Leonard Weiss wins award to study with Marin Alsop
The Canberra rising star conductor will continue his musical journey at the Peabody Institute in Baltimore.
The Canberra rising star conductor will continue his musical journey at the Peabody Institute in Baltimore.
Leonard Bernstein alive and well 100 years on in Marin county.
Her crush started early, but she really fell for the man while working with him at Tanglewood. Here she tells Clive Paget about the Lenny she loved.
The latest issue of Limelight Magazine, with maestro Riccardo Muti, Simon Russell Beale on The Death of Stalin and Greta Bradman, is now available for subscribers to read online.
Get your copy of Limelight Magazine's April 2018 edition featuring maestro Riccardo Muti, The Death of Stalin's Simon Russell Beale and Howard Shelley on Mendelssohn's A Midsummer Night's Dream.
Our next issue includes interviews with AWO guest maestro Riccardo Muti, Marin Alsop on conducting Lenny and Simon Russell Beale on The Death of Stalin.
Alsop takes up the position of in September 2019, succeeding Cornelius Meister.
As she prepares for Dallas Opera's Institute for Women Conductors, the Aussie maestro discusses gender equality on the podium.
You can only marvel at how far Alsop moves this music forward. This is Bernstein for our times.
Superstar tenor’s Lehár brings down the house as well as the underwear at the famous Last Night.
These ten trailblazing talents are leading the way for women conductors all over the world.
I’m beginning to think that Mahler’s First Symphony is conductor-proof. Almost every version I’ve heard lately has merit and Marin Alsop’s with the Baltimore Symphony is no exception, despite an overall restraint. The opening of the first movement, surely one of the most magical of any symphony, is very slow until the explosion in the coda. In fact, the first three movements are all slightly slower than usual, whereas the final one is slightly swifter. Perhaps the second Scherzo/Ländler movement lacks the last ounce of what Germans call schwung – bounce or swing – but the central section doesn’t sound too inebriated, as it sometime can. I wondered whether or not it was just me who thought that the third-movement funeral march (Frère Jacques in a minor key) seemed to have been recorded at a higher level than the rest, and I’ve since discovered another review which garnered the same reaction. Another unwelcome development is the double bass melody, which forms the backbone of the movement, being played by the entire section, not a solo. The same reviewer who noticed the disparate recording levels also points out, helpfully, that the Jewish klezmer music in the trio is conducted with what…
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