Bill evans symbiosis transcription3/9/2024 ![]() ![]() She has worked with such orchestras as the Berlin Philharmonic, Age of Enlightenment, Orchestre National de France, Orchestre de Paris, Rome’s Santa Cecilia, the Royal Flanders Philharmonic Orchestra, the Lyon Opera Orchestra, the Boston Symphony Orchestra, les Arts Florissants and Les Talens Lyriques and with conductors including Claudio Abbado, Charles Dutoit, Frans Brüggen, Louis Langrée, William Christie, Marc Minkowski, John Neschling, Wyung-Whun Chung, Ivor Bolton, Jean-Claude Malgoire, Jean-Claude Casadesus, Christophe Rousset, Trevor Pinnock, Sir Neville Marriner, Marek Janowski, Marcello Viotti, Thomas Hengelbrock, Serge Baudo and Sebastian Weigle. Her success in the role of Donna Elvira in DON GIOVANNI at the Aix-en-Provence Festival under Claudio Abbado and Peter Brook was followed by appearances at the major European opera houses and festivals. The texture of solo strings and piano sets Véronique Gens’s incomparable storytelling artistry in a new light.Ī prominent Baroque performer in recent years, soprano Véronique Gens has also become recognized as one of the word’s finest Mozart singers. Appropriately enough, the programme ends with La Vie en rose, for this music offers a kaleidoscope of all the colours of human feeling. Alexandre Dratwicki has made these arrangements in the style of the nineteenth century. Hence Hahn, Berlioz, Saint- Saëns, Massenet, La Tombelle, Ropartz, Louiguy and Messager all appear in a programme whose guiding thread is the emotions of nocturnal abandonment: the charms of twilight, the trajectory of dreams, the terror of nightmare or the exhilaration of festive occasions. Alongside these famous pioneering pieces, this programme devised by the Palazzetto Bru Zane champions a return to the art of transcription, so popular in the nineteenth century, with the aim of expanding the repertory for voice, strings and piano in order to unearth some forgotten treasures. By placing a string quartet and a piano around the singer, Chausson’s Chanson perpétuelle, Lekeu’s Nocturne and Fauré’s La Bonne Chanson oscillate between chamber musical intimacy and orchestral ambition. 13 L'amour masqué: J'ai deux amants 02:48Īs the symbiosis between the art of the poet and that of the composer, the French mélodie became the jewel of the salons of the ‘Belle Époque’.9 Quatre poèmes: Ceux qui, parmi les morts d'amour 02:38.8 La lugubre gondola, pour violoncelle et piano, S.
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