#cristian macelaru

[dustedmagazine]

Christian Carey's year in review

2023 was pretty much an awful year for our world —climate disaster moves ever more quickly, violence abounds and US politics are a disaster. I would not write a thank you card to the universe for many of my own experiences during the year either. However, I am grateful for the extraordinary music I participated in, heard and wrote about: it was a great solace. A few highlights are below:

I composed three new pieces: Solemn Tollings, for microtonal trumpet and trombone, Just Like You for singing violist, and Cracking Linear Elamite for solo guitar. The latter premiered in December at Loft 393 in Tribeca, played by Dan Lippel.

In addition to editing Sequenza 21 and contributing to Dusted, I authored several reviews and a research article for the British journal Tempo. The article was on my research in narratology as a feature of Elliott Carter’s music, which I have been exploring and publishing on since writing my Ph.D. dissertation. It was great for this particular research, of character-types and interactions in the Fifth String Quartet, to finally see the light of day.

After a half-century of banged up and often unreliable used pianos, my wife Kay got me a new Baldwin grand piano for my 50th birthday. Since it has arrived, I have practically lived in it.

Post-pandemic and post-cancer, I began to dip my toe into attending live events. I went to the Tanglewood Festival of Contemporary Music, which was a mixed bag. As compensation, the Boston Symphony performances that weekend were excellent. I attended a great concert at the New York Philharmonic in November and another in December. For many years, Kay and I have made a holiday tradition of seeing the Tallis Scholars at St. Mary the Virgin Church in midtown. It was wonderful to return there. The Tallis Scholars’ performance was splendid, featuring a mass by Clemens non Papa.

After the Tallis concert, Kay was in Nashville, where her parents live, for two weeks, spending time with her brother Tom and sister-in-law Aymara, who were visiting from Qatar (Tom teaches at the Carnegie Mellon University campus there and Aymara is a yoga instructor), and celebrating Christmas with her parents. Here in New Jersey, it was just me and the felines, who were (mostly) well-behaved. To keep the holiday blues at bay, I went all out, decorating a natural tree and the house. I played every carol in the hymnal, and enjoyed old holiday standbys: Oscar Peterson, Dave Brubeck, and Mel Torme’s Christmas albums.

There was much excellent recorded music released this year, and I will not attempt to document it all. Here are twelve records, in no particular order, that I expect will stay with me and be played often in coming years.

2023 Favorite Recordings

Yo La Tengo —  This Stupid World (Matador)

Hilary Hahn —  Eugène Ysaÿe’s Six Sonatas for Violin Solo, op. 27 (DG)

Morton Feldman —  Violin and String Quartet (Another Timbre)

Natural Information Society —  Since Time is Gravity (Eremite)

Leah Bertucci —  Of Shadow and Substance (Self— released)

Juliet Fraser —  What of Words and What of Song (Neos)

Laura Strickling and Daniel Schlosberg —  40@40 (Bright Shiny Things)

Emily Hindricks, WDR Sinfonieorchester Köln, and Cristian Macelaru perform Liza Lim —  Annunciation Triptych (Kairos)

Bozzini Quartet and Konus Quartett play Jürg Frey​ —  Continuit​é, fragilit​é​, r​é​sonance (elsewhere)

Matana Roberts —  Coin Coin Chapter Five (Constellation)

Chris Forsyth — Solar Motel (self— released)

John Luther Adams —  Darkness and Scattered Light (Cold Blue)

Christian Carey

[interdimensionsalsillyblogger]

Afternoon Concert

[mihailesculudmilalucia]

CZECH PHILARMONIC ORCHESTRA -Brahms – Concertul pentru vioară în Re majo...

[radioclasic]

Cristian Macelaru preia mai devreme cu un an mandatul de director muzical al Orchestrei Nationale a Frantei Începând de ieri, 1 septembrie 2020, Cristian Măcelaru a preluat mandatul de director muzical al Orchestrei Naționale a Franței.

[tommyoboe]

FINAL YEAR - WEEK 21.

I still have the final chords of Copland’s Third Symphony ringing in my head, and it’s a good feeling.

It has been another long and busy week of working myself to the bone in the CBSO Youth Orchestra, and it definitely has not disappointed.

But to that in a minute: now to dissect the small flourishes of time the rest of the week has had to offer (not a lot).

Monday reminded me of the hard work to come in the rest of my quintet recordings for my final project, as we spent a couple of hours recording some Mozart for another friend’s project. The tension that enters my mind and body when in the process is something I really don’t get on with and when compared to the thrill of performing, the same feeling is not there. But yes, ultimately it is a rewarding process as it really pushes us for the best results, and on Monday I think we came pretty close despite being short on time.

It also really tests the ability to cope in a high pressured environment, especially when working with and for others. And after all these recordings I certainly have a more relaxed and healthy outlook on what I do, but also a keen desire for complete accuracy and technical proficiency. It’s very attractive.

Not attractive enough unfortunately. I didn’t get on to the Royal College of Music’s Master of Performance programme. I was disappointed, as I did play well at audition and I know I did, but there was evidently something missing. Maybe, as I suspect, my sound is not fully fledged yet and can’t compete with stronger competition, but boy, it sucks that I can’t get any feedback on this. Like, a substantial chunk of my money has been taken from me to literally give me nothing. Just ‘Unsuccessful’. It’s quite degrading, actually.

So long, London.

Good timing though in some ways, as this week has given me the motivation I need to get back on it and continue going for great things. Apart from abysmal gouging of reed cane (less gruesome than it sounds to non-oboists), much productivity and progress has occurred, with another eye opening and inspiring week of rehearsals for what may be my final CBSO Youth Orchestra concert. 

The second of the oboe sectionals was not exactly enjoyable, with comments digging into my unstable confidence at this point, but the wind sectional and surrounding full rehearsals reinstated this and I saw that progress was achievable, and with increased listening to my skilled colleagues and a better awareness of the right technique, I was on my way. This is the sort of learning I need; too much these days I am told to listen to others and imitate, and this is just not good enough. Yes, it gets me into a mindset of wanting to be inspired, but progress without accessible methods is just not going to happen at the rate it should. I really want more of that: A LOT more.

Rant over, by Friday and Saturday things were sounding top notch overall, and with the exception of little inconsistencies in technique and concentration all round, results were beginning to form. Our conductor, Cristian Macelaru, had some insightful comments that enhanced the sound of the orchestra and made us think more about the music we were playing. This, combined with the introduction of violin soloist Tasmin Little, made for some exciting music.

The concert today was just that too, and although it didn’t leave me blown away at the end, there were moments of amazement that I will cherish, most of all the full warm chords filling all corners of Symphony Hall at the end of Szymanowski’s Violin Concerto. Great stuff.

And even better as we got to perform for a pretty full audience in the world class concert venue, including Cameron and my mum and partner Ant who have been down for the weekend. This was particularly lovely as they seldom get to hear me perform and these days with Birmingham life constantly busy, get to see me at all outside holidays. So I’m super grateful they were able to come for this wonderful weekend of music, laughter and catch ups.

Other highlights this week have included finishing Friends for like literally the eleventh time, enjoying jaffa cake flavoured fudge (so much nicer than it sounds) and now getting into Mad Men with Cameron, accompanied by nice tea, oat and raisin cookies and Milkybars.

Life is tragic and so bloody good at the same time.

To another week of emotions and music. Emotional music.

T

[schunckinfo]

Cristian Macelaru wird neuer Chefdirigent des WDR Sinfonieorchesters

Köln (ots) – Cristian Macelaru (38) wird mit Beginn der Spielzeit 2019/2020 neuer Chefdirigent des WDR Sinfonieorchesters. Er folgt dem derzeitigen Chefdirigenten Jukka-Pekka Saraste nach, der das Orchester neun Jahre lang geleitet hat – national und international erfolgreich. WDR-Intendant Tom Buhrow: „Mit Cristian Macelaru ist es uns gelungen, einen herausragenden und weltweit sehr gefragten Dirigenten…

Cristian Macelaru wird neuer Chefdirigent des WDR Sinfonieorchesters was originally published on schunck.info

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Cristian Macelaru: Sunday in San Diego

Cristian Macelaru: Sunday in San Diego

San Diego Event: Cristian Macelaru

If you love Classical, Cristian Macelaru takes place on May 26 @ 02:00 PM at Copley Symphony Hall.

Buy Tickets

Sunday’s weather forecast: Rain showers likely. Mostly cloudy, with a low around 56. Southwest wind 5 to 10 mph, with gusts as high as 20 mph. Chance of precipitation is 70%. New rainfall amounts less than a tenth of an inch possible.

‘Cristian…

[sonyclasica]

PLÁCIDO DOMINGO Y PABLO SAINZ VILLEGAS

VOLVER

Plácido Domingo y Pablo Sainz-Villegas lanzan su nuevo álbum Volver: una selección de célebres canciones ibéricas y latinoamericanas que ofrece nuevas perspectivas sobre géneros inmortales como la copla española, el faro o el bolero mexicano. A la venta el 12 de octubre, Día de la Hispanidad.

¡Escúchalo/descárgalo aquí!

El gran tenor Plácido Domingo y el guitarrista Pablo Sainz Villegas han grabado un álbum auténtico e íntimo con el que ambos artistas vuelven a sus raíces comunes. Volver está formado por una selección de célebres canciones ibéricas y latinoamericanas (con arreglos del 12 veces ganador de premios Grammy, Rafa Sardina) que ofrece nuevas perspectivas sobre géneros inmortales como la copla española, el fado o el bolero mexicano.

El resultado final son nuevas versiones emocionante de temas inmortales que llegarán a una gran audiencia. “Gracias a la vida”, “Volver” o “Sabor a mí” son algunas de las canciones que suenan en un disco que supone el debut en el sello Sony de Pablo Sáinz Villegas, un intérprete que se ha convertido en el auténtico embajador de la guitarra española.

La idea de esta grabación nació en junio de 2016, después de una noche mágica en el estadio de fútbol Santiago Bernabéu, cuando Pablo Villegas y Plácido Domingo interpretaron una versión íntima y desenchufada de “Adiós Granada" frente a 85.000 personas. Posteriormente, Domingo y Villegas seleccionaron junto a Rafa Sardina algunas de sus piezas favoritas que ahora se incluyen en el álbum.

Alabado como “el alma de la guitarra española”, Pablo Sainz Villegas se ha convertido en una sensación mundial y es considerado el gran guitarrista de esta generación. Sus interpretaciones evocan la pasión, la diversión y el drama de la Rioja, su tierra natal. Es conocido por sus actuaciones  apasionadas, emotivas y de corazón abierto, ya sea actuando en salas de recitales íntimos o en grandes escenarios.

Sainz Villegas ya ha aparecido en algunos de los escenarios más prestigiosos del mundo como el Carnegie Hall en Nueva York, la Philharmonie en Berlín y más recientemente en el Concertgebouw en Amsterdam. Conocido por un sonido tan rico y completo que no necesita amplificación, ha actuado como solista destacado con orquestas en más de 30 países, incluyendo Pittsburgh, Bergen e Israel Philharmonic o Cincinnati. Ha actuado bajo la batuta de Frühbeck de Burgos, y ha disfrutado de colaboraciones fructíferas con directores como Juanjo Mena, Miguel Harth-Bedoya, Carlos Kalmar, Michael Francis, Gustavo Gimeno y Cristian Macelaru.

Plácido Domingo ha cantado 148 papeles diferentes, más que cualquier otro tenor en los anales de la música, con más de 3.900 actuaciones en su carrera. Su repertorio abarca desde la Hippolyte et Aricie de Rameau (1733) hasta los numerosos estrenos mundiales de óperas de compositores contemporáneo. Su última aportación consiste en un notable recorrido por los principales papeles de barítono de Verdi.

Canta en todas las salas de ópera importantes del mundo y ha realizado una cantidad inigualable de grabaciones, de las cuales más de 100 son óperas de larga duración, a menudo grabando el mismo papel más de una vez, y por el que ha ganado 12 premios Grammy, incluyendo tres Grammys Latinos. Ha realizado más de 50 videos y es el ganador de dos premios Emmy. Su actuación en Tosca, realizada en los escenarios auténticos en Roma, fue vista por más de mil millones de personas en 117 países diferentes.

Nacido en Madrid de padres que eran artistas de la zarzuela, Plácido Domingo se mudó con sus padres a México a la edad de ocho años. Fue al Conservatorio de la Ciudad de México para estudiar piano y dirección, pero finalmente se desvió hacia el entrenamiento vocal. Hizo su debut operístico en Monterrey, como Alfredo en La Traviata, y luego pasó dos años y medio con la Ópera Nacional de Israel, cantando 280 actuaciones de 12 papeles diferentes. En 1966, creó el papel principal en el estreno estadounidense de Don Rodrigo, de Ginastera, en la Ópera de Nueva York.

Su debut en el Metropolitan Opera llegó en 1968, como Maurizio en Adriana Lecouvreur. Posteriormente, cantó allí en más de 800 representaciones de 50 roles diferentes. Aparece regularmente en todos los grandes teatros de ópera, incluyendo La Scala de Milán, la Ópera Estatal de Viena, Covent Garden de Londres, Ópera de la Bastilla de París, la Ópera de San Francisco, la Ópera Lírica de Chicago, la Ópera Nacional de Washington, la Ópera de Los Ángeles, el Liceu en Barcelona, el Colón en Buenos Aires, el Real en Madrid y en los Festivales de Bayreuth y Salzburgo.

Contenido

1. Sabor a mí

2. Nunca

3. Valeria’s Bossa - solo guitarra

4. Coimbra

5.  Adiós Granada

6. Una limosna por el amor de Dios - solo guitarra

7. Dos cruces

8. La morena de mi copla

9. Guajira Guantanamera - solo guitarra

10. Historia de un amor

11. Gracias a la vida

12. Volver

Pablo Sainz Villegas

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[rudyroth79]

Știri: „Messiah” de Händel cu Orchestra Română de Tineret şi Cristian Măcelaru, online în prima şi a doua zi de Paşti 2020

Un eveniment repertorial într-un concert al capetelor de afiș!

Duminică, 19 și luni, 20 aprilie 2020, pe pagina oficială de Facebook și pe cea de Youtube ale Centrului Național de Artă „Tinerimea Română”, va fi postată în două părți monumentala lucrare Messiah de Georg Friedrich Händel într-o versiune din anul 2016, în care, sub cupola Ateneului Român, dirijorul Cristian Măcelaru s-a aflat la…

[rudyroth79]

Știri: Dirijorul Cristian Măcelaru și violoncelistul Andrei Ioniță, două concerte de Ziua României, la BOZAR (29 noiembrie și 1 decembrie 2019, Bruxelles)

Știri: Dirijorul Cristian Măcelaru și violoncelistul Andrei Ioniță, două concerte de Ziua României, la BOZAR (29 noiembrie și 1 decembrie 2019, Bruxelles)

Cristian Măcelaru, dirijorul care va fi din 2021 succesorul francezului Emmanuel Krivine în fruntea Orchestrei Naţionale a Franței, și Andrei Ioniță, supranumit de The Times ”unul dintre cei mai interesanți violonceliști ai lumii”, vor susține pe, 29 noiembrie, ora 20.00 și pe 1 decembrie 2019, ora 15.00, două concerte la Palatul Artelor BOZAR din Bruxelles, alături de Orchestra Națională a…