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Retrouver une Oeuvre, un Orchestre, un Chef, un Soliste...

Vous trouverez sur ce site les communiqués, dossiers de presse et notes de programmes réalisés et diffusés par le bureau de Maxime Ohayon - Fouillez dans cette mine d'informations pour en savoir plus sur l'Opéra, la Danse, la Musique Classique et les plus Grands Artistes d'aujourd'hui

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Achim Freyer, Artiste Total

Evoluant sur la scène artistique internationale entre peinture, scénographie et mise en scène, Freyer donne de lui l’image d’un personnage on ne peut plus singulier.

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Helene Renee Pfeffer

by Maxime Ohayon

Helene Renée Pfeffer is an established American Painter based out of Santa Fe, NM, USA.

Pfeffer’s career has been marked with many solo and group exhibitions throughout New Mexico, Texas, New York, Colorado and Lousiana. Most recently, her “Branch Series” was featured in a group exhibition “Art on the Edge” at the New Mexico Museum of Art, curated by Elizabeth Sussman of the Whitney Museum in New York. Additionally, Pfeffer is featured in the Museum of Fine Arts Houston, the Marion Koogler McNay Art Institute in San Antonio and the Dartmouth College Museum in Hanover, New Hampshire... Born in Houston, Texas, she lives and work in Santa Fe, NM

The French Conductor Frederic Chaslin appointed by the Santa Fe Opera

par Maxime Ohayon

May 2010. Frédéric Chaslin, the French conductor who led the acclaimed performances of La Traviata last season will become The Santa Fe Opera’s Chief Conductor starting October 1, 2010

Press Release. May 4, 2010. Santa Fe, NM, USA.
The Santa Fe Opera's General Director, Charles MacKay announced today his selection: “I am pleased to announce that Frédéric Chaslin has agreed to become the Opera’s new Chief Conductor. His three-year appointment ends a more than two year search which included extensive conversations with Orchestra members, artists and leaders in the music field. Maestro Chaslin brings a distinguished career as conductor, pianist, composer and author to The Santa Fe Opera. In his debut last season he established a wonderful rapport with his colleagues both on and off the stage, and especially with the Orchestra. As chief conductor, Maestro Chaslin’s primary responsibility will be to maintain and enhance the high artistic standards and quality of the Opera Orchestra. With his background, he is eminently qualified.”

Berlioz - La Mort de Cléopâtre

by Maxime Ohayon

La Mort de Cléopâtre
Hector Berlioz (1803 - 1869)

Bristly encounters with France’s official institutions were common in the life of Hector Berlioz, his travails with the Prix de Rome being but one chapter among many. Though sent to Paris by his father to study medicine, once there he succumbed to the lure of music, which had always been a passion. Despite unconventional background and training (flute and guitar were his instruments, and he taught himself harmony from a textbook), he entered the Paris Conservatory at the advanced age of 23, to study composition with Jean-François Le Sueur and counterpoint with Anton Reicha.

Mozart - Concerto for Clarinet & Orchestra, K.622

par Maxime Ohayon

Concerto in A major for Clarinet and Orchestra, K. 622
Wolfgang Amadé Mozart (1756 - 1791)

In December 1778, writing from Mannheim, where the court orchestra was perhaps the finest and most advanced in Europe, Mozart lamented to his father, "Alas, if we only had clarinets! You cannot imagine the glorious effect of a symphony with flutes, oboes, and clarinets." Though the instrument was still maturing on the technical front, Mozart quickly grasped the potential of its fluid, flexible tone, wide range, and distinctively colored registers. Beginning in 1781 with Idomeneo (written for Munich, where the Mannheim orchestra had moved with its employer), he used clarinets extensively in his operas--though less frequently in his symphonies and concertos, where the resources at hand were not always as lavish nor the players as adept.

Mahler - Symphony N°6

by Maxime Ohayon

Symphony No. 6

Gustav Mahler
Born July 7, 1860, in Kalischt (now Kalište), Bohemia
Died May 18, 1911, in Vienna

Between Mahler’s three vocal/choral symphonies with texts from the famous anthology of folk poetry Des Knaben Wunderhorn (Nos. 2, 3, and 4) and the vast affirmation of the choral Eighth Symphony, there stand three orchestral symphonies. They have in common a large scale and powerful intimations of struggle, but whereas the Fifth and Seventh achieve optimistic resolutions, the Sixth does not. It is also unique among them for its basically classical outlines, though the orchestra called for is far from classical in size or composition, and the course of musical events is often unconventional. The Sixth comprises a sonata-allegro first movement with its exposition repeated literally, a scherzo, a slow movement, and a finale. In the symphonic mode promulgated by Beethoven, it implies a protagonist, one engaged in a fateful contest.

Four Songs, Op. 27 - Richard Strauss

by Maxime Ohayon

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Four Songs, Op. 27
Richard Strauss
Born June 11, 1864, in Munich, Bavaria
Died September 8, 1949, in Garmisch, Germany

Between the ages of 21 and 35, Richard Strauss made his reputation with symphonic poems inspired by literary and even philosophical texts; thereafter, for some four decades, he actually set texts--mostly for the theater, composing concert music only when no libretto was in hand. Druing both these periods--on the side, so to speak--he composed songs, often with the voice of his wife, the soprano Pauline de Ahna, in mind, and several of these he orchestrated for use in their joint concert appearances. In their relationship (a tempestuous but passionate one, if the musical evidence of the Domestic Symphony is to be credited), the four published as Op. 27 hold a special position, for the set is dedicated “To my beloved Pauline on September 10, 1894”--their wedding day. Three were composed in Weimar the previous May, and “Cäcilie” was added the day before the wedding. “Morgen” and “Cäcilie” were orchestrated for Pauline’s use, the former in 1897, the latter probably around the same time.

Festspielhaus Baden-Baden

by Maxime Ohayon

The Festspielhaus offers audiences a programme of opera, concerts and ballet the whole year round. This second-largest opera house in Europe seats 2500, has garnered a firm position on the European musical landscape. Leading artistes, orchestras and ballet companies look forward to appearing in Baden-Baden.

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