Berlin Review
Here's our favorite so far - please excuse the terrible google translation but you get the idea...also available auf deutsche for those who are inclined. http://www.tagesspiegel.de/kultur/;art772,2532520 (auf deutsche)
T DDonald Runnicles, future chief conductor of the Deutsche Oper, the Berlin Philharmonic
Anzeige Display
Sybill Mahlke Sybill Mahlke
17.5.2008 0:00 Uhr 17.5.2008 0:00 clock
Sybill Mahlke Sybill Mahlke
17.5.2008 0:00 Uhr 17.5.2008 0:00 clock
Hector Berlioz, the bold Frenchman is the Maiprogramm the Berlin Philharmonic zugeeignet. Hot longs comes Claudio Abbado to his orchestra back to the "Te Deum" to conduct. He follows Simon Rattle with "La Mort de Cléopatre" and the "Symphonie fantastique". Nine evenings Berlioz festival.
It will be opened by Donald Runnicles, the British conductor of the Philharmonic since 2003 is connected. Now he returns again as musical director designate of the Deutsche Oper Berlin. Much hope is on him, because in the Bismarckstraße threatened gloss, once from the orchestra pit came to verlöschen. Illustrious names like Fricsay, Maazel, Sinopoli, Thielemann arouse great memories. From Runnicles, the orchestra not only for a guest performance of Wagner appreciate, is expected to where a head last Fortüne acted without the gray veil of lost years by the music moving again.
Runnicles, born in 1954 in Edinburgh, has many theater experience since 1992 and is musical director of the San Francisco Opera. In addition, together with many other things first guest conductor in Atlanta. There exists this fabulous choir of some 200 singers, with the Maestro ever been amazed at Berlin Philharmonic. The choir is a miracle, because it from its 200 throats conjures a pianissimo and quasi with a sound whispers and sings - an amateur choir! The "Grande Messe des Morts", which premiered in Paris Invalides, the Philharmonic fills with surround sound.
Four remote orchestra, it trumpets, trombones and tubes, a long timpani ranks behind the main orchestra, call for recent court. Runnicles is ruler of the legions of musicians playing and singing, a certain Unbeirrtheit one of them. But more a feeling for these deaths fair enormous style, for their authenticity and vibration in the "Tuba mirum." It is the trombones the apocalyptic riders, the ourselves in the concert hall schauerlich take. If the sentence quietly withdrawn, wins the piece like the "Quid sum miser" with its plaintive English horn special intimacy. It is the contrasts between the hell falls and prayers of the lonely soul, almost in the monastery cell, which this incomparable Requiem. Like a Lohengrin from heaven sings Joseph Kaiser at Sanctus. Runnicles defended unanimity as means of expression, is precious sound of the deep strings on their hands, keeps the concentration of breaks out. And stresses that there is no more interesting than the instrumentation of Berlioz. Sybill Mahlke
(Erschienen im gedruckten Tagesspiegel vom 17.05.2008) (Published in the printed Tagesspiegel, 17.05.2008)
More reviews as we weed them out of the papers. *EDIT* Found some!
http://www.morgenpost.de/content/2008/05/19/feuilleton/963065.html
Runnicles conducted at the Philharmonie
Klassik Classical
Of course could be proud of Berlioz's "Grande Messe des Morts," this is truly outrageous work until then, the instrumental and vocal effort still exceeds any notion. The mere sight of the timpani großmächtigen series on the podium of the Philharmonic, which literally around the sky stapelnden remote orchestra, four in number, understood to be speechless. High droben taute stramme also the well-being, according to the tenor solo down. The Canadian Joseph Kaiser lent his generous durchschlagskräftige vote. Under the (incidentally left) hand by Donald Runnicles united with the Philharmonic event of an ensemble character.
<a href="http://64.233.179.104/translate_c?hl=en&sl=de&tl=en&u=http://adserver.adtech.de/adlink%257C3.0%257C805.1%257C1525575%257C0%257C-1%257CADTECH%3Bsize%3D300x250%3Bloc%3D300%3Balias%3Dmorgenpost-kultur-contentad-oben%3Bkey%3Dkey1%2Bkey2%2Bkey3%2Bkey4%3Bcookie%3Dinfo%3B" target="_blank"><img src="http://adserver.adtech.de/adserv|3.0|805.1|1525575|0|-1|ADTECH;size=300x250;loc=300;alias=morgenpost-kultur-contentad-oben;key=key1+key2+key3+key4;cookie=info;" border="0" alt=""></a&The peak body is huge, the Atlanta Symphony Orchestra Chorus, led by Norman Mackenzie, an association singfreudiger and singmächtiger lay behind the professional choir no need to hide. For two hundred wohltrainierten throats rose Berlioz's "Requiem" bright.
Temporarily the piece sounds like reading a menu unprecedented award-winning sound possibilities. Berlioz may have contributed even five caps when composing cooking: the strong flavor of this Requiem with the fresh ingredients of a new interaction. He is in the "Hostias" mercilessly against eight flutes three trombones each other. It is however no massacre, but to prompt, accurate hinzuhorchen and the sound genießerisch abzuschmecken. It is with all instrumental effort highly controlled and carefully. Berlioz's visions are more likely to be too top-Mild continued thunder screams. Even the promulgation of the "Dies irae, the Day of revenge, or else like a hall Battle of the instruments hochgekitzelt loses in Berlioz not his elegant diction.
Never scoops with his fair dead a mass grave. He holds the primacy of the music immutable loyalty. They exceed with fervour, devotion and the finest Sinnenkitzel graves. It strongly luxurious. It is based on musical haute couture - and even a Christian Dior on the podium. Donald Runnicles, music director-designate General of the Deutsche Oper, proved to be far more than a formidabler replacement.
Klaus Geitel Klaus Geitel Aus der Berliner Morgenpost vom 19. From the Berliner Morgenpost, 19 Mai 2008 May 2008
And finally, the Berliner-Zeitung... (there's one in every bunch)
A certain vagueness
Donald Runnicles conducts the Berlin Philharmonic
Peter Uehling
Hector Berlioz is the only composer of importance, one of the black romance of the 19th Century may strike - the literary undercurrent, which handgreiflich with the fantastic, Obskuren, showers Lichen deal without the escape of transcendence open. His "Grande messe des morts" the functions dead serious commemoration, the consolation of enticing painting of the Hereafter so far like a vampire of Resurrection. Berlioz has reported him as especially when composing the vision of the Dies irae, the Last Judgement, bedrängte. This harassment he has knatternden, the listener einkreisenden attack by four brass ensembles to the public party.
The other, also pragmatic as well as completely größenwahnsinnige side of this Requiem concerns its occupation. It is notorious huge, 50 brass and more than 100 strings the score, and to say it would be Berlioz went to something else than the unleashing of unprecedented sound towers, would be even Protestant. Berlioz knew that the tumult, the only noise in contrast to rest, to silence works. The outbreaks are formally very calculated, as well as the music for this huge sound body loosely timbered is that the inevitable inaccuracies in the framework. Berlioz knew very well what he did: As the venue was the Invalides in Paris, and more than dreistimmige polyphony, a higher rate than Andante need not given, it would by Hall of space devoured.
Marek Janowski, the piece with the Radio Symphony Orchestra and the Rundfunkchor Berlin five years ago in Berlin Cathedral to impressive effect. On Thursday in the Philharmonie Donald Runnicles conducted the Berlin Philharmonic and the Atlanta Symphony Orchestra Chorus - and in this room, the music then a bit empty. Unlike the Berlin Cathedral, the Philharmonic not through the space-creep of sounds, the Berlioz in the slow developments in his music composed. It centralizes the sound, sets it under the microscope their ears drawing clear acoustics and so mercilessly revealed what would become blurred in the vault: inaccuracies. Certainly are an estimated 100 meters distance between the remote orchestras a problem in the coordination, sound is slower than the Achteltriolen of Tuba mirum. " But a certain vagueness marked the entire performance.
Why the huge choir - he went next to the podium or the C-Block - imported from America had to be like Runnicles as the first guest conductor of the Atlanta Symphony Orchestra; easily hanging intonation of the choir is not explained. And even Runnicles, from the autumn as general music director at the Deutsche Oper effect, we would like to receive greater enthusiasm, but it seemed quite disposes his interpretation.
There are, as I said rather rough means that the pieces are broken, but they should be seated. Runnicles away in the first set after engräumigen chromaticism and fearful trembling rhythms in the first sentence of an upturn such as the "luceat" on the violins of the two octaves durchmessenen D major chord and the sentence takes its main contrast. And the great orchestral fugue in the "Offertoire developed no formal dynamics, but is always on the short, in two tones wimmernden choir operations.
The best get the short sentences, especially the "Sanctus". The tenor Joseph Kaiser sang this solo single body of work with brünstiger but pure ecstasy, the Philharmonic webten make a zeitentrückten, light flickering sound carpet.
in german: http://www.berlinonline.de/berliner-zeitung/archiv/.bin/dump.fcgi/2008/0517/feuilleton/0033/index.html
T DDonald Runnicles, future chief conductor of the Deutsche Oper, the Berlin Philharmonic
Anzeige Display
Sybill Mahlke Sybill Mahlke
17.5.2008 0:00 Uhr 17.5.2008 0:00 clock
Sybill Mahlke Sybill Mahlke
17.5.2008 0:00 Uhr 17.5.2008 0:00 clock
Hector Berlioz, the bold Frenchman is the Maiprogramm the Berlin Philharmonic zugeeignet. Hot longs comes Claudio Abbado to his orchestra back to the "Te Deum" to conduct. He follows Simon Rattle with "La Mort de Cléopatre" and the "Symphonie fantastique". Nine evenings Berlioz festival.
It will be opened by Donald Runnicles, the British conductor of the Philharmonic since 2003 is connected. Now he returns again as musical director designate of the Deutsche Oper Berlin. Much hope is on him, because in the Bismarckstraße threatened gloss, once from the orchestra pit came to verlöschen. Illustrious names like Fricsay, Maazel, Sinopoli, Thielemann arouse great memories. From Runnicles, the orchestra not only for a guest performance of Wagner appreciate, is expected to where a head last Fortüne acted without the gray veil of lost years by the music moving again.
Runnicles, born in 1954 in Edinburgh, has many theater experience since 1992 and is musical director of the San Francisco Opera. In addition, together with many other things first guest conductor in Atlanta. There exists this fabulous choir of some 200 singers, with the Maestro ever been amazed at Berlin Philharmonic. The choir is a miracle, because it from its 200 throats conjures a pianissimo and quasi with a sound whispers and sings - an amateur choir! The "Grande Messe des Morts", which premiered in Paris Invalides, the Philharmonic fills with surround sound.
Four remote orchestra, it trumpets, trombones and tubes, a long timpani ranks behind the main orchestra, call for recent court. Runnicles is ruler of the legions of musicians playing and singing, a certain Unbeirrtheit one of them. But more a feeling for these deaths fair enormous style, for their authenticity and vibration in the "Tuba mirum." It is the trombones the apocalyptic riders, the ourselves in the concert hall schauerlich take. If the sentence quietly withdrawn, wins the piece like the "Quid sum miser" with its plaintive English horn special intimacy. It is the contrasts between the hell falls and prayers of the lonely soul, almost in the monastery cell, which this incomparable Requiem. Like a Lohengrin from heaven sings Joseph Kaiser at Sanctus. Runnicles defended unanimity as means of expression, is precious sound of the deep strings on their hands, keeps the concentration of breaks out. And stresses that there is no more interesting than the instrumentation of Berlioz. Sybill Mahlke
(Erschienen im gedruckten Tagesspiegel vom 17.05.2008) (Published in the printed Tagesspiegel, 17.05.2008)
More reviews as we weed them out of the papers. *EDIT* Found some!
http://www.morgenpost.de/content/2008/05/19/feuilleton/963065.html
Runnicles conducted at the Philharmonie
Klassik Classical
Of course could be proud of Berlioz's "Grande Messe des Morts," this is truly outrageous work until then, the instrumental and vocal effort still exceeds any notion. The mere sight of the timpani großmächtigen series on the podium of the Philharmonic, which literally around the sky stapelnden remote orchestra, four in number, understood to be speechless. High droben taute stramme also the well-being, according to the tenor solo down. The Canadian Joseph Kaiser lent his generous durchschlagskräftige vote. Under the (incidentally left) hand by Donald Runnicles united with the Philharmonic event of an ensemble character.
<a href="http://64.233.179.104/translate_c?hl=en&sl=de&tl=en&u=http://adserver.adtech.de/adlink%257C3.0%257C805.1%257C1525575%257C0%257C-1%257CADTECH%3Bsize%3D300x250%3Bloc%3D300%3Balias%3Dmorgenpost-kultur-contentad-oben%3Bkey%3Dkey1%2Bkey2%2Bkey3%2Bkey4%3Bcookie%3Dinfo%3B" target="_blank"><img src="http://adserver.adtech.de/adserv|3.0|805.1|1525575|0|-1|ADTECH;size=300x250;loc=300;alias=morgenpost-kultur-contentad-oben;key=key1+key2+key3+key4;cookie=info;" border="0" alt=""></a&The peak body is huge, the Atlanta Symphony Orchestra Chorus, led by Norman Mackenzie, an association singfreudiger and singmächtiger lay behind the professional choir no need to hide. For two hundred wohltrainierten throats rose Berlioz's "Requiem" bright.
Temporarily the piece sounds like reading a menu unprecedented award-winning sound possibilities. Berlioz may have contributed even five caps when composing cooking: the strong flavor of this Requiem with the fresh ingredients of a new interaction. He is in the "Hostias" mercilessly against eight flutes three trombones each other. It is however no massacre, but to prompt, accurate hinzuhorchen and the sound genießerisch abzuschmecken. It is with all instrumental effort highly controlled and carefully. Berlioz's visions are more likely to be too top-Mild continued thunder screams. Even the promulgation of the "Dies irae, the Day of revenge, or else like a hall Battle of the instruments hochgekitzelt loses in Berlioz not his elegant diction.
Never scoops with his fair dead a mass grave. He holds the primacy of the music immutable loyalty. They exceed with fervour, devotion and the finest Sinnenkitzel graves. It strongly luxurious. It is based on musical haute couture - and even a Christian Dior on the podium. Donald Runnicles, music director-designate General of the Deutsche Oper, proved to be far more than a formidabler replacement.
Klaus Geitel Klaus Geitel Aus der Berliner Morgenpost vom 19. From the Berliner Morgenpost, 19 Mai 2008 May 2008
And finally, the Berliner-Zeitung... (there's one in every bunch)
A certain vagueness
Donald Runnicles conducts the Berlin Philharmonic
Peter Uehling
Hector Berlioz is the only composer of importance, one of the black romance of the 19th Century may strike - the literary undercurrent, which handgreiflich with the fantastic, Obskuren, showers Lichen deal without the escape of transcendence open. His "Grande messe des morts" the functions dead serious commemoration, the consolation of enticing painting of the Hereafter so far like a vampire of Resurrection. Berlioz has reported him as especially when composing the vision of the Dies irae, the Last Judgement, bedrängte. This harassment he has knatternden, the listener einkreisenden attack by four brass ensembles to the public party.
The other, also pragmatic as well as completely größenwahnsinnige side of this Requiem concerns its occupation. It is notorious huge, 50 brass and more than 100 strings the score, and to say it would be Berlioz went to something else than the unleashing of unprecedented sound towers, would be even Protestant. Berlioz knew that the tumult, the only noise in contrast to rest, to silence works. The outbreaks are formally very calculated, as well as the music for this huge sound body loosely timbered is that the inevitable inaccuracies in the framework. Berlioz knew very well what he did: As the venue was the Invalides in Paris, and more than dreistimmige polyphony, a higher rate than Andante need not given, it would by Hall of space devoured.
Marek Janowski, the piece with the Radio Symphony Orchestra and the Rundfunkchor Berlin five years ago in Berlin Cathedral to impressive effect. On Thursday in the Philharmonie Donald Runnicles conducted the Berlin Philharmonic and the Atlanta Symphony Orchestra Chorus - and in this room, the music then a bit empty. Unlike the Berlin Cathedral, the Philharmonic not through the space-creep of sounds, the Berlioz in the slow developments in his music composed. It centralizes the sound, sets it under the microscope their ears drawing clear acoustics and so mercilessly revealed what would become blurred in the vault: inaccuracies. Certainly are an estimated 100 meters distance between the remote orchestras a problem in the coordination, sound is slower than the Achteltriolen of Tuba mirum. " But a certain vagueness marked the entire performance.
Why the huge choir - he went next to the podium or the C-Block - imported from America had to be like Runnicles as the first guest conductor of the Atlanta Symphony Orchestra; easily hanging intonation of the choir is not explained. And even Runnicles, from the autumn as general music director at the Deutsche Oper effect, we would like to receive greater enthusiasm, but it seemed quite disposes his interpretation.
There are, as I said rather rough means that the pieces are broken, but they should be seated. Runnicles away in the first set after engräumigen chromaticism and fearful trembling rhythms in the first sentence of an upturn such as the "luceat" on the violins of the two octaves durchmessenen D major chord and the sentence takes its main contrast. And the great orchestral fugue in the "Offertoire developed no formal dynamics, but is always on the short, in two tones wimmernden choir operations.
The best get the short sentences, especially the "Sanctus". The tenor Joseph Kaiser sang this solo single body of work with brünstiger but pure ecstasy, the Philharmonic webten make a zeitentrückten, light flickering sound carpet.
in german: http://www.berlinonline.de/berliner-zeitung/archiv/.bin/dump.fcgi/2008/0517/feuilleton/0033/index.html