Month: October 2012

The first performances of Stockhausen’s Mittwoch — the world premiere took place on Mittwoch 22 August, the composer’s birthday, whilst I attended the last of four performances on Samstag — could hardly have failed to be an ‘event’ of the highest order: the last of the Licht cycle, in duration roughly twice the length of Wagner’s Ring, to receive its first full performance, though it was the sixth of the seven days to be composed.

“Two classic French comedies, one wardrobe…” was Bampton Classical Opera’s billing for this amusing double bill and, with typically wry wit, director Jeremy Gray duly placed a shabby-chic armoire centre-stage and made it the location of some Cherubino-Countess-style confusions and Goldoni-esque farce.

Frank Bridge (1879-1941) was a professional violinist and violist, a talented conductor, a versatile composer and skilled teacher; yet he remains something of an enigma and his music relatively unknown.

During the years from 1890 to 1940, the so-called ‘land without music’ witnessed a remarkable outpouring of chamber and instrumental music.

W.A. Mozart, despite a historically antagonistic relationship with his city of birth, retains an omnipresence in Salzburg that emerges in full force with each iteration of the illustrious summer festival.

Cleopatra, one of few female seductresses in operatic history to emerge not only alive but empowered in the final act, is a fitting role for Cecilia Bartoli in her first season as artistic director of the Salzburg Whitsun Festival.