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Carl's Morning Quiz
Carl's Morning Quiz: One more Luciano Pavarotti question today. In Sir Georg Solti's final season as Music Director of the CSO, he conducted Luciano Pavarotti, Kiri Te Kanawa, and others in concert performances of what opera? Answer >>
With many live performances, there can be an element of danger or risk. When Hubbard Street Dance Chicago performs William Forsythe’s One Flat Thing, reproduced this fall, the company ups the stakes. The dancers improvise within a choreographic framework amidst a maze of 20 large, shiny, metal tables. They gleam forebodingly like a sea of more... more...
Chicago audiences will know pianist Conrad Tao from his time as Composer-in-Residence with Music in the Loft, and from WFMT’s airwaves. Earlier this year, we featured the 21 year old pianist as one of our 30 Under 30. I spoke with this talented young performer and composer about his recently released album, Pictures, which is Lisa Flynn’s New Release of more... more...
Inuk throat singer Tanya Tagaq recently brought her sounds to the Museum of Contemporary Art Chicago during the 2015 World Music Festival Chicago. She has collaborated with some of today’s most acclaimed artists from Björk to Matthew Barney. Her recent album Animism won Canadian album of the year at the 2014 Polaris Music Awards, beating out more... more...
The stories of H.P. Lovecraft, one of horror fiction’s forefathers, have influenced artists in all disciplines from authors like Stephen King and Jorge Luis Borges to film directors like Guillermo Del Toro and John Carpenter. But, did you know that Lovecraft has also inspired composers? Composer Ryan Ingebritsen is gearing up for the long more... more...
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Wigmore Hall, London
A programme featuring the UK premiere of Manoury’s hugely ambitious Le Temps, Mode d’Emploi alongside Kurtág and Busoni made few concessions to the audience
Andreas Grau and Götz Schumacher have been playing as a piano duo since their teens, and over three decades and more together they have encouraged a wide range of contemporary composers to write pieces for them. One of their most substantial recent commissions has come from Philippe Manoury; GrauSchumacher gave the first performance of Le Temps, Mode d’Emploi (Time, Instructions for Use) in Witten last year, and brought it to London as the second half of their Wigmore Hall recital.
Manoury’s hugely ambitious 55-minute piece, in which the sound of the two pianos is digitally transformed and projected through eight speakers around the auditorium, is, he says, “a large musical fresco on various ways to express time”. Its soundworld owes much to Boulez’s Répons and ... explosante-fixe ... with their myriad electronic reflections, as well as to the multiple piano textures of his Sur Incises, while the regular use of what sounds like 60s-style ring modulation of the keyboard sounds inevitably conjures up memories of Stockhausen’s two-piano Mantra. The writing is sometimes strikingly beautiful, especially in the moments of stasis that are coloured by the decaying electronic sonorities echoing around the hall, but it is sometimes densely, hectically overwhelming too, when the sheer complexity of the layers of live and virtual keyboards seems self-defeating.Continue reading...
Theatre Royal, Glasgow
Mezzo-soprano Justina Gringyte’s voice is steel-clad in this fail-proof Carmen that will never ruffle too many feathers
Related: Facing the music: Justina Gringyte
This production by Patrice Caurier and Moshe Leiser premiered in Cardiff in 1997 and has resurfaced at Welsh National Opera and Scottish Opera several times since. It’s easy to see why. It’s a fail-proof Carmen, dark and sumptuous, full of soft-lit Seville oranges and sultry poses. It will never look old or ruffle too many feathers. It doesn’t really push a particular reading of Carmen either as feminist maverick or figment of male fantasy, but there’s just enough subtlety in the power play to keep things tantalising. The final confrontation between Carmen and Don José happens on a stripped-back stage with a sudden emotional starkness that lingers after the curtain falls.
Glyndebourne, Lewes, Sussex
The comedy of Mozart’s culture-clash piece does not stifle the complexity at the heart of the opera
David McVicar’s production of Mozart’s clash of cultures comedy returns to Glyndebourne for the autumn tour, somewhat shorter than in its original form as staged in the summer, but still including far more dialogue than usual and offering a more serious view of the work than regularly presented.
That’s all to the good. Although there’s plenty of broad humour in Ian Rutherford’s revival, the show never loses sight of the complexity at the heart of the piece, in which two Christian couples find themselves in Muslim territory, and at the mercy of an equivocal Turkish overlord. That the latter – the non-singing role of Pasha Selim, here performed with a riveting combination of dignity and menace by Franck Saurel – is a Christian who has converted to Islam only enriches the ambiguity of response that the work demands of its audience.
A teenager hanged by a man obsessed with asphyxiating girls was failed by police and social workers assigned to work with her killer after an earlier attack, a report reveals.
Chancellor George Osborne urges "moderate" Labour MPs to defy their party leadership and support his fiscal charter plans in Wednesday's vote.
The US and Russia are to hold new talks on air safety in Syria after it emerged combat aircraft from both nations recently came within miles of each other.
There are more questions about multimillion-dollar contracts Chicago Public Schools...
The former head of Chicago Public Schools, Barbara Byrd-Bennett, has been charged with...
Heavily cited throughout the breathtaking federal indictment against former Chicago...
travel with wfmt
Discover WFMT's Classical Italy next May! Join Peter van de Graaff on this exclusive twelve-day classical music lover's journey to "Bella Italia" next May. Imagine staying in the heart of Venice in a restored old abbey and experiencing Donizetti' opera La favorite at the historic La Fenice Opera House!