Monthly Archives: May 2018

Hans Abrahamsen’s Three Pieces for Orchestra: ‘Extremely charming and expressive’

The music of the Danish composer Hans Abrahamsen (1952) is highly poetic and often has a strong visual expressiveness. He paints with a fine brush; his work sounds transparent like a watercolour. – As e.g. in the highly successful fairytale-like … Continue reading

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Gavin Bryars: ‘I look upon Billy the Kid with some compassion’

In Calamity/Billy the French Théâtre de la Croix-Rousse & the Belgian Muziektheater Transparant combine two mythical heroes of the Wild West. Starting point of this double bill was Ben Johnston’s song cycle Calamity Jane to her Daughter, to which Gavin … Continue reading

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Karina Canellakis on women in music: ‘Just go ahead & do it!’

Her father was a conductor, yet it didn’t occur to her to follow in his footsteps. Karina Canellakis (New York, 1982) became a professional violinist, studying with Ida Kavafian at the Curtis Institute. She made a career in chamber music, … Continue reading

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La clemenza di Tito: exhilarating performance by Teodor Currentzis & musicAeterna

Classical music matters again. At least judging from the protests against the Stockhausen retrospective Aus Licht and the fierce polemics about the interventions of opera directors. Thus La clemenza Di Tito by Teodor Currentzis and Peter Sellars caused controversy even … Continue reading

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Teodor Currentzis: Music to die for

He is praised and reviled for his idiosyncratic approach to classical masterpieces. According to Teodor Currentzis (1972) this is ‘a myth, I only do what the composer wants’. On Monday 7 May he will make his debut at Dutch National … Continue reading

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Mayke Nas: ‘Je omgeving beïnvloedt je manier van componeren’

De immer avontuurlijke Mayke Nas, Componist des Vaderlands van 2016-18, presenteert donderdag 3 mei haar nieuwste project in Muziekgebouw aan ’t IJ, Radio Rusland. Ze ontwikkelde dit theatrale concert samen met de vier dames van het Ragazze Quartet, voor wie … Continue reading

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Annelies van Parys: ‘No more beautiful symbol of love than a flower’

In 2014 Annelies van Parys (1975) composed her first opera, Private View, for Asko|Schönberg and Neue Vocalsolisten Stuttgart. Shortly afterwards this was awarded the FEDORA – Rolf Liebermann Prize for Opera. The Stuttgarter singers at once asked her to compose … Continue reading

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