Sound of Charlotte Blog
|Effervescent musicianship, intense lyricism and beguiling tonal beauty belong to the qualities that have secured Sergei Krylov's place among today's most renowned performers. The Russian-born violinist directs breath-taking virtuosity to reveal profound expressive insights into the works in his strikingly broad repertoire.
'Krylov articulated concisely, with humour, sometimes incisive but never defiant,' observed DiePresse.com following a recent performance of Prokofiev's First Violin Concerto. Other commentators have praised the intelligence, imagination and intuitive power of his musicianship.
In recent seasons, Sergei Krylov has become a regular guest with several major institutions and collaborated with many of the world's leading orchestras.
Among the prominent personalities with whom he has worked, Krylov's friendship with Mstislav Rostropovich stands among the most important influences on his artistic life. Over the past decade he has collaborated with many leading conductors, from Dmitri Kitayenko, Mikhail Pletnev, Valery Gergiev, Andrey Boreyko, Vasily Petrenko and Vladimir Jurowski to Fabio Luisi, Roberto Abbado, Yuri Temirkanov, Vladimir Ashkenazy, Dmitry Liss, Yuri Bashmet and Michał Nesterowicz.
Highlights of Sergei Krylov's 2017/18 season included Tchaikovsky's Violin Concerto with the London Philharmonic Orchestra and Vasily Petrenko, Prokofiev's Second Violin Concerto with the Konzerthaus Orchester Berlin and Dmitri Kitayenko, and performances with the Russian National Orchestra, Prague Radio Symphony, Copenhagen Philharmonic, Turin's Rai Orchestra, and the Orchestra of the Teatro San Carlo, Naples.
|Roberto Abbado, awarded the prestigious "Premio Abbiati" by the Italian Music Critics Association for his "accomplished interpretative maturity, the extent and the peculiarity of a repertoire where he has offered remarkable results through an intense season", is Musical Director of the Palau de les Arts Reina Sofía in Valencia and of Parma's Festival Verdi. He studied orchestra conducting under Franco Ferrara at the Teatro La Fenice in Venice and at the Accademia Nazionale di Santa Cecilia in Rome, where he was invited the only student in the history of the Academy to lead the Orchestra di Santa Cecilia. He made his debut in the United States in 1991 in New York conducting the St. Luke's Orchestra.|
He was Musical Director of the Münchner Rundfunkorchester from 1991 to 1998, completing seven album recordings with the orchestra. He has worked with many ensembles, including Amsterdam's Concertgebouworkest, the Wiener Symphoniker, the Orchestre national de France, the Orchestre de Paris, the Staatskapelle Dresden, the Gewandhausorchester (Leipzig), the NDR Sinfonieorchester (Hamburg), the Sveriges Radios Symfoniorkester (Stockholm), the Israel Philharmonic Orchestra, the Orchestra di Santa Cecilia, the Orchestra del Maggio Musicale Fiorentino, the Orchestra Sinfonica Nazionale della Rai, the Filarmonica della Scala, the Orchestra of Teatro Comunale di Bologna, the Atlanta Symphony Orchestra, the Cincinnati Symphony Orchestra, the New World Symphony Orchestra, the Minnesota Orchestra, the Malaysian Philharmonic Orchestra and the Taipei Symphony Orchestra.
Roberto Abbado has conducted numerous world premieres and new opera productions, including Fedora and Ernani at the Metropolitan Opera House in New York; I vespri sicilianiat the Wiener Staatsoper; La Gioconda, Lucia di Lammermoor, La donna del lago, and the world premiere of Fabio Vacchi's Teneke at La Scala; L'amour des trois oranges, Aida, and La traviata at the Bayerische Staatsoper; Le Comte Ory, Attila, I Lombardi alla prima crociata, Il barbiere di Siviglia, Henze's Phaedra at its Italian premiere and Anna Bolena at the Maggio Musicale Fiorentino; Don Giovanni at the Deutsche Oper Berlin; Simon Boccanegra, and La clemenza di Tito at the Teatro Regio of Turin; La donna del lago at the Opéra Garnier in Paris; Ermione, Zelmira, and Mosè in Egitto at the Rossini Opera Festival; the Italian premiere of Marschner's Der Vampyr at the Teatro Comunale in Bologna.
A passionate interpreter of contemporary music, Abbado's repertoire includes composers like Luciano Berio, Bruno Maderna, Goffredo Petrassi, Sylvano Bussotti, Niccolò Castiglioni, Azio Corghi, Ivan Fedele, Luca Francesconi, Giorgio Battistelli, Michele dall'Ongaro, Giacomo Manzoni, Salvatore Sciarrino, Fabio Vacchi, Pascal Dusapin, Henri Dutilleux, Olivier Messiaen, Alfred Schnittke, Hans Werner Henze, Helmut Lachenmann, John Adams, Ned Rorem, Christopher Rouse, Steven Stucky, and Charles Wuorinen.
We caught up with our three soloists for The Music of Andrew Lloyd Webber and More, Morgan James, Hugh Panaro, and Debbie Gravitte. Each brings his or her own special Broadway experience to the Charlotte stage.
Have you ever been to Charlotte? If not, what are you most excited for duing your visit?
MJ: I was in Charlotte last fall with my band. I always love coming through and I'm excited to make some new fans, and eat some great food!
DG: You bet! My husband was born in Goldsboro. We have family all over the area, who will be attending the show, and we vacation every year on Ocracoke. Can't wait!
HP: I don't think the airport counts so I'm pretty sure this will be my first time performing in Charlotte! I have performed in Garner twice with my solo show. But there's nothing like singing with a Symphomy orchestra and I've already heard great things! I'm also a HUGE "foodie," so I can't wait to eat my way through Charlotte!
How many shows were you in?
HP: Wow, I don't know! I started acting professionally when I was 13 years old as Friedrich Von Trapp in The Sound of Music so I had already been in at least 13 productions before making my Broadway debut as Marius in Les Miserables. And here I am all these years later and I STILL get the same joy from performing!
DG: This is a trick question for me. Whether it's the Broadway stage, a movie set, a television set, a nightclub or a Symphony Hall, it's all performance! I have been lucky to be in 8 Broadway shows and numerous other productions.
MJ: I've been working on stage in some capacity for 20 years. I did four original companies on Broadway, and countless readings, workshops, and regional productions.
Hugh, what was it like performing in Phantom of the Opera, first as Raoul, then coming back to play Phantom years later?
HP: I loved playing both roles! I think I was cast in the right roles at the right time. Hal Prince cast me as Raoul in my early 20's and I was kind of an impetuous "puppy" with a lot of energy and confidence. I don't think I had the "weight" or life experience to play the Phantom back then. Going back to play the Phantom many years later I had a lot more life experience to draw from so that I could fully embody a more complex character Every experience we have hopefully helps us grow and allows us the opportunity to bring more of ourselves to a role.
Morgan, What was the stage show that has most influenced you and how has that shaped you as an artist?
MJ: I did a production of hair 10 years ago that really shaped me. It was one of my favorite leading roles out of town, right before I got my first Broadway show, and I think I really grew as an artist and became a true leader. I'm very grateful for my years of doing regional theater and learning how to be a leading lady out of town.
Debbie, Being that you have performed with over 175 orchestras, what is your favorite aspect of performing for Symphony audiences?
DG: Every Symphony performance is different depending on the city it takes place!
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