Young Mahlerites show extraordinary insights at Salzburg

Par Jonathan Sutherland, 26 août 2016

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“Gerhaher brought an intimate, quietly reflective interpretation”

Critique faite à Felsenreitschule, Salzburg, le 24 août 2016

Mahler, Das Lied von der Erde: Der Abschied

Mahler, Symphonie no. 9 en ré majeur

Gustav Mahler Jugendorchester

Philippe Jordan, Direction

Christian Gerhaher, Baryton

In these sacred halls: a long Sunday at the Enescu Festival

Peter Quantrill, 7th September

Bucharest’s temples of culture present rites of closure by Mozart, Kurtág and Bruckner… and a fleeting glimpse of Nirvana.

****1

Keine Angst vor neuen Tönen: Gustav Mahler Jugendorchester in Berlin

Sebastian Urmoneit, 30th August

Ingo Metzmacher leitet mit Werken von Wagner, Nono und Bruckner einen inspirierenden Abend beim Musikfest Berlin.

***11

Symphonie des Abschieds: Thielemanns letztes Konzert in Dresden

Svenja Koch, 7th July

„Hier wird’s Ereignis – das Unbeschreibliche, hier ist‘s getan“ – mit diesen Worten endet Goethes Faust II, Mahlers Symphonie und damit auch die Amtszeit von Christian Thielemann als Chefdirigent der Sächsischen Staatskapelle.

****1

Gustav Mahler Jugendorchester and Martha Argerich in Évian

David Karlin, 2nd July

Argerich shows her full artistry, while Europe's young musicians show impressive coordination and dynamics, if short of emotion in Beethoven 7.

****1

Bluebeard as psychothriller in Castellucci's mismatched double bill

George Jahn, 2nd August

Romeo Castellucci's intense production of Bartók's opera reaps its rewards in the performance under Teodor Currentzis, but Carl Orff's opera-oratorio De temporum fine comoedia feels little more than a drab filler.

***11

Beethoven und Wagner in jugendlicher Frische in Salzburg

Isabella Steppan, 24th August

Vom Publikum euphorisch gefeiert wurden das Gustav Mahler Jugendorchester und Dirigent Manfred Honeck in der Salzburger Felsenreitschule.

***11

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Jonathan Sutherland

Jonathan Sutherland is a graduate of the Sydney Conservatorium of Music and the Hochschule Mozarteum in Salzburg. He is also an internationally renowned concert pianist specializing in the music of the 1930s. Jonathan’s first operatic experience was hearing Maria Callas sing Tosca in Covent Garden and he has since heard performances in all continents of the world including over 60 different productions at the Wiener Staatsoper. He has written for The Australian, Opera Today and The Opera Critic as well as Bachtrack. Jonathan speaks English, French, German and Italian fluently and is based in the south of France near Nice.