Anne-Sophie Mutter & Daniil Trifonov - Schubert: Forellenquintet /Trout Quintet (Long Interview)

[@georgestefanou5240]

I just bought the CD. It's a scent of paradise, pure magic from the first to the last note! Many thanks to DG for bringing together these wonderful artists!

[@user-ys4og2vv8k]

Anne-Sophie is a very charismatic woman, and over the years her attractiveness and charisma only increases.

[@wagnerpolveiro7176]

Wow...!!! Anne-Sophie Mutter and Daniil Trifonov together, it is absolutely great. (And also the other artists, of course. I love them all). Thanks, Deutsche Grammophon.

[@mariodisarli1022]

Hi Wagner! Forellenquintet, A-N Mutter & Sex sells and Playboy: www.pinterest.de/AriaView/anne-sophie-mutter-violinist/ SLIPPED DISC Playboy? It's not a game February 3, 2009 by Norman Lebrecht No comments. An excited reader has notified me that Playboy magazine is running a feature titled Too Hot to Handel: the sexiest babes in classical music. Before you waste a moment’s click on the site, let me assure you that all of them are decorously clad. Along with the all-too predictable Anna Netrebko and Danielle de Niese, Playboy has selected violinists Leila Josefowicz, Julia Fischer, Janine Jansen, Hilary Hahn and Anne-Sophie Mutter, the last in a photograph that must have been taken at least ten years ago, or in very flattering light. Ms Mutter is described as Austrian - she’s German - and a MILF, which is a term that does not bear cultural elucidation. Two relative unknowns are included. One is the oboist of the Los Angeles Philharmonic and the other, perhaps, someone’s girlfriend. All good clean fun, right? Wrong. Let me tell you a story. Ten years ago, a Finnish violinist called Linda Lampenius allowed herself to be talked into posing nude for Playboy under the stage name Linda Brava. Her centrefold appearance landed an EMI record contract and an avalanche of media attention. Her first record reached number 14 in the UK charts and there was no follow-up. She was taken up as a talent by Sir Andrew Lloyd Webber, and quickly dropped. She appeared on Baywatch, just the once. A victim of unrealistic expectations, Linda went through years of turmoil before making her way back home to Finland, where a producer friend of mine recorded her some months ago playing chamber music - rather well, he said. The story has a happy ending. Linda, 38, is expecting her first baby in the coming weeks. Let’s wish her well. The Playboy experience is not to be recommended as a means of advancing a musical career. It’s exploitation, that’s the bare truth. Don’t bother to look.

[@mariodisarli1022]

Forellenquintet, Anne-Sophie Mutter & Sex sells and Playboy: www.pinterest.de/AriaView/anne-sophie-mutter-violinist/ LA STAMPA Spettacoli E Playboy sceglie la bellezza "classica" Soprani e violiniste sul sito della rivista ALBERTO MATTIOLI TORINO Era inevitabile. Da quando anche nel mondo della musica cosiddetta classica, tradizionalmente serioso e/o polveroso, è scoppiata la Grande Guerra del look, è tutto un fiorire di violiniste-modelle, violoncelliste-pinup e soprani-veline. Una volta le maggiorate della lirica erano come la Caballé, oggi restano le curve, ma nei punti giusti. Se i più reputati dischifici hanno ormai abbandonato il cd solo audio per il dvd anche video, allora anche l’occhio voglia la sua parte. L’evoluzione della specie ci consegna virtuose-top con fisici slanciati, sguardi assassini, sexy look: roba da mille e una note. La notizia è che se n’è accorta anche la più celebre rivista per soli uomini (o, come dicono le femministe, per uomini soli). Così, il sito di Playboy ha lanciato «Too hot to Handel», sondaggio su «the sexiest babes of classical music», invitando i guardoni on line a votare la più bella fra dieci bellissime della musica colta. Le foto sono castigate, dato che nessuna delle magnifiche ha mai posato senza veli. Ma resta il fatto che Playboy sdogana la bellezza in chiave di violino, spiegando ai suoi lettori che la «nerdy reputation» (traduciamola come va fatto: la reputazione da sfigati) della classica appartiene definitivamente al passato. Quanto alla selezione del Coniglietto, qualcosa da obiettare ci sarebbe. Innanzitutto per la predilezione per le violiniste: sei su dieci sono troppe. Oltretutto tale Jennifer Frautschi, pur provvista di «pretty face», non è proprio una star «global» come le colleghe Hilary Hahn, Leila Josefowicz, Julia Fischer, Janine Jansen e Anne-Sophie Mutter. A proposito della Mutter: la bellezza non rima sempre con giovinezza, dato che l’ex pupilla di Karajan ed ex moglie di Prévin ha 45 anni (portati, del resto, benissimo). La sfilata delle strumentiste è chiusa (alla grande) da Ariana Ghez, primo oboe della Los Angeles Philharmonic Orchestra. Le cantanti sono tre. Praticamente obbligata la presenza di Anna Netrebko, la diva russa che ha conquistato il mondo come Violetta in minigonna rossa circondata da stuoli di coristi allupati. Anna bella, peraltro, è appena diventata mamma di un bebé (battezzato Tiago Arua, giusto per non farsi mancare nulla) con la collaborazione del basso-baritono uruguaiano Erwin Schrott, altro bellone (la velinizzazione dell’opera non riguarda solo le donne) con il quale forma una coppia dal glam quasi insostenibile. Giusto mettere fra le divine dieci anche il soprano Danielle De Niese, prova incarnata delle virtù del melting pot. Lei è americana nata in Australia da un cocktail genetico olandese, portoghese, inglese e dello Sri Lanka, e cantava a Glyndebourne la Cleopatra di Händel ballando sensuali stacchetti che Playboy paragona giustamente a quelli di Shakira (ma la colonna sonora di Danielle è molto migliore). Invece non si capisce chi sia Sarah Coburn, soprano americano di cui i redattori vantano il «southern charm» e la «blue-eyed beauty», ma che finora non abbiamo mai sentito nominare e men che meno cantare. E poi qui si dimenticano l’occhio cerulo e i capei d’oro del mezzosoprano lettone Elina Garanca, le gambe chilometriche della collega ceca Magdalena Kozena e la bellezza mediterranea della nostra Anna Caterina Antonacci. Quanto ai risultati del sondaggio (tuttora aperto su www.playboy.com/worldofplayboy/features/classical-babes/index.html) alle 17 di ieri conduceva d’un soffio la Frautschi sulla Fischer (rispettivamente 21 e 19%) poi, staccate, Netrebko, Jansen, De Niese, Hahn, Josefowicz, Coburn, Mutter e Ghez. Macché solite note..

[@larisal4572]

Wagner Polveiro 6

[@martabest4344]

It is like Messi and Ronaldo in one team, dream team

[@МузаРубацкая]

Позади Трифонова сидит его активная лапочка - у них будут красивые дети...😅

[@heymambo]

Great collaboration! One of the greatest living violinists and one of the greatest pianists in one project. 👏

[@gabrielbustos2706]

daniil trifonov rehearsing in a superman shirt! definitely an image i won’t forget

[@linuseike6041]

It nicely shows he also has a personality outside of Music.

[@bravaLiz]

WHAT a gift!

[@EASYTIGER10]

I've had a crush on Anne-Sophie for 30 years...

[@nadetomirkova4943]

ENDLESS THANK You FOR THE BIG PLEASURE !!! GOD BLESS You !!! GOD BLESS The Your FANTASTIC TALENTS !!! Your eternal fan Nadya Mirkova and friends from Sofia - Bulgaria - Europe and all World !!!

[@Households1234]

Anne-Sophie : the greatest Goddess of the violin!

[@ElisPalmer]

Simply beautiful ~ ☀️

[@miriamprince7479]

So amazing❗️👏🏻👏🏻

[@purpleowl2075]

Trifonov: 'But I think also with more performing and more playing together, the more possibilities open up; every time, something different happens. And that expands a certain awareness of what's possible. Then you become more comfortable with the interpretation, which reveals itself in the moment'. That last sentence, wow! Trifonov doesn't speak for the sake of speaking and when he does, you're all the more glad for it, because he really says some profound and insightful things, which teach you a lot about the musical craft. I can't help but feel something is awry here and that Trifonov is out of his usual element in this interview here - he seems very reserved around Anne-Sophie and his vivid musical personality feels very dampened down here. It's difficult to know whether it is the fatigue of travel, the reservation of energy in rehearsal to have energy for performance or maybe a clash of extrovert/introvert or two big personalities? The fact that Anne-Sophie jokingly says 'I think I was actually stalking Danill for a few years' and his slightly unhappy expression in the interview is a bit of a red flag of some sort of tension going on - another indicator of this is when Trifonov says 'When I first learned that Anne-Sophie wanted to record this music, I was incredibly happy' and Anne-Sophie then jokes 'I hope you still are'.

[@marialuisarendonvallejos5855]

gracias por compartir., se le quiere mucho a Daniil y estamos pendientes de todos sus performances. Saludos Daniil desde Bolivia!

[@annatirindelli8879]

SPLENDIDI!!!!!

[@mariodisarli1022]

BERLIN Berliner Zeitung 12.08.2006 von Wolfgang Fuhrmann "Ein neuer Typus hält Einzug ins Klassik - Gewerbe: junge Musiker mit verstärktem Niedlichkeitsfaktor" .... "Die Vermarktungsmethoden, mit denen die Klassikfirmen heute aus ihrer Talsohle herauszukommen versuchen, orientieren sich offener an den glänzenden Oberflächen des Mainstream-Popgeschäfts. Dabei geht es nicht so sehr um den Sex-Sells-Faktor, wie er etwa bei Anna Netrebko eingesetzt wird, wenn deren schwarze Mähne so wild ums Haupt fliegt, dass man förmlich den Praktikanten in den Kulissen mit dem Hochleistungsventilator hantieren sieht. Die neue Strategie der Plattenvermarktung setzt vielmehr auf das Prinzip Schnuckelklassik: eher Knuffigkeitsfaktor als Erotik (was ja auch immer etwas mit Distanz zu tun hat), eher Kylie Minogue und Britney Spears als Christina Aguileira oder Madonna. Noch ist Schnuckelklassik kein Begriff - Google kennt keine Einträge. Aber wir werden um das Wort nicht herumkommen, um diese Marketing-Strategie zu beschreiben. Stars müssen nicht nur so jung sein wie das ersehnte Zielpublikum, sie müssen auch so niedlich und knuddelig wirken, dass man sie am liebsten als Stofftiere mit ins Bett nehmen würde. Dafür dürfen sie auch ruhig Beethoven oder Bartók spielen - und tun es in den meisten Fällen nicht einmal schlecht. Der Glaube, klassische Musiker müssten sich mit Crossover-Projekten für die Pophörer profilieren, ist ein wenig geschwunden. Ruppiger Spätpunker-Charme wie bei Nigel Kennedy und allzu offensive asiatische Sinnlichkeit wie bei Vanessa Mae sind jedenfalls passé. Angestaubt wirken diese beiden Vertreter der 90er-Jahre vor allem auch durch ihre ständigen popmusikalischen Anbiederungen (Elektrogeige und dergleichen). Heute, da der Klassikleiter der Universal Music Group Deutschland, Christian Kellersmann, als Credo verkündet: "Klassik ist die neue Popmusik", hat sich die Beweislast eher umgekehrt, und so wird demnächst Sting ein Album mit Liedern des elisabethanischen Lautenisten John Dowland aufnehmen. Nicht zufällig bei der Deutschen Grammophon (DG), die zu Universal gehört. Und nicht zufällig kommen auch die meisten Schnuckelklassiker bei diesem altehrwürdigen Klassik-Label groß raus. Das ist auch historisch nicht unverständlich. Denn sollte je eine Geschichte der Schnuckelklassik geschrieben werden, würde der Geigerin Anne-Sophie Mutter, Karajan-Zögling und DG-Star, darin gewiss die Rolle der Ahnherrin zukommen - auch wenn sie dem pausbäckigen Wunderkinddasein längst ent- und in die schulterfreie Abendrobe hineingewachsen ist. So ist es nur folgerichtig, dass der Typus des Schnuckelklassikers derzeit in Reinkultur vor allem bei jungen Geigerinnen auftritt. Man denke nur an die Amerikanerin Hilary Hahn, deren immer ein wenig von Jungmädchen-Ernsthaftigkeit geprägtes Antlitz beim Betrachter unwillkürlich den Eindruck entstehen lässt, hier mache sich jemand ganz doll Gedanken über den Zustand der Welt. Im Gespräch kann sie zurückhaltend bis zum Nichtssagenden sein. Tatsächlich aber ist Hahn durchaus - und sehr amerikanisch - offen für allerlei volksnahen Unfug; auf ihrer Internet-Seite findet sich wunderbare "Fan Art"; Selbstgemaltes von Bewunderern (wir empfehlen das lustige Sonnenbild!), außerdem gibt es "Itty Bitty News" (zum Beispiel eine Todesanzeige ihres Meerschweinchens Psyche: "starb am 30. Juli 2004 mit zweieinhalb Jahren an einer rätselhaften Verdauungsstörung") und ein regelmäßig geführtes Reisetagebuch. Die Seite enthält auch Tipps, wie man alleine Zeit in einem Hotelzimmer verbringen kann: zum Beispiel mit "Lesen", "Auf dem Bett auf und ab springen", "Bügeln", "Fernsehen (Filme, ausländische Sendungen, Tierrettungsshows, Sport oder verrückte amerikanische Sendungen, wenn jemand Amerikaner ist und Heimweh hat)", "Alle Möbel umstellen (eine meiner Lieblingsbeschäftigungen)" und so weiter. Außerdem führt Hahn gerne mit Mitmusikern Interviews, wobei immer dieselben Fragen gestellt werden: "Ist Schokolade eine Droge?" - "Lieblingstiere?" - "Was halten Sie von Bach?" - "Schnittblumen?" und so fort. Dass man sie auf ihren Fotos kaum je lachen sieht, ist also erstaunlich; da sie diese Fotos aber selbst auswählt, vielleicht auch erklärbar. Sie sieht sich, wie so manche junge Dame, wohl nicht gern selbst beim Lachen zu. Ein richtiger Wonneproppen hingegen ist Hahns niederländische Kollegin Janine Jansen: Sie strahlt am liebsten von einem Ohr zum anderen. Jansen ist sich auch nicht zu fein, auf ihrer Homepage mit einer Fotogalerie von nicht weniger als fünfzehn Bildern zu prunken, während ihre lettische Konkurrentin Baiba Skride sich gerade mal sechs gestattet. Und wo Skride auf dem Cover zu ihrem Solo-Recital in Jeansanzug vor einem Bretterzaun street credibility einforderte, da sieht man Frau Jansen in abendgerechten Tüll- und Seidenträumen, aber auch im kleinen Schwarzen oder schlichten weißen Hosenanzug. Kurz: eine Frau fürs zarte Geigendiner, wo Skride eher den Typ zum Pferdeausreißen gibt. Die schnuckelklassischste aller Photogalerien aber hat die Berlinerin Caroline Fischer aufzuweisen. Auf ihrer Website präsentiert sich die "Pianistin aus Leidenschaft" auf neunzehn (Rekord!) Bildern in allen Lebenslagen: sinnlich schmollend, verschmust lächelnd, kühn viel nacktes Bein von sich spreizend. Man meint, plötzlich in die Bewerbungsmappe für eine Teenie-Modelagentur geraten zu sein, so ungehemmt trägt Fischer hier ihr Aussehen zu Markte. Und Klavier spielen kann sie auch noch! Die Herren spielen bei der Schnuckelklassik vorläufig noch die zweite Geige. Rolando Villazón, an dessen Charme nichts zu rütteln ist, hat große haarige Raupen statt Augenbrauen, und der junge griechische Geiger Leonidas Kavakos besteht überhaupt nur aus Behaarung. Das mag für Teddybären angehen - die Bedingungen der Schnuckelklassik erfüllt ein freundlicher Klavierknuddel mit lustiger Igelfrisur aber doch besser. Der Mann heißt Lang Lang und hat schon hartgesottene Politik-Redakteurinnen dieser Zeitung in Verzückung versetzt. Und ein ganz heißer Kandidat als erster Schnuckelklassik-Dirigent ist Gustavo Dudamel. Lockenköpfig, liebenswürdig, enthusiastisch wie ein Welpe, laut der Tageszeitung "El Universal" einer der schönsten Menschen Venezuelas - und ein wunderbarer Musiker, der demnächst, so ein Zufall, groß bei der DG rauskommen wird. Herzigkeit sells! Und Klassik ist die neue Schnuckelmusik. ------------------------------ Fotos (5) : Caroline Fischer So entspannt sich die "Pianistin aus Leidenschaft" (siehe www.carolinefischer. com), wenn sie gerade mal nicht in die Tasten greift. Anne-Sophie Mutter Überaus stürmisch geigte die Ahnfrau der Schnuckelklassik schon in jungen Jahren (....). Janine Jansen In französischen Fauteuils ist gut fläzen. Die Geigerin wählt dazu einen duftigen Tüll-und-Seiden-Traum (....). Lang Lang liegt flach im Sand: der chinesische Pianist bei einer Dehnübung. Gleich wird er wieder im Rachmaninow wüten (....). Hilary Hahn Wenn sie mal nicht ihre Geige in Schach halten muss, springt sie gern kontemplativ in Hotelbetten auf und ab (....). Ein neuer Typus hält Einzug ins Klassik-Gewerbe: junge Musiker mit verstärktem Niedlichkeitsfaktor: Schnuckelklassik!!!

[@mariodisarli1022]

ALEXANDER BOOT Author, critic, polemicist Blogs > Alexander's blog > Submitted by Alexander on 24 June 2013 - 12:59pm The other day I listened to something or other on KZbin, and a link to Chopin’s Fourth Ballade performed by the Georgian pianist Khatia Buniatishvili came up. The link was accompanied by a close-up publicity photo of the musician: sloe bedroom eyes, sensual semi-open lips suggesting a delight that’s still illegal in Alabama, naked shoulders hinting at the similarly nude rest of her body regrettably out of shot… Let me see where my wife is… Good, she isn’t looking over my shoulder, so I can admit to you that the picture got me excited in ways one doesn’t normally associate with Chopin’s Fourth Ballade or for that matter any other classical composition this side of Wagner or perhaps Ravel’s Bolero. Searching for a more traditional musical rapture I clicked on the actual clip and alas found it anticlimactic, as it were. Khatia’s playing, though competent, is as undeniably so-what as her voluptuous figure undeniably isn’t. (Yes, I know the photograph I mentioned doesn’t show much of her figure apart from the luscious shoulders but, the prurient side of my nature piqued, I did a bit of a web crawl.) Just for the hell of it I looked at the publicity shots of other currently active female musicians, such as Yuja Wang, Joanna MacGregor, Nicola Bendetti, Alison Balsom (nicknamed ‘crumpet with a trumpet’, her promos more often suggest ‘a strumpet with a trumpet’ instead), Anne-Sophie Mutter and a few others. They didn’t disappoint the Peeping Tom lurking under my aging surface. Just about all the photographs showed the ladies in various stages of undress, in bed, lying in suggestive poses on top of the piano, playing in frocks (if any) open to the coccyx in the back and/or to the navel up front. This is one thing these musicians have in common. The other is that none of them is all that good at her day job and some, such as Wang, are truly awful. Yet this doesn’t really matter either to them or to the public or, most important, to those who form the public tastes by writing about music and musicians. Thus, for example, a tabloid pundit expressing his heartfelt regret that Nicola Benedetti “won’t be posing for the lads’ mags anytime soon. Pity, because she looks fit as a fiddle…” Geddit? She’s a violinist, which is to say fiddler - well, you do get it. “But Nicola doesn’t always take the bonniest photo,” continues the writer, “she’s beaky in pics sometimes, which is weird because in the flesh she’s an absolute knock-out. “The classical musician is wearing skinny jeans which show off her long legs. She’s also busty with a washboard flat tummy, tottering around 5ft 10in in her Dune platform wedges.” How well does she play the violin though? No one cares. Not even critics writing for our broadsheets, who don’t mind talking about musicians in terms normally reserved for pole dancers. Thus for instance runs a review of a piano recital at Queen Elizabeth Hall, one of London’s top concert venues: “She is the most photogenic of players: young, pretty, bare-footed; and, with her long dark hair and exquisite strapless dress of dazzling white, not only seemed to imply that sexuality itself can make you a profound musician, but was a perfect visual complement to the sleek monochrome of a concert grand... [but] there’s more to her than meets the eye.” The male reader is clearly expected to get a stiffie trying to imagine what that might be. To help his imagination along, the piece is accompanied by a photo of the young lady in question reclining on her instrument in a pre-coital position with an unmistakable ‘come and get it’ expression on her face. The ‘monochrome’ piano is actually bright-red, a colour usually found not in concert halls but in dens of iniquity. Nowhere does the review mention the fact obvious to anyone with any taste for musical performance: the girl is so bad that she should indeed be playing in a brothel, rather than on the concert platform. Can you, in the wildest flight of fancy, imagine a reviewer talking in such terms about sublime women artists of the past, such as Myra Hess, Maria Yudina, Maria Grinberg, Clara Haskil, Marcelle Meyer, Marguerite Long, Kathleen Ferrier? Can you see any of them allowing themselves to be photographed in the style of “lads’ mags”? I can’t, which raises the inevitable question: what exactly has changed in the last say 70 years? The short answer is, just about everything. Concert organisers and impresarios, who used to be in the business because they loved music first and wanted to make a living second, now care about nothing but money. Critics, who used to have discernment and taste, now have nothing but greed and lust for popularity. The public… well, don’t get me started on that. The circle is vicious: because tasteless ignoramuses use every available medium to build up musical nonentities, nonentities is all we get. And because the musical nonentities have no artistic qualities to write about, the writing nonentities have to concentrate on the more jutting attractions, using a vocabulary typically found in “lads’ mags”. The adage “sex sells” used to be applied first to B-movies, then to B-novels, and now to real music. From “sex sells” it’s but a short distance to “only sex sells”. This distance has already been travelled - and we are all being sold short.

[@mensabs]

"STALKING DANIILY" (!)

[@francoisemendousse-pineau6404]

magnifique!

[@giuliocivillini7661]

Bellissimo❤️❤️❤️

[@mariodisarli1022]

< Talk Classcal> Forum < Sexualisation of women in the classical music industry> Time and time again people have certainly opined on the presentation of female performers, wether it be Yuja Wang's dress, Lara St. John's CD covers or Anne Sofie Mutter's pose (recently those violinists were pointed out in the worst cd covers thread). Each of these cases, according to different people, have come down to a general conclusion that sexist inclinations of today have influenced their physical appearance (on varying levels). Even on this site there have been debates as to modesty on stage, the importance of appearance, wether women should conduct an orchestra and so on, which all end up boiling down to the same (if not a similar) debate.

[@rafaelandrade841]

Cuánto sentimiento maravilloso. Precioso cuarteto

[@javierdarioarboledagonzale3631]

Espléndido la gran violinista alemana Anne-Sophie Mutter y el pianista ruso Daniil Trifonov, genios. Gracias Deutsche Grammophon

[@blanquis1824]

Two genius

[@Karpple]

Excelente disco que une a virtuosos músicos!

[@rafaelandrade841]

Nunca vi una risa y un rostro tan bello

[@laspiano765]

Deutsche Grammophon, obrigado por postar, seus videos e cds sao de primeira qualidade, tudo feito com amor , respeito para com o publico e a responsabilidade que a musica exige, lindo video, e bom conhecer os bastidores.

[@elzbietajedrysik2605]

Congratulations

[@BarroqueSpirit]

Genios!!!

[@bluuum]

ach wo ist sie hin die Jugendzeit, dort blüht sie noch in diesem jungen Mann....

[@mensabs]

we should not all be feminists, especially cougars

[@Sergey12419]

китайки обязательно ногу оголят....

[@mariodisarli1022]

A-N Mutter & Sex sells and Playboy: www.pinterest.de/AriaView/anne-sophie-mutter-violinist/ SLIPPED DISC Playboy? It's not a game February 3, 2009 by Norman Lebrecht No comments. An excited reader has notified me that Playboy magazine is running a feature titled Too Hot to Handel: the sexiest babes in classical music. Before you waste a moment’s click on the site, let me assure you that all of them are decorously clad. Along with the all-too predictable Anna Netrebko and Danielle de Niese, Playboy has selected violinists Leila Josefowicz, Julia Fischer, Janine Jansen, Hilary Hahn and Anne-Sophie Mutter, the last in a photograph that must have been taken at least ten years ago, or in very flattering light. Ms Mutter is described as Austrian - she’s German - and a MILF, which is a term that does not bear cultural elucidation. Two relative unknowns are included. One is the oboist of the Los Angeles Philharmonic and the other, perhaps, someone’s girlfriend. All good clean fun, right? Wrong. Let me tell you a story. Ten years ago, a Finnish violinist called Linda Lampenius allowed herself to be talked into posing nude for Playboy under the stage name Linda Brava. Her centrefold appearance landed an EMI record contract and an avalanche of media attention. Her first record reached number 14 in the UK charts and there was no follow-up. She was taken up as a talent by Sir Andrew Lloyd Webber, and quickly dropped. She appeared on Baywatch, just the once. A victim of unrealistic expectations, Linda went through years of turmoil before making her way back home to Finland, where a producer friend of mine recorded her some months ago playing chamber music - rather well, he said. The story has a happy ending. Linda, 38, is expecting her first baby in the coming weeks. Let’s wish her well. The Playboy experience is not to be recommended as a means of advancing a musical career. It’s exploitation, that’s the bare truth. Don’t bother to look.

[@lourak613]

This collaboration between Anne-Sophie and Daniil is just not my cup of tea, I'm afraid. There is no way to blend Daniil's sublime approach with Anne-Sophie's constant affectations and arbitrary melodic gesticulations. Just not a match...

[@pedinurse1]

I think it great

[@corouniud7592]

Thank you, lourak613, you express my thought better than I could do :-)

[@rabinovitch1]

Warum nicht noch piercing and tattoos,Frau Mutter, sähe sicher coool aus,passend zu den Hosen !

[@ransomcoates546]

His playing is too deferential to her.

[@becandid-z7v]

Scratching the surface of a masterpiece. Overrated.

[@antekmilka9808]

such twaddle !!!!!

[@TheSpiritOfTheTimes]

Antek Milka Did Daniil steal your girlfriend?

[@antekmilka9808]

No one can steal a girlfriend ..they leave if they see fit... mine is still here...and agrees that this is self promotional twaddle by vastly overrated performers.especially the fiddle and piano player.

[@TheSpiritOfTheTimes]

Antek Milka What drives you? Than he certainly stole your spot in an orchestra way back when or something, you've made similarly billious comments on a number of videos.

[@renashereshevskiy7591]

СПАСИБО Светуля!

[@thethikboy]

These are brilliant performers whatever you might think of their musical opinions. There's a lot of posing and marketing for making sales - I agree. But that doesn't diminish the talent.

[@kevinkelleher9323]

Deduct 50% for political t-shirt and torn jeans. We did not need to know she is a lemming.

[@KaiTakApproach]

Agreed, which is a shame because she is a wonderful woman who clearly led a fantastic collaboration. It's not the gender, it is the individual. And someone who has such incredible abilities does not need to be dipping into the pool of generalized divisiveness. If I don't respect men for being men, or authority for being authority, why should I respect women for being women? I certainly respect this one, and many, many others, but nobody deserves anything for being born on one side of the fence or the other, even within the bogus framework of "power" feminists put their faith in. Plenty of women use and misuse the relative advantages of their circumstances and even more use it as an excuse...just like men do. I am sick of these silly Middle School gender politics...if one is looking for a cause then general human and economic rights still have much further to go, as the gaps are still cavernous compared to gender and "race" inequalities in the West. But if one truly wants to fight such specific inequalities they should be looking elsewhere, as in the East where slavery and gender inequalities are still in extreme evidence.

[@Ickguenthrasil]

yes, how dare she wear whatever she wants

[@andrenewcomb3708]

"in the moment." Does the argument actually register . . . and everyone goes and does what they were doing . . . anyway.