Ruders: The Thirteenth Child / Shwartz, Starobin, Odense Symphony
Bridge Records
CD · 1 disc
$19.99Jun 21, 2019
The Thirteenth Child is an opera in two acts, with music by Poul Ruders to a libretto by Becky & David Starobin. Commissioned by The Santa Fe Opera and the Odense Symfoniorkester, the libretto is an adaptation of the Brothers Grimm story, "The Twelve Brothers." The recording, made in Denmark and the USA, brings Ruders's gripping 80-minute score vividly to life.
The Thirteenth Child is Poul Ruders's fifth opera. The Danish composer is well known for his gripping dystopian opera, The Handmaid's Tale. The Thirteenth Child shares some of the dark world of The Handmaid's Tale, but also gives the listener a fairy tale, full of romance, magic, and transformation.
REVIEWS:
There is plenty of space for lyrical solo numbers in Ruders’ score, which veers between mid-Atlantic neoromanticism and something edgier and more expressionist in the orchestral interludes...it’s particularly Sarah Shafer in the role of Lyra who makes the most of his smoothly contoured vocal writing.
– Guardian (UK)
Fairy tales advance by surprising, generally magical events, and Ruders has invented captivating music for each. Ruders and his librettists have created an enchanting work in the genre of the fairy-tale opera, replete with spells, magic gardens, a quest to find 12 long-lost brothers, and a princess (the 13th child of the title) fated to undergo ill and happy adventures before she rescues her brothers and weds her prince.
There are two outstanding singers here in mezzo Tamara Mumford, as Gertrude, and lyric soprano Sarah Shafer as Lyra. Ruders furnishes the mother-daughter relationship with his most beautiful music, and the two singers are luminous in tone and moving emotionally. I must single out bass Matt Bochler as Hjarne, who encompasses an extraordinary vocal range extending from Fafner-like low notes to an eerie high falsetto. As the love interest, Prince Frederic, lyric tenor Alasdair Kent has a gleaming romantic tone perfectly suited to some of Ruders’s most romantic melodies."
Part of the great French musical tradition and a member of Les Six, Darius Milhaud was an important avant-garde figure in early 20th century Paris. The Oresteia of Aeschylus trilogy arose from his lifelong interest in Greek mythology and drama, inspired by the expressive, syncopated rhythms of Paul Claudel’s poetic texts. In addition to innovative rhythmic elements, the trilogy exhibits complex harmonic techniques, particularly polytonality, which Milhaud believed gave him more varied ways of expressing sweetness in addition to violence.
