That Pink Floyd's Roger Waters should write an opera is not all that surprising. In the group's heyday in the 1970s its music was often called "tomorrow's classical music," though I don't suppose many thought that prediction would come to pass in quite this way. Anyway, the two-CD work, Ca Ira ("it will be," or "there's hope") will be given its official launch in Taiwan early next month and Taipei Times has been granted a preview.
It's nothing if not ambitious. It aims to tell the story of the first four years of the French Revolution, an enormous task. The staging is imagined as a circus. Bryn Terfel narrates (as the Ringmaster, while also playing the King), and Ying Huang (the Butterfly in Frederick
Mitterand's wonderful film of Madame Butterfly) is Marie Antoinette, as well as "the voice of Liberty, Reason and the Republic." West African musician Ismael Lo stars in a scene set in the Caribbean.
The method is declamatory, rather than the traditional one of telling a story through the interaction of characters. Waters makes full use of an orchestra in the 19th century manner, but there's also a chorus of demanding London children as in The Wall and a lot of sound effects -- guns being fired, pigeons flying away, bells, military drums and wind. This is nevertheless a lot more like Andrew Lloyd Webber than The Dark Side of the Moon.
My feeling is that Ca Ira will be very successful in the way Evita and Les Miserables were. But at the same time it seems much better than either of these, both musically and dramatically. The lyrics (by Waters) are excellent and the music could become memorable on repeated hearing. Needless to say, such an important product has led those responsible to pull out all the stops. The performances are first-rate throughout and the sound quality is cutting-edge. Who said the history of opera was over (even though some will judge that this isn't really opera)?
It's always nice to have a chance to revisit, and to reiterate one's praise for the Pierre Boulez/Patrice Chereau Der Ring des Nibelungen. This famous 1981 set of the anniversary production of Richard Wagner's tetralogy at Bayreuth has now been reissued in boxed form, together with The Making of the Ring, an hour-long film about the production, with interview material from Boulez, Chereau, music critic William Mann, leading video director Brian Large and soprano Gwyneth Jones. Of particular interest is the history of Ring
productions at Bayreuth since Wagner's day and the reminiscences of Friedelind Wagner, the composer's descendant.
This set has always been eminently desirable. Even though the rival and much more traditional James Levine/Metropolitan Opera set has a lot going for it musically, this Boulez/Chereau cycle, now in 5.1 DTS Surround Sound, remains incomparable as a dramatic and imaginative experience. It was one of the 20th century's key productions, in any genre, and anyone with the
remotest interest in such things who doesn't know it should rush out and buy it forthwith. Its splendors are almost unlimited.
You might sometimes wonder why some classical artists get recording contracts and some don't. In the case of pianists it might depend these days on whether or not they have caught the ear of Martha Argerich, as EMI is running a whole series of debut solo piano albums by people she endorses. By adding Argerich's name to a new release the public are encouraged to trust an unknown. In the case of the Venezuelan Gabriela Montero their trust is unlikely to be misplaced.
A two-CD set is offered. The first is a selection of items from a range of
composers including Rachmaninov, Scriabin, De Falla, Chopin and Liszt, and includes the Argentinean Alberto Ginastera (1916 to 1983). The other, much more unusually in classical circles, contains 12 improvisations. Montero often does these as encores. It's this disc of improvisations that is particularly remarkable, with her style ranging from jazz to what could be described as classically-inspired fantasias.
Aimez-vous Brahms?(Do you like Brahms?) asked Francoise Sagan a long time ago in the title of a novel. I don't know what I would have replied at the time, but the older I get the more I enjoy him. There was a time when I took it for granted he was something of a fat cat, purring luxuriously with his sonorous harmonies and full orchestration, the perfect composer for business executives. Now I see him differently, as a somewhat withdrawn, introspective individual who pursued an unfashionable interest in pre-Romantic music and collected original manuscripts of Schubert songs.
A new CD from EMI of his three Violin Sonatas reinforces the view of Brahms as unostentatious and inward-looking. These beautiful works are given sensitive and delicate performances here, and in addition there is the movement Brahms wrote, aged 20, for the Sonata FAE. (frei aber einsam, free but alone), in which each of the three movements was written by a different composer. Altogether fine sounds and flawless interpretations.
In late October of 1873 the government of Japan decided against sending a military expedition to Korea to force that nation to open trade relations. Across the government supporters of the expedition resigned immediately. The spectacle of revolt by disaffected samurai began to loom over Japanese politics. In January of 1874 disaffected samurai attacked a senior minister in Tokyo. A month later, a group of pro-Korea expedition and anti-foreign elements from Saga prefecture in Kyushu revolted, driven in part by high food prices stemming from poor harvests. Their leader, according to Edward Drea’s classic Japan’s Imperial Army, was a samurai
The following three paragraphs are just some of what the local Chinese-language press is reporting on breathlessly and following every twist and turn with the eagerness of a soap opera fan. For many English-language readers, it probably comes across as incomprehensibly opaque, so bear with me briefly dear reader: To the surprise of many, former pop singer and Democratic Progressive Party (DPP) ex-lawmaker Yu Tien (余天) of the Taiwan Normal Country Promotion Association (TNCPA) at the last minute dropped out of the running for committee chair of the DPP’s New Taipei City chapter, paving the way for DPP legislator Su
It’s hard to know where to begin with Mark Tovell’s Taiwan: Roads Above the Clouds. Having published a travelogue myself, as well as having contributed to several guidebooks, at first glance Tovell’s book appears to inhabit a middle ground — the kind of hard-to-sell nowheresville publishers detest. Leaf through the pages and you’ll find them suffuse with the purple prose best associated with travel literature: “When the sun is low on a warm, clear morning, and with the heat already rising, we stand at the riverside bike path leading south from Sanxia’s old cobble streets.” Hardly the stuff of your
April 22 to April 28 The true identity of the mastermind behind the Demon Gang (魔鬼黨) was undoubtedly on the minds of countless schoolchildren in late 1958. In the days leading up to the big reveal, more than 10,000 guesses were sent to Ta Hwa Publishing Co (大華文化社) for a chance to win prizes. The smash success of the comic series Great Battle Against the Demon Gang (大戰魔鬼黨) came as a surprise to author Yeh Hung-chia (葉宏甲), who had long given up on his dream after being jailed for 10 months in 1947 over political cartoons. Protagonist