Keywords: Early Music, Symphony Concert
| Orchestre des Lauréats du Conservatoire de Paris | |
| Ustina Dubitsky | Conductor |
| Julien Beautemps | Accordion |
| Elise Bertrand | Violin |
| Minutes symphoniques | Ernst von Dohnányi |
| Concerto pour violon n° 2 | Karol Szymanowski |
| L’Île-du-Temps | Fabien Waksman |
These events are similar in terms of concept, place, musicians or the program.
Quatuor Hermès, one of the foremost quartets of its generation, joined by Mathilde Caldérini on flute and Constance Luzzati on harp, pay tribute to three women composers born in the 19th century and too long overlooked.
What does a future look like in which researchers aren’t just creating with artificial intelligence, but have also learned to copy people at the computer? This scenario was put forth by economist Robin Hanson in his book The Age of Em – Work, Love and Life when Robots Rule the Earth. Composer Zara Ali from Memphis, Tennessee is currently working on bringing Hanson’s physical-digital hybrids to the stage in what she describes as a sort of “spherical installation” that will place the audience in the perceptual world of these “Ems”. Together with author Hannah Dübgen, Ali is one of the three teams working on next-generation musical theatre for the seventh edition of the NEW SCENES. “We want to make something truly special, not the typical opera,” says the 28-year-old composer. Ali, who studied philosophy at Columbia University parallel to her musical education, frequently experiments with electronics, and works on interdisciplinary projects with string quartets and dancers – and now, for the first time, at an opera house. Huihui Cheng, who attended a school for musically gifted children in Beijing at the age of 14, is particularly interested in the performative potential of compositions. She refers to her past works as “theatrically expanded pieces of music”, such as “Me Du Ça” – part of a series on Greek mythology. Cheng worked with a designer to change the Medusa singer’s hair from snakes into tubes that can be played like flutes. Like Ali, Cheng is interested in technological advancements and the possibilities these bring to the stage. She recalls recently seeing a drone at an Offenbach opera, emphasising that the goal of such methods should be “to convey the beauty of the music and the eternity of emotions”. An opera like the Deutsche Oper Berlin, she says, offers the ideal conditions for exploring innovative approaches. Haukur Þór Harðarson, from Iceland and living in Berlin, co-founder of the composition collective Errata, thinks it’s exciting when New Theatre ...
What does a future look like in which researchers aren’t just creating with artificial intelligence, but have also learned to copy people at the computer? This scenario was put forth by economist Robin Hanson in his book The Age of Em – Work, Love and Life when Robots Rule the Earth. Composer Zara Ali from Memphis, Tennessee is currently working on bringing Hanson’s physical-digital hybrids to the stage in what she describes as a sort of “spherical installation” that will place the audience in the perceptual world of these “Ems”. Together with author Hannah Dübgen, Ali is one of the three teams working on next-generation musical theatre for the seventh edition of the NEW SCENES. “We want to make something truly special, not the typical opera,” says the 28-year-old composer. Ali, who studied philosophy at Columbia University parallel to her musical education, frequently experiments with electronics, and works on interdisciplinary projects with string quartets and dancers – and now, for the first time, at an opera house. Huihui Cheng, who attended a school for musically gifted children in Beijing at the age of 14, is particularly interested in the performative potential of compositions. She refers to her past works as “theatrically expanded pieces of music”, such as “Me Du Ça” – part of a series on Greek mythology. Cheng worked with a designer to change the Medusa singer’s hair from snakes into tubes that can be played like flutes. Like Ali, Cheng is interested in technological advancements and the possibilities these bring to the stage. She recalls recently seeing a drone at an Offenbach opera, emphasising that the goal of such methods should be “to convey the beauty of the music and the eternity of emotions”. An opera like the Deutsche Oper Berlin, she says, offers the ideal conditions for exploring innovative approaches. Haukur Þór Harðarson, from Iceland and living in Berlin, co-founder of the composition collective Errata, thinks it’s exciting when New Theatre ...
What does a future look like in which researchers aren’t just creating with artificial intelligence, but have also learned to copy people at the computer? This scenario was put forth by economist Robin Hanson in his book The Age of Em – Work, Love and Life when Robots Rule the Earth. Composer Zara Ali from Memphis, Tennessee is currently working on bringing Hanson’s physical-digital hybrids to the stage in what she describes as a sort of “spherical installation” that will place the audience in the perceptual world of these “Ems”. Together with author Hannah Dübgen, Ali is one of the three teams working on next-generation musical theatre for the seventh edition of the NEW SCENES. “We want to make something truly special, not the typical opera,” says the 28-year-old composer. Ali, who studied philosophy at Columbia University parallel to her musical education, frequently experiments with electronics, and works on interdisciplinary projects with string quartets and dancers – and now, for the first time, at an opera house. Huihui Cheng, who attended a school for musically gifted children in Beijing at the age of 14, is particularly interested in the performative potential of compositions. She refers to her past works as “theatrically expanded pieces of music”, such as “Me Du Ça” – part of a series on Greek mythology. Cheng worked with a designer to change the Medusa singer’s hair from snakes into tubes that can be played like flutes. Like Ali, Cheng is interested in technological advancements and the possibilities these bring to the stage. She recalls recently seeing a drone at an Offenbach opera, emphasising that the goal of such methods should be “to convey the beauty of the music and the eternity of emotions”. An opera like the Deutsche Oper Berlin, she says, offers the ideal conditions for exploring innovative approaches. Haukur Þór Harðarson, from Iceland and living in Berlin, co-founder of the composition collective Errata, thinks it’s exciting when New Theatre ...
What does a future look like in which researchers aren’t just creating with artificial intelligence, but have also learned to copy people at the computer? This scenario was put forth by economist Robin Hanson in his book The Age of Em – Work, Love and Life when Robots Rule the Earth. Composer Zara Ali from Memphis, Tennessee is currently working on bringing Hanson’s physical-digital hybrids to the stage in what she describes as a sort of “spherical installation” that will place the audience in the perceptual world of these “Ems”. Together with author Hannah Dübgen, Ali is one of the three teams working on next-generation musical theatre for the seventh edition of the NEW SCENES. “We want to make something truly special, not the typical opera,” says the 28-year-old composer. Ali, who studied philosophy at Columbia University parallel to her musical education, frequently experiments with electronics, and works on interdisciplinary projects with string quartets and dancers – and now, for the first time, at an opera house. Huihui Cheng, who attended a school for musically gifted children in Beijing at the age of 14, is particularly interested in the performative potential of compositions. She refers to her past works as “theatrically expanded pieces of music”, such as “Me Du Ça” – part of a series on Greek mythology. Cheng worked with a designer to change the Medusa singer’s hair from snakes into tubes that can be played like flutes. Like Ali, Cheng is interested in technological advancements and the possibilities these bring to the stage. She recalls recently seeing a drone at an Offenbach opera, emphasising that the goal of such methods should be “to convey the beauty of the music and the eternity of emotions”. An opera like the Deutsche Oper Berlin, she says, offers the ideal conditions for exploring innovative approaches. Haukur Þór Harðarson, from Iceland and living in Berlin, co-founder of the composition collective Errata, thinks it’s exciting when New Theatre ...
Outstanding performers from the first year of Guildhall School’s Opera Course present classical and contemporary operatic excerpts with piano accompaniment.
Outstanding performers from the first year of Guildhall School’s Opera Course present classical and contemporary operatic excerpts with piano accompaniment.
Outstanding performers from the first year of Guildhall School’s Opera Course present classical and contemporary operatic excerpts with piano accompaniment.
When Igor Levit takes his seat at the keyboard, one thing is for sure: you’ll hear the pieces on the programme as never before. The German-Russian pianist makes his very own mark, often as unexpected as it is brilliant, on every work he plays, whisking even veteran repertoire warhorses into the here and now. In this concert Levit is accompanied by the Berliner Barock Solisten in music by two composers who can be described without exaggeration as pinnacles of music history: Johann Sebastian Bach and his son Carl Philipp Emanuel Bach. The most famous of the Bach sons made a no less illustrious career for himself than his father, and was admired by fellow composers like Mozart, Beethoven and Haydn. In this cleverly thought-out programme, Levit and the Berlin ensemble create a father-son dialogue along entirely modern lines.
Known as the "Bohemian Bach," Baroque master Jan Dismas Zelenka made his career at the Dresden court. Conductor Václav Luks considers him Bach's equal. This concert presents Zelenka alongside works by Pisendel, Weber, and Koželuh. Czech early music specialist Luks frames the program with Zelenka and Leopold Koželuh, who succeeded Mozart at the Salzburg court. Koželuh's works are reminiscent of Beethoven and Schubert. Clarinetist Sharon Kam performs Weber's Clarinet Concerto No. 2.
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