Russian Lera Auerbach (1973) does not shy away from big challenges. And that is an understatement. Most recently, she made a big impression with her cycle Goetia 72: in umbra lucis. She composed this setting of the names of 72 demons for the Netherlands Chamber Choir and the string quartet Quatuor Danel. A CD of 72 Angels: in splendore lucis, in which...
Russian-Dutch Maya Fridman (Moscow, 1989) plays classical and contemporary music as well as rock, jazz, folk and flamenco. Communication with the audience is now her main aim. So why limit yourself to a particular style or genre? The Cello Biennale website rightly describes her as a 'musical jack-of-all-trades'. She scored highly in 2016 at this...
Although the press picks it up only sparsely, not only the NTRZaterdagMatinee pays much attention to Dutch composers. Indeed, they are also well represented in the AVROTROS Vrijdagconcert (formerly De Vrijdag van Vredenburg). In 2014, for instance, Joey Roukens wrote The building of the temple to mark the reopening of TivoliVredenburg. Two years later, the season opened with Atlantis by Robin...
Both the Royal Concertgebouw Orchestra and the also Royal Concertgebouw seem to be focusing on connection next season. Between young and old, between east and west, between left and right, between culture and press. 'Great that you all came,' says Jan Raes after the presentation of the 2017-18 season. 'The press is under pressure, as is culture,' continues
At five, he started playing the violin, and after only six months he gave his first performance. At 17, he was the youngest participant ever to win the prestigious Queen Elisabeth Competition. In 2002, Vadim Repin, born in Novosibirsk in 1971, played at Willem-Alexander and Máxima's wedding concert, together with the Royal Concertgebouw Orchestra. Three years ago, Repin started his own...
What titles come to mind when you hear the name Arvo Pärt? Sonatina opus 1; Symphony no. 1; Perpetuum mobile, or Fratres; Für Alina; Spiegel im Spiegel? My guess is the second set, because it was with pieces like these that Pärt conquered the world in the late 20th century. Audiences flocked in droves to immerse themselves in his sonorous sound world, but...
This Sunday, September 28, the one-day festival Alba Rosa Viva will take place in Utrecht, in honour of the 125th birth anniversary of Alba Rosa Viëtor. Alba Rosa who?!!! Well, Alba Rosa Viëtor was an Italian violinist and composer who was born Alba Rosa in Milan in 1889. In 1919, she married Dutch businessman Jan Freseman Viëtor and in...
Prokofiev's The Player is an hour and a half of drama, then after the interval it really becomes opera. This is not down to the soloists, not to the direction or sets, and certainly not to the excellent Residentie Orkest conducted by Marc Albrecht. Perhaps the music and libretto are too ingenious, Prokofiev was too faithful to Dostoevsky's book to make it a real opera. And perhaps Andrea Breth is too good a stage director for this opera. "Watch the surtitles especially carefully," she told me just before the premiere, "so you don't miss anything."
What makes an opera a success? The eccentrics, airheads, comedians, lyricists and tragicists think they know, proclaiming their point of view at the craziest times and not even bothering to intervene in the action. Welcome to the wonderful world of Prokofiev's L'amour des trois oranges, back on stage this month at the Amsterdam musical theatre.
In 2005, director Laurent Pelly and conductor Stéphane Denève enchanted Dutch audiences with their vision of L'amour des trois oranges By Sergei Prokofiev.
Amsterdam, 10-12-2012 - Last weekend the Babelfestival began at the Ostade Theatre, an initiative of the Diamond factory. Founded two years ago, this production group offers young creators the chance to develop small-scale musical theatre. This weekend sees the premiere of Black Perfume, by Russian composer Anna Mikhailova and the Dutch director Annechien Koerselman, to the story Morphine by Mikhail Bulgakov.
True story. There is laughter in classical music. At many an orchestral rehearsal, the viola jokes are all over the place. And in the Concertgebouw, you might catch some mock chuckles. But classical composers are not known for their humour. Except Joseph Haydn. The Viennese composer brought a cosy witticism to his works here and there. One of his...
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