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    Cedille

    Notorious RBG in Song / Michaels, Kuang-Hao Huang

    CD · 1 disc

    $9.99 $19.99 Save 50%
    Composer
    MICHAELS FUNG GARROP
    Artist
    Michaels, Huang
    Released
    Jun 08, 2018

    Soprano Patrice Michaels, “a formidable interpretative talent” (The New Yorker), and collaborative pianist extraordinaire Kuang-Hao Huang offer Notorious RBG in Song, an album of world-premiere recordings saluting the life and work of legal pioneer Ruth Bader Ginsburg in celebration of her completion of 25 years on the United States Supreme Court. Ginsburg, a longtime crusader for equal rights, has become a pop culture icon known as “Notorious RBG.”

    Michaels, a vocalist of “spectacular and diverse gifts” (Journal of Singing) is also a gifted composer. Her nine-song cycle, ‘The Long View’, illuminates key aspects of Justice Ginsburg’s personal and professional life through letters, remembrances, conversations, and even Court opinions. The album concludes with songs by American composer Stacy Garrop, winner of many prestigious awards and commissions; JUNO Award-winning Canadian composer Vivian Fung; prolific art-song composer Lori Laitman; and an aria from Derrick Wang’s new comic opera, Scalia/Ginsburg.

    American composer Stacy Garrop, recipient of many prestigious awards and commissions, based her deeply moving “My Dearest Ruth” on the farewell love letter the Justice’s husband, Georgetown University law professor Martin Ginsburg, wrote shortly before his death in 2010. The aria “You are Searching in Vain for a Bright-Line Solution,” from Derrick Wang’s opera Scalia/Ginsburg, which captured widespread media attention, crystallizes Justice Ginsburg’s views on interpreting the U.S. Constitution. JUNO Award-winning Canadian composer Vivian Fung’s humorous “Pot Roast à la RBG” provides directions for preparing the beef dish, using Justice Ginsburg’s own words as related in the text by daughter Jane Ginsburg. Prolific art-song composer Lori Laitman’s setting of the Emily Dickinson poem “Wider than the Sky” wasn’t written with Ginsburg in mind, but it was performed at her 80th birthday celebration because it perfectly embodied her intellectual breadth.

    REVIEW:

    This is a difficult production to review, not just because Supreme Court Justice Ruth Bader Ginsburg has become such a significant figure in modern American life, but because the range of her achievements—whether as a jurist or as a wife, mother, opera maven, attorney, professional colleague and feminist icon—resists purely musical treatment. That’s not a reason to hesitate in offering her this lovingly produced tribute. Like RBG herself, who responded to the notion that women had no place in the legal profession by going ahead and doing it anyway, Cedille General Manager Jim Ginsburg (her son) and singer Patrice Michaels (her daughter-in-law) have taken the plunge with evident gusto.

    The main item here is The Longview, an imposing portrait of RBG in nine songs composed by Michaels for voice and piano in an attractive, post-modern tonal idiom. There are vivid and beautiful numbers here, especially the central Anita’s Story, a wonderful tale of the power of Ginsburg’s words to change a life; but for many listeners the main interest will lie in the eighth song’s quotations of Ginsburg’s own legal opinions. Imagine setting this to music to get an idea of what Michaels is up to: “I have said before and reiterate here that only an ostrich could regard the supposedly neutral alternatives as race unconscious.” What results from this effort is not so much a conventional song cycle as a theater piece—I could readily imagine it staged, particularly as Michaels, whose voice is hardly conventionally beautiful but whose intelligent artistry is beyond question, performs it here.

    The remainder of the program consists of four songs by four different composers, all inspired by RBG’s life and legend. Vivian Fung’s “Pot Roast à la RBG” is the most amusing; Stacy Garrop’s “My Dearest Ruth”, a love letter written by husband Martin Ginsburg from his death bed, is the most touching. I suspect that more than a few tears were shed both here and elsewhere during this project. Through it all, Michaels receives ideally sensitive support from pianist Kuang-Hao Huang, while Cedille’s engineering, as usual, is first class. The final impression that emerges is a portrait of a family as much as of an individual—a very remarkable family indeed. I suspect that RBG may regard this as her greatest achievement of all.

    – ClassicsToday.com (David Hurwitz)

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  • Notorious RBG in Song / Michaels, Kuang-Hao Huang
    Sale

    Notorious RBG in Song / Michaels, Kuang-Hao Huang

    Cedille Jun 2018
    1 disc
    CD
    $19.99 $9.99Save 50%
  • Vivaldi: Vocal and Instrumental Works / Chicago Baroque Ensemble
    Sale

    Vivaldi: Vocal and Instrumental Works / Chicago Baroque Ensemble

    Cedille Jan 1995
    1 disc
    CD
    $19.99 $14.99Save 25%
  • Vorisek: Symphony In D, Mass In Bb / Freeman, Jantzi, Et Al
    Cedille

    Vorisek: Symphony In D, Mass In Bb / Freeman, Jantzi, Et Al

    CD · 1 disc

    $19.99
    Composer
    VORISEK, JAN VACLAV
    Artist
    Michaels, Jantzi, Watson, Freeman, Czech Nso
    Released
    Jan 01, 2001

    Czech composer Jan Vorišek (1791-1825) was a talented musician just beginning to make a name for himself, particularly as a composer of piano music, when he died prematurely of tuberculosis. The excessively enthusiastic notes to this release take full advantage of speculative historical hindsight and describe his orchestral style as an amalgam of Beethoven's (which he may have known) and Schubert's (which he certainly didn't), asserting in passing that "Beethoven was never a great melodist...(!)" This hardly corresponds to the reality of what you actually hear on the disc, but it represents the only questionable aspect of this otherwise splendid production.


    Vorišek's style arises directly from the classical language of Haydn, Mozart, and Beethoven. Of incipient Romanticism or the Schubertian long melodic line there's nary a trace, and the music is none the worse for that. His single symphony might pass for early Beethoven: indeed, the end of the first movement exposition apparently lifts a famous passage directly from the finale of the older composer's Fourth Symphony, but this doesn't diminish Vorišek's modest originality. You can hear this at work, among other places, in the characterful use of timpani at the very beginning and in the wonderfully passionate minor-key opening of the slow movement. For some time now, the reference recording of this piece has been Charles Mackerras' reading on Hyperion with the Scottish Chamber Orchestra. Paul Freeman does him one better, having a superior orchestra, more tactile recorded sound, and slightly broader tempos that, combined with punchier accents (especially in the first movement), give the piece an appropriately grander stature. Let's just say that Freeman evidently views the work as closer to Beethoven while Mackerras places it closer to Haydn and Mozart.


    Mackerras couples the Vorišek symphony with another singleton effort, by Arriaga. Cedille gives us more Vorišek, his marvelous Mass in B-flat, which (I believe) receives its CD debut recording here. This piece really is a find. Close in style to the language of Haydn's late masses, it contains numerous original touches, such as the thrilling augmentation of the fugue subject toward the end of the Gloria, an almost violent Crucifixus characterized by syncopated rhythms and jagged interjections from trumpets and drums, a sweetly lyrical second Hosanna following the Benedictus, and a startling ending scored for pianissimo timpani and brass. Its stylistic provenance may be clear, but there's no other mass setting quite like it, and fans of choral music really owe it to themselves to give it a listen.


    Once again Freeman turns in an excellent performance (though he should have had a soloist intone the opening lines of the Gloria and Credo, as Vorišek, designing the work for a genuine liturgical setting, leaves these to the officiating priest). His soloists manage their assignments capably, the Prague Chamber Chorus sings with appropriate fervor, and the recording copes with the vast reverberation of the Rudolfinum in Prague very well. At the loudest moments the textures tend to thicken a bit, but this seems primarily a result of Vorišek's tendency to keep all of the parts close to their middle register, creating a certain density of sound (and I suspect making the work easier to perform by early 19th century church choirs). This is, in any case, a major release and a very pleasant surprise. Good work, Cedille.
    --David Hurwitz, ClassicsToday.com
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  • Vorisek: Symphony In D, Mass In Bb / Freeman, Jantzi, Et Al

    Vorisek: Symphony In D, Mass In Bb / Freeman, Jantzi, Et Al

    Cedille Jan 2001
    1 disc
    CD
    $19.99
  • Menotti: The Medium / Rapchak, Castle, Bedi, Chicago Opera
    Cedille

    Menotti: The Medium / Rapchak, Castle, Bedi, Chicago Opera

    CD · 1 disc

    $19.99
    Composer
    MENOTTI, GIAN CARLO
    Artist
    Castle, Michaels, Rapchak, Chicago Opera Theater
    Released
    Jan 01, 1997
    "A first-rate recording of a durable classic." (Opera News)

    "Chicago Opera Theater brings the story fully and frighteningly to life for the first time on compact disc. Joyce Castle sings the title role . . . with chilling malevolence. Bedi brings to the role [of Monica] a pervasive and affecting sweetness." (Newark Star-Ledger)

    "Exudes a riveting theatrical atmosphere." (Dallas Morning News)

    Oft-performed but mysteriously absent on recordings, Menotti's eerie opera The Medium has materialized in its first recording in more than a quarter century. This two-act "musical drama" is about a fake psychic whose surprise encounter with the unknown leads to murder and mayhem. It is stage a dozen times annually in the US alone. Yet, recordings haven't been available for years, and (until now) it has never appeared on CD.

    A "sensational success" for Menotti (Kobbé's Opera Book), the present version of The Medium had its premiere February 18, 1947 at New York's Heckscher Theater. New York Times music critic Olin Downes wrote, "we have here the quality of opera. It is dramatic music, emphatic in action as well as feeling, and in essence song, which is what opera must be. No other American composer has shown the inborn talent that Mr. Menotti, an Italian by descent, unquestionable possesses for the lyric theater." Critic (and composer) Virgil Thomson called it a "first-class musico-theatrical work . . . the most gripping operatic narrative [he] has witnessed in many a year . . .[It] wrings every heart string, and the music is thoroughly touching."
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  • Menotti: The Medium / Rapchak, Castle, Bedi, Chicago Opera

    Menotti: The Medium / Rapchak, Castle, Bedi, Chicago Opera

    Cedille Jan 1997
    1 disc
    CD
    $19.99
  • The World Of Lully / Bedi, Chicago Baroque Ensemble

    The World Of Lully / Bedi, Chicago Baroque Ensemble

    Cedille Jan 1999
    1 disc
    CD
    $19.99
  • GIVIN IT UP
    CONCORD RECORDS

    GIVIN IT UP

    CD · 1 disc

    $12.49
    Artist
    BENSON, GEORGE / JARREAU, AL
    Released
    Oct 24, 2006
    For the first time ever, two of the most exciting performers of our time have come together. Al Jarreau and George Benson collaborate to create GIVIN IT UP, a 13 track CD that features special guest appearances by Herbie Hancock, Jill Scott, Paul McCartney, Chris Botti, Paul Austin, Marion Meadows and Marcus Miller.
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  • GIVIN IT UP
    Sold Out

    GIVIN IT UP

    CONCORD RECORDS Oct 2006
    1 disc
    CD
    $12.49
  • WINTER MOON
    Sold Out

    WINTER MOON

    OJC Jul 1991
    1 disc
    CD
    $12.49