A most auspicious start to Sir Andrew Davis’s anticipated Mahler project.
Mozart reminds us that nothing in life should be taken too seriously.
Spanish maestro scores every time in something of a game of two halves.
Kaufmann, four Strauss operas, 12 unknown operatic gems and Philip Glass’s minimalist answer to the Ring Cycle. Continue reading Get unlimited digital access from $3 per month Subscribe Already a subscriber? Log in
Paul Stanhope turns Indigenous legend into choral hero.
The most famous scion of a legendary guitar dynasty talks fathers and sons, working with Joaquín Rodrigo and his proudest moment. Continue reading Get unlimited digital access from $3 per month Subscribe Already a subscriber? Log in
25 years after the death of Herbert von Karajan, we examine the man who came to define classical music. Continue reading Get unlimited digital access from $3 per month Subscribe Already a subscriber? Log in
Orchestra celebrates their old maestro in the Digital Concert Hall for the 25th anniversary of his death.
Brisbane orchestra follows the world’s lead, signing up the Israeli violinist for next year’s season.
Adelaide to see premiere of iconic Chinese composer’s exploration of the secret songs of women.
Festival of Voices “slightly unusual concert,” proves to be just that.
European tour program to surely bring the house down at the Albert Hall.
A mere five years younger than Richard Strauss, Hans Pfitzner has had a problematic history as Michael Kater has amply suggested in his books on music under the Third Reich. A Romantic conservative, Pfitzner remained firmly associated with the musical trends of his youth (Brahms and Schumann) and given his vacillating anti-Semitism, has remained persona non grata. His only regularly performed work has remained the opera Palestrina, its three Preludes with their scintillating use of age-old modes keeping his name alive within the orchestral repertoire. The three cello concertos are very attractive in their way but conservative in composition, and in all of them the soloist Alban Gerhardt, Sebastian Weigle and the ever reliable Berlin Radio Symphony are equally responsible for maintaining a perfect balance between the cello and its accompanying orchestral forces. The opening concerto in A Minor is a student work criticised by his teachers and lost during his lifetime, only receiving its premiere in 1977. Perhaps the best of the works is the often delicate G Major concerto Op. 42 which was written for the virtuoso Cassado with assured writing that never drowns the soloist. There is an earlier CPO recording of these concerti with David Geringas however…