@blogger.com0tag:blogger.com,1999:blog-1005616386234289125.post-67414416968674518932010-03-15T12:23:00.001-04:002010-03-17T12:57:36.663-04:00Three Romances / Trois romances<div style="font-family: Georgia,"Times New Roman",serif;"><object height="261" width="425"> <param name="movie" value="http://www.youtube.com/v/FSxD31Yzbx8&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/FSxD31Yzbx8&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="261"></embed> </object></div><div style="font-family: Georgia,"Times New Roman",serif;"><br /></div><div style="font-family: Georgia,"Times New Roman",serif;"><object height="261" width="425"> <param name="movie" value="http://www.youtube.com/v/kWYDktuOe0U&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/kWYDktuOe0U&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="261"></embed> </object></div><div style="font-family: Georgia,"Times New Roman",serif;"><br /></div><div style="font-family: Georgia,"Times New Roman",serif;">This video shows pianist Hélène Grimaud and the principal oboist with the Berlin Philharmonic Orchestra, Albrecht Mayer, playing Schumann's <i>Three Romances for oboe and piano, Op. 94</i>. The pieces are included as bonus tracks in Grimaud's 2006 CD, <i>Reflection</i>, which looks at the close personal and musical relationship between Schumann, his wife Clara and friend Johannes Brahms.<br /><br /><div style="text-align: center;">***</div><br /><span style="font-size: small;">Ce vidéoclip montre la pianiste Hélène Grimaud et le premier hautbois de l'Orchestre philharmonique de Berlin, Albrecht Mayer, en train de jouer les trois <i>Romances pour hautbois et piano op. 94</i> de Schumann. Ces pièces ont été ajoutées en prime au CD réalisé par M<sup>me</sup> Grimaud en 2006 sous le titre « Reflections », un regard sur les liens étroits de nature personnelle et musicale qui existaient entre Schumann, sa femme Clara et leur ami Johannes Brahms.</span> <br /><br />- L.H. Tiffany Hsieh; Traduction par Anne Stevens</div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/1005616386234289125-6741441696867451893?l=www.scena.org%2Fblog%2Fvideo' alt='' /></div>Crystal Chanhttp://www.blogger.com/profile/00094265258096557162noreply@blogger.com0