Treasures of the English Renaissance: Stile Antico, Live from LondonĪlthough Stile Antico’s programme article for their Live from London recital introduced their selection from the many treasures of the English Renaissance in the context of the theological debates and upheavals of the Tudor and Elizabethan years, their performance was more evocative of private chamber music than of public liturgy. As with Robert King’s pioneering Purcell series begun over thirty years ago for Hyperion, Harry Christophers is recording two Welcome Songs per disc. The Sixteen continues its exploration of Henry Purcell’s Welcome Songs for Charles II. Henry Purcell, Royal Welcome Songs for King Charles II Vol. Dreams and delusions from Ian Bostridge and Imogen Cooper at Wigmore HallĮver since Wigmore Hall announced their superb series of autumn concerts, all streamed live and available free of charge, I’d been looking forward to this song recital by Ian Bostridge and Imogen Cooper. It was no less enjoyable for that, and it was also uplifting to learn that this wasn’t in fact the ‘last’ LfL event that we will be able to enjoy, courtesy of VOCES8 and their fellow vocal ensembles (more below ). This tenth of ten Live from London concerts was in fact a recorded live performance from California. Love, always: Chanticleer, Live from London via San Francisco The season features music for solo singer and piano by Argento, Britten, Tippett and Shostakovich with a bold and inventive approach to making opera during social distancing. The boundaries of musical and opera are often blurred in operetta.Recently in Reviews ETO Autumn 2020 Season Announcement: Lyric SolitudeĮnglish Touring Opera are delighted to announce a season of lyric monodramas to tour nationally from October to December. They often take on the “trouser role”, characters meant to be men.Ī light opera, in terms of music and subject. Mezzo-sopranos often portray maternal figures, villainesses or anti heroines. Many composers worked with the same librettist, much like songwriters and lyricists. They are often based on important historical events, such as Don Carlo, from our 2019 season and Faust by Gounod. This is the most common type of group singing in opera.ĭuets can express conflict or romance between lovers.Ī genre of 19 th century opera, often in four or five acts and accompanied by large casts and orchestra and magnificent sets. The highest male voice, usually found in Baroque opera. The chorus in operas usually represents groups such as soldiers, peasants, nymphs and so on. The basses are usually authoritative figures such as priests fathers, monarchs in comedic operas the bass is usually a foolish old man.Ī term used to indicate the elegant Italian vocal style of the late 18 th and 19 th centuries, such as in the operas of Rossini, Bellini and Donizetti.Ī passage, usually towards the end of a musical number, in which singers perform a few improvised measures of vocally showy music to show off their technique a brilliant flourish.Ī group of singers with more than one singing part. The first ever operas from around 1600 by Baroque composers such as Monteverdi and Cavalieri. Some of the best known baritone roles in opera were created by Mozart, including Count Almaviva in The Marriage of Figaro, and the title role in Don Giovanni. The middle of male singing voices, situated between the bass and tenor.Ī baritone frequently portrays the villain. They do not drive action forward but are more of a moment of reflection. Such as Summertime from Porgy and Bess.Īrias allow a single character to express an idea or emotion.
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