Podcast appearances and mentions of Vladimir Jurowski

Acclaimed worldwide for his profound musicianship and technical mastery, British cellist Steven Isserlis enjoys a unique and distinguished career as a soloist, chamber musician, educator, author and broadcaster.As a concerto soloist he appears regularly with the world's leading orchestras and conductors, including the Berlin Philharmonic, National Symphony Orchestra Washington, London Philharmonic and Zurich Tonhalle orchestras. He gives recitals every season in major musical centres, and plays with many of the world's foremost chamber orchestras, including the Australian, Mahler, Norwegian, Scottish, Zurich and St Paul Chamber Orchestras, as well as period-instrument ensembles such as the Orchestra of the Age of Enlightenment and Philharmonia Baroque Orchestra. Unusually, he also directs chamber orchestras from the cello in classical programmes.Recent and upcoming highlights include performances with the Gewandhausorchester Leipzig, Vienna Philharmonic Orchestra at the Salzburg Mozartwoche; the US premiere of Thomas Adès's Lieux retrouvés with the Los Angeles Philharmonic, following world and UK premieres in Lucerne and at the BBC Proms, and a further performance of the work in Amsterdam with the Britten Sinfonia, conducted by the composer; Prokofiev's Concerto Op. 58 with the London Philharmonic Orchestra under Vladimir Jurowski, in London and at the Dresden Music Festival; and Haydn's C major Concerto with the Orchestra of the Age of Enlightenment under Adam Fischer.As a chamber musician, he has curated series for many of the world's most famous festivals and venues, including the Wigmore Hall, the 92nd St Y in New York, and the Salzburg Festival. These specially devised programmes have included ‘In the Shadow of War', a major four-part series for the Wigmore Hall to mark the centenary of the First World War and the 75th anniversary of the Second World War; explorations of Czech music; the teacher-pupil line of Saint-Saëns, Fauré and Ravel; the affinity of the cello and the human voice; varied aspects of Robert Schumann's life and music; and the music of Sergei Taneyev (teacher of Steven's grandfather, Julius Isserlis) and his students. For these concerts Steven is joined by a regular group of friends which includes the violinists Joshua Bell, Isabelle Faust, Pamela Frank, and Janine Jansen, violist Tabea Zimmermann, and pianists Jeremy Denk, Stephen Hough, Alexander Melnikov, Olli Mustonen, Connie Shih, and Dénes Várjon.He also takes a strong interest in authentic performance. This season's projects include a recording of the Chopin Cello Sonata and other works with Dénes Várjon for Hyperion, using ones of Chopin's own piano; and a recital of Russian sonatas with Olli Mustonen. In recital, he gives frequent concerts with harpsichord and fortepiano. Recent seasons have featured a special performance with Sir Andras Schiff at the Beethovenhaus in Bonn, using Beethoven's own cello; and performances and recordings (selected for the Deutsche SchallplattenPreis) of Beethoven's complete music for cello and piano with Robert Levin, using original or replica fortepianos from the early nineteenth century. With harpsichordist Richard Egarr, he has performed and recorded the viola da gamba sonatas of J.S. Bach as well as sonatas by Handel and Scarlatti. This season, they tour together in the US.He is also a keen exponent of contemporary music and has premiered many new works including John Tavener's The Protecting Veil (as well as several other pieces by Tavener), Thomas Adès's Lieux retrouvés, Stephen Hough's Sonata for Cello and Piano, Left Hand (Les Adieux), Wolfgang Rihm's Concerto in One Movement, David Matthews' Concerto in Azzurro, and For Steven and Hilary's Jig by György Kurtág. In 2016, he gave the UK premiere of Olli Mustonen's of Frei, aber einsam for solo cello at the Wigmore Hall.

Bis auf die Knochen abgemagerte Menschen mit leeren Augen – was die Soldaten vor achtzig Jahren in Auschwitz vorfanden, schockierte die Welt und lässt sich mit Worten kaum beschreiben. Am 27. Januar 1945 wird das Vernichtungslager befreit. Es wird zum Symbol für den Holocaust.**********Ihr hört in dieser "Eine Stunde History":00:13:05 - Susanne Willems00:21:44 - Nikolaus Wachsmannn00:33:40 - Vladimir Jurowski00:39:24 - Jan Erik Schulte**********Mehr zum Thema bei Deutschlandfunk Nova:Der Historikerstreit: Debatte um den HolocaustRechtswissenschaft: Der Unterschied zwischen Kritik und AntisemitismusHolocaust-Doku "The Lesson" von Elena Horn: Die Ahnungslosigkeit der Kinder von damals und heute**********Den Artikel zum Stück findet ihr hier.**********Ihr könnt uns auch auf diesen Kanälen folgen: TikTok auf&ab , TikTok wie_geht und Instagram .**********In dieser Folge mit: Moderator: Marcus Dichmann Gesprächspartner: Dr. Matthias von Hellfeld, Deutschlandfunk-Nova-Geschichtsexperte Gesprächspartnerin: Susanne Willems, Lehrbeauftragte für Zeitgeschichte, Hochschule für Wirtschaft und Recht Berlin Gesprächspartner: Nikolaus Wachsmann, Professor für Geschichte, Birkbeck College, Universität Londom Gesprächspartner: Vladimir Jurowski, Chefdirigent des Rundfunk-Sinfonieorchesters Berlin Gesprächspartner: Jan Erik Schulte, Professor für Zeitgeschichte, Ruhr-Universität Bochum

Petr Ilic Cajkovskij (1840-1893) - Lo schiaccianoci, op. 71a (Suite)1. Ouverture-miniature - Allegro giusto (si bemolle maggiore)2. Danze caratteristichea. Marcia - Tempo di marcia viva (sol maggiore)b. Danza della Fata dei confetti - Andante non troppo (mi minore)c. Danza russa [Trépak] - Tempo di trepak. Molto vivace (sol maggiore)d. Danza araba - Allegro (sol minore)e. Danza cinese - Allegro moderato (si bemolle maggiore)f. Danza dei mirlitons - (re maggiore)3. Valzer dei fiori - Tempo di valse (re maggiore)State Academic Symphony Orchestra of Russia "Evgeny Svetlanov" Vladimir Jurowski, conductor

Was für eine Zumutung! In 16 Stunden Musik beschreibt Richard Wagner in seinem vierteiligen Opernzyklus Der Ring des Nibelungen, dem größten Weltuntergangs-Epos der Musikgeschichte, Aufstieg und Fall von Göttern und Menschen. Das Rheingold ist dabei der vermeintlich leichtfüßig daherkommende „Vorabend“, der die Abgründe der späteren drei Operndramen stets durchschimmern lässt. Tobias Kratzer inszeniert, Vladimir Jurowski dirigiert den inzwischen zwölften Ring an der Bayerischen Staatsoper, und die Götter dürfen wieder unsterblich sein. Autor und Sprecher: Holger Noltze Betreuung: Olaf Roth

durée : 00:12:03 - Le Disque classique du jour du mardi 01 octobre 2024 - Pendant le mandat de Vladimir Jurowski en tant que chef principal de l'Orchestre philharmonique de Londres, la musique de Stravinsky a souvent été au centre de sa programmation de concerts.

durée : 01:28:08 - En pistes ! du mardi 01 octobre 2024 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Direction Londres, le chef Vladimir Jurowski poursuit l'exploration de l'œuvre de Stravinsky avec le célèbre ballet Pulcinella. Stravinsky dans tous ses états dans En pistes !

durée : 01:28:08 - En pistes ! du mardi 01 octobre 2024 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Direction Londres, le chef Vladimir Jurowski poursuit l'exploration de l'œuvre de Stravinsky avec le célèbre ballet Pulcinella. Stravinsky dans tous ses états dans En pistes !

durée : 00:12:03 - Le Disque classique du jour du mardi 01 octobre 2024 - Pendant le mandat de Vladimir Jurowski en tant que chef principal de l'Orchestre philharmonique de Londres, la musique de Stravinsky a souvent été au centre de sa programmation de concerts.

Zum 8. Mal findet in München das Festival "Stars and Rising Stars" statt. Heißt übersetzt: Künstler und Künstlerinnen, die sich einen großen Namen erarbeitet haben, setzen sich für die Förderung junger Menschen ein. Und zwar im Rahmen eines Konzerts. Doch worum geht es bei der Förderung des Nachwuchs, und was macht eine Musikerin überhaupt zum Star? Darüber hat Sylvia Schreiber mit dem GMD der Bayerischen Staatsoper Vladimir Jurowski gesprochen.

Der Dirigent Vladimir Jurowski über Russland, die Ukraine und klare politische Haltung. Mehr dazu in dieser Folge von „Erstklassisch mit Mischke“

Lisa verliert die Fassung: Ist die Frau, die ihr auf der Passage nach Brasilien begegnet, eben jene Marta, Gefangene im Lager Auschwitz, als Lisa dort SS-Aufseherin war? Ein Vierteljahrhundert ist das her, doch die Vergangenheit holt Lisa ein. – Mieczysław Weinberg, der als Jude nach dem deutschen Überfall auf Polen in die Sowjetunion fliehen musste, schuf aus dem Stoff der polnischen Widerstandskämpferin und KZ-Überlebenden Zofia Posmysz 1968 Die Passagierin. Kann man das Grauen von Auschwitz als Oper zeigen? Die Neuproduktion der erst spät entdeckten Passagierin an der Bayerischen Staatsoper stellt sich aktuellen und drängenden Fragen über unsere Gedenk-Kultur: Wie lässt sich das Ungeheuerliche erinnern, wenn die Zeitzeugen nicht mehr da sind? Autor und Sprecher: Holger Noltze Sprecher:innen: Cathrin Störmer, Vladimir Jurowski, Tobias Kratzer, Noa Beinart Schnitt: Robert Rotzinger Betreuung: Olaf Roth Dramaturgie und Projektleitung: Christopher Warmuth

Chillout Classic w Radiu Spin #39 "Back to Begin" Trochę w kontrze tej ostatniej z roku 2023. Czyli będą pierwsze symfonie, pierwsze części, pierwsze kroki, pierwszy walc. 1. J.S. Bach - Wariacje Goldbergowskie - Aria oraz wariacje 1,2,3, Glen Gould, wersja z 1955 r. 2. J.S. Bach - Preludium z I suity wiolonczelowej G-dur, Yo-Yo Ma. 3. F. Chopin - Grand Valse Brillante Es-dur op. 18, Artur Rubinstein. 4. P. Czajkowski - I Symfonia g-moll "Zimowe marzenia", cz. 1 Podróż zimowa, Vladimir Jurowski , London Philharmonic Orchestra. 5. C. Porter - Begin The Beguin - Ella Fitzgerald. 6. J. Haydn - I Symfonia D- dur, cz. 1 Presto, Haydn Orchestra, Adam Fischer. 7. H. Zimmer - First Step (Interstellar), Maksym Rzemiński, Rzemiński Chamber Orchestra. 8. G. Mahler - I Symfonia D- dur, cz. 1, Leonard Bernstein, New York Philharmonic.

Regisseur Barrie Kosky hat in seiner Zeit als Intendant der Komischen Oper in Berlin der Kunstform Operette wiederholt Vitaminspritzen verabreicht. Nun hat er an der Bayerischen Staatsoper "Die Fledermaus" von Johann Strauß inszeniert. Hochkarätig besetzt mit Diana Damrau als Rosalinde und Vladimir Jurowski am Pult.

Johann Strauß‘ Operette "Die Fledermaus" ist eine der beliebtesten und meistgespielten des Genres. Gern wird sie zum Ende des Jahres auf die Spielpläne gesetzt - auch an der Bayerischen Staatsoper in München. Am 23. Dezember ist Premiere der Neuinszenierung von Barrie Kosky. Die musikalische Leitung hat Vladimir Jurowski.

Am Ende muss ein Ehemann seine Gattin um Verzeihung bitten – aber ganz anders als in Wolfgang Amadeus Mozarts „Figaro“, und auch das Finale im fidelen Gefängnis hat wenig zu tun mit Ludwig van Beethovens Befreiungsoper: Johann Strauß‘ Die Fledermaus zeigt eine champagnergetriebene Gesellschaft, der die Stunde geschlagen hat. Aber man amüsiert sich prächtig. Barrie Kosky, Regisseur der neuen Fledermaus an der Bayerischen Staatsoper, liebt den sarkastischen Charme Wiener Art, und inszeniert eine doppelbödige Screwball-Farce, in der nicht einmal den Räumen zu trauen ist. Ist es ein Traum? Ist es ein Alptraum? – Es ist jedenfalls lustig, und ziemlich ernst. Autor und Sprecher: Holger Noltze Sprecher:innen: Cathrin Störmer, Barrie Kosky, Vladimir Jurowski, Diana Damrau, Georg Nigl Schnitt: Thomas Rott Betreuung: Nicolas Léwy Dramaturgie und Projektleitung: Christopher Warmuth

Vladimir Jurowski und der/gelbe/klang, ein Konzertprogramm, dass Jurowski und das Ensemble gemeinsam entwickelt haben. U.a. hat Jurowski das Ensemble mit dem russischen Komponisten Vladimir Tarnopolski zusammengebracht. Das Programm nimmt Musik aus Russland, Polen und Aserbaidschan in den Fokus und Kollegin Svenja Wieser war für uns bei den Proben und hat mit Vladimier Jurowski gesprochen.

Earlier this week the deadly Mediterranean cyclone, Storm Daniel, swept through the small city of Derna in Libya, collapsing a 50-year-old dam in its wake, and triggering devastating floods which have killed over 5000 people. We speak to atmospheric scientist, Stavros Dafis, about the cyclone's characteristics and to civil and structural engineer, Lis Bowman, about the dam collapse. Unsurprisingly, it all comes back to climate change. Far, far from Earth, the James Webb Space Telescope has set its site on the atmosphere of exoplanet K2-18b where the presence of methane and carbon dioxide offer the tantalising possibility of an extraterrestrial Ocean. Astrophysicist Nikku Madhusudhan discusses his exciting results. And an even less expected presence in space: the ancient remains of our ancestors. Archaeologist Lee Berger has come under fire after sending precious bone samples on a Virgin Galactic space flight. South African archaeologist, Robyn Pickering, expresses the frustration that is on everyone's mind. Also expressing their anger, two young climate protesters recently stormed the stage during an orchestral performance at a Swiss music festival. But, to everyone's surprise, conductor Vladimir Jurowski allowed them to speak to his audience. We hear from the Renovate Switzerland protestors, Anthony and Selina, on their unlikely experience.

„… or not to be“: Nach nicht einmal sechs Minuten fallen die berühmten Hamlet-Worte. Dem australischen Komponisten Brett Dean glückte 2017, William Shakespeares monumentales Stück Hamlet als vielschichtige, vielstimmige Oper zu erzählen, ein Erfolg beim Publikum wie bei der Kritik. Die Bayerische Staatsoper legt die Uraufführungs-Produktion aus Glyndebourne, die bereits bei der Metropolitan Opera in New York zu erleben war, neu auf, ein musikdramatisches Welttheater um Leben und Tod, Sein und Nichtsein, Liebe, Lüge und Heuchelei. Autor und Sprecher: Holger Noltze Sprecherin: Cathrin Störmer, Vladimir Jurowski, Caroline Wettergreen, Neil Armfield, John Tomlinson Schnitt: Thomas Rott Dramaturgie und Projektleitung: Christopher Warmuth

Am 5. Mai eröffnet Vladimir Jurowski zusammen mit dem Rundfunk-Sinfonieorchester Berlin das Augsburger Mozartfest. Und das ganz standesgemäß mit der Ouvertüre aus "Don Giovanni". Welche Bilder ihm dabei kommen, erzählt der Dirigent im Interview.

Vladimir Jurowski marks his return to Symphony Center with Shostakovich's Symphony No. 8. In this immense wartime symphony, Shostakovich searches for hope and renewal beyond the anguish of violence and honors the ordinary people who contributed — and suffered — away from the frontlines. Celebrated pianist Martin Helmchen brings his “powerful yet refined approach” (The New York Times) to Mozart's Piano Concerto No. 25. This late Mozart masterwork navigates a fascinating series of twists and turns — from its expansive first movement and tranquil second to its triumphant finale. Learn more: cso.org/performances/22-23/cso-classical/jurowski-helmchen-shostakovich-8

Vladimir Jurowski dirigiert "Krieg und Frieden" von Sergej Prokofjew an der Bayerischen Staatsoper. Diese Monumentaloper spielt in der propagandistischen Kampfzone. Regisseur Dmitij Tscherniakow macht aus dem Historiendrama eine Parabel auf das Russland der Gegenwart.

Am 5. März feiert Sergej Prokofjews Oper "Krieg und Frieden" Premiere an der Bayerischen Staatsoper - gut ein Jahr nach dem brutalen Überfall Russlands auf die Ukraine. Ist eine Oper, die Krieg thematisiert und von einem russischen Komponisten stammt, in diesem Kontext unpassend? Ganz und gar nicht, sagt GMD Vladimir Jurowski im BR-KLASSIK-Interview.

Die Bayerische Staatsoper feiert am 5.3.2023 die Premiere von KRIEG UND FRIEDEN. In der aktuellen Folge sprechen Kathi Roeb und Linda Becker über Sergej S. Prokofjews Vertonung von Lew N. Tolstois monumentalem Buch Krieg und Frieden. Dabei gehen sie der Frage nach, warum es so wichtig ist, dieses Stück trotz aktueller Umstände zu spielen, und beziehen die Meinungen des Generalmusikdirektors, Vladimir Jurowski und des Regisseurs, Dmitri Tcherniakov, mit ein. Außerdem geben sie spannende Einblicke zum Bühnenbild und berichten, was den sogenannten Säulensaal so besonders macht. FRAGEN, ANREGUNGEN, IDEEN? Dann schreibt Kathi und Linda: how-to-oper@staatsoper.de

Sergej Prokofjews monumentales Projekt einer Oper nach Lew Tolstois Roman Krieg und Frieden, mit allein 70 Solist:innen, mit Ball- und Schlachtenszenen, entstand 1941 unter dem Eindruck des deutschen Überfalls auf die Sowjetunion. Die historischen Ereignisse des Jahres 1812, als Napoleons Angriff mit einer vernichtenden Niederlage der Invasoren endete, wurden zum Spiegel der Gegenwart des Weltkriegs. Dmitri Tcherniakov, der Regisseur der Münchener Erstaufführung von Krieg und Frieden, lässt Prokofjews Oper in einem höchst geschichtsträchtigen Raum spielen, und natürlich ist der aktuelle Hintergrund des russischen Überfalls auf die Ukraine dabei nicht wegzudenken. Ein Audiofeature über die Frage, was Krieg und Frieden im Jahr 2023 bedeutet. Autor und Sprecher: Holger Noltze Sprecher:innen: Cathrin Störmer, Vladimir Jurowski, Dmitri Tcherniakov Schnitt: Thomas Rott Dramaturgie und Projektleitung: Christopher Warmuth

Jess Gillam swaps favourite music with singer, rock sitarist and composer Bishi. Together they journey through evocations of space from Meredith Monk, Holst and Roger Webb back home to different shades of the human voice in music - from sacred vocal music from the 15th century, via a Ravi Shankar and Philip Glass collaboration, the unique voice of Beverly Glenn-Copeland and singer Cosmo Sheldrake's wake-up call from the cuckoo. Playlist: RAVI SHANKAR/PHILIP GLASS: Prashanti TOMAS LUIS de VICTORIA: O Magnum Mysterium [Voces8] STRAVINSKY – Petrushka – Tableau 1 Fete Populaire de la semaine grasse [Cleveland Orchestra, Pierre Boulez (cond)] ROGER WEBB: Moonbird (Heaven and Hell) MEREDITH MONK: Atlas Part 3 – Invisible Light: Earth Seen from Above HOLST: The Planets – Mars [London Philharmonic Orchestra, Vladimir Jurowski (cond)] BEVERLY GLENN-COPELAND: La Vita COSMO SHELDRAKE: Cuckoo Song

The Spanish pianist Javier Perianes is racking up quite a lot of frequent flyer miles these days. This season alone, his concert schedule has him zigzagging the globe to perform with the Los Angeles Philharmonic and Dallas Symphony here in the States, Europe's Budapest Festival Orchestra and the Oslo Philharmonic, and a whirlwind trip to Australia for concerts with the Melbourne and Sydney Symphony Orchestras, among many other engagements. And while the thrill of making music with friends and colleagues around the world is a key driver for Perianes's career, his extensive travels also provide a key element that fuels his creativity: new life experiences. "When you're with a piece, you have big emotional landscapes — death, pain, suffering, hope, joy," Perianes shares on the latest episode of the Classical Post podcast. "Where can you get all those feelings to convey? You can't get that from others' lives. You can't imitate them. You have to have them deep inside you." That authentic approach to performance has served Perianes well. A prolific recording artist, he's released 20 critically acclaimed albums on the Harmonia Mundi label — and he's performed with many of today's leading conductors, including Gustavo Dudamel, Klaus Mäkelä, Daniel Barenboim, and Vladimir Jurowski. Next up for Perianes are three performances of Saint-Saëns's Fifth Piano Concerto — also known as "The Egyptian" — with the LA Phil and conductor Gustavo Gimeno. In this episode, we talk more about how he's preparing the Saint-Saëns concerto and what he hopes audiences in Los Angeles will enjoy about this seldom-heard work. Plus, Perianes shares how short siestas and long walks to work are part of his wellness routine, the Manhattan restaurants he seeks out whenever he's performing in New York, and how defining success for him is simply to "Do what you love." — Classical Post uncovers the creativity behind exceptional music. Dive into meaningful conversations with leading artists in the world today. Based in New York City, Classical Post is a touchpoint for tastemakers. Visit our website for exclusive editorial and subscribe to our monthly newsletter to be notified of new content. Follow us on Instagram and TikTok. Classical Post is an ambassador for NED, a wellness company. Get 15% off their products like CBD oil and many other health-based products by using our code CLASSICALPOST at checkout.

durée : 00:21:00 - Le Disque classique du jour du jeudi 17 novembre 2022 - Le premier de trois volumes Stravinsky par le London Philharmonic Orchestra.L'album comprend deux ballets phares, The Rite of Spring et The Firebird, enregistrés avec le chef d'orchestre émérite Vladimir Jurowski.

durée : 01:29:53 - En pistes ! du jeudi 17 novembre 2022 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au programme ce jeudi, Emilie et Rodolphe ont choisi pour vous la musique de Brahms par Nelson Freire, Byrd par The Sixteen ou encore Stravinsky par le London Symphony Orchestra. C'est parti pour 1h30 de nouveautés !

Heralded as "[one] of the most powerful voices of our time" by the Los Angeles Times, bass-baritone Davóne Tines has come to international attention as a path-breaking artist whose work not only encompasses a diverse repertoire but also explores the social issues of today. As a Black, gay, classically trained performer at the intersection of many histories, cultures, and aesthetics, Tines is engaged in work that blends opera, art song, contemporary classical music, spirituals, gospel, and songs of protest, as a means to tell a deeply personal story of perseverance that connects to all of humanity. Davóne Tines is Musical America's 2022 Vocalist of the Year. During the 2022-23 season, he continues his role as the Philharmonia Baroque Orchestra & Chorale's first-ever Creative Partner and, beginning in January 2023, he will serve as Brooklyn Academy of Music's first Artist in Residence in more than a decade. In addition to strategic planning, programming, and working within the community, this season Tines curates the “Artist as Human” program, exploring how each artist's subjectivity—be it their race, gender, sexuality, etc.—informs performance, and how these perspectives develop throughout their repertoire. In the fall of 2022, Tines makes a number of important debuts at prominent New York institutions, including the Park Avenue Armory, New York Philharmonic, BAM, and Carnegie Hall, continuing to establish a strong presence in the city's classical scene. He opens his season with the New York premiere of Tyshawn Sorey's Monochromatic Light (Afterlife) at the Park Avenue Armory, also doubling as Tines' Armory debut. Inspired by one of Sorey's most important influences, Morton Feldman and his work Rothko Chapel, Monochromatic Light (Afterlife) takes after Feldman's focus on expansive textures and enveloping sounds, aiming to create an all-immersive experience. Tine's solo part was written specifically for him by Sorey, marking a third collaboration between the pair; Sorey previously created arrangements for Tines' Recital No. 1: MASS and Concerto No. 2: ANTHEM. Peter Sellars directs, with whom Davóne collaborated in John Adam's opera Girls of the Golden West and Kaija Saariaho's Only the Sound Remains. Tines' engagements continue with Everything Rises, an original, evening length staged musical work he created with violinist Jennifer Koh, premiering in New York as part of the Brooklyn Academy of Music's Next Wave Festival. Everything Rises tells the story of Tines' and Koh's artistic journeys and family histories through music, projections, and recorded interviews. As a platform, it also centers the need for artists of color to be seen and heard. Everything Rises premiered in Santa Barbara and Los Angeles in April 2022, with the LA Times commenting, “Koh and Tines' stories have made them what they are, but their art needs to be—and is—great enough to tell us who they are.” This season also has Tines making his New York Philharmonic debut performing in Beethoven's Symphony No. 9, led by Jaap van Zweden. Tines returns to the New York Philharmonic in the spring to sing the Vox Christi in Bach's St. Matthew Passion, also under van Zweden. Tines is a musician who takes full agency of his work, devising performances from conception to performance. His Recital No. 1: MASS program reflects this ethos, combining traditional music with pieces by J.S. Bach, Margaret Bonds, Moses Hogan, Julius Eastman, Caroline Shaw, Tyshawn Sorey, and Tines. This season, he makes his Carnegie Hall recital debut performing MASS at Weill Hall, and later brings the program to the McCarter Theatre in Princeton, Baltimore's Shriver Hall, for the Philadelphia Chamber Music Society, and as part of Boston's Celebrity Series. Concerto No. 1: SERMON is a similar artistic endeavor, combining pieces including John Adams' El Niño; Vigil, written by Tines and Igée Dieudonné with orchestration by Matthew Aucoin; “You Want the Truth, but You Don't Want to Know,” from Anthony Davis' X: The Life and Times of Malcolm X; and poems from Langston Hughes, James Baldwin, and Maya Angelou into a concert performance. In May 2021, Tines performed Concerto No. 1: SERMON with Yannick Nézet-Séguin and the Philadelphia Orchestra, and with the BBC Symphony Orchestra. He recently premiered Concerto No. 2: ANTHEM—created by Tines with music by Michael Schachter, Caroline Shaw, Tyshawn Sorey, and text by Mahogany L. Browne—with the Los Angeles Philharmonic at the Hollywood Bowl. Also this season, Tines performs in El Niño with the Cleveland Orchestra, conducted by composer John Adams; a concert performance of Adams' Girls of the Golden West with the Los Angeles Philharmonic also led by Adams; and a chamber music recital with the New World Symphony.Going beyond the concert hall, Davóne Tines also creates short music films that use powerful visuals to accentuate the social and poetic dimensions of the music. In September 2020, Lincoln Center presented his music film VIGIL, which pays tribute to Breonna Taylor, the EMT and aspiring nurse who was shot and killed by police in her Louisville home, and whose tragic death has fueled an international outcry. Created in collaboration with Igée Dieudonné, and Conor Hanick, the work was subsequently arranged for orchestra by Matthew Aucoin and premiered in a live-stream by Tines and the Louisville Orchestra, conducted by Teddy Abrams. Aucoin's orchestration is also currently part of Tines' Concerto No. 1: SERMON. He also co-created Strange Fruit with Jennifer Koh, a film juxtaposing violence against Asian Americans with Ken Ueno's arrangement of “Strange Fruit” — which the duo perform in Everything Rises — directed by dramaturg Kee-Yoon Nahm. The work premiered virtually as part of Carnegie Hall's “Voices of Hope Series.” Additional music films include FREUDE, an acapella “mashup” of Beethoven with African-American hymns that was shot, produced, and edited by Davóne Tines at his hometown church in Warrenton, Virginia and presented virtually by the Philharmonia Baroque Orchestra & Chorale; EASTMAN, a micro-biographical film highlighting the life and work of composer Julius Eastman; and NATIVE SON, in which Tines sings the Black national anthem, “Lift Ev'ry Voice and Sing,” and pays homage to the '60s Civil Rights-era motto “I am a man.” The latter film was created for the fourth annual Native Son Awards, which celebrate Black, gay excellence. Further online highlights include appearances as part of Boston Lyric Opera's new miniseries, desert in, marking his company debut; LA Opera at Home's Living Room Recitals; and the 2020 NEA Human and Civil Rights Awards.Notable performances on the opera stage the world premiere performances of Kaija Saariaho's Only the Sound Remains directed by Peter Sellars at Dutch National Opera, Finnish National Opera, Opéra national de Paris, and Teatro Real (Madrid); the world and European premieres of John Adams and Peter Sellars' Girls of the Golden West at San Francisco Opera and Dutch National Opera, respectively; the title role in a new production of Anthony Davis' X: The Life and Times of Malcolm X with the Detroit Opera (where he was Artist in Residence during the 2021-22 season) and the Boston Modern Opera Project with Odyssey Opera in Boston where it was recorded for future release; the world premiere of Terence Blanchard and Kasi Lemmons' Fire Shut Up In My Bones at Opera Theatre of Saint Louis; the world premiere of Matthew Aucoin's Crossing, directed by Diane Paulus at the Brooklyn Academy of Music; a new production of Stravinsky's Oedipus Rex at Lisbon's Teatro Nacional de São Carlos led by Leo Hussain; and Handel's rarely staged Aci, Galatea, e Polifemo at National Sawdust, presented in a new production by Christopher Alden. As a member of the American Modern Opera Company (AMOC), Tines served as a co-music director of the 2022 Ojai Music Festival, and has performed in Hans Werner Henze's El Cimarrón, John Adams' Nativity Reconsidered, and Were You There in collaboration with composers Matthew Aucoin and Michael Schachter.Davóne Tines is co-creator and co-librettist of The Black Clown, a music theater experience inspired by Langston Hughes' poem of the same name. The work, which was created in collaboration with director Zack Winokur and composer Michael Schachter, expresses a Black man's resilience against America's legacy of oppression—fusing vaudeville, opera, jazz, and spirituals to bring Hughes' verse to life onstage. The world premiere was given by the American Repertory Theater in 2018, and The Black Clown was presented by Lincoln Center in summer 2019.Concert appearances have included John Adams' El Niño with the Rundfunk-Sinfonieorchester Berlin under Vladimir Jurowski, Schumann's Das Paradies und die Peri with Louis Langrée and the Cincinnati Symphony, Kaija Saariaho's True Fire with the Orchestre national de France conducted by Olari Elts, Beethoven's Ninth Symphony with Michael Tilson Thomas leading the San Francisco Symphony, Stravinsky's Oedipus Rex with Esa-Pekka Salonen and the Royal Swedish Orchestra, and a program spotlighting music of resistance by George Crumb, Julius Eastman, Dmitri Shostakovich, and Caroline Shaw with conductor Christian Reif and members of the San Francisco Symphony at SoundBox. He also sang works by Caroline Shaw and Kaija Saariaho alongside the Calder Quartet and International Contemporary Ensemble at the Ojai Music Festival. In May 2021, Tines sang in Tulsa Opera's concert Greenwood Overcomes, which honored the resilience of Black Tulsans and Black America one hundred years after the Tulsa Race Massacre. That event featured Tines premiering “There are Many Trails of Tears,” an aria from Anthony Davis' opera-in-progress Fire Across the Tracks: Tulsa 1921.Davóne Tines is a winner of the 2020 Sphinx Medal of Excellence, recognizing extraordinary classical musicians of color who, early in their career, demonstrate artistic excellence, outstanding work ethic, a spirit of determination, and an ongoing commitment to leadership and their communities. In 2019 he was named as one of Time Magazine's Next Generation Leaders. He is also the recipient of the 2018 Emerging Artists Award given by Lincoln Center for the Performing Arts and is a graduate of The Juilliard School and Harvard University, where he teaches a semester-length course “How to be a Tool: Storytelling Across Disciplines” in collaboration with director Zack Winokur.The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture. To find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory. Stay in TouchNewsletter sign-upSupport my podcastShareable link to episode ★ Support this podcast ★

Die Revolution des Begehrens: „Die Schule der Liebenden“, so der Untertitel von Wolfgang Amadeus Mozarts Oper Così fan tutte, fängt lustig an, als kreuzweise Treueprobe. Am Ende aber herrscht Verstörung, denn Dorabella und Fiordiligi, die Verlobten der beiden Jungens Guilelmo und Ferrando, erweisen sich als sehr wohl verführbar, eine früher, eine später. Was aber heißt das für die Idee von der wahren Liebe? Und was für die heile Welt unserer Gesellschaft, die auf Heirat, Kinder, Festanstellung … baut? Behält Don Alfonso Recht, der lebenserfahrene „Philosoph“ und Regisseur des abgründigen Spiels, der zu wissen meint: Così fan tutte, so machen es alle (Frauen) –? Oder gibt es, nachdem hier zwei Paare durch das Feuer des Zweifels und der Verzweiflung gegangen sind, noch mehr zu lernen? Autor und Sprecher: Holger Noltze Sprecher:innen: Magda Willi, Benedict Andrews, Vladimir Jurowski, Cathrin Störmer Schnitt: Thomas Rott Dramaturgie und Projektleitung: Christopher Warmuth

Incarnant la musique avec une sensibilité dramatique incomparable, la soprano et cheffe d'orchestre Barbara Hannigan est une artiste à l'avant-garde de la création. Ses collaborateurs artistiques incluent des metteurs en scène et des chefs d'orchestre tels que Simon Rattle, Sasha Waltz, Kent Nagano, Vladimir Jurowski, John Zorn, David Zinman, Antonio Pappano, Katie Mitchell et Kirill Petrenko. En tant que chanteuse, cheffe d'orchestre — ou les deux simultanément — elle fait preuve d'un profond engagement envers la musique de notre temps et a présenté en première mondiale plus de 85 nouvelles créations. Hannigan a collaboré avec des compositeurs tels que Boulez, Dutilleux, Ligeti, Stockhausen, Dusapin et Dean. Le premier disque de Hannigan en tant que chanteuse et cheffe d'orchestre, Crazy Girl Crazy (Alpha Classics, 2017) lui a valu le Grammy Award 2018 pour le meilleur album vocal classique solo. Elle a été nommée membre de l'Ordre du Canada en 2016. Au printemps 2020, elle a fait paraître un disque sur Alpha Classics, La Passione, avec des œuvres de Nono, Haydn et Grisey. En 2020, elle a lancé «Momentum: Our Future, Now», une initiative internationale majeure menée par des artistes de premier plan qui soutiennent leurs jeunes collègues. Elle poursuit également son travail acclamé avec l'initiative de mentorat Equilibrium Young Artists, qu'elle a lancée en 2017. En 2022, elle reçoit le prestigieux prix Grammophon ‘artiste de l'année'. Aussi, pour une période de 3 ans, Barbara Hannigan sera ‘artiste associée' à l'Orchestre Symphonique de Londres. Elle fera ses débuts avec l'Orchestre Symphonique de Montréal le 7, 10 et 11 décembre 2022. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Auf seinem aktuellen Album mit dem Bayerischen Staatsorchester kombiniert Vladimir Jurowski Beethovens Zweite Symphonie mit der zeitgenössischen Beethoven-Hommage "Testament" des Australiers Brett Dean. Dass Jurowski ein Verfechter der historisch informierten Aufführungspraxis ist, zeigt er bei Beethoven mit markanter Artikulation und federnder Energie. Die perfekte Ergänzung dazu ist Deans Beethoven-Nachklang von 2008, der vom bekenntnishaften "Heiligenstädter Testament" des Komponisten über seine fortschreitende Ertaubung inspiriert ist.

durée : 00:58:21 - Vladimir Jurowski, de Londres à Berlin - par : Aurélie Moreau - « Je ne dirige pas Beethoven ou Brahms comme Mahler ou Strauss. Je ne cherche pas une clé unique pour toutes les portes », Vladimir Jurowski. Chef principal du London Philharmonic, Il dirige les orchestres Radio Symphonique de Berlin, et de Bavière.

Russian-American conductor Lidiya Yankovskaya is a fiercely committed advocate for Russian masterpieces, operatic rarities, and contemporary works on the leading edge of classical music. She has conducted more than 40 world premieres, including 16 operas, and her strength as a visionary collaborator has guided new perspectives on staged and symphonic repertoire from Carmen and Queen of Spades to Price and Prokofiev. As Music Director of Chicago Opera Theater, Ms. Yankovskaya has led the Chicago premieres of Jake Heggie's Moby-Dick, Rachmaninov's Aleko, Joby Talbot's Everest, Tchaikovsky's Iolanta, and the world premiere of Dan Shore's Freedom Ride. Her daring performances before and amid the pandemic earned recognition from the Chicago Tribune, which praised her as “the very model of how to survive adversity, and also how to thrive in it,” while naming her 2020 Chicagoan of the Year. In the 2021/22 season, Ms. Yankovskaya makes a trio of Texan debuts, leading performances of Carmen at Houston Grand Opera, a tribute to Ruth Bader Ginsburg at Dallas Symphony Orchestra, and concerts featuring works by Gershwin and Dawson at Fort Worth Symphony. Elsewhere, she debuts with Chicago Symphony Orchestra in Prokofiev's Peter and the Wolf, leads a program of Brahms and Wagner at Elgin Symphony, conducts Boulanger, Debussy, and Ravel at Omaha Symphony, and makes her Pasadena Symphony debut conducting works by Tchaikovsky, Rimsky-Korsakov, and Gabriela Lena Frank. At Chicago Opera Theater, she conducts the Chicago premiere of Mark Adamo's Becoming Santa Claus and a concert version of Carmen, starring Jamie Barton opposite Stephanie Blythe. Ms. Yankovskaya has recently conducted Don Giovanni at Seattle Opera, Pia de' Tolomei at Spoleto Festival USA, Il barbiere di Siviglia at Wolf Trap Opera, Ellen West at New York's Prototype Festival, and the world premiere of Taking Up Serpents at Washington National Opera. On the concert stage, she has been recently engaged with Chicago Philharmonic, Rhode Island Philharmonic, and the symphony orchestras of Hawaii and Oviedo, Spain. Ms. Yankovskaya is Founder and Artistic Director of the Refugee Orchestra Project, which proclaims the cultural and societal relevance of refugees through music, and has brought that message to hundreds of thousands of listeners around the world. In addition to a National Sawdust residency in Brooklyn, ROP has performed in London, Boston, Washington, D.C., and the United Nations. She has also served as Artistic Director of the Boston New Music Festival and Juventas New Music Ensemble, which was the recipient of multiple NEA grants and National Opera Association Awards under her leadership. As Music Director of Harvard's Lowell House Opera, Ms. Yankovskaya conducted sold-out performances of repertoire rarely heard in Boston, including Tchaikovsky's The Queen of Spades, Britten's A Midsummer Night's Dream, and the U.S. Russian-language premiere of Rimsky-Korsakov's The Snow Maiden. Her commitment to exploring the breadth of symphonic and operatic repertoire has also been demonstrated in performances of Rachmaninoff's Aleko and the American premieres of Donizetti's Pia de' Tolomei, Rubinshteyn's The Demon, and Rimsky-Korsakov's Kashchej The Immortal and Symphony No. 1. An alumna of the Dallas Opera's Hart Institute for Women Conductors and the Taki Alsop Conducting Fellowship, Ms. Yankovskaya has also served as assistant conductor to Lorin Maazel, chorus master of Boston Symphony Orchestra, and conductor of Boston Youth Symphony Orchestra. She has been featured in the League of American Orchestras Bruno Walter National Conductor Preview and Cabrillo Festival for Contemporary Music, and assisted Vladimir Jurowski via a London Philharmonic fellowship. Ms. Yankovskaya holds a B.A. in Music and Philosophy from Vassar College, with a focus on piano, voice, and conducting, and earned an M.M. in Conducting from Boston University. Her conducting teachers and mentors have included Lorin Maazel, Marin Alsop, Kenneth Kiesler, and Ann Howard Jones. Ms. Yankovskaya's belief in the importance of mentorship has fueled the establishment of Chicago Opera Theater's Vanguard Initiative, an investment in new opera that includes a two-year residency for emerging opera composers. Committed to developing the next generation of artistic leaders, she also volunteers with Turn The Spotlight, a foundation dedicated to identifying, nurturing, and empowering leaders – and in turn, to illuminating the path to a more equitable future in the arts. Recipient of Solti Foundation U.S. Career Assistance Awards in 2018 and 2021, Ms. Yankovskaya has been a featured speaker at the League of American Orchestras and Opera America conferences, and served as U.S. Representative to the 2018 World Opera Forum in Madrid.

#207 This week, I'm here with the wonderful Jeralyn Glass. Jeralyn is a singer, musician, speaker, and crystal alchemy healer. During our conversation today, she tells us about her journey into sound healing, her journey with Sacred Sound, and how we can take our health into our own hands. If you're looking for ways to stabilize your self and bring clarity and focus into your life, then this is the episode for you. About Jeralyn: Jeralyn Glass is an international acclaimed singer, crystal alchemy sound healer, inspirational speaker, musician, and teacher blending a classical career with meditation and transformational high-vibration sound. She has performed on Broadway and on the Opera and Concert stages of the world, where she is known as a “Mozart singer of the first order.” Jeralyn established her classical music career in Europe, Japan and USA, singing regularly in theaters including the Los Angeles Opera, San Diego Opera, Michigan Opera, Pittsburg Opera,Teatro la Fenice, Zurich Opera, the Operas of Nice, Nantes, Lille, Strasbourg, Marseille, Montpellier, Toulouse, Paris, Antwerp, Amsterdam, Rotterdam, Maastricht, Malaga, Leipzig, Bonn and Munich. Praised as an artist with “glamour and style” by London's Opera Magazine, she has collaborated with a.o. Sir Neville Marriner, Sir Peter Hall, Jonathon Miller, Vladimir Jurowski, Louis Langree. She sang the National Anthem for over 18,000 people in her hometown of Los Angeles and is a well loved Gala performer, having written and sung tributes to Kareem Abdul Jabar and the late Kobe Bryant as well as the former German President Horst Kohler and the former French President Valerie Giscard d'Estaing. While living in Europe, Jeralyn created a children's foundation, Kids4Kids in Munich. Under her artistic leadership, the foundation trained over 180 youth in the performing arts and raised hundreds of thousands of euros to fund an ongoing music therapy program for children in Germany. Kids4kids is known for their dynamic training concept, increasing social awareness and responsibility in youth through a win/win platform. Jeralyn's Website: www.jeralynglass.com crystalcadence.com Crystal Cadence by Jeralyn Glass YouTube Channel Key points with time stamp: Opera Singer to Sound Healer. Embracing Your Soul with Sound Jeralyn Glass (00:00) An introduction to sound as medicine: can it bring us clarity and focus? (00:17) Jeralyn's journey as a musician (04:06) How to use your voice to remove self-doubt (07:11) Using sound therapy to help children through loss (11:17) The deepening of Jeralyn's journey following the grief of losing her son (17:09) Is learning to feel grief the key to healing? (25:19) Do we need a wakeup call to wake up? (40:18) An introduction to the crystal bowl chakra set (51:37) Feeling the vibrational frequency of love (01:01:15) Mentioned in this episode: Sidney Lanier Peter Maffay About me: My Instagram: www.instagram.com/guyhlawrence/?hl=en My website: www.guylawrence.com.au www.liveinflow.co

Im Oktober dirigiert Vladimir Jurowski mit Schostakowitschs "Die Nase" seine erste Premiere als Bayerischer Generalmusikdirektor - BR-KLASSIK-Redakteur Bernhard Neuhoff mit dem letzten Teil unserer Highlights 2021.

Rund um die Eröffnungspremiere der Spielzeit gestaltet Generalmusikdirektor Vladimir Jurowski ein symphonisches Konzertprogramm an der Bayerischen Staatsoper, das die stilistische Vielseitigkeit des jungen Komponisten Schostakowitsch in ihrer aufregenden Bandbreite auffächert.

Mutig startet das neue Leitungsteam der Bayerischen Staatsoper: Für seine erste Premiere als Generalmusikdirektor hat sich Vladimir Jurowski "Die Nase" von Dmitrij Schostakowitsch ausgesucht, ein selten gespieltes Frühwerk. Inszeniert hat die wilde Operngroteske der Regisseur Kirill Serebrennikov, der von der russischen Regierung verfolgt wird. BR-KLASSIK-Redakteur Bernhard Neuhoff saß im Publikum.

Am Sonntag feiert "Die Nase" von Dmitrij Schostakowitsch Premiere an der Bayerischen Staatsoper. Das Werk steht zum ersten Mal überhaupt auf dem Spielplan. Zwei gute Gründe um mit dem Generalmusikdirektor Vladimir Jurowski darüber zu sprechen.

Die "Alpensinfonie" - naiv zund pompös? Von wegen! Derart präzise durchgearbeitet und dynamisch ausdifferenziert, hat das Werk nichts mit dem Klischee vom Breitwand-Filmscore zu tun. Vielmehr spürt Jurwoski den philosophischen Gedanken über den unabänderlichen Lebenskreislauf nach, die der Partitur zugrunde liegen.

Charlie is joined by Vic Reeves AKA Jim Moir AKA Chin, one half of top comedy duo Reeves & Mortimer. They chat about light entertainment, musicals, comedy partnerships, Vic's work as a painter and artist, choosing classical pieces for Reeves & Mortimer on tour, how Vic feels about Bob teaming up with Paul Whitehouse for Gone Fishing and renting classical records from the library! The episode contained an extract of The Dance of the Knights from Prokofiev's Romeo and Juliet, performed by the St Petersburg Philharmonic Orchestra, conducted by Yuri Temirkanov, taken from an album on Signum Records, available to buy at signumrecords.com. We also heard a clip of Mussorgsky's A Night on the Bare Mountain, played by the London Philharmonic Orchestra with Vladimir Jurowski, available at lpo.org.uk. The next piece of music was from Tchaikovsky's Swan Lake, and that was another recording by the St Petersburg Philharmonic orchestra and Yuri Temirkanov, and the final extract was from Dawn from Benjamin Britten's Four Sea Interludes, performed by the Britten-Pears Orchestra, conducted by Steuart Bedford – and those two are both available at signumrecords.com.

In the second part of Charlie's chat with actress, writer and comedian Arabella Weir, the two friends chat about playing their The Fast Show characters such as Doreen and Colin Hunt, and Katie and Johnny Nice Painter. Arabella recalls nearly ruining a sketch during The Fast Show live show, shares her love of classic musicals and gives tips about voiceover work. They pick the sexiest pieces of classical music and discuss creative productivity during lockdown, John Carpenter films and more. The episode featured a clip of Dido's Lament from Dido and Aeneas by Purcell, performed by the Armonico Consort and taken from an album released on Signum Records, available to buy at signumrecords.com. That was followed by a clip from the 3rd movement of Brahms Symphony Number 3 conducted by Vladimir Jurowski and an extract from the 2nd movement of Beethoven's Symphony Number 9, conducted by Klaus Tennstedt. Both were taken from recordings by the London Philharmonic Orchestra and available to buy at lpo.org.uk

Netty shares a brew with renowned conductor and OAE Principal Artist, Vladimir Jurowski. Vladimir reflects on growing up in Russia with a music family and discusses how music and politics go hand in hand.Tea with Netty is the Orchestra of the Age of Enlightenment's podcast hosted by viola player Annette Isserlis (Netty). Over a cuppa (or something a little stronger...), Netty chats with a variety of conductors, players and other guests as she 'spills the tea' on the side of classical music you don't normally hear.

Auch diesmal ohne Publikum an der Münchner Staatsoper: Die Premiere der Neuinszenierung von Richard Strauss „Der Rosenkavalier“ in der Neuinszenierung von Barrie Kosky, unter der musikalischen Leitung von Vladimir Jurowski und mit mehreren Rollendebuts konnte erneut nur im Stream und im TV-Programm von Arte am vergangenen Sonntag stattfinden.

Interviewer: Olga Jegunova Editor: Matylda Dymek Visual design: Christopher Moehring Find Vladimir: https://www.instagram.com/vladimir_jurowski/ Find Olga: https://www.olgajegunova.com/ https://www.instagram.com/olgajegunova/ https://www.facebook.com/olga.jegunova.9 Music excerpts used in this episode: Introduction: A.Scriabin - Nocturne for the Left Hand (Leon Fleishner) Interview: D.Schostakovich - Symphony No 6 (Russian National Orchestra & V.Jurowski) I.Stravinsky - Soldier's tale (Boston Symphony Chamber Players) W.A.Mozart - Don Giovanni (MET opera, Stefan Kocan) G.Mahler "Das klagende Lied" op. 1 (London Philharmonc Orchestra & V.Jurowski) J.Massenet -Thais Meditation (Classic FM M-Tel Radio Symphony Orchestra - M.Vengerov & Luciano Di Martino) R.Wagner - Die Meistersinger von Nürnberg: Prelude (London Philharmonic Orchestra, The Glyndebourne Chorus & V.Jurowski) J.S.Bach - Air on the G String (Rundfunk-Sinfonieorchester Berlin & V.Jurowski)

»La Martha« hätte kommen sollen. Martha Argerich war für den 26.11.2020 als Gast in der Kölner Philharmonie eingeplant, zusammen mit dem Chamber Orchestra of Europe und Vladimir Jurowski, doch der Lock-down hält die Türen zu und daher an dieser Stelle ein paar Hörtipps über das Werk, das Martha Argerich hätte spielen sollen: Beethovens 2. Klavierkonzert. Martha Argerich ©Adriano Heitmann

Erich Korngold was one of the composers who invented the sound of Hollywood - and his music for The Sea Hawk (a 1940 Erol Flynn swashbuckler) is passionate, exhilarating and hugely influences our very ideas of what film music should sound like. Total listen time 36mins [podcast plus music] I talk about all this with my pal, Lev Parikian.   Music here: Though the "overture" gets played in concerts, it doesn't really exist as a thing that gets recorded! Mostly people record a suite - giving you more of Korngold's great music...   So here are my recommendations: I've selected my favourite bits (all the stuff Lev and I talked about) on Spotify: Top conductor Vladimir Jurowski has made a suite of his favourite bits and it's here on Youtube: complete with clips from the film and the State Academic Symphony Orchestra of Russia.   Please comment at www.cacophonyonline.com or the Cacophony Facebook page. Please subscribe to the podcast and share it too!        

Das Rundfunk-Sinfonieorchester Berlin bei uns im Großen Sendesaal des rbb - und wir haben live übertragen. Vladimir Jurowski dirigierte Werke von Mozart und Schnittke und Igor Strawinskys "Geschichte vom Soldaten". Für die Theaterminiatur war der Berliner Schauspieler Stefan Kaminski als Sprecher im Saal. Antje Bonhage war dabei.

durée : 01:57:12 - En pistes ! du mardi 16 juin 2020 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au menu du jour : Sandrine Piau et Christophe Rousset dans une œuvre emblématique du répertoire napolitain du XVIIIe siècle, le Stabat Mater de Pergolèse; deux nouveaux enregistrements de Vladimir Jurowski; Stanislav Khristenko dans les transcriptions pour piano du Romeo et Juliette de Prokofiev... - réalisé par : Olivier Guérin

060 Marc-André Hamelin: Musical Offering In this episode, I discuss with international piano soloist and composer Marc-André Hamelin! Among many other topics, we discuss his philosophy about performing, how he approaches solving problems, the wonderful reason he prefers to play by memory, how important curiosity has been in his career, and the importance of living a full life and be exposed to culture. Marc-André also elaborates on: The practicing habits he had at a young age The importance of developing the aptitude to solve problems of becoming your own teacher His advice on memorization Score or no score, that is the question His simple practice “priming” His current interest in Faure's music and how he dives in the topic His favorite tool in the practice room: the score! His idea of the ideal concert: you will all agree with him! Why he strongly believes in practicing slowly Marc-Andre is an incredible artist and human being and I am so very happy and honored to have him on the podcast today! I know that you'll be inspired by his insight and wisdom!     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 join the Mind Over Finger Book Club in the Tribe!  We meet HERE, and we'll begin 2020 with The Inner Game of Golf by Tim Gallwey!   Don't forget to 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! TURN THE METRONOME ON AND START PRACTICING BETTER AND LEARNING FASTER RIGHT NOW!  GET YOUR FREE METRONOME GUIDE TODAY AT www.mindoverfinger.com!!!!     MORE ABOUT MARC-ANDRÉ: Website: https://www.marcandrehamelin.com/   YouTube: Click here to catch amazing performances and interviews with Marc-André Facebook: https://www.facebook.com/marcandrehamelinpiano/   “A performer of near-superhuman technical prowess” (The New York Times), pianist Marc André Hamelin is known worldwide for his unrivaled blend of consummate musicianship and brilliant technique in the great works of the established repertoire, as well as for his intrepid exploration of the rarities of the 19th, 20th, and 21st centuries – in concert and on disc – earning him legendary status as a true icon of the piano. Mr. Hamelin begins the 19/20 season performing the Brahms Piano concerti with the Orchestre Métropolitain and Yannick Nézet-Séguin at Le Festival de Lanaudière, and the world premiere of Ryan Wigglesworth's piano concerto at the BBC Proms, led by the composer. Other summer appearances include recitals at the Schubertiade, Helsingborg Piano Festival, Mänttä Music Festival, Domaine Forget, Orford Music Festival, the Newport Music Festival, and at the Rosendal Chamber Music Festival with friend and regular collaborator, Leif Ove Andsnes. Recital appearances this season include a return to Carnegie Hall's Stern Auditorium/Perelman Stage on the Great Artists Series. He also performs at Wigmore Hall, the George Enescu Festival, Ascona (Switzerland), Prague, Munich, Alte Oper Frankfurt, Stuttgart, Moscow State Philharmonic, at the Elbphilharmonie for the Husum Rarities of Piano Music Festival, Monte Carlo, and the Heidelberg Festival, among other dates. Mr. Hamelin is the inaugural guest curator for Portland Piano International, where he opens the season with two solo recitals. He returns to San Francisco Performances – a series with whom he has a long and deeply supportive artistic relationship – as a Perspectives Artist for their 40th Anniversary Season, performing a solo recital; Die Winterreise with tenor Mark Padmore; and the world premiere of his own Piano Quintet, commissioned by SFP and performed by himself and the Alexander String Quartet. An exclusive recording artist for Hyperion Records, in 19/20, Hyperion releases two albums by Mr. Hamelin – one a solo disc and the other with the Takács Quartet. He recently released a disc of Schubert's Piano Sonata in B-Flat Major and Four Impromptus; a landmark disc of Stravinsky's The Rite of Spring and Concerto for Two Pianos with Leif Ove Andsnes; Morton Feldman's For Bunita Marcus; and Medtner's Piano Concerto No. 2 and Rachmaninov's Piano Concerto No. 3 with the London Philharmonic Orchestra and Vladimir Jurowski. His impressive Hyperion discography of more than 60 recordings includes concertos and works for solo piano by such composers as Alkan, Godowsky, and Medtner, as well as brilliantly received performances of Brahms, Chopin, Liszt, Schumann, and Shostakovich. He was honored with the 2014 ECHO Klassik Instrumentalist of Year (Piano) and Disc of the Year by Diapason Magazine and Classica Magazine for his three-disc set
of Busoni: Late Piano Music and an album of his own compositions, Hamelin: Études, which received a 2010 Grammy nomination and a first prize from the German Record Critics' Association. Mr. Hamelin was a distinguished member of the jury of the 15 th Van Cliburn International Piano Competition in 2017 where each of the 30 competitors in the preliminary round performed Hamelin's Toccata on L'Homme armé; this was the first time the composer of the commissioned work was also a member of the jury. Mr. Hamelin has composed music throughout his career, with nearly 30 compositions to his name. The majority of those works – including the Études and Toccata on L'Homme armé – are published by Edition Peters. Mr. Hamelin makes his home in the Boston area with his wife, Cathy Fuller. Born in Montreal, Marc-André Hamelin is the recipient of a lifetime achievement award from the German Record Critics' Association and has received seven Juno Awards and eleven GRAMMY nominations. He is an Officer of the Order of Canada, a Chevalier de l'Ordre du Québec, and a member of the Royal Society of Canada.   If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support! Visit www.mindoverfinger.com for information about past and future podcasts, and for more resources on mindful practice. Join the Mind Over Finger Tribe here!  https://www.facebook.com/groups/mindoverfingertribe/     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/    

Din guide till de bästa nya inspelningarna av klassisk musik. Hör panelens betyg på Nötknäpparen, Amy Beach, Galina Ustvolskaja och Kurt Atterberg. Veckans skivor: TCHAIKOVSKY - THE NUTCRACKER Balettmusik, Nötknäpparen, av Piotr Tjajkovskij Jevgenij Svetlanov-orkestern Vladimir Jurowski, dirigent Pentatone PTC 5186761 Betyg: 3 USTVOLSKAYA, SILVESTROV, KANCHELI - WORKS FOR PIANO AND ORCHESTRA Piano- och orkesterverk av Galina Ustvolskaja, Vladimir Silvestrov och Giya Kancheli Elisaveta Blumina, piano Stuttgart Kammarorkester Thomas Sanderling, dirigent Grand Piano GP 678 Betyg: 5 HER VOICE: FARRENC, BEACH, CLARKE Pianotrior av Louise Farrenc, Amy Beach och Rebecca Clarke Neave-trion Chandos CHAN 20139 Betyg: 2 KURT ATTERBERG, CONCERTO FOR VIOLIN, CELLO AND ORCHESTRA Konsert för violin, cello och orkester m.m. Amus Kerstin Andersson, violin Mats Levin, cello Örebro Kammarorkester Thord Svedlund, dirigent Danacord DACOCD 836 Betyg: 4 Veckans val: Musik om krig och konflikter Just nu är det flera klassiska artister som engagerar sig mot krig och omvärldskonflikter och inte minst ger ut musik på temat. I höst har det kommit album som tagit djupa intryck av situationen i Syrien och Mellanöstern eller som söker sig bakåt i tiden till första och andra världskriget. Musikrevyns Hanna Höglund väljer musik av bland andra Svante Henryson, Daniel Herskedal, Isabelle Aboulker och Charles Ives.

Din guide till de bästa nya inspelningarna av klassisk musik. Musikrevyn recenserar Sjostakovitjs Leningradsymfoni, Beethoven-pianosonater, Haydns orgelkonserter och Puccinis Tosca på dvd. Veckans skivor: SCHOSTAKOWITSCH - SYMPHONIE NR. 7 "LENINGRADER" Symfoni nr 7, Leningradsymfonin, av Dmitri Sjostakovitj Bayerska radions symfoniorkester i München  Mariss Jansons, dirigent BR Klassik 900184 Betyg: 4 IVO POGORELICH - BEETHOVEN, RACHMANINOFF Pianosonater 22 och 24 av Ludwig van Beethoven och pianosonat nr 2 av Sergej Rachmaninov Ivo Pogorelich, piano Sony Classical 19075956602 Betyg: 3 HAYDN - ORGAN CONCERTOS Orgelkonserter av Joseph Haydn Iain Quinn, organist  Sophie Gent, violin Arcangelo-orkestern Jonathan Cohen, dirigent Chandos CHAN 20118 Betyg: 2 DVD: PUCCINI - TOSCA Opera av Giacomo Puccini Michael Sturmingers, regissör  Anja Harteros, sopran Aleksanders Antonenko, tenor Staatskapelle Dresden  Christian Thielemann, dirigent  Unitel 748308 Betyg: 4 Veckans val: Mahlers fyra med perfekt balans Musikrevyn väljer något extra bra ur det aktuella skivflödet. Den här veckan rekommenderar vi dirigenten Vladimir Jurowski och Londonfilharmonikernas nya inspelning av Gustav Mahlers fjärde symfoni. Referensen: Vem kan slå Maria Callas? Vi jämför den aktuella dvd:n med Michael Sturmingers uppsättning av Puccinis Tosca med en riktig klassiker: Maria Callas och La Scala-orkestern i Milano i Victor de Sabatas berömda EMI-inspelning från 1953.

I met Claudia at her beautiful renovated Victorian house where we talked about her early years in Devon and training, particularly in America, winning the Metropolitan Opera National Council Auditions. We discussed the opportunities being a contralto presents such as repertoire, and her role as the Omniscient Mussel in Strauss's Die Ägyptische Helena at La Scala next month. We also talked about performing on big and small stages, leading Claudia to recall her experiences of contemporary opera. Many thanks to Claudia for taking the time on her off day to talk to me and her hospitality, and the team at Maxine Robertson Management for putting me in touch with her! Interview published on 25th October 2019; recorded on 5th October 2019. British contralto Claudia Huckle studied at the Royal College of Music in London, the New England Conservatory and the Curtis Institute of Music. She was the 2004 Grand Final Winner of the Metropolitan Opera National Council Auditions and is a graduate of the prestigious Domingo-Cafritz Young Artist Program at Washington National Opera. She was the 2013 winner of the Birgit Nilsson Remembrance Award at Plácido Domingo’s Operalia competition at Verona - the first female, and first British recipient. She was a member of the ensemble at Leipzig Opera for four seasons from 2009. Plans this season and beyond include her début at Teatro alla Scala Milan singing Die allwissende Muschel in Strauss Die Ägyptische Helena, conducted by Franz Welser-Möst, and her début at Opéra National de Paris, singing Flosshilde in the Ring Cycle. Other concert plans include Schwertleite Die Walküre, with the LPO conducted by Vladimir Jurowski; Handel Messiah with the Freiburg Baroque Orchestra and Trevor Pinnock; Mahler Kindertotenlieder with the BBCSSO and Michael Sanderling; Mendelssohn Elijah with the BBCSO and Sakari Oramo; Mahler Symphony No 8 on tour with the Gustav Mahler Jugendorchester and Daniel Harding; Bach St Matthew Passion with the Orchestra dell’Accademia Nazionale di Santa Cecilia under Antonio Pappano; and Beethoven Symphony No 9 with the Orchestra of La Scala Milan under Riccardo Chailly. She will appear in recital with pianist Simon Lepper at Nottingham University. Opera roles include Erda Das Rheingold / Siegfried for Grand Théâtre de Genève, Opera North and Oper Leipzig; Flosshilde Das Rheingold for Teatro Real, Madrid; Suzuki Madam Butterfly for Zurich Opera and Glyndebourne on Tour, for whom she also sang the title role in Britten The Rape of Lucretia; Hippolyta in Britten A Midsummer Night’s Dream for Glyndebourne Festival Opera; Marfa in Mussorgsky Khovanshchina for Birmingham Opera Company; Mérope Oedipe, First Norn Götterdämmerung and Schwertleite Die Walküre at the Royal Opera House, where she also appeared as Third Lady Zauberflöte, a role she has sung at the Festival d’Aix en Provence and for Dresden Semperoper; Hänsel Hänsel und Gretel for Garsington Opera; Olga, Hänsel, Third Lady for Leipzig Opera; Smeton Anna Bolena for Washington National Opera; and Dalila in Saint-Saëns Samson et Dalila for the Chelsea Opera Group. In concert she has also sung Anna in Berlioz Les Troyens with Valery Gergiev and Maxwell Davies’ Hogboon under Sir Simon Rattle, both with the LSO. Recent concert highlights include Flosshilde Götterdämmerung with Sir Andrew Davis at the 2019 Edinburgh Festival, Brahms Alto Rhapsody with the Northern Sinfonia and Lars Vogt; Mahler Symphony No 2 at the Festival de Saint-Denis with the Orchestre Philharmonique de Radio France and Myung-Whun Chung; Schwertleite with the Bayerische Rundfunk Symphony Orchestra and Sir Simon Rattle; and Elgar Dream of Gerontius and Sea Pictures with Hallé Orchestra. Other past concerts include Schubert Mass in A flat and Beethoven Choral Fantasy with Kent Nagano and the Deutsches Symphonie Orchester; Mahler Symphony No 3 with Real Filharmonía de Galicia and Paul Daniel; and Missa Solemnis and Verdi Requiem at King’s College Cambridge.

Wenn der Name Vladimir Jurowski fällt, werden Klassik-Fans hellhörig, denn der Dirigent wird 2021 als Nachfolger von Kirill Petrenko neuer Generalmusikdirektor an der Bayerischen Staatsoper. Bis dahin bleibt Jurowski noch Chefdirigent des London Philharmonic Orchestra. Jetzt sind Konzertmitschnitte aus London mit Jurowski erschienen, die Lust auf Musik von Sergej Rachmaninow machen. Derart ernst genommen, packend umgesetzt und tiefgründig ausgelotet, lassen Jurowskis Rachmaninow-Interpretationen alle Klischees vom sentimentalen Salonkomponisten weit hinter sich.

Virtuoso Ray Chen hardly needs an introduction, but let's start with his Gold Medal at the Queen Elisabeth competition in 2009, at the age of 20! His career since then, by all appearances, has been an effortless climb. But as you're about to hear, that isn't the whole story. As I've gotten to know Ray (during his solo appearances with the LA Phil, including that one time he stole my bow for a Paganini encore!) I've been impressed with how open he is in person and on social media. Let's start here: if you don't follow Ray on Instagram and YouTube, you're missing out big time! Here are those links: Ray's Instagram Ray on YouTube For example, one of Ray's videos deals with the topic of insecurity. It's so rare for a world-class soloist to open up about this topic, and you certainly won't hear any insecurity in his playing! But as we discuss in this episode, it's a feeling every violinist deals with at some point, and it's a necessary step along the way to mature artistry. Ray Chen's biography Ray Chen is a violinist who redefines what it is to be a classical musician in the 21st Century. With a media presence that enhances and inspires the classical audience, reaching out to millions through his unprecedented online following, Ray Chen's remarkable musicianship transmits to a global audience that is reflected in his engagements with the foremost orchestras and concert halls around the world.Initially coming to attention via the Yehudi Menuhin (2008) and Queen Elizabeth (2009) Competitions, of which he was First Prize winner, he has built a profile in Europe, Asia, and the USA as well as his native Australia both live and on disc. Signed in 2017 to Decca Classics, the summer of 2017 has seen the recording of the first album of this partnership with the London Philharmonic as a succession to his previous three critically acclaimed albums on SONY, the first of which (“Virtuoso”) received an ECHO Klassik Award. Profiled as “one to watch” by the Strad and Gramophone magazines, his profile has grown to encompass his featuring in the Forbes list of 30 most influential Asians under 30, appearing in major online TV series “Mozart in the Jungle”, a multi-year partnership with Giorgio Armani (who designed the cover of his Mozart album with Christoph Eschenbach) and performing at major media events such as France's Bastille Day (live to 800,000 people), the Nobel Prize Concert in Stockholm (telecast across Europe), and the BBC Proms. “It's hard to say something new with these celebrated works; however, Ray Chen performs them with the kind of authority that puts him in the same category as Maxim Vengerov.” — CORRIERE DELLA SERA He has appeared with the London Philharmonic Orchestra, National Symphony Orchestra, Leipzig Gewandhausorchester, Munich Philharmonic, Filarmonica della Scala, Orchestra Nazionale della Santa Cecilia, Los Angeles Philharmonic, and upcoming debuts include the SWR Symphony, San Francisco Symphony, Pittsburgh Symphony, Berlin Radio Symphony, and Bavarian Radio Chamber Orchestra. He works with conductors such as Riccardo Chailly, Vladimir Jurowski, Sakari Oramo, Manfred Honeck, Daniele Gatti, Kirill Petrenko, Krystof Urbanski, Juraj Valcuha and many others. From 2012-2015 he was resident at the Dortmund Konzerthaus and in 17/18 will be an “Artist Focus” with the Berlin Radio Symphony. His presence on social media makes Ray Chen a pioneer in an artist's interaction with their audience, utilising the new opportunities of modern technology. His appearances and interactions with music and musicians are instantly disseminated to a new public in a contemporary and relatable way. He is the first musician to be invited to write a lifestyle blog for the largest Italian publishing house, RCS Rizzoli (Corriere della Sera, Gazzetta dello Sport, Max). He has been featured in Vogue magazine and is currently releasing his own design of violin case for the industry manufacturer GEWA.

Virtuoso Ray Chen hardly needs an introduction, but let's start with his Gold Medal at the Queen Elisabeth competition in 2009, at the age of 20! His career since then, by all appearances, has been an effortless climb. But as you're about to hear, that isn't the whole story. As I've gotten to know Ray (during his solo appearances with the LA Phil, including that one time he stole my bow for a Paganini encore!) I've been impressed with how open he is in person and on social media. Let's start here: if you don't follow Ray on Instagram and YouTube, you're missing out big time! Here are those links: Ray's Instagram Ray on YouTube For example, one of Ray's videos deals with the topic of insecurity. It's so rare for a world-class soloist to open up about this topic, and you certainly won't hear any insecurity in his playing! But as we discuss in this episode, it's a feeling every violinist deals with at some point, and it's a necessary step along the way to mature artistry. Ray Chen's biography Ray Chen is a violinist who redefines what it is to be a classical musician in the 21st Century. With a media presence that enhances and inspires the classical audience, reaching out to millions through his unprecedented online following, Ray Chen's remarkable musicianship transmits to a global audience that is reflected in his engagements with the foremost orchestras and concert halls around the world.Initially coming to attention via the Yehudi Menuhin (2008) and Queen Elizabeth (2009) Competitions, of which he was First Prize winner, he has built a profile in Europe, Asia, and the USA as well as his native Australia both live and on disc. Signed in 2017 to Decca Classics, the summer of 2017 has seen the recording of the first album of this partnership with the London Philharmonic as a succession to his previous three critically acclaimed albums on SONY, the first of which (“Virtuoso”) received an ECHO Klassik Award. Profiled as “one to watch” by the Strad and Gramophone magazines, his profile has grown to encompass his featuring in the Forbes list of 30 most influential Asians under 30, appearing in major online TV series “Mozart in the Jungle”, a multi-year partnership with Giorgio Armani (who designed the cover of his Mozart album with Christoph Eschenbach) and performing at major media events such as France’s Bastille Day (live to 800,000 people), the Nobel Prize Concert in Stockholm (telecast across Europe), and the BBC Proms. “It’s hard to say something new with these celebrated works; however, Ray Chen performs them with the kind of authority that puts him in the same category as Maxim Vengerov.” — CORRIERE DELLA SERA He has appeared with the London Philharmonic Orchestra, National Symphony Orchestra, Leipzig Gewandhausorchester, Munich Philharmonic, Filarmonica della Scala, Orchestra Nazionale della Santa Cecilia, Los Angeles Philharmonic, and upcoming debuts include the SWR Symphony, San Francisco Symphony, Pittsburgh Symphony, Berlin Radio Symphony, and Bavarian Radio Chamber Orchestra. He works with conductors such as Riccardo Chailly, Vladimir Jurowski, Sakari Oramo, Manfred Honeck, Daniele Gatti, Kirill Petrenko, Krystof Urbanski, Juraj Valcuha and many others. From 2012-2015 he was resident at the Dortmund Konzerthaus and in 17/18 will be an “Artist Focus” with the Berlin Radio Symphony. His presence on social media makes Ray Chen a pioneer in an artist’s interaction with their audience, utilising the new opportunities of modern technology. His appearances and interactions with music and musicians are instantly disseminated to a new public in a contemporary and relatable way. He is the first musician to be invited to write a lifestyle blog for the largest Italian publishing house, RCS Rizzoli (Corriere della Sera, Gazzetta dello Sport, Max). He has been featured in Vogue magazine and is currently releasing his own design of violin case for the industry manufacturer GEWA.

Sam and Tim dissect Ruth Crawford Seeger's seminal String Quartet 1931, have a chat with tenor Hiroshi Amako and discuss the dress rehearsal for Die Walküre with Vladimir Jurowski and the London Philharmonic. PLUS – operatic divas, musical magic roundabouts and how ABBA stole from Wagner.Music Credits:Ruth Crawford Seeger, String Quartet 1931 performed by The Playground EnsembleEpic Trailer Music from Mattia CupelliFrank Bridge, Come to Me in My Dreams performed by Hiroshi Amako and Michael PandyaRichard Wagner, Die Walküre ‘Ride of Walkyries' performed by the Philadelphia Orchestra under Leopold Stokowski in 1934Éric Serra, ‘Diva Dance' cover by Laura Workman McMurtreyJean Sibelius, Symphony No. 5 Final MovementFollow us here:instagram.com/classicalpod/ twitter.com/ClassicalPod facebook.com/ClassicalPod/Here's the website for the Amici Voices:https://amicivoices.com/Seeger, String Quartet 1931 performed by The Playground Ensemble:https://www.youtube.com/watch?v=Hqz9Ch14MpwLaura Workman McMurtrey sings ‘Diva Dance':https://www.youtube.com/watch?v=bgo0CDL6bd0Hiroshi Amako and Michael Pandya perform Come to Me in My Dreams:https://www.youtube.com/watch?v=tubl-CtoNAs

Should audiences be allowed to bring food and drink into operas? Which age group is now most interested in orchestral music? And how much money do orchestral musicians make? These are just three of the questions the BBC Music Magazine team grapples with in this month's episode, which also features the podcast's first 'Meet the Artist' interview. That's with Vladimir Jurowski, who has won the Royal Philharmonic Society's conductor award this year. See acast.com/privacy for privacy and opt-out information.

Musikrevyn hänförs av en gastkramande Poulenc-sonat, hör feminism i medeltida kyrkomusik av Hildegard av Bingen och diskuterar Nina Stemmes väldiga röst och Sergej Prokofjevs brutala avantgardism. Veckans skivor: DEUX Musik av Béla Bartók, Francis Poulenc, Ernst von Dohnányi och Maurice Ravel Patricia Kopatchinskaja, violin Polina Leschenko, piano Alpha Classics, Alpha 387 EGO SUM HOMO Musik av Hildegard av Bingen Ensemblen Tiburtina Barbora Kabátková, konstnärlig ledning Ricercar RIC 383 NINA STEMME Musik av Richard Wagner Statsoperan i Wien och Wienoperans kör Dirigent: Franz Welser-Möst Orfeo C937171B SERGEJ PROKOFJEV Symfonier nr 2 och 3 Svetlanov-orkestern i Moskva Vladimir Jurowski, dirigent Pentatone PTC 5186 624 Referensen: Prokofjevs tredje symfoni Panelen jämför två inspelningar. Svetlanovorkestern i Moskva dirigerad av Vladimir Jurowski 2017 vs Bostons symfoniorkester dirigerad av Erich Leinsdorf 1966. Sofia möter: Renaud Capucon Den franske stjärnviolinisten Renaud Capucon gästade nyligen för första gången Kungliga filharmonikerna i Stockholms konserthus som solist i bland annat Pascal Dusapins Aufgang. Musikrevyn träffade honom. Andra i programmet nämnda eller rekommenderade inspelningar: Nina Stemme och Placido Domingo i Tristan och Isolde med Covent Garden-operans kör och orkester i London under ledning av Antonio Pappano. EMI, 2005. The Complete Symphonies. Prokofjevs symfonier med skotska nationalorkestern under ledning av Neeme Järvi. Chandos, 2008. Prokofjevs symfonier med Sao Paolos symfoniorkester, dirigent Marin Alsop. Utgiven på Naxos. Prokofjevs symfonier med Bournemouth symfoniorkester, dirigent Krill Karabits. Utgiven på Onyx.

Panelen diskuterar violinkonserter av Britten och Hindemith, Beethovens sena pianomusik, Telemanns fantasior för viola da gamba och körmusik av Bernstein och Stravinskij. I veckans panel sitter Camilla Lundberg, Alexander Freudenthal  och Hans Häggström som tillsammans med programledaren Johan Korssell betygsätter följande skivor: BENJAMIN BRITTEN OCH PAUL HINDEMITH Violinkonserter Arabella Steinbacher, violin Berlinradions symfoniorkester Vladimir Jurowski, dirigent Pentatone PTC 5186 625 LATE BEETHOVEN Pianomusik Ishay Shaer, piano Orchid Classics 100076 GEORG PHILIPP TELEMANN Fantasior Paolo Pandolfo, viola da gamba Glossa GCD 920417 SYMPHONIC PSALMS AND PRAYERS Musik av Leonard Bernstein, Arnold Schönberg, Igor Stravinskij och Alexander von Zemlinsky David Allsopp, countertenor Tenebrae, kör BBC Symfoniorkester Nigel Short, dirigent Signum Classics SIGCD492 Måns val: Måns Tengnér guidar oss genom passionsmusik som inte är komponerad av J S Bach. Referensen: Johan jämför kören Tenebraes inspelning av Psalmsymfonin med Stravinskijs egen inspelning från 1963 från Stravinskijeditionen på Sony. Andra i programmet nämnda eller rekommenderade inspelningar: Benjamin Brittens Violinkonsert med Vilde Frang och Frankfurts radiosymfoniker under James Gaffigan på Warner och Hindemiths Violinkonsert med David Oistrach och tonsättaren som leder London Symphony Orchestra på Decca. Sena Beethovensonater med Kempff (DG), Stephen Kovachevich (Warner), Igor Levit (Sony). Svepet: Eldbjörg Hemsin spelar Violinkonserter av Hjalmar Borgström och Dimitrij Sjostakovitj med Wiens symfoniker under Olari Elts på BIS.

Seit Anfang März ist es beschlossene Sache: Serge Dorny und Vladimir Jurowski werden als Intendant und Generalmusikdirektor die Bayerische Staatsoper München ab 2021 leiten. Am 12. März stellte sich das designierte Führungsduo auf einer Pressekonferenz vor. Zu ihren Plänen befragte sie BR-KLASSIK-Redakteur Volkmar Fischer.

Mit dem Staatlichen Akademische Staatsorchester von Russland erarbeitet Jurowski eine neue Gesamtaufnahme der Symphonien von Sergej Prokofjew. Zum Auftakt hat er die bei uns kaum gespielten Symphonien Nummer 2 und 3 gewählt; "ein überzeugendes Plädoyer", sagt Fridemann Leipold.

I programmet diskuteras bl.a. Manfred-symfonin ledd av Semyon Bychkov, Schuberts Forellkvintett, Sibelius Tapiola under Hannu Lintu samt komplett Goldmark-opera från Freiburg. Hanna väljer Finland. I panelen Aurélie Ferriere, Bengt Forsberg och Kati Raitinen som tillsammans med programledaren Johan Korssell betygsätter följande skivor: PETER TJAJKOVSKIJ Manfred-symfonin Tjeckiska filharmonin Semyon Bychkov, dirigent Decca 4832320 KARL GOLDMARK Drottningen av Saba Katerina Hebelkova m.fl Kör från Freiburg-teatern samt Vokalensemble från Musikhögskolan i Freiburg Freiburgs filharmoniker Fabrice Bollon, dirigent CPO 555 013-2 FRANZ SCHUBERT Forellkvintetten m.m Anne-Sophie Mutter, violin Daniil Trifonov, piano Hwayoon Lee, viola Maximilian Hornung, cello Roman Patkoló, kontrabas DG 479 7570 JEAN SIBELIUS Tapiola, En saga, 8 sånger Anne Sofie von Otter, mezzosopran Finska radions symfoniorkester Hannu Lintu, dirigent Ondine ODE 1289-5 Referensen Johan jämför med och refererar till en inspelning av Sibelius Tapiola med Philharmonia Orchestra, London dirigerad av Herbert von Karajan, inspelad i London 1953 på skivmärket Palladio.  Hannas val Med anledning av att Finland firar 100 år av självständighet den 6 december, belyser Hanna Höglund "samtidigt i Finland"-temat som inkluderar premiären av Fagerlunds opera Höstsonaten och dirigenten Susanna Mälki som fått Nordiska rådets musikpris samt apropå självständighetsfirandet, bjuds vi några nyutkomna finska inspelningar.  Andra i programmet nämnda eller rekommenderade inspelningar: Sibelius Tapiola med Philharmonia Orchestra, London ledda av Herbert von Karajan, inspelad 1953 på skivmärket Palladio (Referensen) samt med Helsingfors filharmoniker under ledning av Paavo Berglund på Warner Bros; Tjajkovskijs Manfred-symfoni med Londons filharmoniker under Vladimir Jurowski på LPO; Liverpools filharmoniker ledd av Vasilij Petrenko på Naxos; Sovjetunionens statliga symfoniorkester under Jevgenij Svetlanovs ledning på Warner Bros samt med Paris-radions orkester under Constantin Silvestri på Testament.  Inget Svep denna vecka

I programmet diskuteras musik av Selim Palmgren, Timothy Fallon sjunger sånger av Franz Liszt, Molinari-kvartetten spelar György Kurtág samt Dvoráks Stabat mater med Jiri Belohlávek på pulten. Söndag den 12 nov 12.00 14.00 I panelen Boel Adler, Hans Häggström och Måns Tengnér som tillsammans med programledaren Johan Korssell betygsätter följande skivor: SELIM PALMGREN Pianokonserter nr 4 och 5, Pastoral i tre scener, Exotisk marsch Janne Mertanen, piano Pori sinfonietta Jan Söderblom, Dirigent Alba ABCD 400 FRANZ LISZT 15 sånger Timothy Fallon, tenor Ammiel Bushakevitz, piano Bis SACD 2272 GYÖRGY KURTÁG Stråkkvartetterna Molinari-kvartetten Atma Classique ACD2 2705 ANTONÍN DVORÁK Stabat mater Eri Nakamura, sopran, Elisabeth Kulman, mezzosopran, Michael Spyres, tenor, Jongmin Park, bas Prags filharmoniska kör Tjeckiska filharmonin Jiri Belohlávek, dirigent Decca 483 1510 (2) Referensen Dvoráks Stabat mater Johan jämför med och refererar till en inspelning av Dvoráks Stabat mater med solister, Collegium Vocale, Gent samt Flamländska filharmonin, Bryssel allt under ledning av Philippe Herreweghe på egna märket PHI.  Alexanders val Alexander Freudenthal väljer ur en box med 70 CD Complete Recordings on Deutsche Grammophon, vilken innehåller Amadeuskvartettens kompletta utgivning på Deutsche Grammophon, Decca och Westminster.  Andra i programmet nämnda eller rekommenderade inspelningar: Selim Palmgrens pianokonserter med solisterna Eero Heinonen (nr 1) Juhani Lagerspetz (nr 2 & 4) Matti Raekallio (nr 3) Raija Kerppo (nr 5) alla ackompanjerade av Åbo stadsorkester ledda av Jacques Mercier på skivmärket Finlandia samt med pianisten Henri Sigfridsson och Pori sinfonietta ledda av Jan Söderblom (nr 1 3) inspelad på Alba. Selim Palmgrens pianostycken Majnatt och Månsken Franz Liszts sånger i komplett utförande med olika solister ackompanjerade av Julius Drake i 4 volymer på Hyperion. Där nämndes särskilt tenoren Matthew Polenzani (vol 1) och barytonen Gerald Finley (vol 3); med Barbara Bonney ackompanjerad av Antonio Pappano på Decca samt med Thomas Hampson ackompanjerad av Geoffrey Parsons på skivmärket EMI. Kurtágs stråkkvartetter med Keller-kvartetten på ECM samt med Athena-kvartetten på Neos Productions.   Kurtágs orkesterstycke Stele, Symphonie funèbre med Berlins filharmoniker ledd av Claudio Abbado på DGG. Dvoráks Stabat mater med solister tillsammans med Londons filharmoniker & kör ledda av Neeme Järvi på egna märket LPO; med solister tillsammans med Bayerska radions kör och symfoniorkester under ledning av Mariss Jansons på BR Klassik; solister, Prags filharmoniska kör och symfoniorkester under Jiri Belohlávek på Supraphon; med solister, Prags filharmoniska kör och Tjeckiska filharmonin under Jiri Belohlávek på Chandos;  solister, Tjeckiska filharmonins kör & orkester ledda av Vaclav Talich på Supraphon; solister, Bayerska radions kör och orkester dirigerade av Rafael Kubelik på DGG samt med solister Collegium Vocale Gent, Flamländska filharmonin, Bryssel ledda av Philippe Herreweghe (Referensen). Dvoráks Requiem som dirigerades av Jiri Belohlávek i London i april 2017.  Svepet Johan sveper över ett album innehållande Peter Tjajkovskijs balett Törnrosa där Vladimir Jurowski leder ryska Svetlanov-orkestern. Skivan som består av 2 CD är utgiven på ICA Classics.

I programmet diskuteras violinsonater med Ehnes och Armstrong, pianokonserter av Medtner och Rachmaninov samt Alban Bergs Wozzeck med Hans Graf på pulten. Hanna Höglund har valt galenskap som tema. I panelen Camilla Lundberg, Rainer Clute och Tithi Hahn som tillsammans med  programledaren Johan Korssell betygsätter följande skivor: ELGAR DEBUSSY - RESPIGHI Violinsonater James Ehnes, violin Andrew Armstrong, piano Onyx ONYX 4159 MEDTNER RACHMANINOV Pianokonserter Marc-André Hamelin, piano Londons filharmoniker Vladimir Jurowski, dirigent Hyperion CDA 68145 Referensen Johan jämför med och refererar till en inspelning av Rachmaninovs tredje pianokonsert med pianisten Martha Argerich tillsammans med Berlin-radions symfoniorkester ledda av Riccardo Chailly och inspelad på Philips.  ALBAN BERG Wozzeck Roman Trekel, baryton, Anne Schwanewilms, sopran, m.fl. Houstons symfoniorkester Hans Graf, dirigent Naxos 8.660390-91 Referensen Johan jämför med och refererar till en inspelning där Wozzecks roll sjungs av Dietrich Fischer-Dieskau och Marie görs av Evelyn Lear. Vidare hörs kör och orkester från Deutsche Oper och allt leds av Karl Böhm. Inspelningen gjordes 1965 på DG.  Hannas val Hanna Höglund väljer ur två album med tema  galenskap i musiken. Vi hör valda delar ur Tales of Sound and Fury med Camerata Nordica och Terje Tönnesen, dirigent och violin, Karin Dahlberg, sopran, m fl. inspelad på Bis samt ur The Raven av Toshio Hosokawa med Charlotte Hellekant, mezzosopran, United Instruments of Lucilin och dirigenten Kentaro Kawase. Inspelad på Naxos.  Andra i programmet nämnda eller rekommenderade inspelningar: Nikolai Medtners stycke Skazka (Saga) Rachmaninovs tredje pianokonsert med Grigorij Sokolov och BBCs filharmoniker, Manchester ledda av Yan-Pascal Tortelier på DG. Debussys violinsonat med violinisten Joseph Szigety och Béla Bartók vid flygeln, inspelad på Vanguard Classics. Elgars violinsonat med violinisten Daniel Hope och pianisten Simon Mulligan på Nimbus. Alban Bergs Wozzeck med solister, Wiens filharmoniker och Statsoperas kör under ledning av Claudio Abbado på DG samt med solister, Paris-operans kör och orkester dirigerade av Pierre Boulez på CBS. Svepet Johan sveper över en box innehållande 9 CD med Bruckners nio symfonier där Daniel Barenboim står på pulten framför Staatskapelle Berlin. Utgiven på DG.

I programmet diskuteras Weilersteins tolkning av Sjostakovitj, Sonya Yoncheva sjunger Händel, musik av CPE Bach samt Gidon Kremer med kolleger som spelar Rachmaninov. Amerikanskt tema I mindre skala. SERGEJ RACHMANINOV/KREISLER Preghiera, Trio élégiaque nr 2 d-moll Gidon Kremer, violin Giedré Dirvanauskaité, cello Daniil Trifonov, piano DGG 479 6979 DMITRI SJOSTAKOVITJ Cellokonserter nr 1-2 Alisa Weilerstein, cello Bayerska radions symfoniorkester Pablo Heras-Casado, dirigent Decca 483 0835 Referensen Johan refererar till och jämför med Sjostakovitjs första cellokonsert i en inspelning med Mstislav Rostropovitj tillsammans med Philadelphia-orkestern ledda av Eugène Ormándy och inspelad på Columbia/Sony Classical. GEORG FRIEDRICH HÄNDEL Arior Sonya Yoncheva, sopran Academia Montis Regalis Alessandro De Marchi, dirigent Sony 88985302982 CARL PHILIPP EMANUEL BACH Der Frühling Arior, Triosonata. Sinfonia m.fl. Rupert Charlesworth, tenor Café Zimmermann Alpha Classics ALPHA 257 I mindre skala Alexander Freudenthal och Johanna Paulsson jämför stort med smått eller tvärtom. Idag är temat Amerika. Andra i programmet nämnda eller rekommenderade inspelningar: Rachmaninovs Trio elégiaque i pianokonsert-version med pianisten Alan Kogosowski och Detroits symfoniorkester ledda av Neeme Järvi på skivmärke Chandos. Carl Philip Emanuel Bachs musik med Akademin för tidig musik, Berlin. Händelarior med Emma Kirkby på skivmärkena Decca och Bis. Sjostakovitjs cellokonserter med Truls Mörk och Oslos filharmoniker dirigerade av Vasily Petrenko på skivmärket Ondine; Truls Mörk med Londons filharmoniker under ledning av Mariss Jansons på Virgin Classics; cellisten Micha Maisky tillsammans med Londons symfoniorkester under Michael Tilson Thomas på DG samt Mstislav Rostropovitj och Tjeckiska filharmonin under Kirill Kondrasjin på Supraphon.  Svepet Den här veckan sveper Johan över två album; Beethovens tredje symfoni, Eroica med Londons filharmoniska orkester under Vladimir Jurowski på egna märket LPO samt över en live-inspelning från Gasteig, München med Mahlers nionde symfoni framförd av Bayerska radions symfoniorkester ledd av Mariss Jansons på märke BR Klassik.

I programmet diskuteras bl.a. Brabbins Elgar-tolkningar, Blechacz som spelar Bach på piano samt Händelarior med Christiane Karg. Johan väljer ur en DVD som Jurowski tillägnar Jevgenij Svetlanov. I panelen David Björkman, Johanna Paulsson och Niklas Lindblad som tillsammans med programledaren Johan Korssell betygsätter följande skivor: JOHANN SEBASTIAN BACH Klavermusik Rafal Blechacz, piano DGG 479 5534 EDWARD ELGAR In the South, Enigma-variationer m.m. BBCs skotska symfoniorkester Martyn Brabbins, dirigent Hyperion CDA 68101 Referensen Johan refererar till och jämför med en inspelning där Edward Elgar själv dirigerar Royal Albert Hall Orchestra i sin Enigma-variationer. Detta i Royal Albert Hall i London och året är 1926. MITOLOGIA Händelarior ur bl.a. Atalanta, Semele och Partenope Christiane Karg, mezzosopran Romina Basso, mezzosopran Il Complesso Barocco Alan Curtis, dirigent Deutsche Harmonia Mundi 88875199812 DUO SESSIONS Musik av Kodaly, Schulhoff, Ravel och Halvorsen Julia Fischer, violin Daniel Müller-Schott, cello Orfeo C 902 161 A Johans val Johan väljer och spelar valda delar ur en DVD, Tribute to Evgeny Svetlanov på vilken Vladimir Jurowski leder Rysslands statliga symfoniorkester, Svetlanov-orkestern i musik av Rachmaninov, Prokofjev och Bartók. Vi serveras avsnitt ur Rachmaninovs Klockorna samt ur Bartoks tredje pianokonsert. Utgiven på Bel Air Classiques. Andra i programmet nämnda eller rekommenderade inspelningar: Elgars Enigmavariationer med Londons filharmoniker under Adrian Boult på EMI samt med BBCs symfoniorkester ledd av Leonard Bernstein inspelad på DG. Elgars In the South med BBCs symfoniorkester dirigerad av Andrew Davis på Warner Classics samt med Londons filharmoniker under Georg Solti på Decca. Elgars Une voix dans le désert med Halléorkestern ledd av Mark Elder på egna Hallé Concerts Society. J S Bachs Italienska konsert med Glenn Gould på Sony samt med Alfred Brendel på Philips. J S Bachs Goldbergvariationer med Beatrice Rana på Warner Classics. Rafal Blechacz spelar Chopin på DG. Duos för violin och cello med violinisten Nigel Kennedy och cellisten Lynn Harrell på EMI. Schulhoffs stråksextett med Rafael-ensemblen inspelad på Hyperion. Händelarior med Ann Hallenberg ackompanjerad av Il Complesso Barocco under ledning av Alan Curtis på skivmärket Naïve. Svepet Johan sveper ur en box med 8 CD innehållande Beethovens samtliga symfonier. Berlins filharmoniker leds av Simon Rattle. Inspelad på egna Berliner Philharmoniker Media.

I programmet diskuteras bl.a. Ann Hallenbergs Farinelli-skiva, Tjajkovskijs 6a med Bychkov och pianisten Louis Lorties inspelning med pianomusik av Fauré. Johan möter dirigenten Vladimir Jurowski. I panelen Johanna Paulsson, Niklas Lindblad och Tony Lundman som tillsammans med programledaren Johan Korssell betygsätter följande skivor: W A MOZART Violinkonserter Isabelle Faust, violin Il Giardino Armonico Giovanni Antonini, dirigent Harmonia Mundi HMC 902230-31 GABRIEL FAURÉ Après un reve  A Fauré recital Louis Lortie, piano Chandos CHAN 10915 FARINELLI Ett porträtt Live i Bergen Ann Hallenberg, mezzosopran Les Talens Lyriques Christophe Rousset, dirigent AP Arte AP 117 PETER TJAJKOVSKIJ Symfoni nr 6, Romeo och Julia Tjeckiska filharmonin Semyon Bychkov, dirigent Decca 483 0656 Johan möter Johan Korssell träffade den ryske dirigenten Vladimir Jurowski, chefdirigent för Londons filharmoniker, i samband med en konsert i Royal Festival Hall i London i oktober 2016. Referensen Johan spelar ur, belyser och refererar till två alternativa inspelningar av Tjajkovskijs sjätte symfoni, nämligen den med New Yorks filharmoniker under ledning av Leonard Bernstein inspelad 1986 på DG samt med Londons symfoniorkester ledd av Igor Markevitch och inspelad 1962 på Philips. Andra i programmet nämnda eller rekommenderade inspelningar: Pianomusik av Fauré med Jean-Philippe Collard på Brilliant Classics. Louis Lorties tidigare utgåvor med musik av Ravel och Beethoven på skivmärke Chandos. Mozarts violinkonserter med Christian Tetzlaff, som solist och dirigent tills. med Deutsche Kammerphilharmonie, Bremen, på skivmärke Virgin Classics; David Oistrach och Lamoureux-orkestern, Paris under Bernard Haitink på Philips; Isaac Stern och Cleveland-orkestern ledd av George Szell på Columbia; Andrew Manze som solist och dirigent med The English Concert på märke Harmonia Mundi; samt med Arthur Grumiaux tillsammans med Londons symfoniorkester ledd av Colin Davis på Philips. Isabelle Fausts inspelningar med Bachs verk för soloviolin, Bartóks två violinkonserter samt Beethovens violinsonater tillsammans med pianisten Alexander Melnikov alla inspelade på Harmonia Mundi. Farinellis arior med countertenoren Philippe Jarousski på Erato samt med Cecilia Bartoli på Decca. Tjajkovskijs sjätte symfoni med Concertgebouw-orkestern ledd av Semyon Bychkov på Philips; Leningradfilharmonin under Vladimir Mravinskij på DG; Mariinskij-teaterns orkester, Sankt Petersburg dirigerad av Valerij Gergijev på Philips; Nordnorska symfoniorkestern, Bodö under Christian Lindbergs ledning på Bis;  Inget svep denna vecka

The majority of government money to improve security at places of worship went to Christian applicants. Edward Stourton asks Nick Tolson who sits on the Places of Worship Security Panel if this indicates that hate crime against Christians in the UK is under reported. A year-long arts festival is about to begin at London's Southbank Centre, called 'Belief and Beyond Belief'. It aims to explore "what it means to be human" in the 21st century. It's the idea of the London Philharmonic Orchestra's principle conductor, Vladimir Jurowski. Twelve people at Peterborough Cathedral have been made redundant as the bishop seeks to resolve a "cash flow crisis" there. Rosie Dawson investigates how serious levels of debt were allowed to build up. Yolande Knell reports on the implications of a proposal by President elect Trump to move the U.S. Embassy from Tel Aviv to Jerusalem. The Church of England has announced grants of £9 million to renew the church across 7 dioceses. The Bishop of Birmingham explains how he intends to use his cash and Sarah Major reports from one project at the heart of the initiative. Theo Hobson's new book 'God Created Humanism', argues for the need to acknowledge humanism's Christian roots to create a more united society. Theo Hobson debates this with Julian Baggini from Philosophers' Magazine. Jane Haining worked for the Scottish Mission School in Budapest and looked after Jewish girls at the Kirk run school. She was arrested by the Nazis in 1944 and died in Auschwitz. Her niece Deirdre McDowell tells Edward about some of the memorabelia that belonged to Ms Haining that will be featured on BBC 1's Antiques Roadshow. Producers: David Cook Dan Tierney Series Producer: Amanda Hancox Photo by David Iliff. License: CC-BY-SA 3.0.

I programmet diskuteras bl.a. Vincent D'Indys andra symfoni, mässor av Pierre de la Rue och Vadim Gluzman som solist i Prokofjevs violinkonserter. Nadja Boulanger och Schönberg i I mindre skala. I panelen Anna Nyhlin, Camilla Lundberg och Tony Lundman som tillsammans med programledaren Johan Korssell betygsätter följande skivor:VINCENT DINDY Symfoni nr 2, m.m. Skotska Nationalorkestern Jean-Luc Tingaud, dirigent Naxos 8.573522SERGEJ PROKOFJEV Violinkonserterna, Soloviolinsonat Vadim Gluzman, violin Estniska symfoniorkestern Neeme Järvi, dirigent Bis SACD 2142JOHANN SEBASTIAN BACH De franska sviterna Murray Perahia, piano DG 479 6565PIERRE DE LA RUE Mässor, Salve Regina och Magnificat sexti toni Brabant-ensemblen Stephen Rice, dirigent Hyperion CDA 68150I mindre skala Johanna Paulsson och Alexander Freudenthal vänder och vrider på några av Arnold Schönberg och Nadja Boulangers arrangemang av stort och smått.Andra i programmet nämnda eller rekommenderade inspelningar: DIndys orkesterverk med Islands symfoniorkester under ledning av Rumon Gamba, inspelad på Chandos. Prokofjevs violinkonserter med Jascha Heifetz och Bostons symfoniorkester ledda av Sergej Kussevitskij (nr 2) på RCA; David Ojstrach och Londons symfoniorkester under ledning av Lovro von Matacic på märket Warner Classics; Lidija Mordkovitj och Skotska nationalorkestern, Glasgow, under Neeme Järvi på Chandos; Janine Jansen tillsammans med Londons filharmoniker ledda av Vladimir Jurowski (nr 2) på Decca samt med Maxim Vengerov som solist tillsammans med Londons symfoniorkester allt under Mstislav Rostropovitj på Teldec. Prokofjevs symfonier med Neeme Järvi och Skotska nationalorkestern, Glasgow, på Chandos.Svepet Johan sveper över ett album med musik av Claude Debussy; Image, Jeux och La plus que lente. Det är San Franciscos symfoniorkester under Michael Tilson Thomas som framför dessa. Inspelningen är gjord på det egna märket San Francisco Symphony. I Johans julspecial nästa vecka får vi höra mer ur denna CD.

Mit Rachmaninows letzem Klavierkonzert tritt Leif Ove Andsnes am 18. Oktober 2016 in der Meistersingerhalle in Nürnberg unter Vladimir Jurowski und dem Staatlischen Symphonieorchester Russland auf. Im Gespräch mit Sylvia Schreiber hat sich der Pianist über Rachmaninow und das Russische in seiner Musik unterhalten.

I programmet diskuterar panelen bl.a. Tjajkovskij-symfonier med Petrenko, italienska operaarior med Anna Netrebko och Bacewiczs stråkkvartetter. Christina Tobeck visar oss vägen till Blomdahls musik. I panelen Boel Adler, Camilla Lundberg och Edward Klingspor som tillsammans med programledaren Johan Korssell betygsätter följande skivor: PETER TJAJKOVSKIJ Symfonier nr 1, 2 och 5 Kungliga filharmonikerna, Liverpool Vasilij Petrenko, dirigent Onyx ONYX 4150 (2 CD)VERISMO Arior av Ciléa, Giordano, Puccini m.fl. Anna Netrebko, sopran Santa Cecilia-akademins orkester Antonio Pappano, dirigent DG 479 5015BENT SÖRENSEN Snowbells Danska nationella vokal-ensemblen Paul Hillier, dirigent Dacapo 6.220629GRAZYNA BACEWICZ De sju stråkkvartetterna Schlesiska stråkkvartetten (Silesian Quartet) Chandos 10904 (2 CD) Karl Birger Blomdahl 100 år - Christina Tobeck vägleder oss in i Blomdahls musikvärld I inslaget, som är en repris från 2013, hörs bland annat inslag ur hans tredje symfoni Facetter, Sisyfos och operan Aniara.Blomdahl föddes 19 oktober 1916 i Växjö. Förutom sitt arbete som kompositör och professor i komposition var han också chef för Sveriges Radios musikavdelning mellan 1965 och fram till sin död 1968.Andra i programmet nämnda eller rekommenderade inspelningar: Tjajkovskijs första symfoni med Bostons symfoniorkester ledd av Michael Tilson Thomas på skivmärket DG. Tjajkovskijs femte symfoni med Londons symfoniorkester ledd av Igor Markevitch på Philips; Leningrad-filharmonins symfoniorkester under ledning av Jevgenij Mravinskij på DG samt med Wiens filharmoniker under Valerij Gergijev på Philips. Lyssna gärna på Bent Sörensens violinkonsert Sterbende Gärten och Sounds like you, för mezzosopran kör och orkester. Bacewiczs stråkkvartetter är jämförbara med Sjostakovitjs och Bartóks. Svepet Johan sveper över ett album som innehåller Stravinskys Petrusjka, Symfoni för blåsare samt Orpheus framförda av Londons filharmoniker ledd av Vladimir Jurowski och inspelad på egna LPO Live. 

Sean Rafferty introduces the deep, rich tones of Russian baritone Sergei Leiferkus. In London for a performance of Rachmaninov's Miserly Knight with the LPO and Vladimir Jurowski, Leiferkus talks all things opera, and tells Sean about the peculiar quality of the Russian voice.

Symphonie Nr. 6 h-Moll op. 54 | Symphonie Nr. 14 für Sopran, Bass, Streichorchester und Schlagzeug op. 135 | Tatiana Monogarova (Sopran) | Sergej Leiferkus (Bariton) London Philharmonic Orchestra | Leitung: Vladimir Jurowski

Two symphonies by Shostakovich, written 30 years apart, feature on our bleak but brilliant Recording of the Month, played by the London Philharmonic Orchestra and conductor Vladimir Jurowski. Hear clips from the recording and find out more about the music in this month’s podcast, presented by Oliver Condy and Rebecca Franks. See acast.com/privacy for privacy and opt-out information.

Vladimir Jurowski just finished a four-city North American tour with the London Philharmonic Orchestra, where he's been the chief conductor since 2007. Last month, the Philharmonic renewed his contract through 2018, and critics have frequently praised his artistic bond with the ensemble. But along with his London ties, Jurowski also has some strong feelings about his native Russia, whether it's parsing the political subtexts in Soviet repertoire or speaking out on present-day civil liberties. We caught up with Jurowski before a recent Carnegie Hall performance and the conversation turned from Shostakovich to a daring Moscow performance of Britten’s War Requiem that he led this past April. The concert, which was intended to celebrate British and Russian cultural ties – and reportedly attended by many high-level dignitaries – was nearly called off because of Russia's invasion of Crimea. But it continued, and Jurowski viewed the Requiem – written by and dedicated to gay artists – as a way to honor victims of persecution. In this podcast he tells Naomi Lewin how his potentially incendiary remarks were received. Interview Highlights: On Shostakovich: I'm absolutely certain that there are political messages in his music but it doesn't make him by definition either a dissident or a brave Soviet citizen. He was neither. I think Shostakovich was the last great symphonist of the 20th century. On Dissent in Russia: The interesting thing is that you can still say a lot in Russia unpunished if you do it in the right way. The problem is that it can hardly influence the political situation because people who are at the helm of the politics don't give a damn about any criticism coming from below. Like Owen said, 'All that poetry can do is but to warn.' On The London Philharmonic: We're mainly harvesting the fruits of a long-standing relationship. Now there is this real chemistry and trust on both sides. It's a difficult life we lead there but an extremely exciting and artistically satisfying one. Bonus Audio: On the art of conducting:  

Eine florentinische Tragödie | Sechs Maeterlinck-Lieder | Heike Wessels, Mezzosopran | Sergey Skorokhodov, Tenor | Albert Dohmen, Bariton | Petra Lang, Mezzosopran | London Philharmonic Orchestra | Leitung: Vladimir Jurowski

Presenter Peggy Reynolds provides an introduction to Gioachino Rossini's La Cenerentola. She sets the opera in historical context and explores some of the themes and stories behind Rossini's great work. With contributions from writer and mythographer Marina Warner on the origins of the Cinderella myth, conductor Vladimir Jurowski on Rossini's use of coloratura, and Director Sir Peter Hall on La Cenerentola as post-enlightenment reimagining of the Cinderella story. (Producer: Mair Bosworth for Festival 2012)

Three opera house music directors, Antonio Pappano from the Royal Opera House, Vladimir Jurowski from Glyndebourne Festival and Edward Gardner from English National Opera came together for a unique interview with broadcaster John Tusa. With an unparalleled frankness they discussed their passions, fears and the future of opera in the UK.

WPAS speaks with pianist Leon Fleisher about his February 26th performance with The London Philharmonic and conductor Vladimir Jurowski at The Music Center at Strathmore. Fleisher will perform Mozart’s Piano Concerto No. 23. The program also includes the Adagio from Mahler’s Symphony No. 10, Atmosphères by Ligeti, and Richard Strauss’ symphonic poem Also Sprach Zarathustra. Tickets at 202-785-WPAS or WPAS.org.

Kirsty Young's castaway this week is the conductor Vladimir Jurowski. Described as the most active and influential conductor in Britain today, he has been the musical director at Glyndebourne for the past six years, and this autumn takes over as Principal Conductor of the London Philharmonic Orchestra. Vladimir's roots however lie in Russia, where he was one of the last generation to experience the Communist regime. The two-room apartment in Moscow that he shared with his parents, siblings and grandmothers, was always full of music; his father was a conductor. He says he "grew up in the wings of the theatre", and he knew from a very early age that his life too would be dedicated to music. However, he resisted following in his father's footsteps until he was seventeen, when he heard Mahler's music for the first time. After that, he says, there was no turning back. He changed as a person, physically he says, when he picked up the baton, and went on to make his conducting debut at the tender age of 23. He has been constantly in demand around the world ever since, but manages to combine this international career with being a husband and father.[Taken from the original programme material for this archive edition of Desert Island Discs]Favourite track: Variations 29 & 30 by Johann Sebastian Bach Book: Complete Works by Aleksandr Pushkin Luxury: A piano.