William Flew

May 18, 2011 § Leave a comment

sang nin (2010), in their own words, which formed the first British unconducted first half performance was nothing more than fun. The monodrama for female singer – soprano Cristina Zavalloni, for it is planning – and a set of eight pieces of aWeill color-Geisler, dominated by the saxophone and percussion, with an element of large video (work themselves also Andriessen’s ), which represents life, or rather, love, the Cuban-French erotic novelist and journalist (1903-77), with a deliberate, insecure in their incestuous relationship with his father. He, Joaquin nin, was a pianist and composer who discovered Andriessen sheet music form before coming through a woman. A Christmas Carol Basque Joaquin provides the epilogue to the stage with her veil, and here is being heard “correct” one-time singing. Character spreads Zavalloni romping energetic, tough-song in a desperate speech, a sort of cabaret voice which has passed through the filter of Schoenberg’s Pierrot Lunaire. But the mention of the creator of the most passionate of women monodramas, Erwartung, Andriessen makes the job fast twitch. I was not sure at the end very well why did nin and her discomfort and men (including Antonin Artaud and Henry Miller) paraded before us. Little dramatic results appear to come from that, very impressive images and music. No one can deny the skill to combine writing, but reiterated the scrapings of Cuban percussion instrument, the guiro, was the main image by going with – poor harvests. However, the room was the wonder of sensitivity near the British premiere at the London Symphony Orchestra gave under the exhibitionist funkily Kristjan Jarvi at the Barbican Hall. This was a violin concerto in three movements, fire and blood, American by Michael Daugherty (1954), inspired by the furnaces of the Detroit car industry as shown in the murals of Diego Rivera


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