Women’s vocal ensemble Vajra Voices presents their debut recording, O Eterne Deus- Music of Hildegard von Bingen. Also known as Saint Hildegard, Hildegard von Bingen (1098-1179) was a German Benedictine abbess, composer, philosopher, writer, Christian mystic, and polymath. She composed some of the earliest liturgical dramas and morality plays. Vajra Voices is directed by Karen R. Clark, and the ensemble is joined by multi-instrumentalist Shira Kammen for this recording. “One cannot help but be deeply moved by the exquisite rendition of Hildegard’s music by Vajra Voices. Their singing brings Hildegard into the room with all her passion and power and the Spirit arrives too along with angels eager to wake us up.” (Matthew Fox)

This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.
Digital CD 16Bit 44.1Khz. Originally recorded in: DSD

"...In each of these performances the RSNO, keenly responsive to Denève after his seven seasons as chief conductor, confirm the absolute precision, transparency and - in Jeux as much as anywhere – passion required for these scores. The detail in Images is exquisite (with a lovely oboe d'amore solo by Katherine Mackintosh). The Nocturnes, especially Fêtes, achieve a shimmering, decidedly un-Monet-like glaze, and La Mer erupts and glistens."

- Fiona Maddocks, The Observer, 12, May 2012

Classical Music

CDCM Computer Music Series, Vol. 1

Classical Music

Originally released in 2011, Carol Kidd’s live album, ‘Tell Me Once Again’ has been re-issued as part of Linn’s ECHO series. This is the most personal album Carol has ever recorded, both in terms of the song choices (which reflect different stages of her career, from the early 90’s to now) and the meaning within the songs. Carol Kidd is acknowledged in jazz circles as ‘Britain’s finest ballads singer’ (Jazz Review). Renowned for her impeccable phrasing and delivery, she has secured the British Jazz Awards ‘Best Vocalist’ title on four separate occasions and has received the MBE for Services to Jazz.

Together with Johann Simon Mayr, Ferdinando Paër counts as one of the most important opera composers of his day, and he was unable to resist filling his oratorio on Christ’s Passion, Il Santo Sepolcro with expressive extremes. Pain and grief contrast with joy and hope, and scenes including the terrible hours of the crucifixion, frenzy of the crowd, resurrection and Last Judgment are given potently descriptive music. Originally a prelude to Haydn’s Seven Last Words, Mayr’s Invito is a call to hear Paër’s incomparable narrative.

The musical tour starts in the Bernese Alps, which offer some of the finest scenery in Switzerland, with glaciers and snow-covered expanses, waterfalls, mountain lakes, and the towering Matterhorn. The Nymphenburg Palace and Park, in Munich, present a contrast, in their baroque elegance. The tour ends with glimpses of the Chiemsee, the largest of the Bavarian lakes, with it's three wooded islands, on one of which Wagner's patron, King Ludwig II, built his folly, the Schloss Herrenchiemsee. Music for the tour is taken from Tchaikovsky's Piano Concerto No. 1 in B flat minor, one of the best known of all romantic concertos. This is followed by his 'Souvenir d'un lieu Cher,' three pieces originally for violin and piano, but here orchestrated by the composer Glazunov.

This release features two Frederick Ashton ballets in one exquisite evening performance. Principals Natalia Osipova and Steven McRae dance Ashton’s Rhapsody, created for The Royal Ballet in 1980 by Mikhail Baryshnikov and Lesley Collier, with spectacular choreography to suite the dancers’ star reputations. Lauren Cuthbertson and Vadim Muntagirov lead a charismatic cast in Ashton’s poignant and heart-warming reflection on love, The Two Pigeons, based on an old French folk tale and first performed on Valentines Day 1961. These two ballets from the company’s founder choreographer capture The Royal Ballet’s famous skill and distinctive style. Barry Wordsworth conducts the Orchestra of the Royal Opera House in the rapturous Rachmaninoff and Messager scores. Financial Times gave this performance five stars, stating: “…Steven McRae… cutting tremendous shapes in the air, wrapping the score round himself…”

This debut album from the John Yao Quintet signals the definitive arrival of trombonist and composer, John Yao. Demonstrating a broad textural palette and drawing from an array of stylistic influences, Yao explores the concept of opposing forces. In the Now is a musical journey beyond conventional jazz form and structure, with the ensemble winding skillfully through a wide range of moods, colors, and textures.

In this celebrated Glyndebourne Festival production, David Hockney’s designs for director John Cox reinterpret the Hogarth etchings that inspired the opera’s libretto, written for Stravinsky by W.H. Auden and Chester Kallman. In 2010, this revival under Glyndebourne’s Music Director, Vladimir Jurowski, captured the opera’s neo-classical spirit and its juxtaposition of whimsy, cynicism and compassion, prompting the Financial Times to call it,‘‘as enjoyable a performance of Stravinsky’s opera as any that has come along".

Recorded live at the Glyndebourne Opera House 18–19 December 2010

Bonus:
- Documentary includes an interview with David Hockney
- Introduction to the Rake’s Progress

• Picture format: NTSC 16:9
• Sound format: LPCM 2.0 / DTS 5.1
• Region code: 0 (worldwide)
• Subtitles: English, French, German, Dutch, Japanese, Korean
• Running time: 140 mins
• No. of DVDs: 1
  

REVIEW:

Nick Shadow speaks directly to the audience in Act 2, which justifies his winking and gurning at them at various points throughout, usually to show what a dupe his master is, and always to delicious comic effect. His costume, and in particular his hairdo, is ridiculous, yet strangely disquieting. Matthew Rose plays the part to the hilt, making clear from his very first scene that Tom is a pushover and that Anne is where the danger lies. He manages adeptly the comic aspects of the role, at least as far as the graveyard scene, when everything changes. It’s possible to imagine a darker voice for Shadow, but I find his assumption totally convincing. Topi Lehtipuu as Tom is very fine too. He captures very well indeed Tom’s love for Anne, which is genuine and will be his salvation, but which he abandons by weakness of will. Miah Persson is adorable as Anne. She brings out beautifully the vulnerability of the character, but crucially she has brilliantly understood the steely determination present in Anne’s music, and acts it out, both physically and vocally, to perfection. The smaller roles are beautifully taken, and the chorus sings and acts splendidly. Time and again I was struck, as never before, by the sheer beauty of the sound of this work, and the orchestra plays magnificently under the inspiring direction of Vladimir Jurowski.

There are other performances of The Rake’s Progress on DVD, including an earlier incarnation of this same production, finely sung but now superseded technically. Then there is the production from La Monnaie in Brussels, garishly updated to 1950s America. Rapturously received in many quarters, you are likely to love it or hate it. Either way, there is no question, this life-enhancing DVD from Glyndebourne is truly special and not to be missed.

-- MusicWeb International

The Places - the places visited are on the coast of Southern France, from Frejus and Cannes to Marseille. They include the Che�teau of King Renein Tarascon and the famous island Che�teau d'If, where the fictional Edmond Dantes was held prisoner in the Count of Monte Cristo. There is particular attention given to the flat marshland of the Camargue, with it's wild horses and it's associated festivities in Arles. The Music - the music that accompanies the tour is all by French composers, from Saint-Saens and Offenbach to Debussy and Ravel. Included are Gabriel Faures evocative Berceuse, Sicilienne and Pavane, and Ravel's nostalgic Pavane sur une infante defunte. The tour starts in cheerful mood with Chabrier's Marche Joyeuse.

This Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.

Also available on standard DVD

This outstanding recording features four ballet works: Liam Scarlett’s Viscera, Carlos Acosta’s Carmen, Jerome Robbins’s Afternoon of a Faun, and George Balanchine’s Tchaikovsky pas de deux. Acosta’s Carmen focuses on the dramatic essentials of revenge, jealousy, and love. Not only did Acosta choreograph the production, he also dances a lead role. When Viscera was created in 2012, Liam Scarlett was the Royal Ballet Artist In Residence. Particularly interesting is Balanchine’s Pas de Deux which was based on a newly discovered movement from Swan Lake which had not been performed since Tchaikovsky’s death.

Region Code: 0 (Worldwide)
Running Time: 118 Minutes

Also available on Blu-ray

This outstanding recording features four ballet works: Liam Scarlett’s Viscera, Carlos Acosta’s Carmen, Jerome Robbins’s Afternoon of a Faun, and George Balanchine’s Tchaikovsky pas de deux. Acosta’s Carmen focuses on the dramatic essentials of revenge, jealousy, and love. Not only did Acosta choreograph the production, he also dances a lead role. When Viscera was created in 2012, Liam Scarlett was the Royal Ballet Artist In Residence. Particularly interesting is Balanchine’s Pas de Deux which was based on a newly discovered movement from Swan Lake which had not been performed since Tchaikovsky’s death.

Region Code: 0 (All)
Audio Format: PCM 2.0, DTS 5.1
Running Time: 118 mins

The Places: The musical tour of Spain starts at the present capital, Madrid, the principal city of Castile. From Madrid it is not too far to the plains of La Mancha, a region always remembered for it's association with the great hero of Miguel Cervantes, Don Quijote de la Mancha, whose windmills, mistaken by him for giants, form a characteristic element in the landscape. The varied history of Spain is seen in the city of Cordoba, once capital of a Moorish kingdom, and the gardens of the Alcazar of the Christian Kings. The Music: The music chosen for the tour of Spain may be characteristically Spanish in it's rhythms and turns of melody, but is all the work of foreigners, two of the composers, Chabrier and Massenet, French, and two of them, Glinka and Rimsky-Korsakov, Russian. For France, geographically adjacent to Spain, there was an obvious connection with Spain, which continued to exercise a certain fascination over it's neighbor. Russian composers in the 19th century embarked on the creation of a new national music, but at the same time drew on remoter countries for inspiration, whether on the different regions of the vast Russian Empire or still further afield.

Miah Persson, Topi Lehtipuu, Clive Bayley, Matthew Rose, Susan Gorton, Elena Manistina, Graham Clark, and Duncan Rock star in this Glyndebourne proudction of the Stravinsky opera conducted by Vladimir Jurowski and directed by John Cox, with David Hockney.

Classical Music

Includes work(s) by various composers.

Serge Gainsbourg remains one of the most influential artists of the 20th century to this day. In this second volume, Olivier Julien and Frederic Regent have gathered all of Gainsbourg’s works from the period 1960-1962, a little-known period when French song was in transition, in a context where rock ’n’ roll was emerging at the same time as the beginnings of the tidal wave in French pop they called “Ye-Ye”. This 3CD set contains titles sung by not only Gainsbourg himself, but great stars of the early Sixties, including Juliette Greco, Philippe Clay, Catherine Sauvage and Petula Clark. Patrick FReMEAUX

KORNGOLD: DIE TOTE STADT

Sound and space are two elements that emerge at the heart of Jane O’Leary’s THE PASSING SOUND OF FOREVER. The collection showcases O’Leary’s compositional gifts through a variety of her chamber compositions. O’Leary’s string writing soars in THE PASSING SOUND OF FOREVER, and demonstrates her remarkable sensitivity to the instruments’ sonic palette and expressive potential. Every color, from ethereal natural harmonics to frenetic bowing, is at O’Leary’s disposal, and is exploited beautifully to produce evocative and compelling soundscapes.O’Leary is imaginative and creative in her string writing, resonating the instruments’ strings in a wide variety of ways. Harmonics and arpeggiations create vast open spaces.  In the case of A Winter Sketchbook, violin sounds are integrated with those of the alto flute, matching colors and creating new blends of sound. A Winter Sketchbook resonates profoundly as it casts the indelible image of deep winter.THE PASSING SOUND OF FOREVER’s title track is composed for string quartet, which makes it a shining and exemplary representation of O’Leary’s expressive string writing. The Passing Sound of Forever, originating from a motif found in a Beethoven quartet, plays with fragmentary gestures which emerge and disappear, echo and reflect. The work is filled with a deep yearning, which is communicated by the accumulated gestures and sounds of the quartet’s four string instruments. The Passing Sound of Forever epitomizes O’Leary’s unique ability to evoke vivid emotions from the simplest aspects of string instruments’ sound.Not every work on THE PASSING SOUND OF FOREVER features strings, but all seem to engage with the same themes of space and sound. O’Leary’s clarinet and piano duo Murmurs and Echoes, for example, creates the sense that its two instruments are communicating across great time and distance, most notably so in its last movement.  When their respective gestures mirror one another’s, they do so with the distortion of an echo crossing a vast space. In this way, Murmurs and Echoes reminds of A Winter Sketchbook, as both works use modest forces to generate a surprisingly resonant musical space.

Lowak Shoppala' (Fire and Light) is a work that expresses Chickasaw identity through the medium of modern classical music and theatre. The work is in eight scenes and features orchestra, narration, children's chorus, traditional Chickasaw and modern dancers, traditional Chickasaw and classical vocal soloists and American Indian storytellers. Each scene depicts a part of Chickasaw culture and history. Lowak Shoppala' was conceived, designed and composed by Jerod Impichchaachaaha' Tate and premiered Saturday, November 21, 2009 at the Te Ata Theatre, East Central University, Ada, Oklahoma with Mr. Tate conducting the Oklahoma Youth Orchestra.

At first glance Tchaikovsky does not seem easily to fit the "Chill" bill. He is known for pieces such as the 1812 Overture, music which is impassioned and animated in distinctly Russian style, often fiery, even ballistic, and infused with darker moments inspired by the composer's personal turmoil. However he also wrote some of the most beautiful, fragile and ethereal ballet music that has ever been choreographed, as well as lyrical slow symphonic movements and haunting songs. His unique talent lay in his inspired and inventive use of melody, seen at it's best in works such as the Nutcracker with it's myriad infectious tunes. Many of Tchaikovsky's melodies are based on folksongs he collected, predominantly Russian and Ukrainian but also Polish, Italian, Spanish and French (this last seen in the Piano Concerto No. 1, in this collection).

Ross Lee Finney’s Psalm pieces are contemporary settings of the Ainsworth Psalter- an inspirational collection of hymns that was carried by the pilgrims to Plymouth in 1620. Finney wrote of this collection: “These melodies are among America’s greatest folk heritage, influencing sacred singing through each singing.” Andrew Clark is the Director of Choral Activities and Senior Lecturer on Music at Harvard University. He also serves as Music Director and Conductor of the Harvard Glee Club, the Radcliffe Choral Society, and the Harvard-Radcliffe Collegium Museum. He has long been praised by critics for his ensembles’ outstanding performances. The Boston Globe called his choirs “first rate,” Opera News said his ensembles were “beautifully blended,” and the Worcester Telegram wrote that his performances achieve “passion, conviction, adrenaline, and coherence.”

Internationally acclaimed choreographer Cathy Marston, previously Associate Artist of The Royal Ballet and Director of Bern Ballett, created The Cellist for The Royal Ballet in 2020. The inspiration for her first work for the Royal Opera House Main Stage is the momentous life and career of cellist Jacqueline du Pre - from her discovery of the cello and her celebrity as one of it's most extraordinary players, to her pain, frustration and struggle with multiple sclerosis. Composer Philip Feeney incorporates some of the most moving and powerful music for cello by Elgar, Beethoven, Faure, Mendelssohn, Piatti, Rachmaninoff and Schubert into an exquisite score that is itself an homage to the cello. Jerome Robbins' elegant and elegiac classic, Dances at a Gathering, is the other work in the programme.' pure dance for five couples, set to music by Chopin, is a masterpiece of subtlety and invention."