In case you missed it
#26 • 06.10.2016
What’s behind the obsession with children who compose?
#36 • 15.12.2016
Matt Haimovitz in Sarasota, Florida.
#08 • 28.04.2016
What the mezzo-soprano Elīna Garanča looks for in a production.
#01 • 18.01.2016
The soprano explores her character Ophelia, in Hans Abrahamsen’s “let me tell you,” through song.
#17 • 21.07.2016
The actor chooses voices of the past and present.
#02 • 04.02.2016
Did Claude Vivier predict his own murder?
Video of the Week
Pierre Audi at Work
It’s hard work being a part of a Pierre Audi production—for his rendition of a selection of Monteverdi’s Madrigals earlier this year, performers had a month to learn how to make it look like they want to kill each other with swords while wearing 60 pounds of armor. The final performance was aesthetically impressive, but there’s something about these rehearsals that’s nice to watch—a kind of overcoming of the inevitable clumsiness that comes with a suit of armor. Read our interview with Audi in this week’s issue, where he talks about his approach as an artistic director.
Audio of the Week
Friedrich Cerha’s masterpiece “Spiegel” series contains some of the most effective spacial music ever written. With the recent trend of “spacializing” older pieces in bars and clubs, it’s worth remembering how effective it is when the composer builds notions of space directly into the piece.