<body><div><figure><img src="https://img.particlenews.com/image.php?type=thumbnail_580x000&amp;url=4HSzYV_0w6BrOJ600" alt="https://img.particlenews.com/image.php?url=4HSzYV_0w6BrOJ600" width="2048" height="1365" ></figure>The Israel composer Oded Zehavi attended the dress rehearsal today of György Kurtag’s late opera, Fin de Partie:There are similarities between Endgame and Wozzeck. Musical interpretation of great literary text is not easy: it takes great compositional skill and a thorough understanding of the text. Kurtag created a score that gave Beckett’s drama its necessary space and added a whole musical universe that unfolded in front of our eyes and ears.From abrupt short phrases and musical “events” to more lyrical and expressive musical passages, Kurtag’s music was always interesting: extremely well-orchestrated and dramatically fit. A wonderful cast, headed by Simone Young, gave a mesmerizing performance. It is the second time I hear Ms Young in a live concert, and (just as I felt in her reading of Brahms 2nd with the National Symphony Orchestra in Washington DC) I thought that she performs the piece as if she wrote it. It was beyond just understanding, it was living the score. Cast: Philippe Sly is Hamm, Georg Nigl Clov, Charles Workman Nagg and Hilary Summers Nell.</div></body>

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First report: Vienna’s Endgame

The Israel composer Oded Zehavi attended the dress rehearsal today of György Kurtag’s late opera, Fin de Partie:. There are similarities between Endgame and Wozzeck. Musical interpretation of great literary text is not easy: it takes great compositional skill and a thorough understanding of the text. Kurtag created a score that gave Beckett’s drama its necessary space and added a whole musical universe that unfolded in front of our eyes and ears.

First report: Vienna’s Endgame

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