Posts Tagged ‘Concert’
« Back to E-News

Classical News

The Times

Sir Simon Rattle finally confirmed for London Symphony Orchestra

After one of the most extended courtship rituals in the history of music Sir Simon Rattle was confirmed today as the next music director of the London Symphony Orchestra.

The Guardian

Simon Rattle is the seismic, creative shock UK classical music needs

Conductor’s appointment as LSO music director could be catalyst for genre’s revitalisation, from schools to (new) concert halls

Why the male domination of classical music might be coming to an end

For decades – no, make that centuries – the classical music world has sidelined women, if not ignored them completely. But the balance may be finally shifting

The Independent

Classical music needs to address lack of female composers, Radio 3 presenter claims

Sara Mohr-Pietsch was speaking ahead of International Women’s Day on Sunday

The Strad

Study finds classical music has a calming effect on dogs

Research was undertaken by the Scottish Society for Prevention of Cruelty to Animals and the University of Glasgow

BBC Music Magazine

World Health Organisation recommends reducing music listening to ‘an hour a day’

Report suggests we are listening to ‘too much, too loudly’

New fine dining concert series devised

Jennifer Pike, Miloš Karadaglić and Charlie Siem all to feature in ‘Boisdale Classics’ series

 concerti

Unerhörte Orte, klingende Landschaften

Musik von allen Seiten begreifen: Die Festspiele Mecklenburg-Vorpommern verblüffen mit innovativen Konzertideen und Brückenschlägen zu anderen Künsten

Klassik.com

Telemann-Preis 2015 für Amadeus-Verlag Winterthur

Auszeichnung der Landeshauptstadt Magdeburg ist mit 2.500 Euro dotiert

Dirk Kaftan erhält Karl-Böhm-Interpretationspreis 2015

Auszeichnung des Landes Steiermark ist mit 10.000 Euro dotiert

Musik Heute

Hamburger Musikfest “Lux aeterna” zieht positive Bilanz

Das Musikfest “Lux aeterna” in Hamburg hat nach seiner zweiten Ausgabe eine positive Bilanz gezogen.

pizzicato

Giordano Bellincampi Named Music Director In Auckland

Auckland Philharmonia Orchestra announced the appointment of its new Music Director from 2016, Italian-Danish conductor Giordano Bellincampi.

Le Monde

Orrin Keepnews, producteur de jazz, est mort

Producteur de jazz, cofondateur ou fondateur des compagnies phonographiques Riverside, Milestone et Landmark, auteur de notes de pochettes de disques réputées pour leur écriture, dédicataire d’une composition du pianiste Bill Evans (1929-1980) Re: Person I Knew, anagramme de son nom, Orrin Keepnews est mort, dimanche 1er mars, à son domicile d’El Cerrito (Californie), près de San Francisco.

Twitter

London Symphony Orch @londonsymphony :We are delighted to announce the appointment of Sir Simon Rattle as Music Director of the LSO, taking up his post in Sep 2017 #lsorattle

Barbican Centre ‏@BarbicanCentre :’We share a dream in which performing, teaching & learning are indivisible’ Rattle shares his LSO vision http://lso.co.uk/simonrattle  #lsorattle

Kenneth Woods ‏@kennethwoods : New York City’s last classical sheet-music store to close http://on.wsj.com/1Cmq6CC  via @WSJ Sad sign of the times

3-Sara-Mohr-Pietsch-BBC NEWS

Sara Mohr Pietsch. Photo: The Independent

 

(Written on March 3, 2015 )

We recently caught up with Nicole Wilson, the Founder of Musical Orbit, a new and exciting online service which provides online one-to-one lessons with top principal orchestral musicians as well as free webinars and masterclasses. Watch as she tells us about the inspiration behind the website and how she sees it developing in the future!

Keep up to date with Musical Orbit through their website, Facebook and Twitter.

(Written on February 19, 2015 )

WildKat PR are pleased to be working with the young and talented violinist Asi Matathias. Asi did his first ever performance with the Israel Philharmonic Orchestra at the age 14 under the baton of Zubin Mehta, who was so impressed by Matathias’ musical maturity at such a young age that he invited Asi back to play for the next season. Concert-goers can hear this sophistication beyond years at another debut of his this month: at the Berlin Philharmonic and Carnegie Hall’s Zankel Hall in New York.

His recital programme will take the audience through the history of the key repertoire for violin and piano: Brahms and Beethoven via Strauss and Takemitsu. We will hear all the experience he has accumulated over the past ten years, during which he has performed concerts throughout Europe, the USA and Asia and played in some of the most prestigious concert halls and with some of the best conductors of our time.

Also a keen chamber musician, Asi has collaborated with the likes of Yefim Bronfman and Kirill Gerstein at festivals such as Vienna’s FestWochen Festspiele, and the Jerusalem International Chamber Music Festival.

Having begun playing the violin when he was only 6 years old, he has studied with Chaim Taub, Aaron Rosand and David Nadien. He currently is a student of Pinchas Zukerman in New York. Prior to this, he was enrolled at Vienna’s Universität für Musik und darstellende Kunst where he was the youngest student ever to have been accepted.

Asi’s debuts promise to be exciting milestones in his career which is already developing well and flourishing.

Book tickets to the concert here.

Pinchas Zukermans Protegé, Asi Matathias, debütiert in Berlin und New York

Das Team von WildKat PR freut sich über die Zusammenarbeit mit dem jungen und talentierten Geiger Asi Matathias. Seinen ersten Auftritt hatte der Künstler bereits im Alter von 14 Jahren mit dem Israel Philharmonic Orchestra unter der Leitung von Zubin Mehta, der so begeistert von der musikalischen Reife bei einem so jungen Alter war, dass er Asi bereits für die folgende Saison wieder einlud. Konzertbesucher können nun eine über Jahre gereifte Verfeinerung seines Violinenspiels bei einem weiteren Debüt in diesem Monat in der Berliner Philharmonie und der Zankel Hall der Carnegie Hall in New York erleben.

Sein Konzertprogramm führt das Publikum durch die Geschichte der berühmtesten Werke für Violine und Piano: Von Brahms und Beethoven über Strauss und Takemitsu. Das Publikum wird die Erfahrungen, die Matathias in den letzten Jahren bei Aufführungen in Europa, USA und Asien gesammelt hat, hören können. Er spielte in den besten Konzertsälen der Welt und mit den bedeutendsten Dirigenten unserer Zeit. Darüberhinaus hat Asi als begeisteter Kammermusiker bereits mit Größen wie Yefim Bronfman und Kirill Gerstein bei international bekannten Festivals wie den Wiener Festwochen und dem Jerusalem International Chamber Music Festival zusammengearbeitet.

Seit er mit sechs Jahren angefangen hat Geige zu spielen, wurde er von Chaim Taub, Aaaron Rosand und David Nadien auf seinem Weg begleitet. Aktuell studiert er bei Pinchas Zukerman in New York. Davor war er an der Universität für Musik und darstellende Kunst in Wien immatrikuliert, wo er als jüngster Student seit der Gründung der Universität aufgenommen wurde.

Asis Debüts versprechen spannende Meilensteine in seiner bereits aufstrebenden Karriere zu werden.

Buchen Sie hier Tickets für das Konzert.

Asi

(Written on February 12, 2015 )

After much anticipation, the website which offers personal one-to-one lessons, webinars and masterclasses with some of the best principal orchestral players in the world is up and running! Alongside being able to sign up for lessons, Musical Orbit is hitting the ground running with a string of very exciting, and varied, free webinars during February, the first being this evening (4th February 2015).

Join the BBC Scottish Symphony Orchestra’s principal trumpet player, Mark O’Keeffe, from 8:30-9:30pm to hear him talk about orchestral trumpet playing and answering all your questions about technique, the glory of being a section leader of a major orchestra or indeed anything else related. It promises to be a fascinating and well-spent evening. Make sure you sign up in plenty of time to secure your place on what is already proving to be a popular webinar.

If you should miss tonight’s discussion, tomorrow’s webinar is another treat not to be missed. Maxine Kwok-Adams, first violinist in the London Symphony Orchestra will talk all things fashion and looking good on stage. Describing herself on her Twitter as ‘never knowingly underdressed’, Maxine will bring personality, flair and experience to her webinar to walk us through her best outfits for concerts and the technicalities of wearing certain fashions whilst performing. All this will help you to hone your all round performance skills.

As if this is not enough, log on between 6-7pm on 9th February to hear freelance principal oboist Matthew Draper offering us his expertise on reed making. Understanding how your instrument is made is key to maintaining it and playing well so bassoonists, clarinetists, oboists and anyone interested in what makes a first class reed, be sure to join in!

Other February highlights include overcoming performance anxiety by expert in the field, Mike Cunningham on the 8th; ‘Life as a freelance opera singer’ by Graeme Danby on the 9th February; and ‘Being a principal player’ with cellist Louisa Tuck of the Royal Northern Sinfonia on the 21st .

Details of new webinars are regularly uploaded so keep checking Musical Orbit’s website, Facebook and Twitter for the latest information. Best of all, they are completely free!

musical-orbit-logoMusical Orbit

 

 

 

 

 

 

(Written on February 4, 2015 )

A very exciting initiative launched yesterday, 26th January 2015: Musical Orbit. The website is offering musicians the opportunity to book one-to-one lessons, as well as free webinars and masterclasses with some of the top principal players from major orchestras such as the London Symphony Orchestra, the Royal Philharmonic Orchestra and the London Mozart Players. Whether you have an audition, final exam or recital, through Musical Orbit you can receive bespoke feedback from industry experts on your playing to allow you to perform to your absolute best.

This opportunity means Musical Orbit is also a central online hub, allowing musicians to connect, for young artists to build relationships within the industry and to receive playing tips. Professional musicians wanting to give back to the industry can do so in their own time, anywhere in the world. The hub will also provide discounts to the most popular concerts, with promo codes that are available only on the Music Orbit website.

To celebrate this exciting project, Musical Orbit is offering the chance to win FREE music lessons if you sign up before next Monday (2nd February 2015). Get yourself over there quickly to be mentored by some of the best classical musicians in the world!

musical-orbit-logo

 

Keep up to date with news from Musical Orbit through their Facebook, Twitter and YouTube.

Untitled

 

(Written on January 27, 2015 )

WildKat PR is very excited to introduce our newest client: the Chamber Music Society of Lincoln Center (CMS). Based at New York’s infamous Lincoln Center for the Performing Arts, CMS features some of the finest chamber music performances on a world stage. As well as thrilling seasoned concert goers, they also seek to engage a wider audience with chamber music through their performances, education programmes, and recording activities.

Motivated by their commitment to the continuation of the chamber music tradition, they founded CMS Two which is a prestigious, unique and wildly competitive three season residency for the most significant ensembles and individual musicians. Far from being an ‘extra’, CMS Two members take part in all aspects of the Society’s activities and it boasts alumni such as Lang Lang and Hilary Hahn.

We will be working with CMS on a very exciting concert on 8th May 2015 at London’s Wigmore Hall which, alongside standard repertoire from Schumann and Brahms will also feature the world premiere of a specially co-commissioned piece by British composer Helen Grime. This new string trio continues the longstanding relationship between the two cross-Atlantic concert halls.

CMS-logo

(Written on January 23, 2015 )

As Shakespeare himself says in The Two Gentlemen of Verona: ‘Orpheus’ lute was strung with poets’ sinews, whose golden touch could soften steel and stones.’ WildKat PR could not agree more after last night’s brilliant concert from Orpheus Sinfonia at St George’s Church, Hanover Square.

The whole theme of the evening was the influence that Shakespeare’s plays have had on composers and as well as performances of Korngold, Tchaikovsky and Prokofiev we were treated to two graduates from LAMDA (Andrew Nolan and Sophie Steer) who acted excerpts from the plays in between the musical programme. This addition helped achieve the goal of the Beneath the Score series: to dig deeper into the music.

MidSummer Night's Dream

 

 

 

 

 

 

 

 

A depiction of A Midsummer Night’s Dream. Photo: Blogging Shakespeare

If I sat back and closed my eyes, I would not have known Orpheus Sinfonia were not an orchestra such as the LSO, such was the calibre of the playing: the woodwind, particularly the flutes, captured me from the very first chords of Mendelssohn’s A Midsummer Night’s Dream, the opening piece. Their vibrato was unmistakable for the rest of the concert.

One of my highlights was Korngold’s Much Ado about Nothing. Orpheus Sinfonia really showed off their versatility during this piece by capturing both the comedy of the play and unleashing long lyrical lines. I had already decided that the Korngold was my new favourite piece but by the time Delius’ The Walk to the Paradise Garden had finished, I had changed my mind. The strings meshed together blissfully, bringing out the impressionism of the piece. The cellos in particular sung out and possessed that ‘golden touch’ Shakespeare spoke of. It was also the perfect opportunity for the actors to act out the famous balcony scene from Romeo and Juliet. The silence between the notes dying away and keen applause said it all.

The conductor, Thomas Carroll, provided an insightful commentary throughout but especially before Tchaikovsky’s well known Romeo and Juliet Fantasy Overture. He outlined the structure of the piece and the ‘characters’ that particular instruments were supposed to represent. The woodwind at the start of the piece symbolized the noble Friar Laurence whilst the constant horn rhythms acted as the heartbeat of the lovers. This explanation allowed me to hear the piece in a new way.

The venue, St George’s Church, had beautiful acoustics which really amplified the rich sound of the orchestra. The intimate setting was a nice change from a large concert hall; it meant you could see the players as they were performing and it was clear they were enjoying themselves. There were also a number of young people there and, chatting to a couple afterwards, they commented on how accessible the music had been through the combination of excerpts and explanation.

A wonderful evening overall, make sure you look out for details of the next one.

Orpheus-SMALL Orpheus Sinfonia. Photo: The Stage

 

 

(Written on January 23, 2015 )

Following the success of their previous concert, here at WildKat PR we have been looking forward to our client Orpheus Sinfonia’s next Beneath The Score concert: ‘The Shakespeare Influence’. The evening’s music will be inspired by the works of Shakespeare and include works from composers such as Mendelssohn, Prokofiev and Tchaikovsky. The performance will also be interspersed with readings by two young talented actors from some of Shakespeare’s most loved plays: ‘A Midsummer Night’s Dream,’ ‘Much Ado about Nothing,’ and ‘Romeo and Juliet.’

The Beneath The Score series aims to bring classical music to new audiences and expand the knowledge of the experienced, by exploring the meaning behind the work during the concert. The first concert, which explored Beethoven’s life and revolutionary influence, included readings of extracts of his diaries and images to bring the music more to life. Indeed, many audience members, newcomers and seasoned concertgoers alike, commented on how much they learnt as well as how much they enjoyed the music. One person remarked how she did not realise how early Beethoven’s deafness set in whilst another was very new to the experience and so learnt much more than he knew before.

The concert will be performed by the talented Orpheus Sinfonia, an orchestra composed of recently graduated musicians emerging from study into the profession, and conducted by conductor, cellist and presenter Thomas Carroll. The Shakespeare Influence will take place this Thursday (22nd January 2015) at 19:30pm at St George’s Church in Hanover Square. Tickets can be found here. It promises to be a fascinating and uplifting evening.

Find Orpheus Sinfonia on FacebookTwitter and YouTube.

Orpheus-Mid-performance

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The Orpheus Sinfonia in Concert. Photo found at orpheusfoundation.com

 

 

(Written on January 19, 2015 )

It was reported by the Guardian yesterday (17th December 2014) that the famous Milan opera house, La Scala, has introduced a 5 minute grace period to allow latecomers to take their seats, not because it disrupts the performance, but because they are becoming increasingly angry at the ushers. In practice, this will mean that the performance will start 5 minutes later than the scheduled time. La Scala is well known for being strict about latecomers, with some audience members having to wait for up to 85 minutes for an appropriate break to slip in. Indeed, the Guardian notes that the only known exception was in 1972 when Elizabeth Taylor and Richard Burton were 10 minutes late for the opening night of Verdi’s Un Ballo in Maschera. Paolo Grassi, the head of opera at the time, commented about the incident that ‘late arrivals at La Scala are not allowed.’

La Scala

Photograph: REUTERS/Brescia/Amisano

Sure, if someone has bought a ticket to one of the most prestigious opera venues in the world, one can understand why they would want to ensure they had the full experience: the lights dimming, the anticipation in the air, the first notes of the overture and the curtain finally rising. But, VIP or not, is this really an excuse for aggression towards employees? I’m not sure ‘excuse’ and ‘aggression’ should ever be in the same sentence. The Royal Opera House advises those attending to arrive 30 minutes before the performance begins and, as in most venues, provides 10 minute, 5 minute and 2 minute warnings until the start.  With all this information, it is not the ushers’ fault that someone is late. Equally, if you had secured a highly in demand La Scala ticket, one would assume you would ensure you arrived on time? With circumstances beyond our control such as the weather or traffic, it may not even be the latecomer’s fault, but that is still no reason for rudeness.

scala-milano_2572468b

Photograph: EPA

Furthermore, if opera goers are aware of this grace period, it runs the risk of not eliminating the problem but merely delays the problem five minutes later than before. On the other hand, as one commenter (ID2665677) on the article points out, the first 5 minutes are often taken up by the entrance of the orchestra and tuning up anyway so, in this case, where is the harm in allowing admissions during this time?

If the new measures do stop ushers from being made to feel uncomfortable then it has my blessing, it’s just sad that it is necessary.

What do you think? Tweet us your opinions @WildKatPR

 

(Written on December 18, 2014 )

Classical News

The Guardian

La Scala opera house introduces five-minute grace period for latecomers

Performances at Milan opera house to begin five minutes after scheduled time to stop spectators becoming angry with ushers

Sarah Connolly’s Christmas playlist

Mezzo Sarah Connolly shares her festive playlist, with a sublime selection of vocal music old and new

The Times

Blair Tindall on Mozart in the Jungle and the seamy side of orchestral music

For a jobbing classical musician the late 1970s and 1980s were lucrative, and hedonistic, recalls female oboist Blair Tindall. Now an all-star cast has brought her racy memoirs to the small screen

The Telegraph

Can this man save the arts in England?

Rupert Christiansen welcomes Darren Henley, the new chief executive of Arts Council England

International Arts Manager

EU explores potential of science and culture in international relations

The European Union has launched a new €25m grant for research into cultural and scientific diplomacy.

KlassikAkzente

Willkommen 2015 mit Katherine Jenkins im ZDF – Ein wohlklingender Start ins neue Jahr

Zum Ende eines Jahres schaut man zurück – und gleichzeitig macht sich schon eine gespannte Erwartung auf das neue Jahr breit.

Pizzicato

‘Teatro Real’ spart und erwartet trotzdem Überschuss für 2015

Das ‘Teatro Real’ in Madrid hat für 2015 ein Sparbudget vorgelegt, das den von 53 % (2009) auf 30 % (2015) gesunkenen öffentlichen Subventionen Rechnung trägt.

KulturPort.De

Sponsoring bei Jazz-Festival bricht ein

„Viele Festival- und Konzert-Veranstalter, insbesondere aus der Jazz-Szene, stehen im nächsten Jahr vor großen Herausforderungen.

Musik Heute

Düsseldorfer Symphoniker spenden an action medeor

Die Düsseldorfer Symphoniker haben über 30.000 Euro an das Medikamentenhilfswerk action medeor gespendet.

Codex Flores

Musizierende Jugendliche haben bessere Bildungschancen

Jugendliche, die schon in jungen Jahren Musikunterricht hatten, haben bessere Schulnoten als andere.

The New York Times

$58 Million Is Sought for Theater

Second Stage in Push for Money to Buy Helen Hayes

Twitter

CBSO ‏@TheCBSO : You can see some amazing photographs of our visit to Abu Dhabi over on our Facebook page: http://on.fb.me/1wOr8Cj

Music & Opera ‏@MusicOpera: #EvelynHerlitzius is Katerina in the new @deutsche_oper Berlin’s Lady Macbeth (from 25/1) ! http://bit.ly/1AK16jX 

Philharmonic Society ‏@RoyalPhilSoc : Come on twitter! Help us put instruments round the tree 4 young musicians. Think of the look on their little faces.. http://royalphilharmonicsociety.org.uk/young_musicians/christmas …

Katherine-Jenkins

Photograph: © Decca / Chloe Mallett

(Written on December 18, 2014 )