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[Asian Nicole]

Hello Gentlemen,

It's Asian Nicole. Last night, I was so delighted to company with my opera professor to see the Beethoven Symphony 7 concert by Toronto Symphony Orchestra (the opening show for this season) at Roy Thomson Hall, downtown, Toronto.

The Symphony No. 7 in A major, Op. 92, is a symphony in four movements composed by Ludwig van Beethoven between 1811 and 1812, while improving his health in the Bohemian spa town of Teplice. The work is dedicated to Count Moritz von Fries.

At its première, Beethoven was noted as remarking that it was one of his best works. The second movement, Allegretto, was the most popular movement and had to be encored. The instant popularity of the Allegretto resulted in its frequent performance separate from the complete symphony.

Gianandrea Noseda, the conductor who focuses his trademark intensity on Beethoven’s gloriously energizing Symphony No. 7. I am a big fan of the classical musics, and I enjoyed it a lot!

Thank you so much for taking me to the phenomenal show, my darling opera professor! It was great!

 

[Asian Nicole]

Hello Gentlemen,

I also enjoyed another masterpiece--Prelude and Liebestod from Tristan und Isolde by Richard Wagner that night.

Richard Wagner was born in Leipzig, Saxony, on May 22, 1813. He composed the music of Tristan und Isolde around 1857. The first performance was given in Munich on June 10, 1865.

This music is among the most powerful and emotionally manipulative ever written. Tristan und Isolde is about love repressed and unacknowledged, then helplessly and haplessly expressed—and fulfilled, after emotional torment, only through death.

The Prelude is the musical expression of that unacknowledged love, and the opening phrases recur during Wagner’s music drama when the love between Tristan and Isolde comes closest to surfacing and, finally, when Tristan dies.

Wagner’s writing in Tristan has come to represent a turning point in the nineteenth century’s treatment of tonality.

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