Skywritings - music

Met Opera's Enchanted Island

(Stevan Harnad) — Sun, 22 Jan 2012 05:47:39 +0000

Wonderful performances and voices, especially Joyce DiDonato as Sycorax (the swells from pianissimo in her first aria!), Danielle de Niese as Ariel (her naturally puckish personality winning even when she over-mugs), Luca Pisaroni as Caliban (his acting as superb as his voice -- and he could have been a superlative mime too) and Placido Domingo as Neptune (his still-powerful tenor/baritone voice and tone -- if not his diction -- surprisingly well adapted to the neo-Handel, and very moving). The arias were mostly Handel, the instrumentals and dance Rameau and some Vivaldi. The story was a Midsummer Tempest pastische, and suitably silly, with the right quota of touching moments (with the help of the magnificent music), such as an anachronistic but apt ecological lament for the sea. Most of the ornamentation was out of character, but not off-puttingly so, because the singers were otherwise so good, and probably also because of the brilliantly versatile Met orchestra's para-baroque compromise (especially the bassoon!) always in the background, setting the context. The combination of advanced video and shoestring period props was a success too. The only downer was the faux-period text by Jeremy Sams (allegedly grounded in Dryden and Pope, but often coming out more like contemporary soap-opera corn), as flat-footed verbally as it was uninspired poetically or theatrically ("Forgive me, Please forgive me," whines Prospero at the end, without the slightest hint why.) But even that could not spoil an enchanting experience.

Raoul Jobin and Jeunesses Musicales

(Stevan Harnad) — Tue, 22 Dec 2009 12:35:50 +0000

Raoul Jobin was a wonderful tenor. And his French accent is certainly authentic -- perhaps too authentic, for he often (perhaps always) uses the uvular (gargle) "R" that almost everyone in France uses in speaking, rather than the apical (tip-of-the tongue) Italian "R" that is virtually universal in operatic singing. He rolls his throat Rs so well that one sometimes cannot tell, but when evident it inadvertently calls to mind French cabaret singing (Piaff, Montand, Patachou) where the rolled uvular R is the norm, indeed a must, and gives the French chançon populaire its distinctive character. (This doesn't detract from the beauty of Jobin's voice or his musicianship, but it does give a bit of an intrusive jolt now and then.) It's all the more surprising since in Quebec the use of the apical R has persisted in some regions (e.g., Montreal) even to the present day, whereas it's largely obsolete in France.

When I was a student in the '50's at the Camp Musical in Mount Orford (the creation of Gilles Lefebvre of Jeunesses Musicales) Raoul Jobin was a voice professor there, although he had, I believe, already given up his public performing career. (I remember that in a satirical student skit in which the professors were given nicknames, he was called "Çaroule Pa'b'en" but I believe that was just an affectionate play on his rotundity, not the rolling of his Rs!)

Kuerti Père and Kuerti Fils: Impromptu Debut in Boston

(Stevan Harnad) — Thu, 13 Mar 2008 18:35:21 +0000

Was ever such a perfect last-minute rescue possible?

If only Kristine Bogyo, Julian's much-loved mother and Anton's cherished soul-mate could have been there. Cellist and conductor of Toronto's Mooredale Youth Orchestra, she lost a 14-year battle with cancer on Good Friday 2007.

Both father and son were playing under a bittersweet handicap.

BK: 1946 - 2007

(Stevan Harnad) — Fri, 06 Apr 2007 13:35:00 +0100

Kriszti, ma szabadultál meg.
Nagypéntek mátol kezdve a te napod is lesz,
ahogy a Mátyás Passzió már mindig is a tiéd volt.
וְשִׁירָתָא תֻּשְׁבְּחָתָא וְנֶחֱמָתָא