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EXCLUSIVE: Ólafur Arnalds on 'The Chopin Project' with Alice Sara Ott, "Reminiscence" Video and Why He's Not Reading This
EXCLUSIVE: R.B. Schlather on Handel's 'Orlando,' the Problem with New York City Space, Philip Glass' 'Penal Colony' and the Politics of Open Rehearsal Space
For all the bogus boilerplate about how classical music is dead or even well-intentioned words regarding how she can stay breathing, precious few--performers, ensembles and institutions--are actually doing anything to change both conversation and prognosis. Moreover, when it comes to remounting baroque opera in our digi-epoch, fewer still have the informed perspective, due diligence and, well, cojones to really make a difference. Save for one R.B. Schlather, of course. EXCLUSIVE: 2015 MATA Festival Interview Spotlight - Ann Cleare on 'Eöl,' Talea Ensemble and J.R.R. Tolkien's Middle Earth
Founded by Philip Glass, Lisa Bielawa and Eleonor Sandresky in 1996, the MATA Young Composers Now! Festival strives to present emerging compositional talent sourced from across the globe. The 2015 edition at The Kitchen continues in that very tradition, featuring quite the varied array of exemplary young voices. So, with a nod to the spirit of MATA, itself, Classicalite has chosen three composers to speak with about that career-defining opportunity: a MATA commission. Our final entry is Ireland's own Ann Cleare, whose MATA-commissioned piece Eöl closed out the festival Saturday night, as part of the "Incomparable Contrivances" program performed by the Talea Ensemble. Cleare's percussion-heavy mini-concerto expertly explored the resonant qualities of handmade sculpture and proved to be one of this year's highlights.
