Welcome to the Erwanna Fan Club

Hollywood fans have fondly melded star couple Brad Pitt and Angelina Jolie into Brangelina. Opera enthusiasts now have a dream team to follow as well: the stunning and talented Anna Netrebko and Erwin Schrott. Or shall we say, Erwanna?
The New York Observer called the Russian diva "Audrey Hepburn with a voice", and the San Francisco Chronicle praised "a singer who has it all: imagination, insight, and wit". The bass from Uruguay is admired for his "combination of blazingly charismatic presence and imposing, wide-ranging, multicoloured sound."

The opera stars are considerably less harried by the paparazzi than their Hollywood counterparts. But their lifestyle is no less burdened by travel and heavy schedules. Of course, fans are the beneficiaries of their hard-working ethos. Anna Netrebko performs music of Pergolesi at Geneva's Victoria Hall in April, and Erwin Schrott can be seen and heard as Figaro in Le Nozze di Figaro at Paris' Opéra de la Bastille in May, and as Escamillo in Carmen at Barcelona's Gran Theatre del Liceu in July.

And your interest in the stars goes beyond just wanting to see them on stage, try visiting annanetrebko.com, where you can ask the diva questions about anything from how to become a successful musician to what cosmetic products she recommends.

Dreams of Spain

February is the shortest month in the year. And yet, in many northern regions, it can feel like longest. Early spring flowers poke up through the soil, only to find that the sky is just as grey and the air just as chilly as they have been since November. A few birds twitter optimistically in the morning, but they soon think better of it and wonder why they didn't stay in their southern holidays a little longer.

Here in Berlin, we are warming ourselves with dreams of Spain. Mid-February in Madrid and Barcelona calls for a light jacket, and it's t-shirt weather on the Canary Islands. With a 10% discount on all Spain concerts, Classictic invites you to escape to warmer climes, or to think ahead to your spring or summer travels in the sun.

Once you have spent the day stolling in the sun or walking the halls of the Prado or Reina Sofia museums in Madrid, treat yourself to a world-class performance at one of Madrid's concert halls. Or, wander among the extraordinary architectural creations of Antoni Gaudi, then don your evening attire and visit a concert in Barcelona.

If the mainland is not enough of an escape for you, Gran Canaria and Mallorca offer the extraordinary combination of island getaway and top classical music and opera performances.

Choose from the many Spain concerts on Classictic.com, then enter the Promotional Code CLASSIC-SPAIN in the payment window. Your 10% discount will be reflected in the sum.

Classictic wishes you sunny thoughts and a wonderful concert experience in Spain!

Off the Beaten Path in New York City

It’s the city that never sleeps. It does eat, though, and it goes out a lot. New York keeps visitors and locals very busy. There is a great deal to do and see, hear and taste.

If you’re a “Highlights” kind of person, you might be absolutely satisfied to hit the ultra-famous spots in New York City. If you have the time, though, a small step off the beaten path will often afford you a closer look or an insider’s perspective on the Big Apple. There is no denying the thrill of the view from Lady Liberty’s crown. But once you’ve seen the Statue of Liberty, you can follow the American immigrant story one step further with a visit to the groundbreaking Tenement Museum on Manhattan’s Lower East Side. The museum tells the stories of 19th and 20th century immigrants’ experience through tours of the tenement apartments and the surrounding neighborhood.

The beaten path will take classical music enthusiasts to Lincoln Center’s Philharmonic Hall or Metropolitan Opera, two extraordinary performance houses. But visitors in the know will check out the program just down the street at lesser-known Merkin Concert Hall, an ideal space for chamber music and smaller ensembles. The 450-seat hall is nestled in the Kaufman Center, one block north of Lincoln Center. Merkin Concert Hall was twice awarded the ASCAP/Chamber Music America prize for Adventurous Programming. The Tuesday Matinee series here features up-and-coming young musicians and ensembles from around the world. This mid-week, midday gems offer a perfect opportunity to rest your feet and nourish your soul.

You can nourish the rest of you before or after the Merkin Concert Hall performance, at one of the many New York foody institutions on the Upper West Side. Zabar’s is the ultimate “food emporium”. New Yorkers take a number at the fish counter, then elbow one another just for the sport of it as they wait to buy their quarter pound of Nova Lox or a few precious ounces of Sterling Caviar. The Zabar’s Café offers a bagel and lox, knish, soup, fabulous coffee, and enough baked goods to merit a walk back for dessert after the performance at Merkin Concert Hall.

The concerts at Saint Thomas Church in Midtown Manhattan are a bit less frequent, but no less extraordinary. If you are in New York around Christmas or Easter, don’t miss the performances of the Saint Thomas Church Choir of Men and Boys. Saint Thomas Church has the only church-affiliated boarding choir school in the United States. The talented young choristers are among the most experienced and gifted the country has to offer. The boys’ voices are complemented by professional adult singers in the lower registers. The Saint Thomas Church Choir performances receive rave reviews from the New York Times. The church itself is a stunning example of American neo-Gothic architecture, and it also happens to be located just down the street from the Museum of Modern Art. After you have taken in the many treasures at the recently renovated temple to Modern Art, grab a bite to eat and prepare your eyes for the transition from sleek lines to soaring ornamental splendor.

Another New York insiders’ secret is the concert series of the Amor Artis Chamber Choir and Orchestra. The New Year’s Eve concert at St. Jean Baptiste Church is a festive and unpretentious annual event, with excellent musicians and an uplifting all-Bach program. Amor Artis’ charismatic founder and conductor, Johannes Somary, is entering his 50th year as music director. The years have in no way diminished his exuberance, which spreads through the ensemble and the audience at every performance.

You might notice a few of the singers hurrying off in sports gear after the New Year’s Eve concert. If you are looking for a truly unusual way to spend the rest of the big night, join them for fun in Central Park, as a participant or a spectator at the Emerald Nuts Midnight Run. Urban athletic folks brave the weather, often in flamboyant costumes, for a four-mile run, ending with champagne (this is the USA, so it will be alcohol-free or in a paper bag!) at the finish line.

Prices in Manhattan have squeezed many sworn Manhattanites off the tiny island, and although tourists rarely find their way to the other boroughs, there are more and more reasons to do so. A Manhattanite will tell you that the best reason to leave Manhattan is to get a better view of Manhattan. Well, that is certainly part of the thrill at the Bargemusic concerts in Brooklyn. In 1977, founder Olga Bloom transformed a coffee barge, built in 1899, into a floating chamber music hall. Anchored below the Brooklyn Bridge in the New York’s East River, Bargemusic offers excellent acoustics and fabulous views of the bridge and the lower Manhattan skyline. Local and visiting artists perform a variety of programs in about 220 concerts each year. In addition to standard classical chamber music repertoire, the “Here and Now Series” features contemporary American compositions, while “There and Then” concerts focus on Early Music. Bargemusic is easy to reach with public transportation, but if the weather allows, put on your walking shoes and cross the historic Brooklyn Bridge by foot. There is a separate raised walkway along the center of the bridge. Built in 1883, this connection between the island of Manhattan and the borough of Brooklyn was once travelled by horse-drawn traffic, trolley cars, and the elevated train. It continues to provide a vital connection for commuters and visitors today.

As spontaneous as New Yorkers can be, it is often a good idea to plan and book New York concert tickets ahead. Even the best kept secrets can draw a crowd in this something-for-everyone town. Whether you go the "Highlights" route or choose the road less travelled, there will always be something left to look forward to on your next trip to New York City.

Rome Concerts Connecting Old and New

Rome is a city alive with history. So, it is hardly surprising that the most active musical institution of this modern European capitol is among the oldest organizations of its kind. The Accademia Nazionale di Santa Cecilia has its origins in a papal bull issued by Sixtus V in 1585. Begun as the “Congregation of Musicians under the invocation of the Blessed Virgin, Saint Gregory and Saint Cecilia” (Congregazione dei Musici sotto l'invocazione della Beata Vergine e dei Santi Gregorio e Cecilia), it was first seated in the Church of Santa Maria ad Martires, now better known as the Pantheon.

One prominent theme that runs through the long and fascinating history of the Accademia is the search for a home. In its first 100 years of existence, the association moved within Rome several times. The first true home was established in 1685 at San Carlo ai Catinari, and practically every subsequent chapter in the history of Rome saw the Accademia moving to a new location.

Today, it seems that over 400 years of sojourning has ended in a tremendous architectural complex planned by Renzo Piano (*1937). The Auditorium Parco della Musica is comprised of three large, scarab-shaped concert buildings, plus an outdoor amphitheater. In keeping with the historical sense of the city, the complex, which was built on the grounds of the 1960 Summer Olympic Games, incorporates ancient archaeological finds that emerged during construction.

Visitors to the Auditorium Parco della Musica this season can hear the orchestra of the Accademia di Santa Cecilia performing with such legendary pianists as Maurizio Pollini and Lang Lang or under the baton of visiting conductors Valery Gergiev and Kirill Petrenko.

A classical concert in the Auditorium of Rome seemlessly connects yesterday with tomorrow: Classictic welcomes Accademia Nazionale di Santa Cecilia!

The Classic Sweepstakes

CLASSICTIC is happy to join with hotel.info in presenting a special opportunity to combine the dynamic culture of Salzburg with the natural beauty of the region. Win a dream trip in the land of Wolfgang Amadeus Mozart: A two-night stay for two people at the beautiful Sheraton Fuschlsee-Salzburg Hotel Jagdhof, and a 200 Euro CLASSICTIC Gift Certificate await the winner of this Classical Competition.

On Eye Contact and other Tango Stunts

It is fascinating, riveting, almost super-human. Tango requires passion, rhythm, coordination, strength, spontaneity. I see mere mortals dancing the Tango, and I ask myself, “Could I?” In a careful first approach to the dance, I looked up some of the basic terminology.

Abrazo — The embrace; a hug; or dance position.

Adorno — Adornment; embellishment. [Not a literary theorist?]

Apilado Style — Piled on: As used in tango, the reference is to the way a jockey is "piled on" his horse, when racing—hugging the neck.

Arrepentida — Repentant; To change one’s mind: A family of steps which allow a couple to back away from a collision or traffic jam in a minimal amount of space and on short notice. [Repentant backtracking. Lots of practice here.]

Cabeceo — (from cabeza; head): Traditional technique for selecting dance partners from a distance at the milongas in Buenos Aires by using eye contact and head movements. [A challenge to the New York City upbringing. There, eye contact with strangers is, well, not recommended.]

Caricias — Caresses: A gentle stroking with the leg or shoe against some part of the partner's body. They can be subtle or extravagant. [Um, let’s stick with subtle.]

Castigada — (from castigar - to punish) a punishment: A lofting of the lady's working leg followed by flexing at the knee and caressing the working foot down the outside of the supporting leg. [Whew.]

Entregarme — Surrender: To give oneself up to the leader’s lead.

Freno — To stop and hold; brake. [Ah, emergency brake. Excellent. Is there an eject button, too?]

Milonga — May refer to the music, written in 2/4 time, or to the dance which preceded the tango, or to the dance salon where people go to dance tango, or to a tango dance and party.

Mordida — From morder: to bite; the little bite: One partner’s foot is sandwiched or trapped between the other partner’s feet. [In soccer, we call that a foul.]

Parejas — Couple: The two partners in a tango.

Planchadoras — The women who sit all night at the milongas without being asked to dance. The main reason for that, is because they don't know how to dance well enough. Yes, it may seem cruel but one of the many tango lyrics actually says something like, "let them learn as a consequence of sitting all night." [At least it sounds much sexier than “wallflowers”.]

Sentada — From sentar - to sit. A sitting action: A family of figures in which the lady creates the illusion of sitting in, or actually mounts, the man’s leg. Frequently used as a dramatic flourish at the end of a dance. [Whew.]

Suave — Smooth, steady and gentle, soft, stylish. A major objective in tango.

Tanguero — (feminine; Tanguera) Refers to anyone who is deeply and seriously passionate about any part of tango, such as its history, music, lyrics, etc. In Argentina most tangueros are scholars of lunfardo, music, orchestrations, Gardel, etc.

Vareador — From horse racing; a man who walks the horses but is never allowed to mount them: In tango, it refers to a man who dances and flirts with all the ladies but never gets involved with anyone. May also refer to a man who is a clumsy or inconsiderate lead who “might just as well be walking a horse.”

Right, well, I might need a few years of practice before hitting the dancefloor. Meanwhile, I'll settle for sitting on the sidelines, a hopeful planchadora.

CLASSICTIC.com welcomes La Ventana, a fabulous Tango venue in the heart of San Telma, the beautifully preserved historical neighbourhood of Buenos Aires.

The Demons of Barcelona

Visit the “Culture” rubric of the first five cities that spring to mind. You will generally find topics like “Museums”, “Concerts”, “Theatre”, or “Nightlife”. Go a little deeper into the site, and the city’s personality may emerge a bit. But on the whole, the categories don’t differ much between London and Paris, New York and Berlin. So, I was rather surprised to find the following listings on the official web site of Barcelona, Spain:

• Bestiary and demon groups
• Folk Music
• ‘Casteller’ groups (human tower builders)
• Giants
• Choral singing
• Travelling Liveliness
• Dance

Hmm. We New Yorkers are accustomed to claiming that New York has it all. I admit, I’ve never searched the Yellow Pages back home for demon groups, but I would venture to guess that the listings are limited, at best. In Barcelona, if you’re not particular about which neighbourhood the bestiary and demon group should hail from, you can choose from 159 registered organisations. Who knew?

It turns out that the primary leisure activity of the demon groups is to beat drums and run through the streets with fireworks held aloft on long forks. In a ritual called “correfoc”, or “fire runs”, the costumed demons take to the streets and raise a row, allowing sparks from the fireworks to spray about among passers by. The ultimate correfoc season is in August and September. The Festa Major de Gràcia in August is a weeklong celebration beginning on or around the Catholic feast of the Assumption of Mary (August 15). The Festes de la Mercè in late September is a citywide celebration of Barcelona’s patron saint, the Virgin Mary (Mercè refers to the the Virgin of Mercy). If you are anxious to find out what is behind cultural categories like Giants and Human Tower Builders, consider a visit to Barcelona during these festivals.

If you prefer to take in local colour without risking setting your hair on fire, consult the concert and opera listings for the rest of the year in Barcelona. Discover the restrained passion of the Spanish guitar, or take in a zarzuela, the Spanish comic opera form, by 20th century Catalonian composer, Amadeu Vives. Try a fiery Flamenco event, or slip into the 19th century home of local pianist and composer Luis de Arquer for an intimate recital. Of course, daring music lovers can have the best of both worlds and simply plan to dodge the flaming demons on the way to the concert hall.

On the other hand, streetlife on the famous Rambla promenade is enough of a spectacle for most travelers, and Antoni Gaudí's jubilant architecture, found throughout Barcelona, is as extravagant as any firework display. And it's a whole lot safer.

Claustrophobia and other excellent reasons to go to a concert in Paris

The thing about visiting old friends in a new city is that sometimes you get so caught up in catching up, that you forget to get out and see the sights. Suddenly another precious day has gone by, and you are still stretched out on the sofa, finally exchanging all of the vital information that hasn’t fit into emails and Facebook. Staying with friends is less expensive and more personal, but it can mean taking your homebody ways with you.

In Paris, however, unless your old buddy is heiress to some great fortune, you are in no danger of not getting out of the house. Because, when you get out of bed in a Paris apartment, chances are, you are already halfway out the door. In order to live affordably in the center of the City of Lights, perfectly normal and full-sized adults move into homes that would barely qualify as a walk-in closet in other European capitals.

If you have not yet experienced this phenomenon, I can only offer this advice: When your friend says she lives in a really small place, she doesn’t mean upright piano instead of mini-grand. She means that if your suitcase doesn’t fit in the overhead compartment or beneath the seat in front of you, it will be living in the bathtub for the duration of your stay in Paris. So, pack light, bring earplugs, and plan to go out a lot.

When the trek to the top of the Eiffel Tower has worn you out, drop into the Champ de Mars/Tour Eiffel metro station, and re-emerge at St Michel/Notre Dame. With a bit of advanced planning, you can grab a bite to eat and then plunge into the magical atmosphere of Notre Dame Cathedral, where Tuesday evenings are often filled with sacred music. Let the hectic thoughts of the day (many of which probably begin with “I can’t believe how much I just spent on that…”) melt away, while the powerful organ or a vocal ensemble offers a sense of the Cathedral atmosphere beyond the elbowing tourists. Notre Dame is one of the most popular tourist sites in the world, so try to reserve your concert seats beforehand.

If your visit doesn’t allow for a concert at Notre-Dame, never fear. Sainte-Chapelle Church is much more manageable in size, and its stained glass windows are breathtakingly beautiful. Here, your visit is almost certain to coincide with a concert, if you travel between mid-March and November. The musicians are excellent and the concert programs feature many of the “greatest hits” of the classical repertoire. For a more relaxed experience, be sure book the tickets in advance.

If your friend’s digs are leaving you feeling less than regal, plan a visit to the Palais Garnier. It’s the perfect opportunity to put on the fabulous dress that you probably just bought for an insane amount of money in a boutique in the Marais. (In fact, you should probably just put the dress on in the store’s changing room. Chances are, it’s bigger than your host’s flat.) Take the métro to Opéra, and enter the dazzling 19th century interpretation of Baroque, known to many simply as the Paris Opéra. The program here includes opera, chamber music, and recitals. Many events sell out, so it is worth doing a bit of advanced planning here as well.

As your Paris holiday is coming to an end and you are tackling the acrobatic task of getting all of your new purchases into your suitcase without taking it out the bathtub, you might want to leave a space-appropriate thank you gift. (e.g. If you haven't noticed a clear surface in the flat, avoid bringing flowers.) Give your expatriate pal a reason to leave the house, too: You can’t go wrong with a couple of tickets to the Salle Pleyel concert hall, or even a Classictic Gift Card, which lets your friend to decide when and where to go, when the walls start closing in.

Should the witch really get thrown in the oven each Christmas?

Or is it finally Hansel’s turn?
Tell the truth. How many of you are secretly fans of the witch?
Those singing children, nibbling on her house each year - I would be annoyed too. Wouldn’t you? As with so many operas - ‘Romeo, she’s only asleep!, Rigoletto, it’s your daughter!, Siegmund, don’t kiss her – it’s your sister! Witch, don’t peer into the oven - it’s a plot!’- our favorite characters never seem to hear us and are doomed each performance to suffer the same fate. Although there is much to say for reliability – especially in today’s turbulent world - I will go and cheer for the witch this year, glaring at any little kids in the audience who dare to challenge me. Hansel und Gretel at the Vienna Volksoper this December - Go Witch!!

Learning to like Vienna

I think it is time to just come out with the truth: I don’t like Vienna. I am considering forming a self-help group on the subject. Surely there are others out there, and I am beginning to think that we are not incurable.

Vienna is, after all, the city of Sigmund Freud. So, I have decided to delve into the deeper, subconscious roots of my aversion to a city that I should, objectively speaking, adore. Vienna does offer two of the delights most central to my being: music and pastries. Admittedly, I am not tempted by the great Viennese institution of schnitzel, but that only means that I have more room for dessert.

So, consulting my knowledge of Sigmund’s theories, the subject of envy springs to mind. I mean, his idea that I might be spending my life in constant envy of men for their anatomical “advantage” doesn’t ring true with me. However, there is no doubt that I feel a visceral envy of anyone capable of sweeping across a dance floor in three-four time. The Viennese can gracefully spin through a room as though waltzing on air. New Yorkers can wiggle their bottoms and step side to side.

Could it be that I am suffering from sophistication-envy? A certain feeling of resentment towards people who have sachertorte with their coffee instead of glazed donuts?

On this theory, I am thinking that maybe I should try again. After all, maybe I can’t learn to waltz overnight, but I definitely know how to eat cake, and even if I wasn’t born in the city where the great works were written, I can still enjoy them with gusto.

So, I think I’ve found the ideal way to start my therapeutic initiation. The programme of the Theater an der Wien is full of productions that I am dying to see. And, it is located on the Naschmarkt, a garden of earthy delights for the snack-seeking opera goer. I am working on a couple of mantras to repeat to myself in case the illustrious history of the Theater an der Wien should start to awaken the green monster in me. The mere fact that Beethoven himself lived and composed in the building shouldn’t hinder my enjoyment of the evening. After all, I’m sure Beethoven would have like Manhattan, too, if he’d had the chance.

If that all goes well, I will dare to indulge in a concert and museum visit at the Liechtenstein Museum. Admittedly, this is getting into some very classy territory, but I think that I am up to the challenge. Even if the Metropolitan Museum doesn’t house a princely collection in a former palace, it did prepare me well for the world of European art. And the Liechtenstein Museum even has combination offers with music, art, and Viennese culinary specialties.

So, I am indulging on a self-help journey to Vienna, the City of Music (and strudel) and will enjoy some concerts of classical music in Vienna. I think that Freud would be proud.

All dressed up with someplace to go...

If you’ve vacationed in Barcelona, you have certainly experienced the city’s central boulevard, Las Ramblas. I was there the first time in my backpacking years, on a typically American, cram-it-all-in tour that also included Amsterdam, Munich, London, and a detour into the Sinai desert. Ah, youth.

In my backpacking days, an elegant evening out meant washing my hair (I was staying at pay-per-shower hostels) and putting on my darker Birkenstocks. So, if you have been to the Ramblas, you know that I still haven’t recovered from the overwhelming elegance I experienced there. Beginning around 10 pm, the population of Barcelona took to the street, in an exhibit of stylish ease and high-heel acrobatics that I could only assume resulted from years of intensive training. (I imagine here levels such as “crawling with grace”, “diaper-swaying toddler promenade”, etc.)

I was young and new to Europe, so people-watching (worshipping might be a better word) was activity enough for my petty budget. Yet, I did wonder in my own New Yorker way, where all these fashionistas were going. Did they really just get dressed up to walk up and down the street and look good? It did seem possible, and I chalked this up to the wonders of cultural diversity.

Lo, these many years later, I have discovered a reason to go back to the boardwalk, get dolled up, and join the fray. Right at the halfway point of Las Ramblas, a somewhat austere façade opens into the sumptuous interior of the Gran Teatre del Liceu, an opera house with a programme that rivals the most famous theatres of the world. The theatre is dedicated to presentating the core opera repertoire as well as rarely heard compositions, and the innovative productions are as chic as the Barcelona audience itself.

In my backpacking days, my idea of planning ahead involved opening the Let’s Go Europe tome before getting off the train in a new city. These days, my vacations are a lot shorter, my budget is a little broader, and I have even been known to throw a pair of medium-high-heels into my suitcase. So, I have checked out the fabulous list of performances at the Gran Teatre del Liceu on Classictic.com, and I am grabbing a no-frills flight to Barcelona.

I will never achieve the flair of the local Barcelona beauties, who must be born wearing heels and sunglasses. But I fully intend to don my flashiest mid-life-crisis-preview dress and sashay down the Ramblas with my e-Ticket in hand. After all, as much as I appreciate the rambling lifestyle, I find it a lot easier to get dressed up when I’ve got someplace to go.

classictic has a new champion

In a tremendous upset, Stephan Mayer, technical director at Classictic.com beat out title-holder Roberto Maymo, sales manager, to become Classictic Ping Pong Champion 2009.

Nothing too serious...

Things have been a bit serious at the Classictic blog of late. Let’s have some fun. Pop star Michael Jackson has recently died. (OK, this is not yet the fun part). Michael has been compared by many to Wolfgang Amadeus Mozart. Equally many are really bothered by these comparisons. I find it funny and will add my observations to the fray. Let’s call them M&M for brevity (Michael & Mozart of course).

So, what did they have in common? They both had pushy parents and talented siblings (sibling in Mozart’s case). I am pretty sure, however, that Nannerl never exposed her breast at a football game – so there are differences as well to note. They both had prodigious noses (Michael took care of that problem - not an option in Mozart’s day). They both loved elegant clothing, wore some pretty wild outfits and I suspect they both wore wigs, at least on occasion. Mozart was described by a contemporary as being ‘small, thin and pale’. I hope you will forgive me when I say that this also describes Michael in his later years. M&M also shared in common a certain lack of financial prowess. And, (surprise!) both M&M were dancers; although Mozart might not have been doing the Moonwalk – he started out often on stage as a dancer and was very good at it, apparently. Noting again a final difference between the two let’s look at their funerals; for Mozart a pauper’s grave and a golden casket for Michael (honestly, whose idea was that anyway?).

Both Michael Jackson and W.A. Mozart were amazing child prodigies, stunning their worlds with music and theatric innovations. Each broke existing barriers with originality and great talent and both sadly died at a young age. Michael with ‘Thriller’ ushered in the age of MTV and, as a child of the 80’s, I will be forever grateful to him for that alone. Mozart was/is just plain thrilling. Michael was archetypal of 80’s pop-rock as Mozart is the archetypal example of the classical music era. Composers have been studying his scores since Beethoven and Mozart has endured for over 200 years as one of our best-loved composers. We will have to wait and see what Michael’s legacy will be, but certainly he will have a place in music history. At Classictic we do not have any concerts of Michael Jackson on offer – he is yet to be made ‘Classic’ - but check out these great Mozart programs and try to imagine ‘Wolfie’ doing the Moonwalk.

Opera America Conference, April 2009

Somewhat late in posting about this great week in Houston but perhaps the time to reflect will improve my post… Houston as a city presented some challenges for this Berliner. The conference was held in the very nice Hyatt Regency, my room overlooking the famed (infamous) Enron buildings. However, the urban decay of downtown Houston was not hidden even by these massive glass towers. On my few excursions from the hotel and into the downtown area I was constantly approached by beggars of all sorts. It was not pleasant, really rather disconcerting regarding the actual economic state of affairs of the capital of Texas. There were also some unfortunate coincidences and acts of nature while there- fate, I suppose. The city experienced flooding during that week, with one news report commenting on alligators in the streets in some parts of town. To add to the fun, we had the Swine Flu outbreak- which had Houston firmly in its grips- as I was shaking hands all day with fellow delegates. I believe we all remained Swine-Flu-free and I did not actually experience any alligators on the streets myself, (just the panhandlers) but the news reports were enough to keep me happily in the hotel and the conference itself kept me quite busy.
I very much enjoyed experiencing the Houston Grand Opera. It is a wonderful house, big in the way that one would expect of a Texan opera house, really generous in space and feeling, excellent acoustics as well. Conference attendees were offered the opportunity to attend the premiere of the Andre Previn opera, Brief Encounter, beautifully composed and performed, a definite highlight.
The southern reputation for gracious hospitality was not tarnished by this week of ‘meet and greet’, quite the contrary, my (high) expectations there were exceeded. The very charming and classical music savvy mayor of Houston, Bill White, greeted the delegation at the opening session with an excellent address which was both humorous and interesting. One thing that did bother me in his remarks was a repeated reference to the European classical music world, inferring some sort of competition between it and the American classical music colleagues. I do not feel this at all, and did not receive this impression from other, American, delegates. Perhaps we should invite Mayor White for a visit to Berlin. Alex Ross, author of The Rest is Noise, made the opening keynote address which was fascinating and sent me running for more books by him- really an excellent mind there; a leading thinker on the classical music scene today, worldwide. And Opera America’s ebullient President and CEO, Marc A. Scorca, well known for his wit, energy and dedication to all things opera, got things going on an upbeat… (a terrible pun for musicians, forgive me!)… note. The long week-end was filled with fascinating seminars on the various aspects of keeping an opera company alive and well in today’s tough economic climate as well as artistic inspirations and a super exchange of ideas between professionals from around the world, opera companies small and large. The theme of ‘Making Opera Matter’, or the relevance of opera in today’s world, was widely explored. A special applause to the team (staff) of Opera America; those guys were so great- , helpful and a ton of fun. They organized a super convention and I am looking forward to the next one in LA.
Classictic attended the Opera American Convention as both delegate and sponsor and is happy to support the arts in America in this way.

What they are saying-

I don’t often have time to check the travel blogs, which are as interesting as they are numerous – but when I do manage to check in I very much enjoy finding these nice comments about Classictic from people all over the world.
This from Rick Steves, Italy 2009, Favorite Discoveries or Tips:
"Classicatic.com...We booked a dinner and an Opera event in Florence. Enjoyed a delicious five course Italian dinner with wine at a traditional restaurant near Ponte Vecchio then walked about a block to the theater where we enjoyed a four act presentation of LaBoheme. What a magical evening. The meal was terrific in both taste and presentation and the music was very powerful. Because we booked early our reserve seat for the opera was front row center less than ten feet from the actors. This was the finest live show that I have ever experienced. I had never seen or heard anything like it in the past and don't expect to witness anything like it again!! I was totally WOWed!! Wonderful, talented actors!!!
Furnacefighter in Philadelphia, PA USA 03/20/2009"

Very curious to know what a Furnace Fighter actually does and glad that he is also an opera fan! I highly recommend the Rick Steves website and guidebooks, informative, practical and upbeat.

Opera Europe Conference. Barcelona, April 2009

Gran Teatro del Liceu, in the charming city of Barcelona, was host last April to the Opera Europa Conference. Classictic was there, not just as delegate but also as sponsor and speaker. I take a minute now- in the cool, April-like weather of the Berlin interpretation of summer, to reflect.

The week presented a great opportunity for an exchange of ideas and thoughts with the super busy leaders of opera houses throughout Europe. Theme for this gathering was Creativity and Innovation, with a consistent focus on strategies to promote success/survival for and in the future. In these challenging economic times, where arts are often considered a luxury and quickly cut from the budget of a sponsor or patron, these sessions were lively, well attended and all very interesting. I would like to commend the members of Opera Europa for their open-eyed yet optimistic approach to keeping their opera houses alive in the face of the harsh economic realities we are faced with in today’s global market. It is not a bad thing to take a moment and reassess - as one is required to do in such a crisis. The opera houses appeared ready to me, ready to open themselves to new ideas and technologies without sacrificing their strong traditions, keen to maintain their audience bases and to grow with younger generations.

Speaking of young: an additional and wonderful focus in the Convention, also looking to the future, was placed on the talented group of Young Participants. I was completely taken by the depths of creativity and long-term plans, coupled with knowledge of the extensive history of opera and great talent which I found within this group of eloquent young people. They are working very hard and plan to keep opera alive and vibrant for many generations to come.

Classictic was asked to speak and present information to the delegates in a Panel Presentation on Internet Marketing for the Performing Arts which was very well attended and received. Continuing with the theme of opening themselves to new technologies, the possibility of marketing their performances to a world-wide audience on the multi-lingual Classictic website was of great interest to many. The concept of ‘Opera Tourism’ was to some delegates a ‘new’ concept. This group of travelling music lovers is one of the many client groups that Classictic is happy to service. There are, at any given time, hundreds of operas to choose from throughout Europe and as far away as Bangkok on the Classictic portal. Soon to come: North American Opera houses.

Classictic is looking forward to meeting our opera colleagues at the Opera Europa Convention in Budapest next fall.

What they are saying

It is always a pleasure to read of a great time had by Classictic customers at events found and purchased on the portal. The Rick Steves' Europe: Guidebook - offers lots of fun stories and optimistic tips for travelers. A recent contributor to the section: Italy 2009, Favorite Discoveries or Tips recalled a fantastic dinner and opera event enjoyed while in Florence and found through Classictic. To find your own special evening in Florence check the Classictic Special on Florentine Operas and enjoy.

Paris in the Springtime and Mahler in Salle Pleyel

Christoph Eschenbach conducts the Orchestre de Paris for an all Mahler program in the newly renovated Salle Pleyel on April 8th and 9th. The program, consisting of Mahler's Rückert Lieder and
Symphony n. 4 in G major will feature soprano Christine Schäfer - a wonderful combination of place, artistry and composition! Read more venue and artist information on the Classictic.com website.

Opera Days and Opera Forum

Classictic is delighted to support Opera in Europe through its sponsorship of the upcoming European Opera Forum, which takes place in Barcelona, and through Media Sponsorship of the European Opera Days project, taking place this May in Europe.

The Barcelona Forum will focus on creativity and innovation in the world of opera today. Classictic will participate in a panel to discuss the uses of internet marketing for the promotion of the arts in general and specifically for the developement of new audience members.

The European Opera Days is an exciting project taking place in opera houses throughout Europe; doors are open to the public and you are invited to participate in many different ways and to (re) discover the excitement of the opera! For specific information as to the Opera Days activites in your area please click on the link above.