Future of opera or soporific experience?
I have seen the future of opera.
A work of remarkable arrogance.
Soporific.
The most perfect
OPERA
The mother of all art forms. According to opera lovers.
Michel van der Aa achieves double
In one year the AKO and Libris prizes? The front pages of newspapers would be full of it, not to mention the dozens of pages in book supplements. Composer Michel van der Aa has to make do with small announcements, tucked away in newspapers, while receiving the Grawemeyer Award and the Mauricio Kagel Music Prize is a never-before-seen double.
Legislation follows at an appropriate distance from technological developments
What does a dissertation on a forgotten Victorian novelist have in common with a rushrelease from multinational Sony?
A world of strange wonders where nothing is right making everything right
Einstein on the beach: a five-hour minimalist opera with no plot, no intermission. An opera with an almost mythical status, with images that have become theatre icons, but which hardly anyone has actually seen.
Die Zauberflöte II - Overwhelming, but then?
Two years ago he was acclaimed for his staging of A Dog's Heart by Alexander Raskatov, now he is lavishly believed for his production of Mozart's Die Zauberflöte. It premiered last week at The Netherlands Opera and last night too, the sold-out audience responded enthusiastically. Yet the high expectations were not quite met.
Disquiet TV takes classical music out of a straitjacket
Classical music on television always has something boring about it. Often a short introduction by a neat gentleman or lady, followed by the concert itself. Close-ups of the conductor and soloist, a longshot of the entire orchestra and applause afterwards. As if the medium is trying to emulate concert hall etiquette as scrupulously as possible. Even the webstreams that more and more large orchestras are increasingly turning to barely deviate from this formula.
Ed Spanjaard unleashes primal forces in Götterdämmerung Reisopera
The final applause after the premiere of Götterdämmerung stormy, is an understatement. It seemed as if the completely sold-out auditorium wanted to surpass the primal forces extracted from the Gelders Orkest by Ed Spanjaard. History was made here: on stage, by the soloists and choir, in the orchestra pit and behind the scenes, for six hours and 20 minutes.
Micha Hamel's Requiem is beautifully spatial but lacks substantive urgency #hf12
In his Requiem for tenor, narrator and ensemble, Micha Hamel makes the most of the space of Amsterdam's De Duif church. Musicians play on the altar, from the balconies, mingle among the audience and push out a piano. - But what does Hamel really want to say? In front of a sold-out house, Micha Hamel's Requiem premiered last night. He ...
Knevel calls Wagner Hitler's court composer. And no one says anything.
A classic mistake: Andries Knevel describes Richard Wagner as Hitler's court composer. And is not contradicted by anyone.
Ambitions City Promotion made Grenswerk hopeless.
Festival Grenswerk was told on Tuesday 21 February that it must stop after three successful years because it does not match the ambitions of Stichting Enschede Promotie. The festival set up in 2009 was given a thick set of demands by the alderman that it could not meet after a scathing report by this revamped VVV.
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