This week it's the return of LA Opera to WRTI. Plácido Domingo and James Conlon join forces in a new production of Verdi's masterpiece I Due Foscari. The languid canals and boisterous festivals of 15th-century Venice conceal a deadly web of secret plots and vindictive rivalries. Caught up in forces beyond their control, a father and son struggle to reclaim honor in a city that knows no mercy.
Venerated conductor Christoph von Dohnányi conducts the music of two Viennese masters this Sunday, July 21st at 2 pm, in a Philadelphia Orchestra concert from last March at Verizon Hall.
Franz Schubert's beloved "Unfinished" Symphony has taken a rightful place among the standards of the repertoire, even if we may never understand why he abandoned the work after just two enduring movements. And Anton Bruckner's Symphony No. 4, "Romantic," was his first great symphonic success, a breathtaking work that inspires audiences every time it's performed.
Composed 52 years apart, the two works are tailor-made for the dense, glorious string sound of The Fabulous Philadelphians.
Christoph von Dohnanyi talks about the works at Intermission with WRTI's Jim Cotter. Also, during Intermission, WRTI's Susan Lewis discusses the importance of the conductor's approach when performing these two works with Philadelphia Orchestra Concertmaster David Kim.
It's Viennese Masters with The Philadelphia Orchestra, this Sunday from 2 to 4 pm. Gregg Whiteside is host and producer.
Guest conductor Christoph von Dohnanyi conducts The Philadelphia Orchestra in a concert from last March that offers the spirit of Mozart a connecting thread. Perhaps not surprising since, in 1787, the 16-year-old Beethoven traveled to Vienna from his native Bonn to study with Mozart. Though little is known about their encounter, Beethoven, according to legend, impressed the master, but could stay in Vienna only a short time before being called home to tend to his dying mother. Although he never would never see Mozart again, who had died by the time he returned to Vienna to study with Haydn, Beethoven greatly esteemed him as a model.
In the first half of the program this afternoon, we’ll hear one of Mozart’s most dramatic piano concertos, Number 20, in the passionate key of D minor, one which Beethoven himself particularly admired, and for which he in fact wrote the cadenzas that pianist Rudolph Buchbinder will perform.
During intermission, we’ll hear from both maestros Dohnanyi and Buchbinder as they speak with WRTI's Jim Cotter. The program will conclude with Beethoven’s Eroica Symphony, a turning point not only in Beethoven’s career, but in the history of music!
The concert begins with one of Witold Lutoslawski's most accessible and highly expressive works from the 1940s and '50s, his Funeral Music. Gregg Whiteside is host and producer. Sunday, July 14, 2 to 4 pm.
“People Will Say We’re In Love”…“Surrey With The Fringe On Top”…“I Can’t Say No”…“Out Of My Dreams”…and more! You know the songs and you love them all. Set in the West just after the turn of the last century, the high-spirited rivalry between the farmers and cowboys provides the colorful backdrop for one of the greatest Broadway musicals of all time. Here is a story that is both touching and gripping—about growing up and falling in love, dreams and nightmares, and the promise and exuberance of a new land on the verge of statehood.
Composer Santa Ratniece speaks with The Philadelphia Inquirer's David Patrick Stearns.
Donald Nally conducts the first in a three-concert series recorded live in June. The Gulf (between you and me), a major project that has taken years of planning, brings together composers, a poet, an artist, and a variety of musicians from Japan and America to join The Crossing in exploring a particular theme: how we seem to hear what the earth is saying to us with the same, sad inability with which we often listen to those we most love.
Tune in on Sunday, July 14 at 4 pm to hear the first concert in the series, recorded June 15th at the Philadelphia Episcopal Cathedral.
And did you catch The Crossing's performance with The Rolling Stones on June 23rd?
July 14 Program: Gene Coleman: Water of the Last Moment (world premiere) Santa Ratniece: Chu Dal (Silent Water, 2008) Tamar Diesendruck: Other Floods (2010)
With special guests Toshimaru Nakamura& Ko Ishikawa
Philadelphia composer Gene Coleman’s musical language is at times experimental, at other times minimal, often drawing on Japanese influences, improvisation, extended techniques, and Gene’s interest in architecture and structure to create a rich and unique sound world.
Composer Santa Ratniece has recently become one of the most important female composers in Latvia, creating some of the richest landscapes in choral music. Her works describe the deepest lakes, the bluest skies, the quietest plains in a kaleidoscope of sounds that both connects us to the subject and magnifies our distance from it.
Composer Tamar Diesendruck offers a transparent view of deconstructionism. Her setting of Giuseppe Ungaretti’sbrief words moves from a fragmented landscape to a lush harmonic fullness as the words themselves fall together to reveal, ”I am illumined by immensity."
Join Bob Perkins as he broadcasts live from the the Wiggins ParkSunset Jazz Seriesin Camden, NJ on Monday, July 15th at 6 pm. BP will bring you the usual GM from his regular summer post, right next to the big stage at Wiggins Park as the crowd awaits the night’s headliner, Lonnie Liston Smith & the Cosmic Echoes.
“Who wants real? I know I don’t want it. I want magic!” Blanche DuBois—the fading southern belle who retreats into fantasy to escape from the brutal reality in which she’s forced to live. She’s a wounded, haughty, vulnerable, delusional misfit—a woman who won’t face the sensual side of herself and yet always succumbs to it. And when she moves in with her sister Stella and her sexually ruthless husband Stanley—worlds explode.
Joseph Hoch was an influential lawyer in 19th-century Frankfurt whose father had been mayor, and whose mother and wife both were of Swiss aristocracy. Money he had plenty of, but no children, so he decided to leave his fortune to the founding of a Frankfurt conservatory for the arts. The Hoch Conservatory began training students in 1878, almost four years to the day after Joseph’s death. With faculty luminaries such as Clara Schumann, it quickly rose to be a leading German institution, competing with Leipzig and Berlin for students from Europe and elsewhere.