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Nicole Lizée, Photo: Marc Bourgeois

Nicole Lizée: Techno-Hauntologist

By Kiersten van Vliet on 1 February 2017 Chamber Music, Contemporary, Interviews

“What happens when you find a ghost and you bring it into a work of music?” asks Nicole Lizée. Insofar as that question is answerable, her compositions that form a dialogue with the surrealist film worlds of David Lynch, Stanley Kubrick, and Alfred Hitchcock or compositions that meld outmoded and glitching gadgets with western chamber instruments unveil the eerie temporal rift between present and past as humans interact with media and technology. Sound Sources Born in small-town Gravelbourg, Saskatchewan in 1973, Lizée’s experiments in sound led her to pursue piano at Brandon University, Manitoba followed by a MA in composition…

Julien Bilodeau: Talking About Another Brick in the Wall

By Caroline Rodgers on 1 February 2017 Contemporary, Interviews, Opera, Quebec Music

Opéra de Montréal’s production of Another Brick in the Wall, inspired by Pink Floyd’s cult album, must be one of the most eagerly anticipated arts event of the year. Composer Julien Bilodeau was given the enormous task of turning the work by Roger Waters into an opera. He spoke to us about the process. After graduating from the Montreal’s Conservatoire de musique, Bilodeau completed further studies in Paris and Frankfurt, and in 2006 received the Robert Flemming prize from the Canada Council for the Arts for most promising composer. Since then he has composed works commissioned by the Montreal Symphony…

Eric Owens as Jaufré Rudel in Kaija Saariaho's L'Amour de Loin. Photo by Ken Howard/Metropolitan Opera

Best of mySCENA: Amin Maalouf on his collaboration with Kaija Saariaho

By Charles Geyer on 1 February 2017 Contemporary, Interviews, Literature, Opera

The opera L’Amour de loin – or Love from Afar – premiered to conspicuous plaudits in Salzburg in 2000, and has enjoyed numerous productions around the globe. It also signaled the beginning of a remarkably fertile, ongoing collaboration between composer Kaija Saariaho and then first-time librettist Amin Maalouf. Maalouf has since partnered with Saariaho on three more musico-dramatic works, all of them sharing certain distinctive features: strong female characters, epitomizing a generative, rancorless strain of feminism; an elusive, gossamer air of mysticism; a usually gentle, ultimately affirmative perception of the workings of providence; and a subtle yet dogged curiosity about the paradox of simultaneous…

Marianne Fiset, Photo: Yves Renaud

OdeM’s Dialogues des carmélites both Timely, Timeless

By Kiersten van Vliet on 30 January 2017 Concert Reviews, Contemporary, Opera

Stage Director Serge Denoncourt returns to the Opéra de Montréal for the first time in almost two decades, lending a measured dramaturgic eye to Poulenc’s indispensable chef-d’oeuvre. Their second production in as many to include an all-Canadian cast and artistic direction, with Dialogues Opéra de Montréal once again confirms the richness of the Canadian operatic scene. In advance of Opéra de Montréal’s new production of Francis Poulenc’s Dialogues des carmélites, The Globe and Mail published a profile of the production entitled “Timely lessons about faith and intolerance” that compares the plot of Dialogues, which is based on the 1794 Martyrs of Compiègne…

Lebrecht Weekly – Leonard Bernstein: Symphonies 1 and 2 (Naxos)

By Norman Lebrecht on 27 January 2017 CD and Book Reviews, Contemporary, Lebrecht Weekly, Orchestral

Bernstein’s three symphonies have not enjoyed much exposure on record. Aside from the Sony and DG releases conducted by the composer, my database calls up only three other versions – Leonard Slatkin at the BBC, James Judd in New Zealand and an LA Phil DG download conducted by Gustavo Dudamel. While the composer’s edition must be considered in some sense definitive, his take on the two works has failed to ignite the public imagination. What catches my ear about Marin Alsop’s new recording with the Baltimore Symphony is how strikingly it diverges from her master’s voice. In the Jeremiah symphony,…

Armin Kolarczyk (Wagnerdämon), Photo: Falk von Traubenberg

In Wahnfried, It Ain’t Over ‘til Wagner’s Son-in-Law Sings!

By Charles Geyer on 25 January 2017 Contemporary, Interviews, Opera, Romantic

PROFILE AND INTERVIEW: An advance discussion with Avner Dorman about his new opera: Wahnfried “When I started working on this project,” recalls Avner Dorman, “there were people who said it could be controversial.” Those people were probably right, but it doesn’t faze Dorman in the least. “From my point of view,” the celebrated American-Israeli composer replies, “I think that’s a good thing for an opera.” Dorman, best known to date for his “intricate craftsmanship and rigorous technique” in a dazzling array of orchestral, chamber, dance and vocal works, is about to have his first opera, Wahnfried, premiered at the Badisches…

Lebrecht Weekly – Mieczyslaw Weinberg: Chamber Symphonies (ECM)

By Norman Lebrecht on 20 January 2017 CD and Book Reviews, Chamber Music, Contemporary, Lebrecht Weekly

When I first started writing about Weinberg quarter of a century ago, there was no consistent western spelling of his surname (mostly printed Vainberg) and his first name was given as Moisei (pronounced Moshe), consistent with Soviet policy of identifying racial minorities. As for the music, it was unknown beyond the Soviet bloc, where it was more familiar to musicians in private performances than it was to public audiences. Today, thanks largely to proselytism by Gidon Kremer and his friends, Weinberg is no longer obscure but a musical giant, waiting to be discovered. The musician closest to Shostakovich – each…

Lebrecht Weekly – Boris Giltburg Plays Shostakovich

By Norman Lebrecht on 13 January 2017 CD and Book Reviews, Contemporary, Lebrecht Weekly, Piano

What is remarkable about both piano concertos is that neither was intended for virtuoso performers. Shostakovich wrote the first in 1933 for himself to play with the Leningrad Philharmonic and the second in 1957 as a birthday present for his son Maxim, who was intent on a conducting career. The lack of flash effects in the score intensifies the directness and sincerity of both works. Listen with eyes closed and you can imagine the state-harassed composer playing the first concerto in some remote corner of the Soviet empire, sharing the limelight with the local trumpet player and Kazak strings. Shostakovich’s…

anatomy theater, Photo: James Daniel

They Sing the Body Dissected: anatomy theater

By Charles Geyer on 10 January 2017 Concert Reviews, Contemporary, Interviews, Opera

OPERA REVIEW: anatomy theater, a new opera by David Lang and Mark Dion, part of the 2017 Prototype Festival, New York City (New York premiere, viewed January 7, 2017). INTERVIEW: Composer David Lang. She’s been hanged for murder – but men still can’t keep their hands off her. Signs posted at the entrance to Brooklyn’s BRIC Arts | Media House for performances of anatomy theater warn of “simulated hanging” and “nudity” featured in the show. And, yep, both appraisals prove quite true (with nothing “simulated” about the latter, by the way). But no tipoff can adequately prepare one for the…

Amin Maalouf: Up-Close with the Man from “Afar”

By Charles Geyer on 31 December 2016 Contemporary, Interviews, Opera

INTERVIEW: with Amin Maalouf (Kaija Saariaho’s librettist-collaborator on L’Amour de loin and other works) The opera L’Amour de loin – or Love from Afar – premiered to conspicuous plaudits in Salzburg in 2000, and has enjoyed numerous productions around the globe. It also signaled the beginning of a remarkably fertile, ongoing collaboration between composer Kaija Saariaho and then first-time librettist Amin Maalouf. Maalouf has since partnered with Saariaho on three more musico-dramatic works, all of them sharing certain distinctive features: strong female characters, epitomizing a generative, rancorless strain of feminism; an elusive, gossamer air of mysticism; a usually gentle, ultimately…

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