Thomas Hampson was last week in Geneva.
While he is singing at the Zurich Opera, he is touring with the Wurttenberg Philharmonic in one of these typically frustrating recitals made to accomodate star performers. Program was a typical mix of unrehearsed arias, -this was the first concert in the serie and yes, one could hear it in more than few places - intertwined with basically "Elevator music" classical style ...
Yet Hampson's artistry is special and his renderings of Posa's death in Don Carlos or Renato's 3rd act aria in Ballo was worth having to cope with the rest ... As an encore, Don Giovanni's serenade was outstanding in phrasing, color, breath control, charm, ...
As it is customary, before presenting the encore, Hampson spoke to the audience and expressed surprise to have sung in so many places including Don Giovanni and Marcello as well as many recitals at the Grand Théâtre but never at Victoria Hall.
He is right. Geneva and in particular Victoria Hall lacks good communication to potential audiences. The web site of the hall is full of sloppy mistakes, ..., a clear sign of managerial amateurism ...
If you go outside of the hall and look at the posters, you would never have guessed that someone like Hampson was singing there and saw ads for flashy low-level provincial-like events. There is no single place where you can buy tickets for all possible events. (and also, should I say, only the OSR and the Grand Theatre have a serious press department with a relation where Concertonet editors review events. All the others have turned down my requests so I will not do a review of the Hampson concert ...)
Until this is fixed which basically mean taking communication with audience seriously, events like Hampson's recital will never been sold out (as I am sure it is in every "normal" city of the stature of a Geneva ...) and many touring musicians who are not coming to Geneva will never come.
dimanche 12 décembre 2010
mercredi 1 décembre 2010
Peter Hofmann
Concertonet's Zurich Correspondant and long-time friend John Rhodes emailed me this morning on the passing of German tenor Peter Hofmann.
I heard him first in Paris in 1981 a concert performance of the act 3 of Parsifal with the Berlin Philharmonic and Karajan, then as Lohengrin, then the following year in Paris in Lohengrin under Dohnanyi. But it was in Bayreuth that I heard him in many roles: Parsifal in 83, Tristan in 87 and a final Siegmund in 89.
What was unique in his performances was the sheer physicality of his performances best captured in the DVD of the Boulez-Chéreau Ring:
In the Götz Friedrich's production of Parsifal, he really caught the spear. No wires, no funny games, ..., this was thrilling.
I heard him first in Paris in 1981 a concert performance of the act 3 of Parsifal with the Berlin Philharmonic and Karajan, then as Lohengrin, then the following year in Paris in Lohengrin under Dohnanyi. But it was in Bayreuth that I heard him in many roles: Parsifal in 83, Tristan in 87 and a final Siegmund in 89.
What was unique in his performances was the sheer physicality of his performances best captured in the DVD of the Boulez-Chéreau Ring:
In the Götz Friedrich's production of Parsifal, he really caught the spear. No wires, no funny games, ..., this was thrilling.
mercredi 24 novembre 2010
For those who believe in fairy tales ...
France's government has released extra funding for the new (totally unnecessary) Parisian Concert Hall. See here in French.
Good luck to France and Paris and all involved ... but I have already expressed my huge doubts ...
Good luck to France and Paris and all involved ... but I have already expressed my huge doubts ...
vendredi 19 novembre 2010
The 86% percent solution ...
For French speaking readers an interview of the intendant of the Migros concert series. Please note that they are doing ads on TV for the concerts and have now an audience capacity of 86%. Marketing works ... even for music.
(and yesterday was the last round of the Geneva Piano competition, report is here.)
(and yesterday was the last round of the Geneva Piano competition, report is here.)
jeudi 18 novembre 2010
Old Memories
My blog is getting dusty. Daily work is intense and I have not posted for a while ...
I was yesterday meeting my friend Pascal Rophé who is conducting the OSR for tomorrow's final concert of the Geneva Piano Competition. A review of the concert will be in Concertonet.
I told him that I am ashamed at not remembering the name of our old common High School music teacher (I think that it is Archambaud but I am not sure ..). With more age, I realise that his course was fantastic and that I owe him a lot. In France, after the mid-class level of "Troisème", around when I as 14 or 15, music became an elective course taken by studentes to get a few points extra credit at the Baccalauréat.The exam was composed of playing a piece (I did Bach's Chromatic fantaisie, at a time when I was sight-reading Schoenberg op 11 ...), a musical dictation (is this the correct English word, this is when one plays a tune on a piano and we have to write down the notes ?) - I was not good and very bad with chords ... - and commenting several pieces - there I was better, not good but better.
Thanks to the work of our teacher, I discovered the pleasure of following a score while listening to a work. We did this for Bartok's string quartets, Stravinsky's Rite of Spring, ... I cannot hear the closing pages's Adoration de la Terre without being sensitive to the timpani's decelerating rhythms ...
or the timpani's subtle pedal in Bartok's second violin concerto ...
Such professors are so important.Countries that recognize this will lead this century.
I am sorry not to be sure of his name and I cherish his memory fondly.
I was yesterday meeting my friend Pascal Rophé who is conducting the OSR for tomorrow's final concert of the Geneva Piano Competition. A review of the concert will be in Concertonet.
I told him that I am ashamed at not remembering the name of our old common High School music teacher (I think that it is Archambaud but I am not sure ..). With more age, I realise that his course was fantastic and that I owe him a lot. In France, after the mid-class level of "Troisème", around when I as 14 or 15, music became an elective course taken by studentes to get a few points extra credit at the Baccalauréat.The exam was composed of playing a piece (I did Bach's Chromatic fantaisie, at a time when I was sight-reading Schoenberg op 11 ...), a musical dictation (is this the correct English word, this is when one plays a tune on a piano and we have to write down the notes ?) - I was not good and very bad with chords ... - and commenting several pieces - there I was better, not good but better.
Thanks to the work of our teacher, I discovered the pleasure of following a score while listening to a work. We did this for Bartok's string quartets, Stravinsky's Rite of Spring, ... I cannot hear the closing pages's Adoration de la Terre without being sensitive to the timpani's decelerating rhythms ...
or the timpani's subtle pedal in Bartok's second violin concerto ...
Such professors are so important.Countries that recognize this will lead this century.
I am sorry not to be sure of his name and I cherish his memory fondly.
lundi 1 novembre 2010
Moral Support not entertainment ...
Courtesy of Massorti Rabbi Dalsace who gave me some wonderful lessons back when in was in Nice. He is now in Paris and his articles can be read in his excellent site.
Inscription à :
Articles (Atom)




