During October, we focus on the here and now, with contemporary music and dance featured in a number of articles. We have spoken to a number of composers and choreographers about their work accross various mediums, and their collaborations with other contemporary artists.
Sadler's Wells presents See the Music, Hear the Dance, an evening dedicated to the music of Thomas Adès, who will himself conduct the Britten Sinfonia through works by Karole Armitage, Wayne McGregor (revivals), Crystal Pite and Alexander Whitley (world premières).
As part of our Contemporary focus, I spoke to Swedish filmmaker, choreographer and dancer Pontus Lidberg, about his musical choices and his collaborations with contemporary composers. An intimate conversation with a leading voice in contemporary dance.
Jasmin Vardimon talks to Bachtrack's Dance Editor about her new production of PARK, which tours the UK this Autumn. She also opens up about her vsion for dance, the power of performance, and the exciting developments of her new home in Ashford
Ben Shephard’s A War of Nerves provide the inspiration behind Sally Beamish’s new choral work Equal Voices which receives its première on Sunday 2 November; his words feature heavily in Sir Andrew Motion’s “found poem”, recounting the horrors of the Great War, which Beamish has juxtaposed with passages from the Old Testament’s Song of Songs
new music in new places
“Singers wound their way through the frozen food aisle, followed by musicians trying not to let their instruments topple over any produce.” The performance raised many questions pertaining to place and how composers and performers incorporate the idea of space or venue into their work.
In the first of a four-part series, Peter Reynolds looks at different strands in contemporary music with a focus on composers in the immediate here and now. This week he writes about five composers now in their 30s and 40s, all writing very different kinds of music.
As part of Bachtrack’s Contemporary Music Month, Rebecca Lentjes writes about the vibrant world of sound installations and immmersive musical experiences in New York City.
Part of Bachtrack’s Contemporary Music Month, Paul Kilbey takes a look at concert programming of 20th- and 21st-century music in several venues around the world.
As part of Bachtrack’s Contemporary Music Month, Meg Wilhoite takes a look at the question of gender equality in the world of new music, in light of the recent debate sparked by conductor Vasily Petrenko.
Upcoming eventsSee more...
Janáček, Kodály, Bernstein, Paus
Dominic Brennan; Cantus Ensemble; Calum Huggan; Olivia Jageurs; Iestyn Evans
Tüür, Pärt, Perotin, Glass
Stockholms Nya Kammarorkester (SNYKO); Hugo Ticciati; Thomas Gould
Catriona Beveridge; Rachael Canning; Opera North; The Wrong Crowd
Hoesch, Nicolai, Various
Richard Siegal; Richard Siegel; Bavarian State Ballet
Unknown; Alan Gilbert
Tallis, Purcell, Parsons, Byrd, Mealor, Taverner, MacMillan
Ivor Setterfield; Barts Chamber Choir
Sibelius, Burgan, Beethoven
Hong Kong Sinfonietta; Yip Wing-sie; Unknown
Latest reviewsSee more...
“Two Ladies”, the title of this afternoon’s concert of the Estonian Music Days festival, referred to its two violin soloists, Triin Ruubel and Juta Õunapuu-Mocanita.
Ms Batiashvili performed her final concert as the New York Philharmonic’s Artist-in-Residence alongside her companion and oboe virtuoso François Leleux in works by two distinguished organist-composers.
Radical new music doesn’t always have to be presented with a straight face, as demonstrated by the Polish Ansambel Sepia in Tallinn.
The Tallinn National Symphony Orchestra Easter concert represents new music patronage on a grand scale. Six up-and-coming Estonian composers are commissioned write a substantial work for orchestra, and an entire concert is given over to their first performances.
Swanhunter is a fine retelling of a wonderful yarn, and this rendering of it contains a great deal to enjoy for an audience of all ages, albeit marred by inconsistent intelligibity.
Leopold Tobisch's future expectations have been raised to a dizzying high by Kristjan Järvi and the Baltic Sea Youth Philharmonic at the Theatre des Champs Elysées.
Opera god meets Hollywood royalty on stage at the Coliseum, in a transatlantic production which heralds the ENO's intention to bring musical theatre back into their repertoire.