BACKHans Zimmer steps in at last minute to score Bond film ‘No Time To Die’
The legendary film composer is taking over from Dan Romer as a last-minute replacement – just three months before the Bond movie is set to be released.
The score to the new Bond film No Time To Die will now be produced by Hans Zimmer.
Zimmer, who has been drafted in as a last-minute replacement, is taking the reins from composer Dan Romer who was originally set to score the film.
According to Variety, the Beasts of No Nation composer was dismissed over “creative differences” with the film’s production company, Eon Productions, last month.
Daniel Hope im Hochschulrat der HfM Dresden
Der Geiger Daniel Hope ist ab diesem Jahr Mitglied des Hochschulrats der Dresdner Hochschule für Musik “Carl Maria von Weber”. Der 46-Jährige übernimmt die Nachfolge von Dirigent Michael Sanderling, teilte die Einrichtung am Dienstag mit. Sanderling war im vergangenen Jahr aus persönlichen Gründen ausgeschieden.
Hope sei eine ideale Besetzung, erklärte Rektor Axel Köhler. Der gebürtige Südafrikaner sei ein weltweit agierender Ausnahmekünstler, ein Botschafter humanistischer Grundwerte und als solcher ein Vorbild für die Studenten der Hochschule. “Von einem international so hochrangigen Künstler, der noch dazu ein wunderbarer Mensch ist und eine klare politische Haltung verkörpert, erhoffe ich mir wichtige Impulse, die unserer Hochschule sehr gut tun werden“, sagte Köhler.
Daniel Hope on the university council of the HfM Dresden
The violinist Daniel Hope is a member of the University Council of the Dresden University of Music “Carl Maria von Weber” from this year on. The 46-year-old succeeds conductor Michael Sanderling, announced the institution on Tuesday. Sanderling had resigned last year for personal reasons.
Hope was an ideal choice, explained Rector Axel Köhler. He was born in South Africa and is an exceptional artist who is active worldwide, an ambassador of basic humanistic values and as such a role model for the students of the university. “I expect important impulses from such a high-ranking international artist, who is also a wonderful person and embodies a clear political stance, which will do our university a great deal of good,” said Köhler.
Beethoven, Sondra Radvanovsky, Gautier Capuçon parmi les stars 2019 du classique
Pour établir son bilan annuel (proposé depuis 2008), l’équipe du site spécialisé britannique bachtrack.com nous a recensé 34 648 concerts ou représentations (opéras, ballets) donnés dans le monde en 2019, soit 20 535 concerts, 10 016 opéras et 4097 ballets. Si Beethoven est toujours le compositeur le plus joué (13% des concerts), il récupère la 1ère place de l’œuvre la plus jouée avec sa 3e symphonie « Héroïque » devant 2 œuvres de Tchaïkovski (concerto pour violon et symphonie n°5). En 2018, 3 œuvres de Léonard Bernstein avaient trusté le podium. En matière d’opéra, le podium des œuvres les plus jouées ne bouge pas avec La flûte enchantée devant La Traviata et Madame Butterfly mais la part des représentations d’opéras réservées au Big Three (Verdi, Puccini et Mozart) chute de 34% en 2017 à 29% l’an passé, soit 600 représentations supplémentaires laissées aux autres compositeurs.
Beethoven, Sondra Radvanovsky, Gautier Capuçon among the 2019 stars of classical music
In order to draw up its annual balance sheet (available since 2008), the team at the specialist British website bachtrack.com has listed 34,648 concerts or performances (operas, ballets) given around the world in 2019, i.e. 20,535 concerts, 10,016 operas and 4,097 ballets. If Beethoven is still the most played composer (13% of the concerts), he recovers the 1st place of the most played work with his 3rd Symphony “Eroica” in front of 2 works by Tchaikovsky (violin concerto and symphony n°5). In 2018, 3 works by Leonard Bernstein had taken the podium. As far as opera is concerned, the podium of the most performed works did not move with The Magic Flute in front of La Traviata and Madame Butterfly, but the share of opera performances reserved for the Big Three (Verdi, Puccini and Mozart) fell from 34% in 2017 to 29% last year, i.e. 600 additional performances left to other composers.