When the première of Béla Bartók’s Bluebeard’s Castle did not achieve the success he had hoped for, the composer withdrew for a long time from public life. Today, the one-act opera is one of the undisputed masterpieces of the 20th century. Bartók’s only opera will be performed today and tomorrow at the Tyrolean Festival Erl in a production by Gustav Kuhn.
Béla Bartók: Bluebeard’s Castle
opera in 1 act | 60'
11.07.2014; 12.07.2014, Festspielhaus Erl; Bluebeard, István Rácz, Andrea Silvestrelli; Judith, Svetlana Kotina, Marianna Szivkova; Orchester der Tiroler Festspiele Erl, cond. Tito Ceccherini
Ivan Hewett of The Telegraph has written an article on the differences and similarities of Sir Harrison Birtwistle and Sir Peter Maxwell Davies, two old friends and rivals.
Read the full article on The Telegraph.
The award ceremony will take place on 6 November at the Akademie der Wissenschaften und der Literatur Mainz.
to and fro in shadow from inner to outer shadow
from impenetrable self to impenetrable unself by way of neither
Morton Feldman’s Neither has recently been performed together with Samuel Beckett’s Footfalls at the Staatsoper Berlin.
Watch director Katie Mitchell talk about how the composer and the novelist and playwright met at the Schiller-Theater in Berlin in the 1970s, how Beckett said that he hates opera (“Mr Feldman, I don't like opera.” […] “I don't blame you!”), how Feldman fell over in the Schiller-Theater and how Neither came into existence:
Read a (German) review of the production on nmz online.
Watch an interview of director Daniel Slater introducing Janáček’s The Cunning Little Vixen:
Slater’s critically acclaimed production of the Vixen will be performed today and on 12 July at the Garsington Opera, Stokenchurch.
Tune in at the following times to listen to portraits on:
Friedrich Cerha: 5. July, 18:00
Beat Furrer: 8. July, 19:00
Georg Friedrich Haas: 11. July, 19:00
View the full programme on micatonal.
Michael Haas, author of Forbidden Music: The Jewish Composers Banned by the Nazis, has published a virtual exhibition on Franz Schreker on his website – a highly recommended guide to the most important ‘missing link’ in the history of 20th century music.
Conductor Ingo Metzmacher on Schreker:
Schreker was undoubtedly one of the last composers of this generation. A new aesthetic developed after the war. His personal fate as a “degenerate” artist in Berlin, who was driven out of office in 1933, attempted to emigrate and then died in 1934, is an additional factor. Like many others, he was simply forgotten – passed over. The Nazis did a good job on him.
Watch an interview with Ingo Metzmacher on the music of Franz Schreker.
Read the full review on The Guardian.
Excerpt from the liner notes by Linda Catlin Smith:
The String Quartet No. 1 is a work of far-reaching scope, even grandeur. It is long enough to get lost in, and yet it has many recurrences or near-recurrences that offer moments of familiarity within this strange and beautiful music. The piece ranges through many different territories: the chorale-like succession of soft chords followed by the quietest of single notes; dense pizzicato thickets and lonely pizzicato tones...
The winning proposal is conceived as a sequence of interconnected public and private spaces below a large single roof, for which not a single tree of the forest will be felled.
The new building for the Arvo Pärt Centre will open its doors to the public in 2018.
View a gallery of the project on dezeen.
What he did, what he did not do – no law governed him except his persona. His music, his ideology – both are completely inaccessible if one does not find them spellbinding. Of course they enrapture the spellbound by luring them into an ocean of beauty with its own laws, where a slow, cautious approach is absolutely forbidden and impossible. (Max Brod on Leoš Janáček)
Today 160 years ago Leoš Janáček was born Hukvaldy, Moravia.
View the study score of the first act of Janáček’s The Cunning Little Vixen in the newly revised edition by Jirí Zahrádka.
Yesterday, 29 June, Cristóbal Halffter received the Kieler Kulturpreis 2014 at the town hall in Kiel. The Kiel Opera House and the composer can look back on a long and highly successful collaboration: two of Halffter’s three operas (Schachnovelle and Lázaro) were commissioned by the Opera House, and his Don Quijote celebrated its first German performance there.
Tonight the Camerata RCO will perform Gustav Mahler’s Symphony No. 9 in Klaus Simon’s arrangement for chamber orchestra under conductor Gustavo Gimeno – who has recently stood in for Lorin Maazel and Mariss Jansons – at the Muziekcentrum van de Omroep in Hilversum.
Find out more on the website of the Muziekcentrum van de Omroep.
We wish you all the best!
Find out more about the music of Jay Schwartz in our in-depth interview with the composer: