interview to start the year!

woops, can’t believe i’ve abandoned this for more than half a year! but as you know, 2020 is not your typical year.. in any case, let’s pick up some slack with an amazing series of interview currently reposted by francemusique on Nathalie Stutzmann. We start here with part 4, where she discussed a lot on her path to conducting, starting with Seiji Ozawa’s help giving her the orchestra in Japan (we all remember Maestro Ozawa time as the principle conductor of the Boston Symphony Orchestra, before returning to Japan in the mid 2000’s I think), then auditioning with a legendary conductor professor, getting first a few offers for conducting but with strings attached that she must also sing, to having Simon Rattle offering to help guiding . In this same part 4, she also discussed the original idea behind forming her own orchestra and performing Bach (and Brahms?) with them. As you might recall, it was *her performance with her orchestra, playing and singing Bach* that led me to the discovery of her conducting a few years ago…

just in the case *any* of the readers can comprehend everything and can provide a transcript, you’ll be much appreciated! I can understand, my guess is, likely 25% of what she said.. may be a bit more at times because I have read many of her interviews.. but my French reading comprehension is much better than listening for sure.. Part 5 is tomorrow. This series was conducted back in Oct/2017, hence the repost.

screencap, clik to get to part4 of the interview

Part 5: “J’ai une foi pleine de doutes”

Part 4: “Seiji Ozawa m’a donné ma première chance”

Part 3: “La voix d’alto, c’est comme un vin de Bordeaux qui est meilleur 20 ans àpres”

Part 2: “Quand j’ai découvert la voix de Kathleen Ferrier, c’était comme une évidence”

Part 1: “J’ai toujours trouvé extraordinaire de ne pas vivre comme les autres”

interview to start the evening

To conduct an opera is much more like piloting.. you have to save situations.. In the symphonic repertoire […] you can rely on people [musicians], in operas you never know, […] there always is something happening […] it’s like when you learn to drive with a bad car 😀

music to start the weekend

this has been at the corner of my eyes for “years”, but somehow i have completely overlooked… her sculpting of the orchestra, *wow* , her superlative phrasing, double *wow*! this alone has my head FILLED with images of Alcina slowly collapsing onto the floor (Wien-induced)..

I wish she would consider singing this role! like transposing the whole music down, why not! and may be we can have a… humm, do we want to swap out our mezzos? no! OK, we stay with a mezzo-Ruggiero, a Contralto Alcina, a soprano Morgana, and another contralto Brandamante, ❤

(there's still that role Polinesso that we also would like to see her in..)

music for wednesday


(please also note the conductor and the band!! (Marc Minkowski and Les Musiciens du Louvre!) )

Nathalie Stutzmann stream alert


today, 9/May/2018, live from China, Nathalie Stutzmann conducting her orchestra Orfeo55 and , if i’m correct (need verification), also performing music from her “heroes from shadow” “Quella Fiamma” cd . You can follow this link here, i believe.

Time: 1:30pm central europe time, 7:30pm local time, 7:30am East Coast time (grrrrrrrrrrrr, who can be awake?, arrrrgh).

music to start saturday

music for late night thursday

(i think we had an idea once, that she’d conduct her own Ariodante show with her orchestra, and sing Polinesso at the same time! She can tour it, with all our fav Ariodantes! and on occasions she can also swap out with Prina for Polinesso! jeah!)

(and we also have candidates for Ginevra and Dalinda!)

Nathalie Stutzmann video stream alert

yaaaaaaay, Nathalie Stutzmann conducted Händel Messiah last night (16/Dec/2017) in Götenborg (with K.Hammarström singing the mezzo part) and it was broadcast live in cinema across entire Sweden! (they really do it right with the broadcast, her Messiah is really something, now i can’t unhear it (the dynamics, am still so sad there was no radio broadcast of it back in 2014 in Paris or in DC in 2015), especially when now listening to other conductors… In any case it is now available for ONE WEEK beginning today here!

—–
relatedly, she also conducted the same piece 2 weeks ago in Oslo, and there will also be a radio broadcast of that on 23/Dec/2017 at 1700GMT here.

Nathalie Stutzmann (and Sara Mingardo) stream alert

Edit: live-stream on youtube here.
Tomorrow, Friday, 1/Dec/2017 , live video stream from Dublin at 1930 GMT, 1430 East coast time, Nathalie Stutzmann conducting the RTÉ Philharmonic Choir and RTÉ National Symphony Orchestra:

(ps- now that i know there is always a stream from Dublin and São Paolo, am hoping soon she’ll also conduct Händel Messiah with Sara Mingardo singing 🙂
and Bach Matthews Passion too!).

background ramblings

It’s been an unsettling time.. One of those moods where one feels realizes (again) being able to go into hiding implies you do have the luxury to do so, while others are being actively oppressed/hurt. On a closer to heart front (i feel a rant coming..), have the patience to see Antonacci portraying this mad woman will you? (time-tag 7m58s). Do you think Antonacci is this woman? is Antonacci mad? Is it that difficult to see an artist’s “realistic” and effective portrayal is a reflection of their craft but not an announcement this is who they are? Isn’t it clear their moving “performance” is not an invitation to freely project and suddenly “identify” with them and think they’re the answer to your life? I find it troublesome some people cannot seem to distinguish between a performance/writing/painting and the artist’s private personal space/life. Actually it must be quite frightening for an artist who has to perform in public, if that is something they suddenly have to worry about, instead of just focussing on their well beings and effective methods to communicate their arts. I think both V.Kasarova and S.Mingardo had in separate interviews (yay, i found S.Mingardo’s insightful Polish interview!!) talking about the needs to “unplug” from the stage, to define the clear line between “online” versus offline. Whatever people “project” on them based on their portrayals… well, it’s fantasy, that is all. there. random rant is over….

Sorry, i’ve been in a mood, blame it on the upcoming (or past already?!) eclipse, and current sad news. The purpose of this post is, actually, to retreat into a little safe place to enjoy this wonderful interview with Nathalie Stutzmann. I think being a female conductor she has through the years, as with E.Haïm, being asked a lot about it… What I like about this one is that it’s much more about her back story. I was hoping it was longer! quite fun to hear about her “incognito” audition for a conductor job 😀 😀 . And she discovered Mozart Mass in C from a cassette tape. Hey, i discovered Beethoven 9th Choral (and my entrance into classical music) from a cassette tape too! 🙂

That was also the time i accidentally found myself in Bergen!! and dragged a whole team to hear the concert :-). There is also this super short interview. What I liked from that was, according to my ears, she puts the “rock” into Bach. Quite fun. At first I wondered if I should check out this interview or not.. and 1 bar into the music, i was hooked! Think i have this whole concert (radio) saved somewhere as well… perhaps it’s time to dig it up while remain a little bit more in hiding away from the real world (as she said). Just a tiny bit more, to recharge.