Þú ert að hlusta á Hjóngviðuna, hlaðavarp Sinfoníuljómsveitar Íslands.Það er þess vegna sem við ætlum að tala ennsku.Það er þess vegna sem við ætlum að tala ennsku.Það er þess vegna sem við ætlum að tala ennsku.Það er þess vegna sem við ætlum að tala ennsku.Það er þess vegna sem við ætlum að tala ennsku.Það er þess vegna sem við ætlum að tala ennsku.Það er þess vegna sem við ætlum að tala ennsku.Það er þess vegna sem við ætlum að tala ennsku.Það er þess vegna sem við ætlum að tala ennsku.Það er þess vegna sem við ætlum að tala ennsku.Það er þess vegna sem við ætlum að tala ennsku.Það er þess vegna sem við ætlum að tala ennsku.Það er þess vegna sem við ætlum að tala ennsku.Það er þess vegna sem við ætlum að tala ennsku.Það er þess vegna sem við ætlum að tala ennsku.Það er þess vegna sem við ætlum að tala ennsku.Það er þess vegna sem við ætlum að tala ennsku.Það er þess vegna sem við ætlum að tala ennsku.Það er þess vegna sem við ætlum að tala ennsku.Það er þess vegna sem við ætlum að tala ennsku.Það er þess vegna sem við ætlum að tala ennsku.Það er þess vegna sem við ætlum að tala ennsku.Það er þess vegna sem við ætlum að tala ennsku.Það er þess vegna sem við ætlum að tala ennsku.It's a very exciting program to be a part of.Or if we look at another program in Januarywith Olóri Elts conductingand the fantastic violinist Isabel Faustwe have Dvorak Symphony No. 9from the New Worldwhich everyone knowsand then Isabel, when we asked her what concertoshe wanted to bring, she wanted to bring somethingby the Australian composer Brett Deanand it's a concerto he wrote for hercalled The Lost Art of Letter Writingso this will be the Icelandic premiere of this workand I can certainly vouch for this composerBrett Dean because I've worked with him a lotI even sang Ophelia in his opera Hamletin 2018, so anything that he writesis always very exciting to listen to.We could go on and on and on.We have also for peoplewhat we call the Black Seriesthe concerts that are sort of more like soloconcerts, let's say, in Nörðurljós.There's one concert that you will dowith Bertrand later on in that onewhich is something that has beenbeen around the world and has been receivedquite well in far corners of the world.Yes, in February.On Saturday, February 13thI'll be singing a concert that we've calledBarbara Sings Zornand this is with Bertrand Chamayou on pianoand me as soprano soloistand this is a concert indeed that I have doneall over the world.I've done it on tour in EuropeI've done it on tour in 10 North American citiesand it is the music ofit's a kind of heaven and earth program.It starts withchants de terre et du cielsongsof the worldof earth and heavenby Olivier Massiena very, very spiritual journey of a piece.Then we go into the mysticalwith two solo pieces by Alexander Skriabinwhere Bertrand just dominates the pianoespecially in the second piecethe Vers la FlammeTowards the Flameand then we have an absolute masterpiecewhich seems to be the hit of this program.I mean, it'sit's by the jazz composer, John Zornand John Zorn is an absolute legend.He's now in his early 70sand he lives in New York City.He's a saxophonist.He's an improviser.He's a visual artist.He's a composerand he has writtento this dateeight pieces for me.I've become part of the teamthe team that John Zorn is captain ofand I'm often traveling aroundand performing with himand his handpicked,his handpicked musiciansfrom the classical and jazz worldand this piece that hethat I'll be singing hereis called Jumalattaretwhich meansit means Finnish goddessesfrom the Kalavallathe Finnish mythological sagaand this piece is in several movementsand each movementI represent a different goddessthe goddess of the birdsthe forestthe waterthe moonthe treesit's a spectacular pieceand I think it's funny becauseeven for the most conservative audienceslike at the famous Teatro San Carlo in Naplesthe audience went crazythey couldn't believe itand I also think they couldn't believehow much they enjoyed itbecause it's a real virtuoso tripI meanI think one review that I got said thatit was kind of like watchingthe gymnastic Simone Bilesdo her floor routinebecause it's just so spectacularand we've performed it all over the worldso I'm very very happythat we found a date that we could bring itto our audiences here in ReykjavíkÞú ert að hljósta á hljónkviðunaÞú farð allar upplýsingar um tónleika og viðbyrðiSinfoniuljónsveitar Íslands á sinfonia.isÞú ert að hljósta á hljónkviðunaSo many things to look overin our seasonbut let's end up a little bitabout what you want toachieve with this orchestrayour thoughts about orchestra music makingare a little bit differentin a waybecause this is a very hierarchical worldas we knowthere's a conductor in front ofa group of hundred peopleStanding on a podiumJust telling people what to doBut there's another approach to music makingthat you want to explore, right?Well, I think, I mean, in our classical music worldwe do have, we still have a few of the maestroswho are on the podium, who are dominantand who orchestras, some orchestras are very happyto be dominated by.But for the most part, and certainly the conductorsthat I've enjoyed working over my careerlike Simon Rattle or Esa-Bega Salonenthere is a kind of collaborative way of workingwhich has gotten under my skin.And so when I started conducting 15 years agoat the age of 40, that's the way that I wanted to work.I love to engage my colleaguesand I love to engage my colleaguesand I love to engage my colleaguesto offer ideas, ways of phrasingto be working in a way thatas, of course, we have rehearsed extensivelyand we've rehearsed many details and transitionsduring the three or four days of rehearsal that we haveto prepare for a concert.But at the concert itself, we go to another placean even higher place.And that is a direct resultof what we're doing.And that is what we've done in the rehearsals.The amount of technical disciplinethat we have investedallows us to be freein the concert.So there is a freedomand there is a risk-taking within parameters,within a structure,which is the way that I really love to work.And this is why I took this jobwith this particular orchestrabecause I can see that they love to work this way as well.Now, talking about risks,you have done,in all sorts of roles through the yearsas an opera singer,which have been on a tightrope, let's say,real risk-taking.What are the benefits of being a singercoming from that background?What does that bring,what do you bring with you onto the podiumof being a singer, you know,from all that experience you've built up through the years?Well, I think for any, I mean, there are quite a few, you know,Well, I think for any, I mean, there are quite a few, you know,Well, I think for any, I mean, there are quite a few, you know,two conductors that have come to conductingin tandem or after being soloists.For me, it's in tandem.I still have a full career as a soprano soloist,which I balance with my conducting engagementsand commitments.For me, I think staying in the game as a performeradds a certain kind of energyand discipline and attention,which excites my colleagues.It takes courage to make a sound.It really does.And I know the courage that the playersand the orchestra have to have.I feel it.And they know what I have done.And what I'm still doing as a performer.So, of course, we were talking earlier about hierarchy.There is still a hierarchy.In the end, I have to make the final decisionsas the chief conductor and artistic directorwhen I'm on the podium and when we're doing the planningand so on with the team.But there is something about having an active careeras a performer that creates a different kind of relationship.And I think it creates a different kind of empathy,which is extremely unique.Any last thoughts for our listeners and audience?Because I believe most of our listeners are peoplethat are interested in joining us this season.I mean, feel welcome.Feel welcome.And I mean, I would love thatthat, you know, whether it's for our listenerson the radio, I'm a big radio person myself,coming from such a large country as Canada,but also for those that are coming into Harpa,it doesn't, it can be an event, you know,something you want to make a big dealand have a big night out.It can also be at the last minute, you know what?I feel like dropping by this concert and just come by.And I mean, it's interesting because we see peoplein Harpa all the time coming in the building,to check out the building.So just come up one more floorand drop into our concerts.Just be curious.Oh, yeah.Be curious and feel welcome.And, you know,I'm just simply very, very thankfulto be able to spend the next three yearswith this group of musiciansin this gorgeous concert hall in this magical country.Thank you, Barbara.Þetta var hljómkvöðan.Takk fyrir að hlusta.Allar upplýsingar um viðbyrði Sinfoníu hljómsveitar Íslandsfærðu á sinfonia.is og samfélagsmiðlum.
