Kosky discusses the nature of opera houses and their audiences: La Scala, La Monnaie, Covent Garden, the advice he gave to ENO – and why he was kicked off the lawn at Glyndebourne.
A rollicking good story woven into music by a composer without peers, the ultimate operatic expression of the High Romantic aesthetic, and an opera that actually feels short at five hours.
In this first part of a two part interview, one of the world's most acclaimed opera directors explains his craft: why it starts and ends with the music.
We speak with Marja-Leena Pétas-Arjava, Executive Director of the Mirjam Helin International Singing Competition held in Helsinki, Finland, to find out more about what makes this competition unique.
We spoke to violinist Linus Roth, artistic director of the International Violin Competition Leopold Mozart, about all the changes made to the competition and what to expect from this year's edition.
We drink in the atmostphere of the medieval streets of a city which feels uniquely connected to its rich history – and just happens to contain a world class orchestra and concert hall.
When the Dover Quartet will arrive in Hong Kong on the heels of their exciting 2018, they will be primed to help celebrate the 10th anniversary of the Beare’s Premiere Music Festival. Launched in 2009 and formerly called the Hong Kong International Chamber Music Festival, this international event brings world-class musicians to Hong Kong to make classical music accessible to all.
“I have never been that nervous! Not before or since!” says Norwegian baritone Audun Iversen about his appearance in the final round of the 2007 Queen Sonja International Music Competition in Oslo. The aria he was about to sing – “Da geh’ ich zu Maxim” from The Merry Widow – was familiar enough, but before this competition he had only performed it in a Danish translation.
