Kraemer’s ebullient all-Handel in Chicago

Von Sam Jacobson, 05 Dezember 2016

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Veranstaltung anzeigen

Rezensierte Veranstaltung: Chicago Symphony Center, Chicago, am 1 Dezember 2016

Händel, Zadok, der Priestert: Krönungshymne Nr. 1, HWV 258

Händel, Concerto grosso in B flat major

Händel, Laudate pueri dominum in D major, HWV 237

Händel, Silete venti, HWV242

Händel, Feuerwerksmusik, HWV351

Chicago Symphony Orchestra

Nicholas Kraemer, Musikalische Leitung

Amanda Forsythe, Sopran

Chicago Symphony Chorus

Duain Wolfe, Chorleitung

Riccardo Muti und das Chicago Symphony Orchestra auf Abschiedstournee

Alexandra Richter, 19th January

Riccardo Muti, Chicagos Music Director Emeritus auf Lebenszeit, präsentiert in der Alten Oper Frankfurt ein italienisches Programm, das es in sich hat.

*****

Viel Bewegung mit Strauss und Tschaikowsky

Stefan Pillhofer, 15th January

Im Rahmen des noch andauernden Eröffnungsfestivals gastierte das Chicago Symphony Orchestra mit Tschaikowsky, der einen aus den Sitzen holt.

****1

Chicago Symphony Orchestra music on death: whimper then bang

Graham Meyer, 9th April

Jakub Hrůša leads the CSO in pedestrian Janáček and Rachmaninov, but Strauss's Four Last Songs and Wagner's Tristan excerpts send audiences home deeply touched.

***11

Klaus Mäkelä is speaking... Chicago is listening

Graham Meyer, 19th February

The Chicago Symphony Orchestra's Music Director Designate juxtaposes his Finnish countryman's music on their shared national epic, the Kalevala, with the heroic life limned in the tone poem of Richard Strauss.

****1

Matthew Aucoin’s Song of the Reappeared premieres in Chicago

Graham Meyer, 4th December

A strong world premiere of Aucoin's evocative and immediate Song of the Reappeared, a concerto for voice written for soprano Julia Bullock which sets vivid imagery by a poet who suffered under authoritarianism.

*****

Manfred Honeck brings his über-dramatic Mozart Requiem to Chicago

Graham Meyer, 20th November

The Austrian conductor's loudest fortes and softest pianos pull together a dramatic arc from the Requiem, other Mozart works and chant. But it's not really a funeral.

****1

Weitere Kritiken...

Sam Jacobson

Sam Jacobson has been writing for Bachtrack since 2015 and is currently in Pittsburgh, having previously lived throughout the Midwest. A keen traveler, he endeavors to see all the great orchestras and opera houses across the US and abroad. Outside of music, he works as a software engineer. He also maintains a blog which can be read here.

Kraemer’s ebullient all-Handel program warms a December evening in Chicago