“All art and the love of art,” Victor Brombert writes at the beginning of the deeply personal Musings on Mortality, “allow us to negate our nothingness.” As a young man returning from World War II, Brombert came to understand this truth as he immersed himself in literature. Death can be found everywhere in literature, he saw, but literature itself is on the side of life. With delicacy and penetrating insight, Brombert traces the theme of mortality in the work of a group of authors who wrote during the past century and a half, teasing out and comparing their views of death as they emerged from vastly different cultural contexts.
Leo Tolstoy, Thomas Mann, Franz Kafka, Virginia Woolf, Albert Camus, Giorgio Bassani, J. M. Coetzee, and Primo Levi—these are the writers whose works Brombert plumbs, illuminating their views on the meaning of life and the human condition. But there is more to their work, he shows, than a pervasive interest in mortality: they wrote not only of physical death but also of the threat of moral and spiritual death—and as the twentieth century progressed, they increasingly reflected on the traumatic events of their times and the growing sense of a collective historical tragedy. He probes the individual struggle with death, for example, through Tolstoy’s Ivan Ilych and Mann’s Aschenbach, while he explores the destruction of whole civilizations in Bassani, Camus, and Primo Levi. For Kafka and Woolf, writing seems to hold the promise of salvation, though that promise is seen as ambiguous and even deceptive, while Coetzee, writing about violence and apartheid South Africa, is deeply concerned with a sense of disgrace. Throughout the book, Brombert roots these writers’ reflections in philosophical meditations on mortality. Ultimately, he reveals that by understanding how these authors wrote about mortality, we can grasp the full scope of their literary achievement and vision.
Warren-Brooks Award
31 июл. 2014 г.
Jonathan Swift. His Life and His World. Leo Damrosch
Jonathan Swift is best remembered today as the author of Gulliver’s Travels, the satiric fantasy that quickly became a classic and has remained in print for nearly three centuries. Yet Swift also wrote many other influential works, was a major political and religious figure in his time, and became a national hero, beloved for his fierce protest against English exploitation of his native Ireland. What is really known today about the enigmatic man behind these accomplishments? Can the facts of his life be separated from the fictions? In this deeply researched biography, Leo Damrosch draws on discoveries made over the past thirty years to tell the story of Swift’s life anew. Probing holes in the existing evidence, he takes seriously some daring speculations about Swift’s parentage, love life, and various personal relationships and shows how Swift’s public version of his life—the one accepted until recently—was deliberately misleading. Swift concealed aspects of himself and his relationships, and other people in his life helped to keep his secrets.. Assembling suggestive clues, Damrosch re-narrates the events of Swift’s life while making vivid the sights, sounds, and smells of his English and Irish surroundings.Through his own words and those of a wide circle of friends, a complex Swift emerges: a restless, combative, empathetic figure, a man of biting wit and powerful mind, and a major figure in the history of world letters.
A New York Times Notable Book of the year
American Publishers Awards (PROSE)
National Book Critics Circle Award
Pulitzer Prize Finalist
Plutarch Award Finalist
From the Score to the Stage: An Illustrated History of Continental Opera Production and Staging. Evan Baker
Without scenery, costumes, and stage action, an opera would be little more than a concert. But in the audience, we know little (and think less) about the enormous efforts of those involved in bringing an opera to life—by the stagehands who shift scenery, the scenic artists who create beautiful backdrops, the electricians who focus the spotlights, and the stage manager who calls them and the singers to their places during the performance. The first comprehensive history of the behind-the-scenes world of opera production and staging, From the Score to the Stage follows the evolution of visual style and set design in continental Europe from its birth in the seventeenth century up to today.
In clear, witty prose, Evan Baker covers all the major players and pieces involved in getting an opera onto the stage, from the stage director who creates the artistic concept for the production and guides the singers’ interpretation of their roles to the blocking of singers and placement of scenery. He concentrates on the people—composers, librettists, designers, and technicians—as well as the theaters and events that generated developments in opera production. Additional topics include the many difficulties in performing an opera, the functions of impresarios, and the business of music publishing. Delving into the absorbing and often neglected history of stage directing, theater architecture and technology, and scenic and lighting design, Baker nimbly links these technical aspects of opera to actual performances and performers, and the social context in which they appeared. Out of these details arise illuminating discussions of individual productions that cast new light on the operas of Wagner, Verdi, and others.
Packed with nearly two hundred color illustrations, From the Score to the Stage is a revealing, always entertaining look at what happens before the curtain goes up on opening night at the opera house.
Association of American Publishers: PROSE Book Award
In clear, witty prose, Evan Baker covers all the major players and pieces involved in getting an opera onto the stage, from the stage director who creates the artistic concept for the production and guides the singers’ interpretation of their roles to the blocking of singers and placement of scenery. He concentrates on the people—composers, librettists, designers, and technicians—as well as the theaters and events that generated developments in opera production. Additional topics include the many difficulties in performing an opera, the functions of impresarios, and the business of music publishing. Delving into the absorbing and often neglected history of stage directing, theater architecture and technology, and scenic and lighting design, Baker nimbly links these technical aspects of opera to actual performances and performers, and the social context in which they appeared. Out of these details arise illuminating discussions of individual productions that cast new light on the operas of Wagner, Verdi, and others.
Packed with nearly two hundred color illustrations, From the Score to the Stage is a revealing, always entertaining look at what happens before the curtain goes up on opening night at the opera house.
Association of American Publishers: PROSE Book Award
Curiosity: How Science Became Interested in Everything. Philip Ball
With the recent landing of the Mars rover Curiosity, it seems safe to assume that the idea of being curious is alive and well in modern science—that it’s not merely encouraged but is seen as an essential component of the scientific mission. Yet there was a time when curiosity was condemned. Neither Pandora nor Eve could resist the dangerous allure of unanswered questions, and all knowledge wasn’t equal—for millennia it was believed that there were some things we should not try to know. In the late sixteenth century this attitude began to change dramatically, and in Curiosity: How Science Became Interested in Everything, Philip Ball investigates how curiosity first became sanctioned—when it changed from a vice to a virtue and how it became permissible to ask any and every question about the world.
“To explain the shift that transformed curiosity from a dangerous temptation to a praiseworthy motivation, Philip Ball revisits the intellectually restless lives of great scientists across the centuries, including Copernicus, Kepler, Galileo, and Newton. But readers soon learn that the work of investing curiosity with a new and positive value also involved astrologers, magicians, courtiers, and mystics. . . . As the story of how a strange coalition of revolutionaries defied traditional restraints on the hunger for new knowledge, Ball’s history of curiosity tells readers much about them dangerous adventure of being a modern human.” Booklist
"Philip Ball possesses the gift of making complicated topics compelling and understandable. A substantial work in the history of science, this engaging title should appeal to serious readers, both academic and armchair.” Library Journal
“To explain the shift that transformed curiosity from a dangerous temptation to a praiseworthy motivation, Philip Ball revisits the intellectually restless lives of great scientists across the centuries, including Copernicus, Kepler, Galileo, and Newton. But readers soon learn that the work of investing curiosity with a new and positive value also involved astrologers, magicians, courtiers, and mystics. . . . As the story of how a strange coalition of revolutionaries defied traditional restraints on the hunger for new knowledge, Ball’s history of curiosity tells readers much about them dangerous adventure of being a modern human.” Booklist
"Philip Ball possesses the gift of making complicated topics compelling and understandable. A substantial work in the history of science, this engaging title should appeal to serious readers, both academic and armchair.” Library Journal
разделы:
books,
critic picks
Цивилизация: чем Запад отличается от остального мира. Ниал Фергюсон
В начале XV века мир заметно отличался от нынешнего. Нас поразил бы контраст между могущественной Азией и страдающей от голода, усобиц и эпидемий Европой, между анархической Северной Америкой и империями Центральной и Южной Америки. Мысль о том, будто Запад способен доминировать в мире — в военном, экономическом или в культурном отношении, — тогда показалась бы странной. Тем не менее следующие полтысячи лет западные страны задавали тон. Скандально известный британский историк восстанавливает "рецепт успеха" Запада и задается вопросом, стоит ли в наши дни говорить о его "закате".
Фергюсон умеет… сделать события далекого прошлого живыми и осязаемыми, будто речь идет о вечерних новостях, и соединить… короткие сюжеты с широким взглядом на прошлое. The New York Times
Фергюсон умеет… сделать события далекого прошлого живыми и осязаемыми, будто речь идет о вечерних новостях, и соединить… короткие сюжеты с широким взглядом на прошлое. The New York Times
разделы:
books,
critic picks
Очарованный остров. Новые сказки об Италии
Сборник под названием "Очарованный остров. Новые сказки об Италии" был задуман Ассоциацией "Премия Горького" в связи со 100-летним юбилеем первой публикации "Сказок об Италии" Максима Горького. Капри всегда притягивал к себе творческих людей, и Ассоциация решила внести свой вклад в литературную историю "острова сирен". В течение 2012–2013 гг. ряду известных российских писателей было предложено совершить поездку на Капри и затем написать текст, связанный с этим островом. Составителем сборника стал известный итальянист и переводчик Геннадий Киселев, перу которого принадлежит вступительное эссе. В итоге крупнейшие современные авторы (от Максима Амелина до Владимира Сорокина) представлены в этой книге очень разными по жанру и стилю произведениями, которые объединяет один источник вдохновения— волшебный остров Капри.
В проекте приняли участие: Максим Амелин, Андрей Аствацатуров, Сергей Гандлевский, Виктор Ерофеев, Эдуард Лимонов, Юрий Мамлеев, Захар Прилепин, Андрей Рубанов, Герман Садулаев, Владимир Сорокин
В проекте приняли участие: Максим Амелин, Андрей Аствацатуров, Сергей Гандлевский, Виктор Ерофеев, Эдуард Лимонов, Юрий Мамлеев, Захар Прилепин, Андрей Рубанов, Герман Садулаев, Владимир Сорокин
Философия современной мусульманской реформации. М.М. Аль-Джанаби.
Научная работа, изданная при поддержке Фонда исследований исламской культуры, показывает подробную картину реформаторских течений, их основных факторов, методов и образов, а также анализирует причины их появления. Исследуется так называемый «цикл» реформы, при этом особое внимание уделяется важнейшим понятиям, таким как «возврат к корням», который на практике имеет двойственную природу – кажущийся возврат в прошлое, на самом деле означает устремленность в будущее — и «оптимальные альтернативы», заключающиеся в критическом переосмыслении настоящего и прошлого.
Рассматривается также вопрос о «цивилизационном принуждении». Как он возник? Обратимся к истории Европы. «Новое варварство воспроизводилось как одна из наиболее цивилизованных форм современного европейского бытия. Это варварство отличалось от переселений и набегов древнего мира – подобных тем, которые совершались германскими племенами в Европе и монголами в Азии. Однако в обоих случаях происходило постепенно ослабление их «хищнической» силы вследствие приобщения их к цивилизации и культуре… Данный результат можно увидеть в христианизации германских племен и их вхождении в структуры их «священных» государств, а также в исламизации монголов и вхождении их в состав индо-азиатских империй… Что касается новых европейских вторжений, то, по сути, они представляли собой прерывание и отход от того, что было прежде. Они явились следствием не варварского инстинкта «исхода», а, напротив, итогом его сдерживания и подавления».
Рассматривается также вопрос о «цивилизационном принуждении». Как он возник? Обратимся к истории Европы. «Новое варварство воспроизводилось как одна из наиболее цивилизованных форм современного европейского бытия. Это варварство отличалось от переселений и набегов древнего мира – подобных тем, которые совершались германскими племенами в Европе и монголами в Азии. Однако в обоих случаях происходило постепенно ослабление их «хищнической» силы вследствие приобщения их к цивилизации и культуре… Данный результат можно увидеть в христианизации германских племен и их вхождении в структуры их «священных» государств, а также в исламизации монголов и вхождении их в состав индо-азиатских империй… Что касается новых европейских вторжений, то, по сути, они представляли собой прерывание и отход от того, что было прежде. Они явились следствием не варварского инстинкта «исхода», а, напротив, итогом его сдерживания и подавления».
Национальное государство в контексте глобализации. Социально-философский анализ. Гранин Ю.Д.
В монографии исследуется эволюция понятий «глобализация», «нация» и «национальное государство» в истории европейской философии и науки XVIII – XX столетий, выявляются философские основания и исследовательские парадигмы конкурирующих в социальных науках современных концепций сущности, происхождения и эволюции глобализации, наций и национальных государств, оцениваются их методологические преимущества и недостатки. Предлагается новая, социально-философская, трактовка понятия «глобализация». Анализируются пути формирования национальных государств в Западной, Центральной и Восточной Европе в качестве предпосылки и результата становления новых социально-политических субъектов глобализации, новые функции национальных государств в конце ХХ – начале нынешнего столетия, перспективы России стать «национальным государством.
Охота на Снарка. Льюис Кэрролл
Поэма Кэрролла о злополучном походе одной странной компании за неким Снарком. Компания — сплошь господа на букву Б, от Балабона до Браконьера, и с ними один Бобер. Самоуверенные и легкомысленные поначалу охотники ищут Снарка и постепенно понимают, что он может оказаться совсем не тем, кем его считали. И тогда — спасайся кто может. «Вдруг пронзительный крик, непонятен и дик,/Над горой прокатился уныло;/И Бобер обомлел, побелев точно мел,/И в кишках Браконьера заныло». Переводчик поэмы Григорий Кружков рассказывает в экспрессивном предисловии к книге, какие философские глубины ищут ученые в «Охоте», написанной Кэрроллом для знакомой девочки Гертруды. Хотя философские глубины всегда к услугам желающих покопаться в них, «Охота на Снарка» — это скорее игра мастера, танец на проволоке, и замечательный переводчик Кружков эту игру подхватывает. «Агонию в восьми воплях», как гласит подзаголовок, выпустили с иллюстрациями Туве Янссон. Хемулеобразные создания и не похожий на бобра Бобер скитаются по суровым ландшафтам, обреченно суетятся и трогательно не ведают, что творят.
Вокруг света за 125 лет. National Geographic
Недавно отметивший свое 125-летие журнал National Geographic предоставил Taschen полный доступ к своим архивам — все самое интересное было собрано в три увесистые книги.
Новый трехтомник National Geographic предлагает читателю отправиться в трансконтинентальное путешествие, которое начинается в Америке и, проходя через Антарктиду, Африку и Европу, заканчивается в Океании. В книге мы найдем все о метаморфозах отдельных стран и целых континентов, а также узнаем, как развивался сам журнал на протяжении 125 лет.
Особенность новых книг National Geographic состоит в том, что они включают в себя более 1400 страниц ранее не известных фотографий. Оформление фолиантов заслуживает отдельного внимания: бежевый футляр легко трансформируется в подставку для книги.
Трехтомник «Вокруг света за 125 лет» выпущен ограниченным тиражом: по миру распространены всего лишь 125 тысяч его копий. Путешествие с National Geographic, доступное на английском, испанском, немецком и французском языках, обойдется вам в 349 фунтов стерлингов.
Новый трехтомник National Geographic предлагает читателю отправиться в трансконтинентальное путешествие, которое начинается в Америке и, проходя через Антарктиду, Африку и Европу, заканчивается в Океании. В книге мы найдем все о метаморфозах отдельных стран и целых континентов, а также узнаем, как развивался сам журнал на протяжении 125 лет.
Особенность новых книг National Geographic состоит в том, что они включают в себя более 1400 страниц ранее не известных фотографий. Оформление фолиантов заслуживает отдельного внимания: бежевый футляр легко трансформируется в подставку для книги.
Трехтомник «Вокруг света за 125 лет» выпущен ограниченным тиражом: по миру распространены всего лишь 125 тысяч его копий. Путешествие с National Geographic, доступное на английском, испанском, немецком и французском языках, обойдется вам в 349 фунтов стерлингов.
Cities That Shaped the Ancient World. John Julius Norwich
An illuminating and evocatively illustrated tour of forty of the greatest cities that shaped the ancient world and its civilizations, from China and Mesoamerica to Europe and Ethiopia
Today we take living in cities, with all their attractions and annoyances, for granted. But when did humans first come together to live in large groups, creating an urban landscape? What were these places like to inhabit? More than simply a history of ancient cities, this volume also reveals the art and architecture created by our ancestors, and provides a fascinating exploration of the origins of urbanism, politics, culture, and human interaction.
Arranged geographically into five sections, Cities That Shaped the Ancient World takes a global view, beginning in the Near East with the earliest cities such as Ur and Babylon, Troy and Jerusalem. In Africa, the great cities of Ancient Egypt arose, such as Thebes and Amarna. Glorious European metropolises, including Athens and Rome, ringed the Mediterranean, but also stretched to Trier on the turbulent frontier of the Roman Empire. Asia had bustling commercial centers such as Mohenjodaro and Xianyang, while in the Americas the Mesoamerican and Peruvian cultures stamped their presence on the landscape, creating massive structures and extensive urban settlements in the deep jungles and high mountain ranges, including Caral and Teotihuacan.
Today we take living in cities, with all their attractions and annoyances, for granted. But when did humans first come together to live in large groups, creating an urban landscape? What were these places like to inhabit? More than simply a history of ancient cities, this volume also reveals the art and architecture created by our ancestors, and provides a fascinating exploration of the origins of urbanism, politics, culture, and human interaction.
Arranged geographically into five sections, Cities That Shaped the Ancient World takes a global view, beginning in the Near East with the earliest cities such as Ur and Babylon, Troy and Jerusalem. In Africa, the great cities of Ancient Egypt arose, such as Thebes and Amarna. Glorious European metropolises, including Athens and Rome, ringed the Mediterranean, but also stretched to Trier on the turbulent frontier of the Roman Empire. Asia had bustling commercial centers such as Mohenjodaro and Xianyang, while in the Americas the Mesoamerican and Peruvian cultures stamped their presence on the landscape, creating massive structures and extensive urban settlements in the deep jungles and high mountain ranges, including Caral and Teotihuacan.
Augustus: First Emperor of Rome. Adrian Goldsworthy
Caesar Augustus’ story, one of the most riveting in western history, is filled with drama and contradiction, risky gambles and unexpected success. He began as a teenage warlord, whose only claim to power was as the heir of the murdered Julius Caesar. Mark Antony dubbed him “a boy who owes everything to a name,” but in the years to come the youth outmaneuvered all the older and more experienced politicians and was the last man standing in 30 BC. Over the next half century he reinvented himself as a servant of the state who gave Rome peace and stability, and created a new system of government—the Principate or rule of an emperor.
In this highly anticipated biography Goldsworthy puts his deep knowledge of ancient sources to full use, recounting the events of Augustus’ long life in greater detail than ever before. Goldsworthy pins down the man behind the myths: a consummate manipulator, propagandist, and showman, both generous and ruthless. Under Augustus’ rule the empire prospered, yet his success was never assured and the events of his life unfolded with exciting unpredictability. Goldsworthy captures the passion and savagery, the public image and private struggles of the real man whose epic life continues to influence western history.
Yale University Press
In this highly anticipated biography Goldsworthy puts his deep knowledge of ancient sources to full use, recounting the events of Augustus’ long life in greater detail than ever before. Goldsworthy pins down the man behind the myths: a consummate manipulator, propagandist, and showman, both generous and ruthless. Under Augustus’ rule the empire prospered, yet his success was never assured and the events of his life unfolded with exciting unpredictability. Goldsworthy captures the passion and savagery, the public image and private struggles of the real man whose epic life continues to influence western history.
Yale University Press
Engage Your Brain Collection. National Geographic
Featuring programs from hit series Brain Games, Duck Quacks Don’t Echo, and The Numbers Game, the National Geographic Engage Your Brain Collection combines science and entertaining, interactive experiments and games to reveal the amazing inner-workings of the "crown jewel" of the human body. While the Emmy-nominated Brain Games sizes up the human brain through mind-boggling experiments, optical illusions, and brainteasers, Duck Quacks Don’t Echo assesses the validity of weird, unusual and over-the-top hypotheses through a series of interactive, original scientific tests. The Numbers Game looks at how science and statistics may hold the keys to a longer, wealthier, calmer life.
Ivory Tower. Andrew Rossi
As tuition rates spiral beyond reach and student loan debt passes $1 trillion (more than credit card debt), IVORY TOWER asks: Is college worth the cost? From the halls of Harvard, to public colleges in financial crisis, to Silicon Valley, filmmaker Andrew Rossi (PAGE ONE: INSIDE THE NEW YORK TIMES) assembles an urgent portrait of a great American institution at the breaking point. Through interviews profiled at Arizona State, Cooper Union, and Sebastian Thrun's Udacity-among several others-IVORY TOWER reveals how colleges in the United States, long regarded as leaders in higher education, came to embrace a business model that often promotes expansion over quality learning. Along the way we also find unique programs, from Stanford to the free desert school Deep Springs to the historically black all women's college Spelman, where the potential for life-changing college experiences endure.
Miami Film Festival Nominated
Sundance Film Festival Nominated
Miami Film Festival Nominated
Sundance Film Festival Nominated
Золотая коллекция фильмов киностудии Центрнаучфильм: 80 лет (16 DVD)
Ровно восемьдесят лет назад начала свою работу киностудия «Мостехфильм». Четырежды пережив с тех пор смену наименования, на восьмом десятке студия обрела свое современное название «Центр национального фильма». Возможно, это название еще не успело как следует закрепиться в памяти зрителей, однако, стоит сократить его до аббревиатуры «ЦНФ», и все сразу становится на свои места, поскольку сложно найти любителя кино не знакомого с фильмами легендарного «Центрнаучфильма».
"Золотая коллекция" подарит Вам редкую возможность увидеть уникальные фильмы, созданные настоящими мастерами научно-популярного и документального кинематографа.
"Золотая коллекция" подарит Вам редкую возможность увидеть уникальные фильмы, созданные настоящими мастерами научно-популярного и документального кинематографа.
Spark: A Burning Man Story. Steve Brown, Jessie Deeter
Deep in the dusty expanse of the Nevada desert, over 60,000 people from around the world join together in a weeklong bacchanalia of art, self-expression and music. The once forsaken landscape is transformed into a temporary Shangri-La that doesn't end until a towering effigy is set alight and burned to the ground in a ritual frenzy. This is Burning Man. Originally imagined as an experiment in creating a utopia where the restrictions of modern life - the nine-to-five rat race, laws and confining societal norms - vanish, the event's popularity and scope has now exceeded even the creators' wildest dreams. Spark: A Burning Man Story brings audiences behind-the-scenes of the legendary celebration, shining a light on the triumphs and challenges of the artists fighting harsh realities to keep their ideals of unbridled freedom and community alive.
“An oasis of creativity blooms in Spark. Since we can’t all attend Burning Man, we can be thankful for Spark, which is probably the next best thing!” The New York Times
“An oasis of creativity blooms in Spark. Since we can’t all attend Burning Man, we can be thankful for Spark, which is probably the next best thing!” The New York Times
Handel. Alessandro
Alessandro: Max Emmanuel Cencic (countertenor)
Rossane: Julia Lezhneva (soprano)
We are delighted to award first prize to Parnassus Arts Productions, Decca and all of the artists for their vibrant recording of Handel's Alessandro. First performed on 5 May 1726, this opera initiated the Royal Academy of Music's new artistic policy of producing operas designed for a prestigious triumvirate of Italian singers: the castrato Senesino (Alexander the Great), established star soprano Cuzzoni (Lisaura) and the new recruit Faustina (Rossane). Handel's score is packed full of outstanding music, and it gave rise to the famous epithet 'The Rival Queens' for its two leading sopranos, but the opera has been seldom performed or recorded. An old 1985 recording by Sigiswald Kuijken retains commendable aspects, but George Petrou's new performance trumps other versions by fielding three outstanding principals (Max Emanuel Cencic, Julia Lezhneva and Karina Gauvin), and an unusually consistent supporting cast of singers. The assertive band Armonia Atenea plays with fizzy panache. The panel of judges recognises the valuable contribution Petrou has made to the Handel opera discography in recent years, and hopes that the critical and artistic success of Alessandro encourages Parnassus Arts Productions to continue performing and recording complete baroque operas by Handel and his Italian contemporaries.
The Stanley Sadie Handel Recording Prize
Rossane: Julia Lezhneva (soprano)
We are delighted to award first prize to Parnassus Arts Productions, Decca and all of the artists for their vibrant recording of Handel's Alessandro. First performed on 5 May 1726, this opera initiated the Royal Academy of Music's new artistic policy of producing operas designed for a prestigious triumvirate of Italian singers: the castrato Senesino (Alexander the Great), established star soprano Cuzzoni (Lisaura) and the new recruit Faustina (Rossane). Handel's score is packed full of outstanding music, and it gave rise to the famous epithet 'The Rival Queens' for its two leading sopranos, but the opera has been seldom performed or recorded. An old 1985 recording by Sigiswald Kuijken retains commendable aspects, but George Petrou's new performance trumps other versions by fielding three outstanding principals (Max Emanuel Cencic, Julia Lezhneva and Karina Gauvin), and an unusually consistent supporting cast of singers. The assertive band Armonia Atenea plays with fizzy panache. The panel of judges recognises the valuable contribution Petrou has made to the Handel opera discography in recent years, and hopes that the critical and artistic success of Alessandro encourages Parnassus Arts Productions to continue performing and recording complete baroque operas by Handel and his Italian contemporaries.
The Stanley Sadie Handel Recording Prize
Handel. Serse
Handel’s opera Serse is characterised by its ironic libretto, humorous situations, and high number of short arias. The main character is the unpredictably obsessive and volatile King Xerxes, a historical character who ruled the Achemenid Empire from 486 BC to 465 BC. The plot concerning the rivalry between Xerxes and his brother, Arsamene, for Romilda, however, is entirely fictional, as is the King’s betrayal of his fiancé, Amastre.
The opera is based on a libretto adapted by the poet Silvio Stampiglia for Giovanni Bononcini, whose setting was staged at Rome’s Teatro di Torre Nona in 1694. Handel completed his opera in 1738 in little more than a month. However, his typically swift pace and resourceful treatment of musical themes and models should not be misconstrued as complacency, carelessness, or low imaginative powers. The autograph manuscript reveals that Handel invested considerable skill in arias that are perfectly tailored to the dramatic storyline, many of which were meticulously crafted and then redrafted.
Financial Times: “an extremely classy account...Stéphany can compete with the best of today’s mezzos: she combines feeling, dignity, elegance...this really is a baroque vocal feast... Curnyn shows such an easy command of the idiom: there is no aggressive accenting or exaggeration of tempo.”
The opera is based on a libretto adapted by the poet Silvio Stampiglia for Giovanni Bononcini, whose setting was staged at Rome’s Teatro di Torre Nona in 1694. Handel completed his opera in 1738 in little more than a month. However, his typically swift pace and resourceful treatment of musical themes and models should not be misconstrued as complacency, carelessness, or low imaginative powers. The autograph manuscript reveals that Handel invested considerable skill in arias that are perfectly tailored to the dramatic storyline, many of which were meticulously crafted and then redrafted.
Financial Times: “an extremely classy account...Stéphany can compete with the best of today’s mezzos: she combines feeling, dignity, elegance...this really is a baroque vocal feast... Curnyn shows such an easy command of the idiom: there is no aggressive accenting or exaggeration of tempo.”
разделы:
critic picks,
music
Prokofiev: Violin Sonatas & Five Melodies
‘One of the biggest joys of the London concert scene in recent years has been the opening up of the musical world of Alina Ibragimova, a world that seems to know no bounds … here she was partnered by Steven Osborne—a meeting of minds and talents that had that paradoxical effect, common to the best collaborations, of two strongly contrasted individuals speaking with one voice. The First Sonata really let fly … quiet but powerfully sustained in the slow music, a fount of uncorked energy in the more frequent fast sections, Ibragimova dug deep into Prokofiev’s aching heart, profiling the jagged motifs of the Allegro brusco second movement as vividly as she tore into the syncopated rhythms of the battling finale—every phrase stamped with conviction and gravitas’ Financial Times
Hyperion is delighted to present a collaboration—an extraordinary force on the concert platform—in its first appearance on record. Alina Ibragimova and Steven Osborne are musicians of searing, uncompromising intelligence and intense feeling.
Gramophone Magazine Editor's Choice
BBC Music Magazine Chamber Choice
Hyperion is delighted to present a collaboration—an extraordinary force on the concert platform—in its first appearance on record. Alina Ibragimova and Steven Osborne are musicians of searing, uncompromising intelligence and intense feeling.
Gramophone Magazine Editor's Choice
BBC Music Magazine Chamber Choice
разделы:
critic picks,
music
Cloudburst. Eric Whitacre
Eric Whitacre, better known in his native USA, came relatively late to classical music; he was converted by Mozart’s Requiem at college, where he joined the choir to meet girls. He went on to study at Juilliard under Corigliano and David Diamond, during which time he wrote Go, lovely rose (1991). It’s now a repertoire staple for US choirs, and it’s easy to hear why: a setting of a 17th-century poem, it’s gentle, melodious and subtly coloured.
Since then he has focused on setting modern poetry, particularly that of e e cummings and Octavio Paz, although the longest piece here, When David heard (1999), uses a verse from the Book of Samuel. Sleep originally used Robert Frost’s poem Stopping by woods on a snowy evening but legal action by Frost’s estate forced Whitacre to abandon the text. Charles Anthony Silvestri composed a new text, a worthy substitute for Frost’s poem, to match the music, and it works well.
This beautifully performed and recorded CD contains the bulk of Whitacre’s choral canon and displays his delicate yet vital approach to writing for voices. I guess if you like Tavener (or Pärt, who is strongly evoked in David), you’ll enjoy Whitacre.
Since then he has focused on setting modern poetry, particularly that of e e cummings and Octavio Paz, although the longest piece here, When David heard (1999), uses a verse from the Book of Samuel. Sleep originally used Robert Frost’s poem Stopping by woods on a snowy evening but legal action by Frost’s estate forced Whitacre to abandon the text. Charles Anthony Silvestri composed a new text, a worthy substitute for Frost’s poem, to match the music, and it works well.
This beautifully performed and recorded CD contains the bulk of Whitacre’s choral canon and displays his delicate yet vital approach to writing for voices. I guess if you like Tavener (or Pärt, who is strongly evoked in David), you’ll enjoy Whitacre.
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