Los Angeles 紙のBest in Classical music ですが，なんと世界規模にまたがっていますし，ご丁寧にWorst まで挙げています．
・最初に，世界各地で新しいコンサートホール，オペラハウスが出来たことを挙げています．
日本ではそれほど大した震度ではなかったはずの川崎ミューザが，他のホールが大震災の後，一斉に当ホールは耐震設計ですから．．．といっているのに，あえなく天井が落下して未だに無残な姿をとどめていますが，．．もっとも，まずはパイプオルガンに覆いを作って，温度，湿度管理を始めるそうですが．．．半年も放っておいてからで大丈夫なのでしょうか？
a splendid string of new concert halls and opera houses, many with distinguished architecture and acoustics. That began in January with the visionary New World Center in Miami Beach, Fla., and continued with halls in Reykjavik, Iceland; Helsinki, Finland; Kansas City, Mo.; Montreal; and, in our area, Aliso Viejo. Still to come: On Wednesday, Zubin Mehta opens the New Opera Theater in Florence, Italy, that will be a snazzy new home for the city’s famed Maggio Musicale festival.
・The anxiety in classical music is, as it is everywhere, about money. Combine the world’s poor economy and over-assertive populism with sometimes poor arts management (the Philadelphia Orchestra), and we see symphony orchestras and opera companies struggling. But we also see others, particularly those boldly committed to progress and innovation, thriving.
１．Those include the 10-best-list-topping Los Angeles Philharmonic — which performed, on average, a new or contemporary work (many being commissions) every week of its Walt Disney Concert Hall subscription season — and Michael Tilson Thomas’ New World Symphony.
２．LA Phil でずば抜けていたのが
Best most surprising symphony performance: Returning to the L.A. Phil, its laureate conductor Esa-Pekka Salonen made Shostakovich’s incoherent-seeming Fourth Symphony a searing, soul-wrenching experience that left audiences shaken and amazed. 下に Esa-Pekka Salonen が指揮する写真が掲載されています．凄まじいばかりの演奏だったようですね．羨ましい限りです．
３．Best performance by Gustavo Dudamel: The highlight of the L.A. Phil’s “Brahms Unbound” festival was his profoundly spiritual performance of Henryk Górecki’s Third Symphony. ここでは，かの有名な Gustavo Dudamel が登場しています．
４．Best debut(s): A three-way tie among the vibrant French early music specialist Emmanuelle Haïm at the Los Angeles Philharmonic; German director Christof Loy, who was responsible for Los Angeles Opera’s delectable production of Rossini’s “The Turk in Italy”; and, also at L.A. Opera, the Italian tenor Vittorio Grigolo in Gounod’s “Romeo and Juliet.” と３者タイとして挙げています．
５．Best proof that Shakespeare didn’t say it all, whether he wrote his plays or not: The collaboration among director Peter Sellars, the African musician Rokia Traoré and novelist Toni Morrison in “Desdemona,” at Berkeley, turned the afterlife of Othello and Desdemona into a true transmigration of souls.
これは話が大きすぎて，訳しようがありません．
６．Best opera production: Sellars rendered Handel’s “Hercules” at the Lyric Opera of Chicago, a wake-up call about the experiences of American war veterans.
７．Best-dressed pianist: The L.A. Times’ spicy photo of Yuja Wang in her revealing little orange dress at the Hollywood Bowl went viral as the blogosphere bloviated about the appropriateness of this and that, somewhat obscuring her electrifying performance of Rachmaninoff’s Third Piano Concerto.
これは前に天才ピアニストの写真入りでご紹介しました．
８．Best vocal performance under trying circumstances: Baritone Nicholas Isherwood opened every raw nerve with his starkly honest and cathartic solos in György Kurtág’s death-haunted “…pas à pas — nulle part…” when he gave the work’s U.S. premiere, for the Monday Evening Concerts, on the night his mother died.
Baritone Nicholas Isherwood は母親が亡くなった夜に，György Kurtág’s death-haunted “…pas à pas — nulle part...” を好演したそうです．
９．Best old-timers: The 91-year-old Ravi Shankar gave a glorious Disney recital, and Elliott Carter celebrated his 103rd birthday in New York with premieres of several (yes, several!) new pieces. アメリカの音楽家は長命のようです．
１０．Best reason to laugh through hard times: Igudesman and Joo, the funniest (and most accomplished) musical comedy act since PDQ Bach, shook the Broad Stage with so much hilarity that they did double duty testing the young theater’s earthquake preparedness. コメディで，シアターの耐震性をテストしたというのですが，日本ではコメディどころではなかったですね！
Worst: Worst new opera: Christopher Theofanidis’ empty Sept. 11 tear-jerker, “Heart of a Soldier” at San Francisco Opera, with Mark-Anthony Turnage’s offensive “Anna Nicole” as runner-up at Royal Opera in London.
これも日本訳は困難です．
2011 year in review: Best in classical music
Photo: Esa-Pekka Salonen conducting the Los Angeles Philharmonic on Dec. 2.
Credit: Jay Clendenin/Los Angeles Times
The good signs for the future of classical music this year have been a splendid string of new concert halls and opera houses, many with distinguished architecture and acoustics. That began in January with the visionary New World Center in Miami Beach, Fla., and continued with halls in Reykjavik, Iceland; Helsinki, Finland; Kansas City, Mo.; Montreal; and, in our area, Aliso Viejo. Still to come: On Wednesday, Zubin Mehta opens the New Opera Theater in Florence, Italy, that will be a snazzy new home for the city’s famed Maggio Musicale festival.
The anxiety in classical music is, as it is everywhere, about money. Combine the world’s poor economy and over-assertive populism (the minister of culture in Finland chose to attend a sporting event rather than the opening of the country’s major new concert hall, which was an international event) with sometimes poor arts management (the Philadelphia Orchestra), and we see symphony orchestras and opera companies struggling. But we also see others, particularly those boldly committed to progress and innovation, thriving.
Those include the 10-best-list-topping Los Angeles Philharmonic — which performed, on average, a new or contemporary work (many being commissions) every week of its Walt Disney Concert Hall subscription season — and Michael Tilson Thomas’ New World Symphony.
Best most surprising symphony performance: Returning to the L.A. Phil, its laureate conductor Esa-Pekka Salonen made Shostakovich’s incoherent-seeming Fourth Symphony a searing, soul-wrenching experience that left audiences shaken and amazed.
Best least surprising symphony performance: Valery Gergiev has given great Tchaikovsky performances for years, but nothing was preparation for the way he got four Tchaikovsky symphonies to erupt with elemental volcanic power in his appearances with his Mariinsky Theatre Orchestra at the Segerstrom Concert Hall.
Best performance by Gustavo Dudamel: The highlight of the L.A. Phil’s “Brahms Unbound” festival was his profoundly spiritual performance of Henryk Górecki’s Third Symphony.
Best debut(s): A three-way tie among the vibrant French early music specialist Emmanuelle Haïm at the Los Angeles Philharmonic; German director Christof Loy, who was responsible for Los Angeles Opera’s delectable production of Rossini’s “The Turk in Italy”; and, also at L.A. Opera, the Italian tenor Vittorio Grigolo in Gounod’s “Romeo and Juliet.”
Best proof that Shakespeare didn’t say it all, whether he wrote his plays or not: The collaboration among director Peter Sellars, the African musician Rokia Traoré and novelist Toni Morrison in “Desdemona,” at Berkeley, turned the afterlife of Othello and Desdemona into a true transmigration of souls.
Best opera production: Sellars rendered Handel’s “Hercules” at the Lyric Opera of Chicago, a wake-up call about the experiences of American war veterans.
Best-dressed pianist: The L.A. Times’ spicy photo of Yuja Wang in her revealing little orange dress at the Hollywood Bowl went viral as the blogosphere bloviated about the appropriateness of this and that, somewhat obscuring her electrifying performance of Rachmaninoff’s Third Piano Concerto.
Best vocal performance under trying circumstances: Baritone Nicholas Isherwood opened every raw nerve with his starkly honest and cathartic solos in György Kurtág’s death-haunted “…pas à pas — nulle part…” when he gave the work’s U.S. premiere, for the Monday Evening Concerts, on the night his mother died.
Best old-timers: The 91-year-old Ravi Shankar gave a glorious Disney recital, and Elliott Carter celebrated his 103rd birthday in New York with premieres of several (yes, several!) new pieces.
Best reason to laugh through hard times: Igudesman and Joo, the funniest (and most accomplished) musical comedy act since PDQ Bach, shook the Broad Stage with so much hilarity that they did double duty testing the young theater’s earthquake preparedness.
Worst new opera: Christopher Theofanidis’ empty Sept. 11 tear-jerker, “Heart of a Soldier” at San Francisco Opera, with Mark-Anthony Turnage’s offensive “Anna Nicole” as runner-up at Royal Opera in London.
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