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26 Jul 
27 Jul 
28 Jul

 Thursday, July 28, 2016 at 7pm 
The Exterminating Angel
Salzburger Festspiele
various, Salzburg, Austria
ttel.: +43-662-8045-500

With its fusion of realistic, surreal and religious elements, El ángel exterminador constitutes a summa of Buńuel’s oeuvre prior to his late French works. Thomas Adčs has chosen the film as the basis for his third opera: ‘It’s territory that I like very much because it looks as though the people are in a room, but it’s not really about the room, they’re actually trapped in their own heads.’ The enclosed, self-contained situation links the subject with both of Adčs’s earlier works for the stage: with the hotel room of the Duchess of Argyll in his chamber opera Powder Her Face (1995), described in a recent article in the Observer as already having the status of a modern classic, and with Prospero’s island in the Shakespeare-based opera The Tempest, which since its first performance in London in 2004 has also impressed audiences at the Met, the Vienna State Opera and other houses, further cementing Adčs’s reputation as one of today’s most exciting (opera) composers. The librettist of The Exterminating Angel, Tom Cairns, who is also directing the premiere, has reduced the twenty-one main characters of Buńuel’s film to fifteen by merging a number of figures, still an astonishing number of protagonists, making The Exterminating Angel a true ensemble opera. In musical terms this means that it will deal less with the psychology of the individual figures than express the often abrupt changes in emotional temperature of the communication and human relationships, realizing individual and collective moods. ‘Particularly in opera, you have to deal with the creation of atmos-phere, of emotional atmosphere’, emphasizes Adčs; however, this atmosphere should not have the character of decorative accompaniment but arise directly from the musical fabric. The fact that the situations in The Exterminating Angel constantly tip over into the absurd and surreal makes the story all the more attractive for Adčs: the musicologist Richard Taruskin had already called him ‘a surrealist composer’ in 1999, and Tom Service, a writer on music intimately familiar with Adčs’s works, admires how the composer casts even very familiar musical ingredients – major and minor chords, say, or sequences of simple intervals – in a wholly new light, making them sound ‘rich and strange’.


July 28, 2016 19:00:00
August 01, 2016 19:00:00
August 05, 2016 19:00:00
August 08, 2016 19:00:00

Thomas Ades : The Exterminating Angel

29 Jul 
30 Jul 
31 Jul 
1 Aug 
2 Aug

 Tuesday, August 02, 2016 at  
Salzburger Festspiele
various, Salzburg, Austria
ttel.: +43-662-8045-500

Thomas Adčs, Piano
Calder Quartet
Benjamin Jacobson, Violin
Andrew Bulbrook, Violin
Jonathan Moerschel, Viola
Eric Byers, Cello

Thomas Ades : Piano Quintet
Gyorgy Kurtag : 6 Moments musicaux, Op. 44
Thomas Ades : Arcadiana
Franz Schubert : String Quartet No. 14 in D minor

3 Aug 
4 Aug 
5 Aug 
6 Aug

 Saturday, August 06, 2016 at 8.30pm 
Salzburger Festspiele
various, Salzburg, Austria
ttel.: +43-662-8045-500

Sylvain Cambreling, Conductor
Natalia Zagorinskaya, Soprano
Klangforum Wien

Friedrich Cerha : Les Adieux
Gyorgy Kurtág : Messages of the Late Miss R. V. Troussova, Op. 17
Anton Webern : Six pieces, Op. 6
Friedrich Cerha : Bruchstück, geträumt

7 Aug 
8 Aug 
9 Aug 
10 Aug 
11 Aug 
12 Aug

 Friday, August 12, 2016 at 7.30pm 
Salzburger Festspiele
various, Salzburg, Austria
ttel.: +43-662-8045-500

HK Gruber, Chansonnier and Conductor
śnm . österreichisches ensemble für neue musik

Friedrich Cerha : Quellen
Kurt Schwertsik : Adieu Satie, Op. 86
HK Gruber : Zeitfluren
Friedrich Cerha : I. Keintate

13 Aug 
14 Aug

 Sunday, August 14, 2016 at 19.30 
Salzburger Festspiele
various, Salzburg, Austria
ttel.: +43-662-8045-500

Mark Simpson, Clarinet
Antoine Tamestit, Viola
Pierre-Laurent Aimard, Piano

Mark Simpson : Hommage ŕ Kurtág (2016) for clarinet, viola and piano
Gyorgy Kurtag : Játékok (Spiele) for piano
Robert Schumann : Bunte Blätter, Op. 99
Gyorgy Kurtág : Signs, Games and Messages for viola solo
Robert Schumann : Märchenbilder for viola and piano, Op. 113
Marco Stroppa : Hommage ŕ Gy. K.
Gyorgy Kurtág : Hommage ŕ R. Sch
Robert Schumann : Märchenerzählungen, Op. 132

15 Aug 
16 Aug 
17 Aug

 Wednesday, August 17, 2016 at 8pm 
Bregenz Festival


Music director Dirk Kaftan
Stage director Johannes Erath
Set & costume designer Katrin Connan
Lighting Desinger Markus Holdermann
Dramaturg Olaf A. Schmitt
Sound director Norbert Ommer

Hanna Measha Brueggergosman
Joseph Holger Falk
Inge Annika Schlicht
Arbeiter/Simon Taylan Reinhard
Boss/Martin Maciej Idziorek

Ensemble Modern

Chamber opera (2011) – libretto by Tom Holloway
after The Secret Life of Words by Isabel Coixet
First performance in Austria
Sung in English with German surtitles

Two people meet on a disused oil rig. They don't know each other; he can't see her and she doesn't want to listen to him. She looks after the injured man in a dispassionate way; he begins to desire the woman that helps him. Both harbour a dark secret that shapes their lives traumatically. In their inability to open up to another person, they both find a possibility for tentative trust. Isabel Coixet's film The Secret Life of Words has been adapted for the stage and the Czech composer Miroslav Srnka has produced a score of great sensitivity. It's only in singing that the two main characters Hanna and Joseph find a means of expressing themselves. They dampen down the noise of the outside world by the music that comes from inside them. Musicians acclaimed in the 2015 season – soprano Measha Brueggergosman, baritone Holger Falk and Ensemble Modern – will be returning to the Bregenz Festival this coming summer to give the work its first performance in Austria.

Miroslav Srnka : Make No Noise

18 Aug 
19 Aug 
20 Aug 
21 Aug 
22 Aug 
23 Aug 
24 Aug 
25 Aug 

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