My score of Carmina Burana is pretty gross. Coffee-stained, marked up, dog-eared. Once I left it on the kitchen counter and made enchiladas, so it even sports a few tomato stains. I’ve been using it for about a decade, and I think I’ve performed Carl Orff's work about eight times.
Maybe I’ll trade it in someday and start with a fresh copy. But for now, this one is a well-loved map of a favorite country. A smutronstalle. A wild strawberry place.
I sang Carmina Burana with the Rochester Phil and Rochester Oratorio Society last May, and that concert will air on Monday, September 1st at 8:00 p.m. on Classical 91.5 FM.
Being a radiohead, I love the sound of sound, you know? Recorded sound. In this case, I admit the broadcast has nothing on the live experience. But it’s still worth a listen.
Music by black and Latino composers accounts for less than one percent of the music performed by American orchestras each year. The Sphinx Commissioning Consortium aims to boost that percentage. Last week, it announced that Puerto Rican-born Roberto Sierra has been selected to compose the first work commissioned by twelve American orchestras, including the RPO.
BTW, Monday night, June 16th at 8:00 p.m. the RPO plays the Rochester premiere of different a piece it co-commissioned in 2007, Deus ex Machina. It's not a game. Click here for a preview!
Monday night, June 9th, the RPO plays Métaboles (Metamorphoses) by the living French composer Henri Dutilleux.
“In the conception of this work,” Dutilleux wrote, “the composer never ceased to dream of the mysterious and compelling realm of eternal metamorphosis. The spirit and the form of the music find their origins in an intense contemplation of nature.”
Hear it Monday at 8:00 p.m. on Classical 91.5 FM, 90.3 or streaming.
When soprano Jane Eaglen and baritone Dean Elzinga walked out onto the stage of Eastman Theatre last October, I expected to be dazzled by Eaglen’s powerhouse, Wagnerian voice. But Elzinga was a surprise, equally forceful in Ralph Vaughan Williams’ Sea Symphony, based on Walt Whitman’s “Leaves of Grass.” Elzinga delivered a warm, rich tone similar to that of Bryn Terfel, but with a mournful aspect. He was, in a word, spooky.
In an earlier post, I wondered if the RPO’s Carmina Burana would have the proper impact, given the acoustics of the Eastman. Well, I’m pleased to report that it was loud enough, at least it was in the center of the 11th row. During the week leading up to the show, I wanted to find out more about the work so I went online. Brenda Tremblay’s interview with Christopher Seaman was great, but Alex Ross was less helpful. I searched his blog and unfortunately clicked on a link he provided to a “toweringly brilliant” English translation.
O Fortuna! Kodak’s ten million dollar gift earmarked for renovations to Eastman Theatre have sparked two debates. The first has to do with the future renaming of the space “Kodak Hall.” The second centers on whether renovations, scheduled for this summer and next, will actually improve the sound of music.
The morning after the Rochester Philharmonic and Oratorio Society performed Carmina Burana, two rather technical e-mails on the subject landed in my box. They are reprinted below the line.