Word: albans
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...interpretations of an essentially Central European repertoire. His love of contemporary music is already clear in his Cleveland programming: on a U.S. tour last month, he offered a ravishing performance of Arnold Schoenberg's unfinished atonal oratorio, Die Jakobsleiter (Jacob's Ladder), and an impassioned reading of Alban Berg's twelve-tone Violin Concerto, with Soloist Itzhak Perlman. The most recent Severance Hall program featured the late-Romantic composer Hans Pfitzner's Violin Concerto, a work rarely heard outside Germany. Yet Dohnanyi is also strong in more traditional fare, which he leads with crisp economic gestures...
...riotous Paris premiere of Stravinsky's The Rite of Spring in 1913? The hostile demonstration in Vienna that prevented the first performance of two of Alban Berg's Altenberg Lieder a couple of months earlier? The disruptive reception accorded Verdi's La Traviata or Puccini's Madama Butterfly...
...Alois Zimmermann's sprawling, eclectic but ultimately unsuccessful serialist opera Die Soldaten (The Soldiers). First performed in Cologne in 1965, the work was given its American premiere last week by Sarah Caldwell's Opera Company of Boston. With it, an experimental tradition begun by Schoenberg, continued by Alban Berg and refined by avant-gardists of Germany's Darmstadt school of composers in the 1950s comes to a dead end. In fact, that tradition expires in a spectacular artistic auto-da-fé symbolized by the holocaust that is the opera's final scene...
...high C-in spite of a well-deserved reputation for temperamental perfectionism that has given headaches to many a colleague and caused her to cancel a number of important engagements. Blessed with a large voice that easily spans three octaves, Stratas was selected to sing the title role in Alban Berg's thorny twelve-tone shocker Lulu, when the complete opera-with its suppressed third act orchestrated by Friedrich Cerha-was given its world premiere in Paris in 1979. The late conductor Karl Böhm, mindful of Stratas' electric stage presence and lithe figure, chose...
...usually portrayed. She sings the famous Habanera while engaging in some erotic byplay with a cigar, thrusting it into Don José's mouth at the words "L'amour, I 'amour. " In its total bleakness this is Carmen seen by a man familiar with Alban Berg's operas Wozzeck and Lulu, twin 20th century masterpieces of love, alienation and despair. The production also reflects Brook's distaste for conventional Bizet, which goes back to the time, 30 years ago, when he was production chief at London's Royal Opera House. "I looked with horror...