Via Ned Rorem, a really nice photo and audio montage promoting a program of a cappella choral music by some of Nadia Boulanger's American pupils: Ives, Copland, Bernstein, Barber, Stravinsky, Copland, Reich, Glass. If I were in Luxembourg or deep Southwest France in March, I'd definitely go out of my way to hear this. High-resolution photos; it's worth making the video full-screen.
Category Archives: Song
Viet Cuong, Moth
For at least a few more days you can stream Moth, by classical composer Viet Cuong, performed, at the Midwest Band Clinic, by the Brooklyn Wind Symphony conducted by Jeff Ball, on Performance Today. It is also available, probably more permanently, at his website and on his Soundcloud page. I like the piece a lot. The performance is excellent, really remarkable for an all-volunteer ensemble. The style is fairly modern for PT, which is to say it is, roughly, in the idiom of tonal Western classical music from the 1920s and 1930s, with perhaps a smidgin of minimalism. At first listen I thought it made clear use of the language of Stravinksy, especially Petrouchka and Le Sacre du Printemps, as well as of something resembling the post-Stravinsky and neoclassical phase of the 1930s, say, Milhaud, Poulenc, Constant Lambert, but without descending into pastiche. On my second listen, with better sound, I was a bit taken aback by what I perceive as strong influence from Le Sacre, both in form and in content. I am less startled by that after further listens. Form-wise, it intersperses sections with ostinato, theme repetition (certainly key ingredients of Sacre), and other tension building devices (like modulation, especially stepwise upward modulation, which I don't think are found much in Sacre), with more pensive interludes, often tinged with a minor feel. Just that kind of alternation is a main structural principal of Sacre. As my references to neoclassicism and modulation above might suggest, there's somewhat more standard tonal content in Cuong's piece, thought it also has very strong Stravinsky-like "modal" or scalar elements, and occasional vaguely Iberian-sounding moments. (As an aside, just thinking about harmony in Le Sacre makes me wonder if there is any standard dominant-to-tonic resolution at all in the piece---I think not, or not much.)
Cuong knows how to recombine and play with motives, scales, harmonic tropes and other elements to create interest, unify the piece and move things along in a satisfying way. He shows this from the outset, with a clever motive consisting of a rising and descending scalar figure, played against a similar but inverted figure (or perhaps they are both fragments of the same extended figure that they evolve into, running up and down on flute, changing direction at different pitches), then relaxing into some Iberian-ish sounds. At 1:30 we get melodic material very reminiscent of Le Sacre, and around 2:10, I think, the first hint of a four-note figure, which one might notate 3 4 2 1 in minor, also very reminiscent of Sacre (indeed it is very close---and would be identical if the last two notes were interchanged---to the initial four notes of a motive, 3 4 1 2 3 1 in minor with the last two notes twice as long as the preceding four, found in Sacre) that will become increasingly important. Much of this material is developed and cleverly combined through what sound to me like various key changes. Around 3:30 things get more urgent, drums, with ostinato and repetition, especially of the four-note theme, and rising modulation. (I wonder if there is some influence of John Adams' Harmonielehre here; I am reminded of it, but haven't listened to the Adams piece recently enough to tell. Or maybe I should just can the speculation about influence.) Around 4:10, quickly peak tension gives way to a mellow contrapuntal woodwind interlude, and there follows a long stretch with some alternation of faster and more complex passages, building a bit more each time, with pullbacks to this sort of mellowness. Around 6:30 things seem to get more organized for a final buildup. The ending, with an upward brass gliss emerging out of the ensemble to a momentarily held note, and then a sudden drop to tympani-punctuated chord, reminds me a little bit of Le Sacre too.
The program for this piece seems to be the gyrating flight of a moth before, and eventual immolation in, a flame, which is also in obvious parallel with Le Sacre's program, of a virgin obliged to dance herself to death in a pagan rite. So I suspect the structural and idiomatic parallels to Le Sacre are no accident, although the overall tone is much lighter, and at 8'38 in this performance, the piece is of course much shorter. I interpret these parallels, especially as dextrously integrated with harmonic movement at times quite uncharacteristic of Le Sacre, as a bit of a cheeky and light-hearted tour-de-force of compositional virtuosity. The thematic material does have interest, but might be a little more on the generic side than ideal in places. That is not really a problem in this piece. I enjoyed some of the other pieces on his site but did find some of them a bit lacking in gripping melody. Sound and Smoke I and II sound tailor-made for something like a fantasy movie soundtrack, and are extremely well done. Part I sounds just as you might think from the subtitle "feudal castle lights", while Part II I found more distinctive. I have a feeling that with some even stronger melodic material, perhaps some passages with some longer more sustained lines, Cuong could be really dangerous. Hopefully Cuong will come up with more gripping melodic material in whatever way is necessary, whether from moments of personal inspiration or by ripping it off with exquisite taste à la Stravinsky if necessary. (I exaggerate, Stravinsky fans... peace, I am one of you.) Some of Cuong's other pieces show ability in more contemporary idioms. He is only 24, a graduate student in composition at Princeton. He is clearly getting a lot of recognition, as the list of awards, commissions, and performances on his webpage shows. So he probably has a good career assured. I hope he has his sights fixed on greatness; I'll be very interested to see what comes next.
Bonus: On that December 12 PT stream, available for a few more days, the Brahms serenade (end of the 2nd hour) performed by the Sinfonia da Camera, if played on a good stereo, is magic. (On first hearing through a cheap radio I was unimpressed. Maybe it is all about the bass, although I think an undistorted treble helps too.)
Iverson/Motian/Grenadier It's Easy To Remember, II: a deeper appreciation
Since first posting on the topic, I've now played (in my halting way) the solo piano ad lib introduction to the live Ethan Iverson/ Paul Motian/ Larry Grenadier performance of It's Easy to Remember in Guillaume Hazebrouck's transcription, and listened to it several more times. I'm even more taken by this masterful performance, especially the introduction. The harmonies in the introduction are often quite dissonant but beautifully limpid, probably due to the very open voicings (wide intervals), and choice of intervals. The dissonances reminiscent of 20th century classical music combined with untypical but compelling voiceleading remind me a bit of Bill Evans, but the choice of intervals and limpid sonority doesn't so much. The (incomplete) blow-by-blow that follows is mostly for my own reference, so you might skip down to the next paragraph if harmonic analysis doesn't interest you. It's far from crucial for appreciating the music, but I really want to know how these sounds are made. The first part is mostly over an E flat pedal (the piece is in E flat), with couple of excursions to Ab. The first chord is fabulous, with successive intervals of a minor ninth, minor 7th, minor 6th (Eb, E, D, Bb). Then the two inner voices move inward by a half step for another open, somewhat dissonant chord. It's perhaps not so important to analyze these harmonically, but the first comes off pretty clearly as an Eb major voicing, with no 3rd which no doubt contributes to the spare, clear sound, and with a major 7th, and as for the E natural (b9 you could say), well it just sounds great, and moves up to a natural 9 on the next chord, while the 7th moves down to the minor 7th of Eb, suggesting perhaps a change in quality to dominant or minor, though not this is not so clear as there's still no 3rd present. Later in the introduction, the same voicing will indeed function as a dominant leading to an Ab major triad at the end of the first system of the transcription. But first we get a repeat of the first two chords at a faster pace, except with A natural in place of Bb in the top voice (which is basically paraphrasing the melody). The tenor voice is going up chromatically, cadencing toward a G as part of the double-whole-note Eb major 7th, the first time we get a 3rd with an Eb chord. The repose is disturbed with a little tweak up to a B natural in the treble, just to add a little more pretty dissonance to the picture. (Nothing wrong with a touch of the "girlfriend chord" once in a while.) Then we again get those first two chords, Bb in the treble again, moving in quarters, initiating the same four-quarter-note chromatic ascension in the tenor to G, but the bass moving up to Ab on the last two quarters, over which the harmony sounds first like Ab7, then Ab m7, while the top Bb leads down into a bluesy figure. The next system finishes out with more chromatic movement in the bass, more intricate melody in the top voice accompanied by good inner voice action especially in the tenor, and a final cadence on Eb major again, with the 3rd but in the same open voicing that marked the first appearance of the G before, except that now the D forms a minor 2nd cluster with that seemingly outrageous, but beautiful, E natural, kind of fusing the initial two dissonant Eb voicings but with the added 3rd for an earthier, more harmonically grounded sound, perfectly capping off the introductory chorus.
Besides the open voicings and relatively spare use of 3rds (so that they are all the more effective when they are used), movement by half-steps is a major feature of the voice-leading in this introduction, but it doesn't come across with any feeling of slick hepness or angst-ridden compulsion, perhaps because it's not being used heavily as b9 or #11 over dominant chords, or in related diminished or augmented substitutions for dominants. Maybe there is a relative absence of tritones in the voicings, though I didn't check carefully. Anyway, the half-step motion is prominent enough to be considered a major musical ingredient, but doesn't really interfere with what sounds to me like a relatively diatonic, if sometimes beautifuly dissonant, feel. I guess the chromatic motion is not, for the most part, setting up dissonances that cry out for an obvious resolution, nor effecting such resolution. It reminds me a bit of Stravinksy in that the dissonance is often created by the interaction of natural melodic motions in the voices, and (along with the melodic motion) the actual intervals in the chord seem almost more important than any compulsive "functional" movement in the harmony even though there is some of the latter on occasion.
The other remarkable thing about Iverson's playing on this piece is the strong influence of Monk, assimilated well into Iverson's own style, in the trio portion of the piece. Monkian upward arpeggios appear as early as measure 16 (the 3rd measure of the first trio chorus), often combined with scalar material that still sounds quite Monkish (as in measure 16), or leading into more original melodic figures (as in measures 25-26). A classic downward-dropping Monk left-hand figure is used in measure 30, a very bluesy Monkian chorus-ending figure at 44-46, upward arpeggios in 47-48 lead again to more personal Iversonian material in 49-50, and the list could go on. Often Iverson seems to be extending or filling in Monkish lines with his own material more reminiscent of more standard bop-influenced lines, but never quite the standard bop clichés. There's lot's of great action in the inner voices too, sometimes Monkian, sometimes not particularly so. I think Monk's vocabulary and approach, even while it contributed crucially to the lingua franca of bebop and beyond, has probably been underexploited by pianists who are perhaps rightly afraid that it's hard to make something personal this way, something that doesn't sound like copying Monk's licks, but Iverson makes it work to great effect. (I guess you could argue that a few other pianists have been strongly influenced by Monk's approach while keeping the harmonic and melodic content of their playing further from Monk than Iverson does here.)
In fact, the display of constructive influence by Monk, and the use of Monkian influences in a clear personal style, makes me wonder if the introduction might be more influenced by Monk than I realized. I haven't listened to Monk's solo piano for a while, and it is probably time to listen to more.
Speaking of more, here's hoping we get to hear more from this set, or others in the same week at the Vanguard. All About Jazz's review of what was probably the first set on that same Friday (March 11, 2011) is tantalizing, too. This is some of the most interesting piano playing I've heard in many years---jazz of the highest order.
Ethan Iverson, Paul Motian, Larry Grenadier: It's Easy To Remember, live at the Vanguard
Excellent piece from 2011 by Ethan Iverson on the late Paul Motian. Discusses a lot of music I need to check out, and unexpectedly includes a superb live version of Rodgers and Hart's It's Easy to Remember featuring some of the best jazz piano I've heard from Iverson, which means some of the best jazz piano I've heard in recent years. Plus there's a downloadable transcription of his playing, provided by Guillaume Hazebrouck. The harmonies in the piano introduction sound unusual to me, but totally natural. I really love the intro. There's a fair bit of Monkishness, especially later in the solo, but well integrated with Iverson's own conception. Some nice interaction of multiple voices in the piano at times, not in a showy way, adds a lot. I found this post linked from Ethan's recent post on Motian's compositions, which Motian's niece and heir Cynthia McGuirl is considering publishing.
Carolina Chocolate Drops rock the Rialto, Tucson
On a visit to Tucson I tore myself away from the U of Arizona --- USC game to go hear the Carolina Chocolate Drops at the Rialto downtown. Incredibly high-energy show---you can get an idea of the band's sound from Youtube, but it doesn't really convey the impact of a live show. They are still on tour until October 24th, and the main point of this post is just to say if you have a chance, go. CCD got their start playing traditional or "old-time" African-American string band music. and that is still a large part of their repertoire. The lineup has changed over the years, and I'm no expert on the changes since I'm new to the band. Rhiannon Giddens, the lead singer (who majored in opera as an undergraduate at the Oberlin conservatory), is the only founding member of the band left in the lineup. (I was amused that she felt she had to explain how her name is pronounced---anyone who doesn't know obviously missed the 70s, but I guess that applies to a good chunk of the audience.) The band is extremely tight, everybody is topnotch, and the numbers featuring the other members are just as strong as those (perhaps a majority) featuring Giddens as primary vocalist, but Giddens is clearly the powerhouse. Though her manner when singing is not at all stagey or acted, when she starts making music the star power and charisma are immediately apparent. CCD are currently doing a very wide range of music, much of which will sound familiar but not exactly like anything you've heard before. This is African-American music that is part of the roots of bluegrass and country, coming out of folk traditions that are perhaps not so well known nowadays, but in CCD's hands it's not at all an exercise in scholarly dusting off of "hmm, interesting" musical curios---it's alive for the performers and audience, sometimes with an impact and energy that reminds me of a solid punk rock show---indeed some of the audience were definitely pogoing. Much of the music is full of fiddle and banjo, with Malcolm Parson on cello (and sometimes bones), and Rowan Corbett on a variety of instruments, including bones, guitar, banjo, and I think perhaps fiddle on occasion. Jenkins played guitar, mandolin, and banjo. Parson's cello playing really added a lot to the ensemble sound, and I liked his rare solos a lot too. If I'm not mistaken, Parson, Jenkins, and Corbett all played bones to great effect, with Corbett especially virtuosic. Jenkins did some excellent vocal work, too, and his solo country blues original was superb.
As I said, online video doesn't really capture the impact, but this video of them doing Cousin Emmy's Ruby Are You Mad At Your Man from their current tour does a pretty good job. (I am not sure if this is band-sanctioned, so will remove the link if they request it.) Music starts around 1:34.
They also cover more recent material, like Dallas Austin's hit for Blu Cantrell, "Hit 'em up Style". Here's a video from this tour, though I thought the Tucson performance of this song was harder-hitting:
Not all their songs are on the same topic---it's just coincidence that these are two of the best videos on the toob of the current tour.
They don't play many originals, but the song Giddens wrote reflecting her reading of accounts of life under slavery in the 19th century was powerful.
There's a lot more on youtube, including more old-time music, though not so much with the current lineup. They can sing country with the best---I wouldn't be surprised if they hit the country charts one of these days (or perhaps it's already happened); they do a great job with Hank Williams' Please Don't Let Me Love You:
Indeed, Country Girl sounds to me like a straight shot at the contemporary country charts, solid stuff though quite reminscent of a dozen or so other celebrations of down-home-by-the-crick livin' to be encountered over the last decade on mainstream country radio, with an acoustic backing just as rocking and funky as the typical electrified setting for the genre nowadays and just as deserving of a place there.
Definitely a band to get to know, and I plan to delve into their recordings now that I've had the live experience.
Paul Groves, Joseph Illick at Santa Fe Festival of Song: Duparc, Britten, Liszt, Rachmaninoff
On August 8th, we were treated to singing of transcendent beauty from tenor Paul Groves, with superb accompaniment by pianist Joseph Illick, in deeply felt and well-conceived interpretations of songs by Henri Duparc, Franz Liszt and Sergei Rachmaninoff, and Benjamin Britten's wonderful and imaginative arrangements of British Isles folksongs. The recital was part of the Santa Fe Festival of Song, a project of Performance Santa Fe (the organization formerly known as the Santa Fe Concert Association) in which singers who are in town to perform at the Opera give art song recitals. Groves is Florestan in Santa Fe's Fidelio this year, and after hearing him in this recital, I'm eagerly anticipating his performance in that role.
Groves' voice is sweet and clear, but very powerful when he wants it to be, without losing any clarity or getting ragged at volume. His control over breath, and dynamic range are amazing and deployed to great interpretive effect. I don't believe that there is a single ideal way of interpreting most songs (though of course some songs may support a more limited range of workable approaches than others)...but I will say that Groves' performances of almost all of these songs were sheer perfection---while one could imagine a different approach being equally successful if equally well-executed, I mostly couldn't imagine anyone singing these songs better than Groves did here. He used the full range of vocal expression available to one with a top-of-the-line trained operatic voice. While a more subdued approach, with climaxes not quite as operatic in their intensity, could work equally well in many of these songs, and indeed provide a perfect opportunity for superb artistry by those who don't quite have the unbelievable volume and projection required for major-stage opera, I am not one who takes the view that operatic intensity should be banished from art-song interpretation. Groves' performance here was an illustration of how perfect and appropriate an approach informed by operatic experience, and empowered by an operatic technique and voice, can be in the art song.
The concert began with Duparc. I thought the first song, Le manoir de Rosemonde, came off as perhaps a tad too intense and vocally operatic an interpretation, though flawlessly sung. This might have been in part a matter of gauging the room sound; the Santa Fe United Methodist Church sanctuary is of modest size, with a relatively live and reflective acoustic. What followed ranged from superb to sublime. Extase was languorous and hypnotic, Soupir serene and heartfelt, Phidylé an entrancing mélange of rapture and whatever the right word is to express a slightly wistful, mildly sensual, very french kind of elegant wallowing in wistful nostalgia.
Following this, a definite change of pace with five Benjamin Britten settings of British folksongs. A substantial musical contribution from Britten here, with sometimes humorous, often very pretty and always very original settings that enhance, rather than working at cross-purposes to, the feeling and folk flavor of these songs. The Brisk Young Widow had verve and humour. In Sally in Our Alley, Groves did a superb job of putting across a broadly humorous, multi-verse narrative, with an unexpectedly poignant turn in the end. As pointed and effective an artistic meditation on class division as you will find anywhere, while avoiding dourness and simultaneously celebrating the joy of life. Early One Morning was quiet and poignant, beautifully shaped by Groves, while in The Lincolnshire Poacher and Ca' the Yowes Groves used the more robust side of his voice to great effect in an earthier vein. At the reception following the concert, Groves remarked these Britten folksong settings are actually the most difficult to sing of the works on the program, because of their choppier, less legato line if I understood correctly. (Speculating, this may in part be a peculiarity of singing in English, at least compared to the more vowel-centered nature of French and even Russian (and of course Italian and even German, although neither of these two languages were used in this program)). Of course, that comparison may be more likely to apply once one has put in the hours and years of work necessary to do long lines with the rock-solid breath support and control, and imperturbable legato where necessary, required by the French and Russian-language works on the program.
Next up was a group of four Victor Hugo poems set by Franz Liszt, ranging through a wide range of moods and emotions, from the flirtatious humor of Comment, disaient-ils, to the over-the-top protestations of love in Enfant, si j'etais roi, to the long-lined, sensual love poetry of Oh! quand je dors (another case where the adjective "sublime" applies to Groves' rendering). Very colorful, sometimes dramatic, settings of these poems. Excellent music that I did not know before this recital, and that I was very glad to be made aware of, especially in interpretations of this caliber.
The recital concluded with three songs of Sergei Rachmaninoff. In the Silence of the Night (Fet), How Fair this Spot (Galin), and Oh Never Sing to Me Again (Pushkin). Again perfectly sung, with focused and specific portrayal of emotion, startling in their beauty and impact.
For the encore, Groves brought out baritone Kostas Smoriginas for an unexpected treat---the duet "Au Fond du Temple Saint" from Bizet's The Pearl Fishers. They took it perhaps a tad faster than I think optimal, but did a fabulous job---Groves' vocal control, and ability to do high, soft, and sweet as well as powerful and passionate was a key here, as was Smoriginas' incredibly deep, full, and powerful baritone, depth and darkness balanced by plenty of high-in-the-mask, projecting resonance that did not shade at all into brittleness. Smoriginas is Escamillo in Santa Fe's Carmen this season; I will not hear Carmen until its last performance, but based on this duet, Smoriginas has just the voice this role needs, and should be amazing in it. In many recordings I have of this aria, the baritone recedes a bit into the mix compared with the tenor (who is a bit more the star of this aria)---so it was great to hear the baritone part so clearly in this classic romance-meets-bromance potboiler. When the tenor and baritone united in singing the melody in sync partway through, the effect was thrilling.
At the reception I overheard Mr. Groves thanking the organizers for the opportunity to give a recital while in Santa Fe, and lamenting that while opera singers love to do recitals, there are not as many opportunities for them as there were even as recently as the 1990s, when he could do lengthy recital tours in Europe and elsewhere. Listen up, agents, impresarios, and program committees because some of us are on the lookout for the kind of intense and transporting experience of aesthetic perfection one gets from hearing a singer of the caliber of Paul Groves up close in recital.
Maria Stuarda, with Joyce DiDonato and Carmen Gianattasio at the Royal Opera, Covent Garden
July 18th: my first time at Covent Garden, for the Royal Opera production (joint with Barcelona, the Theâtre des Champs-Elysées, and the Polish National Opera) of Donizetti's Maria Stuarda. The fashion for reviving some of the lesser-known bel canto operas seems as strong as ever these days, especially with singers like Joyce DiDonato available to star in them. This one was very much worth doing. The opera is not perfect dramatically, but neither is it devoid of drama. Of course we know how it's going to end, but the first act generates suspense over whether Elizabeth will meet with Mary, how they will interact, and especially what will happen to Roberto, Mary's lover and apparently one of Elizabeth's favorites too. (I'm no expert on the history, but the libretto was adapted from a Walter Scott novel or play and is, I think, none too accurate historically.) The final scene goes on perhaps a bit too long, Mary's final forgiveness of Elizabeth and lengthy exhortations, following her final confession to Talbot, to the assembled crowd and to Roberto to forgive her and enable peace and prosperity in the British dominions strains credulity a bit, seeming a bit corny and overpious. The music is often strong here, but not uniformly so, Mary's prayer with crowd response seemed weak in comparison with similar scenes in other works of the era, e.g. the transcendent prayer scene in Rossini's Maometto Secundo.
A long first scene features Elizabeth, then others, especially Roberto, in colloquy with her. Mary doesn't appear until well into the act, after a mini-intermission (lights up for a five-minute scene change) in the first act. Carmen Gianattasio carried this portion strongly---her coloratura technique seemed quite secure to me, her voice pure and unstrained even at high volume or high pitch. Pretty good characterization too---her Elizabeth did seem a bit petulant at times, frayed by the stress of her position, but I guess it's tough to be Queen. Sometimes she seemed slightly detached from the role, possibly because the attention to superb execution of demanding singing kept her from losing herself in the part. Ismael Jordi as Roberto also came off well vocally, although to my ears, a bit "sung", sometimes phrasing with ever-so-slightly exaggerated flourishes. But no vocal roughness, a tone with good body and clarity, good projection, and pretty good characterization and intensity although again perhaps not inhabiting the role as completely as he could have. But a singer I hope to hear again, whose presence in a cast I'd consider a definite attraction.
The production made some questionable choices, possibly in trying to keep to a budget... full Elizabethan costume for the women, especially Elizabeth, was a good choice, but it seemed weird to combine it with dark waistcoats and suits on the men, possibly of Edwardian vintage like the massive leather-upholstered couches and wood panelling that furnished the supposed Royal palace. Elizabeth was portrayed as a bit on the vulgar side, especially when she rips off Roberto's shirt and runs her hands all over him in a jealous fit. This lead to a long bout of shirtless singing by Roberto, well sung but the tableau unfortunately reminiscent of a Chippendales billboard. A bit tacky, but perhaps effective in putting over a certain take on Elizabeth and inducing queasiness at her harassment of Roberto.
While the first part of the first act was an example of extremely well-sung, if somewhat oddly staged, opera, the appearance of DiDonato as Maria at the midpoint of the first act was the operatic equivalent of engaging warp drive. Her first aria was a lament at being imprisoned, but suffused---at least in my recollection of it--- more by a mood of reverie and remembrance of lost pleasures and beauty than a mood of grief. Stunningly beautiful singing, the more so because not especially showy technically and not exploiting the hotter emotions. There may well have been technically very difficult things here, too---I don't really recall, but certainly soft high passages may have been in play---but if so they were executed so effortlessly that the focus was on the character and the music.
DiDonata was excellent in Rossini's La Donna del Lago (another bel-canto-era Walter Scott-based opera) last summer in Santa Fe, but she sounded even better here, perhaps in part due to the superb acoustics of Covent Garden, which may well be the best of any major opera house I've been in this regard. The open sides at Santa Fe may make it hard for the sound to penetrate with full vibrancy to the cheap seats I usually occupy at the back of the main floor, whereas even in the very moderately-priced Upper Amphiteatre center section (next stop is the roof, but having a straight-ahead view of the stage instead of looking sideways out of a box was a blessing) the orchestral and vocal sound was clear and detailed, with perfectly adequate volume, sweet but with no loss of clarity.
Complete technical control and vocal security enabled her to be totally absorbed in the role...the effect was that she had become the character, rather than consciously acting it---whether or not this effect was achieved in part by conscious real-time effort or whether she was "in the zone" by dint of intense past effort mastering the role being immaterial. This level of performance continued for the rest of the opera, making it for the most part extremely compelling theatrically and musically, despite the usual uneven level of musical inspiration expected from a less-performed bel canto opera, and some dramatic weakness in the second act. Occasional stretches of stereotyped and routine bel canto writing were often lent interest by the drama involved, and there were plenty of passages with much more musical interest, inextricably entwined, as is so important in opera, with the drama.
To mention just a few such highlights, beyond Mary's first scene in the prison: the meeting between Mary and Elizabeth is of course classic, both Mary's controlled, but intense, pleading for mercy and then her startlingly intense outburst of anger when she has decided that Elizabeth cannot be moved, and reacts to Elizabeth's insult. I found out later that censors required these words be cut from the original production, though soprano Maria Malibran sang them anyway in the first performance (leading, after a few more performances, to the production being shut down). One didn't need to know this history for it to be a visceral thrill and shock when Mary let loose with "Figlia impura di Bolena, parli tu di disonore? Meretrice indegna e oscena, in te cada il mio rossore. Profanato è il soglio inglese, vil bastarda, dal tuo piè!" (Impure daughter of Boleyn, you speak of dishonor? Worthless, obscene whore, I blush for you. The English throne is profaned, vile bastard, by your foot!).
The scene in which Mary confesses to Talbot (extremely well sung and characterized by Matthew Rose) was another highlight, especially the swift darkening of mood when Mary gives in to Talbot's insistence that she confront her past crimes (alluding, possibly, to collusion in the murder of her first husband). It's the darker highlights that seem to have stuck in my memory, but there were plenty of moments of more positive passion that were outstanding as well.
All the singers were at least excellent---I didn't feel like the opera was losing out from weakness in any aspect of the musical presentation. In the scenes with the counselor---probably Guglielmo Cecil---urging Elizabeth against clemency, both Elizabeth and Guglielmo really made palpable and plausible a feeling of being trapped into denying Mary mercy---these ex-monarchs, granted clemency, are all too likely to come back and menace you.
The contemporary, white-tiled hospital-like setting of the execution chamber, while continuing the theme of random anachronism, was effective in one respect---reminding us that the current practice of capital punishment is not all that different from the stump-and-ax execution block of Elizabethan times. DiDonato's stamina and superb singing carried the long, long final scene well, although not completely compensating for the length of the scene, which somewhat undermined the drama. Still, it prompted plenty of meditations on politics, religion, personality, history, and the meaning of this drama in the milieu of early 19th century Italy, in which Catholicism and tradition was presumably confronting Romanticism and republicanism.
If this show comes to your town---as it I believe it will to Barcelona, beginning in December ---it's not to be missed. Strong singing all around, a fairly dramatically effective and psychologically interesting work, with attractive and often striking music throughout, and an unbelievably charismatic and inspired dramatic and vocal performance by Joyce DiDonato---a chance to see and hear a true operatic superstar, and to understand why she's in that category, for how profoundly she deepens the dramatic, psychological, and musical impact of the work.
Fingering a fragment of Silver
The great jazz pianist and composer Horace Silver died yesterday. Ethan Iverson has posted, at his blog Do the Math, an excellent transcription of Silver's piano playing in a trio with Percy Heath and Art Blakey, on Silver's composition "Opus de Funk". I've been working on playing it, and thought I would post the fingerings (see below or click here for pdf) I've worked out for the eight-measure introductory line Horace plays to start the performance, and repeats at the end, and (added on June 24) the first sixteen bars of the main strain. I'll continue to update this as I do more of the piece, but it may be awhile.
Where the fingerings stop in the middle of a continuous line, the implication is to continue with an ascending or descending sequence, or where that doesn't make sense, "do the obvious thing" (usually use whatever finger was most recently used for a given note). I have put some possible alternate fingerings in parentheses, usually above the staff.
As a pianist, I'm self-taught and none too fluent so far, and one main point of posting these fingerings is to get feedback, so if experienced pianists want to give some, that's welcome. The other point is to provide a little bit of encouragement for people to dive into playing Ethan's transcription of this piece, and otherwise to explore Silver's music.
Morning listening: Tchaikowsky and Piazzola on APM's Performance Today
I take Astor Piazzola's work very much on a composition by composition basis.... some of it leaves me relatively unmoved, other pieces I really enjoy. I really enjoyed the Tangata for saxophone quartet, played by the Ancia Saxophone Quartet at Bethlehem Lutheran Church in Minneapolis, Minnesota. 21'30 in this feed from Performance Today (you'll need to click on Hour 2 on the RHS of the page; stream should be available for at least a week). I thought it might be Poulenc, then changed my mind to Piazzola, which turned out to be right. It's probably the Poulencian playfulness and part-writing that grabbed me, as well as the superb playing by the quartet. Following it (at 34:47 in the same feed) Tschaikowsky's dramatic overture-fantasia on Hamlet, Opus 67, is also extraordinarily well-played and recorded from a concert in Hamburg, by the North German Radio Symphony Orchestra, under Christoph Eschenbach. Excellent, dramatic stuff.
Some ideas on food and entertainment for those attending SQUINT 2014 in Santa Fe
I'm missing SQUINT 2014 (bummer...) to give a talk at a workshop on Quantum Contextuality, Nonlocality, and the Foundations of Quantum Mechanics in Bad Honnef, Germany, followed by collaboration with Markus Mueller at Heidelberg, and a visit to Caslav Brukner's group and the IQOQI at Vienna. Herewith some ideas for food and entertainment for SQUINTers in Santa Fe.
Cris Moore will of course provide good advice too. For a high-endish foodie place, I like Ristra. You can also eat in the bar there, more casual (woodtop tables instead of white tablecloths), a moderate amount of space (but won't fit an enormous group), some smaller plates. Pretty reasonable prices (for the excellent quality). Poblano relleno is one of the best vegetarian entrees I've had in a high-end restaurant---I think it is vegan. Flash-fried calamari were also excellent... I've eaten here a lot with very few misses. One of the maitres d' sings in a group I'm in, and we're working on tenor-baritone duets, so if Ed is there you can tell him Howard sent you but then you have to behave ;-). The food should be good regardless. If Jonathan is tending bar you can ask him for a flaming chartreuse after dinner... fun stuff and tasty too. (I assume you're not driving.) Wines by the glass are good, you should get good advice on pairing with food.
Next door to Ristra is Raaga... some of the best Indian food I've had in a restaurant, and reasonably priced for the quality.
I enjoyed a couple of lunches (fish tacos, grilled portobello sandwich, weird dessert creations...) at Restaurant Martin, was less thrilled by my one foray into dinner there. Expensive for dinner, less so for lunch, a bit of a foodie vibe.
Fish and chips are excellent at Zia Café (best in town I think), so is the green chile pie--massive slice of a deep-dish quiche-like entity, sweet and hot at the same time.
I like the tapas at El Mesón, especially the fried eggplant, any fried seafood like oysters with salmorejo, roasted red peppers with goat cheese (more interesting than it sounds). I've had better luck with their sherries (especially finos) better than their wines by the glass. (I'd skip the Manchego with guava or whatever, as it's not that many slices and you can get cheese at a market.) Tonight they will have a pretty solid jazz rhythm section, the Three Faces of Jazz, and there are often guests on various horn. Straight-ahead standards and classic jazz, mostly bop to hard bop to cool jazz or whatever you want to call it. "Funky Caribbean-infused jazz" with Ryan Finn on trombone on Sat. might be worth checking out too... I haven't heard him with this group but I've heard a few pretty solid solos from him with a big band. Sounds fun. The jazz is popular so you might want to make reservations (to eat in the bar/music space, there is also a restaurant area I've never eaten in) especially if you're more than a few people.
La Boca and Taverna La Boca are also fun for tapas, maybe less classically Spanish. La Boca used to have half-price on a limited selection of tapas and $1 off on sherry from 3-5 PM. Not sure if they still do.
Il Piatto is relatively inexpensive Italian, pretty hearty, and they usually have some pretty good deals in fixed-price 3 course meals where you choose from the menu, or early bird specials and such.
Despite a kind of pretentious name Tanti Luci 221, at 221 Shelby, was really excellent the one time I tried it. There's a bar menu served only in the bar area, where you can also order off the main menu. They have a happy hour daily, where drinks are half price. That makes them kinda reasonable. The Manhattan I had was excellent, though maybe not all that traditional.
If you've got a car and want some down-home Salvadoran food, the Pupuseria y Restaurante Salvadoreño, in front of a motel on Cerillos, is excellent and cheap.
As far as entertainment, get a copy of the free Reporter (or look up their online calendar). John Rangel and Chris Ishee are two of the best jazz pianists in town; if either is playing, go. Chris is also in Pollo Frito, a New Orleans funk outfit that's a lot of fun. If they're playing at the original 2nd street brewery, it should be a fun time... decent pubby food and brews to eat while you listen. Saxophonist Arlen Asher is one of the deans of the NM jazz scene, trumpeter and flugelhorn player Bobby Shew is also excellent, both quite straight-ahead. Dave Anderson also recommended. The one time I heard JQ Whitcomb on trumpet he was solid, but it's only been once. I especially liked his compositions. Faith Amour is a nice singer, last time I heard her was at Pranzo where the acoustics were pretty bad. (Tiny's was better in that respect.)
For trad New Mexican (food that is) I especially like Tia Sophia's on Washington (I think), and The Shed for red chile enchiladas (and margaritas).
Gotta go. It's Friday night, when all good grad students, faculty, and postdocs anywhere in the worlkd head for the nearest "Irish pub".