Nimrod Borenstein (b 1969) is a composer whose music is increasingly grabbing attention – especially that of Vladimir Ashkenazy, who will conduct two of his works in 2013, one in Leicester in February (The Big Bang and Creation of the Universe, Op 52) and the other in June at the Royal Festival Hall (If you will it, it is no dream, Op 58).
Click here to read the feature in Gramophone and hear excerpts of his music.
Seven of Britain’s opera houses including the Royal Opera House, the Welsh National Opera and the English National Opera, get together for a behind the scenes look at opera this Saturday May 10th. The four-hour event Inside Opera will be live streamed on YouTube. Read more. Inside Opera: Live will be livestreamed at theguardian.com/classical and…
Handa Opera on Sydney Harbour returns in 2017 with a reprise of Bizet’s Carmen first seen on the harbour in 2013. The production will run from March 24 to April 23, 2017. Produced by Gale Edwards, the sets are designed by Brian Thomson and costumes by Julie Lynch. The cast for this production has yet to…
So Silvio Berlusconi has finally stepped down. Recently, Alex Ross wrote about the indifference of the Berlusconi government to supporting the arts in Italy. (1) Ross also makes reference to the unprecedented action by Riccardo Muti, conducting Nabucco halted the performance and spoke to the audience about the situation. The response from both the chorus and the…
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!
Sir Neville Marriner, founding director of the Academy of St Martin in the Fields orchestra turned 90 earlier this month. Believe it or not he apparently was beaten for ‘over- gesticulating’! He looks back on his career in this interview with Stuart Jeffries of The Guardian.
‘Art for art’s sake’ is becoming an increasingly remote concept in 21st century Australia as performing arts bodies are expected to function according to business models and boost their bottom line from private sources. Are these expectations realistic – and who evaluates the bodies that make the funding decisions? The Australia Council for the Arts which…