Church Anniversary Congratulation Letter

A little sugar in the Storm: Riders to the Sea by Ralph Vaughan Williams


by a small hook theater does not usually of opera: the Athenaeum - Louis Jouvet.

From April 8 to 11, there was a show about "Riders to the Sea" by Ralph Vaughan Williams (1937), a performance advantage of Rheims who finished grade is a French tour with a young cast assembled for the occasion .

was an opportunity to experience an opera composer that does not haunt the opera house, we can not say.

The piece is by John Millington Synge, Irish poet wandering, written in 1903. The action takes place in the Aran Islands in a bitter and violent universe. This may evoke the Sinners Iceland Pierre Loti, but in an even more desolate. Synge writes in "The Aran Islands" "This cry of pain-consciousness seems to lay bare for a moment and reveal the mood of human beings who feel their isolation from a world whose winds and waves make war against them. They are usually silent, but in the presence of death, while sham of indifference or patience is forgotten, and they howl of despair, Pitou, to the horror of the fate that they are all doomed. " (quoted in the program, translation by P. Leyris).

is dark and beautiful. I felt that the music of Ralph Vaughan-Williams fading subject. It's nice to hear a beautiful lyrical to the Anglo-Saxon music that evokes the film, but it runs in circles After a moment, and it sounds very sweet compared to the text. inserts Beautiful Irish melodies, very well orchestrated.

My favorite is the song cycle on Stevenson's texts, early show.

proper interpretation of singers: Jacqueline Mayeur, Patrice Verdelet, Elsa Levy, Sevan Manoukian. Excellent small orchestra of the Grand Theatre de Reims and the Champagne Thibaut choir directed by Jean-Luc Tingaud.

Discover Ralphie!

Frontier Junction Lincoln Logs Instructions

Rolando Villazon Werther great - Edit: Suspension operation of his career.


Well, I'll add my stone to the edifice of the rumor, but a stone interrogative. This

Werther given at the Opera Bastille in a pretty elegant staging by Jürgen Rose, beautifully conducted by Kent Nagano (yes, I like the directions of international standard with full details and we will normally scratch because the style does is not French, include wheezing like Plasson) and a beautiful voice board with Susan Graham, Ludovic Tézier Alain Vernhes.

But the corridors buzzing with rumors about the vocal health of Rolando Villazon.

Flash Back. Two years ago. Les Contes d'Hoffmann at Bastille. Stormed by the public queues last minute crazy, Villazon is the star to be understood. Capital sympathy he enjoys is huge, almost everyone is convinced that he will hear an event.

Today. The queues are more sparse. It must also say that Werther attracts less likely that the Tales of Hoffmann. But what is different is the atmosphere. The lines buzzing with comments on the status of the voice of lead singer. Everyone seems to want to bring his expertise. Certainties fuse "the voice is damaged, for sure" and has his theory about why the problems, overwork, amateurism in the choice of roles, lack of preparation, heavy roles chosen.

And the debate is not confined to the public of the most painful of the opera, thanks to an article in a boundless stupidity of Marie-Aude Roux in Le Monde, are all aware of the rumor.

What is the origin of the rumors? Just after the Tales of Hoffmann Bastille, Villazon was arrested three months. "The doctors said six months' provide experts who, in addition, must be in the doctor's office when Villazon consulted. Finally, I guess, otherwise how would they know what they say doctors, or is it just malicious gossip?

Since his return, Villazon is the subject of the worst scans. Any representation canceled is the source of speculation of all kinds, any quack recorded pirate is immediately relayed to YouTube learned with flood of comments on this incident would mark the undeniable decline of tenor voice premature.

But between the two performances I attended, actually, what we hear?

A character, always the same, which gives everything on stage. Too, say the Cassandras. The voice is beautiful, radiant. The actor is disarming, awkward but charismatic beyond anything I know. It carries all the reticence in his first appearance on stage. His diction French is a bit strange, probably because of an issue which I think is very throat. I feel it is a very good diction, though accented vowels and consonants with all but the huge Bastille these qualities are lost, it would require a more intimate room. But it is Rolando Villazon, and rightly triumph every time. But still, the damage is done. The comments are a bit skeptical, nobody wants to join without noting that "it knows that there is a problem."

But who knows what, exactly? Nothing.

Rolando Villazon ensures that there is no problem. After the hearing, I do not recall such large differences between the two services, two years apart.

Is what he says true? After all, I have no evidence to say otherwise. But I did not hear voice hidden in deep trouble when he sang Hoffmann, and again in difficulty in Werther, from my skepticism that I compare two of the same singer in her bad days? I do not know. I find that there is little concrete and lots of rumors in these stories.

The music journalists, themselves, do not get wet, but they attack so insidious suddenly praising the merits of the version sung baritone Werther by Ludovic Tézier, as if to say "word to the wise, hello!".

I find it distasteful, loose, only latent and malicious attacks.

I am tempted to trust Rolando Villazon. It was extraordinary in this Werther, why not say so? And wait to see next season how things evolve, as the directions of operas continue to trust him and engage him in a very busy schedule. If there is problem, then we'll see if there are none, this period has been an unpleasant interlude in the career of a singer it was fashionable to praise without reserves two years ago and then denigrate without accurate information this year.

Me I'm impatient. And happy to see that the audience applauded in every performance, more than deserved.

Edit: So there was indeed a problem, this time recognized. Rolando Villazon is repaired vocal cords, announced April 29. It doiut stop until the end of the year.

Good luck! and good recovery!

Blue Packaged Gummmi Bears

Dusapin - The cycle of seven forms at the Cité de la Musique


On March 27, 2009, the Liege Philharmonic Orchestra conducted by Pascal Rophé gave the City of Music the entire cycle forms of Pascal Dusapin. It seems that this cycle is now complete, it has become over the years a symphonic work of great magnitude written and created over the years and whose total duration should be longer than 2 hours.

GB
Extenso
Apex
Clam
Exeo
Reverso
Uncut (creation)

Dusapin's music his own, he gets a clean style with a complex method of writing based on a base material fairly simple, it really is not tonal, it seems you modal methods using scores of 4-5, but can coexist with others. It creates a original harmony, some contemplative, some moving with simple melodic lines that stretch or tangle.

It's nice to hear, there is a sense of music accessible but a bit monotonous. Dusapin claims a certain chaos in his music, I think it is included in elegant orchestrations that make it harmless. Go hand in simple patterns that will be disturbed, full on time dilation with variations on the grounds of Go seems you Apex is a complex construction of interlocking rhythms with spasms and a subtle harmony. It's always in good taste, I think Dusapin, he has invented something, invented political chaos. Carefully, he claims a work on music as a kind of physical matter that model physical phenomena playing on blistering, leveling, folds, fingerprints ... This is the basis of Clam. Sound waves that affect the stability and instability in Exeo.

There is a nice feeling, but also a sense of music essentially decorative. And quite repetitive if Dusapin claims every time a different method of writing, an opposition, a contradiction, a reversal ... Yet I seem to hear the same beautiful and mysterious from beginning to end.

Very nice performance
the orchestra of Liege.

No way to find this great cycle for orchestra or a party, but the Dusapin, there MusicMe on, for example the disk of the same family:

Dusapin: Comœdia - FIST - ARIA - HOP '- AKS - CODA - ATTAC - Listen and download album
proposed musicMe

What Makes A Good Nurse

The greatest record of all time of the month: Ligeti's Etudes by Pierre-Laurent Aimard


György Ligeti died in 2006, after leaving a considerable body of work which I think is marked both by experimentation, curiosity and lack of dogmatism exceptional (for a celebrated composer so if the official chapel of serial high-resolved enemies of tone).

His piano studies are a marvel of balance and freedom. This genre, very much focused on the piano from Chopin, is the exercise that is the most bizarre, composers who have played there often a very personal music and free in most formal and arid either. This was true of Chopin, Debussy, who also makes his most experimental screw Screw the tone (which in fact are quite rarely played, because I think it confuse compared to the standard Debussy), Ligeti I think is the latest to have done this exercise at this level of music.

The complexity of writing is such as to escape almost everyone: using components of ethnomusicology, the building block derived from African music, Jazz, a mathematician crazy counterpoint, polyrhythm of , experiments, such as the attempt to conjure up additional votes invalid.

But this convoluted intellectual construction is tempered a tactile approach the piano, Ligeti wanted the "real" studies, ie piano pieces. And a display of virtuosity also taken as an end in itself, driven by its own technical limitations: he wrote these pieces for the virtuoso that he dreamed of being.

What is clear, to hear the result was never in default of imagination of this composer. It does not seem to use tricks theoretical goal of his music, but as a means to achieve a poetic result.

In this edition of Volume 3, Sony Ligeti, Pierre-Laurent Aimard seems like in a trance, in symbiosis with the music he wants to show us all the beauties and subtleties, never as a teacher but as a true lover of this music.

Indispensable!


To be exact, it is only the first two books of studies, lack the third (with the exception of one study: White on white, which is the first record in 1995 This third book was being written.)

Musica Ricercata There is also a beautiful early piece by Ligeti.