My review of Montreal based Paramirabo’s CD of contemporary chamber music; Voix jetées, is now on-line at La Scena Musicale.
Catalogue information: ATMA Classiques 2887
Voix jetées
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Category Archives: CD Review
Where Waters Meet
My review of the CD Where Waters Meet, by Sherryl Sewepagaham and the Canadfian Chamber Choir, is now available at La Scena Musicale. It contains works by Carmen Braden and Sherryl Sewepagaham mostly about our relationship to water and its criticality to life.
Ajdad – Ancestors
Ajdad – Ancestors (Echoes of Persia) is a new CD from the Amir Amiri Ensemble. I had a chance to hear them play at Alliance Française on Friday night as well as listening to the CD which provided some extra perspective. It’s always interesting to watch musicians. Most of the music on the CD is composed by Amir Amiri with a couple of arrangements of other composers’ work. Amiri’s roots are in the classical Persian tradition but he goes well beyond that with quite strong Arabic influence as well as Turkish, Kurdish and Western classical elements. In a sense it’s a nod to what was once a more integrated musical culture that to some extent has been fractured by the political divisions of the last 100 years or so. Continue reading
freezing
I guess I’ve learned never to expect the predictable from Emily D’Angelo (except for the black clothes and boots). Her new album; freezing, is as unexpected as enargeia was four years ago. This album is even less “classical”. The seventeen tracks cover a range of genres. I think I’d classify them as contemporary art song, traditional folk song, singer/songwriter covers and English renaissance. All in all there is a total of 47 minutes of music. Continue reading
Picture a Day Like This
Picture a Day Like This is the latest operatic collaboration between George Benjamin and Martin Crimp (Written on Skin, Lessons in Love and Violence). It’s basically an hour long chamber opera written for five singers and chamber orchestra and it’s now been recorded for CD by Nimbus.
The basic plot line is that a child has died but her mother can revive her if, within 24 hours, she can obtain a sleeve button from a truly happy person. She is given an itinerary to follow to find the likely candidates. In the course of six scenes she encounters two lovers whose relationship is apparently idyllic until the question of what “open” means comes up. (It’s possibly the first serious use of the idea of polyamory in the modern sense in an opera.) There’s an artisan who is superficially happy though he turns out to be going nuts because he’s been replaced by a machine. There’s a composer who is immensely successful but full of self doubt and a collector who owns everything he admires but is utterly alone. The only truly happy person is the enigmatic Zabelle… who turns out not to exist. Continue reading
Errollyn
I first came across the music of Errollyn Wallen in a recent recital by Sarah Connolly and Joseph Middleton. There was a quality in her music that reminded me of some other composers of Caribbean origin writing about the immigrant experience in Canada. Wallen is from Belize but now lives in Scotland (in a lighthouse no less) and her music is quite varied. Unusually, besides being a classically trained composer, she also sings while accompanying herself on the piano and the works she has written for that genre definitely have a singer/songwriter vibe.
Brahms songs
The second disk in pianist Malcolm Martineau’s project to record all the Brahms songs will soon be available. It features twenty nine songs for low voice with, as far as i could tell, no theme. All the works have titles like Fünf Gesänge Op.72 which actually starts the disk.
The singing is shared between mezzo-soprano Dame Sarah Connolly and baritone Hanno Müller-Brachmann. Both are wonderful singers with terrific artistry and sensitive treatment of text. With Martineau at the piano it’s hard to imagine these relatively little performed songs getting better performances.
Rooms of Elsinore
Rooms of Elsinore is a new CD of music related to Brett Dean’s opera Hamlet. Those familiar with the opera will quickly recognise the sound worlds of all five pieces. Two began life as “character studies” for Ophelia and Gertrude respectively and so set words by Matthew Jocelyn. The first, And once I played Ophelia is scored for soprano and chamber orchestra. Some readers may recall Barbara Hannigan performing it with the TSO in 2019. Here it’s performed by Jennifer France with the Swedish Chamber Orchestra and the composer. It’s a tough sing with some very high sections and staccato repeated phrases. She does a fine job. Continue reading
Listening in different ways
What I’m going to do here is use a review of a new CD by Toronto based musician/actor Ahmed Moneka as a means to explore some ideas about listening to music. But first the CD itself. It’s called Kanzafula and it contains nine tracks rooted in an unusual musical tradition; that of the Afro/Iraqi Sufis of Basra. These are descendants of people originally from the East coast of Africa who wound up in Basra in the 8th century CE and have maintained a rich musical tradition combining Arabic and African influences. Continue reading
A life-long engagement with Tippett
The late Sir Andrew Davis was a life-long advocate for the music of Sir Michael Tippett so it’s fitting that one of his last recordings (perhaps the last?) should be of that composer’s A Child of Our Time. It’s an unusual piece in many ways. It’s an oratorio for solo quartet, chorus and orchestra and its structure reflects both Messiah and the Bach Passions. The subject matter is anti-Semitism in Germany as a specific example of “man’s inhumanity to man” more generally.
operaramblings 