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Sounds swirl with an urgent emotionality and meandering virtuosity on Jonas Kaufmann’s new Puccini album—the “real one”, according
to Kaufmann, whose works were also released earlier this year on Decca records, allegedly without his approval.
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On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.
On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.
The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.
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Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public
imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius
he lamented and revered in equal measure, and against whom he schemed and
plotted at the Emperor Joseph II’s Viennese court.
The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.
Stephen Paulus provided the musical world, and particularly the choral world, with music both provocative and pleasing through a combination of lyricism and a modern-Romantic tonal palette.
Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.
One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal
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The John Wilson Orchestra have been annual summer visitors to the Royal Albert Hall since their Proms debut in 2009 and, with their seductive blend of technical precision, buoyant glitziness and relaxed insouciance, their concerts have become a hugely anticipated fixture and a sure highlight of the Promenade season.
Disappointing staging mars Alice Coote’s vibrant if wayward musical performance
Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.
At Santa Fe Opera, Donizetti’s effervescent The Daughter of the Regiment can’t quite decide what it wants to be when it grows up.
Santa Fe Opera noted a landmark two-thousandth performance in their distinguished history with a stylish new production of Rigoletto.
Why did Jean Sibelius suppress Kullervo (Op7, 1892)? There are many theories why he didn't allow it to be heard after its initial performance, though he referred to it fondly in private.
26 Sep 2005
Arvo Pärt: A Tribute
Paul Hillier has written the book on Arvo Pärt, quite literally. He has spent significant time with the Estonian composer interviewing him, working with him, and studying his music. He has not only authored the only text researching Pärt's music and background, but Hillier also seems to one of the first to perform and record his music, thereby exposing it to the general public.
Arvo Pärt: A Tribute, was released in celebration of Arvo Pärt's 70th birthday on September 11, 2005. This compilation disc offers an exquisite retrospective of the composer’s choral music. Nearly all of Pärt's choral music comes from his second period, in the now familiar tintinnabuli style and with sacred texts. Despite the technique's strict rigidity, the sustaining of a single triad throughout the work, the works on this recording represent great variety. Over the past thirty years or so Pärt has expanded his emotional palette by varying the textures of tintinnabuli.
The second track, the Women With The Alabaster Box, evokes the cold artic north of the Baltic. The sound is hollow and stark with wide voicings and slow moving tempo and harmonic motion. In a complete contrast the short Bogoroditse Djevo, the Eastern Orthodox Ave Maria, is light and quick. This joyous setting is Russian in style with a thick but bright harmonic texture. Pärt also achieves great warmth in his setting of I am the True Vine. The harmonic progressions are rich and sonorous and even include occasional, vague melodic ideas in the soprano. The piece with the densest and fullest sound is the fabulous Which Was The Son Of... . The frequently repeated words “which was the son of” are set with great variety from pulsing incantation to strong declamation. Driving rhythmic patterns build up to large full climactic cluster chords and ultimately a beautiful resolution at the final cadence at “God.”
As a compilation, this disc includes three choirs all led by Paul Hillier. There is also variety in the performances because of the nature of the choirs. The Estonian Chamber Choir has quickly risen in the public eye as one of the leading European Choirs. Their singing is robust yet clean, virtuosic yet subtle, and extremely passionate. The Theater of Voices, Hillier's regular ensemble, carries the bulk of the CD with beautiful clarity. A smaller group, their sound is quite refined and clear with precise intonation and uniformity across all parts. Joining them on three tracks is the Pro Arte Singers, bulking their numbers, but maintaining the exquisite sound.
The liner notes provide a little background to Pärt's music, the tintinnabuli style, and the text and origin of each work. But it is the music and the performance that sets this recording apart from many contemporary choral releases. Hillier's scholarship and artistry bring out the subtlety and passion in Pärt's music with honesty and integrity. Hillier notes in the liner booklet that “Arvo Pårt's music is now famous.” What he humbly fails to mention, is that in large part it is due to him.