gramilano

New records set at Cecilia Bartoli’s Whitsun Festival in Salzburg

 music, opera  No Responses »
May 222013
 

Cecilia Bartoli Norma 328x500 New records set at Cecilia Bartolis Whitsun Festival in SalzburgA new record for vis­it­ors and rev­enue has been set at Salzburg’s Whit­sun Fest­ival. The Fest­ival, which ran from 17–20 May, boas­ted 13,450 vis­it­ors from 43 coun­tries, who spent 1.3 mil­lion Euros in tickets.

After the artistic and eco­nomic suc­cess of last year’s and this year’s Fest­ival, the con­tract with the artistic dir­ector has been exten­ded until 2016, repor­ted the Salzburg Times.

I am very happy to be able to bring music and pleas­ure to Salzburg until 2016. I look for­ward to carry out many ideas at the Whit­sun Fest­ival, of which I have dreamt of for years. I am very thank­ful that such a huge and inter­ested audi­ence is so enthu­si­astic about us being adventurous.

Pres­id­ent of the , Helga Rabl-Stadler, is delighted with Bartoli’s record,

I am happy about the increase in the num­bers of vis­it­ors: 7,600 vis­it­ors came in 2011 and one year later, there were 10,520 vis­it­ors.… [con­tinue reading]

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Interview with Tamara Rojo

 ballet  No Responses »
May 212013
 

Bennet Gartside and Tamara Rojo in Liam Scarlett Asphodel Meadows 365x500 Interview with Tamara Rojo is at the Theatre in Moscow as one of the judges for this year’s Benois de la danse, the bal­let Oscars. Maria Side­l­nikova from Kom­mersant took the oppor­tun­ity to talk to her.

She asked Rojo why she’d left the .

I’ve reached a point in my career, when I think it is import­ant for me to express my own opin­ions. Of course, I respect the views of the man­age­ment, but when I’m out on stage, the audi­ence are judging me, not the people who sit in the office. The pos­sib­il­ity of self-expression, through your­self and oth­ers, is pos­sible as an artistic dir­ector. This pos­i­tion allows you to give artists the free­dom to exper­i­ment and show what they are cap­able of. 

… [con­tinue reading]

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First reactions for Cecilia Bartoli as Norma

 opera  3 Responses »
May 182013
 

norma salzburger pfingstfestspiele 102 v image853 7ce44e292721619ab1c1077f6f262a89f55266d7 500x281 First reactions for Cecilia Bartoli as Norma

Who loves , will prob­ably love her Norma. Her eyes sparkle, she rolls her ‘R’s, breathes the piani, and tackles the eas­ily. Her stage début in Norma wants to get rid of the exist­ing per­form­ance tra­di­tion; to free inter­pret­ers from the shadow of . Bartoli’s Norma is a cel­eb­ra­tion of her own per­sonal style: some­what mannered, but per­fect, and always unmistakable.

says Bay­erischer Rund­funk.

How­ever Deutsch­landra­dio wanted to boo; not the per­formers or the pro­duc­tion team, but the audi­ence who annoyed with fall­ing hand­bags, cell-phones and inap­pro­pri­ate hys­ter­ical cries of “bravo!”. How­ever, they too cry “bravo” in their review,

Cecilia Bar­toli is, at the begin­ning of Bellini’s Norma in Salzburg, below her poten­tial, but then her musi­cian­ship shows through… After the inter­val Bar­toli was totally con­vin­cing, and her col­oratura fire­works fit per­fectly, but para­mount was her inter­pret­a­tion of the role, which offered some­thing spe­cial, very dif­fer­ent from Cal­las (and her count­less suc­cessors): a spir­itu­al­ity in the bel canto with innu­mer­able shades and col­ours.… [con­tinue reading]

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The first photos of Bartoli’s Norma at the Salzburg Whitsun Festival

 opera  1 Response »
May 152013
 

Whitsun Festival 2013 500x424 The first photos of Bartolis Norma at the Salzburg Whitsun FestivalFirst glimpses of ’s Norma at Salzburg. They explain the cover of the Fest­ival brochure.

Bartoli’s intro­duc­tion to the Whit­sun Fest­ival bro­chure reads,

But also, Norma is often mis­judged from the point-of-view of its plot. A care­ful sta­ging will show, how­ever, that the grip­ping events unfold in a strin­gent and lin­ear way, reflect­ing how the heroine devel­ops emo­tion­ally until the con­scious final step towards her self-sacrifice at the stake.

And indeed this tra­gic con­flict between her duties and that towards which her heart is drawn is a struggle to which many women are exposed sooner or later. Too often, women give up what is most valu­able to them, but too often they them­selves are made into vic­tims. Norma tries to escape from such restraints by sac­ri­fi­cing that which is most dear to her: first her chil­dren, then her love and finally her life.… [con­tinue reading]

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Pavel Dmitrichenko’s lawyers to contest the forensic results of acid attack

 ballet  No Responses »
May 152013
 

85a0fe479a19 435x500 Pavel Dmitrichenkos lawyers to contest the forensic results of acid attack ’s law­yers will con­test the forensic res­ults that show that the acid attack on Bal­let chief caused griev­ous bod­ily harm. Dmitrichenko, who is in jail, is accused of instig­at­ing the assault on Filin in January.

Law­yer Viol­etta Volkova said that the ser­i­ous­ness of the effects of the attack would be an import­ant factor in sen­ten­cing if the court comes down against her cli­ent  There is a max­imum sen­tence of twelve years for griev­ous bod­ily harm, says Isvestia. How­ever, she is also attempt­ing to take the case to the European Court of Human Rights in Strasbourg.

Filin is still in Ger­many under­go­ing treat­ment to his eyes, and is said to be recov­er­ing his sight.… [con­tinue reading]

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Mitsuko Uchida gives three London concerts in celebration of the Borletti-Buitoni Trust

 music  No Responses »
May 142013
 

Mitsuko Uchida 397x500 Mitsuko Uchida gives three London concerts in celebration of the Borletti Buitoni TrustFrom Fri­day the will be inund­ated with musi­cians, an array of tal­ent to mark the 10th anniversary of the Borletti-Buitoni Trust (BBT).

Ant­oine Tamestit neatly sums up what the BBT is about:

In the life of a young artist, the free­dom and space for artistic inspir­a­tion and devel­op­ment are essen­tial. The Borletti-Buitoni Trust is full of incred­ible per­son­al­it­ies whose main goal is pre­cisely to give this. They offer not only the fin­an­cial sup­port to help build one’s dreams, but also the advice, encour­age­ment and prac­tical means to real­ise them.

A truly remark­able array of inter­na­tion­ally acclaimed musi­cians com­ing together for three days of spir­ited music-making: pian­ists Jonathan Biss and Llŷr Wil­li­ams, viol­in­ists Ver­onika Eberle and Alina Ibra­gimova, viol­ist Ant­oine Tamestit, cel­lists Nic­olas Alt­staedt and Marie-Elisabeth Hecker, oboist Alexei Ogrintchouk, trom­bon­ist Jör­gen van Rijen, cla­ri­net­tist Mar­tin Fröst, per­cus­sion­ist Colin Cur­rie, mezzo Chris­ti­anne Stotijn, bari­tone Henk Neven, the Elias String Quar­tet and Quatuor Ebèné  will all gather in Lon­don for three con­certs led by found­ing trustee , plus many free day­time and late even­ing events.… [con­tinue reading]

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Culture crash: MaggioDanza ballet company axed in Florence

 ballet, music, opera  No Responses »
May 142013
 

Francesco Ventriglia 332x500 Culture crash: MaggioDanza ballet company axed in FlorenceAddio to Mag­gi­oDanza, the bal­let com­pany formed in 1967 under the aus­pices of the ’s Mag­gio Musicale Fiorentino.

A fin­an­cial crisis has res­ul­ted in the decision to axe the bal­let com­pany,  and cut the num­ber of tech­nical and admin­is­trat­ive staff, tak­ing the num­ber of wage pack­ets from 346 to 273. Chorus and orches­tra are saved how­ever, with the chorus los­ing two mem­bers who are retir­ing, and the orches­tra gain­ing three mem­bers tak­ing its num­ber to 96. The cre­at­ive work­shops will be closed and future pro­duc­tions will be made off site or hired in. The run­ning costs of 18 mil­lion euros each year to pay the staff can­not be sustained.

The bal­let com­pany had already been stream­lined to 16 ele­ments over the last few years, and after Vladi­mir Derevi­anko left the dir­ec­tion of the com­pany in 2010 it has been on shaky ground.… [con­tinue reading]

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