Mozart vs. Clementi: Ein Wettstreit mit Nachspiel

By Sarah Donata Schneider, 27 November 2017

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“Ich hatte bis dahin niemand so geist- und so anmutsvoll vortragen gehört.”

Peter Quantrill, 7th April

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.

Cristian Sandrin presents a new view of Mozart’s piano concertos

Bachtrack, 16th March

How to defamiliarize Mozart’s well known piano concertos? This April pianist Cristian Sandrin joins the London Mozart Players for new chamber arrangements of three concertos, for solo piano and string quartet.

Street-smart and subversive: Ailish Tynan talks Così fan tutte

Jessica Duchen, 7th January

The Irish soprano talks about singing Mozart’s Così fan tutte with English National Opera, in London and Manchester – and how the wily Despina is the perfectly subversive character for her.

The magical world of composers’ handwriting

Lawrence Dunn, 17th December

From Buxtehude, Bach and Handel, to contemporary composer Liza Lim, we take a tour of the myriad forms of composers’ handwriting and calligraphy – and how music makes itself on the page.

Amadeus: envy, poison and an unfinished Requiem

Mark Pullinger, 2nd December

Fact v fiction: with a new television serialisation of Shaffer’s play about to screen, just how mediocre a composer was Salieri and how did the myth that Salieri poisoned Mozart take hold?

How to change your life: Augustin Hadelich

Frank Kuznik, 1st December

Renowned German violinist talks about the life-changing effects of International Violin Competition of Indianapolis, how it feels more like a violin festival, and how there are no small or big concerts.

Sarah Donata Schneider

Die Liebe zur Oper entdeckte Sarah durch Ursel und Karl-Ernst Herrmanns Pariser Inszenierung von La clemenza di Tito. Seit Abschluss ihres Magisterstudiums mit einer interdisziplinären Arbeit über Richard Wagner promoviert sie am Mainzer Institut für Theaterwissenschaft über deren Mozartinszenierungen. Neben Wagner und Strauss gilt ihre Leidenschaft besonders dem Verismo. Musik ist für sie „Teil des schwingenden Weltalls“ (Busoni).