WildKat PR is happy to announce that we are now working with conductor Alan Tongue and his new project Mozart In The Afternoon.

Alan Tongue is a conductor and musicologist who studied with Sergiu Celibidache,worked for the BBC, and later built his career around the world, from Eastern Europe to South America and the United States.

In 2007, he came across Vaughan Williams’ exercise for the Cambridge D. Mus in the University Library in Cambridge. He took the challenge to transcribe it, leading to the birth of critically-acclaimed project A Cambridge MassThe world premiere took place at the Fairfield Halls in Croydon, with the Bach Choir and New Queen’s Hall Orchestra, before being performed in London and the US.

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Alan is now back to London and is preparing for his upcoming project: Mozart In The Afternoon. The programme is as follows:

  • Divertimento in F, K. 138
  • Piano Concerto No. 13 in C, K. 415
  • Symphony No. 41 in C, K. 551 ‘The Jupiter’

Alan will conduct newly-founded The Beecham Orchestra, with pianist Iain Farrington (who performed at the 2012 London Olympic Games and composed music for the BBC Proms) and violinist Rick Friedman (co-leader and first violin of the Birmingham Royal Ballet).

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With its unusual timing of 2:30pm, the concert will benefit all sorts of audiences, offering a break from the busy city after lunch, and before the evening’s darkness: the perfect daytime activity.

Mozart In The Afternoon – Tuesday 4th April – 2.30PM

Cadogan Hall, 5 Sloane Terrace, London SW1X 9DQ

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(Written on February 20, 2017 )

The Academy of Ancient Music have today announced that Robert Levin will inaugurate the Hogwood Fellowship. Established in honour of the Academy of Ancient Music’s founder Christopher Hogwood, the Fellowship is designed to further the ensemble’s commitment to providing historical insight and cultural context to the music they perform.

Christopher Hogwood was once asked if he spent half his time as a musician, and the other half as a musicologist; his response was that he spent 100% of his time as both.  Setting the AAM apart from other ensembles is the creativity and spontaneity of their performances that are grounded in scholarship, with a constant exploration of music in its broadest cultural context.

Robert Levin is a consummate musician, much loved by audiences around the world as a soloist and conductor.  He is also a renowned scholar, holding positions at institutions including Harvard and Cambridge University.  He enjoyed a long and close association with Christopher Hogwood and the AAM, which continues now with Richard Egarr as Music Director. Robert’s tenure as the first Hogwood Fellow for the remainder of this season, and the 2017-18 concert season, will include performances with the orchestra. Robert will provide insights into the music the AAM perform through interviews, talks, articles and concert programme notes.

WildKat had the great privilege of attending an interview with Robert Levin in Salzburg, where he was recording Mozart’s Piano Sonatas, on the composer’s own fortepiano.

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Music Director Richard Egarr commented: ‘I’m so pleased that Robert Levin will be our very first Hogwood Fellow.  I’ve worked with him for many years, and what he stands for really represents all that Christopher Hogwood stood for as well.  Robert Levin is a most incredible mind, has an encyclopedic knowledge of Mozart and Bach, and total recall over information. But not only that, he has the ability to transform this information into extraordinary live performance.’

Beyond 2017-18, Richard Egarr will be leading the process to seek out the next Hogwood Fellow. They may be a musician and musicologist like Robert, or perhaps an academic, or an artist – anyone from any discipline who can provide greater insight into the AAM’s music and music-making.

Robert Levin will next perform with the Academy of Ancient Music at the Barbican Centre’s ‘Sound Unbound’ weekend, taking place 29-30 April 2017.

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 Image: Robert Levin, Ascherman

(Written on February 13, 2017 )

Accentus Music ist eines der weltweit erstklassigsten Labels für klassische Musikproduktionen. Es arbeitet mit den renommiertesten internationalen Musikern zusammen und hat auch in diesem Jahr viele sehr hochwertige Neuproduktionen geplant. Wir fühlen uns sehr geehrt, für alle kommenden Produktionen die europäische Promotion zu übernehmen, und freuen uns insbesondere auf die PR-Unterstützung für die DVD/Blu-ray mit Riccardo Chailly und dem LFO im Frühjahr als auch für die CD-Box zu Herbert Blomstedts 90. Geburtstag”, so Carolin Denz, Leiterin des Berliner WildKat-Büros.

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Das in Leipzig beheimatete Label besteht aus einem äußerst routinierten Team aus Film- und Audioproduzenten sowie Redakteuren. Seit der Etablierung als DVD/Blu-ray Label auf dem klassischen Musikmarkt im Jahr 2010 produziert Accentus Music hochqualitative Konzert- und Opernaufführungen, sowie Dokumentarfilme und Porträts weltweit. Die Veröffentlichungen beinhalten Produktionen über Künstler wie Claudio Abbado, Daniel Barenboim, Evgeny Kissin, Martha Argerich, Joshua Bell, das Lucerne Festival Orchestra, die New Yorker Philharmoniker, das Gewandhausorchester Leipzig oder die Staatskapelle Berlin. Sowohl künstlerisch als auch technisch erfüllt Accentus Music die höchsten Erwartungen und Ansprüche von Musikliebhabern aus der ganzen Welt.

 
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Wir freuen uns darauf, nach mehreren Jahren der erfolgreichen Zusammenarbeit, von nun an das renommierte Unternehmen auf dem gesamten europäischen Markt unterstützen zu dürfen, und den Erfolg unserer englischen Pressekampagnen auf die deutsche Presse zu übertragen. Bisher sind Rezensionen in den größten englischen Musikpublikationen wie BBC Music Magazine, Classical Music Magazine, Gramophone, sowie auf BBC Radio 3 und in nationaler Presse wie der Financial Times erschienen.

 

(Written on February 10, 2017 )

As announced yesterday in PR Week, WildKatPR is very happy to welcome our newest client, Sound and Music.

Director Kathleen Alder says: “We are thrilled to be working with such a rich organisation promoting new music, which is something WildKat has always been very passionate about. We think Sound and Music’s work is invaluable to this sector and many composers have benefitted from their programmes and activity in the past and present. We will be working on their UK PR, utilising our in-depth knowledge of the traditional, contemporary and neo classical markets to broaden their reach and engage new audiences in their projects.”

Sound and Music is the dynamic national charity for new music in the UK. Its vision is to create a world where contemporary music and sounds thrive and prosper, by transforming lives, challenging expectations and celebrating creators and artists, whilst raising awareness and focusing on diversity.

Their activity ranges from artist development to network buildingcreative data, education and much more.

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2017 is set to be another exciting and innovative year for Sound and Music. As we continue our aim to challenge and change perceptions of new music, whilst celebrate the breath of work being created and the extraordinary composers and artists living in the UK today – Victoria Johnson, Head of Digital, Marketing and Communications

Spring highlights will include:
Experimental Cut & Splice festival will be brought to Manchester this March for its first visit outside the capital, in partnership with BBC Radio 3 and broadcast on Hear And Now.
Curated by local ensemble Distractfold, C&S will take over Hallé St Peter’s and Hallé St Michael’s in Ancoats, for two days with an exciting and groundbreaking programme of music that explores technology as an unreliable narrator.

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Composer-Curator is Sound and Music’s national new music touring programme, which supports entrepreneurial, grassroots composers and artists from a range of disciplines looking to create their own opportunities by producing their own touring work, celebrating and supporting them to hone their curator skills.
Their Next Wave national project will focus, help and support talented students in higher education, who haven’t gone to music colleges and conservatoires yet. It will address the identified gap in support for gifted young composers about to embark on a professional career.
In partnership with NMC Recordings and Sage Gateshead, it is the only programme of its kind in the UK, and will offer winners the opportunity to study in higher education with bespoke support, work collaboratively, and record a dedicated recording with international release on NMC to be launched at a live showcase at Sage in January 2018.
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They will also continue to develop The Sampler, an interactive platform for curious listeners and music industry actors and lovers across the UK, bringing together and showcasing new music, event listings, blogs, playlists, podcasts and webinars. Most importantly, this platform is the first of its kind not to categorise events, activity and artists by genres, but by tags, announcing the end of categorisation in new music and giving the power back to its users.

Sound and Music activity is made possible with the generous support of Arts Council of England,  Bliss TrustCockayne, Esmee Fairbairn FoundationFidelity Foundation UKGarfield WestonHelp Musicians UKJohn Ellerman FoundationLeverhulme TrustMonument TrustPaul Hamlyn FoundationPRS for Music Foundation,  RVW Trust, and Unlimited Impact.

 

(Written on February 9, 2017 )

WildKat PR is delighted to be working with 7K!, the new neo-classical Hub launched by the independent label !K7 Records.

7K! is a new platform and home for neo-classical projects which will be supported by the in-house expertise and spirit of legendary music company !K7 records. 7K! will comprise a record label and label services collective, as well as sync and artist management divisions.

In the first quarter of 2017, the label will kick off its release schedule with the album ‘Endless’ by multi-instrumentalist and globally-renowned composer Luca D’Alberto. Last week, two concerts took place in Berlin at Silent Green, including one sell-out performance.

D’Alberto is a brilliant, mold-breaking musician who is already highly regarded on the classical scene, as both a multi-instrumentalist and composer. He is a favourite composer of directors such as Peter Greenaway, Wim Wenders and Fernando Arrabal. His upcoming album ‘Endless’ is the result of his decision to shake up his classical training into new charters, preferring instead to use his talents to create a more contemporary style of music that sees him exploring the pairing of electronics with acoustic instruments. ‘Endless’ was produced by Martyn Heyne (Tiny Ruins, The National) and Henrik Schwarz, and is preceded by the single ‘Wait For Me’, released in December.

Watch here the official video to “Wait For Me”, a love Story told only by hands.

WildKat PR is very much looking forward to bringing D’Alberto and his music to the music world with a focus on the German press.

Carolin, Director of the Berlin office: „We are excited to be helping prestigious !K7 records on their new launch of the neo-classical label 7K! We have already successfully worked on projects with neo-classical composers such as Max Richter and Chad Lawson, reaching out to new audiences with their modern sound. We look forward to supporting !K7’s growth in the German music industry through active press work and consultancy.“

Keep up to date with 7K! on the !K7 website and Luca D’Alberto on his website and on the WildKat PR blog.

Luca D'Alberto (c) Jon Bergman

Luca D’Alberto (c) Jon Bergman

(Written on February 2, 2017 )

“Wellness”, “wellbeing”, “work-life balance” – these buzzwords have been entering the business world more regularly over the past few years. As we as a society begin to focus more on our health, our time, our personal development, so have the companies that we work for. Especially in PR companies and creative agencies, where working over-time is almost expected and in the arts where there are concerts, launches, and networking events to attend, it’s important to ensure that you are able to enjoy your personal life wherever possible.

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WildKat began to explore techniques to reward colleagues and staff back in 2011, when Kat brought her yoga instructor into the office. We began having weekly classes for 1 hour on a Wednesday afternoon. Berlin’s Victoria Mattinson says, “Taking an hour out to do yoga is a really effective way of clearing the mind and stretching out.  I always come back to my desk feeling refreshed and with new ideas.”

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In 2014, we also cemented the annual WildKat ski trip for the team who have been in the company for over 1 year. This is the perfect retreat for our colleagues to relax and unwind (off the slopes, of course!), spend time with the full global team, and try some new experiences together. London’s Victoria Cappelletti went on her first trip this year, explaining, “The annual WildKat PR ski trip is a great way to get to know the members of the team better and actually become friends, so that we are all like a little family. It totally lines up with the general company mood, ethic and atmosphere, giving people the opportunity to have fun and discuss topics beyond work.”

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Our perks continued to build in 2015, when Sweden began to initiate 6-hour working days to create a balance between work and personal life, Kat decided to trial the scheme in our Berlin office. We were quite skeptical at first that 2 hours would make a huge difference to our work-life balance, and that it wouldn’t compromise our work, but we were ready for the challenge. After a transitional phase, our Berlin team was working more efficiently – so much that our clients did not notice! – completing tasks and moving on without procrastination, feeling more happy and healthy at work, and also attending more events out-of-hours without free time or energy being compromised.  You can read our full feedback here.

However, one journalist asked: if we love our jobs why would we want to work less? Although this was not the point of our experiment, the hardest aspect was the need to be constantly productive. There was less time to read articles and be active on social media – two activities which are crucial to PR. We also lost out on occasional small talk, which does help to break up the day. Therefore, from now on, instead of a full-blown overhaul of our working day, every employee has ten six-hour days per month at their disposal.

Last year, we decided that we would fully integrate our perks into WildKat’s ethos and policy. Our in-house design team at Classical Music Design created a poster for us, that would have a central place in our office and would remind us that being happy in our lives and at work will allow us to live a more balanced life.

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Kat explains, “I felt that my staff deserve the best that my company could possibly offer. I divided the benefits up into monetary, educational, and well-being. Mostly, I am weary that money is a big deciding factor so of course we wanted to increase perks and financial rewards but actually focusing on well-being and one’s own personal development is a hot topic that almost comes equal to financial gain. 

“We want to feel valued on many levels and that our development is encouraged along the way so I wanted to offer training funds, 6 hour working days, yoga sessions, sabbatical, etc. Rewarding my staff doesn’t always have to cost the company a lot but it does mean that the teams are better balanced. Quite frankly, the older I get, the more I think that time is the most valuable commodity, so I want to enhance my staff’s time when at work but also give them more off time out of the office.” 

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Director of the Berlin office, Carolin Denz, was one of the first to utilise her training fund, purchasing a few books on leadership and communication: “As the Berlin team has grown a lot and we all know how important it is to build up a great and solid working team, we are always focusing on improving the team spirit and motivation. I began to learn some tips and advice from a few books about different ways to lead groups, so we can build on it with individual and more intense workshops during 2017. The books give an insight into how groups of different characters and opinions work, how to lead them best and motivate them to build up the team we need for our campaigns – creative thinking, responsibility and being a good team-player.”

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As well as the “official” #WildKatPerks, we still encourage our team to network in the industry, and step into the wider world to gain knowledge and make introductions on behalf of the company. For example, Junior Account Manager & Office Manager James Hardie attended #ABO17. He said, “I was very excited to have the chance to attend the Association of British Orchestras conference in Bournemouth, especially at such an early stage in my career.  The focus this year was Disruption, and I had the privilege of listening to some of the industry’s leading figures, including Hannah Kendall, Mel Larsen, James Murphy, and Chi-Chi Nwanoku talk about what this meant to them.  A strong feeling of community pervaded every session, and it was heartening to be surrounded by so many like-minded people, all of whom want to see classical music engage with new and diverse audiences.”

As civil servants face curbs on office ‘cake culture’, here at WildKat we know that everything works well in moderation and with plenty of balance. Are you considering some new perks for your company? How do you manage to balance work and life as a freelance? Feel free to send us your thoughts at @WildKatPR or comment below!

(Written on January 31, 2017 )

We’re very proud to share news that Ailie Robertson has been nominated for the Royal Conservatoire of Scotland Award for Achievement in New Music, part of the Scottish Awards for New Music.  This award marks ‘the achievement of a person or organisation that has contributed significantly to the new music sector in Scotland in 2016’.

 

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WildKat worked with Ailie last year on the release of her first classical single, Haven, which reached number two in the iTunes Classical Chart. She is currently a member of the RSNO Composers’ Hub, and was also awarded a BBC Performing Arts Fellowship.

Ailie has won numerous competitions including The Sofia International Composition Competition, the SCO Composition Prize, and came second in the Oslo Grieg Competition.  Ailie works tirelessly to increase the profile and visibility of both traditional and contemporary music in Scotland.  In 2016 she curated and produced ‘Echoes and Traces’, a partnership between 8 Scottish composers, Cappella Nova, Historic Scotland and Sound and Music.

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The winners for all categories will be announced in Glasgow on March 8.

You can visit Ailie’s website here, and follow her on Facebook and Twitter.

(Written on January 27, 2017 )

Bold opera pioneers Tête à Tête has announced its upcoming plans for the 2017 season, 20 years since the company was founded.

“What amazing adventures we have enjoyed across these the past two decades, realising bold and brave experiments, creating opera really up close, establishing a really strong and intimate relationship with our audiences and revelling in the theatricality of the form”

– Bill Bankes-Jones, Founder and Artistic Director

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2017 also marks the Anniversary of the company’s first Opera Festival. To celebrate, they have planned the 10th Anniversary of Tête à Tête: The Opera Festival. It will take place at King’s Cross from 24 July – 13 August 2017, at both The Place and King’s Place. They are also delighted to announce that the well-received Cubitt Sessions will be back as a centre-piece of the festival. Full details on productions and tickets will be announced in May 2017. Watch this space!

Besides announcing its 2017 season, Tête à Tête also released a Tête à Tête: The Opera Festival 10th anniversary report, demonstrating their outstanding commitment to inclusivity and diversity: 22% of composers in 2015 were BAME or coming from minority backgrounds.

You can read the full report here.

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This year, they will also be launching ‘MyNewOpera’, a global platform featuring the work of producers from all over the world, ready to watch. They already have an archive of over 400 videos for the launch, with many more to be added before then. It turns out that the explosion of small-scale new opera and music theatre is a global trend, and online, without barriers, it can start to happen worldwide.

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WildKat PR is very excited to be working with Tête à Tête again this year. For the latest news and releases on this year’s festival, follow WildKat PR on Twitter, and Tête à Tête on Twitter. Also, check out their brand new website and full announcements here.

(Written on January 19, 2017 )

Alle sprechen darüber. In der Klassikwelt gibt es in diesen Tagen kaum ein anderes Thema als das neue Wahrzeichen Hamburgs: Am vergangenen Mittwoch wurde die neue Elbphilharmonie feierlich eröffnet und damit eine neue Ära eingeläutet.

Die Elbphilharmonie in Hamburg © Thies Raetzke

Elbphilharmonie in Hamburg © Thies Raetzke

Die Vorgeschichte

Für viele Diskussionen sorgte die Philharmonie bereits lange vor ihrer Eröffnung. 2001 fanden die ersten Überlegungen über eine neue Konzerthalle auf dem Kaispeicher statt und damit auch der erste Streit über die Finanzierungsfrage. Die Baukosten sollten zum Teil aus öffentlichen Geldern (77 Millionen Euro) und zum anderen Teil von Privatinvestoren getragen werden. 2007 wurde die Grundsteinlegung gefeiert, kurz danach aber schon Verspätungen und Kostenerhöhungen angekündigt. Schließlich verspätete sich die Eröffnung um sieben Jahre und die Gesamtkosten stiegen von 80 auf 800 Millionen Euro. Die wichtigsten Etappen mit Zeitangaben gibt es auf NDR nachzulesen. In ihrem Artikel „Der dunkle Weg zum hellen Glanz“ schrieb die taz: „Die Vorgeschichte [der Elbphilharmonie] ist ein Paradebeispiel dafür, wie man’s nicht macht.“ Kritisiert wurde die anfängliche Leichtgläubigkeit der Politik und der Bürger, die die unrealistischen Vorhaben ignorierten, um stattdessen die Vision der Weltklassearchitekten Herzog & de Meuron zu zelebrieren.

Elbphilharmonie Hamburg, Mai 2011, Dacharbeiten

Elbphilharmonie Hamburg, Mai 2011, Dacharbeiten

Erfüllt die Philharmonie die hohen Erwartungen?

Mit umso größerer Spannung (und Druck!) wurde die Elbphilharmonie am Mittwoch, dem 11. Januar 2017 eröffnet. Dabei lautete die wichtigste Frage: Wird der Saal die versprochene, weltbeste Akustik liefern können?

Am Tag nach der Eröffnung äußerte sich zunächst Manuel Brug (Artikel in der Welt), leider enttäuscht. Der Klang scheint vorerst nicht zu halten, was die Architektur verspricht: „Der Orchestersatz wird komplexer, und auf einmal höre ich nur noch Bässe. Oder Hörner. Und unangenehm aus der Mitte trötende Klarinetten. Der Klang spreizt sich auf, verflacht dann, vieles dringt nicht mehr durch. Es atmet zu wenig, denke ich.“ Liegt es vielleicht daran, dass der Redakteur nicht am richtigen Ort saß? Vielleicht. Jedoch warb man genau damit, dass unabhängig davon, wo der Zuhörer sitzt, jederzeit der beste Klang garantiert sei.

Mit ihrem Artikel „Dieser Konzertsaal kennt keine Gnade“ stößt Eleonore Büning von der FAZ ins selbe Horn. Die Elbphilharmonie sei eine Augenweide, leider höre man nicht mit den Augen: „Dieser Saal, so wunderschön er auch auf den ersten Sinn wirkt (…)– den zweiten Sinn enttäuscht er. Dieser Saal klingt gnadenlos überakustisch.“ Jeder Fehler, jeder tiefe Atemzug, jeder schiefe Bogenstrich und auch die Publikumsgeräusche würden sich in die Musik mischen.

Elbphilharmonie, Grosser Saal, Pausenapplaus am 11.01.2017 © Michael Zapf

Elbphilharmonie, Grosser Saal, Pausenapplaus am 11.01.2017 © Michael Zapf

Obwohl Rabea Weihser in ihrem Artikel für die Zeit die gnadenlose Akustik des Saals ebenfalls bestätigt („Exzellenz im Spiel wird belohnt, Mittelmäßigkeit und Schwächen treten umso deutlicher hervor“), wird das finale Ergebnis gelobt: „ein glasklarer Klang von erstaunlicher dynamischer Bandbreite, überdeutlich in den Akzenten, voll und weich im Tutti“.

Ebenfalls begeistert schrieb Frederik Hanssen vom Tagesspiegel: Trotz eines schlechten Platzes (in höchster Höhe hinter dem Orchester), ist der Klang fantastisch. Dank des einzigartigen Schallbrechers, der „wie ein Ufo durchs Deckengewölbe dringt“ werden die Töne des Orchesters beispielhaft reflektiert: „Selbst das feinste Pianissimo hat hier noch eine enorme Präsenz. Klarheit und Wärme verbinden sich auf ideale Weise, das Blech entfaltet festlichen Glanz, die Streicher sind brillant, ohne allzu poliert zu wirken, und selbst bei voller Orchesterpower entsteht nie der Eindruck des Wuchtigen.“

Reinhard Brembeck von der Süddeutsche Zeitung sieht die Schwäche nicht in der Akustik des Saales: „Bei Mendelssohn und Brahms wird nach und nach deutlich, dass dieses Defizit nicht der Saalakustik anzulasten ist, sondern Hengelbrock und seinen Musikern.“

Doch letztlich ist die Frage der Akustik eine Frage des persönlichen Gefühls jedes Einzelnen. Der Akustiker der Elbphilharmonie, Yasuhisa Toyota sagt: „Mit der Akustik ist es ähnlich wie mit Whiskey: Selbst Experten können nicht erklären, warum der eine gut schmeckt und der andere nicht.“

Parallel dazu fragte sich die Presse (wie z.B. die Welt in ihrem Artikel „Die Elbphilharmonie beendet eine andere große Ära“), was aus der Laeiszhalle wird, die bis jetzt die begehrteste Stelle für Klassikliebhaber in Hamburg war. Optimal ist der Saal zwar nicht mehr, jedoch wird die künstlerische Leitung versuchen, durch ein neues Programm mit u.a. mehr Weltmusik und Jazz die Zuhörer weiterhin zu locken.

Thomas Hengelbrock / Hanna-Elisabeth Müller / Wiebke Lehmkuhl / Pavol Breslik / Sir Bryn Terfel © Michael Zapf

Thomas Hengelbrock / Hanna-Elisabeth Müller / Wiebke Lehmkuhl / Pavol Breslik / Sir Bryn Terfel © Michael Zapf

Und was sagt Europa dazu? Einblicke in die ausländische Presse

Auch im Ausland sorgt die Elbphilharmonie für Bewunderung und Kritik. Doch interessiert sich die Presse weniger für die Akustik-Frage, als vielmehr für das Gesamtprojekt und die Bedeutung des Saales für die Stadt.

Das gewagte Programm, mit einem Potpourris aus Werken der Romantik, des Barocks und der Neuen Musik, wirkt laut France musique kohärent und sehr gut umgesetzt. Gelobt wird die Innen- und Außenarchitektur des Gebäudes, die Meisterleistungen in Sachen Tontechnik hervorgebracht hat.

The Guardian wundert sich, dass ein so teures und kontrovers diskutiertes Projekt von der Politik und Gesellschaft schlussendlich so gut empfangen wird. Die Anwesenheit von Angela Merkel bis zum Ende der Veranstaltung sieht die Zeitung als Zeichen dafür, wie wichtig die Kultur und die Investition in Kunst für Deutschland ist.

Für The New York Times hat das Gebäude das Potential, einen „Bilbao-Effekt“ auszulösen. Die Zeitung spielt dabei auf die baskische Stadt Bilbao an, die heute dank des einzigartigen Designs des Guggenheim-Museums Touristen aus der ganzen Welt anzieht. Laut des Redakteurs wird die größte Herausforderung für das Gebäude sein, für alle einen Platz zu schaffen. Neben dem Anspruch, Musik zugänglicher zu machen, sollten Bildungsprojekte Vorrang haben, die weiteren gesellschaftlichen Zielen dienen, so z.B. der Integration von Flüchtlingen durch Konzerte, die Einwohner und Zugezogene zusammenbringen können.

El Pais macht einen kurzen Vergleich zwischen der Baustelle des Berliner Flughafens BER und der Elbphilharmonie. Beide seien Beweise dafür, dass die deutsche Effizienz nicht immer das ist, was es in der Theorie vorgibt zu sein. Trotz der Länge des Abends, der insgesamt über viereinhalb Stunden dauerte, wird die Akustik des Raumes und das gewagte Programm der musikalischen Leitung gelobt.

Großer Saal / Die "weiße Haut" der Decke © Oliver Heissner

Großer Saal / Die “weiße Haut” der Decke © Oliver Heissner

Kreativität in den Sozialen Medien

Viel Aufmerksamkeit erreichte die Elbphilharmonie auch in den Sozialen Medien, wobei es eher selten ist, dass Projekte aus der klassischen Musikwelt so viele Leute engagieren und gleichermaßen viel Kreativität in den Sozialen Medien hervorrufen.

Lohnenswert ist das Twitter-Konto der Elbphilharmonie @elbphilharmonie, das unzählige Einblicke in die Gebäude-Geheimnisse, in das Orchester und in die Vorbereitungen der Eröffnung gibt. Viele lustige Videos feiern die baldige Premiere, wie beispielsweise das Countdown Video Sounddown in yellow. Insgesamt ein gelungenes Story Telling, das sich zum Nachlesen empfiehlt.

Kreativ werden auch die Redaktionen vieler Rundfunkanstalten. Der SWR 2 glaubt, überall die Form der Elbphilharmonie zu sehen, sogar in Schokoladentafeln. BR Klassik hingegen transportiert die Elbphilharmonie mit einem lustigen, mithilfe von Photoshop bearbeiteten Video nach Bayern. In einem Video von NDR freuen sich die Musiker des NDR Elbphilharmonie Orchesters über den schönsten Weg zur Arbeit. Über Deutschland hinaus werden Meldungen mit einem Augenzwinkern aus dem Ausland gesendet, so z.B. aus Island. Außerhalb der Musikwelt erfährt das Projekt aber auch viel Kritik, insbesondere wegen der vermeintlich unfairen Verteilung von Staatsgeldern.

Einen sehr guten Überblick über die Debatte in den Sozialen Medien rund um die Elbphilharmonie liefert ein kürzlich erschienener Artikel von Crescendo.

Elbphilharmonie in Hamburg © Maxim Schulz

Elbphilharmonie in Hamburg © Maxim Schulz

(Written on January 17, 2017 )

The 15th Van Cliburn International Piano Competition will be taking place at the Bass Performance Hall in Fort Worth, Texas, from 25th May to 10th June 2017.

We had the chance to catch up with Jacques Marquis, CEO of The Cliburn, to find out what makes The Cliburn so special, as well as how it aims to attract a wider global audience.

Have a look at the interview here!

Screening auditions are underway, having already visited London and Hannover. So far we’ve seen and heard many talented young pianists.

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Photo from London screening auditions

Besides the screening auditions, The Cliburn also held a launch event in London, with The Cliburn 2013’s semi-finalist Jayson Gillham showcasing his beautiful playing in Bach arr. Rachmaninoff and Chopin.

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Photo: Pianist Jayson Gillham rehearsing at The Cliburn 2017 launch event in London

 

In addition, The Cliburn’s new partnership with medici.tv, who will be live-streaming the competition this year, will help realise the competition’s goal of reaching new international audiences.

WildKat PR sends its best wishes to this year’s participants! We can’t wait to see the 30 pianists that will make it to the Preliminary Round in Fort Worth, Texas, later this year.

Remember to follow WildKat PR on Twitter, and The Cliburn on Twitter and Facebook, for the latest news on The 15th Van Cliburn International Piano Competition!

(Written on January 13, 2017 )