Cine, TV y Música
BBC Music Magazine

BBC Music Magazine November 2017

BBC Music Magazine is a must for anyone with a passion for classical music. Classical music connoisseurs and new enthusiast alike will enjoy the fascinating features and reviews of over 120 new works in every issue. Please Note: Our digital edition does not include the cover mount items or supplements you would normally find with printed copies

United Kingdom
Immediate Media Company London Limited
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13 Números

en este número

1 min.
this month’s contributors

Daniel Jaffé Writer and academic ‘What better time than the centenary of the Russian Revolution to reassess what the Soviet Union did for music? It was fascinating to read the latest research, as well as some surprising discoveries…’ Page 24 Clemency Burton-Hill Broadcaster and author ‘Interviewing Ashkenazy was a joy. In person as on stage he exudes grace, generosity and self-possession. To hear him talk with such frankness about his extraordinary life and career felt like a real privilege.’ Page 36 Richard Bratby Writer and critic ‘Birmingham’s never stood still, musically, but nothing says renewal like a brand-new music college. The new Birmingham Conservatoire looks stunning – and I’m impatient to hear my first concert there!’ Page 40…

1 min.

If you’re a regular reader, you’ll have noticed by now that things seem a little different here in BBC Music Magazine. But not too different, we hope you’ll agree. We’ve given a spring (autumn) clean to the front end of the magazine, adding new features, including a monthly column by Radio 3’s Tom Service. And we’ve taken our regular features, such as Composer of the Month and Building a Library, and freshened them up. We’d love to know what you think: whether we’ve achieved the right balance of substance and style, and if you enjoy our new fonts – you may notice that they’re slightly larger than the old set. Of course, you may be new to BBC Music Magazine… In which case, we’d love to hear your first impressions…

1 min.
letter of the month

Encores galore I was so much in agreement with Stephen Johnson (Discovering Music, October) I was almost in danger of shouting ‘encore’ myself – I’ve been bursting to tell the world how annoying perpetual, and totally expected, encores are. They are far too common. All but one of this year’s BBC Proms concerts have finished with my radio being switched off before the presenter’s inevitable ‘You know there will be an encore, don’t you?’ My one exception, and an encore I did agree with, was Prom 37 with Alexander Gavrylyuk performing Rachmaninov’s Third Piano Concerto. The choice of encore here [Rachmaninov’s Vocalise] was perfect, a tiny reflection of the events so majestically gone before. A truly outstanding performance. Vanessa Richards, Beverley WIN A DIGITAL RADIO! Every month the editor will award a Geneva…

4 min.
have your say…

The wrong operas How can you compare opera buffa with grand opera, music drama with opera seria, 12-note opera with Baroque opera (20 Greatest Operas, October)? I have long enjoyed all 20 operas that your professional artists have, by some arithmetical formula, generated as the top, but they would not be my top 20, and Figaro would not even be my favourite comic opera. Being inevitably subjective, if I am asked to choose operas for which I would drop everything and rush to the opera house with only five minutes to curtain up, then they are Così, Don Carlos, Electra, Parsifal, Pique Dame and Wozzeck (in alphabetical order!). Brian P Price, Milford on Sea Sullivan joy The consensus choice of your voters as to the 20 greatest operatic masterpieces was perhaps predictable, but none…

2 min.
kiri te kanawa calls it a day

After more than five decades appearing on the world’s greatest stages, Dame Kiri Te Kanawa has brought the curtain down on her singing career. In an interview on BBC Radio 4, the New Zealand soprano, 73, revealed that, while she has not announced her decision formally, she will not be performing in public again, preferring to leave the stage free for the next generation. ‘I have stopped singing,’ she told the Today programme. ‘I don’t want to hear my voice when I’m teaching young singers and hearing beautiful young, fresh voices – I don’t want to put my voice next to theirs. I’ll leave my voice out of it now. It is in the “was”; it is in the past.’ Dame Kiri’s decision to quit means her recital in the Australian city…

1 min.
dame kiri te kanawa

A career in brief 1965: After forging an early career as a pop star in New Zealand, she wins the Mobil Song Quest with the Habanera from Bizet’s Carmen. 1966: Enrolling at the London Opera Centre, she sings minor roles in London opera venues. 1971: Makes her big break at the Royal Opera House, singing the Countess in Mozart’s Marriage of Figaro. 1981: At the wedding of Prince Charles and Lady Diana Spencer, she sings Handel’s ‘Let the bright seraphim’. 1982: She is appointed a Dame in the Queen’s Birthday Honours. 1991: For the Rugby World Cup, she records the new ‘World in Union’ anthem, based on Holst’s ‘Jupiter’. 2004: She founds the Kiri Te Kanawa Foundation to assist outstanding young musicians with their international careers. 2010: Her last sung opera performance, in Richard Strauss’s Der Rosenkavalier. 2016: She…