POPULARITY
6 episodes with Simone Young
3 episodes with Simone Young
2 episodes with Simone Young
3 episodes with Simone Young
2 episodes with Simone Young
4 episodes with Simone Young
4 episodes with Simone Young
3 episodes with Simone Young
3 episodes with Simone Young
A phone call that changes everything. A seemingly impossible challenge. Hours instead of months to prepare. When mezzo-soprano Deborah Humble received that unexpected call from the Sydney Symphony Orchestra, she faced a career-defining decision: step onto the stage of the Sydney Opera House that very evening to perform Gustav Mahler's Second Symphony—a piece she had never fully sung before—or walk away from the opportunity of a lifetime.What followed was a whirlwind day of frantic preparation, from retrieving a discarded concert dress from a garbage bag in her car trunk to a 45-minute crash course with her vocal coach. With barely enough time to warm up, Deborah found herself standing before a sold-out audience at the Sydney Opera House, performing in a concert that was not only being live-streamed globally but also recorded by Deutsche Grammophon for worldwide release.The stakes couldn't have been higher. The pressure more intense. Yet amid the chaos, Deborah found clarity in a simple thought: "Simone wouldn't have asked you to step up if she didn't think you could do it." With the support of conductor Simone Young and drawing on decades of professional experience, Deborah delivered a performance that earned her a standing ovation and secured her place in Sydney Opera House history.This remarkable story transcends the world of classical music, offering powerful insights about preparation meeting opportunity, managing self-doubt, and having the courage to take calculated risks. As Deborah reflects, "We are capable of doing what we have spent our whole lives working towards." Her experience reminds us that behind every "overnight success" lies years of dedication, discipline, and determination—qualities that prepare us to seize extraordinary moments when they unexpectedly arrive.Ready to be inspired by a tale of remarkable courage under pressure? Listen as Deborah reveals what it truly takes to rise to an impossible occasion when everything is on the line.Find out more about Deborah Humble on her website.Listen to the recording here. Thanks for listening to Digitally Curious. You can buy the book that showcases these episodes at curious.click/orderYour Host is Actionable Futurist® Andrew GrillFor more on Andrew - what he speaks about and recent talks, please visit ActionableFuturist.com Andrew's Social ChannelsAndrew on LinkedIn@AndrewGrill on Twitter @Andrew.Grill on InstagramKeynote speeches hereOrder Digitally Curious
durée : 00:28:28 - Simone Young, cheffe d'orchestre - Après une Tétralogie à Bayreuth l'an dernier qu'elle reprend cet été, la cheffe australienne dirige Don Carlos à l'Opéra de Paris et sort un disque Mahler avec son Orchestre de Sydney, avant un concert en juin avec l'Orchestre national de France. Wagner ou Verdi ? Entre les deux, son cœur balance.
durée : 02:04:57 - Musique matin du jeudi 27 mars 2025 - par : Jean-Baptiste Urbain - Après une Tétralogie à Bayreuth l'an dernier qu'elle reprend cet été, la cheffe australienne dirige Don Carlos à l'Opéra de Paris et sort un disque Mahler avec son orchestre de Sydney, avant un concert en juin avec l'Orchestre national de France. Wagner ou Verdi ? Entre les deux, son cœur balance. - réalisé par : Yassine Bouzar
Oggi a Cult: Danilo De Biasio sul ciclo di film e incontri con gli autori al Cinema Beltrade e alla Libreria Hoepli in vista del prossimo Festival dei Diritti Umani; apre a Milano un nuovo spazio di arte contemporanea: la Fondazione Maria Cristina Carlini; al Teatro alla Scala debutta la nuova produzione di "Die Walküre" di R. Wagner, sul podio Simone Young; la rubrica di fumetti a cura di Antonio Serra...
The 2023/24 season marked Chad Goodman's inaugural year as music director of the Elgin Symphony Orchestra—only the fifth leader in the orchestra's prestigious seven-decade history. Chad also serves as artistic director of IlluminArts, Miami's art song and chamber music concert series. He curates site-specific classical music programs in collaboration with the leading museums, art galleries, and historic venues of Miami. From 2019 to 2023, he was the Conducting Fellow of the New World Symphony, where he was the assistant conductor to Michael Tilson Thomas. In addition to leading the orchestra in more than fifty performances, Chad created the educational program “SPARK: How Composers Find Inspiration,” which blended engaging audience participation with captivating light design and videography.He has served as an assistant conductor to the San Francisco Symphony, working alongside Michael Tilson Thomas, Esa-Pekka Salonen, Manfred Honeck, Daniel Harding, Elim Chan, Simone Young, and James Gaffigan, among others.As you will hear, Chad also leads workshops that teach young musicians the business skills needed to navigate successfully the music world. Forbes praised his bold strides both on and off stage and hailed him as “An entrepreneur bringing innovation to classical music.” Last year, he published the book, You Earned a Music Degree. Now What?
2024 ist der erste Bayreuther Sommer, in dem mehr Dirigentinnen als Dirigenten am Pult stehen. Neben den vertrauten Namen von Publikumslieblingen wie Natalie Stutzmann und Oksana Lyniv ruhen die Augen und Ohren dabei natürlich vor allem auf Simone Young, die als Neuzugang den "Ring des Nibelungen" leitet. Am 28. Juli startete der Zyklus mit dem "Rheingold". Tobias Hell war für uns mit dabei und schildert seine Eindrücke.
Auch in diesem Jahr finden sie statt: Die Bayreuther Festspiele. Mit "Tristan und Isolde" werden sie eröffnet, und wieder mit großer Spannung erwartet wird "Der Ring des Nibelungen". Dieses Mal unter neuer musikalischer Leitung: Die australische Dirigentin Simone Young steht am Pult. Seit 2022 ist sie die Chefdirigentin des Sydney Symphony Orchestra, sie ist international unterwegs, hat auf den wichtigsten Podien weltweit dirigiert und im Norden ist sie bestens bekannt. Von 2005 bis 2015 war sie in Personalunion die Intendantin der Staatsoper Hamburg und Generalmusikdirektorin des Philharmonischen Staatsorchesters. Über ihre Arbeit, über Richard Wagner und die Bayreuther Festspiele spricht Simone Young mit Friederike Westerhaus in "NDR Kultur à la carte".
No son muchas las mujeres que han alcanzado la dirección de las grandes orquestas del mundo y hoy te ofrecemos una selección de 6 nombres provenientes de diferentes países. Lorena Jiménez, nuestra musicóloga y periodista musical invitada, las conoce a todas y nos cuenta sus principales puntos fuertes y hasta dónde han llegado en sus fulgurantes carreras. Disfruta de piezas compuestas por Haydn, Bartok, Lehar y otros, dirigidas por Susanna Mälkki, Joana Mallwitz, Emmanuelle Haïm, Barbara Hannigan, Marin Alsop y Simone Young. Son primeras batutas y reconocidas pioneras musicales, las grandes protagonistas de la nueva entrega de Hoy Toca, el programa de Clásica FM que te quiere sorprender.
Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.
The imaginative and versatile Finnish virtuoso pianist Paavali Jumppanen has established himself as a dynamic musician of seemingly unlimited capability who has cut a wide swathe as an orchestral and recital soloist and artistic director of both the classic and contemporary. He's performed in the US, Europe, Japan, China, Japan and Australia, and it is in Australia that he has made a second home, as since 2021 he has been the artistic director of the Australian National Academy of Music in Melbourne. Paavali gives us a great insight into ANAM and their philosophy and methods, and we hear about his own musical journey including recording the entirety of Beethoven's piano sonatas. Paavali Jumpannen directs the Melbourne Symphony Orchestra for Marvellous Mozart from 7-9 March at various locations. Musicians of ANAM will be performing Arnold Schönberg's Gurrelieder with the Sydney Symphony Orchestra under Simone Young on 15-16 March at the Sydney Opera House.
One of the leading violinists of his generation, Renaud Capuçon is known and loved for his poise, depth of tone, and virtuosity. He has worked with luminaries including Charles Dutoit, Claudio Abbado and Daniel Barenboim, and with all the major orchestras, whether it's the Berlin Philharmonic, the Vienna Philharmonic, the London Symphony Orchestra, and many, many more. He has recorded over 20 albums, and one reviewer labelled him “an uninhibited musician at the peak of his art”. He's in Sydney giving the Australian premiere of the violin concerto composed for him by Camille Pépin, with the Sydney Symphony Orchestra conducted by its chief conductor Simone Young. Renaud speaks about key moments in his career, providing insights into the life a of a top tier musician such as himself. We also hear about his role as artistic director of the Menuhin Music Academy plus the story of his remarkable instrument, played for many years by Isaac Stern. Renaud Capuçon performs Pépin's Violin Concerto La Sommeil a pris ton empreinte (Sleep retains your imprint) with the Sydney Symphony Orchestra under chief conductor Simone Young from 28 February to 2 March, a concert which also includes a performance of Mahler's Symphony no 5.
Bei den Bayreuther Festspielen 2024 werden erstmals mehr Frauen als Männer am Pult stehen. Mit Simone Young wird in diesem Jahr erstmals eine Dirigentin bei den Bayreuther Festspielen Richard Wagners Tetralogie "Der Ring des Nibelungen" dirigieren. Philippe Jordan habe zu seinem Bedauern wegen anderer Verpflichtungen die Dirigate des Bayreuther Ringes absagen müssen. Die Australierin Young dirigiert an den führenden Opernhäusern weltweit. Bernhard Neuhoff hat mit ihr über die Herausforderungen in Bayreuth und ihre langjähige Erfahrung gesprochen.
Stanley Dodds is a violinist and conductor whose career spans three decades. He has been a violinist with the Berlin Philharmonic since 1994, and principal conductor of the Berlin Symphony Orchestra since 2014. He's conducted around the world, from our own Melbourne, Tasmanian and Canberra Symphony Orchestras, to the Hamburg, Vancouver and Beijing Symphony Orchestras, amongst many others. He also has a passion for music education, which makes him the ideal choice for his latest appointment as the new chief conductor of the Sydney Youth Orchestra. Stan talks eloquently about his inspirational musical journey as both a violinist and conductor. He introduces a number of works which will feature in SYO programs throughout 2024, providing great insights into the nature and importance of the music, and the excitement he wants to inspire in our next generation of musicians. Cathy Milliken's Catalogue of the Sky performed by the Sydney Symphony Orchestra conducted by Simone Young kindly provided by the Sydney Symphony Orchestra. Gabriela Ortiz's Téenek, Invenciones de Territorio performed by the Berlin Philharmonic conducted by Gustavo Dudamel kindly provided by Deutschlandradio.
Really Interesting Women - the podcastEpisode 117Louise Herron AMLouise Herron became the first woman appointed to lead the World Heritage-listed Sydney Opera House. During that time, she was charged with transforming the Opera House and overseeing a decade of renewal in all aspects including the largest and most transformative series of building works since the Opera House opened in 1973. The renewal process included the enormous task of trying to improve the acoustics as part of the concert hall renovation. That herculean task had its first litmus test recently when the world-renowned conductor Simone Young led the Sydney Symphony Orchestra in the first concert after the renewal, stating afterwards... ‘I've never known anything like we're experiencing today'. Each CEO of the Opera House seems to be a custodian, a visionary, and an historian. Louise recounts the sliding door moment that may have meant the Opera House, as we know it, may never have been built but for the late arriving Finnish/American architect Eero Saarinen who was part of the design competition judging panel and wasn't happy with the shortlist presented to him...so he started foraging through the rejected entries (some say they may have already been literally binned) and found Utzon's sketches (not even plans) – and just said, ‘that's it'. It's a fascinating discussion covering not just the Opera House, but how Louise progressed her career, the drivers, and motivators behind her decisions. The transferable skills she has used in the varied jobs she has had. Also...we discussed where to from here for the Arts generally. How can we progress and promote the Arts and remove barriers from accessing, participating, and enjoying such a vital aspect of life. Head to the link in my bio for Louise Herron's podcast episode.Visit instagram @reallyinterestingwomen for further interviews and posts of interesting women in history. Follow the link to leave a review....and tell your friendshttps://podcasts.apple.com/au/podcast/really-interesting-women/id1526764849If you know of a potential guest or interesting woman in history, email me atreallyinterestingwomen@gmail.com
Compositor alemán. Se adhiere al dodecafonismo serial, que abandona en pos de un estilo de composición más libre. Compone sinfonías, obras vocales y concertantes. Su fuerte compromiso político le lleva a exponer en sus obras los problemas fundamentales de la sociedad contemporánea._____Has escuchadoConcerto for Double Bass and Orchestra. III. Ciaccona (1966). Daniele Roccato, contrabajo; Orchestra Sinfonica Abruzzese; Tonino Battista, director. WERGO (2020)Das verratene Meer. Verwandlungsmusik (1986-2006) / con textos de Hans-Ulrich Treichel y Yukio Mishima. Orchester der Wiener Staatsoper; Simone Young, director. Capriccio (2021)Encuentro con Hans Werner Henze. Obras de piano. Jan Philip Schulze, piano. Grabación sonora realizada en directo en la sala de conciertos de la Fundación Juan March, el 26 de mayo de 1999_____Selección bibliográficaALFAYA, Javier, “Notas sobre Hans Werner Henze”. Revista de Occidente, n.º 283 (2004), pp. 93-106BIELEFELDT, Christian, Hans Werner Henze und Ingeborg Bachmann: Die gemeinsamen Werke Beobachtungen zur Intermedialität von Musik und Dichtung. Transcript Verlag, 2015DOWNES, Stephen C., et al., Hans Werner Henze: Tristan (1973). Ashgate 2011FUNDACIÓN JUAN MARCH, Ciclos de Miércoles. Encuentro con Hans Werner Henze. Obras para piano. [Programa de conciertos]. Celebrado el 26 de mayo de 1999: [PDF]*HENDERSON, Robert, “Hans Werner Henze”. The Musical Times, vol. 117, n.º 1601 (1976), pp. 566-568*HENZE, Hans Werner, Music and Politics: Collected Writings, 1953-81. Faber and Faber, 1982—, Canciones de viaje con quintas bohemias: noticias biográficas. A. Machado Libros, 2004PETERSEN, Peter, Hans Werner Henze, ein politischer Musiker. Argument, 1988RUSSOMANO, Stefano, “‘La música sin gestos no puede vivir': conversación con Hans Werner Henze”. Doce Notas Preliminares: Revista de Música y Arte, n.º 3 (1999), pp. 75-79*SCHMIDT-WISTOFF, Katja, Der Dichtung und Musik bei Ingeborg Bachmann und Hans Werner Henze. Iudicium, 2001 *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March
In the thirty-fifth year of his career, Daniel Sumegi has sung over one hundred operatic roles on many of the world's major stages – including the Metropolitan Opera, San Francisco Opera, Los Angeles Opera, Washington National Opera, Seattle Opera, as well as at Opera Australia. He has also appeared in the opera houses of Bonn, Cologne, Frankfurt and Hamburg, as well as Paris, Barcelona, Tokyo, Hong Kong, Los Angeles and Houston among many others. Regarded also for his dynamic acting, his broad repertoire encompasses all periods of music – from Monteverdi and Mozart to Britten, Tippett and Puts. Equally comfortable as Strauss' Baron Ochs, Mozart's Sarastro and Commendatore, Verdi's Grand Inquisitor and Sparafucile, Offenbach's Four Villains or Puccini's Scarpia, he has participated in Ring Cycles in New York, Los Angeles, San Francisco, Strasbourg, Cologne, Tokyo, Buenos Aires, Seattle, Melbourne and Adelaide, most notably as Hagen. He has additionally performed Hunding in concert for the Hong Kong, Atlanta, Stuttgart and Melbourne Symphony Orchestras. Daniel's 2021/2022 engagements included Die Walküre (Singapore), Salome (Victorian Opera), Fidelio (Dublin) and Bluebeard's Castle, Aida and Lohengrin (Opera Australia). Among other roles, he has sung Die Meistersinger von Nürnberg (Pogner) for Opera Australia, Salome (Jochanaan) for New Israeli Opera, Der fliegende Holländer (title role) for Malmö Opera in Sweden and Carmen (Zuniga) for Seattle Opera. He also undertook his music theatre debut, as Judge Turpin in Sondheim's Sweeney Todd, seen in Sydney and Melbourne. Past highlights include Don Carlo and Madama Butterfly (Metropolitan Opera), Der Rosenkavalier (Scottish and Welsh National Opera), Luisa Miller (San Francisco), Billy Budd and Rigoletto (Los Angeles), Parsifal (Hamburg, Barcelona, Adelaide), Salome (Washington, Hamburg, Leeds, Hong Kong), Der fliegende Holländer, Aida, Beatrice and Benedict and Barbiere (Seattle), Manchurian Candidate (Minnesota, Austin), and more than 25 principal roles for Opera Australia. He has collaborated with noted conductors such as James Conlon, Sir Andrew Davis, Charles Dutoit, Dan Ettinger, Asher Fisch, Valery Gergiev, Nicola Luisotti, Sir Charles Mackerras, Yannick Nézet-Séguin, Renato Palumbo, Sir Simon Rattle, Carlo Rizzi, Donald Runnicles, Nello Santi, Sir Jeffrey Tate, Edo de Waart, Sebastian Weigle, and Simone Young. Daniel Sumegi appears on CD in Beatrice di Tenda and Seattle Opera's acclaimed Ring Cycle, and on DVD in the San Francisco Opera Production of Capriccio, Opera Australia's Don Giovanni, and the historic condensed Ring Cycle from Teatro Colón, Buenos Aires. In December, he makes his role début as Wotan/The Wanderer in OA's new production of Der Ring des Nibelungen. The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au
Oggi a Cult: Marcello Lorrai dalla Biennale Musica di Venezia; la direttrice d'orchestra Simone Young debutta al Teatro alla Scala con "Peter Grimes" di Benjamin Britten; Lella Costa in "Giovanna: la pulzella, la fanciulla, l'allodola" al Teatro Carcano; Gianni Biondillo sui 20 anni di "Nazione Indiana" celebrati in una due giorni al Trotter...
In this 'Favourite Tips' episode we revisit a conversation with counsellor Simone Young of Stepfamilies Australia, focusing on a common challenge in blended families: loyalty binds.In this excerpt, Simone shares essential insights on how parents and stepparents can navigate this delicate aspect while prioritising the child's emotional well-being and fostering appropriate behaviour.Simone highlights the importance of acknowledging loyalty binds as a common experience for kids in blended families, emphasising that they're not necessarily something to fix but to accept. She also explores the unexpected ways these binds can manifest and offers valuable advice on validating and empathising with the child's experience.For the full episode, visit https://intheblend.com.au/podcast/simone-young-on-nurturing-childrens-emotions-in-blended-families/See omnystudio.com/listener for privacy information.
In this episode, I'm thrilled to be joined by Simone Young, a Child and Family Practitioner at Stepfamilies Australia with a wealth of experience in this field.In our chat we cover children and emotions and explore the emotional landscape that children navigate within step and blended families and how these emotions can manifest in their behaviour.We cover everything from fostering an environment of support and openness, strategies and techniques that parents can employ to guide children through feelings of confusion and insecurity through to loyalty conflicts and more.This one is jam packed with useful tips and information to support you no matter what your role in your blended or step family system.Tuning Into Kids https://www.relationshipsnsw.org.au/group-workshops/tuning-into-kids/?gclid=Cj0KCQjw84anBhCtARIsAISI-xc4MCKP47A-gi8ItpA2aqnj8KGjfiILRU0e-dpQNVjuWB6_CksfDn8aAhMPEALw_wcB Tuning Into Teens https://www.relationshipsnsw.org.au/group-workshops/tuning-into-teens/?gclid=Cj0KCQjw84anBhCtARIsAISI-xe4QU-m8Z7tn-eAxodXB7fMY9ItEqci78iC9icq4XHdlSGBUKY6iWYaAuidEALw_wcB Bringing Up Great Kids https://www.relationshipsnsw.org.au/group-workshops/bringing-up-great-kids/ Dr. Dan Siegel https://drdansiegel.com/books/ Dr Shefali https://www.drshefali.com/ Emotion Coaching for Parents https://www.relationshipsnsw.org.au/blog/emotion-coaching-for-parents/ Stepfamilies Australia https://stepfamily.org.au/See omnystudio.com/listener for privacy information.
In this episode, I'm thrilled to be joined by Simone Young, a Child and Family Practitioner at Stepfamilies Australia with a wealth of experience in this field.In our chat we cover children and emotions and explore the emotional landscape that children navigate within step and blended families and how these emotions can manifest in their behaviour.We cover everything from fostering an environment of support and openness, strategies and techniques that parents can employ to guide children through feelings of confusion and insecurity through to loyalty conflicts and more.This one is jam packed with useful tips and information to support you no matter what your role in your blended or step family system.Tuning Into Kids https://www.relationshipsnsw.org.au/group-workshops/tuning-into-kids/?gclid=Cj0KCQjw84anBhCtARIsAISI-xc4MCKP47A-gi8ItpA2aqnj8KGjfiILRU0e-dpQNVjuWB6_CksfDn8aAhMPEALw_wcB Tuning Into Teens https://www.relationshipsnsw.org.au/group-workshops/tuning-into-teens/?gclid=Cj0KCQjw84anBhCtARIsAISI-xe4QU-m8Z7tn-eAxodXB7fMY9ItEqci78iC9icq4XHdlSGBUKY6iWYaAuidEALw_wcB Bringing Up Great Kids https://www.relationshipsnsw.org.au/group-workshops/bringing-up-great-kids/ Dr. Dan Siegel https://drdansiegel.com/books/ Dr Shefali https://www.drshefali.com/ Emotion Coaching for Parents https://www.relationshipsnsw.org.au/blog/emotion-coaching-for-parents/ Stepfamilies Australia https://stepfamily.org.au/See omnystudio.com/listener for privacy information.
Inizia l'8 febbraio alla Concert Hall dell'Opera House di Sydney la stagione 2023 della Sydney Symphony Orchestra realizzata dalla direttrice d'orchestra principale Simone Young.
Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.
Simone Young, tra i migliori direttori d'orchestra al mondo, ci presenta il ricchissimo programma della SSO per il 2023.
Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.
Frauen sind längst nicht nur in technischen Berufen oft in der Minderheit, auch Orchesterleitung ist meist Männersache. In den vergangenen Jahrzehnten begann dieses Bild etwas zu bröckeln. Für Bewegung haben charismatische, erfolgreiche Frauen wie zum Beispiel unsere eigene Simone Young gesorgt. Doch es ist ein mühsamer Weg. Das sagt auch Rebecca Lang, die im Juli in Perth die Oper Tosca von Giacomo Puccini dirigieren wird. Sie erzählt von ihrem Weg ans Dirigentenpult.
durée : 01:59:34 - Musique matin du mardi 17 mai 2022 - par : Jean-Baptiste Urbain - Nous recevons aujourd'hui la cheffe d'orchestre Simone Young, qui dirigera l'opéra Parsifal de Wagner à l'Opéra de Paris (Bastille) du 24 mai au 12 juin 2022, pour 7 représentations. - réalisé par : Figaro Freslon Le Floc'h
Emerging flautist, educator and researcher Eliza Shephard talks about growing up regionally, the extended flute, her bold recording project and being Ensemble Offspring's 2022 Hatched Associate Artist.Eliza Shephard is a vibrant performer and fervent contemporary musician in Melbourne. She is a specialist on the Glissando Headjoint, and a highly sought-after chamber musician. She is a semi-finalist for the ABC Young Performers Award and a finalist of the Freedman Fellowship 2021. Eliza is passionate about amplifying the voices of female musicians and composers, as showcased through her recording project ‘March of the Women'. Eliza Shephard: https://elizashephard.com/__________– Discussed in this episode –• ABC Young Performers Award: http://youngperformersawards.org/• Freedman Fellowship: https://sima.org.au/freedman-music-fellowships/• Virginia Taylor: https://www.australianmusiccentre.com.au/artist/taylor-virginia• Teresa Rabe: https://www.australiancomposers.com.au/pages/teresa-rabe• Australian National University (ANU): https://www.anu.edu.au/• Robert Dick: http://robertdick.net/• The Australian National Academy of Music (ANAM): https://anam.com.au/• Richard Tognetti: https://www.aco.com.au/the-orchestra/musicians/richard-tognetti• Simone Young: https://www.sydneysymphony.com/musicians/simone-young• The Glissando Headjoint – Eliza Shephard: https://research-repository.griffith.edu.au/bitstream/handle/10072/393197/Shephard,Eliza_Final%20Thesis_redacted.pdf?sequence=1 • Greg Pattillo: http://www.pattillostyle.com/• Three Beats for Beatbox Flute – Greg Pattillo: https://store.payloadz.com/details/2515986-music-classical-three-beats-for-beatbox-flute.html • March of the Women: https://elizashephard.com/march-of-the-women • Wirripang: https://www.australiancomposers.com.au/ • Mungala – Brenda Gifford: https://www.australianmusiccentre.com.au/workversion/gifford-brenda-mungala/35636 • Claire Chase: http://www.clairechase.net/• Ned McGowan: https://www.pearlflute.com/artists/ned-mcgowan__________Opening music: Heaven Only Empty (2014) – Damien RicketsonClosing music: Light for the First Time (2017) – Bree van ReykThe Offcast is hosted by Claire Edwardes OAM, and produced and edited by Ben Robinson.Ensemble Offspring: https://ensembleoffspring.com/This episode of The Offcast is sponsored by Limelight
Young, Simonewww.deutschlandfunkkultur.de, Rang 1Direkter Link zur Audiodatei
Olga Scheps was born in Moscow in 1986, the daughter of two pianists, and discovered the instrument for herself at the age of four. She began studying the piano more intensively after her family moved to Germany in 1992. At an early age she had already developed her own unique style of keyboard playing, which combines intense emotiveness and powerful expressivity with extraordinary pianistic technique. Among those who discovered these talents was Alfred Brendel, who has encouraged the young pianist. A holder of scholarships from the Deutsche Stiftung Musikleben and Studienstiftung des deutschen Volkes, she completed her studies with Professor Pavel Gililov in her adopted home of Cologne in 2013, passing her Concert Examination with Distinction. She rounded out her training with Professor Arie Vardi and Professor Dmitri Bashkirov.Besides the well-known works for piano Olga Scheps's repertory consists of compositions that are seldom heard in the concert hall, including the posthumous Études of Frédéric Chopin, Franz Liszt's Malédiction, Olivier Messiaen's Les Oiseaux exotiques, Antonín Dvořák's Piano Concerto, Arvo Pärt's „Lamentate“, and Mieczysław Weinberg's Piano Quintet. Her solo recitals are as popular with audiences all over the world as her acclaimed appearances as soloist with orchestra and her chamber projects.Such noted conductors as Thomas Dausgaard, Lorin Maazel, José Serebrier, Marcus Bosch, Ralf Weikert, Michel Tabachnik, Antoni Wit, Ivor Bolton, Cristian Mandeal, Christoph Altstaedt, Tugan Sokhiev, Simone Young, Markus Poschner and Pablo Heras-Casado have invited Olga Scheps to collaborate with them.Among the leading orchestras with which she has appeared in concert are the Orchestre Philharmonique de Monte-Carlo, the Warsaw Philharmonic Orchestra, the Mozarteum Orchester Salzburg, the Munich Symphony Orchestra, the Royal Scottish National Orchestra, the State Symphony Cappella of Russia (Moscow), the Staatskapelle Weimar, the Zurich Chamber Orchestra, the NDR Radiophilharmonie, the Orchestre National du Capitole de Toulouse, the Prague Philharmonia, the Israel Philharmonic Orchestra and the New Japan Philharmonic Orchestra.Olga Scheps now performs with great success in world-famous concert halls such as the Elbphilharmonie, the Berlin and Cologne Philharmonie, the Vienna Konzerthaus, the Cadogan Hall London, the Zurich Tonhalle, and the Suntory Hall Tokyo. She is a sought-after guest at festivals like the Rheingau Musik Festival, Festspiele Mecklenburg-Vorpommern, Kissinger Sommer, Heidelberger Frühling, Klavier-Festival Ruhr, Schleswig-Holstein Musik Festival, MDR Musiksommer, Lucerne Festival am Piano, ACHTBRÜCKEN Festival in Cologne, Mozart Festival Würzburg, Mersin Festival in Turkey, and Menuhin Festival Gstaad.A passionate chamber musician, she plays regularly with such artists as Alban Gerhardt, Daniel Hope, Adrian Brendel, Jan Vogler, Nils Mönkemeyer, the Danish String Quartet, the Danel Quartet and the Kuss Quartet, with which she recorded Mieczysław Weinberg's Piano Quintet.Since 2009 Olga Scheps has been an exclusive Sony Classical artist. Her debut album ‘Chopin' immediately won an ECHO Klassik award. The two recordings that followed, ‘Russian Album' (2010) and ‘Schubert' (2012), were also highly praised by the press. Her fourth Sony Classical CD was released early in 2014 and features Chopin's Piano Concertos nos. 1 and 2 with the Stuttgart Chamber Orchestra. The success of her solo-album ‘Vocalise', published in 2015, was surpassed by her latest album ‘Satie' which Olga Scheps has recorded on the occasion of the French composer's 150th birthday: It reached top 1 of the German classical music charts at first go. Her CD "Tchaikovsky" was released in October 2017 and she broke new ground with the album "100 % Scooter - Piano Only", on which she recorded arrangements of the most famous Scooter hits by Sven Helbig. In March 2019 Olga Scheps' album “Melody” was released, containing pieces spanning four centuries, from Bach to Aphex Twin. Her recording of the Weinberg Piano Quintet with the Kuss Quartet was released in late 2019. Olga Scheps is a Steinway Artist.FIND OLGA ON SOCIAL MEDIAFacebook | Instagram | Twitter | Twitch | YouTube================================PODCAST INFO:Podcast website: https://www.uhnwidata.com/podcastApple podcast: https://apple.co/3kqOA7QSpotify: https://spoti.fi/2UOtE1AGoogle podcast: https://bit.ly/3jmA7ulSUPPORT & CONNECT:Support on Patreon: https://www.patreon.com/denofrichTwitter: https://twitter.com/denofrichFacebook: https://www.facebook.com/denofrichYouTube: https://www.youtube.com/c/DenofRich
He is a conductor who has fast established himself as a versatile artist covering the symphonic, operatic and ballet genres. He's made a splash in Europe with such orchestras as the Mariinsky, the Budapest Festival Orchestra, and the Odessa National Philharmonic. He and his wife, soprano Eleanor Lyons, have more recently created Live at Yours, an exciting and ever growing project, bringing top quality artists to unique and intimate settings. Vladimir speaks with Simon Moore about the creation and development of Live at Yours, regales us with tales of studying in St Petersburg and working with luminaries like Simone Young and Iván Fischer, plus providing some significant insights into the creative process. This episode is an extended version of the broadcast edition, with additional interview content.
‘Symphony no. 2' by Gustav Mahler is a piece for an enormous orchestra with a choir, and it features one of the greatest endings in all music. Its sheer scale and intensity is astonishing: this music creates a universe. In this episode I share insights into the piece and I discuss how an orchestra's conviction can create thrilling performances. This episode features the fifth movement from ‘Symphony no. 2' by the composer Gustav Mahler. I recommend the recording by the Hamburg Philharmonic Orchestra conducted by Simone Young. Further information: www.athousandpictures.com/episode12. I hope you enjoy the show! Please subscribe and help us grow by leaving a rating and a review. And please share the podcast with others! Feel free to contact Scott Wilson via: EMAIL: feedback@athousandpictures.com FACEBOOK: www.facebook.com/1000PicturesPod INSTAGRAM: @1000picturespod TWITTER: @1000PicturesPod WEBSITE: www.athousandpictures.com
Im Oktober 2021 hatte Benjamin Brittens „Peter Grimes“ im Theater an der Wien großen Erfolg. Gestern nahm die Staatsoper die Christibe Mielitz-Inszenierung aus dem vorigen Jahrhundert (Premiere 12.2.1996) wieder in den Spielplan auf. Von der Oktober-Premiere an der linken Wienzeile war Richard Schmitz begeistert. Wie war es gestern am Ring? Die Inszenierung von Christine Mielitz widmet sich vor allem der Charakterisierung der vielen Figuren, vor allem der des Peter Grimes. Die Kostüme unterstützen das sehr gut. Das Bühnenbild stört nicht. Auch in der Wiener Staatsoper stand daher der Sänger der Titelrolle im Mittelpunkt. Jonas Kaufmann legte den Peter Grimes grundlegend anders an. Da war kein dumpfer Gewaltmensch zu sehen, sondern ein vom Pech verfolgter sentimentaler, im Grunde gutmütiger Fischer, der für seine Heirat Geld scheffeln wollte und in der Dorfgemeinschaft aneckt. Diese Charakterambivalenz erfüllt Jonas Kaufmann mit all seinen künstlerischen Ausdrucksfacetten. Da gibt es herbe Töne, aber auch lyrische Legatobögen, klare Spitzentöne und verhaltenes Piano. Lise Davidsen als Ellen Orford kann da mit ihrer großen, noch ungeschliffenen Stimme nicht ganz mithalten. Wenn sie an der Differenzierung ihres Ausdrucks arbeitet, wird das noch eine der ganz Großen des Sopranfaches. Eine verhuschte Dorfschullehrerin ist sie natürlich nicht. Bryn Terfel als Balstrode zur Verfügung zu haben, ist ein großes Glück. Die unverrückbare Treue dieser Figur wird da deutlich. Auch die anderen Rollen haben bei Christine Mielitz eigene Charakterisierungen, die etwa Thomas Ebenstein als betrunkener Sektierer und Stephanie Houtzeel als kapriziöse, drogensüchtige Sedley voll ausspielen. Auch die anderen, Wolfgang Bankl, Noa Beinart, Ileana Tonca und Aurora Marthens als ungleiches Nichtenpaar, Carlos Osuna geben ihren Rollen ein eigenes Profil. Die Feinheiten des Feministinnenquartetts kommen vor dem Vorhang besonders intensiv zur Geltung. Die Widersprüchlichkeit der Haltung der Dorfbevölkerung wird durch den exzellenten Chor klar zum Ausdruck gebracht. Zurecht wurden auch Simone Young und das Staatsopernorchester am Ende bejubelt. benjamin Brittens Zwischenspiele, die richtige Klangjuwele sind, konnte man ohne Ablenkung genießen. Philharmonische Höhepunkte. Jonas Kaufmann hat seinen Fans bewiesen, dass er auch aus komplexeren Opernrollen menschliche Figuren machen kann. PS: Ich bin froh, dass meine Frau und ich das erleben konnten. Noch am Nachmittag war das gar nicht so sicher. Unsere PCR-Tests sind erst nach 36 Stunden während der Vorstellung eingetroffen. Erfreulicherweise wurde ein aktueller Antigen-Test akzeptiert. Es war ein großer Opernabend, der der Wiener Staatsoper und seinem jubelnden Publikum alle Ehre macht. Wertnote: 9,3/10 Punkten!
Die Liebe zu Wagner und Mahler haben sie vor vielen Jahren nach Deutschland geführt. Die australische Dirigentin Simone Young gastierte an allen großen Opernhäusern der Welt. Von 2005 bis 2015 war sie Intendantin der Staatsoper und Generalmusik-Direktorin des Philharmonischen Staatsorchesters in Hamburg. Ab 2022 wird sie Chefdirigentin des Sydney Symphony Orchestra. Moderation: Daniela Arnu
Today is 25th April 2021 and also Anzac Day. It seems therefore appropriate to interview my first Australian conductor, probably the most prominent Australian conductor working today. Simone Young was a joy to chat with - I discovered what pressures there may have been as a "trailblazer", we discussed conducting off-stage and how scary that can be, and I discover what criterion she uses when choosing her hairdressers! If you would like to financially support the podcast, why not subscribe at https://www.patreon.com/amiconthepodium, and for a monthly fee starting from just £5 a month, you can access two new series of interviews, group Zoom meetings with other fans of the podcast and myself, a monthly bulletin about the podcast and my own career as well as articles, photos, videos and even conducting lessons from myself. Alternatively, if you would prefer to make a one-off donation, go to https://www.justgiving.com/crowdfunding/a-mic-on-the-podium and any donation you make will be greatly appreciated and help the podcast live on into the future. This interview was recorded on 29th January 2021 via Zoom.
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Le journal du classique - Simone Young
Als sie anfing zu dirigieren, durften in manchen Orchestern Frauen nicht einmal mitspielen: Simone Young ist eine von immer noch wenigen Frauen in diesem Spitzenjob der Musikwelt. Im Podcast erzählt sie, warum sie als Kind auf einer Papiertastatur Klavier üben musste, was als künftige Chefdirigentin des Sydney Symphony Orchestra auf sie zukommt – und warum sie sich in vielen Ländern oft wie ein "sprechender Hund" gefühlt hat.+++ Der neue, 100% elektrische ŠKODA ENYAQ iV 80 beeindruckt auch als Firmenwagen nachhaltig: mit über 500 km Reichweite und einer Ladezeit von nur 40 Min. per Schnellladung von 10 auf bis zu 80%. Mehr zum Elektro-SUV von ŠKODA unter skoda.de/flotte-enyaq +++ Eine Produktion der Audio Alliance.Gastgeberin: Simone Menne.Redaktion: Karin Stawski, Isa von Heyl, Ivy Haase, Annette Ewen.Mitarbeit: Alissa Großkopf, Linus Günther.Produktion: Aleksandra Zebisch.
It’s an all-star Australian line up in the Sydney Symphony Orchestra’s 2021 Season opener. Daniel Roehn performs Tchaikovsky’s Violin Concerto and Simone Young conducts Dvořák’s New World Symphony. - Das Sydney Symphony Orchestra eröffnet seine diesjährige Konzertsaison mit dem Violinkonzert von Tschaikowsky, doch der eingeplante Star des Abends kann wegen Corona nicht erscheinen.
"La voce è lo strumento più chiaro", dice la direttrice d'orchestra Simone Young svelandoci il suo amore per la musica lirica. "Quando si canta bene è un suono che va direttamente al cuore".
Following his early and "heroic" periods we delve into the late works of one of the greatest and most influential composers, Ludwig van Beethoven, born 250 years ago this month.
Following his early and "heroic" periods we delve into the late works of one of the greatest and most influential composers, Ludwig van Beethoven, born 250 years ago.
In this episode, I have the great pleasure of speaking about all things mindful practice with international cello soloist Alisa Weilerstein. Alisa has attracted widespread attention for her playing that combines natural virtuosity and technical precision with impassioned musicianship. In this episode, Alisa shares insight on: How her parents nurtured a natural unfolding and healthy progression of her career Practicing: focusing efficient practice, intentional breaks and time off management (so important for long term sustainability + physical and mental health!) Her approach to learning a piece The importance of keeping musicality part of the technical work (as she said “Keeping everything married”) How practicing mindfully is the key for her to get rid of nerves and feel comfortable in performance How she plays mock performance for friends How to develop a natural rubato using the metronome … and much more! It's an information and inspiration packed episode and I hope you enjoy and find value in our discussion! MORE ABOUT ALISA WEILERSTEIN alisaweilerstein.com twitter.com/aweilerstein facebook.com/AlisaWeilerstein instagram.com/alisaweilerstein/ Alisa Weilerstein is one of the foremost cellists of our time. Known for her consummate artistry, emotional investment and rare interpretive depth, she was recognized with a MacArthur “genius grant” Fellowship in 2011. Today her career is truly global in scope, taking her to the most prestigious international venues for solo recitals, chamber concerts, and concerto collaborations with all the preeminent conductors and orchestras worldwide. “Weilerstein is a throwback to an earlier age of classical performers: not content merely to serve as a vessel for the composer's wishes, she inhabits a piece fully and turns it to her own ends,” marvels the New York Times. “Weilerstein's cello is her id. She doesn't give the impression that making music involves will at all. She and the cello seem simply to be one and the same,” agrees the Los Angeles Times. As the UK's Telegraph put it, “Weilerstein is truly a phenomenon.” Bach's six suites for unaccompanied cello figure prominently in Weilerstein's current programming. Over the past two seasons, she has given rapturously received live accounts of the complete set on three continents, with recitals in New York, Washington DC, Boston, Los Angeles, Berkeley and San Diego; at Aspen and Caramoor; in Tokyo, Osaka, Guangzhou, Shenzhen, London, Manchester, Aldeburgh, Paris and Barcelona; and for a full-capacity audience at Hamburg's iconic new Elbphilharmonie. During the global pandemic, she has further cemented her status as one of the suites' leading exponents. Released in April 2020, her Pentatone recording of the complete set became a Billboard bestseller and was named “Album of the Week” by the UK's Sunday Times. As captured in Vox's YouTube series, her insights into Bach's first G-major prelude have been viewed almost 1.5 million times. During the first weeks of the lockdown, she chronicled her developing engagement with the suites on social media, fostering an even closer connection with her online audience by streaming a new movement each day in her innovative #36DaysOfBach project. As the New York Times observed in a dedicated feature, by presenting these more intimate accounts alongside her new studio recording, Weilerstein gave listeners the rare opportunity to learn whether “the pressures of a pandemic [can] change the very sound a musician makes, or help her see a beloved piece in a new way.” Earlier in the 2019-20 season, as Artistic Partner of the Trondheim Soloists, Weilerstein joined the Norwegian orchestra in London, Munich and Bergen for performances including Haydn's two cello concertos, as featured on their acclaimed 2018 release, Transfigured Night. She also performed ten more concertos by Schumann, Saint-Saëns, Elgar, Strauss, Shostakovich, Britten, Barber, Bloch, Matthias Pintscher and Thomas Larcher, with the London Symphony Orchestra, Zurich's Tonhalle Orchestra, Frankfurt Radio Symphony, Gürzenich Orchestra Cologne, Tokyo's NHK Symphony, the New York Philharmonic, and the Houston, Detroit and San Diego symphonies. In recital, besides making solo Bach appearances, she reunited with her frequent duo partner, Inon Barnatan, for Brahms and Shostakovich at London's Wigmore Hall, Milan's Sala Verdi and Amsterdam's Concertgebouw. To celebrate Beethoven's 250th anniversary, she and the Israeli pianist performed the composer's five cello sonatas in Cincinnati and Scottsdale, and joined Guy Braunstein and the Dresden Philharmonic for Beethoven's Triple Concerto, as heard on the duo's 2019 Pentatone recording with Stefan Jackiw, Alan Gilbert and the Academy of St. Martin in the Fields. Committed to expanding the cello repertoire, Weilerstein is an ardent champion of new music. She has premiered two important new concertos, giving Pascal Dusapin's Outscape “the kind of debut most composers can only dream of” (Chicago Tribune) with the co-commissioning Chicago Symphony in 2016 and proving herself “the perfect guide” (Boston Globe) to Matthias Pintscher's cello concerto un despertar with the co-commissioning Boston Symphony the following year. She has since reprised Dusapin's concerto with the Stuttgart and Paris Opera Orchestras and Pintscher's with the Gürzenich Orchestra Cologne and with the Danish Radio Symphony and Cincinnati Symphony, both under the composer's leadership. It was also under Pintscher's direction that she gave the New York premiere of his Reflections on Narcissus at the New York Philharmonic's inaugural 2014 Biennial, before reuniting with him to revisit the work at London's BBC Proms. She has worked extensively with Osvaldo Golijov, who rewrote Azul for cello and orchestra for her New York premiere performance at the opening of the 2007 Mostly Mozart Festival. Since then she has played the work with orchestras around the world, besides frequently programming his Omaramor for solo cello. Grammy nominee Joseph Hallman has written multiple compositions for her, including a cello concerto that she premiered with the St. Petersburg Philharmonic and a trio that she premiered on tour with Barnatan and clarinetist Anthony McGill. At the 2008 Caramoor festival, she premiered Lera Auerbach's 24 Preludes for Violoncello and Piano with the composer at the keyboard, and the two subsequently reprised the work at the Schleswig-Holstein Festival, Washington's Kennedy Center and for San Francisco Performances. Weilerstein's recent Bach and Transfigured Night recordings expand her already celebrated discography. Earlier releases include the Elgar and Elliott Carter cello concertos with Daniel Barenboim and the Staatskapelle Berlin, named “Recording of the Year 2013” by BBC Music, which made her the face of its May 2014 issue. Her next album, on which she played Dvořák's Cello Concerto with the Czech Philharmonic, topped the U.S. classical chart, and her 2016 recording of Shostakovich's cello concertos with the Bavarian Radio Symphony and Pablo Heras-Casado proved “powerful and even mesmerizing” (San Francisco Chronicle). She and Barnatan made their duo album debut with sonatas by Chopin and Rachmaninoff in 2015, a year after she released Solo, a compilation of unaccompanied 20th-century cello music that was hailed as an “uncompromising and pertinent portrait of the cello repertoire of our time” (ResMusica, France). Solo's centerpiece is Kodály's Sonata for Solo Cello, a signature work that Weilerstein revisits on the soundtrack of If I Stay, a 2014 feature film starring Chloë Grace Moretz in which the cellist makes a cameo appearance as herself. Weilerstein has appeared with all the major orchestras of the United States, Europe and Asia, collaborating with conductors including Marin Alsop, Daniel Barenboim, Jiří Bělohlávek, Semyon Bychkov, Thomas Dausgaard, Sir Andrew Davis, Gustavo Dudamel, Sir Mark Elder, Alan Gilbert, Giancarlo Guerrero, Bernard Haitink, Pablo Heras-Casado, Marek Janowski, Paavo Järvi, Lorin Maazel, Cristian Măcelaru, Zubin Mehta, Ludovic Morlot, Yannick Nézet-Séguin, Peter Oundjian, Rafael Payare, Donald Runnicles, Yuri Temirkanov, Michael Tilson Thomas, Osmo Vänskä, Joshua Weilerstein, Simone Young and David Zinman. In 2009, she was one of four artists invited by Michelle Obama to participate in a widely celebrated and high-profile classical music event at the White House, featuring student workshops hosted by the First Lady and performances in front of an audience that included President Obama and the First Family. A month later, Weilerstein toured Venezuela as soloist with the Simón Bolívar Symphony Orchestra under Dudamel, since when she has made numerous return visits to teach and perform with the orchestra as part of its famed El Sistema music education program. Born in 1982, Alisa Weilerstein discovered her love for the cello at just two and a half, when she had chicken pox and her grandmother assembled a makeshift set of instruments from cereal boxes to entertain her. Although immediately drawn to the Rice Krispies box cello, Weilerstein soon grew frustrated that it didn't produce any sound. After persuading her parents to buy her a real cello at the age of four, she developed a natural affinity for the instrument and gave her first public performance six months later. At 13, in 1995, she made her professional concert debut, playing Tchaikovsky's “Rococo” Variations with the Cleveland Orchestra, and in March 1997 she made her first Carnegie Hall appearance with the New York Youth Symphony. A graduate of the Young Artist Program at the Cleveland Institute of Music, where she studied with Richard Weiss, Weilerstein also holds a degree in history from Columbia University. She was diagnosed with type 1 diabetes (T1D) at nine years old, and is a staunch advocate for the T1D community, serving as a consultant for the biotechnology company eGenesis and as a Celebrity Advocate for JDRF, the world leader in T1D research. Born into a musical family, she is the daughter of violinist Donald Weilerstein and pianist Vivian Hornik Weilerstein, and the sister of conductor Joshua Weilerstein. She is married to Venezuelan conductor Rafael Payare, with whom she has a young child. Visit www.mindoverfinger.com and sign up for my newsletter to get your free guide to a super productive practice using the metronome! This guide is the perfect entry point to help you bring more mindfulness and efficiency into your practice and it's filled with tips and tricks on how to use that wonderful tool to take your practicing and your playing to new heights! Don't forget to visit the Mind Over Finger Resources' page to check out amazing books recommended by my podcast guests, as well as my favorite websites, cds, the podcasts I like to listen to, and the practice and podcasting tools I use everyday! Find it here: www.mindoverfinger.com/resources! And don't forget to join the Mind Over Finger Tribe for additional resources on practice and performing! If you enjoyed the show, please leave a review on iTunes! I truly appreciate your support! THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme! Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a HUGE thank you to my fantastic producer, Bella Kelly! MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/
PEG Interviews Australian Concert Violinist Courtenay Cleary Courtenay completed her scholarship at The Juilliard School in New York where she earned her Master of Music degree with violin professor Naoko Tanaka. She received her Bachelor of Music degree with first-class honours from the Royal Academy of Music in London where she studied with professor Maureen Smith. In 2017 Courtenay performed as a soloist for Her Majesty Queen Elizabeth II and other distinguished guests at Westminster Abbey for the Royal Commonwealth Service. This was broadcast live on BBC television. In 2018 Courtenay again performed for the HM the Queen at Buckingham Palace for the Opening Ceremony of the Commonwealth Heads of Government Meeting. She has also performed as a soloist at prestigious venues including the Wigmore Hall, St James’ Piccadilly, the Regent Hall, Colston Hall and the Lincoln Centre. She recently performed Beethoven’s Violin Concerto with the Willoughby Symphony Orchestra in Sydney and gave the Australian premiere of David Lang’s Mystery Sonatas. She is a Tait Memorial Trust and ABRSM scholar, and was recently awarded second prize at the Australian Concerto and Vocal Competition as well as the Dame Joan Sutherland Award from the American Australian Association and the Guy Parsons Award from the Portland House and Australian Music Foundations. She was also a finalist in the 2018 Freedman Fellowship awards. She is a member of the Patronus Quartet who in 2015 progressed to the semi-final of the Melbourne International Chamber Music Competition. She has performed at many international festivals including Tallinn Music Week and the Melbourne Festival. She has performed in many masterclasses for esteemed artists including Julian Rachlin, Daniel Hope, the St Lawrence String Quartet, and the Borodin Quartet, from whom her own quartet received a letter of recommendation for the MICMC. Courtenay is a core member of the Melbourne Chamber Orchestra and also plays casually with the Melbourne Symphony Orchestra and Orchestra Victoria. She studied at the Australian National Academy of Music from 2012-2014 with William Hennessy. During her time at the academy she played alongside many visiting artists including the Brodsky Quartet, Brett Dean, Michael Collins, The Australian Chamber Orchestra, The Aurora Orchestra, Anthony Marwood, Dale Barltrop and was concertmaster of the ANAM orchestra under the direction of Simone Young, James Judd and Nicholas Carter. In 2011 Courtenay studied under the direction of Associate Professor Patricia Pollett at the University of Queensland. During this time, she was concertmaster of the University of Queensland Chamber and Symphony Orchestras and was finalist in the university’s Bach Prize and The Howard and Gladys Sleath Prize for Strings. She was the recipient of the Sleath String Scholarship for outstanding students and was a winner of the Sid Paige & Musica Viva/4MBS Chamber Music Prize. Artist Website: https://www.courtenaycleary.com/ Watch and Listen: https://www.courtenaycleary.com/watchlisten Instagram: https://www.instagram.com/courtenaycleary/ Twitter: https://twitter.com/CourtenayCleary --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/phantom-electric/message
Donald Macleod explores Beethoven’s vocal music with Iain Burnside and Simone Young. In this week’s episode, Donald Macleod and his guests discuss some personal favourites from Beethoven's vocal music, taking in the giants of choral repertory like the Missa Solemnis and the ninth symphony, his opera Fidelio and orchestral vocal music, as well as relishing the astonishing variety of his song-writing, from the song cycle An die Ferne Geliebte and the most profoundly moving vocal masterpieces, to a comic song most likely dashed off to amuse friends in a bar. Composer of the Week will be returning to the story of Beethoven’s life and music throughout 2020. Part of Radio 3’s Beethoven Unleashed season marking the 250th anniversary of Beethoven’s birth. Music Featured: Christus am Ölberge, Op 85 Ein Selbstgespräch, WoO 144 Adelaide, Op 46 Funeral Cantata on the Death of Emperor Joseph II Christus am Olberge, Op 85 Aus Goethes Faust, Op 75, No 3 Der Wachtelschlag, WoO 129 L'amante impaziente, Op 82 (a pair of settings) Ah Perfido!, Op 65 Mass in C, Op 86 (Gloria, Sanctus & Benedictus) Klage, WoO 112 Neue Liebe, neues Leben, WoO 127 Fantasia for Piano, Choir and Orchestra in C minor op 80 Music, Love and Wine, Op 108, No 1 La Tiranna, WoO 125 Fidelio (Act 1), O welche Lust, in freier Luft (Prisoner’s Chorus) Fidelio (Act 1, Abscheulicher! Wo eilst du hin? Fidelio (Act 2), Introduction and Aria Gott! Welch’ Dunkel hier! In des Lebens Frühlingstagen An die Hoffnung, Op 94 Maigesang (Mailied), Op 52, No 4 Three Lieder to poems by Goethe, Op 83 Der glorreiche Augenblick, Op 136 (Final chorus: Es treten hervor die Scharen der Frauen) Cantata on the Accession of Leopold II, WoO 88, Fliesse, Wonnezähre, fliesse! An die ferne geliebte, Op 98 Meerestille und glückliche Fahrt, Op 112 Der Kuss, Op 128 Abendlied unter dem gestirnten Himmel, WoO 150 Missa Solemnis in D major, Op 123, Credo Symphony No 9 (4th movement) Presented by Donald Macleod Produced by Johannah Smith for BBC Wales For full tracklistings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Beethoven Unleashed: Beethoven and the Voice https://www.bbc.co.uk/programmes/m000hv23 And you can delve into the A-Z of all the composers we’ve featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z
ABOUT EPISODE In Episode 18 we have our second installation of advice from 30 artists, galleries owners, magazine editors, authors, creative business owners, etc answering this question: “If you could give one bit of advice to an artist just starting out what would that be?” This is part 2 of 3. Find the first installation: Episode 8 (1 of 3) SHOW QUOTES 1. Put miles on the brush…or pencil. – Suzy Smith 2. Don’t put your focus on sales. Focus instead on finding yourself, finding your medium, finding your motivation and drive. Once you have a portfolio you are proud of, start showing it off. – Archer May Dougherty 3. Not everything you make is a Grandslam. Sometimes you strike out but see each piece leading to the other and so forth. It is a constant practice and learning experience. – Matthew F. Dougherty 4. Contracts are your friends. – Emily J Moore 5. Read dali’s book. 50 secrets of magic craftsmanship, published 1948. Memorize them all!! – Norm Goodwin 6. Curb the ego and work. – Jeremy Cross 7. Don’t be scared to try something new. – Alecia House 8. Compete with yourself and no one else. Don’t try to be anyone else because you can’t. Do the work you love because often that’s the only reason you’ll be doing it. Be generous with what you learn. Be happy when other artists succeed, more art means more possibilities. Every rejection is a step closer to finding success. Find out what recharges you and remember to do that even when you’re on deadline. Discover what you love about making art and remind yourself regularly. Draw or paint even if you don’t feel like it, inspiration will come. – Steve Cleff 9. As someone who only picked up pencils a year ago – Draw draw draw! Pinterest is a great resource for inspiration. Draw some more. Ask your friends for honest feedback. Draw more and find your own style. Try heaps of different mediums until you find one that suits your style. Don’t give up it takes time to get good at anything. Did I mention draw more? – Jo Jette 10. Know why you make art–even if you don’t understand it intellectually and you can’t explain it to other people (or even yourself) Know it in your soul, feel it, focus on it and follow it. – Heather Watts 11. It has to be the art you love. Don’t second guess ‘what art is selling these days’. Find a way to combine all your passions (non-art too) into your art. The passion is tangible and is at least half the reason people will respond to your artwork. – Derek Gores 12. Get a non-refundable deposit of half upfront on commissions. – Christina M. Anderson 13. Never give up. – Wanda Ragsdale 14. Many artists find joy in creating whenever they get the free spirited notion or an inspiring idea. But when you are commissioned to create for a buyer or required to produce a specific number of pieces for a showcase/project by a certain date, art can be tedious. You cannot reach your highest heights by only being capable of creating “whenever I’m in the mood” art. You must prepare yourself for “on demand” art as well. – Zeus Luby 15. (a) Experimentation will have breakdowns, but can evoke some awesome breakthroughs. It’s ok to borrow techniques from others, but don’t limit yourself from standing out from the rest. Then people can borrow and learn from you. – Adam Layne 16. (b) Don’t limit your exposure to just posting art on social networking sites. There are many people who still get their foot in the door from face-to-face meetings, emails, snail mails, submitting to art shows and publications, and supporting other artists’ exhibitions who in turn will become your fans right back when you have a show. Creation is only part of the equation. Having a diverse action plan to get all sorts of eyes on your work will open the door for many more opportunities. – Adam Layne 17. Don’t do your work with sales in mind, do what feels right to you for you. A gift of art far outweighs bought art. Question yourself as to WHY you are creating. Art is as personal of an experience as religion ought to be. – Jeremy La Belle 18. Work hard, network and get your work out there to be seen. – Leslie Ditto 19. Don’t give up. Be careful of false promises. And learn from other artists. And you can be easily replaced. – Krystopher Sapp 20. Don’t give up! Your ideas are better than you realize. – RussPhoto Art 21. Adapt or perish. – Erich J. Moffitt 22. Follow you heart and trust your inner voice – Simone Young 23. Don’t be a pushover, stay humble, and don’t lose your integrity. – Luciano Martinez 24. Be fearless, be brave, be ready to have your heart and ego stomped on, but never ever EVER give up. – Julie Zarate 25. Don’t be afraid to make mistakes. 100’s and thousands of them. There are hoards of happy accidents just waiting to happen. Just free your mind up to make room for growth always, and keep going. – Elly Ehrnst 26. Don’t let the cost of materials get in the way- learn to use found and recycled materials, garage sale items, Goodwill items, and hand-me-downs- this will make it easier to make mistakes without fear – Bradley Cahill 27. Set a goal of 20-30 pieces to complete within 6 months, exploring style, subject matter, media, and other challenges. You’ll come out of it with a direction to follow! – Kelly McKernan Cavanah 28. Young artists shouldn’t copy established artists just to get social feed validation and get into galleries. They should develop their own unique voice with their own unique library of icons and symbols. Just because it exists and is on the internet doesn’t mean it’s there for the taking. Less entitled, more humbled… Brandt Peters 29. Study: know your art history, a bit of philosophy of art, learn what true art means so you won’t fall into the “fast food” art scheme, and will have better resources to judge your own work. Know yourself, so your chances of doing something that truly belongs to you will increase. Prepare to work hard, but that should not be a problem to the ones who have a powerful drive. Persevere. Never think you are “good” enough, chances are that you are not. at the same time, give yourself chances to make mistakes and evolve. Pay attention to what more experienced and schooled artists have to say and learn from them, stop thinking that knowledge equals elitism and snobbery. Be humble and never stop exploring. – Patricia Ariel
The Passacaglia is a stately triple-time dance of Renaissance Spain. Later re-workings of the three-step open and close this weekend’s Detroit Symphony Orchestra program – first in music by Anton Webern, then in Johannes Brahms’ Symphony No. 4. Simone Young leads the DSO in the concert of Viennese composers, and talks with WRCJ’s Peter Whorf about Brahms’ take on the Passacaglia…
Im Gespräch mit Annett Mautner erzählt Simone Young von Bravorufen ihres Vaters, als sie als Kind in Australien Klavier spielte, ihren ersten Erlebnissen in Europa, vom Gastdirigieren und ihrer großen Zeit in Hamburg.
In vielerlei Hinsicht ist diese Symphonie ein besonderes Werk: letztes Wort des Symphonikers Brahms, befremdlich für die Zeitgenossen wegen der radikalen Kompositionsweise und gleichzeitig Ausgangspunkt für die nachfolgende Komponistengeneration. Florian Heurich hat mit Simone Young über dieses Starke Stück gesprochen.
Simone Young springt für den erkrankten Mariss Jansons ein - und gibt damit ihr Debüt beim Symphonieorchester des Bayerischen Rundfunks. Bei ihrer ersten Begegnung mit dem Orchester gerät die australische Dirigentin ins Schwärmen.
Nicht zum ersten Mal verantwortet Simone Young die musikalische Seite einer Neuproduktion an der Bayerischen Staatsoper. Am 21. Mai ist die australische Dirigentin in der Premiere von Leoš Janá?eks "Aus einem Totenhaus" zu erleben. Welche Farbe sie mit dieser Oper verbindet, verrät sie im Interview, denn als Synästhetin stellt sie einen besonderen Bezug zwischen Klängen und Farben her.
In two decades, the musician Brett Dean has risen from being an orchestral violist who once wrote music on the side, to one of the world’s most celebrated composers.In fact, Brett Dean’s music is championed internationally by orchestras and leading conductors, including Simon Rattle, Andris Nelsons, Simone Young and Daniel Harding.
There have been many highlights in Simone Young's career. Alongside conducting most of the world’s great orchestras including the London and New York Philharmonic Orchestras, the City of Birmingham Symphony, and the BBC Symphony at the BBC Proms, she was also the first woman to conduct at the Vienna State Opera and the Vienna Philharmonic, two orchestras she regularly returns to conduct today. In 1983, at just 22, Simone Young had already joined the staff of Opera Australia. She studied at Sydney’s Conservatorium of Music prior to taking up her position with AO where she worked as a répétiteur. By 1986, the young Sydneyite was conducting at the Sydney Opera House and appointed a resident conductor with Opera Australia. Simone moved to Germany, where she took up a position assisting James Conlon, the conductor at the Cologne Opera. This led to further engagements, including working alongside the legendary Daniel Barenboim at the Berlin State Opera and the Bayreuth Festival. In 1998 she was appointed principal conductor of the Bergen Philharmonic Orchestra in Norway. But Australia was never far from her sights. In 2000, Simone was given what she terms one of the greatest honours of her career, when she conducted the national anthem at the 2000 Olympic Games in Sydney. Not long afterwards, she returned to take up the position of Music Director with Opera Australia, but despite these three years being an artistically rewarding period, they were turbulent years in her career. In 2005 Simone returned to Europe to direct one of the Germany’s major opera houses, the Hamburg State Opera, and as chief conductor of the city’s philharmonic orchestra, positions she held until 2015. Simone has also been a great mentor for a number of Australian conductors and singers. She says, “I think it is incredibly important for young conductors to see just how tough the working side of this job is. If you don’t want to work hard, don’t choose this profession.”It was, indeed, in the midst of a heavy performance and rehearsal schedule in Berlin that Simone Young joined the Tall Poppies podcast. In this episode, she recalls how her musical education in Australia and her father’s good advice prepared her for an international conducting career. Simone also confides how she plans to tackle the latest position she has added to her illustrious list of honours – that of being the Australian Nana to her two grandchildren.
There have been many highlights in Simone Young's career. Alongside conducting most of the world’s great orchestras including the London and New York Philharmonic Orchestras, the City of Birmingham Symphony, and the BBC Symphony at the BBC Proms, she was also the first woman to conduct at the Vienna State Opera and the Vienna Philharmonic, two orchestras she regularly returns to conduct today. In 1983, at just 22, Simone Young had already joined the staff of Opera Australia. She studied at Sydney’s Conservatorium of Music prior to taking up her position with AO where she worked as a répétiteur, the title given to the person responsible for coaching singers and playing the piano for music and production rehearsals. By 1986, the young Sydneyite was conducting at the Sydney Opera House and appointed a resident conductor with Opera Australia. Among her mentors were Australian musician luminaries, the likes of conductors Charles Mackerras, Richard Bonynge and Stuart Challender. In the late 1980s, Simone and her husband moved to Germany, where she took up a position assisting James Conlon, the conductor at the Cologne Opera. This led to further engagements, including working alongside the legendary Daniel Barenboim at the Berlin State Opera and the Bayreuth Festival. In 1998 she was appointed principal conductor of the Bergen Philharmonic Orchestra in Norway.But Australia was never far from her sights. In 2000, Simone was given what she terms one of the greatest honours of her career, when she conducted the national anthem at the 2000 Olympic Games in Sydney. Not long afterwards, she returned to take up the position of Music Director with Opera Australia, but despite these three years being an artistically rewarding period, they were turbulent years in her career. “It became obvious that I was not going to have the support that had been indicated at the start of my time that would be there,” she confided. “Then it became obvious that our ways were going to part, but the way it all happened was completely unnecessary. Deeply destructive for the company, very hurtful for me personally at the time but, once again, I focused all my energies on just doing the work,”In 2005 Simone returned to Europe to direct one of the Germany’s major opera houses, the Hamburg State Opera, and as chief conductor of the city’s philharmonic orchestra, positions she held until 2015.Among her recordings are the symphonies of Anton Bruckner, Richard Wagner’s Ring Cycle and the complete Brahms symphonies.Simone has also been a great mentor for a number of Australian conductors and singers. She says, “I think it is incredibly important for young conductors to see just how tough the working side of this job is. If you don’t want to work hard, don’t choose this profession.”It was, indeed, in the midst of a heavy performance and rehearsal schedule in Berlin that Simone Young joined the Tall Poppies podcast. In this episode, she recalls how her musical education in Australia and her father’s good advice prepared her for an international conducting career. Simone also confides how she plans to tackle the latest position she has added to her illustrious list of honours – that of being the Australian Nana to her two grandchildren.
Mitten im Ersten Weltkrieg schrieb Sergej Prokofjew seine Oper nach Dostojewskis Roman " Der Spieler". Die Uraufführung musste allerdings bis 1929 auf sich warten lassen, denn sowohl der Krieg als auch Prokofjews radikaler Bruch mit der traditionellen Form der russischen Oper machten es dem Werk nicht leicht. An der Wiener Staatsoper feierte am 4. Oktober unter der musikalischen Leitung von Simone Young das Werk Premiere.
In our next installment, Sascha takes Adam to see The Australian World Orchestra perform The Turangalîla-Symphonie by Messiaen conducted by Simone Young. Will Adam enjoy this as much as the chamber trio? Will he be able to count the amount of musicians on stage? (no) Will he understand why the have so many double basses on stage? (not really)
In our next installment, Sascha takes Adam to see The Australian World Orchestra perform The Turangalîla-Symphonie by Messiaen conducted by Simone Young. Will Adam enjoy this as much as the chamber trio? Will he be able to count the amount of musicians on stage? (no) Will he understand why the have so many double basses on stage? (not really)
Supernova conductor Simone Young is back in the building this week, generously sharing her seemingly boundless knowledge with the ANAM orchestra through a week of workshops on works by Faure, Berg, and other masters of the theme and variations. We talk about the musicology of the orchestra, what it means to lead an orchestra, and what to do when things go wrong. Over a series of post-performance interviews, we get a better idea about why this Australian legend keeps on coming back to grace the corridors of the Academy.
Nyårspanelen utvärderade skivåret som gått och lyfte också fram några av sina personliga favoriter. Programledaren Johan Korssell presenterade även resultatet av omröstningen av 2016 års skiva. På 1:a plats med 23 poäng: SJOSTAKOVITJ OCH GLAZUNOV Violinkonserter Nicola Benedetti, violin Bournemouth symfoniorkester Kirill Karabits, dirigent Decca 4788758ÅRETS SKIVA 2016 SE RESULTATET OCH RÖSTA SJÄLV! (Länk till totalfemmorna) Följande favoritskivor spelades ur i programmet, i tur och ordning: ALBAN BERG LUDWIG VAN BEETHOVEN (Årtiondets skiva)Violinkonserter Isabelle Faust, violin Orchestra Mozart, Bologna Harmonia Mundi HMC 902105 AMANDA MAIER (Johannas första val) Violinkonsert, Pianokvartett, Svenska melodier och danser Gregory Maytan, violin, Ann-Sofi Klingberg, piano, m.fl. Helsingborgs symfoniorkester Andreas Stoehr, dirigent dB Productions dBCD 174 MARIE JAËLL (Evabritts första val) Portraits volym 3 Chantal Santon-Jeffery m.fl Belgiska radions filharmoniker Hervé Niquet, dirigent Edizione Singulares ES 1022DMITRI SJOSTAKOVITJ (Alexanders första val) Symfoni nr 5 d-moll Berlins symfoniorkester Kurt Sanderling, dirigent Eterna 0300750BC DOMENICO SCARLATTI (Johannas andra val) Klaversonater Jevgenij Sudbin, piano Bis BIS 2138 GERALD FINZI (gick bort för 60 år sedan) Kammarmusik Kölns kammarsolister MDG 903 1894-6 ANTON BRUCKNER (Evabritts andra val) Symfoni nr 8 c-moll Hamburgs filharmoniker Simone Young, dirigent Oehms OC 026-11ANTON BRUCKNER - JOHANNES BRAHMS (en av årets totalfemmor)Motetter Tenebrae-ensemblen Nigel Short, dirigent Signum SIGCD 430HARTMANN WEINBERG SJOSTAKOVITJ (Alexanders andra val) Wartime consolations Linus Roth, violin Württembergs kammarorkester, Heilbrunn Ruben Gazarian, dirigent Challenge CC 72680 EDWARD ELGAR (Johans val) Gerontius dröm Janet Baker m.fl Londons filharmoniska kör Londons filharmoniker Adrian Boult, dirigent Ica Classics ICAD 5140 (DVD) EINOJUHANI RAUTAVAARA (en av årets totalfemmor) Rubáiyát, Balada, Canto V, 4 Rasputin-sånger Gerald Finley, baryton, m.fl. Helsingfors filharmoniker John Storgårds, dirigent Ondine ODE 1274-2 NEGLECTED WORKS FOR PIANO (Johanna och Evabritts gemensamma favorit samt Evabritts tredje val) Musik av Amy Beach, Ruth Almén, Germaine Tailleferre m.fl Bengt Forsberg, piano dB dBCD 170 FRANZ SCHUBERT (Johannas tredje val) Stråkkvartett nr 14 d-moll (arr) Patricia Kopachinskaja, violin Saint Pauls kammarorkester Alpha Classics ALPHA 265 Här börjar 3 i topp mot Årets skiva: FRANZ SCHUBERT (En av årets totalfemmor) Stråkkvintett, Sånger Ebène-kvartetten Gautier Capucon, cello Matthias Goerne, baryton, m.fl Erato 0825646487615PETER TJAJKOVSKIJ SERGEJ PROKOFJEV (en av årets totalfemmor)Pianokonserter Beatrice Rana, piano Cecilia-akademins orkester, Rom Antonio Pappano, dirigent Warner Classics 08225646009091 HANS ABRAHAMSEN (en av årets totalfemmor) Let me tell you Barbara Hannigan, sopran Bayerska radions symfoniorkester Andris Nelsons, dirigent Winter & Winter 910 232-2 DMITRI SJOSTAKOVITJ ALEXANDER GLAZUNOV (en av årets totalfemmor) Violinkonserter Nicola Benedetti, violin Bournemouths symfoniorkester Kirill Karabits, dirigent Decca 4788758 ÅRETS SKIVA 2016 RESULTATET! CD-revyns panel har lagt sina röster, 3 poäng till den bästa, 2 respektive 1 poäng till de skivor som hamnar på andra och tredje plats av dessa fyra äkta toppnoteringar från året som gått: Första plats med 23 poäng: SJOSTAKOVITJ OCH GLAZUNOV Violinkonserter Nicola Benedetti, violin Bournemouth symfoniorkester Kirill Karabits, dirigent Decca 4788758Andra plats med 13 poäng: HANS ABRAHAMSEN Let me tell you Barbara Hannigan, sopran Bayerska radions symfoniorkester Andris Nelsons, dirigent Winter & Winter 910 232-2 På delad tredje plats med vardera 12 poäng:FRANZ SCHUBERT Stråkkvintett C-dur samt sånger Ebène-kvartetten m.fl. Matthias Goerne, baryton Erato 0825646487615PROKOFJEV TJAJKOVSKIJ Pianokonsert nr 2 Pianokonsert nr 1 Beatrice Rana, piano Santa Cecilia-akademins orkester Antonio Pappano, dirigent Warner Classics 0825646009091 CD-revyn önskar GOTT NYTT ÅR!Nu byter vi namn till MUSIKREVYN I P2 Programmet tar ett kortare jullov och är åter på plats under nytt namnMUSIKREVYN I P2 söndag 22 januari kl 12.03.
I programmet diskuterar panelen Salonens tolkningar av Bartók, Bachs Goldberg-variationerna med Esfahani, operaarior med Matshikiza o Tippetts fem stråkkvartetter. Sofia möter dirigenten Simone Young, BÉLA BARTÓK Den sällsamme mandarinen, Danssvit, Kontraster Philharmonia Orchestra Esa-Pekka Salonen, dirigent Signum Classics SIGCD 466 J S BACH Goldberg-variationerna Mahan Esfahani, cembalo DG 479 5929 PUMEZA MATSHIKIZA Operaarior m.m. Pumeza Matshikiza, sopran Århus symfoniorkester Tobias Ringborg, dirigent Decca 478 8964MICHAEL TIPPETT Stråkkvartetterna Heath-kvartetten Wigmore Hall WH live 0080 (2 CD)Sofia möter Simone Young Sofia Nyblom träffade och samtalade med den australiska dirigenten när hon gästade Stockholms konserthus i oktober där och då hon ledde Kungliga filharmonikerna i en konsert som innehöll musik av Alban Berg, Richard Wagner, Anton Webern och Robert Schumann. Andra i programmet nämnda eller rekommenderade inspelningar: Bartóks Den sällsamme mandarinen med BBCs symfoniorkester ledd av Antal Dorati på skivmärke Mercury samt med Budapests festivalorkester dirigerad av Iván Fischer på Philips och Chicagos symfoniorkester ledd av Jean Martinon (sviten) på RCA. Bartóks Kontraster med Béla Bartók, Joseph Szigeti och Benny Goodman på Columbia. Bachs Goldberg-variationerna med Ton Koopman på Erato; Gustav Leonhardt på Teldec; Wanda Landowska på RCA; Glenn Gould på Sony samt med Richard Egarr på Harmonia Mundi. Tippetts stråkkvartetter med Lindsay-kvartetten på ASV. Svepet Johan sveper över ett album med fransk kammarmusik på vilken violinisten Christian Svarfvar och pianisten Roland Pöntinen spelar musik av Fauré, Debussy och Ravel. Johan bjuder oss smakprov ur Faurés Après un Reve samt ur Ravels violinsonat. Skivan är utgiven på Bis.
This week we talk about the Eureka moment, the great 'a-ha!’ which can give you direction and purpose. We're joined by Maestro Simone Young who tells us her story and shares her 'a-ha’s' with us. ANAM percussionist James Townsend drops in to talk about his feelings and to play the snare drum, and we talk about the upcoming gigs at ANAM, but not very well
I programmet diskuteras bl. a. Franz Schmidts Das Buch mit sieben Siegeln, Händels Water Music med Akademin för tidig musik i Berlin samt ny Suk- Dvorak-skiva med Tetzlaff. Johan möter Yuja Wang. I panelen Bengt Forsberg, Camilla Lundberg och Niklas Lindblad som tillsammans med programledaren Johan Korssell betygsätter följande skivor:ALBERTO GINASTERA Modern Times Maria Isabel Segarra, sopran Tyska statsfilharmonin, Rheinland-Pfalz Karl-Heinz Steffens, dirigent Capriccio C 5244 FRANZ SCHMIDT Das Buch mit sieben Siegeln Klaus Florian Vogt m.fl. Hamburgs filharmoniker Simone Young, dirigent Oehms Classics OC 1840G F HÄNDEL Water Music Akademin för tidig musik, Berlin Harmonia Mundi HMC 902216 SUK - DVORÁK Fantasi g-moll Violinkonsert a-moll, Romans f-moll Christian Tetzlaff, violin Helsingfors filharmoniker John Storgårds, dirigent Ondine ODE-1279-5Johan möter Yuja Wang Johan Korssell träffade pianisten i samband med hennes framträdande tillsammans med Sveriges Radios Symfoniorkester och dirigenten Esa-Pekka Salonen i Berwaldhallen i Stockholm under Östersjöfestivalen. Wang var solist i Bartóks Pianokonsert samt i Messiaens Turangalila-symfonin.Andra i programmet nämnda eller rekommenderade inspelningar: Händels Water Music med orkestern Concert Spirituel ledd av Hervé Niquet på skivmärke Glossa. Ginasteras orkestermusik med Londons symfoniorkester dirigerad av Gisele Ben-Dor. Dvoráks Violinkonsert med Anne-Sophie Mutter och Berlins filharmoniker ledd av Manfred Honeck på DG; Isabelle Faust och Prags filharmoniker under Jirí Belohlávek på märket Harmonia Mundi; Itzhak Perlman och Londons filharmoniker ledda av Daniel Barenboim på Warner Classics samt med David Ojstrach och Ryska statliga symfoniorkestern dirigerad av Kirill Kondrasjin på Omega. Schmidts Das Buch mit sieben Siegeln med bl.a. Wiens filharmoniker ledd av Dimitri Mitropoulos på Sony; Bayerska radions symfoniorkester under ledning av Franz Welser-Möst på EMI; Wiens filharmoniker ledd av Nicolaus Harnoncourt på Teldec samt med bl.a. Tonkünstler-orchester dirigerad av Kristjan Järvi på Chandos. Svepet Johan sveper över en CD med titel Arias for Luigi Marchesi utgiven på Glossa. Mezzosopranen Ann Hallenberg sjunger arior som den italienske kastraten Luigi Marchesi sjöng. Hon ackompanjeras av Stile Galante, dirigent Stefano Aresi. Vi serveras ett smakprov ur Giuseppe Sartis opera Armida och Rinaldo.
Von 2005 bis 2015 war die Simone Young Intendatin der Staatsoper Hamburg sowie Generalmusikdirektorin der Philharmoniker Hamburg. Seitdem ist die sie als freischaffende Dirigentin unterwegs. Am 8. Juli 2016 ist sie bei der Staatsphilharmonie Nürnberg in der Meistersingerhalle zu Gast.
Stockholm Brass Quintet framför musik av Bo Nilsson och Jesper Nordin och Vox Luminis framför Bach-motetter. Det är två av skivorna som recenseras i veckans program. I veckans panel sitter Camilla Lundberg, David Björkman och Kati Raitinen som tillsammans med programledaren Magnus Lindman betygsätter följande skivor:BACH Motetter av Johann, Johann Christoph och Johann Michael Bach Vox Luminis Lionel Meunier, dirigent Ricercar RIC 347 Betyg: 5 radioapparaterFELIX MENDELSSOHN Pianotrior Sitkovetsky-trion Bis BIS 2109 Betyg: 4 radioapparaterBO NILSSON JESPER NORDIN Infrastruktur Stockholm Brass Quintet Nosag CD 221 Betyg: 4 radioapparater ANTON BRUCKNER Symfoni nr 7 E-dur Hamburgs filharmoniker Simone Young, dirigent Oehms OC 688 Betyg: 3 radioapparater Magnus val Magnus Lindman spelar valda delar ur Decca Sound The Mono Years, Orchestral and Instrumental, 1944 - 1956, en box bestående av 53 CD. Denna gedigna och genomarbetade utgåva serverar alla konvolut i originalutseende. Skivmärke Decca.Andra nämnda eller rekommenderade inspelningar- Mendelssohns pianotrior med Beaux Arts-trion, inspelad på Philips.- Bruckners sjunde symfoni med Concertgebouw-orkestern under dirigenten Mariss Jansons på RCO; Concertgebouw-orkestern ledd av Bernard Haitink på Philips samt med Dresdens statskapell dirigerad av Herbert Blomstedt på Denon.
Mexican conductor Alondra de la Parra has been described as a 'rock star' of the classical world. At a concert as a child her father asked her what a conductor does - "nothing" she replied. So he enlightened her and explained that the conductor does "everything". This ignited a curiosity, which soon led to an unstoppable passion and in her early 20s Alondra set up the Philharmonic Orchestra of the Americas to showcase Latin music. She is now also a guest conductor with some of the greatest orchestras in the world.Simone Young is an award-winning conductor who is now the artistic director of the Hamburg State Opera and music director of the Hamburg Philharmonic Orchestra. She does not come from a musical family, but says that growing up in Australia, where people who challenge the status quo are championed, helped to push her along her chosen career path. Simone is now based in Germany, which is steeped in classical music history, but has guest-conducted with some of the world's leading orchestras and is famous for conducting Wagner.(Photo: Conductors Alondra de la Parra (left) and Simone Young. Credits: Alondra de la Parra by Leonardo Manzo. Simone Young by Berthold Fabricius)
An excerpted Cavalleria Rusticana with the great mezzo, Dolora Zajick as Santuzza and the fine tenor Fabio Armiliato as Turiddu. The Alfio is Bruno Pola, the Lola is Wendy White, and the Mamma Lucia is Jane Shaulis. The conductor is Simone Young. (70 min.)
Simone Young is an Australian conductor whose career has centred around the opera world and conducting the great Austro-German symphonic works. She appeared as a judge in the BBC TV series Maestro and has conducted here occasionally. She is currently Music Director of the Hamburg opera but her career began in her native country where she learnt the basics of her craft under a variety of mentors including Richard Bonynge and Stuart Challender at Opera Australia. Taking their advice she went to Europe and became assistant to a number of conductors including Daniel Barenboim whom she worked with on Wagner at Bayreuth. She later became the first woman to conduct both at the Vienna State Opera and the Paris Opera. She was Music Director at Australian Opera in the early 2000s but left after a dispute over funding and artistic standards. Hamburg followed where she will remain in her post until 2015. Simone Young talks to Norman about the prejudice she has encountered as a woman her musical tastes and her research in the archives at Bayreuth. Approaching 50 she is widely tipped to get one of the forthcoming vacancies in the major opera houses but notwithstanding these opportunites, she considers her priority now to be how she can develop her ability to concentrate on artistic concerns principally the music. Producer Tony Cheevers.
„Ich bin eine Frau im Männerberuf“ - Simone Young spricht über ihre Arbeit als Dirigentin.„Pfundskerl“, „Prachtmädel“ – dies sind nur einige der Bezeichnungen, über die „Die Zeit“ am 8. April 1994 als Reaktionen auf ihre Auftritte zu berichten weiß. Und damit nicht genug des Lobes: „tänzerische Eleganz“ und „überschwängliche Energie“ wird ihr ebenso bescheinigt. Simone Young wurde am 2. März 1961 in Sydney geboren. Ab 1979 studierte sie an der Musikhochschule in Sydney Komposition und Klavier. Schnell jedoch entdeckte sie ihre Vorliebe fürs Dirigieren. Bereits im Alter von 24 Jahren debütierte sie als Dirigentin – wie nicht selten der Zufall so will, legte eine Krankheitsvertretung den Grundstein für eine Taktstockkarriere. 1987 ging sie als Stipendiatin des Australischen Kulturministeriums an die Kölner Oper als Solokorrepetitorin, vier Jahre später wurde sie dort Kapellmeisterin und Assistentin von James Colon. 1992 kam nun die entscheidende Wende: Engagements an der Komischen Oper in Berlin, an der Wiener Volksoper, an der Berliner Staatsoper und schließlich an der Wiener Staatsoper brachten sie in die Riege der gefragtesten Dirigenten. Elke Mascha Blankenburg zitiert Young in ihrem Porträt mit den Worten: „Als erste und noch dazu einzige Frau vor einem reinen Männerorchester zu stehen, wie vor dem dem Orchester der Wiener Staatsoper, war schon etwas seltsam“. Ihre Karriere war nicht mehr aufzuhalten: die New Yorker Metropolitan Opera, die New Yorker Philharmoniker – dies sind nur einige Stationen ihres musikalischen Weges, denn sie wurde ebenso unter anderem nach München, Berlin, Wien, London, Paris, Sydney oder Bergen verpflichtet. Ab Mai 2003 ist sie Intendantin der Hamburgischen Staatsoper und Generalmusikdirektorin des Philharmonischen Staatsorchesters. Ihr Vertrag mit Hamburg läuft zunächst 2015 aus.Im Juli 1996 porträtierte Elke Pressler die australische Dirigentin und sprach mit ihr unter anderem über ihre rasante Karriere und ihr Privatleben.
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