Tenor James Gilchrist and pianist Anna Tilbrook take to the stage at Wigmore Hall for a series of three recitals across three seasons, performing Robert Schumann’s song cycles alongside music inspired by the English Romantic poets. The project premieres three new commissions from major British composers: Scottish composer Sally Beamish looks to the Gothic, setting…
Composed by Henning Kraggerud in 2014, Equinox is a kaleidoscopic tour across the world and time. Comprising 24 short Postludes, it is the musical counterpart to a 24-part story by world-famous Norwegian author Jostein Gaarder. In the story, a man travels through each of the 24 time zones, starting in Greenwich in C major. The work, which is a full concert length, can be performed with or without narrator.
Ville Matvejeff is enjoying a typically diverse and busy autumn. In addition to his concerts in Jyväskylä in which repertoire ranges from Bach’s Christmas Oratorio to Virtaperko’s concerto for Electric Cello (a new commission), he conducts Massenet’s Werther and Gounod’s Faust with his Croatian forces in Rijeka and Zagreb. He also returns to the Duisburg Philharmoniker for an inspirational community ballet project directed by the choreographer Royston Maldoom (renowned for his Berlin Philharmonic Rite of Spring collaboration amongst others), in which he conducts John Adams’ Harmonielehre.
Anne Mason begins the season as Mrs Grose Turn of the Screw for Opéra National du Rhin, Strasbourg then later returns to France for performances of Benjamin Ellin’s One, Four Zero with the Orchestre de Picardie. In early 2017 Anne returns to Scottish Opera to sing Geneviève in David McVicar’s new production of Pelléas et Mélisande.
A busy 16/17 season ahead of him, Simon Bailey makes his Wexford Festival Opera debut as Nicanor/Satan in David Felicien’s Herculanum, and returns to Ireland for Christ on the Mount with the RTE Concert Orchestra. In early Spring he can be seen as Leporello Don Giovanni at Oper Frankfurt, before making his role debut as Jochanaan Salome at Staatstheater Stuttgart, then returning to Frankfurt as Adam Ochsenschwanz in Krenek’s Schwergewicht.
“…The musical japes and textural sophistication of the Third [Zemlinsky quartet] bring out the best in the Brodsky’s playing – wry, playful, and rhythmically taut. And there’s plenty of suavity and emotional depth in its account of the more lyrical Fourth…”
Matthew Rye, The Strad, June 2015
The Brodsky Quartet are known for their profound accounts of complete cycles. Their latest Chandos release is the complete quartets of Zemlinsky, which has met great critical acclaim worldwide. It is, however, the Shostakovich cycle which is perhaps most widely associated with the Brodsky name, the quartet having performed the project across the globe throughout their 40 year existence. 2016 will mark the release of the Brodsky Quartet’s second recording of this seminal cycle, recorded live at the Muziekgebouw, Amsterdam.
Eighth Blackbird kicked off its 20th anniversary auspiciously in 2016, quickly garnering its fourth GRAMMY Award as well as the prestigious MacArthur Award for Creative and Effective Institutions.
Highlights of the 2016-17 season include keystone performances as part of Steve Reich’s 80th birthday celebrations (in collaboration with the San Francisco Symphony and beyond), a debut performance on Justin Vernon (Bon Iver) and Aaron Dessner’s (The National) Eaux Claires festival, a fresh round of raucous shows with “Appalachian post-punk solipsist” (The Wanderer) Will Oldham aka Bonnie Prince Billy, and world premieres by Holly Harrison, Pulitzer Prize-winner David Lang, and Ned McGowan. The 20th anniversary also brings significant expansion of the group’s international terrain, with debuts in Paris (Paris Philharmonie, Mona Bismarck), through multiple cities in Amsterdam, and through multiple cities in Australia.
London-based Australian pianist Piers Lane frequently travels back to his home country to perform and in his role as Artistic Director of the Australian Festival of Chamber Music and Sydney International Piano Competition. The first year in his role at the piano competition has been deemed a great success. Substantially updating the rules and prize pool, Piers has also given the festival global exposure as for the first time it was live-streamed on the internet as well as broadcast on ABC Classic FM.
In the forthcoming season Piers Lane will return to Australia for two tours performing solo, concerto and chamber music at the Huntington Festival. This Autumn also sees the release of Piers Lane’s recording of the Alfred Hill concerto with Adelaide Symphony Orchestra on Hyperion label.