Oct 012012
 

P9210270 Flanders is a Festival! It is... and a lot more.Flanders, which his­tor­ic­ally included parts of present-day Bel­gium, France and the Neth­er­lands, is now a lively region of modern-day Bel­gium of which Brus­sels is the cap­ital. The Flanders Fest­ival is actu­ally a series of fest­ivals through­out the sum­mer months and bey­ond. Between June and Decem­ber there are over 550 con­certs in more than 80 cit­ies and towns. After half a cen­tury of exist­ence, the Flanders Fest­ival has become a prom­in­ent event on the cul­tural calendar.

Steeped in his­tory, Flanders boasts many fine cathed­rals and  abbeys which make an ideal set­ting for early music espe­cially, but there are also open-air events which have become increas­ingly pop­u­lar dur­ing recent years with a Woodstock-like atmo­sphere: tents and lots of Bel­gian beer.

P9220335 400x300 Flanders is a Festival! It is... and a lot more.

Clas­sical music shop, Brussels

Laus Poly­phoniae is per­haps one of the most fam­ous of the fest­ivals which draws thou­sands of early music fans to Ant­werp dur­ing August. For almost 20 years Laus Poly­phoniae has been offer­ing a rich feast of 15th– and 16th-century music. The magical city of Bruges has also become well-known for the Musica Anti­qua competitions.

The fest­ival turns its gaze toward Ghent dur­ing Septem­ber. This utterly charm­ing city with its canals and mag­ni­fi­cent cathed­rals and churches provides an obvi­ous set­ting more more early music, above all St. Baafs Cathed­ral, which houses the extraordin­ary Van Eyck altarpiece. Its glor­i­ous opera house also attracts some of the biggest names from the opera stage, and this year there were recit­als by and .

P9200120 Flanders is a Festival! It is... and a lot more.

Flem­ish Opera House, Ghent

Flanders Fest­ival also vis­its Mechelen, a small city close to Brus­sels which has an almost entirely ped­es­tri­an­ised centre. This focuses once again on early and Baroque music, but also on the works of little-known Flem­ish com­posers. The pro­gram­ming here also arrives fully into the Clas­sical and later periods.

One of the best reas­ons to visit, after the con­certs them­selves, is for the atmo­sphere these cit­ies offer. They are not imper­sonal, but made very user-friendly by the human-scale and warmth and help­ful­ness of the Flem­ish people. Their rig­or­ously is reflec­ted in everything from pub­lic trans­port to ser­vice in shops and res­taur­ants. You’ll never get lost because there’s always someone offer­ing to accom­pany you on your way, indic­ate where you are on the map, and give sug­ges­tions as to where to go.

For this writer, the music almost faded into the back­ground as dis­cov­er­ing Flanders become ever­more fas­cin­at­ing and rewarding.

 

 

 

 

 

 

 

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  • wp socializer sprite mask 16px Flanders is a Festival! It is... and a lot more.
  • wp socializer sprite mask 16px Flanders is a Festival! It is... and a lot more.
  • wp socializer sprite mask 16px Flanders is a Festival! It is... and a lot more.
  • wp socializer sprite mask 16px Flanders is a Festival! It is... and a lot more.
  • wp socializer sprite mask 16px Flanders is a Festival! It is... and a lot more.
  • wp socializer sprite mask 16px Flanders is a Festival! It is... and a lot more.
  • wp socializer sprite mask 16px Flanders is a Festival! It is... and a lot more.
  • wp socializer sprite mask 16px Flanders is a Festival! It is... and a lot more.
Jun 072012
 

He might not have the voice of or but Mar­ilyn Man­son goth Andrew De Leon cer­tainly gives a mov­ing per­form­ance of ’s “O mio bab­bino caro” and his story is almost unbelieveable.

[con­tinue reading]

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Jun 032012
 

bartoli rocket Cecilia Bartolis Giulio Cesare in Egitto: boos for the production, cheers for the cast’s well thought out pro­gram­ming for her first year as dir­ector of Salzburg’s Whit­sun Fest­ival was them­atic, inspired by the lady of the asp, Cleo­patra. The cli­max of the fest­ival was a new pro­duc­tion of Handel’s Giulio Cesare in Egitto, with la Bar­toli as the iconic Egyp­tian queen. The cast­ing was superb and aur­ally everything was splen­did, but the pro­duc­tion was the biggest load of bosh I’ve seen in ages.

Dir­ect­ors Moshe Leiser and Patrice Caur­ier, faith­ful Bar­toli col­lab­or­at­ors from Zurich, have put together a pro­duc­tion which is (pre­sum­ably inten­tion­ally) anti-aesthetic. Fine. Let’s have scenery that looks as though stage­hands have left bits lying around after a stor­e­room clearout; props, fur­niture and cos­tumes that seem to have been chosen at ran­dom from a thrift shop; light­ing which casts shad­ows haphaz­ardly across the stage and cast.… [con­tinue reading]

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