Archive for the ‘Music’ Category

Boston Baroque: Abduction from the Seraglio

Thursday, May 21st, 1998

Mozart’s early opera, ABDUCTION FROM THE SERAGLIO starts out light and comic, grad­u­ally grows deeper, more melodic, and more profound, and ends in perfect harmony. He wrote in 1781, at the age of 25, bringing together elements of high art and melo­drama into a new form that tran­scends them both. “It was a break­though for Mozart,” says Martin Pearlman, conductor and director of the Boston Baroque.

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Christopher Hogwood

Sunday, December 1st, 1996

CHRISTOPHER HOGWOOD has stopped conducting in the tradi­tional “stuffed shirt” tails and white tie; he now wears a black silk shirt. It gives him the air of an artist — or a monk. The Maestro’s new clothes are a metaphor for his approach to music: not a dusty, life­less tradi­tion, but some­thing authentic, full of meaning, and alive.

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Aretha Franklin/ Diana Ross

Friday, August 2nd, 1996

When I was young, ARETHA FRANKLIN and DIANA ROSS repre­sented the two poles of women’s expe­ri­ence. Diana’s sweet, lyrical voice cele­brated a woman’s capacity to abandon herself completely to love. Aretha’s “Respect” was the ulti­mate expres­sion of a woman’s right­eous anger and self-respect. Now I see them both as present-day embod­i­ments of ancient Goddesses, projecting dazzling images of beauty, power, glamour, self-posses­sion, and grace.

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Brain Opera

Tuesday, July 2nd, 1996

The beau­tiful, beloved voice of LORRAINE HUNT began to rise and spread out through the room, in sweet, sad layers of sound, accom­pa­nied by a visual chorus of flashing colored lights, magi­cally trans­forming the empty, mechan­ical space into a few moments of unearthly beauty.

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Beth Soll / Richard Cornell

Monday, April 29th, 1996

Dancer Beth Soll and Composer Richard Cornell are working together on a dance inspired by a book by West African poet Amadou Hampate Ba. “It’s a long tale, an initia­tory alle­gory, a triumph of knowl­edge over fortune and power,” says Cornell. “A quest for God and wisdom,” says Soll.

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Mark Morris/Orfeo

Thursday, April 11th, 1996

It begins with a fune­real chorus in the antique style, with cornetto and trom­bones. And then Orpheus comes in, lamenting his lost love, and sings one single word. Eury­dice. He sings it three times. He doesn’t say much, but he says every­thing he needs to say, and the third time he sings it, it sends chills up your spine.””

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The Sound Artist: Hans Peter Kuhn

Monday, February 18th, 1991

Sound art is more open and much closer to life than music. Music is a filtered expe­ri­ence. I’m not a composer. I don’t want the emotional view bound or directed in any one direc­tion. I want to keep it open. I’m always trying things out. I hear some­thing and I can pick it up and react in minutes. I’m inter­ested in every­thing that makes a noise.”

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Madame de Pompadour

Friday, June 1st, 1990

Madame de Pompadour always managed to look graceful, even in the most constricting clothes — corsets, bustles, and stays. Like Madonna, she created a Look that was supremely arti­fi­cial — the powdered hair, the heavily applied make-up, the elab­o­rate gowns. Like Madonna in her John-Paul Gaultier bustiers, La Pompadour in her negligée proudly displayed her sexu­ality as the source of her power.

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