«Musica viva» will present Mozart’s opera of «Idomeneo»

25 November 2009 | Eugene Boyko

On December, 5th in the Moscow Tschaikovsky Concert hall within the limits of the philharmonic subscription «Opera masterpieces» the Moscow chamber orchestra and chorus «Musica Viva» under the direction of Alexander Rudin will present the concert version of an opera of Mozart of «Idomeneo».

It already the fourth opera premiere «Musica Viva», after the past with stunning success «Don Giovanni» and «Cinderella» Rossini (conductor Theodor Kourentzis) and “Orlando” Handel (Christopher Moulds). In April, 2010 the orchestra plans to continue opera tradition execution of «La Serva Padrona» Giovanni Battista Pergolesi (to the 300 anniversary of the composer) and music of ballet «Pulcinella» of Stravinsky genetically connected with it.

«Idomeneo», one of Mozart’s the best operas, it has for a long time appeared behind frameworks of the Russian scene – in repertoire of leading theatres it did not appear so a long time that there are doubts, whether was put in general once. Forces of German troupe the opera has flashed in 1820 at Small theatre of St.-Petersburg, but without special success. The Mariinsky Theater has addressed to this score only in 2009, to the Moscow music fans execution of «Idomeneo» only should be heard. Meanwhile right now ideas of this opera are especially actual: war crimes, a victim of terror, acts of nature and epidemics – the main themes of tragedy have laid down in a basis of the concept of set of modern European statements «Idomeneo». Something similar was endured by Europeans and in a XVIII-th century, not casually motive a victim stands out through opera scores of a century of baroque and Education.

Voltaire in the «the Philosophical dictionary» has devoted the separate chapter of Jephthah — to a bible prototype of Idomeneo and a problem of human sacrifice. Not to mention especially fashionable in those days an image of «The educated monarch» (Idamante) for which role authors allegorically designated Joseph II. Not casually after «Idomeneo» has appeared variety of the operas with the same name: Giuseppe Gazzaniga, Gazzaniga, Elettra Paër, Giuseppe Farinelli, Vincenzo Federici.

«Idomeneo» – one of Mozart’s the most unusual operas – is presented for the first time to time of the Munich carnival in 1781. Opera is penetrated by signs of the French style — especially in the ballet scenes written for French choreographer Claude Legrand, working at the Munich court yard. The French influences sharply allocate this product among Mozart’s other operas.

This particular piece includes a composite of most of Mozart’s 1781 composition on «Idomeneo», following a rediscovery of the original performance score. However, Mozart continued to edit the score, sometimes even in between performances one night from the next, so a ‘standard’ scoring is next to impossible to obtain on this opera.

«Musica viva» represents «Idomeneo» in the first, Munich edition with some denominations.

Executors:
Idomeneo: Kresimir Spicer (tenor), Croatia;
Idamante: Sarah Castl (mezzo-soprano), Great Britain;
Elettra: Inga Kalna (soprano), Latvia;
Ilia: Henriette Bonde Hansen (soprano), Denmark;
Arbace: Boris Rudak (tenor), Russia;
High priest of Neptune: Ilja Govzich (tenor) , Russia;
Voice of Poseidon: Maxim Kuzmin-Karavaev (bass), Russia.

The Moscow chamber orchestra and chorus «Musica Viva»
The art director and the conductor – Alexander Rudin
Chorus masters – Eugene Volkov and Tatyana Korobkova

Tchaikovsky Concert Hall, Moscow
December, 5th 2009, 19.00

Категории : Opera and Ballett Ключевые слова: Alexander Rudin, Boris Rudak, Christopher Moulds, Elettra Paër, Eugene Volkov, Gazzaniga, Giovanni Battista Pergolesi, Giuseppe Farinelli, Giuseppe Gazzaniga, Idomeneo, Ilja Govzich, Inga Kalna, Kresimir Spicer, La Serva Padrona, Mariinsky Theater, Maxim Kuzmin-Karavaev, Musica Viva, Sarah Castl, Tatyana Korobkova, Theodor Kourentzis, Vincenzo Federici
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Russian composer files a response to Charles Ives

When american composer Charles Ives (1874-1954) composed a piece he called «The Unanswered Question» in 1906, he couldn’t have dreamed that a Russian composer born in Leningrad (now St. Petersburg) in 1953, would, if not quite «answer» his question, at least posit a tantalizing musical meditation on it more than a century later.

This new piece, called «Post-scriptum» by its composer, Victor Kissine, will receive its world premiere with the San Francisco Symphony, conducted by Michael Tilson Thomas, in concerts scheduled for 8 p.m. March 4, 5, and 6 and 2 p.m. March 7 at Davies Symphony Hall, 201 Van Ness Ave., San Francisco.

Kissine — who makes his home in Belgium, where he is a professor of music at two important conservatories — writes that he was a student at the Leningrad Conservatory when he first discovered Ives’ piece. Considering it a «revelation», he assiduously studied the details of its score, noting that Ives used a trumpet to repeatedly intone his so-called «Perennial Question of Existence». The piece continues, as a series of other instruments offer comments on his question but cannot «answer» it. In his «Post-Scriptum», Kissine engages a series of five sounds, each of which evolves into either a major or minor pitch interval of a third to deal with «the question». During our recent e-mail exchange, I asked Kissine if, in his judgment, an average listener would consider his music in general, and «Post-Scriptum» in particular, to be «beautiful», «pleasing», «interesting» or «shocking» following a first hearing.

He replied, «If the listener finds my music ‘beautiful,’ I’d be overjoyed. I have nothing against ‘pleasing’ or ‘interesting,’ but if he is ‘shocked,’ I’d be disappointed, because this wasn’t my intention at all». Kissine has written a great deal of film music, as well as chamber and orchestral music. However, his approach to composition departs significantly from the assertive, agitated, often ear-grating styles issuing from the fin de siecle era at the beginning of the 20th century.

He explains that his musical language expands to include elements of classical Western-style tonality, 20th-century atonality, minimalism, aleatory sounds and 12-tone techniques, adding that he also uses micro-intervals (notes that fall «between the cracks» of notes on the piano). Further elaborating on his style, he wrote that beyond the four basic parameters of music — duration, pitch level, intensity and timbre — there is yet another: Silence, which he uses to great effect in his compositions.

«Silence», he says, «does not stop the music. It’s part of the music. It’s the flip side of music. Sound without silence wouldn’t exist». In his e-mail, Kissine asserted that he can’t imagine being anything other than a musician and composer. “I started music when I was 5,” he wrote. “So, it was the first language I learned to read. And, the first score I sight-read by myself was ‘Sonata quasi una Fantasia,’ Op. 27, No. 2 by Beethoven (the famous “Moonlight Sonata”). I remember having had enormous problems with the left-hand octaves».

Because his family lived near the Philharmonic Hall in Leningrad, he was taken to musical performances from a very early age. «I especially remember a recital by Sviatoslav Richter which made a great impression me», he wrote. «He was playing ‘my’ Beethoven sonata»! Kissine, father of two and grandfather to a 4-year-old, is a citizen of Belgium, living with his wife in Court-Saint-Etienne, a suburb of Brussels.

Other works scheduled for the S.F. Symphony’s March 4-7 program will be Ravel’s «Valses nobles et sentimentales», Liszt’s «Tasso: Lament and Triumph» and the unabashedly exultant Violin Concerto by another great Russian composer, Peter Tchaikovsky. Its soloist will be Christian Tetzlaff, prizewinning German violinist, who also performs the work with the symphony during its mid-March national tour.

Nobel Prize Concert Classical Music

Nobel Media, in association with the Stockholm Concert Hall, is proud to present this year’s Nobel Prize Concert – an event of world class stature. The concert is to take place on 8 December as part of the official Nobel Week programme of activities. Tickets will be released to the general public on Friday 29 May.

Martha Argerich, headstrong, charismatic and technically brilliant pianist, is this year’s soloist at the Nobel Prize Concert. Yuri Temirkanov, Music Director and Principal Conductor for the Saint Petersburg Philharmonic will be leading the Royal Stockholm Philharmonic Orchestra. The programme comprises Ravel’s Piano Concerto in G major and Prokoviev’s Suite from Romeo and Juliet.

Martha Argerich was born in Buenos Aires in 1941, and had her performing debut at the tender age of eight. Her breakthrough came in 1965, when she won the prestigious Chopin Competition in Warsaw. She has worked with most of the world’s leading conductors, and her repertoire includes Bach, Schumann, Liszt, Debussy, Ravel, Bartók and Prokoviev.

Ms Argerich is passionate about supporting young talent. The year 1999 saw the first International Martha Argerich Piano Contest in Buenos Aires, a competition that she founded and of which she is now the chief judge. She has also instituted the Martha Argerich Music Festival in Japan, with concerts and masterclasses.
The Nobel Prize Concert is held to honour the year’s Nobel Laureates, who attend with their respective parties. Also present are members of the Swedish Royal Family and guests of the Nobel Foundation.

The TV broadcast of the Nobel Prize Concert will be produced by EuroArts and distributed internationally. In Sweden the concert will be broadcast by SVT. The Nobel Prize Concert is sponsored by DnB NOR and Statkraft.

For further information contact:
Camilla Hyltén-Cavallius, CEO Nobel Media +46 (0)8-663 14 83 or +46 (0)70-524 57 70
Stefan Forsberg, CEO Stockholm Concert Hall +46 (0)8-786 02 20 or +46 (0)70-786 02 50

Dallas Symphony Orchestra – «Alexander Nevsky»

Sounds that kept provoking smells and colors: Thursday was synesthesia night at the Dallas Symphony Orchestra. Prokofiev’s cantata based on his score for the film Alexander Nevsky took pride of place on conductor Jaap van Zweden’s enterprising program. Before intermission, he typically plugged gaps in the orchestra’s repertoire.

Wolfgang Rihm currently bears the flag for German modernism and post-modernism. Memoria marked his Dallas Symphony debut – an American premiere and indeed only the third performance of the work anywhere. Like Stravinsky’s late Requiem Canticles, it offers shards of a formal lamentation – in this case for chorus, two soloists and an odd assortment of orchestral personnel. The chorus sometimes hummed and shouted. Offstage batteries of percussion made a furious clamor. I loved the work’s quirky solemnity, and the audience gave it a surprisingly enthusiastic welcome.

One of the orchestra’s own stars, Christopher Adkins, then got his moment in the sun with Haydn’s Cello Concerto in C Major. Lost until 1961, the piece is one of the few Haydn concertos that suggest his preeminence as a composer. Thank goodness van Zweden is making up for all the years the Dallas Symphony neglected his genius.

The sweet richness of Adkins’ tone, closely matched by the orchestral strings, evoked vocabulary you’d associate with tasting dessert wines: I detected overtones of honey, vanilla and tobacco. The cellist’s extended family has been active on the local early music scene, so I was surprised by the frankly romantic, though not self-indulgent, approach here.

The great filmmaker Sergei Eisenstein was fulfilling a commission to prepare the Soviet public for the approaching World War II in Alexander Nevsky. Prokofiev’s soundtrack is inseparable from the images of medieval knights – good Russians, bad Germans – who battle onscreen. The cantata the composer arranged from the score made a great pairing with Rihm’s memorial to the dead of that same war.

Van Zweden seemed to be hurling gobs of paint onto a mighty canvas as he led the piece. The winds produced pungent, saturated colors, underpinned by tubas and contrabassoon, while the pitched percussion overlaid the picture with enamel splashes. Violins shaped delicate transitions between the climaxes piled on climaxes.

The huge Dallas Symphony Chorus blazed brightly when individual sections could revel in exposed lines. All together, the sound could be muddy. Prepared by interim director Terry Price, the chorus managed a convincing attempt at the language, even if the basses lacked that sepulchral low end of their Russian counterparts. Mezzo Gigi Velasco-Mitchell proved a wonderful alternative to the beefy Slavic contraltos we usually hear in the solo. Her singing was as elegant as it was earthy, confirming the excellent impression she (and treble Bryan Leines) had made in the Rihm.

Dallas News

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