Monday, October 24, 2016
Earlier this week Riccardo Muti, music director of the Chicago Symphony Orchestra, played piano at a recital for more than 60 young men, average age 16, at the Illinois Youth Center, Chicago. Joyce DiDonato and Eric Owens sang a programme of arias accompanied by Maestro Muti at the piano. CSO musicians Cynthia Yeh (Principal Percussion), Gene Pokorny (Principal Tuba) and Jennifer Gunn (Flute/Piccolo) also performed. A Todd Rosenberg photograph of the event has just been released (right-click to enlarge it). Joyce DiDonato sang: Handel: “Lascia ch’io pianga” from Rinaldo Stefano Donaudy: “O del mio amato ben” Ernesto de Curtis: “Non ti scordar di me” Jake Heggie: “Si, son io” from Great Scott Eric Owens sang: Verdi: “Infelice! E tuo credevi” from Ernani Harry Thacker Burleigh: “Deep River” (Traditional/Arr.)
Info and registrations: Gloria Martelli – Secretary Mob: +39 334-2871868 firstname.lastname@example.org September 1-14, 2017 – Teatro Alighieri in Ravenna Aida Apply as an active student or be part of the audience After last years’ thrilling work on Falstaff and La Traviata, Riccardo Muti has again chosen the great composer Giuseppe Verdi for 2017: […]
This fall, Joyce DiDonato makes her greatly anticipated debut with the Chicago Symphony Orchestra, on a three-concert series with Maestro Riccardo Muti focusing on rarely performed gems of the Italian repertoire. Ms. DiDonato sings Martucci’s La canzone dei ricordi (“Songs of Remembrance”) on a programme that also highlights Catalani’s Contemplazione and Beethoven’s Symphony No. 7. The performances take place September 29 & 30 and October 1 ; read more about the concerts via CSO Sounds and Stories .
We are saddened to report the death of Basil (Nick) Tschaikov, former Director of the National Centre for Orchestral Studies and for many years a stalwart of London’s orchestral scene. Nick, who died on Frday, had been fading away unhappily in a nursing home. He was 91. As second clarinet of the London Philharmonic Orchestra (1943-47) and Royal Philharmonic Orchestra (1947-55), Nick was a member of the Thomas Beecham elite. Even after he moved on to the Philharmonia Orchestra, where he served for a while as chairman, he continued to rise to Sir Thomas’s magic and played, in fact, in the old man’s final concert in May 1960. He went on to become Director of the National Centre for Orchestral Studies and a wonderful teacher. Here ‘s a memoir by the rock musician Rick Wakeman: My clarinet professor, a wonderful man called Basil Tchaikov, a fabulous player. I went to his lesson one day and he said “What’s troubling you?” And I told him. I said “I don’t know what to do. I’ve got a real problem. I’m doing all these sessions. I’m learning an awful lot. I’m playing with all sorts of different people. The doors are really opening for me in that area. But I’m now getting offered so many sessions that it’s starting to interfere. I’ve been skipping a few lectures, things I haven’t been able to get to. I just don’t know what to do.” I said “I’m frightened if I finish the course, which is another year and a bit, then those doors might close.” He said to me, “What you need to do is go and empty your locker. Walk out of the Royal College Of Music. Walk across the road.” Right opposite the Royal College Of Music is the Royal Albert Hall. He said “Walk up the stairs of the Royal Albert Hall. Do not look back. Walk around the Royal Albert Hall and go That’s where I want to be. That’s my next step.” And I said “Yeah!” And he said “And don’t come back.” Nick’s autobiography, The Music Goes Round and Round is fully readable now online. It appears that both of his grandfathers were Jewish musicians. One was second clarinet in the Concertgebouw in Amsterdam. He is seen here in 1978 with the Philharmonia’s music director, Riccardo Muti and its financial supporter Ian Stoutzker.
From the Lebrecht Album of the Week: Two albums of Prokofiev concertos arrive in the same delivery, one piano, the other violin. Both are from pedigree artists, pedigree labels. Which one do I review? Here’s where you run into the problem of having too much music in your head. I cannot listen to the 4th and 5th Prokofiev concertos, or the 7th and 8th sonatas, without hearing Sviatoslav Richter as a parallel soundtrack, allowing others little room for manoeuvre. Likewise, the 3rd concerto which I heard Martha Argerich play with Riccardo Muti one Sunday afternoon more than 40 years ago with such effervescence that all else pales beside it. So forget the piano concertos…. Read on here. And here. And here.