I'm off now for the rest of the weekend - work, concert and visiting family all day tomorrow - so here is some magic from the only video of this artist I could find on Youtube. It was apparently recorded in Milan in 1998 and this young man has come a long way since. I believe that he's about to go much further, too... Dear friend Opera Chic, I'll do a deal with you: you can have Rolando, we'll share Juan Diego, but Jonas must be mine!
Please welcome: Jonas Kaufmann in Cosi fan tutte.
Saturday, February 24, 2007
Friday, February 23, 2007
Live music 4ever!
I realised Hattogate was getting out of hand when I found I had a blister on my wrist from contact with mouse-mat edge. The conspiracy theories and Chinese whispers seem to be getting crazier and crazier and I have received a comment or two here that I've not posted because they're way off the deep end - more like something out of sci fi, somewhere between George Orwell and Dr Who, than this rather heart-rending, sorry tale.
What put it all in perspective was this: last night some musician friends came round and played us a violin concerto in the front room. Moments like this, you feel so fortunate that you wonder what you've done to deserve it. I mean, honestly: a friend you'd normally have a good laugh with over a cuppa picks up a piece of wood with four strings and a bow, and suddenly it's as if the Alps have taken over your lounge. It was absolutely incredible: breathtaking, uplifting, the works.
My problem with the Hatto business is that it's all about recording. Not live performance. Music is about communication, isn't it? It's a direct path from soul to soul - composer-musician-audience - and essentially this can only take place during real-time, one-off performance. I have a fine library of CDs that I enjoy hearing, but none that can move or stir me to that extent - with the possible exception of musicians like Cortot, Thibaud and Enescu who recorded live, wrong notes and all, a very long time ago. Of course recordings crucially fill the gap for anyone who doesn't have access to a concert hall or a piano, but given a choice, I would pick live performance every time.
Live music, especially at such close quarters, is one of the seven wonders of the world. I'm now trying to think what the other six could be.
What put it all in perspective was this: last night some musician friends came round and played us a violin concerto in the front room. Moments like this, you feel so fortunate that you wonder what you've done to deserve it. I mean, honestly: a friend you'd normally have a good laugh with over a cuppa picks up a piece of wood with four strings and a bow, and suddenly it's as if the Alps have taken over your lounge. It was absolutely incredible: breathtaking, uplifting, the works.
My problem with the Hatto business is that it's all about recording. Not live performance. Music is about communication, isn't it? It's a direct path from soul to soul - composer-musician-audience - and essentially this can only take place during real-time, one-off performance. I have a fine library of CDs that I enjoy hearing, but none that can move or stir me to that extent - with the possible exception of musicians like Cortot, Thibaud and Enescu who recorded live, wrong notes and all, a very long time ago. Of course recordings crucially fill the gap for anyone who doesn't have access to a concert hall or a piano, but given a choice, I would pick live performance every time.
Live music, especially at such close quarters, is one of the seven wonders of the world. I'm now trying to think what the other six could be.
Thursday, February 22, 2007
For Hattogate addicts
A very long and fascinating article on Musicweb International by pianist and critic Christopher Howell, in case you haven't already seen it. You'll need at least 2 cups of coffee for this one.
UPDATE: Andrys has made an extremely useful page containing all the links anybody could want on this topic. Essential reading and some audio interviews too.
I have to get back to writing about other things today: a top singer, an innovative chamber ensemble and teaching organisation and five CDs for review require urgent attention, plus I've got a friend coming round to play through a violin concerto tonight (with piano, not orchestra) (with a real pianist).
UPDATE: Andrys has made an extremely useful page containing all the links anybody could want on this topic. Essential reading and some audio interviews too.
I have to get back to writing about other things today: a top singer, an innovative chamber ensemble and teaching organisation and five CDs for review require urgent attention, plus I've got a friend coming round to play through a violin concerto tonight (with piano, not orchestra) (with a real pianist).
Wednesday, February 21, 2007
what the...
On an Overgrown Path has distressing news that there is to be no more live music on BBC Radio 3 after 7pm except the Proms and the occasional one-off.
They're losing a lot more than that: namely, the plot. And so, consequently, are we.
Meanwhile, Norman Lebrecht suggests that Proms supremo Nick Kenyon is tipped to take over from John Tusa as top dog at the Barbican...
They're losing a lot more than that: namely, the plot. And so, consequently, are we.
Meanwhile, Norman Lebrecht suggests that Proms supremo Nick Kenyon is tipped to take over from John Tusa as top dog at the Barbican...
Tuesday, February 20, 2007
Now...
...The Telegraph has an article in which William Barrington-Coupe says that his wife Joyce Hatto's recordings were genuine. He 'can't explain some of the things they say are there'. He also points out wryly that if he'd wanted to make a lot more money, he'd have used a Russian name for the pianist.
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