(US) Extraordinary Women From an Extraordinary Era (Magnificat) -- By Marianne Lipanovich (Concert: 2011 Feb 4,5,6)
Orchestre LES PASSIONS
Isabelle Poulenard, soprano. Guillemette Laurens, alto.
Vincent Lièvre-Picard, tenor (Evangelist). Arnaud Richard, bass (Pilate).
Jean-François Rouchon, bass (Jesus). Antonio Guirao, bass (Peter,Judas)
chorus : ARCHIPELS (Joël Suhubiette) - A CONTRETEMPS (Guy Zanesi)
ARPEGE (J. Charpentier) – Maîtrise du CONSERVATOIRE de Toulouse (M. Opstad)
Musical Direction Jean-Marc Andrieu
Halle-aux-Grains, Toulouse (2011, March 23; April 3)
Palais des Sports, Bordeaux (2011, April 2)
American Bach Soloists Music Director, Jeffrey Thomas, speaks about their annual performances of Handel's Messiah, one of the greatest oratorios of all time, in San Francisco's Grace Cathedral. Baritone Jesse Blumberg and the American Bach Choir are featured in performance clips.
Author: Oesterley, W O E
Published: 1923, 2010
This work surveys a wide spread of old rites, practised during initiations, puberty, marriages, burials, and other major events of life. Relying on ornamental artwork on pottery and on ancient inscriptions and literature, the author examines, among other topics, Old Testament terms for 'dancing,' and forms of musical accompaniment in the time of the Hebrews; the sacred processional dance, performed by Hittites, Egyptians, Greeks, Romans, and other peoples; the ritual dance around sacred objects; and sacred dances performed during harvests and other festivals.
(Although not directly music related, this article may be of interest to some -- ed.)
The job of a renaissance court portraitist was to produce likenesses of his sovereigns to display at the palace and give to foreign dignitaries or prospective brides.
(FR) "De Paris à Versailles". Charpentier, Marais, Couperin -- Les Passions Orchestre Baroque (2011 January 22)
Église du Bouclier – Strasbourg
With Italian influence and in defense of the French style, these three composers entertained contrasting rapports with the Court at Versailles. The delicacy and richness of music by Charpentier regularly attracted Louis XIV in Paris, while Marin Marais, Lully's successor, enjoyed the grace of the King in the splendor of the Court. Couperin, meanwhile, sailed incessantly from Paris to Versailles and was able to skillfully combine French and Italian styles by the subtle and learned style of his writing.
(US) Worth a Reprise at Age 401 -- Monteverdi Vespers of 1610 -- Review by Steve Smith (New York Times)
Come to a gala showcase featuring 7 of the finest world-class early music ensembles, produced by GEMS Live! and Nancy Carlin Associates.
(US) Mozart at Salzburg Festival: Don Giovanni and Così fan tutte - Review by Chris Mullins (Opera Today)
As many of you know, I've been in indifferent health for the last couple of years, and my doctors are now insisting that I must take life more easily. So, with enormous regret, I am closing the retail part of Dance Books and in future shall run the company solely as publishers. I have tried to find a buyer for the retail part of the company, but so far without success, so if there are any eccentric millionaires out there who've always dreamt of running an online dance bookselling company, do feel free to get in touch.
(US) Songs, Scribes, and Society The History and Reception of the Loire Valley Chansonniers (2010 Nov.) - Oxford Press
(FR) Brillamment Baroque (Brilliantly Baroque) -- 11th international Early Music and Baroque Workshop (2011 February 19-26)
(US) David Daniels: The Bold, the Baroque, and the Braves - Interview by Marianne Lipanovich (San Francisco Classical Voice)
35 easy dance pieces for Renaissance Lute. Music for lute does often come in form of complete lute books from the period, but sometimes music is found bound together with totally different books. From these appendices we have made this edition: from an appendix of Leipzig Ms II.66. and Leipzig II.5.32b. Expect enjoyable dance pieces that are not difficult to play. French tablature / Renaissance tuning (Euro 20.-)
Restoration Theater (in brief)
In 1660, Charles II was crowned King of England. The country had been in a political and parliamentary dictatorship for many years, and had now been restored. Hence, a new chapter in English history called the Restoration. It wasn’t just the restoration of the monarchy, however, but the return of a culture that had been shut down during the dictatorship, such as public theaters.
In sports they say, “Winning isn’t the most important thing—it’s the only thing.” In the theater, getting the show on the boards out front is the key.
All else is, if not irrelevant, subservient: the look, the style, the star, the archival accuracy. You can pull any strings you like; just get out there and dance. Or sing.
On Wednesday, December 15th, young Early Music maestro Steven Fox once again conducts the Clarion Choir together with the period-instrument Clarion Orchestra and an outstanding group of soloists in Bach’s celebratory Cantata No. 133 ‘Ich freue mich in dir’, and the 2nd and 5th Cantatas from the Christmas Oratorio, ‘Und es waren Hirten’ and ‘Ehre sei dir, Gott, gesungen.’ The concert, which takes place at Park Avenue Christian Church (1010 Park at 85th Street), features soloists Sherezade Panthaki, soprano; Melissa Attebury and Virginia Warnken, altos; Oliver Mercer, tenor (Evangelist); Daniel Mutlu, tenor; John Boehr, baritone, and Douglas Williams, bass.