Thursday, September 8, 2011
The Music Director of both the Baltimore Symphony Orchestra and the São Paulo Symphony Orchestra, steps up to the podium for a tradition-soaked celebration of music from the heart of Great Britain.
Special guests include American mezzo-soprano Joyce DiDonato and British violinist Nigel Kennedy.
London-born composer Anna Clyne, the Chicago Symphony Orchestra's composer in residence, has written a new work that will open the program, and the concert also pays tribute to the anniversaries of the births of Richard Wagner, Giuseppe Verdi, and Benjamin Britten.
Of course, no Last Night of the Proms would be complete without Elgar's Pomp and Circumstance March No. 1 ("Land of Hope and Glory"), Sir Charles Hubert Hastings Parry's "Jerusalem," and "God Save the Queen," performed this year in the arrangement by Benjamin Britten.
Join us at 8pm, Saturday, Sept. 7, on 99.5 WCRB in Boston and New Hampshire, and on 88.7 WJMF in Providence.
Anna Clyne - Masquerade
(BBC Commission, World Premiere)
Wagner - Die Meistersinger Overture
Bernstein - Chichester Psalms
Vaughan Williams - The Lark Ascending
Britten - The Building of the House
Bernstein - "Make Our Garden Grow," from Candide
Massenet - "Je suis gris! je suis ivre!" from Chérubin
Handel - "Frondi tenere e belle ... Ombra mai fù" from Xerxes
Rossini - "Tanti affetti in tal momento!" from La donna del lago
Bernstein - Candide Overture
Verdi - "Va, pensiero" (Chorus of the Hebrew Slaves), from Nabucco
Arlen - "Over the Rainbow
Monti - Csárdás
Traditional - Londonderry Air ("Danny Boy")
Rodgers - "You'll never walk alone," from Carousel
Bantock - Sea Reivers
Lloyd - HMS Trinidad March
Arne - Rule, Britannia!
Elgar - Pomp and Circumstance March No. 1 in D major ("Land of Hope and Glory")
Parry, orch. Elgar - Jerusalem
Traditional, arr. Britten - The National Anthem
Joyce DiDonato, mezzo-soprano
Nigel Kennedy, violin
BBC Symphony Chorus
BBC Symphony Orchestra
Marin Alsop, conductor
(image of Marin Alsop by Grant Leighton; image of Royal Albert Hall by Marcus Ginns)
By Ben Roe | Thursday, September 8, 2011
Ralph Vaughan Williams once wrote, “The art of music, above all other arts, is an expression of the soul of a nation.”
Ten years ago, while working at NPR on a bright September morning, I felt the immediacy and poignancy of the English composer’s words first-hand.
As network journalists and producers, it was our job to report, reflect, comment, and contextualize a series of calamitous events that we could scarcely explain to ourselves. For our colleagues in the NPR newsroom the task at hand was seemingly simple and undeniably urgent. But what role could music play? Every public radio station in the country wrestled with the same question.
Then a funny thing happened on the way to the newscast. The soul of the nation was in shock, and needed the therapy that only music can provide. I have chosen to follow a path in music because I feel it is unique among the arts; that is both a deeply personal experience (ask anyone around you with earbuds on), as well as an act of community (ask anyone of the 65 million Americans who have ever sung in a choir).
In those immediate days after 9/11, we witnessed abundant examples of both. For the news producers at NPR, it quickly became apparent that the interstitial music – the “connective thread” between features that are part and parcel of the public radio sound – was as important and necessary as the news itself to millions of listeners; the only way for them process such unrelentingly grim events.
That unconscious national need to come together in the concert hall was evident the first Sunday after 9/11. I will never forget producing a marathon day of memorial concerts from across the nation, a day filled with profound musical utterances, from soloists, choirs, orchestras, all seeking to “express the inexpressible”. Mozart’s searing Requiem from scarred and sooty Trinity Church in New York, hard by Ground Zero. Branford Marsalis’s plaintive soprano saxophone invoking Duke Ellington’s Come Sunday in the cavernous Cathedral of St. John the Divine. A hushed piano solo in McKeesport, Pennsylvania for the heroes of Flight 93. And, yes, a soaring, in-the-moment rendition of Ralph Vaughan Williams’ The Lark Ascending to an Atlanta audience streaked with hot, wet tears.
It’s been said that artists are merely reporters with a longer deadline: They witness, they interpret, they create…and ultimately tell us a little bit more about ourselves. In those darkest days, I learned a lot about hope, charity, humanity and forgiveness…thanks to the transformative, healing power of music.
Join us on Sunday, September 11, for a day of reflection, commentary, and music, including live performances from Jordan Hall in Boston and our own Fraser Performance Studio, as well as highlights from commemorative concerts from Trinity Church in New York and the New York Philharmonic.
Full schedule for September 11 on 99.5 All Classical
Friday, September 2, 2011
In May of 2011, Boston Baroque and music director Martin Pearlman (left), capped off their 38th season with a production of Jean-Philippe Rameau's Les Indes Galantes at New England Conservatory's Jordan Hall. Not exactly opera as we think of that term now, but rather an extravagent bringing-together of music, drama, and dance particular to its time, Les Indes Galantes includes lyrical music-making, spectacular tableaux, and infectious, toe-tapping dance.
The prologue sets things in motion: Hébé, goddess of youth, laments seeing the young men of Europe lured by the goddess of war’s promises of glory, and asks Cupid to go abroad, to exotic, faraway lands (“les Indes”), in search of love.
There follow four acts, each a self-contained love story: Le Turc généreux (The Generous Turk), Les Incas du Pérou (The Incas of Peru), Les Fleurs – fête Persane (The Flowers – Persian Festival), and Les Sauvages d’Amerique (The Savages of America). The libretto and music reflect Parisian society’s fascination with the New World and the Near East. For example, two Native Americans from French colonial Louisiana were brought to Paris in 1725 and performed, inspiring Rameau to write a set of harpsichord pieces called Les Sauvages, some of which he adapted here.
Tune in to Classical New England on 99.5 WCRB in Boston or 88.7 WJMF in Providence, or stream the performance here at classicalnewengland.org at 6:30pm on Sunday, Nov. 18. The cast includes sopranos Amanda Forsythe and Nathalie Paulin, tenors Aaron Sheehan and Daniel Auchincloss, and baritones Sumner Thompson and Nathaniel Watson.
Download notes on the production
Download synopsis and cast bios
More World of Opera
Thursday, September 1, 2011
On the program:
Bernard Herrmann - Four Works (from "The Man Who Knew Too Much," "Citizen Kane," "North By Northwest," and "Psycho")
Ennio Morricone - Theme from "Cinema Paradiso"
William Walton - Suite from "Henry V"
John Williams - Three Works (from "Star Wars," "Schindler's List," and "Harry Potter")
Jonny Greenwood - Three Pieces from "Norwegian Wood"
Richard Rodney Bennett - Overture, Waltz, and Finale from "The Orient Express"
John Barry - Love Theme from "Out of Africa"
John Barry and David Arnold - Music of James Bond
Friday, August 26, 2011
Friday, August 26, 2011