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Remember Me—But, ah, Forget My Fate
Posted by admin on Thursday, May 08 @ 00:00:00 EDT (8 reads)
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Ryan Lott is a classically trained composer and pianist who has brought
the orchestration of minimalism and chant to a new stage: a dingy
TriBeCa rock venue’s basement room, where the symphony is formed
electronically, and melds seamlessly to hip-hop breakdowns with the
backing of a live rock band. This project is Son Lux, and the record
recently released under that moniker, titled At War with Walls and Mazes, explores the possibilities of chant and meditation.
At the Knitting Factory (the dingy TriBeCa rock venue in question)
Lott builds on loops from his collection of sound fragments with piano,
violin, and other instruments, and the repeated, fractured phrases he
sings gradually pull the listener in. The eleven tracks, whose assigned
titles are bookended with “Prologue” and “Epilogue,” are structurally
more like motets than pop songs. “The soul of each song is merely a
simple chant,” Lott explains later. He eschews the verse–chorus model
“so none of the songs are actually songs in the definitive sense, in
that they are not binary forms.” The live set draws from the same
material, but introduces variations in tone, depending on the venue,
freeing Son Lux “to explore alternate applications of these simple
chants.” At the Knitting Factory, strings were replaced by heavy beats,
and Lott played conductor to his laptop, then hit the spacebar and
grooved like a DJ. The scene was part
college dance party and part teen-idol rock concert; with the
sound-responsive animation projections, it also hinted at a
multi-disciplinary art happening.
The large-scale ensemble
Alarm Will Sound is a semi-related case that provides some background
to a persisting quandary. Their latest project situated original
classical arrangements of well-known pop songs alongside straight
recitations of twentieth-century classical and avant-garde
compositions. To illustrate, the program of 1969’s March 22 performance
at the Kitchen opened with a Stockhausen excerpt, then breezed through
a few of Luciano Berio’s Beatles Songs, staged an original arrangement of Bernstein’s Mass Epistle: The Word of the Lord, returned from the intermission with an original Chamber Symphony,
some Stravinsky, an arrangement of the Beatles’ “Revolution 9,” then
left us with more Stockhausen. The series of earnest gimmicks is
intended to remind us that the rage and excitement over contemporary
composers’ use of electronic sounds and pop influences is an extension
of trends that began in the mid–twentieth century, when classical
composers and pop musicians became interested in what one another were
doing, in the face of Schoenberg’s insistence that art not be for all.
Children and Classical Music
Posted by admin on Wednesday, May 07 @ 06:11:24 EDT (17 reads)
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It’s often said that music has charms to soothe the savage beast.
Sure. Sure. Sure. What about fussy children?
Michelle
Snyder has developed a program to introduce children to classical
music. Her selections include music for relaxation, play, studying and
getting ready for bed.
“I remember seeing The Nutcracker
as a child,” says Snyder, now an academic adviser at Brigham Young
University. “In developing the music program for children, I thought
how Tchaikovsky’s music affected me the first time I heard it. I wanted
to share that wonder and delight with others.”
The trick is to
find music that’s engaging, but not overwhelming for children –
Beethoven’s Fifth Symphony didn’t make the cut. For accomplished
listeners, Snyder’s selections may read like the Top 40 Hits of Bach,
Chopin, Debussy, Mozart, and Saint-Saens, but this misses a basic
point: for most children, the music is a new experience.
“Classical
music can help children focus or relax,” Snyder says. “I think children
are intrigued by classical music and want to learn more about it. Most
begin to show interest between ages six and eight.”
Latest mash-up: COC and hip hop
Posted by admin on Wednesday, May 07 @ 06:00:41 EDT (10 reads)
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f you had to pick a pair of musical genres furthest apart from each
other, opera and hip hop would be a fairly safe bet. One thing they do
share is sizable purist fan bases, which, whether they use the phrase
or not, prefer practitioners to keep it real. Nonetheless, these
star-crossed genres are coming together in a performance called The Hip Hopera, a new collaboration by the Canadian Opera Company and the Royal Conservatory of Music.
Posted by admin on Thursday, May 01 @ 00:00:00 EDT (15 reads)
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by Alison Smale
Paris wallows in so much physical beauty that many visitors and
residents are content to pass Sunday merely strolling along the Seine
and admiring the architectural wonders that make this the most popular
tourist spot on earth. But a mere feast for the eye — or, indeed, the
stomach, given French cuisine! — is not always sufficient sustenance.
Great classical music is a bit harder to find. You have to know where
to look:
One of my favorites is the Theatre du Chatelet, which has concerts
every Sunday from late September thorough June at 11 a.m. A huge
soaring theatre in the 19th century style so typical of Parisian
theatres, the performances are genuinely high class and good value,
with tickets priced at 12 to 23 euros. Last Sunday, I was privileged to
hear Alexei Ogrinchuk, a Russian oboist who studied in Paris and is now
chief oboist with the Concertgebouw orchestra in Amsterdam, playing
with the Belcea Quartet, four string players based in London who have
attracted considerable attention as an ensemble. There is nothing more
soothing for the soul than listening to Ogrinchuk — a virtuoso on this
often overlooked instrument — playing the Adagio in Mozart’s Quartet
for oboe and strings K370.
BARD SUMMERSCAPE - 2008 CELEBRATION OF “PROKOFIEV AND HIS WORLD”
Posted by admin on Wednesday, April 23 @ 04:14:10 EDT (120 reads)
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BARD SUMMERSCAPE CONTINUES ITS TRAILBLAZING PRODUCTIONS OF RARE OPERAS WITH DOUBLE BILL OF SUMPTUOUS STAGE WORKS BY POLISH COMPOSER KAROL SZYMANOWSKI – A MAJOR HIGHLIGHT OF THE FESTIVAL’S 2008 CELEBRATION OF “PROKOFIEV AND HIS WORLD”
SZYMANOWSKI’S OPERA KING ROGER AND HIS “PASTORAL DANCE” HARNASIE WILL BE PERFORMED BY THE AMERICAN SYMPHONY ORCHESTRA, CONDUCTED BY LEON BOTSTEIN, IN PRODUCTIONS DESIGNED AND DIRECTED BY LECH MAJEWSKI, FOR FIVE PERFORMANCES OPENING JULY 25
ANNANDALE-ON-HUDSON, N.Y. – Bard SummerScape’s exploration of “Prokofiev and His World” will be enriched by productions of two rapturous works by Polish composer Karol Szymanowski – a contemporary and friend of Prokofiev’s – opening Friday, July 25 for a run of five performances through August 3. Under music director Leon Botstein, SummerScape’s resident American Symphony Orchestra will play both the acclaimed opera King Roger (The Shepherd) and Harnasie, a pastoral dance by the composer who is widely considered the father of modern Polish music. The Wroclaw Opera Chorus will perform, with Polish vocal soloists, and a children’s choir. Both works will be directed and designed by Lech Majewski.
OPERA AT BARD SUMMERSCAPE 2008
Karol Szymanowski: King Roger;
Harnasie Tadeusz Szlenkier, tenor (Harnasie
solo and Shepherd in King Roger)
Adam Kruszewski, baritone (King Roger)
Iwona Hossa, soprano (Roxane in King Roger)
Wroclaw Opera
Chorus
American Symphony Orchestra
Leon Botstein, conductor
Directed and designed by Lech Majewski
Sosnoff Theater July 25, 31, and August 2+ at 8 pm
July 27* and August 3 at 3 pm
Tickets: $25, $55, $75
Thursday Performance: $20, $45, $65
+ Round-trip transportation by coach for the August 2 performance
between Columbus Circle
and the Fisher Center will be available.
Reservations are required. Information: 845-758-7900.
* Opera Talk with Leon Botstein Sosnoff Theater, July 27 at 1 pm
Free and open to the public
BARD SUMMERSCAPE – TICKET INFORMATION
For tickets and further information on all SummerScape events,
phone the Fisher Center box office at (845) 758-7900 or
visit www.fishercenter.bard.edu
Special support for this program is provided by Emily H. Fisher and the Polish
Cultural Institute in New York.
Metropolitan Opera 2008-2009 Season
Posted by admin on Wednesday, March 05 @ 05:29:52 EST (2431 reads)
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The Metropolitan Opera Celebrates Its 125th Anniversary
Season with Six New Productions, Including the Met Premiere of John
Adams’s Doctor Atomic
Opening Night Gala on September 22 stars Renée Fleming performing three roles;
125th Anniversary Gala on March 15 features fully-staged scenes that recreate historic productions, conducted by James Levine;
Anniversary of Luciano Pavarotti’s death to be marked with free Verdi "Requiem" on September 18;
Final revival of Otto Schenk’s production of Wagner’s "Der Ring des Nibelungen" begins March 28;
Expansion of Met’s HD transmissions and educational initiatives;
Contemporary visual arts program to feature work by Jeff Koons and David Altmejd
New York, NY (March 4, 2008)—The Metropolitan Opera’s 2008-09 season will pay tribute to the company’s extraordinary history on the occasion of its 125th anniversary, while also emphasizing the Met’s renewed commitment to advancing the art form. General Manager Peter Gelb and Music Director James Levine jointly announced plans for the new season today, which will include six new productions, 18 revivals, the final performances of Otto Schenk’s production of Wagner’s Ring cycle, conducted by Levine, and two gala celebrations—featuring many of the world’s greatest singers, directors, designers, and conductors.
List of the radio broadcast for the Met in 2008-2009 season: NOVEMBER 29 LE DAMNATION DE FAUST DECEMBER 6 TRISTAN UND ISOLDE DECEMBER 13 THE QUEEN OF SPADES DECMEBER 20 THAIS DECMEBER 27 THE MAGIC FLUTE JANUARY 3 LA BOHEME JANUARY 10 LA RONDINE JANUARY 17 ORFEO ED EURIDICE JANUARY 24 (? TBA) JANUARY 31 RIGOLETTO FEBRUARY 7 LUCIA DI LAMMERMOOR FEBRUARY 14 EUGENE ONEGIN FEBRUARY 21 ADRIANA LECOUVREUR FEBRUARY 28 IL TROVATORE MARCH 7 MADAMA BUTTERFLY MARCH 14 RUSALKA MARCH 21 LA SONNAMBULA MARCH 28 DAS RHEINGOLD (RING CYCLE I) APRIL 4 L’ELISIR D’AMORE APRIL 11 DIE WALKURE (RING CYCLE I) APRIL 18 SIEGFRIED (RING CYCLE I) APRIL 25 GOTTERDAMMERUNG (RING CYCLE I)
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Copyright 2008
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Now Playing: Alban Berg Quartet - Quartetto Per Archi In Do Maggiore Op.76 N.3 "L'Imperatore" - I Allegro
Ryan Lott is a classically trained composer and pianist who has brought
the orchestration of minimalism and chant to a new stage: a dingy
TriBeCa rock venue’s basement room, where the symphony is formed
electronically, and melds seamlessly to hip-hop breakdowns with the
backing of a live rock band. This project is Son Lux, and the record
recently released under that moniker, titled At War with Walls and Mazes, explores the possibilities of chant and meditation.
BARD SUMMERSCAPE CONTINUES ITS TRAILBLAZING PRODUCTIONS OF RARE OPERAS WITH DOUBLE BILL OF SUMPTUOUS STAGE WORKS BY POLISH COMPOSER KAROL SZYMANOWSKI – A MAJOR HIGHLIGHT OF THE FESTIVAL’S 2008 CELEBRATION OF “PROKOFIEV AND HIS WORLD”
The Metropolitan Opera Celebrates Its 125th Anniversary
Season with Six New Productions, Including the Met Premiere of John
Adams’s Doctor Atomic
CLASSICAL MUSIC BROADCAST.COM is now available anytime and anywhere – on your Nokia mobile phone!