Boretti, Predieri, Conti, Matteis, Orlandini, Mattheson: masters of the Baroque? Yes, if this recital by Polish countertenor Jakub JÛzef Orli?ski is anything by which to judge.
I have seen productions of Verdi’s Otello which have been revolutionary, even subversive. I have now seen one which is the complete antithesis of that.
When Marc-Antoine Charpentier returned from Rome to Paris in 1669 or 1670, he found a musical culture in his native city that was beginning to reject the Italian style, which he had spent several years studying with the Jesuit composer Giacomo Carissimi, in favour of a new national style of music.
In 1979, the Franco-American harpsichordist and conductor, William Christie, founded an early music ensemble, naming it Les Arts Florissants, after a short opera by Marc-Antoine Charpentier.
Gian Carlo Menotti’s holiday classic, Amahl and the Night Visitors, was the first recorded opera I ever heard. Each Christmas Eve, while decorating the tree, our family sang along with the (still unmatched) original cast version. We knew the recording by heart, right down to the nicks in the LP. Ever since, no matter what the setting or the quality of a performance, I cannot get through it without tearing up.
It is perhaps not surprising that the Hamburg-born composer Detlev Glanert should count Hans Werner Henze as one of the formative influences on his work – he did, after all, study with him between 1984 to 1988.
This death in Venice is not the end, but the beginning.
The culmination of the BBC Symphony Orchestra’s Total Immersion: Detlev Glanert on Saturday 7 December will be the UK premiËre of the German composer’s Requiem for Hieronymus Bosch conducted by Semyon Bychkov.