tag:blogger.com,1999:blog-21854768540750828732024-02-02T08:25:45.216-06:00Everything OperaNEWS AND FEATURES PERTAINING TO OPERA WITH OCCASIONAL NOTES ON BROADWAY AND MY OWN PERSONAL ADVENTURES AS A CLASSICAL SINGER.Tyler Bartonhttp://www.blogger.com/profile/17536805564835497095noreply@blogger.comBlogger130125tag:blogger.com,1999:blog-2185476854075082873.post-17487250588729475892019-05-31T17:50:00.000-05:002019-05-31T17:50:46.251-05:00"Stick To Singing:" A Primer on Civility Quite different from when I originally joined the online world in the mid-2000's, opera and classical music now enjoys some share of prominence on social media. Singers have adopted the platforms available to all of us to build their fan bases online, opera companies and orchestras have followed suit, and, of course, the record labels and representatives are not to be excluded. Opera and classical music is alive and well on the Internet, and those of us who enjoy them are perhaps more connected amongst ourselves and to those aforementioned entities now than we have ever been. Indeed, for those who have known me for a long while, this is cause to rejoice.<br />
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Singers tend to be especially active on social media. Over the years I have had the pleasure of becoming acquainted with many world class and regional professional singers through the likes of Twitter and Instagram. One of those singers is mezzo-soprano Isabel Leonard. Recently, she Tweeted an article from the New York Times that criticized President Trump's administration's alleged disregard for the environment and climate.<br />
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<blockquote class="twitter-tweet" data-partner="tweetdeck">
<div dir="ltr" lang="en">
Please read this. <a href="https://t.co/oIW8vd1blb">https://t.co/oIW8vd1blb</a> via <a href="https://twitter.com/nytimes?ref_src=twsrc%5Etfw">@nytimes</a></div>
— I s a b e l (@IsabelLeonardNY) <a href="https://twitter.com/IsabelLeonardNY/status/1133194707109109762?ref_src=twsrc%5Etfw">May 28, 2019</a></blockquote>
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One of her followers was obviously displeased at this, so he elected to respond with, "Stick to singing." Even if we completely ignore how rude such a statement is on its own merit, the philosophy behind it deserves some examination.<br />
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This sort of attitude toward singers from any of us neglects the fact that opera singers are not merely singers; they are people who have thoughts, emotions, and ideas to share with us. Since not all people are the same with uniform ideas, preferences, or values, it is only understandable that even opera singers are bound to share something that stands in conflict to something you believe. Instead of snuffing out those human differences, focus more on embracing the common joys we hold dear. Is it too much to ask that we perhaps respect the human more than we do their talents?<br />
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I assure you that Ms. Leonard and I would probably find ourselves in disagreement on a variety of matters, and there are manners in which we can respectfully disagree. Those differences, however, have nothing to do with the admiration I have for her as a person with an enormous heart, constant kindness toward so many, and infectious joy that she regularly shares. The fact that she is an opera singer is simply icing on the cake, as the colloquial phrase goes, and for her to "stick to singing" would deprive all of us of one of the most interesting people we could hope to enjoy.<br />
<br />Tyler Bartonhttp://www.blogger.com/profile/17536805564835497095noreply@blogger.com0tag:blogger.com,1999:blog-2185476854075082873.post-80980107922082797182018-01-09T00:23:00.000-06:002018-01-09T00:23:17.092-06:00This Month at Carnegie Hall: January 2018 As I recently mentioned on social media, with the resurgence in popularity that blogging seems to currently enjoy since the last time I elected to leave this corner of the Internet for more promising locales in my pursuit of the opera, classical music, and Broadway, I have decided it is time to pursue an endeavor in blogging again, and it fittingly comes with the beginning of a new year. Furthermore, it is now more commodious than it was in the past for me to keep abreast of developments in the arts with the increasing use of social media to announce performances, concerts, recitals, and even the everyday adventures of those whom such events involve. Because these things are now so readily accessible to me, if it is not too great a strain to my performing and teaching commitments, it is my hope to make such things easily accessible to either those who might not otherwise know where to look to find such developments or those who seek to visit a more streamlined place in which to discover them.<br />
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Though I shall admit that I have quite become a citizen of the modern age and embraced much of what the Internet offers under the guises of convenience and community, there yet remain many things from an older time that I still very much enjoy. One of these things is physical mail. E-mail, even after almost a decade of serving me, has yet to overshadow the proficiency or elegance of its analog equivalent, and I remain very much pleased by this. Of course, I do not receive nearly as much handwritten correspondence these days as I should like, and much of the rest of it involves "junk mail," but there are a few glimmers of joy left within it, nevertheless.<br />
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Among the usual rubbish fodder every month, there also comes to me a brochure from Carnegie Hall. For every month of the year, I receive an index of all of the performances held in the concert venue in New York, and, mind you, astute reader, I have never even entered the building, let alone witnessed a performance there. However, much to my monthly delight, the place continues to send me guides to its schedule for each month of the year. When I receive it, I read its pages from cover to cover and make mental note of which performances advertised would be most to my musical interests and tastes. Since I do this on a somewhat regular schedule, I thought this sort of information might prove both useful for visitors and residents in New York and supplemental to those who might be curious regarding my musical tastes. Of course, it also seemed like a decent form of content that I could periodically add to this blog in the event that anyone might be interested.<br />
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<b>January 16 -- 8:00 </b>Guildhall Artists in New York<br />
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<b>January 17 -- 8:00 </b>Royal Concertgebouw Orchestra; Daniele Gatti<br />
Wagner: Prelude to Act III and Good Friday Spell from<br />
<i>Parsifal</i><br />
<i> </i>Bruckner: <i>Symphony No. 9</i><br />
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<b>January 18 -- 8:00 </b>Royal Concertebouw Orchestra; Daniele Gatti<br />
Janine Jansen, Violin<br />
Bruch: <i>Violin Concerto No. 1</i><br />
<i> </i>Mahler: <i>Symphony No. 1</i><br />
<b> </b><br />
<b> January 19 -- 8:00 </b>Denis Matsuev, Piano<br />
<i> </i>Beethoven: <i>Piano Sonata No. 31 in A-flat Major, Op. 110</i><br />
<i> Piano Sonata No. 17 in D Minor, Op. 31, No. 2,</i><br />
<i> "The Tempest"</i><br />
<i> </i>Tchaikovsky: <i>Piano Sonata in G Major, Op. 37</i><br />
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<i> </i><b>January 19 -- 7:30 </b>Robert Mealy and Friends<br />
Robert Mealy, Violin<br />
Avi Stein, Harpsichord<br />
Charles Weaver, Theorbo<br />
Beiliang Zhu, Cello<br />
<i>The Early Moderns: The Invention of the Sonata</i><br />
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<b> January 20 -- 8:00 </b>Jonas Kaufmann, Tenor; Helmut Deutsch, Piano<br />
<i> </i>Schubert: <i>Die Schöne Müllerin</i><br />
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<i> </i><b>January</b><i> </i><b>21 -- 2:00 </b>Janine Jansen, Violin; Jean-Yves Thibaudet, Piano;<br />
Dover Quartet<br />
Debussy: <i>Violin Sonata</i><br />
<i> </i>Grieg: <i>Violin Sonata No. 2</i><br />
<i> </i>Chausson: <i>Concert for Violin, Piano, and String</i><br />
<i> Orchestra</i><br />
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<b> January 23 -- 8:00 </b>The Cleveland Orchestra; Franz Welser-Möst<br />
<i> </i>Johannes Maria Staud: <i>Stromab</i><br />
<i> </i>Mahler: <i>Symphony No. 9</i><br />
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<i> </i><b>January 24-26 </b>Marilyn Horne Masterclass; Graham Johnson<br />
<i> </i>Masterclass; Renée Fleming Masterclass<br />
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<b>January 24 -- 8:00 </b>The Cleveland Orchestra; Franz Welser-Möst<br />
Golda Schultz, Soprano<br />
Maximilian Schmitt, Tenor<br />
Thomas Hampson, Baritone<br />
The Cleveland Orchestra Chorus; Lisa Wong<br />
Haydn: <i>The Seasons</i><br />
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<b> January 28 -- 3:00 </b>Marilyn Horne Song Celebration<br />
Nicole Cabell, Soprano<br />
Susanna Phillips, Soprano<br />
Beste Kalender, Mezzo-Soprano<br />
Isabel Leonard, Mezzo-Soprano<br />
Leonardo Capalbo, Tenor<br />
Russell Thomas, Tenor<br />
Lester Lynch, Baritone<br />
Edward Parks, Baritone<br />
Warren Jones, Piano<br />
Martin Katz, Piano<br />
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<b>January 28 -- 7:30 </b>Yale in New York: <i>Reflections from the Second Viennese</i><br />
<i> School</i><br />
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<i> </i><b>January 30 -- 8:00 </b>Stephen Hough, Piano<br />
<i> </i>Debussy: <i>"Claire de lune" from Suite bergamasque:</i><br />
<i> Images, Book II</i><br />
<i> </i>Schumann: <i>Fantasy in C Major, Op. 17</i><br />
<i> </i>Debussy: <i>"La terrasse des audiences du clair de lune"</i><br />
<i> from Preludes: Book II; Images, Book I</i><br />
<i> </i>Beethoven: <i>Piano Sonata No. 23 in F Minor, Op. 57,</i><br />
<i> "Appassionata"</i><br />
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I hope some of these performances cause excitement for the possibility of music performed with new vigor and wonder amongst all of you, dear readers, and I do hope this return to posting to this blog brings joy to any who return here or who read my posts for the first time. Since the year is only recently begun, allow me to leave you by saying that I hope 2018 is filled with excursions in musical excellence for all of us. If you visit one of the above performances, do leave a comment below sharing the experience with the rest of us!<i> </i><br /><i></i>Tyler Bartonhttp://www.blogger.com/profile/17536805564835497095noreply@blogger.com0tag:blogger.com,1999:blog-2185476854075082873.post-33870897450410811692015-04-07T20:21:00.000-05:002015-04-09T23:29:20.130-05:00Due to "Potentially Offensive Political Views" Toronto Symphony Cancels Valentina Lisitsa's Performance Days Prior to the Concert<blockquote class="twitter-tweet" lang="en">
Dear friends, I need your help! Please make a stand with me for the freedom of speech! <a href="https://t.co/7Aep5ajkAO">https://t.co/7Aep5ajkAO</a> <a href="http://t.co/Owi6uP4Cg2">pic.twitter.com/Owi6uP4Cg2</a><br />
— NedoUkraïnka (@ValLisitsa) <a href="https://twitter.com/ValLisitsa/status/585089517436145664">April 6, 2015</a></blockquote>
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Ukrainian - American pianist Valentina Lisitsa is the very definition of a virtuoso artist. She plays the repertoire from which most pianists shy. The works of Liszt, Rachmaninoff, and Chopin are among her most sought after performances, and she has developed quite a name for herself on the concert circuit around the world. Almost all of her recordings are available on YouTube from her official channel, and she shares her talent gladly with any who appreciate it. Watching her play Liszt's <i>Sonata in B Minor</i>, for example, gives us a small glimpse into her magnificent technical ability, which I daresay is scarcely equaled anywhere in the world.<br />
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Lisitsa is of Ukrainian birth and lived there for a time. At present Ukraine is torn by civil war with Russia, ever anxious at the expansion of an empire and thirsty for natural resources, backing one side of the fray, those who should like to see Ukraine once again a part of Russia. On the opposite side, there are those who love Ukraine's independence from Russia, yet many of them love independence and crave foreign aid or belonging to a greater entity such as the European Union or NATO. What does this have to do with Lisitsa, you ask? Since the uprisings in 2014, <a href="https://twitter.com/ValLisitsa">her Twitter account</a>, in addition to promoting her work, has been a voice commentating on the situation in Ukraine, and she has done so prominently for over a year now. Just as an American, Canadian, or British expatriate might do, she has commented on the state of her native land to the world through Twitter.<br />
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It came to light Monday that the Toronto Symphony, possibly Canada's best and most known orchestra, had canceled Valentina Lisitsa's performances of Rachmaninoff's <i>Piano Concerto No. 2</i> for April 8 and 9, 2015. According to Toronto Symphony's president, Jeff Melanson, Ms. Lisitsa's appearance was canceled due to "ongoing accusations of deeply offensive language by Ukrainian media outlets." However, reports of an e-mail to Lisitsa's agent said that original missive was quoted as reading, "the Toronto Symphony Orchestra received some messages from ticket buyers and others expressing concern over pianist Valentina Lisitsa’s public political statements<i>," </i>so it may well prove that offensive language has turned into unpopular political statements. From <i>Slavyngrad.com, </i>a source with which I am highly unfamiliar and not overly likely to believe as of yet, it is also reported that the e-mail went even further to accuse Valentina of publicly inciting hate, which is, apparently, against the law in Canada. It is also alleged that a brief from the Toronto Symphony's counsel with the firm Borden Ladner Gervais, LLP, and copies of her Tweets were attached to this e-mail to her agent as cause for the cancellation.<br />
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In response to this shocking decision from the Toronto Symphony, many at Lisitsa's behest took to social media to argue whether or not she had made statements to the gist of what many had accused her of doing. I have followed her on Twitter for years now. Have I seen some morbid Tweets from her? On occasion, yes, I have seen some Tweets that are distinctly against a certain political presence operating in Ukraine. Much of what she Tweets is repeated from some news outlet, public figure, or general feeling in that part of the world, and is not necessarily indicative of her stance on anything. Insofar as I am aware, Valentina wants only for the Russians to cease trying to reclaim Ukraine through force or election and for these United States and the European Union to cease attempting to use Ukraine as a strategic piece in a political game for whatever end. If that is truly her stance, I can easily respect it. I may not agree with her entirely in how she makes her argument or in her reasoning for it, but it is a position I can respect.<br />
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However, the real issue at hand is not what political affiliation or beliefs one shares with the world. Focus on this portion of this matter is a diversion and distraction from the true issue at hand. Does the Toronto Symphony Orchestra fancy itself to be the judge of correct speech in any capacity? Moreover, does the Toronto Symphony Orchestra believe it holds the key to understanding appropriate political stances and those who may disagree are unwelcome to collaborate with it? If this is the case, is the Toronto Symphony taking a stand to never play the music of Wagner? Shall Valery Gergiev, close friend to Russian President Vladimir Putin, who is certainly by no account the most popular man in the world at present, be dismissed from future concerts? Is Anna Netrebko barred from performing with the Toronto Symphony Orchestra due to her support of Putin? Dear readers, this decision from the Toronto Symphony is in direct contradiction to the aims and ideals of the arts, which is to collaborate together, despite political affiliation, despite nationality, despite disagreements, to create something of beauty. Moreover, who is the Toronto Symphony to dictate what a person may or may not say? Is freedom of speech no longer a basic human right? To the Toronto Symphony, I say that I am ashamed of its behavior in this case, and the relative lateness of this action indicates two points to me. To release the decision as close to the performance date as it did, the administrative branch of the orchestra did so to create as little a scene as possible in the public eye so that the episode might go unknown, but they kept Lisitsa on the schedule for as long as possible to attract as many ticket sales as they could at the cost of her immense fame throughout the world. Such behavior is most discourteous and reproachful to both the patrons and the artist.<br />
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In examining the decision to cancel Lisitsa's performance, one final point must be brought to the forefront. Lisitsa was scheduled to visit Toronto for one purpose only, which was to play Rachmaninoff's music. She has hardly any opportunity to speak before the audience within the Toronto Symphony's venue, nor has she made a history of doing so in her previous concerts. The line of separation between whatever her personal views are, views to which she is freely entitled as a member of humanity, and her performances has remained clear in all of her performances. If she wanted to make a statement regarding Ukraine or anything at all, she could and does make it more effectively through her social media following, which has one of the most devoted bases of supporters of diverse backgrounds and composition. To insinuate that Lisitsa might make some political statement during her performance is complete disregard of the facts concerning the matter and a grievous error in logic to the point of inane fallacy on the part of the Toronto Symphony. Let it be known, dear readers, friends, and acquaintances, that the Toronto Symphony Orchestra does not value freedom and fancies itself a better gauge of what is right, appropriate, and good than every other orchestra in the world with which Valentina has played without political outburst or incident. Toronto is shamed by this decision.<br />
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I say, #LetValentinaPlay.<br />
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--Tyler.<br />
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Sources:<br />
<a href="http://www.theglobeandmail.com/arts/music/ukrainian-born-soloist-dropped-from-tso-for-her-political-views/article23812295/" target="_blank"><u><i>The Globe and Mail</i></u></a><br />
<a href="http://www.thestar.com/news/gta/2015/04/06/tso-yanks-ukrainian-born-pianists-shows-after-talk-of-deeply-offensive-comments.html" target="_blank"><u><i>The Toronto Star</i></u></a><br />
<a href="http://slavyangrad.org/2015/04/06/the-toronto-symphony-orchestra-silences-valentina-lisitsas-music/"><u><i>Slavyngrad.com</i></u></a><br />
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<u>UPDATE:</u><br />
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<blockquote class="twitter-tweet" data-partner="tweetdeck">
Faced with a barrage of criticism <a href="https://twitter.com/TorontoSymphony">@TorontoSymphony</a> is forced to cancel Rachmaninoff altogether. <a href="http://t.co/CxmcIa7sns">pic.twitter.com/CxmcIa7sns</a><br />
— NedoUkraïnka (@ValLisitsa) <a href="https://twitter.com/ValLisitsa/status/585645818062966784">April 8, 2015</a></blockquote>
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Due to the negative reaction to the Toronto Symphony Orchestra's disdain for the freedom of speech and its arrogant self-appointed status of political appropriateness, it has canceled the performance of Rachmaninoff's <i>Piano Concerto No. 2</i> that was to have been paired with Mahler's <i>Fifth Symphony.</i><br />
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<u>UPDATE APRIL 9, 2015:</u><br />
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<i> </i>Despite the Toronto Symphony's despicable, totalitarian behavior, Valentina Lisitsa shall still perform in Toronto. Tomorrow evening, Friday, April 10, 2015, Lisitsa will give a free concert at Lawrence Park Community Church. According to a conversation on her Twitter account, Lisitsa had secured an alternate venue previously, but she was later barred from performing there, as well, when all of the press began to appear on this subject. This report of her forthcoming performance is confirmed by <a href="http://www.ctvnews.ca/canada/ukrainian-born-pianist-barred-by-tso-says-she-ll-play-free-concert-1.2320098?hootPostID=6bc1c3bf2bdbaaa3029d736e3c7bf3ef" target="_blank">The Canadian Press</a>. Furthermore, Lisitsa's performance with the Calgary Philharmonic in June is still scheduled. I suppose the Toronto Symphony finds that orchestra morally inferior to itself.<br />
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<u>UPDATE APRIL 9, 2015, P.M.</u><br />
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BREAKING: Apparently, the pastor of the Lake Park Community Church says that Valentina Lisitsa never had authorization to use his church as an alternative venue for a free concert to be given tomorrow. Read the Tweets:<br />
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<blockquote class="twitter-tweet" data-partner="tweetdeck">
Sir, please tell us - we're you threatened? Why such a change of mind? This is devastating. <a href="https://twitter.com/DrJohnSuk">@DrJohnSuk</a> <a href="https://twitter.com/LPCCtoronto">@LPCCtoronto</a><br />
— NedoUkraïnka (@ValLisitsa) <a href="https://twitter.com/ValLisitsa/status/586371562007355392">April 10, 2015</a></blockquote>
<script async="" charset="utf-8" src="//platform.twitter.com/widgets.js"></script> Is there anyone who will stand and support the right to freedom of speech in Toronto? I do not know who made the error, told an outright lie, or else reversed his or her decision, but I am saddened to see this sort of behavior in Toronto. It greatly affects my desire to ever want to visit its world-class symphony and city.<br />
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As Tweets continue to develop, and the situation unfolds, it appears that Dr. John Suk, who, from his Tweets in response to Lisitsa, claims to be the minister of the Lake Park Community Church, is himself stating that the performance will not be allowed at his church in Toronto. A Tweet he wrote in response to Lisitsa's inquiry of whether or not he had been threatened exhibits a curious bit of detail about this affair. Read for yourself, dear friends and acquaintances:<br />
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<blockquote class="twitter-tweet" data-partner="tweetdeck">
<a href="https://twitter.com/ValLisitsa">@ValLisitsa</a> <a href="https://twitter.com/LPCCtoronto">@LPCCtoronto</a> They left a message on the phone after the manager left for the day, and proceeded without a reply. Most irregular.<br />
— John Suk (@DrJohnSuk) <a href="https://twitter.com/DrJohnSuk/status/586372579897843712">April 10, 2015</a></blockquote>
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As you read in the Tweet, Dr. Suk divulges a bit of odd information, and when one combines it with his initial response to the concert announcement from Lisitsa, an understanding of events gets rather muddled. Prior to his original Tweet, Lisitsa's concert announcement on Twitter came from her personal account approximately three and one-half hours before he responded. Answering Lisitsa's question, he replies that the manager in charge of facilities rental was out when the message was left and that no one ever returned the inquiry for booking. However, by saying it "is not happening," he suggests that he is one in authority to make a decision on whether or not the space is rented to anyone. Professing knowledge of the message, then, why did he choose to publicly confront Lisitsa to tell her the concert was canceled? Presuming the call had to have been made some time prior to the press release from CTV News and The Canadian Press, he simply refused to contact her agent or whatever third party represents her in this matter of finding a venue? Such is an utter lack of professionalism and etiquette at the very least, and, at the worst, it could very well be construed to indicate some ulterior motive or agenda is at work or that he was, indeed, threatened or harassed to deny permission for Lisitsa to perform, which Dr. Suk denies.<br />
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Nevertheless, this Tweet slightly contradicts a statement Dr. Suk is said to have e-mailed to The Canadian Press. From their updated article, <a href="http://www.ctvnews.ca/canada/toronto-church-says-it-won-t-allow-performance-by-pianist-barred-by-tso-1.2320098?hootPostID=6bc1c3bf2bdbaaa3029d736e3c7bf3ef" target="_blank">CTV News reports</a> that Suk assures them that the concert announcement comes about as a result of someone else renting the sanctuary for Lisitsa's use, which he claims the church will not allow. Now, if the message regarding inquiry of renting the sanctuary went unreturned, and the concert announcement was made without having secured the venue, then how could someone else have rented the sanctuary on Valentina's behalf? He obviously knows there was an inquiry made, for he admits as much, yet he denies permission was given via Twitter, and delivers a press release saying permission was given, but to someone else? Something sounds dishonest here, and I am sorry to say as much regarding a church and its leaders. Dr. Suk has some explaining to do. Thus far, he has declined to comment in response to my inquiries made to him through Twitter.<br />
<script async="" charset="utf-8" src="//platform.twitter.com/widgets.js"></script>Tyler Bartonhttp://www.blogger.com/profile/17536805564835497095noreply@blogger.com7tag:blogger.com,1999:blog-2185476854075082873.post-59054829514759268932015-03-18T09:45:00.000-05:002015-03-18T09:46:08.592-05:00Why #BringKellysKidsHome Should Matter to Every American<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://igcdn-photos-e-a.akamaihd.net/hphotos-ak-xfa1/t51.2885-15/10963910_905615936150004_1734140162_n.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://igcdn-photos-e-a.akamaihd.net/hphotos-ak-xfa1/t51.2885-15/10963910_905615936150004_1734140162_n.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Image courtesy of www.instagram.com/kellyrutherford</i></td><td class="tr-caption" style="text-align: center;"><i><br />
</i></td></tr>
</tbody></table> For those readers who have steadfastly remained intrigued by my posts since my earliest days of authorship here in my corner of the Internet, you shall know from experience that I rarely deviate from the subject of opera within my humble musings for the purpose of this blog. However, I have been known on occasion to delve into other realms of the entertainment world, and this post counts for another rare foray there. Sometimes there comes an issue so important and so close to my heart that I cannot remain silent upon it, so I must pen some thought about it. For those who are acquainted with me through Twitter, you shall probably know that I customarily reserve my more public thoughts and opinions for its platform, for I revere my blog as a very specialized niche of my authorship, and it should be a disservice to my audience if I was to delve too frequently into other places without the world of opera. Nevertheless, as a matter of principle, I feel I must do so here, and I do hope that all of you shall continue to peruse this post despite this caveat. <br />
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I am the first to admit that the realm of popular culture is rather without the scope of my interests or expertise, but I am occasionally known to follow a popular venture in the form of entertainment, and from this there will stem interest in the artists and performers whose endeavors issue forth a finished product from time to time. Actress Kelly Rutherford became an interest of mine in recent years following her role in<i> </i>television's <i>Gossip Girl. </i>An initial admiration of her performance there soon grew into an appreciation for the kind, gracious person she consistently proves herself to be, and her promotion of <i>haute couture</i> in nearly every aspect of life is a most welcome one to me. A glance at her social media feeds supports this view of her, and I cannot say that I have ever noticed her to have so much as an insulting word to say against anyone. "Is she perfect," I hear the skeptics inquire. No, she is human, and I am certain that such a status begets a series of mistakes and imperfections in any of us, and, no, I am not naïve enough to believe that a considerable portion of what I see from her through the lens of social media is not there for the sole purpose of publicity in a favorable light. Nevertheless, from my limited interactions with her, and from the general knowledge I have, I believe her to be a gracious, genteel woman who presents her best efforts to be thoroughly courteous to all.<br />
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Rutherford married Daniel Giersch in 2006, and the marriage lasted until 2008, when a divorce was sought. The couple had been blessed with a son, Hermés Gustaf Daniel Giersch, and Rutherford was expecting a daughter at the time of the divorce, as well. Daughter Helena was born in June of 2009, and the family, though tensely split between two parents in a custody battle over the children, continued.<br />
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Throughout the custody proceedings, both Rutherford and Giersch made claims that most of us can agree were probably made more for the benefit of the press and publicity of the matter than anything else. Of course, I cannot assuredly say as much, for I am not well enough familiar with either party to make such an absolute claim, but I am not entirely bereft of knowledge pertaining to the effectiveness of the court of public opinion and the persistent reputation of one's image when one lives within the public light. There were assertions from Giersch that Rutherford withheld the information of his daughter's birth from him and that he only learned of it through media reports. Rutherford insists that she feared her children might have been abducted throughout the custody hearings, which is not an entirely unfounded concern in such cases. Other supposed legal minds of the Internet will also remind us of how Rutherford's legal team conveniently informed the State Department of Giersch's allegedly questionable business practices, which led to the revocation of his visa and subsequent deportation from the United States. However, these are red herrings insofar as we as Americans ought to be concerned, for they are of no bearing in the actual case that ought to be made in light of the result of the custody decision from an American court.<br />
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Originally, in 2009, custody was ordered to be jointly shared between both Rutherford and Giersch as a temporary arrangement until 2010. In April of 2012, a full two years following the initially agreed upon end of the temporary custody agreement, Giersch's visa was revoked, and he was deported based upon allegations of illegal business practices. Often, the story of the custody decision is told from this point without any insight into the importance of what this meant for the children, who are American citizens, but I shall not make such a grave error. Because Giersch was no longer permitted to enter the United States, it gave Rutherford <i>de facto</i> custody of the children on the condition they remained here in the United States, and this was the point Rutherford tried to use to ask the court to grant her sole legal and physical custody of the children. However, the Superior Court of the state of California decided this was unfair and ordered that the once temporary custody agreement remain in place. So that Giersch could exercise his joint custody, it was the decision of the court that the children must reside in France and that Rutherford would have to travel there to exercise her joint custody.<br />
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If we look beyond the sole issue of custody, we must soon come to the realization that the Superior Court of the state of California has effectively ruled that two citizens of the United States, citizens who are children, mind you, must be forced to reside without the country and surrender the rights of their native country to satisfy the temporary rights of a man who is not a citizen of the nation its decisions are supposed to represent and who cannot legally enter the country due to a quantity of enough sufficient evidence of illegal activity for the federal government to deny him visitation privileges to destinations within our shores. Therefore, even denouncing every claim Rutherford may have to substantiate her right to the custody of her children, the Superior Court of the state of California released a decision in utter disregard of the rights of the children, citizens to whom it owes the duty of legal representation and preference in its decisions.<br />
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To come at great length to the point of this post, why should this matter to Americans? What bearing does this case have upon any of us? Most of us will not marry a person of foreign descent, so our likelihood of being involved in a similar case is greatly diminished, many will argue. Be that as it may, we are faced here with an injustice against two American citizens and a mother, who is also an American citizen, to the benefit of one who has no right or granted privilege to be found in this nation. If it is not reversed, this decision is now given the benefit and almost unassailable legal credibility of precedent, which can then be applied in a myriad of interesting ways to the cases of today and the future. Will we as Americans stand for the violation of fellow citizens' rights? Let us hope we do not, for we, too, are then made subject to the will of a court with a safeguard for the interests of those who are other than Americans in mind in its decisions, a notion that is quite beyond the authority and scope of the American legal system.<br />
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In addition to the #BringKellysKidsHome campaign, Kelly also has become a staunch advocate of the Children's Justice Campaign. At its root, the Children's Justice Campaign seeks to introduce legislative alterations to the treatment of decisions regarding children in custody hearings in hopes of making the best decision for the child. At its heart, I support the Children's Justice Campaign; however, as one continues to read the research that accompanies this idea and the proposed conclusions we must make from this, which must then affect the legislation introduced, I cannot profess further support, nor do I believe it is the best resource our nation possesses to prevent cases such as this. The law as it presently exists protects the rights of citizens over citizens of foreign countries, and this case merely exhibits absolute disregard for the protection of the rights of citizens of our nation. If the Children's Justice Campaign were more acutely focused on this injustice and travesty, it should receive my full endorsement and support. As it presently exists, I reiterate that I quite agree with the founding principle of the organization, but my support is limited only to that.<br />
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As I conclude this narrative of events and commentary of thoughts, let us all pray for the safe and expedient return of Kelly Rutherford's children to their native country and that their rights as citizens of this great nation shall be preserved and defended by a higher court whose best of intentions are reserved for the people it is its duty to represent and protect. Let the legal behave as it should and side with the rule of law to #BringKellysKidsHome. I pray that all of you are marvelously blessed and that life continues in a state of joy for all of you.<br />
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--Tyler.<br />
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Source:<br />
<a href="http://abcnews.go.com/blogs/entertainment/2012/09/two-american-kids-shipped-to-france-in-one-of-the-worst-custody-decisions-ever/" target="_blank">ABC News</a><br />
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Tyler Bartonhttp://www.blogger.com/profile/17536805564835497095noreply@blogger.com8tag:blogger.com,1999:blog-2185476854075082873.post-21699818355310768062015-03-16T19:44:00.000-05:002015-03-16T19:44:48.688-05:00Lyric Opera of Chicago's 2015-2016 Season As spring dawns every year, the world of opera and classical music begin to present the following season's fares for the benefit of audience members who wish to plan their entertainment pursuits for the future. This spring is no exception, and Lyric Opera of Chicago recently made its 2015-2016 season announcement. The new season runs from September 26, 2015, to May 22, 2016, but it is only filled with nine productions. If productions are filled with casting gems and exciting works, this is a winning strategy for audiences who may wish to view a different cast in a production or who loved the production design enough to merit a second viewing. It seems very much an approach that favors quality over quantity, and I must say it has its merits.<br />
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The new season begins with Mozart's classic <a href="http://www.lyricopera.org/figaro/" target="_blank"><i>Le Nozze di Figaro</i></a>, an adored work by audiences everywhere. Though some will object to the length of the opera, and I respectfully count myself among these astute observers, it provides all of the ingredients a company desires in the possibility of a beloved triumph. All that remains for the company is to give it a stellar cast and a decent production. Since it opens the season, Mozart's comedy receives a new production by Barbara Gaines, and it features a cast anchored by Luca Pisaroni as the wary Count. To my knowledge, at least, here is where the recognition ends, for this production also features the Lyric debuts of two European singers with whom I am unfamiliar, who are Adam Plachetka as Figaro and Christiane Karg as Susanna. Amanda Majeski, plays the steadfast Countess, and Rachel Frenkel, also making her debut with Lyric, portrays the page who is smitten with love, Cherubino. Henrik Nanasi takes the podium.<br />
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Next in the season comes Rossini's <i><a href="http://www.lyricopera.org/cinderella/" target="_blank">La Cenerentola</a>, </i>and this is a run of performances I should not want to miss if I was near Chicago between October 4-30 later this year. Mezzo Isabel Leonard has lately been traveling with this fairytale princess to various houses around the world, and I believe she delivers one of the finest all-around performances of this character. She is joined by tenor Lawrence Brownlee in the role of Prince Ramiro, and this is, surprisingly, his Lyric debut. I have had the pleasure of seeing him perform live, and his voice is exquisite in these Rossini gems. Veteran baritone Alessandro Corbelli rounds out the cast as Don Magnifico, and Sir Andrew Davis leads the orchestra. Let us pause a moment to revel in Leonard's glorious talent.<br />
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Progressing forward, we find Alban Berg's <a href="http://www.lyricopera.org/wozzeck/" target="_blank"><i>Wozzeck</i></a> scheduled to open November 1, 2015. <i>Wozzeck </i>was once an opera one could rarely have opportunity to see, but it seems audiences have warmed to it a bit. It features an intense story and very layered characters. For this production Lyric brings German soprano Angela Denoke into the cast as Marie, and this has been a rather frequent role in her career, for she has sung it in Paris, Barcelona, London, and New York. Tomasz Konieczsy makes his Lyric Opera debut as the title character, and Gerhard Siegel also debuts as the Captain, but he and Denoke have performed this opera opposite each other in Barcelona in 2006, I believe. For the difficulty of the music, Wozzeck's tale may more than equate a reason to see this new production by Sir David McVicar. Sir Andrew Davis conducts this, as well.<br />
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Franz Lehar's <a href="http://www.lyricopera.org/widow/" target="_blank"><i>The Merry Widow</i></a> makes its opening in the 2015-2016 Lyric Opera season on November 14, 2015. Following very mixed reviews from audiences and a<i> </i>very gentle review from <i>The New York Times</i> for the Metropolitan Opera's New Year's Eve gala slot for it, soprano Renee Fleming takes the role of Hanna to Chicago to see if audiences appreciate it any more there. For those who have been visitors to my blog for a decent amount of time or who are acquainted with me through social media, it comes as no surprise that Renee Fleming remains my favorite soprano. Do I wish that she would cease to sing these operetta roles? No, I do not wish as much entirely. I simply wish that she would add some other role in addition to this relatively easy one to her season. Of course, she is on Broadway at the moment, so I suppose I must be content. As I consider it, is there anything she cannot do if she sets her mind to it? I think not. There are things she ought not to attempt again, but that is beside the point. She is one of the most diverse artists in opera, and she never ceases to impress me with new insights and revisiting previous roles I have long adored in her voice. Joining Fleming in this work are baritone Thomas Hampson, a thoroughly erudite and thoughtful artist, tenor Patrick Carfizzi, and soprano Heidi Stober. Soprano Elizabeth Futral replaces Renee later in the run. Sir Andrew Davis conducts here, as well. It shall be interesting to see how this production deals with the challenges of the Met's new one from Susan Stroman and if the performances garner a greater degree of praise from the public and the press.<br />
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Running from December 7, 2015, to January 17th, 2016, is the world premiere of Jimmy Lopez's <i><a href="http://www.lyricopera.org/belcanto/" target="_blank">Bel Canto</a>,</i> which is based on Ann Patchett's novel of the same title. Set in South America, the story begins during a vice president's birthday party. Famed American opera singer Roxanne Cross is performing for the affair, but terrorists seize the vice president's mansion. Roxanne, a Japanese electronics company chairman, and an interpreter are kept hostage since the president is not in attendance of this celebration, and romance blossoms under captivity. Danielle de Niese stars as the heroine, but do any of my readers share my wish that Renee might have given the premiere of this role? It does make sense since author Patchett, who is a close friend of Renee's in actual life, <a href="http://www.npr.org/programs/pt/features/fleming.html" target="_blank">based Roxanne Cross on Fleming herself</a>. Nevertheless, de Niese provides a marvelous draw to what otherwise might be an overlooked work of the modern canon. Countertenor Anthony Roth Costanzo and mezzo-soprano J'nai Bridges help fill this cast with attraction for at least my interest.<br />
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As he should in any opera season, Verdi also graces the Lyric stage with <i><a href="http://www.lyricopera.org/nabucco/" target="_blank">Nabucco</a>, </i>running from January 23 to February 16, 2016. Celebrated Verdi baritone Zeljko Lucic takes the stage as Nabucco. Soprano Tatiana Serjan, a voice with which I am unacquainted, stars as Abigaille, and mezzo soprano Elizabeth DeShong returns to Chicago as Fenena in this new co-production shared between La Scala, the Royal Opera Covent Garden, and the Teatro del Liceu, Barcelona. Carlo Rizzi leads the orchestra for one of Verdi's perhaps lesser known operas.<br />
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For its penultimate production of the 2015-2016 season, Lyric Opera of Chicago has elected to mount Richard Strauss's <i><a href="http://www.lyricopera.org/rosenkavalier/" target="_blank">Der Rosenkavalier</a>,</i> another opera some audiences may find rather too lengthy, but this time I am not among them. Oktavian has become the focus of this opera in recent years, and this is made even more apparent in the fact that this company has booked not one, but two star mezzo sopranos to fill this role. Both Sophie Koch and Alice Coote have been assigned to this beloved trouser role, and Amanda Majeski returns as the Marschallin. Bass Matthew Rose, a rather unknown star to me, sings Baron Ochs while tenor Rene Barbera cameos as the Italian Singer. Soprano Christina Landshamer makes her Lyric Opera debut as Sophie. The cast is led by Edward Gardner at the podium, who also makes his debut as maestro of the Lyric Opera Orchestra.<br />
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In a production that is new to Chicago audiences, Bartlett Sher gives us his interpretation of Charles Gounod's <i><a href="http://www.lyricopera.org/romeo/" target="_blank">Romeo et Juliette</a>,</i> and this may include the best cast of the season in my opinion. Joseph Calleja sings Romeo, the young man in love with soprano Susanna Phillips's Juliette, a young maiden of a rival family. My first impression is that these two shall make a tenderly affectionate and devoted stage couple about whom the world as they know it falls around them as their mutual attraction and feelings for each other become known. Tenor Eric Cutler will later step into the role of Romeo, which will be a most interesting contrast, I believe. Bass-baritone Christian Van Horn sings Friar Laurence, a role sometimes almost carelessly forgotten, and mezzo soprano Marianne Crebassa makes her Lyric Opera debut as Stephano. Emmanuel Villaume leads the orchestra in this tragic tale of forbidden love.<br />
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Presently, no single tickets are being sold, but, if you reside in the Chicago area, <a href="http://www.lyricopera.org/subscriptions/index.aspx" target="_blank">subscriptions for the forthcoming season are available. </a><a href="https://www.lyricopera.org/next/index.aspx" target="_blank">Student discount tickets</a> are also available for a mere twenty dollars, and Lyric also has a <a href="http://www.lyricopera.org/rush/" target="_blank">rush ticket program</a>, as well. The 2015-2016 season promises to be a pleasant and perhaps even surprising one in Chicago, and I would urge anyone to try to schedule a visit for a weekend of opera in this glorious city. As ever, my gratitude remains for your continued reading, and I pray that all of you may be continually blessed.<br />
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--Tyler.<br />
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Tyler Bartonhttp://www.blogger.com/profile/17536805564835497095noreply@blogger.com0tag:blogger.com,1999:blog-2185476854075082873.post-87020097738949319312014-12-23T23:20:00.000-06:002014-12-23T23:29:15.859-06:00Renee Fleming to Make Broadway Debut in 2015<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;"><i>(Image Courtesy of <a href="http://www.broadway.com/buzz/178973/brava-living-on-love-headlined-by-opera-star-renee-fleming-sets-broadway-dates-theater/" target="_blank">broadway.com</a>)</i></td></tr>
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It was announced yesterday that opera diva, and my personal favorite soprano, Renee Fleming shall make a debut on Broadway in 2015 in a new play. Entitled <i>Living on Love,</i> Fleming plays in a leading role she originated for the play's first performances. It follows the lives of two artists who are married to each other who each fall in love with their assistants, <a href="http://artsbeat.blogs.nytimes.com/2014/12/22/renee-fleming-to-star-in-living-on-love-on-broadway/?_r=0" target="_blank">according to <i>The New York Times.</i></a><br />
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Written by Tony Award winner Joe DiPietro, <i>Living on Love</i> takes its comedic drama from the tension between an opera star and her husband, a <i>maestro,</i> while the latter has been assigned a young female assistant to assist him in ghostwriting his autobiography. Naturally jealous, as divas tend to be portrayed, the diva hires her own male assistant to ghostwrite her own autobiography, and he is quite the handsome young man to cause her husband to notice their budding relationship.<br />
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Devoted <i>aficionadi</i> of Ms. Fleming's exquisite soprano voice shall be pleased to discover that the play does feature her singing at moments throughout the performance. Performances are scheduled to commence officially on April 20, 2015, but previews start rather earlier on the first of the aforementioned month at the Longacre Theatre, which presently plays host to the revival of <i>You Can't Take it With You, </i>which sees its final performance on February 2, 2015. With this scheduling, it comes just after Renee's starring in <a href="http://metopera.org/opera/the-merry-widow-lehar-tickets" target="_blank">Franz Lehar's <i>The Merry Widow</i>, which is a gala production for the new year at the Metropolitan Opera.</a> Of course, any astute observer of her career will note that this transition into assuredly lighter fare than even her last season at the Met undeniably denotes the recession of this glorious soprano's career upon the opera stage. My heart mourns for this product of reality, but I remain immensely grateful that I was blessed to see her perform in a veritable diva role in Gioacchino Rossini's <i>Armida</i> at the Metropolitan Opera in 2010.<br />
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For my part I am delighted to witness this foray into new artistic realms for my most cherished of opera singers who introduced me to this art form that I adore with such ardent passion, and I might even say that I am somewhat excited to see what opportunities this brings to her as the future continues to visit all of us. Hopefully, this shall prove to be a marvelous surprise for all of us who welcome it as a continuation of a favorite diva's continued career.<br />
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As ever, I pray all of my readers continue to remain amply blessed in every facet of life, and I keep all of you in my thoughts. If you are so inclined, feel at liberty to include your thoughts about this latter part of Fleming's career or your expectations for this play in the comments section below, and I wish all of you a merry Christmas!Tyler Bartonhttp://www.blogger.com/profile/17536805564835497095noreply@blogger.com0tag:blogger.com,1999:blog-2185476854075082873.post-81365942875753930012014-12-18T18:49:00.000-06:002014-12-20T01:23:13.792-06:00A Post for the End of Time: The Retirement of Anonymous 4.<div class="separator" style="clear: both; text-align: center;">
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It was a sad day a couple of weeks prior to this one when I read that the world's premiere female vocal quartet, and perhaps some shall say even ensemble, have decided that the 2014-15 season shall be their last as a performing group. Comprised of singers Ruth Cunningham, who also writes excellent program notes for the foursome's concerts, Marsha Genensky, Susan Hellauer, Jacqueline Horner-Kwiatek, and Johanna Maria Rose, the history of the ensemble spans 29 years, and they leave an impressive recorded legacy of more than twenty albums on the Harmonia Mundi label.<br />
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Formed in 1986 as a friendly endeavor one afternoon as the original four (Horner-Kwiatek replaced Cunningham later, who later returned to replace Rose.) gathered to read through some medieval polyphony, they decided to remain a group. They did not want to have a prescribed leader, which has been excellently exhibited in their music making ever after. Hellauer proposed the name for the group, which was initially met with opposition. Nevertheless, it remained, and it has been identified as among the gold standards of medieval music.<br />
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I was immensely blessed to witness this divine ensemble perform in my native city of Oklahoma City last early this year. Performing in a local Episcopalian church, a friend of mine from university and I attended the concert. The audience was not an especially capacious one for the venue, for there may have been 200 people in entirety who came to witness the performance. If memory serves me correctly, the cost of attendance for university students was a mere ten dollars, which I gladly paid, and I can safely say that I received much more than a fair value for such a paltry cost.<br />
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When the four ladies entered the sanctuary, we all applauded. They began the evening with medieval selections, and for the entirety of the first half prior to the intermission, a pin's drop could be heard throughout the place. Not one of us among the audience members dared move for the distraction it might create in opposition to the sublime music to which we were paying the utmost reverent attention. There was no applause, but this was not due to a lack of adulation from all of us; we simply did not wish to break the complementary silence between the chants. A more surreal evening I have never experienced, and the applause at the intermission was most grateful and ardent for the performers.<br />
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The second half included the groups signature, exquisite settings of traditional hymns. We applauded between each set of them, for they were organized in such a manner, and these performances were enough to make me wish that each Sunday was devoted to worship of God in such manner, for I should find it most difficult to discover a purer, more gorgeous form of praise to God than this evening certainly was. Rare are the occasions upon which a recorded artist sounds as perfect in live performance as it does upon its recordings, but I can assure you that there is no difference between the two instances in the case of Anonymous 4, and this concert is perhaps the very best I have ever attended.<br />
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Following the performance, we were all invited to purchase recordings from the ensemble, and who among us could possibly resist following such aural pleasure? I procured their latest at the time, <i>Marie et Marion.</i> I do not believe any of us wanted the evening to end. When we had finished making our selections, the group came forth and autographed everyone's copies, and they were even gracious enough to pose for a photograph with my friend and answered any questions we had during the autograph session. I informed them of my sentiment regarding the concert and my great desire to hear them live before having been blessed with the chance, and they were most gracious in proffering their gratitude to hear my intimations. It was one of those evenings one can only dream of having with a famous artist, yet here it was in reality.<br />
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As the group settles into retirement, I emphatically encourage you to attend a concert by Anonymous 4 if you possibly can. It is not an evening you shall regret, and, even though I should never otherwise advise it, I should even be so bold as to suggest neglecting one's homework for an evening to witness them in performance. You shall not be disappointed. Prior to complete retirement as a group, they are scheduled to release a final album for Harmonia Mundi. It completes an American trilogy from them and shall be entitled <i>1865. </i>Featured on this release shall be folk songs and parlor songs from the American Civil War era, and master fiddle, guitar, and banjo player and otherwise vocalist Bruce Molsky joins them in the creation and performance of this music.<br />
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I lament Anonymous 4's departure from the world of classical music, but I look forward to a brighter future when such music surrounds us all about God's throne in Heaven. Meanwhile, upon the Earth in the steadfast love of our Father, I leave you and wish all of you a merry Christmas.Tyler Bartonhttp://www.blogger.com/profile/17536805564835497095noreply@blogger.com0tag:blogger.com,1999:blog-2185476854075082873.post-76908441756278598822014-12-17T01:09:00.000-06:002014-12-17T01:09:05.963-06:00A Return to My Roots Dear readers, as the year of 2014 comes ever closer to its close, I find the desire within me to return to this blogging venture of mine for which I was known in earlier times. My reasons for this shall be explained in due course, but let me commence this post with expanding your knowledge of me a bit in the interim since my last post was published here.<br />
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I continue my pursuit of my university degree, and music continues to be my primary focus there; however, without the hallowed shrine of academia, I have developed other interests and passions, and I have followed these to other exciting opportunities and knowledge as time has progressed. Though it may have been slightly evident ere now, I have gained a keen interest in computer science over the past eight years or so, and it remains among my hobbies I continue to nurture in what precious little leisure time I may be said to possess. My time is principally divided by three obligations during my waking hours. These are either labors, for I am, thankfully, employed, studies in music, or else technology. Of course, I devote some time to entertainment, <a href="http://www.instagram.com/tylerbarton27">and I have learned to enjoy photography with my Canon XS DSLR</a>, but these former three pursuits comprise most of my schedule on any given day. As for technology, I have continued to learn much. If you did not have knowledge of it, I am a devoted Linux user. After some continuous frustration with not having adequate software for my media needs and the constant threat of viruses, I distanced myself from Windows 7 a couple of years ago, and I have rarely had cause to use it again thereafter. I migrated to Ubuntu 12.10, a generic, but feature-rich Linux environment that was easy for me to use and integrate into my life. As of now, I have tested at least five other Linux distributions and have used them to varying degrees of frequency for specific purposes. I feel at home in this UNIX-like system, and I do not intend to leave it soon.<br />
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Moving to opera, the very reason for which this blog exists in the first place, I must confess that I have not been so diligent in following it as I have formerly been. University does rather inhibit me, which should seem most illogical when consideration is given to the degree I strive to obtain in the field of vocal performance. However, having said as much, I have made a decent effort at keeping abreast of its developments through Twitter, where you can find me <a href="http://www.twitter.com/tylerbarton27">here</a> if you are so inclined. Many of the world's finest singers inhabit that virtual space, as well, and they include both veteran, classic artists with which my generation has grown in adoration in addition to new artists who are only now making their ways onto the world's stages. My list of followed accounts should point you in the right direction, and if you are looking for a broader representation of who I am than that which the limited scope of this blog provides, then you can also find that in my Tweets.<br />
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Arriving at this point in the post, the looming question yet remains. Why have I returned to blogging? My presence on the Internet has come almost full-circle. Twitter, my main outlet of expression and conversation in these times, has become too constrictive for me. It is difficult to say all that I want to intimate, and I should very much like to rearrange my priorities so that opera takes a greater prominence as it once held my attention better than all of my other interests. Furthermore, I hope to connect with my acquired friends and acquaintances on a deeper level and with a more genuine nature than the medium of Twitter affords. Twitter for me was ever supposed to act as a supplement to the content here, but it has taken over as the primary and sole communication method for me, which is quite unfair to my readers and terribly incommodious and often quite ineffective for sharing my thoughts thanks to its limited character allotment for the relation of a sentiment.<br />
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Of course, the main reason I left the blogging world was because of privacy concerns and the data collection activities of large conglomerates such as Google, which hosts my site here, and these concerns have not vanished; indeed, they have only intensified as time has continued. Because of this, I am looking at alternatives to the Blogger platform, the most enticing of which lies in self-hosting my own website.<br />
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There are exciting ventures before me that I hope to share with all of you, and I certainly hope that you shall find joy in learning of them. There may be a bit of maintenance done over the next few days regarding links in the sidebar and the like, but the future of this space appears promising for the nonce, and I am thoroughly overjoyed at using it for its intended purpose again. As Christmas visits us in yet another continued year of life upon this Earth, I pray that all of you are blessed and that God keeps you in the most benevolent of His graces.Tyler Bartonhttp://www.blogger.com/profile/17536805564835497095noreply@blogger.com0tag:blogger.com,1999:blog-2185476854075082873.post-11817372101704150092013-08-14T02:14:00.005-05:002013-08-14T02:14:15.756-05:00Forgoing Mediocrity for a Time: The 2013 Echo Klassik Award Winners Awards for achievements in music are plentiful. There are perhaps none so auspicious and yet openly mocked as the Grammy Awards of the United States, an award which still carries tremendous weight with its bestowment upon many an artist. However, it is rather a more difficult task to find music awards devoted exclusively to classical music. One award bearing a decent amount of prestige in at least recent years has been the Classical Brit Awards. This revered establishment saw its own demise when it embraced crossover ensemble Il Divo as its Artist of the Decade in 2010, and its name was swiftly altered to simply the Classic Brits. However, no facade is powerful enough to change the reality that it is a laughing stock among all who follow classical music.<br />
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<tr><td class="tr-caption" style="text-align: center;"><i> Joyce DiDonato with her Echo Klassik Award (Image courtesy of www.zimbio.com)</i></td><td class="tr-caption" style="text-align: center;"><i><br /></i></td></tr>
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Despite such a depressing situation in England, Germany presents us with the Echo Klassik Awards, which are to many the classical equivalent of the Grammy Awards. While the Grammy Awards do have categories reserved for classical music, these are threatened to be removed at any time if popularity for them should wane; the <a href="http://www.echoklassik.de/en/klassik-startseite/">Echo Klassik Awards</a>, being an offspring of the German Echo Awards for music that has developed into its own association, deal exclusively in classical music. Governing the awards on both accounts is Germany's music recording industry as the Academy of Recording Arts and Sciences does here in the United States for the Grammy Awards. The judges are comprised, according to the Echo Klassik Awards themselves, of distinguished politicians, arts and media personalities, and members of the Bundesverband Musikindustrie, the German equivalent of the aforementioned Academy.<br />
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<tr><td class="tr-caption" style="text-align: center;"><i>Cecilia Bartoli with an Echo Klassik Award in 2008 (Image courtesy www.zimbio.com)</i></td></tr>
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Begun in 1994, the Echo Klassik Awards, while they have become a standard for excellence, have not been so throughout the entirety of their history. During the turn of the century when the future of classical music seemed to be turning toward the crossover style with new sorts of performers such as Charlotte Church, Sarah Brightman who dabbled in it, and Il Divo, it was the Echo Klassik Awards that also embraced this ambitious, lucrative foray from record companies by awarding their distinguished prize to none other than Filippa Giordano, whose career is probably one of the worst products of this phenomenon. One of her early hits was her debut album she made that included such tracks as <i>O mio babbino caro </i>and <i>Casta diva,</i> and the worst part of it is that she comes from a classical music background. With record sales from Charlotte Church, Sarah Brightman, and Andrea Bocelli soaring, the Echo Klassik Awards bestowed one of its honors upon Giordano and allowed her to perform for the awards show in 2001.<br />
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Lest we should fear that the honor has devolved too far to be considered with any esteem, I am pleased to announce that we are not to be so disappointed, for in recent years the Echo Klassik Awards <i>alumni</i> have included such famed performers as Vittorio Grigolo, Renee Fleming, Cecilia Bartoli, Joyce DiDonato, and Danielle de Niese. The award winners for the 2013 Echo Klassik Awards were made known to me today, and <a href="http://www.echoklassik.de/en/klassik-preistraeger-2013/">the roster is interspersed with many glittering achievements.</a> The list of winners is somewhat lengthy, so I shall include the ones for which I am most excited and proffer the most congratulation. The awards ceremony is scheduled for October 6, 2013, at the Konzerthaus Berlin in Berlin, Germany.<br />
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<tr><td class="tr-caption" style="text-align: center;"><i>Danielle de Niese with her Echo Klassik Award 2008 (Image courtesy www.zimbio.com)</i></td></tr>
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<u>Female Singer of the Year:</u> Joyce DiDonato -- <i>Drama Queens</i>: One of the previous year's most anticipated releases due in part to DiDonato's performances in Donizetti's <i>Maria Stuarda,</i> this accolade is well deserved, and I am certain she shall be among the nominations for the Grammy Awards, as well, with this disc. Whether you shall believe it or not, I have still yet to hear this CD. All of you may henceforth disown me as an opera aficionado.<br />
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<u>Male Singer of the Year:</u> Jonas Kaufmann -- <i>Wagner:</i> In Kaufmann's final release for Decca prior to signing with Sony Classical, which did not seem a shrewd business maneuver for him to my knowledge of Sony's track record with representing and keeping artists, many were enamored with Kaufmann's foray into Wagner. Often praised by critics for his versatility in both the Italian and German repertoire, this award comes as little surprise to those who follow opera.<br />
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<u>Instrumentalist of the Year (Violin):</u> Leonidas Kavakos -- <i>Beethoven: The Complete Violin Concertos:</i> In a field as crowded with exceptional talent as that for the violin is, what sets this performer apart is his ambition to record such masterpieces as Beethoven's violin masterpieces. With an endeavor such as this, it is little wonder that Kavakos was voted to receive this award.<br />
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<u>Conductor of the Year:</u> Esa-Pekka Salonen -- <i>Lutoslawski: The Symphonies:</i> Salonen is one of the world's most exciting conductors with his attention to new music, his own compositions, and his expert readings of symphonic scores. Turning his baton to Lutoslawki's compositions proves his adventurous nature, and it is well time that these were recorded. Lutoslawski is also having some excellent hearings at the 2013 BBC Proms. If this composer is new to your ear, there has never been a better time than the present in which to acquaint your ear with it.<br />
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<u>Newcomer of the Year (Singer):</u> Julia Lehzneva -- <i>Alleluia!:</i> A release featuring sacred music from Mozart, Vivaldi, and Porpora among others, this debut from Lehzneva is promising. Her voice is round with an excellent lower register that gives her a distinct mezzo quality, but her top notes are joyous to hear, as well. This is a singer that is certainly one to follow with interest.<br />
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<u>Newcomer of the Year (Trumpet):</u> Tine Thing Helseth -- <i>Tine:</i> Taking the classical music world by storm is Norway's newest prodigy, Tine Thing Helseth. Her elegance and incessant charm look as if they are placing her on the track to following the success of Nicola Benedetti with her violin, and her performances are exquisite. Alison Balsom has a companion now in the stratosphere of trumpeters, and Helseth is an excellent champion of many styles of music for her instrument, which broadens her appeal immensely.<br />
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<u>Solo Recording of the Year/Voice (Duets/Opera Arias):</u> Elina Garanca -- <i>Romantique: </i>Garanca is well known for her gorgeous voice, and this repertoire is one of her specialties. As one expects, this release includes music by Debussy, Lalo, Tchaikovsky, Gounod, and Berlioz, but the beginning of the album is a piece from Donizetti, which seems out of place in such a program as this. Garanca's voice is, nevertheless, perfect for this repertoire, and I am elated to see her honored for what she performs best.<br />
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<u>Opera Recording of the Year (20th/21st Century Work):</u> Ian Bostridge -- <i>Britten: The Rape of Lucretia:</i> While erudite vocalist Ian Bostridge is equally at home in lieder, art song, Baroque music, or modern work, he excels in the music of Benjamin Britten. His voice is very much praised for its interpretative gifts in modern music, and it is not difficult to imagine why this recording was chosen to receive this honor.<br />
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<u>Opera Recording of the Year (19th Century):</u> Mariinsky Orchestra; Valery Gergiev; Nina Stemme -- <i>Die Walkure:</i> In the bicentennial of Wagner's anniversary of birth, it is fitting that one of his works should receive such an accolade as this, and Stemme is one of the foremost Wagnerian sopranos in the world today. She is blessed with an enormous voice, and her prowess as an actress leaves little to be desired. The Mariinsky Orchestra is very capable of producing some of the best readings of opera scores in the world, and Gergiev has proven himself on the podium time and again in Wagner's music. This may not have been a difficult choice for the judges to make, but that makes this recording no less deserving of praise.<br />
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<u>World Premiere Recording of the Year:</u> Cecilia Bartoli -- <i>Mision:</i> Ever a performer of exponential levels of excitement and dedication to her work, Bartoli is the reigning champion of world premiere recordings in my opinion. She never allows an opportunity to pass her, and she gives her heart and soul into every recording she creates. Her latest solo release is no exception to this trend, and this album caused quite the stir when it was learned that this world famous mezzo has shaven her head for the album's cover in homage to the fierce adherence that many orders of monks of old held to their beliefs and rites as novitiates of the Catholic church. Her technical skill alone deserves the Echo Klassik honor.<br />
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<u>Music Recording DVD of the Year:</u> Bryn Terfel; Jonas Kaufmann; Mojca Erdmann -- <i>Der Ring des Nibelungen:</i> Wagner seems to be sweeping the classical music festivals and awards this season, and here we have another recording to add to the list. This DVD is of the Metropolitan Opera's much heralded production by Robert Lepage. Though it has been fraught with its share of difficulties and cool reception by many critics, it is revolutionary in its concept, and though the cast listed on the announcement as the three performers in the heading are all who appear to be honored, Deborah Voigt, Jay Hunter Morris, Stephanie Blythe, Elizabeth Bishop, and Patricia Bardon made these broadcasts and these recordings superlative in their share of talent.<br />
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<u>Chmber Music Recording of the Year (19th Century) Mixed Ensemble:</u> Helene Grimaud; Sol Gabetta -- <i>Duo:</i> Ever since Grimaud parted musical company with maestro Claudio Abbado over <i>cadenze,</i> her musical interest seems to have taken her to more intimate settings insofar as music is concerned, and she teamed with cellist Sol Gabetta to record a new album of collaborative works for cello and piano with music from Debussy, Shostakovich, Brahms, and Schumann. Grimaud is one of the world's best talents at the piano, and Gabetta is honored with another award from the Echo Klassik Awards this year, which speaks volumes to her talent, as well. This is not a recording to be missed if it can be helped.<br />
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<u>Chamber Music Recording of the Year (17th/18th Century) Mixed Ensemble:</u> Jordi Savall; Hesperion XXI -- <i>Armenian Spirit: </i>If there was one ensemble to which I could listen for the remainder of my life, this early music consort led by the renowned, esteemed interpreter of the genre, Jordi Savall, should be it. They specialize in early music, and often tailor their programs to specific countries or heritages, and I can say without question that this recording is immensely deserving of this laud.<br />
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As you can veritably witness in this shortlist of mine, the Echo Klassik Awards do their best to maintain a high degree of excellence in electing recipients of their trophies. Yes, there are categories in which better candidates might have been chosen, but the variety of tastes in the world of classical music and opera can hardly all coalesce to produce results that shall please everyone in every respect. These artists all represent the best in their fields of classical music and opera, and I am anxious to see what talent the new generations shall bring to the Echo Klassik Awards as their history expands into the future. I proffer my gratitude to all of you for your continued perusal of my posts concerning the world of opera, and I am honored that you should devote your reading to my humble musings.Tyler Bartonhttp://www.blogger.com/profile/17536805564835497095noreply@blogger.com0tag:blogger.com,1999:blog-2185476854075082873.post-39527192470065225292013-08-07T17:34:00.000-05:002013-08-07T17:34:03.259-05:00Hidden Gems: Edinburgh International Festival 2013<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;"><i>(Image courtesy of 2012.eif.co.uk)</i></td></tr>
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Continuing in the vein of summer festivals throughout Europe, we turn our gaze from London to its norther cousin, Edinburgh, the capital of Scotland. It is not often that one considers this relatively unknown place when one considers the major cities of Europe, for its influence does not seem to extend beyond the realm of tourism within the history of England and perhaps France. However, we should be quite remiss to neglect a mention of it in any sphere of interest in classical music and operatic festivals. A glance over the programs scheduled for this year tells us that any attempt to dismiss it even by a small amount when comparing it to the host of other offerings on the continent this summer is a grave error in judgment. If we, as international travelers and ardent admirers of the most excellent performances of refined music that has stood the test of time and appreciation relegated upon it by the most revered of audiences over the past few centuries, could only visit one country, a word I use loosely to define the United Kingdom, there is arguably no better place in all the world to which we might journey than precisely there. If we had three months to spend there, we could enjoy most of the BBC Proms, and then we could make a pilgrimage to Edinburgh to catch the Edinburgh International Festival.<br />
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Running from August 9, 2013, to September 1, 2013, this year's calendar of events once again exceeds my expectations. Since this is often the case with this venue, I fear, dear most patient readers, that I am guilty of not granting the city of Edinburgh its due prominence in the world, and, if this is the regrettable case, I do hastily apologize for such an ignorance as this certainly must seem to you. If there are some who believe this to be true, please say as much in a comment, and I beseech you to bestow some light upon this for my benefit. As for the festival itself, where most festivals focus on a single realm of art, of which music is of primary interest to me, the Edinburgh International Festival juxtaposes the performing arts under its banner and gives us offerings of classical music, opera, theatre and drama, dance, and visual arts, which makes it an ideal booking for those with varied interests or for groups of people with diverse likings. Furthermore, for the more adventurous among us who strive to further the specific arts we love in the best way we can and to gain as much knowledge in so doing as is possible, there are talks and workshops from the experts in each category given for the benefit of the astute and inquisitive audiences these performances and exhibitions shall attract to them.<br />
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Before I proceed to this year's exceptional schedule and my personal favorites from its calendar, a look at its history is well in order. It was established in 1947 in auspicious fashion by none other than Sir Rudolf Bing, then general manager of Glyndebourne Festival Opera and later very famously and rather successfully general manager of the Metropolitan Opera, and Henry Harvey Wood, who had already secured himself a distinguished history with the BBC Proms. Begun with a broad envisage of enriching the cultural scene of Europe, which does, today, seem a trifle ambitious, the festival lives up to this standard even unto this day, and its duration of three weeks remains mostly unchanged from its beginning to present. It opened in its first permanent home, the Hub, Edinburgh Festival Center, in 1999. Since 2006, its director has been Jonathan Mills, and the caliber of recent seasons proves that he is certainly worthy of his post.<br />
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<tr><td class="tr-caption" style="text-align: center;"><i>The Hub, Edinburgh Festival Center (Image courtesy www.eif.co.uk)</i></td></tr>
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The 2013 season proves no less distinguished or anticipated than any other European festival's, and the varied nature of both performers and their repertoire shows that the festival caters to the broadest possible audience in music, at least. From the timeless elegance of the Baroque period of music to the niche popularity of Phillip Glass, any aficionado of classical music can be assured of finding at least a handful of concerts suited to his or her predilections in this art. While my personal preferences are inclined to lean more toward the former than the latter, I outline my what my ticket selections should be if I were blessed to be visiting Scotland within the next month.<br />
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<a href="http://www.eif.co.uk/gerhaher-huber"><u>Saturday 10 August 2013: Christian Gerhaher Recital:</u></a> As the <i>Guardian</i> informs us, Gerhaher is one of the supreme lieder artists of the modern age, and this concert is a chance afforded to us in which we may put this praise to the test of our ears. Baritone Gerhaher performs here in a program of Schumann songs, and Gerold Huber joins him at the piano.<br />
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<a href="http://www.eif.co.uk/fidelio"><u>Saturday 10 August - Monday 12 August 2013: Beethoven's <i>Fidelio:</i></u></a> Soprano Erika Sunnegardh, once destined for high hopes at the Met, portrays Beethoven's fortuitous and determined heroine trying to free her husband from prison. The remainder of the cast is unknown to my ears, but it includes Nikolai Schukoff as Florestan, Michael Eder as Rocco, and Valentina Nafornita as Marzelline. Of further worth mentioning is that this production from Opera de Lyon is a new one by Gary Hill in which the setting is a spacecraft hurtling toward infinity, a concept that is not without merit entirely.<br />
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<a href="http://www.eif.co.uk/tchaikovsky6"><u>Sunday 11 August 2013: Tchaikovsky's <i>Pathetique</i> and Beethoven's <i>Piano Concerto No. 4:</i></u></a> With the aid of the Bavarian Radio Symphony Orchestra, Dame Mitsuko Uchida plays Beethoven's fourth piano concerto, and conductor Mariss Jansons leads the orchestra in Tchaikovsky's <i>Symphony No. 6, Pathetique.</i><br />
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<a href="http://www.eif.co.uk/mahler2"><u>Monday 12 August 2013: Mahler's <i>Symphony No. 2:</i></u></a> The Bavarian Radio Symphony Orchestra makes another appearance at the festival this season featuring one of Mahler's best loved pieces, his <i>Resurrection Symphony.</i> The soloists are mezzo-soprano Anna Larsson and soprano Genia Kuhmeier.<i> </i><br />
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<a href="http://www.eif.co.uk/fink-spiri"><u>Tuesday 13 August 2013: Bernarda Fink Recital:</u></a><i> </i>Mezzo-soprano Bernarda Fink, heralded the world over for her interpretative gifts, visits Edinburgh to present works from great song literature including settings from Mahler's <i>Des Knaben Wunderhorn.</i> Also performing Debussy and others, she is accompanied by Anthony Spiri at the piano.<br />
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<a href="http://www.eif.co.uk/hannahstone"><u>Wednesday 14 August: Hannah Stone Recital:</u></a> The Royal Harpist plays a recital program that includes Bach and Prokofiev. Music from the harp is ever an interesting and delicate matter.<br />
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<a href="http://www.eif.co.uk/louvre1"><u>Wednesday 14 August 2013: Les Musiciens du Louvre Grenoble:</u></a> The exquisite ensemble that accompanied Cecilia Bartoli on her <i>Opera Proibita</i> release journeys to Scotland to deliver a pair of concerts. First among their scheduled programs is Schubert's first, fifth, and seventh symphonies, the last of which is unfinished. Marc Minkowski conducts, which is ever a thrilling sight to witness.<br />
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<a href="http://www.eif.co.uk/boud"><u>Wednesday 14 August 2013: Nicola Boud:</u></a> While one might not initially regard a clarinet recital as particularly thrilling, the course of this one is rather interesting to me. Australian clarinetist Nicola Boud takes us on a musical journey playing four different historical clarinets and showing how changes in the instrument's design influenced the music written for it and <i>vice versa.</i> She is joined by soprano Sabine Devieilhe, bassoonist Jane Gower, Sophie Gent on viola, and fortepianist Kristian Bezuidenhout in a concert program of Mozart, Schubert, Glinka, and Brahms.<br />
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<a href="http://www.eif.co.uk/louvre2"><u>Thursday 15 August 2013: Les Musiciens du Louvre Grenoble:</u></a> Minkowski and his orchestra return to the festival again playing Schubert. This time it is his <i>Symphony No. 3</i> and <i>Symphony No. 8.</i> This is new territory for my ears with this orchestra, and I am excited to hear these two concerts.<br />
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<a href="http://www.eif.co.uk/gura-berner"><u>Friday 16 August 2013: Werner Gura:</u></a> German tenor Werner Gura, a maiden voice to my ears, sings a recital including Beethoven's song cycle <i>An die ferne Geliebte</i> and Schubert's <i>Schlummerliede. </i>His accompanist is pianist Christoph Berner. Since my knowledge of German song is deplorably lacking it appears that this summer may well broaden my experience with it.<br />
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<a href="http://www.eif.co.uk/faurerequiem"><u>Saturday 17 August 2013: Faure <i>Requiem:</i></u></a> Baritone Sir Thomas Allen and treble Isaac Waddington perform what is arguably Gabriel Faure's most famous composition. Additionally the program includes works by Debussy, Schoenberg, and Webern. The music of the evening is made by the Scottish Chamber Orchestra under the baton of Robin Ticciati.<br />
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<a href="http://www.eif.co.uk/coe2"><u>Sunday 18 August 2013: Chamber Orchestra of Europe:</u></a> Under the direction of precocious and daring maestro Yannick Nezet-Seguin, who can make any orchestra into an electrifying ensemble through his rehearsals, the Chamber Orchestra of Europe, culled from the best players across the continent, plays Mozart's <i>Sinfonia Concertante in E-flat, K364, </i>Beethoven's <i>Symphony No. 7, </i>and Strauss's <i>Duet-Concertino.</i><br />
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<a href="http://www.eif.co.uk/roschmann-martineau"><u>Monday 19 August 2013: Dorothea Roschmann Recital:</u></a> In what is one of the most anticipated recitals to take place at this year's Edinburgh International Festival, at least to my interest, much lauded soprano Dorothea Roschmann, who is skilled in many varied fachs of repertoire, sings Alban Berg's <i>Seven Early Songs</i>, Schumann's <i>Liederkreis, Opus 39, </i>and a selection from Wolf's <i>Moricke Lieder.</i> Accompanying her for this exquisite recital is none other than pianist Malcolm Martineau.<br />
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<a href="http://www.eif.co.uk/nachtmusique"><u>Tuesday 20 August 2013: Nachtmusique:</u></a> I had a titillating taste of this concept when I heard Rene Jacobs's recording of <i>La Finta Giardineria</i> with the Freiburg Baroque Orchestra for Harmonia Mundi, and I enjoyed it immensely. Nachtmusique, a period instrument ensemble plays a host of works by Mozart for their appearance at the Edinburgh International Festival this year, and this promises to appeal to any devoted admirer of Mozart's splendid music or period ensembles.<br />
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<a href="http://www.eif.co.uk/rousset"><u>Wednesday 21 August 2013: Christophe Rousset and Les Talens Lyriques:</u></a> Harpsichordist and conductor Christophe Rousset plays a series of concerts for the festival this year, and for his first visit he presents us with a book of short pieces for solo harpsichord by Couperin. Since I am quite enamored with this instrument, this should be an exciting concert to hear, and its performance in Scotland is easily a laudable event.<br />
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<a href="http://www.eif.co.uk/bostridge-vogt"><u>Thursday 22 August 2013: Ian Bostridge Recital:</u></a> Tenor Ian Bostridge, who is among the most erudite of performers today, is gifted with a supreme gift for recital and chamber performances. His every nuance is excellently delivered, and the repertoire he has elected for the audience's ears is not to be missed. He performs works by Ives, Brahms, and Schumann, and famed pianist Lars Vogt joins him on the stage.<br />
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<a href="http://www.eif.co.uk/gens-manoff"><u>Friday 30 August 2013: Veronique Gens Recital:</u></a> One of the most sought after interpreters of Baroque music all of classical vocal music, Veronique Gens has built a solid reputation for herself as an exquisite singer. She brings her talent to songs of the Romantic period by Hahn, Faure, Duparc, Debussy, and Chausson. Her accompanist is Susan Manoff on piano. <br />
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<a href="http://www.eif.co.uk/verdirequiem"><u>Saturday 31 August 2013: Verdi's <i>Requiem:</i></u></a> In the 200th anniversary of Giuseppe Verdi's birth, there are no shortages of performances of his very operatic <i>Messa da Requiem,</i> but this is certainly an admirable addition to this specific catalog. Conducted by Scotland's foremost conductor Donald Runnicles, the soloists are soprano Erin Wall, mezzo-soprano Karen Cargill, tenor Bryan Hymel, and bass Eric Owens. The BBC Scottish Symphony Orchestra provides the music from the ominous score.<br />
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As my listing hopefully well depicts, the 2013 Edinburgh International Festival is certainly not to be missed. It boasts the best in talent for its engagements, and the quality of the artistry excels beyond expectations. Though these artists could easily rest upon their laurels for their concerts and recitals here, they elect to forge new musical paths and to take chances that an audience may or may not enjoy. This, however, is the fiber of what continues to make our beloved classical music appeal to us, and this festival receives every applause from me in this regard.<br />
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Moreover, for those of us who cannot attend this year's cultural celebration in Scotland, <a href="http://www.eif.co.uk/radio3">BBC Radio 3 is scheduled to broadcast a good many of these recitals and concerts</a> either live or on a future date, which is a marvelous benefaction to many, myself included among them, who shall gladly take the opportunity we are afforded to hear these otherwise hidden gems. In addition to the glittering roster of artists I have mentioned, there are a fair amount of others whom I failed to reveal due to the constraints of time and a certain trial of leniency upon readers who may grow weary of perusing such lengthy lists of concert dates.<br />
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As ever, I proffer my exceptional ingratiation to my loyal audience who continues to maintain some interest in my humble musings, and I do hope that you find these posts of mine informative in some manner. I leave you all to the divine providence of God, and I pray that all of you are and do pleasantly remain blessed. It is a privilege to write for you.Tyler Bartonhttp://www.blogger.com/profile/17536805564835497095noreply@blogger.com0tag:blogger.com,1999:blog-2185476854075082873.post-86905924473055109932013-08-01T02:38:00.000-05:002013-08-01T02:38:03.300-05:00What Is the Buying Power of $199 These Days? The Berlin Philharmoic's Digital Concert Hall's 2013-2014 Season There are not many of us in these present times who are untouched by the economic uncertainty and turmoil of inflation. If you, courteous readers, are without regard for such a calamity due to a life of affluence or luxurious wealth, I applaud your financial stewardship and acumen, and I stand in awe of your shrewd dealings. If, however, you are rather more related to me in such things, and you have a decidedly limited supply of capital to expend upon such a potentially trivial matter as entertainment, then this post shall have greater value for you.<br />
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Scarcely do I know anyone who can procure every classical music or operatic concert ticket he or she fancies, and it is often that I hear tales from even those who afford themselves some of the most exhaustive budgets for such things that they must abstain from a concert here or there because the expense is too great for their allowance. It is with even greater frequency that I am informed of younger people who usually inhabit the student class who lament that they wish they could attend concerts or other performances at the expense of eating, and there is ever the dilemma that plagues concert audiences as to which performance they should see when they are forced to obtain one ticket or another.<br />
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If you are fortunate enough to belong to the aforementioned class of students, there is some hope for you in this expensive world of refined entertainment. Many orchestras and opera houses, in an admirable effort to find more younger people to enhance and enliven their audiences, have introduced what are known as rush tickets. These are usually made available the day of the performance and can only be purchased in limited quantities with a student identification card. These usually come at a greatly reduced price, and they are generally excellent seats with a face value of over twice as much and oftentimes more. Of course, the value of the seat in more meaningful terms of sightline, accoustic situation, and other factors are superb, and, fear not, for it is my experience that your neighbors at either side of you usually never even guess that you paid a lesser amount than did they for such an exquisite evening's entertainment.<br />
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Yes, this maximizes your buying power to a certain extent, and if you budget well, and you reside in a locale that features a good many performances every season, this can be an excellent strategy to employ for seeing the greatest quantity of performances, but it is to no avail when a favorite performer of yours visits the venue you frequent, and the event has sold its last ticket months in advance. Furthermore, it does not, in most cases outside of the Metropolitan Opera of New York, apply to those who are graduated from their educational pursuits. What is to aid people in these cases?<br />
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It is here that we should do well to abandon the option of attending a live performance in the traditional sense and welcome the saving grace of the Internet to rescue us from the throes of grief that our limited budget of almost two hundred dollars can provide. Indeed, there are a great many offerings for live streaming of performances on the Internet. The <a href="http://www.bbc.co.uk/iplayer">BBC's iPlayer</a> service does a more or less excellent effort at broadcasting and streaming them to users worldwide mostly through audio, and there are free options such as <a href="http://www.sonostream.tv/">sonostream.tv</a>, which is built upon Microsoft's Silverlight video encoding platform, the same as Netflix's streams. <a href="http://www.medici.tv/" target="_blank">Medici.tv</a> grants subscription holders access to its catalog of over 1,000 on demand concerts and art films, but free users may access its "live" concerts for up to thirty days, and sometimes more, which makes it a worthy alternative, but there is a final option for us to consider.<br />
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<tr><td style="text-align: center;"><a href="http://static.guim.co.uk/sys-images/Guardian/Pix/pictures/2013/1/10/1357840563316/Sir-Simon-Rattle-008.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://static.guim.co.uk/sys-images/Guardian/Pix/pictures/2013/1/10/1357840563316/Sir-Simon-Rattle-008.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Sir Simon Rattle, Music Director of the Berlin Philharmonic Orchestra (Image courtesy of www.guardian.co.uk)</i></td><td class="tr-caption" style="text-align: center;"><i> </i></td></tr>
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Within the last couple of weeks, I received the <a href="http://www.digitalconcerthall.com/">Berlin Philharmonic's Digital Concert Hall</a> 2013-2014 season program guide. Since it is among distinguished conductor Sir Simon Rattle's final seasons with this exceptional world-class orchestra, I was intrigued to discover what masterpieces had been included in this season. I can honestly say that there were few performances that were listed that did not immediately capture my interest for some reason or another. With a season lasting from August 23, 2013, to June 10, 2014, it is among the longest in the sphere of classical music seasons, and its schedule of 40 events through the Digital Concert Hall is impressive. All of this comes at the utmost expense of $199 dollars a year, which equates to a cost of a mere five dollars a concert, and if you only enjoy half of them in the season, your charge is only doubled to ten dollars a performance, but this does not take into account the access this provides to the Digital Concert Hall's impressive archive of past performances, too, which gives you a plethora of other options for your entertainment wishes. Add to this fact the reality that they have a mobile application for iOS devices later than the iPhone 3GS and several smart television platforms, and you notice a technology infrastructure that is rivaled by few arts organizations in the world. A Windows 8 application for the Digital Concert Hall is available for native support in your new operating system, and an application is being developed for Android 4.0 and above. For those who are interested, the video is encoded in the H.264 standard and filmed in high definition. The sound is stereo channel sound encoded in the AAC codec, and the best quality rate of transfer is presently capped at 256 kilobytes per second, which could be better in my opinion.<br />
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Of course, all of this means little without the talent to back it. While it is a well understood piece of knowledge that the Berlin Philharmonic is one of the foremost orchestral forces of the world with perhaps the greatest talent pool of any of their international rivals, any orchestra is only as good as the repertoire it delivers to the audience. If it plays all of the predictable pieces and lacks a sense of adventure and the musical leadership necessary to make each performance live with passion as if it was new in the hearts of the audience, its merits should matter not to most of us, and we should seek other talents to fill these voids. However, I am pleased to divulge that the Berlin Philharmonic wants for none of these banes to an orchestra.<br />
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A study of the program book I received proves my preceding statement to be true. My natural inclination is to lean with the greatest predilection toward vocal music concerts, but I have lately had a desire to expand my knowledge of orchestral works. I am familiar with a good many of these, but my knowledge of vocal music and opera is much greater, and I should like to rather close the gap of knowledge between these two. It is with this in mind that I study the orchestral offerings, too, to see if anything appeals to my inner ear to hear and desire to learn more of the works that have made the truly great composers. If I was blessed enough to possess a season pass to the Digital Concert Hall, these are the orchestral concerts I should anticipate the most in the coming season.<br />
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<u>Friday 23 August 2013, 7:00 PM: Mozart</u> -- Sir Simon Rattle opens the Digital Concert Hall's season leading the Berlin Philharmonic in an all-Mozart program that includes his <i>Symphony No. 39 in E-flat Minor, Symphony No. 40 in G Minor,</i> and <i>Symphony No. 41 in C Major, "Jupiter."</i> Any music of Mozart's is worth hearing at least once, and one could do far worse than hearing the Berlin Philharmonic playing his works.<br />
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<u>Saturday 14 September 2013, 8:00 PM: Lutoslawski, Janacek, and Bartok</u> -- Alan Gilbert, Music Director of the New York Philharmonic, leads Berlin's orchestra in this enticing program including Janacek's <i>Violin Concerto Putovani dusicky (The Pilgrimage of a Little Soul)</i> and Wutoslawski's <i>Symphony No. 4. </i>Thomas Zehetmair is the violin soloist for the evening, and one can hardly ask for more gorgeous music than what Janacek wrote for such an emotive instrument.<br />
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<u>Saturday 28 September 2013, 8:00 PM: Mahler</u> -- Mahler's unfinished <i>Symphony No. 10</i> is on the program for this particular evening, and maestro Daniel Harding, with whom I am sad to say that I am unfamiliar, leads the musical forces. It is interesting to note that the Berlin Philharmonic recorded this very work in 2000 under the baton of Sir Simon Rattle, so I am anxious to hear the differences in the color and mood of the piece in different leading hands.<br />
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<u>Sunday 20 October 2013, 8:00 PM: Spatial Sounds</u> -- Marking the 50th anniversary of the Philharmonie, the concert hall of the Berlin Philharmonic, is a gala performance featuring modern works, one of which is the premiere of Wolfgang Rihm's <i>IN-SCHRIFT II,</i> which was commissioned by the Berlin Philharmonic for the occasion. In homage to the classical music staples that have given it such prominence, such works are not entirely absent from the evening. Pianist Dame Mitsuko Uchida plays Beethoven's <i>Piano Sonata No. 14 in C-sharp Minor</i>, <i>"Sonata quasi una fantasia." </i>Rattle conducts, of course.<br />
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<u>Friday 6 December 2013, 8:00 PM: Stravinsky, Schubert, and Beethoven</u> -- Darling of conductors and Music Director of the Los Angeles Philharmonic, Gustavo Dudamel takes command of the orchestra for an evening of two suites by Stravinsky offset by two complete symphonies by Schubert and Beethoven. If nothing else, his charisma shall make this exquisite to watch in the hall or online.<br />
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<u>Thursday 12 December 2013, 8:00 PM: Corelli and Vivaldi</u> -- The Berliner Barock Solisten perform works by Corelli and Vivaldi in this program of Baroque music in its entirety under the direction of Rainer Kussmaul, who also lends his talents to the violin, and they are joined by Daishin Kashimoto on violin and Saskia Fikentscher playing recorder.<br />
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<u>Saturday 1 February 2014, 8:00 PM: Dvorak and Lindberg</u> -- Alan Gilbert returns to lead the Berlin Philharmonic in Dvorak's <i>Cello Concerto in B Minor</i> with Truis Mork as the cello soloist and Lindberg's <i>Kraft</i> for piano, cello, clarinet, percussion, and orchestra with the composer playing his own melodies and harmonies on piano.<br />
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<u>Saturday 15 February 2014, 8:00 PM: Mozart, Messiaen, and Haydn</u> -- Dame Mitsuko Uchida makes another appearance at the Philharmonie playing Mozart's <i>Piano Concerto in B-flat Major Op. 18, K. 456</i> and Messiaen's <i>Oiseaux exotiques </i>for piano and small orchestra. Rattle leads the supporting orchestra again.<br />
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<u>Saturday 15 March 2014, 8:00 PM: Mozart and Bruckner</u> -- Bernard Haitink joins forces with legendary pianist Emmanuel Ax in a program of Mozart and Bruckner, a composer with whose works I am not as well versed as I should like. This promises to be an excellent foray into this relatively new composer to me.<br />
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<u>Saturday 31 May 2014, 8:00 PM: Vieuxtemps and Tchaikovsky</u> -- Conductor Tugan Sokhiev visits Berlin to lead the orchestra and violin virtuosa Hilary Hahn in Vieuxtemps's <i>Violin Concerto No. 4 in D Minor.</i><br />
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With such musical opulence as these concerts dare to promise, and with the great quantity of them to which we are rewarded over the course of the season, the vocal offerings should be no less of a glittering roster than this list I have just assembled. Despite such high expectations, I am pleased to reveal that even I was astonished at the superlative nature of the vocal concerts the Berlin Philharmonic have booked for the coming season. World renowned artists are juxtaposed with singers whose names many outside of their spheres have yet to hear, which is an ideal pairing for the furtherance of talent and the increased interest of the public. I was quite surprised to notice the quality of artistry that is to be expected throughout the year. I include some of these to provide something of a sample to my inquisitive readers to discern as to whether or not I speak truth in this matter.<br />
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<u>Sunday 8 September 2013, 8:00 PM: Lutoslawski, Mahler, and Janacek</u><i> -- </i>Sir Simon Rattle conducts the orchestra in a performance of Mahler's <i>Lieder eines fahrenden Gesellen</i> and Janacek's <i>Glagolitic Mass </i>with soprano Luba Orgonasova, mezzo-soprano Mihoko Fujimura, tenor Stuart Skelton, and baritone Christian Gerhaher. The baritone and tenor's talents are known to me, and their's are ones I admire, so it shall be quite educational and informative to see how the ladies compare to the gentlemen upon this evening in these two works that are as yet unheard to me.<br />
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<tr><td style="text-align: center;"><a href="http://www.osterfestspiele.de/uploads/tx_userfsh/Kozena_rattle_osterfestspiele_sheila_rock_01.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="214" src="http://www.osterfestspiele.de/uploads/tx_userfsh/Kozena_rattle_osterfestspiele_sheila_rock_01.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Magdalena Kozena and Sir Simon Rattle (Image courtesy of www.osterfestspiele.de)</i></td></tr>
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<u>Saturday 19 October 2013, 8:00 PM: Bach</u> -- Peter Sellars directs a staging of Johann Sebastian Bach's <i>St. Matthew's Passion,</i> and the prospect rather frightens me. I have never seen a work of his for which I have possessed any particular fondness, and his sense of fashion in both attire and coiffure is far beyond the realm of possibility for me to grasp, so I care little for his involvement. My focus is rather more concentrated on the aural bliss that shall come from Rattle's baton leading soprano Camilla Tilling, of whom I have heard excellent reports, his wife, mezzo-soprano Magdalena Kozena, whose voice fits a variety of repertoire and is ever at the least an interesting instrument since one never knows quite how her performance shall fare in repertoire in which one has not previously heard her, tenor Topi Lehtipuu, whose crystalline voice is quite exquisite and new to my ears, tenor Mark Padmore, baritone Eric Owens, who is ever a safe choice for any cast, and baritone Christian Gerhaher, who can be heard singing with Kozena on Boulez's recording of Mahler's <i>Des Knaben Wunderhorn</i>, an excellent addition to a library lacking a copy of this work.<br />
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<u>Sunday 27 October 2013, 8:00 PM: Schoenberg</u> -- Rattle again marshals impressive talent for Schoenberg's <i>Gurre-Lieder</i> in soprano Soile Isokoski, who, for my taste, is heard too little at the Met these days, mezzo-soprano Karen Cargill, whose musicality and amicability are beyond question if Twitter is of any indication, tenor Burkhard Ulrich, whose voice is a new one to my virgin ears, tenor Stephen Gould, and baritone Lester Lynch. In his post-retirement career, baritone Thomas Quasthoff makes an appearance as the Speaker, which makes an erudite addition to the cast.<br />
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<u>Sunday 15 December 2013, 8:00 PM: Schumann</u> -- Nikolaus Harnoncourt, in what I must imagine must be an increasingly rare appearance for him these days due to his lengthy career, leads the Berlin Philharmonic in a performance of Robert Schumann's <i>Scenes from Goethe's Faust.</i> The soloists are led by four stellar artists in soprano Dorothea Roschmann, bass-baritone Luca Pisaroni, bass-baritone Franz-Josef Selig, and baritone Christian Gerhaher. Joining them are soprano Martina Jankova, tenor Werner Gura, and contralto Wiebke Lehmkuhl. Beyond the inclusion of the former four artists something of interest is the inclusion of an actual contralto in the cast as opposed to a mezzo-soprano.<br />
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<u>Sunday 21 December 2013, 8:00 PM: Abrahamsen and Brahms</u> -- Young conductor Andris Nelsons, Music Director of the City of Birmingham Symphony Orchestra in England and who is soon headed to the prestigious Boston Symphony Orchestra to accept the same position there, leads soprano Barbara Hannigan in a performance of a world premiere commissioned by the Berlin Philharmonic by Hans Abrahamsen entitled <i>Let Me Tell You</i> for soprano and orchestra. This captivates my imagination almost as much as a modern work performed by sopranos Hila Plitmann or Dawn Upshaw. I shall listen in rapt bliss, indeed.<br />
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<u>Saturday 18 January 2014, 8:00 PM: Crumb and Bruckner</u> -- Legendary maestro of distinguished musical intelligence Zubin Mehta takes the podium conducting soprano Marlis Petersen singing Crumb's <i>Ancient Voices of Children</i> for mezzo-soprano, boy soprano, and small orchestra. This is a new work to my ears, and it promises a subject of immense pleasure and tremendous emotion.<br />
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<u>Friday 28 February 2014, 8:00 PM: Bach</u> -- Rattle assembles much of his previous cast for Bach's <i>St. John's Passion</i>, which is again staged by Sellars. An addition to the former group of soloists is baritone Roderick Williams. This shall be an excellent complement to Bach's <i>St. Matthew's Passion.</i><br />
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As many of my kind readers shall see from these concerts I have listed, there are many incentives and inspirations to purchasing a subscription to the Berlin Philharmonic's Digital Concert, and the cost of $199 is paltry, indeed, for such marvelous musical gems as these have ever hope and intention of being. If I had such an amount at my disposal, I could hardly elect a better manner in which to spend it on entertainment. Likewise, subscriptions are available monthly with automatic renewal and at thirty day intervals and weekly intervals without renewal in addition to the annual option, which also comes without automatic renewal. The Digital Concert Hall's partners this year are Deutsche Bank and Sony. With Sony's Bravia smart television systems, Sony Entertainment Network customers receive the free application for their system pre-installed, and they are granted with a thirty day free access period of the entire live schedule as it is premiered and the archive, which is certainly an incentive to upgrade your television if you have yet to do so. You will need an Internet connection to access this content.<br />
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I hope that all of my gracious audience who peruse my posts with any predilection and liking have enjoyed this post and found it at least somewhat informative for scheduling their season of classical music concerts to attend. It has certainly helped to shape mine, and I shall gladly wait in anticipation for the performances of which I have spoken to greet us, for the Berlin Philharmonic also included a free seven day pass to the Digital Concert Hall in my season program booklet packet. My greatest obstacle now shall be deciding which week in which to employ it. Which concerts draw your greatest degree of excitement in this glittering season? Do leave a comment, or send me a Tweet to provide such information if you are so inclined. I express my gratitude to all of you for your continued reading, and I humbly leave you in the love and mercy of our Lord and Savior Christ Jesus, whose grace is all that can save us from sin and death in the spirit.<br />
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<tr><td class="tr-caption" style="text-align: center;"><i>(Image courtesy of www.examiner.com)</i></td></tr>
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<br />Tyler Bartonhttp://www.blogger.com/profile/17536805564835497095noreply@blogger.com2tag:blogger.com,1999:blog-2185476854075082873.post-89661686676636752742013-07-30T01:34:00.001-05:002013-07-30T01:34:25.790-05:00BBC Proms 2013<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;"><i>(Image courtesy of BBC Proms Twitter Profile)</i></td></tr>
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When one ponders the question as to which is the grandest classical music festival in all the world, one is granted the luxury of a great many choices from which to make this final authoritative judgment. Several factors shall be variable ones due to the importance placed upon certain criteria that are of consideration to some while being meaningless to others, and then there are the different forms of excellence upon which different sets of people disagree, but for me there can only be one choice. Of course, Europe has ever been the more favorable locale for festivals devoted to classical music in the summer than the United States in my humble esteem, but, dear readers, do not discount the offerings of such events here in my native land to any lowly standard as might seem unfit for discerning ears. Within these United States, our offerings include the attractions of the <a href="http://oregonbachfestival.com/" target="_blank">Oregon Bach Festival</a>, the <a href="http://www.opera-stl.org/" target="_blank">Opera Theatre of St. Louis's summer season</a>, <a href="http://www.santafeopera.org/" target="_blank">Santa Fe Opera's summer season</a>, the <a href="http://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&ved=0CC0QFjAA&url=http%3A%2F%2Fwww.ojaifestival.org%2F&ei=YVn3UaLmA8GIiwKt74HIDg&usg=AFQjCNFOtW00W3DXOYb1p2w_NLRrPQWg5w&sig2=XAsIs5TxWpEU1zMGitQFKA&bvm=bv.49967636,d.cGE" target="_blank">Ojai Music Festival</a>, the <a href="http://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&ved=0CEAQFjAA&url=http%3A%2F%2Fwww.aspenmusicfestival.com%2F&ei=Ilr3Ubi5NK6PigLKuoGIBQ&usg=AFQjCNHb2s-nLLsjGGoA1JcQjqrK4wO2Pg&sig2=v--7AhBiC_PLTfAPZfN8ZQ&bvm=bv.49967636,d.cGE" target="_blank">Aspen Music Festival</a>, <a href="http://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&ved=0CC4QFjAA&url=http%3A%2F%2Fwww.lcoutofdoors.org%2F&ei=iFr3UcWxCuLMiQLuuYGwCw&usg=AFQjCNGMfqcKEj51d4aKOV5QY2WzdoXGMg&sig2=3317WDyKavouNDNAqiVZeg&bvm=bv.49967636,d.cGE" target="_blank">Lincoln Center Out of Doors</a>, the <a href="http://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&ved=0CC4QFjAA&url=http%3A%2F%2Fwww.mostlymozart.org%2F&ei=u1r3UaWeBaWIiALC6oH4Dw&usg=AFQjCNFK2mjdl4pFspVf_bGVW5VL4hoC2w&sig2=iCGUSSu-uCKrssc9Lq3FaA&bvm=bv.49967636,d.cGE" target="_blank">Mostly Mozart Festival</a>, <a href="http://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&ved=0CDEQFjAA&url=http%3A%2F%2Fglimmerglass.org%2F&ei=Rlv3UZ2RMYm8iwLR7IGwCA&usg=AFQjCNH00YuABEMny7fdH2sSd_k9m9IVOg&sig2=9bqKKkQPk0j7Ax26ZkBcYQ&bvm=bv.49967636,d.cGE" target="_blank">Glimmerglass Opera's summer season</a>, <a href="http://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&ved=0CEEQFjAA&url=http%3A%2F%2Fwww.bso.org%2Fbrands%2Ftanglewood%2Ffeatures%2Ftanglewood-75-anniversary-season.aspx&ei=nlv3UemZDcKqiQKEuIDwDQ&usg=AFQjCNF0FdJsfBnAE1PkYbmpxfl7eoXxRg&sig2=yE-Lqq_ZD1CA3u9WTCUS0A&bvm=bv.49967636,d.cGE" target="_blank">the Tanglewood Festival</a>, <a href="http://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&ved=0CC4QFjAA&url=http%3A%2F%2Fwww.caramoor.org%2F&ei=yVv3UdCnN4rRiwKuo4D4Ag&usg=AFQjCNEwQZp0gwieqQqu0hNK0iat4b-2oQ&sig2=Yg3EYbRogAvvPAQ8RSQeUw&bvm=bv.49967636,d.cGE" target="_blank">Caramoor's festival</a>, and many others that I here neglect to mention due to the constraints of space and my fallacious memory. All of these are well worth mentioning, and their artistic quality are of a caliber that should each deserve its own post to describe in a given season; however, Europe, with its majestic castles, its extended history, and its foreign allure to me, holds my greater interest insofar as classical music festivals are concerned. We want for no lack of these in the summer there. Italy features a great many of them. There is a <a href="http://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&ved=0CC4QFjAA&url=http%3A%2F%2Fwww.rossinioperafestival.it%2F&ei=-lv3UcivA8H-iwKQ84C4BQ&usg=AFQjCNG9FD_n78WCRn_SYvBpjQ0J2ndcvw&sig2=aEkN49nYVfbAmR0xJysuIw&bvm=bv.49967636,d.cGE" target="_blank">Rossini festival in Pesaro</a>, <a href="http://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&ved=0CD4QFjAA&url=http%3A%2F%2Fwww.verbierfestival.com%2F&ei=HFz3UZn1I6yNigKYjIHYAg&usg=AFQjCNEuSZjEM7q85Pu0SKg4th-zXQ-mvw&sig2=vepZbx4DOCube5JO08_2Jw&bvm=bv.49967636,d.cGE" target="_blank">Verbier</a> has a world class festival offering, <a href="http://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&ved=0CC0QFjAA&url=http%3A%2F%2Fwww.eif.co.uk%2F&ei=iVz3UaSuDoPniwKv4YCIBg&usg=AFQjCNFzXfcAy4OZsX8rYC0paoFROGyuHA&sig2=hntShEWUr152onqUjOrAAg&bvm=bv.49967636,d.cGE" target="_blank">Edinburgh International Festival</a> offers exhibitions of music, literature, theatre, and film, and a host of small towns and large cities across Europe make a considerable income from tourists by hosting a classical music or opera festival in the summer. All of them have their qualities that make them attractive to audiences. Verbier appeals to me, personally, due to its outdoor setting. Its excellent roster of artists on display every year makes it a selection that should easily make it a prime summer holiday destination for any aficionado of fine music. However, it suffers from a rather limited run. For this year, its twentieth anniversary season, it lasts for less than three weeks, which can be a trifle disappointing.<br />
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What if there was an annual classical music festival that continued for a month and a half, attracted the best performers in all of classical music, programmed its season to offer every sort of selection from the most popular to that bordering upon the arcane, held its main performances in an arena to maximize the opportunity of seeing such performances for the greatest amount of people, and was based in London, England, a destination worthy of any visitor? As many of those who have previously perused my humble writings here shall be aware, there is, indeed, such an enticing festival as I have described. It is called the <a href="http://www.bbc.co.uk/proms" target="_blank">BBC Proms</a>. The Proms, as they are colloquially known in most circles, are in their 119th year of existence, and were began in 1895. Ever envisaged as a means for commoners to enjoy the often luxury of classical music and opera, tickets were cheaply priced from the beginning to attract as many audience members as possible to the events. This is still the practice, more or less, to this very day, and it is my opinion that this manner of marketing is what has given the Proms such popularity as they have entertained over the years, for the influence and appeal of classical music only extends so far.<br />
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Presently, the main venue for the Proms is the Royal Albert Hall. Yes, I am the first to declare that it is not the most suitable venue for a classical music concert, but it is able to allow more of us the delight of witnessing the moments of magic in a performance than a standard concert hall even the size of the Metropolitan Opera House or Carnegie Hall might, and I applaud this. For concerts where the quality of sound is of utmost importance or that have a limited interest from the public, there is <a href="http://www.cadoganhall.com/" target="_blank">Cadogan Hall</a>, which is home to BBC Radio 3's stellar lunchtime concerts.It is a much more intimate setting than the arena, and it seats just over nine hundred people if seating is at maximum capacity, which makes it far better suited to chamber ensembles, a cappella concerts, and recitals. For the 2013 season the BBC Proms are presenting a total of eighty-eight concerts this year in a span of time from July 12 to Spetember 4, 2013.<br />
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While a portion of these concerts are featured with the clear motive of playing to the popularities within the masses, there is no classical music festival on earth that can boast such a <a href="http://www.bbc.co.uk/proms/whats-on/2013/performers" target="_blank">distinguished roster of artists</a> in its season. Among Proms audiences, there are two nights that unify the various parties who attend, and these are the first and last nights of the Proms. The first night of the Proms is celebrated by many because of the heralding of the coming season, but it pales in comparison to the last night of the Proms in terms of pageantry, ostentatious revelry, and the glamor associated with the occasion. The final evening of the Proms performances carries with it an exceptional performer, a famous conductor, and celebrates all things British all the while. For the 2013 season <a href="http://www.bbc.co.uk/proms/whats-on/2013/september-07/14574" target="_blank">mezzo-soprano Joyce DiDonato was chosen to close the season</a>, which came as an immense delight to her many adoring fans. Nevertheless, not to detract from the exquisite pleasure it is for DiDonato to be bestowed such an honor, this year is also monumental for the reason that it is the first Last Night of the Proms that is to be conducted by a woman, and maestro <a href="http://artsbeat.blogs.nytimes.com/2013/07/03/wrist-injury-sidelines-marin-alsop/?_r=0" target="_blank">Marin Alsop, whose wrist was recently injured</a>, has been chosen to lead the evening's musical forces. This season also includes the maiden performance of a complete cycle of Wagner's <i>Der Ring des Nibelungen</i> with a cast including baritone Iain Patterson, bass Eric Halfvarson, mezzo-soprano Anna Larsson, soprano Ekaterina Gubanova, bass-baritone Bryn Terfel, soprano Nina Stemme, tenor Lance Ryan, soprano Waltraud Meier, and bass Mikhail Petrenko accompanied by the Staatskappelle Berlin under the baton of Daniel Barenboim. Additionally, each year the Proms plays host to many a world-premiere.<br />
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With every passing year that the BBC Proms continues its foray into the world of classical music excellence, I compile a list of the performances for which I possess the utmost excitement and hopeful intention for hearing. This year is no different than previous ones, so I present my aggregation of aural splendor here for your better edification as to my musical likings. If you wish, most serene reader, please continue reading my recommendations for the remaining season.<br />
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<a href="http://www.bbc.co.uk/proms/whats-on/2013/july-30/14632" target="_blank">Prom 23: Mozart, Schumann, and Sibelius</a> -- Pianist Paul Lewis from Harmonia Mundi's label, and a BBC New Generation Artist, plays Mozart's <i>Masonic Funeral Music, K477, </i>and Mozart's <i>Piano Concerto No. 25 in C Major, K503.</i><br />
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<a href="http://www.bbc.co.uk/proms/whats-on/2013/august-03/14716" target="_blank">Proms Saturday Matinee 2: Britten, Tippett, Holst, and L. Berkely</a> -- Mezzo-soprano Sarah Connolly turns to the music of her native land in this Saturday matinee prom at Cadogan Hall.<br />
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<a href="http://www.bbc.co.uk/proms/whats-on/2013/august-04/14656" target="_blank">Prom 29: <i>Tannhauser</i></a> -- As part of Wagner's bicentenary this year, the BBC Proms, like many other festivals around the world, are celebrating Wagner's compositions. In addition to the Ring Cycle, Donald Runnicles, esteemed Wagnerian conductor, leads the BBC Scottish Symphony Orchestra supporting a cast starring Robert Dean Smith and Heidi Melton in her Proms debut for which I am exceptionally excited.<br />
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<a href="http://www.bbc.co.uk/proms/whats-on/2013/august-05/14718" target="_blank">Proms Chamber Music 4: tenThing</a> -- Norwegian trumpet sensation Tine Thing Helseth is joined by her brass ensemble, tenThing, in a program of music that is sure to add a spicy Spanish flair to this year's Proms with compositions by Bizet, Piazzola, and others.<br />
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<a href="http://www.bbc.co.uk/proms/whats-on/2013/august-08/14670" target="_blank">Prom 33: Bethoven and Berlioz</a> -- Dame Mitsuko Uchida makes an appearance with the BBC Proms after almost twenty years of absence playing Beethoven's <i>Piano Concerto No. 4 in G Major.</i><br />
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<a href="http://www.bbc.co.uk/proms/whats-on/2013/august-09/14700" target="_blank">Prom 36: Sir John Eliot Gardiner Conducts Bach</a> -- <i> </i>Sir John Eliot Gardiner leads the Monteverdi Choir and the English Baroque Orchestra in readings of Bach's <i>Easter Oratorio</i> and <i>Ascension Oratorio.</i><br />
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<a href="http://www.bbc.co.uk/proms/whats-on/2013/august-11/14710" target="_blank">Prom 38: Free Prom - Beethoven's Ninth Symphony</a> -- Vasily Petrenko conducts Beethoven's Ninth featuring soprano Lisa Milne, mezzo-soprano Jennifer Johnston, a former BBC New Generation Artist, tenor Andrew Kennedy, and baritone Gerald Finley as soloists. They are accompanied by the National Youth Orchestra of Great Britain. Also on the program are Turnage and Vaughan Williams. This Prom is free to the public to attend, and it is quite the exquisite offering of which many should take advantage.<br />
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<a href="http://www.bbc.co.uk/proms/whats-on/2013/august-14/14618" target="_blank">Prom 43: The Tallis Scholars</a> -- Celebrating their 40th year, the Tallis Scholars perform at the Royal Albert Hall in a program including Taverner and Gesualdo under the direction of conductor Peter Phillips.<br />
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<a href="http://www.bbc.co.uk/proms/whats-on/2013/august-17/14624" target="_blank">Prom 46: Dvorak, Verdi, Tchaikovsky, and Strauss</a> -- Soprano Kristine Opolais joins her husband, conductor Andris Nelsons, and his orchestra, the City of Birmingham Symphony Orchestra, for performances of Verdi's Willow Song from <i>Otello,</i> and the Letter Scene from <i>Eugene Onegin.</i> Also on the docket that evening is Dvorak's <i>Symphony No 8. in G Major.</i><br />
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<a href="http://www.bbc.co.uk/proms/whats-on/2013/august-21/14654" target="_blank">Prom 52: Vir, Sibelius, Bantock, and Elgar</a> -- Violinist Lisa Batiashvili plays Sibelius's famous <i>Violin Concerto in D Minor</i> with the BBC Symphony Orchestra.<br />
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<a href="http://www.bbc.co.uk/proms/whats-on/2013/august-22/14658" target="_blank">Prom 53: Tchaikovsky, Wagner, and Prokofiev</a> -- Joined by the Rotterdam Philharmonic Orchestra and vibrant young conductor Ynnick Nezet-Seguin, soprano Anna Caterina Antonacci sings Wagner's <i>Wesendonck-Lieder. </i>This promises to be an exciting concert if for no other reason than that these three are performing in it.<br />
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<a href="http://www.bbc.co.uk/proms/whats-on/2013/september-02/14726" target="_blank">Proms Chamber Music 8: Dowland</a> -- Erudite and accomplished tenor Ian Bostridge performs songs by John Dowland accompanied by the viol ensemble Fretwork and lutenist Elizabeth Kenny. This music is among that which is most adored by my ear, and it may well be my most anticipated Prom of the season. This Prom marks the 450th anniversary of Dowland's birth.<br />
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<a href="http://www.bbc.co.uk/proms/whats-on/2013/september-04/14592" target="_blank">Prom 71: Gorecki, Vaughan Williams, and Tchaikovsky</a> -- BBC New Generation Artist soprano Ruby Hughes performs Gorecki's <i>magnum opus</i>, his <i>Symphony No. 3, Symphony of Sorrowful Songs,</i> and this is certainly on my shortlist of those Proms selections that I must hear this season. Mezzo-soprano Jennifer Johnston sings Vaughan Williams's <i>Four Last Songs.</i><br />
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It bears mentioning that all of the BBC Proms concerts are broadcast live on BBC Radio 3, and they are available for further listening for a full seven days following their original airing courtesy of the BBC's iPlayer website, which is now easier than ever to use. The BBC also provides a wealth of further reading and interviews with experts on the various musical styles and compositions that are offered every year, and the site is well worth a visit for the inquisitive mind.<br />
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As the 2013 BBC Proms continues, I hope that all of you enjoy the performances that you hear. I am anxiously anticipating hearing as many of these exquisite gems as I can this season, and I hope that you have all enjoyed discovering my humble musings upon the subject. May I one day meet some of you, my cherished readers at the Proms one of these days, and I leave all of you in the grace of God with every blessing you could wish. You all possess my enormous gratitude for your continued reading.Tyler Bartonhttp://www.blogger.com/profile/17536805564835497095noreply@blogger.com1tag:blogger.com,1999:blog-2185476854075082873.post-48884469521504309572013-07-12T13:44:00.000-05:002013-07-12T13:44:34.939-05:00An Exile Disconintued for the Present If there are any of you who are longtime readers of my blog still among the audience of it, you shall well know that I removed myself from this platform some time ago. My reasons for doing as much are well documented in other places, and they mostly stemmed from Google's blatant disregard for the privacy of its users, its collaborations with the United States Government, and its deceit in so doing on both accounts. Because of this, I transferred my blogging habits to WordPress for a while, but the lack of customization for free users of the service was annoying, and my readers shall recollect with what diligence I labored to create the look my blog possesses today. Furthermore, due to constraints upon my time derived from that transitional period to university and the time that I have spent there in the interim between my final post and the present, I could not find much time for authoring blog posts, and my following of the happenings in the sphere of opera have, I regret to say, suffered.<br />
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However, these travesties cease today to a certain extent. As if this very moment, I am making a return to blogging with every intention of launching a rebirth of this blog. My aims in so doing shall depart from what they were when I began this custom in hopes that some should read what I might find worthy of saying and enjoy it and find it useful and enlightening, but my desire to again write could not be stronger than it is now. For those of you from other social media platforms who know me better there and of what I commonly speak there, before you disregard any future posts from me lest you fear that I may bring subjects outside those of music and opera to this symposium of sorts, I assure you that your fears are misplaced. I shall never speak of anything other than opera, musical theatre, or music here. This purpose is twofold. Primarily, I have made this a policy to provide Google and the government with less personal data upon me to track with this revealing thing called a blog, but its other merit is that such a guarantee from me promotes possessing a greater quantity of readers who might cease to visit my blog for the fickle reason of not agreeing with the content of some of my posts.<br />
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As I alluded in the previous paragraph, I shall further make a promise that this blog shall have as little mention of my personal life as is possible. I may elect to include concert reviews and the like of performances I attend, but I shall not speak of my family, personal friends, or circumstances in my life through this medium. I value my privacy from the government and a large data company too much for this.<br />
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Over the course of the next few weeks, I have every hope of updating my blog's look, and I may look at attempting to gain some revenue from dedicated, relevant advertisements in the margins or with sponsored posts written by my own hand and with my honest views upon the subject or product. These, however, shall be carefully considered, and they must align with the scope of the subject matter to which I have confined my blog here. I have amassed a considerable following on Twitter worldwide, and I know that my views are often found useful there, so this gives me a place in which to express them to a fuller extent and in greater detail than many other media provide. Of course, this I shall endeavor to do whether I have any sponsorship or not, for the informing of my readers is my greatest priority. Moreover, my blog has not suffered for a want of readers as a result of my absence here. I have left 128 posts here for the welcome reading of anyone who should wish to do so, and the traffic that these have received has not been insignificant. I surpassed 10,000 pageviews some time ago, and, I am at nearly fifteen thousand of these at present without even maintaining this blog. That is a testament to all of you as readers continuing to enjoy what I began and continue only as a pastime. I am honored, indeed, by your continued curiosity in my opinions and findings upon the subject of opera.<br />
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I should be remiss if I did not mention something of interaction through blogging here. As I have previously said and have constantly held this view throughout my entire stint as an amateur blogger, I welcome comments, constructive criticisms, open dialogues, and inquiries of all kinds from my audience. I shall do my humble best to respond to each of these left here in he most cordial, courteous, and chivalrous of manners as all of you completely deserve, and I shall relish the connections I make and, hopefully, rekindle here. I have every anticipation of discovering new operatic and musical pleasures here with all of you. If any of you have suggestions for post ideas, or if you should think of a good design implement for my blog, please do not hesitate to mention it in a comment, or you may Tweet to me at your pleasure and discretion. If anyone has advertisement suggestions or inquiries, do send me an inquiry to my e-mail address, <a href="mailto:tylerbarton89@gmail.com">tylerbarton89@gmail.com</a>, and we can begin discussion of such an arrangement.<br />
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Finally, as ever, I leave all of you in the divine grace of God, and I pray that He blesses every single one of you to the fullest extent. My humble ingratiation is duly yours for your continued reading, and I hope that you enjoy what I present to you over the next few days and weeks.Tyler Bartonhttp://www.blogger.com/profile/17536805564835497095noreply@blogger.com0tag:blogger.com,1999:blog-2185476854075082873.post-35512024595745660732012-01-16T17:16:00.000-06:002012-01-16T17:16:31.697-06:00The Addams Family National Tour<div class="separator" style="clear: both; text-align: center;">
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If I may dedicate this post to the often forgotten alternate topic of the listed subject matter of my blog, Broadway, I should like to discuss the national touring production of Broadway's late production of <i><a href="http://www.theaddamsfamilymusicaltour.com/" target="_blank">The Addams Family</a></i>. This new musical makes its debut in Oklahoma City this evening, and I shall be witnessing it tomorrow evening at the <a href="http://www.okcciviccenter.com/" target="_blank">Civic Center Music Hall</a> in Oklahoma City. The tour is welcomed and presented by Celebrity Attractions, which is responsible for much of the theatrical productions of high quality in my state. Through the generosity of the organization, and in conjunction with their desire to increase their social media identity, they hold a contest for their shows that allow their followers on Twitter to witness a performance in exchange for sharing their experience through the means of Twitter. Along with a few other grateful patrons, I won a pair of tickets on Friday to this Tuesday's performance. The only requirement for the tickets is that you tweet about the performance at least four times during the evening, which I shall readily do.<br />
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The people responsible for this show's creation are Andrew Lippa (<i>John and Jen)</i>, who composed the music, Michael Brickman and Rick Elice <i>(Jersey Boys)</i>, who wrote the book, Sergio Trujillo <i>(Jersey Boys)</i> choreographed the production, and Phelim McDermott, who is also the director of the Metropolitan Opera's new production of <i>The Enchanted Island</i>, and Julian Crouch directed and designed the staging. This production opened on Broadway at the Lunt-Fontanne Theatre on April 8, 2010, and the show continued there until its close on New Year's Eve of 2011 for a total of 725 performances. In its original incarnation it starred Nathan Lane, Bebe Neuwirth, Jackie Hoffman, Kevin Chamberlain, Carolee Carmello, Krysta Rodriguez, Wesley Taylor, Adam Riegler, and Zachary James. A notable and surprising cast change that occurred later was that of Brooke Shields replacing Neuwirth, and Shields stayed with the production until its closure. The national tour began on September 25, 2010, and it has finally made its way into my city, and its next stop is Tulsa, Oklahoma.<br />
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The musical based on the beloved characters from the stories by Charles Addams and the television series these spawned introduces an entirely maiden story to the collection in which Wednesday Addams, the family's daughter for those such as I who are unfamiliar with the background of the characters and their story, finds a boy, Lucas Beinike, she likes. However, a problem presents itself in the fact that this young man who has become the object of her affections is entirely normal. This "delightfully macabre" musical chronicles the journey of the family's adventures as they struggle to accept the thought of Wednesday's new beau and his and his family's being normal.<br />
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This production opens tomorrow evening, and it plays until Sunday, January 22, 2012, at the Civic Center Music Hall in Oklahoma City, which is located at 201 North Walker Avenue in Downtown Oklahoma City.<br />
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Thank you for perusing my post, and I hope that the new year has remained kind and leisurely for all of you. May God pour His blessings upon you.<br />
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-Tyler.Tyler Bartonhttp://www.blogger.com/profile/17536805564835497095noreply@blogger.com2tag:blogger.com,1999:blog-2185476854075082873.post-68315720991875755852012-01-11T23:52:00.002-06:002012-01-11T23:52:45.944-06:00Bass-Baritone Thomas Quasthoff Announces His Retirement from the Stage<div class="separator" style="clear: both; text-align: center;">
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<span style="text-align: left;">Much to the sorrow and surprise of many in the world of classical music, German bass-baritone Thomas Quasthoff released a press announcement through his representatives that he shall retire from public performance due to health reasons. He is fifty-two years of age, and these tidings came with an outpouring of sympathy and sentiment for the legendary performer from many renowned vocalists on the social media platform Twitter, and I expect that tomorrow will bring even greater coverage of the happening. I am not familiar with the ailments that plague this revered performer, but I am certain that he shall be sorely missed by his colleagues. He shall continue to teach at the Hans Eisler School of Music in Berlin, Germany, and he assures his audience that he shall explore another portion of life, the vast area of politics and current events. I recall a <a href="http://yankeediva.blogspot.com/search?q=thomas+quasthoff" target="_blank">blog post</a> from Joyce DiDonato in reference to this singer. Her particular post that I recall documented a day of rehearsal for a gala in honor of Marilyn Horne. Quasthoff was rehearsing with astute and serenely gifted accompanist Martin Katz at the piano, and Joyce was simply overwhelmed by the intimacy of his performance of </span><i style="text-align: left;">Wie bist du, meine Konigin. </i><span style="text-align: left;">Though the concert hall was bereft of the usual audience it accommodates, Joyce reports that Quasthoff sang with perfection, and it was so endearingly exquisite that it brought her to tears. Indeed, I can imagine that those tears of regret of which she spoke shall readily flow again once she hears of the news.</span><br />
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Thomas Quasthoff is best known as one of the most skilled and erudite interpreters of Lieder. Though he has some reputation in the world of opera, he never sought to tax himself in this art form, and we possess few memories of his work on the stage; however, his operatic endeavors were held as triumphs, and he was respected all the more for those efforts. I am not as familiar with Quasthoff's contribution to the recorded legacy of German art song, which I must confess is a great travesty; moreover, I do not maintain any capacious knowledge upon the subject of lieder in general, but I do possess a disc of Quasthoff's that was released under Deutsche Grammophon in which he was accompanied by pianist Justus Zeyen. I am blessed to have it, and I shall have to hear it now to acquaint myself with the surreal elegance of his voice of which I have heard so much. He has won numerous awards and accolades during his career that has spanned almost forty years. including the Herbert von Karajan Music Prize, three Grammy Awards, and an Echo Klassik Award.<br />
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From his <a href="http://www.artsjournal.com/slippeddisc/wp/wp-content/uploads/2012/01/Press-Release.pdf" target="_blank">press release</a> that was manifested today, he had this to say.<br />
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<i> “After almost 40 years, I have decided to retire from concert life. My</i><br />
<i>health no longer allows me to live up to the high standard that I have always set for my art</i><br />
<i>and myself. I owe a lot to this wonderful profession and leave without a trace of bitterness.</i><br />
<i>On the contrary, I am looking forward to the new challenges that will now enter my life. I</i><br />
<i>would like to thank all my fellow musicians and colleagues, with whom I stood together on</i><br />
<i>stage, all the organizers, and my audience for their loyalty.”</i><br />
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<i> </i>This announcement and the happening it foretells reminds me of why I seek to capture every moment I may to make the most of its opportunity in life to help another person or to improve their life in any means that they shall allow. Furthermore, it also brings the painful truth to my attention that there are yet chances that I must miss to experience the best of life. As a prospective, hopeful opera singer, I currently witness the world of opera from without the confines of the professional or even amateur branches of the industry, and I hear and see singers with whom I should desire immensely to perform, with whom I wish to endeavor to recreate the sublime environment that certain performances manufacture. Nevertheless, as I grow older, these singers that arrest my attention and humble, sincere hope that I may be granted to perform with them in the future also gain in age, and this naturally precludes me from ever knowing any of them in a professional capacity. As much as I may wish to sing with Renee Fleming in an opera or upon the concert stage, the thought resides in the dim space of my mind that the possibility of this desire becoming an actual occurrence is truly minute. My spirit weeps that I can make no effort to preserve these dreams in myself or others without this logical conclusion's intrusion upon the hopes of those who possess such dreams.<br />
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I pray that I find you in excellent spirits for the coming year, and I hope that God grants you every blessing. Thomas Quasthoff shall leave a tremendous void in the world of classical music, but I look to the next generation of followers in the art to make every attempt to fill it. I proffer my gratitude to all of you for continuing to read my musings.<br />
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-Tyler.<br />Tyler Bartonhttp://www.blogger.com/profile/17536805564835497095noreply@blogger.com0tag:blogger.com,1999:blog-2185476854075082873.post-19780896347299736932012-01-10T13:20:00.000-06:002012-01-10T13:39:41.861-06:00Danielle de Niese Releases Beauty of the Baroque Today<div class="separator" style="clear: both; text-align: center;">
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For those of us who have been patiently waiting in expectation for a new release from soprano Danielle de Niese, our want is now finally relieved today, for her latest album, <a href="http://www.deccaclassics.com/html/special/deniese-beautyofthebaroque/" target="_blank"><i>Beauty of the Baroque</i></a>, is released today. I first consciously listened to this soprano in a video on YouTube in which she sang Handel's famous aria <i>Lascia ch'io pianga, </i>and I have faithfully listened to her since then at any time I am given the chance. Her voice is quite clear, which makes her a natural choice for the Baroque repertoire.While it is interesting to note that she has recorded a pleasant variety of music on her solo offerings, I am glad to see that she has returned to this period. Personally, I am enamored with Baroque music, which is the primary cause of my elation at this release, but we may also rejoice at the quality of collaboration that her two forays into this specialist's field of music have brought to our ears. To my enduring delight, her debut recital of works for recorded media featured the formidable and revered <i>Les Arts Florissants</i> under the direction of their distinguished and renowned founder, William Christie. In my opinion, which I shall admit is a trifle biased, such an early forging of relations between such a performer and and almost peerless ensemble is a definite indication of the sort of talent that de Niese possesses.<br />
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In this new release, we are promised much of the same magic that exists in such a pairing as the one I have just described, for her new collaborators are Harry Bickett, the esteemed Handel specialist, and The English Concert. Judging from Bickett's recent triumph at the Metropolitan Opera, where he conducted <i>Rodelinda</i> with Renee Fleming, Iestyn Davies, and Andreas Scholl, this promises to be a sumptuous and elegant program. Indeed, the album itself seems to exude this latter quality in every aspect of its being, for one can see such a trait in the title of the release and the artwork that has been utilized. The music itself lends itself to this description, and we begin to notice a hint of regalia that has been imbued into the album. After having released a disc of Handel arias, de Niese does not shy from including that famed composer in this new recording, and we find her singing arias that exhibits her in a more mature light than we have previously noticed her because of the roles she presently sings. The track list is as follows.<br />
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<b>John Dowland (1563–1626)</b><br />
1. Come again, sweet love doth now invite [2:42]<br />
2. What if I never speed? [2:31]<br />
<b>George Frideric Handel (1685–1759)</b><br />
3. Aria “Ombra mai fu” <i>(Serse)</i> [2:54]<br />
from <i>Serse</i>, Act I<br />
<i>Libretto: anon., after Niccolò Minato & Silvio Stampiglia</i><br />
4. Air “Let the bright Seraphim” (Israelitish Woman) [5:34]<br />
from <i>Samson</i>, Act III<br />
<i>Libretto: Newburgh Hamilton</i><br />
<b>Henry Purcell (1659–1695)</b><br />
5. “Thy hand, Belinda – When I am laid in earth” <i>(Dido)</i> [5:07]<br />
(Dido’s Lament)<br />
from <i>Dido and Aeneas</i>, Act III<br />
<i>Libretto: Nahum Tate</i><br />
<b>George Frideric Handel (1685–1759)</b><br />
6. Air “Heart, the seat of soft delight” <i>(Galatea)</i> [4:10]<br />
from <i>Acis and Galatea</i><br />
<i> Libretto: John Gay and others</i><br />
<b>Claudio Monteverdi (1567–1643)</b><br />
7. Duet “Pur ti miro” <i>(Poppea, Nerone)</i>* [4:35]<br />
from <i>L’incoronazione di Poppea</i>, Act III<br />
<i>Libretto: Giovanni Francesco Busenello</i><br />
8. Quel sguardo sdegnosetto 3:01<br />
from <i>Scherzi musicali</i><br />
<b>George Frideric Handel (1685–1759)</b><br />
9. Duet “Io t’abbraccio” <i>(Rodelinda, Bertarido)</i> [6:53]<br />
from <i>Rodelinda</i>, Act II<br />
<i>Libretto: Nicola Francesco Haym</i><br />
10. “Guardian angels” (Beauty) [5:59]<br />
from <i>The Triumph of Time and Truth</i>, Act III<br />
<i>Libretto: Thomas Morell</i><br />
<b>Giovanni Battista Pergolesi (1710–1736)</b><br />
11. Duet “Stabat Mater dolorosa” [3:56]<br />
from <i>Stabat Mater</i><br />
<i>Libretto: attrib. to Jacopone da Todi</i><br />
<b>Johann Sebastian Bach (1685–1750)</b><br />
12. Aria “Sich üben im lieben” [4:38]<br />
from the Cantata <i>Weichet nur, betrübte Schatten</i>, BWV 202<br />
13. Aria “Schafe können sicher weiden” [4:46]<br />
from the Cantata <i>Was mir behagt, ist nur die muntre Jagd</i>, BWV 208<br />
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I am fairly certain that I know what I shall be purchasing with my available <a href="http://www.amazon.com/Beauty-Baroque-Danielle-Niese/dp/B004M8Y4Y4/ref=sr_1_1?ie=UTF8&qid=1326218474&sr=8-1" target="_blank">Amazon</a> gift cards today. I neglected to previously mention that countertenor Andreas Scholl joins de Niese on three of the tracks on this disc, which is a welcome occurrence, and I maintain high hopes for this release. Depending upon what other recordings are released this year, this may well be one of my favorites. Danielle DeNiese is performing a <a href="http://lepoissonrouge.com/events/view/2727" target="_blank">concert at (Le) Poisson Rouge in New York City</a> on January 23, 2012, to coincide with the debut of this album, and the event will be streamed live from (Le) Poisson Rouge's website.<br />
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I express my immense ingratiation to all of you who continue to peruse my posts concerning opera, and I pray that all of you are extraordinarily blessed as the new year greets us with all of the possibilities and happenings that may occur. You are quite at liberty to post a comment on any of my posts, and you may also subscribe if you are so inclined.<br />
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-Tyler.Tyler Bartonhttp://www.blogger.com/profile/17536805564835497095noreply@blogger.com2tag:blogger.com,1999:blog-2185476854075082873.post-7135705062883297362011-12-31T02:20:00.000-06:002011-12-31T13:34:00.731-06:00Music and Feeling it: Patricia Petibon's Melancolia<div class="separator" style="clear: both; text-align: center;">
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When one thinks of Spanish music, the mind is instantly overrun with a variety of textures, thoughts, and words to describe the flair and tradition of Spanish music. What makes music identifiable as Spanish, French Italian, or anything else? In the case of the music from the Iberian peninsula or inspired by that genre, it is filled with <i>passion</i>. We feel intense amounts of emotion when we perform this music, but it is a rare, extraordinary discovery to feel these rapturous feelings when we hear this music, and I am pleased to announce that soprano <a href="http://www.patriciapetibon.com/" target="_blank">Patricia Petibon</a> delivers this often neglected aspect with her various interpretations. Her new release from last November 2011 is titled <i><a href="http://www.deutschegrammophon.com/html/special/petibon-melancolia/" target="_blank">Melancolia</a>,</i> and she is joined by the Orquestra Nacional de Espana under the baton of conductor Josep Pons.<br />
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I think of Spanish music as more exotic than most western music I hear, and I imagine that my association with the mysterious parts of life that we as humans label as unknown and all at once beckoning to us comes from the influences that helped to shape this form of music as we see it in its current state of evolution today. In precisely the same context as Spanish cuisine, art, and architecture have been influenced by the Moors of northern Africa, their music was not immune to such an injection of ideas from their southern neighbors and enemies. Until the time of the Renaissance and the Crusades, music in Europe was written for <i>a cappella</i> arrangements. However, after the Crusades, soldiers returned to their native lands with stringed instruments which were precursors to the lute and the guitar, two prominent makers of music in Spain.<br />
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In the flow of years that came afterward to Europe, a new variety of music exploded on the continent. Spain, being the gateway into the east from the west, attracted some of the most diverse styles in music. In those early days of music's largest achievement in Europe, I cannot think that there must have been much difference or variation between the music of Europe and the music of the Easterners, for the former was in it's infancy, but it has developed into what we have today from those humble beginnings. As we consider Spanish music, we conjure thoughts of spice, warmth, and emotion. It is with the final category that soprano Petibon has sought to identify herself with this release, but she endeavors to open our senses to the area of <i>melancolia</i>, the melancholy, that inhabits much of the musical language of Spain.<br />
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For much of this refreshing album, she achieves her goal. The repertoire she has chosen might easily be classified as mere Spanish art songs, which does not adequately describe the material for my want of precise categorization of the work. To settle for that summation alone, one would be guilty of an inferior classification for a grouping of songs that display many unique qualities that make each of them memorable. In the album's booklet, which is published in four different languages for the benefit of an international audience, Petibon informs how she approached the material to include on this disc.<br />
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"I spent a long time thinking about the programme for this disc, creating a mixture of music, and finally I settled on one unifying idea: the feeling of melancholy, which is a reflection of Spain itself," she says. "The disc is a journey through different styles, but through folk music as well, which has a strong presence on the disc. The theatrical element is very important, too, and at the centre is the character of Salud in Falla's <i>La vida breve.</i> She embodies the melancholy of the title, the loss of hope. Melancholy is a balance in life, a sadness that binds us to death. Salud represents the darkest side of melancholy that tends toward tragedy. But this sort of melancholy can also depict the radiance of childhood, of joy and laughter. What I wanted to explore through this disc was the journey between these two poles."<br />
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Indeed, as she iterates, melancholy can be used to illustrate a current situation, or the feeling may serve to recall a time of illumination when life was more enjoyable or simpler to our minds. I think the selection that best illustrates the latter definition of melancholy on this disc is Heitor Villa-Lobos' famous <i>Aria (Cantilena). </i> It has often been recorded by many a popular music artist, Hayley Westenra being a more recent notable one, but Petibon breathes new life into this song. No longer is it simply a progression of notes in her voice's ample range; with her interpretative gifts that I admire so much, she transforms this otherwise common piece that might otherwise suffer from too much exposure at the hands of others into a mournful ballad in which one can find a reference to a time of previous joy that was known. One of the distinct qualities of her voice that I find almost unique to her is her ability to take a piece of music and to convey any sort of emotion in it. I like it best when she throws caution and what many musicologists and musicians might call rigid structure to the wind and sings with an almost reckless abandon. It is then that she shines tremendously, for she places the music and herself in such a vulnerable state. In those instances when she feels the music demands it, she lets every typical convention depart, and she simply lets the music and its sentiments carry her with them. It is a brilliant device, and I wish more singers would take these sorts of urgent chances.<br />
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Our first glimpse of this bold, delicious flavoring from her voice comes from the melodies of Joaquin Nin y Castellanos. In <i>El Vito's</i> musical orchestration and the intuitive flair with which she creates her phrases, we catch a promising view of the folk elements of this disc. While it is certainly not a cause for operatic purists to lament, for Petibon does not fully remove herself from her instinct as a classical vocalist quite yet, as the piece progresses through the solo interlude of the guitar, and the percussion is added, the soprano allows the music to envelop her voice, and we gleefully notice that the ingredients of a truly scintillating performance are evident. The dance that the title indicates slowly forms beyond our broad expectation for such a title devoid of any real description, and the colors we hope to find in the experience of listening to this song initiate their definitions of themselves to our attentions. She never truly loses her classical style here, but we are given a pleasant preview of what is to come in later tracks.<br />
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Petibon addresses this facet of the recording in the booklet accompanying the release. She says, "...In terms of sound, I was just as keen to find different vocal colours as instrumental ones. I didn't want to use an operatic voice all the time - sometimes you must forget your training to be able to return to the roots and use your instinct as an interpreter. [...]" She certainly accomplishes this goal admirably on this release, and Spanish music lends itself quite well to this endeavor. <i>Cantares, </i>which is composed by Joaquin Turina, reveals more clearly these intentions and takes the reckless abandon that we hope to find to an almost complete culmination in Petibon's exclamations of <i>"Ay!"</i> They are produced with little attention to classical training beyond the necessary support from the abdominal area of the body, and they contain the desired effect of sufficiently pulling us into the music. Even if a listener does not comprehend the Spanish lyrics, it is impossible to be ignorant of the fact that this is an exuberant, rousing, joyous song. Indeed, if you heard this song without any context from the album, you might be tempted to wonder how it deals with the theme of melancholy. The subject of the song is dealing with the sadness that comes from leaving a happy relationship.<br />
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For all of this disc's merit, which is considerable and quite a nice departure from the standard classical vocal fare, there are two tracks that immediately dampen the tone of the album for my liking. Xavier Montsalvatage's two contributions to the music both sound like pieces from the Romantic era, and one could well mistake the <i>Cancion de cuna</i> for a composition by a contemporary of Puccini's. The <i>Canto negra </i>that is featured in this programme shows some of his predilection for the <i>avant-garde</i> in music at the time, but it generally sounds like it comes from the middle of the previous century, which is not a particularly innovative time in music. Much of it sounds very similar to everything else, and most of the composers outside of Germany and England seemed content to refrain from much experimentation in their creations. These two selections almost seem out of place on this album; indeed, one might expect to find them from a Spanish film of the lately aforementioned period.<br />
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For my review of this disc, I have elected to save one of the most exciting elements of this project for the latter portion of my excursion into the musical landscape of this territory. The final four tracks on the release are a world premiere recording of four songs written for Patricia Petibon. New commissions of music do not usually capture my adoration, nor am I altogether certain that this one shall do so entirely, but composer Nicolas Bacri gives Petibon a cycle of songs entitled <i>Melodias de la melancolia.</i> These songs begin with <i>A la mar. </i>It deals with a person who goes to the sea to sing her sad song so that she does not have to endure the tears that would otherwise reveal themselves if she were forced to confront her sadness alone. Petibon does not allow the opportunity for dramatic or emotional effect to pass her with this inception that is shrouded in mystery. Her voice perfectly connotes the unknown cause of sadness that plagues the protagonist of this episode, and we are left to only imagine what misfortune has befallen this woman. The chords that are formed by the orchestra produce an eerie, anxious atmosphere that only serves to heighten our agitation for this character. What is to become of her? Will this be the final time she visits the sea because she decides that she may find more comfort in allowing it to swallow her than to return to her existence? We are left to ponder this as the agony is slightly revealed in the vocal line.<br />
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The second song is called <i>Silencio mi nino</i>. In this lyrical episode, a mother implores her child to sleep and forget the wrongs of the day as the night visits them. She assures her son that she will not leave him and that she will comfort him in his sorrow. The swells in the orchestra paint a scene of a peaceful night beginning to show itself to the world and help to urge the child to do as his mother bids him and go to sleep.<br />
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Musically, the third piece takes quite a departure from our previous two. The score here sounds much more agitated and discontent than it has previously done, which is the perfect pairing for the text it ushers. In this piece, which has quite a high sustained range that Petibon delivers exquisitely, the narrator expresses disappointment and perhaps even disdain for love. It is clear that love has become a meaningless part of life that is bereft of happiness. This song seems to adopt a true melancholy for its driving force, for sadness is not an appropriate attribution of what this person is feeling.<br />
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The final piece of music is entitled simply <i>Solo</i>, and it is a lonely expression of what qualities a state of melancholy lacks. The music accompanying the voice here betrays no sense of hope for a future improvement of life to a more jovial state. Instead of any wish for happiness in the coming days, it exhibits only the sorrow of life in a state of melancholy, and all that remains is "the sweet and secret melody of my melancholy."<br />
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Throughout this recording's endearing aural pleasures, we are consistently reminded of Petibon's emotional connection to this music through her voice. She intones every phrase with some purpose to illustrate the song with some sense of the theme of melancholy, and it serves to unify the entire disc's material. I am immensely proud of this effort from this soprano, and I think she is often underrated. I maintain every hope that she will be engaged for a recital tour of the United States in the near future, and I would dare to add to that hope that I might attend one of those performances. My immense ingratiation is proffered to Decca Classics and Deutsche Grammophon for sending me this new release, and I privileged to be able to hear such wonderful artists as this one certainly is.<br />
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I hope that all of you shall enjoy this remarkable new release to the fullest extent, for I certainly think it to be one of the most promising I have heard from this year, and I hope that God continues to bless all of you as this present year vanishes from our lives, and we are greeted with the numerous pleasures that the new year shall bestow upon us. Please accept my humble gratitude for enduring my post, and I hasten to remind everyone of <a href="http://www.metoperafamily.org/metopera/index.aspx" target="_blank">The Metropolitan Opera</a>'s pastiche of Baroque works, <i><a href="http://www.metoperafamily.org//opera/the-enchanted-island-tickets.aspx?icamp=Enchint&iloc=hpgraphic" target="_blank">The Enchanted Island</a>,</i> starring Danielle de Niese, Joyce DiDonato, Placido Domingo, and David Daniels among others. It is being <a href="http://www.metoperafamily.org/stream.aspx?&icamp=faustint&iloc=hpticker" target="_blank">streamed from the Met's website on New Year's Eve!</a><br />
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--Tyler.Tyler Bartonhttp://www.blogger.com/profile/17536805564835497095noreply@blogger.com0tag:blogger.com,1999:blog-2185476854075082873.post-81723540735156590192011-11-17T09:49:00.001-06:002011-11-18T12:56:56.923-06:00Lucia di Lammermoor at Washington National Opera<div class="separator" style="clear: both; text-align: center;">
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In the examination of my traffic statistics for my blog, I notice that my most popular post lately is one that describes a small portion of Sarah Coburn's career. If the events of the world of opera have any bearing upon the amount of visitors that are brought to my individual posts, it might well be stated that the present production of Gaetano Donizetti's <i>Lucia di Lammermoor</i> at the Washington National Opera. Soprano Sarah Coburn is Donizetti's mad heroine, and the remainder of the cast includes Michael Chioldi, and Saimir Pirgu. I have heard many praises of this production on Twitter from many sources, and it appears that Coburn is making quite an impression on the audiences who attend.<br />
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Philip Kennicot gives us a <a href="http://www.readability.com/articles/kqze7uhs" target="_blank">review</a> of the production. Since I have not seen the production, I must rely on the written narration of another to clarify the production's idiosyncrasies and nuances that are exclusive to it. He mentions the shortcomings of the set design, which reveals itself probably most prominently in the fact that there are no doors within the walls of the flats, and this impedes the action onstage, for the chorus is rumored to find it necessary to climb through the windows. Obviously, there is some dramatic effect that is sought to be obtained in this direction and design, but Kennicot finds it more distracting than thought provoking, which seems only natural to me. While there may be some missed interpretation to be considered in that particular scene change, it is completely wasted on one who cannot focus on the important actions of the principals that inhabit the stage while they fear for safety of chorus members who might suddenly tumble through a window or who is unsuccessful in blocking the exiguous noise from the vital music that is being heard. Though the production has its flaws, this critic still appropriates acceptable marks to it for the effectiveness of its lighting and the difference of interpretation that it may inspire in opposition or dissidence to another production that a viewer may have previously witnessed. This mounting of <i>Lucia di Lammermoor </i>puts Lucia in a far more innocent state of being than we usually encounter in the operatic world, and it is becoming far more popular for the heroines of new productions to be envisioned as teen-aged adolescents. I have some qualms with this approach, one of which is that I think it leads to a sweeping generalization of the diverse characters that are present in opera, but this seems to create a more validated and acceptable transition for an audience into Lucia's insanity that she eventually acquires.<br />
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As for the cast's abilities, Kennicot calls the cast he saw, which featured Sarah Coburn, "compelling." He further elucidates regarding her that her voice has genuine character and all of the clarity and speed for which one could hope. I am most elated to hear such praise for this soprano, for she used to attend my university, and she was the first opera singer that I have ever seen perform. The tenor Saimir Pirgu received words of praise from our critic, as well, and he was reported to complement Coburn quite well. It would appear that there is no flaw in the vocal aspect of this piece. One piece of information that was not conveyed, which I should have been very glad to know, was whether or not the original glass harmonica orchestration was employed for the mad scene. One of the opera companies whom I follow on Twitter mentioned that they were running the production with the original orchestration, but I cannot recall if it was the Washington National Opera or otherwise. I much prefer the glass harmonica to be included by the orchestra, for it adds a new dimension to the haunting, eerie quality of the madness that we discover in Lucia.<br />
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I express my immense ingratiation to all of you for continuing to peruse my posts, and I hope that all of you are extraordinarily blessed in life. I wish everyone an Happy Thanksgiving despite your nationality, for a day of feasting in honor of giving thanks for God's providence is a commendable course no matter what nation claims your heritage.<br />
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-Tyler.Tyler Bartonhttp://www.blogger.com/profile/17536805564835497095noreply@blogger.com0tag:blogger.com,1999:blog-2185476854075082873.post-1021014951166622192011-11-15T20:49:00.001-06:002011-11-16T09:01:03.397-06:00An Exciting New Release<div class="separator" style="clear: both; text-align: center;">
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Deutsche Grammophon announced via Twitter this evening that <a href="http://www.patriciapetibon.com/" target="_blank">soprano Patricia Petibon's</a> new album of Spanish songs and arias, which is entitled <i><a href="http://www.deutschegrammophon.com/html/special/petibon-melancolia/index.html" target="_blank">Melancolia: Spanish Arias and Songs</a>, </i>is to be released in the United States on November 21, 2011. I have high hopes for this album after becoming enthralled by Petibon's previous release of <i>Rosso: Italian Baroque Arias. </i>Though this recording is not quite so specialized as <i>Rosso</i> was, I expect all of the flavor that Spanish music would immediately conjure in the minds of anyone who is remotely familiar with music would hope to find. Indeed, that was one of the main reasons for my infatuation with <i>Rosso, </i>for her performances were breathed with fresh, vivacious life, and they did not sound like a plain reading of text in the least amount. Every track from that album was imbued with a passion that I have rarely found matched in other performances of Baroque music, in which many artists are concerned with what is thought to be the most strict of styles. Her renditions almost left caution to the wind, and the effect was rapturous for my ears. Without any question Baroque music should be performed to that degree of expression every time it is proffered in a program.<br />
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The track list for this new disc is as follows.<br />
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Enrique Granados<br />
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<ol>
<li><i>La maja dolorosa II: Ay majo de mi vida<br />Tornadillas No.2</i></li>
<li><i>Cancion de Cuna<br />Cinco canciones negras No. 4</i></li>
<li><i>Canto negro</i><br /><i>Cinco Canciones negras No. 5</i><br /><br />Joaquin Nin y Castellanos</li>
<li><i>El vito</i><br /><i>Veinte cantos populares espanoles II No. 8</i><br /><br />Heitor Villa-Lobos</li>
<li><i>Aria (Cantilena)</i><br /><i>Bachianas Brasileiras No. 5</i><br /><br />Joaquin Turina</li>
<li><i>Cantares</i><br /><i>Poema en forma de canciones No. 3</i><br /><br />Geronimo Gimenez</li>
<li><i>La tarantula e un bicho mu malo (Zapateado)</i><br />from<i> La tempranica</i><br /><br />Rafael Calleja Gomez/ Tomas Barrera Saavedra</li>
<li><i>Adios, Granada</i><br />from<i> Emigrantes</i><br /><br />Manuel de Falla</li>
<li><i>Vivan los que rien!</i><br />from <i>La Vida breve, Act 1</i><br /><br />Federico Moreno Torroba</li>
<li><i>Petenera</i><br />from <i>La Marchenera</i><br /><br />Enrique Granados</li>
<li><i>El mirar de la mija</i><br /><i>Tornadillas No. 7</i><br /><br />Jose Serrano Simeon</li>
<li><i>Marinela, Marinela</i><br />from <i>La cancion del olvido</i></li>
<li><i>Ogunde uarere</i><br /><br />Nicolas Bacri<br /><br /><i>Melodias de la melancolia, Op. 119</i><br />for Patricia Petibon, World Premiere Recording</li>
<li><i>1. A la mar</i></li>
<li><i>2. Silencio mi nino</i></li>
<li><i>3. Hay quien dice</i></li>
<li><i>4. Solo</i></li>
</ol>
As my readers can easily gather from this diverse choice of material, this promises to be replete with life and fervor for the music. Most of these compositions are plucked from the Romantic era of music, which lasts approximately between 1850 to 1900, which indicates lush orchestrations and greater emphasis on the music over the voice, but I am anxious to discover how Petibon shall make these selections entirely her own.<br />
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For those who are unfamiliar with Patricia Petibon, she is best known as a skilled interpreter of the baroque repertoire, <a href="http://www.readability.com/articles/b6hxmre9" target="_blank">but last season brought a bold departure from that music with her run of performances as Berg's Lulu in Salzburg over the summer.</a> Opera News also had a <a href="http://www.operanews.com/Opera_News_Magazine/2010/11/Review/SALZBURG.html" target="_blank">review</a> of this new territory for Petibon, and she was the <a href="http://www.operanews.com/Opera_News_Magazine/2010/8/Features/French_Expressionist.html" target="_blank">cover subject for the August 2010 issue.</a><br />
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On this newest release under Deutsche Grammophon label, the soprano is joined in collaboration by the Orquestra Nacional de Espana under the baton of Josep Pons, and, if Petibon's previous artistry is to be of any indication to our minds is hope for this recording, we can safely dare to hope for superlative results from this latest offering. I look forward to hearing this recording with excellent anticipation of exquisite musicology and interpretation.<br />
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Please accept my ingratiation for reading my continued blog posts, and I hope that all of my readers are immensely blessed of late. I pray God's continued providence upon all of you.<br />
-Tyler.Tyler Bartonhttp://www.blogger.com/profile/17536805564835497095noreply@blogger.com0tag:blogger.com,1999:blog-2185476854075082873.post-60106562585243109352011-10-31T22:31:00.000-05:002011-10-31T22:33:22.036-05:00Does Artistic License End in Artistic Difference?<br />
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It was this morning that I opened my complimentary copy of the <i>New York Times</i> to the section of the serial publication that is devoted to the arts, and I found more than enough of a story in the classical music sphere to sate my thirst for a compelling story.<span class="Apple-style-span" style="font-size: x-small;"> <span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">As many of my readers may be aware, pianist </span></span><span style="background-color: white; font-size: 13px; line-height: 19px;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Hélène Grimaud released a new recording today internationally, and it contains Mozart's Piano Concerto No. 19 in F major, K. 459, <i>Ch'io mi scordi di te?, Non temer amato bene, </i>K 505, which are sung by soprano Mojca Erdmann, and his Piano Concerto in A major, K. 488. This recording is being billed as two firsts for Grimaud, which are her first live recording for her label Deutsche Grammophon and her first recording of Mozart concerti. As the <i>New York Times</i> showed us, this was not originally slated to be a live recording. That was almost purely accidental, which is quite surprising.</span></span><br />
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<span style="background-color: white; font-size: 13px; line-height: 19px;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">According to Daniel J. Wakin, who wrote the article for the day of the scheduled international release, Maestro Claudio Abbado was originally scheduled to conduct Grimaud and his Orchestra Mozart in May for the release of these concerti and the two arias. Based upon the scholastic musicality of previous interpreters, one of which was Vladimir Horowitz, Grimaud wanted to employ a cadenza that was composed by Ferruccio Busoni over the original one that Mozart composed for the Concerto in A major. Mozart's cadenza for the piece is considered inferior to Busoni's by many erudite musicians, but Abbado wanted to include it over the Busoni inclusion. Though Grimaud was reluctant, and she had not looked at Mozart's cadenza, she, nevertheless, included it for the original recording at Abbado's behest after they had recorded Busoni's piece in context of the concerto. Therefore, the option seemed to be left that either one could be chosen for the recording. </span></span><span class="Apple-style-span" style="background-color: white; font-family: Georgia, 'Times New Roman', serif; font-size: 13px; line-height: 19px;">Hélène was adamant that she would not consider Mozart's ornamentation for the actual recording, but Abbado continued to push for the inclusion of it on the release.</span><br />
<span class="Apple-style-span" style="background-color: white; font-family: Georgia, 'Times New Roman', serif; font-size: 13px; line-height: 19px;"><br /></span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;"><span class="Apple-style-span" style="line-height: 19px;">There was then an <i>impasse</i> between them, for Maestro Abbado, who, at 78 years of age, is considered one of the foremost conductors of the world, continued to lobby for the inclusion of the Mozart cadenza to complement the composer's concerto, and he hinted that he would decide that the piece be played with it in their scheduled performances of the work in Lucerne, Switzerland, and elsewhere in Europe. However, Grimaud would have none of it, so, after the initial recording was made, she ordered the production of it to be stalled and withheld from public release. Because of this Claudio Abbado canceled several performances together, and replacements had to be found in both London and Lucerne for them. According to Michael Haefliger, the Lucerne Festival's Artistic and Executive Director, Ms. Grimaud was paid her fees though her concerts were cancelled with them and substitutes found. It is reported by those who were close to the matter that Abbado, who declined to be interviewed for the feature, has said that he would not continue to make music with someone whom he felt was not being a good partner in reference to Ms. Grimaud.</span></span><br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;"><span class="Apple-style-span" style="line-height: 19px;">All of this comes to the ultimate conclusion that there is an album released, but one might ask how this could be if the conductor withdrew his name from the affair and if Grimaud would not release the recording as he desired it. As it turns out, there was a live recording of the concerti from a couple of months earlier with which Grimaud felt deeply satisfied. She conducted the Bavarian Radio Symphony from the bench of her instrument, and it is this live performance that finds its way to the actual release of the recording. </span></span><br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;"><span class="Apple-style-span" style="line-height: 19px;">This begs the question of who holds the final authority when deciding the artistic direction of a recording. Is it the conductor, or does a solo artist hold the decision in their hands? In my limited experience with these sort of episodes, it has mostly been the responsibility of the conductor to make the final decision because it is more often than not that they are better informed to make such a choice in the context of a performance or recording. It has only been in recent times that artists would dare openly dissent with a conductor. If these were the days of Herbert von Karajan or Georg Solti, it would be unthinkable to hear of such a thing. Any disagreement with a conductor or the artistic management usually resulted in an artist departing in disgrace or at odds with the remainder of the classical music world. As recent as the fiasco with Kathleen Battle and Joseph Volpe, artists would be grateful if they could find work again. Battle certainly never did to any sort of consequence thereafter, and there are many cases of artists finding a reduced state of popularity after a disagreement with a conductor.</span></span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;"><span class="Apple-style-span" style="line-height: 19px;"><br /></span></span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;"><span class="Apple-style-span" style="line-height: 19px;">I ask my readers who should hold the final authority?</span></span><br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;"><span class="Apple-style-span" style="line-height: 19px;">Thank you all for reading, and I hope that everyone is blessed lately. I hope that you have all found this subject to be interesting!</span></span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;"><span class="Apple-style-span" style="line-height: 19px;">-Tyler.</span></span>Tyler Bartonhttp://www.blogger.com/profile/17536805564835497095noreply@blogger.com0tag:blogger.com,1999:blog-2185476854075082873.post-31831390120539349262011-10-31T13:51:00.002-05:002011-10-31T13:51:27.439-05:00My Favorite Productions of the 2011-2012 Metropolitan Opera Season<a href="http://calendar.activedatax.com/stonybrook/displaymedia.aspx?whatToDo=picture&id=3714" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://calendar.activedatax.com/stonybrook/displaymedia.aspx?whatToDo=picture&id=3714" /></a><br />
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It has been a couple of weeks since that I was rewarded with receiving the Metropolitan Opera's 2011-2012 Radio Broadcast and Live in HD guide for the upcoming season, and I was elated to find it among the items in my mailbox. Naturally, I immediately began to scan the pages that were contained between the covers, and the front of the brochure was clearly designed and utilized to cater to the widest possible audience, for it featured soprano Anna Netrebko in a production photograph for the season's new production of Jules Massenet's <i>Manon</i>. I could spend some appreciable time on why I think it is an odd move for Netrebko to add the role of Manon to her repertory at this precise moment, but I shall abstain for the nonce.<br />
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My favorite production for which I possess the most excitement in the current season has to be Handel's <i>Rodelinda</i>, which stars Renee Fleming and Andreas Scholl, the latter of whom recently gave a critically lauded recital at Carnegie Hall. This was the opera that was my maiden voyage into this beautiful art form, and Renee Fleming had portrayed the heroine in that Metropolitan Opera broadcast responsible for my new passion. This sort of brings my journey in the world of opera to the point of its origin. In that light one could make the case that I am embarking on a new stage of my journey in opera, which is certainly veritable as I begin to make this my career. The production is by director Stephen Wadsworth, and it is a safe, traditional one, which keeps me glad. I cannot wait to at least hear this glorious performance.<br />
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<strike>My second</strike>-- That is to say, my <i>other</i> production for which I am elated is the new baroque pastiche with music from Vivaldi, Handel, and Rameau among others and featuring a new libretto by Jeremy Sams that is entitled <i>The Enchanted Island.</i> The plot of this new work is centered around the characters from William Shakespeare's <i>A Midsummer Night's Dream, </i>but this episode has them shipwrecked on the island from another of Shakespeare's plays, <i>The Tempest.</i> The cast is exciting, for it includes a star-studded roster of excellent vocalists, some of whom you would expect in baroque repertoire, and there are others whom you would not. The cast comprises the talents of Placido Domingo, whom I should not expect to find singing baroque music, Lisette Oropesa, whom I shall be glad to have the pleasure of hearing again, Joyce DiDonato, who has become the premier mezzo-soprano in the Rossini and baroque repertoire outside of the renowned Cecilia Bartoli, David Daniels, Luca Pisaroni, and Danielle de Niese, who is one of my favorite sopranos to hear.<br />
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I am certain that my readers will notice the emphasis I took to say that <i>The Enchanted Island</i> is my <b>other favorite production</b> of the season, and there is due cause for this. Twitter is responsible for this wording, and there is a rather humorous anecdote involved with the fact. When I am not writing blog posts or studying, I can often be found scanning the tweets of my hallowed list of people that I follow on Twitter to obtain more news of the happenings in the operatic and theatrical worlds, and I also am given the liberty of mentioning things that I am anxious to do or see. It is in this part of the story that it would be nice to say that Danielle (yes, <b><a href="http://www.danielledeniese.com/" target="_blank">this Danielle</a></b>) and I "go way back" as the expression is, but, unfortunately, we do not. However, we mutually and reciprocally follow each other on Twitter, and she responds to things I post considerably often when one thinks of who she is and what she does. Well, as it happened, I casually mentioned that my favorite production in anticipation of the Met's current season was <i>Rodelinda</i> as I have mentioned here, and, having more than one, I followed that remark with,<br />
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<blockquote class="tr_bq">
<span class="Apple-style-span" style="background-color: whitesmoke; color: #073763; font-family: Arial, 'Helvetica Neue', sans-serif; font-size: 15px; line-height: 18px;">My second choice of a production to witness at </span><a class=" twitter-atreply pretty-link" data-screen-name="MetOpera" href="http://twitter.com/#!/MetOpera" rel="nofollow" style="background-color: whitesmoke; font-family: Arial, 'Helvetica Neue', sans-serif; font-size: 15px; line-height: 18px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: left; text-decoration: none; white-space: nowrap;" target="_blank"><span class="Apple-style-span" style="color: #cc0000;"><s style="background-color: whitesmoke; font-family: Arial, 'Helvetica Neue', sans-serif; font-size: 15px; line-height: 18px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; opacity: 0.5; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: left; text-decoration: none; white-space: nowrap;">@</s><b style="background-color: whitesmoke; font-family: Arial, 'Helvetica Neue', sans-serif; font-size: 15px; line-height: 18px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: left; text-decoration: none; white-space: normal;">MetOpera</b></span></a> <span class="Apple-style-span" style="background-color: whitesmoke; color: #073763; font-family: Arial, 'Helvetica Neue', sans-serif; font-size: 15px; line-height: 18px; text-align: left;">would have to be 'The Enchanted Island' with </span><a class=" twitter-atreply pretty-link" data-screen-name="Danielledeniese" href="http://twitter.com/#!/Danielledeniese" rel="nofollow" style="background-color: whitesmoke; font-family: Arial, 'Helvetica Neue', sans-serif; font-size: 15px; line-height: 18px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: left; text-decoration: none; white-space: nowrap;" target="_blank"><span class="Apple-style-span" style="color: #cc0000;"><s style="background-color: whitesmoke; font-family: Arial, 'Helvetica Neue', sans-serif; font-size: 15px; line-height: 18px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; opacity: 0.5; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: left; text-decoration: none; white-space: nowrap;">@</s><b style="background-color: whitesmoke; font-family: Arial, 'Helvetica Neue', sans-serif; font-size: 15px; line-height: 18px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: left; text-decoration: none; white-space: normal;">Danielledeniese</b></span></a><span class="Apple-style-span" style="color: #073763;"> </span><span class="Apple-style-span" style="background-color: whitesmoke; color: #073763; font-family: Arial, 'Helvetica Neue', sans-serif; font-size: 15px; line-height: 18px; text-align: left;">and </span><a class=" twitter-atreply pretty-link" data-screen-name="JoyceDiDonato" href="http://twitter.com/#!/JoyceDiDonato" rel="nofollow" style="background-color: whitesmoke; font-family: Arial, 'Helvetica Neue', sans-serif; font-size: 15px; line-height: 18px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: left; text-decoration: none; white-space: nowrap;" target="_blank"><span class="Apple-style-span" style="color: #cc0000;"><s style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; opacity: 0.5; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">@</s><b style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; white-space: normal;">JoyceDiDonato</b></span></a><span class="Apple-style-span" style="background-color: whitesmoke; color: #073763; font-family: Arial, 'Helvetica Neue', sans-serif; font-size: 15px; line-height: 18px; text-align: left;">.</span></blockquote>
Much to my surprise, I received this reply from Ms. de Niese in good humor:<br />
<br />
<blockquote class="tr_bq">
<a class=" twitter-atreply pretty-link" data-screen-name="TylerBarton27" href="http://twitter.com/#!/TylerBarton27" rel="nofollow" style="background-color: white; color: rgb(255, 51, 0) !important; font-family: Arial, 'Helvetica Neue', sans-serif; font-size: 15px; line-height: 18px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: left; text-decoration: none; white-space: nowrap;"><s style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; opacity: 0.5; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">@</s><b style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; white-space: normal;">TylerBarton27</b></a><span class="Apple-style-span" style="background-color: white; color: #444444; font-family: Arial, 'Helvetica Neue', sans-serif; font-size: 15px; line-height: 18px;"> </span><a class=" twitter-atreply pretty-link" data-screen-name="metopera" href="http://twitter.com/#!/metopera" rel="nofollow" style="background-color: white; color: rgb(255, 51, 0) !important; font-family: Arial, 'Helvetica Neue', sans-serif; font-size: 15px; line-height: 18px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: left; text-decoration: none; white-space: nowrap;"><s style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; opacity: 0.5; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">@</s><b style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; white-space: normal;">metopera</b></a><span class="Apple-style-span" style="background-color: white; color: #444444; font-family: Arial, 'Helvetica Neue', sans-serif; font-size: 15px; line-height: 18px; text-align: left;"> </span><a class=" twitter-atreply pretty-link" data-screen-name="joycedidonato" href="http://twitter.com/#!/joycedidonato" rel="nofollow" style="background-color: white; color: rgb(255, 51, 0) !important; font-family: Arial, 'Helvetica Neue', sans-serif; font-size: 15px; line-height: 18px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: left; text-decoration: none; white-space: nowrap;"><s style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; opacity: 0.5; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">@</s><b style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; white-space: normal;">joycedidonato</b></a><span class="Apple-style-span" style="background-color: white; color: #444444; font-family: Arial, 'Helvetica Neue', sans-serif; font-size: 15px; line-height: 18px; text-align: left;"> second? ..... <louder and with longer vowels> SEEECOOOND? :-)</span></blockquote>
<br />
Thus, my later choice of wording for all of eternity became <i>"other"</i> at her direction, for she replied when I said that I could have used a different word,<br />
<br />
<blockquote class="tr_bq">
<a class=" twitter-atreply pretty-link" data-screen-name="TylerBarton27" href="http://twitter.com/#!/TylerBarton27" rel="nofollow" style="background-color: white; color: rgb(255, 51, 0) !important; font-family: Arial, 'Helvetica Neue', sans-serif; font-size: 15px; line-height: 18px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: left; text-decoration: none; white-space: nowrap;"><s style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; opacity: 0.5; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">@</s><b style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; white-space: normal;">TylerBarton27</b></a><span class="Apple-style-span" style="background-color: white; color: #444444; font-family: Arial, 'Helvetica Neue', sans-serif; font-size: 15px; line-height: 18px;"> </span><a class=" twitter-atreply pretty-link" data-screen-name="metopera" href="http://twitter.com/#!/metopera" rel="nofollow" style="background-color: white; color: rgb(255, 51, 0) !important; font-family: Arial, 'Helvetica Neue', sans-serif; font-size: 15px; line-height: 18px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: left; text-decoration: none; white-space: nowrap;"><s style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; opacity: 0.5; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">@</s><b style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; white-space: normal;">metopera</b></a><span class="Apple-style-span" style="background-color: white; color: #444444; font-family: Arial, 'Helvetica Neue', sans-serif; font-size: 15px; line-height: 18px; text-align: left;"> </span><a class=" twitter-atreply pretty-link" data-screen-name="joycedidonato" href="http://twitter.com/#!/joycedidonato" rel="nofollow" style="background-color: white; color: rgb(255, 51, 0) !important; font-family: Arial, 'Helvetica Neue', sans-serif; font-size: 15px; line-height: 18px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: left; text-decoration: none; white-space: nowrap;"><s style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; opacity: 0.5; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">@</s><b style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; white-space: normal;">joycedidonato</b></a><span class="Apple-style-span" style="background-color: white; color: #444444; font-family: Arial, 'Helvetica Neue', sans-serif; font-size: 15px; line-height: 18px; text-align: left;"> yes.... "Other" or...... "first" :-)))))))))</span></blockquote>
<br />
Well, it did not go quite so high as first, though it could well tie for that title, but I have employed greater discretion thereafter using the alternate wording, and divas the world over are the happier for it, I am pleased to announce.<br />
<br />
Returning to my other productions for which I am excited, one of them has revealed itself to me on short notice, and it is to be streamed live this Halloween evening. Mozart's <i>Don Giovanni</i>, which is a perennial favorite at the Met as a showcase for both established stars and the new talent that presents itself to the world of opera. I am most anxious to hear soprano <a href="http://www.mojcaerdmann.com/joomla/index.php/en" target="_blank">Mojca Erdmann </a>, who had a <a href="http://www.operanews.com/Opera_News_Magazine/2011/10/Departments/Sound_Bites__Mojca_Erdmann.html" target="_blank">feature in <i>Opera News'</i> October issue</a>, and Mariusz Kwiecien after his <a href="http://www.operanews.com/Opera_News_Magazine/2011/10/News/Peter_Mattei_Met_Giovanni.html" target="_blank">surgery on his back</a>. Barbara Fritolli and Ramon Vargas complement these artists in the production, and I am certain that they shall be in excellent vocal form this evening. This may well be my activity for the evening, so it would be nice if some kind patron would leave a container of chocolates upon my doorstep since I shall be unable to go begging for it from other houses in my neighborhood.<br />
<br />
We also have exciting new heirs to the <i>La Fille du Regiment</i> star vehicle this year in tenor Lawrence Brownlee and Nino Machaidze. Kiri Te Kanawa returns as the Duchess of Krakenthorp. Having witnessed Brownlee perform in person, his ability is solid, but his acting leaves a void with the audience. He is more of the "stand in one place and sing" type of singer presently, but I expect that will change with time. Of course, with his voice, who would complain about that fact?<br />
<br />
Another Donizetti opera receives a stellar cast pairing this season, and it is quite unexpected for me. Diana Damrau and Juan Diego Florez are the two lovers in <i>L'Elisir d'Amore, </i>and they join forces with Kwiecien and Alessandro Corbelli. This promises to be a memorable run of performances, and, from the standpoint of the singers alone, it may well raise the performance standard for this opera to an exponential degree. I am excited for this!<br />
<br />
A new thing that I want to hear is Leos Janacek's <i>The Makropulos Case </i>starring skilled Janacek interpreter Karita Mattila. Janacek's music has intrigued me ever since I heard Renee Fleming's recording of selections from <i>Jenufa</i>, and I was impressed by the melodies in <i>From the House of the Dead</i> when it made its premiere at the Met a few years since. Janacek is composer that I would feel ready to hear in a new, untried context, so I look forward to this outing to have the chance.<br />
<br />
Natalie Dessay brings the Met her interpretation of Verdi's doomed heroine in <i> La Traviata</i> after her touring of the role in Europe over the summer festival season. The best story of one of these runs came from the Aix en Provence festival with Dessay in the role of Violetta under the baton of Louis Langree with the assistance of the London Symphony Orchestra. Maxine Kwok-Adams, who is one of the principle violinists with that revered ensemble, and who is another person I follow on Twitter, tweeted that she screamed in the orchestra pit as a fox ran amongst the musicians during a performance! The festival is an outdoor one, so I suppose occurrences such as that one will happen occasionally. Nevertheless, the New York Times did not give it a very nice review, and they did mention that Langree could not seem to keep absolute hold of the orchestra. One now wonders why... As for her Alfredo, I am most dissatisfied, for they have chosen Matthew Polenzani. His Alfredo from 2007 opposite Renee Fleming was a weak one in my opinion, but I shall listen again to see if he has improved since then.<br />
<br />
Patricia Racette returns to us in Puccini's <i>Tosca</i>, and Roberto Alagna and Aleksandrs Antonenko share the role of Cavaradossi while James Morris and George Gagnidze alternate as Scarpia this season.<br />
<br />
Of course, there are also the two new installments of Wagner's <i>Ring </i>cycle for us to herald with Deborah Voigt and Bryn Terfel. James Hunter Morris debuted as Seigfried recently replacing the indisposed tenor who preceded him, and he was phenomenal by all accounts. I cannot wait to hear him continue in the role.<br />
<br />
That list completes my greatest anxieties for expectation for the Metropolitan Opera's 2011-2012 season, and it promises to be an exquisite one. The broadcast season will soon be upon us, and my Saturdays shall be claimed by being employed in the practice of listening to the world's best opera house delivering us the grandest performances in the present world.<br />
<br />
I pray that my readers are all exceptionally blessed in their lives currently, and I intimate my utmost ingratiation to all of you for allowing me this pleasure of including myself in your lives. I pray that God continues to bless all of you immensely!<br />
-Tyler.Tyler Bartonhttp://www.blogger.com/profile/17536805564835497095noreply@blogger.com0tag:blogger.com,1999:blog-2185476854075082873.post-46022304885093181732011-10-14T23:14:00.000-05:002011-10-14T23:14:55.989-05:00The Result of My Contribution to Literature on the Arts For any of you who were interested, I was given my grade for my profile of conductor James Levine this morning, and I am pleased to report that I received a 92% A- for <i>The Wave of the Wand. </i>For the most part I was pleased with my marks, but I did exert a good deal of effort, and I think that my original draft, had I completed it as I intended to do, should have received a better overall grade. After I claimed my essay, I was given my English Composition midterm examination, and I was completely unprepared for what I saw. Our professor had told all of us students that there would be ten or twelve multiple choice questions combined with an essay question on the test, and we discovered that we should translate this in the future to mean that there shall be eighteen questions requiring a definition with the multiple choices residing in one's brain for extraction and utilization in the specific answer.<br />
<br />
As for the essay portion of the exam, I felt that it was a reasonable thing to find, but I have never known an excellent essay to be born of an author's abilities in half an hour or less. It is, therefore, needless to say that my essay was not my best. Indeed, it was unfinished when our allotted time was expended. I can only hope that I make a C on this midterm exam. I think my essays will give me a low A or a high B for the course itself if I continue to receive A's for my required essays in the class.<br />
<br />
If I may depart from the subject of academia, I should like to focus on the operatic world at present. The Metropolitan Opera's season recently began with <i>Anna Bolena.</i> I have yet to hear the work and how the performers interpreted it, but there have been critical reviews of the production's opening by several arts journalists. However, though I take ample license in saying so without having experienced the quality of it prior to perusing her article, <a href="http://www.washingtonpost.com/lifestyle/style/opera-review-anna-bolena-at-metropolitan-opera/2011/09/27/gIQAJY5y2K_story.html">Anne Midgette's telling of events</a> seems rather harsh. To begin the article, she compares Anna Netrebko, who plays our heroine in the production, to Maria Callas. She notes,<br />
<br />
<blockquote>
"<span class="Apple-style-span" style="background-color: white; font-family: Georgia, serif; font-size: 15px; line-height: 22px;">This year, the star soprano Anna Netrebko has taken on the role herself, first in Vienna in April and now at the <a href="http://www.metoperafamily.org/metopera/" style="color: black;">Metropolitan Opera</a>, where she opened the season in the company’s first-ever production of the work on Monday night. Yet Netrebko’s “Anna Bolena” showed little of the care that made <a href="http://www.amazon.com/gp/product/B00000630Z?ie=UTF8&tag=washpost-music-20&linkCode=xm2&camp=1789&creativeASIN=B00000630Z" style="color: black;">Callas’s</a> so memorable. Monday’s performance was littered with missed intonations, smeared runs and a good deal of running about the stage with clasped hands, which evidently qualifies as operatic acting."</span></blockquote>
Of course, I am quite prepared to concede that the acting may have been less than desirable from Netrebko, but Callas's acting was rarely something of praise, especially as her vocal talent began to decline. Later, Midgette mentions that Netrebko breaks character to acknowledge the adoration of an audience, but it is also necessary to intimate that Callas was known to do the exact same thing, and this is evidenced by a recent <i>Opera News</i> feature by Eric Myers.<br />
<br />
<blockquote>
"Ira Siff, stage director, Met broadcast commentator and creator of drag diva Mme. Vera Galupe-Borszkh, singles out a moment in Act III of that performance that was formative for him. It was the high-lying phrase "Io quella lama" that ends Tosca's narrative of how she killed Scarpia. "By 1965, Callas's high C was not a thing of beauty," he says, "and when she lunged at it in that phrase, the sound elicited a loud gasp from the audience. Callas, entirely in character and a brilliant Tosca all evening, broke it for a split second to glare in the direction of the public, those huge eyes darting toward us for just one terrifying moment. After that, we behaved.'"</blockquote>
<br />
It also bears to be mentioned that Midgette seems to have become rather hostile towards performances lately, especially the high profile ones. My specific reference is to an episode that occurred recently in which she accused Placido Domingo of "sabotage" during a performance of <i>Tosca</i> that he conducted at Washington National Opera. She claimed that the performance was so ill at times that Domingo must have been the culprit, and then she used the word sabotage to describe his action. Now, it begs to be said that Domingo is a world renowned musician of appreciable ability in conducting, and there are times in which he is not his best, which usually come when he has had little time to rehearse, but for Midgette to employ such a remark in all of its scathing connotation is rather much for my taste.<br />
<br />
In the light of all of this, I begin to wonder what credibility arts journalists possess. If they are so expertly knowledgeable about music and how it should be performed, why are they not performing it? Are they more erudite than those on whose livelihood this is based? The question of whether the critic uses their publication as a means to print exaggerated reviews against someone or a production for their gain of notoriety yet remains, and I am curious to know what others think on the subject. As for myself, I try not to judge a performance or a piece until I have heard it. I can honestly admit that I can only think of one piece of music for which I could write a review of its reprehensible vices, and that would be Saariajo's <i>L'amour de Loin. </i>Even though Dawn Upshaw, who is one of my favorite sopranos, is the star of the production, I do not appreciate the monotonous music to any degree. I may elucidate further on this in the future, but I shall leave it at that.<br />
<br />
Finally, thank you for your kind perusal of my post, and I pray that God continues to bless your existence. -Tyler.Tyler Bartonhttp://www.blogger.com/profile/17536805564835497095noreply@blogger.com0tag:blogger.com,1999:blog-2185476854075082873.post-36862328397017941502011-10-13T17:07:00.000-05:002011-10-13T17:07:40.260-05:00An Essay on the Magic of Conducting an Orchestra Revisited When I submitted my rough draft of my previously mentioned essay, I was confident in its merits as an astute contribution to the world of literature. Moreover, I was certain that it would be well received by my professor, but, when I received it with his critique of my profile of the subject, it carried the simple, but potent instruction of 'Simplify' emblazoned across the top of my title page.<br />
<br />
Reading this piece of advice from my professor, I decided it would be prudent to inquire of him what course of action I might pursue to better my essay in his opinion, and he promptly rewarded my curiosity with the following statement. I paraphrase, of course, but the expressed sentiments are the same.<br />
<br />
<blockquote>
"You are at least two years ahead of this class," he assured me, "But, you need to bring your ability down to the level of the rest of the class so that we do not get ahead, or I will have to adjust your grade."</blockquote>
I translated that to mean that I would have to rewrite my essay in sixth-grade language, or my alternative was that my grade on the piece would suffer. When I completed it, I did not feel that it was quite as eloquent or insightful as my previous telling of the events and facts, but we shall have to see what my actual grade shall depict. Nevertheless, for the consideration of my readers, I present my revised essay, and all of you are at liberty to submit your opinions on which you enjoy better and which is better suited to the subject I have elected to illustrate.<br />
<br />
<blockquote>
</blockquote>
<blockquote>
The Wave of the Wand</blockquote>
<blockquote>
As you sit confined to your seat, your gaze is transfixed upon the woman before you. She is an object of captivating beauty, and she is clothed in a red gown of costly fabric and elegant design. If the scene before you were not so tense, you could notice all of these things, but the only visible thing to your mind is the dagger that this woman holds. Her weapon is a delicate one. It has a slender blade of steel coupled with a hilt of gold, which is crowned with small rubies, emeralds, and sapphires. She carries it with an exact intent. There can be no denying her motive as she stares unflinchingly at the large man who is merely a yard away from her. As she lunges for him, any defense that this muscular man may make in the face of this attack is powerless. Our heroine buries the double-edged blade into the villain’s throat, and blood oozes from the wound. He sinks to his knees as the life escapes his veins, and the woman slowly withdraws the weapon from his neck. A moment of silence ensues, and, for a brief space of time, one is left to ponder the grotesque image.</blockquote>
<blockquote>
The woman glares at the man even still, and we begin to glimpse a transformation of her character. She is no longer desperately hopeful for another end to this episode; indeed, her demeanor has been replaced with a commanding persona that people often assume when they</blockquote>
<blockquote>
gain mastery of a situation. The silence lingers just long enough for the spectator to ponder all of these things, and then it is suddenly broken by a collection of instruments, an orchestra. Ordering this interruption to our contemplation of the affair, there is a man dressed in formal attire standing in a dimly lit space that is just below our vision. In reality there is a massive, capacious stage before an audience, and the scene that I have described is from Giacomo Puccini’s opera Tosca. With a deliberate motion, this imposing figure compels the members of the orchestra to play the music that underscores the mood, and we are reminded that we are watching a performance. This man’s name is James Levine, and he is the conductor for the evening, the one responsible for controlling the sounds of the orchestra. Under his precise direction of them, the orchestra players must combine to form a cohesive unit, and every tone must be synchronized. He adeptly ensures that such is the case.</blockquote>
<blockquote>
Levine holds a baton in his hand. Based upon the movement of this small, carved piece of wood, he can create luscious melodies to inspire any sort of emotion known to human beings. In a sense, then, it is almost believable that he possesses a magic wand. If he wills it, music is created, and he can mute any sound with the slightest gesture of the wispy rod. I ask the reader: is this not a power that is most surreal? I would adore such ability!</blockquote>
<blockquote>
James Levine is the Music Director of the Metropolitan Opera House of New York. According to Martin Mayer, author of The Met: One Hundred Years of Grand Opera, Levine was engaged as principal conductor for the 1972-1973 season in 1971 by the General Manager elect of the Metropolitan Opera for the 1972 season, Gorean Gentele, after a performance of Giuseppe Verdi’s Luisa Miller. He had been a mere spectator at Lincoln Center that Saturday afternoon, and he was amazed at the brilliance of the young conductor in the orchestra pit, for</blockquote>
<blockquote>
Levine was a mere twenty-eight at the time. Gentele thought it would be a sound move to hire an American as the principal conductor for America’s leading opera company (Mayer). As we learn from Paul Jackson, PhD., in his volume Start-Up at the New Met: The Metropolitan Opera Broadcasts 1966-1976, Levine’s substitution for the deceased Fausto Cleva was nothing short of superb.</blockquote>
<blockquote>
“Levine’s shepherding of the early Verdi work is both masterly and masterful,” Jackson praises in regards to the performance given on October 15, 1971 (Jackson).</blockquote>
<blockquote>
To illustrate the magic that he possesses, Jackson continues, “And what an invigorating ride it is. The first measures of the overture put us on alert. The reading is notable both for its structural coherence and pointing of detail. Verdi’s little chords, nestled under the opening theme, are rhythmically alive and propel the thematic line onward; integration between melody and accompaniment is complete. When the clarinet takes over the theme, Levine allows it to sing – the change is slight, but the intent is clear.” (Jackson)</blockquote>
<blockquote>
From this vivid description of Levine’s marshaling of his orchestral forces, we can see that his ability to work magic from the pages of orchestral scores is a trait that he has never lacked from his beginning as a conductor. Because he worked as an assistant to maestro George Szell, he learned his trade well, and his attention to detail is evident. Jackson writes of this, as well.</blockquote>
<blockquote>
“The Met had long lacked a conductor of the Italian repertory who combined an impeccable ear for detail with the ability to shape formal structures, small and large, for maximum musical and dramaturgical effect. Mr. [Rudolph] Bing had found one in Levine,” Jackson assures us. (Jackson)</blockquote>
<blockquote>
What ensued after Gentele’s appointment of Levine was a thirty-nine year career as the ultimate musical figure at the Metropolitan Opera. He began as the principal conductor. Previously, it was the custom of general managers to hire conductors who had worked with them before since they knew that those conductors would deliver excellent results. Giulio Gatti-Casazza, another general manager of the Metropolitan Opera during the 1930’s, is a prime example of this when he imported the famous Arturo Toscanini to New York as he was scheduled to take over the company. Throughout his ongoing career, Levine has seen the succession of five General Managers, and his contract is set to last through the 2011-2012 season. Over the years he has risen in the ranks of the company. While he certainly began with a prestigious position, be became the de facto Music director of the Met in 1974 after the unexpected departure of Rafael Kubelik early in the year, but he gained that title officially in 1976. Ten years later, in 1986, he became the Artistic Director of the organization, which was a title he was the first to acquire in the company’s history. (Mayer)</blockquote>
<blockquote>
In the spring of 2004, his health became a concern for the management of the house because of tremors in his left arm that sometimes impaired his abilities on the podium; nevertheless, the Met extended his contract, but these past few years have been marked with uncertainty for the future of the Met’s Music Director.</blockquote>
<blockquote>
Recently, in a story for The New York Times, Daniel J. Wakin reported, “Mr. Levine, who has suffered a series of physical ailments, needed emergency surgery after falling while on vacation in Vermont and will be out until at least January, the Met said.” (Wakin) This posed a question in my mind.</blockquote>
<blockquote>
“What happens when a conductor finds it necessary to take an absence? Does a performance get cancelled, or do they find a replacement for him,” I wondered.</blockquote>
<blockquote>
In Mr. Levine’s case a replacement has been found, and this new conductor is Fabio Luisi, who had already been the principal guest conductor at the Metropolitan Opera this season. However, there have also been several cancellations that Luisi has had to make in the light of this promotion. Several performances in Europe have either been cancelled, or they have found alternative conductors to fulfill the maestro’s former engagements. Many of these were scheduled with his orchestra, the Vienna Symphony, where he holds the title of chief conductor. Luisi’s absence strikes a chord of dissonance between him, the Met, and Mr. Thomas Angyan. Angyan is the artistic and executive director of the Musikverein, which is often the orchestra’s home for performances. Regarding Luisi’s appointment at the Met, Angyan says that the cancellation was not done quite professionally. He maintains that Luisi did not even contact him about his required cancellations directly. (Wakin)</blockquote>
<blockquote>
“I’m astonished that he forgot my e-mail address or telephone number,” Mr. Angyan said. Though he asserts that he has immense respect for Peter Gelb, the Metropolitan Opera’s current General Manager, he was rather displeased at Gelb’s alleged treatment of him during a telephone conversation with him discussing the situation.</blockquote>
<blockquote>
“Saying ‘I have to have your approval in ten seconds’ is not the nicest way,” he said. I would agree with Mr. Angyan, but the magic that a specific conductor’s wand can weave is priceless, and I can hardly blame one of the world’s foremost opera companies for wanting it. I believe that it should be an exquisite season for the Metropolitan Opera House of New York this year, and I am excited to hear how Fabio Luisi compares to James Levine while Luisi</blockquote>
<blockquote>
substitutes for him. Let us hope that we may describe his ability in such superlative terms as we depict Levine’s.</blockquote>
<blockquote>
Works Cited:</blockquote>
<blockquote>
Jackson, Paul. "Start-Up at the New Met: The Metropoilitan Opera Broadcasts, 1966-1976." Newark: Amadeus Press, 2006. 262.</blockquote>
<blockquote>
Mayer, Martin. "The Met: One Hundred Years of Grand Opera." New York: Simon and Schuster; The Metropolitan Opera Guild, 1983. 324.</blockquote>
<blockquote>
Wakin, Daniel J. "Maestro's Injury Ignites Game of Musical Chairs." The New York Times 22 September 2011: 1;5.</blockquote>
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I am most ingratiated to all of my readers, and I hope that God continues to bless you in your lives. As a reminder to anyone who is interested, the commencement of the Metropolitan Opera's <i>Live in HD</i> season comes this Saturday, October 15, 2011, with Gaetano Donizetti's <i>Anna Bolena</i>, and it stars Anna Netrebko, Ekaterina Gubanova, Stephen Costello, Tamara Mumford, and Ildar Abdrazakov. I may attend my local cinema's showing of it, but I am not yet sure. Thank you for perusing my humble musings.Tyler Bartonhttp://www.blogger.com/profile/17536805564835497095noreply@blogger.com0Loeffler Dr, Oklahoma City, OK 73106, USA35.4951673 -97.54191399.5452488 -137.9716014 61.4450858 -57.1122264tag:blogger.com,1999:blog-2185476854075082873.post-84638485038809116702011-09-26T17:55:00.000-05:002011-09-26T17:55:43.320-05:00A Wave of the Wand In order to marry a little portion of my life in university to my passion for opera, I elected to write an essay on conductors and their often overlooked role in the production of an opera. Many people I have come to know, especially fellow aficionados of opera who are local to me, are rather ignorant of the masters of the performances. It has been my finding that some of my colleagues concern themselves with merely the principal singers of a production, and it is in this that they greatly neglect the most important facet of the performance, for it is the conductor who commands the evening's entertainment. He is the one who creates every melodic line and delivers every nuance in the score to a superb climax. It is his further duty to develop such rapport with the singer that he may alter his reading ever so slightly without disrupting the delicate balance between the orchestral and vocal music. Without his involvement the performance would shortly crumble, yet too few of my acquaintances with whom I study or converse realize the importance of having any specific conductor; indeed, in their eyes, once a certain quality is attained, there can be no greater degree of mastery achieved. To them it does not matter if Riccardo Muti conducts Verdi or if Marco Armiliato does it, nor do they make a distinction.<br />
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Therefore, when I was requested to compose a profile essay for my English Composition class, I elected to juxtapose two of my great passions, which are opera and writing. Our profiles were encouraged to be comprised of gory, grotesque images to make them all the more enthralling to the reader, who is none other than our professor, and this gave me some trouble for a considerable length of time. However, I finally had an idea of how to make my profile fall within the parameters of my professor's desires, so I chose James Levine as my specific subject, and I opened my essay with the scene from Puccini's <i>Tosca</i> in which the heroine plunges her knife into Baron Scarpia's throat. If I do not bore my readers too much with such an offering, I hereby present my unfinished, initial draft of my essay as I confided it to the eye of my professor this morning. He specified that they should be at least three to five pages, but I am inclined to think that my essay will encompass at least seven pages to say all that I wish it to intimate. As it was this morning, it was just longer than four pages.<br />
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<blockquote>
The Wave of the Wand</blockquote>
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As one sits confined to their seat, their gaze is transfixed upon the woman before them, who is an object of captivating beauty. She is clothed in a red gown that is made of costly fabric and is of an elegant design. If the scene before their eyes was not so tense, one could notice all of these things, but the sole feature that is obvious to the eyes is the dagger that this woman holds. Her weapon is a delicate one, for it is comprised of a slender blade of steel that is coupled with a hilt of gold, which is crowned with various small jewels, and she carries it with an exact intent. There can be no denying her motive as she stares unflinchingly at the large man who is a mere yard away from her present stance, and she lunges for him. As she does so, any defense that this muscular man may contrive is powerless in the face of this attack, and our heroine buries the double-edged blade into the man’s throat, which issues forth blood from the wound that is now inflicted. This powerful man sinks to his knees as the life escapes his veins, and the woman slowly withdraws the weapon from his neck. A moment of silence ensues, and one is left to ponder the grotesque image for a brief space of time.</blockquote>
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The woman glares at the man even still, and we begin to glimpse a transformation of her character. It is no longer that she is desperately hopeful for another end to this episode, for this countenance has been replaced with a commanding presence that is often assumed when</blockquote>
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one gains mastery over a situation. The silence lingers just long enough for the spectator to ponder all of these things, but it is suddenly broken by a collection of instruments, an orchestra. Ordering this interruption to a chain of thought and the consideration born of it, there is a man dressed in formal attire standing in a dimly lit space that is just below our field of vision. Indeed, there is a massive, capacious stage before an audience, and this scene that I have just depicted is the catalyst of the action in Giacomo Puccini’s opera Tosca. With a wave of his baton, this imposing figure, who is just obscured from our view, compels the members of his orchestra to play the music that underscores the mood, and we are reminded that we witness a performance. This man’s name is James Levine, and he is the conductor for the evening. It is he who is responsible for making the group of individual musicians to deliver sounds as a cohesive unit. Every tone must be precisely synchronized with the other members of the orchestra, and he ensures that such is the case.</blockquote>
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In his hand he holds a baton. Based upon the movement of this small, carved piece of wood, he can create luscious melodies and inspire any sort of emotion known to human beings; therefore, if one exercises his imagination, it is almost believable that he possesses a magic wand. If he wills it, music is created, and he can mute any sound with the slightest gesture of the wispy rod. I ask the reader: is this not a power that is most surreal? I would adore such ability!</blockquote>
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James Levine is the Music Director of the Metropolitan Opera House of New York. According to Martin Mayer, author of The Met, Levine was engaged as principal conductor for the 1972-1973 season in 1971 by the General Manager elect of the Metropolitan Opera for the</blockquote>
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1972 season, Goeran Gentele, after a performance of Giuseppe Verdi’s Luisa Miller. He had been a mere spectator in the house at Lincoln Center that afternoon, but the brilliance of the conductor, who was a mere twenty-eight years of age then, arrested his interest, and he thought it would be a sound move to hire an American as the principal conductor of America’s leading opera company (1). As we learn from the telling of Paul Jackson in his volume Start-Up at the New Met: The Metropolitan Opera Broadcasts 1966-1976, Levine’s substitution for the deceased Fausto Cleva was nothing short of superb.</blockquote>
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“Levine’s shepherding of the early Verdi work is both masterly and masterful,” Jackson praises in regards to the performance given on October 15, 1971.</blockquote>
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To illustrate the magic that he possesses, Jackson continues, “And what an invigorating ride it is. The first measures of the overture put us on alert. The reading is notable both for its structural coherence and pointing of detail. Verdi’s little chords, nestled under the opening theme, are rhythmically alive and propel the thematic line onward; integration between melody and accompaniment is complete. When the clarinet takes over the theme, Levine allows it to sing – the change is slight, but the intent is clear.”</blockquote>
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From this vivid description of Levine’s marshaling of his orchestral components, we can see that his ability to work magic from the pages of musical scores has been a trait that he has never lacked from his beginning as a conductor. Having worked as an assistant conductor to maestro George Szell, he learned his trade well, and his attention to detail became evident. Jackson writes of this, as well.</blockquote>
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“The Met had long lacked a conductor of the Italian repertory who combined an impeccable ear for detail with the ability to shape formal structures, small and large, for maximum musical and dramaturgical effect. Mr. [Rudolph] Bing had found one in Levine,” Jackson assures us.</blockquote>
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What ensued after Gentele’s appointment of Levine was a thirty-nine year career as the ultimate music figure at the Metropolitan Opera. He began as the principal conductor. Previously, it was the custom to engage whatever high profile conductor a manager could locate, and they were prone to hire conductors with whom they had worked in years past whom they knew would deliver excellent results. Giulio Gatti-Casazza, another General Manager of the Metropolitan Opera during the 1930’s, is a prime example when he imported the famous Arturo Toscanini when he was scheduled to assume authority of the company. Levine has seen the succession of five General Managers over the course of his tenure, and his contract is set to last for the 2011-2012 season. Over the course of the years, he has risen through the ranks of the company. While he did begin with a prestigious position, he was promoted to the de facto appointment of Music Director in 1974 after the unexpected departure of Rafael Kubelik early in the year, but he did not gain that title officially until 1976, and he became the Artistic Director, which was a title that he was the first to bear with the company, in 1986.</blockquote>
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In the spring of 2004, his health became a concern to the management of the house, for there were tremors in his left arm that sometimes impaired his abilities on the podium;</blockquote>
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nevertheless, the Met extended his contract, but these past few years have been marked by worry for the future of the Met’s Music Director.</blockquote>
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…</blockquote>
</blockquote>
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As my readers can apparently observe, there is some discrepancy in the format of my essay as it is transcribed here as opposed to its original structure. It is supposed to be perfectly double spaced and indented, but, alas, it has not shown itself that way in this medium, and I am too lethargic presently to alter it, so you must bear this ghastly sight for the present. When I complete the essay, I shall include that portion here as well, and, finally, I shall record my grade that I receive on it for any who are inquisitive enough to want to know such a thing.<br />
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Finally, I hope that you have found this article and a glimpse into my life engaged in the university to be most entertaining and pleasant to read, and I pray that you are all exceptionally blessed. I am ingratiated that you have chosen to read my humble musings, and I wish every blessing from God upon all of you.<br />
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-Tyler.Tyler Bartonhttp://www.blogger.com/profile/17536805564835497095noreply@blogger.com0Loeffler Dr, Oklahoma City, OK 73106, USA35.4954424 -97.542325935.4825144 -97.562066899999991 35.508370400000004 -97.5225849tag:blogger.com,1999:blog-2185476854075082873.post-16389592891787687022011-09-15T21:25:00.000-05:002011-09-15T21:25:16.381-05:00News of the Welcome and Ecstatic VarietyI am well aware that I have grossly neglected my blog posts over the course of much of this year, and for this I must make every apology to my dear readers who have patiently waited to hear of the next chapter of my sojourn earlier in the year in New York City or who expected me to enlighten them concerning happenings in opera or musical theatre or to those who merely wished to hear of the circumstances that comprise my life. Therefore, I promise that I am making a return to this medium of communication to endeavor to revisit the community that I have formerly known from my love of the arts and literary composition.<br />
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Though I maintain that I shall post more often shortly, it is something of a necessity to make my readers aware of the development that I am finally an university student. My <i>alma mater</i> is Oklahoma City University, and I am an undeclared major until I audition for the music department here. With this transition in life, I am no longer adjoined to the world of the arts in any professional sense, which makes me rather sad for more than a few reasons, and I have bidden farewell to many close friends in that process, but I am returning to those things in life that once brought me personal enjoyment beyond anything else, one of which has been to write and give voice to thoughts or sentiments that other people wish to read.<br />
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As I adjust to this schedule, I leave you by intimating that I hope that you enjoy what you read, and I am grateful that anyone should extend me the courtesy to read what I should like to say. may God continue to bless all of you as He has consistently done for me.<br />
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-Tyler.Tyler Bartonhttp://www.blogger.com/profile/17536805564835497095noreply@blogger.com0Oklahoma City University, 2501 N Blackwelder Ave, Oklahoma City, OK 73106-1493, USA35.4954424 -97.542325935.4825144 -97.562066899999991 35.508370400000004 -97.5225849