New York Arts
Tenores de Aterúe have just launched a Kickstarter fundraising campaign to help us realize our goals for our first trip to Sardinia! We are planning a trip there this Spring, and we’ve raised about half of what we need to cover our expenses. We’re relying on your support to help us cross the finish line! Please visit our Kickstarter page, where you can see our video and read all the information detailing what we’ve got planned, and why your support is crucial. Thanks so much & please spread the word! With your help we can continue to promote Sardinia’s amazing traditional culture and bring more wonderful music to you at future concerts! Here’s the link: http://kck.st/104i4Fr
Yours in Song and Optimism!
Avery, Carl, Gideon & Doug
Tenores de Aterúe
Philippe Jaroussky Sings Handel and Porpora Arias with the Australian Brandenburg Orchestra, plus Locatelli’s L’Arte del Violino in Sydney
The challenge, the risk of counter-tenor singing, still fairly young as a revived technique, seems to appeal to modern audiences; it is a peculiar type of virtuosity just by virtue of the technique. It is only natural that the the counter-tenor revival took off in the 1950’s and developed in parallel with the historical performance practice movement. That was Alfred Deller who helped it take off, who started as a boy in a choir in the 1920’s and as an adult helped the Purcell revival in singing alto, and gave recitals of Italian madrigals and Elizabethan songs, but also singing contemporary opera, creating the role of Oberon for Benjamin Britten’s A Midsummer’s Night Dream.[1. See J. B. Steane writing for Grove Music Online.] Philippe Jaroussky cites Deller’s very distinctive voice, and also James Bowman, who too inspired Britten, creating the role of Apollo for Death in Venice, as voices he listened to in forming his own, and forming as an artist, Bowman especially. Bowman gave his farewell concert in Paris only last November, and many good recordings exist of Deller. Now with some hundreds of professional counter-tenors in the world and they inching up into the soprano range, the hole in the Baroque and classical “instrumentarium” left by the extremely distinctive and castrato voice which tickled so much enthusiasm in audiences — and composers — in the 17th and 18th century is filling, or at least better circumscribed, without needing to resort to a false general preference or dichotomy determined by fashions between counter-tenors and sopranos en travestie, in recital or in opera, or between counter-tenors and contraltos.
Some months ago an email discussion arose among our writers and friends about César Franck’s D Minor Symphony. Steven Kruger, who heard the Chicago Symphony play the work under Riccardo Muti on a West Coast tour in February, was surprised to learn from Alex Ross’s review of their New York series in October (The New Yorker, Oct. 22, 2012) that the old warhorse, once performed at Carnegie Hall seven or eight times in a season, had become a rarity, played there only four times since 1988. Kruger observed: “I think senior conductors serve a function in recycling music that was popular forty-five years ago—in the same way that fashion does this. I’ve always noticed that sixty-five-year-olds in positions of power in the fashion industry see to it, perhaps unconsciously, that the styles they saw at age twenty make a return appearance. It is no accident that the women today look the way they did when I was 20. Somebody my age on “Seventh Avenue” is seeing to it that they do. Similarly, I’m delighted to have Muti bring us back to the pieces of our youth…” Ross quoted Muti, who said, “This fantastic symphony by Franck, it was played everywhere in Italy when I was young. Then, suddenly, it vanished. Why is this?”
by Hart Crane
Infinite consanguinity it bears—
This tendered theme of you that light
Retrieves from sea plains where the sky
Resigns a breast that every wave enthrones;
While ribboned water lanes I wind
Are laved and scattered with no stroke
Wide from your side, whereto this hour
The sea lifts, also, reliquary hands.
[Go to the article to hear Elliott Carter's setting of this poem.]
More in this category
- With summer gone…Lagrein, Madiran, Garnacha, Cabernet…Chinon!
- Paul Thomas Anderson’s The Master, with Philip Seymour Hoffman
- CORRIGENDUM in Seth Lachterman’s survey of the Glimmerglass season, “Crusading for Reason…” – omitted paragraph restored.
- Crusading for Reason in an Age of Anger: Redefining Opera’s Role — Glimmerglass Festival 2012 and a Social-Centric Agenda