John Relyea and Crispin Lord in Duke Bluebeard's Castle at ENO
"Allison Cook, cast as Judith, withdrew from the performance late in the day because of illness. With only two hours’ rehearsal, Jennifer Johnston sang, not from the side of the stage, as one might expect, but as a costumed, albeit largely immobile presence within Joe Hill-Gibbins’s production. The role was acted, meanwhile, wonderfully well, by Crispin Lord, one of ENO’s staff directors, handsome yet androgynous in a white singlet and silk skirt, so that Bluebeard’s final partner, in a remarkable twist, effectively becomes his husband rather than his wife."
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Concert review, ★★★★, BlattWerk Quintett @ Auditorium Maximum, ETHZ, Zurich, 2023-01-31 (Musik an der ETH und UZH) — Rameau: Nouvelles suites de pièces de clavecin, Suite in A minor, RCT 5; Ravel: "Ma Mère L'Oye", M.60a; Albéniz: Suite "Iberia" — 2. El Puerto, 1. Evocación, 7. El Albaicín; Wranitzky: Ballet "Das Waldmädchen" — Parthia in F major, IPW 7; Bartók: Suite, op.14, Sz.62, BB 70 — Allegretto (all works arranged for wind quintet)
Blog post #640
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Bijna iedere dag muziek: Weill en Eisler
Bijna iedere dag muziek: Weill en Eisler
https://youtu.be/aSLTvKC-P3Y
Op zondagavonden lag ik met mijn oor tegen de raio omdat ik geen noot wilde missen van De charme van het chanson, een uitzending van de betreurde Johan Anthierens. Anthierens heeft me vertouwd gemaakt met Barbara en Brel en Brassens. Dat lag in het verlengde van het Frans op school en op straat. Maar Anthierens gaf me ook de stem van Lotte Lenya, dus Weill, dus…
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Béla Bartók, March 25, 1881 – September 26, 1945.
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well this just keeps happening - spent years trying to find a lovely song by Kodály from our childhood and once again the reason why we couldn't find it is because it turns out it's by Bartók - anyway listen to this mmmmm
we sang an english version, but the original hungarian is saying something like:
only tell me, my rose, by which road you leave me - and that road I'll plough with a [golden?] ploughshare - and I'll sow it with pearls and harrow it with my heavy tears
(any hungarians want to correct this? it's a very rough attempt)
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El Conde Bartók #30 - Promotora K, S.A., Mexico 1967.
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Béla Bartók: Duke Bluebeard's Castle (1988, Leslie Megahey)
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COLM TÓIBÍN
Restlessness: A Syllabus
I am interested in texts that are pure voice or deal with difficult experience using a tone that does not offer relief or stop for comfort. Sometimes, the power in the text comes from powerlessness, whether personal or political. Sometimes, death is close or danger beckons or violence is threatened or enacted. Sometimes, there is a sense of real personal risk in the text’s revelations. Sometimes, there is little left to lose. All the time, the tone is incantatory or staccato or filled with melancholy recognitions.
Euripides, Medea
Sophocles, Electra
Sophocles, Antigone
Sylvia Plath, Ariel
Louise Glück, The Wild Iris
Anne Carson, Autobiography of Red
Juan Goytisolo, Forbidden Territory
Joan Didion, A Book of Common Prayer
Oscar Wilde, De Profundis
Nadine Gordimer, The Late Bourgeois World
Ingmar Bergman, Autumn Sonata
John McGahern, The Barracks
Béla Tarr and Ágnes Hranitzky, The Turin Horse
Doris Lessing, The Grass Is Singing
J. M. Coetzee, Age of Iron
Béla Bartók, Bluebeard’s Castle
Constance Debré, Love Me Tender
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