After Robert Ward left The Eastman School of Music in the 1930’s, he went on to study with Aaron Copland. Ward crafted a musical language that would earn him a 1962 Pulitzer Prize in Music for his opera The Crucible, based on Arthur Miller’s iconic play. (Ward’s son says he remembers finding his parents unexpectedly drinking champagne in the kitchen; that’s how he found out his father had won a Pulitzer.)
WXXI's Brenda Tremblay caught a few moments with Rochester resident and American tenor Gregory Kunde, fresh from his winning “Best Male Singer” in the 2016 International Opera Awards in London.
One of the greatest pleasures in my life is presenting music for you on Classical 91.5 FM. But making music with other people offers a different kind of thrill, and this spring I’m loving the chance to sing with various chamber choirs, including Madrigalia and First Inversion.
My last musical adventure plunged me into the pit.
There are bad relationships and there are Bad Relationships. The MacBeths of Shakepeare's "Scottish Play" push the boundaries of evil, to say the least. This summer bass-baritone Eric Owens made his debut as the title character of Verdi's Shakespearean opera, with Melody Moore as his scheming wife. During the Glimmerglass Festival, we sat down to talk about twisted love, ambition, treachery, murder, and the House of Cards.
As promised, here's a conversation about Claudio Monteverdi's Vespers of 1610 with Deborah Fox of Pegasus Early Music and conductor Paul O'Dette. Why is the Vespers so extraordinary? Why, if it's so amazing, is it rarely performed? Why isn't it as famous as Handel's Messiah? Paul and Deb answer these questions and touch on the raw emotional power of the work in our conversation. I'm thrilled you'll be able to hear this on the radio, thanks to Deborah Fox and recording engineer Carl Pultz of Alembic Productions. Hear the Vespers Monday, November 2 at 8 p.m. on Classical 91.5 and FM 90.3, streaming at wxxi.org. ~ Brenda