Saturday, February 25, 2017
The New York Youth Symphony (est. 1964) has a distinguished roll of past music directors and alumni. They include: Leonard Slatkin (Detroit SO), Myung-Whun Chung (Tokyo Philharmonic), David Alan Miller (Albany SO), Miguel Harth-Bedoya (Fort Worth), Marin Alsop (Baltimore), Cho-Liang Lin (Soloist), Gary Levinson (Dallas Symphony), Michael Tiscione (Atlanta Symphony), Lawrence Dutton (Emerson Quartet), Kenneth Mirkin (New York Philharmonic), Joel Smirnoff (Juilliard String Quartet), Fred Zlotkin (NY City Ballet), and Pedro Diaz (Metropolitan Opera Orchestra). The new music director is Michael Repper , a Peabody graduate who succeeds Joshua Gersen . No pressure.
press release: WILLIAM MATHEUS SULLIVAN FOUNDATION SINGER AWARDS ANNOUNCED FOR 2017 Foundation marks sixty years of continuing support for young singers November 16, 2016 — The William Matheus Sullivan Musical Foundation awarded fifteen $12,000 grants to young artists who auditioned for the Foundation in New York on November 13 and 14, 2016. In addition to these cash awards, winners will participate in the five-year program of continued financial aid for coaching in new roles which is one of the unique features of the Sullivan awards. Judges for the auditions were Susanne Mentzer, Bruce Donnell, and Evans Mirageas. The Sullivan winners Winners of $12,000 awards and continuing assistance starting in 2017 are: sopranos Alisa Jordheim and Claudia Rosenthal (pictured); mezzo-sopranos Samantha Gossard and Alyssa Martin; counter-tenor Siman Chung; tenors Miles Mykkanen, Jack Swanson, and Kang Wang; baritones Alex DeSocio, Ben Edquist, Joseph Lattanzi, and Robert Mellon; bass-baritone Davone Tines; and basses Alan Higgs and Christian Zaremba. Jack Swanson’s award is named for Theodor Uppman, the famed baritone who was a longtime member of the Board of the Foundation, and Alisa Jordheim’s award is named for soprano Rose Bampton, also a longtime member of the Foundation’s board. Davone Tines’s award is named for the late mezzo-soprano Betty Allen, Sullivan board member and famed leader of the Harlem School for the Arts, and Claudia Rosenthal’s for soprano Gail Robinson.
Capuçon/Vienna SO/Paris Opera O/Jordan/Philharmonie de Radio France/Chung (Erato)All three of these violin concertos were composed expressly for Renaud Capuçon, and all take his fiercely impassioned lyrical playing as their starting point. Bruno Mantovani’s single-movement Jeux d’Eau was the first to be completed: Capuçon gave the premiere in Paris in 2012, and like the other two works here, the recording is taken from the first performance. It treats the almost continuous solo violin line as the launchpad for a series of increasingly complex, sometimes almost delirious orchestral episodes that revel in the sensuous quality of the sounds themselves. The aqueous associations of the title are never far away, and the allusion to Ravel’s work of the same name may be hinted at in some of the textures too, though it is always kept at arm’s length. If the background to Mantovani’s work is audibly French music of the early 20th century, it’s German expressionism that haunts Wolfgang Rihm’s Gedicht des Malers (Poem of the Painter), which Capuçon introduced last year. As I calculate it, this is Rihm’s fifth work for violin and orchestra; a single movement lasting about a quarter of an hour, in which the solo violinist is cast as a painter. That idea is a starting point for Heinz Holliger’s much more substantial Violin Concerto of 1995. Rihm’s real reference point, though, seems to be the Berg concerto – his music contains several near quotes. It’s still a perfectly conceived vehicle for the rhapsodic tendencies in Capuçon’s playing. Continue reading...
“The only criterion was that the plays should be around 3 to 5 minutes. By mid-August, 70 short plays had come in from the likes of Lindsey Ferrentino, Neil LaBute, Mia Chung, and Nathan Alan Davis. The plays will be presented in readings around the country … So far more than 40 theatrical institutions and universities nationwide and abroad have signed on.”
The Seoul Philharmonic has been headless since Myung Whun Chung quit afetr being forced to defend himself on baseless charges put up by the former chief exec. Since then, the orchestra has been avoided by leading conductors, with one notable exception. Today they have announced two new principal conductors, Thierry Fischer of the Utah Symphony (pictured) and Markus Stenz, of the Netherlands Radio Philharmonic. They will be known respectively as principal guest conductor and conductor-in-residence. The music director chalice is still seen to be poisoned.
The Korean violinist has cancelled next month’s UK appearances after suffering a swollen finger. Her comeback recording of the Bach Sonatas and Partitas on the Warner label will have to launch without her.