Here Patricia Kopatchinskaja talks about playing Pierrot Lunaire, a project the violinist first conceived while she was unable to practise due to an arm injury. ‘All my life I’ve felt that I was Pierrot. Whenever I played the piece on my violin as a student which I I spoke the words in my head,’ says Kopatchinskaja, who performed the role just over a week ago with the Berlin Philharmonic, speaking and acting but also playing her violin.
Fearless performances, though this album is sometimes a tough listen
The concept may be questionable, but the performances carry the day
Edward Bhesania hears the performance of Enescu, Poulenc, Bartok, Milhaud, Schoenfeld and Kopatchinskaja herself, at London’s Queen Elizabeth Hall on 24 September 2023
Ahead of his third season at Spoleto Festival USA, the American cellist discusses musical risk-taking, participatory audiences and why chamber music must remain a living art form
Interviewed for The Strad August 2018, violinist Anne-Sophie Mutter discusses Penderecki’s Second Violin Concerto, a work that harbours undiscovered secrets
In this film from 1962, Leonard Bernstein conducts cellist Zara Nelsova and the New York Philharmonic in a performance of Ernest Bloch’s Schelomo. Nelsova had a close relationship with the composer, who dedicated his three unaccompanied Cello Suites to her.
![Ayanna Witter-Johnson [Jordan Woods] 7](https://dnan0fzjxntrj.cloudfront.net/Pictures/274x183/4/9/4/44494_ayannawitterjohnsonjordanwoods7_224583.jpg)
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