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Vadim Repin

Monday, October 24, 2016

Joe's Concert Reviews

September 26

New Jersey Symphony Orchestra – Teddy Abrams, conductor; Sarah Chang, violin. September 24, 2016.

JoeState Theatre, New Brunswick.  Front Orchestra (Seat L107, $43). ProgramOn the Town: Three Dance Episodes (1944) by Bernstein (1918-1990).The Four Seasons of Buenos Aires (1965-70, arr. 1992) by Piazzolla (1921-1992).Tzigane (1924) by Ravel (1875-1937).Rodeo: Four Dance Episodes (1942) by Copland (1900-1990). After purchasing the NJSO Red Bank series, I never gave the rest of their season any thought.  Earlier this week I got a mailing advertising a sale for their opening weekend concerts.  $40 (plus $3 handling) got us a ticket front and center. The program consisted of works that all drew heavily on the “common folk.”  On the Town originated as the ballet Fancy Free describing three sailors’ shore leave in New York. It was eventually turned into the Broadway show On the Town.  The three vignettes performed tonight had the self-explanatory titles of The Great Lover, Lonely Town: Pas de Deux and Times Square, 1944.  The other American composition that bookended the concert was originally a ballet describing the love interests of a cowgirl.  The ballet consists of five sections: Buckaroo Holiday, Ranch House Party, Corral Nocturne, Saturday Night Waltz, and Hoe-Down.  The orchestral suite omits Ranch House Party.  While the two compositions were written within two years of each other, they showed rather different characteristics.  Simplistically, Bernstein’s was jazzy and Copland’s was more “square dance” country.  Anne told me listeners of WQXR would be very familiar with Hoe-Down as it is used often as lead-ins and fade-outs. Both pieces were enjoyable.  Perhaps to emphasize the jazzy nature of Bernstein’s work, the conductor was sometimes more like a band leader, saying “one-two-three-four” before the third movement. In the middle part of the program there were two pieces that also had strong national flavors: Piazzolla’s Argentinian and Ravel’s Eastern European.  Of course Ravel wasn’t Romany, but he was inspired by the Hungarian violinst Jelly d’Aranyi (playing in London, of all places) to write Tzigane. Piazzolla was brought up in New York, and didn’t attempt to incorporate tango characteristics into his music until later in life.  The Four Seasons has both Latin characteristics as well as references to Vivaldi in each of its movements.  The arrangement for violin and string orchestra was commissioned by Gidon Kremer in 1992 after Piazzolla’s death, although the Program Notes reassures us that Piazzolla won’t mind.  The pieces didn’t originate as a group, and weren’t considered by Piazzolla as a complete cycle.  If I remember correctly, Vivaldi didn’t start out to compose a suite called Four Seasons either. We heard New York Philharmonic’s Frank Huang perform a couple of the movements last summer at Snug Harbor (same arrangement), and another by the Prima Ensemable in Princeton.  Interestingly they didn’t seem as technically challenging as what we heard today.  Perhaps Huang made it look easy, or (more likely) perhaps today we were seated front and center.  And for some reason the quotes from Vivaldi were much more evident.  Tonight's performance wasn’t without its flaws: there were occasional intonation problems with g-string high notes, and the orchestra overwhelmed Chang at times.  However, both the musicians and the audience enjoyed it.  The orchestra parts weren’t pieces of cake either, with some challenging solo passages for the principals; they all did their job superbly. Curtain call after Piazzolla’s Four Seasons. It was quite a few years ago when we heard Tzigane played by Vadim Repin in Alice Tully Hall, and more recently by Stefan Jackiw at Count Basie.  Each performance had its share of difficulties.  Chang certainly tackled them better, although not always with ease.  (Again the intonation problems.) After Ravel’s Tzigane.  Indeed Sarah Chang changed her dress. From how her violin sounded, it appeared Chang wasn’t using a Stradivarius.  Indeed, a web search confirms that she uses a Guarnerius.  The richer timbre may work with the low notes, but the brilliance and clarity of a Stradivarius would be more suited for a concert hall performance.  She still swung the bow and kicked, but much less than she used to, if memory serves. This is the opening weekend for the 2016-2017 season, and one has to say the programming is a bit puzzling.  While each of the pieces has an interesting story behind it, none of them is particularly intellectually demanding. Not that there is anything wrong with Teddy Abrams, but why this conductor, who seems to have no history with NJSO, for the opening concert, no less.  One explanation for both the program and musician choices could be they were put together during the “transition period” between conductors.  Abrams conducted with gusto, but some of his exaggerated movements didn’t quite elicit corresponding strong statements from the orchestra.  He was the first conductor I saw who wore jeans on the podium. He did talk a bit about the program, and I incorporated some of his remarks into this writeup. It was a bit disappointing to see the large number of empty seats in the auditorium.  If it bothered the artists, they didn’t let it show. We didn’t leave the house until about 6:45 pm as Anne had “Middletown Day” duties the whole day, but got to New Brunswick early enough that I could circle around the block (many blocks in fact) to find parking.  It was even more straightforward to return home.

The Boston Musical Intelligencer

May 19

CLT Aims for Full-Bore Boris

Mussorgsky by Ilya Repin Commonwealth Lyric Theater ’s audacity in producing Boris Godunov by Mussorgsky is anything but Modest. Even in a staging that strives for no major opera house standards, the attempt of the large fearless group of dramatic and outgoing Russians and Ukrainians stands somehow akin to casting the Tsar Bell. The caliber and commitment of this group invariably opens to full-bore. The first two performances will inaugurate Opera Garden, the artistic director’s backyard at 381 Dudley Road in Newton. Even with piano accompaniment (Alexander Pokidchenko on Friday and Alexander Poliykov on Saturday) and some nontraditional elements, the Friday and Saturday shows will constitute fully staged/costumed realizations for the 200 in attendance. On May 24th and May 26th, the action moves indoors to the Newton City Hall Auditorium, as an orchestra of 29 under Adrian Bryttan joins the large cast. The Met on Tour brought Boris to the late, lamented Opera House on Huntington Ave. in 1940 (and as I recall, to the Wang Center in the 70s), Sarah Caldwell mounted it in 1965, and Teatro Lirico d’Europa offered a concert version in 2003. CLT’s other many well-received productions augur well for the sonic pleasures this Boris may afford. According to executive director Olga Lisovskaya, this operatic thriller looks deep into the tortured conscience of the Russian Tsar, Boris Godunov, who reigned from 1585 to 1605. The orchestration is rich, the passions are high. The 1872 revision by Mussorgsky, just a little over 2 hours long, is based on Rimsky-Korsakov’s orchestration. Compared to the original Mussorgsky version (regarding structure, harmonies and dramatic effect), Rimsky-Korsakov’s edits are in nearly every detail welcome and effective changes. In addition to tightening up many parts of the score, Rimsky-Korsakov cloaked all the music in a wonderful memorable orchestral colors. It is a tribute to the genius of Mussorgsky that the expressive beauties and dramatic power of Boris Godunov can emerge in CLT’s reduced dimensions. Stage Director, Alexander Prokhorov, chose to set the action in modern time, adding timeless elements to sets and costumes. Two of the performances will take place outdoors, with three different stages built in a garden. The two remaining performances will be with orchestra, led by conductor Adrian Bryttan. The production is part of the Newton Arts Festival. The fully staged/costumed production comprises an international array of soloists, and choruses. Mikail Urosov as Prince Shujsky rehearses with Commonwealth Lyric Theater presents Mussorgsky’s Boris Godunov Friday, May 20, 2016 at 8PM at Opera Garden, 381 Dudley Rd., Newton Saturday May 21, 2016 at 8PM at Opera Garden, 381 Dudley Rd., Newton Tuesday, May 24, 2016 at 8PM at Newton City Hall, 1000 Commonwealth Ave. Thursday, May 26, at 8PM at Newton City Hall, 1000 Commonwealth Ave. The extensive cast is represented below: The post CLT Aims for Full-Bore Boris appeared first on The Boston Musical Intelligencer .

Royal Opera House (The Guardian)

March 20

Boris Godunov review – Bryn Terfel is superb as tsar in torment

Royal Opera House, London Terfel makes the title role of Mussorgsky’s flawed masterpiece his own in a powerful new staging of the rarely seen original versionThe famous portrait of Mussorgsky by the Russian painter Ilya Repin, currently on show at the National Portrait Gallery, tells you all. Bloodshot eyes, matted hair and beard, skin puffy and sallow, eyes distant yet wild: within days, Mussorgsky (1839-81) would be dead of drink, aged 42. He received no proper training in composition. Nor did he ever earn his living from music. Born into Russian nobility, he went into the army then spent his increasingly dissolute life as a government clerk, suffering alcohol-induced epilepsy, bouts of madness and destitution. The rumour that his grave is now under a bus stop is hard to verify but completes the sad picture.Yet he had friends and admirers, most of them fellow composers. Many went to extreme lengths to support him. Rimsky-Korsakov – that great enabler and wizard of orchestration – and much later Shostakovich each had two attempts at making Mussorgsky’s only completed opera, Boris Godunov, “better”. He was working for the forestry department when he wrote this awkward, misshapen masterpiece based on Pushkin. It was rejected by St Petersburg’s Mariinsky theatre in part for its lack of a leading female role. The usual Boris we hear – to give a Snapchat version of the work’s protracted history – is the epic, expanded 1874 score. In a compelling new staging by Richard Jones, conducted by Antonio Pappano, the Royal Opera has dared – for the first time – to go back to the 1869 original, in all its rawness.Mussorgsky may have used rough tools when it came to orchestration, but he knew what he wanted from his voices Continue reading...

getClassical (Ilona Oltuski)

March 16

Lev ‘Ljova’ Zhurbin at Brooklyn’s National Sawdust – shtetl buoyancy re-invented

ljova_photo_Pemi_Paull Soulful violist and composer/arranger Lev ‘Ljova’ Zhurbin was featured in Ljova and the Kontraband’s Sunday afternoon concert at Brooklyn’s new home for the all-inclusive new music scene, National Sawdust. Going by ‘Ljova,’ the kindred version of his traditional Russian-Hebrew name, Lev, the artist and his Kontraband filled the room, which had been arranged cabaret-style, with tuneful energy. Folksy tango tunes with virtuosic viola passages next to Yiddish folk songs performed with great gusto by Ljova’s wife, singer Inna Barmash, pulled young and old alike into ethnic rhythmic soundscapes. Says Barmash: “If you’ve been here in Brooklyn long enough, you have certainly heard Yiddish spoken by many of its Jewish, Eastern European inhabitants.” But while songs were sung in Yiddish, and some of the tango arrangements, especially those for accordion (virtuosic accordionist Julian Labro was sitting in for the band’s member Patrick Farrell), were reminiscent of Piazzolla, there was also something very different present in the compositions, giving the music a unique artistic characteristic of its own. As the program promised: “You will think you have heard it, but didn’t…at least not quite like this. Quite far removed from the repertoire of his traditional classical music training, Ljova’s music stays alive through its own magic, fostered by intense rhythms of klezmer, tango, jazz, gypsy music and soaring melodic structures, many of which seem to originate in the eastern shtetl, rather than in Schubert. The son of Russian Jewish émigrés famed Moscow composer Alexander Zhurbin, most renowned for his 1975 rock opera “Orpheus and Eurydice,” and poet Irena Ginzburg, Ljova always managed to stay closely connected to the nurturing roots of his heritage without being stuck in the generational gap. Born into a Russian musician’s home, violin lessons with the renowned Galina Turchaninova, teacher to talents like Maxim Vengerov and Vadim Repin, were part of Ljova’s Moscow routine from age four on. He left this part of his life behind when he immigrated in 1990 at age 11 to New York, along with his parents. It may have been the influence of his uncle, Yuri Gandelsman, former principal violist of the Moscow Virtuosi and the Israel Philharmonic Orchestra that caused Ljova to choose to enroll at Juilliard, where he became a student of the eminent Samuel Rhodes, violist of the Juilliard String Quartet. Ljova might have continued to follow this road if it had not been for his curiosity and willingness to try on other musical hats. Making music within “the other” non-classical world of music, whether at jazz gigs at nightclubs, weddings, or folk festivals, taught Ljova to improvise and compose, and opened a different worldview for him to absorb, first reluctantly, then eagerly, eventually making it his own. photo_Ilona_Oltuski_GetClassical Kontraband_photo_Ilona_Oltuski_GetClassical Ljova’s first solo recording, World on Four Strings, released in 2006 on his own Kapustnik label, features the viola dominantly, yet with atmospheric multi-tracked recorded viola parts, gracefully departs from the classical genre. An array of musical arrangements for artists like Yo-Yo Ma and the Silk Road Ensemble, Brooklyn Rider, The Knights, the Kronos Quartet and artists as diverse as rapper Jay-Z and Alondra de la Parra, among others, added greatly to Ljova’s exposure and experience. Composing for his beloved viola or his Kontraband or an entire Orchestra, Ljova has developed a varied and consistently unique voice of deeply felt, personal perception of musical delight. He came to realize that there are only two kinds of music, good – and bad. Ljova’s musical ideas are flowing from a space within his very “normal life.” His persona does not present extravagancy, or any romantic ideal of an artist that seeks the stardom of a celebrated idol; his Viola strapped on his back, Ljova travels mostly by bike from his Upper West Side neighborhood. On occasion, he will leave himself a message on his cell phone with a reminder of a new musical idea that just came to him in that moment. His warm, unpretentious personality comes across as genuine to a fault: whether on stage or a broadcasted talk show, of which he has done several, or as a family man, a good neighbor and friend, he manages to stay relevant, doing whatever it takes to live a life that includes music on a daily basis. Ljova is in high demand as a film composer. Some of his recent credits include scores to “Finding Babel”, a documentary about the Russian-Ukrainian-Jewish writer Isaak Babel and “Datuna: Portrait of America”, about the Georgian artist David Datuna, which just won a prize at Raindance Film Festival. Ljova has also composed music for documentaries produced by the BBC, and contributed music to documentaries by NHK and HBO. He has also scored nearly three dozen short-subject films. Ljova also collaborates extensively with choreographers, including two ballets with Aszure Barton & Artists, as well as commissions from Parsons Dance, Ballet Hispanico, New Dialect and others. The connections that Ljova makes with people are lasting and meaningful; his relationship with Brooklyn Rider goes back to 2008, when he shared the bill with the group at Joe’s Pub. It was the highly successful string quartet’s first year in existence, with violinist Johnny Gandelsman, violist Nicholas Cords and the two Jacobsen brothers, Eric on cello and Colin on violin. It was Ljova’s second year performing with the Kontraband. The lines between Ljova’s collaboration and friendship with the Brooklyn-based quartet, inspired by the “Blue Rider,” were blurred from the beginning. At their first performance, Brooklyn Rider performed several of Ljova’s pieces, including “Plume,” “Crosstown” and “Budget Bulgar.” The quartet also went with Ljova’s arrangement for Silk Road Ensemble, “Brîu,” a tune form the repertoire of Taraf de Haïdouks, originally composed for the project. “Plume” and “Crosstown” also appeared on the group’s debut recording Passport. Eric Jacobsen says: “I can’t help but be inspired by Ljova. His imagination is fascinating and endless. He is one of those people, that when I see an opportunity for collaboration, I immediately think of him. He is true to his nature and creative spirit, however incredibly able to adapt to all situations and relationships.” One of Ljova’s new works in the making is a commission by Eric Jacobsen, who is currently starting to serve as conductor for the Orlando Philharmonic and the Bridgeport Symphony. It is unsurprising that the afternoon at Sawdust had the intimacy of a family affair. Ljova aims for personal connection, as he laments: “Everyone has moved on into different neighborhoods. Even when planning concerts, it has become difficult to find an era that works for everyone…” it was therefore an important gesture that children were admitted to Sunday’s concert for free. Ljova’s cousin, Johnny Gandelsman – violinist of Brooklyn Rider, which had just performed at Sawdust the previous week, was in attendance with his animated kids. photo_Ilona_Oltuski_GetClassical But beyond the literal family connections – Ljova is of course married to his “Kontraband”‘s vocalist – the familiarity with which the performers demonstrated their instruments, percussionist Mathias Kűnzli most intricately, or talked about their music, held an informal objective, whcih created an intimate, family-friendly milieu. The artists, belonging to a generation of New York musicians who are grown up with families of their own, look to swap the musician’s ideal of the hip nightlife performance venue into one that allows their friends and fans to bring their kids. “So many performances I give cannot be frequented by many of my colleagues and friends, since they don’t have babysitting available,” he says. The practical answer for Ljova is to perform in spaces conducive to bringing people together, uniting young and old and making the community grow a little closer together. Remarkably, this is exactly what his performance proved to represent. If smaller performance venues typically fill with the artists’ following to begin with, why not make it possible to include all of them? This is a valid question to which Ljova answers with low-key performances with communal character. Already, Ljova’s shtick has gained traction with new audiences, and major concert venues like Lincoln Center seem to be following suit. While composer and Artistic Director of Sawdust, Paola Prestini, has, in her own words, aimed to create a forward-thinking laboratory to explore unknown artistic territory, she has in the process established a communal hub that satisfies a popular demand and community need.

Royal Opera House

February 22

The masterpieces that could have been: Piecing together Musorgsky’s unfinished operas

Modest Musorgsky, painted only a few days before his death by Ilya Repin, 1881. Courtesy Wikimedia/Google Cultural Institute Musorgsky is one of opera’s greatest composers – and yet he finished only one opera in his short life. In fact, he finished it twice: his masterpiece Boris Godunov exists in two complete and quite different versions. But alongside Boris there were eight operatic projects Musorgsky began, none of which he completed – whether because his ideas changed, or because the project fell through, or because his chronic alcoholism got in the way. The music he wrote for six of those projects offer tantalizing glimpses of the Musorgsky masterpieces that could have been – and, though unfinished, are wonderful works in their own right. Musorgsky first considered writing an opera aged 17, as a student at Cadet School with no compositional training whatsoever. Nothing ever came of his plan to adapt Victor Hugo ’s novel Han d’Islande ‘because nothing ever could’, he later wrote. He tried his hand again seven years later, this time adapting Flaubert ’s lavish historical fantasy Salammbô . After three years he had produced around 90 minutes of music – almost entirely big choral numbers, with barely anything for the central drama – before giving up on the project, perhaps craving something more Russian in tone. He certainly achieved this in The Marriage, a verbatim setting of a Gogol comedy about an indecisive groom. In it Musorgsky experimented with his theories on the relationships between text and music. But at a private performance of the first act the consensus was that Musorgsky had taken the experiment too far: the music of The Marriage was felt to be so dependent on Gogol’s words that it had little intrinsic value of its own. The Marriage was abandoned as Musorgsky started work on Boris. Musorgsky completed Boris Godunov in just over a year. While he was waiting for a verdict from the censors he dabbled with Bobïl’ (The Landless Peasant), adapted from a setting of the Hansel and Gretel tale. He wrote just one scene before returning to Boris, which had been rejected by the censors. While that work was underway, Musorgsky was invited to contribute along with four other composers to an immense opera-ballet, Mlada. The project was abandoned as soon as it became obvious how ruinously expensive it would be. The sell-out premiere of the second version of Boris Godunov in 1874 was the height of Musorgsky’s career. It launched him onto two very different projects – Khovanshchina , begun 1872, and The Fair at Sorochintsï , begun 1874 – which Musorgsky worked on concurrently over the last years of his life, switching between the two as he encountered hurdles with each. There’s enough to suggest these both could have been major works, a fact recognized by his contemporaries: two separate groups of well-wishers each attempted to bribe him into finishing them. The historical drama Khovanshchina was the natural follow-on to Boris, and was conceived the year of Peter the Great ’s bicentenary. Musorgsky compiled the sprawling libretto over nearly a decade, examining in turn the three main opponents to the young Peter’s accession to the throne, and how they were vanquished on Peter’s path to greatness. Later completions emphasize the triumph of Peter’s victory, but Musorgsky’s letters suggest he had in mind something more ambiguous – reflecting the great losses, both of life and in Russian culture, that were part of Peter’s sweeping reforms. Musorgsky’s wish to create a role for his friend, the Ukrainian-born bass Osip Petrov , drew him towards Gogol’s lighthearted, Ukrainian-set short story The Fair at Sorochintsï. Musorgsky’s anxieties about his ability to set Ukrainian speech patterns, and then Petrov’s death in 1878, were just two setbacks among many that delayed Musorgsky’s work. Nevertheless, the music that made it to the page gives a lively sense of the opera’s imaginative use of Ukrainian folksong, and Musorgsky’s great gift for characterization through music. Fortunately for audiences, Musorgsky’s unfinished operas have long attracted his fellow composers to propose their own completions and orchestrations. It is thanks to these re-evaluations that we have the opportunity to hear these incomplete works, and dream for ourselves what might have been. Boris Godunov runs 14 March–5 April 2016. Tickets are still available. The production is a co-production with Deutsche Oper Berlin and is given with generous philanthropic support from Mrs Aline Foriel-Destezet, The Tsukanov Family Foundation, Simon and Virginia Robertson, The Mikheev Charitable Trust, the Boris Godunov Production Syndicate and an anonymous donor.

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