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      10 Operas About Poisonous and Medicinal Plants

      As everyone is poised for the corpse plant at the Chicago Botanic Garden to bloom, why not enjoy some music about poisonous and medicinal plants? Operas would be a lot less interesting if poison didn’t seep its way into their plots. Check out this list of 10 operas about poisonous and medicinal plants, taken largely from the research more... more...

      5 Women on Being Modern Women in Dance

      The 9th Chicago Dancing Festival presented its first ever Modern Women program, highlighting the important contributions of women in dance both past and present: Isadora Duncan, Martha Graham, Kate Weare, and Pam Tanowitz, Crystal Pite. I spoke with women from each of the five companies on the program about women’s roles in dance, both as dancers and as choreographers. more...

      Barenboim and Berlin orchestra confirm Tehran concert plan

      Israeli-Argentinian conductor Daniel Barenboim is hoping to take one of Germany's top orchestras to Iran to perform a concert there, the Berlin State Opera said Thursday, drawing angry protests from Israel. Barenboim, 72, who is general music director of the German capital's flagship opera house, the State Opera, "is in talks with Iran about a possible concert in Tehran by the Staatskapelle Berlin," the house said in an emailed statement. more...

      29 Composers and their Canine Companions

      It's National Dog Day! Have you ever heard the saying, "Behind every great composer is a cuddly canine?" No? Well these photos prove that every composer from Bernstein to Busoni had a four-legged friend as a constant companion. more...

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      BBC SO/Oramo/Torikka/Rusanen-Kartano review – urgent performances

      Royal Albert Hall, London
      Conductor Sakari Oramo shows Sibelius’s narrow distinction between tone poem and symphony; Torikka and Rusanen-Kartano sing with operatic panache

      It was left to Sakari Oramo and the BBC Symphony Orchestra to round out the 150th-anniversary tribute to Sibelius at the Proms, which they had launched on the opening night. Oramo opted to go back to where Sibelius’s career as an orchestral composer began, pairing En Saga and Kullervo. The two works, completed in 1892 (the former a tone poem and the latter a symphonic suite), were the starting point for what proved to be one of the most remarkable orchestral journeys since Beethoven.

      As Oramo’s urgent performances showed, what is remarkable about both En Saga and Kullervo is that, however much they reveal the 19th-century composers who were Sibelius’s starting point, they also point unambiguously to the future, and to the intensely personal language that he would create for himself within barely a decade. En Saga in particular could not have been written by anyone else. The way in which the tone poem picks up speed as it hurtles inescapably towards its end, looks forward to the way in which the first movement of the Fifth Symphony would transform itself into a scherzo a quarter of a century later. It is a reminder that, musically at least for Sibelius, the line between tone poem and symphony was always a narrow one.

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      COE/Haitink/Pires review– a satisfying but risk-averse performance

      Royal Albert Hall, London
      Conductor Bernard Haitink is not prone to flamboyance, but these works cry out for more sparkle; Maria João Pires, nevertheless, proves an energising partner

      Even in his younger days, Bernard Haitink was never a conductor given to flamboyance. Now aged 86, the characteristic avoidance of histrionics has become almost the essence of his work with the orchestras fortunate enough to be conducted by him. These days, Haitink concerts are models of tact and good judgment in the service of music that is invariably very beautifully played. The results are almost always balanced and satisfying. But in some music they can sometimes be a little unchallenging.

      This prom with the outstanding Chamber Orchestra of Europe had such a feel. From the very start of Schubert’s C major Overture in the Italian style — very much that of Rossini — there were the familiar Haitink virtues of orchestral warmth, plus a determination to keep things moving. But the overture is quite a slight piece. It cries out for a bit more sparkle.

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      Watch Anne-Sophie Mutter play extracts from The Four Seasons at the Edinburgh international festival

      The German violinist has been playing at the Edinburgh international festival, and we’ve got an exclusive video of her

      The Edinburgh international festival has been offering a wide and varied programme of music both classical and contemporary for those who can’t face the prospect of another fringe comedian asking the audience if they remember Spangles. And we’ve teamed up with the festival to bring you a series of exclusive short films of the very best performers at work.

      We began last week with Anna Calvi and Heritage Orchestra, but today it’s the turn of the German violinist Anne-Sophie Mutter, performing extracts from the first and third movements of Vivaldi’s Four Seasons. She’s accompanied by the Mutter Virtuosi, made of young musicians granted scholarships by the Anne-Sophie Mutter Foundation. “It is particularly difficult nowadays for highly talented young instrumentalists to receive the necessary support during the crucial early years,” Mutter says. “In addition to the huge sums of money spent on lessons, in many cases financing a suitable string instrument poses great problems as well. Along with high purchase costs, there are the necessary insurance fees. Also expensive are trips to the world’s great artists — contacts that are essential for the development of a young musician. The support of young artists presents a challenge to everyone to whom the future of musical life is as important as it is to me.”

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      Steinway & Sons 30051

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      Brahms: Piano Concertos

      Deutsche Grammophon 479 4899 (2 CDs)

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      Chant for Peace

      Deutsche Grammophon 479 4709

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      Ondine ODE 1273-2

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      The New Goldberg Variations

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