Jesse Simon

Comenzó a escribir en Mundoclasico.com el martes, 21 de mayo de 2013. En estos 6 años ha escrito 201 artículos.

  • Discos

    A monumental tribute to a singular conductor

    Between 1939 and 1945, Wilhelm Furtwängler and the Berlin Philharmonic gave fifteen concerts intended for radio broadcast. The bulk of those concerts occurred during or after 1942, when the tide of the Second World War had started to turn, a time of air raids, power shortages, uncertainty and fear. Whether or not we believe the horrors of the times were reflected in these concerts, they remain some of the most vital and intense performances of the standard repertoire committed to tape in the twentieth century.
    18/04/2019
  • Alemania 27/03/2019

    A Crisis of the Self

    Deutsche Oper Berlin. Zemlinsky: Der Zwerg. Tobias Kratzer, director. Elena Tsallagova (Dona Clara), Emily Magee (Ghita), David Butt Philip (The Dwarf, singer), Mick Morris Mehnert (The Dwarf, actor), Philipp Jekal (Don Estoban), Flurina Stucki, Amber Fasquelle, Maiju Vaahtoluoto (Three Maids), Adele Eslinger (Alma Schindler), Evgeny Nikiforov (Alexander von Zemlinsky). Women of the Deutsche Oper Choir. Orchestra of the Deutsche Oper Berlin. Donald Runnicles, conductor.
    15/04/2019
  • Alemania 09/03/2019

    An Ancient City Revisited

    Musically Jörg Widmann’s Babylon was rarely less than fascinating. Mr Widmann often conveys the sense of a musical omnivore who has consumed and internalised the major developments of the past three centuries and can deploy an astounding variety of styles and genres at will. Yet his artistry is more than mere pastiche, and he seems unwilling to use stylistic references purely for their own sake. His ability to subvert and damage even the simplest musical ideas resulted in a teasingly elusive score, in which seemingly accessible moments began to change shape before they could be fully grasped
    02/04/2019
  • Alemania 08/03/2019

    Pleasures and Guilty Pleasures

    While the concert offered intriguing hints as to Mr Petrenko’s tenure with the Berlin Philharmonic might look like it stopped short of providing concrete answers. The first half showed him to be a sympathetic accompanist, effectively ceding the performance to Ms Kopatchinskaja, while the second had undeniable moments of excitement.
    19/03/2019
  • Alemania 21/02/2019

    The Tragic Flute

    By adding a second production to their roster, the Staatsoper had the opportunity to pair Mr Everding’s crowd-pleasing traditionalism with something darker, stranger, more abstract, and more challenging. Instead they ended up with Mr Sharon’s production, which achieved the unique feat of contributing nothing to the opera whatsoever.
    08/03/2019