The 20 Greatest Symphonies of all time<\/a><\/strong><\/li>\n
What is the difference between a concerto and a symphony?<\/a><\/strong><\/li>\n
The 50 Greatest Composers of All Time<\/a><\/strong><\/li>\n
The 20 Greatest Conductors of All Time<\/a><\/strong><\/li>\n<\/ul>
<\/p><\/div> <\/section>
Here are the best overtures according to three of the world\u2019s top conductors.<\/span><\/strong><\/p>\n
The best overtures<\/span><\/h2>\nSir Antonio Pappano\u2019s<\/span>\u00a0top three overtures<\/a><\/span><\/h3>\n
\u2018<\/span>Weber<\/span><\/a><\/strong>\u2019s Euryanthe <\/i>is such a special piece, with a double quartet of eight violins alone creating a shimmering, mysterious mood. Really fascinating \u2013 and virtuosic to the last.<\/span><\/p>\n
\u2018<\/span>Rossini<\/span>\u2019s The Siege of Corinth<\/i> has very big bones and is very grand \u2013 yet it is hardly ever played.<\/span><\/p>\n
\u2018Of course, I couldn\u2019t do without <\/span>Verdi<\/span>\u2019s Force of Destiny <\/i>overture! The Sicilian Vespers <\/i>is wonderful, but the Forza<\/i> somehow plays better.\u2019<\/span><\/p>\n
And one I hope to do:<\/span><\/strong><\/p>\n
\u2018<\/span>Berlioz<\/span>\u2019s The Corsair <\/i>is a particularly brilliant piece of writing by a master of the orchestra.\u2019<\/span><\/p>\n
Domingo Hindoyan\u2019s<\/span>\u00a0top three overtures<\/a><\/span><\/h3>\n
\u2018Both the musical and the philosophical content of Leonore No.\u00a03<\/i> are the result of a long search by <\/span>Beethoven<\/span> for what he really wanted for his opera Fidelio<\/i>.<\/span><\/p>\n
\u2018<\/span>Mendelssohn<\/span>\u2019s The Hebrides<\/i> is a favourite of mine from an early period of my studies, and probably one of the first pieces I ever conducted.<\/span><\/p>\n
\u2018<\/span>Wagner<\/span>\u2019s Tristan und Isolde Prelude<\/i> is a big piece in which I can feel a synthesis of the deeply emotional content of what\u2019s going to happen in the opera.\u2019<\/span><\/p>\n
And one I hope to do:<\/span><\/strong><\/p>\n
\u2018In the Prelude to Act I of Parsifal<\/i>, <\/span>Wagner<\/span> has this perfect way of writing about hope, faith and devotion: right from the beginning, it\u2019s like looking at the sky and the stars!\u2019<\/span><\/p>\n
Mark Elder\u2019s <\/span>top three overtures<\/a><\/span><\/h3>\n
\u2018<\/span>Weber<\/span>\u2019s Der Freisch\u00fctz<\/i> is a wonderful overture: strong, substantial and a Hall\u00e9 favourite \u2013 not just of our founder conductor, Charles Hall\u00e9, but also of John Barbirolli. <\/span><\/p>\n
\u2018<\/span>Berlioz <\/span>wrote some of the best overtures and Benvenuto Cellini<\/i> is a fine example: it always gets a good hand from the public. It\u2019s like saying \u201cOK, we\u2019re ready, we\u2019re off\u201d.<\/span><\/p>\n
\u2018The Hall\u00e9 and I had a terrific success with <\/span>Wagner<\/span>\u2019s Tannh\u00e4user<\/i> overture on a German tour a few years ago. The original overture (without the Venusberg Music) is not often done, because the ending has this incredibly difficult violin writing; but if you\u2019ve got time to prepare it, it makes a very big effect.\u2019<\/span><\/p>\n
And one I hope to do:<\/span><\/strong><\/p>\n
\u2018I think <\/span>Reznicek<\/span>\u2019s Donna Diana<\/i> is quite tricky. I should probably foist it on the Hall\u00e9 when they\u2019re least expecting it\u2026\u2019<\/span><\/p>\n
<\/body><\/html>\n
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