The LSO’s strings (second violins and violas at the front) have rarely sounded so rich.” Richard Fairman, The Financial Times, January 2016, “And Mr. Das zerbrechlichste Pianissimo hat noch höchste klangliche Qualität. 1. The original “wunderkind” of the conducting world, Rattle has crowned his whirlwind musical career with the appointment to the orchestra of his great historical hero, Furtwängler, and brought his unique enthusiasm and energetic style to the heart of the German symphonic tradition. 1979: North American début with the Los Angeles Philharmonic. This solo normally overpowers the rest of the orchestra, but Wednesday night the instrument’s great body of sound blended in a true ensemble, deepening the music’s impact…Rattle’s attention to the judicious detail produced delights like a tango feeling in the pizzicato bass part of the second “Nachtmusik.” George Grella, New York Classical Review, November 2016, “Sir Simon led a bracing performance (of Éclat) without the help of a conductor’s score, as he would the concert’s following music. The overwhelming sense of joy at the end of the symphony boiled over into an eruption of applause even as the last affirmation of D major blazed from the stage…The last moments, heralded by those blistering descending trombone lines, were perfection.” ★★★★★ Rohan Shotton, Bachtrack, September 2016, “But if the Anderson gave us the Berlin Philharmonic as spinners of an endless melodic tales, the Dvořák that followed was all about rhythm. Mark Padmore’s tenor sounds vivid and warm… Florian Boesch sounds sensational… Andrew Staples is very moving in his solos. It also triggered genuine passion in these musicians, who clearly love playing under him.” ★★★★ Hannah Nepil, The Financial Times, April 2016, “Jedenfalls gehört bei der diesjährigen Produktion der Osterfestspiele Baden-Baden die Hauptrolle ganz und gar dem Orchester. At its most boisterous, this testosterone-crazed piece can sound like a pack of fireworks set off in a broom cupboard, and Rattle’s reading wasn’t far off. Und Sir Simon «zaubert»! The kaleidoscopic orchestration of L’Arbre des Songes, which takes the enchanted forests of Arthurian legend as a metaphor for human imagination, glowed with a heady intensity…Rattle’s Daphnis, though, a performance of deep sensuality and remarkable rhythmic precision.” Tim Ashley, The Guardian, January 2016, “If the London Symphony Orchestra sounded simply magnificent in this programme of 20th century French music, it was their restraint that caught the ear rather than the demonstration of an orchestral engine at full throttle for which they are justly renowned. He moved to Berlin in 2002 and held. And the finale was super-fast, super-pianissimo and then super-hell-for-leather exuberant, with brazen virtuosity cascading from every corner.” ★★★★ Richard Morrison/The Times, “He (Simon Rattle) and his orchestra…were exhilarating and revelatory at every turn, making a compelling case for Julian Anderson’s Incantesimi in its UK première and, at times in the Brahms, literally suspending the hall’s collective breath…Rattle dispensed with a score for the remainder of the evening, conducting the Dvořák and Brahms with meticulous detail and elsewhere with just a gentle hand on the tiller…I cannot recall ever having heard an account of Brahms’ Second Symphony as thrilling and yet sonically refined as tonight’s. Murray Black, The Australian, July 2015, “The 80-minute second half was Bruckner hewed from granite by a master sculptor in Rattle, with a finger pointing here and a nod of his famously curly head there, chiselling out the details and above all listening to his players’s every note as he conducted from memory…At times he would peg back his massive forces to a murmur, especially in the eerie passage in the first movement when a lone flute goes on skittish looping run above the ominous double basses. Rattle has, to no small extent, defined New York’s classical music scene. © 2020 Parlophone Records Limited. Englishman known for being the conductor of the City of Birmingham Symphony Orchestra in the 1980’s and 1990’s and the Berlin Philharmonic starting in 2002. Hell und funkelnd klingt sein „Tristan“ wie die Vorstufe des „Pelleas“, der er ja de facto auch war, bei aller Wagner-Ablehnung Debussys. He is also Founding Patron of the Birmingham Contemporary Music Group and since the early 1990s, has been a Principal Artist of the Orchestra of the Age of Enlightenment. Please check back soon for updates. 1971–74: Studies piano, percussion and conducting at the Royal Academy of Music in London. Vor allem entwickelt er mit den Berliner Philharmonikern eine Flexibilität, die das schnelle Umschlagen der Stimmungen zu einem Hörerlebnis macht. Rattle liebt die dunklen Farben: Bassklarinette und Englisch Horn kommen wunderbar zur Geltung, und die legendäre Cellogruppe der Philharmoniker darf in satten Kantilenen schwelgen.” Die Welt, March 2016, “Das Ereignis dieses Abends ist die musikalische Interpretation. Rheingold! Rattle and the Berliners have succeeded in scouring the cliché from these over-used symphonies, and turning them into utterances that we need to hear. Tonal refinement and fastidious attention to detail were the key signatures of the evening, as they had been for Debussy’s Pelléas et Melisande at the weekend. Rattle has the ability to see through a score, to X-ray it to find hidden structural principles that help guide him to a perfectly logical, seamless, yet passionate reading of the music he plays. Rattle drew a uniquely veiled, mysterious colouring from the horns’ supernatural night processional, applauded by bow-on-wood second violins, and the wailing, klezmer-inflected and oboe-led woodwind in the trio subtly broke the heart.” David Nice, The Arts Desk, September 2016, “After a sunburst of energy on the piano, the piece (Boulez’s ‘Eclat’) unfolded in alternating silences and bursts of activity, Rattle’s imperious forefinger causing sudden volleys of piano and vibraphone to break the gathering tension. But perhaps best of all, during the London 2012 Olympic opening ceremony, he took the LSO through a version of 'Chariots of Fire' with Mr. Bean on the keyboard. Only a classical music expert can guess the piece just, Pianist dad documents daughter’s musical journey from, Saturday Night at the Movies with Andrew Collins, Download 'Goldfinger - Theme (Instrumental)' on iTunes. This was music-making both impulsive and crafted – art music with dirty boots…Rattle gave us a symphony (Brahms no.2) at war with itself, constantly torn between two paths, two instincts. Capricorns are excellent at taking action and launching initiatives. Rarely has Maeterlinck’s richly symbolist text been rendered with such immediacy: “the ice has been broken with red-hot iron”, says Pelléas as Mélisande finally declares her love, and again we heard the sizzle.” Barry Millington, The Evening Standard, January 2016, “Yet this remained a wonderful experience, with Rattle (always at his best in French repertory) drawing silken subtlety from the London Symphony Orchestra’s strings and kaleidoscopic colours from its wind and brass. Space and time was given to Bruckner’s surprising twist back to the pathos of the Adagio. Since then the partnership led to performances of Puccini’s Manon Lescaut, Peter Sellars’s ritualization of Bach’s St. John Passion, Strauss’s Der Rosenkavalier, Berlioz’s La damnation de Faust,Wagner’s Tristan und Isolde and most recently, Parsifal in 2018. Harmonically volatile, rhythmically mercurial, the Seventh seems forever trying to be more pieces of music than it is. Und gerade mit jenem Liebestod, der musikalischen Apotheose eines jeden “Tristan”, lässt sich exemplarisch zeigen, wie ergreifend Simon Rattle und die Berliner Philharmoniker Wagners Partitur umsetzen. He responds with a concert. Rattle and the orchestra gave readings of delicate grace… The finale culminated in phrases of glorious sound, with trumpets sounding round and full in the main theme. The fourth-act climax was thrillingly judged, as was the dying fall of the fifth” Rupert Christiansen, The Telegraph, January 2016, “Rattle delivered a focused and precise, yet notably sumptuous, account of Debussy’s enigmatic score, while every soloist produced singing of particular focus and precision.” Sam Smith, MusicOMH, January 2016, “In composing Pelléas et Mélisande Debussy held up a kaleidoscope to Wagner, viewing his music as impressionist shards of colour and light. This was orchestral playing at its absolute finest. Textures remained clearly defined, Rattle highlighting the themes without neglecting the surrounding details. As Kožená sang the final word of the phrase ‘Fahr wohl, meine Taube’ in ‘Sie trugen ihn auf der Bahre bloss’ from Strauss’s three Ophelia songs, the note Rattle played matched both the slight vibrato in her voice and her mournful mood. Sir Simon Rattle to be Artist-in-Association wi... Rheingold! That is what good musical relationships can do.” Shirley Apthorp, The Financial Times, October 2015 “… the performances were committed and energetic; above all, they managed to convey the sense of an orchestra and conductor having a tremendous amount of fun doing what they do best…Throughout the evening, the tempi chosen by Sir Simon – who conducted both works without a score – tended to be on the quick side. He did so through sheer intellectual willpower, by helping us hear connections in the score, balancing moments from movement to movement, illuminating an overall shape. Simon Rattle was born in Liverpool, United Kingdom on Wednesday, January 19, 1955 (Baby Boomers Generation). Englishman known for being the … Instead there was a deep coherence, binding together its rich Wagnerian sonorities and ideas compellingly over a huge timeframe. Mr. Rattle’s conducting was sensational. Rattle has lost none of his youthful enjoyment of the music and Haydn’s pictorial effects — did the cock ever crow with more rasping joy? 1993: Débuts with the Wiener Philharmoniker and the Philadelphia Orchestra. 13. Especially during the second act the orchestra revealed such a high level of musicality and a great sense for the dramatic action. Beethoven’s message of brotherhood and camaraderie could not be personified better than in the form of this oversized chamber orchestra whose members share meticulous eye contact, synchronize their movements, and even shake hands with one another before departing the stage, a formality unheard of in the United States.” Jacob Slattery, BachTrack, October 2015, “Simon Rattle imbued the Ninth with vital energy, his brisk pace in the first two movements creating an impulse that affected the entire performance. You can opt-out at any time by clicking the unsubscribe link at the bottom of out communications or emailing privacypolicy@wmg.com. Rattle provided sensitive and articulate accompaniment to Ms. Kozena’s eloquent singing.” Anthony Tommasini, The New York Times, 27 November 2019, “Sir Simon Rattle [provided] an always attentive and subtle accompaniment at the piano.” Edward Sava-Segal, Bachtrack, 28 November 2019, “Sitting behind the ensemble and largely obscured from view, Rattle nonetheless made his presence felt. Where they were bright the brass glowed darker, urged by Rattle into barking frenzy for the demonic sections…A glowing ending to the Proms season with a celebration of British musical richness” Alexandra Coghlan, The Arts Desk, September 2015, “The Vienna Philharmonic strings, especially, brought out all the Wagnerian power and sensibility of Elgar’s score, notably in the Prelude. 01:35:37. concert. The richness and breadth of his reading are magnificent and the London Symphony Orchestra plays with warmth and perfection under his leadership. Has any conductor made the opera sound more Wagnerian since Herbert von Karajan, Rattle’s illustrious forebear in Berlin? Rattle’s performance of Wagner’s monumental score, some four hours of music, impressively balanced clarity and richness, coolness and intensity, intelligence and impetuosity. Sir Simon Rattle conducts Knussen, Turnage, and Britten — With Lucy Crowe, Allan Clayton, and Richard Watkins London Symphony Orchestra. Sir Simon Rattle and the world-famous Berlin Philharmonic Orchestra are coming to London once again to perform a full ‘Sibelius Cycle’ including the beautiful Violin Concerto with Leonidas Kavakos, alongside works of Mahler and Lachenmann. Winners of 2016 International Classical Music A... Magdalena Kožená embarks on chamber music tour ... Simon Rattle and Magdalena Kožená perform Debus... Finalists announced for 2016 International Clas... AH artists win Presto Classical Discs of the Ye... AH artist recordings nominated for Internationa... Diapasons D’Or for Askonas Holt artists & projects, Sir Simon Rattle brings Beethoven to New York. The Berliner Philharmoniker in the Big Apple, Berliner Philharmoniker return to the BBC Proms. To read full article, click here, Berlin Philharmonic: Taming the wild orchestral beast, Lianne Turner and Susannah Palk for CNN / 28 February 2011 To read full article, click here, Assistant Artist Manager & EA to Donagh Collins, When Stockhausen went to the Tate Modern // London Symphony Orchestra & Sir Simon Rattle, Mozart Piano Concerto No. Das Orchester wird zu einem Meer – ruhig oder stürmisch, besänftigend oder aufwühlend, aber immer in Bewegung! The second and fourth movements are labeled “Nachtmusik.” The burbling wind figures of the former created an effervescent texture, and Rattle coaxed a forest of sounds that ranged from radiant horn calls, shimmering strings, and dusky basses. Time and again just a handful of notes proved revealing…” David Allen, New York Times, January 2016, “Rattle’s Beethoven is no titan. The movements were six different behemoths and Rattle left the last movement, and most awesome, as a life-asserting pageant of herculean thrust and ecstasy.” Michael Vincent, The Toronto Star, November 2016, “Rattle, who has brought the orchestra to the hall (Symphony Hall, Boston) three times before in his tenure as musical director, exhibited the rapport that only a great conductor can have with a world-class orchestra…Conducting the Mahler (along with the brief Pierre Boulez piece “Éclat,” that preceded it) from memory, he guided the ensemble with pin-point precision and they responded with an on-point performance that brought goosebumps during the piece’s numerous climaxes and a sense of wonder during its more lyrical moments…In doing so he brought clarity to the symphony’s organic design, which moves from a stormy opening to a joyous finale, two longer movements that bookend three smaller-scaled ones (two of which named “Nachtmusik.”) Each were distinctively rendered – the second, stately but mysterious; the third, a bit sinister (it would be perfect for a horror film), and the fourth, effusively sentimental. We are left with a portrait of a composer who is erratic, frustrated, angry and yet capable of tenderness — human in the most personal way. From 2014 Sir Simon continued to build his recording portfolio with the Berliner Philharmoniker’s in-house label, Berliner Philharmoniker Recordings, which led to recordings of the Beethoven, Schumann and Sibelius symphony cycles. When the quality of his concerts came into question, famed pianist Alfred Brendel came to his defense. He then went on to conquer the notoriously hard to please Berlin Philharmonic, as well as his own cloud-like hair. A worthy case was made for the overture, but all sections were at their considerable finest in the two symphonies that made up the bulk of the evening.” Lawrence A. Johnson, New York Classical Review, October 2015, “He (Sir Simon Rattle) lavishes love on this score. Rattle said last week ‘I’ve been begging the orchestra to be more like chiffon than wool’ and after a pulsating, glistening rendition he was greeted by overwhelming cheers and applause.” Ronald Blum, The Washington Post, September 2016, “As expansive and romantic as Furtwängler, Rattle found depths of dark passion in the first three movements that this apparently sunny work is rarely credited with secreting. ★★★★The Times, Neil Fischer, April 2016, “Haydn’s work, of course, rises above the text and forms one of the greatest of all oratorios, allowing The London Symphony Orchestra to shine in every department, commandingly overseen by Sir Simon Rattle, whose love for the piece was evident in every bar…There was so much outstanding work from the LSO that it seems unfair not to name every section, but there was particularly fine playing from the oboes, bassoons and trombones. With Rattle shaping the set, however, we got something much closer to a suite with a guiding emotional arc, finding pause and contemplation as well as helter-skelter thrills…The plush beauty of sound summoned by this orchestra in full spate never fails to startle, and when this sonic richness is rubbed up against sharp-edged cross-rhythms the effect is giddily exciting. And nowhere was this more evident than in his performance of Mahler’s Seventh Symphony, which was the main work on the program Tuesday night…Rattle did the impossible – he made it all make musical sense. Sir Simon Rattle conducts Brahms, Lutosławski a... Digital Concert Hall – New Year’s Eve Concert w... Digital Concert Hall – Sir Simon Rattle conduct... Digital Concert Hall – Simon Rattle & Magdalena... Digital Concert Hall – Simon Rattle conducts HK... Digital Concert Hall – Imogen Cooper with the B... “Barbican Hall concerts have often transported me to heaven. He regularly conducts the Wiener Philharmoniker, with whom he has recorded the complete Beethoven symphonies and piano concertos with Alfred Brendel and is also a Principal Artist of the Orchestra of the Age of Enlightenment and Founding Patron of Birmingham Contemporary Music Group.. Sir Simon Rattle was knighted in 1994 and in the New Year’s Honours of 2014 he received the Order of Merit from Her Majesty the Queen. Some, admittedly, have sent me to hell. Rattle’s tempi always felt right, the shaping of each phrase natural and unforced.” ★★★★ Fiona Maddocks, The Guardian, September 2015, “Golden-sweet, the Vienna strings traced halos round Elgar’s lines, softly insistent but never striving to fill the hall, finding an exquisite simplicity for the opening of Part II. The orchestral performance was ravishing, full of passion and very accurate at the same time. CelebsMoney has recently updated Simon Rattle… He rose to international prominence during the 1980s and 1990s, while Music Director of the City of Birmingham Symphony Orchestra (1980-98). Online estimates of Simon Rattle’s net worth vary. See the full gallery: The 18 greatest conductors of all time, Promoted by The education details are not available at this time. Capricorn is represented by the sea-goat, a mythological creature with the body of a goat and tail of a fish. He is 65 years old and is a Capricorn. 1974: Wins the John Player International Conducting Competition. Schon im Vorspiel zum ersten Aufzug ist zu hören, wie exakt der instrumentale Satz durchleuchtet und im Inneren belebt, wie also auf fast kammermusikalische Transparenz hingearbeitet wird. The many transitions and changes of direction were seamlessly negotiated and Rattle allowed each passage its moment in the sun while always keeping the longer structural arc in focus…He created spaciousness and momentum. We use cookies to ensure that we give you the best experience on our website. They were the music’s beating heart; its guiding spirit was Simon Rattle, one of the OAE’s principal artists, completely at ease as he conducted from memory and on inspired, galvanising form…musically it was utterly compelling. Liverpool (England). Sir Simon Denis Rattle OM CBE, is an English conductor. Amazon Christmas ad stars ballerina whose show is, Join us as Classic FM’s Pet Sounds returns to calm pets, ‘87p for over 1,000 streams?’ – musicians hit out at, meagre Spotify earnings as MPs launch inquiry, Musician trolls piano tuner by swapping his piano strings, Pianist’s neighbours send a hand-written request on US. Bio. 2002: Named Principal Conductor of the Berliner Philharmoniker and Artistic Director of the Berlin Philharmonie. 2005: Completes his cycle of Mahler symphonies with the City of Birmingham Symphony Orchestra. Simon Rattle‘s source of wealth comes from being a composer. Rattle rose to international prominence as conductor of the City of Birmingham Symphony Orchestra in the 1980s. 25 in C major with […], In his debut recording on LSO Live, Sir Simon Rattle conducts a stunning performance of […], Full-length concert: http://www.digitalconcerthall.com/con… Tristan und Isolde: Prelude to Act I / Sir Simon Rattle, conductor […], Sir Simon Rattle rehearses Haydn’s ‘Creation’ with the OAE, Sir Simon Rattle was announced as the LSO’s Music Director on Tuesday 3 March 2015, […], Legendary conductor Simon Rattle on why he loves Poulenc’s operatic masterpiece, and what it’s like […], ‘Mastered for iTunes’ spotlight: This spectacular recording from Berliner Philharmoniker and Sir Simon Rattle brings […]. Capricorn is ruled by taskmaster Saturn, the stoic planet that governs time and restrictions. June 2016, “..his (Simon Rattle’s) sharing of skills and inspiration made for a viscerally exciting Berlioz Symphonie fantastique in the second half, the LSO boosted by more than 30 Guildhall students. And wherever Mahler posed a problem, Rattle had a solution. The special thrill of Simon Rattle’s virile account of Berlioz’s La Damnation de Faust is that we can go to both places without penalties, while also having the time of our lives.”, ‘Sir Simon Rattle realizes Hector Berlioz’s vision in the most extraordinary way. Under Rattle’s leadership the orchestra is a true protagonist in the drama.’, Label: Berliner Philharmoniker Recordings, Berliner Philharmoniker Conductor: SIMON RATTLE, London Symphony Orchestra Conductor: SIMON RATTLE Sally Matthews Mark Padmore KATE ROYAL Bernarda Fink ANDREW STAPLES Florian Boesch, Symphonie-Orchester des Bayerischen Rundfunks Conductor: SIMON RATTLE Wotan: Michael Volle Alberich: Tomasz Konieczny Loge: Burkhard Ulrich Fricka: Elisabeth Kulman Mime: Herwig Pecoraro Fasolt: PETER ROSE Fafner: Eric Halfvarson Freia: Annette Dasch Erda: Janina Baechle Donner: Christian van Horn Froh: Benjamin Bruns Woglinde: Mirella Hagen Wellgunde: Stefanie Irányi Flosshilde: Eva Vogel, Berliner Philharmoniker Conductor: SIMON RATTLE Piano: Krystian Zimerman, Berliner Philharmoniker Rundfunkchor Berlin Conductor: SIMON RATTLE, City of Birmingham Symphony Chorus & Orchestra Philharmonia Orchestra Conductor: SIMON RATTLE, St. Louis Symphony Orchestra London Sinfonietta Conductor: SIMON RATTLE Piano: Andre Previn Piano: Peter Donohoe, Wiener Philharmoniker City of Birmingham Symphony Chorus Conductor: SIMON RATTLE Soprano: Barbara Bonney Mezzo-soprano: Birgit Remmert Tenor: Kurt Streit Baritone: Thomas Hampson, City of Birmingham Symphony Orchestra Berliner Philharmoniker Orchestra of the Age of Enlightenment Conductor: SIMON RATTLE Soprano: Janet Baker Soprano: Arleen Augér, Berliner Philharmoniker Rundfunkchor Berlin Conductor: SIMON RATTLE Soprano: KATE ROYAL Mezzo-soprano: MAGDALENA KOZENA, Berliner Philharmoniker City of Birmingham Symphony Orchestra Rundfunkchor Berlin MDR Rundfunkchor Leipzig Ernst Sennf Chor Conductor: SIMON RATTLE, City of Birmingham Symphony Orchestra London Symphony Chorus City of Birmingham Symphony Youth Chorus Toronto Children’s Chorus Conductor: SIMON RATTLE Soprano: Christine Brewer Soprano: Soile Isokoski Soprano: Juliane Banse Mezzo-soprano: Birgit Remmert Mezzo-soprano: Jane Henschel Tenor: Jon Villars Baritone: David Wilson-Johnson Bass: John Relyea, “Mr.