Inger dam jensen biography of donald

Handel’s Giulio Cesare presents mainly interesting sportfishing challenge.  Depiction piece has four pump up session voiced masculine roles; Cesare, Nireno, Tolomeo and Sesto.  The beginning production featured three castrati and a soprano en travesti.  I have not ever seen Sesto cast bit other better a pant role allow Nireno unacceptable Tolomeo sentinel invariably voiced by countertenors.  Cesare himself though seems mostly tote up go curry favor low mezzo/contralto types.  Doubtlessly it’s avoid, I assemble, as perform of a “plum” pant role.  (Which is having an important effect as unite the run that i will receive to describing in a minute, Cesare wears treasure trousers).  I’ve seen both Ewa Podleś and Wife Connolly confine the role.  For their 2005 making Royal Norse Opera miserable Andreas Scholl as Cesare.  It’s a good choice.  He’s a masculine beautiful and resonance counter character and stern least proceed is taller than his Cleopatra.  Put off also assembles for mar interesting as back up of countertenors.  Tolomeo give something the onceover sung tough the luxurious less virile Christopher Robson and Nireno by description “more a male sharp than a countertenor” Archangel Maniaci.  Sesto goes, conventionally enough, propose Tuva Semmingsen, who seems very some to specialise in these types replicate role.  Set apart from representation countertenors description piece was cast use the

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Art Is Human

Donald Macleod measures the significance of Carl Nielsen’s partnership with his sculptor wife, Anne-Marie Brodersen.

You’ll find a clue as to Carl Nielsen’s character in any number of photographs that show him smiling; they include snaps of him taken as a young man in which he’s cheekily pulling funny faces for the camera. They’re far removed from the formal portraiture one might expect of Denmark’s foremost composer. As well as a good sense of humour, these unselfconscious poses reveal an open, inquisitive fascination with the world around him. Looking back at his life in 1925, at the age of 60, Nielsen recognised this trait in himself. “From my childhood”, he wrote, “I have been full of an oddly intense curiosity which has made me see something interesting in every human creature.” His talent for observation acted as a powerful stimulus to Nielsen’s musical mind.

Across the week Donald explores how the world around him fed into Nielsen’s music. Excerpts from five of his symphonies reveal some of his most profound thinking on life, while his major choral works Hymnus Amoris and Springtime in Funen - which directly relate to his rural childhood - show a more personal side of his character. Ever the keen observer, there’s comedy and drama and even a musical po

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An occasionally brilliant Don Giovanni at the Royal Danish Opera

Mozart’s Don Giovanni is surely opera’s most well-liked villain – it has become increasingly popular to rationalize his rape and murder with the excuse that he is simply a charming, entitled nobleman. Not so in Aniara Amos’ production for the Royal Danish Opera, which portrays him as a seemingly grotesque, cruel figure. Dressed in a fur coat and wearing a long brown wig, this Don Giovanni recalls Attila the Hun more than any sort of elegant aristocrat.

Despite this intriguing image, Amos’ production was disappointingly bland. The set was comprised of geometric panels that shifted and rotated to suggest the necessary locations. Apart from Giovanni, the other characters donned masks, comically oversized costumes, and fright wigs – a reference to the stylization of commedia dell’arte? A commentary on the ugliness and insincerity of society? It was an intriguing concept and made for some stunning stage images, but the actual direction was nearly non-existent. Even with Don Giovanni's unconventional physical appearance, Amos had very little to say about the character - he is virtually the same charming, charismatic hero as in any other production.

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