The link between Weber and Wagner, Marschner's Hans Heiling, was staged in the Aalto Music Theatre in February 2018. The production by Andreas Baesler received a mixed reaction, but the music was unanimously lauded by critics, above all the performance of Essen Philharmonic under the baton of Frank Beermann. The German Romantic opera in 3 acts is the composer's most successful opera, and brought the composer a considerable reputation. The story is based on a folk legend, and the opera's libretto was written by Eduard Devrient, who also sang the title role at the premiere at what is now the Berlin State Opera. In this production, Heiko Trinsinger performs the title role.
Hans-Ola Ericsson was born in Stockholm in 1958. He is a renowned organist with hundreds of recitals and concerts behind him, as well as an esteemed pedagogue at several institutions and a bold composer of contemporary music.
Known for his renditions of music as diverse as Olivier Messiaen and John Cage, his interpretory range stretches between György Ligety and the ubiquitous Johann Sebastian Bach as well as many more. Among the crown jewels of the repertoire is the collected works of Messiaen and a recently finished series of Bach in chamber and organ settings.
It may be news to many readers that these composers wrote organ music at all, and in the case of Dvorak he virtually didn't, for these are composition exercises from his student days which remained in the archives of Prague Conservatoire until they were found and edited by Jarmil Burghauser in 1980. Some of the world's most boring music has been written as before-service preludes and Dvorak's student exercises are more engaging than many a more professional job, but it would be unwise to read more into them than that. Occasionally Mr. Ericsson seems to be trying too hard, but generally he leaves their homely charm to speak for itself.
"Hans Werner Henze has written three violin concertos so far, separated in his output by gaps of 23 and 26 years. As you'd expect, they are very different pieces stylistically, and hearing them in succession provides a revealing map of the trajectory Henze's evolution has followed in his orchestral music. However, it's the two most widely separated works here that have the most similarities, suggesting how, in some important respects over the last half-century, he has come full circle. (…) The result is arguably one of the strongest of Henze's works from the 1970s; certainly that is how it seems in this very impressively controlled performance from Torsten Janicke and the Magdeburg Philharmonic." ~The Guardian