Welcome to the digital society of the 21st century. A society where any time, any where, at your fingertips, is increasingly and faster than ever, becoming the standard across industries, products, geographies and people.
It is no longer about millennials only – it is about our contemporary society and our everyday life across the globe. It is about mobility and convenience, as well as the consolidation of the smartphone era.
This new normal challenges the status quo as a whole – and the orchestras are no exception. Standing still is no option at all, and the way to the very survival involves a fair deal of innovation, strategy, technology and customer-centric attitude. It involves reimagining the possibilities and embracing new ways to conveying a message, to engaging with the audiences, to providing relevant and fulfilling experiences with music. Continue reading “When Virtual Reality meets the orchestra”
Listening to one of my favourite radio programmes the other day – BBC Radio 3’s Music Matters – I was delighted to learn more about a fascinating history of Mrs. Sylvia Caduff, the world’s first maestra. So many achievements, so many milestones… it is a shame her name is not spoken and revered everywhere when we comes to great conductors!
Who would say she had to hide behind a window of a room where Mr. Herbert von Karajan was giving a masterclass to young conductors at Lucern Festival one day, only to approach him by the end of it and… secure a test! Her very first time conducting, no formal specific study at all prior to that occasion – apart from conducting via… the radio at home.
Later on, Mrs. Caduff had some specific study, and was Leonard Bernstein’s assistant at the New York Philharmonic. Continue reading “The Long Journey Of Women To The Podium”
My first time live with Tchaikovsky’s 6th Symphony was back in 2010, when the French conductor Yan Pascal Tortelier beautifully conducted the Sao Paulo Symphony Orchestra at Sala Sao Paulo, in Brazil. It was not when I first heard this masterpiece, but it was certainly that one time when I seriously connected to it in a very deep way. I was lucky enough that a CD recording was made at that very session, enabling me to revive that magical event every now and then.
Tchaikovsky considered naming his 6th Symphony “Program Symphony”, but eventually gave up this idea since he was not willing to share his motivations, what the program was all about. Continue reading “Tchaikovsky: The ultimate essence of the symphony is Life”
Concertos are musical works usually written for orchestras and feature a both musically and technically talented soloist or sometimes even a group of soloists. In its more than 300-year history, the designation concerto has been used to describe a large variety of musical pieces.
Here goes three of my favourites that you can explore to appreciate the different work pieces named concertos: Continue reading “Understanding some basics: Concerto and Concerto grosso”
Last evening we took advantage of the beautiful moon shining above us in order to start off testing our new camera lens. It is being a while since we finally got to the conclusion that “depth” was precisely the characteristic that was missing in our night shots. More to come. Continue reading “Night and Day in Sao Paulo”
No fim de semana tive o prazer de assistir a um dos muitos concertos da pianista paulista Sra. Eudóxia de Barros, em um dos meus cantos preferidos para ouvir piano na cidade: a sala de recitais do Museu Brasileiro da Escultura, o MuBE. No programa, um extenso colorido de tintas de compositores nacionais, aos quais a pianista dedica sua vida como intérprete, diligentemente na missão de divulgar a brasilidade de suas notas.
Das 11 peças escolhidas para compor o programa do recital, 4 delas lhes foram especialmente dedicadas pelos compositores Ernst Mahle (Tocatina), Sousa Lima (Preludio Nr. 10), Camargo Guarnieri (Estudo Nr. 10) e Antonio Ribeiro (Estudo Nr. 02). Continue reading “Eudoxia de Barros interpreta Kabalevsky”