Classical Music

Icons: O.M.G.

Peter Grimes on the Beach might have attracted gimmicky interest, but the Church Parables were by far the true artistic highlight of this year's Aldeburgh Festival. The Parables were written specifically for Orford Church. It's important to experience them in this context to really understand their spirit. All around Aldeburgh, ruins remind us of a time when abbeys and churches were outposts of learning. Then came the Reformation, and they were destroyed, burned to the ground in a frenzy of hate .The ruins might look peaceful now but once they witnessed howling mobs hell bent on annihilation. Britten wasn't religious but he despised mob rule and barbarism. The Church Parables aren't really Christian. They are a protest against the destruction of civilized values. The stark white washed walls at the church in Orford bear witness to violence, but their foundations are strong and have lasted a thousand years. Hearing the Church Parables here adds meaning. Britten's fascination with non-western music had very deep roots. He worked with Colin McPhee, the pioneer of Indonesian music. Here is a clip from a recording made in 1941, where Britten and McPhee play a transcription of Balinese music for two pianos. By the time he actually visited Asia he was well of the new horizons non-western music could offer. Curlew River springs directly from the Japanese Noh drama, Sumidagawa River, but it was also a vehicle for Britten's own sense of profound sense of alienation. "I can't write Japanesy", he said. Curlew River isn't pastiche, but reflects ideas long germinating in Britten's psyche.The strange keening lines and swooping cadences can be heard throughout his work, from Our Hunting Fathers to Death in Venice. Read my piece on The Prince of Pagodas here, and many other pieces on Britten and non-western music. Britten was far more radical than we appreciate.In Curlew River, Britten connected the formalism of Japanese theatre with the rituals of Catholic liturgical music. Neither forms were populist, both the esoteric preserve of an educated minority. Yet Britten, with his passionate belief in communication and in the community, also incorporated elements of medieval mystery plays, where complex ideas were expressed in simplified form. The characters in Curlew River are larger than life, almost symbolist archetypes, and the music they have to sing is extreme. Nowadays. we're so used to naturalism in film and theatre, that we forget how recently it took hold. By eschewing naturalsim, Britten connects Curlew River to much more ancient traditions.The stylized ritual also serves as a an emotional mask, distancing the artists from his audiences. This reticence can be off-putting, Britten isn't touchy-feely. But his emotions are so intense that they have to be faced obliquely, as if through a mask.Curlew River is the best-known of the three Church Parables, but at Orford, the connections were enhanced by using the same cast - James Gilchrist, Lukas Jakobski, Rodney Earl Clarke, Samuel Evans, and Mahagony Opera, directed by Frederic Wake-Walker, with designs by Kitty Callister and lighting by Ben Payne. Roger Vignoles was Music Director, conducting the Aurora Orchestra from the chamber organ. The musicians played wearing monastic costume, and barefoot, like the players on stage. That kept them warm on a cold night, but was also part of the meaning. Like the Pilgrims, like the spartan church, the music is deceptively simple : steady percussion, delicately ethereal figures. Curlew River begins and ends with processions, sung by the monks, framing the strange drama within. At Orford, the singers chant in Latin, followed by the orchestral players, holding their instruments. All are barefoot, their feet in contact with the earth.James Gilchrist sang the Madwoman. His voice curled around the long, wailing syntax, each tiny nuance dripping with purpose. "I come from the Mo-o-o-o-u un-n tains" Gilchrist's syllables are razor-shar. His consonants ex

Dr. Eric Conway writes: Today was a travel day to Melbourne, the 2nd largest city in Australia. The city is growing exponentially at a rate of an additional 1,500 persons per week. Melbourne is expected to eclipse Sydney as the largest city in Australia in less than a year. Currently Melbourne has a population of nearly 4 million inhabitants, and Sydney, 4 and half million. Before we left Sydney, several of us walked to the Sydney Opera House early this morning. Although we have seen the Opera House many times from afar, we had never walked on the grounds or even entered the venue - the symbol of Sydney and Australia in many ways. As one approached the opera house, the structure seemed more impressive than from afar. It is an interesting note that the acclaimed Denmark architect, Jorn Utzon, never saw the completion of this incredible structure. This costs of this huge feat was accumulating daily. The original estimate of the construction of the Sydney Opera House was over $7 million in 1957. The final costs of the venue was over $100 million. Due a change in Australian government and politics regarding the competence of Utzon and/or the feasibility of this project, Utzon resigned and vowed never to return to Australia again. We were able to enter the building, where the pubic buys tickets and also purchase a few souvenirs with the coveted trademark name of the Sydney Opera House on the selected items. We left at 10 AM for the airport. We have generally had a great experience with the Australian airline Qantas. When we arrived to the Sydney International airport, we did not have to go to the general customer counters for our group. Rather, we all entered a room designated for large groups. We were the only customers. We placed our luggage in front of the counter and received a claim ticket for each item. Since we were in a group, we did not have to weigh our luggage individually. Since the group had some luggage that was under the weight threshold, the carrier assumed that underweight luggage would balance out those that may have been overweight. All boarding passes were ready to be passed out to individuals. We immediately proceeded to security that had absolutely no lines. This certainly was the easiest group check-in that the Morgan State Univeristy choir has ever had! Upon arrival to Melbourne, all luggage was present and accounted for! We typically have someone whose luggage is lost in transit, but not to Australia. Quantas airline we conclude is a extraordinary airline. After loading the bus, we proceeded to downtown Sydney. We immediately noticed a different feel in this city. Sydney was much more business-like. After business hours, downtown Sydney virtually shut-down. However, Melbourne we could tell was different. As we walked through the streets of Melbourne, we felt as though we were in Europe. There were many side-cafes and boutique shops all around. Small side streets (alleys) with many restaurants featuring virtually any popular cuisine of the world. The stores had a feel of New York City, without all the large numbers of people on the streets. There was music making in the streets. Street performers singing and playing their instruments. Mime artists performing for whatever contributions the public thought was reasonable. This was much more of a city for performing artists - like the Morgan State Univeristy Choir. Our lunch was found among the downtown shops and restaurants. Our hotel, another Travelodge is perfectly located for tourists. We are beside the tallest apartment building in Australia, with the penthouse condominium selling for 7 million dollars. We are two blocks from the main river in Melbourne. We were told by our guide, that the best place to change money was at the casino next door, which does not charge any commission

Director of Learning and Engagement Jenn Minchin just about to appear on Classics Unwrapped

The Met Opera radio channel on Sirius XM (channel 74) will have a special marathon this weekend in honor of James Levine's 70th birthday. Program is after the cut. Of special interest are the rarely-heard Ghosts of Versailles at noon Saturday and Idomeneo at noon on Sunday, as well as the Vespri that follows Idomeneo. It's a shame they can't get it together for Moses und Aron or Wozzeck, and it is bizarre that no Wagner is among the operas being broadcast.Saturday, June 22, 20136 a.m. ETUn Ballo in Maschera (Verdi) from January 26, 1991. Levine conducts Aprile Millo (Amelia), Luciano Pavarotti (Riccardo), Leo Nucci (Renato), Florence Quivar (Ulrica), Harolyn Blackwell (Oscar).9 a.m. ETSalome (Richard Strauss) from January 5, 1974. Levine conducts Grace Bumbry (Salome), Ragnar Ulfung (Herod), Regina Resnik (Herodias), Lawrence Shadur (Jochanaan), William Lewis (Narraboth).12 p.m. ETThe Ghosts of Versailles (Corigliano) from January 4, 1992. Levine conducts Teresa Stratas (Marie Antoinette), HåkanHagegård (Beaumarchais), Gino Quilico (Figaro), Marilyn Horne (Samira), Graham Clark (Bégearss), Renée Fleming (Rosina).3 p.m. ETFidelio (Beethoven) from January 6, 2001. Levine conducts Karita Mattila (Leonore), Ben Heppner (Florestan), Sergei Leiferkus (Don Pizarro), René Pape (Rocco), Hei-Kyung Hong (Marzelline), Matthew Polenzani (Jaquino).6 p.m. ETFalstaff (Verdi) from April 5, 1975. Levine conducts Cornell MacNeil (Sir John Falstaff), Evelyn Lear (Alice Ford), Thomas Stewart (Ford), Fedora Barbieri (Dame Quickly), Benita Valente (Nannetta), Douglas Ahlstedt (Fenton).9 p.m. ETDie Zauberflöte (Mozart) from February 9, 1991. Levine conducts Kathleen Battle (Pamina), Francisco Araiza (Tamino), Luciana Serra (Queen of the Night), Kurt Moll (Sarastro), Manfred Hemm (Papageno), Barbara Kilduff (Papagena).12 a.m. ETPelléas et Mélisande (Debussy) from January 22, 1983. Levine conducts Dale Duesing (Pelléas), Jeannette Pilou (Mélisande), José Van Dam (Golaud), Jerome Hines (Arkel), Jocelyne Taillon (Geneviève).Sunday, June 23, 20136 a.m. ETLa Forza del Destino (Verdi) from March 12, 1977. Levine conducts Leontyne Price (Leonora), Plácido Domingo (Don Alvaro), Cornell MacNeil (Don Carlo), Martti Talvela (Padre Guardiano), Rosalind Elias (Preziosilla), Renato Capecchi (Fra Melitone).9 a.m. ETCarmen (Bizet) from March 21, 1987. Levine conducts Agnes Baltsa (Carmen), José Carreras (Don José), Ileana Cortrubas (Micaëla), Samuel Ramey (Escamillo).12 p.m. ETIdomeneo (Mozart) from December 21, 1991. Levine conducts Ben Heppner (Idomeneo), Dawn Upshaw (Ilia), Susanne Mentzer (Idamante), Carol Vaness (Elettra), Peter Kazaras (Arbace).3 p.m. ETI Vespri Siciliani (Verdi) from March 9, 1974. Levine conducts Montserrat Caballé (Elena), Nicolai Gedda (Arrigo), Sherrill Milnes (Guido di Monforte), Justino Díaz (Giovanni da Procida).6 p.m. ETThe Rake’s Progress (Stravinsky) from January 17, 1998. Levine conducts Jerry Hadley (Tom Rakewell), Dawn Upshaw (Anne Trulove), Samuel Ramey (Nick Shadow), Stephanie Blythe (Baba the Turk).9 p.m. ETThe Bartered Bride (Smetana) from December 2, 1978. Levine conducts Teresa Stratas (Marenka), Nicolai Gedda (Jeník), Jon Vickers (Vasek), Martti Talvela (Kecal).12 a.m. ETStiffelio (Verdi) from March 5, 1994. Levine conducts Plácido Domingo (Stiffelio), Sharon Sweet (Lina), Vladimir Chernov (Stankar), Paul Plishka (Jorg), Peter Riberi (Raffaele).

Starting now on @bbcradio3: our tribute to our beloved former President Sir Colin Davis. Listen live online here

Never mind 'Yeezus,' here's Unlocking the Truth.

figures… the one day i have a flight from PHL > PDX. flight cancelled.

At five o’clock on June 25, jut when the kettle’s boiling, they are introducing Andris Nelsons at a free concert of the Pops Brass Ensemble. Best practice? We don’t think so. In Birmingham, he was introduced by the entire orchestra. Details here.     Let’s give a Boston Welcome to Andris Nelsons! Free and Open to the [...]

Musicians from the Athens scrapheap have wrapped their heart-breaking final performance with suggestions of how the world can help to save their country from the end of civilisation. Watch.