La Scena Musicale

Monday, 24 August 2015

La mélodie préférée de Chantal Lambert


Notre sondage ‘La prochaine grande mélodie’ se poursuit! Votez au www.nextgreatartsong.com. La soprano Chantal Lambert, directrice de l'Atelier lyrique de l'Opéra de Montréal, nous partage ses choix ci-dessous.
1. Chanson triste – Henri Duparc

La mélodie qui s’impose à moi la première est Chanson triste, d’Henri Duparc. La structure du poème d'Henri Cazalis, alias Jean Lahor) est ainsi faite que jusqu’à la toute fin, on ne peut imaginer la douleur véritable de celui ou celle qui la chante. Son lyrisme d’une apparente sérénité dans la première strophe cache un univers psychique trouble et mystérieux. Cette mélodie aurait pu être chantée par Robert Schumann lui-même à sa chère Clara… ou tout autant par un homme ou une femme contemporains, dans un état de santé précaire. La partie de piano est d’une richesse infinie et soutient la voix admirablement, l’entraînant dans des arabesques délicieuses. J’aime penser que toute cette mélodie peut être chantée avec un sourire à travers des larmes. À mon sens, il n’y a rien de plus touchant que les accents de ce « mon amour » et du « peut-être » de la dernière phrase mis dans un écrin par la musique de Duparc.






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Sunday, 23 August 2015

Jacqueline Richard (Obituary)

                                                                                                                  
Obituary: Jacqueline Richard (March 8, 1928 - August 2, 2015)
 
 
Jacqueline Richard, prominent Canadian operatic coach, accompanist, choir director, organist and orchestra conductor died August 2 in Montreal at the age of 87 following  short illness.
 
Madame Richard’s career spanned five decades beginning at the age of 14 when she became the studio accompanist for the legendary Canadian soprano and teacher, Pauline Donalda. At the same time she was the piano student of another legendary Canadian musician and teacher, Marie Therese Paquin.
 
In the years that followed she earned a music degree from the University of Montreal and became very active in the city’s music scene. She gained  great deal of experience working with Radio Canada,   the Opera Guild of Montreal  as well as with Jeunesses Musicales for whom she travelled extensively as accompanist most notably for the violinist Gilles Lefbevre who was the founder of the organization. This led, in 1953, to her receiving the Medaile du Lieutenant Gouveneur du Quebec.
 
In 1963 she founded he Boutique d’Opera which had a mandate to provide performance opportunities for rising young singers, many of whom became known in the operatic world.
 
In 1964 Jacqueline received a grant from the Canadian Arts Council to study conducting in Nice with Hans Zwarowsky, a well known conductor and teacher who  worked also with Claudio Abbado and Zubin Mehta.
 
In 1965 she was invited by the then Manager of the Canadian Opera Company ,Herman Geiger Torel, to join the organization as repetiteur. Her contract included working with the students at the Opera School of the University of Toronto.
 
In 1967 she was engaged as repetiteur at the Oper Deutsche am Rhein in Dusseldorf where she was for  a few years before moving to the Hamburg Staatsoper where she met Rolf Liebermann who was General Manager and who asked her to go with him to Paris as repetiteur when he was made General Manager there. After Paris she spent time with the Bayreuth Festival.
 
Through these years she also returned to Canada for engagements which included as Director of the Courtney B.C. Music Center, advisor for voice for the Canada Council, and eventually Director of the Opera Studio and conductor of the Kitchener-Waterloo Symphony Orchestra.
 
In 1982 she entered the Benedictine Convent of Solesmes in France as a novice. She remained there for one year before leaving for health reasons.
 
In 1984 she returned permanently to Montreal where she co-founded the Atelier lyrique d’Opera de Montreal. Then, in 1985 she retired to private teaching and coaching until  she closed the book on working in 2008.
 
Her final years were marred by failing eyesight and a loss of hearing, but she never lost her enthusiasm for music and was always happy provide insights and help for the next generation of musicians.
 
She received the Order of Canada in 2004.

by Lois McDonall

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Tuesday, 18 August 2015

La mélodie préférée de Marc-André Roberge


Notre sondage ‘La prochaine grande mélodie’ se poursuit. Voici les choix du musicologue Marc-André Roberge. Soumettez votre vote au www.nextgreatartsong.com!

1. La barcheta – Reynaldo Hahn

La deuxième des six mélodies qui composent le cycle Venezia de Reynaldo Hahn, écrit sur des textes en dialecte vénitien, déploie au-dessus d'un accompagnement d'une grande simplicité (octaves et accords arpégés alternant entre les mains) une mélodie qui tient du miracle, particulièrement dans les longs mélismes qui concluent chacune des trois strophes. Le narrateur invite Ninetta à prendre le frais dans une petite barque et à laisser les zéphyrs l'éventer. La présence d'un narrateur masculin n'exclut pas les interprètes féminines; il faut avoir entendu Joyce DiDonato et Anna Caterina Antonacci interpréter cette mélodie qui montre l'immense pouvoir expressif du mouvement conjoint.

Texte


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This Week in Montreal: August 17 to 23


 
Photo: Amélie Gagné

This Week in Montreal: August 17 to 23

McGill International String Quartet Academy (MISQA)
MISQA was established in 2010. The Academy invites emeritus professors annually who share their experience with four exceptional quartets and four emerging ones. The opening concert on August 9 will be with the Miró Quartet, and the Parker Quartet will perform at the closing concert on August 22. The Grands Concerts are at Pollack Hall on August 13,14, 20 and 21 at 7 pm and at Tanna Schulich Hall on August 15 and 22, 2 pm August 9 – 22. www.misqa.com

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Cette semaine à Montréal: du 17 au 23 août


 
Photo: Amélie Gagné

Cette semaine à Montréal: du 17 au 23 août

Académie internationale de quatuor à cordes de McGill (MISQA)
MISQA a été fondée en 2010. L’Académie invite chaque année des professeurs émérites, qui partagent leur expérience avec quatre quatuors exceptionnels et quatre quatuors de la relève. Le Quatuor à cordes Miró est l’invité du concert d’ouverture le 9 août. Le concert de clôture présentera le 22 août le Quatuor à cordes Parker. Les grands concerts ont lieu à la salle Pollack les 13, 14, 20 et 21 à 19 h et les quatuors de la relève à la salle Tanna Schulich les 15 et 22 à 14 h. Du 9 au 22 août. www.misqa.com

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Thursday, 13 August 2015

La prochaine grande mélodie: la mélodie préférée de Danièle LeBlanc


Notre sondage "La prochaine grande mélodie" se poursuit. Danièle LeBlanc, directrice générale et artistique des Jeunesses Musicales Canada, nous partage ses choix ci-dessous. Votez au www.nextgreatartsong.com!

1. Funeral Blues – Benjamin Britten

J'adore le poème, la façon dont Britten l'a mis en musique et l'intensité dramatique qui s'en dégage. C'est très puissant tout en demeurant simple. Less is more!


Texte:

"Stop all the clocks, cut off the telephone.
Prevent the dog from barking with a juicy bone,
Silence the pianos and with muffled drum
Bring out the coffin, let the mourners come.
Let aeroplanes circle moaning overhead
Scribbling in the sky the message He is Dead,
Put crêpe bows round the white necks of the public doves,
Let the traffic policemen wear black cotton gloves.
He was my North, my South, my East and West,
My working week and my Sunday rest
My noon, my midnight, my talk, my song;
I thought that love would last forever, I was wrong.
The stars are not wanted now; put out every one,
Pack up the moon and dismantle the sun.
Pour away the ocean and sweep up the wood;
For nothing now can ever come to any good."

W.H. Auden

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Friday, 7 August 2015

La prochaine grande mélodie - La mélodie préférée de Claude Gingras

Notre sondage "La prochaine grande mélodie" se poursuit. Un critique de musique pour La Presse, Claude Gingras nous partage son choix ci-dessous. Votez au www.nextgreatartsong.com!

Claude Gingras, La Presse

English translation follows.



Pour moi, une mélodie, c'est d'abord ce quelque chose d'indéfinissable qui vous trotte dans la tête dans les moments les plus inattendus. À cet égard, le premier sujet qui me vient à l'esprit est « Après un rêve » de Fauré, et ce pour au moins deux bonnes raisons. En même temps que s'installe la mélodie en valeurs longues, j'entends le texte de Romain Bussine, contemporain de Fauré et lui-même chanteur, et j'entends le violoncelle, cet instrument hautement lyrique qui a inspiré la célèbre transcription que l'on sait.




Text:
Dans un sommeil que charmait ton image
Je rêvais le bonheur, ardent mirage, 
Tes yeux étaient plus doux, ta voix pure et sonore, 
Tu rayonnais comme un ciel éclairé par l'aurore; 

Tu m'appelais et je quittais la terre 
Pour m'enfuir avec toi vers la lumière, 
Les cieux pour nous entr'ouvraient leurs nues, 
Splendeurs inconnues, lueurs divines entrevues, 

Hélas! Hélas! triste réveil des songes 
Je t'appelle, ô nuit, rends moi tes mensonges, 
Reviens, reviens radieuse, 
Reviens ô nuit mystérieuse!



La fameuse Sérénade, ou « Ständchen », de Schubert.


3. None but the Lonely Heart/Ah ! qui brûla d'amour – Tchaïkovsky

Cette mélodie de Tchaïkovsky qu'on appelle « None but the Lonely Heart » en anglais et « Ah ! qui brûla d'amour » en français.


English translation:

For me, an Art song is that undefinable thing that gets that stuck in your head at the most unexpected moment. In this respect, the first one that comes to mind is Fauré’s “Après un rêve”, for at least two good reasons. As the long notes of the melody unfold, I hear the poem of Romain Bussine, contemporary of Fauré and a singer himself. I also hear the cello, the highly lyrical instrument that inspired this famous transcription.

My second choice: the famous Serenade, or "Ständchen" by Schubert.

My third: this melody by Tchaikovsky called "None bu the Lonely Heat" in English and "Ah ! qui brûla d'amour" in French.




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Monday, 3 August 2015

Vancouver Symphony Orchestra Revels at Bard on the Beach

Matt Hanson

Gerrard Gordon, conductor

Mozart isn’t exactly casino music. In 1788, it was. “So you can see how far we’ve come,” said Vancouver Symphony Orchestra conductor Gordon Gerrard, reminding a full house audience of how, at times, historical progress is truly linear.  

In an evening dedicated to Mozart, that unfathomable prodigy of Western music, the splendorous airs of Vanier Park ascended sky high under a soft dusk light. Solar crepuscules trickled into the outdoor theatre. The evening was set with a lofty ambiance under the illumined jade hue of the North Shore Mountain horizon. 

The calm flow of False Creek sped off in the visible expanse behind the tuxedoed performers, a respectable collection of brass, woodwinds, strings and a percussionist. The Impresario: Overture led people into the entrancing harmonies of a sound that has captivated the minds of the world for over two hundred years. 

The bygone classical era is nostalgic for the modern ear of the 21st century. Listening to Mozart, the public, whether consciously or not, is still swept away by a music that seems to speak, and not only briefly, or in monologue. The music of Mozart is conversational, an aural discourse of diverse musical traditions performed and heard. His music speaks as in multiple languages, various regional manners, styles and accents. Some statements are profound, others light, though, reflective of the human mind--all are complex and move through a development of pure emotional ideas. Every note speaks from the heart and dances in a dynamic call-and-response between many performers simultaneously. 


Jeanette Jonquil, clarinet

Clarinet soloist Jeanette Jonquil then stepped onstage, adorned in a sparkling indigo dress. Her performance poured original strength, and heartfelt soul into one of the most admired pieces of music ever written. Mozart’s Clarinet Concerto in A Major opens with a melancholic depth, though one not lost to the persevering optimism of the artist at work. As the movements changed hands, Jonquil performed the clarinet through its barrelling range with a solemn beauty. Her breath fed into the spiralling scales, as she edged into each tone, descending and ascending, and back, as spontaneous as gravity, and yet with a mindful strength. She intoned all of the classic verve of the clarinettist who achieves a spirited complexion of harmonic rhythms that move and speak with the rushing grace of natural grandeur. Her performance transcended acute technicality, and as a great performer at the height of her prime, she so elegantly hit that nerve, alleviating the need for lasting art that so stirs masses with the pure passionate intensity for life.

Jonquil’s clarinet gave life to what once edge music, contemporary, and on the fringes of society, where it could best earn a dying, original artist his dues. Now clearly music of the establishment, the question one must ask in every new context of long-standing compositional music, especially as a lover of classical music, is: How does this music speak to people now?  

Does Mozart still speak to the public? Or, is Mozart simply an icon for the public to set among the pantheon of Western culture in order to justify historical progress in the wake of the Industrial Age with quaint memories of a more pastoral Europe? If the unwavering exuberance of Jonquil’s virtuosity is any indication, Mozart still stands on firm ground in the heart of ensuing generations, as she performed the entire concerto from memory. 

The penultimate symphony of Mozart, Symphony No. 40 in G minor, concluded the evening. The Vancouver Symphony Orchestra showed vigorous pride for the people and lands that have cultivated their popularity in British Columbia. Throughout, conductor Gordon Gerrard appeared a step ahead of the beat, swaying and dancing to the embedded rhythms like a silent prophet, omniscient amid the genius soundscapes.

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This Week in Montreal: August 3 to 9


Marianne Fiset (Photo: Maxime Tremblay)


This Week in Montreal: August 3 to 9

Carmen at OSM’s Classical Spree
A must-see event at the end of the summer, the 4th Classical Spree will begin on August 5 with a free outdoors concert conducted by Kent Nagano. This year, a shortened version of Bizet’s Carmen will be presented at the Olympic Park, featuring Michèle Losier, Joseph Kaiser and Marianne Fiset. As in previous years, 30 low-price 45-minute concerts and a variety of free activities will take place on August 7 and 8, to present the beauties of classical music to the public. In a highly-anticipated concert, Canadian violinist James Ehnes will perform Frank Zappa’s Envelopes. Kent Nagano will conduct Beethoven’s famous 5th Symphony, and organist Jean-Willy Kunz, in the company of animator Patrice Bélanger, will present Le Carnaval des animaux to children, using multimedia projections as well as the various sonorities of the Pierre-Béique organ. Jazz pianist Oliver Jones will be present, along with other celebrities of the classical music scene. August 5 to 8. www.vireeclassique.osm.ca

L’Orchestre Symphonique de Laval
The city of Laval turns 50 this year. In celebration, the Orchestre symphonique de Laval, under Alain Trudel’s baton, is giving free concerts in parks and public spaces throughout the city. On August 6, the concert in honour of Laval’s birthday will take place at the Centropolis and feature soprano Marie-Josée Lord. Two additional concerts will be held: August 13 at the Berge aux Quatre-Vents at 7:30 pm and August 16, 2 pm, on the grounds of the Hôpital de la Cité de la Santé. www.osl.qc.ca

McGill International String Quartet Academy (MISQA)
MISQA was established in 2010. The Academy invites emeritus professors annually who share their experience with four exceptional quartets and four emerging ones. The opening concert on August 9 will be with the Miró Quartet, and the Parker Quartet will perform at the closing concert on August 22. The Grands Concerts are at Pollack Hall on August 13,14, 20 and 21 at 7 pm and at Tanna Schulich Hall on August 15 and 22, 2 pm August 9 – 22. www.misqa.com

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Cette semaine à Montréal: du 3 au 9 août


Le violoniste James Ehnes


Cette semaine à Montréal: du 3 au 9 août

Carmen à la Virée classique
Rendez-vous incontournable de la fin de l’été, la 4e Virée classique prendra son envol le 5 août avec un grand concert extérieur gratuit dirigé par Kent Nagano. Cette année, c’est une version courte de Carmen, de Bizet, avec Michèle Losier, Joseph Kaiser et Marianne Fiset comme têtes d’affiche, qui sera présentée au Parc olympique. Comme par les années antérieures, 30 concerts de 45 minutes à petits prix et une foule d’activités gratuites présentées les 7 et 8 août feront découvrir au public la beauté de la musique classique. Dans un concert très attendu, le violoniste canadien James Ehnes présentera la pièce Enveloppes de Frank Zappa. Kent Nagano offrira la célébrissime 5e Symphonie de Beethoven et l’organiste Jean-Willy Kunz, en compagnie de l’animateur Patrice Bélanger, présentera aux enfants Le Carnaval des animaux, alliant projections multimédias et sonorités du Grand Orgue Pierre-Béique. Le pianiste de jazz Oliver Jones participera à la fête, en plus de grands noms de la scène musicale classique. Du 5 au 8 août. http://vireeclassique.osm.ca

L’Orchestre symphonique de Laval
La ville de Laval fête ses 50 ans cette année. Pour souligner cet anniversaire, l’Orchestre symphonique de Laval donnera des concerts gratuits dans les parcs et lieux publics de la ville sous la direction d’Alain Trudel. Ils seront au Centre de la nature le 4 juin, à la Berge Saint-Maxime le 11 juin et au parc des Prairies le 18 juin, toujours à 19 h 30. Le 6 août, le concert marquant la naissance de Laval aura lieu au Centropolis avec la soprano Marie-Josée Lord. Deux autres concerts auront lieu, soit le 13 août à la Berge aux Quatre-Vents à 19 h 30 et le 16 août à 14 h sur les terrains de l’Hôpital de la Cité de la santé. www.osl.qc.ca

Académie internationale de quatuor à cordes de McGill (MISQA)
MISQA a été fondée en 2010. L’Académie invite chaque année des professeurs émérites, qui partagent leur expérience avec quatre quatuors exceptionnels et quatre quatuors de la relève. Le Quatuor à cordes Miró est l’invité du concert d’ouverture le 9 août. Le concert de clôture présentera le 22 août le Quatuor à cordes Parker. Les grands concerts ont lieu à la salle Pollack les 13, 14, 20 et 21 à 19 h et les quatuors de la relève à la salle Tanna Schulich les 15 et 22 à 14 h. Du 9 au 22 août. www.misqa.com

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Next Great Art Song - Mia Bach's Favourite Art Song


The next submission to the "Next Great Art Song" survey is by Mia Bach. Share your choices at www.nextgreatartsong.com!





As a vocal coach and instructor at the University of Toronto for the past few decades, I have been fortunate to be able to spend my days exploring art songs of hundreds of composers. Initially I thought it was impossible to pick just three, but I realized there are certain songs that I have performed/coached countless times, yet each time feels like a fresh discovery.  As the collaborative pianist for the French Mélodie classes at the University, I couldn’t help but include two French composers. If the definition of great art song is the inseparable fusion of poetry and music, then Debussy’s cycle Trois Chanson de Bilitis is a perfect specimen. Within the first interval of the first song “La Flûte de Pan” one is immediately transported into the realm of the poem; the introductory two bars establish not only mood, but a sense of time and place. The imagery, the characters, their surroundings in the poem are miraculously captured with masterful vividness in the musical language by Debussy, and one cannot imagine the words being melodically  “spoken” in any other way.
Thank you for the opportunity to explore this question – it may be that on another day, I may have other choices (other Debussy, Faure, Poulenc, Schubert, Wolf, Britten, Barber….!), but it would be hard to get past Debussy’s incomparable ability to fuse text and music – the definition of art song.

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Wednesday, 29 July 2015

Next Great Art Song - Gerd Helssen's Favourite Art Song

Our next submission is from Gerd Helssen, from Hamburg. Share your vote at www.nextgreatartsong.com!

1. Widmung – Robert Schumann
The Art Song has been described as the marriage of music and poetry, as the basic ingredient of the lied is the text. The poem "Widmung" was written by Friedrich Rückert (1788 - 1866). The title (dedication) was Schumann's invention for the introductory lied of "Myrten", op. 25. Schumann presented it to his fiancée Clara for their wedding, and the song describes the ups and downs of a relationship. Unlike Franz Schubert, Schumann could frequently benefit of high-quality poems. His father owned a publishing house, and Robert consequently had an outstanding literary knowledge. He grew up with books and was able to look at the world through the eyes of the poets. The music and words of "Widmung" form an inspired symbiosis. This art song is one of the most magnificent love songs in the German Lied literature. It could also be exemplary for an explanation of the expression "Aufschwung" (impetus), which is used over and over in Robert Schumann's compositions.




“You my soul, you my heart,
you my bliss, o you my pain,
you the world in which I live,
you my heaven, in which I float,
o you my grave, into which
I eternally cast my grief.
You are rest, you are peace,
you are bestowed upon me from heaven.
That you love me makes me worthy of you;
your gaze transfigures me;
you raise me lovingly above myself,
my good spirit, my better self!”


 

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The XVIII Paloma O'Shea Santander International Piano Competition is Entering the Semi-Final Stage on Wednesday, 29 July

The Jury revealed the list of 12 pianists who will participate in the Semi-final from 29 July to 1 August inclusive in the Palace of Festivals of Cantabria

Santander, 28 July 2015. The first stage of the XVIII Paloma O’Shea Santander International Piano Competition concluded yesterday, Monday 27 July, having been sponsored by El Diario Montañés.
At midnight, the Jury led by pianist and professor Gary Graffman and composed of prominent international figures such as Jian LiTomás Marco, Luis Pereira Leal, Michel Béroff, Péter Csaba, Christopher Elton, Homero Francesch, Márta Gulyás, Klaus Hellwig, Eldar Nebolsin and Blanca Uribe, revealed the list of twelve participants who will continue to compete for the awards in the Semi-final.


12 SEMIFINALISTS OF THE XVIII PALOMA O’SHEA SANTANDER INTERNATIONAL PIANO COMPETITION
First name and Surname - Country - Age

Sr. D. Juan Barahona - Spain - 25
Sr. D. Albert Cano Smit - Spain / Netherlands - 18
Mr. David Jae-Weon Huh - Korea - 28
Mr. Jianing Kong - People’s Republic of China - 29
Ms. Ke Ma - People’s Republic of China - 20
Ms. Alexia Mouza - Greece / Venezuela - 25
Mr. Jinhyung Park - Korea - 18
Sr. D. Juan Pérez Floristán - Spain - 22
Mr. Kazuya Saito - Japan - 25
Mr. Akihiro Sakiya - Japan - 26
Mr. Alexey Sychev - Russia - 26
Mr. Andrey Yaroshinsky - Russia - 29

From 29 July to 1 August inclusive these 12 selected participants will offer another solo recital and will also undergo a chamber music exam where they will be performing alongside the Cuarteto Casals in the concerts that integrate the Semi-final, which are sponsored by Grupo Tirso, Textile Santanderina, Café Dromedary and Hoteles Santos.

The Final, which will take place on 3 and 4 August, features the six finalists performing complete concertos with a full orchestra. These performances will be part of the 64th Santander International Festival, festivalsantander.com. The Radio Televisión Española Symphony Orchestra will accompany the pianists under the baton of maestro Pablo González. These concerts will be sponsored by Viesgo and Fundación Banco Santander.

All phases of the Competition will be broadcast live on classicalplanet.com and rtve.es. The Final will also be broadcast live in the Classic Radio of National Radio of Spain and in the Chanel 2 of Spanish National Television. Likewise, the Awards Ceremony will be broadcast live by Chanel 2 of TVE.

The Santander Competition boasts substantial cash prizes totaling approximately 90,000 Euros. This includes First, Second and Third Prizes, the “Santander Grand Prix”, honorary prizes and diplomas. But perhaps most importantly, the Competition provides the winner and the finalists with the opportunity to perform in various key music venues throughout the world, which is a true kickstart to their music careers.

Canon provides the Audience Prize, which was given for the first time in 1998. It will be awarded on the basis of the voting cast by the public attending the concert in the Sala Argenta of the Palace of Festivals of Cantabria and also by the listeners of Classic Radio of RNE and spectators of Channel 2 of TVE, rtve.es and classicalplanet.com. The spectators will have the opportunity to choose the winner after each of the two concerts that integrate the Final of the Competition, on 3 and 4 August. In these cases the voting will be cast online on the sites www.classicalplanet.com and www.rtve.es.

The Piano Competition benefits from the collaboration of numerous public and private entities: Department of Education, Culture and Sport - INAEM; Government of Cantabria; Santander City Council; International Festival of Santander; Fundación Albéniz; Fundación Botín; University of Cantabria; Publishing House Cantabria, El Diario Montañés; Viesgo; Fundación Banco Santander; Café Dromedario, S.A.; Canon; Managerial Group SADISA, S.L.; Grupo Planeta; Grupo Tirso S.A.; Yamaha España; Hinves Pianos; Steinway and Sons, Hamburg; Hoteles Santos; Joyería Galán; Joyería Presmanes; Textil Santanderina, S.A.; Agua de Solares; Iberia; Alsa; Renfe; Volvo.


ACCESS TO THE CONCERTS and THE CLOSING AND AWARDS CEREMONY IN THE PALACE OF FESTIVALS OF CANTABRIA.
Semi-final (12 pianists)
Recital and Chamber music
Casals Quartet
29 July - 1 August
16:00 h - 22:30 h  (14:00h UTC – 20:30h UTC)
Pereda Hall, free entry up to the maximum capacity of the hall

The Final (6 pianists)
Symphonic Orchestra of Radiotelevisión Española
Pablo González, conductor
on 3 and 4 August
19:00 h (17:00 UTC)
Argent Hall, tickets on sale at the ticket windows of the Palace of Festivals of Cantabria, by telephone +34 902 22 34 34 and by e-mail taquilla@festivalsantander.com

The Closing  and Awards Ceremony
on 5 August
19:00 h (17:00 UTC)
Argenta Hall, free entry passes must be collected at the box office beforehand. Limited seating capacity.

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New Cliburn documentary on PBS this Friday

The Cliburn Logo







FORT WORTH, Texas, July 28, 2015Virtuosity, the story of the Fourteenth Cliburn Competition, directed by Academy Award-nominated screenwriter Christopher Wilkinson, will air nationally on PBS this Friday, July 31, 2015 at 9 p.m. ET (check your local listings).
Virtuosity features the 30 competitors, including Vadym Kholodenko (Ukraine), Beatrice Rana (Italy), Sean Chen (United States), Fei-Fei Dong (China), Nikita Mndoyants (Russia), Tomoki Sakata (Japan), Alessandro Deljavan (Italy), and Steven Lin (United States), as well as artistic collaborators Maestro Leonard Slatkin, Fort Worth Symphony Orchestra, and Brentano String Quartet.
It premiered in November 2014 at Bass Performance Hall (Fort Worth, Texas) in a special opening night screening for the Lone Star Film Festival and went on to screen at several international film festivals including Seattle, Palm Springs, and Minneapolis St. Paul.
ABOUT VIRTUOSITY
Virtuosity searches for the musical souls of some of the most gifted young pianists on the planet as they try to make a name for themselves at the 2013 Cliburn Competition. The pressure on these artists is overwhelming, because the stakes are so high: prize money, concert bookings, a recording contract, a career.
At the heart of this story is the courage it takes for a 20-year-old to go onstage alone before 2,000 people, and hundreds of thousands more online, and play a unique interpretation of one of the most difficult pieces ever written for the piano. The Competition requires not only a transcendent musical ability, but a mental toughness that must sustain the soloist through three straight weeks of performance. The Cliburn becomes as much a test of character as a musical proving ground.
And all of the onstage brilliance and backstage drama takes place in the year in which the inspiration and namesake of the competition, Van Cliburn, passed away. This film is a tribute to his memory, and to his particular genius.
But ultimately, the film focuses on this group of young pianists as they articulate their personalities through their music: brilliant, eccentric, tender, touching, dazzling, deadly serious, wildly entertaining. We share their secrets, their hopes, their humanity. As different as they are as people, these young musicians share a single reality: winning The Cliburn would change their lives overnight.
The Cliburn appreciates the support of the Fourteenth Competition Media Project from: Alcon, Forestar Oil & Gas, Jane and John Justin Foundation, the National Endowment for the Arts, The Burnett Foundation, and the Woodward Family Foundation. And in-kind support from: Canon, Technicolor, Lowel Lighting, and The Tiffen Company.
ABOUT CHRISTOPHER WILKINSON, DIRECTOR
Christopher Wilkinson was nominated for an Academy Award for Best Original Screenplay for Nixon (Touchstone). His writing credits include Ali (Columbia), Copying Beethoven (SKE/Myriad), which he also produced, and the upcoming Pawn Sacrifice. He is currently working on Mercury (GK Films/Paramount). Wilkinson has directed three second units, shooting principal sequences of The River (Universal), Intersection (Paramount), and For the Boys (Fox) on which he also served as a producer. Before working on feature films, he wrote, produced, and directed commercials and documentaries for EUE/Screen Gems, PBS, CBS Sports, and ESPN. His documentaries have won awards at the Chicago International Film Festival, The International Film Festival of New York, and CINE.
ABOUT LORI MILLER, PRODUCER
Lori Miller created and produced the multi-award-winning and New York Times Critics Pick documentary They Came to Play, which tells the inspirational stories of the participants in the Cliburn’s 2007 Amateur Competition. She just completed Shakespeare High, also an award-winning documentary about under-served teens in California whose immersion in arts education compels them to overcome difficulties and create better lives. Featuring Kevin Spacey and Richard Dreyfuss, the film premiered at the Tribeca Film Festival, Lincoln Center Film Society, and on Showtime. Ms. Miller has also produced several independent features including: Panic, starring William H. Macy and Donald Sutherland (Sundance Film Festival, HBO, and theatrical release); The Last Supper, starring Cameron Diaz and Bill Paxton (Toronto and Sundance Film Festivals, Sony); Perfect Opposites, starring Piper Perabo and Jennifer Tilly (USA Network); and Campfire Tales, starring Ron Livingston and Christine Taylor (New Line).
ABOUT THE CLIBURN
The Cliburn advances classical piano music throughout the world. Its international competitions, education programs, and concert series embody an enduring commitment to artistic excellence and the discovery of new artists. Established in 1962, the quadrennial Van Cliburn International Piano Competition is widely-recognized as “one of the world’s highest-visibility classical-music contests” (Dallas Morning News) and remains committed to its original ideals of supporting and launching the careers of young pianists, age 18 to 30 (fifteenth edition May 25June 10, 2017). It shares the transformative powers of music with a wide global audience, through fully-produced webcasts and by providing commission-free, comprehensive career management and concert bookings to its winners. Rounding out its mission, the Cliburn also produces the Cliburn International Junior Piano Competition and Festival for exceptional 13 to 17-year-old pianists (inaugural edition June 21–28, 2015) and the Cliburn International Amateur Piano Competition for outstanding non-professional pianists age 35 and older (seventh edition June 1925, 2016).
Over a four-year cycle, the Cliburn contributes to North Texas’ cultural landscape with over 170 classical music performances for 150,000 attendees, through competitions, free community concerts, and its signature Cliburn Concerts series at Bass Performance Hall, the Kimbell Art Museum Piano Pavilion, and the Modern Art Museum of Fort Worth. It presents 1,000 in-school, interactive music education programs for more than 200,000 area elementary students. During the same time period, it garners the world’s attention with over one million visits from 155 nations for live concert and competition webcasts; 300 concerts worldwide booked for competition winners; more than 5,000 news articles about the Cliburn and its winners; regular national radio broadcasts to 245 public radio stations; and a PBS documentary airing in a potential 105 million households.
Detailed information about the Cliburn and its programs is available at Cliburn.org
Official Sponsors of the Cliburn are:
Amon G. Carter Foundation
Ann L. & Carol Green Rhodes Charitable Trust, Bank of America, Trustee
Arts Council of Fort Worth
BNSF Railway Foundation
Crystelle Waggoner Charitable Trust
ExxonMobil / XTO Energy

Jane and John Justin Foundation
Mercedes T. Bass Charitable Corporation
Sid W. Richardson Foundation
Steinway & Sons – North Texas / Houston
The Burnett Foundation
The Pangburn Foundation, J.P. Morgan, Trustee
Exclusive Print Media Sponsor:
Star-Telegram
Official Hotel of the Cliburn:
The Worthington Renaissance Fort Worth Hotel

ABOUT KERA
KERA is the presenting station of Virtuosity. KERA is a not-for-profit public media organization reaching the fifth-largest population area in the United States through KERA-TV, KERA WORLD, KERA 90.1 and the Triple-A music station KXT 91.7 FM. For over 50 years, North Texans have turned to KERA as a vibrant destination for community engagement and lifelong learning. KERA produces original multimedia content, carries the best in national and international public television and radio programs, and provides online resources at www.kera.org.

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