When Igor Stravinsky left Europe for life in America in 1939, his flight was due to more than the impending war. Three generations of his family had died within six months and his neoclassical works no longer met with universal admiration from influential critics.
No 20th-century composer adapted his style as much as Igor Stravinsky. From his early ballets for Diaghilev’s Ballets Russes to his neoclassical phase and serialism, Stravinsky’s music underwent many transformations.
Ahead of an appearance at London’s Cadogan Hall, the Swedish mezzo-soprano talks about her love for French and German song, and combining intimate performances with opera singing on a much larger scale.
The Spanish violinist makes her Sinagpore debut in May performing Szymanowski. She talks about taking repertoire to new places, and being an advocate for unusual Spanish music.
The Austrian conductor reflects on his seven year tenure with the Singapore Symphony Orchestra, work and life, returning to old scores, and why a musical ensemble is like a giant human body.
The Hong Kong-born conductor talks about her entry into music, her love of big Russian repertoire, her “Cinderella moment” winning the Donatella Flick Conducting Competition and her ambition to “go against the grind”.
Mark has been a Bachtrack editor since 2014. He is also an experienced critic, writing hundreds of reviews for the site, as well as a freelancer writing for other magazines and newspapers. He also writes programme notes and blogs on Substack. Mark has a particular passion for the operas of Verdi as well as Russian and French repertoire. Outside the concert hall and opera house, Mark enjoys cooking and travel and is probably at his happiest let loose in a French patisserie or a Viennese coffee house.
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