We have music on the stereo at home all the time, usually from CDs that I am auditioning (of which there are piles and piles). Yesterday, though, Lise was outside weeding, I was inside beginning to go through stuff brought back from my brother's house.
But we breakfasted together, in the glowing morning sunlight, to Messiaen's "Turangalila" Symphony the new Finnish Radio Symphony recording on Ondine, with Angela Hewitt playing the important piano part what music is more filled with joy and amazement?! A perfect accompaniment to nature's cheery brilliance.
Then followed an eclectic mix. Here's what we listened to:
MESSIAEN: Turangalila Symphony … nothing could be finer! (Ondine)
TAFELMUSIK FAVORITES: Jean Lamon's picks as she retires from 33 years at the helm of one of Canada's most successful ensembles; I met Jean when she and some other Oberlin Baroque Performance Institute kids came out to play with my little Keith Hill harpsichord in one of the prototype concerts of the Chamber Music Society of Saint Cloud. She's done well since! (Analekta)
MOZART: Symphonies 38-39-40 in trio arrangements by Hummel … rather disappointing, I must admit, couldn't listen to more than a few minutes before finding something else (Naxos)
GLIERE: Symphony #3/Buffalo Philharmonic a sprawling, lush, underappreciated score; Russian Mahler? (Naxos)
PERSICHETTI: Music for Violin and Piano, including a piece he never published that was discovered by the CD soloist, first recording; chewy music but worthwhile (Naxos)
HAYDN: Lord Nelson Mass/Boston Baroque … this one irritated me, sounding as though it was a competition for the most virtuosic and slick performance of the piece, lacking humanity, again I hit "[r]eject" soon (Boston Baroque)
YORK BOWEN: Phantasy Quintet for Bass-clarinet and Strings (and other chamber music) … what a beautiful thing! (Chandos)
STOKOWSKI conducts MOZART, with Philadelphia Orchestra on tour in Milan … they don't play this way today, but what soul! (and a wild cadenza in the 20th Piano Concerto) (Guild Music)
ROSSINI: Overtures/Prague Chamber Orchestra … perky background (Naxos)
Got through a lot of music on a beautiful Sunday.(0 Comments)
Pet Shop Boys: Neil Tennant and Chris Lowe (photo by John Wright).
Perhaps best known as electro-pop duo Pet Shop Boys, Neil Tennant and Chris Lowe made their Proms debut as composers on Wednesday, July 23.
The BBC Proms, largely known as the world's greatest classical music festival, runs July 18 to Sept. 13, with concerts every day at the Royal Albert Hall in London and in other venues around the UK and Northern Ireland. (Classical MPR will begin broadcasting highlights of the Proms on Sept. 1, leading up to the Last Night of the Proms on Sept. 13.)
Tennant and Lowe's work, A Man from the Future, is a look at the life of Alan Turing, a cryptographer in World War II and a pioneering computer scientist whose work helped make possible the medium in which you're reading this right now. In 1952, a time when homosexuality was illegal, Turing was prosecuted for being gay; he received a posthumous pardon in 2013.
"Turing was way ahead of his time in the realms of both technology and sexuality," remarked Tennant and Lowe in a statement ahead of Wednesday's concert. "His open expression of his homosexuality was astonishingly brave and forward-looking at a time when gay men were relentlessly persecuted by the government."
The Proms concert featured Tennant and Low, as well as Chrissie Hynde (the Pretenders) on vocals, as well as the BBC Singers and the BBC Concert Orchestra, conducted by Dominic Wheeler. Actress Juliet Stevenson whom you may recognize from her role as the mother to Keira Knightley's character in Bend It Like Beckham provided narration.
Enjoying a Proms premiere is one more accomplishment for Pet Shop Boys, who have also scored films and composed for ballet and musicals. "This is proof of why these two gentlemen are more than just an '80s throwback synth-pop band," says Jake Rudh, host of Transmission on Classical MPR's sister station, The Current.
In the wake of the premiere, reviews of the concert have been largely positive; here's a roundup:
What are we to call A Man From the Future … A pop oratorio? A classical audiobiography?
His tale works as an operatic tragedy and this piece is extensively sung: by the BBC Singers, augmented by Neil Tennant … This tribute is lavishly orchestrated. The BBC Concert Orchestra, conducted by Dominic Wheeler, is doing the heavy lifting …
Turing's story is deeply affecting, and the telling of it by an establishment organisation (the BBC, which runs the Proms) in an establishment venue (the Royal Albert Hall) in an establishment idiom (classical) is cause for celebration.
But we really could have done with more from Lowe, and modernity more widely. Turing was, after all, a man from The Future. Even given the operatic nature of his tale and the rarefied Proms setting, wrapping this man up in strings seems a contradictory impulse.
… Getting the tale of Turing's singular genius and representative tragedy across seems to outweigh the balance between words and music. "Conform, rebel or withdraw" are the choices the public schoolboy Turing is presented with, as ominous strings close in to cage him.
The remorseless glide of laptop-generated synth washes signal the machine-dreams which led him towards the computer's invention. The BBC Singers then give the sensation of a dying fall, as the backroom heroism which turned the U-boat tide at Bletchley Park is passed over in a sentence. Tennant and Lowe aren't interested in what Turing is belatedly honoured for now, but his shadow-life then.
Bursts of hot, frantic swing follow him mentioning his homosexuality, and the furious swell of the choir's baritones greet his downward spiral towards chemical castration by the state. His hot blood and mechanistic visions' merging is expressed in the orchestral-laptop score. It is always, though, subservient to the verbal tracing of Turing's fate.
The 45-minute extended song-suite had its clunky moments but it was joyously light on its musical feet, encompassing sublime Kraftwerkian wonder, the sheer power of orchestra and choir at full pelt.
The sheer scale required to perform it may mean A Man from the Future is consigned to history. Let's hope not: it deserves better.
Who knows what the appropriate term would be to describe A Man From the Future … The text combined his scientific brilliance with the outspokenly gay sexuality that cost him dearly in the censorious Fifties.
Musically, the piece skilfully blended orchestral writing with shifting electronic layers, masterminded by a suitably enigmatic Chris Lowe. Turing's fascination with a "universal machine" was evoked by a slice of dreamy electronica, though elsewhere there were witty interpolations of Fifties-style sci-fi effects or dark string passages.
Orchestrator Sven Helbig conjured a dazzling spectrum of colours from the orchestra and the BBC Choir, although powerful melodic ideas seemed thin on the ground. Whether including a recording of Gordon Brown's apology for Turing's appalling treatment (which included chemical castration), will enhance its box-office appeal, I wouldn't like to say.
Divided into eight sections, the Pet Shop Boys' ambitious, sometimes atonal work marked a departure from such radio-friendly tracks as It's a Sin and West End Girls.
Yet it still contained elements of the group's recognisable computerised sound, alongside contributions from an 18-member chamber choir.
Classical MPR will highlight performances from the Proms starting Sept. 1, leading up to the Last Night of the Proms on Sept. 13; listen for those Proms highlights each day at 10 a.m. and at 10 p.m. CDT on Classical MPR.
Mezzo-soprano Tara Erraught (photo courtesy IMG Artists)
Here's the story that's been tearing up the Internet in the last day or so at least in the classical music department. It even shows up on the News Cut blog from MPR's Bob Collins.
The Irish singer Tara Erraught recently appeared in the title role of the opera Der Rosenkavalier. As Bob notes, "five different male writers used stocky, chubby, puppy-fat, scullery maid, unsightly, and unappealing to describe her 'performance.'"
Did the critics cross a line? Were their editors asleep at the switch? Would a male singer have been treated differently?
As this summary in The Telegraph suggests, opera singers, music writers, and the opera-loving public have not been slow to join the debate.
Last night I sat in on the final dress rehearsal of the Minnesota Opera's production of Arabella by Richard Strauss. If you go, here are a few things you might notice. First of all, there is no overture to set the scene. Music Director Michael Christie walks into the pit, the oversized orchestra of 62 musicians plays a few notes, and the singers are off. This opera is an athletic feat of endurance, especially for Jacqueline Wagner, who plays the lead, and her betrothed Mandryka, sung by baritone Craig Irvin. These musicians are well-trained Olympians.
The composer intended this music to be a bit frenetic; however, the tension is relieved every time Arabella graces the stage. Wagner's elegance as an actor and her rich, velvety voice melts more than one suitor's heart. There is plenty of comic relief starting with Arabella's sister, Zdenka, sung by Elizabeth Futral. Zdenka was a wild child, so even as a young woman she dresses and behaves as a boy. She even proclaims, "I will be a boy until I die." However, she does discover her womanhood in Act II.
You'll also notice the detailed whitewashed set as the curtain goes up on Act I. The scene is a hotel in Vienna in the 1920s. As Arabella blossoms, so does the color on the stage, in the form of flowers, the Downton Abbey-styled costumes and the set itself.
One incredible highlight is the love duet in Act II between Arabella and Mandryka. Irvin and Wagner are beautifully matched; if you aren't moved by this duet, you don't have a pulse!
And because this was a press event, live tweeting was not only permitted, but encouraged. Here are some of the photos I live-tweeted from the rehearsal to give you a taste of the production: