In New York's Park Avenue Armory, Claus Guth imagines Schubert's final song collection set in a military hospital, Jonas Kaufmann as one of its soldiers with a story to tell.
Recitals of Russian song don't have to be suffocated with doom and gloom. Neither do they have to be built upon the works of Tchaikovsky and Rachmaninov.
Lyric tenor Mauro Peter recently returned to the renowned Schubert festival to sing the demanding song cycle that many consider to be the pinnacle of Lied.
Brahms’ only song cycle, Die schöne Magelone, gets star treatment from baritone Michael Volle, pianist Helmut Deutsch and narrator Thomas Quasthoff at the Doelen in Rotterdam.
The evening began on a fun note: Juliane Banse’s voice rang out in a pre-recorded message, reminding the audience that as far as she knew, cell phones and classical music did not generally mix. After a community chuckle, the audience applauded Banse, Bo Skovhus and Helmut Deutsch onto the stage, and then settled back into its seats for an evening of Hugo Wolf’s Italienisches Liederbuch.
Christie Franke is a Berlin-based writer and opera lover. Her blog, Tiny Doom’s Opernpalais, chronicles her adventures as an opera-lover and writer, serving as discussion ground for character profiles, operatic plot holes, and the magic of music in everyday life.
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