Chosen by Time as one of the best inventions of 2019, IDAGIO is the world’s leading streaming service for classical music. It offers video and audio streaming to music lovers in over 160 countries worldwide. Its acclaimed audio streaming service is uniquely tailored to the demands of classical music, featuring optimized meta-data and complemented by curation by music-lovers for music-lovers.
IDAGIO’s Global Concert Concert Hall, launched in 2020, offers access to live and pre-recorded concerts from around the world. Artists and ensembles that have appeared in the Global Concert Hall include: Yo-Yo Ma, Emanuel Ax, Julia Bullock, Miloš Karadaglić, Mirga Gražinytė-Tyla, Zubin Mehta, The King’s Singers, Vienna Philharmonic, Orchestra dell’ Accademia Nazionale di Santa Cecilia, Philharmonia Orchestra and many more.
The last movement, is one of the most touching, heartbreaking, moving pieces of symphonic work. I was fortunate enough to see a live performance of the Minnesota Orchestra with Osmo Vänskä conducting, The very end, as the violins fade to silence...a sublime peace, and the emotion in the hall, was so heavy yet so peaceful. Unlike any other performance that I, and indeed many others who were in attendance, had ever experienced. Unforgettable.
The Adagietto feels, to me, to be insulated from the vagaries of tempo. Time is pretty much, somehow, suspended during the playing of the movement, anyway.
I've always been curious... how and why did Idagio fund this series? As a cellist, I of course find it incredibly helpful :) but surely it cost an enormous amount to hire a well known soloist to record essentially dozens of masterclasses??
Thank you opera expert Fred Plotkin for your introduction of one new great Tenor Santiago Ballerini🎉🎉🎉 I already watched some of his videos, I must say his singing is fantastic!
The structural and emotional qualities of the composition and the performance were so impressive that while listening I had to hold back my tears. This is music of such high order! And I certainly appreciated the performer's informative comments. Thank you and all best wishes!
Yoel are you still there? Many years have passed and I only discovered you in Milan on May 5, 2024 (not even 2 weeks ago) when you directed a concert entitled "Dipingere con le note" (Painting with notes) I loved your style of directing so I looked you up and found this series When I Feel, which I find very beautiful. How I wish I had known about it during the pandemic. Thank you! Really beautiful and I appreciate your suggestions for music listening.
Callas would have been great in Steven Sondheims A Little Night Music. Can you imagine her as Desiree Armfeldt singing Send in the Clowns? She would have brought down the house with that gorgeous song.
Thank you for a Very interesting video. Mr. Plotkin, have you written your autobiography? If not when? I think you’ve lived a very interesting life and should be shared in the form of a book. Benjamin Brittens opera Owen Wingrave had its American premiere at the Santa Fe Opera in 1973. And The Mother Of Us All was also presented at the Santa Fe Opera in 1976 with a star studded cast including Mignon Dunn. .
I discovered Klaus when he came to Edinburgh international festival. I’m not a musician but I’m a Mahler fan and his Mahler touches me deeply. I now travel to cities in Europe just to catch his live concerts! What a pleasure!
Thank you for posting! I was in a concert in Hamburg featuring Thomas - a great voice but the acoustic of the hall (wonderful to look at & sit in) could have been better! This extended interview provided some great insights into the marvellous KM’s path to glory. Very interesting! Much appreciated! PS: I agree with some of the comments - Thomas could have allowed his guest more time…
I finally see this 3 years later 2024! This Kid Conductor will be CSO soon. I watch Mr Klaus Makela conducting and playing cello on RU-vid. Good Luck to Both of You!
I always wonder about the climax of the last movement. This culminates in a loud clash on the cymbas, after which the rest of the orchestra dies down. Only the high strings remain, crying out passionately in a breathless rythm. This rythm is an elongated version of the 'irregular heartbeat' motive with which the 1st movement had started. I have never heard a pergformance in which this return is made audible. Could this be because this is impossible in its present orchestration? Afterall Mahler never heard his 9th symphony in performance. And he usually made extensive changes after hearing the 1st performance of his works. Could it be that he would have made the relationship of this moment in the finale and tat fateful motive from the first movement more clear than it is now? Or do you think there is a way for a conductor to perform the passage in a way that makes the motive recognizable for the listener? Pieter van Boetzelaer.
hello. I'm not sure this passage is meant to represent a heartbeat, as in the first movement. You've said it well, the music is simply gasping for air.
Hampson cannot resist the temptation of listening to himself. Even if his guest is a genius like Mo Makela he has to talk as much as possible. Great singer with a very pedantic attitude.
Thomas is a glorious singer and a terrible interviewer. He begins to ask an interesting question to his guest, but before he finishes the question he interrupts himself by stating his own (brilliant?) conclusion. And then he takes the conversation somewhere else, so we never get an answer from the guest. I would guess that Thomas's remarks in this interview are approaching 50%. Should be about 25%. Ask a direct question and shut up. Get someone else to interview Thomas.
Great to see Kate here - I don't know how I missed this one "live." Mention of the Troyanos Santuzza . . . she was nuts the way she flung herself down those stairs, then grabbed her stomach/baby. The story of the day she died is one of the most moving "departures" from the earth I've ever read of. Handel, Monteverdi, Mozart, Verdi, Wagner, Bellini, Strauss . . . Kate is that same kind of singer! Then Christa Ludwig. Sigh. I'm in mezzo heaven!
Ja, diese Arie war für drammatische Koloratursopranen geschrieben, wie Königin der Nacht oder Konstanze. Sie ist sehr gefährlich für solche extra-leichten Stimmen. Ich habe selber diese Arie gesungen, und trotz einer sicheren G-Note brach meine Stimme manchmal von der Dramatik dieser Arie.
