／ #N響 首席指揮者 #ファビオ・ルイージ からのメッセージ🎥 #ツェムリンスキー 《交響詩「人魚姫」》の魅力を語る ＼ 12月定期公演でタクトをとるファビオ・ルイージから、メッセージが届きました🎥 Aプログラムで演奏するツェムリンスキー《交響詩「人魚姫」》の魅力について、#ルイージ

🎼 La Orquesta y Coro Nacionales de España, bajo la dirección de @fabluisi, regresan a la línea temática «El mundo de ayer» con el oratorio 'El libro de los siete sellos' de Franz Schmidt, estrenado en 1938, tres meses después de la anexión de Austria por el Tercer Reich.

🎼 El director @fabluisi aprovecha los ensayos con la #OCNE para presentarnos 'El libro de los siete sellos' de Franz Schmidt: "Creo que es una de las grandes obras del siglo XX, junto al 'Réquiem de guerra' de Britten y la Octava Sinfonía de Mahler". https://t.co/AASOK0bopg

Not only is this book a precious source of information about those years, but it is also a portrait of a conductor deeply rooted in the great tradition of Russian music, always dedicated to quality and art. An inspiring book. I couldn't stop reading—and learning. [5/5]

And, of course, his early relationship with the young Shostakovich, recognizing his vast talent, but also his singular vanity, and, in general, his contradictions. [4/5]

Malko tells us in elegant language about his years at the Music Conservatory in Saint Petersburg (with interesting stories about teachers Rimski Korsakoff & Glazounov), the great influence of Felix Mottl & the shifting of the musical culture in Russia after the Revolution. [3/5]

Nicolai Malko, born in 1883, strongly shaped the musical life of Russia, especially in his "alma mater" opera house, the Marinsky Theatre in Saint Petersburg, where he soon rose as a crucial conductor under the tutelage of the legendary Eduard Napravnik. [2/5]

Since I am sort of his successor at the helm of the @DKNationalSymph, it was extremely interesting for me to know more about this almost forgotten conductor, who was very active and well known in Europe & America (where he eventually emigrated) after WWII. [1/5]

Esta «Sinfonía n.º 5, 'Prometeo, el poema del fuego'», de Aleksandr #Scriabin, es una de las obras en este programa de Sinfónica Nacional de Dinamarca (@DKNationalSymph) y @fabluisi. Cuenta con @PLAimard como solista. Disfrútalo hoy: 22:50 🇦🇷🇨🇱🇵🇾🇺🇾 | 21:50 🇧🇴 | 20:50 🇨🇴🇪🇨.

«Sinfonía n.º 1», gran tributo al arte como fuerza divina y don celestial de Aleksandr #Scriabin. Llega con Sinfónica y Coro Nacionales de Dinamarca (@DKNationalSymph), #EmaNikolovska, #JamesLey y batuta de @fabluisi. Deleite hoy: 18:35 🇦🇷🇨🇱🇵🇾🇺🇾 | 17:35 🇧🇴 | 16:35 🇨🇴🇪🇨.

@DallasSymphony And, indeed, I will conduct a concert with exactly those four composers towards the end of the season with my excellent DSO. Still, Mozart and Beethoven are already on the program in November, with Beethoven’s Egmont Overture and Mozart's dramatic G Minor Symphony (N. 40). [4/4]

Recently, the @dallassymphony created an astrology-themed post: The Zodiac Signs as DSO Concerts. My ideal concert, according to their reading? Beethoven, Bach, Haydn, and Mozart. [3/4]

Some of what I learned is that tenacity & discipline are two of the crucial skills of Capricorns. Self-doubt (strong Saturn, alas) & reflection are, in my chart, balanced by a Leo as ascendant… fascinating. [2/4]

Out of curiosity, I hired a very famous Italian astrologer, Dr. @marcopesatori, to provide me and my wife, Yulia, with our astrological chart (which, by the way, is Capricorn - Yulia is Pisces). [1/4]

@NHKSO_Tokyo Of course, I love ALL Mendelssohn. I conducted all his major symphonies (and even some string symphonies), and his great choral works “Elijah” and “Paulus,” so this is a real pleasure to do the “Italian” symphony with this wonderful orchestra! [3/3] 📸 @NHKSO_Tokyo

After a very long hiatus, I accepted the request from the @NHKSO_Tokyo. This week we will be playing this symphony, together with Beethoven’s Violin Concerto and my first collaboration with María Dueñas, which I am very pleased and excited about. [2/3]

I have, strangely, rarely conducted Mendelssohn’s “Italian” Symphony. It seemed to me, as an Italian conductor, to be invited to conduct an “Italian” symphony was a bit of a cliché, like being asked to conduct “Fontane di Roma” or any Respighi, or “Capriccio Italien." [1/3]

I miei pensieri su Norma per il @TeatroallaScala. • My thoughts on Norma for Teatro alla Scala. ▶️ Leggi l'articolo su / Read the article on https://t.co/5p9aSRLrd8

“Never try to be better than someone else, never cease trying to be the best you can be.” My friend and Perfumery-Guru Ron Winnegrad’s blog is a source of wisdom, goodness, and common sense. His latest post is striking in its simplicity. Read it at https://t.co/LCO9NvKyqX.

@DKNationalSymph The usual, most commonly performed ending is the so-called “Zarathustra Ending” with a full orchestra, giving the work a supplement of empty heroism (spectacular, though). Strauss himself didn’t like this ending, which he defined as “Staatsbegräbnis” (a state funeral). [4/4]