London Symphony Performs Beethoven's Ninth with Sir John Eliot Gardiner and the Monteverdi Choir

By -

The London Symphony Orchestra is joined by The Monteverdi Choir and conducted by Sir John Eliot Gardiner for a performance of Beethoven’s Symphony No 9 on 15 December at the Barbican. The performance features soloists Rebecca Evans (soprano), Wilke te Brummelstroete (mezzo-soprano), Michael Spyres (tenor) and Vuyani Mlinde (bass-baritone), and follows the LSO’s performance of the work at the BeethovenFest in Bonn on 15 September. Beethoven’s Symphony No. 1 completes the programme.

At 1.15pm on Thursday 15 December Sir John Eliot Gardiner will be joined in the Barbican Hall by David Alberman, LSO Principal Second Violin and Rinat Ibragimov, LSO Principal Double Bass, for an Artist Conversation.

Following the performance at the Barbican, the London Symphony Orchestra and Sir John Eliot Gardiner will perform this programme in Birmingham on December 16, Hamburg (December 18), Hannover (December 19) and Munich (December 20). Sir John Eliot Gardiner is a leading authority on Beethoven and has performed a complete cycle of the symphonies with the LSO in recent years to critical acclaim. As well as establishing The Monteverdi Choir in 1964, Gardiner also founded the English Baroque Soloists and the Orchestre Révolutionnaire et Romantique. He is a regular guest conductor with major European orchestras, including the Vienna and Berlin Philharmonic Orchestras.

On December 15 there will be a free pre-concert performance at 6pm by Guildhall Artists at the Barbican as part of the ongoing LINK alliance between the LSO, Barbican and the Guildhall School of Music & Drama. The Heath Quartet will perform Beethoven’s String Quartets Op. 74 ‘Harp’, and Op. 95.

Location: Barbican, City of London, EC2, UK

Comments

Post a Comment

Popular posts from this blog

The Role of Music in Opera

By -
There are numerous books on the topic, and every composer, librettist, director, singer and audience member has their opinion as to what role the music should play in an opera. In a play without music, the words ought to support the meaning behind a character's actions. However, in the case of action movies, often times the action is what tells the story and there aren't words, just images to forward the plot. We might hear music to accompany action, build tension, but the action tells the story. Musicals tend to speak until the emotion of the moment just "has" to break out in song - unless it's something like "Mama Mia" where the dialog is the rails we travel on between songs; the songs themselves, written before the concept of the musical, are the focus of the production, while the story is secondary. Operas are a different beast. The music provides emotion to the words spoken, but it also plays the role of ambience when there is only action. In ...
Read more

Episode 210b: Joyeuse le départ

By -
Image
Podcast:  Play in new window  |  Download Subscribe:  Apple Podcasts  |  Android  |  Google Play  |  Stitcher  |  TuneIn  |  RSS Provost Cunningham has Transmigrated, but to where! What is Dr Sage going to do with his body? And how can she bring home her friends, Abigail and Erasmus, without also bring home Cunningham? What are they going to say when they find the “skeleton” she’s hiding in her closet? Cast: Eddie Louise Clark  as Dr Sage Chip Clark  as Professor Savant Justin Bremer  as the Narrator Emily Riley Piatt  as Abigail Entwhistle, Calypso & Dean Stewart Written by  Eddie Louise Theme music by  Unwoman Sound Design by  Chip Michael
Read more

Teaching Composition – What are we trying to achieve

By -
In the process of learning composition I have spent time with a number of instructors who have encouraged me to write twelve-tone, pitch-class, electro-acoustic and other forms of experimental techniques. No matter how much I might understand and appreciate the work of other composers in the genres, these are not forms of music I resonate with. They are simply not forms of music I listen to and I struggle with the idea of writing them. However, in a Master Class by Libby Larsen she made the comment, “Learn them all, because all forms of music have something to offer.” This I very much agree. There are elements of each of the above mentioned forms (and others) that I do resonate with. Berg’s Violin Concerto is a beautiful twelve-tone work, although it is possible to look at numerous sections of the music with a “tonal” analysis. Another composer friend, Gary Bachlund commented that using these techniques can narrow the choices for how to compose a piece of work. If you look at ...
Read more