On medici.tv: an oddly programmed concert of Berlioz and Wagner from the Strasbourg Philharmonic

FranceFrance Berlioz and Wagner: Joyce DiDonato (mezzo-soprano), Michael Spyres (baritenor), Orchestre Philharmonique de Strasbourg / John Nelson and Ludovic Morlot (conductors). Livestreamed on medici.tv (directed by Jean-Pierre Loisill) from the Palais de la Musique et des Congrès, Strasbourg, France, 26.1.2024. (JPr)

John Nelson conducts the Strasbourg Philharmonic Orchestra

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Angela Gheorghiu and Stefan Pop make the current Covent Garden La bohème revival something special

United KingdomUnited Kingdom Puccini, La bohèmeSoloists, Chorus and Orchestra of the Royal Opera House / Evelino Pidò (conductor). Royal Opera House, Covent Garden, 25.1.2024. (JPr)

(l-r) Andrey Zhilikhovsky (Marcello), Simona Mihai (Musetta), Michael Mofidian (Colline) and Angela Gheorghiu (Mimì) © Camilla Greenwell

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An outstanding celebration of Schoenberg by Kirill Petrenko and the Berlin Philharmonic

GermanyGermany Schoenberg: Soloists, Berlin Radio Chorus (chorus director: Gijs Leenaars), Berlin Philharmonic Orchestra / Kirill Petrenko (conductor). Philharmonie Berlin, 25.1.2024. (MB)

Conductor Kirill Petrenko,  soloists and the Berlin Philharmonic Orchestra © Stephan Rabold

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Shostakovich Festival Leipzig 2025 – 15 May to 1 June

Shostakovich Festival Leipzig 2025

Shostakovich’s music has much in common with Beethoven and Mahler by sharing in their creativity the ideals of humanity, freedom and justice. It is no coincidence that Beethoven’s Fifth Symphony was composed like Shostakovich’s Seventh Symphony during a time when Vienna and Leningrad were under siege. It is for the shared values of human dignity entwined in their magnificently expressive scores that more and more people are drawn to their music.

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Kahchun Wong’s musical alchemy: Beethoven and Mahler in perfect harmony

Zach Carstensen profiles conductor Kahchun Wong

Kahchun Wong © Ayane Sato

Anticipation crackles in the air, thick like summer lightning before the storm breaks. A hush descends, settling over an expectant audience. Every cough or rustling program feels like a desecration. At the podium, conductor Kahchun Wong stands at the edge of creation – shoulders squared, back straight, baton held aloft.  A moment’s pause, pregnant with possibility, his hand dips, slow and deliberate, tracing the first stroke of a masterpiece: Beethoven’s Symphony No.9.

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