Wednesday, 14 October 2015

Judith Weir - composer

I've been fascinated by Judith's work since first hearing about her on Radio 3. Today's press says she is to become the next master of Queen's music though she might prefer Mistress to Master. It is the musical equivalent of the Poet Laureate.

It is pleasing to see a woman gaining such a prestigious post, though her existing role as composer, collaborating with ...
Judith Weir has written music for the Boston Symphony and BBC Symphony orchestras and has been the resident composer with the City of Birmingham symphony orchestra.

Judith Weir composer of music

Judith Weir Operas

:
The Black Spider (6 March 1985, Canterbury)
The Consolations of Scholarship (5 May 1985, Durham)
A Night at the Chinese Opera (8 July 1987, Cheltenham)
The Vanishing Bridegroom (1990, Glasgow)
Blond Eckbert (20 April 1994, London)
Armida (2005, television broadcast for Channel Four in the United Kingdom)
Miss Fortune (Achterbahn) (21 July 2011, Bregenzer Festspiele, in a co-production with the Royal Opera, Covent Garden, London; English language with German surtitles)

Judith Weir videos



Judith Weir - Stars, Night, Music and Light




(BBC Singers, BBC Symphony Chorus, BBC Symphony Orchestra, Jiří Bělohlávek (conductor))

Judith Weir: Airs from Another Planet (1986)




Ingrid Culliford, flute
Melinda Maxwell, oboe
David Rix, clarinet
Dominic Morgan, bassoon
Alison Taylor, horn
Dominic Saunders, piano

Ensemble diretto da Odaline de la Martinez.

1 comment :

  1. #Opera review: Latvian #soprano Kristine Opolais stars in Antonín Dvořák's 'Rusalka' at the Met

    Opera gets no better than Antonín Dvořák’s Czech-language “Rusalka” (water nymph).

    This masterpiece, popular worldwide, inexplicably took 92 years to reach Metropolitan Opera, where the Company mounted its premiere production in 1993.

    After just 27 performances, it’s somehow time to replace it with Director Mary Zimmerman’s fantasy take on this adult fairytale, which opened Feb.

    2 for eight performances.

    Soprano Renée Fleming has sung the role—a personal favorite—at the Met fully 18 times; Latvian soprano #Kristine Opolais does title honors now.

    British maestro Sir Mark Elder conducts.
    Opera fairytale?

    So an opera about a water nymph just replays Disney’s “Little Mermaid” (1989), right? The short answer is No.

    Renée Fleming elaborated in her Nov.

    4, 2016, Newark recital, “This is opera, folks.

    Everybody dies.” Well, not really; she fibbed a little bit.

    Just the nameless Prince actually dies by opera’s end.

    Rusalka wants to but can’t.

    Antonín Dvořák’s librettist, Jaroslav Kvapil, used the fairytales of Karel Jaromír Erben and Božena Němcová as his starting point.
    Opera music for different worlds

    Known in this country chiefly for his nine luscious symphonies, several of Antonín Dvořák’s ten operas regularly appear on Eastern Europe’s lyric stages.

    The music of Act I, set in and around Rusalka’s watery home, is all other-worldly shimmering gossamer.

    This starkly contrasts with the opening of Act II, whose music is totally human—first folksy, then a more-sophisticated sonic tapestry in the scenes featuring the unnamed Prince and Foreign Princess, with whom the now-mute Rusalka clumsily interacts, fish-out-of-water style.

    Act III melds both musical styles.

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