Renata Tebaldi is at her most sumptuous in arias from two concerts given at Buenos Ares in 1953.
Listen here.
Blog
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Ferruccio Busoni ~ Mass
Above: composer Ferruccio Busoni
Coro Filarmonico Trentino perform Ferruccio Busoni’s Missa in Honorem Beatae Mariae Virginis. Listen here.
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Flamenco Vivo Carlota Santana @ The Joyce ~ 2024
Above: dancer Fanny Ara
~ Author: Oberon
Sunday June 23rd, 2024 – Flamenco Vivo Carlota Santana presenting the US premiere performances of EQUILIBRIO (Clásica/Tradición) by Emilio Ochando. Featuring nine dancers and musicians, the work embraces flamenco tradition while creating a unique staging of dances set to an original score by guitarist Daniel Jurado and featuring multi-instrumentalist Gonzalo Grau.
On the hottest day of the Summer (so far…and we are only on day 3) – with a high of 95 degrees – it was unfortunate that The Joyce’s air conditioning was malfunctioning. This made for a sweaty audience experience, and I can only imagine the effect on the dancers. But they persevered, looking as proud, noble, and sexy as ever; that’s an odd trio of adjectives, no? But that describes them perfectly.
Today’s program was rather different from last season’s Flamenco Vivo production; today was more of an ensemble affair. There were some impressive solos but none of the free-standing flamenco showpieces that feel like great operatic arias; instead, Mr. Ochando’s EQUILIBRIO had a more organic quality. Three fantastic musicians guaranteed an afternoon of fabulous music: Mr. Jurado is a guitarist de luxe, and Mr. Grau is extraordinary in his range, playing keyboard, drums, and cello in turn. (I bet if someone handed him a bassoon or trumpet, he could manage that as well). Vocalist Loreto De Diego displayed a multi-hued sound that ranged from slightly raspy parlando to clear, sensuous soft tones to full-fledged Broadway-style belting. Her singing was emotion-drenched and heartily applauded.
Lighting designer Daisy Long kept things simple and effective. Large moveable rectangles of tube lighting changed hues to fit the mood of the music, and were easily shifted about the stage by the dancers, giving each of the scores thirteen movements a distinctive character. Carmelita Vestuario’s costuming had the women in red gowns with black underskirts and the men in fitted black trousers and red shirts (later, they donned black skirts for a while). Castanets, the iconic sound of flamenco, were often in use, delightfully played by the six dancers.
Above: the Company
The afternoon opened with a keyboard solo from Mr. Grau. All six dancers appear with their castanets for a gorgeous opening, red skirts swirling. Mr. Jurado’s guitar comes in for the second movement, and Ms. De Diego’s voice begins to entrance us.
Mr. Grau takes up the cello for a riveting fandango in which dancer Emilio Ochando, lying on his back, gives a virtuoso performance with the castanets. The clarity of his playing was amazing, especially when he honed the volume down to a mere whisper. Mr. Ochando then dons a vest embellished with silver bells for El Vito, with Ms. de Diego showing her vocal range whilst the three female dancers – Fanny Ara, Lorena Franco, and Laura Peralta – clap in varying rhythms.
A somewhat competitive duet ensues, with Fernando Jimenez and Yoel Vargas doing some dynamic foot stamping; castanets continue to entice, and the four women observe the men’s ‘duel’, calling out to them, egging them on.
The musicians take over for Zambra, a slow lament for cello, guitar, and voice. Then the music speeds up, and all six dancers take up spoons for a rhythmic ensemble piece…big, lush dancing here: the audience loved it.
A classic Spanish fringed shawl is passed from dancer to dancer in Alegrias; Fanny Ara was especially captivating here, manipulating the shawl with flair. The six dancers, seated in a row of chairs, have a marvelous piece full of synchronized hand gestures and animated clapping. Again, the audience seemed to take special pleasure in this segment.
I now realized that my note-taking was all jumbled and over-written; this usually happens at The Joyce where the house is in deep darkness during most performances. Further notes became impossible, but I must mention a passionate ‘aria’ sung by Ms. de Diego before the afternoon’s finale was reached.
A large crowd gathered in the lower lobby after the performance where there was an impromptu Q and A, and where I got to greet the beautiful Ms. Ara: the dancer who first turned me on to flamenco. Bravissima Fanny!
~ Oberon
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2024 Chelsea Music Festival ~ Opening Night
~ Author: Lili Tobias
Friday June 21st, 2024 – The opening night concert of the 2024 Chelsea Music Festival was held in by far the most surprising venue I’ve ever been to. It took place in Genesis House, which is a restaurant/car showroom/performance venue associated with the luxury car brand, Genesis. In fact, the audience walked into the building through the showroom, so we were surrounded by new cars as the event staff offered glasses of wine. We then descended down a flight of stairs, through a lounge area, to the performance space.
The stage floor was actually a large screen itself, as were the back wall and the ceiling. This concert featured not only music but visual art completely surrounding the musicians as they played. While I thought the visuals were beautiful and intriguing, I didn’t quite see how they were connected to each specific piece. I think both the music and the visual art could have stood on their own just as well as together!
The concert opened with two pieces by Augusta Read Thomas: Bebop Riddle V and Dancing Stars. Both were very joyful and bouncy! I particularly enjoyed the juxtaposition of staccato and legato moments in Dancing Stars. This piece was primarily staccato throughout, but there were brief moments when more legato phrases rose up and then dissipated. These moments got more expansive as the piece progressed, and culminated in one bright pluck, followed by its echo in the resonance of the piano strings.
Wooden Bodies, by Tebogo Monnakgotla, was next on the program, performed by the Aizuri Quartet. Beginning with a slow melody in the lowest register of the viola, this motif was then explored by the other instruments in turn. In general, this piece was very fugue-like with all the motifs that got passed around within the quartet. My favorite moment was when the two violins traded off short, choppy phrases, creating a sort of panning effect between them. As a nice contrast to the explorative nature of the previous piece, Augusta Read Thomas’s next piece, Clara’s Ascent, felt calmer and more relaxed. The music stayed slow and legato for most of the time, punctuated by a fun pizzicato solo for the cello near the very end.
Next was a beautiful string quartet arrangement of Clara Schumann’s song, Die stille lotosblume. Having played the original piano and voice version myself, I really appreciated the liberties Miho Saegusa took in adapting the music for strings. First of all, the vocal melody is traded between string instruments which creates fun contrasts within one performance of the piece. And second, Saegusa added some delicate arpeggios which don’t exist in the piano part. These added interesting variety to the texture which the piano part just doesn’t have, and the half cadence ending left me wanting more!
To end the first half of the program was the world premiere of Nicky Sohn’s wind quintet, A Night at Birdland. Despite being accompanied by images of birds, this piece has nothing to do with birds, but rather is inspired by Charlie Parker, who is known as “Bird.” It was a really wonderful piece, and WindSync performed it so well. The music traversed many different musical textures, often featuring a consistent bouncy rhythm and really lush chords.
Beginning the second half of the program were two solo piano pieces, first the theme from the 2022 movie, The Fabelmans, composed by John Williams. Melinda Lee Masur, one of the artistic directors of the festival, performed this piece herself. It was a beautiful progression of a melody through different accompanying textures. Next was Against Time, written and performed by 2024 composer-in-residence Ania Vu. Starting with a single barely-there note, the music evolved into an exploration of different piano textures and techniques: full chords vs single notes, clusters vs octaves, steady pulses vs filigree. I’d love to try out playing this one myself!
The concert ended with Poulenc’s Sextuor (1931-32, performed impeccably by WindSync and pianist Andrea Lam. After the music, the audience was invited back upstairs to the Genesis House Restaurant for more drinks and canapés. This opening night concert featured such a wide variety of artistic ideas, and I’m sure the rest of the festival will live up to that as there’s a full week of performances ahead—from Bach to jazz to Brazilian forró. Congratulations to the Chelsea Music Festival on their 15th season!
~ Lili Tobias
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Raehann Bryce-Davis ~ La Luce Langue
Raehann Bryce-Davis (above) sings Lady Macbeth’s “La Luce Langue” at a 2021 concert given at Antwerp. Alejo Pérez conducts the Opera Ballet Vlaanderen Orchestra.
Watch and listen here.
In 2019, Ms. Bryce-Davies sang the mezzo-soprano part in the Verdi REQUIEM with Oratorio Society of New York at Carnegie Hall; she was truly impressive.
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Recordare
The Recordare from the Verdi REQUIEM, sung by Masabane Cecilia Rangwanasha and Elīna Garanča, with the orchestra of the Accademia Nazionale di Santa Cecilia, conducted by Antonio Pappano.
Watch and listen here.
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Fedora Barbieri ~ “Mon coeur souvre a ta voix”
Fedora Barbieri sings Dalila’s “Mon coeur souvre a ta voix” at a concert given in 1952 at the War Memorial Opera House in San Francisco.
Listen here.
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Fedora Barbieri ~ “Mon coeur souvre a ta voix”
Fedora Barbieri sings Dalila’s “Mon coeur souvre a ta voix” at a concert given in 1952 at the War Memorial Opera House in San Francisco.
Listen here.
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Angela Gheorghiu ~ “Depuis le jour”
Angela Gheorghiu sings “Depuis le jour” from Charpentier’s LOUISE from a televised concert concert given at Radio Hall Bucharest in 1988.
Watch and listen here.
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Angela Gheorghiu ~ “Depuis le jour”
Angela Gheorghiu sings “Depuis le jour” from Charpentier’s LOUISE from a televised concert concert given at Radio Hall Bucharest in 1988.
Watch and listen here.
Oberon's Glade 