This week a conductor releases the complete Beethoven symphonies and there is a rerelease of a Don Giovanni production. Here is a look at this week’s new releases. Beethoven: The Symphonies Yannick Nézet-Séguin and the Chamber Orchestra of Europe present Beethoven’s nine symphonies in what is the very first recorded cycle to be based on the recently concluded New Complete Edition of the composer’s works. {…}
Metropolitan Opera Music Director Yannick Nézet-Séguin addressed gun violence during a concert with the Philadelphia Orchestra, where he is also Music Director. According to the Philadelphia Inquirer, before performing Beethoven’s Symphony No. 9, the conductor said, “Just since we’ve been playing this fabulous set of concerts to end the season with you all, just this week, just in our city, {…}
Conductor Yannick Nézet-Séguin is acting as artistic director and musical consultant for Chloé Robichaud’s upcoming film. The conductor is working with the director on her third film “Les jours heureux” in Montreal and the Orchestre Métropolitain, of which Nézet-Séguin is Music Director, will record the music and will appear in the film. The new film stars Sophie Desmarais as an {…}
The Philadelphia Orchestra has announced its 2022-23 season. Here is a look at the vocal performances for the season. Nathalie Stutzmann conducts the Philadelphia Symphonic Choir in Purrington Words for Departure, Schoenberg’s Transfigured Night, and Mozart’s Requiem. Performance Dates: Oct. 20-23, 2022 Yannick Nézet-Séguin conducts Sheku Kanneh-Mason and Pretty Yende in Xi Ensō’s world premiere, Haydn Cello Concerto in D {…}
Yannick Nézet-Séguin was featured the Kelly Clarkson Show on Feb. 1, 2022. The conductor went on the show to speak about Florence Price’s music in honor of Black History Month. During the segment, he spoke about the composer and the Grammy-nominated album he did with the Philadelphia Orchestra for Deutsche Grammophon. Alongside the conductor students at the Special Music School {…}
The Philadelphia Orchestra has postponed its Jan. 11 performance at Carnegie Hall. The theater noted that due to COVID-related concerns with the orchestra and a large number of singers, the concert will be rescheduled for Feb. 21, 2022. Tickets for the original date will still be honored. The Philadelphia Orchestra was set to be led by Yannick Nézet-Séguin with soloists {…}
On Dec. 2, 2021, the Metropolitan Opera opened this season’s run of Puccini’s “Tosca” with Sir. David McVicar’s production remaining a breathtaking immersion into the unfolding drama, faithfully capturing the Italian setting in a way that celebrates the work’s verismo nature. Under the baton of Maestro Yannick Nézet-Séguin, the evening’s cast was comprised of highly-experienced artists who brought their gifts to {…}
(Photo: Marty Sohl / Met Opera) The Met Opera’s Live in HD series for the 2021-22 season continues on Saturday, Dec. 4, 2021 with a transmission of “Eurydice.” The broadcast, which kicks off at 12:55 p.m. Eastern time, is conducted by Yannick Nézet-Séguin and stars Erin Morley, Joshua Hopkins, Barry Banks, Jakub Josef Orlinski, and Nathan Berg. Of the opening {…}
(Credit: Hans van der Woerd) The Metropolitan Opera House has announced that its Music Director Yannick Nézet-Séguin will not be conducting a run of Mozart’s “Le Nozze di Figaro” in January 2022. Per a press release, Nézet-Séguin will be taking a brief, almost four-week sabbatical from all conducting duties commencing Dec. 19, 2021. “This short break will allow time for {…}
The Grammy nominations have been announced with Yannick Nézet-Séguin and the Metropolitan Opera leading the opera nominations. The nominees for Best Opera Recording included Bartók’s “Bluebeard’s Castle” starring Susanna Mälkki, Mika Kares and Szilvia Vörös; Glass’s “Akhnaten” with Karen Kamensek, J’Nai Bridges, Anthony Roth Costanzo, Zachary James, and Dísella Lárusdóttir; and Janáček’s “The Cunning Little Vixen” with Simon Rattle, Sophia Burgos, Lucy {…}
The Metropolitan Opera is eyeing some operatic rarities for future seasons. In an interview with the New York Times, Yannick Nézet-Séguin talked about potential repertoire he is looking at for the future. He said, “he has his eye on little-done corners of the repertory, he mentioned Gluck, Weber’s ‘Der Freischütz,’ Korngold’s ‘Die Tote Stadt,’ and Ponchielli’s ‘La Gioconda.’ However, the {…}