JIŘÍ BĔLOHLÁVEK (1946-2017) AND THE CZECH CONDUCTING LEGACY

Jiří Bělohlávek and the Czech Conducting Legacy

Jiří Bělohlávek (c) Petra Hajská

One mourns the recent passing of Czech conductor Jiří Bělohlávek (24 February 1946 – 31 May 2017) not only because he was a wonderfully discerning musician, but also because he perpetuated a conducting legacy that linked back to the great Czech composers of the nineteenth and twentieth centuries.

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Katie Lowe Wins the 2017 Elizabeth Connell Prize

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2017 Elizabeth Connell Prize Winner Announced

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Katie Lowe (c) Zohar Izenberg

KATIE LOWE from England Cheshire born 31 year old English soprano Katie Lowe has won the 4th annual Elizabeth Connell Prize for aspiring Dramatic Sopranos held in Sydney Australia on 16 September. Ms Lowe receives $30,000 and an audition at the Royal Opera House Covent Garden in London. The Finalists were chosen from live auditions held in London, New York, Zurich, Paris and Melbourne and competed over 3 rounds in Sydney for the prize. Ms Lowe sang the “Immolation Scene” from Wagner’s Götterdämmerung and “Suicidio” from La Gioconda by Ponchiello in the Final Round.

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Opportunity for a Rare Composition Masterclass with Gavin Bryars in April 2018

CAMP ANNOUNCE MODERN COMPOSITION COURSE WITH GAVIN BRYARS

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Following the announcement (and fast selling out) of sessions with Chris Watson (founder of Cabaret Voltaire, and sound recordist for David Attenborough), Laraaji (celebrated ambient musician, best known for his work with Brian Eno) and Eli Keszler (NYC virtuoso percussionist, composer and installation artist), CAMP have announced a rare masterclass in modern composition with Gavin Bryars in France beginning 24 April 2018.

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Stuart Skelton Sings Wagner in London on 13 September 2017

TMT_LOGO The Tait Memorial Trust is to present renowned Australian tenor Stuart Skelton, at a gala concert to celebrate our 25th Anniversary at St Paul’s Church Knightsbridge, on Wednesday the 13th September at 7pm.

“Stuart Skelton’s Tristan is the finest account of Wagner’s most extreme and taxing operatic character…that I’ve ever seen or heard on a stage.”  David Nice, The Arts Desk, June 2016

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