Interviews

263 Posts
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Placing Music in Context – An Interview with Ton Koopman
Ton Koopman will be coming to China and Hong Kong in May for 4 concerts that reflect many aspects of his career. His first two concerts, 20 May in Guangzhou and 25 May in Shanghai, are solid 18th century masterpieces
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A Different Story than Film: Bruno Monsaingeon’s Books and Performances
Only two of Bruno Monsaingeon’s books came from his films, the 6 others are all independent productions. The two books, Mademoiselle and Richter, had very different sources of generation.
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My Films Should Outlast Me: Bruno Monsaingeon as Filmmaker
Filmmaker Bruno Monsaingeon made his name with his very first film, on his teacher, Yehudi Menuhin and the violin in Eastern Europe. His fame was cemented with his second film, the first of many on the Canadian pianist Glenn Gould.
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The Voices of a Bass – An Interview with Valerian Ruminski
Bass Valerian Ruminski was recently in Hong Kong as Colline in a production of La bohème. Next, you might see him in Calgary in Eugene Onegin, or in Geneva as Dr Bartolo in the Barber of Seville. Or, you might
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Music is What I Have to Do – An Interview with Ishay Shaer
Israeli pianist Ishay Shaer discovered that he just couldn’t live without music. When he went off to university, dutifully putting music behind him to concentrate on computer studies, his days were filled with the minutiae of school: studies and papers
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A passion for the piano: Alistair McGowan
Acclaimed British impressionist, comic, actor, Satie fan and keen amateur pianist, Alistair McGowan shares his passion for the piano and reveals how he prepared for his debut recording.
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Respecting the Music: An Interview with Riccardo Frizza
We caught up with Maestro Riccardo Frizza who is currently in Tokyo in rehearsals for La Traviata at the New National Theatre. The production, which opens on 16 November, is part of the 20th anniversary celebration of the house. This
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The Beautiful Art – An Interview with Rumiko Hasegawa
Rumiko Hasegawa listened all the comments she received from the people who had come to opera performances and had a bad experience: it’s so unfamiliar, it takes too long, the language is incomprehensible, the story is strange; I don’t know
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