Seen and Heard

Just to let English readers know that I will review the Geneva Grand Théâtre season in their language in Seen and Heard.

Here is a review of the opening production of Nozze di Figaro with the special countess of Malin Byström.

I also reviewed Beethoven 9 Symphony when I was in Shanghai at the beginning of the Summer.

Concertonet Interviews

My series of interviews has continued.

Here is here an interview of Misha Damev who runs the Migros 100% Classics, another one of Tobias Richter, General Manager of th Grand Théâtre de Genève and what must be the first interview of the OSR's new President Florence Notter.

Summer music in Geneva

My article dans Concertonet ici.

Interview with David Greislammer

is here.

In French. Very original approach for his new orchestra, proof it is still possible these days to create an orchestra.

Concertonet

The Chamber orchestra Wien Berlin was in town and the review is here and I wish they had played better works.

Concertonet

K Yamada and the OSR's latest concert review is here (In French).

Concertonet

I was in the lovely Alte Oper in Frankfurt and caught a fine concert by the Oslo Philharmonic. See here and in English this time.

Concertonet

My interview with Metin Arditi, President of the Swiss Romande Orchestra here in Concertonet

Concertonet

My review of Sir Antonio Pappano's Geneva concert with his Santa-Caecilia orchestra is here.

A great evening and why is this the first time that visiting orchestras play William Tell ouverture as an obvious encore ?

Concertonet

Sir Antonio Pappano will conduct today in Geneva his Santa-Caecilia Orchestra. My interview with him in Concertonet is here.

Hag Sameah

Concertonet

My interview of Pascal Rophé, new chief conductor of France's ONPL is here (in French)

A few bullet points on Traviata at the Met

Here is below an email which I send to a friend I had dinner with last Thursday in New York. He went to hear Bach B Minor Mass with the NYPO under Alan Gilbert and I went at the Met to the premiere of the revival of Traviata with Damrau, Pirgu, Domingo conducted by Y Nezet-Seguin:

·         This is a revival of a known work coming after a visible Parsifal so a few things may not have been prepared as thoroughly. In this case, it was the chorus. The orchestra was crisp and detailed but the coordination with the chorus was just not there and particularly in act 1. Maybe, they did not have enough rehearsal time.

·         This was a Traviata without a real Alfredo. Pirgu is a Fenton but no more or he had a rough night. He was underpowered by the other singers and was often flat (although tenors being tenors, he tends to be more applauded than they deserve.)

·         Damrau was all through the work musical and secure. The coloratura at the end of Act 1 was wonderful, Gruberova-like, but until act 3, she was not dramatic enough. This is her first night and her first Traviata so she will grow. The staging asks her to do quite a lot in Act 1 and she may not be the best singer-actor there is (or memories of Netrebko are just too strong). Act 3 though was really different, and she was genuinely moving in the Addio aria. Once she is at ease in the entire work, she will be a Traviata to recon with.

·         Domingo started with difficulty. I was asking myself whether this was not the one role too many, until Di Provenza il mar where the line, the (tenoral) intensity was superb. It is a privilege to hear him and I cherish every occasion.

·         This was the first time I was hearing Nezet-Seguin and he impressed me. The music had a nice rhythm. String attacks were clean and coordinated (essential for Verdi) and above all, he has a sense of the line with clear gestures on where a phrase is going. I definitely hope to hear more of him in the future.

·         The Decker staging was well revived. Audience seemed to like it. There were many young people around me … well, there are such things as date-movies so there is no reason not to have date-operas.

A wonderful encounter while visiting Toronto ...

Concertonet

I attended the concerts and masterclasses at the Arc Festival Academy ages ago. Luck and good fortune have allowed me to interview for Concertonet Pierre Réach who used I heard play and teach students some superb Schubert. His interview is here, in French, and his comments on orchestral writing and views on China should not be missed.

Concertonet

My interview of the new OSR director is here. (in French)

Must-Read

http://www.overgrownpath.com/2013/01/do-classical-musics-big-new-ideas-have.html

Concertonet

My review of the OSR under C Dutoit with an amazing E Pahud is here.

Joining an orchestra

French speaking readers have the ability to watch on their PC a one hour program of how an orchestra like the OSR auditions new players. This is available http://www.rts.ch/video/emissions/chut/4551035-cor-violons-basson-l-osr-embauche.html.

A few comments, you can see when the audition is in Victoria Hall the famous rehearsal curtain which cuts the hall in half and gives the musicians a feeling of the hall when it is full.

More significantly, it is important to bring in the young great musicians of tomorrow in positions of responsibility so this is so good to see that they are bringing a young player to be part of their concertmeisters.

Last, life is tough for young musicians and we have to respect this indeed.

Concertonet

My review of the last concert of the OSR in Geneva is here. http://www.concertonet.com/scripts/review.php?ID_review=8910.