The unquestionable musical genius of Frederic Chopin is perhaps most remarkable for the extreme narrowness of its focus: he composed almost exclusively for the piano, and none of his music fails to feature the instrument. Continue reading “Composer Profile: Frederic (Fryderyk) Chopin (1810-1849)”
This was another opera that I really did watch in my pyjamas, one Sunday night before a recent public holiday, because I get really wild on the weekends. It’s basically the story of Rosina, the teenaged ward of Bartolo, a doctor prone to fits of rage who is effectively keeping Rosina under house arrest until she’s of an age that he can marry her for her dowry. And, probably, the sex.
Possibly on the basis that almost anything is likely to be a more attractive option than marrying Bartolo, Rosina falls for the poor student Lindoro, who is really the young Count Almaviva, who has disguised himself in order to test Rosina’s love by concealing his wealth. Continue reading “Opera in my Pyjamas: Rossini’s ‘The Barber of Seville’ (1816)”
Seldom in the history of classical music has a name been linked so thoroughly in people’s minds with a particular style of music than the way Pyotr Ilyich Tchaikovsky’s name has been linked with ballet. Ask any layperson to name a ballet and the odds are fairly good that their answer will be one of Tchaikovsky’s most famous compositions – ‘Swan Lake’ (this link is to ‘The Dance of the Little Swans’, which is amazing) or ‘The Nutcracker’. Continue reading “Composer Profile: Pyotr Ilyich Tchaikovsky (1840-1893)”
With Christmas fast approaching I decided it was high time I watched the quintessential Christmas ballet: Tchaikovsky’s ‘The Nutcracker’, which was first performed in St. Petersburg in December 1892.
I elected to watch the 1993 Warner Brothers film version, and I rather suspect that this was a mistake. Continue reading “Ballet on the Sofa: The Nutcracker”
This short orchestral work was composed by George Butterworth (1885-1916) in 1913, and has become the best-known and most widely-performed of his small output. It’s a charming little work in the English Romantic tradition which is based on a number of folk songs, most notably a less-than-charming tale of a country lass who falls in love with a sailor, becomes pregnant and runs away to sea with him only to suffer a difficult labour. Dying, she asks her lover to throw her and the baby overboard, where they both perish. Continue reading “Treasure Trove: The Banks of Green Willow, by George Butterworth”
A wet and windy Saturday morning provided the perfect excuse to curl up in front of an opera, and this time I decided to go with one of the acknowledged masterpieces of the great anti-Wagner, Giuseppe Verdi (1813-1901), Aida.
Commissioned for the new opera house in Cairo in 1870, Aida was first performed in 1871. Set in Ancient Egypt against the background of ongoing military conflict between Egypt and the rival kingdom of Ethiopia, the story centres on the tragic romance between a captured Ethiopian princess, Aida, and the captain of the Egyptian guard, Radames. To be on the safe side I will at this point state that slavery, and specifically the enslavement of Black (Ethiopian) Africans, is central to the plot, and anyone who finds this distressing should probably avoid this opera and the rest of this post, which will include a plot summary. Continue reading “Opera in my Pyjamas: Verdi’s ‘Aida’ (1871)”
Quite possibly there has never been another composer in the history of classical music as controversial as Richard Wagner. He had a habit of running up debts, running out on debts, and running around with other men’s wives. And that’s before we even begin to talk about his music. Continue reading “Composer Profile: Richard Wagner (1813-1883)”
A recent concert in Whanganui featuring Brahms’ Piano Concerto Number 2 inspired me to find out more about ‘the last of the great Romantics’, a man most famous for his eponymous Lullaby. He was born in Hamburg, Germany, to a struggling (to the point of impoverishment) musician, Johann Jakob Brahms, and his much older wife, Johanna. Brahms’ talent was recognisable from an early age although his father refused to follow in the footsteps of the likes of Mozart and Mendelssohn by taking his child prodigy on tour. Instead, by the age of 13, Brahms was supplementing the family income with money earned by playing the piano in taverns, restaurants, and the like. Continue reading “Composer Profile: Johannes Brahms (1833-1897)”
Until I started The Culture Project, I honestly had no idea that my town was such a cultural hub. It turns out that in addition to having an opera festival, and the annual Artists Open Studios, and Shakespeare in Schools, and an excellent community choir (Schola Sacra), we also have a small local orchestra, which aims to hold three concerts a year. Their most recent concert, held late last month, featured pianist Matthew Yu, a former Whanganui resident who is now building a career as a nationally-recognised musician. Continue reading “Local Culture: Winter Brahms Concert”
When I think of organ music two things have always come to mind: traditional hymns and Bach’s Toccata and Fugue in D Minor (a.k.a ‘that piece the Phantom of the Opera plays, you know, the really creepy-sounding one’), so when internationally-recognised, New Zealand-based organist Kemp English came to Whanganui recently I just had to go along and check it out.