Iestyn Davies Debuts at Lyric Feb 29; Sings Solo in Three Chicago Venues in March

By -

“A winning actor ... a beautiful musician”- Classical Review

On the heels of his critically acclaimed debuts last fall at the Met (in Rodelinda) and at Carnegie Hall, British countertenor Iestyn Davies – named 2010’s Royal Philharmonic Young Artist of the Year – makes his Lyric Opera debut in Chicago on February 29 in a new production of Handel’s Rinaldo. The Baroque master’s depiction of the First Crusade will be conducted by Harry Bicket and directed by Francisco Negrin. Davies, a rising star on the international music scene, and “One of the most glorious countertenor voices in the world today” (Independent, UK), sings the role of Eustazio.

While in Chicago, Davies headlines three concerts, singing Handel with the Baroque Band under the direction of Harry Bicket. The concerts, on March 9, 10, and 14, are each at different venues. The Handel arias include “O Lord Whose Mercies,” “Their Land Brought Forth Frogs,” “Up the Dreadful Steep Ascending,” and “Sento amor” from Partenope.

Davies’ resplendent fall 2011 season saw the release of his most recent recording, Porpora Cantatas – a solo album on the Hyperion label that was already a sensation in Europe when it was released in the States, and which led the UK’s Observer to praise his “awesome technique and flawless tone.” In Davies’ Met debut in Rodelinda, he brought a “potent and beautifully balanced voice to Unulfo” (New Yorker), and Classical Review applauded him for “negotiating the never-ending runs in Sono I colpi della sorte and the tricky intervals in Fra tempeste funeste with both precision and a delectable lilt.” At Carnegie Hall on December 15, he performed a program of works by Britten, Purcell, and Bach, as well as the world premiere of folksong arrangements by composer Nico Muhly, securing Davies’ soaring reputation as “Today’s most exciting British countertenor” (Observer, UK).

Comments

Post a Comment

Popular posts from this blog

The Role of Music in Opera

By -
There are numerous books on the topic, and every composer, librettist, director, singer and audience member has their opinion as to what role the music should play in an opera. In a play without music, the words ought to support the meaning behind a character's actions. However, in the case of action movies, often times the action is what tells the story and there aren't words, just images to forward the plot. We might hear music to accompany action, build tension, but the action tells the story. Musicals tend to speak until the emotion of the moment just "has" to break out in song - unless it's something like "Mama Mia" where the dialog is the rails we travel on between songs; the songs themselves, written before the concept of the musical, are the focus of the production, while the story is secondary. Operas are a different beast. The music provides emotion to the words spoken, but it also plays the role of ambience when there is only action. In &quo
Read more

Episode 210b: Joyeuse le départ

By -
Image
Podcast:  Play in new window  |  Download Subscribe:  Apple Podcasts  |  Android  |  Google Play  |  Stitcher  |  TuneIn  |  RSS Provost Cunningham has Transmigrated, but to where! What is Dr Sage going to do with his body? And how can she bring home her friends, Abigail and Erasmus, without also bring home Cunningham? What are they going to say when they find the “skeleton” she’s hiding in her closet? Cast: Eddie Louise Clark  as Dr Sage Chip Clark  as Professor Savant Justin Bremer  as the Narrator Emily Riley Piatt  as Abigail Entwhistle, Calypso & Dean Stewart Written by  Eddie Louise Theme music by  Unwoman Sound Design by  Chip Michael
Read more

The Art of String Quartets by Brian Ferneyhough

By -
Image
When an artist sets paint to canvas, there are brush strokes used for different effects. Sometimes those strokes are subtle, imperceptible; they produce works of art like the Mona Lisa . Other times the very obvious nature of the stroke is the art, as in works by Van Gogh. With some composers of music, the notes on the page are their craft. How those notes translate into an aural experience is what defines some composers as great artists. Brian Ferneyhough has a masterful command of the techniques of putting notes on the page. These techniques are sometimes so subtle, even though written in black and white, they escape detection. Some of what he attempts with his music is just that, to escape detection, to bury the framework, diverting the ear away from the structure, so only the music is heard . The subtlety is so fine it is almost imperceptible. Even though he studied at several institutions, he is considered self-taught, studying scores from Boule
Read more