mon 04/07/2022

Classical Interviews

10 Questions for Horn Player Sarah Willis

Jasper Rees

Sarah Willis's day job is as a member of the horn section of the Berlin Philharmonic. In recent years she has also become a roving ambassador for the instrument and a familiar face presenting and interviewing on the Berlin Phil's Digital Concert Hall. In 2010 she released her first solo recording, of the Brahms trio for horn, violin and piano. That combination of instruments is once more the foundation for her second solo CD. But there all similarities end.

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theartsdesk Q&A: Soprano Anne Schwanewilms

David Nice

She is now the world’s leading interpreter of Richard Strauss’s Marschallin in Der Rosenkavalier, the aristocratic thirtysomething once forced into marriage with a far from ideal husband and determined not to let it happen to the sweet girl who falls for her own much younger lover on first sight. As a happily married woman, Anne Schwanewilms has no need of 17-year-old boys, and in her vocal prime she can have no regrets about ageing beautifully, but she shares both the Marschallin’s...

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theartsdesk Q&A: The Hilliard Ensemble

Matthew Wright

The sophisticated and exquisitely crafted sound of The Hilliard Ensemble has, over the past four decades, become one of the most distinctive pleasures on the choral scene. One of the several pioneers of the medieval and Renaissance repertoire to emerge in the Seventies, The Hilliards have, nonetheless, made this music their own, their glistening sound offering a more contemporary aesthetic than that of historically-specialist period performances.

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theartsdesk Q&A: violinist Vadim Repin

David Nice

When I last saw Vadim Repin in action, he was premiering a work of terrific energy and invention which is here to stay, James MacMillan's Violin Concerto.

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10 Questions for Cellist Oliver Coates

joe Muggs

Oliver Coates is the very model of a modern musical generalist – able to jump, or ignore, the boundaries between musical categories yet retaining deep understanding of the nuances of each category or genre. He has feet firmly in both the concert hall and the artier side of the electronica world, and has collaborated broadly over recent years – though is only now emerging as a solo artist.

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Wagner at the Proms remembered

David Nice

This summer, the Royal Albert Hall became the centre of the Wagnerian universe. No one was going to ignore Bayreuth, where Frank Castorf‘s new Ring gave plenty of fuel for column inches; but somehow the singers and the orchestra seem to have got lost there among all the apparently uninterpretable stage paraphernalia.

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theartsdesk Q&A: Mezzo-Soprano Joyce DiDonato

alexandra Coghlan

She’s the Kansas mezzo-soprano whose ruby slippers have now taken her across the globe, singing in all the great opera houses, but who has never lost the common touch. She’s not a diva, she’s a “Yankee Diva” – a contemporary creature who would never dream of throwing a tantrum or cancelling at short notice. She's Joyce DiDonato.

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10 Questions for Conductor Marin Alsop

alexandra Coghlan

Marin Alsop may be one of America’s leading conductors, with stints as music director of the Colorado, Eugene and Richmond symphony orchestras, not to mention positions at the Bournemouth Symphony Orchestra, Royal Scottish National Orchestra, City of London Sinfonia, and of course her current roles at the head of the Baltimore and São Paulo State Symphony orchestras, but apparently none of that is as important as the fact that she’s a woman.

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Rhapsody! How to programme a Hollywood Prom

David Benedict

Fingers on buzzers: which piece of music at this year’s Proms boasts a percussion section including glockenspiel, xylophone, five pitches of cowbells, car horn, taxi horn, anvils, revolving door noise, smashing glass, bubble-wrap-popping, pistol-shot and elastic band? OK, here’s a clue: it’s by Scott Bradley (1891-1977). Who?

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10 Questions for Semyon Bychkov

Jasper Rees

By the time silence descends on the Royal Albert Hall at five o’clock in the afternoon for a performance that will end six hours later, Semyon Bychkov will have been rehearsing for 60 hours. It breaks down into four days of orchestra readings, with tutti and sectional sessions for each act, then two days of the singers and a pianist, followed by six days of everybody together. And all for one performance of Tristan und Isolde with the BBC Symphony Orchestra.

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