Showing posts with label Dawn Upshaw. Show all posts
Showing posts with label Dawn Upshaw. Show all posts
Tuesday, 17 February 2009
Dawn in the Blogosphere
Sarah Noble, of opera blog Prima la musica, has a detailed review of our Dawn Upshaw concert.
Monday, 2 February 2009
Dawn Upshaw Review (Canberra) II
Alice Allan, Australian Stage Online, 1 February 2009
There’s a danger when reviewing Dawn Upshaw that you’ll end up smothering your writing in superlatives. It’s easy to throw around words like ‘impeccable,’ ‘golden,’ and ‘flawless’ without really considering what they mean. The American soprano, recently awarded the MacArthur Fellowship (or ‘genius grant’), is described in the Australian Chamber Orchestra’s program as ‘one of those performers that anyone serious about the state of music today must see.’ But rather than get bogged down by hyperbole, let’s sum up Upshaw’s brilliance by noting that during her performance at Llewellyn Hall, the audience were moved to break with classical concert tradition and applauded between songs during a three-song suite.
A quick word of warning, though, before we get too excited. Fans of Upshaw may leave this performance wishing she had spent a little more time on stage. Three of the six pieces in the repertoire are performed by the Australian Chamber Orchestra with Upshaw waiting in the wings, and for some, this may have been a disappointment. Yet it would be difficult to argue that you had been short-changed when the ACO are so wonderful to watch, with or without accompaniment.
The show began with James Ledger’s Restless Night, a piece commissioned to mark artistic director and lead violin Richard Tognetti’s 20th anniversary as leader of the ACO. It’s a complicated, beautiful and at times unsettling piece, which comes as close as musically possible to conjuring the feelings of a night spent tossing and turning. Being so delicate and complex, it’s also perfectly suited to showcasing the skill of the ACO, their uncanny unison, and Tognetti’s connection with each and every player.
From Restless Night the ACO launched into Mozart’s Symphony No. 29 in A, K201, which moved from soaring to stately and back with the orchestra’s trademark enthusiasm and precision. It’s clear that each member of the ACO not only has the technical ability to perform this music, but also understands the meaning and emotion behind each and every phrase. In other words, they know how to enjoy themselves. At times, Tognetti might as well be moshing as the music animates his entire frame.
Upshaw then joined the orchestra to sing Osvaldo Golijov’s Three Songs for Soprano and Orchestra – all deeply emotional and at times even anguished pieces of music. The beauty of Upshaw’s voice was of course undeniable, as was her ability to bring pathos and passion into the music. These songs reach into dark, mournful places and Upshaw’s control over her voice, while still expressing the mood of the songs and remaining in perfect unison with the orchestra, was nothing short of stunning.
After interval, Upshaw returned to sing five Hungarian folksongs by Bartók (arranged by Tognetti). These were intricate and subtle pieces, crossing a wide range of emotions. A last minute switch in the running order meant the set ended with the wild and playful ‘Hatforintos’ Nóta, allowing us to see Upshaw’s more mischievous side.
The ACO then took us back to Mozart and his Sinfonia Concertante – a majestic, uplifting and at times even humorous back-and-forth between Tognetti’s violin and Christopher Moore’s viola. Moore provided a calm, graceful contrast to the ever-energetic Tognetti, and each amazed with their precision and dexterity. But as engaging as it was to watch these two, their supporting players shouldn’t be overlooked. Each member of the orchestra supports each other, not only through their technical brilliance, but also through encouraging smiles and glances, not to mention unwavering concentration.
The evening concluded with Upshaw returning to sing Strauss’s Morgen!, another extremely atmospheric piece with moments of drama and beauty. Again, this piece evoked an introspective mood, but the final round of applause was still rapturously appreciative. This is Upshaw’s trump card – she doesn’t need to sing the crowd-pleasers to please the crowd.
There’s a danger when reviewing Dawn Upshaw that you’ll end up smothering your writing in superlatives. It’s easy to throw around words like ‘impeccable,’ ‘golden,’ and ‘flawless’ without really considering what they mean. The American soprano, recently awarded the MacArthur Fellowship (or ‘genius grant’), is described in the Australian Chamber Orchestra’s program as ‘one of those performers that anyone serious about the state of music today must see.’ But rather than get bogged down by hyperbole, let’s sum up Upshaw’s brilliance by noting that during her performance at Llewellyn Hall, the audience were moved to break with classical concert tradition and applauded between songs during a three-song suite.
A quick word of warning, though, before we get too excited. Fans of Upshaw may leave this performance wishing she had spent a little more time on stage. Three of the six pieces in the repertoire are performed by the Australian Chamber Orchestra with Upshaw waiting in the wings, and for some, this may have been a disappointment. Yet it would be difficult to argue that you had been short-changed when the ACO are so wonderful to watch, with or without accompaniment.
The show began with James Ledger’s Restless Night, a piece commissioned to mark artistic director and lead violin Richard Tognetti’s 20th anniversary as leader of the ACO. It’s a complicated, beautiful and at times unsettling piece, which comes as close as musically possible to conjuring the feelings of a night spent tossing and turning. Being so delicate and complex, it’s also perfectly suited to showcasing the skill of the ACO, their uncanny unison, and Tognetti’s connection with each and every player.
From Restless Night the ACO launched into Mozart’s Symphony No. 29 in A, K201, which moved from soaring to stately and back with the orchestra’s trademark enthusiasm and precision. It’s clear that each member of the ACO not only has the technical ability to perform this music, but also understands the meaning and emotion behind each and every phrase. In other words, they know how to enjoy themselves. At times, Tognetti might as well be moshing as the music animates his entire frame.
Upshaw then joined the orchestra to sing Osvaldo Golijov’s Three Songs for Soprano and Orchestra – all deeply emotional and at times even anguished pieces of music. The beauty of Upshaw’s voice was of course undeniable, as was her ability to bring pathos and passion into the music. These songs reach into dark, mournful places and Upshaw’s control over her voice, while still expressing the mood of the songs and remaining in perfect unison with the orchestra, was nothing short of stunning.
After interval, Upshaw returned to sing five Hungarian folksongs by Bartók (arranged by Tognetti). These were intricate and subtle pieces, crossing a wide range of emotions. A last minute switch in the running order meant the set ended with the wild and playful ‘Hatforintos’ Nóta, allowing us to see Upshaw’s more mischievous side.
The ACO then took us back to Mozart and his Sinfonia Concertante – a majestic, uplifting and at times even humorous back-and-forth between Tognetti’s violin and Christopher Moore’s viola. Moore provided a calm, graceful contrast to the ever-energetic Tognetti, and each amazed with their precision and dexterity. But as engaging as it was to watch these two, their supporting players shouldn’t be overlooked. Each member of the orchestra supports each other, not only through their technical brilliance, but also through encouraging smiles and glances, not to mention unwavering concentration.
The evening concluded with Upshaw returning to sing Strauss’s Morgen!, another extremely atmospheric piece with moments of drama and beauty. Again, this piece evoked an introspective mood, but the final round of applause was still rapturously appreciative. This is Upshaw’s trump card – she doesn’t need to sing the crowd-pleasers to please the crowd.
Dawn Upshaw Review (Canberra)
Vincent Plush, The Australian, 2 February 2009
In September 2003, American soprano Dawn Upshaw strode onstage at the Brisbane Concert Hall with the Australian Chamber Orchestra. There was cheering before she had sung a note, and there were tears after her last.
After that single concert, Upshaw fell ill, her tour abandoned. Over the intervening years, she has performed with the ACO in North America and now she has returned for a national tour.
Their musical love affair continues today. Rarely does this level of empathy and affection manifest itself in performances of such celestial standard. Upshaw's angelic voice is pure, crystal clear, rapturous and every bit as enchanting as heard on her 50-plus recordings.
In a sense, the program was almost irrelevant. Upshaw could have sung wedding telegrams and utterly captivated her audience. Folk music launched this musical honeymoon, five quirky epigrams from Bartok, orchestrated by Richard Tognetti, and three touching songs from Osvaldo Golijov that moved beyond Luciano Berio's Folk Songs in their subtle simplicities.
Cat-gut strings and period horns and oboes ensured Mozart was in good form. A skittishly robust rendition of his 29th Symphony led to a similarly animated performance of the E flat Sinfonia Concertante for violin and viola.
In this first glimpse of a new ACO recording project for the BIS label, Tognetti was joined by violist Christopher Moore. Their musical banter was beguiling and persuasive, but for the perilously fast tempo of the final movement.
Perth-based composer James Ledger provided Restless Night, the first of several commissions celebrating Tognetti's 20th year with the ACO. The piece groaned under the weight of too many ideas for its meagre six minutes, as Ledger's Bartok-like insect sounds were swatted by gratuitous rock rhythms.
The final work left the most enduring memory, with Upshaw returning to sing Richard Strauss's Morgen. In these few minutes, five years of absence were abundantly rewarded. I want this music at my funeral.
Pleasingly, Katherine Kemp's acutely perceptive notes in ACO programs are now available free and online.
While the acoustic of the refurbished Llewellyn Hall is bright and cheering, being there can be a trial: traffic jams in the aisles, inadequate foyer space and no water bubblers. And why is a centre aisle OK for graduations but not for concerts? A new national performing arts centre for Canberra's centenary in 2013 would be a very good thing, and the ACO should engage Upshaw immediately for their first performances there.
In September 2003, American soprano Dawn Upshaw strode onstage at the Brisbane Concert Hall with the Australian Chamber Orchestra. There was cheering before she had sung a note, and there were tears after her last.
After that single concert, Upshaw fell ill, her tour abandoned. Over the intervening years, she has performed with the ACO in North America and now she has returned for a national tour.
Their musical love affair continues today. Rarely does this level of empathy and affection manifest itself in performances of such celestial standard. Upshaw's angelic voice is pure, crystal clear, rapturous and every bit as enchanting as heard on her 50-plus recordings.
In a sense, the program was almost irrelevant. Upshaw could have sung wedding telegrams and utterly captivated her audience. Folk music launched this musical honeymoon, five quirky epigrams from Bartok, orchestrated by Richard Tognetti, and three touching songs from Osvaldo Golijov that moved beyond Luciano Berio's Folk Songs in their subtle simplicities.
Cat-gut strings and period horns and oboes ensured Mozart was in good form. A skittishly robust rendition of his 29th Symphony led to a similarly animated performance of the E flat Sinfonia Concertante for violin and viola.
In this first glimpse of a new ACO recording project for the BIS label, Tognetti was joined by violist Christopher Moore. Their musical banter was beguiling and persuasive, but for the perilously fast tempo of the final movement.
Perth-based composer James Ledger provided Restless Night, the first of several commissions celebrating Tognetti's 20th year with the ACO. The piece groaned under the weight of too many ideas for its meagre six minutes, as Ledger's Bartok-like insect sounds were swatted by gratuitous rock rhythms.
The final work left the most enduring memory, with Upshaw returning to sing Richard Strauss's Morgen. In these few minutes, five years of absence were abundantly rewarded. I want this music at my funeral.
Pleasingly, Katherine Kemp's acutely perceptive notes in ACO programs are now available free and online.
While the acoustic of the refurbished Llewellyn Hall is bright and cheering, being there can be a trial: traffic jams in the aisles, inadequate foyer space and no water bubblers. And why is a centre aisle OK for graduations but not for concerts? A new national performing arts centre for Canberra's centenary in 2013 would be a very good thing, and the ACO should engage Upshaw immediately for their first performances there.
Dawn Upshaw Review (Melbourne)
Clive O'Connell, The Age, 2 February 2009
The Australian Chamber Orchestra is on tour with soprano Dawn Upshaw, who had to cancel her 2003 concerts here due to serious illness. Clearly her recovery has been solid, with no signs of fatigue or production problems in her contribution of works by Osvaldo Golijov, Bartok and Richard Strauss.
In fact, the obvious shortcomings came from the ACO itself; not the central core of strings, but some guest wind players for two Mozart works.
To celebrate artistic director Richard Tognetti's 20th anniversary leading this hallmark ensemble, Perth composer James Ledger produced Restless Night, a spiky, entertaining bagatelle with a wry conclusion well suited to its dedicatee's personality. The following performance of Mozart's A Major Symphony No. 29 came across as finely prepared by the strings but the pairs of horns and oboes playing original or replica instruments sounded shaky, particularly at entry points, unsettling the ACO's usual flawless fabric. Matters improved after interval with a firm account of the Sinfonia Concertante K. 364, Tognetti taking the solo violin line and ACO principal Christopher Moore supplying a solid counterweight viola.
But the afternoon belonged to Upshaw, displaying her artistry not just through technique but in consistently involving interpretations, even in music that reveals a distracting wealth of references and influences.
The Australian Chamber Orchestra is on tour with soprano Dawn Upshaw, who had to cancel her 2003 concerts here due to serious illness. Clearly her recovery has been solid, with no signs of fatigue or production problems in her contribution of works by Osvaldo Golijov, Bartok and Richard Strauss.
In fact, the obvious shortcomings came from the ACO itself; not the central core of strings, but some guest wind players for two Mozart works.
To celebrate artistic director Richard Tognetti's 20th anniversary leading this hallmark ensemble, Perth composer James Ledger produced Restless Night, a spiky, entertaining bagatelle with a wry conclusion well suited to its dedicatee's personality. The following performance of Mozart's A Major Symphony No. 29 came across as finely prepared by the strings but the pairs of horns and oboes playing original or replica instruments sounded shaky, particularly at entry points, unsettling the ACO's usual flawless fabric. Matters improved after interval with a firm account of the Sinfonia Concertante K. 364, Tognetti taking the solo violin line and ACO principal Christopher Moore supplying a solid counterweight viola.
But the afternoon belonged to Upshaw, displaying her artistry not just through technique but in consistently involving interpretations, even in music that reveals a distracting wealth of references and influences.
Tuesday, 27 January 2009
An ACO First: Free Program Books
Our first FREE concert program book is now available for download ahead of our tour with Dawn Upshaw which begins this week.
Click here to download the PDF file and read about the music in this concert.
Of course, hard copy programs will be distributed at our concerts. Please help us save trees: share one program between two of you (your companion or, if you're going solo, why not get to know the person next to you?).
Happy reading from the ACO.
Click here to download the PDF file and read about the music in this concert.
Of course, hard copy programs will be distributed at our concerts. Please help us save trees: share one program between two of you (your companion or, if you're going solo, why not get to know the person next to you?).
Happy reading from the ACO.
Friday, 9 January 2009
Diva Finds a New Dawn
From the Sydney Morning Herald, Friday 9 January:
Bryce Hallett speaks to a soprano whose experience with breast cancer has added depth to her performance.
Dawn Upshaw goes straight to the heart of the matter. She likens her voice to an instrument and describes herself as a musician. "Who am I making this music with? What can you [the composer or director] share with me that will be new? How can I investigate different parts and rooms of my voice?"
These are among the core questions the soprano asks herself each time she commits to a song cycle, opera or recital. It is this very curiosity and experimentation which, aside from her vocal range and dramatic instincts, have made her a favoured colleague of the director Peter Sellars, the composers Osvaldo Golijov and John Adams, and such musicians as Richard Goode, James Levine and Esa-Pekka Salonen.
Upshaw's musical choices and partners have enabled her to forge a distinctive and adventurous career, one which began in a typically low-key manner with an offstage role as a shepherd in Wagner, quickly graduating to Mozart heroines before plunging into the largely untested waters of contemporary fare.
Read the full article.
Bryce Hallett speaks to a soprano whose experience with breast cancer has added depth to her performance.
Dawn Upshaw goes straight to the heart of the matter. She likens her voice to an instrument and describes herself as a musician. "Who am I making this music with? What can you [the composer or director] share with me that will be new? How can I investigate different parts and rooms of my voice?"
These are among the core questions the soprano asks herself each time she commits to a song cycle, opera or recital. It is this very curiosity and experimentation which, aside from her vocal range and dramatic instincts, have made her a favoured colleague of the director Peter Sellars, the composers Osvaldo Golijov and John Adams, and such musicians as Richard Goode, James Levine and Esa-Pekka Salonen.
Upshaw's musical choices and partners have enabled her to forge a distinctive and adventurous career, one which began in a typically low-key manner with an offstage role as a shepherd in Wagner, quickly graduating to Mozart heroines before plunging into the largely untested waters of contemporary fare.
Read the full article.
Tuesday, 6 January 2009
Upshaw Online
Dawn Upshaw sings 'With Darkness Deep' from Handel's Theodora.
Monday, 30 April 2007
USA 07
Leaving The audience response in Carnegie Hall ( Zankel Hall ) was gratifying (unlike the acoustics) and we played Debussy and Walton as encores.
Melissa Barnard, Tipi, Pieter Wispelwey and co. are on a cello trying-out frenzy. Instruments by Vuillaume, Grancino, Gasparo da Salò (1542-1609) amongst others vying for their love and appraisal. Very interesting to hear all the different attributes in a piece of wood and how it can really change the way people play. It’s also different to note how, like with wine, people can be persuaded by the pedigree of a name hence it’s best to have blind tastings. Steven Isserlis haughtily claims that he’s not interested in instruments but rather by how people play them…mmm!
The violinists are going mad trying out different bows. A Kittel (turns out to be a fake) and Peccattes. All very frustrating chasing one’s tail.
Stumbled into Gordon Ramsey’s The London restaurant. The nastiest man on TV is an elegant chef and for $16 you could get taster plates after the concert with not many people and exemplary service. Amazingly it’s not too expensive AND unlike
Cellist Julian Thompson is late for the bus out of NYC and can’t be awakened by phone, or repeated knocking on the door, so Damien (orch manager) has to get security to break into his room - and there the little lamb is sleeping off his martinis. Reeking of vodka we howl abuse at people late for buses. Shame on you Prisoner Thompson. HA. I’ll post a photo later.
Apr 25, 2007
What a relief to be in the north east.
Caught up with great friend Ben Zander who took RT out to Walnut Hill performing arts high school for an energetic 3 hours of masterclasses with Ben’s contagious energy inspiring 150 of the country’s most talented high school age music students.
Apr 16 2007
65,000 injuries and 30,000 deaths per anum and they don’t want to fix the problem. Just being near a gun scares the crap out of me. With such a massive gun problem and all the politicians can do is mindlessly invoke the second amendment : “A well regulated Militia, being necessary to the security of a free State, the right of the people to keep and bear Arms, shall not be infringed”. We must be worried by predictions that
Yes! Everyone is bitching about the food, the obesity, the guns, the war, the arrogance, the T.V., the super-powerness. Of course there are INCREDIBLE things in the USA, but if you put yourself up as a superpower then expect the rest of the world to have high standards.
Dear Richard
Chris and I are in LA. Last night we went to dinner at the house of Billy Hayes and Wendy West - friends of mine for nearly 30 years. Billy Hayes was the guy who wrote the story (and lived it) Midnight Express about his bust for hashish smuggling, 5 years in Turkish prison and his daring escape from Turkish Prison.
We started talking about Shantaram, obviously a story he has a lot in common with, and I brought your name up. Suddenly Billy says "ACO???" Australian Chamber Orchestra??? Hey I just drove a double bass and two cellos out to
When he is not acting, or playing poker for a living, he does some long distance driving for the company that delivered your instruments. He gave me Damien Low, your road manager’s cell phone. I called last night while you guys were playing about 9pm. If he is a good road manager he will have delivered my message to you and he will call me with details this morning. Naturally we want to see you and hear you.”
Damien Low is a good road manager – the best – and he did pass on the message. Met up with Penny and was stoked to receive this amazing coincidence. Unfortunately we had our phones off during dinner as Billy was trying to meet up with us. Synchronicity or what?
Now we’re in
Everywhere you travel, you absorb something of the place you’re in. …
When it comes to energy saving, this country is not changing its habits in any ostensible way. At airports fast food outlets help to further oversize the consumer, they have few if any recycling bins and the packaging is unbelievably wasteful and redundant.
Like its inhabitants the cars appear larger than ever, and few people appear genuinely disturbed by the consequence of continuing down this unsustainable route.
Playing in
For those too short-sighted to see the worth of bringing the Sydney Opera House up to the standard it should be believing it to be a waste of money should get out and about and see what they’ve done to MOMA in NYC and what they’re about to do to Alice Tully Hall alone - the latter costing US$700 million. It is these iconic buildings that make a city. We only have one in
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