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André Previn - The Kindness Of Strangers

Die parallel verlaufenden Weltkarrieren von André George Previn als Dirigent, Komponist und Pianist sind jede für sich äußerst spannend und interessant - und nicht in wenigen Worten wiederzugeben. Die Namen seiner Lehrer und der Künstler und Orchester, mit denen er in den jeweiligen Bereichen arbeitete, zählen zur crème-de-la-crème der Klassikszene. Previn wurde 1929 in Berlin geboren und emigrierte 1938 in die Vereinigten Staaten, wo sich seine Familie in Hollywood niederließ. Insgesamt vier Mal wurde er später mit dem Oscar ausgezeichnet. Er komponierte neben seiner Arbeit als Dirigent Orchester- und Kammermusik sowie zwei Bühnenwerke. Dabei zählt er sich nach eigener Aussage nicht zur musikalischen Avantgarde.

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Price: 11.15 EUR excl. shipping

William Walton London Concert

Sir William Walton gehört zu den meistgeliebten britischen Komponisten des 20. Jahrhunderts. Von Filmmusik bis Oper schrieb er Musik für verschiedene klassische Genres und Stile Live aufgenommen in der Royal Festival Hall in London dirigiert der umjubelte André Previn das Philharmonia Orchestra. Das „London Concert“ besteht aus drei berühmten Walton-Werken, dargeboten von dem bekannten koreanischen Geiger Kyung-Wha Chung und einem der besten Lyrischen Baritone des späten 20. Jahrhunderts, Thomas Allen.„Sir William Walton war ein Komponist, dessen Werke während seiner langen Karriere in der Wahrnehmung einen Wandel durchlaufen haben von – in dieser Reihenfolgen – anrüchig, über modern und schließlich beliebt, so wie die Werke Elgars, Delius’ und Gustav Holsts in diesem Land populär wurden.“ (The Times)

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Price: 17.45 EUR excl. shipping

William Walton London Concert

Sir William Walton gehört zu den meistgeliebten britischen Komponisten des 20. Jahrhunderts. Von Filmmusik bis Oper schrieb er Musik für verschiedene klassische Genres und Stile Live aufgenommen in der Royal Festival Hall in London dirigiert der umjubelte André Previn das Philharmonia Orchestra. Das „London Concert“ besteht aus drei berühmten Walton-Werken, dargeboten von dem bekannten koreanischen Geiger Kyung-Wha Chung und einem der besten Lyrischen Baritone des späten 20. Jahrhunderts, Thomas Allen.„Sir William Walton war ein Komponist, dessen Werke während seiner langen Karriere in der Wahrnehmung einen Wandel durchlaufen haben von – in dieser Reihenfolgen – anrüchig, über modern und schließlich beliebt, so wie die Werke Elgars, Delius’ und Gustav Holsts in diesem Land populär wurden.“ (The Times)

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Price: 15.96 EUR excl. shipping

Living American Composers

Randal Turner, Biography The American baritone Randal Turner has been hailed as a fine singing actor and consummate musician with a voice described as both warm and commanding. This versatile artist's repertoire includes all periods of opera, concert and oratorio. Mr. Turner also performs frequently as a recitalist. He made his North American stage debut in April 2010 as Don Giovanni with the Michigan Opera Theater in Detroit and made his West Coast recital debut with this performance in San Francisco in December 2010. The Zurich-based singer has sung in opera houses throughout Europe, including Teatro dell'Opera di Roma, Piccolo Teatro Milano, Teatro Verdi di Pisa, Teatro Regio di Torino, Teatro Petruzzelli, Stadttheater St. Gallen, Staatstheater Darmstadt, Landestheater Linz, Wiener Kammeroper, Opéra de Monte Carlo and Opernhaus Zurich. His career includes numerous leading roles such as Figaro in Il Barbiere di Siviglia, Silvio in I Pagliacci, Valentin in Faust, Ford in Falstaff, Stanley in A Streetcar Named Desire among others. Turner has received international praise for his portrayal of Don Giovanni, as well as other Mozart roles and early music portrayals by Handel, Hasse, Haydn and Bach. However, he has received equal acclaim for his work in contemporary opera, including works by Andre Previn, Benjamin Britten, Roberto Hazon and Luigi Dallapiccola. His recital in San Francisco features two world premieres written for the baritone: Julia Schwartz's "Don Juan at 40" and Clint Borzoni's "Two Poems by Walt Whitman." He previously starred in the world premieres of Nadia Boulanger's "La ville morte" and Marco Tutino's "Federico II." Randal Turner was born and raised on a farm near Crawfordsville, Indiana. He began studying music and ballet at the Interlochen Arts Academy in Michigan. He then studied voice at Oberlin College Conservatory of Music under renowned teacher Richard Miller and at Indiana Jacobs University School of Music with Margaret Harshaw. He was a member at the International Opera Studio at the Zurich Opera. He currently studies with Dale Fundling in New York City. Allen Perriello, Biography Pianist and coach Allen Perriello is a recent graduate of the Adler fellowship and Merola Opera Program at San Francisco Opera. He has worked on productions for Seattle Opera, Boston Lyric Opera, Opera Cleveland, Rising Star Opera Theater, and Ash Lawn Opera. Active as a collaborative pianist, Perriello was awarded the Best Collaborative Pianist Prize in the 2008 Lotte Lehmann Foundation Competition. He has performed in recital with Joélle Harvey, Daveda Karanas, Daniela Mack, Heidi Melton, and Randal Turner. The Gibsonia, PA native holds a master's degree in collaborative piano from the University of Cincinnati College-Conservatory of Music and a bachelor's degree in piano performance and music education from Ithaca College. Why a program of "Living American Composers": When I was originally approached about making my West Coast recital debut, I thought about singing some my favorite pieces that I had performed over the years. I imagined a program of music that I had loved and lived with over the years. There is something wonderful about going back to pieces and rediscovering them and digging deeper into the beauty of the text and music. But that all changed when my friend and composer Julia Schwartz wrote a piece for me called "Don Juan at 40." The poem is by her friend and poet Ron Butlin and it plays like a great scene from an opera. From the moment she sent me the music, I knew that I had to perform this piece. That single act got me thinking about other music by our great living American composers and this program began to develop. Composer Glen Roven had contacted me a few years ago and asked me if I'd be interested in singing his music. I met with Glen a few months later and he graciously spent a great deal of time going through his songs. I knew that I wanted to include his beautiful "Four Melancholy Songs," Op. 16 No. 1, based on poems by William Butler Yeats. I hope to add Roven's 'He Wishes for the Cloths of Heaven' in a future recital. We are blessed with so many great American composers and I was excited about the idea of exposing them to a wider audience. The challenge was narrowing it down to a workable list. We contacted many composers and generously received sheet music and suggestions for the recital. Two of the most heralded American composers are Ricky Ian Gordon and Jake Heggie, both of whom have their work performed in the major opera houses of the world. They are also gifted song writers and I had a plethora of riches to choose from. I am a huge fan of Gordon's opera 'The Grapes of Wrath' and I was introduced to the composer via email. I immediately fell in love with his song 'Will there really be a morning?,' but I quickly realized that numerous singers were already including it on recital programs. I was also haunted by his setting of Dorothy Parker's 'Lullaby' and it's companion piece 'Interior.' I mentioned to Ricky that I loved the Parker setting and he said that they needed just one more to round out a set. With the print button out came the "The Thin Edge/Coda.' Meeting Ricky was like meeting a 21st century Mozart and I'm honored to perform his music. I didn't have the chance to meet and work with the great American composer Jake Heggie, as his new opera "Moby Dick" was being premiered to critical acclaim. I couldn't imagine a concert in San Francisco without the local wunderkind Jake Heggie. I have long dreamt of performing his opera 'Dead Man Walking' while I'm still young enough and able to do the pushups required for the role. When the producer of this concert sent me a score of "Moby Dick" I knew that I wanted to sing Starbuck's last scene. This was the only piece on the program that I was going into blind and without any help from recordings or advice from the composer. I mustered up the courage to call the conductor Patrick Summers, who gave me some very useful insights and ideas. Looking for songs from Jake was a bit more challenging. When going through his songs you become immediately aware that he likes to compose for women's voices. Fortunately, I was working with mezzo-soprano Patricia Risley at the time and she suggested that I contact her husband, baritone Keith Phares, who premiered these songs. After a lengthy phone conversation he sent me the two beautiful songs included on this program. I was hoping to include Stuart Wallace on this program, but unforeseen circumstances dictated otherwise. Luckily, my pianist in New York, Jennifer Peterson, suggested her friend the prodigal composer Clint Borzoni. She had gone through a song he had just written called 'I Dream'd in a Dream' that was part of a Walt Whitman cycle. I loved the piece and knew that I wanted to perform another one of his songs. Borzoni wrote a me the song 'Long I Thought," which was so beautiful that it reduced me to tears. However, I felt that it was too complex to master in the short time before the recital. He then sent me a few more Whitman poems and I decided on 'That Shadow, My Likeness.' Clint then composed a rough draft and we sat down together at the piano and finished it. It was truly a collaboration and I cannot wait to present this concert again with 'Long I Thought' included! I would like to thank the talented conductor and pianist Jennifer Peterson for her time and patience for going through almost every song that all of these composers have written before deciding on the program. For not walking out on me when the stress of going off book became as pleasant as pulling teeth. For presenting this concert with me in New York and being the surrogate before it was handed over to the enormously talented Allen Perriello. To Amy Gates for also helping me memorize the concerts and her amazing 'Gates technique.' To my San Francisco hosts Jeff, Mike and Sarah and to Michael Colbruno for finding me, believing in me and making this pr

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Carnegie Hall Christmas

Filmed in 1992, this Christmas performance features opera divas Kathleen Battle and Frederica von Stade alongside jazz legend Wynton Marsalis. Under conductor Andre Previn, traditional Christmas tunes are given top billing, though classic opera makes it's presence more than known. Among the featured composers are Engelbert Humperdinck, Wolfgang Amadeus Mozart, Mel Torme, and Franz Zaver Gruber.

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La Accordoniste

L'Accordéoniste is a tantalizing new recording of cabaret-inspired music from all over the world, featuring three local virtuoso musicians - mezzo-soprano Kimberly Barber, pianist Peter Tiefenbach, and accordionist Mary-Lou Vetere, together with The New Berlin Ensemble: Julie Baumgartel, violin, Paul Pulford, cello, and Carol Bauman, percussion. L'Accordéoniste's eclectic arrangements evoke the smoky clubs of Berlin, the dance halls of Paris, the sunny shores of Naples, and the tango dens of Argentina. At the heart of each arrangement is the poignant, nostalgic quality of the accordion. The program includes the raunchy songs of Kurt Weill and his 1920s German cabaret contemporaries, the legendary Edith Piaf's signature tunes La Vie en Rose, and the CD's title track, L'Accordéoniste, and fresh takes on Italian sentimental favourites. Hypnotic dance rhythms like the tarantella, the tango and the habanera inspired several of the arrangements on L'Accordéoniste. Originally composed for bandoneon, Astor Piazzolla's Fugata is a tango-inflected salute to the fugues of J.S. Bach. Lila Downs' mesmerizing performance of the habanera Alcoba Azul in the film Frida inspired the full ensemble arrangement recorded for this CD. Viaggio Italiano is a thrilling tarantella medley that opens with a musical quotation from the Italian national anthem. Kimberly Barber, Peter Tiefenbach, and Mary-Lou Vetere are known individually for their virtuosity and versatility. Together, their rhythmic energy and ability to improvise freely within these arrangements results in an expressive tour-de-force and a fresh take on classic songs from the early 20th century. Mezzo-soprano Kimberly Barber has sung on some of the great opera house and concert stages of the world. Her career balances the standard repertoire with contemporary and baroque works with smaller, experimental companies. Her discography includes a solo recording of arias by Handel and Hasse (CBC Records), the title role in Handel's Rinaldo (Naxos Records) and Ravel's L'Heure espagnole with the LSO under André Previn (DGG). Peter Tiefenbach enjoys an extraordinarily varied career as a performer, composer and teacher. He has collaborated with many of Canada's leading singers including Maureen Forrester, Isabel Bayrakdarian, Brett Polegato, Sally Dibblee, Kimberly Barber, Russell Braun, and Donna Brown. He also appears frequently with duo-piano partner, Robert Kortgaard. With soprano-comedienne Mary Lou Fallis, he has co-written several shows which have toured throughout Canada, to the U.S., Japan, England and Iceland. Mary-Lou Vetere has performed extensively in three performance areas: piano, accordion, and voice, and is completing her PhD in Historical Musicology. As a mezzo-soprano, she has appeared as soloist in oratorios, operas, and numerous recitals in North America and Europe including her New York City debut in 2001 as the mezzo-soprano soloist in Beethoven's Messe in C and the Chorale Fantasie with the Orchestra of St. Luke's. Recent concert reviews for L'Accordéoniste: An entranced and captivated crowd was transported to the impassioned streets of war-time Europe on Sunday afternoon at Central United Church in Barrie. Led through a series of charming, cabaret-style musical vignettes by the ensemble known as L'Accordéoniste, the audience was touched by the despair of a Germany betrayed by Hitler and both the comedy and desolation of love sought and love lost in Italy and France. Soulful and heart-wrenching or quirky and heart-warming, the music was at all times poignant. Nationalistic flavours were instantly recognizable and were brought forth in arrangements of the group's own making, each performer drawing on vast improvisational skills and immense knowledge of era and style. This was a world-class performance. Bravo. (Marilyn Reesor, The Barrie Examiner, September 28, 2009) 3.5/4 stars for L'Accordéoniste CD If you love Kurt Weill and his contemporaries, as well as Édith Piaf, check out this self-produced album by Toronto-and-area based pianist Peter Tiefenbach, accordionist Mary-Lou Vetere, violinist Julie Baumgartel, cellist Paul Pulford and percussionist Carol Bauman, collaborating with mezzo-soprano Kimberly Barber. Here is the playfully caustic spirit of the late 19th-century salon and early 20th-century cabaret vividly and elegantly rendered in 17 tracks by people who clearly love the material. Instrumental pieces, such as Fugata, pulse with red-blooded zest for life. Barber adds a polished sheen to frothy little gems such as Weill's Berlin i'm Licht-Song, then turns around to apply dramatic force to Weill's tragic Sailor's Tango. (John Terauds, Toronto Star, July 28, 2009)

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Price: 30.93 EUR excl. shipping