#barbarahannigan — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #barbarahannigan, aggregated by home.social.
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Wieder einmal habe ich eine Sternstunde im Pierre Boulez Saal Berlin mit dem geliebten Belcea Quartett und der fantastischen Barbara Hannigan erlebt.
Was für ein entrückendes Programm, was für eine Vollkommenheit in der Darbietung... Ich schwebe nach Hause. 🧚#Konzert #PierreBoulezSaal #Berlin #BelceaQuartett #BarbaraHannigan
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Heute freue ich mich auf ein außergewöhnliches Konzert im #PierreBoulezSaal #Berlin mit dem #BelceaQuartett und der Sängerin #BarbaraHannigan - einer Spezialistin für moderne Musik.
Es erklingen Werke für Streichquartett von #Webern und #Mozart sowie Werke für Streichquartett und Singstimme von #Hindemith und #Schönberg.Nach dem spektakulären Auftritt Barbara Hannigans im letzten Mai (👉 https://troet.cafe/@MagdalenaBerlin/112413020732484965) bin ich auf das Wiedersehen mit dieser Künstlerin besonders gespannt.
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LSO/Hannigan review – intensely fluent soprano switches into full command as conductor
https://www.theguardian.com/music/2026/mar/06/lso-barbara-hannigan-review-barbican-london?CMP=Share_AndroidApp_Other
#ClassicalMusic
#barbarahannigan -
‘Like turning your soul inside out’: Barbara Hannigan and Laura Bowler on their devastating composition The White Book
https://www.theguardian.com/music/2026/mar/03/barbara-hannigan-laura-bowler-the-white-book-han-kang-nobel?CMP=Share_AndroidApp_Other
#ClassicalMusic
#BarbaraHannigan
#LauraBowler
#TheWhiteBook
#HanKang
@hanktank61 -
Also, in case you missed that, here have a Ligeti:
https://www.youtube.com/watch?v=U2_uMynL_ro
(There seem to be multiple recordings of Barbara Hannigan performing this piece at different times and places. This one is probably my favorite.) #ligeti #BarbaraHannigan #classicalmusic -
Intriguing music. Centuries old, yet very much 'now'. A beautiful journey of discovery.
Barbara Hannigan: Electric Fields
https://open.spotify.com/album/2ceVeuhEHhpWmonDa48miQ?si=G1P8k0faRcS2HcjCS3vvyw
#music #vocal #barbarahannigan #hildegardvonbingen #classical
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Any thoughts on:
“Barbara Hannigan sings John Zorn”
I didn’t expect this combination!
https://open.spotify.com/album/0tW8sSSyJZzdFFLhOMzyjk?si=oH2CTKKlRXi1wb4VXjOfag
https://open.spotify.com/album/7fwHq8O7lU3RLqEB5hE0y2?si=eLleEBUjQiaPYa4_ztSwMQ
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Friends, let me tell you, #BarbaraHannigan and the #OSM did not disappoint tongight. Probably in the top three concerts I've ever seen.
Imagine running a marathon, playing tennis, and doing a job interview—all at the same time.
That's the best analogy I can think of for what BH did tonight, singing a one-woman opera, while conducting the orchestra, and acting the part (with three cameras on her, projected onto a screen behind the orchestra).
Absolutely mind-blowing.
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Guys, I’m so excited about the prospect of seeing #BarbaraHannigan tonight that I'm having trouble concentrating on my work. I'm SUCH a big fan, and I've never seen her live before.
I'm almost literally jumping up and down in anticipation.
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Just to give you an idea of Barbara Hannigan's range, here is something completely different.
It's very modern, but I sure you'll find it incredibly entertaining.
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So excited! My partner just reminded me that we've got tickets to the #OSM tonight to see #BarbaraHannigan.
If you're not into classical music & that name doesn't mean anything, she is one of Canada's most incredible artists. A world-class soprano (mostly interpreting the extremely difficult modern repertoire) AND a great conductor. And she often does both at the same time!
Do yourself a favour and check this video out:
https://www.youtube.com/watch?v=KXNKQhFUhiE
#ClassicalMusic
#Music
#Montreal -
My eyes keep getting drawn to #JoanSutherland and #BarbaraHannigan... You're in #GreatCompany...
I've #Still not found #MeganMarieHart; unless you've also gone by the name of #HyjanJustSpuklick before now...?
I'll #KeepLooking...
🧙☕🤖🐺🤖☕🧙 | :fediverse:🦹:loading:🐻:loading:🦹:fediverse:
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My eyes keep getting drawn to #JoanSutherland and #BarbaraHannigan... You're in #GreatCompany...
I've #Still not found #MeganMarieHart; unless you've also gone by the name of #HyjanJustSpuklick before now...?
I'll #KeepLooking...
🧙☕🤖🐺🤖☕🧙 | :fediverse:🦹:loading:🐻:loading:🦹:fediverse:
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My eyes keep getting drawn to #JoanSutherland and #BarbaraHannigan... You're in #GreatCompany...
I've #Still not found #MeganMarieHart; unless you've also gone by the name of #HyjanJustSpuklick before now...?
I'll #KeepLooking...
🧙☕🤖🐺🤖☕🧙 | :fediverse:🦹:loading:🐻:loading:🦹:fediverse:
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#BarbaraHannigan
#KatiaLabèque
#MarielleLabèque
#DavidChalmin
"Electric Fields"
Hanniganns Stimme klang tlws. angestrengt (ich kenne ihre Stimme von der Oper), sie muss etwas auf sich aufpassen...
#Elbphilharmonie #Hamburg -
"H. Abrahamsen: Let Me Tell You" by Hans Abrahamsen, Barbara Hannigan, Andris Nelsons, Bavarian Radio Symphony Orchestra https://songwhip.com/hansabrahamsen/h-abrahamsen-let-me-tell-you
@classicalmusic
#ContemporaryMusic
#BarbaraHannigan
#AndrisNelsons
#BRSO
#PaulGriffiths
#HansAbrahamsen -
Nu online te lezen: mijn interview met #BarbaraHannigan voor #Preludium
#KlassiekeMuziek -
Lessons in Love and Violence: smouldering music fails to animate icy drama
‘Love is poison’, Mortimer tells the king in the first scene of Lessons in Love and Violence. The military adviser denounces his relationship with Gaveston, on whom he heaps favours while his subjects are starving. ‘Don’t bore me with the price of bread’ the king retorts. He rather treats his lover to poetry and music than to care for his people. ‘Love makes us human.’ In this third opera by composer George Benjamin and librettist Martin Crimp, however, there is no trace of love. It received its Dutch premiere on Monday 25 June at Dutch National Opera, as part of the Holland Festival where Benjamin is composer in focus.
Lessons in Love and Violence (c) Hans van den BoogaardLessons in Love and Violence, loosely based on a play about Edward II by Christopher Marlowe, is a dark and chilly tragedy that knows only losers. The king forces Gaveston to swim under ice until his lungs burst and holds his hand above a flame. Conversely, Gaveston’s ‘love’ is rooted in his own self-interest. He leads a reign of terror against the people, causes Mortimer to be expelled and confiscates his property. Queen Isabel, for her part, sets up house with Mortimer, with whom she raises her son to become a puppet king. Together they pronounce the death sentence on both Gaveston and her husband. But in the end Isabel, too, is left behind empty-handed.
Love is never selfless
The cynical notion that love is never selfless runs like a thread through the performance. The pursuit of power dominates everything. – Beautifully symbolized by the illuminated royal crown that is continuously ridden on and off the stage on a trolley. As soon as the ‘young king’ is crowned, he decides to kill Mortimer and stab out his eyes. The son has learned his ‘lessons in love and violence’.
Crimp may be Benjamin’s dreamed librettist, that does not necessarily apply to the opera itself. Although his texts are poignant and musical, they are too abstract to give the characters psychological depth. Therefore you can’t identify with even one single character, they’re all equally cold and heartless. Only the little daughter – simply ‘the girl’ – manages to evoke some compassion. As a silent bystander she makes her childlike attachment to and concern for her father emotionally palpable – a brilliant performance of Ocean Barrington-Crook.
Sultry music
Benjamin juxtaposes the ghastly atmosphere on stage with sultry music full of subtle and luscious timbres. The subcutaneous tension is present from start to finish in terrifyingly dissonant sound fields, cleverly packaged in sweet-voiced harmonies. – However paradoxical this may sound. This softly smouldering fire is pierced by loudly flaring eruptions of brass and percussion. Benjamin closely follows the text and his music sometimes reminds us of the expressionism of Berg or Schoenberg. The lyrical, parlando vocal lines recall the operas of Benjamin Britten.
Wagner peeps through when the orchestra tells a different story than the singers. For instance in the brilliant duet between Isabel and the king in the fourth scene. While he bitterly shouts out his anger at the murder of Gaveston, we hear deceptively sweet and hushed strings. Beautiful are the muted hammering on a cimbalom and stately harmonies in the sixth scene. The king is dead, but Gaveston, as ‘the stranger’, lovingly embraces him one last time. Earlier, a lonely hand drum had already announced their death.
Stifling universe
It is quite obvious that Benjamin wrote his parts with these specific singers in mind. The baritone Stéphane Degout is an imposing king, Gyula Orendt convinces as Gaveston despite a small rasp in his voice. Barbara Hannigan enchants us as Isabel, her tone is full and creamy even in the highest registers. The clear and powerful tenor of Peter Hoare perfectly suits his role a Mortimer. Samuel Boden is a wonderfully pure boy/young king.
The staging of Katie Mitchel is effective. The seven scenes take place in a bedroom, viewed from different perspectives. Fish swim in a colourful illuminated aquarium at first, but after a few scenes this only contains a barren pile of stones. Windows are missing: in this bleak universe death prevails. The stifling atmosphere is emphasized by the fact that the characters often move in slow motion.
George Benjamin himself leads the Radio Philharmonic Orchestra, which once again shows its class with a subtle interpretation of his smouldering music. Unfortunately, however, it can’t bring to life the icy tragedy.
The National Opera/Holland Festival
George Benjamin/Martin Crimp: Lessons in Love and Vio9lence
The opera runs until July 5th.#BarbaraHannigan #GeorgeBenjamin #GyulaOrendt #LessonsInLoveAndViolenc #MartinCrimp #PeterHoare #SamuelBoden #StéphaneDegout