Calming The ‘Ca-cough-ony’
Corinna Da Fonseca-Wollheim of the New York Times, writes about this form of ‘high-culture hooliganism’.
Corinna Da Fonseca-Wollheim of the New York Times, writes about this form of ‘high-culture hooliganism’.
You spend your weekends at rehearsal and your wardrobe is full of all-black outfits; you were in a quartet not a garage band……take this quiz from the Huffington Post and find out if you really are an orchestra nerd!
An engaging new work by Sydney based Australian composer Andrew Schultz has been included on a recently released album, Winter’s Warmth, by the American label, Navona. Schultz’s Falling Man, Dancing Man (opus 68) is a three-movement concerto for orchestra and solo pipe organ. It was commissioned by Symphony Australia and written and premiered in 2005…
A fascinating feature from the New York Times on the 801 year old St Thomas Boys Choir in Leipzig and the impact of puberty on their voices. http://www.nytimes.com/2013/11/10/magazine/where-have-all-the-sopranos-gone.html?ref=music&_r=0
“…Whilst metadata and audio quality have been the burning issues for classical journalists and listeners, it’s the economics of streaming that has been alarming certain independent specialist classical record companies. In fact, as far as they are concerned, streaming poses unique and far greater problems for the classical industry than it does for the pop…
Last night, the English National Opera premiered a new production of Wagner’s Tristan and Isolde Conducted by the ENO’s ex-music director Edward Gardner, designed by the artist Anish Kapoor and direction by Daniel Kramer – the company’s artistic director elect, the cast included Australian tenor Stuart Skelton as Tristan. Will it be the troubled ENO’s saving grace?…
Some years ago I attended a concert at the Vienna Konzerthaus. Sopranos Montserrat Caballe and her Callas look-alike daughter Monserrat Marti gave a superb rendition of solos and duets for female voices. The hall was packed; the audience brought them out – and they graciously obliged – for three encores. On the premise that one good…