#Sandrine Piau

[greenbabyofficial]

ELLIOTT would listen to Sandrine Piau with me

[sunset-supergirl]

Happy birthday Sandrine Piau

[lesser-known-composers]

Christoph Willibald Gluck - La Clemenza di Tito, Wq. 16: Aria. "Se mai senti…" ·

Sandrine Piau ·

Le Concert de la Loge · Julien Chauvin

[nopriors]

Happy Easter

[denispatritti]

Reflet - Sandrine Piau, Jean-François Verdier / Disque 2024

[sonyclasica]

ERIC LE SAGE & FRANK BRALEY

LE RUBAN DÉNOUÉ - VALSES

Eric Le Sage y Frank Braley, que han cultivado una larga amistad musical, unen su talento en este excepcional álbum "Le Ruban Dénoué- Valses" para interpretar a dos pianos la obra de Reynaldo Hahn, "Le Ruban Dénoué" (La Cinta Desatada), escrita inicialmente para piano y voz y transcrita finalmente para piano, así como Tres Valses Románticos de Chabrier, precursor de la música para dos pianos y mentor de Reynaldo Hahn. Disponible el 1 de diciembre.

Consíguelo AQUÍ

"Frank y yo, que mantenemos una larga amistad musical, llevábamos tiempo queriendo rendir homenaje a este compositor, a su escritura que dice mucho con pocas notas y cuya magia es muy original. Después de nuestras grabaciones de Poulenc, Debussy, Ravel, será otra luz de música francesa para dos pianos que terminará de forma más solar con los valses de Chabrier completando el álbum". - Eric Le Sage

Eric le Sage, uno de los pianistas franceses más célebres, es un músico cuya interpretación poética, profunda y sutil refleja una personalidad auténtica y generosa. Cuando tenía apenas 20 años, el Financial Times ya lo veía como "un discípulo extremadamente cultivado de la gran tradición francesa de Schumann". En 2010, Eric Le Sage grabó la integral de la música para piano de Schumann, descrita por el diario alemán Die Zeit como "sensacional". Ese mismo año recibió el prestigioso Jahrespreis der deutschen Schallplattenkritik (Premio Alemán del Año de la Crítica Discográfica) y el Choc de l'Année Classica, Un segundo Choc de l'Année Classica, le fue concedido por su disco Connesson, con la Royal Scottish National Orchestra. Le siguieron numerosos premios por su integral de música de cámara de Fauré.

Eric Le Sage se une a Frank Braley, gran pianista solista e intérprete de música de cámara, que ha tocado con los más grandes, Renaud Capuçon o Maria João Pires. Cuenta con un sólido historial de éxitos en diversos conciertos en las salas más grandes y con las orquestas más importantes, en particular la Orquesta Nacional de Francia, la Filarmónica de Radio-France, la Orquesta Filarmónica de Londres y la Sinfónica de Boston.

Sandrine Piau se une al dúo en el tema "Puisque j'ai mis ma lèvre", texto de Victor Hugo. Dada a conocer al público por la música barroca, Sandrine Piau despliega hoy un amplio repertorio y confirma su lugar excepcional en el mundo lírico, elegida Artista Lírica del Año 2009 en las Victoires de la Musique y actuando en las mayores salas de conciertos del mundo (Carnegie Hall, Wigmore Hall, gira por EE. UU. y Japón).

REYNALDO HAHN

Reynaldo Hahn fue una de las personalidades más entrañables de principios del siglo XX (niño prodigio, cantante, pianista virtuoso, hombre de letras y director de la Ópera entre otras actividades y fiel amigo de Marcel Proust y Sarah Bernhardt).

Su ciclo poético de piezas para dos pianos compuestas durante la guerra de 14-18 grabaciones algo olvidadas son pequeñas obras maestras de sutileza, delicadeza y melancolía escritas con extremo refinamiento para dos pianos.

Nacido en Caracas, Venezuela, Reynaldo Hahn es un compositor prolífico y muy conocido en su época, tocó sobre todo en la Opéra-Comique.

Sin embargo, al obtener la ciudadanía francesa en 1909, se alistó como voluntario durante la Primera Guerra Mundial y se incorporó a las filas del ejército francés, compuso la Cinta Desatada en 1915 " [...] Intenté revelar emociones y fijar en ellas momentos que habrán contado en mi vida. […]"

CONTENIDO DEL SET  

Reynaldo HAHN (1874-1947) • Le Ruban Dénoué (1915)

1. Décrets indolents du hasard moderato 1:22 [Indolent decrees of chance] 2. Les Soirs d’Albi vif et leste 2:22 [Evenings in Albi] 3. Souvenir... Avenir... mouvement de valse lente 2:01 [What is past... what is to come...] 4. Danse de l’amour et du chagrin même mouvement que la précédente 1:05 [Dance of love and grief] 5. Le Demi-sommeil embaumé plus lent (très capricieux, mais sans jamais presser) 5:22 [The embalmed doze] 6. L’Anneau perdu molto vivo 1:51 [The lost ring] 7. Danse du doute et de l’espérance moderato 2:01 [Dance of doubt and hope] 8. La Cage ouverte molto animato 1:48 [The open cage] 9. Soir d’orage misterioso, non troppo lento 3:10 [Stormy evening] 10. Les Baisers appasionato, non troppo presto 2:31 [Kisses] 11. Il Sorriso stesso tempo, mais très calme 3:05 [Le sourire, The smile] 12. Le Seul Amour presque lent, très senti 5:03 [The only love] 13. Puisque j’ai mis ma lèvre, mélodie sur une poésie de Victor Hugo, lent - Sandrine Piau, soprano 4:11

Emmanuel CHABRIER (1833-1897) • Trois valses romantiques (1883)

14. Première valse très vite et impétueusement 2:25 15. Deuxième valse mouvement modéré de valse 4:44 16. Troisième valse animé 5:40

Reynaldo HAHN • Caprice mélancolique (1897) 17. Andantino poétique presque allegretto - Rêveusement sans beaucoup de nuance 3:54

Reynaldo HAHN • Pour bercer un convalescent (1915) 18. Andantino sans lenteur 1:13 19. Andantino non lento 1:27 20. Andantino expressivo 1:21

[steadystudyparty]

Monday 28.11.22

Mood of the day:

Un secret ~ Sandrine Piau

I started my day early with an English class. It was quite long this time but I think I was just tired.

I then grabbed a coffee before going to my yoga session. The practice was incredible, I could see how much progress I made since the beginning of the year and felt incredibly proud. I wish I could go more often. I will try to sign up for two classes next semester, with this teacher only because she really is the greatest.

I then grabbed another coffee and walked to my best friend’s place. We walked together to the library. I did not study today, I just read poetry and wrote some. Nothing incredible but I tried. I really miss being a poet. I am currently ready “the approximative man” by Tristan Tzara (one of the surrealists) and surprisingly, I like it a lot? The sonorities are what made it poetry, despite his verses not rhyming it still sounds like melodies somehow.

After a few hours there, I met up with one of my besties (r) and we went to the cinema together. We watched “Les couleurs de l’incendie”. We have it the mark of 19/20 because it was incredible.

The way they filmed, the actors, the MUSIC??? That movie had everything for itself. It was really strange for us because some scenes were filmed in our city -it was supposedly Berlin during the Second World War, in the nazi germany- and seeing our places and buildings in a movie is really odd. I loved going to the movies with him because we can talk about it on our way back and he has a lot of interesting insights to discuss. The music was probably what stood out in this one, it was the music of an opera singer (she scared us at some point because we thought she was going to sing for the third Reich, but she sang in polish the song of the slaves. Really a queen)

I headed to bed straight away when I arrived home.

[greenbabyofficial]

anyway this may be the best album on earth

[mirallog]

Accompanist

Accompanist professional#

Accompanist series#

That means celebrating the things accompanists can do that no other musicians can. While Vignoles embraces life as an accompanist, he is determined for it to be seen as an art form in its own right. Maybe that's why there are hardly any female accompanists." "But you also get a soprano who says you've got to wear a more understated dress than hers so you don't upstage her. "There are singers you build up a rapport with," she says. Tilbrook knows what it's like to be regarded as the backdrop.

Accompanist professional#

"When a 'proper' pianist like András Schiff or Mitsuko Uchida plays for a singer, they will get half the review, whereas when I'm playing the same repertoire – or Roger, or any of us – we'll get one adjective, usually 'sensitive', and that's it." The irony is that the colour, range and collaborative alchemy that a skilled accompanist will deliver is precisely what a professional soloist, be it Schiff or Uchida, would struggle to create. It's not just in the fees that Burnside sees inequality, but in the promotion, the fact that the singer – or instrumental soloist – has their name in lights, while the pianist's name appears as an afterthought on the CD cover, poster or review. That's not what it's about: you're just asking to be taken seriously in your own right." If you insist on being called a pianist then people think that you're comparing yourself to Sviatoslav Richter. But unfortunately I can't think of a better one. "You can't deny there are connotations that it's a secondary entity. "I hate the term accompanist," continues Burnside. "Once you've got that idea in your brain, it's hard to be comfortable with the idea that what you're doing is merely ' accompanying'." And in Lieder, of course, it's the pianist who leads. "Hardly any of them sang," says Burnside. After all, the great Lieder and song composers were pianists." This is a good point: think of Schubert, Schumann, Brahms, Wolf, Fauré and Debussy. "I always think of what my mentor, Eric Sams, said – that the whole song repertoire is a piano art form rather than a singer's. Iain Burnside, another seasoned accompanist, agrees. But is anyone really listening to what these toiling accompanists are doing? As pianist Anna Tilbrook – who plays for, among others, tenor James Gilchrist – puts it: "These songs would sound pretty strange without the piano." You would have thought that, by now, musical culture would have twigged that there's more to a song recital than the singer. Well, there's a great deal more to it than that." He looks so slender and shy and so modest that people think he's there just to do what he's told, to follow the singer through thick and thin. The most enchanting lady walks on to sing, and all the ladies look at her because of what she's wearing, and all the men look at her because – well, all the men look at her. But I would like people to realise what extremely important people we accompanists are. "We accompanists," Moore said in his 1960s recording The Unashamed Accompanist, "have our minds above such mundane things as fees. The archetypal British accompanist was Gerald Moore, who lamented his plight just as passionately as Vignoles, despite the fact that he was assisting the likes of Elizabeth Schwarzkopf. How would he sum up his craft? "I sometimes describe it as the art of getting what you want without the other person noticing." Vignoles will still be on the piano, of course, but for once it's his baby, his name in lights.

Accompanist series#

Billed as a showcase of song that will celebrate the relationship between pianist and singer, the series features such sopranos as Joan Rodgers and Sandrine Piau. "That's what I'm staying for/ That's what I'm playing for/ Art is calling for – me!" And later: "You may think this job sucks/ When they get all the bucks/ Forget their lines, transpose/ And jump from page to page!"Īfter four decades at the top of his profession, however, Vignoles is finally getting to call the shots, having curated a series of eight concerts at the Wigmore Hall in London. "I only make believe I'm following their Lieder," he sings. It's a life that Roger Vignoles, the veteran British accompanist who has worked with everyone from Kiri Te Kanawa to Anne Sofie Von Otter, laments in his hilarious song The Battle Hymn of the Accompanist. The singers couldn't do it without them, but it's the braying sopranos and the yodelling tenors who get all the glory, as well as most of the cash and applause – despite the fact that all they've done is sing a few tunes, usually in a foreign language, while the pianists slog their guts out playing fiendishly difficult accompaniments by Schubert, Schumann or Britten. Being the pianist who plays for them can feel like the most thankless job in music. P ity the poor accompanist, condemned to sit in the shadow of the great voices and the even greater egos of today's singers.

[lesser-known-composers]

Maurice Delage (1879–1961) - 3 Poemes: No. 3. Ballade ·

Sandrine Piau, Jean-Paul Fouchecourt, Billy Eidi,

[verdiprati]

Mostly Mezzo Mondays: Piau, Coote, Graham, Watson, Connolly (x3), Clayton, Hannigan, Crebassa, & many more

Mostly Mezzo Mondays: a recurring (though not weekly) feature where, on Monday nights, I blog a list of the upcoming broadcasts that have caught my eye on World Concert Hall. My interests: baroque vocal music, art song recitals, and a list of favorite singers.

Sandrine Piau is among the soloists for a performance of Jommelli’s Requiem recorded late last year. (The same team can be heard in the previous day’s performance on YouTube.) Deferred broadcast Tuesday, August 11 on WDR 3.

Sarah Connolly sings a recital of works by Debussy, Schoenberg, Eisler, Zemlinsky, Poulenc, Strauss, and Korngold, accompanied by Malcolm Martineau. Re-broadcast Wednesday, August 12 on BBC Radio 3.* 

Sarah Connolly sings the role of Dido in a performance of Purcell’s Dido and Aeneas recorded at the 2003 Proms. Other notables in the cast include Christopher Purves as Aeneas and Carolyn Sampson as Belinda. Archival broadcast Thursday, August 13 on BBC Radio 3.*

Alice Coote is among the soloists for a performance of Mahler’s Des Knaben Wunderhorn conducted by Herreweghe in 2010. Second part of an archival broadcast program Saturday, August 15 on NPO Radio 4.

Susan Graham sings the Composer in a production of Strauss’s Ariadne auf Naxos recorded at the Houston Grand Opera in 2011; Christine Goerke and Laura Claycomb are among her co-stars. Archival broadcast Saturday, August 15 on HPM Classical.

Katherine Watson sings a small selection of Handel arias as part of a baroque concert with the Orchestra of the Age of Enlightenment recorded in 2018. Deferred broadcast Saturday, August 15 on Radio Clásica.

As part of its free online streaming program this summer, Glyndebourne will be showing the 2017 world premiere of Brett Dean’s Hamlet. The show stars, among others, Allan Clayton (Hamlet), Sarah Connolly (Gertrude), Rod Gilfry (Claudius), Barbara Hannigan (Ophelia), and John Tomlinson (Ghost, Player King, and Gravedigger). I had the pleasure of seeing this production live; I was there for Connolly’s Gertrude (“on excellent form, all tiaras and condescension and cracking veneer” as one reviewer put it), but Clayton’s outstanding performance in the marathon title role blew me away, and Hannigan’s live-wire Ophelia was quite memorable, too. Video stream Sunday, August 16 on the Glyndebourne website; should remain available for a week. (Looks like this will be geoblocked in France and Japan.)

I don’t have a particular favorite to call out, but the cast of this Saul from the 2003 Proms is strong all around: Neal Davies, Andreas Scholl, Deborah York, Susan Gritton, Mark Padmore, Paul Agnew, and Jonathan Lemalu. Archival broadcast Sunday, August 16 on BBC Radio 3.

Beethoven’s Ninth is arguably just the thing to lift our mid-pandemic spirits, although the fact that it is being performed live in Salzburg while live performance of large-scale classical works remains ethically impossible in my own country (due to horrendously inadequate responses to the public health crisis on the part of both the leadership and the public) makes me feel just a little bit bitter about putting it on this list. The names of vocal soloists Marianne Crebassa and Gerald Finley caught my eye; I can’t say I am as familiar with the work of Asmik Grigorian and Saimir Pirgu, but I trust they’re up to snuff. Deferred (only by three days) video stream on Arte Concert. (May be geoblocked.)

* The two broadcast marked with asterisks are not featured on World Concert Hall; these links go directly to the BBC Radio 3 site.

[fuckyeahphilippejaroussky]

Philippe Jaroussky, Sandrine Piau or Veronica Cangemi during the recording of two masterpieces by Vivaldi: “Orlando Furioso” and “La Fida Ninfa”. To the Euro Arts Channel who re-uploaded it: Bless you.

[ebesleistigal]

[guerison]