Over a decade before Richard Wagner's Valkyries took their celebrated ride, August Bournonville and Johann Peter Emilius Hartmanns Valkyrie danced on the Danish stage. Born in Copenhagen, son of French dancers, Bournonville founded the national Danish ballet with a series of ballets drawing its themes from Nordic mythology and early Danish history. For his first such project, Bournonville turned to his childhood friend Hartmann, who already had established himself as a composer of music on national themes.
English-speaking audiences have always found Die Meistersinger to be a life-enhancing celebration of wisdom, art and song. So it proves in David McVicar's production – the first at Glyndebourne – which is updated to the early-19th century of Wagner's childhood. At the centre of a true ensemble cast is Gerald Finley, a 'gleamingly sung', 'eminently believable' Sachs (The Independent on Sunday), supported by the dynamic conducting of Vladimir Jurowski which, like McVicar's production, uses Glyndebourne's special intimacy to bring sharp focus to bear on the subtlety of Wagner's musical and dramatic counterpoint.
Like the legendary pianists of the 19th and early 20th century, such as Sigismund Thalberg, Franz Liszt, Leopold Godowsky, and Ignace Jan Paderewski, it often sounds as if Marc-André Hamelin has more than 10 fingers. His ability to play fiendishly difficult music, make it sound as if it's a stroll in the park, yet imbue it with musical sensitivity makes him worthy of the description "super-virtuoso" by The New York Times' Harold Schoenberg. Hamelin studied at the Vincent d'Indy School of Music in Montréal with Yvonne Hubert, a pupil of Cortot, then received bachelor's and master's degrees at Temple University, working under Russell Sherman and Harvey Weeden.
For this 2010 production, the first new staging of the opera in 10 years, Glyndebourne welcome back the winning team of director Jonathan Kent and designer Paul Brown with Festival Music Director, Vladimir Jurowski conducting the Orchestra of the Age of Enlightenment. Set at a time of seismic social and cultural change - in a Fellini-esque vision of post-war life - Jonathan Kent's urgently propulsive production offers a 'white-knuckle rollercoaster ride' through the events of the Don's last day as they unfold in and around Paul Brown's magical 'box of tricks' set.
In this live recording from the Royal Festival Hall the OAE shines its musical torch into the realms of some later repertoire, shedding new light on the music of Mahler. Conducted by Principal Artist Vladimir Jurowski, this album includes the Lieder eines fahrenden Gesellen (Songs of a Wayfarer), written in the wake of an unhappy affair with a soprano, and the extraordinarily exciting and powerful Totenfeier, Mahler’s first foray into orchestral music, and later reworked into the opening movement of his second symphony.
The music of Alexander Aronovich Knajfel was considered too advanced for Soviet Russia in the 1960s, and he was blacklisted from the Union of Soviet Composers in 1979 for having participated in festivals of Soviet music in the West without official permission. Despite this, Knaifel produced a large number of works, both theatrical and orchestral.
It can be truly said of Adelaide di Borgogna that, like a rose, it bloomed but a day - l’espace d’un matin.” First performed in Rome on the 27th December 1817, it enjoyed very few revivals. In 2011 the Rossini Festival in Pesaro presented the second staged performance of Adelaide di Borgogna since 1825. The story of the opera was taken from a historical event that took place in the medieval period, marking the end of an independent Italian kingdom and leading to the birth of the German Holy Roman Empire through the efforts of Otto I of Saxony. Caught between political rivalry and the love of two men, Adelaide of Burgundy struggles to fight for her people and chooses Otto, the better ruler, for herself and her kingdom.