Malta, the island nation 50 miles south of Sicily, may be small, but it's home to one of the biggest stars in opera, tenor Joseph Calleja. And like his country's name, which may originate in the Greek word for honey, Calleja's voice is a potent mix of Italianate passion and sweetness. Just listen to how he pulls the volume back to a slender golden ray of tone several times in Tosti's gorgeous "Ideale," and especially the word "disciogliea" in the Puccini aria that closes this performance.
For the millennium, in 2000 American composer John Adams completed a compelling, large-scale oratorio based on the nativity story called El NiÃ±o. Now he's composed a companion piece, The Gospel According to the Other Mary, a Passion oratorio mounted with his usual collaborator, the stage director and librettist Peter Sellars.
Johann Sebastian Bach, with his big white wig, might stand as the "supreme arbiter and lawgiver of music," as musicologist Nicolas Slonimsky says. But the composer, organist, choirmaster and teacher could also be surprisingly witty and irreverent.
Dolora Zajick discovered opera as a 22-year-old pre-med student. "That's when I discovered I had a voice," she tells Fresh Air host Terry Gross, "and I actually had a crack at a singing career. And I decided to take the chance."
Originally published on Tue March 18, 2014 11:47 am
The human voice, the true original instrument, is still the most expressive and personal of all. It's one reason more than 42.5 million Americans sing in choirs, and why we seem to be hardwired to tell our stories through song. It also probably explains why I'm a vocal music junkie, eagerly pawing over the operas, recitals and choir albums that land on my desk and in my download folder.
Connecticut-born composer-pianist Timo Andres likens his music to "walking into an interesting apartment and seeing a few things next to each other that tell you something about a person." At once familiar and modern, forward-looking and reverent, Andres's music tells the story of a composer striving to reconcile a fascination with the past and composers ranging from Mozar
Originally published on Wed March 26, 2014 9:40 am
This is a recording of a jazz trio playing the score to a 101-year-old ballet. It is not a "jazzing the classics" record or a "fantasia on the themes of" sort of project. It is a band translating one of the landmark works in music history to piano, bass and drum set, and doing it as literally as possible.