RCM Baroque Dance Workshop 2009

From Concerts in London, 2009

Musiciens du Louvre - Castor et Pollux by J. Rameau

Julian Bream guitar and lute recital 1968 live audio recording

Julian Bream with Lute

Why is there a guitar beside him.....?

Capriccio Stravagante - Récréation de musique, opus 8 by Jean-Marie Leclair

Early Music Festival & Exhibition 2009 in Greenwich

From Life in London, 2009

Violin Concerto in D major RV 564 by A. Vivaldi - Europa Galante in

Reading Lists

On Playing the Flute (Paperback), by Johann Joachim Quantz (Author), Edward R. Reilly (Translator)



The Flute (Yale Musical Instrument Series), by Ardal Powell



The New Grove French Baroque Masters: Lully, Charpentier, Lalande, Couperin, Rameau (The New Grove Series), by James Anthony, H. Wiley Hitchcock, Edward Higginbottom, Graham Sadler

Cursive: A Trinity by Cloud Gate 雲門舞集行草三部曲

雲門舞集「行草三部曲」 9月台灣首次連篇演出



林懷民2001年起筆寫下「行草三部曲」，從滿是名家字帖的一部曲「行草」，寫到了二部曲「行草貳」，字怎麼不見了？

看不到字的「行草貳」，走出「望文生義」形體的局限，不管觀賞者懂不懂中文，都沒有「字障」問題，只需跟著舞者的身體，讓想像力恣意地飛翔，就能進入一種令人喟嘆的冥想境界。

白與黑的舞者，進出在宋瓷冰裂紋青灰淡雅的舞台中，搭配著二十世紀前衛音樂大師約翰‧凱吉冥想式的音樂，所有的動與靜、快與慢，似有若無，字我兩忘，是時間流逝後斑駁的留白。

不需要名家字帖加持的「行草貳」，結束在背光勾出的舞者剪影中，國外巡演時引來全場觀眾讚美的嘆息，舞評更寫下：「《行草貳》如果是西方芭蕾舞，則無異是『白色芭蕾』古典與浪漫的延續，有一種不安、甚至心痛的美。」

(文字內容引自雲門電子報)

延伸閱讀:
雲門舞集: 行草三部曲官方網站
雲門舞集官方網站

Le Quarto Stagioni by A. Vivaldi - Europa Galante

Concerto per mandolini RV558 Allegro Molto by A. Vivaldi

Romance in G major by Johan Svendsen

Recently, I found a recording of 'Romeo and Juliet' and 'Norwegian Rapsodies' by Johan Svendsen on Naxos Music Library. They are so beautiful!

I couldn't found any of these pieces on youtube, but this Romance is just as pretty.

Yorke Trust Opera Orchestra Summer 2009: Dressed-up Orchestra

From Norfolk, UK 2009

Later, we understood that orchestra would be dressed up with costume of 1940's as well. All girls were extremely excited!



We tried on costume in the morning, looking for proper size clothes and hats.

Then, We drove to Bruham Market to buy all the hair rolls and pins in the small shop, and went Lady Fiona's house (one of our hostess) to have our first hair session! We had a little instruction from costume designer, Gidon, and vocal coach, Robert, and many many photos from google search.



The result was not bad, was it? And it was incredibly welcome by the concert audience!

It was really fun!



Click here to see all the photos in Norfolk, UK 2009.

Yorke Trust Opera Orchestra Summer 2009: "Castor et Pollux" by Jean-Phillipe Rameau

The first dress rehearsal, with only basso continuo.

From Norfolk, UK 2009

The first dress rehearsal with orchestra in St. Mary Church:



卡斯托與普魯克斯為希臘古典神話中的斯巴達王室雙生兄弟，然而哥哥普魯克斯其實是天神宙斯之子，因而擁有不死永生之軀，而卡斯托則為一般人類，皆為當時著名英雄人物，二人兄弟情深密不可分。



歌劇第一幕為斯巴達宮廷，人們正歡欣鼓舞地準備國王普魯克斯與Télaïre的婚禮， 兄弟二人皆愛上了太陽之女Télaïre，但Télaïre僅愛著弟弟卡斯托，普魯克斯得知後決定放棄Télaïre，讓有情人終成眷屬。眾人正爭相讚美普魯克斯的慷慨大度，Télaïre的巫女姊姊Phébé卻也愛著卡斯托，為了報復沒有結果的愛情，Phébé秘密聯合敵國將領Lyncaeus攻打斯巴達，卡斯托在戰爭中被殺身亡。



第二幕，斯巴達眾人哀悼卡斯托的逝去，Télaïre哀痛由深，此時Phébé現身表示可以使用她的法力使卡斯托復活，但Télaïre必須保證不再愛卡斯托，Télaïre勉為其難答應。然而普魯克斯殺Lyncaeus為弟弟復仇後得知Phébé的計畫加以反對，決定尋求其父天神宙斯的幫助使卡斯托復活。



第三幕，在宙斯神廟中，普魯克斯舉行牲禮獻祭尋求天神的幫助。神廟大祭司現身警告普魯克斯此行的危險，此時宙斯現身告訴唯一將卡斯托從地府救出的辦法，就是他本人必須代替卡斯托身陷地府，放棄一切永生不死的美好事物。宙斯召來青春女神Hebe對施展魅惑，然而失去親愛的弟弟後這一切都對普魯克斯毫無意義，他堅持必須將卡斯托救出地府。



第四幕，地府入口Phébé正召喚法力對抗地府妖怪，然而Mercury降臨告訴她除了天神宙斯之子，沒有活著的人可以進入地府。此時普魯克斯現身，Mercury以法杖擊退怪物，二人進入地府。卡斯托乘船度過遺忘河後仍然無法忘卻他對Télaïre的愛，而在浪潮中徘徊。普魯克斯出現，二兄弟歡喜相逢，卡斯托得知有望再度見到所愛非常高興，但他拒絕讓哥哥普魯克斯放棄永生代替自己身陷地府，僅答應回到人世一日和Télaïre道別便再度回到地府，讓普魯克斯重新擁有生命和愛情。

第五幕，Télaïre和卡斯托重逢十分歡喜，然而當卡斯托告訴Télaïre他將僅僅在人世待上一天，Télaïre控訴他簡直沒心沒肺。雷聲響起，Télaïre驚嚇昏倒，而卡斯托則心知這是他必須回到地府的徵兆。此時宙斯與普魯克斯同時現身，宙斯告訴他們二兄弟無私情深令他十分感動，因此決定賜給二人永生。於是天空開展天堂出現，奧林帕斯眾神與眾人同時歡欣鼓舞。

RCM Opera - Midsummer Night Dream by B. Britten

From RCM Opera

莎翁劇本，音樂雖然現代了點但出乎意料好聽～:D

RCM Opera - La Giardiniera by M.A. Mozart

From RCM Opera

Die Kameliendame - Hamburg Ballet

好好看~好像無聲電影~~:P


Lady of Camelias
Lucia Lacarra
Cyrill Pierre
http://www.youtube.com/watch?v=BS_BJtsIXRs

這個美麗的pose比較多~很有"看芭蕾"的感覺 XD

Kameliendame Stuttgart Ballet Marijn Rademake

Sue Jin Kang Marijn Rademake


Kameliendame Male Solo Marijn Rademaker

Benjamin Britten: War Requiem, op.66 -- Concert Review by Bob Briggs

From Life in London, 2009

Benjamin Britten: War Requiem, op.66 (1961/1962): Monica Bancos (soprano), John McMunn (tenor), James Oldfield ( baritone), RCM Chorus (chorus master: Terry Edwards), RCM Junior Department Children’s Chorus, RCM Symphony Orchestra, Martin André, Andrew Gourlay (chamber orchestra conductor), Amy Bebbington (children’s chorus conductor), Amaryllis Fleming Concert Hall, Royal College of Music, London, 5’3’2009 (BBr)

To inaugurate the new concert hall, after a multi million pound refurbishment, the Royal College chose one of the largest works, and one which would involve most of the student body, of one of its most famous alumni.

Before the show, John Forsbrook, Press and Marketing Manager of the RCM, told me that everyone had their fingers crossed for tonight was the first time they’d had an audience in to hear a big show and, as we all know, it’s the sound the music makes in the presence of an audience which is the proof of a new hall. Nobody need have worried, for this new hall, beautiful in its simplicity, white plaster walls, complete with cherubs, a very large stage, high ceiling, with space for an audience of some 500, fully met all the requirements, and even the biggest climaxes – and the War Requiem has a few, especially in the Sanctus and the Libera Me – were heard to full advantage with clear and well focused sound. But even in the tenderest moments, such as the glorious conclusion which brings all the performers together for the only time in the work, the sound was bright and precise. The hall is a triumph and the RCM can be very proud of it, it was money well spent and it will host many superb concerts in the years to come and I, for one, will always be looking forward to my future visits there.

But this isn’t Architectural Digest, this is Seen and Heard so what about the music?

The War Requiem is Britten’s biggest non–operatic work and at its première, in Coventry Cathedral in 1962, it was hailed as a towering masterpiece, but time hasn’t been too kind to it. Although there are many fine moments, there are some cringingly embarrassing sections – the duet for the men setting Owen’s The Next War is a poor relation of the Kanonen Song from Die Dreigroschenoper, the Balinese bell sounds at the start of the Sanctus seem precious rather than incantatory, and the rather obvious word painting, such as the music accompanying the line:
The shrill, demented choirs of wailing shells

– but as a whole the work still packs a big emotional punch and tonight’s performance left a capacity audience open mouthed and, literally, dumb struck at the power of the utterance.

In overall control was Martin André, who conducted the huge orchestra and full chorus, joined by the full throated soprano Monica Bancos, in a performance where he let the music speak for itself and its emotion was felt without any extra help from the musicians. Theirs was a superb contribution, and although this is a choral work there is plenty for the band to do. The brass in the Dies Irae was awe inspiring when sounding the final trump, and there were valuable contributions from the winds and lots of, perfectly placed, percussion. If the strings don’t do what they usually do – that is play and sing big melodies – it’s simply because this isn’t that kind of piece.

The chamber orchestra, seated at right angles to, and in front of, the main body, was conducted by student conductor Andrew Gourlay who, together with his male soloists, had the difficult task of bringing Wilfred Owen’s poems to vivid life, and they did it magnificently. This really is a man’s work, that is it is the two male soloists who really carry the argument of the music. Tonight we heard two fabulous young singers – tenor John McMunn and baritone James Oldfield – who breathed new life into this difficult and sometimes harrowing music. McMunn, in particular, displayed a glorious sense of feeling and understanding of his music, never overstating what he sang and employing a wide range of tone colour. Oldfield was no less impressive, he has more argumentative music, and he stamped his own personality on every note he sang. When they came together at the end in the passionate lullaby Let us sleep now, it was almost too much to bear as we realised the full horror of their situation:
I am the enemy you killed, my friend,

I knew you in this dark, for so you frowned

Yesterday through me as you jabbed and killed,

I parried; but my hands were loath and cold.

Special mention be made of the children’s choir, seated in the gallery, whose small, but valuable contribution, was most telling, and the full choir, trained by Terry Edwards, surely this country’s best choral director, was excellent.
A flawed masterpiece, to be sure, but with a performance as assured as this we can only appreciate Britten’s brave attempt at showing us the full horrors of war and the effect it has on mankind. Also, listening to these young musicians I know that the future of the performance of classical music is in very safe hands. Well done, RCM, this was a triumph and long may we be privileged to hear more of this calibre of music making from the same source.

Bob Briggs

Rush Hour Recital in St Stephen's Church

Flute & Guitar Duo Recital

Date: 27 April 2009
Time: 18:30 - 21:30
Location:
St Stephen's Church
Gloucester Road
London SW7 4AL
United Kingdom

Programme:
Jakob Friedrich (1722 – 1794): Sonata in b minor for flute and basso continuo

Mauro Giuliani (1781-1829): Grande Serenade for guitar and flute, Op. 82

Johann Sebastian Bach (1685-1750): Fugue from Violin Sonata No. 1, BWV 1001

Camille Saint-Saëns (1835-1921): Odelette for flute and orchestral accompaniment, Op.162

Astor Piazzolla (1921-1992): Histoire du Tango pour flute et guitar

2008 Early Music Exhibition in Greenwich

J.S. Bach: St. Matthew Passion in St. John's Church, London

J.S. Bach: St. Matthew Passion
Sunday 5 April 2009 5:30pm
St. John's, Smith Square London SW1

Exmoor Singers of London
Charivari Agreable Simfonie
Kah-Ming Ng/director

Sean Kerr/Evangelist
James Birchall/Jesus
Alexanra Kingell/soprano
Marie Degodet/alto
Ben Thapa/tenor
James Birchall/bass

James Jarvis/conductor



It's the first complete St Matthew Passion in German ever in my life!

Such a great piece with a really dramatic story! I was so touched!

W.A. Mozart: Requiem Mass in D minor, K.626

W. A. Mozart: Requiem in D minor, K.626

War Requiem Concerts in RCM

From Life in London, 2009

上週兩場 RCM 耗資數億英鎊整修的豪華音樂廳重新開幕 War Requiem 音樂會後，長達兩週的管絃樂團排練終於結束了。

也就是說終於脫離三餐帶便當都在學校解決的生活了耶~~終於能好好吃飯真開心~XD



不過其實第一次這麼享受樂團排練，除了甜美漂亮西班牙長笛首席很厲害之外，Britten這個作品的音樂比想像中或錄音更美 (雖然在這麼小的音樂廳演出算滿吵就是了~XD)，尤其是最後一個樂章男高音和男低音在另一世界再度相會，令人聽了就鼻酸，害我常常聽到忘記吹呢~ :P

My First Baroque Flute Solo Recital in RCM

這週三RCM Lunchtime Concert 我第一次公開表演巴洛克長笛。

曲目是Handel Flute Sonata in G major ，雖然不是非常艱深的曲目，但要將慢板樂章譜上平淡旋律發展成充滿張力的美妙歌曲並不如想像中容易，演出前一周猛啃韓德爾相關書籍，前兩晩更是滿腦都是慢板樂章旋律，無時無刻想像歌手會如何演唱呢!

演出感覺真的很棒喔~好喜歡巴洛克長笛 :D

HAYDN, MENDELSSOHN AND BEYOND: Chamber Concert Series in RCM

Entree d'Apollon de Lully & Menuet de la Reine

Menuet de la Reine


Les Danses du Roi - Entree d'Apollon de Lully - Ana Yepes Company

Les Danses du Roi - Ana Yepes Company

Passacaille d'Armide


Marais: Folies d'Espagne


Lully: Entree d'Apollon

2008 Baroque Dance Workshop in RCM, Part 2

Performed by Mary Collins



Sarabande, performed by Marry Collins