EMI Classics & Virgin Classics: Dec ’09 and Jan ’10 releases
Available December 8, 2009
A Festival of Nine Lessons and Carols
(Recorded live on Christmas Eve, 2008)
Choir of King’s College, Cambridge / Stephen Cleobury
Two-CD set available December 8 from EMI Classics
(Contact: Mariko Tada at EMI Music)
This new, live, complete recording of the Service of Nine Lessons and Carols from Christmas Eve, 2008 includes traditional hymns, modern carols, old favorites, and new voices, all combining to convey the experience, both comforting and transcendent, of a service known and loved around the world. The Festival of Nine Lessons and Carols is broadcast live on the radio worldwide every year and the release of this two-CD set coincides with the celebration of the University of Cambridge’s 800th anniversary and also with the frontline King’s Christmas release of the DVD-version of Handel’s Messiah.
The Choir of King’s College, Cambridge is the world’s most famous choir and one of today’s most accomplished and renowned representatives of the great British choral tradition. The choir dates back to the 1400s and consists of 16 choristers and 14 choral scholars. Its international reputation, established by the radio broadcast worldwide of the Festival of Nine Lessons and Carols each Christmas Eve, has been consolidated by regular international tours and by the critical and commercial success of its EMI Classics releases.
Pyrotechnics
Vivica Genaux, mezzo-soprano
Europa Galante / Fabio Biondi
CD and downloads available December 8 from Virgin Classics
(Contact: Mariko Tada at EMI Music)
“Baroque opera is hot these days – and even hotter when sung by a firebrand like U.S. mezzo-soprano Vivica Genaux. Her dusky voice has incredible power, range, and nimbleness that suits the technical demands of arias by Vivaldi. This is a nicely layered best-of selection of 13 pieces nicely accompanied by Fabio Biondi and period-instrument ensemble Europa Galante. Four Stars out of Four.”
– Toronto Star
Vivica Genaux, star of Virgin Classics’ complete recording of Vivaldi’s opera Bajazet, follows her 2006 solo recital of Handel and Hasse with a brilliant new program of Vivaldi arias. The featured arias, teaming Genaux once again with Fabio Biondi and his Europa Galante, come from a dozen or so operas and include five arias never before recorded.
The balmy lagoon of Venice is a long way from the chill waters of America’s northernmost state, but Alaska-born mezzo-soprano Vivica Genaux now lives near La Serenissima, and Antonio Vivaldi, the city’s emblematic composer, figures prominently in her repertoire. Gramophone called her performance in Bajazet, which was nominated for a Grammy Award, “a show-stopping display.” Opera News added, “True star status on this recording belongs to Vivica Genaux, whose performance of ‘Qual guerriero in campo armato’ sets what must be the new modern standard for coloratura singing. Her swiftness and accuracy demonstrate why Genaux is the leading interpreter of the music written for Farinelli, the greatest vocal star of the Baroque era.”
Reviewing her disc of bel canto arias, Time Out New York declared, “Genaux might be the most exciting singer in the world. Sinewy but lithe, her voice encompasses a wine-rich chest register, juiced up with just enough testosterone to keep things interesting, as well as luminous high notes that would do many a soprano proud. Her Italian is crisp and peppery, and she rips through pages of runs and embellishments with jaw-dropping ease.”
Genaux observed, “There are plenty of pyrotechnics in this recital, but in the sense of using ornamentation to amplify the emotion – so there is rapid coloratura and more delicate ornamentation too. I love working with Europa Galante, and Fabio, being a violinist as well as a conductor, understands that a singer can’t just go on forever on one breath, just as a violinist is limited by the length of his bow.”
According to Vivaldi expert Frédéric Delamea, “The dazzling arias in this program – some of which have never been recorded or, indeed, performed in concert – illustrate the different phases and forms of Vivaldian pyrotechnics, exploring every emotion and the most diverse dramatic situations, and continually varying instrumentation, tonality, and tempo. The composer of the Four Seasons, flamboyant as ever, sets his unique operatic stamp.”
Track list
1. “Come in vano il mare irato” from Catone in Utica (Verona-Spring, 1737)
2. “E prigioniero e re” from Semiramide (Mantova-Carnival, 1732)
3. “Alma oppressa” from La fida ninfa (Verona-Carnival, 1732)
4. “Agitata da due venti” from Griselda (Venice-Fiera, 1735)
5. “Destin avaro” from La fida ninfa (Verona-Carnival, 1732)
6. “Il labbro ti lusinga” from an unknown opera
7. “Vibro il ferro” from Ipermestra (Teatro della Pergola, Florence, 1727)
8. “Quell’usignuolo” from Farnace (Ferrara-Carnival, 1738)
9. “Splender fra’l cieco orror” from Tito Manlio (Roma-Carnival, 1720)
10. “Vorrei dirti il mio dolore” from Rosmira (Venice-Carnival, 1738)
11. “Nella foresta” from Catone in Utica (Verona-Spring, 1737)
12. “Ricordati che sei” from Farnace (Ferrara-Carnival, 1738)
13. “Sin nel placido soggiorno” from an unknown opera
January 2010 preview
J.C. Bach: La Dolce Fiamma – Forgotten Castrato Arias
Philippe Jaroussky, countertenor
Le Cercle de L’Harmonie / Jérémie Rhorer
CD and downloads available January 12, 2010 from Virgin Classics
“The countertenor Philippe Jaroussky wields his sweet-toned, radiant voice to emotive effect, displaying both a rapid-fire coloratura technique and a poignant, lyrical expressiveness.” – New York Times
Philippe Jaroussky’s previous operatic recital for Virgin Classics was a collection of arias written for a castrato singer, Carestini, whose star had been somewhat eclipsed by his contemporaries Farinelli and Senesino. In this newest release, the young and charismatic French countertenor turns to a composer who – despite his famous last name, his celebrity during his lifetime, and his influence on the young Mozart – is still not given his full due: Johann Christian Bach (1735-82). The repertoire comprises arias from six of his operas, written for Milan, Mannheim, and London, the city in which he spent the last 20 years of his life and where, in 1764, he met Mozart, then a touring child prodigy.
La Dolce Fiamma – Forgotten Castrato Arias is Jaroussky’s seventh solo disc for Virgin Classics. Reviewing the new album, a critic for the Toronto Star observed, “France’s Jaroussky, 31, is probably the finest of the younger generation of countertenors. Here, he tackles 13 airs and arias originally written for castrati by Johann Christian Bach… . J.C. wrote a lot of operas, all of them forgotten – which may change, given the impressive performances by Jaroussky and Le Cercle de l’Harmonie under conductor Jérémie Rhorer. This beautiful music spans the full emotional spectrum.”
Jaroussky’s star is already high in the firmament in Europe, especially in France, where his albums have been extraordinary bestsellers. Audiences in three American cities will have the opportunity to hear his work in a broad range of repertoire early in the New Year. On January 14, Jaroussky will give a recital of sensuous and seductive French melodies from the late 19th and early 20th centuries – the so-called Belle Époque – at Carnegie’s Weill Recital Hall; it will mark his New York City solo recital debut. Jaroussky recorded many of these songs on his Virgin Classics album Opium, which was released this past spring. Much of the Opium repertoire will also appear on a program Jaroussky will give at the Cleveland Institute of Music on January 16 with the dynamic young ensemble Apollo’s Fire. Writing about Opium, a critic for All Music Guide observed, “Jaroussky rose as a star of Baroque opera not only because of his flawless technique and the exceptional clarity and purity of his voice, but for his ability to bring life, through the depth and emotional honesty of his characterizations, to cardboard roles that had primarily served as vehicles for coloratura fireworks. It’s not surprising, then, that he excels in this intensely personal and emotionally transparent repertoire.” Additional information about the album is available on-line at www.jarousskyopium.com.
A third American recital by Jaroussky is scheduled in Boston on January 21 and will feature works by Handel, Vivaldi, and Ferrari (venue tba).
Debussy: Pelléas et Mélisande
Natalie Dessay, Laurent Naouri, Stéphane Degout
Arnold Schoenberg Choir
Radio-Symphonieorchester Wien / Bertrand de Billy
DVD available January 12, 2010 from Virgin Classics
(Contact: Mariko Tada at EMI Music)
“Natalie Dessay admitted that Mélisande poses few vocal challenges, noting that the role lies comfortably enough for both sopranos and lightweight mezzos. Indeed, the role is vocally a good fit for her – splendid, in fact.”
– Opera News
“There’s more to life than top notes,” Natalie Dessay has said. She has, of course, made her reputation with the florid, stratospheric heroines of Romantic French and Italian opera, but in this new DVD from Vienna she portrays a heroine who presents few opportunities for vocal display, but many for subtle characterization – Debussy’s Mélisande. Dessay had sung the role just once before, in concert in Edinburgh in 2005. Pelléas et Mélisande is full of ambiguity and its vocal lines closely reflect Maurice Maeterlinck’s hauntingly enigmatic text. A few unaccompanied, ballad-like phrases are the closest Mélisande comes to an aria.
For this production, premiered in January 2009 at the Theater an der Wien, Dessay’s French and French-Canadian colleagues included stage director Laurent Pelly – celebrated for riotous comedy (notably La fille du régiment with Dessay, also a Virgin Classics DVD) – and his preferred designer, Chantal Thomas; Dessay’s real-life husband, bass-baritone, Laurent Naouri, as her jealous stage husband, Golaud; the lyric baritone Stéphane Degout as her Pelléas; and the contralto Marie-Nicole Lemieux as his and Golaud’s mother, Geneviève. Conductor Bertrand de Billy completes the high-caliber Gallic line-up.
A preview segment from the DVD is available at this link: www.youtube.com/watch?v=ANSOGaoJOFs.
Natalie Dessay’s ever-rising profile in the U.S. has been fueled by a series of critically-acclaimed performances with the country’s leading opera companies, particularly New York’s Metropolitan Opera. She returns there in March to star as Ophelia in the company’s production of Ambroise Thomas’s Hamlet (eight performances, March 16 through April 9). Listeners can preview that performance on Virgin Classics’ recently released Mad Scenes, which features Dessay going off the rails – emotionally, but with perfect musical precision – in works from five 19th-century operas, along with a surprising live performance from Bernstein’s Candide. Jason Victor Serinus recommended the album in his list of suggested holiday gifts for the San Francisco Classical Voice website with this humorous commentary: “Are thoughts of holiday shopping driving you crazy? There’s no better accompaniment for wrapping the presents than Natalie Dessay’s collection of mad scenes from operas by Gaetano Donizetti, Vincenzo Bellini, Ambroise Thomas, and Giacomo Meyerbeer. If you find yourself obsessed with the photo of the French coloratura soprano in a bloody dress, drop your scissors and immediately play her hilarious live recording of Bernstein’s ‘Glitter and Be Gay’ from Candide.”
COLORaturas
Diana Damrau, soprano
Münchner Rundfunkorchester / Dan Ettinger
CD and downloads available January 12, 2010 from Virgin Classics
(Contact: 21C Media Group)
“Some are born great, some achieve greatness, and some have greatness thrust upon them. It’s impossible to know whether Diana Damrau was born great, but she has – without question – achieved greatness; Damrau has firm technical command, unaffected mastery of characterization, and beauty of tone… . More, please.”
– Opera News
After two highly-praised Virgin Classics releases of 18th-century repertoire, the superb German soprano Diana Damrau adds a dazzling new title to her Virgin Classics discography: COLORaturas. With the support of the Münchner Rundfunkorchester conducted by Dan Ettinger, Damrau is showcased in repertoire that ranges from Rossini (including “Una voce poco fa” from Barber of Seville) and Verdi to Stravinsky and Bernstein; from comedy to tragedy; and covers four languages: German, Italian, French, and English. It includes Zerbinetta’s marathon coloaratura aria from Ariadne auf Naxos, one of the operas that spearheaded Damrau’s international career.
Diana Damrau’s operatic engagements in the U.S. for the current season include starring roles in Donizetti’s La fille du régiment (Feb 2010) and Rossini’s Il barbiere di Siviglia at New York’s Metropolitan Opera (Feb – March 2010), as well as Ambroise Thomas’s Hamlet in Washington, D.C. (May 2010). She will also take center stage at New York’s Carnegie Hall on January 24, performing orchestral songs by Richard Strauss with the MET Orchestra and James Levine.
Ravel: La Valse, Mother Goose, Daphnis et Chloé Suite No. 2, etc.
Rotterdam Philharmonic Orchestra / Yannick Nézet-Séguin
CD and downloads available January 12, 2010 from Virgin Classics
(Contact: Mariko Tada at EMI Music)
“In everything, Nézet-Séguin – who is flashy and hyper-expressive in his gestures – got a sound I had never quite heard before from the Angelenos. It was lean, sleek, tart in the French manner, yet also very bold and forward. It reminded me of the sound of the Montréal Symphony during the Charles Dutoit era, but with more punch.”
– Los Angeles Times
A new album of orchestral works by Ravel marks Yannick Nézet-Séguin’s debut recording with the Rotterdam Philharmonic Orchestra. The French-Canadian conductor finds Maurice Ravel to be the greatest orchestrator that French music has ever had, which is what he and the orchestra want to showcase on this recording. “It’s all about colors,” Nézet-Séguin explained, “[and] the contrast between intimacy and grandeur, Valse being one of his greatest and most powerful symphonic poems, and yet the Valses nobles et sentimentales being much more in the intimate way… . In Ma mère l’Oye, we are being so intimate, while Daphnis and Chloé is also one of his most uplifting and triumphant [works]. There’s a lot of contrast.”
In the 2008-09 season, Yannick Nézet-Séguin succeeded Valery Gergiev as Music Director of the Rotterdam Philharmonic Orchestra and also became Principal Guest Conductor of the London Philharmonic Orchestra. Since 2000, he has been Artistic Director of the Orchestre Métropolitain in Montreal, gaining many awards for his work there. He has worked with all the leading Canadian orchestras and returns regularly to the Toronto Symphony. He made his European debut in late 2004 with Orchestre National du Capitole de Toulouse and has since been invited back by all the orchestras with which he has worked.
Nézet-Séguin will be busy in New York this winter, making his Metropolitan Opera debut conducting a new production of Bizet’s Carmen, opening December 31 (six performances through Jan 21), before he heads across the Lincoln Center plaza to lead the Rotterdam Philharmonic Orchestra in two orchestral concerts at Avery Fisher Hall (Feb 17 and 19).
Three special ballet titles:
The Ballet Edition (ten two-CD sets)
A Festival of Ballet (50-CD boxed set in luxury packaging)
I Love Ballet (Greatest hits on two mid-price CDs)
Available January 26 from EMI Classics
(Contact: Mariko Tada at EMI Music)
Some people love the total experience of the ballet. Others just love to listen to the glorious music – romantic, dramatic, tragic, comic, charming, exhilarating – composed for the theater by supreme figures like Tchaikovsky, Stravinsky, Prokofiev, and Ravel; by lesser masters such as Glazunov, Delibes, and Adam; or by the “one-hit wonder” specialists, like Lovenskiold and Drigo. With this winter’s three complementary ballet strands, EMI Classics draws on its rich catalog to present releases for the balletomane, the new ballet enthusiast, or simply the lover of enthralling music, all superbly performed.
The Ballet Edition
This new series, with a special focus on complete ballet scores, is launched with ten two-CD sets. It includes a number of landmark performances: Tchaikovsky’s Swan Lake, Sleeping Beauty, and Nutcracker and Prokofiev’s Romeo & Juliet and Cinderella from the London Symphony Orchestra under André Previn – interpretations that have long set the standard in these magnificent works; Ravel’s Daphnis et Chloé and Debussy’s Jeux from the Orchestre de Paris under Jean Martinon, a master of French style; and Stravinsky’s Rite of Spring, Petrushka, Firebird, and Apollo – the kind of repertoire that first established Sir Simon Rattle’s international reputation – with the British maestro and the City of Birmingham Symphony Orchestra. The collection also includes Delibes’ Coppélia and Sylvia, performed by Parisian forces; Adam’s Giselle and Lovenskiold’s La Sylphide; and extracts from Glazunov’s Raymonda, Minkus’s La Bayadère, and Drigo’s Le Corsaire, all in the hands of expert ballet conductors.
A Festival of Ballet
This sumptuously-packaged 50-CD set provides an epic survey of ballet music as a genre, from its origins in the Baroque era with composers such as Purcell and Rameau, through its establishment in the 18th and 19th centuries in France and Russia, to the great narrative works of the late-19th and early-20th centuries, and the works of modernism, some jazz-inspired. Many rarely-heard scores are included alongside essential repertoire.
The array of Russian music exemplifies the set’s impressive scope: beyond substantial highlights from the great Tchaikovsky ballets and other works by the composer, there is music by Glazunov, Rimsky-Korsakov, Stravinsky (from Firebird of 1910 through to Agon of 1957), Prokofiev, Khachaturian, Shostakovich and a number of lesser-known figures such as Liadov and Glière. The discs devoted to French, British, German, and American repertoire also yield a plethora of scores, and there are even four CDs of dances from operas, oratorios, and plays.
Among the fascinating rarities in the set are John Antill’s Corroboree (1950), a spectacular work inspired by the Aborigines of Australia; Charles Koechlin’s tone poem Les Bandar-Log (based on Rudyard Kipling’s Jungle Book), which underpinned Antony Tudor’s 1967 ballet Shadowplay; and Constant Lambert’s Horoscope. Presented beside much-loved scores by Leonard Bernstein and Aaron Copland is songwriter Cole Porter’s only classical ballet, Within the Quota.
The recordings feature the world’s great orchestras under leading conductors such as Herbert von Karajan, Riccardo Muti, André Previn, Simon Rattle, Carlo Maria Giulini, Thomas Beecham, John Barbirolli, Charles Mackerras, Neville Marriner, Seiji Ozawa, Roger Norrington, John Eliot Gardiner, Leonard Slatkin, Kent Nagano, and Michel Plasson, and also leading ballet specialists such as John Lanchbery, Barry Wordsworth, Terence Kern, and Robert Irving.
I Love Ballet
These two richly-filled CDs provide a perfect introduction to the joys of ballet music, with many of its greatest hits included: highlights from Swan Lake, Nutcracker, Sleeping Beauty, Coppélia, Romeo & Juliet, Giselle, Les Sylphides, Sylvia, Cinderella, La fille mal gardée, Gayaneh (the soaring theme from the BBC TV drama The Onedin Line), and the charming Tales of Beatrix Potter; the complete “Dance of the Hours” from the opera La Gioconda (made famous by Disney’s Fantasia), the can-can overture from Gaité Parisienne, and the sparkling opening dance from Pineapple Poll (set to the music of Sir Arthur Sullivan); two numbers from Façade, and The Dying Swan, so closely identified with the legendary ballerina Anna Pavlova. The impressive line-up of conductors includes Herbert von Karajan, André Previn, Sir Malcolm Sergent, and Sir Charles Mackerras.
EMI Classics and Virgin Classics nominations for 52nd Grammy Awards
On Wednesday, December 2, EMI Classics and Virgin Classics secured six nominations for the 52nd annual Grammy Awards, which will take place on January 31, 2010 at the Staples Center in Los Angeles and be televised by CBS.
Virgin Classics’ release of Britten’s opera Billy Budd, featuring exclusive EMI artist Ian Bostridge, who has already appeared on a Grammy-winning opera recording, was nominated for Best Opera Recording. The recording’s engineers, Neil Hutchinson and Jonathan Stokes, were also nominated for Best Engineered Album, Classical.
Three-time Grammy Award-winner Sir Simon Rattle earned a nomination in the Best Orchestral Performance category for his work with the Berlin Philharmonic on Berlioz’s Symphonie fantastique, paired with the composer’s La mort de Cléopâtre, performed by mezzo-soprano Susan Graham. Rattle has recently renewed his relationship with the renowned Berlin Philharmonic until 2018 as well as continuing his legacy with EMI for another four years. Rattle and the orchestra have just completed a highly-successful U.S. tour that included performances at New York’s Carnegie Hall and Los Angeles’s Walt Disney Concert Hall.
Previous Grammy Award-winning pianist Evgeny Kissin earned a nomination for Best Instrumental Soloist Performance (with Orchestra) for his work on Prokofiev’s Piano Concertos Nos. 2 and 3, featuring Vladimir Ashkenazy conducting the Philharmonia Orchestra.
Three-time Grammy Award-winning pianist Martha Argerich scored a nomination for Best Chamber Music Performance for her partnership with violinist Gidon Kremer on Schumann/Bartók: The Berlin Recital.
Along with producing Billy Budd, John Fraser’s work on three EMI Classics titles (Kate Royal’s Midsummer Night; Schubert’s Schwanengesang with Ian Bostridge and Antonio Pappano; and Leif Ove Andsnes’s Shadows of Silence with Franz Welzer-Möst and the Bavarian Radio Symphony Orchestra) helped garner him a nomination for Classical Producer of the Year; he has previously been nominated in his category. Veteran producer David Frost’s nomination in this category included his work on two EMI Classics albums: the Eroica Trio’s An American Journey, and Mozart’s Piano Concertos 21 and 22 featuring Jonathan Biss and the Orpheus Chamber Orchestra.
EMI Classics and Virgin Classics: Artists on tour – Winter 2010
Dec 29 and 30; Jan 2
Leif Ove Andsnes: Mozart’s Piano Concerto No. 23 in A major (K.488)
New York Philharmonic / Alan Gilbert
Avery Fisher Hall (New York, NY)
Dec 31 (six performances through Jan 21)
Yannick Nézet-Séguin: Metropolitan Opera debut
Bizet’s Carmen (new production)
Metropolitan Opera (New York, NY)
Jan 8
Sarah Chang: Vivaldi’s Four Seasons
New Jersey Performing Arts Center (Newark, NJ)
Jan 9
Sarah Chang: Vivaldi’s Four Seasons
State Theatre (New Brunswick, NJ)
Jan 9-11
Ingrid Fliter: Schumann’s Piano Concerto
Oregon Symphony (Portland, OR)
Jan 10
Sarah Chang: Vivaldi’s Four Seasons
Mayo Center (Morristown, NJ)
Jan 14
Philippe Jaroussky: Opium program
Carnegie’s Weill Recital Hall (New York, NY)
Jan 15 and 16
Ingrid Fliter: Ravel’s Piano Concerto in G major
St. Louis Symphony (St. Louis, MO)
Jan 16
Philippe Jaroussky: Songs from Opium program and other works
Apollo’s Fire (Cleveland Baroque Orchestra)
Mixon Hall, Cleveland Institute of Music (Cleveland, OH)
Jan 21
Philippe Jaroussky: Handel, Vivaldi, and Ferrari
(Boston, MA)
Jan 21
Fabio Biondi: Vivaldi’s Four Seasons
Carnegie’s Zankel Hall (New York, NY)
Jan 22
Fabio Biondi: Vivaldi’s Four Seasons
Mandel Hall, University of Chicago (Chicago, IL)
Jan 23
Fabio Biondi: Vivaldi’s Four Seasons
First Congregational Church (San Francisco, CA)
Jan 24
Ingrid Fliter: recital
Orchestra Hall (Chicago, IL)
Jan 24
Fabio Biondi: Vivaldi’s Four Seasons
Beekman Auditorium (Los Angeles, CA)
Jan 24
Diana Damrau: R. Strauss orchestral songs
MET Orchestra / James Levine
Carnegie Hall (New York, NY)
Jan 26
Fabio Biondi: Vivaldi’s Four Seasons
Cabell Hall, University of Virginia (Charlottesville, VA)
Jan 26
Capuçon-Angelich Trio
Schwab Auditorium, Pennsylvania State University (University Park, PA)
Jan 27
Capuçon-Angelich Trio
Rockefeller University (New York, NY)
Jan 28
Capuçon-Angelich Trio
University of Connecticut (Storrs, CT)
Jan 29
Capuçon-Angelich Trio
Metropolitan Museum of Art (New York, NY)
Jan 29
Fabio Biondi: Vivaldi’s Four Seasons
Struthers Library Theatre (Warren, PA)
Jan 30
Fabio Biondi: Vivaldi’s Four Seasons
Southern Theatre (Columbus, OH)
Jan 31 and Feb 1
Capuçon-Angelich Trio
Music Room, Dumbarton Oaks (Washington, DC)
Feb 1
Fabio Biondi: recital
Carnegie’s Zankel Hall (New York, NY)
Feb 2
Capuçon-Angelich Trio
La Maison Française (Washington, DC)
Feb 5-23
Quatuor Ebène: North American tour
Appleton, WI (Feb 5); Columbia, MD (Feb 6); Toronto, ON (Feb 8); Tucson, AZ (Feb 10); Los Angeles, CA (Feb 12-14); New York, NY (Poisson Rouge, Feb 16); Burlington, VT (Feb 19); Athens, GA (Feb 21); and Washington, DC (Feb 23)
Feb 6 (six performances through Feb 22)
Diana Damrau: title role in Donizetti’s La fille du régiment
Metropolitan Opera (New York, NY)
Feb 17
Yannick Nézet-Séguin / Rotterdam Philharmonic Orchestra
Messiaen, Liszt, Strauss
Avery Fisher Hall (New York, NY)
Feb 19
Yannick Nézet-Séguin / Rotterdam Philharmonic Orchestra
Brahms, Verbey, Bartók
Avery Fisher Hall (New York, NY)
Feb 26
Sarah Chang: recital
University of California (Santa Barbara, CA)
Feb 26-28
Gabriela Montero: Grieg’s Piano Concerto
Detroit Symphony (Detroit, MI)
Feb 26; March 1 and 4
Diana Damrau: Rosina in Rossini’s Il barbiere di Siviglia
Feb 27 – March 15
Artemis Quartet: Beethoven tour (cities/dates tba)
Feb 28
Sarah Chang: recital
Cerritos Center (Cerritos, CA)
Feb 28
Joyce DiDonato: Cherubino in Mozart’s Le nozze di Figaro
Lyric Opera of Chicago (Chicago, IL)
March 4
Sarah Chang: recital
(Santa Fe, NM)
March 4, 5, and 6
Ingrid Fliter: Mozart Piano Concerto No. 23 in A major, K.488
National Symphony Orchestra (Washington, DC)
March 7
Sarah Chang: recital
(San Francisco, CA)
March 11
Sarah Chang: Bruch’s Violin Concerto No. 1 in G minor, Op. 26
University of Southern California (Los Angeles, CA)
March 11 and 13
Ingrid Fliter: Haydn’s Piano Concerto in D major
Seattle Symphony (Seattle, WA)
March 16 (eight performances through April 9)
Natalie Dessay: Ophelia in Ambroise Thomas’s Hamlet
Metropolitan Opera (New York, NY)
March 20 and 21
Gautier Capuçon: Saint-Saëns’s Cello Concerto No. 1 in A minor, Op. 33
Spokane Symphony (Spokane, WA)
March 22
Ingrid Fliter: Chopin’s Piano Concerto No. 2 in F minor, Op. 21
Cleveland Symphony / Ashkenazy
(Fort Myers, FL)
March 24
Ingrid Fliter: Chopin’s Piano Concerto No. 2 in F minor, Op. 21
Cleveland Symphony / Ashkenazy
(Miami, FL)
March 24
Gautier Capuçon and Gabriela Montero: recital
Savannah Music Festival (Savannah, GA)
March 27
Gautier Capuçon: recital
Metropolitan Museum of Art (New York, NY)
For further information:
Visit EMI Classics’ YouTube Channel for video previews of many of its new and recent releases:
www.youtube.com/user/emiclassics.
Contacts:
Glenn Petry, 21C Media Group: (212) 625-2038, [email protected]
Mariko Tada, EMI Music: (212) 786-8964, [email protected]
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