Tuesday, July 26, 2016
Riccardo Chailly is taking the Filarmonica della Scala on a 10-stop Europe tour, including a first visit to Moscow. A date will have been offered to the BBC Proms, which evidently declined. Who needs La Scala at the Proms? press release: Riccardo Chailly and Filarmonica della Scala will return to Europe for a 10-concert, August 21- October 2, to include stops in major musical cities in Austria, Germany, France and Luxembourg. The FDS’s 2016 European tour will feature the orchestra in performances at Gstaad (Festivalzelt, 21/8), Salzburg(Großes Festspielhaus 22/8), Moscow (Bol’šoj 15/9) Essen (Philharmonie 24/9), Vienna (Musikverein 1/10). Chailly leads the Orchestra in Cherubini’s Symphony in D major, Verdi’s Four Season from Vespri Siciliani and Rossini’s Ouverture from Guillaume Tell. Pianist Daniil Trifonov will join Filarmonica della Scala and Riccardo Chailly for concert in Dortmund(Konzerthaus 25/9), Luxembourg (Philharmonie, 26/9), Hamburg (Konzertsaal 28/9), Baden Baden(Festpielhaus 30/9) while Martha Argerich for the FDS’s debut at Philarmonie Paris (2/10), both performing Schumann’s Piano Concerto. These concert will also feature Mr. Chailly leading FDS in Schumann’s Manfred-Ouverture and Symphony n. 2. Filarmonica della Scala’s Activity is supported by the Main Partner UniCredit.
Josefowicz/Karttunen/BBCSO/RCO/Knussen/Gamba/Chailly (NMC)Such is Colin Matthews’s influence on UK music, as composer, arranger, teacher and catalyst, that it would have been impossible for the record label he founded to ignore his 70th birthday this year. This disc leads with his Violin Concerto as performed by Leila Josefowicz and the BBCSO under Oliver Knussen at the 2010 Proms; Josefowicz, for whom Matthews tailored the work, soars high above the orchestra as if on a thermal. This supple, lyrical concerto is balanced with two of Matthews’s more characteristically time-stretching scores. The 1996 Cello Concerto No 2, with Anssi Karttunen as soloist, is arresting if not as immediately engaging, and the clouds clear at the beginning of its final movement in a passage of rapt meditation. In between, comes Cortège, written in 1988. Recorded by the Concertgebouw under Riccardo Chailly, it’s sombre but driven – monumental, yes, but one somehow feels inside the monument rather than gazing on it. Continue reading...
The Sony Classical label has drawn ink from Juan Duego Florez. It can now boast, with Kaufmann, Grigolo and Florez, to have the three hot males on the opera stage. Press release follows press pic. (New York / Berlin, June 20, 2016) Sony Classical is proud to announce a long-term exclusive contract with Juan Diego Flórez, one of today’s most prominent stars of the opera and concert stage. The tenor of choice for the world’s leading theatres in the bel canto repertoire and beyond, Juan Diego Flórez’s fluid, expressive singing and dazzling virtuosity have thrilled audiences and critics alike and earned him global acclaim. The Financial Times recently noted: “For a voice of high class and high Cs by the armful, Flórez is your man.” Born in 1973 into a musical family in Lima, Peru, the young singer studied at the National Conservatory of Music and with Peru’s Coro Nacional before winning a scholarship to the Curtis Institute of Music in Philadelphia, where his deep love of opera was founded. Standing in for an indisposed colleague as Corradino in Rossini’s Matilde di Shabran in 1996 proved to be a turning point in what was to become a stellar career. After this triumph, Mr. Flórez was promptly offered his début at La Scala, Milan, under Riccardo Muti, and since then he has conquered all the world’s leading stages, including the Metropolitan Opera in New York, the Royal Opera House in London, the Vienna Staatsoper, the Salzburg Festival, the Deutsche Oper in Berlin and the Zurich Opernhaus, to name but a few. He has worked with the best-known conductors of the day, including Riccardo Chailly, Gustavo Dudamel, Daniele Gatti, James Levine, Riccardo Muti, Antonio Pappano and many more. In 2007 Juan Diego Flórez made history at La Scala when he broke a 70-year-old taboo and gave the first encore in the theatre since 1933. The aria in question was “Ah! mes amis” from Donizetti’s La Fille du régiment, renowned for its nine high Cs. He repeated the feat a few months later, in 2008, at the Met, again after a number of years in which no encores had been heard, and in 2012 at the Opéra de Paris, where no encore had been heard since the theatre’s inauguration in 1989. Juan Diego Flórez has an extensive discography for which he has been honored with countless international awards. He is passionate about music education and through his foundations Sinfonía por el Perú and Friends of Juan Diego Flórez works to bring about social change through music both in his native country and beyond. Mr. Flórez is a UNESCO Goodwill Ambassador. His first album for Sony Classical will be released in fall 2017. Mr. Flórez noted of his new contract with Sony Classical: “Recordings are such a different means of expression for an opera singer. Musically, they allow you to explore and try new and exciting things, such as new colours and ways of interpretation. Working in the studio has fascinated me for a long time and I am full of new ideas I want to realize with Sony. I look forward to working with its team to bring great recordings to music lovers around the world.” Bogdan Roscic, President of Sony Classical, said: “Seeing and hearing Juan Diego Flórez in full flight is one of the greatest experiences in today’s opera world. His personality, his immense musicality and the unmistakably individual sound of his voice have made him one of the few true superstars in the theatre but also beyond it. I look forward to working with him on adding exciting new recordings to what is already an outstanding discography.”
When Riccardo Chailly cancelled this week’s Leipzig farewell performances of Mahler’s third symphony at very short notice, the official reason was health. Behind the scenes, though, there are other rumbles. It appears that Chailly, who is music director at La Scala Milan and at the Lucerne Festival, has been restocking the Lucerne orchestra with musicians from Milan – at the expense of his former Leipzig colleagues. There is particular disquiet at the absence of the Gewandhaus concertmaster Sebastian Breuninger from the Lucerne summer lineup. These concerns are now bursting out on social media. Neither side is officially saying much. It seems a sad way to end 11 glorious years as kapellmeister in the home of Johann Sebastian Bach.
Riccardo Chailly, 63, outgoing Gewandhaus music director, has pulled out of this week’s three valedictory performances of Mahler’s third symphony on unspecified health grounds. He will be replaced by the incoming m.d., Andris Nelsons. Chailly, 63, has cardiac history. He will nto have cancelled these concerts lightly. We wish him well.
It was around the turn of the year that Peter Gelb received instructions from his board to sign Yannick Nézet-Séguin as the next music director. No other name was on the table. Gustavo Dudamel might have been considered, but he has refused to work at the Met until he can control his own video rights. Antonio Pappano, the experienced Covent Garden director, did not go down well in New York. The leading European opera house music directors – Ricardo Chailly, Christian Thielemann, Kirill Petrenko, Philippe Jordan – did not get a call. It was Yannick, or bust. But why the rush? Everyone knew that Yannick was not going to be available before the decade was out. That left plenty of time to try out a few other names before reaching a final decision. Someone, it seems, panicked over Yannick. He may, in the final reckoning, be the best person for the job, but the manner of his appointment is messy and the delay before he starts work unsatisfactory. An unseemly panic.