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Deutsche Oper Berlin in line for a Grammy
Berlin s largest music theater is nominated for a much-coveted Grammy in the Best Opera Recording category. Its entry: the early 20th-century opera The Dwarf.
A scene from Tobias Kratzer s staging of The Dwarf
The last time Deutsche Oper Berlin won a Grammy award was in 1966, when the orchestra and choral ensemble received the coveted US music prize for the recording of Alban Berg s
Wozzeck with conductor Karl Böhm, featuring star tenors Dietrich Fischer-Dieskau and Fritz Wunderlich, as well as the soprano Evelyn Lear. The recording has remained a classic ever since.
5 Minutes That Will Make You Love Tenors
Rufus Wainwright, Josh Groban, Andrea Bocelli and others choose opera’s most passionate, golden voices.
Credit.Angie Wang
March 3, 2021
Now we want to convince those curious friends to love the passionate, ringing tenor voice. We hope you find lots here to discover and enjoy; leave your choices in the comments.
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Rufus Wainwright, composer and songwriter
My dad, Loudon, has never much liked opera. But when I was 13, the opera bug struck me hard, and I’m pretty sure that in an effort to better understand what I was going through, he bought a Luciano Pavarotti CD. One of the tracks was a thrilling version of “Di rigori armato seno” from Strauss’s “Der Rosenkavalier,” and I became entranced with the aria. Pavarotti’s rendition also connects me to a later, magnificent experience when, during a performance of “Rosenkavalier” I was attending at the Metropolitan Opera, Luciano magically appeared without billing
Ahead of her new album release, the French-Swiss cellist Ophélie Gaillard explains how she simulates the vocal expressiveness of a melodic line on the cello
Ophělie Gaillard
Whenever I approach a piece of music, I tend to search for the
cantabile of a musical phrase, find the vocal expressiveness of a melodic line, explore new colours and make a musical intention or an emotion palpable.
As Anner Bylsma once said, the cellist must become a master of fencing with their bow. The bow is our main ally. Without it, it’s difficult to talk about the cantabile, the art of connecting one note to another, of joining one sound to the next. Its action is dependent on the right arm’s balance: having fluidity of movement in space, a good amount of weight transferred from the back to the upperarm, forearm, and hand, and good flexibility and tone of the joints. You have to constantly adjust yourself, and find a subtlety of balance between speed and weight, articulation and legato, and song and speech.