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We are delighted that tickets for Tête à Tête: The Opera Festival 2018 are now on sale and the programme is as daring and “scream-worthy” as ever.

“The Modern Prometheus” theme extends into the festival with more of a Black Mirror edge, following Tête à Tête’s collaboration with Royal College of Music earlier this year: WEAR is an immersive opera about time travel, high fashion, ecological disaster and love, taking place in The Crossing at King’s Cross; NIBIRU!, a concept album about the apocalypse, social networking and conspiracy theories; Vicky & Albert is the story of an app, which convinces people that the user has a boyfriend…

In what promises to be both hilarious and thought-provoking, audiences are given an insight into the trials and tribulations of being two and three quarters, with a double bill of two operas: I Do Need Me explores the intensity of emotion that small children experience; I’m Not A Bit Like A Clown is a playful work that captures the joy and freewheeling energy of a toddler, whilst exploring and exploding our received ideas of gender, offering a delightful child’s eye view of the world.

More opera, this time for children the story of a fossilised hippo from 250,000 years ago, involving an interactive workshop and opera, The Lost Box of Stories, presenting new music and storytelling with Mid Wales Music Trust.

Tête à Tête welcomes its first Artist-in-Residence, with Li-E Chen’s Proposition for a Silent Opera at an Invisible Museum – I am a museum, a development of the 2017 work that encompasses an art exhibition in the foyer of The Place between 16th – 18th August, plus performances throughout the week.

Cubitt Sessions open the festival again this year, offering free servings of opera for the King’s Cross area with BISHI, Errollyn Wallen, Juice Vocal Ensemble, plus Aubergine from Muziektheater Transparent, and Tête à Tête’s very own operatic disaster, TOSCATASTROPHE!

As always, taking a journey through the past with new opera eyes on, Mary’s Hand is an immersive, biographical take on Mary “Bloody Mary” Tudor (featuring playing cards); Love Me To Death is based upon Ruth Ellis, the last woman hanged in Britain, plus a new collaboration with the Wellcome Collection for Dear Mary Stopes, a story told through letters, responding to her controversial sex manual ‘Married Love’.

This year’s festivals offers operatic treats, both reflective and pioneering, from both long-standing Tête à Tête alumni and new companies and artists. With a focus on Artist Development and support, with the “For Artists” hub on the website, the company continues to provide more opportunities for artists worldwide.

Tickets are now on sale! Where tickets are required we recommend booking early for the best price online at tete-a-tete.org.uk. Early Bird Online until 10th July £5.00 /  In Advance Online £7.50 / In Person, On Phone, On The Door at the venue £9.50. Lots of shows are free so just turn up and enjoy!

(Written on June 20, 2018 )

France Musique has established itself as the premier Francophone media outlet dedicated primarily to classical music, offering seven online radio stations, a phone app, and, since December 2017, a catalogue of more than 1,600 audio and visual concerts available to stream worldwide. Today, it launches its English-language site francemusique.com!

London Director, Olivia Brown, says: “There are a number of reasons why we are so delighted to be working with Radio France’s France Musique to promote this project, though first and foremost to share this content-rich platform worldwide. Radio stations have obviously been focusing on digital content to complement their stations more and more in the past few years, and this new platform not only demonstrates how Radio France is providing its current audiences in France with new, accessible, and informative content, but also welcoming an international audience to enjoy its platform too. Our company expansion to Paris in the next year only adds to the excitement of this project and we hope you enjoy exploring and learning!”

The main purpose of the new site is to share free access to a wide catalogue of music, and invite audiences to ‘listen from beyond the borders’. Its seven themed radio stations include ‘Easy Classical’, ‘Classical Extra’, ‘Jazz’, ‘Radio France Concerts’, Radio France’s own record label ‘Ocora World Music’, ‘Contemporary’ and ‘Film Music’.

Offering both Musical Knowledge and Practical Knowledge, the platform hosts a wide and growing variety of articles on the history of classical and jazz music, the chance to learn more about the context of different works, biographies of composers and musicians, curated playlists, and accessible content so anyone and everyone can learn and discover, whilst also having fun!

The Live Concerts section offers an ever-expanding catalogue of audio-visual concerts, accessible for free. As for the Studio Sessions, these allow access to unique sessions recorded at France Musique with both rising stars and established artists.

The database includes performances by France’s top ensembles, including the National Orchestra of France, the Philharmonic Orchestra of Radio France, and the Choir and Children’s Choir of Radio France, putting you right on the front row.

Website | Facebook | YouTube

 

(Written on June 5, 2018 )

With great pleasure we introduce to you the fabulous Inbal Segev, an internationally renowned Israeli-American cellist whose playing has been described as “richly inspired,” and “very moving,” by Gramophone.

As a soloist, Inbal has performed with the world’s best orchestras and conductors, including the Pittsburgh Symphony Orchestra, Berlin Philharmonic, Helsinki Philharmonic Orchestra, Lorin Mazeel and Zubin Mehta. She brings interpretations that are both unreservedly natural and insightful to her vast repertoire.

Dario Acosta

Inbal began playing the cello at the age of five and at sixteen was invited by Isaac Stern to travel to the U.S. to continue her studies. With degrees from Juilliard School and Yale University, she stayed in the States and now lives in New York City with her husband and three children.

Lisa-Marie Mazzucco

Inbal has already released several recordings which were critically acclaimed, and we are thrilled to be working with her on her next album release with Finnish pianist Juho Pohjonen. The disc features romantic sonatas and fantasies, as well as poetically-inspired cello masterpieces
 by Chopin, Schumann and Grieg.

The album will be available from 20th July under the AVIE label and its release will be accompanied by a concert at Berlin’s Piano Salon Christophori on 28th June 2018.

Inbal Segev’s repertoire includes all of the standard concerti and solo works for cello, as well as new pieces and rarely performed gems. In 2017, she gave the world premiere of Dan Visconti’s cello concerto, Tangle Eye, with the California Symphony led by Donato Cabrera. In April 2018, Inbal premiered a new piece by composer Timo Andres at The Metropolitan Museum in New York.

Inbal Segev is a founding member of The Amerigo Trio with former New York Philharmonic Concertmaster Glenn Dicterow and violist Karen Dreyfus, and has collaborated with internationally-renowned artists such as Emanuel Ax, Pamela Frank, Jeremy Denk, Anthony McGill, Jason Vieaux, Gilbert Kalish, Michael Tree, Anne Akiko Meyers, the American Chamber Players and the Vogler Quartet.

For her new album with Juho Pohjonen, finding a sympathetic playing partner was crucial given the essentially ‘pianistic’ inspiration of the programme. Juho was Inbal’s natural choice. She said: “I first heard Juho in New York a couple of years ago and was then introduced to him by my long-time producer, Da-Hong Seetoo. I was looking for an equal partner rather than an accompanist, and Juho is not onlya wonderful chamber musician but also a formidable soloist, so it was only natural that he played an important role in selecting the repertoire.”

(Written on June 4, 2018 )

The newest addition to our client roster is Dr. Laura Bennett Cameron, academic and bassoonist. We are very pleased to be working with Laura as she travels to Paris and Granada in August 2018, to present the work of French composer Roger Boutry and record a new album of his works.

Laura Bennett Cameron

Laura teaches Applied Bassoon, Music Theory, and Ear Training at the University of Texas (Arlington), and is the principal bassoonist of Dallas Winds (formerly Dallas Wind Symphony). In addition to her position as the principal bassoon of the Grammy-nominated Dallas Winds, Dr. Bennett Cameron also substitutes with the Dallas Symphony Orchestra and the Fort Worth Symphony Orchestra, among others. Laura appears frequently as a soloist, having given recent recitals in the US and Europe, and performed concertos and solos with orchestras across the US.

Dr. Bennett Cameron is actively involved in research and publication. Her main research focus is the music of French composer Roger Boutry, who was awarded the prestigious Grand Prix de Rome in 1954. Her pioneering research on Boutry and his compositions represents the first major published resources on the composer in any language.

Laura is the founder of La Société for la Promotion de la Musique de Roger Boutry, an American foundation devoted to the promotion and advancement of Boutry’s compositions. She also serves as solo bassoonist in The Boutry Ensemble, a chamber ensemble dedicated to the education and engagement of American audiences with the composer’s body of work. Bennett Cameron and Boutry can be heard on their recording French Masterworks for Bassoon and Piano (Indesens 2016), available through iTunes and all major music media outlets.

Roger Boutry

Dr. Bennett Cameron holds a Doctor of Music in Bassoon from the Indiana University Jacobs School of Music, with concentrations in Music Theory and Early Music. She holds a Master of Music degree from the New England Conservatory of Music, and a Bachelor of Music from West Texas A&M University.

(Written on May 25, 2018 )

We are please to be working with Classical Movements for The City Choir of Washington’s inaugural tour of the UK this July

The City Choir of Washington celebrate their 10th anniversary under leadership of the Grammy-award winning conductor Robert Shafer, and have built their reputation as one of Washington D.C’s premiere choirs in this time. Under Maestro Shafer’s baton, the singers and their audiences have been challenged by creative programming, creating stunning renditions of under-performed works such as Arvo Part’s ‘Te Deum’, Benjamin Britten’s ‘Cantata Misericordium’, and Tarik O’Regan’s ‘Triptych’. The choir’s roster consists of 120 experienced, professional-calibre singers, all hailing from the greater Washington metropolitan areas.

The choir’s memorable performances include their commemoration of the 60th anniversary of the coronation of Queen Elizabeth II with a world-premiere performance of John Tavener’s ‘Three Hymns of George Herbert’, written especially for the Diamond Jubilee. In Spring 2014, the Choralis Foundation nominated the City Choir of Washington for an Ovation Award for Most Creative Programming, a nomination which tributes the choir’s premiere performances, including those of the final compositions by the great composer Sir John Tavener.

The City Choir of Washington will bring its distinctive choral sound to the UK in four concerts, performing at venues in London, Gloucester, Ely and Oxford in July 2018. The tour will combine American, English and French choral works spanning the 19th century to present day, including Sir John Tavener’s ‘Tolstoy Creed’ performed alongside ‘The Lamb’, Eric Whitacre’s ‘The Chelsea Carol’ and Gabriel Fauré’s ‘Requiem in D Minor’. Maestro Shafer will celebrate 50 years as a choral conductor, and will serve his 26th international tour with the choir this year.

Details of the concerts and programme schedule are below:

5 July – Gloucester Cathedral, Gloucester
7 July – Keble College Chapel, Oxford
8 July – Ely Cathedral, Ely
11 July – Temple Church, London

Programme:
Psalm 121: I will lift up mine eyes
- Robert Shafer (b.1946)
The Chelsea Carol
- Eric Whitacre (b.1970)

The Lamb – Sir John Tavener (1944-2013)
Tolstoy’s Creed – Sir John Tavener
(2012 Commission by TCCW)
Requiem in D Minor, op. 48 – Gabriel Fauré (1845-1924)

(Written on May 11, 2018 )

We are pleased to welcome the talented pianist and composer Daniela Mastrandrea and her team at Believe Distribution Services to join our growing client roster, in promotion of her new album Lo Specchio across Germany, the UK and the US.

Daniela Mastrandrea is an Italian pianist, composer and arranger from the Puglia region. She began studying the piano at the age of seven and composed her first pieces when she was only nine years old. After graduating as a pianist from the Academy of Music Nino Rota in Monopoli under the tutelage of Gabriella Bassi,

Daniela studied composition and attended masterclasses in piano technique and jazz study. She won the first prize for her piece Luci e Ombre (published by Rotas) in 2015, third prize for her piece Ridi in 2012 and the jury prize for her piece Indesiderabile Tenerezza. In 2017, she won the first iteration of the Web Talent V.I.T.A. (Video Interactive Talent Awards) promoted by Believe Digital and Zimbalam Italy, winning a record deal.

Daniela was involved in many recitals, theatrical shows and concert seasons with OBA, Youth Orchestra La Bottega dell’Armonia as pianist, composer and arranger. In 2011, she led the mu sical project Fluide Risonanze in the Auditorium Diocesano Vallisa in the city of Bari, as composer, arranger and player of her own pieces in quartet with Master Flavio Maddonni (violin), Antonio Barracchia (cello) and Elisa Benedetto (flute).

She now presents her album Lo Specchio (The Mirror) with Believe Distribution Services, which will be released across digital platforms on 18th May 2018 and will be available for pre-order from 11th May. Two singles precede the album release: Lo Specchio, released on 20th April, and A Testa Bassa which will be released on 11th May.

The album Lo Specchio is an introspective yet accessible album, which takes the listener on a journey of discovery and contemplation, with tracks featuring stunning sublime pianism. It describes the human habit to sometimes reflect oneself in and through others. Lo Specchio was inspired by Daniela’s longing to look inside herself and dig as deep as possible: “We have a duty to welcome and nurture the talents and gifts that life has given us and we are responsible for that talent. It is a call, a vocation”, she says.

(Written on April 25, 2018 )

– “Artistic work is only a pretext for becoming free, and it may be that it is not completely possible in this world to have freedom. In art and in fiction, I can do what I cannot in reality. It is a way to expand on the possibility of freedom.” Hayoun Kwon (participating artist “Non-sense music; borders”) –

We are thrilled to be supporting the upcoming Korean Interdisciplinary Arts Festival „Non-Sense Music #2; Borders“ and many other inspiring projects and events in cooperation with the Korean Cultural Centre in Berlin.

The Korean Cultural Centre is the cultural department of the Embassy of the Republic of Korea in Germany, headquartered in Berlin under the Ministry of Culture, Sports and Tourism of the Republic of Korea (MCST). Its aim is to promote Korean culture and facilitate cultural exchanges to introduce and generate interest in the many diverse aspects of Korean culture.

The Centre organises many programmes, events and courses under the categories of arts, music, literature and film. It creates an active place for cultural mediation. An item of great importance is the organisation and support of cultural events with Korean participation throughout Germany by working closely with the relevant institutions of both countries.

Permanent and alternating exhibitions can be seen in their own premises, at their Gallery damdam and at other external exhibition spaces. In the field of music the Centre curates a wide range of events: from Young Korean talents, the JazzKorea Festival to the International Younghi Pagh-Paan Composition Prize and lunchtime concerts in the “Pavillon der Einheit”.

We begin our campaign with an in-house exhibition by the interdisciplinary and Berlin based, but Seoul born artist, kate-hers RHEE. Her arts project “I like Korea and Korea likes me” will feature at Gallery damdam from 26th April – 16th June 2018.

This solo exhibition is curated by Kahee Jeong and presents two of her projects: the “deutschsprachliche Projekt” and “Transkoreaning” plus some artworks that were especially created for this exhibition. Identity and language are the essential themes in the work of kate-hers RHEE. Her art is transgressive, performative and plays with her “otherness” as an American raised woman with Asian roots in various cultural contexts.

 

 

We look forward to also supporting the Korean Interdisciplinary Arts Festival „Non-Sense Music #2; Borders“. This ten-day interdisciplinary arts festival takes place from 11th May – 20th May 2018 at Kunstquartier Bethanien and explores the politics of space through the micro-history of six Korean artists. Curated by Seoul born Joanne Kim, the artists Nahoon Park (Choreographer, Performance), Soyoung Chung (Video, Performance), Hayoun Kwon (VR), Ryu Biho (Installation, Performance), Helena Parada Kim (Painting) and Kim Hwang (Installation, Documentary film screening) transform the circumstances and conditions of time and space into songs, performance and visual delights.

The multicultural upbringing of Helena Parada Kim – she is half Korean and half Spanish and grew up in Germany – fuels her creative inspiration in various ways. She uses photographs of members of her mother´s family to create her artworks. Using family portraits as fundamental inspiration for her paintings, allows her to present a multidimensional homage to Korean traditions and culture.

 

Helena Parada Kim: Nurses and cranes, 180×250 cm, oil on linen, 2017

 

Artist Hayoun Kwon on the other hand, specialises in film work. At Non-sense music, she exhibits the animated political documentary “489 Years”, a film grounded in personal stories and linked to geopolitical questions of borders and territoriality. With virtual reality glasses, we are being taken to the Korean Demilitarized Zone (DMZ), a strip of land running across the Korean Peninsula to serve as a buffer zone between North and South, immersing us in the personal memories of a soldier. Hayoun Kwon’s film allows us to see a forbidden place, where nature has totally reclaimed its hold.

The WildKat team is very excited to be working alongside the Korean Cultural Centre in Berlin and its many cultural and artistic projects to come, including an in-house exhibition of Thearesa Cha (September 2018), the Grassimesse Leipzig (October 2018) and the Jazz Korea Festival (November 2018).

 

(Written on April 20, 2018 )

We are happy to announce, that the winner of the 2017/18 Noted Fellowship is Ben Corrigan with his extraordinary podcast “excuse the mess”!

“We chose Ben Corrigan as this year’s winner because his podcast has an innovative and cogent approach to the realities and difficulties of the classical music market today. It is entertaining, intellectually demanding and whets the appetite for classical and contemporary music. I am very pleased to work alongside his project in the coming year.”
(Carolin Denz – Director, Noted Fellowship)

 

 

Ben Corrigan’s podcast is unique in the classical music market. Not only does he invite composers to talk about their new works and discuss their opinions on the classical music industry, but he joins them in composing a completely new piece of music “off the cuff” at the end of each episode.

Corrigan does everything himself – from the conceptual design of the individual podcasts to the recording and technical implementation. His goal is to complete the first podcast series excuse the mess by the end of 2018 and to publish an album with the newly created compositions.

The podcast is currently in development and within the next year, with the support, help and input of selected mentors from Noted Fellowship, Corrigan will further develop his podcast and music album in terms of content and structure. Furthermore, he will receive a financial support from Noted of 5,000€.

Get more information here, or better yet – listen directly to his podcast here!

(Written on April 10, 2018 )

We are delighted to announce our continued collaboration with the exceptional and award-winning pianist, Dmitry Masleev.

Dmitry, the 2015 first prize winner of the International Tchaikovsky Competition, has performed all over the world in countries including Russia, Japan, USA, Italy, China and the UK. He has delighted audiences at the Berlin Konzerthaus, the Paris Philharmonie and Carnegie Hall in New York, and collaborated with leading conductors such as Valery Gergiev and Yevgeny Svetlanov. Dmitry has been joined onstage by orchestras such as the Orchestra of Radio France, Munich Symphony and Moscow Chamber Orchestra Musica Viva, captivating audiences who travel to see him from all around the world.

Among Dimitry’s notable competition prizes and gold medal awards are the 7th International Adilia Alieva Piano Competition in Gaillard France (2010), the 21st Chopin Premio Piano Competition in Rome (2011) and the Antonio Napolitano Piano Competition in Salerno (2013).

(c) Alikhan Photography

WildKat PR previously worked with Dmitry on the release of his self-titled piano album under the Russian label Melodiya in October 2017, which was recently honoured by the “Bestenliste” – Quarterly Critics’ Choice of the deutsche Schallplattenkritik – German Record Critics Award in January 2018.

The album, which includes an extraordinary selection of Domenico Scarlatti’s sonatas, alongside Prokofiev’s Piano Sonata No. 2 in D minor and Shostakovich’s Piano Concerto No. 2 in F major, deserves the highest recognition in its own right. His flawless playing exudes elegance; as Christoph Vratz states: “Masleev transports always the messages of warmth, provocation and barbed wit.”

“The way he negotiates the twists, turns and subtle cornerings of the harmonic invention [in his Scarlatti sonatas] is totally disarming and without a trace of self-consciousness. This is not merely competition-winning pianism but highly accomplished and communicative musicianship.“ 
Gramophone Magazine

“[Masleev’s] debut solo recording went straight onto our Recordings of the Year shortlist, thanks not only to the clarity and energy of Masleev’s playing but also the intriguing parallels which he draws between two superficially very different sound-worlds.“Presto Classical 

“Dmitry Masleev […] displays a steel-fingered monster technique. An Über Virtuoso.“ 
South Florida Classical Review

(c) Alikhan Photography Uomo Collezioni

Following this success, we are proud to continue working with Dmitry on his coming projects in 2018. Among the highlights will be his Artistic Residency at the Bodenseefestival in Germany in May (5th – 15th May 2018), featuring solo, chamber and orchestral performances, a two-piano recital with his teacher Mikhail Petukhov, and a concert with the SWR Symphonieorchester and the Borodin Quartet.

We are thrilled to be working with Dmitry on his upcoming collaborations with the Nice Philharmonic Orchestra and conductor Phillippe Auguin in April, the Ural Philharmonic Orchestra as part of a series of concerts in May and on his debut with the Vienna Orchestra at Konzerthaus Wien in October.

Here is his latest appearance on Arte’s TV show Stars von Morgen.

(Written on March 28, 2018 )

The first podcast from Noted has been released, following the Noted Roundtable on Inclusion and Diversity.

Noted Round-ups are short podcasts that follow the Noted Roundtables – an international series which looks to bring about change in the performing arts industry through discussion and implementation. Through Noted, we want to generate new solutions to industry problems, not just with our own industry members and artists, but with brand leaders from different fields, and also—most importantly—the audience! The Roundtables bring together this unique combination of stakeholders on an equal footing.

The very first Noted Round-ups episode is a discussion on what was originally “diversity”, but now referred to as “inclusivity”. Here we discuss minorities in the performing arts industry, focusing on those backstage (not on stage), covering race, gender, background, and more.

We came out of this session with the following action points:

  • When recruiting, be more explicit about what we don’t want or need (e.g. an arts degree), and present the image of our ideal candidate in the advertising
  • Either ensure that job titles clearly state what the position is, or make them more sexy and fun
  • Create inclusive communities in the performing arts administrative sector, spanning across both audiences and potential employees
  • Showcase the exciting elements of our industry, through podcasts, videos, partnerships with mainstream brands
  • Shake up internal systems – reverse mentoring, creative sessions led by interns, engage more with outside the industry

This episode is hosted by Kathleen Alder and Olivia Brown, produced and edited by Olivia.

Listen on all your favourite platforms now!

(Written on March 27, 2018 )