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Showing posts with label holiday music. Show all posts
Showing posts with label holiday music. Show all posts

Friday, December 21, 2012

Your Daily Gingerbread II

Some more holiday cheer from Superconductor.
What every kid (and adult) really wants under their tree.
Image from Ren and Stimpy © John Kricfalusi/MTV Networks.
Bach's Christmas Oratorio. 


Wednesday, December 21, 2011

Twelve Days at the Opera

Or Trapped in the Metropolitan Opera House!
"There's got to be a way out of this place! But where?"
The author, trapped somewhere in the Metropolitan Opera House.


The (Metropolitan Opera House, located at W. 64th St. and Amsterdam Avenue) is big. Really big. It's so big you can't imagine it. Well, it's not quite as huge as Douglas Adams' description of the infinities of the universe, but the building is actually a 57-story skyscraper, lying on its side in the middle of Lincoln Center.

There are vast corridors, workshops, underground passageways, rehearsal spaces, storage facilities and dressing rooms, not to mention three restaurants and a really big auditorium within its walls. Here's a quick look at what's coming up in 2012 in the Spring season, set to the tune of a holiday classic. Feel free to sing along. One, two three....

On the first day at the opera, Wagner gave to me,
(One of the planks whacked me on the head!)

On the second day at the opera, Donizetti gave to me
Two bottles of vino, and a great big clunking machine.
(Somebody locked me in a dressing room.)

On the third day at the opera, Massenet gave to me
Three French tricks, two bottles of vino, and a great big clunking machine.
(I disguised myself as a supernumerary.) 

On the fourth day at the opera, a bunch of composers gave to me
Four confused lovers, three French tricks, two bottles of vino, 
And a great big clunking machine.
(I spent the night in List Hall.) 

On the fifth day at the opera, Verdi gave to me,
Fiiiiive great big clocks!
Four confused lovers, three French tricks, two bottles of vino,
And a great big clunking machine. 
(I'm camping in the prompter's box.)

On the sixth day at the opera, Mozart gave to me,
Six heavily armed peasants,
Fiiiiive great big clocks! Four confused lovers, three French tricks, two bottles of vino,
And a great big clunking machine.
(I've been employed as an emergency usher.)

On the seventh day at the opera, Janáček gave to me,
Seven lawyers litigating, six heavily armed peasants, fiiiiive great big clocks!
Four confused lovers, three French tricks, two bottles of vino,
And a great big clunking machine. 
(I can't believe I've been stuck in this building for a week!)

On the eighth day at the opera,Verdi gave to me,
Eight pyramid schemes,
seven lawyers litigating, six heavily armed peasants, fiiiiive great big clocks!
Four confused lovers, three French tricks, two bottles of vino,
And a great big clunking machine.
(I'll just sleep behind the Revlon Bar.)

On the ninth day at the opera, Britten gave to me
Nine sailors scheming, eight pyramid scams, seven lawyers litigating,
six heavily armed peasants, fiiiiive great big clocks!
Four confused lovers, three French tricks, two bottles of vino,
And a great big clunking machine.
(House detectives are looking for me.)

On the tenth day at the opera, Puccini gave to me,
Ten divas leaping,
nine sailors scheming, eight pyramid scams, seven lawyers litigating,
six heavily armed peasants, fiiiiive great big clocks!
Four confused lovers, three French tricks, two bottles of vino,
And a great big clunking machine. 
(They're starting to run out of little sandwiches.)

On the eleventh day at the opera, Verdi gave to me
Eleven bandit hats,
ten divas leaping, nine sailors scheming, eight pyramid scams, seven lawyers litigating,
six heavily armed peasants, fiiiiive great big clocks!
Four confused lovers, three French tricks, two bottles of vino,
And a great big clunking machine.
(Finally, a chance to raise and lower the chandeliers!)

On the twelfth day at the opera, Mussorgsky gave to me,
Twelve doomed Streltsy,
Eleven bandit hats, Ten divas leaping, Nine sailors scheming,
Eight pyramid scams, Seven lawyers litigating,
Six heavily armed peasants, Fiiiiive great big clocks!
Four confused lovers, three French tricks, two bottles of vino,
And a great big clunking machine!!!!
(I think I finally found the exit!)

Happy holidays to all of you!

Friday, December 17, 2010

Concert Review: New York Philharmonic Resurrects Handel's "Messiah"

Bernard Labadie. Photo by David Cannon

The New York Philharmonic performed Handel's Messiah as part of this year's holiday celebrations. Wednesday night featured a powerful, uplifting performance with four fine soloists under the skilled direction of conductor Bernard Labadie.

New York's classical music schedule is always crowded with  Messiah at this time of year.  But something about the New York Phiharmonic's performances is special. It could be the high quality of the choral singing, interacting with the orchestra's crack musicians. Or the presence of a strong conductor on the podium, leading Handel's most famous oratorio.

Either way, this year's run of Messiah has a definite French-Canadian twist. Mr. Labadie is from Québéc, along with his two female soloists: soprano Karina Gauvan and contralto Marie-Nicole Lemieux. Ms. Gauvan's big moment was "I know that my redeemer liveth", sung with soaring, inspirational tone. Ms. Lemieux's plummy alto filled in the range often taken by a countertenor, singing the recitatives with a firm delivery and her arias with power and a pleasing lower voice.

The male soloists were pretty good. Tenor Tilman Lichdi is a German import. He has a smallish, if pleasing voice--rather like a younger Ian Bostridge. Bass Andrew Foster Williams was impressive, maneuvering his rather large instrument through "Why do the Nations/He that Dwelleth", the lengthy aria that quotes the letters of St. Paul.

Mr. Foster-Williams' solo set up the "Hallelujah" Chorus, sung by the New York Choral Artists with close harmony and precise counterpoint. The famous chorus was taken at a brisk tempo, but did not feel at all hurried. The Philharmonic audience stood attentively for the "Hallelujah", a tradition started by King George II at the work's London premiere.

Wednesday, December 1, 2010

Can I Get a "Hallelujah"?

Georg Frideric Handel. Image © PortraitWeb.

With the start of Hannukah tonight, it's officially the holiday season here in New York City. And that means, no matter where you turn in our fair metropolis, some choral group or orchestra is gearing up to perform the 'Messiah', Georg Friedrich Handel's oratorio turned holiday favorite. Not that that has anything to do with the Festival of Lights, it's just that this year the holiday schedule is really weird.

Messiah was written in 1741 and received its premiere in Dublin, Ireland in 1742. It was the subject of major revisions by Handel, and did not reach its final form until it was performed in 1754 at a benefit for the Foundlings' Hospital in London.

This is Handel's most popular and lasting work. In the context of his long career, Messiah is one of a number of oratorios written by Handel after his Italian operas stopped being popular. The text is drawn almost entirely from the King James Bible.

The work was an instant success after its first London performance, when the 'Hallelujah' Chorus moved the monarch, King George II, to stand up during its performance. When the King stood, the entire audience stood too, and this started a tradition of standing during this chorus that has gone on for over 250 years.

OK. Now that you know the history, here's five recommended New York performances of Messiah. Chronological order:

Dec. 7: St. Thomas' Choir: Messiah
The most famous church choir in New York presents its annual performance of the Messiah. Tickets are available here.

Dec. 12-13: Trinity Church: Messiah
Trinity Church dates from 1697, making it older than Handel's Messiah. Their crack choir sings holiday music by that newfangled young punk Handel. Tickets available here.

Dec. 14-18: New York Philharmonic: Messiah
Bernard Labadie conducts the holiday classic to Avery Fisher Hall. No singing along for this one, but a chance to hear New York's finest orchestra play choral music, something that they're pretty good at. Featuring the New York Choral Artists.
Tickets available here.

Dec. 20: Oratorio Society of New York: Messiah
This Gotham choir has been singing the Lord's praises since 1874. A holiday tradition, presented in the friendly white-and-gold confines of Carnegie Hall. And considering that the Dec. 16 holiday concert featuring the Orchestra of St. Luke's and Deborah Voigt has been cancelled, this is looking like a pretty good option.
Tickets available here.

Dec. 21: National Chorale: Annual Messiah Sing-In
For those of you aching to lift your voice in song, the National Chorale presents its annual holiday performance of the Handel oratorio at Avery Fisher Hall. Scores are provided--it's up to you to be on key.
Tickets available here,

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