From Afar

Top Classical November 28, 2022

From Afar

“From Afar” – Vikingur Ólafsson’s Ethereal Piano Journey

November 2022
“From Afar,” Vikingur Ólafsson’s latest piano album, is a remarkable musical journey that was born from an unexpected encounter with the esteemed composer György Kurtág during a concert visit in Budapest. The surprise meeting between the two musicians led to a transformative experience for Ólafsson, who was both humbled and elated to discover that Kurtág was already familiar with his work. The initial plan of a short meeting extended into a two-hour session where Ólafsson played various pieces for Kurtág, receiving invaluable suggestions and inspiring stories that would leave a lasting impact.

Gratitude and artistic inspiration intertwined as Ólafsson set out to express his appreciation to Kurtág. Instead of a conventional thank-you note, he crafted a program for this album, incorporating several of Kurtág’s own compositions. These pieces act as a “compass” that guides the listener through the diverse musical landscape showcased in the album.

Throughout “From Afar,” Ólafsson’s piano mastery shines, capturing the listener’s attention with a tone that is both ethereal and captivating. His delicate touch shapes every chord and inner voice with utmost care, revealing a translucent beauty that seems to emanate from the heart of the music itself. The artist’s impeccable articulation ensures clarity even in the most delicate and tender passages, inviting the audience to be enveloped in a world of sublime tranquility.

A noteworthy aspect of the album is the dual performance of the recital. Ólafsson ingeniously presents the program twice, once on a magnificent Steinway concert grand piano, and then again on an upright piano. The latter, covered with a layer of felt on the strings, imparts a permanent soft pedal effect. This intriguing approach adds a unique and evocative dimension to the music, further enhancing its emotional resonance.

While Ólafsson’s playing is undeniably enchanting, some listeners may find that the pursuit of perfection, though admirable, at times results in a certain homogeneity in his interpretations. As the album weaves through works by various composers, the sameness in attack, color, and tone might blur the distinctive voices of each composer. While the link between the pieces through Kurtág’s compositions is commendable, a more diversified palette of expression could have further enriched the listening experience.

For instance, the juxtaposition of Bach’s “Adagio” from the Keyboard G Major Sonata with Kurtág’s “Harmonika” from “Játékok (Games)” and Bartók’s “Three Hungarian Folksongs from the Csik District” showcases Ólafsson’s exquisite touch but may leave one longing for more contrasting emotional depths and colors.

Nevertheless, when encountering Brahms’ “Intermezzo in E Major” (from 7 Fantasien), Ólafsson’s ethereal interpretation finds a harmonious resonance with the preceding tracks. The unity achieved in the album is indeed commendable, but a touch more expressive variety could have brought even more richness to the collection.

In closing, Vikingur Ólafsson’s “From Afar” is an album that skillfully captures the essence of the music it presents. His artistry and sensitivity shine through every note, creating a serene and mesmerizing atmosphere. The concept of connecting the works through Kurtág’s compositions is both an innovative and thoughtful touch. While some may desire a more diverse emotional range, “From Afar” remains a captivating musical journey that showcases Ólafsson’s exceptional talent as a pianist and his profound ability to communicate through the keys.

Hans Rott’s Symphony No. 1

Top Classical November 23, 2022

Hans Rott’s Symphony No. 1

A Resurrected Gem: Hans Rott’s Symphony No. 1

November 2022
Hans Rott’s Symphony No. 1 in E major is a remarkable and tragic tale of a forgotten masterpiece that has finally found its rightful place in the world of classical music. Completed in 1880, the symphony remained in obscurity for over a century, with its creator suffering from mental illness and a series of unfortunate events. But thanks to conductor Jakub Hrůša and the Bamberg Symphony’s recent recording on Deutsche Grammophon, this hidden gem has been brought to life and introduced to a wider audience.

The symphony’s history is riddled with intrigue and misfortune. After being rejected for performance by none other than Johannes Brahms himself, Rott’s mental health deteriorated, culminating in a bizarre incident involving a train and accusations of sabotage. This unfortunate turn of events contributed to the symphony’s near-forgotten status until its first performance in 1989.

Jakub Hrůša’s passion for rediscovering overlooked works led him to stumble upon Rott’s symphony on the Internet. Already renowned for his interpretations of Gustav Mahler’s music, Hrůša proved to be an ideal choice for breathing life into Rott’s masterpiece. His deep understanding of Mahler’s style shines through in this recording, allowing him to grasp the symphony’s intricate nuances and connections to Mahler’s own works.

Rott’s musical lineage is evident, having been a star pupil of the great Anton Bruckner. Gustav Mahler, who held a strong appreciation for Rott’s compositions, even considered him to be the visionary behind the “new symphony.” This recording highlights the symphony’s influences, drawing comparisons to Mahler, Wagner, and Bruckner. The Scherzo, in particular, boasts Mahlerian characteristics, capturing the essence of Mahler’s symphonic language.

The symphony is a testament to Rott’s prowess in constructing grand musical structures. With boundless energy coursing through its movements, the nearly 25-minute finale stands as a testament to Rott’s ability to captivate listeners with its dynamic and engaging soundscapes. The Bamberg Symphony players, under Hrůša’s skilled guidance, deliver stunning performances, especially during the numerous demanding solo passages that pepper the symphony.

Hrůša’s advocacy for including this symphony in the regular repertoire is evident in the conviction and passion conveyed throughout the recording. He skillfully brings out the symphony’s emotional depth and intricacies, leaving an indelible mark on listeners who may be experiencing this work for the first time. It is a must-hear for any lover of symphonic music, and it firmly establishes Hans Rott’s Symphony No. 1 as a timeless addition to the classical canon.

Gasteig München

Top Classical November 13, 2022

Gasteig München

The largest cultural center in Europe

Top Classical, November 2022
Gasteig is a cultural center in Munich. This immense cultural center was built between 1978 and 1985, all in brick, glass and steel. the design caused quite a controversy in the mid-eighties due to its postmodern, boxy, glass-and-brick design in very big dimensions. The Gasteig has a total area of almost 25,000 square meters, which is equivalent to several soccer fields.

This is where the “Bürgerbraükeller” was located where Georg Elser attempted a bomb attack against Hitler. A showcase visible from outside of the Gasteig commemorates Elser’s history. Since it opened its doors in 1985, the Gasteig has grown into a hub of culture and creativity and the home of a number of Munich’s renowned cultural and educational institutions: the Munich Philharmonic, the Münchner Volkshochschule (Munich Community College), the Munich City Library, and the University of Music and Performing Arts. With four separate performance halls, the Gasteig’s concert calendar would make any event planner dizzy. In addition to regular performances by the orchestras, the Gasteig hosts more than 2,500 concerts each year.

The cultural center “Am Gasteig” in Munich is situated next to the central tunnel of the Munich rapid transit railway System. When the cultural center was built in 1983, the planners had to ensure that the background noise level in the concert hall did not exceed the specified limit of 25 decibels when a train is passing so that the concert hall could also be used for recording.

The center, on the banks of the Isar, showcases top performers year-round. it has often played host to leading international orchestras and star soloists. The venue’s ties to the Munich Philharmonic Orchestra make it the most important concert house in the city, but also smaller, chamber performances and some special events that run throughout the year.

Philharmonie im Gasteig hosts concerts for a wide range of genres.  The facility hosts jazz, big band, dance, world music, theater performances, and even lectures and other cultural events. This month of November we can find in the venue’s agenda artists such as Julia Fischer, Beatrice Rana, Frank Peter Zimmermann, Cecilia Bartoli, Igor Levit and many more.

Curtis Institute

Top Classical November 4, 2022

Curtis Institute

A virtuoso factory

Top Classical, November 2022
The Curtis Institute of Music was founded in 1924 by Mary Louise Curtis Bok, who named it in honor of her father, Cyrus Curtis, an American publisher. After consulting with musician friends Josef Hofmann, who later became the first director, and Leopold Stokowski on how best to help musically gifted young people, Bok purchased three mansions on Philadelphia’s Rittenhouse Square and had them joined and renovated.  

Bok had worked with the very poor in Philadelphia’s Settlement Music School and found that many of the students there, though culturally and financially deprived, were very musically talented. Based on her experiences there, she assembled a highly talented staff and by 1928 had made the school tuition free. Today it continues this tradition, accepting students based solely on merit only, and providing them with the financial freedom to attend Curtis and have a future in music. 

The institute formerly served as a training ground for orchestral musicians to fill the ranks of the Philadelphia Orchestra, although composers, organists, pianists, guitarists, and singers are offered courses of study as well. Annual enrollment, all merit-based and tuition-free, numbers about 160 students from a myriad of nations and ranging in age from 10 to 26 years old. All pupils attend on full scholarship and admission is extremely competitive. 

Such noted composers as Leonard Bernstein, Samuel Barber, Gian Carlo Menotti, and Vincent Persichetti have studied at Curtis. Legends like pianists Josef Hofmann and Rudolf Serkin have taught here, and the Curtis Institute of Music is still turning out virtuosos like violinist Hilary Hahn. 

“It’s a professional atmosphere,” said soprano Joslin Romphf. “The quality of the productions is very high, and we get to work with great directors and conductors who have different styles. All in all, it ends up being a wonderful educational experience.” 

The institute’s library contains more than 65,000 books, music scores, and records, and its orchestra library houses the Leopold Stokowski Collection.

Curtis graduates perform in most major orchestras in the world, often as principals; half of the Philadelphia Orchestra’s musicians are Curtis alumni. Dozens of events are open to the public including the Curtis Symphony Orchestra (with guest maestros such as Sir Simon Rattle); productions by the Curtis Opera Theatre; and faculty, student and alumni recitals. 

Field Concert Hall seats 240 people and has pretty amazing acoustics Concerts and recitals perform there weekly from October to May. 
Visit https://www.curtis.edu/ to learn more about this great music institute.

Gustavo Dudamel

Top Classical November 1, 2022

Gustavo Dudamel

A Maestro of Musical Marvels

Top Classical, November 2022
In the world of classical music, certain individuals emerge as luminous stars, transcending boundaries and captivating audiences with their remarkable talent and charisma. Among these luminaries, Gustavo Dudamel stands tall as a conductor whose passion, energy, and interpretive prowess have breathed new life into the art of orchestral performance. With a meteoric rise to fame and an unwavering commitment to music education, Dudamel has become a beacon of inspiration for both seasoned enthusiasts and new generations of music lovers.

Gustavo Adolfo Dudamel Ramírez was born on January 26, 1981, in Barquisimeto, Venezuela. Raised in a musically inclined family, his natural affinity for music became evident at an early age. His prodigious talent led him to the National System of Youth and Children’s Orchestras of Venezuela, commonly known as “El Sistema.” Under the mentorship of renowned conductor José Antonio Abreu, Dudamel’s talent blossomed, and he emerged as a virtuoso violinist and conductor.

Dudamel’s ascent to international stardom was swift and breathtaking. At the age of 18, he won the Gustav Mahler Conducting Competition, a victory that served as a springboard for his career. In 2007, he was appointed as the Music Director of the Los Angeles Philharmonic, a position that would catapult him to even greater heights.

His dynamic conducting style and magnetic stage presence breathed new life into classical repertoire, infusing performances with an infectious energy and emotional depth. Audiences and musicians alike were drawn to his exuberance and his ability to communicate his profound love for music through every gesture.

Dudamel’s impact on orchestral performances has been transformative. He possesses an uncanny ability to connect with both the musicians and the audience, creating an atmosphere of shared musical experience. His interpretations are marked by an innate sense of drama, a keen attention to detail, and a commitment to preserving the composer’s intent while infusing it with his unique touch.

Under his direction, the Los Angeles Philharmonic has flourished, becoming a beacon of innovation and artistic excellence. His visionary programming, which often blends traditional works with contemporary compositions, has broadened the orchestra’s reach and appeal, attracting a diverse audience.

One of the defining aspects of Dudamel’s career is his commitment to music education and social change. Drawing inspiration from his own upbringing within El Sistema, he has tirelessly advocated for the power of music to transform lives and uplift communities. He believes that music is a universal language that can bridge gaps, inspire creativity, and instill values of discipline and teamwork.

Dudamel’s involvement in youth orchestras and music education initiatives around the world has been instrumental in nurturing young talent and fostering a new generation of musicians. His efforts have expanded access to music education for underprivileged children, offering them a path to personal growth and empowerment.

Gustavo Dudamel’s impact on the classical music world is immeasurable. His dynamic conducting, boundless enthusiasm, and commitment to education have reinvigorated the orchestral landscape and ignited a renewed passion for classical music. As he continues to lead orchestras and captivate audiences with his artistry, he stands as a testament to the enduring power of music to inspire, uplift, and transform lives. Dudamel’s journey is a symphony of dedication, creativity, and a profound belief in the universal language of music.

The Mannes School of Music

Top Classical September 19, 2022

The Mannes School of Music

A school for fearless artists

Top Classical, September 2022
Established as a community music school, Mannes soon evolved into the world-class college conservatory it is today. It was more than a century ago that violinist-conductor David Mannes and his wife, pianist Clara Damrosch Mannes, launched a small, innovative conservatory on Manhattan’s Upper East Side.. The school was founded in 1916 and quickly grew in fame and attracted teachers such as: conductor George Szell, the composers Georges Enesco and Bohuslav Martinů, and Hans Weisse. 

In 1940, the couples’ son Leopold Mannes transformed the school and obtained a charter from the State of New York to become a degree-granting college. 

In 2015, Mannes left the West 85th Street location they’d used for 30 years and claimed space in Arnhold Hall, the New School’s new multipurpose building on West 13th Street. 

While the Mannes School of Music has seen a lot of change, including relocation to the West Side, the conservatory endures as a vital institution Mannes School of Music, draw inspiration from the legendary and innovative students. Over the decades, Mannes has been house of notable graduates, including mezzo-soprano Frederica von Stade and pianists Murray Perahia and Richard Goode. 

The Mannes School of Music prides itself on creating “fearless artists” by offering its students a dynamic integration of rigorous training and real-world experience to make their musical careers a reality. Mannes is dedicated to advancing the creative role of music in all aspects of a rapidly changing society. Mannes aim is to develop citizen artists who engage with the world around them through music, in traditional, new, and emergent forms of practice. Today, with a new mission, Mannes is requiring its students to improvise and compose, be technologically fluent, and develop deep skills in community engagement and entrepreneurship. 

Part of the New School University, the Mannes School of Music resides in New York City, attracting students from all over the globe who dive headfirst into Manhattan and form part of one of the world’s most bustling cultural hubs. 

For music students looking for a balance between tradition and an awareness of the rapidly changing demands of the profession, Mannes is an excellent choice.

Sydney Opera House

Top Classical September 9, 2022

Sydney Opera House

Pure inspiration and creativity

Top Classical, September 2022
The Sydney Opera House is a multi-venue performing arts center in Sydney, Australia. Fusing ancient and modernist influences, the sculptural elegance of the Sydney Opera House has made it one of the most recognizable buildings of the 20th century, synonymous with inspiration and creativity.  

In February 1966, Jorn Utzon ceased to be the architect of the Sydney Opera House, whose project had won in an international competition nine years earlier, in 1957, being replaced by a group of local architects after a series of dark incidents and discussions. The apparent reason was the discontent of the authorities at the fact that they had already spent 20 million dollars only on the structure, when the initial budget was only seven million and a half for the entire work. To finish the building, he needed 6 times that figure.  

Built to “help shape a better and more enlightened community”, Sydney Opera House, since its opening in 1973, has been home to many of the world’s best artists and performances and a meeting place for issues of local and international importance. Today it is one of the busiest performing arts centers in the world and Australia’s number one destination, presenting unique and diverse experiences to more than 8.2 million visitors, 363 days a year. 

In 2003, Utzon received the Pritxker Prize, the world equivalent of the Nobel Prize in architecture, and died in 2008. The building is considered one of the most important examples of modern architecture in the world, a World Heritage Site since 2007. 

Within the facilities there are 7 different rooms where performances and events can be held, from the huge Concert Hall (2,679 seats) to the small Utzon Hall (with capacity for 210 people). 40 are the acts, events, concerts or performances that there are, on average, each week at the Sydney Opera House. The largest mechanical musical instrument in the world is the organ in the Concert Hall. It took 10 years to build and has over 10,000 tubes. 

The Opera House is home to seven iconic performing arts companies: Opera Australia, Sydney Symphony Orchestra, Australian Chamber Orchestra, Sydney Theater Company, The Australian Ballet, Bell Shakespeare and Bangarra Dance Theater. 

For its 45th anniversary in 2018, a year that also marks the centenary of the birth of architect Jørn Utzon, a series of projects were carried out to renovate the building for future generations of artists, audiences and visitors. As part of this Renovation, Opera House is committed to bringing the vision and ambition that inspired its creation to everything it does.

Berklee College of Music

Top Classical July 9, 2022

Berklee College of Music

Will make your wings grow

Top Classical, July 2022
Berklee College of Music is the most highly respected contemporary music school in the country. Renowned artists such as John Mayer, Quincy Jones, Tony Bennett, and many others are among the school’s alumni. Since its establishment in 1945, the private school has been a goal for talented potential artists, who hope to find there the knowledge and tools to succeed in the music world. 

Today, it serves around 4,500 students including people from 100 countries outside of the USA. Beyond music related studies like composition, film scoring, students can pursue other liberal arts-centric that include history and psychology. Mingus the Cat, who’s named after the famous jazz double bassist, is their mascot.  

Students can satisfy their need to share their music with their peers at The Red Room at Café 939. Holding around 200 people, this is an all ages venue run by the university where every genre is welcomed to be performed: Rock, jazz, hip-hop, world plus everything in between can be heard here. Additionally, the university hosts concerts for professional musicians here.  

The Berklee Performance Center is the other venue owned and operated by the university. The venue boasts 1,215 seats and more than 200 high-profile events are hosted here every year. 

Last year for the first time, Berklee College of Music appointed a woman, Erica Muhl, its new president. Muhl became the first woman to hold the title in the school’s 75-year history. 

The experience for most of students results satisfactory overall. However, some of them point out that the liberal arts complementary classes, would need an update in terms of curriculum, and even some of the teachers seem to be fallen out of the modern times. 

Loneliness and incomprehension are other feelings that some students might experiment during their stay: “There were many times while I was enrolled at Berklee when I felt undervalued as a student. Everyone was left to fend for him or herself and if something went wrong there really wasn’t much that could be done about it.” 

Berklee is a good place for musicians to explore on their own passion for music, and to discover the kind of artists they want to become in the future. It’s a place to set their goals, but it can’t be seen as a golden ticket to success and fame.  

If you are looking for great education and the most outstanding resources and facilities to make your artistry shine, Berklee College is definitely one of the best options to be considered.

Queen Elisabeth Competition

Top Classical July 6, 2022

Queen Elisabeth Competition

Celebrating Excellence in Classical Music

Top Classical, July 2022
Every few years, the world of classical music turns its attention to Brussels, where the prestigious Queen Elisabeth Competition takes center stage. Established in 1937, this international music competition has been a beacon of talent, innovation, and artistry, attracting some of the finest young musicians from around the globe. The competition’s legacy is marked by its dedication to a different instrument category in each edition, showcasing the diversity and virtuosity of classical music instruments. In 2022, the Queen Elisabeth Competition returns for its second cello edition, continuing its tradition of highlighting exceptional performers and propelling them onto the global stage.

In 2022, the Queen Elisabeth Competition will proudly dedicate itself to the cello for the second time. This remarkable event is tailored for musicians who have completed their training and are poised to embark on a journey towards an international career. From May 9 to June 4, 2022, Brussels will resonate with the melodic and emotive strains of the cello, as the world’s best young cellists gather to compete.

The competition’s significance lies not only in the caliber of the participants but also in the rigorous selection process. Cellists aged between 18 and 31 had the opportunity to apply until December 8, 2021. In January, the preliminary selection took place, with an international jury meticulously evaluating video submissions from 152 candidates behind closed doors. Ultimately, 68 exceptionally talented cellists were chosen to proceed to the first public round, which commenced on May 9 in the illustrious Studio 4 of Flagey.

As the competition unfolded, the initial number of participants experienced slight fluctuations due to withdrawals, culminating in a group of 66 gifted cellists vying for the top honors. Each performer brought a unique blend of technical mastery, artistic interpretation, and emotional depth, captivating audiences and judges alike.

The Queen Elisabeth Competition has a rich history of fostering musical excellence and providing a platform for emerging artists to showcase their skills. The competition is not merely a showcase of virtuosity; it also serves as a stepping stone for young musicians to gain international recognition and launch their professional careers. The competition’s jury, comprised of eminent musicians and experts, assesses not only technical prowess but also the ability to convey emotion and connect with audiences.

Audiences and classical music enthusiasts play a pivotal role in the competition’s success. The event invites music lovers to witness the evolution of these young artists as they progress through the rounds, demonstrating their versatility and command over their instruments. The atmosphere of anticipation, appreciation, and excitement is palpable as every note resonates within the concert halls.

The Queen Elisabeth Competition’s influence extends beyond its competition rounds. Throughout the event, attendees have the opportunity to experience a myriad of performances, from the competition rounds themselves to the laureates’ concerts. These concerts not only celebrate the winners but also showcase the diverse and dynamic nature of classical music, featuring both established masters and rising stars.

Tickets and subscriptions for these events are available through Flagey and Bozar, the esteemed concert halls that host the competition. The organizers take pride in welcoming audiences back into these hallowed halls, where musical excellence intertwines with a shared appreciation for the beauty of classical compositions.

The Queen Elisabeth Competition stands as a testament to the enduring power of classical music to captivate hearts and minds. As it continues to evolve and adapt, the competition maintains its commitment to nurturing exceptional talent and sharing the beauty of classical music with the world. The 2022 cello edition promises to be a celebration of skill, passion, and artistry, inviting audiences to immerse themselves in the melodic tapestry woven by the world’s finest young cellists.

Francesc Viñas Competition

Top Classical July 6, 2022

The Francesc Viñas Competition

From Liceu to the world

Top Classical, July 2022
The Francesc Viñas competition was founded in 1963 by Jacint Vilardell to commemorate Catalan tenor Francesc Viñas, who was born 150 years ago and was the first person to think of such a competition to foster new talent. 

The competition has become one of the major contests in the opera, oratorio and Lied world, in which young singers from all over the world take part every year.  

Each year the preliminary stages take place all over the world, in the cities of Madrid, Paris, London, Hamburg, Milan, New York, Los Angeles, San Francisco and Beijing, where the Liceu Theatre has cooperative agreements with the opera houses. For 2020’s edition more than 500 singers from around 53 different countries had to take part.  Last year, 2020, the endowment of the prizes increased in 6,000 euros, with a total of 121,000 euros, distributed in official, special and extraordinary prizes and a contract offered by the Gran Teatre del Liceu Foundation for the coming seasons. Besides being presented with the official prizes, the winners may receive other awards, such as study grants and contracts for performances at various theatres. 

The final stage of the competition always takes place in Barcelona’s Gran Teatre del Liceu with 15 singers taking part. The Final Audition is held each January in the same Liceu, as is the final concert with the winners, accompanied by the Gran Teatre del Liceu Symphony Orchestra. 

Prominent singers who have won the Viñas Contest includes Tamara Wilson (2011), Javier Camarena (2005), Violeta Urmana (1992), Željko Lucic (1997), Antonio Gandia (2004) and Vicenç Sardinero (1965). 

In the 2019-2020 it was the russian Mezzo-Soprano Victoria Karkacheva who won first prize performing Tchaikovsky’s Aria di Polina, and a piece from Wagner’s opera Rienzi. 

In words of the artistic director of the Liceu, Víctor García de Gomar, “The competition is a space that generates a market of opportunities for talent that comes from all over the world. The faithful “nose” of the jury tries to observe what the new talents of the future are” 

We can’t wait to meet the new generation of stars in the opera world that will be awarded in the following years! You can learn more about the past winners and the competition in the official page: http://www.tenorvinas.com/en