tag:blogger.com,1999:blog-304344172024-03-07T00:50:14.055-08:00Karen Patricia's music maniaI drive my friends crazy with my diverse taste in music and CD recommendations so I thought why not have a separate blog for all of that..Karen Phttp://www.blogger.com/profile/12772524722015746109noreply@blogger.comBlogger54125tag:blogger.com,1999:blog-30434417.post-40978784813882458272013-01-15T09:01:00.001-08:002013-01-15T09:02:48.838-08:00Some good news & some bad...The bad news not being news as such, but rather an apology. Obviously I've been posting less and less here, it doesn't mean that music has a less important place in my life now, even if my mind is mostly busy with the art/art history field. I'm still a very devoted listener and I love to discover new music - though sometimes (...most of the time) when I try to put my feelings on these discoveries into words, my courage fails me. Especially when it comes to classical music.<br />
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What classical training do I have in music? None.<br />
Do I play any instrument? Nope.<br />
Can I read music? Nope.<br />
Do I have the vocabulary and trained ear of the experienced opera tourist? Sadly, no.<br />
Because of this I feel that my so-called reviews - ie ravings - of my personal classical music discoveries fall short of the many good opera blogs out there, so much so that I would be embarrassed to publish it online, even though this blog doesn't have many readers.<br />
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On the other hand I've had this blog for many years now and it would indeed be sad to let it go, so I will continue to post my discoveries and recommendations, but perhaps more in the form of links and videos instead of words.<br />
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Now on to the good news:<br />
It seems that a handful of the singers I like have albums coming out within the first months of this year - mostly in the classical category.<br />
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First up we have no less than three countertenors: <a href="http://www.xaviersabata.com/xaviersabata/cover.html" target="_blank">Xavier Sabata</a>, <a href="http://www.cencic.net/" target="_blank">Max Emanuel Cencic</a> and <a href="http://www.valer-barna-sabadus.com/" target="_blank">Valer Barna-Sabadus.</a><br />
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I've heard and seen all of these singers in action in various operas (sadly, not live!) - their paths also cross in that they have been in some productions together. In the case of Cencic and Barna-Sabadus it's Vinci's Artaserse, recorded both on CD and filmed in Nancy last year, that comes to mind, not least because Valer Barna-Sabadus was completely unknown to me until then.<br />
Sabata's disc was scheduled for release today, however iTunes may be a little behind as I couldn't find it this morning (that left me quite disappointed actually); in the case of Cencic's Venezia I've heard both January 25 and February 4, whereas I'll have to wait until January 25 to hear Valer Barna-Sabadus sing Purcell.<br />
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And the line of angelic voices continues with <a href="http://julialezhneva.com/" target="_blank">Julia Lezhneva</a>, whose second album comes out March 4. It never ceases to amaze me how young she is and how her voice combines elements of maturity and innocence.<br />
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And in between there is also a new CD from Jonas Kaufmann - a Wagner disc, appropriately enough, it being the "Wagner & Verdi year" 2013. Had you asked me a few years ago if I would have looked forward to such a release with excitement, I would have said NO.... However, Kaufmann is the main reason why Wagner became first tolerable and then actually enjoyable for me, after I saw the DVD of Lohengrin. (His Gralerzählung is a wow-moment)<br />
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In addition to Julia Lezhneva, March also brings a new album from L'Arpeggiata, seemingly in the vein of the previous South American project, but with a different geographical center: It's entitled Mediterraneo and features collaborations with <a href="http://www.vincenzocapezzuto.com/" target="_blank">Vincenzo Capezzuto</a> , among others.<br />
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Of the albums scheduled to be released the first half of this year we also find <a href="http://www.barbara-furtuna.fr/" target="_blank">Barbara Furtuna</a>, a group dedicated to the art of traditional Corsican polyphony. However this album, whose title is yet to be announced, doesn't have a set release date - but their <a href="http://www.facebook.com/BarbaraFurtunaPageOfficielle" target="_blank">facebook page</a> states it will be released within the first half of the year if all goes to plan.<br />
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And this year really seems to be the year of CD releases for countertenors, because internet sources say <a href="http://www.franco-fagioli.com/" target="_blank">Franco Fagioli</a> (who was also in the brilliant cast of Vinci's Artaserse) has signed a recording contract with Naive and will release a CD in September, centered around works written for the castrato Caffarelli.
I'm growing impatient already!Karen Phttp://www.blogger.com/profile/12772524722015746109noreply@blogger.com0tag:blogger.com,1999:blog-30434417.post-31582302142416593052011-09-05T12:12:00.000-07:002011-09-05T13:02:14.520-07:00Giving it a Fauré chance...<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.freecodesource.com/album-cover/31LUzI9zv3L/Philippe-Jaroussky-Faure:-Requiem-.-Cantique-de-Jean-Racine-.-Super-Flumina-Babylonis-.-Pavane-.-El%C3%A9gie.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 300px; height: 300px;" src="http://www.freecodesource.com/album-cover/31LUzI9zv3L/Philippe-Jaroussky-Faure:-Requiem-.-Cantique-de-Jean-Racine-.-Super-Flumina-Babylonis-.-Pavane-.-El%C3%A9gie.jpg" border="0" alt="" /></a>
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<br />..not that I normally need to be persuaded to buy a CD with Philippe Jaroussky's name on the cover. However certain choral works and especially requiems have always had an emotionally negative effect on me. My first memory of Fauré's requiem was sitting through a performance at the local church, not understanding much of the music but feeling overcome with sadness and focusing on the knitted sweater of the woman in front of me to keep me from crying. When I heard another church performance of it in my teens, it was to hear a friend of the family sing in the choir and as my musical tastes were stuck in the top 20 charts at the time, I probably couldn't have cared less about the music - or I remembered all too well how I'd felt the last time I'd heard it, and wanted to distance myself.
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<br />So I was a little skeptical about this one, despite the fact that I knew Philippe Jaroussky was involved in the project. Curiously, EMI/Virgin classics seems to market it as Philippe Jaroussky's solo album even though he only lends his vocals to a single track, namely the famous Pie Jesu. As I didn't remember anything of the piece as a whole since I heard it 10-12 years ago, I must admit I had expected a few more solo parts or even a duet (Matthias Goerne is the other soloist) - instead my inexperience with listening to choir works made me long for something to stand out from that blurry mass of blending voices (which is also probably the reason why I prefer concertos to symphonies). Then again, my inexperience (or as it were, bad experience) with the piece could also be the reason, as the additional pieces on the album (Cantique de Jean Racine, Elégie for cello and orchestra, Pavane for orchestra and mixed choir, and Super flumina Babylonis) left me feeling a lot more positive about my recent purchase.
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<br />As for the Pie Jesu, which is, I suppose the hit single of the piece (EMI/Virgin even released it as a digital single), Philippe Jaroussky makes a great effort. In the EPK video he explains that it's difficult to sing mainly because it's very high and you can really tell from the recording that it reaches up towards the limit of Philippe's higher register. I suppose we all have different tastes when it comes to tone in a voice and personally I've always been more partial to Philippe's lower register, as when he did Vivaldi's Stabat Mater - I felt the highest notes of Pie Jesu seemed kind of laboured compared to the rest, whereas the last note which seems to be suspended in mid air is nothing short of perfection.
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<br />Conductor Paavo Järvi mentions in the EPK that this is the first time a countertenor has recorded Pie Jesu as part of Fauré's Requiem, so in this sense it's a kind of controversial recording. There are probably those who think it's a bad decision, almost like a sacrilege, and I can see their side too (as I get upset when contraltos are cast as Giulio Cesare or Nerone). However, keeping in mind Philippe's statement that his voice sounds like more like a child than a woman and that he uses his voice as means of holding on to a childlike side of himself, the so-called controversial decision makes sense. The vocal quality of a countertenor and that of a boy treble are very different, but both convey a sense of purity and innocence. To compare and decide for yourself, I'll leave you with Philippe Jaroussky's recent version along with Aled Jones' version from the mid 80's.
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<br /><iframe width="420" height="345" src="http://www.youtube.com/embed/MrdWhXeOj00" frameborder="0" allowfullscreen></iframe>Karen Phttp://www.blogger.com/profile/12772524722015746109noreply@blogger.com0tag:blogger.com,1999:blog-30434417.post-1592329779726400692011-06-19T01:57:00.000-07:002011-06-19T02:02:35.852-07:00The first cut is the deepest...<div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://operachic.typepad.com/.a/6a00d83451c83e69e201157226a465970b-450wi"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 450px; height: 297px;" src="http://operachic.typepad.com/.a/6a00d83451c83e69e201157226a465970b-450wi" alt="" border="0" /></a><span style="font-size:78%;">Christine Schäfer in the title role as Theodora.</span><br /></div><br /><br />That’s what came to my mind after I watched the DVD release of the Salzburg Festival’s staged production of Theodora. It’s my favourite Händel piece, and I saw and heard it for the first time on youtube of all places, in the form of a magnificent Glyndebourne production from the mid 90’s. The story, the staging, the singers, the acting, everything seemed to have an emotional impact on me. So when I heard of the new DVD I knew I just had to have it, if only to quench my curiosity. And it is indeed difficult to not compare the two.<br /><br />In terms of overall singing I still might favour the earlier version – however Bejun Mehta makes a very convincing Didymus and can certainly fill the shoes of David Daniels (amusingly, Bejun Mehta credits Daniels for indirectly kick-starting his adult singing career), and Bernarda Fink sings the role of Irene with a kind of maternal stage authority. I find Christine Schäfer in the title role sometimes sings more dramatically staccato than is required – somehow the Italian Bel Canto passion seems out of place in this oratorio – and a rather thick accent sadly doesn’t help the flowing of lines along.<br />As for Didymus’ friend Septimius, Joseph Kaiser does a pretty good job. The fast coloratura sometimes gets the better of him, but his tone is pleasant, powerful but still restrained, and his acting is superb.<br /><br />My initial disappointment for omitting Irene’s aria ”Bane of virtue” was replaced by the breathtaking rendition of Didymus’ aria ”Deeds of kindness”, which had been just another ”good aria” in the previous version, but here it really stands out. Bejun Mehta can sometimes overdo things a little with his powerful vibrato and creative ornamentation, but in this he held back and the piano parts were deliciously soft and subtle. <br /><br />No other big arias were excluded as far as I can remember (although a few small ones were turned into recits) but they did however add an organ concerto in the middle of act 3. I was a little confused at the idea at first but it did add another nuance to the acting as, during the four movements of the concerto, the psychological tension between the characters was highlighted and a shift in psychological power from Valens to Theodora was even implied.<br /><br />The end of the third act, where Theodora and Didymus are given their death sentences and even executed in the Glyndebourne production, has always been among my favourite moments. This version seemed to play more on the couple’s strength and their contentment with their fate, underlining a victorious ending to the oratorio instead of a merely tragic one. The final duet is powerful and beautiful, but in this production, even more so the last chorus, where the camera focuses on the crying Septimius, who previously torn between loyalty towards the separate parties, now realises what he allowed to happen.<br /><br />I watched this last night and already I want to watch it again. And because I’ve already spent a good hour trying to find the right words to describe my listening and watching experience, I’ll let you watch the final duet ”Streams of pleasure ever flowing” and make your own judgements.<br /><br /><iframe width="560" height="349" src="http://www.youtube.com/embed/nP8-3T05AJA" frameborder="0" allowfullscreen></iframe>Karen Phttp://www.blogger.com/profile/12772524722015746109noreply@blogger.com0tag:blogger.com,1999:blog-30434417.post-21554508283749972482011-05-27T03:29:00.000-07:002011-05-27T04:09:59.934-07:00These are a few of my favourite things......well, in this case, favourite songs.<br /><br />Ever since I was little I've had a special feeling about my favourite songs. I would play them over and over and it seemed like they were some kind of magic shield against whatever negativity going on in my life. I still feel the same way about some songs. <br />Here are some of my new and older favourites:<br /><br /><iframe width="425" height="349" src="http://www.youtube.com/embed/p9g4ZnYLdsc" frameborder="0" allowfullscreen></iframe><br />Corsican vocal group Barbara Furtuna also does a lot of religious/sacral music and it was difficult to pick one favourite track, however the melancholy and passion in this one is beyond description.<br /><br /><br /><iframe width="560" height="349" src="http://www.youtube.com/embed/yeV5GTtNxXs" frameborder="0" allowfullscreen></iframe><br />The first time I heard this I had to play it over and over. It seemed like a little vulnerable bubble of perfection.<br /><br /><br /><iframe width="425" height="349" src="http://www.youtube.com/embed/w7hnTj1VBag" frameborder="0" allowfullscreen></iframe><br />An old favourite. Odd Nordstoga made his big break with the album Luring which this track is taken from, there's a lot of up-tempo fun tracks on it but I always liked the quiet ballads better. This song still has the magic..although it's even better in acoustic live versions.<br /><br /><br /><iframe width="425" height="349" src="http://www.youtube.com/embed/eopLVYxrLwE" frameborder="0" allowfullscreen></iframe><br />Genius.<br /><br />And now for a couple of classical favourites (again):<br /><iframe width="560" height="349" src="http://www.youtube.com/embed/Mgu3UdiZypU" frameborder="0" allowfullscreen></iframe><br />An aria that I first heard when I started to get interested in classical music and I've heard numerous renditions and recordings since. This one is at the very top of my list. Note: the aria itself starts a couple of minutes into the clip.<br /><br /><br /><iframe width="425" height="349" src="http://www.youtube.com/embed/vVgItFV0kBY" frameborder="0" allowfullscreen></iframe><br />I've heard several versions of this as well, but this is by far my favourite - Of course I'm a little biased as a Philippe Jaroussky fan, but I also love the "real" quality to the recording. I love to turn up the volume during the intro to hear creaking of chairs or floorboards, rustling of papers in the score and other subtle background sounds. But when the vocal starts to soar it's like a piece of divinity.Karen Phttp://www.blogger.com/profile/12772524722015746109noreply@blogger.com1tag:blogger.com,1999:blog-30434417.post-50008064093614236062010-10-25T13:03:00.000-07:002010-10-25T13:35:11.974-07:00Maintaining the balance<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.deccaclassics.com/imgs/s300x300/4782254.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 300px; height: 300px;" src="http://www.deccaclassics.com/imgs/s300x300/4782254.jpg" alt="" border="0" /></a><br />An album of sacred arias released just in time for early Christmas shopping, recorded by a top notch tenor who also got his fair share in the looks department, initially sounds like a recipe for commercially calculated schmaltz. However, a lot of albums that fit this description have a kind of standard tracklist with no big surprises, while Juan Diego Florez' Santo includes Rossini and Bellini, crowned by a self-penned composition (which is the title track).<br /><br />That's not to say it makes the music less available to a listener who may not listen to opera on a regular basis - "The" Ave Marias (Schubert & Bach/Gonoud), Panis Angelicus, Adeste Fideles and O Holy Night make sure of that. But the balance is kept - keeping in mind that it is a sacred arias CD and not strictly a Christmas album - by including a variety of other works that range from the well-known (Messiah) to the relatively obscure and more folk-inspired (Missa Criolla). The latter comes across as touchingly sincere, and lends the whole recording a charming feel that doesn't tend towards the too folksy or too schmaltzy side. It also works in the CD's favour that the Rossini tracks have great similarities with the same composer's opera arias - sprayed with intricate coloratura, high-spirited and enthusiastic - and so do not seem sentimental either.<br /><br />One could argue that the contemplative side isn't well enough represented since the Ave Marias would be the best examples and they have lost a lot of their original value due to overexposure, but I think Kyrie from Missa Criolla and Santo have a contemplative quality in their earnestness and quiet charm.Karen Phttp://www.blogger.com/profile/12772524722015746109noreply@blogger.com0tag:blogger.com,1999:blog-30434417.post-91036694148654083722010-09-08T22:37:00.000-07:002010-09-08T23:07:05.021-07:00Sorry, but...<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmzFFEya3ZOvcfVoTHb6tIat3GlX5uzcO1ZD6CM-v74commcSLg-ODk3L4g5p35oejKmF1mjbu3ILOE4R8EFSPG-7hq_3YDFq6C2CZ53FWqKCFvk37el52rSwlqWvKZg57gRbGzQ/s1600/hidden+away.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 400px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmzFFEya3ZOvcfVoTHb6tIat3GlX5uzcO1ZD6CM-v74commcSLg-ODk3L4g5p35oejKmF1mjbu3ILOE4R8EFSPG-7hq_3YDFq6C2CZ53FWqKCFvk37el52rSwlqWvKZg57gRbGzQ/s400/hidden+away.jpg" alt="" id="BLOGGER_PHOTO_ID_5514791129468329266" border="0" /></a><br />...I just downloaded Josh Groban's new single - the first new track from him in years - and I think it will end up "hidden away" and forgotten in my music folder.<br /><br />It's a strange feeling for me to review this because I jumped off the Groban train a while back, and had I still been on it I'd have been over the moon and through the roof at the mere thought of a new (finally!) song. For once I'm able to see it all from the outside, which can be a good thing and a bad thing.<br /><br />Good because I know my fangirl approach isn't clouding my judgment, bad because a lot of people will probably not like the following.<br /><br />I did know that Josh proclaimed that he'd never been more proud of any of his albums than the upcoming "Illuminations" (due out in November), that it is supposedly a more toned down album, not overproduced and glossy, but with a more intimate setting. From the single "Hidden away", however, none of that is evident.<br /><br />More than anything it comes across as a confusing few minutes of musical chaos. It starts promising, with just piano and vocals, but then builds up with an orchestral arrangement that by now must be his trademark, although in this song it sounds more cheesy and misplaced. The effects and instrumental layers pile up gradually (I swear I heard a banjo paired with the orchestra at the end) and as a result it becomes perhaps Groban's most evident musical identity crisis yet.<br /><br />Which also has a lot to do with the vocals, that are based on his semi-classical-musical-theatre voice, but this time it sounds like he's really trying to sound like a singer-songwriter with no operatic style - like he's grown tired of his voice and wants to have a new one. To my ears it just sounds desperate, as if he's denying his god-given gift (which he at least initially had) to fit into a more conventional singer songwriter box. Nowhere is it more evident that in his little "yooohooo"s at the end in a not particularly strong falsetto. It makes you want to ask "who are you <span style="font-style: italic;">really</span>?"<br /><br />Knowing his background - he has actually worked with several vocal coaches and is said to have had a repertoire of several arias already in his teens - it makes you wonder what National Opera would have hired him today had it not been for his other career choice. If he'd suddenly appear in <span style="font-style: italic;">Cosi fan tutte</span> I'd hop back on the Groban train any minute.Karen Phttp://www.blogger.com/profile/12772524722015746109noreply@blogger.com0tag:blogger.com,1999:blog-30434417.post-34767740274668389172010-06-05T05:21:00.000-07:002010-06-05T06:23:09.154-07:00Sex & Violence...<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.nrk.no/contentfile/file/1.6788559%21f169CropList/img462x262.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 462px; height: 262px;" src="http://www.nrk.no/contentfile/file/1.6788559%21f169CropList/img462x262.jpg" alt="" border="0" /></a>..and opera? (photo: Erik Berg)<br /><br />Yesterday I had a chance to watch the last ever performance of Den Norske Opera's modern production of L'incoronazione di Poppea. It's only the 2nd opera I've been fortunate enough to see live, but by far the best - although the element of shock value was perhaps taken a little too far (in my innocent and prim opinion....)<br /><br />The staging was spare, with only a concave shape covering most of the stage, which reminded me a bit of the Salzburg festival production of La Traviata (with Netrebko & Villazon) - but it made a nice aesthetic effect along with the splashes of blood in the 2nd and 3rd act. This was part of the reason why the tickets and ads warned about graphic content; the other being the frequent and direct sexual references. I thought that sometimes a hint or subtle reference would be enough; at one point I thought they were past acting and that they would actually do it on the stage, which was a little unsettling. It did cause some mumbling and giggling in the audience, especially as the situation was "saved" by a comic twist.<br /><br />Now for the singers, or voices I should say, which as you probably know by now interest me just as much as the staging. For once both of Poppea's suitors were played by men - Nerone was portrayed by Jacek Laszczkowski and Ottone by Tim Mead. I have to say that the latter impressed me more, but then again I may have favoured him from the beginning - I was more unsure of Jacek because I thought his voice sounded rather breathy and I couldn't make out a word of the recits. It should be said however that on the really high, powerful notes, his projection was like that of a female soprano, quite unbelievable. Tim Mead performed evenly well, and personally I think his opening monologue "E pur io torno qui" with its effortless ornamentation was sublime.<br /><br />Of the rest of the cast, which was overall good, I found that Marita Sølberg as Drusilla had one of the strongest voices. Birgitte Christensen in the title role was also worth mentioning.<br /><br />This was the very last performance of this production, and in that occasion it was filmed for television, hopefully to be broadcast internationally. I was relieved to not only see the possibility of reliving this great performance on TV (or DVD?), but also at the thought of opera lovers all over the world being able to see it.Karen Phttp://www.blogger.com/profile/12772524722015746109noreply@blogger.com0tag:blogger.com,1999:blog-30434417.post-21501880138990863992010-04-06T04:06:00.000-07:002010-04-06T05:06:45.467-07:00My latest purchasesI've already played and enjoyed these CDs for a few weeks, but decided this is the time to post my little (probably not too objective but enthusiastic as usual) reviews.<br /><br /><span style="font-weight: bold;">Michael Maniaci - Mozart Arias for male soprano</span><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKmAyA2WuBVKB2EC6uxKWwrPpmdIaGMb4Wa6H61CzKEwqeSPwfY6DgUByXPgp_vc85H6Yubb5KsmDABrm9AsZnutuCotDv4-sbFnG7FQwD2joUMkN5WIrD463t4_Q_ZJzmKK3E-Q/s1600/cd-michael-maniaci.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 399px; height: 399px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKmAyA2WuBVKB2EC6uxKWwrPpmdIaGMb4Wa6H61CzKEwqeSPwfY6DgUByXPgp_vc85H6Yubb5KsmDABrm9AsZnutuCotDv4-sbFnG7FQwD2joUMkN5WIrD463t4_Q_ZJzmKK3E-Q/s400/cd-michael-maniaci.jpg" alt="" id="BLOGGER_PHOTO_ID_5456980557982185106" border="0" /></a><br />No, it's not a typo and the man on the cover is not the conductor. Because the term "male soprano" tends to cause a lot of discussion, disbelief, controversy etc every review or article usually devotes several paragraphs to explain the meaning of the term and how extraordinary it is to be a soprano when you are in fact male. However the story has been written over and over again and has been posted numerous places online, so I prefer to make it simple and let him explain it himself (also included in this clip is extracts from Exultate Jubilate, which is featured on the album):<br /><br /><object width="640" height="385"><param name="movie" value="http://www.youtube.com/v/Wbqudr7NMDs&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/Wbqudr7NMDs&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="640" height="385"></embed></object><br /><br />The music selection on the album consists of the Exultate Jubilate motet, and arias from Idomeneo, Lucio Silla and La clemenza di Tito. When I first started listening to classical music Mozart was the first composer I developed an interest in so it's hard for me to be objective in that respect. Now for the voice: If you read Michael's biography before hearing him sing it's easy to get ideas into your head about what it would sound like. Shrill? Unnatural? Strange? Maybe it's just me because I heard him sing a long time before I knew who he was, but the first thing that struck me was how resonant and powerful his voice is. It doesn't sound the least shrill and even at the top of his register it doesn't sound forced or unnatural. The second thing is, even when keeping his biography in mind, his voice doesn't sound very feminine. (A lot of people not used to countertenors and sopranists would probably say the opposite, however in my opinion a high voice isn't feminine just because it's high) Other versions of Exultate Jubilate I'd listened to recently, by Caroline Sampson and Danielle De Niese respectively, sound distinctively different.<br />I think this is a gem of a debut album, but it's difficult for me to "erase" all my impressions of other high male voices and listen to it with the ears of someone who's only been listening to tenors and baritones. I suppose if I were in the latter group I would find it hard to get past the phenomenon or shock value of it, which is probably the only downside to the album.<br /><span style="font-weight:bold;"><br /><br />L'Arpeggiata, Philippe Jaroussky, Nuria Rial & Barbara Furtuna - Via Crucis</span><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnH4XPqvIRYck2pFYw0or2KomChDY-7C19VIr7e79xiR5UZaVCFHtXCXwz7K_dg32pSta600t2UOvmYtZF6GeAar2UvJep8Uk_59nKrHPjJeQ9zdYduVDEn_RUntTV_z_WYixM6A/s1600/via+crucis.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 400px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnH4XPqvIRYck2pFYw0or2KomChDY-7C19VIr7e79xiR5UZaVCFHtXCXwz7K_dg32pSta600t2UOvmYtZF6GeAar2UvJep8Uk_59nKrHPjJeQ9zdYduVDEn_RUntTV_z_WYixM6A/s400/via+crucis.jpg" alt="" id="BLOGGER_PHOTO_ID_5456989201138781602" border="0" /></a><br /><br />I've long been a fan of L'Arpeggiata's work with Philippe Jaroussky (despite my rash comments about the Teatro d'amore album elsewhere in this blog... I admit I needed some time to get used to their style and arrangements) so I knew this album would be a favourite. Which it is but oddly not in the way I expected - which is partly due to having seen video of Philippe's concert with L'Arpeggiata from Ambronnay a few years ago. It sounds like a strange reason, but I'll explain: I have been listening to the energetic, vibrant performances from that concert for so long that a studio recording of the same songs, taken out of the playful live concert setting, seems somewhat dull in comparison. The best example of that is Ciaccona di Paradiso e dell'Inferno, which in concert was performed as a duel between Philippe (Paradiso) and two ensemble members (Inferno) and the song took the form of a complete little drama with a lot of humour (as shown about 11 minutes into the video further down). In the recording the parts of Inferno is performed by one voice only, namely Fulvio Bettini, the tempo is slower and virtually all humour has disappeared. But I would probably still be in love with the track had I not heard the live version beforehand, which is a pity. The same goes, in part, for the other tracks on the album that I've heard live versions of; Ninna nanna and Queste pungente spine. Some of the songs that were performed live by Philippe at the mentioned concert are recorded with Nuria Rial on the cd, which makes a nice change. I was also surprised to discover that I really loved Barbara Furtuna's contributions of Corsican folk music to the collection, and also that I became a growing fan of L'Arpeggiata's style in general.<br /><br />The version I have is the CD only version, however there is also a limited edition version which includes a DVD and a book, in occasion of L'Arpeggiata's 10th anniversary. The DVD features clips from the recording session of the CD as well as other performances from various concerts and recording sessions. A selection of both can be found in this video:<br /><br /><object width="640" height="385"><param name="movie" value="http://www.youtube.com/v/-F-MA-d3gts&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/-F-MA-d3gts&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="640" height="385"></embed></object>Karen Phttp://www.blogger.com/profile/12772524722015746109noreply@blogger.com2tag:blogger.com,1999:blog-30434417.post-23656682640993720732010-03-28T11:26:00.000-07:002010-03-28T12:03:35.057-07:00Some non-classical recommendationsRecently my blog has been more or less taken over by posts about classical singers and releases... but I still listen to a LOT of other music as well. Here are some albums I've been listening to recently:<br /><br /><span style="font-weight:bold;">Susanne Sundfør - The Brothel</span><br /><br /><object width="480" height="385"><param name="movie" value="http://www.youtube.com/v/57qmpVBmikI&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/57qmpVBmikI&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385"></embed></object><br /><br />I admit that I only knew her by name until the first single off the album was released and I couldn't really tell her apart from other female Norwegian singer songwriters. I'm always curious about new music and tend to read the reviews every week to see if I find something interesting, and when the single was released the journalists seemed to run out of superlatives in describing it. I bought the single from iTunes and at the time I thought it was interesting but made me a little impatient because of the length and slow tempo, and I didn't listen to it for a week or so. I really wasn't impressed until I'd bought the rest of the album and took some time to listen through it, and by then I felt almost sentimental at being able to listen to such a rare masterpiece. It's an example of singer-songwriting at its finest, and at this point I simply can't believe why I didn't fall for this haunting melody the first time I heard it.<br /><span style="font-weight:bold;"><br />Aleksander With - Still Awake</span><br /><br /><object width="640" height="385"><param name="movie" value="http://www.youtube.com/v/KQGsjqL1-1g&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/KQGsjqL1-1g&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="640" height="385"></embed></object><br /><br />This is almost embarrassing to include in my recommendation list if you just go by the name - except for Kurt Nilsen I don't think I've recommended any Norwegian Idol alumni<br />without changing my mind after a week or two. Like any other Idol alumni he's received mixed reviews, a lot of them stating the cd is just OK, filled with cliches - maybe a little nondescript. My liking this album is possibly subjective because I just simply like these serious, dark pop songs, but does it matter? OK, so his voice is perhaps a little too polished at times, but bearing in mind his first album (which to me was lacking in substance) this is a departure for him and even though it can be embarrassing to admit it, I do like this CD.<br /><br /><span style="font-weight:bold;">Salem Al Fakir - Ignore this</span><br /><br /><object width="640" height="385"><param name="movie" value="http://www.youtube.com/v/p4LUO6W_kzc&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/p4LUO6W_kzc&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="640" height="385"></embed></object><br /><br />The most famous song from this album, without a doubt, is the song Keep on Walking which made it to the national final of Eurovision song contest in Sweden (but sadly didn't make it to the international final) - but by no means representative for the album as a whole. While Keep on walking is a positive, radio friendly, charming song, the album is filled with mostly electronica-flavoured singer-songwriter tracks with refreshing variation - there's no telling what he'll do next. There's a huge difference between the quiet ballad Brooklyn Sun and the darker (almost perverted in its description of torture) This Is For. In addition there are several short instrumental tracks scattered in between. The variety itself is so refreshing and fascinating it's worth a listen.Karen Phttp://www.blogger.com/profile/12772524722015746109noreply@blogger.com0tag:blogger.com,1999:blog-30434417.post-83259267863935312132010-01-10T02:54:00.001-08:002010-01-10T02:57:38.077-08:00ApologyI've had some time to "cool down" now and realize that my latest post may have been a bit too harsh. I haven't stopped listening to David's beautiful singing and have concluded that that's all that matters.<br /><br /><br /><object width="560" height="340"><param name="movie" value="http://www.youtube.com/v/3Ro1tqleckg&hl=en_US&fs=1&color1=0xcc2550&color2=0xe87a9f"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/3Ro1tqleckg&hl=en_US&fs=1&color1=0xcc2550&color2=0xe87a9f" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="560" height="340"></embed></object>Karen Phttp://www.blogger.com/profile/12772524722015746109noreply@blogger.com0tag:blogger.com,1999:blog-30434417.post-60042777119004830502009-12-21T08:19:00.000-08:002009-12-21T09:07:07.350-08:00The musician or the music?The last few days I've been trying to get my head around something which to me was a piece of news, even though perhaps I should have known. I'm ashamed to admit I'm even concerned about it, but since my blog is my primary place to vent when it comes to music, I'll write about it anyway.<br /><br />As shown in the first video of my last blog post, I've been listening to and watching a lot of Theodora lately, a Glyndebourne production I was drawn to first and foremost by the fact that David Daniels played the male leading role. I have several of his recordings and I've always been amazed at his tone and effortless style, and Theodora only enhanced my positive opinion of him.<br />Out of curiosity I then started doing some "research" to see what he was up to currently, since the Theodora production was from the mid 90's when he was still a very fresh countertenor on the music scene. What I did find out however was a little more than I wanted to know.<br /><br />I have no problems with David Daniels, or anyone else for that matter, being gay. What surprised me however was how persistent he was in "flaunting" it and making sure it was mentioned in every article written about him. His reason for this was that it was important to him because being gay was a "<span style="font-style:italic;">very</span> big" part of who he was. Another article mentions an unattractive, straight personal trainer he hired, followed by the "explanatory" quote "I'm not an idiot", alongside a photo of him posing shirtless under a waterfall or shower with his head thrown back. In the same article the interviewer, who was also gay, said he'd had requests to ask for a lock of David's chest hair, upon which David replied "It's not like I'd miss it or anything."<br /><br />It made me sad to read pieces like this where the focus was so much more on sexuality than the music, and discovering that it was not just the journalist's fault, but often his own intention that the gay part was talked about. I don't care who he's with because it's none of my business, I just find myself getting annoyed when I hear people talking about their sexuality as something that defines their whole personality, their life, and I'd be even more annoyed to see it take over a man's career. <br />The fact that I knew nothing of this until I actively started looking for info may prove that Mr Daniels has done a good job of keeping his private and personal life separated, but the comment about him making sure his sexuality was mentioned in every article because he was so out and proud threw me off a little.<br /><br />My thoughts started to wander to Max Emanuel Cencic, who is also openly gay, married - and whose sexuality has been evident for a long time without him having to talk about it. I googled him just as I did with David and out of all the entries I found there were NONE that focused on anything other than the music; his accomplishments, reviews, bios. Nothing that mentioned anything about his private life whatsoever. <br /><br />The point I'm trying to make is that I'd be very sad to see a career be affected by a man's sexuality - there's no evidence as of yet that it will happen in Daniels' case, but if him being gay really is such a big percentage of his personality, how big is the musical percentage? And while I'm talking about big things I should perhaps also mention his ego (Just don't think I was going to refer to something else). He seems to be under the impression that he single-handedly was responsible for the general accept and renaissance of the countertenor voice. ("Frankly, I did that".) <br /><br />I'm now a little torn between liking or disliking him. When one appreciates a talent, should one ignore the personality behind it and view them as two separate things or consider them together as an entity?<br /><br />That having been said, let me clarify two things.<br /><br />1) Once again, I have no trouble with people being gay as such. I'm not homophobic and don't intend to come across that way.<br /><br />2) There is no question that David Daniels possesses a remarkable voice and I'm not trying to imply that he's not a gifted performer.<br /><br />Now the only thing left is to wait and see if any tomatoes come flying in my direction...Karen Phttp://www.blogger.com/profile/12772524722015746109noreply@blogger.com0tag:blogger.com,1999:blog-30434417.post-3760945853727256142009-12-19T13:50:00.000-08:002009-12-19T14:17:01.192-08:00A voice to fall in love inThat's right, to fall in love IN, not fall in love TO...<br />I confess I've always been strangely attracted to voices. It started out as a childish thing I could look back on and smile to myself, but it persisted and even today I have these "voice crushes". <br /><br />You can laugh now.<br /><br />But it is true and in this context I'm a proud polygamist. Sometimes I can listen almost exclusively to one singer and sometimes I listen to a lot of people, rediscovering their voices in the process. Having said that, let me present my current "voice crush": Richard Croft.<br /><br />The funny thing is that I had actually heard and seen him several times in various videos (again, I think youtube is one of the world's best inventions) before I saw him in Theodora in a Glyndebourne production from the mid 90's and wondered why on earth I hadn't been so impressed with him before. One theory is perhaps that that particular Händel piece hypnotized me in general and I loved the arias he did as Septimius, not just his performance but the compositions as a whole..and the combination turned out to be just perfect. <br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/YlawJdImzUU&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/YlawJdImzUU&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br />However, when I started to revisit the videos where I had seen him previously (not knowing who he was at the time) I was no less impressed. Like his opening aria in the great (and first ever fully staged) version of the Messiah:<br /><br /><object width="560" height="340"><param name="movie" value="http://www.youtube.com/v/4OT4HgvGb4g&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/4OT4HgvGb4g&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="560" height="340"></embed></object><br />(aria doesn't start until a few minutes into the video, there's the overture and a recitativo first)<br /><br />In addition to that I started looking up more youtube videos and his recordings on iTunes, and I'm still just as enthusiastic. Of course I'm in no position to be 100% objective or give my opinions on technique etc, but I will say that to my ears, his voice has that certain inexplicable something that can soothe and give strength at the same time and just strikes a chord within you. And that is a very valuable quality.<br /><br /><object width="560" height="340"><param name="movie" value="http://www.youtube.com/v/051XwYTfR4o&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/051XwYTfR4o&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="560" height="340"></embed></object>Karen Phttp://www.blogger.com/profile/12772524722015746109noreply@blogger.com0tag:blogger.com,1999:blog-30434417.post-44115599797919835342009-10-07T01:23:00.000-07:002009-10-07T01:45:45.206-07:00The times they are a-changingDuring the last six months I've come to realise that I am in fact getting older.....<br />I browsed through some of the older posts in this blog and wondered why I'd recommended them because I don't have any interest in their music any longer.<br /><br />"They" include mostly the whole classical-crossover genre. It started out with a handful of singers and now the term seems to apply to a) any singer with a vibrato voice, b) any pop song with sufficient orchestral sound, c) any aria rearranged as a pop song or d) any pop song rewritten and rearranged as an operatic number. And probably a lot of other categories.<br /><br />My point is, it takes so little for a pop singer to be considered classical crossover (and vice versa). One Ave Maria and suddenly it's considered classical. Which is another thing that confuses me - as of late it seems they don't bother mentioning the crossover bit - maybe it's too long, or maybe the people in charge actually want the general public to consider this music classical as in the real deal. Which I object strongly to.<br /><br />It's not that I want the "real" classical music to be exclusively for one group of people, I just don't want the general public to be fooled into thinking that Il Divo is a synonym to opera. Maybe some think they can't listen to opera because it's "only for the posh people", and I feel it's important to emphasize that classical music is for everyone and you don't have to be a stuck-up snob to enjoy it.<br /><br />I'm a little saddened by talented classical singers out there who are fully capable of recording opera arias but choose instead to go with the crossover flow and do Ave Marias and chestnuts because they think it's more money in it. Which might be true, I don't know, but I don't see why these people don't choose instead to be true to the art.<br /><br />I don't mean to sound like a snob or like I'm condemning people who listen to this kind of music, but this post serves just as much as an opportunity to show people who I am today and what I like musically instead of hiding behind who I was 5-6 years ago.Karen Phttp://www.blogger.com/profile/12772524722015746109noreply@blogger.com0tag:blogger.com,1999:blog-30434417.post-54133637327703154992009-10-06T12:13:00.000-07:002009-10-06T13:18:12.652-07:00catching up - some great singers and albumsSadly, when I'm busy I confess blogging is at the bottom of my priority list. Because of that, and the fact that the papers and analytic writing I have to do at Uni makes me cringe at the thought of writing anything regardless of setting or genre, I haven't blogged in a while. That's not to say I haven't been listening to music.<br /><br />In fact I feel I need music now more than ever - it's what helps me relax when everything else is stressful. So here are some singers and albums I've been listening to recently - I'll be a geek and start off with the classical bit.<br /><br /><object width="445" height="364"><param name="movie" value="http://www.youtube.com/v/6Z-2vZ6C_ms&hl=en&fs=1&color1=0xcc2550&color2=0xe87a9f&border=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/6Z-2vZ6C_ms&hl=en&fs=1&color1=0xcc2550&color2=0xe87a9f&border=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="445" height="364"></embed></object><br /><br /><object width="445" height="364"><param name="movie" value="http://www.youtube.com/v/ZEeOB0yPjbM&hl=en&fs=1&color1=0xcc2550&color2=0xe87a9f&border=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/ZEeOB0yPjbM&hl=en&fs=1&color1=0xcc2550&color2=0xe87a9f&border=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="445" height="364"></embed></object><br /><br />I have known of Ian Bostridge for quite some time but it wasn't until recently that I actually "discovered" his voice. I think perhaps what made me not want to listen to him a few years ago was his reportoire because I had heard he did mostly Lieder and I decided it was not for me. But as it turns out, even though Lieder is unarguably his specialty, he has performed a wide range of music - Mozart, Britten, Vaughan Williams, and Händel as seen in the first video. I have now begun to dig into his Lieder work too - his interpretation of Schubert's Ständchen, as heard at the very beginning of the second video, is simply gorgeous. <br />The interesting thing about Ian Bostridge is that he's no "ordinary classical singer" in the sense that he hasn't been educated at any prestigious music school or conservatory - he started on an academic career and has a PhD in history, and even published a book on witchcraft. He only started singing professionally in the late 90's. Because of his academic career a lot of reviewers have pointed out his ability to connect with and communicate the lyrics, and commented on his intellectual approach to singing.<br /><br />Another singer who has maybe a little unusual background in terms of music is the Finnish tenor Topi Lehtipuu.<br /><br /><object width="445" height="364"><param name="movie" value="http://www.youtube.com/v/ilD7XMEuq-M&hl=en&fs=1&color1=0xcc2550&color2=0xe87a9f&border=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/ilD7XMEuq-M&hl=en&fs=1&color1=0xcc2550&color2=0xe87a9f&border=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="445" height="364"></embed></object><br /><br />He does have a good and proper musical education, but the surprise to some (or many) is the many ways in which he's used his voice through the years. He has performed Finnish folk music, been the lead vocalist in a prog rock band for 7 years, and even dubbed cartoons - He sang the role of Derek in the animated film "The Swan Princess" in the 90's. <br />However I think he's undoubtedly at his best when singing classical. Like in the video from a performance of Cosi Fan Tutte at the Glyndebourne festival, shown above.<br />I rediscovered his voice while listening through Vivaldi's La Fida Ninfa and his character sang only minor parts except for a breathtaking aria of over 9 minutes:<br /><br /><object width="445" height="364"><param name="movie" value="http://www.youtube.com/v/1y-SYkFIu40&hl=en&fs=1&color1=0xcc2550&color2=0xe87a9f&border=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/1y-SYkFIu40&hl=en&fs=1&color1=0xcc2550&color2=0xe87a9f&border=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="445" height="364"></embed></object><br /><br />I say "rediscovered" because then I realised I had bought a recording featuring him, Rolando Villazon (who was the reason of the purchase at the time) and Patrizia Ciofi, a long time ago without knowing who he was.<br /><br />I didn't know who Laura Marling was either before I browsed the iTunes festival catalogue (I have left the classical world for now). I was intrigued by the song called "My manic and I" and the album proved to be no less interesting. <br /><br /><object width="445" height="364"><param name="movie" value="http://www.youtube.com/v/XOYZwQ8-FEE&hl=en&fs=1&color1=0xcc2550&color2=0xe87a9f&border=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/XOYZwQ8-FEE&hl=en&fs=1&color1=0xcc2550&color2=0xe87a9f&border=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="445" height="364"></embed></object><br /><br />Since I started developing a serious interest in the singer/songwriter style I've become increasingly picky. (You'd think it would be more natural to be picky at the start of the process and then broaden the horizon, but not so in my case) So sometimes when I hear solo voice accompanied by guitar strumming or piano tinkering I get the "heard it before" feeling - but the combination of the lyrics, voice and production in this case makes it a lot more interesting.<br /><br /><object width="445" height="364"><param name="movie" value="http://www.youtube.com/v/ax84xcaLfHs&hl=en&fs=1&color1=0xcc2550&color2=0xe87a9f&border=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/ax84xcaLfHs&hl=en&fs=1&color1=0xcc2550&color2=0xe87a9f&border=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="445" height="364"></embed></object><br /><br />Interesting would also describe Imogen Heap. I have to say that in a world where a female pop star should preferably be a size 0 doll-like woman with long blond hair and skimpy clothes (and in many cases, the lack of voice is just as apparent as lack of clothes), Imogen is really like a breath of fresh air. She's been around for a while now, but sticks to her own style both musically and in terms of appearance.<br />And not only does she write her own songs, she also produces and mixes them herself. In addition to solo work she's also devoted herself to successful collaboration projects, such as Frou Frou.<br />How's that for girl power?<br /><br />I'm going to leave it at that for now - I could probably go on and on, but I'll "save" some for later. Later meaning a day or two, not three months...Karen Phttp://www.blogger.com/profile/12772524722015746109noreply@blogger.com0tag:blogger.com,1999:blog-30434417.post-85782788332548520132009-07-19T02:34:00.000-07:002010-06-24T09:50:09.702-07:00Radu Marian and the mystery of the voiceI have a challenge for you:<br /><br />Watch <a href="http://www.youtube.com/watch?v=0cJKD-9SJBc">this video</a> and try not to fall off your chair when this man starts to sing.<br /><br />As people may have noticed by now (I don't see how they couldn't....) I've recently had and still have a great interest in the countertenor voice. Now my horizons have been broadened to include the rare phenomenon of the "male soprano" - Men whose voices for various reasons can go even higher than a countertenor voice. However they don't use falsetto like countertenors do, and their register doesn't go as low as that of countertenors. Many of them (though it's only a handful of singers who go by the term male soprano in the first place) don't even have a male sounding speaking voice.<br /><br />As is the case with Radu Marian. His speaking voice has been described as "a wisp of smoke", which the author of the same article attributes to the fact that Radu, at 17, had severe laryngitis because he strained his voice trying to sing in the tenor range, which of course was too deep for him. Consequently he didn't talk, or go to school, for a whole year. He did eventually regain his vocal abilities, but his voice never changed like that of his peers. He still couldn't sing just as high as he could when he was a child (he claims that back then he could sing a whole octave higher), but his voice still soars higher than one would think is possible for a grown man.<br /><br />Which he naturally finds himself defending every day - there are plenty of people who refuse to believe what their ears and eyes tell them; there is no way that voice can come from a man. No wonder he taught himself to talk back. At school he had a female singing teacher who boldly asked him straight out if he was a woman or a man, to which he replied "If you were a little bit younger, I would show you".<br /><br />One can't help but feel a little sorry for a man whose talent evokes cliche questions rather than just please the ear, and who probably has to deal with those questions for the rest of his life, but Marian himself doesn't seem to let it get to him. Apart from the obvious alterations that comes with the life as a touring performer, Marian leads a fairly normal life. He and his Russian wife have been married for 7 years, he's deeply religious and apart from a somewhat slight frame and short stature, he looks nothing like his mysterious miracle voice would indicate.<br /><br />Nevertheless, it might take time before one grows accustomed to such a voice, so I leave you with a second video of Radu's amazing talent.<br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/dMPlsPD7Cbk&hl=en&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/dMPlsPD7Cbk&hl=en&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object>Karen Phttp://www.blogger.com/profile/12772524722015746109noreply@blogger.com1tag:blogger.com,1999:blog-30434417.post-49672301044409284102009-06-18T10:37:00.000-07:002009-06-18T11:22:27.553-07:003 great live albumsI don't feel I can call this a review since I attended two of the three concerts in question and am not able to be objective... so I'll just call them recommendations.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://ecx.images-amazon.com/images/I/41zY5X5PuEL.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 300px; height: 300px;" src="http://ecx.images-amazon.com/images/I/41zY5X5PuEL.jpg" alt="" border="0" /></a><br /><br /><span style="font-weight: bold;">VARIOUS ARTISTS - CHESS IN CONCERT</span><br /><br />I've been awaiting this release ever since I attended the performance(s) in Royal Albert Hall in May last year (as described in another blog post). Since expectations have been built up for over a year I was afraid of being disappointed, but in terms of musical quality this recording has fulfilled all of my expectations, high as they may be. My only negative remarks have to be made about the confusion around the release itself, which has been put off several times; the full CD/DVD edition is not released yet (my copy is a digital download included in the CD/DVD price because I pre-ordered through <a href="http://www.friendsofjoshgroban.com/">Josh Groban's fan club</a>)<br />The other thing that annoyed me slightly, but probably only because I attended the performance on both nights, is that the recording is from the second night. I felt the atmosphere and also the vocal performance of some cast members were even better the first night. But all in all it's a breathtaking double CD. Now I'm impatient for the CD/DVD pack to arrive so I can watch and relive the performance in all its glory.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://cdon.eu/media-dynamic/images/product/00/04/18/71/54/3/e098f7d6-ee45-49d5-a9be-4a90fa56d1a4.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 300px; height: 300px;" src="http://cdon.eu/media-dynamic/images/product/00/04/18/71/54/3/e098f7d6-ee45-49d5-a9be-4a90fa56d1a4.jpg" alt="" border="0" /></a><br /><span style="font-weight: bold;"><br />LIND/NILSEN/FUENTES/HOLM - HALLELUJAH LIVE VOL 2</span><br /><br />It sounds like a worship album, but it's not. The quartet including one World Idol (Kurt Nilsen), one of Norway's most respected pop artists (Espen Lind), one Norwegian Idol second runner up (Alejandro Fuentes) and one newcomer singer-songwriter (Askil Holm) teamed up in 2006 and enjoyed great success with their concerts of cover songs mixed with songs from each artist's own career. They then released the CD and DVD "Hallelujah live" which became just as popular. The following year they decided to call it a day and went back to their solo careers, but they just couldn't keep apart - and this is the result. A lot of reviewers have given them a hard time and suggested they should have spared themselves the comeback, but judging by the atmosphere at the concert I attended (from which the album was recorded), people in general are more than happy to have them back. It was a magical night and this album too fulfills all of my expectations. One reviewer stated it was a nice souvenir to people who were at the concert (suggesting there was nothing more to it), but I think people who weren't there will also be able to enjoy the cd.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.aceshowbiz.com/images/contest/buble_madison.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 300px; height: 300px;" src="http://www.aceshowbiz.com/images/contest/buble_madison.jpg" alt="" border="0" /></a><br /><span style="font-weight: bold;"><br />MICHAEL BUBLE MEETS MADISON SQUARE GARDEN</span><br /><br />This CD (that also comes with a documentary DVD) has been criticized by Michael's own fans for the lack of tracks (10) and while I understand their frustration, the quality makes up for any lack of quantity. The little collection of songs includes tracks from his 3 previous studio albums, rearranged and with that great energy only Michael can give them. He really seems to let loose and it sounds closer to the Webster Hall concert (which was streamed on MSN) than to the previous live release Caught in the Act. For a second I was worried that the energy and jokes would take the focus away from the vocals entirely (while his stage presence and energy is great to witness, his voice should not get 2nd place); like on This Thing Called Love and I've Got The World On A String, but he really lets his voice shine, as it should, on Home and Lost, so all in all it makes a great balance.Karen Phttp://www.blogger.com/profile/12772524722015746109noreply@blogger.com0tag:blogger.com,1999:blog-30434417.post-85450732165922565922009-05-31T04:50:00.000-07:002009-05-31T05:09:39.480-07:00My iPod....is schizophrenic. It seems to mirror the musical taste of (at least) 10 different personalities. <br /><br />Don't believe me? <br /><br />I picked 10 random tracks from my iPod (with a little help from iTunes DJ) and the result is..well.. don't laugh.<br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/o6xZRm_Ky6g&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/o6xZRm_Ky6g&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/c0ssfpy5YrE&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/c0ssfpy5YrE&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/d5EC9ytwexk&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/d5EC9ytwexk&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><object width="560" height="340"><param name="movie" value="http://www.youtube.com/v/YyyESHqT9a4&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/YyyESHqT9a4&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="560" height="340"></embed></object><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/mS3xp6Kh2C8&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/mS3xp6Kh2C8&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/uIQ1PYFHPIY&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/uIQ1PYFHPIY&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/MtE3Do1GHNM&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/MtE3Do1GHNM&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/EBN4oUT9lAs&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/EBN4oUT9lAs&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/-c9LHqtskhk&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/-c9LHqtskhk&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/OzcasalpLJw&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/OzcasalpLJw&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object>Karen Phttp://www.blogger.com/profile/12772524722015746109noreply@blogger.com0tag:blogger.com,1999:blog-30434417.post-25963232194273721392009-03-25T12:16:00.000-07:002009-03-25T12:18:38.849-07:00The countertenor and his two voicesIt's no secret to the people around me that I have a "thing" for countertenors. I'm simply fascinated by the sound of a countertenor voice; a voice that doesn't really sound like a man, then again not like a woman and not like child either, just some undefined sound of beauty.<br /><br />Maybe people in the industry or in the small community of countertenors roll their eyes at this common description of their singing, as a lot of them are keen to make people view them as "just normal singers" equal to tenors, baritones and basses, not some other-worldly creature or something, in a way, unnatural or strange.<br /><br />If they should be offended by my description above - I apologize, it was not my intention to be inaccurate, mocking or anything like that. But I do see why they can grow tired of defending themselves. Look up a performance of any countertenor on youtube and you're guaranteed to find comments along the lines of "Is that a woman?" or "He has got to be gay". People even include castration and hormonal disorders in their theories. It seems many jump to the conclusion that when a man is able to sing like that, something has to be wrong - it can't be a "real" man.<br /><br />But these opinions are not only expressed on youtube. Philippe Jaroussky mentioned in an interview once that during a church concert in France, a teenage girl in the audience had cracked up laughing the instant he started to sing. Andreas Scholl, also in an interview, joked about the "taboo" around the countertenor voice by introducing himself like in an AA meeting - "Hello, my name is Andreas and I'm a countertenor". As a mere fan of countertenors I've even experienced people's misconceptions first hand - as I was trying to explain the difference between a castrato and a countertenor to some friends over lunch, I was told to change the subject because "we're eating".<br /><br />Which would have been understandable had I gone into the gruesome details of what the castrati had to go through in order to keep their golden voices intact, but even when I didn't it was apparently too much. Therefore I will simply say, just to make the difference clear, that whereas a castrato had one voice which was very high and very flexible, a countertenor has one singing voice - head voice - and one speaking voice, which sounds like the normal speaking voice of any man. (I'm emphasizing this because it seems people sometimes think countertenors also speak in a high voice.)<br /><br />Adding to that the misconception that countertenors have to be gay, no wonder the countertenors feel the need to defend themselves - sometimes by giving their audience a glimpse of their "other voice" in performances or recordings, or by moving into other musical genres.<br /><br />For his CD of folk songs, Andreas Scholl included several tracks in which he used both of his voices to tell the story in the song; a conversation between two people. In his case it was not only the rare sound of his deeper voice that came as a surprise, but also the ease with which he switched between the two voices, creating the illusion of actually hearing two different singers.<br /><br /><object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/LljRWEScrwY&hl=en&fs=1"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/LljRWEScrwY&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" height="344" width="425"></embed></object><br /><br />Philippe Jaroussky surprised his audience in London recently (as shown above) by switching between his two voices during a performance of Sombrero (which he recorded in his countertenor voice only for his latest album Opium), and he also showed a glimpse of the same during a concert with L'Arpeggiata a while back - a concert which was described as a kind of baroque jam session; arranging the songs in new ways and even including jazz improvisations - where he sang a line in his speaking voice and then clasped his hand in front of his mouth as if he had "forgotten" which voice to use.<br /><br />As for moving into other genres, there haven't been that many attempts that I know of, thankfully one should say.. however I have heard of two: Gérard Lesne trying to crossover into pop music and Andreas Scholl who have actually recorded a pop album. (The latter comes as less of a surprise though when we know he did actually dabble with electronica music before he started taking singing seriously)<br />I don't necessarily think that's the right approach to make countertenor voices more accepted, but I admire their courage for trying.<br /><br />I suppose what I'm trying to do is to emphasize the fact that countertenors are NOT castrated, NOT women, not necessarily gay, and perfectly healthy, normal men.<br /><br />*<br /><br />I have already mentioned Philippe Jaroussky, Andreas Scholl and Gérard Lesne, but if you have an interest in countertenors you should also look up Robin Blaze, David Daniels, Xavier Sabata and Max Emanuel Cencic.Karen Phttp://www.blogger.com/profile/12772524722015746109noreply@blogger.com2tag:blogger.com,1999:blog-30434417.post-23459321741049543872009-02-22T11:47:00.000-08:002009-02-22T12:10:04.544-08:00The perfect year?<div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqar2T2WFbMUUN95ihOx-AjJ399XfIx2LIPBTj_ayjpPOub7JgDUlonczAD8fI3IK4iY-yjl8NXl5hPpPvudM8rUM5zSjuyI_0geXDbcaopEEtNEsJt_eWdNjjRa05WtjRjorr1g/s1600-h/blog_ill.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 266px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqar2T2WFbMUUN95ihOx-AjJ399XfIx2LIPBTj_ayjpPOub7JgDUlonczAD8fI3IK4iY-yjl8NXl5hPpPvudM8rUM5zSjuyI_0geXDbcaopEEtNEsJt_eWdNjjRa05WtjRjorr1g/s400/blog_ill.jpg" alt="" id="BLOGGER_PHOTO_ID_5305711141816846594" border="0" /></a><span style="font-size:78%;">clockwise from top: Rolando Villazón, Philippe Jaroussky, Josh Groban, Clay Aiken, Odd Nordstoga, Michael Bublé.</span><br /></div><br /><br /><br />To me, that's what it looks like - at least musically. So many of my favourite artists have new albums coming out this year. According to amazon.fr, Philippe Jaroussky gets the honour of starting the party with his album of French songs, out in just a few days. In March, Rolando Villazon will release and album of Händel arias.<br /><br />As far as the rest of the spring goes I don't have that much information (yet), but the anticipation of autumn makes up for it. Josh Groban has hinted his album will be out in late summer or early autumn, while Michael Bublé is also working on an album to be released around the same time. Odd Nordstoga is not resting on his laurels after his album success "Pilegrim" last year, and will have a new album out this autumn as well.<br /><br />As for Clay Aiken's situation, nothing is certain yet. He did mention recording another album of cover songs, after his album of original songs - "On my way here" - failed to impress the critics. But recently it's been all over media sites and blogs that Clay has been dropped from his label RCA, so in terms of his music career his future doesn't look that bright. I hope however that he gets signed by another label and gets the chance to record whatever he wants, not just what people tell him to - and maybe even write more of his own songs.<br /><br />If you know of any other good albums coming out this year, please let me know by commenting on this post!Karen Phttp://www.blogger.com/profile/12772524722015746109noreply@blogger.com0tag:blogger.com,1999:blog-30434417.post-58506078977916436692009-01-16T05:42:00.000-08:002009-01-16T06:00:00.156-08:00What the...?That was my first thought when I listened to my latest purchase from iTunes music store yesterday; three tracks from the album "Teatro d'amore" - works by Monteverdi. I had seen a very impressive youtube video from it featuring Philippe Jaroussky, whose voice I just can't get enough of, so I was certain I'd get my money's worth. In the first piece I bought, "Si dolce", I was at first too blown away by his voice to pay much attention to the arranging, but after that I became aware that something - I couldn't pinpoint it - reminded me more of a modern ballad than a piece from the 16th century. I also listened to Pur Ti Miro with nothing but enjoyment before I eventually sat down with "Ohime, ch'io cado". I couldn't believe what I heard.<br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/woh1d7QxIKA&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/woh1d7QxIKA&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br />(In this video, Si Dolce is the first number followed by Ohime ch'io cado)<br /><br />Modern percussions, jazz improvisations? And no, it's not just a live "spur of the moment" thing, the studio recording is the same. I can only guess what they tried to achieve by it. Modernize an old piece of music to make classical music more attractive to young people? Did they suddenly realize that since even "pure" classical artists join the classical crossover market now and are marketed almost as pop artists, they should just jump on the wave? Was it just for fun (if so, in my opinion, they should have kept it to that one live performance and not made it the concept of a whole album)?<br /><br />I really don't know. At any rate they should have included it in the album text in some way (viewable to digital download costumers as well), to warn listeners that what they see is not what they get. I was so confused and upset listening to that last track that I felt tricked; like I was almost entitled to get my 99 cents back (Just almost). <br /><br />I really don't know what else to say about this, I'm still very confused. If you have any comments or theories I'd be interested in hearing them!Karen Phttp://www.blogger.com/profile/12772524722015746109noreply@blogger.com0tag:blogger.com,1999:blog-30434417.post-58225083121590767272008-11-14T11:59:00.000-08:002008-11-14T12:42:02.738-08:00A great musical experience..if not THE greatest so far in my life, happened several months ago and I realized I had not even mentioned it here. So I'm making up for it now.<br /><br />About a year ago I heard the news that Josh Groban would play Anatoly in a one night only performance of Chess in Royal Albert Hall, London. I was nervous about going; I had never been to the UK before, the tickets were expensive and there was also the plane ticket and hotel room to think of. I wasn't sure about going but I realized it was an opportunity I'd never have again, so I decided to take it.<br /><br />The following months I was beyond nervous. I had never traveled abroad "just" for a concert before and I was terrified of not getting my money's worth. What if I got sick and couldn't go? What if Josh got sick and couldn't perform? That horrifying thought even drove me to get tickets for the extra performance that had been announced because the original date was sold out. Thanks to some extremely kind fellow Josh fans I ended up getting one very cheap ticket and one ticket for free (since my mum had decided to accompany me on the trip I couldn't do with just one ticket). In hindsight I am very thankful I got to see the show that night, because that's when the said experience took place.<br /><br />I got to the Royal Albert Hall not knowing where the others in the fan group were and had to call around to find them, and only got to say a few brief hello's and give a few hugs before we had to get inside the theater. I was warm, probably a bit dehydrated and dizzy with adrenaline, and just hoped I'd get through the first act without fainting or panicking. <br /><br />I knew the story and the songs so I was secretly waiting for the end of the first act, the most famous one of all the songs, the song everyone had been waiting to hear Josh sing - Anthem. At that point I was fanning my face like mad and my tongue was sticking to the floor of my mouth, had I been somewhere else I would have described my situation as feeling unwell. And there it was, like I heard it for the first time but still able to recognize it; the oboe intro.<br /><br /><object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/gi4Mu4TKcjs&hl=en&fs=1"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/gi4Mu4TKcjs&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" height="344" width="425"></embed></object><br /><br />It was like a symbolic thing for me; this would be the moment that would ensure me I had made the right decision by going and spending the extra money on seeing the show that day as well, the song that would remind me of what I came for. <br /><br />And I was not disappointed, to say the least. For those three minutes I was completely focused on the stage and the voice that filled the auditorium like a physical presence, the magnificent choir that took the song to it's famous crescendo - ending with the line "My land's only borders lie around my heart". And that line had not even been finished before the entire audience jumped up from their seats, cheering and applauding. Not just the Josh fans, as I had for some reason expected - there was not one person still in his seat. And during the last lines of that song and the seconds that followed, I knew I had witnessed something magical, that I'd probably never experience again.<br /><br />The next night I had an even better seat, closer to and in front of the stage, but it still didn't surpass the experience of the first night. My mum who is not as enthusiastic about Josh as I am but still enjoys his voice, told me afterward that she'd felt the magic too, and that convinces me there really was something special about that evening, not just something conjured from my state of adrenaline overflow and water deprivation.<br /><br />I may not be so lucky, but am still hoping, to have more moments like that in my life.Karen Phttp://www.blogger.com/profile/12772524722015746109noreply@blogger.com0tag:blogger.com,1999:blog-30434417.post-51336582291319996252008-05-07T10:12:00.000-07:002008-12-11T15:53:09.118-08:00Clay Aiken - On My Way Here<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGLkl5xzXJTZrsEQh2NX0JfjTK3ON16ldfO8VQFt9MD7AXeYo5I8VqulsMOFethHEKumn2rVRZgfo8lWVDTGvrlsX9_rTulxwZb_vXZ6xQVo7LQ0u-ZVRWDZheh106yrBC7J0S9A/s1600-h/aiken.jpg"><img id="BLOGGER_PHOTO_ID_5197685518309786962" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGLkl5xzXJTZrsEQh2NX0JfjTK3ON16ldfO8VQFt9MD7AXeYo5I8VqulsMOFethHEKumn2rVRZgfo8lWVDTGvrlsX9_rTulxwZb_vXZ6xQVo7LQ0u-ZVRWDZheh106yrBC7J0S9A/s400/aiken.jpg" border="0" /></a><br /><div>Much has been said about this album even before it came out. Some reviewers have accused Clay of choosing songs with cliché lyrics, others have suggested the new release won’t appeal to a younger audience, and a number of web sites find it amusing to focus on the "battle" between him and Josh Groban as their albums released on the same day.</div><br /><div>Well, they’re both young and male, but the likeness ends there.</div><br /><div>Musically the album, entitled On My Way Here, lies very far away from Josh Groban in the pop landscape – there are the lush ballads but also tracks with soul flavour or country feel to them. As stated by Clay himself; there’s something for everyone. I suppose the classic ballad is the type of song he’s been frequently associated with and is in a way expected to sing, which can work to his disadvantage, so it’s a smart move to do something a little different this time.</div><br /><div>"Everything I don’t need" immediately comes to mind in that regard. The groovy rhythm and soul-inspired vocals, which Clay delivers with unexpected confidence, makes it an instant favourite. "Sacrificial love" also stands out, although it may seem like the ‘predictable’ type of ballad earlier mentioned. The sound is simple and stripped of unnecessary effects and allows Clay’s voice to carry the song on its own. On "As long as we’re here" he touches upon yet another genre, the country pop style associated with people like LeeAnn Rimes. It should be said that it still sounds very much like a pop song, and so it won’t scare away listeners who dislike the country genre. I think it has a great hit potential - the chorus refuses to leave my head after one listening. </div><br /><div>These songs, plus of course the self-penned "Lover all alone" and the originally Christian song "The real me" are to me 5 good reasons to buy the album. However, there are some of the rest of the songs that seem to be missing the x-factor. They are good songs, and like the rest of the album cleverly produced, but give a kind of indefinable, nondescript impression after the first listen. It may be they just need more time to grow on you.</div><br /><div>Overall, the album presents some of the Clay Aiken we already know and includes a lot of surprises from a Clay Aiken we have yet to know – and it will be a lot of fun to get to know that person in the future. </div>Karen Phttp://www.blogger.com/profile/12772524722015746109noreply@blogger.com0tag:blogger.com,1999:blog-30434417.post-3971987131931720342008-05-07T09:59:00.000-07:002008-05-07T10:11:01.838-07:00Josh Groban - Awake Live<a href="http://img.photobucket.com/albums/v244/josh_stills/Awake%20Live%20DVD%20stills/Capture112.jpg"><img style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 400px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="http://img.photobucket.com/albums/v244/josh_stills/Awake%20Live%20DVD%20stills/Capture112.jpg" border="0" /></a><span style="font-size:78%;">The Awake Live DVD displays a very energetic Josh Groban.</span><br /><br /><br />Having been to one of the shows of the Awake tour I thought I knew what to expect from the DVD/CD release, which was recorded in Salt Lake City - but it turned out to be anything but predictable.<br /><div><br /><div>In my opinion the visual presentation of the concert exceeds any of the previous live DVDs by Josh, or maybe that’s just what it seems like to my untrained eye because he seems to be at his peak in terms of live performance. The energy from him and his band seems to radiate from the screen, an effect that is added to by the crowd shots and the chaotic fan encounters as he makes his way though the audience in the middle of the concert. </div><br /><div>As a long time fan it surprised me at first that the introduction to a lot of the songs, plus some banter and audience interaction, had been edited out, leaving as much as 5 or 6 songs in a row without any verbal interruption - which can be both a good thing and a bad thing. Of course it’s great to see that the music has first priority, but after a certain amount of songs I feel there is a need for a lengthy introduction or banter or something else to keep the viewer’s interest. But that criticism is more aimed at the editors of the final product rather than Josh himself, since I have no doubt the actual concert was filled with exactly those ingredients. On the other hand, the strict focus on the music might make the DVD more appealing to people who enjoyed Josh’s voice from the beginning, but don’t like or are put off by the fan aspect of it - the inside jokes, the gift-giving on stage, the screaming.</div><br /><div>Well, the screaming the actually have to put up with, but it doesn’t come across as distracting or annoying, just an indicator of the energy level at the concert. An energy level which is through the roof throughout the entire 1hr45min show, including 3 encores.It is really a joy to watch Josh run around on stage and communicate that energy, especially compared to the first DVD based on his PBS special where his only movements were to sit down and get up again. Back then his voice was given the first priority, this time around the focus is on the music, the energy and the show as a whole, and it’s brilliantly done - and a lot more entertainging - but at the end it becomes obvious that while Josh is still full of energy, his voice is begging for a time-out, which in turn causes him to push and strain his voice more. It’s easier to miss when you’re at a concert in person because of the reverb, but it’s audible on the DVD. However, apart from that, Josh’s classical voice training shows in that it gives him the advantage of never missing a note or singing off key.</div><br /><div>If you have seen Josh live in concert before, this DVD will be like an audiovisual scapbook of memories - If you haven’t, enjoy your first Josh Groban concert experience. It’s almost like the real thing. </div></div>Karen Phttp://www.blogger.com/profile/12772524722015746109noreply@blogger.com0tag:blogger.com,1999:blog-30434417.post-7796566545182523362008-01-25T05:49:00.000-08:002008-12-11T15:53:09.639-08:00Reflection: Music and art<div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRmet0fpOizjJsdz9qdKJg2AsMNRmVme7MCNf-BMt_r_5cEt4RK_VVYvabO4AeCmShJ1U_4DWLmUZ2vO-8cTvbd_4a8txS2YlLFuDnToTK-3UshuRe4zEY0Hj7ERjm99WDKvOx7Q/s1600-h/artmusic.jpg"><img id="BLOGGER_PHOTO_ID_5159428524049888386" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRmet0fpOizjJsdz9qdKJg2AsMNRmVme7MCNf-BMt_r_5cEt4RK_VVYvabO4AeCmShJ1U_4DWLmUZ2vO-8cTvbd_4a8txS2YlLFuDnToTK-3UshuRe4zEY0Hj7ERjm99WDKvOx7Q/s400/artmusic.jpg" border="0" /></a><span style="font-size:85%;">What is the parallel between Khatchaturian's cello concerto and Kadinsky's painting?</span> </div><br /><br /><div>Lately I've grown increasingly interested in listening to contemporary and 20th century classical music. I've avoided this 'sub-genre' ever since I started listening to classical music, and I haven't really had the guts to give it a decent chance until recently.</div><br /><div>My first experience with classical music - meaning the first time where I actually began to appreciate the music and not just accept it as a pleasant background sound - was through the film Amadeus. I was amazed by the story of Mozart's life and started tracking down recordings of his works; whether it be symphonies, sonatas, sacral works or opera. After a while my taste expanded to Bach and Händel and a lot of other composers, but with the mere exception of Tchaikovsky, I never listened to works by 19th or 20th century composers. Instead I developed an interest for "early music" and renaissance works, especially works for the countertenor voice.</div><br /><div>In my mind, all of these works have one thing in common - logic. When I listen to it, it "makes sense". As the listener I can feel as though I am witnessing perfection; it couldn't be done any other way, it doesn't evoke any curiosity or raise any questions - historically perhaps, but not musically. (Not to say that the works are shallow and express no deeper meaning - particularly in religious works, such as Bach's aria "Erbarme Dich, Mein Gott" you can really feel the 'message' in the music.)</div><br /><div>Then it dawned on me how much music I have yet to hear - what enormous amounts of music that might bring me hours of listening pleasure, if I only discovered it. But where should I start? </div><div> </div><div>I ended up buying a cd containing a violin concerto and cello concerto by Adam Khachaturian - I must admit the choice was made based on my recognition of one of the performers; Daniel Müller Schott, who I had seen in concert a while back. I went home and put it in the cd player, completely open-minded, or so I thought.</div><br /><div>By the sound of the first note I admit my first thought was "oh no!" After I'd forced myself to listen to the whole concerto, I was almost upset that someone had the nerve to call this - which to my mind sounded like a meaningless mess of melodies, rhythms and instruments - classical music. It had nothing of the qualities I expected from a classical work, even though I knew there were works like that out there, of course. I refused to believe that people would actually sit down and listen to this as a way of enjoying themselves.</div><div> </div><div>My own reaction got me thinking. </div><br /><div>I found in interesting that the reason for my disliking the piece, was that I didn't understand it. It made no sense whatsoever to me. When I closed my eyes, my mind didn't draw pictures from the music like it did when I listened to Bach or Mozart. I started to realize that perhaps I tend to exclude contemporary compositions because the images don't come to me by themselves; I can't sit there as a passive listener, I have to actively take part to make some reason out of the piece. Which can be a challenging and at times exhausting task. I applied my theory to the mentioned cello concerto and listened to it again, and by the end I felt mentally tired. The effect was positive though; I experienced the music in a completely different way, which again turned out to be a bigger source of creativity than when I'd listened to baroque music. </div><br /><div>I also found it interesting to apply my theory to the way a lot of people experience modern, abstract art (not necessarily recent installations or performance/multimedia pieces, but also 20th century art). If they don't understand it, their minds tend to avoid it. They are upset by the fact that someone "can call themselves artists by applying a blob of red paint on a canvas; anyone can do that". When we look at a traditional still-life, our minds recognize the shapes as objects and are comforted by the logic, the perfection. When looking at a 20th century painting like perhaps a work by Kadinsky, with all its 'flying' objects and shapes, we don't understand it. We're used to logic, our eyes find no rest. But what if we really make up our minds to create our own story behind the motive, instead of being upset because the 'solution' isn't served to us on a golden platter, with no effort on our part?</div><br /><div>It's perhaps a side effect of our modern society where everything is based on convenience - we can tend to avoid things that require us to go 'the long way around', even if it involves a positive outcome; a sort of reward.</div>Karen Phttp://www.blogger.com/profile/12772524722015746109noreply@blogger.com0tag:blogger.com,1999:blog-30434417.post-15237440178315341782007-10-12T13:23:00.000-07:002008-12-11T15:53:09.964-08:00Positive surprise: Aled Jones - Reason to Believe<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv1kIi1oNWeyRLCvTolDEzz_FSGNUZKUsfEY6HB1YM6S6K0cA9lYtXRR0dDyCdKXVqv0lEYnUzOIP5734QaFYg0RxiWg4z475a1nAHoqCFS1lD_uLh6-g072uNnRSfTlZb0Yq_Iw/s1600-h/cover.jpg"><img id="BLOGGER_PHOTO_ID_5120548973603441458" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv1kIi1oNWeyRLCvTolDEzz_FSGNUZKUsfEY6HB1YM6S6K0cA9lYtXRR0dDyCdKXVqv0lEYnUzOIP5734QaFYg0RxiWg4z475a1nAHoqCFS1lD_uLh6-g072uNnRSfTlZb0Yq_Iw/s320/cover.jpg" border="0" /></a><br /><div></div><div>When I heard that Aled Jones new album was going to be "a departure", a more pop oriented cd I caught myself thinking it would be a disaster. I’ve heard several examples of artists deciding to experiment with genres they really should stay away from, needless to say the result isn’t pretty.</div><br /><div>But this time I was pleasantly surprised. The tracklist had me a little worried because a lot of them have been recorded so many times before by so many artists, and may be getting a little worn out. Amazingly enough, Aled manages to make it seem like you’re hearing the song for the first time. When he sings "You just call out my name/and you know wherever I am/I’ll come running to see you again" in "You’ve got a friend", it sounds like a sincere decleration of friendship. No wonder he has been known to ‘sing with his heart first and his voice second’. </div><br /><div>I would say his voice and heart are equally present in his singing, though. His vocals are silky smooth, and he shows that the brilliant technique from his choir boy days is still intact.</div><br /><div>Which is partly why the album doesn’t rate to a full 100% in my opinion - sometimes the vocals seem almost too smooth and a little too stiff for what the genre requires. I do believe that his voice is more versatile than what you’d think at first glance - I noticed that he tends to let loose more during the 2nd verse and not reach his full pop potential until the song fades out and you just want to hear more. Maybe he has to take some time to get used to his "new style" first.</div><br /><div>One thing that really stands out in comparison to the previous albums in his adult career, is how well produced it is. It’s his first album recorded with an actual band instead of synth effects and it really gives the album a different level of integrity. He’s not a 100% there yet, but overall this is a little star twinkling in the sky of his career.</div>Karen Phttp://www.blogger.com/profile/12772524722015746109noreply@blogger.com0