Lieber Freund
With this programme, Isabel Gehweiler and Fiona Hengartner shed light on the circle that played a decisive role in bringing Brahms into the repertoire but also produced other top-quality composers who had unjustly fallen into oblivion.
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The two recordings of Éric Tappy that Claves SA released are the result of a long and eventually successful battle against his modesty and humility, combined with a substantial dose of artistic rigor.
The story of the CD dedicated to CD Die schöne Müllerin is recounted in the booklet: it took a lot of patience and a series of fortunate coincidences for the precious tape to resurface, almost forty years later, and for the artists to consent to the release of a miraculous broadcast from the Dutch radio KRO in 1974. Here, Tappy is heard at the peak of his artistry, flying from lively to vibrant emotions, with his voice like no other, a timbre so rare and unique, and a diction sadly unknown in our times.
Pelléas et Mélisande, recorded live at the Grand-Théâtre de Genève in 1969, is another example of this unaltered, impalpable authenticity that he shares here with another major artist, Gérard Souzay. Even though they only share one scene together, their artistic kinship lends truth to each of their performances, surpassing the capabilities of ordinary opera singers. Éric Tappy may have been the only tenor likely to embody Pelléas, a role typically suited to a light baritone with an effortless top register. His interpretation defied the usual expectations associated with his vocal range, transcending the boundaries often attributed to a conventional troubadour.
Éric, we thank you from the bottom of our hearts. You can forever be assured of our admiration and profound gratitude for having shared with us the great mysteries of music and the richness of human life. (OV)
The book that we also offer for sale on this site is a must-have.
She then continues her studies in the class of Davide Formisano and obtains in 2010 her soloist diploma with unanimity. She starts her professional career at the Württembergische Philharmonie Reutlingen. Temporary contracts followed at the Teatro alla Scala in Milan, playing under the direction of Pierre Boulez, Ricardo Chailly and Gustavo Dudamel among others, and at the Berlin Philharmonic, playing under conductors such as Mariss Jansons, Bernard Haitink and Herbert Blomstedt.
Currently co-soloist at the Musikkollegium Winterthur.
Since making the decision to establish his own trio with bassist Werner Spies and drummer Hugo Radyn in 2006, Charl du Plessis has alerted audiences to the complexities and capabilities of combining jazz and classic music. The creative possibilities of this musical unit have offered him the means to produce a wide range of music not confined by any style or genre.
She is a multiple prize winner of national and international competitions and a scholarship holder of the Bachwoche Ansbach. She received important impulses from Henri Sigfridsson, Aleksandar Madžar, Brigitte Meyer, Konstantin Lifschitz and Hartmut Höll, among others.
Her performances have taken her to Paris, Bayreuth at the Steingräber & Söhne Piano Factory as part of the Young Master Pianists, to Gladbeck for the Forum of German Music Academies, to the Theater Basel, to Sils Maria and to the Menuhin Festival in Gstaad.
The multi-talented musician was appointed the youngest principal flutist at the Winterthur Symphony Orchestra and at the Lucerne Festival Orchestra with additional conducting responsibilities. It followed a period of full time opera and symphonic conducting.
