tag:blogger.com,1999:blog-61629943524628988832024-03-13T18:38:30.506+01:00Prague CultureFrank Kuznikhttp://www.blogger.com/profile/13597407162523382674noreply@blogger.comBlogger148125tag:blogger.com,1999:blog-6162994352462898883.post-32308000093542558032012-07-11T12:25:00.000+02:002012-07-11T12:25:36.619+02:00BOHEMIA JAZZ FEST<div style="font-family: Georgia,"Times New Roman",serif;">
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<span style="font-size: medium;"><b>Old
Town Square</b></span></div>
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<span style="font-size: medium;"><b>July
11 & 12</b></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdl8Lmvpo7rrbWTnkwBBZTIw_dnqQMFJQZuhnaRioS_hWS_w3b5gsJBGcc-XEMp_YgQIFtukCyxFhdOeF52n9nUQdoQr9yuFPT0KU08dImaLIyc9j2qOdeFaEcn7u7q4XnZ1W4UGdjxc7L/s1600/LINKA2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdl8Lmvpo7rrbWTnkwBBZTIw_dnqQMFJQZuhnaRioS_hWS_w3b5gsJBGcc-XEMp_YgQIFtukCyxFhdOeF52n9nUQdoQr9yuFPT0KU08dImaLIyc9j2qOdeFaEcn7u7q4XnZ1W4UGdjxc7L/s400/LINKA2.jpg" width="400" /></a></td></tr>
<tr style="font-family: Georgia,"Times New Roman",serif;"><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">Linka has kept cool in the face of daunting challenges.</span></b></td></tr>
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<span style="font-size: medium;"><span style="font-size: x-large;">F</span>ranz
Kafka is alive and well in the Czech Republic. Or at least, the
absurdist world that he captured in novels and short stories is. For
proof, look no further than Bohemia Jazz Fest, which opens in Prague
tonight and plays in eight cities throughout the country, closing in
Prachatice on July 22.</span></div>
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<span style="font-size: medium;">The
festival is the creation of Rudy Linka, a Czech expat who left the
country in 1980 and went on to a great career as a jazz guitarist in
the United States. Prompted by a desire to bring the best of the West
back to his homeland, Linka launched the festival in 2005 on a unique
premise: World-class music presented in the visual splendor of
historic town squares, all for free. Featuring stellar performers
such as John Scofield, Stanley Clarke, Bill Frisell, Ralph Towner,
Roy Haynes and McCoy Tyner, it turned out to be an enormous success,
attracting more than 70,000 visitors every summer and garnering
positive reviews in publications ranging from Michelin travel guides
to <i>Downbeat</i> magazine.</span></div>
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<span style="font-size: medium;">Any
country in Europe would give its figurative eyeteeth to have an event
like that. So when Linka came in March to finalize details for this
year’s festival, he was surprised to learn that the Prague stage
had been moved from Old Town Square to Ovocn<span lang="cs-CZ">ý trh
</span><span lang="en-US">(fruit market)</span><span lang="cs-CZ">,
the much smaller square behind the Estates Theater. </span><span lang="en-US">Despite
the fact that BJF jams Old Town Square to capacity every year, it
took a month of meetings to get it moved back.</span></span></div>
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“<span style="font-size: medium;"><span lang="en-US">I
personally talked to about 20 people,” Linka recalls. “Then we
had all our contacts talk to </span><span lang="en-US"><i>their</i></span><span lang="en-US">
contacts.” One meeting was particularly memorable. “I made a
presentation showing all the places we’ve been written up, and
talked about how tradition is so easily destroyed in this country,
and we’ve started a new one, and why would we destroy it? The guy
said, </span><span lang="en-US">ʻ</span><span lang="en-US">I
agree. But what’s wrong with the fruit market?’”</span></span></div>
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<span style="font-size: medium;"><span lang="en-US">That
turned out to be only the first of many stumbling blocks put in his
way. After Culture Minister Ji</span><span lang="cs-CZ">ří Besser
</span><span lang="en-US">was forced to resign last August,
bureaucrats took advantage of the leaderless interim to remove BJF
from the top-five list of cultural events in the Czech Republic,
effectively canceling its funding and forcing Linka to reapply, like
any first-year novice. After many meetings, the festival’s standing
was eventually restored, along with its funding – at one-quarter
the previous level.</span></span></div>
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<span style="font-size: medium;"><span lang="en-US">Then
there is the legal case that BJF has been embroiled in since last
summer, when a former colleague, Jan Nedved, decided to start his own
jazz festival by stealing Linka’s concept, name, website design
and, most importantly, biggest sponsor – </span><span lang="cs-CZ">ČEZ.
</span><span lang="en-US">The South Bohemia Jazzfest could never
match the original in talent, since many of the players come as a
personal favor to Linka. But even after BFJ secured an injunction
against the imposter, which Nedved has ignored, </span><span lang="cs-CZ">ČEZ
</span><span lang="en-US">switched its financial support (said to be
in the neighborhood of 5 million K</span><span lang="cs-CZ">č</span><span lang="en-US">)
to him. “We can’t support two jazz festivals,” a company
spokesperson told Linka.</span></span></div>
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<span style="font-size: medium;"><span lang="en-US"><span style="font-size: x-large;">T</span>he
latest, though surely not the final, insult came as the stage was
being assembled on Old Town Square this year. It’s all backwards.
Instead of facing out from the T</span><span lang="cs-CZ">ýn Church
</span><span lang="en-US">side, it’s been moved across the square
and hemmed in by rows of sausage stands, severely reducing the space
where people can stand to watch the bands. Linka saw that plan some
weeks ago, explained that it wouldn’t work, and was assured that it
would be changed back to its original configuration.</span></span></div>
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<span style="font-size: medium;"><span lang="en-US">So
he deserves a ton of credit for not throwing a fit when he walked
onto Old Town Square on Wednesday morning this week. Instead, he
looked around calmly and wondered, “Who is this benefiting?” It’s
tempting to think that some money changed hands and vendors or
restaurant owners will profit from the new arrangement. More likely
the bureaucracy, stymied in the short term, is sending Linka a
long-term message: You really belong on Ovocn</span><span lang="cs-CZ">ý
trh.</span></span></div>
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<span style="font-size: medium;">Whatever
the case, don’t let the snafu stop you from taking in the festival,
which once again is offering major stars: Dave Holland in Plze<span lang="cs-CZ">ň,
</span>Dee Dee Bridgewater in Olomouc, Trilok Gurtu in Brno, Joe
Lovano in <span lang="cs-CZ">České Budějovice. And headlining the
first night in Prague is probabl</span>y the best jazz band touring
anywhere in the world this summer: Guitar wizard Mike Stern, bass
superstar Richard Bona, drummer Dave Weckl and sax player Bob
Franceschini.</span></div>
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<span style="font-size: medium;">Rest
assured that on nearby Franze Kafky square, a certain author will be
present in spirit, taking in the music and appreciating the absurdity
of it all.</span></div>
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<span style="font-size: medium;"><b>For
a complete Bohemia Jazz Fest schedule:
</b><a href="http://www.bohemiajazzfestival.cz////?lang=en"><span style="font-weight: normal;">http://www.bohemiajazzfestival.cz////?lang=en</span></a></span></div>
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</div>Frank Kuznikhttp://www.blogger.com/profile/13597407162523382674noreply@blogger.com0tag:blogger.com,1999:blog-6162994352462898883.post-35705766444137416732012-07-09T15:58:00.000+02:002012-07-09T15:58:34.969+02:00PREVIEW: BEIJING OPERA<div style="font-family: Georgia,"Times New Roman",serif;">
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<span style="font-size: medium;"><b>National
Theater</b></span></div>
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<span style="font-size: medium;"><b>July
10</b></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo8eZYx-bQlatw4_wpFxxrKoKkAm2w29wWns4WBb4_r8MKKLs-04ycTHhdKk4fuNh2-B4Fua7OFwT8WEy8FfGzEUozJ4szjQHU_aIs-aEQaE2UlzgXtjBKB5w8LNPAg8i1oFnv3m1aJGoK/s1600/BEIJINGOPERA1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo8eZYx-bQlatw4_wpFxxrKoKkAm2w29wWns4WBb4_r8MKKLs-04ycTHhdKk4fuNh2-B4Fua7OFwT8WEy8FfGzEUozJ4szjQHU_aIs-aEQaE2UlzgXtjBKB5w8LNPAg8i1oFnv3m1aJGoK/s400/BEIJINGOPERA1.jpg" width="400" /></a></td></tr>
<tr style="font-family: Georgia,"Times New Roman",serif;"><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;"><i>Red Cliff</i> updates traditional Chinese opera.</span></b></td></tr>
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<span style="font-size: medium;"><span style="font-size: x-large;">I</span>t
would be an exaggeration to say that Prague is being invaded by a
cultural Red Army this week – but not by much. The Beijing Opera
rolled into town over the weekend with a troupe of 160 performers and
support staff, three truckloads of elaborate sets and costumes, and a
production billed as a “blockbuster.”</span></div>
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<span style="font-size: medium;">That
description is not much of an exaggeration, either. Created with an
eye toward capturing younger domestic viewers and building an
international audience, <i>Red Cliff</i> premiered in Beijing in 2008
and went on for a run of 58 performances, attracting more than
100,000 people. Though it draws on the conventions of the
world-famous Peking Opera, <i>Red Cliff</i> was mounted as a
co-production with Chinaʼs National Center for the Performing Arts,
which has been charged with putting a fresh face on traditional
Chinese culture.</span></div>
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<span style="font-size: medium;">So
the production has distinctly modern touches. Peking Opera sets are
usually no more than a table and chairs; this one offers extravagant
multi-tiered facades, spectacular lighting effects and plenty of dry
ice smoke. The costumes make Lady Gaga look banal. And some of
Chinaʼs biggest talents were recruited for the production, including
director Zhang Jigang, who choreographed the opening and closing
ceremonies of the 2008 Beijing Olympics.</span></div>
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“<span style="font-size: medium;">The
director paid great attention to keeping basic Peking Opera elements
while adding modern technologies, especially in the lighting,” says
Guan Bo, the National Center producer who is traveling with the
production. “People familiar with the Peking Opera will recognize
certain reference points, but even those have been updated and
enriched.”</span></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKLzz4uVRnX-Oz8foi6gOWbrPGjRumz5I0G6e-jPi7IlCS0bNr6vQXjjYQIFvn-tnRbx7kSNUrcpSC3DMFcrMXXagsOcEQLxLxBv9dyWHdRlikoEQWaPJp9qPOkEFMht97qlrdJzxnIUYE/s1600/BEIJINGOPERA3.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKLzz4uVRnX-Oz8foi6gOWbrPGjRumz5I0G6e-jPi7IlCS0bNr6vQXjjYQIFvn-tnRbx7kSNUrcpSC3DMFcrMXXagsOcEQLxLxBv9dyWHdRlikoEQWaPJp9qPOkEFMht97qlrdJzxnIUYE/s320/BEIJINGOPERA3.jpg" width="225" /></a></td></tr>
<tr style="font-family: Georgia,"Times New Roman",serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><b>A visual extravaganza.</b></span></td></tr>
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<span style="font-size: medium;"><span style="font-size: x-large;">T</span>he
story concerns a well-known battle from the Three Kingdoms period in
China (around 200 AD), when the founders of the Wu and Shu kingdoms
combined forces to defeat the warlord Cao Cao and drive him back to
the north. Foreigners may have problems keeping up with the
intricacies of the plot, which starts with Cao Caoʼs declaration of
war and climaxes with two big battle scenes. But many of the visual
elements need no translation: 10,000 arrows flying through the air,
roaring flames on a cliff, battleships clashing on the Yangtze River.</span></div>
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<span style="font-size: medium;">The
music is performed by an 18-piece orchestra playing mostly
traditional Chinese instruments. The singers do not fall into
standard Western vocal categories – soprano, tenor, etc. –
relying instead on acting to develop characterization. And for this
performance, there will be Czech surtitles (though none, alas, in
English).</span></div>
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<span style="font-size: medium;"><span style="font-size: x-large;">T</span>rimmed
in length and scaled down to fit on European stages, <i>Red Cliff</i>
represents the National Centerʼs inaugural effort to export Chinese
culture, and was chosen with modern branding in mind. “We have many
good productions that could go abroad,” Bo says. “We felt this
was the most representative of China, and exemplifies what the
National Center stands for.”</span></div>
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<span style="font-size: medium;">Asked
what he hopes local audiences will get from the performance, Bo says,
“The same thing people go to Western operas for – an interesting
story, great music, singing and acting. Of course, we also hope this
will be an engine to encourage people to learn more about traditional
Chinese culture.”</span></div>
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<span style="font-size: medium;">Prague
is the last stop for <i>Red Cliff</i>, which also played in Vienna
and Budapest the past two weeks. If audience reaction is any measure,
the tour has been a success.</span></div>
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“<span style="font-size: medium;">The
Burgtheater in Vienna has no air-conditioning, so the audiences sat
through a three-hour performance in nearly 40 degree temperatures,”
Bo says. “Still, we sold out the opening performance and had 80-90
percent ticket sales the other nights. So I would say we had a warm
welcome there. <i>Really</i> warm.”</span></div>
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<span style="font-size: medium;"><b>For
more on the production and ticket information:
</b><a href="http://www.narodni-divadlo.cz/Default.aspx?jz=en&dk=predstaveni.aspx&sb=179&ic=5910&pr=93832"><span style="font-weight: normal;">http://www.narodni-divadlo.cz/Default.aspx?jz=en&dk=predstaveni.aspx&sb=179&ic=5910&pr=93832</span></a></span></div>
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Photos courtesy of the National Theater<br />
</div>Frank Kuznikhttp://www.blogger.com/profile/13597407162523382674noreply@blogger.com0tag:blogger.com,1999:blog-6162994352462898883.post-36088576188307206042012-06-23T12:58:00.000+02:002012-06-23T12:58:22.112+02:00PREVIEW: MNOZIL BRASS<div style="font-family: Georgia,"Times New Roman",serif;">
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<span style="font-size: medium;"><b>Obecní
dům</b></span></div>
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<span style="font-size: medium;"><b>June
24</b></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheJ9eHn7XMw0uQySChQNzaYQjHtaZUKGG9EHQUCL3IKJoOq3oYkcLsBXLWmqZPoRtiItSX-Arg2UjASjIr6D7UkGD3nh6r15ZFUmG0OONx4tUvwwL6dKmwIyIhjuiLYA0hwkq6zJlseElu/s1600/MNOZIL1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="283" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheJ9eHn7XMw0uQySChQNzaYQjHtaZUKGG9EHQUCL3IKJoOq3oYkcLsBXLWmqZPoRtiItSX-Arg2UjASjIr6D7UkGD3nh6r15ZFUmG0OONx4tUvwwL6dKmwIyIhjuiLYA0hwkq6zJlseElu/s400/MNOZIL1.jpg" width="400" /></a></td></tr>
<tr style="font-family: Georgia,"Times New Roman",serif;"><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">A choreographed cacophony of music and movement. </span></b></td></tr>
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<span style="font-size: medium;"><span style="font-size: x-large;">P</span>robably
more bands than would care to admit it got their start in
alcohol-fueled jams. For Mnozil Brass, the rambunctious Austrian
septet that will take the stage at Obecn<span lang="cs-CZ">í dům on
</span><span lang="en-US">Sunday night, itʼs a point of pride.</span></span></div>
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“<span style="font-size: medium;"><span lang="en-US">We
were all studying at the University of Music and Performing Arts in
Vienna in the early ʼ90s,” explains Wilfried Brandst</span><span lang="en-US">ö</span><span lang="en-US">tter,
the groupʼs tuba player. “After classes, we went very frequently
to a pub right in front of the university called Josef Mnozilʼs Inn,
where there was a big jam session once a month. Because we all came
from brass and wind bands in Austria, we found that we had a
common repertoire: 10 marches, 10 waltzes and 10 polkas. So we didnʼt
even have to rehearse. We just started playing together.”</span></span></div>
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<span style="font-size: medium;"><span lang="en-US">The
band has evolved into a tight unit that typically tours 20 countries
a year, serving up a mix of boisterous playing, physical comedy and
mischievous arrangements of a repertoire that ranges from Rossini to
Henry Mancini to Queen. Their approach to music is perhaps best
summarized by Brandst</span><span lang="en-US">ö</span><span lang="en-US">tterʼs
description of his instrument: “The other players say my tuba is an
unguided missile. Itʼs a weapon of mass destruction.”</span></span></div>
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<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US">Though
there is no direct model for Mnozil Brass, the group takes
inspiration from one of the wackiest American bands of the 1940s and
ʼ50s.</span><span lang="en-US"> </span><span style="font-weight: normal;">“We
really love Spike Jones and the City Slickers,” </span><span lang="en-US"><span style="font-weight: normal;">Brandst</span></span><span lang="en-US"><span style="font-weight: normal;">ö</span></span><span lang="en-US"><span style="font-weight: normal;">tter
says. “Itʼs surprising how good those guys were – on point every
second. Their videos are 50, 60 years old, but still very fast and
very funny.”</span></span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;">Like
Spike Jones, Mnozil Brass puts on a show that appears to be pure
anarchy, but is in fact exhaustively rehearsed and choreographed. It
starts with the band members bringing ideas and music to planning
sessions, with no restrictions whatsoever.</span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
“<span style="font-size: medium;"><span lang="en-US">We
are very democratic when we come together,” </span><span lang="en-US"><span style="font-weight: normal;">Brandst</span></span><span lang="en-US"><span style="font-weight: normal;">ö</span></span><span lang="en-US"><span style="font-weight: normal;">tter
says. “Maybe someone has been listening to Prokofiev a lot, and he
says, Iʼd like to play this piece. So we try it out, and if it
works, itʼs in the show.”</span></span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><span style="font-weight: normal;"><span style="font-size: x-large;">B</span>ut
thatʼs only half the performance. The other half is comedy routines
that can take up to six months to put together. “For instance, in
the program we are doing now, we have an Olympic competition that
involves running and boxing and weight-lifting” Brandst</span></span><span lang="en-US"><span style="font-weight: normal;">ö</span></span><span lang="en-US"><span style="font-weight: normal;">tter
says. “This really took quite a lot of time to develop, because
everybody has to know what heʼs doing every second, or the jokes
donʼt work.”</span></span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><span style="font-weight: normal;">That
show, which the band will be performing in Prague, is titled
“Blofeld” – as in Ernst Stavro Blofeld, James Bondʼs
archenemy. Asked what the audience can expect, Brandst</span></span><span lang="en-US"><span style="font-weight: normal;">ö</span></span><span lang="en-US"><span style="font-weight: normal;">tter
will only say, “The show is about good and evil – with a lot of
references to James Bond scenes, of course.”</span></span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><span style="font-weight: normal;">Despite
the emphasis on theatrics, Mnozil Brass performances are nonverbal,
so they can travel worldwide with no problem. And Brandst</span></span><span lang="en-US"><span style="font-weight: normal;">ö</span></span><span lang="en-US"><span style="font-weight: normal;">tter
and his colleagues have found that their musical vocabulary needs no
translation.</span></span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
“<span style="font-size: medium;"><span lang="en-US"><span style="font-weight: normal;">Sometimes
we put musical jokes in the pieces, like inserting one bar from
another piece, and you can hear people laughing,” he says. “In
Japan, weʼve found that people are much more educated about Western
music, like Mozart and Strauss and Stravinsky, than people in Austria
or America. The Japanese are so into that music, they know every
piece you play – which is amazing.”</span></span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span style="font-weight: normal;">When
Mnozil Brass played at the opening concert of the Wiener Festwochen
last month, an audience of nearly 40,000 people reacted so
enthusiastically that two members of the band never made it back
onstage for the encore, with one conveniently getting trapped at a
beer stand. Czech audiences can identify with the beer part; as for
the rest, </span><span lang="en-US"><span style="font-weight: normal;">Brandst</span></span><span lang="en-US"><span style="font-weight: normal;">ö</span></span><span lang="en-US"><span style="font-weight: normal;">tter
simply envisions an enjoyable evening.</span></span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
“<span style="font-size: medium;"><span lang="en-US"><span style="font-weight: normal;">The
main goal of our show is to put on good entertainment that makes
people feel relaxed and comfortable,” he says. “If they leave
saying, Iʼve not thought about my sorrows for the past two and a
half hours, then it was a big success.”</span></span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>For
more on Mnozil Brass:</b><span style="font-weight: normal;">
<a href="http://www.mnozilbrass.at/index.php?id=24&L=1">http://www.mnozilbrass.at/index.php?id=24&L=1</a></span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>For
a sampling of Spike Jones:</b><span style="font-weight: normal;">
<a href="http://www.youtube.com/watch?v=A0dw2UKRYSA">http://www.youtube.com/watch?v=A0dw2UKRYSA</a></span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;">
Photo by Carsten Bunnemann<br />
</div>Frank Kuznikhttp://www.blogger.com/profile/13597407162523382674noreply@blogger.com0tag:blogger.com,1999:blog-6162994352462898883.post-16769714163339148582012-06-22T10:44:00.000+02:002012-06-22T10:44:38.589+02:00COMMAND PERFORMANCES<div style="font-family: Georgia,"Times New Roman",serif;">
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>Prague
Castle</b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>June
18 & 19</b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYt3Uqh9KJDys4gMgQjfZDcMdi37Wu5k_0mekAD_YYib0SIkAhntZxaVPT2eWWuQhVBsZJqiROdmURUWHYT78QTcimWAybmaqn3lYcuBd-n-t3Y4S-VZIYKn0bksenBJnFnwYSLpnxHXZC/s1600/MRAZCASTLE2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYt3Uqh9KJDys4gMgQjfZDcMdi37Wu5k_0mekAD_YYib0SIkAhntZxaVPT2eWWuQhVBsZJqiROdmURUWHYT78QTcimWAybmaqn3lYcuBd-n-t3Y4S-VZIYKn0bksenBJnFnwYSLpnxHXZC/s400/MRAZCASTLE2.jpg" width="400" /></a></td></tr>
<tr style="font-family: Georgia,"Times New Roman",serif;"><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">Mraz, Baron, Perry: A smart set of classic jazz.</span></b></td></tr>
</tbody></table>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span style="font-size: x-large;">T</span>he
Castle was the hot place to be in Prague early this week, and not
just because of the blistering temperatures. On Monday the finest
young string ensemble in the country, the Pavel Haas Quartet, gave a
spirited performance in the regal Rudolph Gallery. And on Tuesday
Czech President V<span lang="cs-CZ">áclav Klaus </span><span lang="en-US">threw
himself</span> a swell birthday party on the Riding Hall Terrace,
with music from an all-star jazz quartet fronted by <span lang="en-US">expat
bass player George (</span><span lang="cs-CZ">Jiří)</span><span lang="en-US">
Mraz.</span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;">Even
in a country that has produced an amazing number of first-rate
musicians, Mraz is a standout, a gifted bassist who was playing with
major names like Mal Waldron and Hampton Hawes in Europe before
relocating to the U.S. in 1968. He’s backed a virtual who’s who
of jazz – Dizzy Gillespie, Tommy Flanagan, Stan Getz, McCoy Tyner,
John Abercrombie and Joe Lovano, to name a few – though developed
as a leader only late in his career. Mraz still seems slightly
uncomfortable in that role, standing at the rear of the quartet on
Tuesday and apologizing for the long breaks between songs while he
and the other players kept their music from blowing away. (“Where
would we be without clothespins?” he wondered aloud.)</span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US">The
program was mostly Mraz compositions like “Wisteria,” “Blues
for </span><span lang="cs-CZ">Šarka,</span><span lang="en-US">”
“Strange” and “Unison,” played in classic quartet style with
changing leads and alternating solos. Pianist David Hazeltine
provided tasty fills and improv on the keyboard, occasionally trading
playful licks with Mraz. Hazeltine also contributed one of his own
pieces, “Barbara,” an inventive progression that built to a
catchy swing rhythm. Rich Perry served up lyrical lead lines on tenor
saxophone, keeping the volume down and the tone sweet. And Joey Baron
anchored it all with some of the smartest jazz drumming this critic
has seen in a long time. Baron is a finesse player who can do more
with cymbals, brushes and pregnant pauses than most drummers can attacking the entire kit.</span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;">In
an era when music keeps getting faster and louder, the quartet’s
set was a reminder of the virtues of classic jazz, played in a
thoughtful, low-key style with understated flair. It was music for
aficionados – not always perfectly executed, as some of it had a
thrown-together feel. In particular, the group seemed confused about
what to do for an encore, with Mraz finally offering a solo
interpretation of a Moravian folk song. Overall, however, the clear,
clean sound and artistry of Baron in particular added an elegant
touch to a high-class birthday bash.</span></div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><span style="font-size: x-large;">P</span>laying
indoors the previous night, the Pavel Haas Quartet faced two
handicaps. One was the Rudolph Gallery, a long, shoebox-shaped hall
with a gilded décor to match adjoining Spanish Hall and equally bad
acoustics. The quartet is also breaking in a new member: second
violinist Marek Zweibel, who has replaced Eva Karov</span><span lang="cs-CZ">á.</span></span></div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US">That
was a bit too much to overcome, especially on demanding pieces like
Smetana’s </span><span lang="en-US"><i>String Quartet No. 1</i></span><span lang="en-US">,
“From My Life,” and Schubert’s </span><span lang="en-US"><i>String
Quartet No. 14</i></span><span lang="en-US">, “Death and the
Maiden.” In passages where the instruments, especially the cello,
could add depth and volume, the sound was rich and full, with
powerful emotional undercurrents. But much of the time it was
noticeably thin, with many of the nuances of the music lost beyond
the first few rows of seats.</span></span></div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US">And
the addition of Zweibel is still in a work in progress. Though a
skilled player, Zweibel seemed not to be tuned as high as first
violinist Veronika </span><span lang="cs-CZ">Jarůšková, </span><span lang="en-US">creating
a slight disconnect in the sound throughout the evening. That took
the precision edge off the music, typically one of the group’s
trademarks. As if all that wasn’t enough, a squeaky chair onstage
added a minor distraction during the Smetana piece.</span></span></div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US">Still,
the group offered smart readings of both works. Smetana opened in
commanding tones that varied nicely through facile shifts in mood and
tempo. </span><span lang="cs-CZ">Cellist </span><span lang="en-US">Peter
Jar</span><span lang="cs-CZ">ůček dug deep for </span><span lang="en-US">the
opening of the third movement, and Veronika </span><span lang="cs-CZ">Jarůšková
</span><span lang="en-US">captured the searing intensity of the
violin lines in the fourth. Schubert was a powerful study in
contrasts, with the driving energy and passion of the piece
counterbalanced by light, airy passages in the second movement and
feelings of joy in the fast-paced dance of the third. The technical
mastery of the</span> frenzied
fourth almost, though not quite, made up for the new second violin.</span></div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US">The
Pavel Haas concert was a “prologue” for the Lipa Musica festival,
which gets underway in northern Bohemia in September. With an
emphasis on young classical performers like the Pavel Haas foursome,
and crossover artists like Zuzana </span><span lang="cs-CZ">Lapčiková
and Tara Fuki, </span><span lang="en-US">the festival adds a
refreshing note to the fall schedule. The venues may lack the
grandeur of Prague Castle, but the countryside has charms of its own.</span></span></div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><b>For
more on the Lipa Musica festival:</b></span><span lang="en-US">
<a href="http://www.lipamusica.cz/en">http://www.lipamusica.cz/en</a></span></span></div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><b>For
more on the Pavel Haas Quartet:</b></span><span lang="en-US">
<a href="http://www.intermusica.co.uk/pavelhaasquartet">http://www.intermusica.co.uk/pavelhaasquartet</a></span></span></div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><b>For
more on George Mraz:</b></span><span lang="en-US">
<a href="http://www.georgemraz.com/home.html">http://www.georgemraz.com/home.html</a></span></span></div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
Photo by Jaroslav Tatek<br />
</div>Frank Kuznikhttp://www.blogger.com/profile/13597407162523382674noreply@blogger.com0tag:blogger.com,1999:blog-6162994352462898883.post-82850102632689234422012-06-18T11:43:00.000+02:002012-06-22T11:19:20.360+02:00CAVALLERIA RUSTICANA & I PAGLIACCI<div style="font-family: Georgia,"Times New Roman",serif;">
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>State
Opera</b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>June
14</b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir7snkFQdgRyISANUMZXSNGNHZDB7s1gB07UUbPD7f4XHKF-a9zYgktBNJUwEJMFCQT2NY83baP_FVA4XHhRivhowuejYDXNm0rh_0Lc2s5sqGpuUJ3jbXCKo4jYztQIJv9GWDvXXyR7wR/s1600/CAV&PAG1.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="283" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir7snkFQdgRyISANUMZXSNGNHZDB7s1gB07UUbPD7f4XHKF-a9zYgktBNJUwEJMFCQT2NY83baP_FVA4XHhRivhowuejYDXNm0rh_0Lc2s5sqGpuUJ3jbXCKo4jYztQIJv9GWDvXXyR7wR/s400/CAV&PAG1.JPG" width="400" /></a></td></tr>
<tr style="font-family: Georgia,"Times New Roman",serif;"><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">Passionate encounters in a plastic setting.</span></b></td></tr>
</tbody></table>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span style="font-size: x-large;">T</span>he
merger between the State Opera and the National Theater is still in
the preliminary stages, and already the cracks are beginning to show.
The new production of <i>Cavalleria Rusticana/I Pagliacci</i> that
premiered at the State Opera on Thursday night was mostly a confused
jumble that elicited a rare outburst of booing during the curtain
calls. Whatever else this <i>Cav/Pag</i> may or may not be, it<span style="font-weight: normal;">’</span>s
certainly not the way to launch a new era.</span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;">To
be fair, the production was plagued by problems beyond anyone’s
control, starting with director Inga Levant’s husband unexpectedly
dying the week before rehearsals were to start. Once they got
underway, there were constant problems with singers dropping in and
out, and divergent opinions about their quality. At least one
performer who was onstage Thursday was a last-minute substitute.
Frustrations built to the point that cast members were making grim
jokes about giving production manager Don Nixon an office with the
window nailed shut, so he wouldn’t jump out.</span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;">The
double bill opens with a promising conceit. Instead of rustic
villages, the operas are set in the Cinecittà
film studios in Rome, opened in 1937 by Benito Mussolini, who was a
friend of <i>Cavalleria Rusticana</i> composer Pietro Mascagni.
Though this makes for some awkward moments – Nedda in <i>Pagliacci</i>,
for example, singing of the bright sun and cheerful birdsong from a
dark soundstage – it’s a neat fit with the play-within-a-play
plot of <i>Pagliacci</i>. And it opens up the Easter theme of
<i>Cavalleria Rusticana, </i><span style="font-style: normal;">with
the familiar story of love and betrayal unfolding amidst the filming
of a Passion drama.</span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><i>Cavalleria</i><span style="font-style: normal;">’s
characters are transposed as well: Lola is a starlet, Santuzza is her
maid, Turiddu is a technician, Alfio a producer and Lucio a makeup
artist. If you haven’t read the program before the performance
starts, this is a bit baffling at first. More disconcerting is the
reduction of the characters to caricatures. Turiddu is a pot-bellied
brute in a wife-beater t-shirt, Lola a vain costumed seductress,
Alfio a slick executive. Granted, the opera does not leave a lot of
room for character development. But the combination of artificial
characters in an artificial setting takes the sting out of the
</span><i>verismo</i><span style="font-style: normal;">.</span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;">And
while <i>Cavalleria </i><span style="font-style: normal;">opens and
closes on a Biblical set, most of the action takes place in a
dressing room, and a tawdry one at that. There is simply no way that
impassioned arias can have an emotional impact in such a plastic
setting. Instead, what should be a series of heart-rending laments
and fiery exchanges plays out like a cheap, lurid B movie – which
may have been the intent. Still, with Santuzza screeching and sobbing
on the floor, the effect is less tragic romance
and more like watching the early films of American director John
Waters, </span>whose trash aesthetic turned low-budget productions
like <i>Pink Flamingos</i> and <i>Female Trouble</i> into cult
classics.</span></div>
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<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span style="font-size: x-large;">M</span>uch
of <i>Pagliacci</i> plays out in the dressing room as well, including
Canio’s famous <i>Vesti la giubba</i> aria, delivered with agonized
conviction by Michal Lehotsk<span lang="cs-CZ">ý. It</span><span lang="en-US">’s</span><span lang="cs-CZ">
also where Tonio knocks Needa to the ground and tries to rape her –
again, more trash than class. That’s</span><span lang="en-US"> </span><span lang="cs-CZ">the
second graphic rape scene in a new opera production within the past
week (Don Giovanni brutalized Zerlina in the first). Is there no
other way to portray a sexual predator on Czech stages?</span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="cs-CZ">The
boos that greeted Levant when she came out for the curtain calls were
brutal </span><span lang="en-US">in their own way</span><span lang="cs-CZ">,
though understandable. Her staging was clumsy, to say the least. The
chorus looked completely lost the entire night, milling about in a
disorganized mob. Arguably the best duet of the evening, between Ivan
Kusnjer (Alfio) and Santuzza (Nana Miriani) in </span><span lang="cs-CZ"><i>Cavalleria</i></span><span lang="cs-CZ">,
ended with the two of them quickly exiting, so the audience was
applauding an empty stage. Those were only the most obvious gaffes in
the production, which at one point use</span><span lang="en-US">s</span><span lang="cs-CZ">
a rubber chicken for comic effect.</span></span></div>
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<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="cs-CZ">The
music provided the saving grace of the evening. With not enough time
to prepare, conductor Hilary Griffiths focused on </span><span lang="cs-CZ"><i>Pagliacci</i></span><span lang="cs-CZ">,
the more straightforward of the two scores. As a result, </span><span lang="cs-CZ"><i>Cavalleria</i></span><span lang="cs-CZ">
was still a bit ragged. But </span><span lang="cs-CZ"><i>Pagliacci</i></span><span lang="cs-CZ">
was everything that music should be – passionate, nuanced, elegant
and framed beautifully for the singers. They ranged from competent to
weak, with Kusnjer providing some needed ballast and Lehotský
</span><span lang="en-US">getting a well-deserved hand for a solid
turn as Canio.</span></span></div>
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<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US">Much
is made in the program of the tyranny supposedly raging outside the
film studio – Mussolini and his goons in </span><span lang="en-US"><i>Cavalleria</i></span><span lang="en-US">,
and the “Hollywood dictatorship” in </span><span lang="en-US"><i>Pagliacci</i></span><span lang="en-US">,
which is set in the present. Perhaps anticipating how little of that
would be evident onstage, the program helpfully provides the moral of
the stories: “The message is that false beauty, here embodied by
the film (</span><span lang="en-US"><i>Cavalleria Rusticana</i></span><span lang="en-US">)
and clown (</span><span lang="en-US"><i>I Pagliacci</i></span><span lang="en-US">)
costumes, means absolutely nothing when juxtaposed with the reality
that surrounds us.”</span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;">Reality
definitely intruded on this production. Just not in the way anyone
planned or expected.</span></div>
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<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><i><b>Cavalleria
Rusticana/I Pagliacci</b></i></span><span lang="en-US"><b> plays
again on June 28. For cast and ticket information:</b></span><span lang="en-US">
<a href="http://www.sop.cz/en/repertoar/sedlakkavalirkomedianti.html">http://www.sop.cz/en/repertoar/sedlakkavalirkomedianti.html</a> </span></span>
</div>
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<br /></div>
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<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
Photograph of Nana Miriani and Michal Lehotský courtesy of the National Theater</div>Frank Kuznikhttp://www.blogger.com/profile/13597407162523382674noreply@blogger.com0tag:blogger.com,1999:blog-6162994352462898883.post-24378903941909354152012-06-14T16:10:00.000+02:002012-06-14T16:13:45.340+02:00CLEVELAND ORCHESTRA YOUTH ORCHESTRA<div style="font-family: Georgia,"Times New Roman",serif;">
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>Rudolfinum</b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>June
15</b></span></div>
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<br /></div>
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<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpbaSGlCAaXesXYbfMa0G9ETLjnypTMqd3tVRpX9aEyn7l4u89v4B0_00IlUzm2Y6KUf7sA425iTsdZrwytDruy8XQbQbNds_P3B1xil-_eGrCjG4NjG3_VAiZ6s4eg45bhnCWFqPqqWqa/s1600/COYO112011_232.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpbaSGlCAaXesXYbfMa0G9ETLjnypTMqd3tVRpX9aEyn7l4u89v4B0_00IlUzm2Y6KUf7sA425iTsdZrwytDruy8XQbQbNds_P3B1xil-_eGrCjG4NjG3_VAiZ6s4eg45bhnCWFqPqqWqa/s400/COYO112011_232.jpg" width="400" /></a></td></tr>
<tr style="font-family: Georgia,"Times New Roman",serif;"><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">A new generation explores their orchestra's roots. </span></b></td></tr>
</tbody></table>
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<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span style="font-size: x-large;">T</span>he
legacy of George Szell returns to Prague on Friday in the form of the
Cleveland Orchestra Youth Orchestra, an apprentice ensemble in the
mold of the great “symphonic instrument” that Szell created
during his 24 years as music director of the Cleveland Orchestra.
Before then, during the 1920s and ’30s, Szell made his mark in
Prague as opera director of the New German Theater (now the State
Opera) and at the podium with the Czech Philharmonic.</span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;">A
legendary taskmaster and perfectionist, Szell left an imprint on the
Cleveland Orchestra so profound that nearly 20 years after his death
in 1970, his later successor Christoph von Dohnanyi famously
complained, “We give a great concert, and George Szell gets a great
review.” Even today, the Cleveland Orchestra is still known as the
“most European” of American orchestras for its clarity, precision
and integrated sound.</span></div>
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<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;">Along
with exceptional standards, Szell brought influences and traditions
from the Old World that have become a significant part of orchestra’s
heritage.</span></div>
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<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
“<span style="font-size: medium;">Though
it’s hard to imagine now, there was a time when Dvo<span lang="cs-CZ">řák</span><span lang="en-US">’s
music wasn’t in the standard repertoire,” says COYO Music
Director James Feddeck. “Certainly George Szell made the case in
the United States that Dvo</span><span lang="cs-CZ">řák </span><span lang="en-US">had
to be a regular part of the canon. So there is a direct
Cleveland-Dvo</span><span lang="cs-CZ">řák </span><span lang="en-US">connection,
and for us to be able to continue that is a real honor.”</span></span></div>
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<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US">Feddeck
will be leading his ensemble in a performance of Dvo</span><span lang="cs-CZ">řák</span><span lang="en-US">’s
</span><span lang="en-US"><i>Symphony No. 8</i></span><span lang="en-US">,
the finale in a program that also includes works by Brahms, Elgar and
Wagner. This is by no measure student fare, nor is it a new program
for the ensemble, which has been playing those pieces as part of its
repertoire during the 2011/12 season. “For us as an orchestra, the
program represents a year-long journey of study with this music,”
Feddeck says. “What the audience in Prague will be hearing is
really a very polished, finished product.”</span></span></div>
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<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;">Nor
is it the work of amateurs. Though the players are of high school
age, and even younger in some cases, they have to meet rigorous
standards. Auditions are held for openings, just as in a professional
orchestra, with the winners selected by Feddeck and members of the
Cleveland Orchestra, who help train and mentor individual players.
During the season the youth orchestra meets once a week for
rehearsals, which Feddeck conducts on a professional level.</span></div>
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<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
“<span style="font-size: medium;"><span style="font-weight: normal;">I
don’t look at the players and think, they’re just 16 or 17 years
old,” he says. “I see them as musicians capable of creating music
at a very high level. Despite their young age and relative
inexperience, the maturity of their talent and the maturity of their
musicianship separates them from their peers, and makes this
orchestra really unique.”</span></span></div>
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<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg70BG-VV7JDB_k17q23n-nLesWBM0nvAMMzqRLxxp6aR4pjgFmfUf5mAUZW9EliIFzwSl3j6NT4l9ops_NquwERVUWRqk23IXrPA5oPXN7NlXokFPtocP03ebkGr9FfjLfgtxUec_0wWO7/s1600/Feddeck,_James_042_8x10_credit_Roger_Mastroianni.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg70BG-VV7JDB_k17q23n-nLesWBM0nvAMMzqRLxxp6aR4pjgFmfUf5mAUZW9EliIFzwSl3j6NT4l9ops_NquwERVUWRqk23IXrPA5oPXN7NlXokFPtocP03ebkGr9FfjLfgtxUec_0wWO7/s200/Feddeck,_James_042_8x10_credit_Roger_Mastroianni.jpg" width="160" /></a></td></tr>
<tr style="font-family: Georgia,"Times New Roman",serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><b>A bold maestro.</b></span></td></tr>
</tbody></table>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span style="font-weight: normal;"><span style="font-size: x-large;">F</span>eddeck
is hoping to compensate for the lack of experience with this tour,
which will also take the COYO to Vienna and Salzburg. This is only
the fourth tour in the orchestra’s 26-year history, and its first
abroad. The impetus for an international excursion came from
discussions held after the orchestra’s 25</span><sup><span style="font-weight: normal;">th</span></sup><span style="font-weight: normal;">
anniversary, when Feddeck posed the question: What are the next
25 years going to be about? Touring offered the opportunity to both
raise the orchestra’s profile and enrich the players’ training.</span></span></div>
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<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
“<span style="font-size: medium;"><span style="font-weight: normal;">This
will be the first time many of our students have been to Europe,”
he says. “For young people devoted to this music, I can think of no
more exciting and thrilling way to go than performing concerts. They
will be experiencing the music in a totally new context by doing
these performances in different cultures, different countries and
different concert halls.”</span></span></div>
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<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span style="font-weight: normal;">Of
course, there’s a certain amount of risk involved. Asked how he
feels about venturing into </span><span lang="en-US"><span style="font-weight: normal;">Dvo</span></span><span lang="cs-CZ"><span style="font-weight: normal;">řák</span></span><span lang="en-US"><span style="font-weight: normal;">’s
house to play his music, Feddeck admits it’s not the first time the
question has been posed.</span></span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
“<span style="font-size: medium;"><span style="font-weight: normal;">A
number of people said to me, </span><span style="font-weight: normal;">ʻ</span><span style="font-weight: normal;">Are
you sure you want to take your orchestra to play </span><span lang="en-US"><span style="font-weight: normal;">Dvo</span></span><span lang="cs-CZ"><span style="font-weight: normal;">řák</span></span><span style="font-weight: normal;">
in Prague?’” he confides. “Ultimately I thought, yes, that does
seem very much the right thing to do. Because I believe there’s no
better way to honor a culture, a city, and the people of a city, than
to perform their music. And to perform their music in a way that, I’m
hoping will be evident to the audience, shows how much time we’ve
spent trying to unlock the meaning of the Eighth Symphony.”</span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;">
<span style="font-size: medium;">Still,
there is always more to discover, and Feddeck anticipates finding new
inspiration at the Rudolfinum.</span></div>
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<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
“<span style="font-size: medium;"><span style="font-weight: normal;">I
know that something truly magical awaits us in Prague,” he says.
“To be able to perform </span><span lang="en-US"><span style="font-weight: normal;">Dvo</span></span><span lang="cs-CZ"><span style="font-weight: normal;">řák
in such a place </span></span><span style="font-weight: normal;">can
only bring a rich experience.”</span></span></div>
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<br /></div>
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<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>For
more on the Cleveland Orchestra Youth Orchestra:
</b><a href="http://www.clevelandorchestrayouthorchestra.com/"><span style="font-weight: normal;">http://www.clevelandorchestrayouthorchestra.com/</span></a></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>For
a complete program and ticket information: </b><a href="http://www.concert.cz/"><span style="font-weight: normal;">www.concert.cz</span></a></span></div>
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<br /></div>
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Photos: Top, courtesy of the Cleveland Orchestra Youth Orchestra; Feddeck by Roger Mastroianni</div>Frank Kuznikhttp://www.blogger.com/profile/13597407162523382674noreply@blogger.com0tag:blogger.com,1999:blog-6162994352462898883.post-16920598408593951752012-06-13T10:14:00.000+02:002012-06-25T09:35:54.170+02:00DON GIOVANNI<div style="font-family: Georgia,"Times New Roman",serif;">
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>Estates
Theater</b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>June
9</b></span></div>
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<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZoNUnr_j0Mn1WcQ1PvZVHq1j1Zl0BfSR8j9Z-H9PB4HY4RLvTYB-KjOISW6zUrSpG1PIhOLoFz5gOG4srOgHKG_2Uw0VJUhGgnmJgo8b2paKPqh-CDY37WRNI3k6uUY0fAqRjXXRh7t8e/s1600/DONGIOVANNI3.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZoNUnr_j0Mn1WcQ1PvZVHq1j1Zl0BfSR8j9Z-H9PB4HY4RLvTYB-KjOISW6zUrSpG1PIhOLoFz5gOG4srOgHKG_2Uw0VJUhGgnmJgo8b2paKPqh-CDY37WRNI3k6uUY0fAqRjXXRh7t8e/s400/DONGIOVANNI3.JPG" width="400" /></a></td></tr>
<tr style="font-family: Georgia,"Times New Roman",serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><b>Ubiquitous sex with a touch of S&M.</b></span></td></tr>
</tbody></table>
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</div>
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<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span style="font-size: x-large;">E</span>schewing
tradition, the National Theaterʼs new <i>Don Giovanni</i> is an
opera for the 21<sup>st</sup> century: Coolly postmodern. Strikingly
self-conscious. Unbridled in its appetites and morally adrift. As a
slice of contemporary theater, itʼs smart, sleek and well-staged.
Whether it works as a Mozart opera is another matter.</span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;">Faced
with the challenge of putting a fresh face on a 225-year old grande
dame, the SKUTR directing team of Martin Kuku<span lang="cs-CZ">čka
and Lukáš Trpišovský took a page from the pla</span><span lang="en-US">ybook
of Robert Wilson, putting their characters in exaggerated whiteface
makeup, mirroring the foreground action with busy silhouettes in the
background, and replacing the literal with the abstract.</span></span></div>
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<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US">Except
for the sex. Randy, nonstop, four-on-the-floor, hands-up-the-skirt
lechery that leaves nothing to the imagination. Thereʼs fellatio
during the overture, a touch of S&M (“Beat me, Masetto,”
Zerlina begs, lifting her skirt to offer her bare bottom) and a
tabletop rape during the first act. At one point, Leporello is in the
audience plying women with drinks, so Don Giovanni can hit on </span><span lang="en-US"><i>them</i></span><span lang="en-US">.</span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span style="font-size: x-large;">T</span>his
moral paucity is reflected in a bleak urban landscape dominated by
burned-out buildings and harsh fluorescent lighting. In this world,
the characters are abstract absurdities – the women all in white
tights and childlike dresses with Bride of Frankenstein hair, the men
in snug generic jackets and baggy pantaloons, with Don Giovanni and
Il Commendatore crowned by outrageous pompadours. Dispatched in a
neatly executed sword fight, the Commendatore remains on stage for
most of the evening, his ghost keeping a baleful eye on Don
Giovanniʼs heartless scheming and suffusing the atmosphere with
guilt.</span></div>
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<br /></div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;">Thereʼs
hardly a scene in the production that isnʼt filled with extraneous
characters offering wordless comment or refracting the narrative.
While Don Ottavio sings of his devotion to Donna Anna, Don Giovanni
is in the background ravishing her. Groups of modern dancers flit on
and off the stage, mimicking the action. During Leporelloʼs
“catalogue” aria, for example, a single male dancer couples and
uncouples with a series of women. </span>
</div>
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<br /></div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;">Though
stylish and psychologically perceptive, the layers of metaphor and
meaning can become confusing – especially in the second half, when
a Mini-Me version of Don Giovanni joins the cast. At one point, he
watches Eadweard Muybridge film clips in the background while Don
Giovanni tries to seduce Donna Elviraʼs chambermaid in the
foreground, with the Commendatore looking on. The audience for the
film clips grows until it includes nearly all the singers and
dancers, their chairs turned to watch Don Giovanniʼs final reckoning
– about as self-referential as you can get without putting the
directors themselves in the production.</span></div>
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<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><span style="font-size: x-large;">T</span>hat
said, Kuku</span><span lang="cs-CZ">čka and Lukáš Trpišovský
</span><span lang="en-US">deserve plaudits for sheer inventiveness;
from the opening erotic pas de deux to Don Giovanniʼs cryptic demise
(no descent into hell in this one), they offer fresh ideas and
approaches at every turn. That, along with the harsh physicality of
many scenes, is not always a comfortable fit with Mozartʼs timeless,
enchanting music, which conductor Tom</span><span lang="cs-CZ">áš
Netopil rendered in buoyant fashion at the June 9 premiere. Netopil
is a skilled interpreter of Mozart, and his lustrous, perfectl</span><span lang="en-US">y
paced reading of the score supported strong singing by Jana </span><span lang="cs-CZ">Šrejma
Kačírkova </span><span lang="en-US">(Donna Anna) </span><span lang="cs-CZ">and
Lenka Máčiková </span><span lang="en-US">(Zerlina). Svatopluk Sem
was outstanding in the title role, singing with a confident swagger
that extended even into the curtain calls.</span></span></div>
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<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US">Give
the National Theater credit for being willing to give a revered icon
a radical makeover. The question is, will anyone get it? Most of the
Czech critics reacted to the production as if stray dogs had crapped
on their front lawn. That reaction seemed more defensive than
thoughtful, as if they had been charged with safeguarding Mozartʼs
legacy. But </span><span lang="en-US"><i>Don Giovanni</i></span><span lang="en-US">
has been a staple at the Estates Theater for more than two centuries
after it premiered there. It will take a lot more than flashy
theatrics and cranky critics to change that.</span></span></div>
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<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><i><b>Don
Giovanni</b></i></span><span lang="en-US"><b> plays again on June 29 & 30. For cast information and tickets: </b><a href="http://www.narodni-divadlo.cz/Default.aspx?jz=en&dk=predstaveni.aspx&sb=1&ic=5693&pr=86487">http://www.narodni-divadlo.cz/Default.aspx?jz=en&dk=predstaveni.aspx&sb=1&ic=5693&pr=86487</a><b> </b><b> </b></span></span></div>
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Photo of Svatopluk Sem and Lenka Máčiková courtesy of the National Theater </div>Frank Kuznikhttp://www.blogger.com/profile/13597407162523382674noreply@blogger.com0tag:blogger.com,1999:blog-6162994352462898883.post-33598319601859177132012-06-11T17:23:00.000+02:002012-06-11T17:23:06.046+02:00PREVIEW: FREDDY COLE<div style="font-family: Georgia,"Times New Roman",serif;">
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>National
Theater</b></span></div>
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<span style="font-size: medium;"><b>June
12</b></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtzjkulhZ7YII9i59VVuubBhkk6N3i9bMc9V7NaprrxdoFowumwHq6s6WI45TAMYNCW6BBL2n9JJniYXi5Y9wO9rgUZik27bOuP5uTnT2jiquVYDcMtBo_nOCyfSE7rP1c3irPZ8VKbqvW/s1600/Freddy_Cole-06_40_procent.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="351" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtzjkulhZ7YII9i59VVuubBhkk6N3i9bMc9V7NaprrxdoFowumwHq6s6WI45TAMYNCW6BBL2n9JJniYXi5Y9wO9rgUZik27bOuP5uTnT2jiquVYDcMtBo_nOCyfSE7rP1c3irPZ8VKbqvW/s400/Freddy_Cole-06_40_procent.jpg" width="400" /></a></td></tr>
<tr style="font-family: Georgia,"Times New Roman",serif;"><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">A seasoned performer with worldwide appeal. </span></b></td></tr>
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<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span style="font-size: x-large;">J</span>azz
singer and pianist Freddy Cole is a proʼs pro, a natural performer
who got his start in the business early – very early. As the
younger brother of Nat “King” Cole, he grew up in a household
where Duke Ellington, Count Basie, Lionel Hampton and Billy Eckstine
were regular visitors. He began playing in Chicago clubs as a
teenager, then got formal musical training at Juilliard and the New
England Conservatory of Music before settling in as a regular on the
New York nightclub circuit and launching an international touring
career. At 80, Freddy hasnʼt slowed down a bit; he was in Poland
last month, will be going to London after his Prague gig, and has
other dates scheduled in Germany, Switzerland, Russia and Chile this
year. His enduring popularity reflects the wide appeal of his music,
a smart, sophisticated treatment of the American songbook presented
with style and an engaging stage presence. Prior to coming to Prague,
Freddy talked about his work and career in a phone conversation from
his home in Atlanta.</span></div>
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</div>
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<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>In
2010 you released </b><i><b>Freddy Cole Sings Mr. B</b></i><b>, a
tribute to Billy Eckstine. What was your relationship with him?</b></span></div>
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<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;">
<span style="font-size: medium;">I
sort of grew up with him. He was very good friends with my brothers,
so consequently in time he and I became very good friends. I canʼt
tell you how many years I knew him, but it was a long time.</span></div>
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<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>What
did you learn from him?</b></span></div>
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<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;">
<span style="font-size: medium;">Where
should I begin? Just watching him, you could pick up different little
things – nuances with your hands, how he approached the music. He
was a very classy man.</span></div>
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<br />
</div>
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<span style="font-size: medium;"><b>Did
the CD accomplish what you had hoped?</b></span></div>
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<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;">
<span style="font-size: medium;">Well,
you can never do enough with a person like that, he was such a giant
in the business. We looked at a lot of his songs, and found that we
were just scratching the surface. There is a lot of whatʼs called
the American songbook played on the radio now, but you very seldom
hear Billy Eckstine. It puzzles me. But when you start to play his
music, it brings back memories for so many people.</span></div>
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</div>
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<span style="font-size: medium;"><b>Youʼve
been playing abroad for a long time. Do you find yourself introducing
new material to foreign audiences, or are they already familiar with
a lot of it?</b></span></div>
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<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;">
<span style="font-size: medium;">Itʼs
a little of both. Mostly, what I try to do is play something that
they know. Thereʼs no sense in me coming over there to play some
avant-garde stuff that has people sitting there scratching their
heads. I try to play something that they know within the realm of
what I do.</span></div>
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<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>You
could have retired a long time ago. What keeps you on the road?</b></span></div>
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<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;">
<span style="font-size: medium;">The
music. The music keeps me going. As long as Iʼve got the strength,
and I can do it, Iʼll continue to do so.</span></div>
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<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>After
all these years, how do you keep your sound fresh?</b></span></div>
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<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;">
<span style="font-size: medium;">Iʼm always listening to music, and Iʼm always adding stuff, doing
something different here and there. You never can tell – I might
like the chord structure in one song, or the lyrics in another.
Thatʼs the beauty of jazz, you donʼt have to play it the same way
all the time. </span>
</div>
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<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>What
can we expect to hear at your Prague concert?</b></span></div>
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<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span style="font-weight: normal;">Weʼll
be doing several things from the newest album, </span><i><span style="font-weight: normal;">Talk
to Me</span></i><span style="font-weight: normal;">, and some other
things – you can never tell. Our repertoire stretches from Broadway
to the blues.</span></span></div>
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<br />
</div>
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<span style="font-size: medium;"><b>Do
you work from a set list?</b></span></div>
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<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;">
<span style="font-size: medium;">No,
I really donʼt, because to me it kind of gets in the way. If the
music is not going over, why continue to do the same thing? Switch up
and do something else. It keeps people guessing, keeps them on the
edge of their seats. You canʼt do that with a set list.</span></div>
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<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>When
you played Prague Spring in 2008, you were at Lucerna Music Bar, a
rock ʼnʼ roll club. How do you feel about going from there to the
most prestigious stage in the country, at the National Theater?</b></span></div>
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<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;">
<span style="font-size: medium;">Iʼll
be very, very happy to play there, just like I was happy enough to
play in the juke joint. You know, Iʼm a saloon singer. As long as
Iʼm singing, the world is all right and everything is swinging.</span></div>
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<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>And
what do you hope the audience gets from your performance?</b></span></div>
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<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;">
<span style="font-size: medium;">Joy
and happiness. Keep hope alive, keep jazz alive.</span></div>
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</div>
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</div>
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<span style="font-size: medium;"><b>For
a video clip and ticket information:</b><span style="font-weight: normal;">
<a href="http://www.narodni-divadlo.cz/Default.aspx?jz=en&dk=predstaveni.aspx&sb=4&ic=5832&pr=91371">http://www.narodni-divadlo.cz/Default.aspx?jz=en&dk=predstaveni.aspx&sb=4&ic=5832&pr=91371</a></span></span></div>
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<div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;">
Photo by Clay Walker<br />
</div>
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<br />
</div>Frank Kuznikhttp://www.blogger.com/profile/13597407162523382674noreply@blogger.com0tag:blogger.com,1999:blog-6162994352462898883.post-56862349206795901182012-06-10T17:01:00.000+02:002012-06-10T17:01:23.907+02:00ELIAHU INBAL FINALE<div style="font-family: Georgia,"Times New Roman",serif;">
</div>
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<span style="font-size: medium;"><b>Rudolfinum</b></span></div>
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<span style="font-size: medium;"><b>June
8</b></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwZ9jE1bnpnc7W2eSnr6VupVSjb-ute41QzC1mumvLTladbjDef62ZLqZcFtaK9oAjGvbQyiDSKyCJVx9VmAaSjuwXzoWnLCHscv6cDYL_Y3fS0pm1xPMyfMEBkrhij0bQu2go7J8LUNLe/s1600/6+%282%29.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwZ9jE1bnpnc7W2eSnr6VupVSjb-ute41QzC1mumvLTladbjDef62ZLqZcFtaK9oAjGvbQyiDSKyCJVx9VmAaSjuwXzoWnLCHscv6cDYL_Y3fS0pm1xPMyfMEBkrhij0bQu2go7J8LUNLe/s400/6+%282%29.jpg" width="400" /></a></td></tr>
<tr style="font-family: Georgia,"Times New Roman",serif;"><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">Smiles all around after an unforgettable <i>Kaddish</i>.</span></b></td></tr>
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<span style="font-size: medium;"><span style="font-size: x-large;">E</span>liahu
Inbal finished his tenure with the Czech Philharmonic in dramatic
fashion on Friday night, conducting a thundering performance of
Leonard Bernstein’s <i>Kaddish </i><span style="font-style: normal;">symphony.
With a large orchestra, two choirs and a soprano soloist providing
explosive accompaniment for a riveting narrative by Holocaust
survivor Samuel Pisar, it was a night for the ages.</span></span></div>
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<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span style="font-style: normal;">The
evening started on a calmer note with a deft rendering of Ravel’s
</span><i>Scheherazade</i><span style="font-style: normal;"> song
cycle. Full-bodied yet beautifully transparent, the piece was an
engaging showcase for singer Pavla </span><span lang="cs-CZ"><span style="font-style: normal;">Vykopalová,
</span></span><span lang="en-US"><span style="font-style: normal;">with
Inbal layering </span></span><span style="font-style: normal;">subtle
shadings and warm tones to complement her dusky soprano. A regular on
the National Theater and State opera stages, </span><span lang="cs-CZ"><span style="font-style: normal;">Vykopalová
</span></span><span style="font-style: normal;">has a rich, round
voice with no sharp edges, even in the upper registers, that drew
generous applause from the musicians as well. </span></span>
</div>
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<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="cs-CZ"><span style="font-style: normal;">Vykopalová
was also the beneficiary of a perfect balance that </span></span><span style="font-style: normal;">Inbal
struck between the singer and the orchestra; not once was her voice
overwhelmed by the music. That’s difficult to achieve, and a
reminder of Inbal’s high professional standards and skills.
Watching him some nights over the past few years has been like
attending a clinic in how to conduct a symphony orchestra.</span></span></div>
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<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span style="font-style: normal;"><span style="font-size: x-large;">B</span>ernstein’s
</span><i>Kaddish </i><span style="font-style: normal;">is an
overwhelming piece on every level, and deliberately so. Conceived as
a traditional Jewish prayer set to “expressionistic and
Schoenbergian” music, as Bernstein described it, the work
immediately took on profound overtones when it was finished in 1963,
in the wake of John F. Kennedy’s assassination. The narrator not
only prays and mourns but inveighs against God, demanding to know how
He can allow suffering and persecution in the world. Pisar came to
the piece after Bernstein’s death – though with the composer’s
encouragement – writing a new, updated “Dialogue with God” that
recounts his experiences in Auschwitz in horrifying detail.</span></span></div>
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<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; font-style: normal; margin-bottom: 0in;">
<span style="font-size: medium;">The
symphony opens with minimalist background music for the narrator, but
quickly roars into a full maelstrom during the narrative breaks, with
atonal horns and swooning strings underpinned by as many as eight
percussionists at a time. A full mixed choir adds searing,
apocalyptic vocals that washed down from the empora like acid rain.
In the later passages, as the rage and terror die down, a solo
soprano and children’s choir provide moments of solace. But the
overall effect of the piece is like being slammed by a tidal wave,
with the orchestra seemingly on the verge of tearing itself apart at
times.</span></div>
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<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span style="font-style: normal;">Inbal
knit all this together with superb control, punctuating lines like
“Never again!” with outbursts of volcanic intensity, then taking
the sound down to fine gradations – murmurs from the choir,
metronomic tapping from a single percussion instrument. The fireworks
were spectacular, the quiet moments somber and contemplative, and the
interplay between the narrator and the music finely honed. Inbal
never serves up anything less than a sharp performance, but to
achieve that with literally hundreds of performers on and offstage
(the K</span><span style="font-style: normal;">ühn
Children’s Choir had to sing from a balcony in the audience) was a
particularly impressive feat.</span></span></div>
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<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span style="font-style: normal;"><span style="font-size: x-large;">O</span>ne
could argue that the </span><i>Kaddish</i><span style="font-style: normal;">
is not a symphony at all, but a series of sound effects that
underscore and amplify a sustained lament, with comparatively little
music at the core. And Pisar’s contemporary references to Iran and
Islamic jihad were a bit confusing in a 50-year old piece. But there
was no denying the power of the work in Inbal’s hands. And the
Czech Philharmonic provided him with A-list support in </span><span lang="cs-CZ"><span style="font-style: normal;">Vykopalová,
the K</span></span><span lang="cs-CZ"><span style="font-style: normal;">ühn
Children’s Choir and the Czech Philharmonic Choir Brno.</span></span></span></div>
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<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;">Like
so many concerts in Prague, this one ended with a standing ovation.
That particular response has never made sense to this critic – if
every concert is superlative, then none is superlative. But in this
case, it was well-deserved, not just for Friday’s concert, but
for the fine job that Inbal did under often difficult circumstances
the past three years. As a satisfying finish to a turbulent time, it
was a note-perfect performance.</span></div>
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<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><b>For
more on Eliahu Inbal:</b></span><span lang="en-US">
<a href="http://www.karstenwitt.com/en/artist/eliahu_inbal/biography/">http://www.karstenwitt.com/en/artist/eliahu_inbal/biography/</a></span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
Photo courtesy of the Czech Philharmonic<br />
</div>Frank Kuznikhttp://www.blogger.com/profile/13597407162523382674noreply@blogger.com0tag:blogger.com,1999:blog-6162994352462898883.post-54523970022533696422012-06-05T15:35:00.000+02:002012-06-05T15:46:58.072+02:00ISANG YUN TRIO<div style="font-family: Georgia,"Times New Roman",serif;">
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>Muzeum
Kampa</b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>June
4</b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht60fJn9I9tlg-iDQdY2kvMNfOZBDaoowXapDXe1koaB0vv0DZH78u9-Aja8gT9fYwl6-5UOJbr2_J_HoLPD0rfajWnaxWif2ke8beJG-WF3MByy8XMhEiPB4pSr0OFT0n84z5qiWtVboH/s1600/ISANGYUN1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht60fJn9I9tlg-iDQdY2kvMNfOZBDaoowXapDXe1koaB0vv0DZH78u9-Aja8gT9fYwl6-5UOJbr2_J_HoLPD0rfajWnaxWif2ke8beJG-WF3MByy8XMhEiPB4pSr0OFT0n84z5qiWtVboH/s400/ISANGYUN1.jpg" width="400" /></a></td></tr>
<tr style="font-family: Georgia,"Times New Roman",serif;"><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">Mute onlookers for a John Cage knockoff.</span></b></td></tr>
</tbody></table>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span style="font-size: x-large;">W</span>here
to go to come down from Prague Spring, with its heady nights filled
with musical stars? As luck would have it, to the refined gallery
space of Muzeum Kampa, where the Isang Yun Trio – cellist <span lang="en-US"><span style="font-style: normal;">Petr
Nouzovský, oboist </span></span><span lang="en-US"><span style="font-style: normal;">Vil</span></span><span lang="cs-CZ"><span style="font-style: normal;">ém
</span></span><span lang="en-US"><span style="font-style: normal;">Veverka
and harpist Kate</span></span><span lang="cs-CZ"><span style="font-style: normal;">řina
Englichová </span></span><span lang="en-US"><span style="font-style: normal;">–
</span></span>put on a superb display of virtuoso musicianship
on Monday night.</span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;">The
long summer daylight was still bright on the Vltava as the concert
started, with occasional tour boats passing just a few meters from
the windows lending a surreal touch during the performance. Inside,
the atmosphere was more somber, with a group of headless, life-size
statues looking over the shoulders of the players. The piece,
Magdalena Bakanowicz’s “Figures,” looks like the tortured souls
from Olbram Zoubek’s “Victims of Communism” memorial at the
foot of Pet<span lang="cs-CZ">řin </span><span lang="en-US">Hill
broke loose, took a mud bath in the river, and wandered into the
museum.</span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg2-FlSsCAk5kI5OJTJioU3kCE4P4EY-mh7n2nFusgqBhjnmLOQp7oH2kr54x65-XAfN9DBlqxN3LxSvKmyJ1VQLeVMuVmDrrPfxTyaTeU6rhpB1hiqkbR3NEpw3JP76LB6SKna2IHli3-/s1600/ISANGYUN2.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg2-FlSsCAk5kI5OJTJioU3kCE4P4EY-mh7n2nFusgqBhjnmLOQp7oH2kr54x65-XAfN9DBlqxN3LxSvKmyJ1VQLeVMuVmDrrPfxTyaTeU6rhpB1hiqkbR3NEpw3JP76LB6SKna2IHli3-/s320/ISANGYUN2.jpg" width="185" /></a></td></tr>
<tr style="font-family: Georgia,"Times New Roman",serif;"><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">Whistling strings.</span></b></td></tr>
</tbody></table>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US">The
opening work was equally solemn – Alexander Knaifel’s </span><span lang="en-US"><i>Lamento
</i></span><span lang="en-US"><span style="font-style: normal;">for
solo cello. A Russian composer noted for turning out long, sometimes
unplayable works, Knaifel put together what sounded like a complete
inventory of sounds the cello can make in the lower registers in this
piece. It opens with sharp, stabbing chords that build to machine-gun
intensity before settling into a series of sustained notes, tones and
whistles that grow more afflicted. Nouzovský handled it with
aplomb, balancing the raging turmoil of the sound with a measured
tempo and skillful bowing.</span></span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><span style="font-style: normal;">Jana
V</span></span><span lang="en-US"><span style="font-style: normal;">ö</span></span><span lang="en-US"><span style="font-style: normal;">r</span></span><span lang="en-US"><span style="font-style: normal;">ö</span></span><span lang="cs-CZ"><span style="font-style: normal;">šová
is </span></span><span lang="en-US"><span style="font-style: normal;">one
of brightest young composers in the Czech Republic, a NUBERG
competition winner who always has fresh, imaginative ideas. For this
concert, she reworked two songs from her 2005 cycle </span></span><span lang="en-US"><i>Bouillon</i></span><span lang="en-US"><span style="font-style: normal;">,
a kaleidoscopic treatment of texts by the French writers </span></span><span lang="en"><span style="font-style: normal;">Jacques
Pr</span></span><span lang="cs-CZ"><span style="font-style: normal;">évert
</span></span><span lang="en-US"><span style="font-style: normal;">and
Henri Michaux. Originally composed for soprano and harp, they were
performed by Veverka and </span></span><span lang="cs-CZ"><span style="font-style: normal;">Englichová,
</span></span><span lang="en-US"><span style="font-style: normal;">with
Veverka delivering snatches of the text in brief, biting outbursts.
The remainder of the vocals were transposed into long, compelling
oboe lines that he handled smoothly, while Englichová provided
expert runs and fills on the harp, occasionally using a small hammer
on the strings to great effect.</span></span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7e6nTA45aBxOAD3JWDiXMC1j9U69PcAlepJeHCZ72V8d13Uh4d3yP4p2ev02FTR8A8rrb0N1IdWu275IsRV-c_ro3Vo2loF45GA-e8ypMVA3f4Lgk3EmV5LCefsr_p4zibGsOQpAnTOEP/s1600/ISANGYUN3.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7e6nTA45aBxOAD3JWDiXMC1j9U69PcAlepJeHCZ72V8d13Uh4d3yP4p2ev02FTR8A8rrb0N1IdWu275IsRV-c_ro3Vo2loF45GA-e8ypMVA3f4Lgk3EmV5LCefsr_p4zibGsOQpAnTOEP/s320/ISANGYUN3.jpg" width="190" /></a></td></tr>
<tr style="font-family: Georgia,"Times New Roman",serif;"><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">If she had a hammer...</span></b></td></tr>
</tbody></table>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><span style="font-style: normal;"><span style="font-size: x-large;">T</span>he
work of two other local composers was less satisfying. </span></span><span lang="cs-CZ"><span style="font-style: normal;">Ondřej
Štochl</span></span><span lang="en-US"><span style="font-style: normal;">’s
</span></span><span lang="cs-CZ"><i>Šerosvit</i></span><span lang="cs-CZ"><span style="font-style: normal;">
</span></span><span lang="en-US"><span style="font-style: normal;">(Chiaroscuro)
mimicked the visual art form with slow-moving, ephemeral textures and
occasional half-melodies. Though not especially engaging, the piece
required precise, sophisticated playing that the entire trio handled
with fine attention to detail. </span></span><span lang="cs-CZ"><span style="font-style: normal;">Tomáš
Pálka</span></span><span lang="en-US"><span style="font-style: normal;">’s
</span></span><span lang="en-US"><i>Single
Line of Silence</i></span><span lang="en-US"><span style="font-style: normal;">
took inspiration from the anniversary year of John Cage, opening with
a bouncing orange ping-pong ball and concluding with soloist Veverka
scattering a handful of coins on the floor. With so many gimmicks –
the score was spread across four stands, and at one point he had to
tap the oboe against a wine glass – it was hard to take the music
seriously. But the difficult technical demands and flamboyant
gestures were perfect for Veverka, a gifted player who loves to strut
his stuff.</span></span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><span style="font-style: normal;">The
trio concluded with a piece by their namesake, </span></span><span lang="en-US"><i>Espace
II</i></span><span lang="en-US"><span style="font-style: normal;">.
Yun, an avant-garde Korean composer who died in 1995, employed a wild
mix of elements in his “sound compositions” – traditional
Korean music, twelve-tone techniques, rich ornamentation and more.
</span></span><span lang="en-US"><i>Espace
II</i></span><span lang="en-US"><span style="font-style: normal;">
sounds like a collision of those elements, with overlapping lines,
textures and melodies emerging, interlocking in interesting ways,
then fading out. The full trio had to play with considerable finesse
to make it all come together coherently. In lesser hands, the piece
could be a disaster. With this trio, it was brilliant.</span></span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; font-style: normal; margin-bottom: 0in;">
<span style="font-size: medium;">That’s
no surprise. Veverka, Englichová and Nouzovský are among the finest
players in the country on their instruments, and together comprise a
formidable chamber group. In fact, they were in the Prague Spring
festival two years ago, playing an equally challenging program at the
Rudolfinum. Konvergence, the group that organized Monday’s concert,
offers a comparatively modest showcase. But these musicians are stars
wherever they play.</span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><span style="font-style: normal;"><b>For
more on Konvergence:</b></span></span><span lang="en-US"><span style="font-style: normal;"> <a href="http://www.konvergence.org/en/about.html">http://www.konvergence.org/en/about.html</a></span></span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; font-style: normal; margin-bottom: 0in;">
<span style="font-size: medium;"><b>And
the players:</b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><span style="font-style: normal;"><b>Kate</b></span></span><span lang="cs-CZ"><span style="font-style: normal;"><b>řina
Englichová: </b><a href="http://www.englichova.cz/index_en.html">www.englichova.cz/index_en.html</a></span></span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><span style="font-style: normal;"><b>Petr
Nouzovský:</b></span></span><span lang="en-US"><span style="font-style: normal;">
<a href="http://www.nouzovsky.cz/">www.nouzovsky.cz</a></span></span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><span style="font-style: normal;"><b>Vil</b></span></span><span lang="cs-CZ"><span style="font-style: normal;"><b>ém
</b></span></span><span lang="en-US"><span style="font-style: normal;"><b>Veverka:</b></span></span><span lang="en-US"><span style="font-style: normal;"> <a href="http://www.vilemveverka.cz/english/index.php">www.vilemveverka.cz/english/index.php</a></span></span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
<br />
Photos by Ondřej Melecký</div>Frank Kuznikhttp://www.blogger.com/profile/13597407162523382674noreply@blogger.com0tag:blogger.com,1999:blog-6162994352462898883.post-85409930201834662802012-06-03T14:14:00.000+02:002012-06-03T14:14:07.224+02:00PRAGUE SPRING NOTEBOOK II<div style="font-family: Georgia,"Times New Roman",serif;">
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>Rudolfinum</b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>May
29, 30 & 31</b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBXui1ggqKoVlaKTOCZMIvgy9fp6MRxOPA450qV3-5KL5i7Ihxm3zi0FInuV0OvodqXPCZzovA7XwXz1DKOpx5BvjDvZMvakMA89hO4qnxMzjMzzrX38kEeIlq2Gr9L9KAjS0aSimTQWal/s1600/FIDELIO1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBXui1ggqKoVlaKTOCZMIvgy9fp6MRxOPA450qV3-5KL5i7Ihxm3zi0FInuV0OvodqXPCZzovA7XwXz1DKOpx5BvjDvZMvakMA89hO4qnxMzjMzzrX38kEeIlq2Gr9L9KAjS0aSimTQWal/s400/FIDELIO1.jpg" width="400" /></a></td></tr>
<tr style="font-family: Georgia,"Times New Roman",serif;"><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">A fine <i>Fidelio</i> from Hrůša, center, and the Philharmonia.</span></b></td></tr>
</tbody></table>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span style="font-size: x-large;">F</span>rom
the opening notes, it was clear that something special was underway
in the performance of <i>Fidelio </i><span style="font-style: normal;">at
the Rudolfinum on Wednesday night. Conductor Jakub </span><span lang="cs-CZ"><span style="font-style: normal;">Hrůša
</span></span><span lang="en-US"><span style="font-style: normal;">established
a commanding tone with the Prague Philharmonia in the overture that
never let up, making the orchestra the strongest, most agile voice on
a stage filled with good opera singers. </span></span></span>
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
“<span style="font-size: medium;"><span style="font-style: normal;">I’m
hearing colors I’ve never heard before,” veteran soprano Carol
Wilson, who has sung the role of Leonora many times, said at a press
conference the previous day. For Prague audiences used to the special
chemistry that </span><span lang="cs-CZ"><span style="font-style: normal;">Hrůša
</span></span><span lang="en-US"><span style="font-style: normal;">has
with the Philharmonia, which he leads as chief conductor and music
director, the vibrant colors, deep dynamics and sensitive control
that characterized the </span></span><span lang="en-US"><i>Fidelio</i></span><span lang="en-US"><span style="font-style: normal;">
performance were nothing new. But the conductor does most of his
opera work abroad, chiefly for Glyndebourne. So seeing him work with
a cast of singers, even for a concert performance of Beethoven’s
only opera, was a revelation.</span></span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="cs-CZ"><span style="font-style: normal;">Hrůša</span></span><span lang="en-US"><span style="font-style: normal;">’s
support for the singers was outstanding, recalling another comment
Wilson made: “It helps to have a really good conductor who is
working with you, not against you.” The music caressed the singer’s
voices and emotions through the more delicate passages, and added
propulsion and urgency to dramatic scenes like Don Pizzaro declaring
that Florestan must die, sung with authority and flair by Adam
Plachetka. Occasionally the orchestra overwhelmed the high soprano of
Kat</span></span><span lang="cs-CZ"><span style="font-style: normal;">eřina
Kněžíková </span></span><span lang="en-US"><span style="font-style: normal;">and
the duskier voice of Wilson, who quite frankly sounded past her
prime. Otherwise, it was that rarest of accompanists for the singers,
a collaborator who not only showcased their best work but
supplemented it with stylish brushstrokes.</span></span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; font-style: normal; margin-bottom: 0in;">
<span style="font-size: medium;">And
who knew the Prague Philharmonic Choir could sound so good? A visitor
could have walked into the closing minutes with no knowledge of what
was being performed and immediately recognized not just the signature
chords, but the noble ideals and soaring aspirations of a Beethoven
chorale. More than a powerful finale, it was a full blossoming of the
energy that drove the entire production – passionate yet
controlled, rich in ideas, bursting with enthusiasm and true to the
composer. Beethoven could not have asked for better.</span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguroni47-U2N_ofpbv27sgm90g62JVi4a0EQUdTXXpTs6PSgg_wKguPwz0PRXKme9aylkyE_YE-IiGUmJO_sYht8AaJxXl2MypIeW2h1K9-4qY5-BRWimtpkv6QPY4A-gzd4Y-TmGTSKc-/s1600/MORAVEC1.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguroni47-U2N_ofpbv27sgm90g62JVi4a0EQUdTXXpTs6PSgg_wKguPwz0PRXKme9aylkyE_YE-IiGUmJO_sYht8AaJxXl2MypIeW2h1K9-4qY5-BRWimtpkv6QPY4A-gzd4Y-TmGTSKc-/s320/MORAVEC1.jpg" width="309" /></a></td></tr>
<tr style="font-family: Georgia,"Times New Roman",serif;"><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">Moravec, reaching back.</span></b></td></tr>
</tbody></table>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><span style="font-style: normal;"><span style="font-size: x-large;">T</span>he
quieter moments at the Rudolfinum this past week were just as
compelling. Ivan Moravec, who at 81 still has the fine touch that
ranked him among the great pianists of the late 20</span></span><sup><span lang="en-US"><span style="font-style: normal;">th</span></span></sup><span lang="en-US"><span style="font-style: normal;">
century, reached back to some of his earliest recordings in his
Tuesday night recital. Those records, made for the Connoisseur
Society in New York in the 1960s, were critical in launching his
international career.</span></span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><span style="font-style: normal;">A
pair of Debussy </span></span><span lang="en-US"><i>Pr</i></span><span lang="en-US"><i>é</i></span><span lang="en-US"><i>ludes</i></span><span lang="en-US"><span style="font-style: normal;">
still sounded fresh, as did subtle shadings of Ravel’s </span></span><span lang="en-US"><i>Sonatine</i></span><span lang="en-US"><span style="font-style: normal;">.
True to Moravec’s style, the pieces were more lyrical than
impressionistic, a quality particularly evident in three Debussy
</span></span><span lang="en-US"><i>Estampes</i></span><span lang="en-US"><span style="font-style: normal;">,
which had a rich, full-blooded sound. The high point of the evening
was a trio of Chopin pieces. Moravec’s 1991 recording of Chopin
</span></span><span lang="en-US"><i>Nocturnes</i></span><span lang="en-US"><span style="font-style: normal;">
(on Nonesuch) is considered definitive, and he showed why with a
glowing rendition of the </span></span><span lang="en-US"><i>Nocturne
in D flat major, Op. 27 No. 2</i></span><span lang="en-US"><span style="font-style: normal;">.
That was followed by a ballade and barcarolle, both sensitively
phrased and well-articulated, carried by the precise
rhythm that underpins all of Moravec’s work.</span></span></span></div>
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<span style="font-size: medium;">The
final notes of the barcarolle brought the audience to its feet,
yelling and applauding wildly – less for the performance, perhaps,
than as a sign of the esteem in which Moravec is held. One doesn’t
go to his concerts for flawless playing, or the brilliance of his
early work. Hearing Moravec perform now is like stepping back in
time, to an earlier era of classic interpretations and dignified
styles and the restraint that comes with respect for the composers.
The sound is pure, elegant and in its best moments, absolutely
mesmerizing.</span></div>
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<br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMCjNB9UAn8x7U5o4mSTCYGtG0nWy5BD3wzn-_QaILzjKy9dpnCdeSmerKvhch6gKTIY2HoTS3K9WjSBcxLb26aZxk-4g5ZcFdFkdeKN9V9MKU6RiLmj5iKlrWZhIrPHN94-26w8uxVDVI/s1600/VASILYEVA2.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMCjNB9UAn8x7U5o4mSTCYGtG0nWy5BD3wzn-_QaILzjKy9dpnCdeSmerKvhch6gKTIY2HoTS3K9WjSBcxLb26aZxk-4g5ZcFdFkdeKN9V9MKU6RiLmj5iKlrWZhIrPHN94-26w8uxVDVI/s320/VASILYEVA2.jpg" width="256" /></a></td></tr>
<tr style="font-family: Georgia,"Times New Roman",serif;"><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">Vasilyeva, fluent and focused. </span></b></td></tr>
</tbody></table>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span style="font-size: x-large;">S</span>till
in the early stages of her career, 26-year old Russian violinist
Marianna Vasilyeva weaves spells of her own with technically dazzling
and sophisticated playing that belies her age. Czech pianist Miroslav
Sekera provided accompaniment for her Thursday recital, which opened
with a dramatic version of Franck’s <i>Sonata for Violin and Piano
in A major. </i><span style="font-style: normal;">Vasilyeva followed
that with a skillful rendition of Wieniawski’s </span><i>Fantaisie
brillante, Op. 20</i><span style="font-style: normal;">, a piece that
she inhabits with great focus and intensity while finding tender
moments, particularly in the later passages.</span></span></div>
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<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span style="font-style: normal;">Ysa</span><span style="font-style: normal;">ÿ</span><span style="font-style: normal;">e’s
</span><i>Po</i><i>è</i><i>me
</i><span lang="cs-CZ"><i>élégiaque, Op. </i></span><span lang="en-US"><i>12</i></span><span lang="en-US"><span style="font-style: normal;">
is more about style and color, which Vasilyeva played just short of
florid, tempering emotion with authoritative control. Hubay’s
</span></span><span lang="en-US"><i>Fantaisie brillante, Op. 3 </i></span><span lang="en-US"><span style="font-style: normal;">on
themes from </span></span><span lang="en-US"><i>Carmen</i></span><span lang="en-US"><span style="font-style: normal;">
is a technically challenging piece that she managed to have some fun
with, running playful trills on top of the “Toreador.” And she
built Saint-Sa</span></span><span lang="en-US"><span style="font-style: normal;">ë</span></span><span lang="en-US"><span style="font-style: normal;">ns’
</span></span><span lang="en-US"><i>Introduction et Rondo
Capriccioso, Op. 28</i></span><span lang="en-US"><span style="font-style: normal;">,
another technically demanding work, with care and precision,
climaxing with a set of seemingly effortless virtuoso flourishes.</span></span></span></div>
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<br />
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<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; font-style: normal; margin-bottom: 0in;">
<span style="font-size: medium;">Vasilyeva
is physical player, roaming the stage and employing a lot of body language, often setting herself and stepping into more difficult
passages. There are certainly young players of comparable skill,
though none with the breezy confidence and light-hearted intelligence
that she brings to her performance. That’s no accident. Vasilyeva
started playing professionally at the age of 11, and quickly caught
the eye of Mstislav Rostropovich and Valery Gergiev. This was her
second appearance in Prague Spring after winning the festival’s
2010 competition. Judging by what she showed on Thursday, it won’t
be the last.</span></div>
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<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
Photos by Ivan Malý<br />
</div>Frank Kuznikhttp://www.blogger.com/profile/13597407162523382674noreply@blogger.com0tag:blogger.com,1999:blog-6162994352462898883.post-77949823818736129052012-05-31T16:44:00.000+02:002012-05-31T16:44:35.428+02:00PREVIEW: MARK PADMORE<div style="font-family: Georgia,"Times New Roman",serif;">
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>Rudolfinum</b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>June
1</b></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1Cb94LDKmFM-5ISyWtaHZXBpffDcjMT_eHvw6zAjziehRfzx3n2qS37p38rjXt64iAkk1Sd-7ouGmNiOHNVo5pPvU_MArpoXPcWFUgYEB_2UZKglez96HpHDEByS8ZZY5oy9DNtazWE9A/s1600/Padmore&Lewis.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1Cb94LDKmFM-5ISyWtaHZXBpffDcjMT_eHvw6zAjziehRfzx3n2qS37p38rjXt64iAkk1Sd-7ouGmNiOHNVo5pPvU_MArpoXPcWFUgYEB_2UZKglez96HpHDEByS8ZZY5oy9DNtazWE9A/s400/Padmore&Lewis.jpg" width="400" /></a></td></tr>
<tr style="font-family: Georgia,"Times New Roman",serif;"><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">Padmore, right, and Lewis: Letting Schubert be Schubert.</span></b></td></tr>
</tbody></table>
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<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span style="font-weight: normal;"><span style="font-size: x-large;">B</span>ritish
tenor Mark Padmore makes his Prague debut this week in style: As a
featured soloist in Prague Spring, giving a recital with his favorite
accompanist, pianist Paul Lewis. The duo have won critical acclaim
for their recent recordings of Schubert lieder, including a
Gramophone Award for Best Solo Vocal for their 2009 release
</span><i><span style="font-weight: normal;">Winterreise</span></i><span style="font-weight: normal;">.
On Friday night at the Rudolfinum, they will be performing Schubertʼs
</span><i><span style="font-weight: normal;">Schwanengesang</span></i><span style="font-weight: normal;">
cycle along with a challenging set of Beethoven songs, including the
</span><i><span style="font-weight: normal;">An die ferne Geliebte</span></i><span style="font-weight: normal;">
cycle. Still a rising star at the age of 52, Padmore graciously
agreed to an e-mail interview about his current repertoire and career
plans.</span></span></div>
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</div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>Beethoven
isnʼt typically thought of for his songs. What drew you to that
work?</b></span></div>
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<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><span style="font-weight: normal;">I
love </span></span><span lang="en-US"><i><span style="font-weight: normal;">An
die fern Geliebte</span></i></span><span lang="en-US"><span style="font-weight: normal;">.
I think it is one of the greatest song cycles and hugely influential,
particularly for Schumann. The poetry is perhaps not of the highest
quality, but it is really great Beethoven.</span></span></span></div>
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<br />
</div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>What
have you and Paul Lewis tried to do with the Schubert song cycles?</b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;">
<span style="font-size: medium;">We
both try to get out of the way. Really, it is Schubert that you
should be listening to, not Padmore and Lewis. The idea is to take
you beyond or past the personalities, frailties and ego of the
performers, and communicate something of how the composer felt and
thought. That is really interesting – much more interesting than
either of us.</span></div>
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</div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>You
started out studying piano and clarinet. When and why did you decide
to focus on singing?</b></span></div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
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</div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;">
<span style="font-size: medium;">I
decided that I didnʼt want to be a member of an orchestra when I was
about 17. I had always enjoyed singing, so I began to concentrate on
that. Playing clarinet and piano had made my sight-reading pretty
good, so although I didnʼt have a particularly strong voice, I was
able to be a good member of a choir. I didnʼt really develop a solo
career until I was 30. </span>
</div>
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</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>You
first made a name as a soloist in early music, and then 20th-century
music. Now youʼre in between, so to speak, with the classical and
Romantic repertoire. What attracted you to that period?</b></span></div>
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</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span style="font-weight: normal;">Above
all I love the music of Bach, Beethoven, Schubert, Jan</span><span lang="cs-CZ"><span style="font-weight: normal;">áček
and </span></span><span lang="en-US"><span style="font-weight: normal;">Britten.
Fortunately, they all wrote music I can perform, particularly Bach,
Schubert and Britten. In the end, it is the thrill of communicating
with an audience that keeps me singing. I love trying to let an
audience share my experience with some of the greatest music ever
written.</span></span></span></div>
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</div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>Do
you have plans to explore other periods and/or composers?</b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><span style="font-weight: normal;">I
hope I never lose the urge to explore new repertoire. There are
always new things to see, read and hear, just as there are always new
things to find in the great works of art. How could anyone think that
they understand Bachʼs </span></span><span lang="en-US"><i><span style="font-weight: normal;">St.
Matthewʼs Passion</span></i></span><span lang="en-US"><span style="font-weight: normal;">
or Shakespeareʼs </span></span><span lang="en-US"><i><span style="font-weight: normal;">King
Lear</span></i></span><span lang="en-US"><span style="font-weight: normal;">
or Picassoʼs </span></span><span lang="en-US"><i><span style="font-weight: normal;">Guernica</span></i></span><span lang="en-US"><span style="font-weight: normal;">
– they are beyond comprehension. But we can and must approach these
masterpieces to learn from them.</span></span></span></div>
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</div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>You
are a veteran of period ensembles and the opera stage, but your
schedule is almost exclusively recitals and soloist appearances now.
What</b></span><span style="font-size: medium;"><b>ʼs </b></span><span style="font-size: medium;"><b>kept you there?</b></span></div>
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<br />
</div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;">
<span style="font-size: medium;">The
great thing about recitals is that you create the whole world of the
songs with just two people – the singer and the pianist. If the two
of you are trying to do the same thing, it is possible to create a
really powerful effect. In the opera house, too often one or more of
the elements donʼt gel. Either the conductor or the director is not
very good, or the chorus doesnʼt want to act, or the other soloists
are egomaniacs. It is very hard for everything to work together.</span></div>
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</div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>Do
you see yourself going back to the opera stage at some point?</b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><span style="font-weight: normal;">I
am looking forward very much to singing Captain Vere in </span></span><span lang="en-US"><i><span style="font-weight: normal;">Billy
Budd</span></i></span><span lang="en-US"><span style="font-weight: normal;">
at Glyndebourne next summer. I love being on stage, but I also donʼt
enjoy being away from my family for weeks at a time. So my opera
appearances will be limited.</span></span></span></div>
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</div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>What
do you hope that the audience in Prague takes away from your concert?</b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;">
<span style="font-size: medium;">I
really hope that the audience can be delighted by the genius of
Beethoven and Schubert. The music is joyful and melancholy and moving
and terrifying. I hope that the excitement that Paul and I feel in
performing this comes across to the audience.</span></div>
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</div>
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</div>
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<span style="font-size: medium;"><span lang="en-US"><b>For
more on Mark Padmore:</b></span><span lang="en-US"><span style="font-weight: normal;">
<a href="http://www.markpadmore.com/">www.markpadmore.com</a></span></span></span></div>
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</div>Frank Kuznikhttp://www.blogger.com/profile/13597407162523382674noreply@blogger.com0tag:blogger.com,1999:blog-6162994352462898883.post-85863517212138502242012-05-30T14:41:00.000+02:002012-05-30T14:41:42.447+02:00PRAGUE SPRING NOTEBOOK I<div style="font-family: Georgia,"Times New Roman",serif;">
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>Rudolfinum</b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>May
23</b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>Obe</b><span lang="cs-CZ"><b>cní
dům</b></span></span></div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>May
25</b></span></div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>Prague
Conservatory</b></span></div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>May
28</b></span></div>
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</div>
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<tr style="font-family: Georgia,"Times New Roman",serif;"><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">Andsnes played and conducted from the keyboard. </span></b></td></tr>
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</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span style="font-size: x-large;">B</span>eethoven
has been a dominant presence in the festival over the past week, with
his piano works providing some revealing points of comparison. Beyond
the usual differences in approach and style, they provided a showcase
for musicians at different points in the careers, all coming to
Beethoven with their own ideas and objectives. Was a major composer
ever so malleable?</span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;">As
detailed in this space last week, Norwegian pianist Lief Ove Andsnes
came to Prague to start recording a complete set of the piano
concertos with the Mahler Chamber Orchestra. He performed in an
unusual configuration – in the middle of a 45-piece ensemble, back
to the audience, lid removed so he could see and conduct the players.
It proved to be an effective arrangement. The piano tones lost a bit
of depth, but Andsnes’ connection with the orchestra seemed almost
psychic, producing a clean, cohesive sound with remarkable
consistency and integrity.</span></div>
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<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;">It
was obvious that Andsnes put a lot of time into preparing concertos
<i>No. 1</i> and <i>No. 3</i>. There wasn’t a phrase that hadn’t
been thought through and developed along the lines that the pianist
articulated at his press conference – brotherhood, beauty,
spirituality. His connection with the music was deep, rendered
dramatically in some passages, lyrical in others, all played with a
light touch and very fine control.</span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;">The
orchestra provided <span lang="cs-CZ">seamless</span> accompaniment
and surprising sophistication, given its makeup of members from 20
different countries. An interlude of Stravinsky’s <i>Apollon
</i><span lang="cs-CZ"><i>musag</i></span><span lang="cs-CZ"><i>è</i></span><span lang="cs-CZ"><i>te</i></span>
was particularly impressive, performed with <span lang="cs-CZ">elegance
and depth without the benefit of a conductor. </span>The only
disappointment was the audience, which <span lang="cs-CZ">applauded
after the first movement of </span><span lang="cs-CZ"><i>both
</i></span><span lang="cs-CZ"><span style="font-style: normal;">concertos.
Andsnes said he chose the Rudolfinum for its superb acoustics.
Perhaps </span></span><span lang="en-US"><span style="font-style: normal;">he
should return </span></span><span lang="cs-CZ"><span style="font-style: normal;">during
the regular season, which tends to attract more intelligent
listeners.</span></span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidfiYiC9cxfGKibEOl1wSX9q9n520QWe3SQ6anMu2vdFLrrm-NexM2MnjUhSXOfJDkj70UPVB4s6GsgqLenuaNxQK3LbWnFO0-_NRrfxY_cRXuw9NlV5I0sas10Ctp_Ak89JM7aPOjv12p/s1600/WARSAW1.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="312" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidfiYiC9cxfGKibEOl1wSX9q9n520QWe3SQ6anMu2vdFLrrm-NexM2MnjUhSXOfJDkj70UPVB4s6GsgqLenuaNxQK3LbWnFO0-_NRrfxY_cRXuw9NlV5I0sas10Ctp_Ak89JM7aPOjv12p/s320/WARSAW1.jpg" width="320" /></a></td></tr>
<tr style="font-family: Georgia,"Times New Roman",serif;"><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">Blechacz, all style and no soul.</span></b></td></tr>
</tbody></table>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="cs-CZ"><span style="font-style: normal;"><span style="font-size: x-large;">T</span>he
contrast could hardl</span></span><span lang="en-US"><span style="font-style: normal;">y
have been more dramatic two nights later at Obecn</span></span><span lang="cs-CZ"><span style="font-style: normal;">í
dům, where </span></span><span lang="en-US"><span style="font-style: normal;">Polish
piano star Rafa</span></span><span lang="en-US"><span style="font-style: normal;">ł
Blechacz performed Beethoven’s </span></span><span lang="en-US"><i>Piano
Concerto No. 4</i></span><span lang="en-US"><span style="font-style: normal;">
with the Warsaw Philharmonic. Just 27, Blechacz already has an
enviable set of awards to his credit (including all five first prizes
at the 2005 Chopin Competition) and a recording contract with
Deutsche Grammophon that most musicians would give up their firstborn
to have. But his playing was strikingly shallow. Seemingly effortless
and technically dazzling, it nonetheless lacked any sense of
personality or conviction, a brilliant gloss with no depth. Whereas
Andsnes played with electric intensity, Blechacz seemed content with
a bright, breezy cover.</span></span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><span style="font-style: normal;">The
orchestra was also one-dimensional, opening with a respectful but
uninspired version of Dvo</span></span><span lang="cs-CZ"><span style="font-style: normal;">řák</span></span><span lang="en-US"><span style="font-style: normal;">’s
</span></span><span lang="en-US"><i>The
Golden Spinning Wheel</i></span><span lang="en-US"><span style="font-style: normal;">,
and offering similarly thin accompaniment on the Beethoven concerto.
The second half was better, as it should have been for one of the
orchestra’s signature pieces, Witold Lutosławski’s seminal
</span></span><span lang="en-US"><i>Concerto
for Orchestra</i></span><span lang="en-US"><span style="font-style: normal;">,
which the Warsaw Philharmonic premiered in 1954. With soaring
strings, playful woodwinds, deep dynamics and vivid colors across a
broad palette, it was a powerful demonstration of the impact the
piece had nearly 60 years ago – and still does. Otherwise, it was a
lackluster performance, leaving this critic wishing that Antoni Wit
and his well-regarded ensemble had stayed with their apparent
strengths in the Polish repertoire.</span></span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgePHcQ5kXgZl8JUqDnT6VgERaxh3wO21vnTEepfG7TwJ7_-NjjxMcdmgVIa4KtxypnhHCfkEVWtoErkbVBl7K0h5oCXrVLAuq9snkifBMhQ8LaNNDgaTnemaDNFvKotHKIc1aDEaQBWdvh/s1600/ARNICANE1.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgePHcQ5kXgZl8JUqDnT6VgERaxh3wO21vnTEepfG7TwJ7_-NjjxMcdmgVIa4KtxypnhHCfkEVWtoErkbVBl7K0h5oCXrVLAuq9snkifBMhQ8LaNNDgaTnemaDNFvKotHKIc1aDEaQBWdvh/s320/ARNICANE1.jpg" width="306" /></a></td></tr>
<tr style="font-family: Georgia,"Times New Roman",serif;"><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">A heartfelt showing by Arnicane. </span></b></td></tr>
</tbody></table>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><span style="font-style: normal;"><span style="font-size: x-large;">B</span>ut
this is Prague Spring, so inspiration is never far away. In a recital
at the conservatory on Monday night, Latvian pianist Arta Arnicane
showed why she won last year’s competition with a refreshing,
spirited performance of Beethoven’s </span></span><span lang="en-US"><i>Sonata
in D major, Op, 10, No. 3</i></span><span lang="en-US"><span style="font-style: normal;">.
Arnicane’s physical style of playing added zest to the opening
movement, and her disciplined but imaginative phrasing created
wonderful atmospherics in the second. A clear and distinctive voice
was evident throughout the remainder of the piece, which she played
with a beguiling combination of gracefulness and authority.</span></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><span style="font-style: normal;">That
mix was even more potent in Schumann’s </span></span><span lang="en-US"><i>Symphonic
</i></span><span lang="cs-CZ"><i>É</i></span><span lang="en-US"><i>tudes</i></span><span lang="en-US"><span style="font-style: normal;">,
which were riveting. Arnicane has soft hands that never lose their
finesse even in the most demanding passages, which made for an
exceptionally </span></span><span lang="cs-CZ"><span style="font-style: normal;">fluid
performance and a </span></span><span lang="en-US"><span style="font-style: normal;">clear
but rousing finale</span></span><span lang="cs-CZ"><span style="font-style: normal;">.
</span></span><span lang="en-US"><span style="font-style: normal;">Though
her sound lacks seasoning, her playing comes straight from the heart,
a quality reflected in her choice of a second encore – Satie’s
familiar </span></span><span lang="en-US"><i>Gymnop</i></span><span lang="cs-CZ"><i>é</i></span><span lang="en-US"><i>die
No. 1</i></span><span lang="en-US"><span style="font-style: normal;">,
a technically simple but emotionally satisfying finish.</span></span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; font-style: normal; margin-bottom: 0in;">
<span style="font-size: medium;">In
all, a smart and sensitive performance from a very promising young
artist. Remember the name Arta Arnicane. You did not hear it here
first, but you will definitely be hearing it again.</span></div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; font-style: normal; margin-bottom: 0in;">
<br /></div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; font-style: normal; margin-bottom: 0in;">
<br /></div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; font-style: normal; margin-bottom: 0in;">
<span style="font-size: medium;"><span style="font-size: small;">Photos: Andsnes & Arnicane, Zdeněk Chrapek; Blechacz, Ivan Malý</span> </span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>Frank Kuznikhttp://www.blogger.com/profile/13597407162523382674noreply@blogger.com0tag:blogger.com,1999:blog-6162994352462898883.post-63791760053540329592012-05-27T14:17:00.000+02:002012-05-27T14:17:27.531+02:00PREVIEW: ARTA ARNICANE<div style="font-family: Georgia,"Times New Roman",serif;">
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>Prague
Conservatory</b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>May
28</b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3-SzWoQ5wTI6S9lEmJ66ytEwciHFCC-0Q6EE7lEn9hCdX8ev2u5vcszu1LJZhx4rUB2Bk1ehymS27VX-j0jd5GWdw14AujQ3AjSGS19sZC5hFHV6lepX_y-7B1w_r66lirQb1IYD6OeNm/s1600/Arnicane.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3-SzWoQ5wTI6S9lEmJ66ytEwciHFCC-0Q6EE7lEn9hCdX8ev2u5vcszu1LJZhx4rUB2Bk1ehymS27VX-j0jd5GWdw14AujQ3AjSGS19sZC5hFHV6lepX_y-7B1w_r66lirQb1IYD6OeNm/s400/Arnicane.jpg" width="335" /></a></td></tr>
<tr style="font-family: Georgia,"Times New Roman",serif;"><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">After last year's award, a return engagement. </span></b></td></tr>
</tbody></table>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span style="font-size: x-large;">W</span>hen
she completes her master’s degree in Music Pedagogy at Zürich’s
University of the Arts next month, Latvian pianist Arta Arnicane will
already have five major competition awards to her credit. She took
top prizes at the Animato-Stiftung competition in Switzerland, 1<sup>st</sup>
Sussex International Piano Competition in the UK, Baltic
International Piano Competition in Poland and Premio Iturbi in Spain
– all in 2010 – and last year won the piano competition at Prague
Spring. Already in demand as both a concert soloist and chamber music
performer, Arnicane was invited back to Prague Spring this year to
play a solo recital. Herewith, her thoughts on the awards, her career
and playing in Prague.</span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>How
did you come to be a pianist? Was it something you always aspired to
as you were growing up?</b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;">I
started playing the piano at the age of four. My mother, Nora Luse,
was my first teacher. Both of my parents are musicians and of course
that influenced my choice of profession. And I always wanted to
compose, although I have never had enough time to devote myself to
composition. But for sure I could never imagine my life without
music!</span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>You
won four international competitions in 2010. Was there something
special about that time for you?</b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;">I
wish I could offer an amazing story behind my achievements, but the
truth is rather simple. It took some time for me to get to this
moment of success – a journey of searching and doubts, of course. I
suppose passion and patience is all it takes, as well as
self-confidence and a bit of luck.</span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>What
was your experience like in the Prague Spring competition last year,
and how did you feel when you won?</b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;">Winning
the 2011 Prague Spring competition certainly was a very special
moment. I had heard of the competition ever since I was a little
girl, as my father was awarded Second Prize (with no First Prize
given) twice in this prestigious competition for bassoon: 1974 and
1977. As I was playing at the Rudolfinum, I was thinking of him
playing there about 30 years ago. I was very excited with all the
additional prizes I was awarded at the competition, but the very most
important prizes for me are the concert engagements!</span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>What
are your feelings about coming back to the festival as a performer
this year?</b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;">Being
back with concerts is exactly what makes me happy, so I am looking
forward to the recital very much. Besides, the city of Prague is very
beautiful and inspiring, I wish I could visit more often.</span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>What
direction do you hope to take your career, and what types of music or
composers would you like to explore?</b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;">I
am completely devoted to music and performance and would like to fill
my life with it entirely. I hope to have more chances to play chamber
music, and many opportunities to perform with an orchestra my
favorite repertoire: piano concertos by W.A. Mozart. But there is an
incredible amount of music to learn, and the world is changing, with
new and interesting ideas regarding performances developing. So I
rather look forward to having more time not only to perform music,
but also create or take part in new and interesting projects.</span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>What
will you play at your Prague Spring recital?</b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;">Beethoven’s
<i>Piano Sonata, Opus 10
No. 3</i> and the full
version of Schumann’s <i>Symphonic
Etudes</i>, with my own
interpretation of the order of additional variations. This enigmatic
piece is fascinating, especially because of this almost compositional
task. I look forward very much to presenting my concept to the
festival audience.</span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>What
do you hope the Prague Spring audience will take away from your
performance?</b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;">I
always try to find beauty in all aspects of programming and
interpretation, and then hand it over to the audience. I wish that
people would experience something special at my concerts, like a
magic journey, and leave with a heart full of positive emotions.</span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>For
more on Arta Arnicane:</b>
<a href="http://www.artaarnicane.com/">www.artaarnicane.com</a></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>Frank Kuznikhttp://www.blogger.com/profile/13597407162523382674noreply@blogger.com0tag:blogger.com,1999:blog-6162994352462898883.post-30897520982523616192012-05-24T12:35:00.000+02:002012-05-25T10:47:00.590+02:00THE RAKE'S PROGRESS<div style="font-family: Georgia,"Times New Roman",serif;">
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>National
Theater</b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>May
22</b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfzQhoSSpxyduwlPx7g_2iGMHke5vsrQiKWy-mGFOq66kBsM3BsabDRNXZte9HBI3oNoWTsaIL3XU7lzJl8YsFv_32pIcN1W2QChAxTqKwGAZ_oZQmT6kahiaJuiJF-skm9VnqZjr-PVz1/s1600/RAKE1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="322" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfzQhoSSpxyduwlPx7g_2iGMHke5vsrQiKWy-mGFOq66kBsM3BsabDRNXZte9HBI3oNoWTsaIL3XU7lzJl8YsFv_32pIcN1W2QChAxTqKwGAZ_oZQmT6kahiaJuiJF-skm9VnqZjr-PVz1/s400/RAKE1.jpg" width="400" /></a></td></tr>
<tr style="font-family: Georgia,"Times New Roman",serif;"><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">Happiness is a miracle machine and a stifled wife.</span></b></td></tr>
</tbody></table>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span style="font-size: x-large;">I</span>t
was déjà
vu all over again on Tuesday night, when the Moravian-Silesian
Theaterʼs production of Stravinskyʼs <i>The Rakeʼs Progress</i>
brought some familiar faces back to the National Theater.
Joining the cast for bows after the performance were director <span lang="cs-CZ">Jiří
Nekvasil and set designer Daniel Dvořák, </span><span lang="en-US">a
formidable team at the Prague State Opera and National Theater a
decade ago. The enthusiastic applause suggested they havenʼt lost
their touch.</span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;">In
theory, the story of a man who casts aside a gorgeous fiancee and
promising career for a life of debauchery that ends in an insane
asylum is not grist for a lively comedy. But with tongue-in-cheek
humor and increasingly outrageous sets, props and costumes, Nekvasil
and his team created a witty, refreshingly modern version of the
Faust tale. Broad acting, great timing and a brisk rendition of
Stravinskyʼs surprisingly traditional score give it strong appeal
without sacrificing any intelligence or depth.</span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;">The
production opens in straightforward fashion – with the title
character, Tom Rakewell (Jorge Garza), and his betrothed, Anne
Trulove (<span lang="cs-CZ">Jana Šrejma Kačirková</span><span lang="en-US">)
professing their love around a model house and yard mounted on a
swaying platform. The promise of domestic bliss turns out to be just
as shaky when Nick Shadow (Ulf Paulsen), the devil in disguise,
enters from the loge at stage left and persuades Tom to run off with
him to the bright lights of London. The main light turns out be a
flashing electronic message board offering lurid enticements of
money, business and entertainment, echoed in a scarlet-themed brothel
where Tom quickly succumbs to the pleasures of the flesh.</span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US">Anne
comes searching for him in virginal white, but by then Tom is clothed
in kingly gold and trailed by a decadent entourage carrying his new
bride – Baba the Turk (Yvona </span><span lang="cs-CZ">Škvárová</span><span lang="en-US">),
an improbably large, bearded woman. He</span><span lang="cs-CZ">
sends Anne awa</span><span lang="en-US">y, stops his hairy wifeʼs
nagging by putting a large cardboard box over her head, and turns his
attention to Nickʼs newest gimmick, a preposterous machine that can
supposedly transform rocks into bread. Investing in it drives Tom
into bankruptcy, and the message board mockingly flashes BANKROT as
his estate is auctioned off, then counts down the final seconds as
the devil prepares to drag him into the steaming pit of hell.</span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><span style="font-size: x-large;">N</span>ekvasil
takes full advantage of the opera</span><span lang="en-US">ʼs comic
opportunities. Tom and Babaʼs domestic hell is portrayed like a TV
sitcom, with </span><span lang="cs-CZ">Škvárová</span><span lang="en-US">
throwing a temper tantrum and fuming in fractured musical phrases.
The miracle machine looks like a cross between a clothes washer and
an industrial vacuum cleaner, painted in cheap gold. Still, the key
to comedy is timing, and Nekvasil is a master at moving his
characters around with stage with fluidity and precision. A pregnant
pause and salacious “Well?” from Nick after offering another
temptation to Tom was enough to draw giggles from the audience.</span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US">Garza
is a solid tenor but with limited emotional range; his character only
took on urgency in the final act. Paulsenʼs smooth bass-baritone and
oily, leering manner were note-perfect for the devil. </span><span lang="cs-CZ">Šrejma
Kačirková </span><span lang="en-US">was a beauty with brains,
singing with heartbreaking tenderness as she watched her man slip
away. And </span><span lang="cs-CZ">Škvárová </span><span lang="en-US">nearly
stole the show in her brief turn as the demented bearded lady. The
only weak showing was by the chorus, which stumbled through some of
its choreography and served up mostly tepid vocals</span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US">Musically,
the most striking thing about </span><span lang="en-US"><i>Rake</i></span><span lang="en-US">
is how conventional it is. With standard arias, recitatives and
choral numbers, it hardly sounds like an opera written in 1951, much
less by Igor Stravinsky. But there are clear and classic Stravinsky
elements, particularly in the woodwinds, which conductor Jakub
Klecker did a fine job of drawing out in a spirited, nuanced
performance in the pit.</span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US">Intentionally
or not, this production references some well-known works. The
climactic confrontation with the devil would fit neatly in </span><span lang="en-US"><i>Don
Giovanni</i></span><span lang="en-US">, and the final scene in the
insane asylum called to mind the closing moments of Milo</span><span lang="cs-CZ">š
Forman</span><span lang="en-US">ʼs </span><span lang="en-US"><i>Amadeus</i></span><span lang="en-US">.
While those are good company to be in, Nekvasilʼs </span><span lang="en-US"><i>Rake</i></span><span lang="en-US">
stands on its own as a fresh and amusing take on an age-old story.
The veterans, it seems, can still deliver.</span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><b>For
more on The Rakeʼs Progress (in Czech): </b><a href="http://www.ndm.cz/cz/opera/predstaveni/327-zivot-prostopasnika/2012-05-25/2967/">http://www.ndm.cz/cz/opera/predstaveni/327-zivot-prostopasnika/2012-05-25/2967/</a></span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
Photo: Martin Popelář</div>Frank Kuznikhttp://www.blogger.com/profile/13597407162523382674noreply@blogger.com0tag:blogger.com,1999:blog-6162994352462898883.post-17447623856740018462012-05-22T10:57:00.000+02:002012-05-22T11:02:24.655+02:00THE BEETHOVEN PROJECT<div style="font-family: Georgia,"Times New Roman",serif;">
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>Rudolfinum</b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>May
22 & 23</b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxY-X6dBVpfBCz-YtRAaIk8VywnjCY9PVVWuUBWtzKJMadcyVugBIBW0EvY60QI4Kvfz4xNopbObi2yys5BVKt1-yvcauHFJeCzJ2Y2U0gj-qpNUsd3LhCQubjGqazLe7diM9sqPjtpfzb/s1600/ANDSNES4.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxY-X6dBVpfBCz-YtRAaIk8VywnjCY9PVVWuUBWtzKJMadcyVugBIBW0EvY60QI4Kvfz4xNopbObi2yys5BVKt1-yvcauHFJeCzJ2Y2U0gj-qpNUsd3LhCQubjGqazLe7diM9sqPjtpfzb/s400/ANDSNES4.jpg" width="400" /></a></td></tr>
<tr style="font-family: Georgia,"Times New Roman",serif;"><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">Andsnes, left and Richter laying out their big plans.</span></b></td></tr>
</tbody></table>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span style="font-size: x-large;">N</span>orwegian
pianist Leif Ove Andsnes’s concerts with the Mahler Chamber
Orchestra this week mark more than his return to Prague Spring after
a 20-year absence. They are the beginning of an ambitious three-year
effort to tour and record a complete set of Beethoven’s five piano
concertos. By 2014, Andsnes plans to have the five concertos on three
Sony Classical discs, and 70-plus concerts scheduled to present them
to the world.</span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;">The
project, which started with performances in Norway, Italy and Germany
earlier this month, holds special significance for Prague. For one
thing, <i>Concerto No. 1</i> may have premiered here in 1798. “We
are still trying to find out,” Andsnes said at a Monday press
conference with MCO General Manager Andreas Richter. “It might have
been Vienna.”</span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;">More
importantly for contemporary audiences, all the recordings will be
made at the Rudolfinum, starting Tuesday night. Asked about that
decision at the press conference – particularly given the choice of
so many other spectacular concert halls – Andsnes shrugged and made
it sound simple. “We discussed all the very best places we could
think of,” he said. “And we decided this was the best.”</span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;">Certainly
there’s no arguing with the Rudolfinum’s excellent acoustics. But
Andsnes also has a personal connection to Prague – his first piano
teacher, Ji<span lang="cs-CZ">ří Hlinka, who </span><span lang="en-US">trained
here and </span><span lang="cs-CZ">moved to Norwa</span><span lang="en-US">y
in the early 1970s, becoming an instructor at the Musikkonservatorium
in Bergen. Andsnes studied with him for eight years, the first before
he was even enrolled in the conservatory, and had to make a
three-hour commute to see Hlinka.</span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
“<span style="font-size: medium;"><span lang="en-US">I
was a rather shy boy from the west coast of Norway, and I needed to
meet someone who was passionate about the music,” Andsnes said.
“Ji</span><span lang="cs-CZ">ří</span><span lang="en-US"> was
extremely inspirational. I learned many things from him, including
Czech music. Jan</span><span lang="cs-CZ">áček </span><span lang="en-US">is
still one of my favorite composers.”</span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US">As
for Beethoven, Andsnes speaks of him with almost religious devotion.</span><span lang="cs-CZ">
</span><span lang="en-US">He came to the composer as a child,
fascinated by what he called “the power of his music, the violence
of it.” Now, at the age of 42, Beethoven has deeper meanings for
him.</span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
“<span style="font-size: medium;"><span lang="en-US">The
last four or five years, I’ve come to feel his music is not just
radical and modern, but spiritual and meaningful,” Andsnes said.
“Beethoven had such a belief in the beauty and power of music –
he hoped it would change the world and bring people together. The
idea of brotherhood is a strong motivating factor in his music.”</span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><span style="font-size: x-large;">F</span>or
this project, just getting it right will pose a challenge. In his
performances this week, Andsnes will not only play concertos </span><span lang="en-US"><i>No.
1</i></span><span lang="en-US"> and </span><span lang="en-US"><i>No.
3</i></span><span lang="en-US">, but conduct them from the keyboard.
At the press conference, he was quick to downplay that part of his
role.</span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
“<span style="font-size: medium;"><span lang="en-US">I
can only do that because this is such a fantastic orchestra,” he
said. “You need incredible players to do it. I will be partly
leading, partly conducting, but partly they will be playing by
themselves.”</span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;">Andsnes
also seemed eager to convince his audience that conducting is not a
gimmick.</span> “<span style="font-size: medium;"><span lang="en-US">It
will be very different from the normal soloist situation, where
you’re sitting away from the orchestra,” he explained. “I will
sitting in the middle of the musicians, playing a piano with no lid
so that I can see everyone. There’s an element of dialogue in the
first three concertos, and this will allow us to react to each other
directly, musician to musician.</span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
“<span style="font-size: medium;"><span lang="en-US">It’s
what I’ve always dreamed of – a collaboration. Discovering the
wealth in this amazing music is something we will do together.”</span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;">The
recording and tour dates for the project are carefully mapped out,
with more cities being added all the time. But exactly where the
Beethoven concertos will take Andsnes and the orchestra musically,
not even GM Andreas Richter can tell.</span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
“<span style="font-size: medium;"><span lang="en-US">We
are embarking on a journey,” he said at the press conference. “And
we’re not entirely sure what will happen.” </span></span>
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>For
more on:</b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><b>The
Prague Spring concerts:</b></span><span lang="en-US">
<a href="http://www.festival.cz/en/program_detail/54">http://www.festival.cz/en/program_detail/54</a></span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><b>Leif
Ove Andsnes:</b></span><span lang="en-US"> <a href="http://www.andsnes.com/">http://www.andsnes.com/</a></span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><b>Mahler
Chamber Orchestra:</b></span><span lang="en-US">
<a href="http://www.mahler-chamber.de/">http://www.mahler-chamber.de/</a></span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
Photo: Ivan Malý</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>Frank Kuznikhttp://www.blogger.com/profile/13597407162523382674noreply@blogger.com0tag:blogger.com,1999:blog-6162994352462898883.post-57212984698922685882012-05-20T14:30:00.000+02:002012-05-20T14:30:14.819+02:00WHO IS AFRAID OF 20TH CENTURY MUSIC?<div style="font-family: Georgia,"Times New Roman",serif;">
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>National
Technical Museum</b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>May
14</b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>St.
Agnes’ Convent</b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>May
16</b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>Obecn</b><span lang="cs-CZ"><b>í
dům</b></span></span></div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>May
18</b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;">
<br />
</div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMkzb-OktOAe635AEH_4-wOciySiS7qjYb3ix_zEnaA3oGMzfqLFZzE4XbVWyXhmGumlh7adil-Q9jYG7DTIkaMJp7CQlM9BzLVFGxaycPZ-23K8uLFoPMta3j_H7nuE5G5n34y-gRpgNz/s1600/PS12agon3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="252" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMkzb-OktOAe635AEH_4-wOciySiS7qjYb3ix_zEnaA3oGMzfqLFZzE4XbVWyXhmGumlh7adil-Q9jYG7DTIkaMJp7CQlM9BzLVFGxaycPZ-23K8uLFoPMta3j_H7nuE5G5n34y-gRpgNz/s400/PS12agon3.jpg" width="400" /></a></td></tr>
<tr style="font-family: Georgia,"Times New Roman",serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><b>Unorthodox instruments in Cage's <i>Water Walk</i>.</b></span></td></tr>
</tbody></table>
<div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span style="font-size: x-large;">C</span>ertainly
not Prague Spring. The grey lady, a ripe 67 this year, seemed like
the queen of contemporary music during the first week of the
festival, rolling out three programs of groundbreaking 20th-century
compositions and new works by Czech composers.</span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;">John
Cage was the featured artist in Monday night’s concert at the
Technical Museum, where the Agon Orchestra played amid giant steam
locomotives and antique cars and planes. Three of his pieces were
chosen more for show than sophistication: <i>Water Walk</i>, in which
the performer produces a series of liquid sounds (splashing a cymbal
in a bathtub, watering flowers) interspersed with piano glissandos
and noises from a rubber duck, electric mixer and other props; <i>Root
of an Unfocus</i>, an abstract piece for prepared piano; and
<i>Imaginary Landscape No. 4</i>, where instead of playing
instruments the musicians manipulate the volume and tuning of 12
radio receivers.</span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;">For
the uninitiated, the pieces were a dramatic, amusing and occasionally
baffling demonstration of how far Cage pushed the boundaries of
conventional music. Conductor Petr Kofro<span lang="cs-CZ">ň </span><span lang="en-US">and
his ensemble performed them with an impressive combination of
discipline and spontaneity. The band’s keyboard player, Michal
Nejtek, wrote an orchestral arrangement of another Cage piece for
prepared piano, </span><span lang="en-US"><i>And the Earth Shall Bear
Again</i></span><span lang="en-US">, that throbbed like a machine in
the industrial setting, and made for a particularly smart,
authoritative encore.</span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US">The
rest of the program was uneven. With players scattered throughout the
upper walkways, Brian Eno’s </span><span lang="en-US"><i>Discreet
Music</i></span><span lang="en-US"> never quite coalesced properly.
Nor did Frank Zappa’s </span><span lang="en-US"><i>Music for
Low-Budget Orchestra</i></span><span lang="en-US">, even with the
full ensemble onstage. David Lang’s insistent </span><span lang="en-US"><i>Pierced</i></span><span lang="en-US">
was better, with deep, hypnotic rhythms that resonated throughout the
exhibition hall. There were two world premieres –
</span><span lang="en-US"><span style="font-weight: normal;">Kofro</span></span><span lang="cs-CZ"><span style="font-weight: normal;">ň</span></span><span lang="en-US"><span style="font-weight: normal;">’s</span></span><span lang="en-US">
</span><span lang="en-US"><i>Imaginary Symphony</i></span><span lang="en-US">,
which called to mind the sophisticated jazz jams of Weather Report,
and Ivan Acher’s </span><span lang="en-US"><i>Iz iz am am d</i></span><span lang="cs-CZ"><i>ž
i ťing</i></span><span lang="cs-CZ">, </span><span lang="en-US">a
Cage knockoff that started with a ping-pong ball assault on the piano
strings and went downhill from there.</span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;">The
audience, a capacity crowd spilling from the walkways, seemed not to
know or care much about the quality of the music – which was fine.
The novelty of the venue made the concert a bonafide event, and the
big turnout convincingly demonstrated that modern music and
enthusiastic crowds are not always mutually exclusive.</span></div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
</div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXjIqZcBMlPWWduzPXA6AInk6g2oSS5iQsY2XsYlIsSQj6lnCS_1bw3ZMaVC6yFXp8ngsth8T-sAd1cX1lP5EjuFf2W1Ttj2JF4S_EwSTWF5g_RFjGYrffPkxDD9YHMEcRd-_InI2vZVO0/s1600/PS12kopelent1.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXjIqZcBMlPWWduzPXA6AInk6g2oSS5iQsY2XsYlIsSQj6lnCS_1bw3ZMaVC6yFXp8ngsth8T-sAd1cX1lP5EjuFf2W1Ttj2JF4S_EwSTWF5g_RFjGYrffPkxDD9YHMEcRd-_InI2vZVO0/s320/PS12kopelent1.jpg" width="191" /></a></td></tr>
<tr style="font-family: Georgia,"Times New Roman",serif;"><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">Composer Kopelent.</span></b></td></tr>
</tbody></table>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><span style="font-size: x-large;">R</span>eal
modern music aficionados were at St. Agnes’ Convent two nights
later for a tribute to Marek Kopelent, the influential contemporary
Czech composer whose work was banned by the communists. A refined
program offered a retrospective of Kopelent’s career that included
three string quartets, a duet for flute and vibraphone, several
interludes for solo oboe and </span><span lang="en-US"><i>Agnus Dei</i></span><span lang="en-US">,
a sacred cantata for soprano and chamber group. The music was
revolutionary when it was written (largely 1963 through 1983), and
still has a sharp avant-garde edge, particularly in the hands of
expert players. The Fama Quartet, which performs Kopelent’s work
regularly throughout the year, was exquisite, rendering the string
quartets in fine detail. Oboist Vil</span><span lang="cs-CZ">ém
Veverka </span><span lang="en-US">spun haunting lines and blew
himself red in the face on the energetic </span><span lang="en-US"><i>London
Spring Greeting</i></span><span lang="en-US">. And while the chamber
ensemble for </span><span lang="en-US"><i>Agnus Dei</i></span><span lang="en-US">
was only adequate, soprano Irena Troupov</span><span lang="cs-CZ">á
</span><span lang="en-US">was superb, delivering the text
with passionate intensity.</span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;">The
presentation was equally impressive. At Kopelent’s request, the
pieces were performed as a continuous work, flowing into each other
except for the break at intermission. The effect was mesmerizing,
especially with Veverka playing two of his three pieces unseen, from
adjacent rooms where the sound floated evocatively into the concert
hall. In all, it was a classy and heartfelt homage to a man who well
deserves it.</span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQtPjiR4pT8tc3BMYHyZX6HAeuuM3RfYztOo3Rqob19rRjyqnUxQWZ5yFTMpTRf9nYXApEj2jwjIXb2vLMQmV1UccYE5KAdSZnuoh19Lelub63YfprDwGk-0ZiNWuk6rQadiE_IRH6LoMx/s1600/PS12metzmacher2.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="264" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQtPjiR4pT8tc3BMYHyZX6HAeuuM3RfYztOo3Rqob19rRjyqnUxQWZ5yFTMpTRf9nYXApEj2jwjIXb2vLMQmV1UccYE5KAdSZnuoh19Lelub63YfprDwGk-0ZiNWuk6rQadiE_IRH6LoMx/s320/PS12metzmacher2.jpg" width="320" /></a></td></tr>
<tr style="font-family: Georgia,"Times New Roman",serif;"><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">Modern maestro Metzmacher.</span></b></td></tr>
</tbody></table>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><span style="font-size: x-large;">T</span>he
title of this review is taken from a CD of the same name compiled by
Ingo Metzmacher, a German conductor who has built his career on the
20th-century repertoire. Conducting the Czech Philharmonic at Obecn</span><span lang="cs-CZ">í
dům on Friday night, </span><span lang="en-US">Metzmacher showed
what works by </span><span lang="cs-CZ">Janáček, Bart</span><span lang="cs-CZ">ó</span><span lang="cs-CZ">k
and Sch</span><span lang="cs-CZ">ö</span><span lang="cs-CZ">nberg
can become in skilled hands </span><span lang="en-US">– powerful,
compelling narratives with deep psychological undercurrents manifest
in carefully nuanced layers and sudden, almost violent explosions of
sound.</span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US">Metzmacher
gave the driving internal dynamics of </span><span lang="cs-CZ">Janáček</span><span lang="en-US">’s
</span><span lang="en-US"><i>Jealousy</i></span><span lang="en-US"> a
silken gloss. His reading of </span><span lang="cs-CZ">Bart</span><span lang="cs-CZ">ó</span><span lang="cs-CZ">k</span><span lang="en-US">’s
</span><span lang="en-US"><i>The Miraculous Mandarin</i></span><span lang="en-US">
– the entire ballet, not just the concert suite – was masterful,
richly detailed and wildly expressive, yet perfectly balanced between
delicate solos and full orchestral outbursts. And for all its
brashness, </span><span lang="cs-CZ">Sch</span><span lang="cs-CZ">ö</span><span lang="cs-CZ">nberg</span><span lang="en-US">’s
</span><span lang="en-US"><i>Pelleas und Melisande</i></span><span lang="en-US">
was a study in subtlety, ebbing and flowing in shimmering waves, with
vivid colors and bright, burnished tones signaling the last of the
composer’s conventional works.</span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;">In
theory, the Czech Philharmonic shouldn’t be able to play this kind
of music. But with Metzmacher at the podium the orchestra was
brilliant, performing outside its standard repertoire with eloquence,
intelligence and warmth. Conducting without a baton,
Metzmacher had fingertip control of the sound, which was emphatic but
clean, never harsh or cold. Even by Prague Spring standards, it was an outstanding pairing of a world-class orchestra with a conductor who
has complete mastery of complex material – and the perfect cap to a
refreshingly modern opening week.</span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
Photos: Agon & Metzmacher, Ivan Malý; Kopelent, Zdeněk Chrapek<br />
</div>Frank Kuznikhttp://www.blogger.com/profile/13597407162523382674noreply@blogger.com0tag:blogger.com,1999:blog-6162994352462898883.post-59189732336644746232012-05-18T14:47:00.000+02:002012-05-18T14:47:07.988+02:00PREVIEW: INGO METZMACHER<div style="font-family: Georgia,"Times New Roman",serif;">
</div>
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWFO8AIdJ3s8zXlHC2dwgpzSTLaWvUeCDjMf4eoRKoD69CZcFZ_lUDIjbuNMOVMsjsaQ_4WjgZBa_Kw39e9hCUMG4RANYwQ86ubIK7N5zFEmjEkLkdD-Ut4dWzyO3mHFsM0VSOSVEVSS2v/s1600/Metzmacher1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWFO8AIdJ3s8zXlHC2dwgpzSTLaWvUeCDjMf4eoRKoD69CZcFZ_lUDIjbuNMOVMsjsaQ_4WjgZBa_Kw39e9hCUMG4RANYwQ86ubIK7N5zFEmjEkLkdD-Ut4dWzyO3mHFsM0VSOSVEVSS2v/s400/Metzmacher1.jpg" width="400" /></a></td></tr>
<tr style="font-family: Georgia,"Times New Roman",serif;"><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">An iconoclast who worries about being normal.</span></b></td></tr>
</tbody></table>
<br />
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span style="font-size: x-large;">F</span>rom
the earliest days of his career, German conductor Ingo Metzmacher has
been a champion of modern music. As music director of the Hamburg
State Opera, he made it a staple of the programming, even producing a
recording of selections from New Year’s Eve concerts titled “Who’s
Afraid of 20th-Century Music?” Metzmacher has left his mark in
Frankfurt, Amsterdam, Berlin, Zurich and Salzburg with productions of
modern operas such as <i>The Rake’s Progress</i>, <i>From the House
of the Dead</i>, <i>Lady Macbeth of Mtsensk</i> and Wolfgang Rihm’s
<i>Dionysos</i>. For Prague Spring, he will be conducting a
challenging program with the Czech Philharmonic: <span lang="en-US">Janáček’s</span><span lang="cs-CZ">
</span><span lang="cs-CZ"><i>Jealous</i></span><span lang="en-US"><i>y</i></span><span lang="cs-CZ">,
</span><span lang="en-US">Bart</span><span lang="en-US">ó</span><span lang="en-US">k’s
</span><span lang="en-US"><i>The Miraculous Mandarin</i></span><span lang="en-US">
and Sch</span><span lang="en-US">ö</span><span lang="en-US">nberg’s
</span><span lang="en-US"><i>Pelleas und Melisande</i></span><span lang="en-US">.
Herewith, his thoughts on the program and the art and practice of
modern music.</span></span></div>
<br />
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b><span lang="en-US">How
and when did you become interested in modern music?</span></b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US">My
father was a cellist and he loved Romantic music, so I grew up with
chamber music from Bach to Reger. When I decided to go into music, I
needed something for myself. I was lucky to meet some people who
introduced me to modern music, and I was fascinated. The history of
modern music is the history of liberation from certain sounds and
harmonies, the so-called “nice sounds.” I like that very much,
because it’s what I was looking for – liberation for myself.</span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b><span lang="en-US">Is
it difficult being an advocate for an art form that’s not always
well-received?</span></b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US">I
like this idea. I don’t mind having resistance sometimes, because
it’s nice to convince people of something you believe in. It’s
actually a great process. I’m very suspicious of myself if I become
too conformist. I don’t like the mainstream, I want to walk a bit
on the wild side.</span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b><span lang="en-US">How
did you put together the program for your Prague Spring concert?</span></b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US">Well,
it started with </span><span lang="en-US"><i>Pelleas und Melisande</i></span><span lang="en-US">,
which I did with the Czech Philharmonic two years ago. But the idea
was to create what I call this magic triangle. Because I think the
music from Bohemia and Moravia, and from Hungary and Romania, and
Vienna, where it all came together with the German influence – this
is really the heart of music in Europe. I mean, this is where most of
the energy came from, for centuries. So it’s no wonder that this
area produced these three enormous figures – Jan</span><span lang="cs-CZ">áček,
Bart</span><span lang="cs-CZ">ó</span><span lang="cs-CZ">k
and Sch</span><span lang="cs-CZ">ö</span><span lang="cs-CZ">nberg
</span><span lang="en-US">– and I’m really happy to put them
together in one program.</span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b><span lang="en-US">What
is it that makes this part of the world special?</span></b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><span style="font-weight: normal;">It’s
because of the different cultures which mingled, and also the very
strong folk music element. I’m thinking even of Brahms coming from
Hamburg, where you have mainly Telemann and Bach. Brahms came to
Vienna, and he went most probably to a pub, and heard gypsies
playing, and he thought, “Oh, that’s great, I’m going to write
some Hungarian dances.” There was this melting pot of very lively
musical traditions – from the people, not only the composers.</span></span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b><span lang="en-US">Is
that still true?</span></b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><span style="font-weight: normal;">I
think that’s one of the troubles of late 20th-century music –
composers completely cut the roots to so-called popular music. It
never happened before, this is the first time. And it’s not good,
it doesn’t work. Even Beethoven and Mozart were picking up tunes
from the street, like Charles Ives did. So I think there was
something wrong when popular music and so-called serious music went
apart. I don’t know why it happened, but it’s a pity.</span></span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b><span lang="en-US">The
pieces on your Prague Spring program all have powerful psychological
undercurrents. Do you try to bring that out in the music?</span></b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><span style="font-weight: normal;">Of
course. What interests me for example is this effect of playing on
the bridge – the so-called </span></span><span lang="en-US"><i><span style="font-weight: normal;">ponticello</span></i></span><span lang="en-US"><span style="font-weight: normal;">
– which for strings means that you play the pitch, but by going
near the bridge you underline the overtone spectrum. So you hear more
of the inner world of the pitch; it’s like you go into the psyche
of the sound. It makes people uneasy to hear </span></span><span lang="en-US"><i><span style="font-weight: normal;">ponticello</span></i></span><span lang="en-US"><span style="font-weight: normal;">,
which is very often used for mysterious moments, anxious moments,
fright. It’s used a great deal by both Bart</span></span><span lang="en-US"><span style="font-weight: normal;">ó</span></span><span lang="en-US"><span style="font-weight: normal;">k
and Sch</span></span><span lang="en-US"><span style="font-weight: normal;">ö</span></span><span lang="en-US"><span style="font-weight: normal;">nberg
in their pieces, and I always love to emphasize it.</span></span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b><span lang="en-US">How
has it been working with the Czech Philharmonic?</span></b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><span style="font-weight: normal;">I
think it’s a unique orchestra, because it’s the only orchestra in
the world whose name is really right. There are only Czech people
playing in the Czech Philharmonic. All the other orchestras are now
globalized. Even the Vienna Philharmonic has I think an Australian
trombone player. But the Czech Philharmonic has a very special sound
which you don’t find anymore in the world. It’s very local, very
rooted in this city and country, with a very clear tradition of Czech
music-making.</span></span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b><span lang="en-US">And
how does that manifest itself?</span></b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><span style="font-weight: normal;">It
was astonishing for me when the orchestra played Jan</span></span><span lang="cs-CZ"><span style="font-weight: normal;">áč</span></span><span lang="en-US"><span style="font-weight: normal;">ek
in rehearsal. It sounded right immediately, from the start. We have a
concert in Dresden on Sunday where we’re going to do the Dvo</span></span><span lang="cs-CZ"><span style="font-weight: normal;">řák
piano concerto, </span></span><span lang="en-US"><span style="font-weight: normal;">and
I’m very curious to hear how they will play it – because that’s
their daily food, so to speak. I don’t know if I can tell them
anything about how to play it; rather, I will learn from them,
because they know how to do it. Which is actually great, to encounter
this kind of tradition.</span></span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b><span lang="en-US">What
accounts for that facility?</span></b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><span style="font-weight: normal;">It’s
in the genes, most probably, because the music is from here, and they
feel it, and there’s kind of an undercurrent – they just know.
This orchestra doesn’t play much Jan</span></span><span lang="cs-CZ"><span style="font-weight: normal;">áček,
</span></span><span lang="en-US"><span style="font-weight: normal;">they’re</span></span><span lang="cs-CZ"><span style="font-weight: normal;">
not an opera </span></span><span lang="en-US"><span style="font-weight: normal;">orchestra.
But they feel it immediately; it’s close to their hearts. It’s
like when I hear Bach or Brahms, I feel immediately it’s very close
to me. It has to do with the culture, the food, the weather, the
language – everything.</span></span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b><span lang="en-US">What
do you hope the audience will get from your Prague Spring
performance?</span></b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><span style="font-weight: normal;">An
adventure. It’s a special event to hear these three pieces
performed together, and I think we will create some excitement.</span></span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><span style="font-weight: normal;">For
more about Ingo Metzmacher: <a href="http://www.ingometzmacher.com/">www.ingometzmacher.com</a></span></span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
Photo: Anja Frers<br />
</div>Frank Kuznikhttp://www.blogger.com/profile/13597407162523382674noreply@blogger.com0tag:blogger.com,1999:blog-6162994352462898883.post-39666315034401868852012-05-08T18:39:00.000+02:002012-05-09T10:15:03.903+02:00A STUDY IN STYLES<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>Rudolfinum</b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>May
4</b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>May
6</b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: x-large;">“</span><span style="font-size: medium;"><span style="font-size: x-large;">W</span>hen
you go to hear an orchestra, what you<span style="font-weight: normal;">’</span>re
really going to hear is that night<span style="font-weight: normal;">’</span>s
conductor.”</span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;">The
worldly Canadian conductor Kerry Stratton once passed on that bit of
wisdom to this critic, and nearly every concert proves him right. The
strengths, weaknesses, styles and predilections that each conductor
brings to the podium are cast in particularly high relief in Prague,
a city with five working orchestras and a nonstop parade of local and
visiting maestros. Two recent appearances offered instructive
contrasts from the East.</span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="text-align: left;">
</div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi26EwztEq-x-UK12C0viwC0C71ano-H1PEIiaRfjOZUgO9j717FlYP06drhfSkjAFODU_h21GoC_rzavWDy8KGHchmDmK3eDYJXSIj6oKN0NdZ_0jCsOt21elvmK3kKlc6ERpzFiwPbPpo/s1600/28.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi26EwztEq-x-UK12C0viwC0C71ano-H1PEIiaRfjOZUgO9j717FlYP06drhfSkjAFODU_h21GoC_rzavWDy8KGHchmDmK3eDYJXSIj6oKN0NdZ_0jCsOt21elvmK3kKlc6ERpzFiwPbPpo/s320/28.jpg" width="221" /></a></td></tr>
<tr style="font-family: Georgia,"Times New Roman",serif;"><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">Surprisingly lackluster</span></b></td></tr>
</tbody></table>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;">On
Friday night, Japanese conductor Kazushi Ono led the Czech
Philharmonic in a program of <span lang="cs-CZ">Dvořák and
</span><span lang="en-US">Rimsky-Korsakov. It’s a bit of a misnomer
to characterize Ono as Japanese. Though he was born and trained in
Tokyo, much of his work has been in the West, with orchestras and
opera houses in the UK, Germany, Belgium and France, where he is
currently Principal Conductor of the Op</span><span lang="cs-CZ">éra
</span><span lang="en-US">de Lyon. He is especially noted for his
work on operas by a wide range of composers – Stravinsky, Strauss,
Shostakovich and Wagner, including a complete “Ring” cycle –
and world premieres of new operas.</span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US">Unfortunately,
not much of that expertise was in evidence at his Prague appearance.
The opening piece, </span><span lang="cs-CZ">Dvořák</span><span lang="en-US">’s
symphonic poem </span><span lang="en-US"><i>The Water Sprite</i></span><span lang="en-US">,
was notably flat and uninspired. Its dramatic contrasts remained
one-dimensional throughout, never developing any color or flair. And
some of the notes were so labored as to sound almost atonal. The
second selection, Rimsky-Korsakov’s </span><span lang="en-US"><i>Fairy
Tale, Op. 29</i></span><span lang="en-US"><span style="font-style: normal;">,
picked up some dynamics and interesting tones in the strings and
brass, though nowhere near what the piece offers in drama, verve and
flat-out thrills. It was a credible reading, but largely lackluster.</span></span></span></div>
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<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><i>Scheherezade</i></span><span lang="en-US"><span style="font-style: normal;">
sounded better in the second half, thanks mostly to some fine work by
first violinist Irena Herajnov</span></span><span lang="cs-CZ"><span style="font-style: normal;">á
</span></span><span lang="en-US"><span style="font-style: normal;">and
harpist Barbara Pazourov</span></span><span lang="cs-CZ"><span style="font-style: normal;">á.
</span></span><span lang="en-US"><span style="font-style: normal;">Rimsky-Korsakov’s
Arabian fantasy is so inherently rich and colorful, and his
instrumentation so fascinating to watch, that it’s hard </span></span><span lang="en-US"><i>not</i></span><span lang="en-US"><span style="font-style: normal;">
to do a crowd-pleasing performance. This one was ragged around the
edges, more lively and engaging than the first half, but certainly
not the caliber one expects of the Czech Philharmonic.</span></span></span></div>
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<br /></div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; font-style: normal; margin-bottom: 0in;">
<span style="font-size: medium;">Since
a number of the orchestra’s front-line players were not performing
on Friday, it’s tempting to say that Ono did the best he could with
the Czech Philharmonic B team. But that didn’t seem to be the
problem. By the end of the evening, the impression Ono gave was of a
man trying to drive a Cadillac who is used to being behind the wheel
of a Buick.</span></div>
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<br /></div>
<div style="text-align: right;">
</div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEa_ewyCuV39fiyWHhfNdNxTOyZwbtRvi9a4k_BlVVRTOzzBliiEQEnyekboB3cB2qWPHQd02pCXjqN_xmN4OVQfThpIrVY4Sin9YgeMWBgOkAkd2Y3FF2nGsJGRsjECO1Hd0dzrellwn4/s1600/SPIVAKOV2.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEa_ewyCuV39fiyWHhfNdNxTOyZwbtRvi9a4k_BlVVRTOzzBliiEQEnyekboB3cB2qWPHQd02pCXjqN_xmN4OVQfThpIrVY4Sin9YgeMWBgOkAkd2Y3FF2nGsJGRsjECO1Hd0dzrellwn4/s320/SPIVAKOV2.jpg" width="223" /></a></td></tr>
<tr style="font-family: Georgia,"Times New Roman",serif;"><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">Impeccable elegance </span></b></td></tr>
</tbody></table>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; font-style: normal; margin-bottom: 0in;">
<span style="font-size: medium;"><span style="font-size: x-large;">O</span>n
the same podium two nights later, Russian conductor and violinist
Vladimir Spivakov gave exactly the opposite impression – of a
musician with a strong, distinctive voice that comes through clearly
even when he’s leading a relatively junior ensemble like the Prague
Philharmonia. Currently Music Director and Principal Conductor of the
National Philharmonic of Russia and the Moscow Virtuosi chamber
orchestra, which he co-founded in 1979, Spivakov has also been a
noted violin soloist for nearly 40 years, playing with major
orchestras on stages from Cleveland to Vienna. His many other
distinctions are too numerous to list here, though it’s worth
noting that Spivakov is a celebrated humanitarian off the stage,
working chiefly through an eponymous international charity that he
established in 1994.</span></div>
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<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><span style="font-style: normal;">The
two Mozart pieces that comprised the first half of Sunday’s concert
– the overture to</span></span><span lang="en-US"><i> La clemenza
di Tito</i></span><span lang="en-US"><span style="font-style: normal;">,
and the </span></span><span lang="en-US"><i>Violin Concerto No. 2</i></span><span lang="en-US"><span style="font-style: normal;">
– were stately, measured affairs, very different from the typically
bright, even sprightly interpretations usually heard in Central
Europe. Dusky in tone and more cerebral than one normally expects
from Mozart, both works had a smooth elegance, mirroring Spivakov’s
motions at the podium, which were technically impeccable and
remarkably fluid.</span></span></span></div>
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<br /></div>
<div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; font-style: normal; margin-bottom: 0in;">
<span style="font-size: medium;">As
for the question of how one conducts a chamber orchestra and plays a
Mozart violin solo at the same time, the answer in Spivakov’s case
is, very well. He almost made it look easy, playing with a sweet,
soulful sound that gave away nothing in intelligence while
maintaining lush accompaniment with occasional turns and gestures to
the orchestra. Even the visual aesthetics were pleasing, with
Spivakov playing in the classic posture, tall and upright with his
shoulders back, right foot slightly forward as he stepped into the
more intricate passages. After he finished, even the musicians behind
him were applauding.</span></div>
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<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><span style="font-style: normal;">If
there was not much new in Beethoven’s </span></span><span lang="en-US"><i>Symphony
No. 7</i></span><span lang="en-US"><span style="font-style: normal;">
in the second half, there were nonetheless some impressive elements:
deep internal dynamics on the order of a large symphony orchestra,
lustrous woodwinds, finely articulated strings and a masterful tempo
that only got away in the final movement. There was an unstated bit
of humor in the finale, as Spivakov seemed to be challenging the
players to keep up with the sudden accelerated pace. Not everyone
could, but the overall effect was invigorating.</span></span></span></div>
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<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><span style="font-style: normal;">All
of which was a good warm-up for Prague Spring, which starts on
Saturday with another Russian, Vasily Petrenko, conducting the Czech
Philharmonic in the traditional opening performance of Smetana’s </span></span><span lang="en-US"><i>M</i></span><span lang="cs-CZ"><i>á</i></span><span lang="en-US"><i>
vlast</i></span><span lang="en-US"><span style="font-style: normal;">.
Conductors from seven other countries will follow, offering more
lessons in Stratton’s maxim and a world of great music.</span></span></span></div>
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<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><span style="font-style: normal;"><b>For
more on Kazushi Ono:</b></span></span><span lang="en-US"><span style="font-style: normal;">
<a href="http://www.icartists.co.uk/artists/kazushi-ono">http://www.icartists.co.uk/artists/kazushi-ono</a></span></span></span></div>
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<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><span style="font-style: normal;"><b>For
more on Vladimir Spivakov:</b></span></span><span lang="en-US"><span style="font-style: normal;">
<a href="http://www.vladimirspivakov.com/">www.vladimirspivakov.com</a></span></span></span></div>
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<br /></div>
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<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
Photos: Ono by Martin Divišek; Spivakov by Valery Plotnikov</div>Frank Kuznikhttp://www.blogger.com/profile/13597407162523382674noreply@blogger.com0tag:blogger.com,1999:blog-6162994352462898883.post-43592692310965684572012-04-30T20:43:00.000+02:002012-04-30T20:43:03.306+02:00THE SPECTRE’S BRIDE<div style="font-family: Georgia,"Times New Roman",serif;">
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>Prague
Castle</b></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><b>April
25</b></span></div>
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<br />
</div>
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<br />
</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS53TAWsUS5dJCyyc_GZEnhq_qIUUz2t6oOfuy_xzyZUQLbu9ekNrw14XNxGAQkYDnoI07dXRRLX9LAdn1IZZxuADO8IFT4xwej0AH4-ub6dEh7gQzLYmeBxR1S0rEbSjpTPi6P6wtX4LY/s1600/Castle+.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS53TAWsUS5dJCyyc_GZEnhq_qIUUz2t6oOfuy_xzyZUQLbu9ekNrw14XNxGAQkYDnoI07dXRRLX9LAdn1IZZxuADO8IFT4xwej0AH4-ub6dEh7gQzLYmeBxR1S0rEbSjpTPi6P6wtX4LY/s400/Castle+.jpg" width="400" /></a></td></tr>
<tr style="font-family: Georgia,"Times New Roman",serif;"><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">Challenging dynamics in a resplendent setting. </span></b></td></tr>
</tbody></table>
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<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span style="font-size: x-large;">B</span>efore
a single note was played at the Castle on Wednesday night, an
interesting sound experiment was in the offing. Chairs for the Prague
Philharmonia orchestra and Prague Philharmonic Choir were set up on
the floor of Spanish Hall rather than a stage. This didn’t do much
to help sight lines – for anyone more than a few rows back, the
orchestra was largely invisible – but it promised a fresh approach
to overcoming the hall<span style="font-weight: normal;">’</span>s
notoriously bad acoustics.</span></div>
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<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;">There
was only one piece on the bill: Dvo<span lang="cs-CZ">řák</span><span lang="cs-CZ"><span style="font-weight: normal;">’</span></span><span lang="en-US">s
</span><span lang="en-US"><i>Spectre</i></span><span lang="en-US"><i><span style="font-weight: normal;">’s
Bride</span></i></span><span lang="en-US"><span style="font-weight: normal;">,
an 1884 cantata for orchestra, choir and three soloists – in this
case, soprano M</span></span><span lang="cs-CZ"><span style="font-weight: normal;">ária
Porubčinová, tenor Ladislav Elgr and baritone Ivan </span></span><span lang="en-US"><span style="font-weight: normal;">Kusnjer.
Using text by Czech folklorist and poet Karel Jaromir Erben, the work
recounts the Slavic legend of the abandoned maiden whose lover
returns for her from beyond the grave in dramatic, colorful detail.</span></span></span></div>
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<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><span style="font-weight: normal;">Tom</span></span><span lang="cs-CZ"><span style="font-weight: normal;">áš
Netop</span></span><span lang="en-US"><span style="font-weight: normal;">il,
music director of the National Theater Orchestra and one of the
country’s finest young conductors, was a perfect choice to lead the
performance. He has a native feel for the Czech repertoire and a fine
touch balancing the nuances and interplay of vocals and orchestra.</span></span></span></div>
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<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><span style="font-weight: normal;"><span style="font-size: x-large;">D</span>aylight
was just starting to pale in the high, elegant windows as Netopil
launched into the piece with characteristic energy, quickly
establishing Wagnerian dimensions for a musical narrative that veers
from soft, tender laments by the soprano to wild explosions of Gothic
horror. He drew a powerful, authoritative sound from the versatile
Philharmonia without sacrificing any of the fine elements in the
piece – sweet woodwinds, crisp horns, rippling strings, which in
the solos and section passages offered some of the most enchanting
music of the evening.</span></span></span></div>
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<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><span style="font-weight: normal;">Standing
behind the orchestra on risers backed up against the wall, the chorus
was just as strong, thundering through the increasingly turbulent
score with surprising precision and clarity – surprising, that is,
given the space. Even a chorus of voices can’t hold together in
Spanish Hall, where the sound breaks up by the time it’s reached
the last rows of seats. But with the wall as a baffle, and more
grounding than a stage affords, it had unusual integrity, giving the
choral passages the kind of bite one normally hears only at Prague’s
better chamber music venues.</span></span></span></div>
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<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><span style="font-weight: normal;">Soloists,
whatever their talent, are not so lucky. While the aesthetics of
Spanish Hall are stunning, singing there is like yelling into a big
tin can. </span></span><span lang="cs-CZ"><span style="font-weight: normal;">Porubčinová
compensated for that with a powerful delivery that carried and held
up nicely, but sacrificed shadings for volume. Elgr was not very
strong in his exchanges with Porubčinová, and </span></span><span lang="en-US"><span style="font-weight: normal;">in
his solo parts </span></span><span lang="cs-CZ"><span style="font-weight: normal;">was
occasionally drowned out by the orchestra. Kusnjer fared the best,</span></span><span lang="en-US"><span style="font-weight: normal;">
partly because he had the best voice and partly because a baritone
seems to be the best timbre for the space. His narratives with the
chorus were riveting, an irresistible surge of sound, like an ocean
tide.</span></span></span></div>
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<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><span style="font-weight: normal;"><span style="font-size: x-large;">A</span>s
daylight faded to pink, pale gray and finally slipped into twilight,
the room darkened and the performance grew more dramatic, with just a
few tasteful spotlights focused on the orchestra and singers, and the
music growing more urgent and compelling. As </span></span><span lang="cs-CZ"><span style="font-weight: normal;">Porubčinová
offered her final prayers, the </span></span><span lang="en-US"><span style="font-weight: normal;">sound
took on a radiant glow – not unusual for one of Netopil’s outings
at the National Theater, but a rare accomplishment at the
Castle. He brought the piece to a calm, soothing finish, bringing in
the final choral and orchestral notes as gently as a cat’s paw.</span></span></span></div>
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<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><span style="font-weight: normal;">In
all, a superb evening: A seldom-performed Dvo</span></span><span lang="cs-CZ"><span style="font-weight: normal;">řák
piece in a regal setting, </span></span><span lang="en-US"><span style="font-weight: normal;">led
by a sharp conductor who knows how to blend fire and ice, and get the
most out of his ensemble and singers. And a sound experiment that
turned out to be a success. No one will ever mistake Spanish Hall for
the Rudolfinum, but the Prague Philharmonia orchestra and organizers
showed that with some care and intelligence, serious music can work
there.</span></span></span></div>
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<br />
</div>
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<br />
</div>
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<br />
</div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><b>For
a panoramic look at Spanish Hall (including chubby tourists):</b></span><span lang="en-US"><span style="font-weight: normal;">
<a href="http://www.360cities.net/image/the-spanish-hall-prague#-241.72,-6.41,70.0">http://www.360cities.net/image/the-spanish-hall-prague#-241.72,-6.41,70.0</a></span></span></span></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<br /></div>
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<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><span style="font-weight: normal;"><span style="font-size: small;">Photo courtesy of the Prague Philharmonia</span></span></span></span></div>
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<br /></div>
<div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">
<span style="font-size: medium;"><span lang="en-US"><span style="font-weight: normal;">
</span></span></span>
</div>
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<br />
</div>Frank Kuznikhttp://www.blogger.com/profile/13597407162523382674noreply@blogger.com0tag:blogger.com,1999:blog-6162994352462898883.post-16634856095083711132012-04-18T13:27:00.001+02:002012-04-19T09:29:49.496+02:00CONTEMPORARY CRAFTSMEN<div style="font-family: Georgia,"Times New Roman",serif;"></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><b>Prague Conservatory</b></span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><b>April 17</b></span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><b>Emauzy Monastery</b></span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><b>April 12</b></span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-size: x-large;">G</span>reat to see Hubert Ho in town for a performance of his latest piece, <i>The Garden of Forking Paths</i>, at the conservatory on Tuesday night. Ho, an American Fulbright scholar who studied in Prague in 2006 with the dean of contemporary Czech composers, Marek Kopelent, is now a lecturer and composer at Northeastern University in Boston. Also an accomplished pianist, Ho creates work grounded in a strong sense of form that brims with fresh sounds and ideas.</span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
</div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqXwPhpRsR2jbI0InrQpIURpxz50rLsQv2H3sS6DYRjRttSQ15z6lGxND3FZAFKnnw4sYDqcgb-cY2yMvRv_q5tXmOiR8jSzYGwHoa7zGPvwbJ5_wKxy_GiYBaoGP4tm9mn4G0slJQ0VTd/s1600/HUBERT1.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqXwPhpRsR2jbI0InrQpIURpxz50rLsQv2H3sS6DYRjRttSQ15z6lGxND3FZAFKnnw4sYDqcgb-cY2yMvRv_q5tXmOiR8jSzYGwHoa7zGPvwbJ5_wKxy_GiYBaoGP4tm9mn4G0slJQ0VTd/s320/HUBERT1.jpg" width="248" /></a></td></tr>
<tr style="font-family: Georgia,"Times New Roman",serif;"><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">Fresh ideas from America.</span></b></td></tr>
</tbody></table><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><i>Forking Paths</i> was an audacious sonic romp, starting with a sustained cello bottom cut by a series of syncopated blasts from the strings and French horn that turned into a cascade of unpredictable sounds. The music ran up and down contorted scales, turned inside out, spun around and generally went through more dynamics than a nine-piece chamber ensemble should be able to produce. Most impressive was how it developed and held a strong internal integrity, despite the wild variations in tone, timing and timbre. As Czech composer Martin Marek noted after the performance, “It had shape.”</span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;">The remainder of the program, a collection of new pieces based on the work of Argentine author Jorge Luis Borges, was less successful. Dutch composer Matijs de Roo got the evening off to a rousing start with <i>Imaginary Beings</i>, an inventive pairing of a string quartet with an amplified acoustic guitar. The string passages were smart and sharp, incorporating a range of styles and techniques, and guitarist Ivan Bore<span lang="cs-CZ">š </span><span lang="en-US">lent a rock ’n’ roll flavor to the opening licks and fills.</span></span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><span lang="en-US">Diego Soifer’s </span><span lang="en-US"><i>Youwarkee</i></span><span lang="en-US"> was a pleasant surprise, a lyrical confection for solo flute dressed up with modern playing techniques. Bo</span><span lang="cs-CZ">ško Milakovi</span><span lang="cs-CZ">ć</span><span lang="en-US">’s </span><span lang="en-US"><i>A Bao A Qu</i></span><span lang="en-US">, a piano trio, unfolded in three disjointed movements that never quite jelled into a cohesive whole. Elia Koussa</span></span><span style="font-size: medium;"><span lang="en-US">’s version of </span></span><span style="font-size: medium;"><span lang="en-US"><i>A Bao A Qu</i></span><span lang="en-US"> was like a sound bellows for seven instruments, starting with low rumblings rising to wheezing moans and odd sonorities that relied mostly on the players changing seats for variety. <i>Chinese Whispers</i>, a piece by Mika Pelo</span><span lang="en-US"> for a nine-piece chamber ensemble, floated some interesting woodwind and string combinations, but never developed any legs.</span></span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><span lang="en-US">The performances, however, were uniformly good. Prague Modern’s rotating cast of players was particularly strong for this concert, featuring standouts such as flutist Daniel Havel, cellist Petr Nouzovsk</span><span lang="cs-CZ">ý, </span><span lang="en-US">double bass player Ond</span><span lang="cs-CZ">řej Melecký and clarinet player Jan Brabec.</span></span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><span lang="en-US"><span style="font-size: x-large;">M</span>eleck</span><span lang="cs-CZ">ý </span><span lang="en-US">is also active in Konvergence, a lesser-known Prague modern music ensemble that has been running an exchange program with like-minded groups in Austria and Germany. That series concluded last week with a performance by Berlin</span><span lang="en-US"><span style="font-weight: normal;">’</span></span><span lang="en-US">s Ensemble Adapter in the Gothic gloom of Emauzy Monastery.</span></span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUn5fRqOGifn7DIkyRRENDlWsehBdlkIfobwRzZAlzCgF8QSwkD9vV7QTmB_mzd1U2h36BB2Bcp_DE9FXW8ARrU7LmKMjy1iH_SP9x6RbPfo_r1YcwRuJECP0bJrcDVMgubTxfIqRCW-a_/s1600/DSCF8731credsm2.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUn5fRqOGifn7DIkyRRENDlWsehBdlkIfobwRzZAlzCgF8QSwkD9vV7QTmB_mzd1U2h36BB2Bcp_DE9FXW8ARrU7LmKMjy1iH_SP9x6RbPfo_r1YcwRuJECP0bJrcDVMgubTxfIqRCW-a_/s320/DSCF8731credsm2.jpg" width="240" /></a></td></tr>
<tr style="font-family: Georgia,"Times New Roman",serif;"><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">Outstanding Adapters.</span></b></td></tr>
</tbody></table><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><span lang="en-US">Illness reduced the visiting troupe to three players, who nonetheless showed fine technique on a selection of challenging pieces that included a strong nod to Czech composers. Flutist Kristjana Helgad</span><span lang="en-US">ó</span><span lang="en-US">ttir and percussionist Matthias Engler, playing vibes, opened with a sophisticated treatment of Marek Kopelent’s </span><span lang="en-US"><i>Canto Intimo</i></span><span lang="en-US">, a minimalist tone poem that juxtaposes sharp flute lines with warm vibe tones. Helgad</span><span lang="en-US">ó</span><span lang="en-US">ttir followed that with a precise but playful rendering of Miroslav Srnka’s </span><span lang="en-US"><i>A Prima Mad</i></span><span lang="en-US"> for solo flute, which utilizes audible breaths as part of the composition. It’s a witty piece that demands a careful balance of serious concentration and light-hearted humor, which Helgad</span><span lang="en-US">ó</span><span lang="en-US">ttir handled with aplomb.</span></span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><span lang="en-US">Clarinet player Ing</span><span lang="cs-CZ">ó</span><span lang="cs-CZ">lfur Vilhjálmsson </span><span lang="en-US">joined Helgad</span><span lang="en-US">ó</span><span lang="en-US">ttir for Sergej Newski’s </span><span lang="en-US"><i>Glissade</i></span><span lang="en-US">, another study in contrasts. Their tones were spot-on, though the piece itself never develops any real excitement. </span><span lang="cs-CZ">Vilhjálmsson </span><span lang="en-US">did a superb job with Karlheinz Stockhausen’s </span><span lang="en-US"><i>In Freundschaft</i></span><span lang="en-US"> for solo clarinet, which like many of the composer’s pieces demands a physical performance – turning this way, then that way, throwing phrases forward, left and right, even twirling around. </span><span lang="cs-CZ">Vilhjálmsson </span><span lang="en-US">played it with intelligence and skill, finding subtle sound variations in what can otherwise seem like a silly exercise. And Helgad</span><span lang="en-US">ó</span><span lang="en-US">ttir and Engler wrapped the program with a brisk treatment of Richard Barrett’s </span><span lang="en-US"><i>Inward</i></span><span lang="en-US">, a lively percussive exchange.</span></span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><span lang="en-US">In all, a great week for modern music fans and a reminder that some of the most interesting music in Prague is to be found in small, overlooked venues – befitting a city that even in the 21</span><sup><span lang="en-US">st</span></sup><span lang="en-US"> century, still keeps its secrets.</span></span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
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</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><span lang="en-US"><b>For more on Hubert Ho:</b></span><span lang="en-US"> <a href="http://www.music.neu.edu/faculty-staff/entire-list/hubert-ho/">http://www.music.neu.edu/faculty-staff/entire-list/hubert-ho/</a></span></span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><span lang="en-US"><b>For more on Ensemble Adapter:</b></span><span lang="en-US"> <a href="http://www.ensemble-adapter.de/">http://www.ensemble-adapter.de/</a></span></span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
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</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">Ensemble Adapter photo courtesy of Ondřej Melecký.</div>Frank Kuznikhttp://www.blogger.com/profile/13597407162523382674noreply@blogger.com0tag:blogger.com,1999:blog-6162994352462898883.post-88922872848148352712012-04-13T10:24:00.001+02:002012-04-13T10:28:50.481+02:00PRAGUE WRITERSʼ FESTIVAL<div style="font-family: Georgia,"Times New Roman",serif;"></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><b>National Theater New Stage</b></span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><b>April 15 - 18</b></span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
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<tr style="font-family: Georgia,"Times New Roman",serif;"><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">Witty banter at last year's festival with</span></b><br />
<b><span style="font-size: small;"> Werner Lambersy, Nedim Gursel and Michel Deguy.</span></b></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"></td><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;"><br />
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</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-size: x-large;">A</span> break from the music scene this week to take note of Pragueʼs premier literary event, the Prague Writers<span style="font-style: normal;">ʼ</span> Festival, which opens on Sunday night. This year<span style="font-style: normal;">ʼs theme, “Only the future exists,” raises some provocative social and political questions, with readings and discussions focused on the future of Islam, America and the Czech Republic. And PWF President Michael March has cast those conversations in apocalyptic terms.</span></span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">“<span style="font-size: medium;"><span style="font-style: normal;">The future is being taken away as all the social institutions put in place after World War II are being deconstructed,” he says. “Instead of people feeling positive about the future, thereʼs a tremendous sense of fear and dissatisfaction that has to be explored. Thatʼs the work of poets and novelists.”</span></span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-style: normal;">Now in its 22</span><sup><span style="font-style: normal;">nd</span></sup><span style="font-style: normal;"> year, </span> the festival has always been a wide-ranging event, in both content and form. Topical themes and writers who come from all over the world – this year, India, China, Egypt, Spain, the Netherlands, Norway, Turkey, Portugal, Great Britain, the United States and the Czech Republic – generate a lively array of ideas and opinions. And the audience is part of the process, as fans get to meet and talk to the authors at social functions before and after readings and panel discussions. It<span style="font-style: normal;">ʼ</span>s a highbrow intellectual gathering without the usual pretense of such affairs, a down-to-earth encounter with big names and universal concerns.</span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;">This year<span style="font-style: normal;">ʼs festival has branched out into a number of multimedia events. There are film screenings at the Municipal Library (Saturday at 4:00 & 6:00), a tea ceremony at the New Stage preceding a discussion with Chinese poet Duo Duo (Tuesday at 7:00), and a jazz and poetry night at Prague Crossroads featuring American poet Jerome Rothenberg, Norwegian poet Jan Erik Vold and a jazz trio (Tuesday at 7:00). </span></span> </div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-style: normal;">There should be plenty of verbal fireworks at the discussions. Rothenberg will be joined by Indian novelist Anita Desai and Turkish essayist G</span><span style="font-style: normal;">ü</span><span style="font-style: normal;">nd</span><span style="font-style: normal;">ü</span><span style="font-style: normal;">z Vassaf for a consideration of Americaʼs future at the American Center (Wednesday at 5:00). </span><span lang="cs-CZ"><span style="font-style: normal;">And three high</span></span><span lang="en-US"><span style="font-style: normal;">ly opinionated authors will wrestle with the future of Islam at the New Stage (Tuesday at 6:00): Egyptian novelist Hamdy El-Gazzar, an eyewitness to the events on Tahrir Square; Spanish exile Juan Goytisolo, who has lived for the past 25 years in Marrakesh; and British playwright and screenwriter Hanif Kureishi, whose ethnic roots are in Pakistan. </span></span></span> </div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">“<span style="font-size: medium;"><span lang="en-US"><span style="font-style: normal;">Kureishi was appalled by Islamic fundamentalism when he visited Pakistan,” March says with a mischievous grin. “We already have 10 ambassadors signed up to attend that discussion.”</span></span></span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
</div><div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; font-style: normal; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-size: x-large;">T</span>he political overtones of the festival reflect Marchʼs approach to literature as a living entity rather than something bound in hardcover or locked in an e-reader. He deliberately seeks out authors who have delved into current events and social issues – dissidents, exiles, provocateurs – and encourages them to speak their minds. </span> </div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">“<span style="font-size: medium;"><span lang="en-US"><span style="font-style: normal;">We ask the authors to talk from their own experiences,” he says. “Thatʼs what they bring to the festival – ideas and a vision formed by personal experience that can serve as a guide for the rest of us. They donʼt come to Prague to promote their books and sign contracts. They come to share their experiences, meet their peers, spend a few days absorbing the local culture and take what theyʼve learned back with them.”</span></span></span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><span lang="en-US"><span style="font-style: normal;">Which is not to say that PWF eschews the normal trappings of a literary festival. There are plenty of authorsʼ books on sale, along with book signings after all the readings. Many of the readings and discussions are in English, and those that are not offer simultaneous translation in English and Czech. Best of all, generous funding from the city and private sponsors keeps prices low – except for opening night, no more than 150 K</span></span><span lang="cs-CZ"><span style="font-style: normal;">č </span></span><span lang="en-US"><span style="font-style: normal;">for most events, even less for students. And almost all the afternoon events are free.</span></span></span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;">An international event of this caliber is rare in Prague, a city blessed with stunning architecture and a rich music culture, but too often handicapped by a notorious narrow-mindedness. It<span style="font-style: normal;">ʼs a tribute to March and his team that theyʼve been able to keep the festival not just alive, but flourishing as an annual gathering of first-rate thinkers and stimulating ideas. Open your mind, broaden your horizons and join the conversation. </span></span> </div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
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</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><b>For a complete program:</b> <a href="http://www.pwf.cz/rubriky/pwf-2012/program/">http://www.pwf.cz/rubriky/pwf-2012/program/</a></span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
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</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">Photo courtesy of the Prague Writers' Festival</div>Frank Kuznikhttp://www.blogger.com/profile/13597407162523382674noreply@blogger.com0tag:blogger.com,1999:blog-6162994352462898883.post-24509530167107580522012-04-04T12:59:00.000+02:002012-04-04T12:59:52.285+02:00LANG LANG<div style="font-family: Georgia,"Times New Roman",serif;"> </div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><b>Prague Castle</b></span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><b>March 31</b></span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkQUqx2VnHE0X3-8I7pwzhvZ7xj4Rj0DERcbxc6yZxzBKhJUaN5yhypPcMx38LimKzDItip9jc1VqXG21KZOpz_UXyZAOzjjbm3jFCPlNbIxJYrqhBU6NaM7-mCQ3uWV_SNvRKaglxXcGT/s1600/458C9585.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkQUqx2VnHE0X3-8I7pwzhvZ7xj4Rj0DERcbxc6yZxzBKhJUaN5yhypPcMx38LimKzDItip9jc1VqXG21KZOpz_UXyZAOzjjbm3jFCPlNbIxJYrqhBU6NaM7-mCQ3uWV_SNvRKaglxXcGT/s400/458C9585.JPG" width="400" /></a></td></tr>
<tr style="font-family: Georgia,"Times New Roman",serif;"><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">A seductive star in an elegant setting.</span></b></td></tr>
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</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-weight: normal;"><span style="font-size: x-large;">T</span>he hype preceding Lang Lang</span><span lang="en-US"><span style="font-weight: normal;">ʼ</span></span><span style="font-weight: normal;">s performance at a gala concert on Saturday was such that one had to wonder: Does he have the chops to back it up?</span></span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;"><span style="font-size: medium;">The answer is a qualified yes. Lang Lang is a gifted player, one of those rare musicians who has so completely mastered his instrument and the music that virtuoso skills are more a foundation than a peak, freeing him to develop a distinctive voice and soaring levels of expression. Even the word “interpretation” falls short of describing his ability to color, caress, burnish and otherwise shape a piece into something uniquely his own.</span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-weight: normal;">Stylistically, Lang Lang </span><span style="font-style: normal;"><span style="font-weight: normal;">feels</span></span><span style="font-weight: normal;"> the music more than plays it. He rarely glances at the keyboard, eyes closed </span><span lang="en-US"><span style="font-weight: normal;">much of the time as he sways with the melodies and caps the final notes of a movement with a delicate, raised hand or dramatic sweep of his arm. In his best moments Lang Lang seems to </span></span><span lang="en-US"><i><span style="font-weight: normal;">become</span></i></span><span lang="en-US"><span style="font-weight: normal;"> what heʼs playing, the music flowing through him just as it does through the keys and strings.</span></span></span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><span lang="en-US"><span style="font-weight: normal;">Of course, you can get away with this sort of thing when youʼre playing J.S. Bach, Schubert and Chopin – or Chopin </span></span><span lang="cs-CZ"><span style="font-weight: normal;">études</span></span><span lang="en-US"><span style="font-weight: normal;">, anyway. Lang Langʼs discography encompasses a more challenging repertoire, and certainly there is no arguing with his technical proficiency. A few </span></span><span lang="en-US"><span style="font-weight: normal;">presto</span></span><span lang="en-US"><span style="font-weight: normal;"> passages during Bachʼs </span></span><span lang="en-US"><i><span style="font-weight: normal;">Partita No. 1</span></i></span><span lang="en-US"><span style="font-weight: normal;"> and the </span></span><span lang="cs-CZ"><span style="font-weight: normal;">études </span></span><span lang="en-US"><span style="font-weight: normal;">were enough to demonstrate his remarkable dexterity. Still, this is a far cry from, say, Boris Giltburg giving a recital of four difficult pieces by Prokofiev, Rachmaninov, Schumann and Listz, or Nikolai Lugansky playing Listzʼs </span></span><span lang="en-US"><i><span style="font-weight: normal;">Years of Pilgrimage</span></i></span><span lang="en-US"><span style="font-weight: normal;"> and </span></span><span lang="en-US"><i><span style="font-weight: normal;">Transcendental </span></i></span><span lang="cs-CZ"><i><span style="font-weight: normal;">É</span></i></span><span lang="en-US"><i><span style="font-weight: normal;">tudes</span></i></span><span lang="en-US"><span style="font-weight: normal;">. </span></span></span> </div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwLBNfVfUP_N9FQ9eq6_t9NZrayz1LhiBsUNpukDC3IKL7HGLQ5MSl985ukn2VrNiPf6vk7djq5f8UBwLc0G2XF1w3zk9km-yfpy29CGMAZRo7_m07qAQpxhSLNlqhjov1S75PhD3vQoi1/s1600/458C9613.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwLBNfVfUP_N9FQ9eq6_t9NZrayz1LhiBsUNpukDC3IKL7HGLQ5MSl985ukn2VrNiPf6vk7djq5f8UBwLc0G2XF1w3zk9km-yfpy29CGMAZRo7_m07qAQpxhSLNlqhjov1S75PhD3vQoi1/s400/458C9613.JPG" width="217" /></a><span style="font-size: medium;"><span style="font-weight: normal;">But the program is not where Lang Langʼs appeal lies. His star power is in his ability to emotionally connect with his audience, which cuts across genres, composers, even national and cultural boundaries. Whether heʼs playing Chopin or a traditional Chinese song, Lang Lang approaches the music with a gentle touch and great sensitivity, imbuing it with a seductive quality that holds his listeners spellbound. Then thereʼs the persona – </span><span lang="en-US"><span style="font-weight: normal;">spiked hair, boyish good looks and a disarming grin that had half the women in the crowd swooning before he played a single note.</span></span></span></div><div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><span lang="en-US"><span style="font-size: x-large;">W</span>hile there are more authoritative interpretations of Bachʼs </span><span lang="en-US"><i>Partita No. 1</i></span><span lang="en-US">, Lang Lang displayed impressive versatility in giving each of the six movements a different flavor. He opened with a straightforward “Preludium,” added some tasty spices to a blazingly fast “Allemande” and “Courante,” and finished with a fancy flourish in the “Gigue.” What serves as a classic warm-up piece for most pianists became a mini-showcase in Lang Langʼs hands, an intelligent and imaginative display of his skills.</span></span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><span lang="en-US">His legato style – often, there are not even breaks between movements – was perfectly suited to Schubertʼs </span><span lang="en-US"><i>Sonata in B flat major</i></span><span lang="en-US">. Lang Lang gave it a graceful quality, playing every note like ripples on water, offering gentle variations in color and tone. Even in the heavier passages, there was barely a hint of a harsh note. He has such soft hands that the music floats from the piano like snowflakes.</span></span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><span lang="en-US">Surprisingly, he seemed least comfortable with the Chopin </span><span lang="cs-CZ">é</span><span lang="en-US">tudes. Aside from some painterly brush strokes in the contemplative passages, it was a workmanlike reading, notable mostly for Lang Langʼs distinctive rhythm and phrasing. Staring off into space as he varied the tempos from excruciatingly slow to dazzlingly quick, he seemed to be taking direction from some divine conductor.</span></span></div><div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><span lang="en-US">Leaping to their feet as the final echoes of Chopin were still reverberating throughout the hall, the crowd called Lang Lang back for three encores. Two were Liszt pieces that were obviously more familiar ground, played with liquid elegance. But the most interesting was a Chinese song, </span><span lang="en-US"><i>The Moon Chased by a Colorful Cloud</i></span><span lang="en-US">, that was a delightful amalgam of Eastern music played in a Western style.</span></span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><span lang="en-US">If there were any hesitant hearts left in the audience, he won them over by stepping into the audience after being given a large bouquet of flowers and presenting them to the honoree of the evening, Czech opera singer Ludmila </span><span lang="cs-CZ">Dvořáková. </span><span lang="en-US">Whatever else one may think of Lang Lang, heʼs a class act.</span></span></div><div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;"><br />
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</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><span lang="en-US"><b>Videos and much more about Lang Lang at:</b></span><span lang="en-US"><span style="font-weight: normal;"> <a href="http://www.langlang.com/">http://www.langlang.com/</a></span></span></span></div><div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;"><br />
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</div><div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;">Photographs courtesy of Dvořák's Prague<br />
</div>Frank Kuznikhttp://www.blogger.com/profile/13597407162523382674noreply@blogger.com0tag:blogger.com,1999:blog-6162994352462898883.post-39453376424011932872012-03-30T09:15:00.000+02:002012-03-30T09:15:08.316+02:00PREVIEW: THE REQUIEM PROJECT<div style="font-family: Georgia,"Times New Roman",serif;"> </div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><b>Rudolfinum</b></span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><b>April 1</b></span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9YVReVqoqB7VFAEiglyO9eP0XNDC2vmsBRpOUavux-PQJAJ5dnKDY6eNFPxr3hDGsI_eblFcwWz3WoCV0SElNaVPfmbKgKz29CSoUiAryqhS1uuVgGIYQVW3yi-OKOCs9DEAeQBDubcRM/s1600/%E5%86%99%E7%9C%9F.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9YVReVqoqB7VFAEiglyO9eP0XNDC2vmsBRpOUavux-PQJAJ5dnKDY6eNFPxr3hDGsI_eblFcwWz3WoCV0SElNaVPfmbKgKz29CSoUiAryqhS1uuVgGIYQVW3yi-OKOCs9DEAeQBDubcRM/s320/%E5%86%99%E7%9C%9F.JPG" width="320" /></a></td></tr>
<tr style="font-family: Georgia,"Times New Roman",serif;"><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">A composer on a humanitarian mission. </span></b></td></tr>
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</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-size: x-large;">J</span>apanese composer Susumu Ueda was not in his hometown of Kobe in January 1995, when the Great Hanshin earthquake erupted. But the event touched him deeply, and ultimately provided inspiration for a contemporary Requiem titled <i>Never Forget the Day and You</i>.</span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">“<span style="font-size: medium;">We lost 6,434 precious lives, and more than 50,000 people were injured,” says Ueda. “I composed this music as a memorial to those victims, and to give hope to the survivors.”</span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;">Prague audiences will have a chance to hear Uedaʼs Requiem at the Rudolfinum on Sunday, when he conducts a performance of it by the Prague Philharmonia. The orchestra will be accompanied by the Kühn Mixed Choir, along with two choirs and five soloists from Japan. In the first half of the concert, Koji Kawamoto, the chief conductor and music director of the Pilsen Philharmonic, will conduct pieces by J.S. Bach and Mozart.</span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;">Though it was inspired by the Kobe disaster, Uedaʼs Requiem quickly took on larger dimensions in disaster-plagued Japan. Since its premier in Kobe in 2010, the piece has been performed 15 times throughout the country. “The music has been spreading to other areas struck by natural disasters, even the site of the Great East Japan earthquake last year,” Ueda says.</span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;">Better-known in the West by the shorthand term “Fukushima,” that earthquake and the devastating tsunami it triggered created a wave of sympathy and support around the world, including Prague, where a number of charitable activities were held to help the victims. Sundayʼs concert is an acknowledgment and continuation of that effort.</span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijBNo4-bQN_3qgPvGcnyODyQLXobT7qhZtxmItg2HqvXTrlNlqXqv2OKNqvoKMM033QR35kT4OVqX1JFgokAlzPKWKL4yxogjRg_sIL80j0jXi_RffTJnjD9dgth0o-JV-WtOfxkyE1JEP/s1600/%E5%86%99%E7%9C%9F(1).JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijBNo4-bQN_3qgPvGcnyODyQLXobT7qhZtxmItg2HqvXTrlNlqXqv2OKNqvoKMM033QR35kT4OVqX1JFgokAlzPKWKL4yxogjRg_sIL80j0jXi_RffTJnjD9dgth0o-JV-WtOfxkyE1JEP/s320/%E5%86%99%E7%9C%9F(1).JPG" width="320" /></a></td></tr>
<tr style="font-family: Georgia,"Times New Roman",serif;"><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">A full slate of soloists from Japan. </span></b></td></tr>
</tbody></table><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">“<span style="font-size: medium;">As a Japanese, I am extremely appreciative and grateful that so many musicians in Prague gave benefit concerts after the earthquake,” Ueda says. “But a year later, many people at the site are still suffering. With prayers from the people in Prague, I would like to deliver a commemoration and offer encouragement to the people in Japan.”</span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-size: x-large;">U</span>eda arrived in Prague early to record <i>Never Forget the Day and You </i><span style="font-style: normal;">with the Philharmonia and the K</span><span style="font-style: normal;">ü</span><span style="font-style: normal;">hn and Japanese singers. </span>The work is in ten parts, with text in Latin. As in a classic Requiem, six sections of text were taken from the liturgy for a Catholic Mass. The other four sections are translations of original poems by Ueda, who kept the score relatively simple. “I used a very accessible music vocabulary for composing this piece,” he says.</span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;">With help from the Japanese government, Ueda is paying for the hall, the orchestra and the Kühn Choir himself. All the Japanese singers paid their own plane fare, and are performing for free, as is Kawamoto. Admission to the concert is also free. Donation boxes will be set up throughout the hall, with the proceeds going to disaster victims in Japan.</span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;">“<span style="font-size: medium;">I feel honored to deliver my Requiem with a wonderful orchestra and chorus,” Ueda says. “I hope many people will come to share our music.”</span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
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</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><b>Free tickets to the concert will be available at the Rudolfinum box office starting one hour before the performance. For more details on the program:</b></span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><a href="http://www.praguephilharmonia.com/en/by-date/requiem-project.html"><span style="font-size: medium;"><span style="font-weight: normal;">http://www.praguephilharmonia.com/en/by-date/requiem-project.html</span></span></a></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><b>To hear a sampling of the Requiem: </b><a href="http://www.youtube.com/watch?v=5NAziSZdaII"><span style="font-weight: normal;">http://www.youtube.com/watch?v=5NAziSZdaII</span></a></span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
</div>Frank Kuznikhttp://www.blogger.com/profile/13597407162523382674noreply@blogger.com0tag:blogger.com,1999:blog-6162994352462898883.post-73006064031061342672012-03-20T17:47:00.000+01:002012-03-20T17:47:47.353+01:00PREVIEW: STEVEN MERCURIO<div style="font-family: Georgia,"Times New Roman",serif;"> </div><div lang="cs-CZ" style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><b>Obecní dům</b></span></div><div lang="en-US" style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><b>March 21</b></span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiXVm18NtwD1n2TUTl81bWg8h5X3DGY7NKZLhBPdJhrdtPWT2ZNKCfTeegneiAQGU6yNGoIrwhRnjWcuDn0Ut7vb5e4eiPEUsfHRczMyvVdbsm8Lc9p5-DDhqNlGr0lUYwcoowNoef3H-X/s1600/mercurio+pr+shot+2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiXVm18NtwD1n2TUTl81bWg8h5X3DGY7NKZLhBPdJhrdtPWT2ZNKCfTeegneiAQGU6yNGoIrwhRnjWcuDn0Ut7vb5e4eiPEUsfHRczMyvVdbsm8Lc9p5-DDhqNlGr0lUYwcoowNoef3H-X/s400/mercurio+pr+shot+2.jpg" width="400" /></a></td></tr>
<tr style="font-family: Georgia,"Times New Roman",serif;"><td class="tr-caption" style="text-align: center;"><b><span style="font-size: small;">Mercurio bridges musical and national borders.</span></b></td></tr>
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</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><span style="font-weight: normal;"><span style="font-size: x-large;">T</span>he last time Prague concert-goers saw American composer and conductor Steven Mercurio, he was at O2 Arena, leading the Royal Philharmonic Concert Orchestra on Stingʼs “Symphonicities” tour. Presumably the audience will be a little different for his appearance this week with the Czech National Symphony Orchestra, conducting a program of Bernstein, Grof</span><span lang="cs-CZ"><span style="font-weight: normal;">é and Gershwin</span></span><span style="font-weight: normal;">. Reached at his New York studio before he left for Europe, Mercurio talked about the upcoming concert, working with European orchestras and the demands of being a rock ʼnʼ roll conductor.</span></span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
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</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><b>How did the concert with CNSO come about?</b></span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;"><span style="font-size: medium;">I did an Andrea Bocelli tour with the orchestra in Italy a few years ago. They were great to work with – people were saying, “Wow, this sounds just like an Italian orchestra!” So we decided to do another project together. Itʼs been a question of finding the right date and the right program.</span></div><div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><b>And how did you decide on the program?</b></span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;"><span style="font-size: medium;">The orchestra wanted an American program, and had a pianist<span lang="en-US"> [Marcel Javor</span><span lang="cs-CZ">ček</span><span lang="en-US">] to play </span><span lang="en-US"><i>Rhapsody in Blue.</i></span><span lang="en-US"><span style="font-style: normal;"> </span></span><span lang="en-US"><i>An American in Paris</i></span><span lang="en-US"><span style="font-style: normal;">, which Iʼve done in quite a few places, is a natural companion piece</span></span><span lang="en-US">. They also wanted something by Leonard Bernstein, who was one of my teachers, so weʼre doing his </span><span lang="en-US"><i>Candide</i></span><span lang="en-US"> overture. The last piece was the hard one to find, because we wanted to do something else typically American, but not so common. I suggested Ferde Grof</span><span lang="cs-CZ">é</span><span lang="en-US">ʼs </span><span lang="en-US"><i>Grand Canyon Suite</i></span><span lang="en-US">, a very lyrical, very pictoral piece that fits right into a tone poem type of program.</span></span></div><div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><b>Can European orchestras play American music?</b></span></div><div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;"><span style="font-size: medium;">Iʼll tell you what: If I can get a local Italian orchestra to play <i>American in Paris</i> the way itʼs supposed to go, then Iʼm sure weʼll do fine in Prague.</span></div><div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><b>Whatʼs your approach?</b></span></div><div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;"><span style="font-size: medium;">If I succeed at these concerts, itʼs because I am able to convince the musicians that their physical participation, their sense of wanting to play, is just as important as playing the right notes. These guys are all super players, their technical ability is more than high enough. But to put the music over, you have to enjoy it. So itʼs a question of encouraging them, and pushing them, and leading them into places where maybe they donʼt normally hang out.</span></div><div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><b>Do you find that orchestras vary from country to country?</b></span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;"><span style="font-size: medium;">Sure, every culture has its strengths and weaknesses. Italian orchestras, for example, are incredibly, incredibly expressive. But they can be sloppy, and not very tight. So you have to slow it down, take things apart, show them the inner workings and be very patient. An English orchestra, on the other hand, reads incredibly well. But between the first and second and third readings, thereʼs often not that much of a difference. So youʼve got to really work with them on expression: That was good, but now letʼs interpret the piece and say something with it, not just be happy with the fact that it was played well.</span></div><div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><b>And Czech orchestras?</b></span></div><div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;"><span style="font-size: medium;">They donʼt read as well as the Americans or British, but they give you a longer session, so you have the time to walk through a piece and explain certain things. Thatʼs part of their process – letʼs stay calm, and just move forward. Thereʼs no panic, like you have to accomplish everything in five minutes, as there is sometimes in America or England or Germany.</span></div><div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><b>What was it like to work with Sting?</b></span></div><div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;"><span style="font-size: medium;">That was fun, but conducting was only a small part of what I did. When you deal with the pop world and symphony orchestras, there are two models. One is the Boston Pops, where you have a big orchestra and a pop person who is a little out of place, and the music tends to sound gooey and artificial. The other is the Metallica mode, where itʼs basically a rock ʼnʼ roll concert, and the orchestra is a bunch of props. We decided early on that we wanted a balance, where the orchestra and the pop side are really 50-50 partners. That took a lot of time and skill – we were constantly rewriting and rehearsing new arrangements while we were on tour, fixing and changing things so that Sting could keep the basic quality of who he is, while the orchestra could utilize its full palette of sounds.</span></div><div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><b>What was the reaction?</b></span></div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;"><span style="font-size: medium;">I got lots and lots of letters and e-mails from people saying, “I had never been to an orchestra concert before, so I didnʼt know what to expect. But boy, I had a great time.”</span></div><div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><b>Was that something you were trying to accomplish?</b></span></div><div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;"><span style="font-size: medium;">As a conductor, itʼs my job to get people into the concert hall, show them that classical music can be entertaining, and convince them that they should come again. Thatʼs what Bernstein did, and thatʼs the model I follow.</span></div><div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><b>How so?</b></span></div><div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;"><span style="font-size: medium;">My philosophy is that conductors fall into two groups — inclusive and exclusive. There are some conductors who, if somebody even sneezes, turn around and give them a dirty look, which drives me up a wall. With Bernstein, it was inclusive: This concert hall is my living room, and youʼre my invited guest. Come in and listen, and let me show you why this piece is great. </span> </div><div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;"><span style="font-size: medium;">As far as Iʼm concerned, if people want to applaud at the end of the first movement, be my guest. And if they want to stand up and scream and yell, thatʼs a good thing.</span></div><div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;"><br />
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</div><div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;"><span style="font-size: medium;"><b>For information about the CNSO concert:</b> <a href="http://cnso.cz/files/koncerty/6koncerten.pdf">http://cnso.cz/files/koncerty/6koncerten.pdf</a></span></div><div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;"><br />
</div><div style="font-family: Georgia,"Times New Roman",serif; margin-bottom: 0in;"><span style="font-size: medium;"><b>And more on Steven Mercurio: </b><a href="http://www.stevenmercurio.com/"><span style="font-weight: normal;">http://www.stevenmercurio.com/</span></a></span></div><div style="font-family: Georgia,"Times New Roman",serif; font-weight: normal; margin-bottom: 0in;"><br />
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</div>Frank Kuznikhttp://www.blogger.com/profile/13597407162523382674noreply@blogger.com0