The new CD "Triple Doubles" presents three recent double concertos - works composed for violinist Jaime Laredo and cellist Sharon Robinson. Performed by the Vermont Symphony Orchestra, these performances have a remarkably personal quality, undoubtedly a result of the performers' close relationship with the composers and the unique bond of a husband and wife interacting with "their" orchestra.
Troy Peters, who conducts Daron Hagen’s Masquerade, spoke with John Clare about this release.
Steven Spielberg has asked John Williams to score almost every single movie he’s ever directed since “Jaws,” which won Mr. Williams his second Oscar, and his first for Best Original Score. It’s a working relationship that has lasted nearly 40 years, and given us some of the most memorable melodies of our time.
A painter may paint a picture, a composer may write a beautiful melody for solo piano, but in the world of the theater (and here I count motion pictures as well), one person may have a vision, but production is a collaborative art. W. S. Gilbert and Sir Arthur Sullivan worked together on a total of 14 comic operas, of which “The Mikado” is far and away the most popular, and arguably the best. Two new releases from the Criterion Collection highlight the work of Gilbert and Sullivan in different ways.
"There are not many composers in the modern world who possess the lucky combination of writing music of substance and at the same time exercising an immediate appeal to mixed audiences. Zwilich offers this happy combination of purely technical excellence and a distinct power of communication."
Judith Lang Zaimont’s music is internationally acclaimed for its drama and expressiveness and has been programmed around the globe by major ensembles such as the Philadelphia Orchestra, Baltimore and Mississippi Symphonies, Berlin Radio Orchestra, Czech Radio Orchestra, Kremlin Chamber Orchestra, Women’s Philharmonic, Connecticut Opera, New York Virtuosi, Pro Arte Chamber Orchestras (New York and Boston), American Guild of Organists, Harlem String Quartet, International Double Reed Society, World Viola Congress, Norway’s Bergen Wind Quintet, Zagreb Saxophone Quartet and others.
The Canadian pianist Glenn Gould had a storybook entrance into the concert world. A famous concert in Washington D.C. of highly unusual repertoire (for the time) drew rave reviews, and shortly thereafter an exclusive recording contract with Columbia, one of this country’s biggest labels. Gould’s first release should have left classical listeners cold; he chose to an abstract sleeping pill written by J.S. Bach for a student’s insomniac patron. But surprising everyone, the album became a best seller which has not gone out of print in 55 years.
Whenever I’m asked to name my favorite Disney movie, I usually hesitate for a moment before answering “Fantasia.” Not because my love for the film is any less than, say, Dumbo or Bambi, but because “Fantasia” is so strikingly different than any Disney film before or since, except for—you guessed it—"Fantasia 2000.”
Maria Callas defined what it meant to be a diva. And Callas remains one of the towering figures of opera. But, exciting as Callas was as a performer, her voice began to decline while she was still relatively young. Experts and fans alike continue to question what exactly happened to a voice that was both exhilarating and controversial.
The year was 1952, and Callas was performing what would become one of her legendary roles -- Bellini's Norma -- at London's Covent Garden.