Aida Garifullina MIDNIGHT IN MOSCOW

 

MIDNIGHT IN MOSCOW

Aida Garifullina / ORF Radio-Symphonieorchester Wien / Cornelius Meister AIDA GARIFULLINA

 

AIDA GARIFULLINA

 

OLGA NEUWIRTH ...miramondo multiplo... - Remnants of Songs ... An Amphigony - Masaot / Clocks without Hands

OLGA NEUWIRTH

THE WORLD OF HANS ZIMMER

"Get to hear Hans Zimmer s greatest hits as you ve never heard them before! Sony Classical releases the double-album The World of Hans Zimmer A Symphonic Celebration in spring 2019. The album features the music from the Zimmer-curated World of Hans Zimmer international concert tour by Semmel Concerts. For The World of Hans Zimmer A Symphonic Celebration Hans Zimmer has newly arranged his greatest hits and made them into electrifying concert suites for orchestra, choir and an impressive list of soloists. Each concert suite features the most recognisable parts and melodies of a film score in the cohesive form of a new symphonic work. The album features such legendary scores as The Dark Knight , The Da Vinci Code , Lion King , Pirates of the Caribbean and M:i-2 Mission: Impossible 2 . A band of famous soloists and singers adds to the excitingly new listening experience. Amongst these accomplished musicians are several of Zimmer s long-time musical collaborators such as Gavin Greenaway (musical director), Lisa Gerrard, multi-instrumentalist Pedro Eustache, and renowned opera singer Valentina Nafornita. The recording took place at the famous traditional concert hall Wiener Konzerthaus featuring renowned ORF Vienna Radio Symphony Orchestra and choir Neue Wiener Stimmen conducted by Martin Gellner in the course of the Hollywood in Vienna festival. The World of Hans Zimmer A Symphonic Celebration also includes concert suites of the scores of King Arthur , Pearl Harbor , Rush , Madagascar , Spirit , Kung Fu Panda , The Holiday , Hannibal , Gladiator and Inception . "

FRIEDRICH CERHA Und du... - Verzeichnis - Für K

Und du... is the main work here, a 1963 commentary and warning about the dangers of the nuclear situation as it then appeared during the Cold War. An ambitious sonic collage, the work weaves together suitably apocalyptic texts, spoken and amplified, with a richly textured orchestral and electronic soundscape, fluid and plastic, devoid of any kind of melodic or rhythmic signposts. The texts are subsumed by the music, which ultimately fades out, to be replaced by an unaccompanied spoken essay on the apparent certainty of a self-imposed end of times (printed in translation in the booklet). Verzeichnis employs a complex collage of vocal styles, from speaking, sprechstimme, conventional singing and extended techniques, as well as the stamping of feet. The text is a list of people executed for witchcraft in Würzburg, and the piece dramatically condemns such arbitrary condemnations and murders. The much more recent Für K was composed for the 70th birthday of sculptor Karl Prantl, and is a good deal less obviously experimental. Metallic sounds suggesting chisel on stone punctuate a busy chain of events - sometimes abstract, sometimes frankly melodic - with constantly changing meter and timbre.

Lena Belkina / ORF Vienna Radio Symphony Orchestra / Andrea Sanguineti CLASSIC VIENNA

Mezzo-soprano Lena Belkina’s first album garnered high praise: “She sings Desdemona’s ‘Willow Song’ from Rossini’s Otello with lyrical intensity... Nacqui all’affanno e al pianto” from La Cenerentola is sharp-witted and brilliant”, opined Das Opernglas, while WAZ (Westdeutsche Allgemeine Zeitung) wrote: “The coloratura is splendidly placed whether she’s mobilizing Tudor fury (in Anna Bolena), questioning her heart in the Barber of Seville or letting the soul of ‘Tanti affetti’ (La donna del lago) overflow with elegant beauty.”

For her second album, “Classic Vienna”, she has recorded the most famous representatives of Viennese Classicism, Mozart (1756–1791), Haydn (1732–1809) and Gluck (1714–1787), with the ORF Vienna Radio Symphony Orchestra under the direction of Andrea Sanguinetti. Her Mozart selections include the aria “Parto, ma tu ben mio” from La clemenza di Tito, “Il padre adorato” from Idomeneo and the concert aria “Ch'io mi scordi di te?”. She sings Gluck’s arias “Che puro ciel” from Orfeo ed Euridice and “Oh, del mio dolce ardor” from Paride ed Elena as well as Haydn’s aria “Se non piange un’ infelice” from L’isola disabitata and his Scena di Berenice. The programme is rounded off with the overtures from Mozart’s Così fan tutte, Gluck’s Armide and Haydn’s Acide e Galatea. (Presto Classical)

Aida Garifullina AIDA GARIFULLINA

Soprano Aida Garifullina was born in 1987 into a Tatar family in Kazan, the capital of Tatarstan in the Russian Federation, some 500 miles east of Moscow. Aida’s mother, a choral conductor, noticed her daughter’s love of singing very early, and her first public performance took place when she was 5 in a televised children’s competition in Moscow.

At the age of 11 she was accepted for singing lessons at the Kazan State Conservatoire, and at 13 she appeared at the Tchaikovsky Great Hall in Moscow – the city’s most prestigious venue – during the Festival of Gifted Children of Tatarstan.

The childhood of dedicated young musicians can look very intense to outsiders. “It is true that I didn’t have much time to play with dolls or run around with my friends. I would have school in the morning, then solfeggio class, then I went to a singing teacher – and then to ballet school and finally to a drawing class. At some point they realised you can’t overload a child and decided I should stick with singing – so my fate was decided”.