KLASSIKOM=Innovations in classical music

Mariinsky at Tide Opera House Inaugural Season

The Tide Opera House located in the Tide and Music Resort of Yanguan county of Jiaxing of Zhejiang province of China presented an all Tchaikovsky programme performed by the Mariinsky Orchestra under the baton of Valery Gergiev on the evening of May 19th. Formerlly Théâtre Éphémère and then Opéra des Nations in Geneva, the wooden structure of the theatre was purchased by Wu Promotion and now sits at its permanent base in Yanguan overlooking the Qiantang River. Though the opera house opened on May 1st with Lang Lang performing with the resident Tide Philharmonic Orchestra conducted by Yu Lu, the Mariinsky concert has been viewed as a high profile visit that has put to test the well-acclaimed acoustic of the hall. Future plans of the inangural season are yet to be announced that might include independently produced opera productions. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit klassikom.substack.com [https://klassikom.substack.com?utm_medium=podcast&utm_campaign=CTA_1]

Paloma So on the Transformative Power of Verbier

Violinist Paloma So views the Verbier Festival as a “musical paradise,” a unique ecosystem where the world’s most elite artists, students, and fans converge to “take over” the town in a shared celebration of music. After first attending the Verbier Academy two years ago, So returned last year as a featured artist, finding that the festival’s true value lies in the profound sense of community and the proximity to the industry’s “best ears.” For So, the experience is a masterclass in professional discipline. Observing how top-tier musicians organize their rehearsals, act in real-time on stage, and reflect on their performances, whether through quiet study or social decompression. has fundamentally reshaped her own approach. She credits these short but intense encounters with making her a significantly better chamber musician, viewing music-making as a process of reflecting everything in one’s environment. This summer, So returns to the Alps to explore the “complex and intricate” quartets of Raykhelson and Medtner. These relatively under-programmed works offer a fresh challenge, maintaining a sheer elegance that So is eager to bring to life alongside her peers. As she prepares for this latest chapter, she remains driven by the anticipation of how the Verbier community will continue to transform her artistry. Interviewed on May 2nd, 2025 at the Xinghai Concert Hall in Guangzhou, China. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit klassikom.substack.com [https://klassikom.substack.com?utm_medium=podcast&utm_campaign=CTA_1]

Return of Legendary “All-Chinese Ring” with Die Walküre

Between 2013 and 2015, I saw the final three operas of Wagner’s Ring cycle at the National Centre for the Performing Arts in Beijing, conducted by Yu Feng, then Preisident of the China National Opera, and directed by Wang Huquan produced by the China National Opera. Because every leading role was sung by Chinese artists, the production quickly became known as the legendary “all-Chinese cast” Ring.For me, the significance of that project went far beyond novelty. It gave a generation of Chinese singers the rare opportunity to perform the complete Ring cycle, nurturing and establishing many of the country’s finest Wagnerians in the process. More importantly, it marked a historic breakthrough: a fully home-grown Chinese Ring production capable of standing on its own artistic merits.Yet after the new theatre of China National Opera was completed, this milestone production quietly disappeared from the company’s seasons. Over time, the “all-Chinese cast” Ring took on an almost mythical status - until Sunday evening at the Shanghai Symphony Hall, when Yu Feng returned with a hand-picked ensemble to present a three-hour concert version drawn from Die Walküre.Two bass-baritones were particularly remarkable. Most striking of all was the portrayal of Wotan, moving seamlessly from divine authority and rage to heartbreaking human vulnerability. In the third act, his farewell to Brünnhilde - sung by China’s leading Wagnerian soprano Wang Wei - was profoundly moving, the kind of performance that leaves the audience emotionally shattered.Under Yu Feng’s commanding direction, the combined force of Shanghai and Ninbo Symphony Orchestras recaptured the fire, discipline, and sheer dramatic intensity that defined the China National Opera Orchestra more than a decade ago. The refinement of the details was often breathtaking. When it comes to Wagner’s Ring, the national company still shows what the highest level of Chinese operatic forces can achieve.Hu Yifan, a guest of KLASSIKOM, shared her story performing and listening to Die Walküre.Filmed and interviewed on May 10, 2026 in Shanghai.This is a Chinese language programme with bilingual subtitles. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit klassikom.substack.com [https://klassikom.substack.com?utm_medium=podcast&utm_campaign=CTA_1]

Paloma So’s Harvard Journey

Following her recent concert tour to Guangzhou and Beijing, violinist Paloma So is returning to the United States to continue her studies at Harvard University. While the transition from the concert hall to the classroom might seem like a leap, So views her Ivy League education as vital nutrition for her growth as a musician. Though she is an economics major, So’s academic interests are vast and varied. She actively takes classes in government department and romance languages, specifically French, and everything from Roman history to cosmology. For So, this interdisciplinary path is essential because she believes that to be a great musician, one must first be a well-informed, well-read, and well-rounded human being. This liberal arts education provides her with a broader perspective, allowing her to see music as a small but profound representation of humanity and art within a ginormous world. So describes Harvard as an incredible and unique community that provides inspiration beyond the classroom. She highlights the privilege of being exposed to top-tier professors and even the occasional lunch with a Nobel Prize winner. Her peer group is equally diverse, consisting of talented actors, writers, and athletes who may one day lead the world. Her typical day mirrors that of many students - attending classes, catching up on work, and reading on the lawn. However, her schedule has a musical edge. Every Tuesday, she travels to the New England Conservatory for her violin lessons. She prefers to practice in the evenings or at night, as that is when she feels her brain is most active and she has the most to say musically. While some might see a double interest in economics and music as a fork in the road, So’s career goals have been fixed since childhood. She has always known she wanted to be a professional soloist, noting that the violin brings her immense joy and fulfillment. Rather than distracting from her musical path, she sees Harvard as a supplement that helps shape her into the artist she hopes to become. Interviewed on May 2nd, 2026 at the Xinghai Concert Hall in Guangzhou. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit klassikom.substack.com [https://klassikom.substack.com?utm_medium=podcast&utm_campaign=CTA_1]

Paloma So on Prokofiev’s Otherworldly Escape

In a recent performance of Sergei Prokofiev’s Violin Concerto No. 1 at the Xinghai Concert Hall with Guangzhou Symphony Orchestra under the baton of Charles Dutoit, soloist Paloma So appeared visibly captivated by the score, her expression reflecting an amusement and focus that mirrored the music's intricate joy. Described as truly "otherworldly," this concerto was originally conceived while the composer was immersed in the natural beauty of the Ural Mountains. In this teaser, So explores the vivid, wintry imagery she carries throughout the 21-minute work: Atmospheric Contrasts: The music ranges from "gorgeous snowscapes" with glistening icicles to the intensity of a mountain hailstorm. The Demonic Center: The unconventional second movement—a technical and "demonic" vivacissimo—serves as a sharp departure from the surrounding movements, channeling a sense of resentment toward the world. Folklore and Dreamscapes: The work is bookended by movements inspired by Russian folklore, designed to transport the listener into another dimension. Ultimately, So views the concerto as a means of escape, moving beyond the technical demands to find a space of pure transportation. Interviewed on May 2nd, 2026 in Guangzhou. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit klassikom.substack.com [https://klassikom.substack.com?utm_medium=podcast&utm_campaign=CTA_1]