Exclusive livestreams and premieres on Stage+ in December 2022 include:
Max Richter’s Voices Sir John Eliot Gardiner, Monteverdi Choir and English Baroque Soloists in Bach’s Christmas Oratorio Oboist Albrecht Mayer and soprano Hera Hyesang Park in a special Christmas celebration Andris Nelsons conducting Gewandhausorchester Leipzig in Beethoven’s Ninth Symphony
December 8th, 2022 – Deutsche Grammophon’s new Stage+ platform – a ground-breaking classical music subscription service, offering livestreams, a huge video archive and new audio releases all in one place – presents its first livestream and more exclusive premieres this December. Full details below:
Premiere: 11.12.2022, 19:00 (GMT)
Repeat: 29.11.2022, 01:00 & 29.11.2022, 11:00 (GMT)
Reflektor Elbphilharmonie, Hamburg
Max Richter: Voices
Voices is a homage to the Universal Declaration of Human Rights, a hopeful and optimistic work for “negative orchestra”, choir, electronics, soprano, violin and piano, in which Max Richter aimed to create a space in which musicians and the audience could engage with the “inspirational...
Max Richter’s Voices Sir John Eliot Gardiner, Monteverdi Choir and English Baroque Soloists in Bach’s Christmas Oratorio Oboist Albrecht Mayer and soprano Hera Hyesang Park in a special Christmas celebration Andris Nelsons conducting Gewandhausorchester Leipzig in Beethoven’s Ninth Symphony
December 8th, 2022 – Deutsche Grammophon’s new Stage+ platform – a ground-breaking classical music subscription service, offering livestreams, a huge video archive and new audio releases all in one place – presents its first livestream and more exclusive premieres this December. Full details below:
Premiere: 11.12.2022, 19:00 (GMT)
Repeat: 29.11.2022, 01:00 & 29.11.2022, 11:00 (GMT)
Reflektor Elbphilharmonie, Hamburg
Max Richter: Voices
Voices is a homage to the Universal Declaration of Human Rights, a hopeful and optimistic work for “negative orchestra”, choir, electronics, soprano, violin and piano, in which Max Richter aimed to create a space in which musicians and the audience could engage with the “inspirational...
- 12/11/2022
- by Music Martin Cid Magazine
- Martin Cid Music
Johann Sebastian Bach (1685-1750) never left Germany but became internationally respected by his peers during his lifetime and a symbol of pure musicianship for future generations. A virtuoso organist, harpsichordist, and violinist/violist who may have also played lute, as a composer his mastery of counterpoint and fugal writing remain unmatched, yet he was also open to the influences of contemporary Italian and French composers.
Born into a highly musical family in Eisenach, Germany, Bach became organist at the Neukirche in Arnstadt in 1703 at the age of 18. His first major appointment was as court organist to Duke Wilhelm Ernst of Weimar, in 1708; six years later the Duke made him Concertmaster. In 1717 Bach became Kapellmeister and music director to the music-loving Prince Leopold of Anhalt in Cöthen, where Bach wrote much of his greatest secular music. Bach's duties switched to writing choral and organ music for use in church services...
Born into a highly musical family in Eisenach, Germany, Bach became organist at the Neukirche in Arnstadt in 1703 at the age of 18. His first major appointment was as court organist to Duke Wilhelm Ernst of Weimar, in 1708; six years later the Duke made him Concertmaster. In 1717 Bach became Kapellmeister and music director to the music-loving Prince Leopold of Anhalt in Cöthen, where Bach wrote much of his greatest secular music. Bach's duties switched to writing choral and organ music for use in church services...
- 3/21/2015
- by SteveHoltje
- www.culturecatch.com
Even in my youth, when Christmas came packaged with the anticipation of new toys, I preferred the Easter season. Why? Because I sang in a church choir, and the music of the Easter season is far, far greater. The gamut of emotions traversed along Holy Week alone offers so much grist for musical expressiveness: Palm Sunday (triumph, but tinged with foreshadowing), Maundy Thursday (dark lamentations), Good Friday (agony), and Easter (the ultimate triumph). And though the great masterpieces, Johann Sebastian Bach's two mighty Passion settings, were beyond the capacities of a simple church choir, I reveled in playing my vinyl versions over and over again. (Neither would be fashionable nowadays; the St. Matthew a Nonesuch recording led by Hans Swarowsky featuring the Vienna Boys Choir, though with an excellent set of soloists starring Heather Harper, and the St. John led by none other than Eugene Ormandy at the head of his Philadelphia Orchestra,...
- 4/14/2014
- by SteveHoltje
- www.culturecatch.com
From the world's tallest building to Adele's 'modern jazz'-inspired third album, the big events of 2014 are lining up
Television
True Detective
Crime drama is always looking for new ways of dramatising a murder investigation: one killing investigated over 10 episodes; alternating viewpoints of cops, killer, victims and so on. However, in this ambitious series from HBO, multiple seasons will follow the search for a serial killer in Louisiana over 17 years, with each year introducing a new cast. Woody Harrelson and Matthew McConaughey are in the first group. Either magnificent or mad. Mark Lawson HBO.
Penny Dreadful
This has a remarkable lineage: it is produced by film and stage director Sam Mendes and John Logan, who wrote Skyfall for Mendes as well as Hugo, The Aviator and Gladiator. Its disadvantage may be the daring concept, in which a number of fictional horror story characters – Dracula, Frankenstein's monster and Dorian Gray – are living in Victorian London.
Television
True Detective
Crime drama is always looking for new ways of dramatising a murder investigation: one killing investigated over 10 episodes; alternating viewpoints of cops, killer, victims and so on. However, in this ambitious series from HBO, multiple seasons will follow the search for a serial killer in Louisiana over 17 years, with each year introducing a new cast. Woody Harrelson and Matthew McConaughey are in the first group. Either magnificent or mad. Mark Lawson HBO.
Penny Dreadful
This has a remarkable lineage: it is produced by film and stage director Sam Mendes and John Logan, who wrote Skyfall for Mendes as well as Hugo, The Aviator and Gladiator. Its disadvantage may be the daring concept, in which a number of fictional horror story characters – Dracula, Frankenstein's monster and Dorian Gray – are living in Victorian London.
- 1/1/2014
- by Mark Lawson, Andrew Pulver, Andrew Dickson, Lyn Gardner, Jonathan Jones, Adrian Searle, Oliver Wainwright, Tom Service, Imogen Tilden, Andrew Clements, Tim Jonze
- The Guardian - Film News
My usual explanation in this space: I am especially interested in piano and choral music, plus symphonies, so that’s what I get the most promos of. Other stuff obviously gets through my filters, but the percentages of what comes in inevitably affect what comes out, i.e. this list. That said, in terms of number of centuries spanned, rather than genres or formats or whatever, I think I'm covering as much or more musical territory than most critics. By the way, look for a shorter list of my favorite classical reissues of 2012, to follow in a day or two.
1. Tokyo String Quartet, Jon Manasse, Jon Nakamatsu Brahms: Piano Quintet, Clarinet Quintet (Harmonia Mundi) There were recordings this year that were more important in terms of bringing new repertoire to light, or featuring young artists, or bringing classical into the 21st century, or being more controversially newsworthy. Examples of all of those follow.
1. Tokyo String Quartet, Jon Manasse, Jon Nakamatsu Brahms: Piano Quintet, Clarinet Quintet (Harmonia Mundi) There were recordings this year that were more important in terms of bringing new repertoire to light, or featuring young artists, or bringing classical into the 21st century, or being more controversially newsworthy. Examples of all of those follow.
- 1/2/2013
- by SteveHoltje
- www.culturecatch.com
Monteverdi Choir/John Eliot Gardiner J.S. Bach: Motets (Soli Deo Gloria)
Conductor John Eliot Gardiner's superb and detailed notes for this release (on his choir's own label) open with this bold statement: "Bach's motets constitute the most perfect, and in some ways the most hypnotic, set amongst his works." They were not even remotely conceived of as a "set," however -- unlike, for example, the sonatas and partitas for violin, or the cello suites, or the Well-Tempered Clavier, the motets were created independently, over the course of many years, probably (and in some cases, certainly) for specific occasions. However, in a way that actually helps make Gardiner's case, because their resulting variety of style and structure is attractive.
The cover art is a photo of high-wire walker Philippe Petit, an apt metaphor for singing this music. That this album was recorded "live" might raise concerns among choral fans...
Conductor John Eliot Gardiner's superb and detailed notes for this release (on his choir's own label) open with this bold statement: "Bach's motets constitute the most perfect, and in some ways the most hypnotic, set amongst his works." They were not even remotely conceived of as a "set," however -- unlike, for example, the sonatas and partitas for violin, or the cello suites, or the Well-Tempered Clavier, the motets were created independently, over the course of many years, probably (and in some cases, certainly) for specific occasions. However, in a way that actually helps make Gardiner's case, because their resulting variety of style and structure is attractive.
The cover art is a photo of high-wire walker Philippe Petit, an apt metaphor for singing this music. That this album was recorded "live" might raise concerns among choral fans...
- 6/24/2012
- by SteveHoltje
- www.culturecatch.com
On December 10, 1791, after Mozart had died five days earlier at age 35, there was a memorial service in Vienna, and for the first time some of his Requiem was performed. It was not noted then what parts were played, but H.C. Robbins Landon, who has studied the Requiem completion in some depth and made his own edition, makes the obvious nomination: the movements that Mozart had largely completed, the Introit (Requiem aeternam), which was fully finished, and the Kyrie, for which Mozart had written all the vocal parts and the basso continuo, and which thus needed only the orchestration, which was accomplished at least well enough for that first performance by Franz Jakob Freystädtler (a student of Mozart's) doubling the choral parts with instrumentation, while another student of Mozart's, Franz Xaver Sűssmayr, composed original parts for trumpets and timpani.
Jan Swafford recently wrote, "Like most composers of the Enlightenment,...
Jan Swafford recently wrote, "Like most composers of the Enlightenment,...
- 12/10/2011
- by SteveHoltje
- www.culturecatch.com
Antonacci/Gillet/Richards/Cavallier/Monteverdi Choir/Orr/Gardiner
(Fra, 2DVDs)
This was recorded last year at the Opéra-Comique in Paris, where Carmen had its premiere in 1875. It in no way attempts historical reconstruction, but aims for a sense of the original scale and scope of a piece that has been performed as everything from the most intimate of chamber works to an epic, with a cast of thousands. John Eliot Gardiner conducts Richard Langham Smith's new critical edition with fiery precision, while the period sound of the Orchestre Révolutionnaire et Romantique adds rawness to the prevailing sensuality. Adrian Noble's production, hampered by its vortex-cum-bullring set, doesn't ideally anchor the work in the French naturalist tradition, but Anna Caterina Antonacci and Andrew Richards generate such a terrific erotic charge as Carmen and José that you understand why its first audiences found it obscene. Anne-Catherine Gillet's Micaela is timorous rather than morally strong,...
(Fra, 2DVDs)
This was recorded last year at the Opéra-Comique in Paris, where Carmen had its premiere in 1875. It in no way attempts historical reconstruction, but aims for a sense of the original scale and scope of a piece that has been performed as everything from the most intimate of chamber works to an epic, with a cast of thousands. John Eliot Gardiner conducts Richard Langham Smith's new critical edition with fiery precision, while the period sound of the Orchestre Révolutionnaire et Romantique adds rawness to the prevailing sensuality. Adrian Noble's production, hampered by its vortex-cum-bullring set, doesn't ideally anchor the work in the French naturalist tradition, but Anna Caterina Antonacci and Andrew Richards generate such a terrific erotic charge as Carmen and José that you understand why its first audiences found it obscene. Anne-Catherine Gillet's Micaela is timorous rather than morally strong,...
- 12/10/2010
- by Tim Ashley
- The Guardian - Film News
Stevie Wonder hits the UK, Toy Story goes 3D, and it's the last ever Big Brother – our critics pick the unmissable events of the season
Pop
Stevie Wonder
Anyone who can't face braving Glastonbury to see the Motown legend's Sunday-night set can head to London's Hyde Park for this headlining show. It's likely to be heavy on the hits, but a little too heavy on the audience participation, if complaints from disgruntled punters at Wonder's recent shows are anything to go by. And be warned: Jamiroquai seems to have been enticed out of retirement to provide support. Hyde Park, London W2, 26 June. Box office: 020-7009 3484.
T in the Park
This beloved Scottish festival is prized as much for its atmosphere as its lineup. And they're certainly wheeling out the big hitters this year: Eminem, Muse, Kasabian, Jay-z, Black Eyed Peas, Florence and the Machine, La Roux, Dizzee Rascal and Paolo Nutini,...
Pop
Stevie Wonder
Anyone who can't face braving Glastonbury to see the Motown legend's Sunday-night set can head to London's Hyde Park for this headlining show. It's likely to be heavy on the hits, but a little too heavy on the audience participation, if complaints from disgruntled punters at Wonder's recent shows are anything to go by. And be warned: Jamiroquai seems to have been enticed out of retirement to provide support. Hyde Park, London W2, 26 June. Box office: 020-7009 3484.
T in the Park
This beloved Scottish festival is prized as much for its atmosphere as its lineup. And they're certainly wheeling out the big hitters this year: Eminem, Muse, Kasabian, Jay-z, Black Eyed Peas, Florence and the Machine, La Roux, Dizzee Rascal and Paolo Nutini,...
- 5/24/2010
- The Guardian - Film News
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