Entertainment

Ventspils, Latvia – World-renowned organist Iveta Apkalna will present a special concert at the Ventspils Concert Hall “Latvija” on February 21, 2026, marking the launch of her latest album, “Perts. Vasks.” The album features compositions by Latvian composers Pēteris Vasks and Estonian composer Arvo Pērt, and represents a historic first – the recording of the majestic organ at the Ventspils Concert Hall. The concert promises a journey into silence, faith, and eternity, exploring themes of introspection and the search for meaning through music.

Apkalna, also a celebrated Honorary Citizen of Rēzekne and Honorary Organist of the Elbe Philharmonic, describes the new album as a deeply personal exploration. She reflects on her artistic journey, noting that the music of Vasks and Pērt compels her to confront fundamental questions about life and art. “These two composers, Arvo Pērt and Pēteris Vasks, and their music provoke me, as Iveta, as an organist, as an artist, as a woman, to ask myself these questions in a good way,” Apkalna shared. “In this music, I also find many answers. But the path is long.”

The concert will feature pieces including Pēteris Vasks’s “Viatore” (The Traveler), a work Apkalna previously included on her first album in 2003. She describes “Viatore” as representing her own feeling of being a traveler, reflecting on past experiences and the ongoing process of self-discovery. The album also prominently features Arvo Pērt’s “Spiegel im Spiegel,” a piece Apkalna says mirrors her current emotional state and the essence she hopes to convey through the music.

A Moment of Introspection Through Music

Apkalna emphasizes the challenge and reward of performing Pērt’s work, stating that it requires a musician to “lay aside your ego, your soloistic ego, and enter into a great conversation with yourself.” This sentiment underscores the album’s focus on inner reflection and the power of music to facilitate profound self-awareness. The concert is organized by SIA “Kurzemes filharmonija” with the support of the Ventspils City Municipality and the State Cultural Capital Foundation.

The recording of the album itself is a significant event for Latvian musical history, marking the first time the Ventspils Concert Hall’s organ has been professionally recorded. The album is being released by Berlin Classics, a prestigious publishing house, further elevating the profile of both the artists and the venue. Koncertzāle Latvija details the event and provides ticketing information.

Exploring the Works of Vasks and Pērt

Pēteris Vasks is a prominent Latvian composer known for his deeply emotional and often spiritual works. One of his pieces, “Viatore” (The Traveler), is dedicated to an unnamed individual, adding a layer of personal connection to the composition. Visit Ventspils highlights this dedication and the six pieces featured in the concert.

Arvo Pērt, an Estonian composer, is celebrated for his minimalist and meditative style. “Spiegel im Spiegel” (Mirror in Mirror) is arguably his most famous work, characterized by its simple yet profoundly moving melody and harmonic structure. The piece’s title reflects the album’s theme of introspection and self-reflection, as Apkalna aims to mirror her own inner world through the music. A video preview of Apkalna performing Perts and Vasks can be found on Facebook.

The concert on February 21st promises to be a unique and moving experience for attendees, offering a chance to witness a world-class performance and celebrate the rich musical heritage of Latvia and Estonia. The event is scheduled to begin at 5:00 PM in the Great Hall of the Ventspils Concert Hall “Latvija” and is expected to last approximately 1 hour and 20 minutes. Ticket prices range from €30.00 to €50.00. Ventspils.lv provides further details about the event.

As Iveta Apkalna prepares to share her interpretation of Vasks and Pērt’s works, the concert marks not only the launch of a new album but also a continuation of her artistic journey – a journey of self-discovery and a testament to the power of music to connect us to something larger than ourselves.

What are your thoughts on the intersection of classical music and personal reflection? Share your comments below, and be sure to share this article with fellow music enthusiasts.

The world of opera is mourning the loss of José Van Dam, one of Belgium’s most celebrated singers. Known for his commanding stage presence and rich vocal tone, Van Dam enjoyed a decades-long international career, performing at leading opera houses including La Scala in Milan, the Metropolitan Opera in New York and the Royal Opera House at Covent Garden in London. He passed away, leaving behind a legacy of unforgettable performances and a vast repertoire spanning centuries of operatic tradition.

Van Dam’s rise to prominence began in the 1970s, establishing him as a sought-after performer on the global stage. He collaborated with a constellation of renowned conductors, including Herbert von Karajan, whose influence he particularly acknowledged, stating the conductor “marked” him the most. His versatility allowed him to excel in a wide range of roles, from Mozart to Wagner, captivating audiences with his dramatic interpretations and vocal power.

Born in Ixelles, Belgium, Van Dam initially pursued a career in sports before dedicating himself to vocal studies. He quickly distinguished himself, and his talent soon led to engagements at major European opera houses. He became particularly associated with roles requiring both vocal strength and dramatic depth, often portraying complex and morally ambiguous characters. His performances were consistently praised for their musicality, and theatricality.

A Collaborative Spirit: Van Dam and Herbert von Karajan

A particularly fruitful artistic partnership defined much of Van Dam’s career: his work with conductor Herbert von Karajan. The two collaborated on numerous recordings, including performances of Beethoven’s Ninth Symphony, Brahms’s Deutsches Requiem, Mozart’s Requiem and Coronation Mass, as well as operas like Fidelio, Il Trovatore (Le Trouvère), Pelléas et Mélisande, Carmen, and The Marriage of Figaro. These recordings, many of which remain highly regarded today, showcase Van Dam’s ability to blend seamlessly with Karajan’s distinctive orchestral sound.

Van Dam’s repertoire was remarkably broad, encompassing works from composers as diverse as Rameau and Messiaen. While he excelled in the classical and romantic periods, he also left his mark on 20th-century opera. He was a celebrated Mozartian, renowned for his interpretations of roles such as Masetto, Leporello, and Don Giovanni in Don Giovanni, Figaro in The Marriage of Figaro, and Don Alfonso in Così fan tutte. He also performed the roles of the Speaker and Sarastro (though only in recordings) in The Magic Flute.

Beyond Mozart, Van Dam delivered acclaimed performances as Escamillo in Bizet’s Carmen, the Devil in Offenbach’s The Tales of Hoffmann, and Golaud in Debussy’s Pelléas et Mélisande. He also tackled more challenging roles, including Boris Godunov, Méphistophélès in Berlioz’s and Gounod’s versions of Faust, Scarpia in Puccini’s Tosca, Jochanaan in Strauss’s Salome, and Barak in Strauss’s The Woman Without a Shadow.

Verdi and Wagner: A Powerful Presence

Van Dam also distinguished himself in the works of Verdi and Wagner. He delivered powerful interpretations of Philippe II in Verdi’s Don Carlos and, notably, Falstaff. In Wagner, he was admired for his portrayals of the Dutchman in The Flying Dutchman and Hans Sachs in The Mastersingers of Nuremberg. Interestingly, despite invitations to perform at Bayreuth, he declined the role of Wotan in Wagner’s Ring Cycle, reportedly fearing boredom from the length of the commitment and the isolation of Bavaria.

His performances at Teatro alla Scala spanned from 1948 to 1971, encompassing 15 different operas, including a particularly celebrated Lucia di Lammermoor with Maria Callas. As noted by the Scala, Van Dam’s contributions significantly shaped the theatre’s history during that period.

José Van Dam’s career was a testament to his dedication, artistry, and vocal prowess. He leaves behind a rich discography and a legacy of unforgettable performances that will continue to inspire opera lovers for generations to reach. His influence on the world of opera is undeniable, and he will be remembered as one of the great bass-baritones of his time.

The impact of Van Dam’s artistry extends beyond the stage, influencing countless singers and enriching the operatic landscape. As audiences and fellow musicians reflect on his life and work, his contributions to the art form will undoubtedly be celebrated for years to come.

Share your memories of José Van Dam in the comments below, and please share this article to honor his remarkable career.

Swedish extreme metal band Arch Enemy has entered a new chapter, unveiling their latest single, “To The Last Breath,” and confirming a summer 2026 European tour. The release marks the band’s first new music since parting ways with longtime vocalist Alissa White-Gluz in November 2025, and the arrival of a new singer who, while officially unnamed, has sparked intense speculation among fans.

The band is deliberately keeping the identity of their new vocalist under wraps for now, refraining from a formal announcement or a group photo. Despite this, online sleuthing has led many to believe Lauren Hart, currently the vocalist for melodic death metal band Once Human, is the new frontwoman. Fans have noted vocal similarities on the new track, fueling widespread discussion on social media platforms.

“To The Last Breath” is available now on all major streaming platforms. Guitarist and founder Michael Amott described the song as “unapologetically aligned with my original vision for the band,” and lyrically focused on “seeing through deception and dismantling the illusion of control,” according to Metal-Stop. He added, “Just when you think it’s over, a new beginning rises. Now it’s time to rage with us—to the very last fucking breath!”

The band will be taking their new sound on the road with the “Back To The Root Of All Evil” tour, a run of intimate club shows across Europe. This tour represents a shift for Arch Enemy, moving away from large open-air festivals to more direct, up-close performances for fans.

2026 European Tour Dates: A Return to the Roots

The tour kicks off on July 19, 2026, in Berlin, Germany, and concludes on August 11, 2026, in Manchester, England. Tickets go on sale today, February 20, 2026, at 6 PM (CET). Here’s a complete list of the confirmed dates:

• July 19 – Germany – Berlin, Bi Nuu
• July 21 – Denmark – Copenhagen, Pumpehuset
• July 22 – Sweden – Stockholm, Kollektivet Livet
• July 24 – Finland – Helsinki, Tavastia
• July 25 – Estonia – Tallinn, Helitehas
• July 27 – Poland – Krakow, Hype Park
• August 2 – Germany – Cologne, Club Volta
• August 3 – France – Paris, Maroquinerie
• August 5 – Spain – Vitoria, Jimmy Jazz
• August 9 – Netherlands – Utrecht, Tivoli Pandora
• August 10 – England – London, The Underworld
• August 11 – England – Manchester, Rebellion

As Impericon reports, the new single and tour announcement follow months of speculation regarding Arch Enemy’s next steps after White-Gluz’s departure to pursue a solo career. Former vocalist Angela Gossow has been confirmed as not being the new singer, according to previous reporting.

The band has not yet released a music video for “To The Last Breath,” but the single is available for streaming on platforms like Spotify and Apple Music. Fans eager to hear the new lineup in action can look forward to the intimate setting of the upcoming European club tour, promising a raw and energetic experience.

What comes next for Arch Enemy is the official reveal of their new vocalist and the release of a music video for “To The Last Breath.” The band is clearly building anticipation for this new era, and fans can expect further announcements in the coming days.

What are your thoughts on the new single? Share your predictions for the new vocalist in the comments below!