Recognition for a Composer Who Captured a Century’s Horrors

(New York Times) — If the music of Dmitri Shostakovich chronicles political repression in Stalinist Russia, that of Mieczyslaw Weinberg, his contemporary and close friend, is a testimony to the horror that swept through Europe in the 20th century. Since the first full staging of his opera “The Passenger” at the Bregenz Festival in Austria six years ago, the composer has begun to overcome his reputation as a second-rate Shostakovich. But Weinberg’s first stage work, which he never lived to see performed, is only one of many compositions that deserve to be posthumously enshrined in the 20th-century canon. Now, the International Mieczyslaw Weinberg Society, founded by the conductor Thomas Sanderling and the violinist Linus Roth in the summer of 2015, hopes to create a place for the composer in the standard repertoire. In addition to gathering musicians and scholars under the aegis of the honorary president, Irina Shostakovich (widow of the composer Dmitri Shostakovich), their activities include premiere performances and recordings. […]

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In Hamburg, a New Musical Landmark for a City With Plans

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(New York Times) — After a delay of six years and about a tenfold increase in costs, a new classical music performance space here is preparing to open its doors. The Elbphilharmonie, a glass-paneled building mounted atop a former warehouse, includes not just two concert halls but a four-star hotel, a restaurant and residential apartments. On Nov. 4, a foyer carved out between the old and new buildings — called the Plaza — will open to the public, offering views from 121 feet above the Norderelbe River. The Elbphilharmonie, by the Swiss architecture firm Herzog & de Meuron, rises 360 feet above the city like waves of quicksilver and overtakes the Radisson Blu Hotel as its tallest building. The musical program begins on Jan. 11, when the NDR Elbphilharmonie Orchestra (recently renamed to reflect its new residence) and the international soloist Jonas Kaufmann inaugurate the main hall with a world premiere by the German composer Wolfgang Rihm. The Elbphilharmonie is “a light tower for this city-in-progress,” Jacques Herzog, one of the architects, said in a phone interview from Basel, Switzerland. The hall is part of HafenCity, a development project that is increasing the size of the city center by 40 percent. Mr. Herzog said that along with a revitalized music scene, he hoped the Plaza would create “a new meeting place for everyone in the city.” […]

John Adams on how to conduct yourself

(Financial Times) — Bounding onstage at the Philharmonie in Berlin last weekend, the American composer and conductor John Adams cut a youthful, wiry figure. The Berlin Philharmonic’s thumping brass and timpani opened the way into his Harmonielehre, in which relentlessly pulsing textures meet with monu­mental harmonies evoking Wagner or Sibelius. Three decades after shocking the minimalist establishment with his allusions to European Romanticism, and on the cusp of his 70th birthday, Adams has never been more relevant on both sides of the Atlantic. This season, he becomes the first composer-in-residence with the Berlin Philharmonic since 1998, following the likes of Alfred Schnittke, Hans Werner Henze and Wolfgang Rihm.  […]

Musikfest Berlin 2016: Berliner Philharmoniker - John Adams - Leila Josefowicz

Olga Neuwirth Maintains Eclectic Path in Her Music 

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(New York Times)  —  In “Trurliade-Zone Zero,” a new percussion concerto by Olga Neuwirth, the orchestra represents an irrational machine bent on the destruction of its creator. Confronted with D.J.-turntables, a megaphone and clicking metal frogs — not to mention three percussion stations — the soloist resorts to hitting a metal barrel with a giant hammer. If the sound palette seems surreal, it is no surprise coming from Ms. Neuwirth, a 48-year-old Austrian composer known for labyrinthine narratives exploring seemingly disparate influences. At last summer’s Salzburg Festival, her “Eleanor Suite” juxtaposed a blues singer and drum kit player with a contemporary classical ensemble to illustrate the social oppression of female African-American jazz musicians. “Le Encantadas o le avventure del mare delle meraviglie,” an homage to the Italian composer Luigi Nono and the writings of Herman Melville first heard last fall at the Donaueschingen Festival, where Ms. Neuwirth was the sole female composer on the roster, surrounded the audience with six interlocking ensembles while electronic samples emitted everything from lapping water to churchbells.  […]

Die Liebe der Danae, Grosses Festspielhaus, Salzburg: ‘Sumptuous’ 

(Financial Times)  — If any stage could prove Die Liebe der Danae to be more than a work that is by turns ravishing, by turns logistically unwieldy, it ought to be the Salzburg Festival: Richard Strauss’ penultimate opera premiered here in 1952. The Latvian director and set designer Alvis Hermanis, a regular fixture at the summer festival since his formidable production of Bernd Alois Zimmermann’s Die Soldaten four years ago, now takes up the challenge. The “cheerful mythology” drafted by Hugo von Hofmannsthal and completed by Joseph Gregor tells of the rivalry between Jupiter and the donkey-driver-turned-golden-touched-Midas for the hand of princess Danae. Hermanis transports the action to a middle eastern fantasyland where oversized turbans, billowing clothing and gilded harem dancers create caricature-like tableaux. Yet with the exception of opulent costumes by Juozas Statkevičius, the production’s aesthetic could be more imaginative. […]

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Oper auf allen Kanälen

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(Berliner Morgenpost) — Live im Kino, unterwegs auf dem Laptop oder bequem vor dem Smart-TV: Der Opernbetrieb sucht nach neuen Kanälen. Die digitalen Möglichkeiten stellen nicht nur Fragen an Zuschauer und Künstler, sondern auch an die Veranstalter. HD-Übertragung oder ­Stream? Schnelle Schnitte oder Standbild? Mit oder ohne Zahlungspflicht? Ob man sich für die eine oder andere Option entscheidet, digitale Vertriebsformen sind mittlerweile Pflicht für ein großes Opernhaus, das sich auf dem internationalen Markt positionieren will. Aber das Geschäftsmodell ist immer noch in der Entwicklung. Mit der “Live in HD”-Serie bahnte Peter Gelb, Generaldirektor der Metropolitan Opera in New York, im Jahr 2006 den Weg. Die Übertragungen sollten nicht nur als Werbetool dienen, sondern auch als eine neue Art, das Publikum zu gewinnen. Inzwischen können Zuschauer in 70 Ländern Stars wie Anna Netrebko und Jonas Kaufmann mit Popcorn in der Hand erleben. Deutschland und Österreich bilden den größten Markt nach den Vereinigten Staaten. […]

In Berlin, Reinventing an Operatic Tradition

(New York Times)  — It is not every day that a stage director becomes artist in residence with an orchestra — particularly not with an institution as steeped in tradition as the Berlin Philharmonic. But Peter Sellars has an unusual stake in the Philharmonic’s recent history. In 2010, he staged the J.S. Bach “St. Matthew Passion,” a sacred work more readily associated with church services. The production, which traveled to New York, London, Lucerne, Switzerland, and Salzburg, Austria, spawned a production of the “St. John Passion” in February 2014. Riding on the success, the orchestra has welcomed Mr. Sellars back for a season-long residency. Alongside works by the Finnish composer Kaija Saariaho and the late Canadian modernist Claude Vivier, the centerpiece is a production of Debussy’s only opera, “Pelléas et Mélisande,” which returns the mezzo Magdalena Kozena and baritone Christian Gerhaher of the Passions to starring roles.  […]

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Die Dreigroschenoper, Theater an der Wien, Vienna — ‘Driven by display, not depth’

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(Financial Times)  — Kurt Weill’s Die Dreigroschenoper (The Threepenny Opera) was not conceived for performance in an opera house. So it may seem ironic that the Theater an der Wien has chosen “the play with music”, as the composer and playwright Bertolt Brecht coined the work, to commemorate its 10th anniversary as an opera company. With the exception of Austrian stage and film actor Tobias Moretti, as the gangster Macheath, all cast members have classical training. While their polished voices assure that no melody will be out of tune, Brecht’s streetwise characters here lack the grit and biting irony from which the stage work lives. Polly Peachum (Nina Bernsteiner), who marries Macheath, is so straight-laced that one can hardly believe she is the daughter of a man who steals from beggars, even as she strips down to a boulevard pirate costume in the song “Seeräuberjenny.” […]

Urbild aller Männerchöre

(Berliner Morgenpost)  — Das Archiv der Sing-Akademie war nach dem Zweiten Weltkrieg jahrzehntelang verschwunden. 1999 wurde die Kriegsbeute durch ein Forscherteam der Harvard University in Kiew wiederentdeckt. Nach politischen Verhandlungen kehrte das Archiv 2001 nach Berlin zurück. Die Musikforscher staunten: In den 241 Kisten befanden sich Autographe, Abschriften und einige seltene Notendrucke. Es sind überwiegend Erstdrucke mit handschriftlichen Widmungen und Anmerkungen. Das ist der Notenschatz des ersten, 1791 gegründeten gemischten Chores in Deutschlands. Die Sing-Akademie hatte nicht nur das frühbürgerliche Musikleben, sondern auch das Sozialgefüge Preußens mitgeprägt. Eine Neuentdeckung ist bei den Forschungen jetzt ans Licht gekommen: Neben dem ersten gemischten Chor der bürgerlichen Welt entstand unter dem Dach der Sing-Akademie auch das Urbild aller Männerchöre: die von Akademie-Leiter Carl Friedrich Zelter 1809 ins Leben gerufene Liedertafel, die nach neuesten Forschungen sogar zum Kern des bildungsbürgerlichen Pflichtprogramms gehörte. […]

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Restoring the Legacy of a Composer

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(New York Times)  —  When Giacomo Meyerbeer died during rehearsals of his last opera, “L’Africaine,” in 1863, his style of music drama served as a model across Europe. But a combination of anti-Semitism, nationalist aesthetics and financial considerations caused the Berlin-born composer’s stage works to fall out of fashion by the early 20th century. While such singers as Plácido Domingo and Shirley Verrett rediscovered Meyerbeer after World War II, it became standard to perform his operas with substantial cuts. And until recently, this revival took place outside Germany. The Deutsche Oper Berlin hopes to reverse this development with a cycle spanning several seasons. […]