Switzerland Beethoven, Mozart: Soloists, Gemischter Chor Zürich, Tonhalle-Orchester Zürich / Joachim Krause (conductor). Tonhalle Maag, Zurich, 18.4.2019. (CCr)
Recomposing Mozart: a Successful New Requiem Given in Zurich’s Tonhalle
Casey Creel
Excellent Playing from Kavakos and the COE in a Glorious Zurich Concert
Switzerland Mozart, Schoeck, Beethoven: Leonidas Kavakos (violin and conductor), Chamber Orchestra of Europe, Tonhalle Maag, Zurich, 9.4.2019. (CCr)
Opernhaus Zürich’s New Manon Has So Much to Hear, So Little to See
Switzerland Massenet, Manon: Soloists and Chorus of the Opernhaus Zürich, Philharmonia Zürich / Marco Armiliato (conductor), Opernhaus Zürich, Zurich, 7.4.2019. (CCr)
Smart and Lean Grand Macabre Makes the Case for Ligeti in Zurich
Switzerland Ligeti, Le Grand Macabre: Soloists and Chorus of the Opernhaus Zürich, Philharmonia Zürich / Tito Ceccherini (conductor), Opernhaus Zürich, Zurich, 3.2.2019. (CCr)
Gemischter Chor Zürich Perform Puccini’s Youthful Messa di Gloria
Switzerland Puccini, Donizetti: Gemischter Chor Zürich, Musikkollegium Winterthur / Joachim Krause (conductor), Tonhalle Maag, Zurich, 25.11.2018. (CCr)
Wayne Marshall and Philharmonia Zürich Argue Well for Bernstein-the-Composer
Switzerland Bernstein: Bartłomiej Nizioł (violin), Lev Sivkov (cello), Philharmonia Zürich / Wayne Marshall (conductor), Opernhaus Zürich, Zurich, 11.11.2018. (CCr)
A Theatrical Coup Hoping for a Political One: Serebrennikov’s Così
Switzerland Mozart, Così fan tutte: Soloists and Chorus of the Opernhaus Zürich, Philharmonia Zürich / Cornelius Meister (conductor), Opernhaus Zürich, Zurich, 4.11.2018. (CCr)
SOPRANO ELENA MOȘUC IN CONVERSATION WITH CASEY CREEL
‘Verdi wants more blood in the singing’: Elena Moșuc on embracing new drama in her repertoire
The lyric coloratura soprano Elena Moșuc has a decent claim to being one of the hardest working people in show business, ever sizing up new repertoire and planning new recordings at this advanced stage of her career. After a highly successful recital in this spring in Zurich (reviewed here), I submitted Ms Moșuc to an extensive list of questions about a wide range of topics: her early days, her future plans, the current state of her voice, and all sorts of hypothetical questions. Her answers do not disappoint; she used them as an opportunity to reflect at length on questions of artistry and career. I found Moșuc to be sincere and introspective, with less than the normal dosage of boilerplate self-promotion inherent to these sorts of press events. The interview has been edited for clarity.