He's for Almodóvar, but is still with Buńuel...Originally Posted by Schigolch
(as a way of speaking, I mean... I do love both so it's not a perfect analogy)
"J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)
http://www.metoperafamily.org/metope...nt&iloc=prodpg
This is a link to the 2013 Met opera season. This is interesting because it has lots of new productions with videos of the directors talking about their concepts and also we see promo photos and costume sketches . The new Rigoletto looks particularly interesting to me. And I have a feeling Alma will be very interested in the production of L'Elisir d'Amoure.
Only the positive!
Statement for the press on the occasion of the world premičre of
WEDNESDAY from LIGHT
in Birmingham on August 22, 2012 (Stockhausen’s 84th birthday)
in the context of the London Olympic Games 2012
Karlheinz Stockhausen’s life-long vision of a human family living together in love, peace and justice has been musically expressed in many of his works.
That is why he prayed daily for the world premičre of WEDNESDAY from LIGHT after it was completed in 1998, because its message is about love and collaboration and shows a united humanity dealing with problems common to every single member of this human family.
Thus the message of WEDNESDAY from LIGHT is truly in harmony with the original Olympic spirit, and we of the Stockhausen Foundation for Music are confident that Karlheinz Stockhausen – in spirit – is as grateful as we are to the wonderful collaborators of the LOCOG (London 2012 Organising Committee of the Olympic and Paralympic Games) and the Birmingham Opera Company that this message will finally be born musically in the context of the London Olympic Games 2012:
Hear, mankind: in our part
– voice of the Intuition–
it says to sing love forever
through solicitous formula music
in praise of GOD:
HU!
(the last words of the final scene of WEDNESDAY from LICHT)
The performances will take place on August 22, 23, 24, and 25 2012 at the Argyle Works (Great Barr Street, Birmingham B9 4EX).
A production of the Birmingham Opera Company www.birminghamopera.org.uk
Stage Director Graham Vick
Musical Direction Kathinka Pasveer
Stage Design, Costumes Paul Brown
Lighting Giuseppe di Iorio
Choreography Ron Howell
Sound Projection Kathinka Pasveer & Ian Deardan
Sound Engineer Igor Kavulek
Sound equipment BALANCE-Media Gmbh & Co Kg, Köln
Sign up at www.birminghamopera.org.uk to be sure of receiving the latest news on the project and an alert when the box office opens in late April - http://www.birminghamopera.org.uk/index ...
Date: 13 Mar 2012
London 2012 Festival, Stockhausen, Mitwoch aus Light, Olympics, Ruth Mackenzie
What is your opinion of the Licht cycle, Schigolch? I get discouraged by its sheer duration and the mixed reviews. But I do like contemporary music so there's a good chance that I'll like it if I take the time to explore it. Of course, time is not a commodity I've been enjoying lately, and with its, what, 23-hour duration? - it sounds like a daunting task, but tell me, should I try? How do you feel about the cycle?
Last edited by Almaviva; March 15th, 2012 at 11:52 PM.
"J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)
I'm not a big fan of Licht.
The conceptual thing, the cycle, is attractive enough, but the music itself, is somewhat dull and uninspired. Of course, you can find everything in so many hours, but in general terms you can largely give it a miss, unless you are pretty interested in contemporary opera or in Stockhausen himself.
Almaviva thanked for this post
This year 2012 is the hundredth anniversary of Jules Massenet's death. Soon there will a concert at the Théatre des Champs Elysées with the soprano Nathalie Manfrino and the conductor Richard Bonynge, in homage:
Didn't know Bonynge was still around. I love the story about the orchestra player who finally said to him, "Mr. Bonynge, if you're not careful, we're going to play the way you conduct."
This is the most inspiring thing I think I've ever seen! Just wonderful!
Only the positive!
Tomorrow, the young (24 years old) conductor Andrea Battistoni will perform "Le Nozze di Figaro" at La Scala, beating the record of Thomas Schiffer, that made his debut there back in 1955, when still 26 years old.
We can hear Battistoni, at 22, conducting Verdi:
Thomas Hampson is celebrating 25 years at the Met, this week. He has done 22 roles for the Met, in 25 years. That's pretty good.
Darn, this would be a wonderful opportunity for an interview. I got a "maybe" from his agent, and I've just sent another email to him, insisting. Fingers crossed.
"J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)
MAuer liked this post
Did anyone see this interview Colin Davis gave? Interesting take on the HIP movement.
http://jessicamusic.blogspot.co.uk/2...lin-davis.html
sospiro liked this post
Interesting interview, although I find I largely disagree with him when it comes to HIP. But there should be more room for non-HIP baroque and classicist music. And what's wrong with having a theoretical approach to music?
Wow. What he says about Sir John Eliot Gardiner is kind of disgraceful, to attack a prestigious colleague like this.
I'm not qualified to judge whether he is right or whether Gardiner is right, but I like both. Sir Colin Davis' Les Troyens is superb, but so is Sir Gardiner's, with the Monteverdi Choir and the Orchestre Révolutionnaire et Romantique. Different style, one non-HIP, the other HIP, but they are both compelling.
It makes me think of this: "Paul, when you say bad things about Peter, I learn more about *your* character than I learn about Peter's."
"J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)
I don't think there is "right" or "wrong" here, this is just about aesthetic convictions.
I like HIP, but not because I'm part of the illusion that either we are reproducing the way this music really was played in the 18th century, or that the way it was played in the 18th century (or wathever period we are trying to emulate) it was the best, or indeed the only, way to play that music. I like it because this is how we are playing this music in the late 20th century, early 21st century, and if anything, it said more about ourselves than about Mozart or Händel.
On the other hand, I also like (or dislike, but depending on the particular performance, not on the theoretical approach) the way a symphonic orchestra can play Haydn, or how we can play Bach in a modern piano, instead of a harpsichord.
Amfortas liked this post
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