How come so many times?
It's part of a triple bill, and PNB performs over two weekends. The other ballets are Balanchine's "La Source" and Robin's "Ipus 19: The Dreamer," set to Prokofiev's Violin Concerto No. 1. It's one of the best mixed programs they've ever done, and "Pictures at an Exhibition" is now one of my favorite one act ballets.
I couldn't put my finger on it, but that's exactly how I feel about his playing here.
I am bummed that neither Kim made it! Honggi had me at his Rach sonata and his unfairly besmirched Mozart K488 (harumph), amd Da Sol at his jazzy number. Apart from those two I don't have a favorite unless Hsu because's he's so beautiful apart from the awful mouthing. (Sorry to be shallow.) I dont understand the ravings about the two Russians last night. Neither of them sounded Mozartean to me. But perhaps I was fading from overexposure. Why did they all play the same concerti? There are so many others!
That is an interesting take, and you might be right. Also, I know that Professors at Moscow Conservatory are not paid well, alas. Even professors with years of experience and all kinds of awards. There is more honor in the position than money, especially, I imagine, for Junior faculty (as Favorin would be now). So prize money is important, and even the "finalist" prize money at Cliburn is nothing to ignore.
THIS a million times! I know I am grateful. I look at these young musicians who labor in their often Quixotic pursuit of aural perfection, and of emotion that is rarely understood, and I am grateful to every single one...
They had an interview with one of the hosts, who's been hosting since his college-aged kids have been little. (He may have even said he hosted one competitor twice.) He studied piano through college (conservatory?) but wasn't at this level.
I have a friend who took part in piano competitions in his salad days. Introvert is not the word! I think he would have slept in the street rather than stay with host families. Or maybe he did it way back when and said Never Again. He won some smaller competitions but by the time I met him he was very clear that socializing and networking were out of the question, and if that meant he would have no performing career, he was ok with that. He ended up teaching, as little as possible, as his school didn't attract top-drawer or even second-tier students and he rarely enjoyed working with the others. A mutual friend who had tried to give his performing career a boost told me that he simply couldnt do the kind of socializing needed to get the support of the cultural leaders that are in every town. I had never realized how important that kind of thing was, but later in life I saw it in every field. An outgoing, networking personality is worth money in the bank (of course assuming one has the appropriate skills as well). Those whose talent is so immense that they don't have to make small talk with strangers are very blessed!
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Was it ever thus? I once read a turn of the last century novel by George Meredith, Sandra Belloni, about the making of a young diva. Her gift became apparent very young and she led the quasi-monastic life of an elite figure skater. In a second volume, Vittoria, I believe she became a revolutionary leader, or something like that. (The first volume was much better.) I know, fiction and all, but didnt people like Claudia Muzio and Tito Schipa mature early? Why did it change (if 'm correct)?
Part of it is that vocal development is very individual, but a big part, I think, is the modern educational system vs the way they taught singing in the past. When a young person in the past showed promise, they often took private lessons every day, being something of an apprentice; and within 2, 3 years many were ready to go on stage. Also, going on stage often would not start with a starring role (though sometimes it did). Singers often started in smaller houses, or in secondary roles, and got more experience that way.
He's my Reed Tetzloff of this competition.
This. It's really admirable and gutsy of him to enter when he's faculty. There's a lot on the line, good for him for reaching the final. It's definitely not easy against young, fearless talents.
I am catching up on the concerti, about to tune out Sunwoo for the live broadcast of the last three. I feel they picked the wrong Korean for the finals (although Sunwoo is doing a nice second movt). But I finally understand why you like Broberg so much! He killed the Paganini variations - what a romantic! And I loved Favorin finally in the Prokofiev, though not as much as Broberg.
4pm Eastern time if I am not mistaken. Just came home, unpacked groceries, ready to tune in
Fun! I'll be sad when it's over.
Thank you, @dinakt. Now I wish I had listened to all of Sunwoo. Happy listening. Can't wait to see who takes home the gold and who gets audience fave.4pm Eastern time if I am not mistaken. Just came home, unpacked groceries, ready to tune in
You know that the whole competition is archived? ("Watch on Demand"- "See all videos in replay"- and then it is sorted out by date). So when it is over, we still can catch up. I plan to give Dasol Kim a listen after the competition, and Pierdomenico. I didn't love P-o's Mozart's first part (as I said, I like my Mozart on the Romantic side), but the buzz was that he was stellar in Chopin... So if anybody has further "do not miss this musician" suggestions, they will be much appreciated
