Hattie Butterworth is joined by composers Gavin Higgins and Grace-Evangeline Mason to discuss the Three Choirs Associate Composer programme, the realities to life as a composer and writing choral music. 

Explore the Three Choirs Festival here. 

Hattie Butterworth is joined by composers Gavin Higgins and Grace-Evangeline Mason to discuss the Three Choirs Associate Composer programme, the realities to life as a composer and writing choral music.&nbsp;
Explore the Three Choirs Festival <a href="https://3choirs.org/" data-outlook-id="e0db5cfb-892c-4019-849c-18ab08c16366">here</a>.&nbsp;

Weekly conversations about classical music with leading musicians and writers

Weekly conversations about classical music with leading musicians and writers

Gramophone Classical Music Podcast

Gavin Higgins and Grace-Evangeline Mason on the Three Choirs Festival

For this week's episode of the Gramophone Podcast, Editor Martin Cullingford sat down for an in-depth conversation with the wonderful soprano Ermonela Jaho, to talk about Opera Rara's new release of the final version of Puccini's La Rondine, as well as to talk about her path to the artist she has today.

This week's podcast is brought to you in association with the Pehlivanian International Conducting Competition, which takes place in Bled, Slovenia from November 7-14, and which Gramophone is proud to be the official media partner of. For more details, visit pehlivaniancompetition.com

For this week's episode of the Gramophone Podcast, Editor Martin Cullingford sat down for an in-depth conversation with the wonderful soprano Ermonela Jaho, to talk about Opera Rara's new release of the final version of Puccini's La Rondine, as well as to talk about her path to the artist she has today.
This week's podcast is brought to you in association with the Pehlivanian International Conducting Competition, which takes place in Bled, Slovenia from November 7-14, and which Gramophone is proud to be the official media partner of. For more details, visit <a href="https://pehlivaniancompetition.com/">pehlivaniancompetition.com</a>

Soprano Ermonela Jaho on Puccini's La Rondine

Anthony Roth Constanzo has not only released a new recording for Nonesuch, but he has written a book, also called Countertenor, which is published next week, by Farrar, Straus and Giroux. The album’s astoundingly eclectic programme embraces a world premiere recording of a new song by Osvaldo Golijov; arias by Philip Glass, Mozart, Vivaldi and  Monteverdi; a traditional Hawaiian song; John Dowland and Thomas Morley lute songs; a Klaus Nomi-inspired interpretation of John Madara and David White’s ‘You Don’t Own Me’; and the classic Frankie Valli and the Four Seasons’ number, ‘Walk Like a Man’. 

As well as being a highly acclaimed singer and opera director, with a remarkably broad repertoire, Anthony Roth Costanzo has, since June 2024, been General Director of Opera Philadelphia. James Jolly caught up with him by Zoom during rehearsals for a new Missy Mazzoli opera, Lincoln in the Bardo, which has just opened at New York’s Metropolitan Opera.

They talked about the castrato, how the countertenor re-emerged from obscurity in the middle of the last century, how his own voice has led him in many unexpected directions and how his experience in, among other things, Baroque and modern opera, shapes the way he approaches his role at the helm of Opera Philadelphia.

Anthony Roth Constanzo has not only released a new recording for Nonesuch, but he has written a book, also called Countertenor, which is published next week, by Farrar, Straus and Giroux. The album&rsquo;s astoundingly eclectic programme embraces&nbsp;a world premiere recording of a new song by Osvaldo Golijov;&nbsp;arias by Philip Glass, Mozart, Vivaldi and&nbsp; Monteverdi; a traditional Hawaiian song; John Dowland and Thomas Morley lute songs; a Klaus Nomi-inspired interpretation of John Madara and David White&rsquo;s &lsquo;You Don&rsquo;t Own Me&rsquo;; and the classic Frankie Valli and the&nbsp;Four Seasons&rsquo;&nbsp;number, &lsquo;Walk Like a Man&rsquo;.&nbsp;
As well as being a highly acclaimed singer and opera director, with a remarkably broad repertoire, Anthony Roth Costanzo has, since June 2024, been General Director of Opera Philadelphia. James Jolly caught up with him by Zoom during rehearsals for a new Missy Mazzoli opera,&nbsp;Lincoln in the Bardo, which has just opened at New York&rsquo;s Metropolitan Opera.
They talked about the castrato, how the countertenor re-emerged from obscurity in the middle of the last century, how his own voice has led him in many unexpected directions and how his experience in, among other things, Baroque and modern opera, shapes the way he approaches his role at the helm of Opera Philadelphia.

Anthony Roth Costanzo on his new album and book, 'Countertenor'

The Georgian-born pianist and composer – and a former Gramophone ‘One to Watch’ and Editor’s Choice recipient – Nicolas Namoradze has signed a recording contract with the Finnish Ondine label. The first fruit of the agreement is an album of solo Beethoven that includes two of the composer’s greatest fugues, the Grosse Fuge (the original last movement of the Op 130 String Quartet) which Namoradze has arranged for piano, and the Hammerklavier Sonata, Op 106, whose finale finds Beethoven writing one of his most dazzling examples of the form. The third work on the album is the earlier F major Piano Sonata, Op 54, which though not a fugue reveals the composer’s mastery of contrapuntal writing. James Jolly spoke to Nicolas Namoradze about the new album and explored Beethoven’s use of the fugue in these great works, and how the pianist, as composer, transformed the Grosse Fuge from music for four string instruments to a towering work for solo pianist.

This episode is sponsored by Concerto Budapest, and earlier this month Concerto Budapest and its Music Director András Keller celebrated the centenary of the legendary Hungarian composer György Kurtág with a special concert live from the Grand Hall of Budapest’s Liszt Academy which you can watch here on Gramophone’s website and also read an interview with András Keller about Concerto Budapest.

The Georgian-born pianist and composer &ndash; and a former Gramophone &lsquo;One to Watch&rsquo; and <a href="https://www.gramophone.co.uk/reviews/bowen-fragments-from-hans-andersen-nicolas-namoradze">Editor&rsquo;s Choice recipient</a> &ndash; Nicolas Namoradze has signed a recording contract with the Finnish Ondine label. The first fruit of the agreement is an album of solo Beethoven that includes two of the composer&rsquo;s greatest fugues, the&nbsp;Grosse Fuge (the original last movement of the Op 130 String Quartet) which Namoradze has arranged for piano, and the Hammerklavier Sonata, Op 106, whose finale finds Beethoven writing one of his most dazzling examples of the form. The third work on the album is the earlier F major Piano Sonata, Op 54, which though not a fugue reveals the composer&rsquo;s mastery of contrapuntal writing. James Jolly spoke to Nicolas Namoradze about the new album and explored Beethoven&rsquo;s use of the fugue in these great works, and how the pianist, as composer, transformed the Grosse Fuge from music for four string instruments to a towering work for solo pianist.
This episode is sponsored by <a href="https://concertobudapest.hu/concerto-budapest-orchestra">Concerto Budapest</a>, and&nbsp;earlier this month Concerto Budapest and its Music Director Andr&aacute;s Keller celebrated the centenary of the legendary Hungarian composer Gy&ouml;rgy Kurt&aacute;g with a special concert live from the Grand Hall of Budapest&rsquo;s Liszt Academy which you can watch here on Gramophone&rsquo;s <a href="https://www.gramophone.co.uk/content/news/watch-live-with-gramophone-concerto-budapest-s-kurtag-100-celebration-concert">website</a> and also read an <a href="https://www.gramophone.co.uk/content/features/concerto-budapest-kurtag-beethoven-and-a-story-of-survival">interview</a> with Andr&aacute;s Keller about Concerto Budapest.

Gavin Higgins and Grace-Evangeline Mason on the Three Choirs Festival

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