Pacho Flores, new recording for Deutsche Grammophon

Pacho Flores, new recording for Deutsche Grammophon

After his concert in France wit the Orchestre de Cannes on next April the 21st at the Congress Hall of Antibes Juan-les-Pins under the baton of Benjamin Pionnier and with some of his classics like Concerto para corno de Caccia by Neruda, Aria from the Bachiana Brasileira nº 5 by Villalobos, Gypsy Airs by Sarasate and Winter in Buenos Aires by Piazzolla, Pacho Flores will record his third release for Deutsche Grammophon.

Between April the 30th and May the 3rd, Flores will lock himself together with the Arctic Philharmonic Orchestra and conductor Christian Lindberg at the Stormen Concert Hall of Bodo, Norway, to record some outstanding trumpet concertos of the repertoire, together with one of the most interesting trumpet concerto of the modern times and some of Pacho Flores’s specialties (we will give more detailed information soon). Part of this repertoire will be played during an European Tour in November that will take place in venues like Bodo and Tromso Concert Halls, home venues of the Arctic Philharmonic; Amsterdam Concertgebouw, Salzburg Festspielhaus and, in Spain, the Auditorio Príncipe Felipe in Oviedo, Palau de la Música in Valencia and ADDA – Auditorio de la Diputación in Alicante.

deutsche_grammophon_yelolow_label

Pacho Flores, commissions and premieres

Pacho Flores is also developing an ambitious project of shared commission to prominent composers as Arturo Márquez, Roberto Sierra, Paquito D’Rivera, Efraín Oscher and Christian Lindberg, whose premieres will take place all along the world during the next four seasons. First of the commissions, to Arturo Márquez, will be premiered in México, USA, Japan and Spain along the 18/19 season.

pacho_flores_rfg_cantos_tocando_blancoy negro

Besides this project of commissions Pacho Flores will also play the absolute premieres of other works by composers as Daniel Freiberg, Arturo Sandoval, Christian Lindberg and Efraín Oscher, in places like the Nederlands, Argentina, Spain and Germany, respectively, that add to other recent premieres as Cantos y Revueltas, by Pacho Flores himself, with the Real Filharmonía de Galicia and Manuel Hernández-Silva on past January; the Trumpet Concerto by Giancarlo Castro with the Ulster Orchestra and Rafael Payare in February; or Preach, pour trompette et orchestre, by Alain Trudel, with the Orchestre Symphonique de Laval and Trudel himself at the baton, on past March. 

 

 

 

Domínguez-Nieto, Chief Conductor in Córdoba

Domínguez-Nieto, Chief Conductor in Córdoba

The Orquesta de Córdoba has designated Maestro Carlos Domínguez-Nieto as its new Music and Artistic Director since the season 2018/19. Domínguez-Nieto is also Music Director of the Concierto München Chamber Orchestra in Germany since its creation in 1997, was Assistant Conductor of the Spanish National Youth Orchestra and of the Münchner Jugendorchester, Assistant Conductor of Ivan Fischer in the Budapest Festival Orchestra, Music Director at the Münchner Kammeroper and General Musik Direktor of the Landestheater Eisenach.

Carlos Domínguez-Nieto

Debuted at the Teatro Colón in Buenos Aires conducting the Buenos Aires Philharmonic in 1995. In the season 1997/98 he was assistant conductor of the Spanish National Youth Orchestra and of the Münchner Jugendorchester, working with Mstislav Rostropovich and András Ligeti between others. In 1999 he won the position of Assistant Conductor of Ivan Fischer in the Budapest Festival Orchestra. In 2001 won the First Prize in the International Conducting Competition of the Fundación Oriente de Lisboa.

In 2000 Domínguez-Nieto debuted as opera conductor in Salzburg with C. M. von Weber’s Der Freischütz. Since that year till 2005 he is Music Director at the Münchner Kammeroper, where he conducted 13 new productions. From 2009 to 2015 he was General Musik Direktor of the Landestheater Eisenach where he conducted more than 50 titles of opera as well as ballet. Domínguez-Nieto works regularly in the Stadtstheater Klagenfurt, Südostbayerisches Städtetheater, Staatsphilharmonie Halle and Staatskapelle Halle, Münchner Symphonieorchester, Münchner Rundfunk Orchester and Münchner Philharmoniker, Nürnberger Symphoniker, Hofer Symphoniker, WDR Symphonieorchester Köln, Bayerische Kammerorchester, Sinfonieorchester Basel, Brucknerorchester Linz, Württembergische Philharmonie, Nordwestdeutsche Philharmonie, etc.

Furthermore he has conducted the Orquesta de Radiotelevisión Española, Orquesta Sinfónica de Navarra, Orquesta Sinfónica de Castilla y León, Orquesta Filarmónica de Gran Canari, Orquesta Filarmónica de Málaga, Real Filharmonía de Galicia, Warsaw Philharmonic, Hungarian Symphony, the Orchestra of the Hungarian National Opera, Orquestra Metropolitana de Lisboa, Orquesta Filarmónica de Buenos Aires and Sinfónica de Rosario in Argentina, Orquesta de la Universidad Nacional en México and the Aragua, Falcón, Guárico and Mérida Symphonies in Venezuela.

He recorded Sony-BMG and the Radio of Baviera, with the Münchner Rundfunk Orchester, the WDR Symphonieorchester Köln and the Orquesta Filarmónica de Gran Canaria, with soloists as Francisco Araiza, Olga Scheps, Wen-Sinn Yang or Ingolf Turban. Carlos was born in Madrid 1972 where he studied piano, violoncello and composition, and moves to Vienna to study composition and orchestra conducting at the Universität für Musik und darstellende Kunst Wien with Leopold Hager and Uros Lajovic; and at the Universität Mozarteum Salzburg with Dennis-Russell Davis and Jorge Rotter.

 

 

 

Pacho Flores, debut and premiere in Canada

Pacho Flores, debut and premiere in Canada

Glorieuse trompette is the title that the Orchestre Symphonique de Laval gave to the debut concert of Pacho Flores in Canada, in which he will premiere Preach, pour trompette et orchestre by Alain Trudel. The program includes as well some of Flores’ warhorses as the Concerto for Corno da Caccia by J. B. G. Neruda, Soledad, by Efraín Oscher or Invierno Porteño (Winter in Buenos Aires) by Piazzolla, arranged by Oscher. This will be the third Flores’ absolute premiere in 2018, after his own Cantos y Revueltas with the Real Filharmonía de Galicia and conductor Manuel Hernández-Silva in January and the Trumpet Concerto by Giancarlo Castro with the Ulster Orchestra and conductor Rafael Payare in February.

But the actually intense plan of premieres will begin with the 2018/19 season when the big project of shared commission will start. Determined to expand the range of trumpet repertoire, Pacho Flores is developing an ambitious project of commissions to prominent composers such Arturo Márquez, Roberto Sierra, Paquito D’Rivera, Efraín Oscher and Christian Lindberg. This is a four seasons long plan with orchestras from all over the world. First complete commission is to Arturo Márquez, and the scheduled premieres will be in Mexico (September 2018), USA (January 2019), Japan (May 2019) and Spain (August de 2019). 

Pacho Flores Deutsche_Grammophon

The other commissions are going forward with orchestras already committed in Spain, Mexico and USA again, as well as in Brazil and Puerto Rico. This project will have its culmination with two recordings for Flores’ label, Deutsche Grammophon, including all the new commissioned works. On next April Pacho Flores will record his third CD for the yellow label with Arctic Philharmonic Orchestra and its Music Director Christian Lindberg, including the famous Haydn and Arutunian concertos, Christian Lindberg’s Akban Bunka, and arrangements of works by Pablo Sarasate, Astor Piazzolla and Antonio Carlos Jobim. Besides this large and demanding project, Flores will also premiere the new Christian Lindberg’s Double Concerto for trumpet and trombone in Spain in March, 2019, with trombone player Ximo Vicedo; and Arturo Sandoval’s Trumpet Concerto in Argentina in October, 2019.

 

 

 

Alberola and D’Rivera with the Real Filharmonía

Alberola and D’Rivera with the Real Filharmonía

Conductor and clarinetist Vicent Alberola conducts the Real Filharmonía de Galicia to accompany Paquito D’Rivera and the Pepe Rivero Trío in two concerts that will take place at the Auditorio de Galicia in Santiago and the Teatro Colón in A Coruña on next March the 1st and 2nd. Alberola will play also clarinet together with Paquito Paquito this last one’s own piece Contradanza y Vals venezolano (for two clarinets, piano and strings). In the program there will be more D’Rivera’s works, standing out his Cape Cod Concerto, for clarinete, jazz trio and orchestra. The Pepe Rivero Trío is formed by Pepe Rivero, piano; Reinier “El Negrón” Elizarde, double bass and Michael Olivera, drums.

Principal conductor of the Orquesta del Real Sitio, the 430 Vigo Chamber Orchestra and guest conductor of the Opera of Perm, Russia, at the same time he is also principal clarinet of the Mahler Chamber Orchestra and Les Dissonances Paris. Vicent Alberola has directed at the Teatro Real of Madrid with Madrid Symphony the following operas: Rita, by G. Donizetti, La Bohème, by G. Puccini, Don Giovanni, by W. A. Mozart, Persephone, by I. Stravinsky, El Gato con Botas, by X. Montsalvatge, Iolanta, of P. I. Chaikovsky, G. Verdi’s Macbeth and most recently L’Elissir d’Amore, by G. Donizetti. At the same time he has directed several symphonic programs with the Madrid Symphony Orchestra, the Opera Orchestra of Perm, Orchestra of Valencia, Orchestra of Valles, the National Youth Orchestra of Spain, Symphony of Castilla y León, the MMCK of Tokyo and the group Musica Aeterna from Perm, Russia.

Vicent Alberola plano medio cabeza perfil color batuta bolsillo

His studies were conducted with Walter Boeykens at the Royal Conservatory of Antwerp, Belgium, George Pieterson (Royal Concertgebouw Orchestra) and Larry Combs (Chicago Symphony Orchestra). Alberola was for more than 20 years first clarinet Madrid Symphony Orchestra and Galicia Symphony Orchestra. During the past decade has been guest principal clarinet with the Royal Concertgebouw Orchestra, New York Philharmonic Orchestra, Lucerne Festival Orchestra, Mahler Chamber Orchestra, Orchestre Les Dissonances MMCK Tokyo and Orchestra, groups with whom we have had the opportunity to play the great symphonic repertoire under the baton of Claudio Abbado, Mariss Jansons, Riccardo Muti, Daniele Gatti, Daniel Harding, Andris Nelsons, Gustavo Dudamel, and Alan Gilbert Nicola Luisotti, among others. He discovered his vocation as a director with the Youth Symphony Orchestra of Galicia in 1996, the group he artistic director during eight years. In 2003 he was appointed director of the Youth Orchestra of the Opera de Madrid and in 2007 director of the Youth Orchestra of Soria.

 

 

 

Review on Pacho Flores in Belfast

Review on Pacho Flores in Belfast

Review on Pacho Flores in Belfast. Ulster Orchestra’s stunning new concerto gives nod to classic jazz of Fifties. 

By Alf McCreary, Belfast Telegraph

When the world premiere of a concerto is announced nowadays, some people wince in case it is another of those technically brilliant pieces which turns out to be utterly boring. Thankfully, this was not the case with Giancarlo Castro’s Concerto, titled Stunning Trumpet, premiered in the Ulster Hall by the Ulster Orchestra and its music director Rafael Payare to stunning effect. This concerto was played with remarkable skill and gusto on not one, but four trumpets (though not at the same time) by soloist Pacho Flores.

He has deep roots in Latin America, and he and Payare played together in the well-known Simon Bolivar Orchestra in Venezuela. The music of Castro’s new Trumpet Concerto is deeply embedded in the Latin American, jazz and cinema tradition, and it is captivating from start to finish. The concerto is bursting with many different melodies and rhythms, and for most of the piece the Ulster Orchestra played like a Fifties Big Band swinging its way through a major jazz concert. One hopes that Stunning Trumpet will soon be on CD to enrich many a car journey. For good measure, the soloist underlined his range by playing Neruda’s delightful 18th century Trumpet Concerto, and ended in the Latin-American idiom with Piazzolla’s charming Winter in Buenos Aires.

The wide-ranging concert began with the wistful and dreamlike Prelude a l’apres-midi d’un faune, to mark the centenary of the death of Debussy, who also wrote the celebrated La Mer – even if he was unable to swim. The warmly-received concert ended with a riveting performance of the Hungarian Bela Bartok’s orchestral showpiece Concerto for Orchestra, a work of genius written in only eight weeks by the composer who was suffering from leukaemia and died tragically just two years later at the age of 64. Maestro Payare has been appointed as full-time music director of the San Diego Symphony from the autumn of 2019, so catch this world-class young conductor in Belfast while you can.

 

 

 

Pacho Flores, absolute premiere with the Ulster Orchestra

Pacho Flores, absolute premiere with the Ulster Orchestra

The amazing trumpet player Pacho Flores will premiere the new Trumpet concerto dedicated to him by composer Giancarlo Castro with the Ulster Orchestra under the baton of its Chief Conductor Rafael Payare. This premiere will take place at the Ulster Hall of Belfast on next February the 23rd. Pacho Flores has obtained a huge success with the recent premiere of his own piece Cantos y Revueltas just one month ago with Manuel Hernández-Silva, Leo Rondón and the Real Filharmonía de Galicia, and “bringing to dance the whole Palacio Euskalduna” with Alondra de la Parra and the Bilbao Symphony Orchestra. Shortly he will be in Norway to record his third release for the label Deutsche Grammophon, with the Arctic Philharmonic Orchestra and Christian Lindberg.

Pacho Flores

Between his next engagements stands out the large project of commissions of new trumpet concertos to prominent composer as Arturo Márquez, Roberto Sierra, Paquito D’Rivera, Efraín Oscher or Christian Lindberg, to be premieres for many orchestras all around the world. First of the commissions, to the Mexican composer Arturo Márquez, will have its premieres along the 2018/19 season in Mexico, the US, Japan and Spain. Besides this project, that season he will also premiere a new Double concerto for trumpet, trombone and orchestra by Christian Lindberg with a Spanish orchestra, where Christian will also appear as a conductor.

pacho_flores_rfg_cantos_tocando_blancoy negro

Copyright RFG

These new commissions will take part of new releases for Deutsche Grammophon. In addition, new engagements will bring him along the next months to Norway, Switzerland, Canada, the Netherlands, US, France, Colombia, Puerto Rico, Brazil, and two new tours with the Arctic Philharmonic and the Israel NK Orchestra are already scheduled to bring him again to Norway, the Netherlands, Germany, Austria and Spain, where it will finish with three concerts in Alicante, Valencia and Oviedo in November 2018.

 

 

 

 

Pacho Flores, New Year in Salzburg

Pacho Flores, New Year in Salzburg

Pacho Flores will star the New Year Concert in Salzburg playing Gershwin and Armstrong with the Philharmonie Salzburg under the baton of Elizabeth Fuchs. Concerts will be on next Monday the first of January, 2018 in double session of 15:00 and 19:00 hours.

Pacho Flores New Year Concert in Salzburg

Pacho Flores, trumpet

Pacho Flores is the most important thing to happen to the trumpet since Miles Davis (Álvaro Gallegos)

Francisco ‘Pacho’ Flores is a first-prize winner of the Maurice André International Competition, the world’s most important trumpet contest, as well as the first prize at the International Competition Philip Jones and First Prize at the International Competition Citta di Porcia. Recently he was awarded with the Gold Medal by the Global Music Awards for ENTROPÍA, his last recording for Deutsche Grammophon with guitar player Jesús ‘Pingüino’ González.

A product of the ground-breaking ‘El Sistema’, he is becoming increasingly recognized for his outstanding performing and recording activity that spans the solo, chamber, and orchestral media. Equally at home in the classical and folk styles, Pacho captivates audiences with his energetic delivery and colourful tone.

Portada del disco de Pacho Flores en Deutsche Grammophon

His solo performances include appearances with orchestras such as Turku Philharmonic, Arctic Philharmonic, Norrköping Symphony, Norddeutschen Philharmonie Rostock, Kiev Philharmonic, St. Petersburg Camerata, Ensemble Orchestral de Paris, NHK Symphony, Tokyo Symphony, Osaka Philharmonic, Hyogo PAC Orchestra, Tucson Symphony, Sinfónica Nacional de México, Sinfónica Nacional de Puerto Rico, Filarmónica de Málaga, Sinfónica de Baleares, Real Filharmonía de Galicia, Sinfónica de Bilbao, Sinfónica de Tenerife or Simón Bolívar Orchestra of Venezuela. In recital, he has performed in venues such as the New York Carnegie Hall, the Paris Salle Pleyel and the Tokyo Opera City.

A founding member of the Venezuelan Simón Bolívar Brass Quintet, he has toured with the quintet extensively in Europe, South America, the United States, and Japan. An experienced orchestral musician, Mr. Flores has played first trumpet in the Simón Bolívar Orchestra of Venezuela, the Saito Kinen Orchestra, and the Miami Symphony, under the direction of Claudio Abbado, Sir Simon Rattle, Seiji Ozawa, Giusseppe Sinopoli, Rafael Frühbeck de Burgos, and Gustavo Dudamel, among others. A founding director of the Latin American Trumpet Academy in Caracas, he mentors a promising generation of budding musicians and is a frequent guest at conservatories in Finland, Spain, France, Japan, and Latin America, as permanent jury member in prestigious international competitions.

Pacho Flores is an avid champion of new music and is bringing about important innovations to trumpet performance and fabrication. His repertoire includes commissions and premieres of works by composers such as Roger Boutry, Efraín Oscher, Giancarlo Castro, Santiago Báez, Juan Carlos Nuñez, Sergio Bernal, Arturo Márquez, Roberto Sierra or Paquito D’Rivera. His first album La trompeta Venezolana  has been released by the label GUATACA Producciones.

A Stomvi artist, he performs with instruments tailored specially for him by this prestigious firm and actively participates in the development and innovation of their instruments. Francisco Pacho Flores is a Deutsche Grammophon exclusive artist with already two recordings, Cantar, with Konzerthaus Orchester Berlin and Christian Vásquez; and Entropía, Gold Medal of the Global Music Awards. Next will be with Arctic Philharmonic and Christian Lindberg.

 

 

 

Pacho Flores, premiere in Santiago with Hernández-Silva

Pacho Flores, premiere in Santiago with Hernández-Silva

Trumpet player Pacho Flores and conductor Manuel Hernández-Silva will premiere Pacho Flores’ new composition, Cantos y revueltas, with the Real Filharmonía de Galicia in Santiago, Vigo and Coruña on next January the 11th, 12th and 13th, 2018. The piece, for solo trumpet, strings and ‘Venezuelan cuatro’, is based on folk tunes and work chants of the reach Venezuelan folklore. They will be supported by cuatro player Leo Rondón. Besides the premier, Pacho will also play Neruda’s Concerto for corno da caccia, and Villalobos’ Aria, from the Brazilian Bachiana nº 5.

composición de fotos de pacho flores y manuel hernández-silva

In the second part of the program, Hernández-Silva conducts Revueltas’ Redes and Ginastera’s Dances from the Ballet Estancia. Manuel, Chief Conductor of the Malaga Philharmonic Orchestra, has been recently designated new Chief Conductor of the Navarra Symphony Orchestra. Hernández-Silva, who have received outstanding ovations in his debut with the Spanish National Orchestra, will follow an intense guest conducting activity visiting the Orquesta de Extremadura and the Puerto Rico Symphony Orchestra; and conducting Mozart’s Cosí fan tutte in the Teatro Cervantes in Malaga.

After Santiago, Pacho will play again Efraín Oscher’s Concierto Mestizo and Christian Lindberg’s Akban Bunka, with the Bilbao Symphony Orchestra under the baton of Alondra de la Parra. Pacho premiered the Concierto Mestizo in 2010 in Caracas with Domingo García Hindoyan and the Simón Bolívar Orchestra, and since then he played it more than 25 times all along the world, as in the opening concert of the Tenerife Symphony Orchestra season on past October under Perry So. In February the 23rd, Pacho will play another world premiere, the new Trumpet Concerto by Giancarlo Castro, dedicated to him, with Rafael Payare and the Ulster Orchestra.

pacho flores composición portadas y premio

Deeply committed with the expansion of solo trumpet repertoire, Pacho is developing an ambitious project of shared commissions for new trumpet concertos to outstanding composer such as Arturo Márquez, Roberto Sierra, Paquito D’Rivera, Efraín Oscher and Christian Lindberg, to be premiered all around the world along the season 18/19 and following. First of these commissions, Arturo Márquez’s one, will be played eight times between October 2018 and August 2019 in Mexico, USA, Japan and Spain.

 

 

 

Hernández-Silva, Chief Conductor in Navarra

Hernández-Silva, Chief Conductor in Navarra

Spanish-Venezuelan Maestro Manuel Hernández-Silva has been designated Musical and Artistic Director of the Navarra Symphony Orchestra since season 2018/19. Contract will have a duration of three seasons and will begin on September the 1st of 2018. Hernández-Silva is a well known conductor in Navarra as he conducted the orchestra four times before, two of them on the past 2016/17 season: a series concert with music by Shostakovich; and Haendel’s Messiah to celebrate the 70th Anniversary of the prestigious Pamplona Chamber Choir. 

Hernández-Silva is current Musical and Artistic Director of the Malaga Philharmonic Orchestra and held the same position formerly in Murcia Symphony Orchestra and Cordoba Orchestra, as well as Music Director of the Andalusia Youth Orchestra, all in Spain, and he was also Principal Guest Conductor of the Simon Bolivar Symphony Orchestra. Manuel studied at the Vienna Superior Conservatory, where he earned his degree with honours, under the direction of Reinchard Schwarz and Georg Mark. From then, his career has brought him to all Europe, North and Latin America and Asia. Resident in Spain since 2005, he is also guest often to the most important Spanish orchestras. Between his recent and next engagements, stand out his debuts with the Spanish National Orchestra and the Tucson Symphony Orchestra, his return to the Puerto Rico Symphony Orchestra and Medellin Philharmonic, or, back in Spain, the Royal Galicia Filharmonia or Extremadura Orchestra, as well as his debut in both theatres Cervantes in Malaga and Villamarta in Jerez conducting Mozart’s Cosí fan tutte.

Ensayo de Manuel Hernández-Silva con la academia de Estudios Orquestales

Deeply committed with pedagogy, he has worked with the Spanish National Youth Orchestra, the Barcelona Youth Orchestra, the Orchestral Practice Workshop of the Baremboim-Said Foundation and, in a more straight way as he was its Musical Director, with the Andalusia Youth Orchestra. He is also often guest to lectures and master classes, and he uses to organise and teach courses of orchestra conducting.

 

 

 

Kun-Woo Paik and Beethoven, Endless journey

Kun-Woo Paik and Beethoven, Endless journey

By Prof. Satoru Sakaku, musicologist, professor at Tokyo University, for Auditorium Magazine. Translation to English by Mrs. Miyoko Weissenberg

Kun-Woo Paik in 2017 has been continuing his pilgrimage with Beethoven’s piano sonatas for over 6 months. From the end of March to the middle of October, thirty-two recitals were given in 24 cities of Korea, the same number of recitals as that of complete piano sonata works by Beethoven. He kept playing exclusively Beethoven’s piano sonatas. The recital was titled as “ Kun-Woo Paik and Beethoven, Endless journey”. I found it is a well-thought title, as the concept of “journey” is not linked to classical music in Japan. The climax of these continuous recitals cycle was the complete 32 works of Beethoven piano sonata’s recitals held at the concert hall of Seoul Arts Center from September 1st to 8th. It has been 10 years since Mr. Paik had presented the complete sonatas in 2007, and he must be surely the first Korean pianist having performed complete sonatas recitals for two times.

In the past when «Beethoven performers» like Backhaus, Kempff, Serkin or Arrau had been active, they were presenting Beethoven’s complete piano sonatas wherever they went. Even nowadays, there are pianists such as Rudolf Buchbinder, whose specialty is Beethoven’s complete piano sonatas performance. But they do not have repertoires as large as that of Mr. Paik’s, and it was not necessary for them to have that. How Mr. Paik who acquires such diverse repertoires of piano music represents his second performance of complete piano sonatas by Beethoven, a decade after his first recitals? It is an “event“ for not only Asia but also in the whole world of piano performance. I, who heard his performance of complete works 10 years ago at Guangzhou in China, went to Seoul to listen all of the recitals as well.

The most important aspect of performing the complete piano sonatas recitals is to construct the structure of the program. How these 32 works can be combined, by period of composition, tonality, scale of the piece or level of difficulty, or where “The well-known sonata” shall be included in the program (obviously one must think of marketing), etc., the pianist is tested to be intellectually insightful and musically analytical, and for listener it brings pleasure of discovering the performer’s intention of the program.

What Mr. Paik has represented in his program must be one of a “model response”. One shall pay attention to the fact that it is not the same program structure as that of 10 years ago. He was also using the score by Heinrich Schenker’s editions for this recitals. As far as I remember, he must has been using score by Henlé editions at the recitals of 10 years ago.

  1. Sep. 1st.:  Sonata nº 20, nº 1, nº 19 / nº 15 «Pastoral», nº 8 «Pathétique»
  2. Sep. 2nd.: Sonata nº 5, nº 3 / nº 12, nº 14 «Moonlight»
  3. Sep. 3rd.: (afternoon) Sonata nº 6, nº 7 / nº 16, nº 17 «The Tempest»
  4. Sep. 4th.: (evening) Sonata nº 10, nº 2 / nº 22, nº 23 «Appassionata»
  5. Sep. 5th.: Sonata nº 11, nº 18 «The hunt» / nº 9, nº 25, nº 21«Waldstein»
  6. Sep. 6th.: Sonata nº 4, nº 24 / nº 13, nº 26 «Les adieux»
  7. Sep. 7th.: Sonata nº 27, nº 28 / nº 29 «Hammerklavier»
  8. Sep. 8th.: Sonata nº 30, nº 31, nº 32 (without intermission)

I will give you a brief summary of my impressions as follows. The first recital which gives an overview of the early period of Sonatas known to be the three core works for piano students (nº 1, nº 19, nº 20), was a the most pedagogical and a rare opportunity to be performed by such a great Piano master as Mr. Paik. The second movements of «Pastoral» and «Pathétique» were performed with such deep feeling and became the moments of the night.

The second recital was combined by related tonality in major and minor in each session; one could feel at the latter part that there was the image of a funeral procession. The dotted rhythm that appeared in the first movement of the moonlight sonata implies a funeral bell and not the moonlight shining upon lake Leman* if the musical-rhetorical figure is taken for granted. He performed the 2nd and 4th movement of the  «Funeral March sonata» and the last movement of «Moonlight sonata» lively with plenty of energy, displaying the contrast between life and death.

At the third and fourth recital, he performed sonatas from the early period to two works (nº 16, nº 17) which led to «new road», then «Appassionata», offering various styles of 8 sonata pieces in one day held listeners’ attention. How marvellously he played at the short cadenza of 90 measures in the second movement of nº16! His performance of «The Tempest» and «Appassionata» which he also performed in Japan in the past, reminded me of the important Sumo match between highest-ranged «Ōyokozuna» sumo wrestlers’. He dominated the hall by his sense of uniformity in concentrated expressions at the last movement of « The Tempest», or by the coda in «Appassionata» which made me imagine an explosion of galaxy.

Mr. Paik’s’ fifth recital was quite brilliant, with his dynamic and passionate performance at the last movements of « The hunt» and « Waldstein», or with optimum expressions given to nº9 and nº 25 sonata which were like chamber music. At his 6th recital, three sonatas in E-flat major were aligned, he carefully represented each characteristic part in these movements, and the splendid performance of «Les adieux» deserved to be the final to conclude this recital.

Only the later period of 6 sonatas are left for recitals at last. The Sonata nº 27and nº 28 played in the first part of 7th recital could have been even better performed and be excellent by such an experienced and accomplished pianist as Mr. Paik. This was because probably at the beginning of nº 27, the chord of his right hand did not play as he intended and the first movement became incoherent due to this unexpected occurrence. It seemed to me that there is still some room left for consideration for tempo of each movement of No.28’s. The second and last movement’s allegro could have been adequate with a slightly calmer tempo. It is normal to have such occurrences, as recitals are organised almost every day, for 8 times.

His performance of «Hammerklavier» deserves to be one of the best performance one could listen at present. Among other active pianists, maybe Mr. Grigory Sokolov is the only one who can perform as same level as Mr. Paik. Mr. Sokolov’s Hammerklavier can be described as if he constructs in more than 50 minutes a great complex of Buddhist temples, while Mr. Paik will let us hear with large scale of lively grace of “Qi” (energy flow according to Chinese tradition), which he brought from the space. When it comes to the third movement, there is no one aside from Mr. Paik who could express such human and profound emotions.

On the eighth recital, Mr. Paik performed the three last sonatas perfectly, bringing the whole audience to completely a different world. The profound silence that came after he played the last cord of the last sonata, was the most noble and sublime moment achieved after the performance of 32 works by this superhuman pianist. Even if it was not done this time, I hope one day the 6 sonatas live performance would be recorded on CD.

It shall also be mentioned that the audience listened motionlessly to each one of 32 sonatas. Korea is at present a leading country of piano in Asia where they produce many young talented pianists. This is made possible due to people such virtuosos as Mr. Paik, teachers who have a global vision, and audiences who have great sensibility and ability to grasp musical expressions and emotions. The audiences who sincerely enjoy the performance, and give an explosive applause as soon as performance is finished (also endless requests for autographs and souvenir picture taking), are the ones supporting the foundation of Korean Piano world’s prosperity.

All together, the interpretation of Beethoven’s sonata by Mr. Paik during the cycle of these recitals was different from that of 10 years ago, and also from what we hear from CD. His free performing style was quite astonishing. He split in two hands for leaps of octave and chords in « Hammerklavier» and beginning of No.32, also in the same way for the opening part (so called the phrase of “Mannheim rockets”) and in bar 16-17th. of the No.7 on the third movement. He is often at a standstill when his impulsive desires for musical expression exceed the capability of piano as the instruments, but this shall be accepted as one of his characteristic side of his art.

Kun-Woo Paik portada disco sonatas Beethoven

His pianism from technical, physical and mental aspects are all at a complete maturity state. In my opinion, the essential qualities in his performance is his capacity of «spirit channeling ». While the ultimate goal of occidental music is to go beyond, ascending to heaven, to an ideal world, Mr. Paik communicates with composers’ spirit in heaven when interpreting his compositions, and brings them back to be possessed as he likes. It is an opposite vector.

This “possession” creates a particularly realistic atmosphere as if Beethoven himself was playing during Mr. Paik’s performance, and became a source for such a strong persuasion to the audience. In other words, Mr. Paik is a Shaman piano performer (or, Mudang and Baksu in Korean Shamanism), with the aesthetics, which have Asian particularity. Such « possessive » style of pianists are not seen in Korea nor in Asia.

Spiritually rich and sophisticated “Theatricality“, in his production of music and gesture during his performance is also his particularity and not seen with other pianists. I wonder if he obtained this capacity through the influence of his beloved Partner Yoon Jeong-hee. This quality brings the best effect when one interprets works of composer such as Beethoven, whose musical works are mainly constituted of dramatical contrasts.

Previously, Mr. Paik had realized “Theatricality “ and “possession” though great amount of concentration and strong determination. But since this recital, these elements are more relaxed, and we see as ”Two beings”, Beethoven and Mr. Paik appearing freely one after another during performance. He succeeds to give the ideal expressions depending on the musical character of each movement on sonata, and made almost the best interpretation we can listen.

There is another thing that became clear to me. It is his future picture. Mr. Paik will probably be the first Asian master pianist who will be successful at forefront throughout his life, like Mr. Horowitz who was recording until the day before he passed away, or Mr. Rubinstein who gave recitals until 89 years old, or Mr. Horszowski who was an active performer until 99 years old. Mr. Paik’s achievement of this second integral Beethoven piano sonata recitals, brought his pianism and as a person too, to a new higher level. One shall keep more eyes on his further success.

 

 

 

Perry So, Magic Flute at Royal Danish Opera

Perry So, Magic Flute at Royal Danish Opera

Maestro Perry So, who recently joined ACM Concerts, conducts 11 of the 20 performances of Marco Arturo Marelli’s production of The Magic Flute at the Royal Danish Opera in Copenhague. Performances will take place on December 5, 7, 9, 12, 14 y 20 , January 12 , February 27, and March 1, 4 and 11.

In the while he will also conduct the Cape Philharmonic Orchestra in a four programs festival, Vancouver Symphony and the Manhattan School Chamber ORchestra; then he will come back twice to Spain to conduct the Orquesta Sinfóncia de Principado de Asturias on March 22 and 23 and April 19 y 20; and to Germany to conduct the Nürnberg Symphoniker.

Perry So

Recent debuts include the Cleveland and Minnesota Orchestras, Houston, Detroit, New Jersey, Israel and Shanghai Symphony Orchestras, the China Philharmonic, and the Residentie Orkest in the Hague. He has been a frequent guest both at Walt Disney Hall and the Hollywood Bowl following his stint as an inaugural Dudamel Conducting Fellow of the Los Angeles Philharmonic. He led the Hong Kong Philharmonic with Lang Lang in an internationally televised celebration of the 15th Anniversary of Hong Kong’s return to China at the close of his four years as Assistant, then Associate Conductor. He toured the Balkan Peninsula with the Zagreb Philharmonic in the first series of cultural exchanges established after the breakup of Yugoslavia.

Perry So casual fondo blanco

So received the First and Special Prizes at the Fifth International Prokofiev Conducting Competition in St Petersburg. His recording of Barber and Korngold’s Violin Concertos with violinist Alexander Gilman and the Cape Town Philharmonic Orchestra was awarded the Diapason d’Or in January 2012. He has recorded extensively with the BBC National Orchestra of Wales and the BBC Concert Orchestra.

He is known for his wide-ranging programming, including numerous world premieres on four continents and works from the Renaissance and the Baroque. He has conducted productions of Così fan tutte, Die Zauberflöte, Turn of the Screw, Giulio Cesare, Gianni Schicchi, and Die Fledermaus. His commitment to working with young musicians has taken him to the Australian Youth Orchestra, the Round Top Festival, the Manhattan School of Music, the Hong Kong Academy for the Performing Arts, and the Yale School of Music. He has assisted Edo de Waart, Esa-Pekka Salonen, Gustavo Dudamel, Lorin Maazel and John Adams. Born in Hong Kong, Perry So holds a degree in Comparative Literature from Yale University.

 

 

 

Pacho Flores, Israel Tour with Christian Lindberg

Pacho Flores, Israel Tour with Christian Lindberg

Recently returned from the tour that took him to five China cities, next November, 24 Pacho Flores begins a new tour in Israel with the Israel NK Orchestra under the baton of its Chief Conductor, Christian Lindberg, that will take him to the cities of Givat Brenner, Ein Hahoresh, Jordan Valley, Tel Aviv, Netanya, Neharya and Mizra, where finish on December, 2. The program, titled “Breathtaking Virtuosity”, includes the Concert for two trumpets by Vivaldi, that Pacho shares with the orchestra soloist Guy Sarig, and Akban Bunka by the own Lindberg.

Pacho Flores Deutsche Grammophon

But the cooperation between these two artists has a larger scope: Lindberg will conduct Pacho and the Arctic Philharmonic in the third recording of Pacho for Deutsche Grammophon. The recording will take place at the Stormen Konserthus, Norway, between April the 30 and May the 4, 2018. In November 2018 the same artists and orchestra will make a European Tour; and in 2019 Pacho will perform the absolute premiere of the new trumpet concerto that Lindberg is composing for him, with a Spanish orchestra and under own Lindberg conducting. Actually Lindberg tells that Pacho is the new star on the sky of brass.

Pacho Flores, commissions and premieres

Between the most relevant commitments of Pacho for the near future, it stands out the shared commissions of new trumpet concertos dedicated to him to premier all around the world along the next seasons. First of all, Arturo Marquez’s, will be premiered between September 2018 and August 2019 in Mexico, USA, Japan and Spain. Next are Roberto Sierra and Paquito D’Rivera whose premieres will take place between 2018 and 2020. All of the three new concertos will be recorded together with Efraín Oscher‘s Mestizo, a concert premiered in 2010 by Pacho and performed more than two dozens of times since then.

In the while Pacho will also premiere a work by himself, Cantos y Revueltas, inspired on work songs and traditional Venezuelan music, with the Real Filharmonía de Galicia under Manuel Hernández-Silva‘s baton the bext 11, 12 and 13 of January, 2018 in Santiago, Vigo and A Coruña; and a new concerto by Giancarlo Castro with the Ulster Orchestra and Rafael Payare on the 23 of Febrero, 2018.

 

 

 

 

Vicent Alberola joins ACM Concerts

Vicent Alberola joins ACM Concerts

ACM Concerts is proud to announce that conductor and clarinetist Vicent Alberola joins our roster in exclusive representation. Renowned as one of the best clarinetists of today, he combines both careers since he begin to conduct already twenty years ago.

Vicent Alberola

Vicent Alberola is Principal conductor of Orquesta del Real Sitio, the 430 Vigo Chamber Orchestra and guest conductor of the Opera of Perm, Russia, at the same time he is also principal clarinet of the Mahler Chamber Orchestra and Les Dissonances, in Paris. He discovered his vocation as a director with the Youth Symphony Orchestra of Galicia in 1996, the group he artistic director during eight years. In 2003 he was appointed director of the Youth Orchestra of the Opera de Madrid and in 2007 director of the Youth Orchestra of Soria. 

Vicent Alberola joins ACM Concerts

Vicent Alberola. Photo: Ricardo Ríos

Vicent Alberola has directed at the Teatro Real of Madrid with Madrid Symphony the following operas: Rita, by G. Donizetti, La Bohème, by G. Puccini, Don Giovanni, by W. A. Mozart, Persephone, by I. Stravinsky, El Gato con Botas, by X. Montsalvatge, Iolanta, of P. I. Chaikovsky, G. Verdi’s Macbeth and most recently L’Elissir d’Amore, by G. Donizetti. At the same time he has directed several symphonic programs with the Madrid Symphony Orchestra, the Opera Orchestra of Perm, Orchestra of Valencia, Orchestra of Valles, the National Youth Orchestra of Spain, Symphony of Castilla y León, the MMCK of Tokyo and the group Musica Aeterna from Perm, Russia.

His studies were conducted with Walter Boeykens at the Royal Conservatory of Antwerp, Belgium, George Pieterson (Royal Concertgebouw Orchestra) and Larry Combs (Chicago Symphony Orchestra). Alberola was for more than 20 years first clarinet Madrid Symphony Orchestra and Galicia Symphony Orchestra. During the past decade has been guest principal clarinet with the Royal Concertgebouw Orchestra, New York Philharmonic Orchestra, Lucerne Festival Orchestra, Mahler Chamber Orchestra, Orchestre Les Dissonances MMCK Tokyo and Orchestra, groups with whom we have had the opportunity to play the great symphonic repertoire under the baton of Claudio Abbado, Mariss Jansons, Riccardo Muti, Daniele Gatti, Daniel Harding, Andris Nelsons, Gustavo Dudamel, and Alan Gilbert Nicola Luisotti, among others.

 

 

 

Christian Vásquez joins ACM Concerts

Christian Vásquez joins ACM Concerts

ACM Concerts is proud to announce that Venezuelan conductor Christian Vásquez joins our roster in exclusive representation for Spain and Portugal. Despite his youth, Christian is Chief Conductor of the Stavanger Symphony Orchestra, in Norway; and Principal Guest Conductor of the Het Gelders Orkest, in Arnhem, Holland. In addition he is also Chief Conductor in the Orquesta Sinfónica Teresa Carreño in Venezuela; and he was also Principal Guest Conductor of the Gävle Symphony Orchestra between 2010 and 2013.

Christian Vásquez, conductor

Christian Vásquez became Chief Conductor of the Stavanger Symphony Orchestra at the beginning of the 2013/14 season, inaugurating the start of an initial four-year term with Mahler Symphony No. 2 in the orchestra’s new hall in August 2013. The 2015/16 season saw him become the Principal Guest Conductor of the Het Gelders Orkest, starting his tenure with a tour of the Netherlands featuring an all-Latin programme. He is also Music Director of the Teresa Carreño Symphony Orchestra of Venezuela, notably leading them on a tour of Europe which saw them perform in London, Lisbon, Toulouse, Munich, Stockholm and Istanbul.

Christian_Vasquez_Noticia_ACM Concerts

Christian Vásquez by Wolf Marloh

Following his debut with the Gävle Symfoniorkester in October 2009, one of his first appearances in Europe, Christian was appointed Principal Guest Conductor (2010-2013). He has worked with the Philharmonia Orchestra, Residentie Orkest, Orchestre de la Suisse Romande, Vienna Radio Symphony, Camerata Salzburg, State Symphony of Russia, Tokyo Philharmonic and Singapore Symphony. In North America, he has conducted the National Arts Centre Orchestra (Ottawa) and Los Angeles Philharmonic, the latter during his participation in their Young Artist Fellowship programme.

Christian’s 2013/14 season included projects with the Royal Northern Sinfonia, Orchestre National du Capitole de Toulouse, Galicia Symphony, Berlin Konzerthausorchester, Prague Radio Symphony, Warsaw Beethoven Festival and Turku Philharmonic. 2014/15 saw Christian’s first opera engagement in Europe at the Norwegian Opera for Carmen as well as returns to the Arnhem Philharmonic, Helsinki Philharmonic, and Turku Philharmonic. Highlights of the 2015/16 season included projects with the Orchestre Philharmonique du Luxembourg, the Prague Radio Symphony, and Poznan Philharmonic. Last season, Christian made his debut with the Rotterdam Philharmonic and with the New Jersey Symphony Orchestra and Pinchas Zukerman. He also reunited with the Turku Philharmonic, Helsinki Philharmonic and collaborated with the Estonian National Symphony Orchestra. The summer also saw Christian make his debut with the Norwegian National Youth Orchestra on a European tour.

In addition to his regular commitments in Stavanger and Arnhem, 2017/18 sees Christian return to the Danish National Opera for New Year’s concerts with the Royal Danish Orchestra. He will also make his debut with the Norwegian Radio Orchestra. Further orchestral highlights include collaborations with the RTE National Symphony Orchestra of Ireland and a European tour with the Het Gelders Orkest.

 

 

 

Conductor Perry So joins ACM Concerts

Conductor Perry So joins ACM Concerts

ACM Concerts is proud to announce that the conductor from Hong Kong, Perry So, joins our roster in exclusive representation for Spain and Portugal. First and Special Prizes in the Prokofiev International Conducting Competition in St. Petersburg and first Dudamel Conducting Fellow at the Los Angeles Philharmonic, So comes from an amazing Opening Concert with the Orquesta Sinfónica de Tenerife and trumpet player Pacho Flores.

In the 2017-18 Season, conductor Perry So returns to the Orquesta Sinfónica del Principado de Asturias as the orchestra’s Artistic Partner. He makes his European operatic debut at the Royal Danish Opera in Die Zauberflöte, opens the season at the Orquesta Sinfónica de Tenerife, and debuts with the Szczecin Philharmonic and the Nürnberger Symphoniker, which he will lead on tour to Milan. Other highlights include a return to the Vancouver Symphony, and a four-program festival with the Cape Town Philharmonic.

Recent debuts include the Cleveland and Minnesota Orchestras, Houston, Detroit, New Jersey, Israel and Shanghai Symphony Orchestras, the China Philharmonic, and the Residentie Orkest in the Hague. He has been a frequent guest both at Walt Disney Hall and the Hollywood Bowl following his stint as an inaugural Dudamel Conducting Fellow of the Los Angeles Philharmonic. He led the Hong Kong Philharmonic with Lang Lang in an internationally televised celebration of the 15th Anniversary of Hong Kong’s return to China at the close of his four years as Assistant, then Associate Conductor. He toured the Balkan Peninsula with the Zagreb Philharmonic in the first series of cultural exchanges established after the breakup of Yugoslavia.

Perry So frontal azul

Perry So received the First and Special Prizes at the Fifth International Prokofiev Conducting Competition in St Petersburg. His recording of Barber and Korngold’s Violin Concertos with violinist Alexander Gilman and the Cape Town Philharmonic Orchestra was awarded the Diapason d’Or in January 2012. He has recorded extensively with the BBC National Orchestra of Wales and the BBC Concert Orchestra.

He is known for his wide-ranging programming, including numerous world premieres on four continents and works from the Renaissance and the Baroque. He has conducted productions of Così fan tutte, Die Zauberflöte, Turn of the Screw, Giulio Cesare, Gianni Schicchi, and Die Fledermaus. His commitment to working with young musicians has taken him to the Australian Youth Orchestra, the Round Top Festival, the Manhattan School of Music, the Hong Kong Academy for the Performing Arts, and the Yale School of Music. He has assisted Edo de Waart, Esa-Pekka Salonen, Gustavo Dudamel, Lorin Maazel and John Adams. Born in Hong Kong, Perry So holds a degree in Comparative Literature from Yale University.

 

 

Hernández-Silva with the Spanish National Orchestra

Hernández-Silva with the Spanish National Orchestra

Hernández-Silva will conduct the Spanish National Orchestra next Saturday, October, the 14th, in the opening concert of Auditorio de Alicante’s Symphonic Season, that will host other conductors such Valery Gergiev or Fabio Luisi, and orchestras like Philharmonia Zürich and Mariinski Theatre Orchestra. Program: Gershwin’s Cuban overture, Philip Glass’ Concerto Fantasy for two timpanists, with soloists Xavier Eguillor and Julien Bourgeois; and Shostakovich’s 12th Symphony.

Hernández-Silva

Manuel Hernández-Silva conducted in several great international festivals, and he is a frequent guest of Spanish and foreign orchestras. He has been principal conductor of the Córdoba Orchestra; principal guest conductor of the Simón Bolívar Orchestra of Caracas, with which he worked intensively for over five years; and musical director of the Youth Orchestra of Andalucía. He is currently chief conductor and artist director of the Malaga Philharmonic Orchestra. He has worked with the Vienna Symphony Orchestra, Israel Symphony Orchestra, Prague Radio, Mulhouse Symphony, Seoul Philharmonic, Nord Czech Philharmonic, Olomouc Philharmonic, National of Mexico,Puerto Rico Symphony Orchestra, Chile National Orchestra, Venezuela Symphony Orchestra, Caracas Symphony Orchestra, Simon Bolivar Symphony Orchestra, Wuppertal Symphony Orchestra, Janacek Philharmonic, Rheinische Philharmonie, and the major orchestras in Spain.

Hernández-Silva Spanish National Orchestra Alicante

Maestro Hernández Silva has undertaken an intense teaching activity, teaching internationally on conducting and performing, as well as numerous conferences. All this has earned him the recognition of the musicians with whom he has worked, as well as that of the audience and specialized critics. Manuel Hernández-Silva earned his degree from Vienna’s Superior Conservatory (Konservatorium der Stadt Wien) with honors, under Professors Reinhard Schwarz and Georg Mark. In his senior year he won the Forum Jünger Künstler Conducting Competition, convened by the Vienna Chamber Orchestra, which he conducted in the Austrian capital’s Konzerthaus.

 

 

 

Roman Ialcic de nuevo en el Liceo

Roman Ialcic de nuevo en el Liceo

El bajo Roman ialcic regresa al Gran Teatre del Liceu para afrontar el papel de Sam en Un ballo in maschera de Verdi, que bajo la dirección de Renato Palumbo y Vincent Boussard, tendrá lugar, a lo largo de catorce funciones, entre el 7 y el 29 de Octubre. En el reparto destacan nombres como los de Piotr Beczala, Carlos Álvarez o Dolora Zajic.

Roman Ialcic

Entre sus compromisos recientes se pueden destacar Caspar, de Freischütz, de Weber, en los teatros de Toulon y Saint Ettienne, que cantó también en la London Lyric Opera, y recientemente grabó con Vasily Petrenko y la Royal Liverpool Philharmonic; Tomski, de La Dama de Picas de Chaikovski en Londres, en la Ópera Nacional de Moldavia y en La Opèra National du Rhin; Fafner, de El Oro del Rhin y Hunding, de Sigfrido, de Wagner, en Seattle; Abimeleh, de Samson et Dalila, de Saint-Saëns, en Colonia; Basilio en Wuppertal; Gremin, de Eugene Onieguin, de Chaikovski, Raimondo, de Lucia di Lammermoor, de Donizetti, Ramphis, de Aida y Zaccaria de Nabuco, de Verdi, en la Ópera Nacional de Moldavia, el Gran Inquisidor en Atenas o Ludovico de Otello de Verdi en el Teatro de la Maestranza y Gran Teatre del Liceu, Bartolo, del Barbiere di Siviglia en la temporada de Ópera de Bilbao o el homónimo Bartolo pero de Le Nozze di Figaro de Mozart en el Teatro de Ópera de Malmö, en Suecia; Ferrando de Trovatore de Verdi, en Valladolid; o Sparafucile, de Rigoletto, en Las Palmas. Esta temporada hace doblete en el Liceo, pues tras este Ballo in Maschera será el Sirviente del Sínodo en The Demon de Rubinstein; y un próximo debut será Rocco de Fidelio de Beethoven.

roman ialcic verdi ballo liceo

Nacido en Chisinau (Moldavia, 1978) Estudió con Kurt Moll, Charles Riecker, Vladimir Dragos, Nikolaus Hillebrand y Gisela Aulmann. En el teatro de San Gall, Suiza, donde formó parte de la compañía estable, cantó Escamillo, Caspar (Freischütz), Marqués (Traviata), Cascada (Viuda alegre), Tomski (La Dama de PIcas), Abimeleh (Sansón y Dalila), o Sarastro (La Flauta Mágica), entre otros. En España participó como Don Profondo en el Viaggio a Reims de Rossini en el Teatro Real, en el Réquiem de Verdi en el Villamarta de Jerez, dirigido por Miguel Ángel Gómez Martínez y en un Requiem de Dvorak con la ORTVE, y como en Basilio (El barbero de Sevilla) en la ópera de Oviedo. De él ha dicho Emilio Sagi que le recuerda a Nicolai Ghiaurov, y Ángel Carrascosa ha escrito: El joven bajo Román Ialcic tiene por delante, probablemente, una carrera muy promisoria; nombres de campanillas no han resultado tan eficaces como él.

 

 

Ira Levin conducts Parsifal at the Sofia Opera opening

Ira Levin conducts Parsifal at the Sofia Opera opening

The American conductor Ira Levin has been named as the principal guest conductor of the Sofia Opera, beginning in the 2017-18 season. Levin has already conducted on the Sofia stage Verdi’s Requiem in April 2017, and on 1 October, at 16 h, he will open the new season with the newest production of Bulgarian first opera theatre. With the Sofia ensemble and orchestra, he will conduct Wagner’s complete “Ring of the Nibelung” tetralogy in May, 2018 at the legendary Bolschoi Theater in Moscow – the first performances of the “Ring” there for over a century, followed by the entire cycle in Sofia in July. He will conduct also “Don Carlos”, “Werther”, “Un ballo in Maschera” and concerts.

Ira Levin

Ira Levin has conducted over 1000 operatic performances and his repertoire encompasses 70 different titles. His symphonic repertoire includes most of the standard repertoire as well as many lesser-known works. He has worked with innumerable internationally renowned conductors, instrumentalists, singers and stage directors and is also an active concert pianist and composer/arranger. He conducted a double-bill of Stravinsky’s “Pulcinella” and Busoni’s “Arlecchino” in the 100th anniversary season of the Theatro Sao Pedro in Sao Paulo, Brazil, in August 2017.

His hugely successful US operatic debut took place in April 2017 at Lincoln Center, conducting Respighi’s brilliant and rarely heard La campana sommersa in the first season of the newly re-organized New York City Opera. He received unanimously positive reviews from all of the leading papers and musical journals. He debut at the illustrious Théâtre de Geneve in November 2016 with Marschner’s Der Vampyr, was likewise received with great popular and critical acclaim. He also conducted several performances of Stravinsky’s Pulcinella with the Orchestra de la Suisse Romande.

Ira Levin was the Principal Guest Conductor of the legendary Teatro Colon in Buenos Aires from 2011-15, where he conducted 12 major opera productions, among which new productions of Aleko, Francesca da Rimini, Die Frau ohne Schatten, Un Ballo in Maschera, Idomeneo, Madama Butterfly, Werther, Don Carlos, including the American premieres of Enescu’s Oedipe and Glanert’s Caligula, and several symphonic programs. He previously served as Music Director and Artistic Director of the Teatro Municipal in Sao Paulo (2002-2005) and of the National Theater of Brazil, in Brasilia (2007-2010), bringing both international acclaim. He introduced several important works by Mahler, Janacek, Shostakovich, Sibelius, Busoni, Enescu, Schoenberg, Schnittke, Corigliano and many others to Brazil. He held posts as assistant conductor at the Frankfurt Opera (1985-88), principal conductor of the Bremen Opera (1988-1996) and the Deutsche Oper am Rhein, Düsseldorf-Duisburg (1996-2002) and as the principal guest conductor of the Kassel Opera (1994-1998). He has performed with many orchestras and at opera houses throughout the world including the Dresden Staatskapelle, the Leipzig Gewandhausorchester, the Frankfurt Museum Orchestra, the Düsseldorfer Symphony, the Duisburg Philharmonic, the Hannover State Orchestra of Lower Saxony, the Bruckner Orchestra of Linz, the Badische Staatskapelle of Karlsruhe, the Bremen Philharmonic, the Dublin Opera, the Montpellier Opera, the Norske Opera in Oslo, the Norrlands Opera in Umea, Sweden, the Cape Town Opera, the National Portuguese Symphony Orchestra in Lisbon, the State of Mexico Symphony Orchestra, the Buenos Aires Philharmonic and all of the major orchestras in Brazil.

Ira Levin gave his highly successful debut in the Berlin Philharmonic Hall in November 2013 with the Berlin Symphony, conducting his orchestration of Busoni’s Fantasia Contrappuntistica and Schumann’s Fourth Symphony as well as playing a Mozart piano concerto. His two CDs with the London Symphony of works by American composer Michael Colina on the Fleur deSon/Naxos label were received with glowing reviews and his 2014 recording of Colina’s Requiem, “Requinauts”, with the Royal Scottish National Orchestra and Chorus was released on the same label at the end of 2014, also to critical acclaim. His recording of Bruckner’s Sixth Symphony with the Symphony Orchestra of Norrlands Opera, the first since 1952, will be followed by the release in 2017 of the world premiere recording of the 1892 edition of the Second Symphony with the same forces.

His 2010 orchestration of Busoni’s monumental Fantasia Contrappuntistica was included on the program of his extremely successful debut as conductor, pianist and arranger in Berlin’s Philharmonic Hall in November of 2013 with the Berlin Symphony. An orchestration of Liszt’s Fantasia and Fugue on the theme BACH followed in 2011. These works have been performed in Germany, Finland, Brazil, Argentina and Uruguay. His 2012 orchestration of Franck’s Piano Quintet had it’s successful world premiere with the Helsinki Philharmonic under the direction of Leif Segerstam in October, 2014. His 2014 orchestrations of five Rachmaninoff works were successfully performed by the Buenos Aires Philharmonic, Porto Alegre Symphony and the orchestra of the SODRE, Montevideo and his 2015 orchestration of Reger’s piano masterpiece, the Variations and Fugue on a theme by J.S. Bach, received it’s successful world premiere in Turku, Finland in February 2016, also under the direction of Leif Segerstam. Ira Levin conducted it and other works by Reger with the Brandenburg State Orchestra for a new multi-DVD documentary by “Fugue State Films” in honor of the 2016 centenary of Reger’s death, which was released in March 2017 and also performed it with the Malaga Philharmonic in October of 2016. All of these works have been published by “Edition Tilli” of Finland. His new orchestration of Respighi’s violin and piano sonata in b-minor was published in February 2017 by Tilli as “Concerto in b-minor”.

“Edition Tilli” completed publishing in 2016 the large series of his transcriptions for piano solo of works by Bach, Gluck, Schubert, Wagner, Tchaikovsky, Mahler and Villa-Lobos and cadenzas to several Mozart concertos. Levin’s recordings of many his piano works can now be heard on You Tube, along with the scores.  An accomplished pianist, Ira Levin was the first-prize winner of the American National Chopin Competition in 1980. He studied for eight years with the legendary Jorge Bolet at the Curtis Institute, later becoming his assistant, while also studying conducting with Max Rudolf. He has performed throughout the United States, South America, and Europe and continues to appear in recital and concert, often leading concertos from the keyboard as well, including works by Mozart, Weber, Bach and even Brahms’s second concerto, which he conducted and played after a major soloist cancelled on short notice.

 

 

Pacho Flores, opening concert with Tenerife Symphony

Pacho Flores, opening concert with Tenerife Symphony

Pacho Flores is the guest soloist of the opening concert of Tenerife Symphony Orchestra‘s new 17/18 season on next October the 6th. Under the baton of Maestro Perry So, Pacho Flores will play the Concert for corno da caccia and strings by Johann Baptist Georg Neruda (c.1708-c1780), and Concierto Mestizo, by Efrain Oscher (1974). Mestizo is a commission from ‘El Sistema‘ and was premiered in 2010 in Caracas by Pacho Flores with the Venezuelan Youth Symphony Orchestra Simon Bolívar and conductor Domingo García. Since then, it was played more than twenty times in Brazil, Mexico, Germany, Austria, England, Spain and Japan, always by Pacho Flores.

Pacho Flores

Francisco ‘Pacho’ Flores is a first-prize winner of the Maurice André International Competition, the world’s most important trumpet contest, as well as the first prize at the International Competition Philip Jones and First Prize at the International Competition Citta di Porcia. Recently he was awarded with the Gold Medal by the Global Music Awards for ENTROPÍA, his last recording for Deutsche Grammophon with guitar player Jesús ‘Pingüino’ González. A product of the ground-breaking ‘El Sistema’, he is becoming increasingly recognized for his outstanding performing and recording activity that spans the solo, chamber, and orchestral media. Equally at home in the classical and folk styles, Pacho captivates audiences with his energetic delivery and colourful tone.

His solo performances include appearances with orchestras such as Turku Philharmonic, Arctic Philharmonic, Norrköping Symphony, Norddeutschen Philharmonie Rostock, Kiev Philharmonic, St. Petersburg Camerata, Ensemble Orchestral de Paris, NHK Symphony, Tokyo Symphony, Osaka Philharmonic, Hyogo PAC Orchestra, Tucson Symphony, Sinfónica Nacional de México, Sinfónica Nacional de Puerto Rico, Filarmónica de Málaga, Sinfónica de Baleares, Real Filharmonía de Galicia, Sinfónica de Bilbao, Sinfónica de Tenerife or Simón Bolívar Orchestra of Venezuela. In recital, he has performed in venues such as the New York Carnegie Hall, the Paris Salle Pleyel and the Tokyo Opera City.

Pacho Flores Tenerife Sentado_Mano

A founding member of the Venezuelan Simón Bolívar Brass Quintet, he has toured with the quintet extensively in Europe, South America, the United States, and Japan. An experienced orchestral musician, Mr. Flores has played first trumpet in the Simón Bolívar Orchestra of Venezuela, the Saito Kinen Orchestra, and the Miami Symphony, under the direction of Claudio Abbado, Sir Simon Rattle, Seiji Ozawa, Giusseppe Sinopoli, Rafael Frühbeck de Burgos, and Gustavo Dudamel, among others. A founding director of the Latin American Trumpet Academy in Caracas, he mentors a promising generation of budding musicians and is a frequent guest at conservatories in Finland, Spain, France, Japan, and Latin America, as permanent jury member in prestigious international competitions.

Pacho Flores is an avid champion of new music and is bringing about important innovations to trumpet performance and fabrication. His repertoire includes commissions and premieres of works by composers such as Roger Boutry, Efraín Oscher, Giancarlo Castro, Santiago Báez, Juan Carlos Nuñez, Sergio Bernal, Arturo Márquez, Roberto Sierra or Paquito D’Rivera. His first album La trompeta Venezolana  has been released by the label GUATACA Producciones. A Stomvi artist, he performs with instruments tailored specially for him by this prestigious firm and actively participates in the development and innovation of their instruments. Francisco Pacho Flores is a Deutsche Grammophon exclusive artist with already two recordings, Cantar, with Konzerthaus Orchester Berlin and Christian Vásquez; and Entropía, Gold Medal of the Global Music Awards. Next will be with Arctic Philharmonic and Christian Lindberg.

 

 

James Judd inaugura el Festival de Música de Bratislava

James Judd inaugura el Festival de Música de Bratislava

Hoy jueves, James Judd inaugura la 53ª edición del Festival de Música de Bratislava con un programa que incluye Franz Schmidt: Obertura, Intermezzo y Music de Carnaval de la ópera Notre Dame, Piotr Ilyich Tchaikovsky: Variaciones sobre un tema Rococó en La Mayor, Op. 33, con Alban Gerhardt como solista, y Robert Schumann: Sinfonía nº 2 en Do Mayor, Op. 61.

James Judd, director

Director Musical de la Orquesta Sinfónica de Israel
Director Musical de la Orquesta Filarmónica de Daejeon
Director Musical de la Orquesta Filarmónica Eslovaca
Director Emérito de la Orquesta Sinfónica de Nueva Zelanda
Director Musical de la Little Orchestra Society de Nueva York
Director Principal de la Orquesta Joven Asiática

James Judd llamó la atención internacional como Director Asistente de Lorin Maazel en la Orquesta de Cleveland y poco después como Director Asociado de la Orquesta Joven de la Comunidad Europea designado por Claudio Abbado. Desde entonces ha dirigido orquestas como las Filarmónicas de Berlín e Israel, Sinfónica de Viena, Gewandhaus, Leipzig, Praga, Nacional de Francia, Suisse Romande, Tonhalle de Zúrich, Sinfónica de Montecarlo, Filarmónicas de Bruselas, Rotterdam y Seúl, NHK de Japón o Mozarteum de Salzburgo, así como las principales orquestas inglesas, desde Birmingham, Hallé Orchestra, Royal y London Philharmonic, Nacional de la BBC de Gales o English Chamber. Es cofundador de la Orquesta de Cámara Europea, a la que dirigió en giras por EEUU, Europa y Extremo Oriente. Es habitual invitado en orquestas americanas como St. Louis, Montreal, Cincinnatti, Pittsburgh, Dallas, Seattle, Indianápolis, Utah, Vancouver y Ottawa. Como director de opera se presenta en la English National Opera con títulos como Il Trovatore, La Traviata, Il Barbiere di Siviglia, Rigoletto, y Le Nozze di Figaro, y en el Glyndebourne Opera Festival con La Cenerentola. También ha sido Director Artístico de la Florida Grand Opera entre 1993 y 1996.

James Judd ACM Concerts Bratislava

Durante sus ocho años como Director Musical de la New Zealand Symphony Orchestra, James Judd llevó a la formación a un nuevo nivel de visibilidad y renombre internacional con aclamadas grabaciones para NAXOS de obras de Copland, Bernstein, Vaughan Williams, Gershwin y muchos otros. Otros puestos de responsabilidad incluyen el de Principal Director Invitado de la Orchestre National de Lille y catorce años como Director Musical de la Florida Philharmonic Orchestra. Destacado exponente de la música de Mahler, sus interpretaciones de este compositor han sido alabadas mundialmente. Su grabación de la Sinfonía nº 1 obtuvo la Medalla de Oro de Diapason y el Toblacher Komponierhäuschen a la mejor grabación de Mahler de año. Ha grabado también las sinfonías de Brahms con la Royal Philharmonic y obras de Copland, Steve Reich, Takemitsu, Gershwin, Bernstein, Bernard Herrmann Elgar, Lilburn, Vaughan Williams, Tippett y muchos otros en sellos como Decca, EMI y Philips, así como las operas completes de Meyerbeer y Donizetti en el sello Opera Rara.

Éxitos recientes incluyen un War Requiem de Britten en Bucarest, la Misa de Bernstein en el Festival de Radio France, representaciones de Carmina Burana en las ruinas de Masada, conciertos con la Filarmónica de Montecarlo, Orquesta de Cámara de Filadelfia, Nacional de Eslovenia o Noord Nederlands y Vadim Repim, conciertos en la Konzerthaus de Berlín dentro de los actos del centenario de Yehudi Menuhin, y dos largas giras con la New Zealand Symphony Orchestra y la Asian Youth Orchestra con motivo de su 25º aniversario.

 

 

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