<?xml version="1.0" encoding="UTF-8"?><rss version="2.0" xmlns:content="http://purl.org/rss/1.0/modules/content/" xmlns:wfw="http://wellformedweb.org/CommentAPI/" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:atom="http://www.w3.org/2005/Atom" xmlns:sy="http://purl.org/rss/1.0/modules/syndication/" xmlns:slash="http://purl.org/rss/1.0/modules/slash/" > <channel> <title>In a Grove Archives - Cultural Attaché</title> <atom:link href="https://culturalattache.co/tag/in-a-grove/feed/" rel="self" type="application/rss+xml" /> <link>https://culturalattache.co/tag/in-a-grove/</link> <description>The Guide to Arts and Culture events in and around Los Angeles</description> <lastBuildDate>Mon, 24 Jul 2023 16:34:12 +0000</lastBuildDate> <language>en-US</language> <sy:updatePeriod> hourly </sy:updatePeriod> <sy:updateFrequency> 1 </sy:updateFrequency> <generator>https://wordpress.org/?v=6.7.2</generator> <item> <title>New In Music This Week: July 21st</title> <link>https://culturalattache.co/2023/07/21/new-in-music-this-week-july-21st/</link> <comments>https://culturalattache.co/2023/07/21/new-in-music-this-week-july-21st/#respond</comments> <dc:creator><![CDATA[Craig Byrd]]></dc:creator> <pubDate>Fri, 21 Jul 2023 19:00:00 +0000</pubDate> <category><![CDATA[Featured]]></category> <category><![CDATA[Music]]></category> <category><![CDATA[What's Hot]]></category> <category><![CDATA[A.R.C.]]></category> <category><![CDATA[Barry Altschul]]></category> <category><![CDATA[Bobby Darin]]></category> <category><![CDATA[Chick Corea]]></category> <category><![CDATA[Christopher Cerrone]]></category> <category><![CDATA[Conception Vessel]]></category> <category><![CDATA[Dave Holland]]></category> <category><![CDATA[Douyé]]></category> <category><![CDATA[Eberhard Weber]]></category> <category><![CDATA[Egberto Gismonti]]></category> <category><![CDATA[En Medio]]></category> <category><![CDATA[Esa-Pekka Salonen]]></category> <category><![CDATA[Eugène Ysaÿe]]></category> <category><![CDATA[Garrett Saracho]]></category> <category><![CDATA[Hilary Hahn]]></category> <category><![CDATA[Illusion suite]]></category> <category><![CDATA[In a Broadway Bag]]></category> <category><![CDATA[In a Grove]]></category> <category><![CDATA[Inflation Blues]]></category> <category><![CDATA[Jack DeJohnette's Special Edition]]></category> <category><![CDATA[Paul Motian]]></category> <category><![CDATA[San Francisco Symphony]]></category> <category><![CDATA[Sleep & Unremembrance]]></category> <category><![CDATA[Solo Do Meio Dia]]></category> <category><![CDATA[Stanley Cowell]]></category> <category><![CDATA[Stephanie Fleischmann]]></category> <category><![CDATA[The Colours of Chloé]]></category> <category><![CDATA[The Golden Sèkèrè]]></category> <category><![CDATA[The Rite of Spring]]></category> <guid isPermaLink="false">https://culturalattache.co/?p=18880</guid> <description><![CDATA[<p>Lots of jazz, a new opera and Bobby Darrin sings Broadway (from 1966).</p> <p>The post <a href="https://culturalattache.co/2023/07/21/new-in-music-this-week-july-21st/">New In Music This Week: July 21st</a> appeared first on <a href="https://culturalattache.co">Cultural Attaché</a>.</p> ]]></description> <content:encoded><![CDATA[ <p>We put a short pause on New In Music as there weren’t enough new releases to feature. From feast to famine. We have more new releases this week than ever (plus a few that were released very recently). So here is what’s <em>New In Music This Week: July 21<sup>st</sup></em>.</p> <p>Our top pick is:</p> <div class="wp-block-image"> <figure class="alignleft size-thumbnail"><img decoding="async" width="150" height="150" src="https://culturalattache.co/wp-content/uploads/2023/07/In-a-Grove-150x150.jpg" alt="" class="wp-image-18882" srcset="https://culturalattache.co/wp-content/uploads/2023/07/In-a-Grove-150x150.jpg 150w, https://culturalattache.co/wp-content/uploads/2023/07/In-a-Grove-300x300.jpg 300w, https://culturalattache.co/wp-content/uploads/2023/07/In-a-Grove-1024x1024.jpg 1024w, https://culturalattache.co/wp-content/uploads/2023/07/In-a-Grove-768x768.jpg 768w, https://culturalattache.co/wp-content/uploads/2023/07/In-a-Grove-696x696.jpg 696w, https://culturalattache.co/wp-content/uploads/2023/07/In-a-Grove-1068x1068.jpg 1068w, https://culturalattache.co/wp-content/uploads/2023/07/In-a-Grove-420x420.jpg 420w, https://culturalattache.co/wp-content/uploads/2023/07/In-a-Grove.jpg 1200w" sizes="(max-width: 150px) 100vw, 150px" /></figure></div> <p>OPERA:<em> <strong>IN A GROVE</strong></em><strong> – Opera by Christopher Cerrone and Stephanie Fleischmann</strong> (In a Circle Records)</p> <p>In <a href="https://culturalattache.co/2022/02/17/the-new-opera-in-a-grove-may-seem-familiar/">February of 2022</a> I published my interview with composer Cerrone and librettist Fleischmann about this opera which is based on the same short story that inspired Akira Kurosawa’s classic film <em>Rashomon</em>.</p> <p>Opera News said of <em>In a Grove</em>, “An opera that will linger long in my memory.” Now it can find a place in your memory with the release of this album. I love it and can’t wait to see a full production (hopefully sooner as opposed to later.)</p> <p>Here’s what else is <em>New In Music This Week: July 21<sup>st</sup></em>:</p> <div class="wp-block-image"> <figure class="alignleft size-thumbnail"><img decoding="async" width="150" height="150" src="https://culturalattache.co/wp-content/uploads/2023/07/Hahn-Ysaye-150x150.jpg" alt="" class="wp-image-18883" srcset="https://culturalattache.co/wp-content/uploads/2023/07/Hahn-Ysaye-150x150.jpg 150w, https://culturalattache.co/wp-content/uploads/2023/07/Hahn-Ysaye-300x300.jpg 300w, https://culturalattache.co/wp-content/uploads/2023/07/Hahn-Ysaye-1024x1024.jpg 1024w, https://culturalattache.co/wp-content/uploads/2023/07/Hahn-Ysaye-768x768.jpg 768w, https://culturalattache.co/wp-content/uploads/2023/07/Hahn-Ysaye-696x696.jpg 696w, https://culturalattache.co/wp-content/uploads/2023/07/Hahn-Ysaye-1068x1068.jpg 1068w, https://culturalattache.co/wp-content/uploads/2023/07/Hahn-Ysaye-420x420.jpg 420w, https://culturalattache.co/wp-content/uploads/2023/07/Hahn-Ysaye.jpg 1080w" sizes="(max-width: 150px) 100vw, 150px" /></figure></div> <p>CLASSICAL: <strong>YSAŸE: 6 SONATAS FOR VIOLIN SOLO, OP. 27</strong> <strong>– Hilary Hahn</strong><em> </em>(Deutsche Grammophon)</p> <p>This recording by violinist Hahn is the Gramophone Magazine Recording of the Month and for good reason. This isn’t commonly recorded music and Hahn performs it here as it it was music she had been performing her whole life. </p> <p>Composer Eugène Ysaÿe lived from 1858 to 1931 and was born in Belgium. He composed numerous works for solo violin including cadenzas for concerti by Beethoven, Brahmas, Mozart and Tchaikovsky.</p> <p>If this is your first introduction to Ysaÿe’s work, you are going to be richly rewarded.</p> <div class="wp-block-image"> <figure class="alignleft size-thumbnail"><img decoding="async" width="150" height="150" src="https://culturalattache.co/wp-content/uploads/2023/07/Sleep-Unremembrance-150x150.jpg" alt="" class="wp-image-18884" srcset="https://culturalattache.co/wp-content/uploads/2023/07/Sleep-Unremembrance-150x150.jpg 150w, https://culturalattache.co/wp-content/uploads/2023/07/Sleep-Unremembrance-300x300.jpg 300w, https://culturalattache.co/wp-content/uploads/2023/07/Sleep-Unremembrance-1024x1024.jpg 1024w, https://culturalattache.co/wp-content/uploads/2023/07/Sleep-Unremembrance-768x768.jpg 768w, https://culturalattache.co/wp-content/uploads/2023/07/Sleep-Unremembrance-696x696.jpg 696w, https://culturalattache.co/wp-content/uploads/2023/07/Sleep-Unremembrance-1068x1068.jpg 1068w, https://culturalattache.co/wp-content/uploads/2023/07/Sleep-Unremembrance-420x420.jpg 420w, https://culturalattache.co/wp-content/uploads/2023/07/Sleep-Unremembrance.jpg 1080w" sizes="(max-width: 150px) 100vw, 150px" /></figure></div> <p>CLASSICAL: <strong><em>SLEEP & UNREMEMBRANCE</em></strong><em>/<strong>THE RITE OF SPRING</strong></em><strong> – San Francisco Symphony</strong><em> </em>(Apple Music Classical)</p> <p>If you are a fan of Esa-Pekka Salonen’s work as a conductor, you’ll want to check out these two new recordings from concerts performed by the SF Symphony in March 2022.</p> <p>The first is Elizabeth Ogonek’s <em>Sleep & Unremembrance</em>. The composer was inspired by Wislawa Szymborska’s poem <em>While Sleeping</em> for this work. </p> <div class="wp-block-image"> <figure class="alignleft size-thumbnail"><img loading="lazy" decoding="async" width="150" height="150" src="https://culturalattache.co/wp-content/uploads/2023/07/Rite-of-Spring-150x150.jpg" alt="" class="wp-image-18885" srcset="https://culturalattache.co/wp-content/uploads/2023/07/Rite-of-Spring-150x150.jpg 150w, https://culturalattache.co/wp-content/uploads/2023/07/Rite-of-Spring-300x300.jpg 300w, https://culturalattache.co/wp-content/uploads/2023/07/Rite-of-Spring-1024x1024.jpg 1024w, https://culturalattache.co/wp-content/uploads/2023/07/Rite-of-Spring-768x768.jpg 768w, https://culturalattache.co/wp-content/uploads/2023/07/Rite-of-Spring-696x696.jpg 696w, https://culturalattache.co/wp-content/uploads/2023/07/Rite-of-Spring-1068x1068.jpg 1068w, https://culturalattache.co/wp-content/uploads/2023/07/Rite-of-Spring-420x420.jpg 420w, https://culturalattache.co/wp-content/uploads/2023/07/Rite-of-Spring.jpg 1080w" sizes="auto, (max-width: 150px) 100vw, 150px" /></figure></div> <p>The second is a work I’ve heard Salonen conduct several times with the Los Angeles Philharmonic: <em>The Rite of Spring</em> by Igor Stravinsky. It’s a work that seems just a powerful and modern today as it did when it was first performed 110 years ago.</p> <p>No matter how many recordings you’ve heard of <em>The Rite of Spring</em>, I find there’s always something fascinating about hearing the way individual conductors and different orchestras perform this groundbreaking work. </p> <p>Both of these recordings are only available on Apple Music Classical.</p> <div class="wp-block-image"> <figure class="alignleft size-thumbnail"><img loading="lazy" decoding="async" width="150" height="150" src="https://culturalattache.co/wp-content/uploads/2023/07/A.R.C-150x150.jpg" alt="" class="wp-image-18886" srcset="https://culturalattache.co/wp-content/uploads/2023/07/A.R.C-150x150.jpg 150w, https://culturalattache.co/wp-content/uploads/2023/07/A.R.C-300x300.jpg 300w, https://culturalattache.co/wp-content/uploads/2023/07/A.R.C-1024x1024.jpg 1024w, https://culturalattache.co/wp-content/uploads/2023/07/A.R.C-768x768.jpg 768w, https://culturalattache.co/wp-content/uploads/2023/07/A.R.C-696x696.jpg 696w, https://culturalattache.co/wp-content/uploads/2023/07/A.R.C-1068x1068.jpg 1068w, https://culturalattache.co/wp-content/uploads/2023/07/A.R.C-420x420.jpg 420w, https://culturalattache.co/wp-content/uploads/2023/07/A.R.C.jpg 1080w" sizes="auto, (max-width: 150px) 100vw, 150px" /></figure></div> <p>JAZZ: <strong><em>A.R.C. – Chick Corea, Dave Holland, Barry Altschul</em></strong> (ECM Records Digital Release)</p> <p>This 1971 trio album from pianist/composer Corea is notable for the way they start the album: Wayne Shorter’s <em>Nefertiti</em>. That’s a ballsy way to start an album. And it only gets more interesting from there.</p> <p>Holland plays bass and Altschul is the drummer for this album which was recorded in 1971 and came out the same year. All three musicians composed the second track, <em>Ballad for Tillie</em> and Holland composed <em>Vedana</em>. The rest of the compositions were written by Corea.</p> <div class="wp-block-image"> <figure class="alignleft size-thumbnail"><img loading="lazy" decoding="async" width="150" height="150" src="https://culturalattache.co/wp-content/uploads/2023/07/Illusion-Suite-150x150.jpg" alt="" class="wp-image-18887" srcset="https://culturalattache.co/wp-content/uploads/2023/07/Illusion-Suite-150x150.jpg 150w, https://culturalattache.co/wp-content/uploads/2023/07/Illusion-Suite-300x300.jpg 300w, https://culturalattache.co/wp-content/uploads/2023/07/Illusion-Suite-1024x1024.jpg 1024w, https://culturalattache.co/wp-content/uploads/2023/07/Illusion-Suite-768x768.jpg 768w, https://culturalattache.co/wp-content/uploads/2023/07/Illusion-Suite-696x696.jpg 696w, https://culturalattache.co/wp-content/uploads/2023/07/Illusion-Suite-1068x1068.jpg 1068w, https://culturalattache.co/wp-content/uploads/2023/07/Illusion-Suite-420x420.jpg 420w, https://culturalattache.co/wp-content/uploads/2023/07/Illusion-Suite.jpg 1080w" sizes="auto, (max-width: 150px) 100vw, 150px" /></figure></div> <p>JAZZ: <strong><em>ILLUSION SUITE</em> – Stanley Cowell</strong> (ECM Records Digital Release)</p> <p>There are quite a few digital releases from ECM’s early years being released this week and this album by pianist Cowell may be my favorite. Bassist Stanley Clarke and drummer Jimmy Hopps join Cowell for the six tracks on this album that was released in 1973.</p> <p>This was Cowell’s third album as a leader, his second album as a trio. I think you’ll find a lot to love on this album and will probably find yourself listening to more of Cowell’s music as a result of the joy <em>Illusion Suite</em> brings.</p> <div class="wp-block-image"> <figure class="alignleft size-thumbnail"><img loading="lazy" decoding="async" width="150" height="150" src="https://culturalattache.co/wp-content/uploads/2023/07/Inflation-Blues-150x150.jpg" alt="" class="wp-image-18888" srcset="https://culturalattache.co/wp-content/uploads/2023/07/Inflation-Blues-150x150.jpg 150w, https://culturalattache.co/wp-content/uploads/2023/07/Inflation-Blues-300x300.jpg 300w, https://culturalattache.co/wp-content/uploads/2023/07/Inflation-Blues-1024x1024.jpg 1024w, https://culturalattache.co/wp-content/uploads/2023/07/Inflation-Blues-768x768.jpg 768w, https://culturalattache.co/wp-content/uploads/2023/07/Inflation-Blues-696x696.jpg 696w, https://culturalattache.co/wp-content/uploads/2023/07/Inflation-Blues-1068x1068.jpg 1068w, https://culturalattache.co/wp-content/uploads/2023/07/Inflation-Blues-420x420.jpg 420w, https://culturalattache.co/wp-content/uploads/2023/07/Inflation-Blues.jpg 1080w" sizes="auto, (max-width: 150px) 100vw, 150px" /></figure></div> <p>JAZZ: <strong><em>INFLATION BLUES </em>– Jack DeJohnette’s Special Edition</strong><em> </em>(ECM Records Digital Release)</p> <p>This album was recorded in 1982 and released in 1983. Drummer/pianist DeJOhnette composed all five songs: <em>Starburst</em>, <em>Ebony</em>, <em>The Islands</em>, <em>Inflation Blues</em> and <em>Slowdown</em>. He’s joined on this album by Chico Freeman on tenor and soprano saxophone plus bass clarinet; John Purcell on baritone and lato sax, flute and clarinet and Rufus Reid on bass. Trumpeter Baikida Carroll joins for all but <em>Ebony</em>.</p> <p><em>Inflation Blues</em> received great reviews upon its release. It’s well worth your time.</p> <div class="wp-block-image"> <figure class="alignleft size-thumbnail"><img loading="lazy" decoding="async" width="150" height="150" src="https://culturalattache.co/wp-content/uploads/2023/07/Douye-150x150.jpg" alt="" class="wp-image-18889" srcset="https://culturalattache.co/wp-content/uploads/2023/07/Douye-150x150.jpg 150w, https://culturalattache.co/wp-content/uploads/2023/07/Douye-300x300.jpg 300w, https://culturalattache.co/wp-content/uploads/2023/07/Douye-1022x1024.jpg 1022w, https://culturalattache.co/wp-content/uploads/2023/07/Douye-768x769.jpg 768w, https://culturalattache.co/wp-content/uploads/2023/07/Douye-696x697.jpg 696w, https://culturalattache.co/wp-content/uploads/2023/07/Douye-1068x1070.jpg 1068w, https://culturalattache.co/wp-content/uploads/2023/07/Douye-419x420.jpg 419w, https://culturalattache.co/wp-content/uploads/2023/07/Douye.jpg 1078w" sizes="auto, (max-width: 150px) 100vw, 150px" /></figure></div> <p>JAZZ: <strong><em>THE GOLDEN SÈKÈRÈ</em> – Douyé </strong>(Rhombus Records) </p> <p>The songs on this album by vocalist Douyé are much better known than she is. But one listen to her renditions of <em>Cherokee</em>, <em>Speak Low</em>, <em>My Funny Valentine</em> and more will prompt repeated listens.</p> <p>Then you’ll do as I did and look up her other albums which includes 2019’s <em>Quatro</em> and 2017’s <em>Daddy Said So</em> (which includes an incredible version of Billy Strayhorn’s <em>Lush Life</em>).</p> <div class="wp-block-image"> <figure class="alignleft size-thumbnail"><img loading="lazy" decoding="async" width="150" height="150" src="https://culturalattache.co/wp-content/uploads/2023/07/Solo-Do-Meio-Dia-150x150.jpg" alt="" class="wp-image-18890" srcset="https://culturalattache.co/wp-content/uploads/2023/07/Solo-Do-Meio-Dia-150x150.jpg 150w, https://culturalattache.co/wp-content/uploads/2023/07/Solo-Do-Meio-Dia-300x300.jpg 300w, https://culturalattache.co/wp-content/uploads/2023/07/Solo-Do-Meio-Dia-1024x1024.jpg 1024w, https://culturalattache.co/wp-content/uploads/2023/07/Solo-Do-Meio-Dia-768x768.jpg 768w, https://culturalattache.co/wp-content/uploads/2023/07/Solo-Do-Meio-Dia-696x696.jpg 696w, https://culturalattache.co/wp-content/uploads/2023/07/Solo-Do-Meio-Dia-1068x1068.jpg 1068w, https://culturalattache.co/wp-content/uploads/2023/07/Solo-Do-Meio-Dia-420x420.jpg 420w, https://culturalattache.co/wp-content/uploads/2023/07/Solo-Do-Meio-Dia.jpg 1080w" sizes="auto, (max-width: 150px) 100vw, 150px" /></figure></div> <p>JAZZ: <strong><em>SOL DO MEIO DIA</em> – Egberto Gismonti</strong><em> </em>(ECM Records Digital Release)</p> <p>Gismonti is a guitarist, pianist and composer from Brazil. If you’re expecting Brazilian jazz or music in the style of Gilberto Gil, this album isn’t for you. There is some improvisation here that could be right at home in jazz clubs today (particularly by Jan Garbarek on soprano saxophone on the last track of the album). There’s also some of the most beautiful music to be heard as well, particularly <em>Coração</em>.</p> <p>All tracks were composed by Gismonti.</p> <div class="wp-block-image"> <figure class="alignleft size-thumbnail"><img loading="lazy" decoding="async" width="150" height="150" src="https://culturalattache.co/wp-content/uploads/2023/07/Conception-Vessel-150x150.jpg" alt="" class="wp-image-18891" srcset="https://culturalattache.co/wp-content/uploads/2023/07/Conception-Vessel-150x150.jpg 150w, https://culturalattache.co/wp-content/uploads/2023/07/Conception-Vessel-300x300.jpg 300w, https://culturalattache.co/wp-content/uploads/2023/07/Conception-Vessel-1024x1024.jpg 1024w, https://culturalattache.co/wp-content/uploads/2023/07/Conception-Vessel-768x768.jpg 768w, https://culturalattache.co/wp-content/uploads/2023/07/Conception-Vessel-696x696.jpg 696w, https://culturalattache.co/wp-content/uploads/2023/07/Conception-Vessel-1068x1068.jpg 1068w, https://culturalattache.co/wp-content/uploads/2023/07/Conception-Vessel-420x420.jpg 420w, https://culturalattache.co/wp-content/uploads/2023/07/Conception-Vessel.jpg 1080w" sizes="auto, (max-width: 150px) 100vw, 150px" /></figure></div> <p>JAZZ: <strong><em>CONCEPTION VESSEL</em> – Paul Motian</strong><em> </em>(ECM Records Digital Release)</p> <p>This 1973 album was the first album by drummer/composer Paul Motian as a bandleader. He was joined in this album byguitarist Sam Brown, flautist Becky Friend, bass player Charlie Haden, pianist/flautist Keith Jarrett and violinist Leroy Jenkins.</p> <p>There’s a topicality to the titles on this album which serve as a signpost to the era in which it was written and performed. They include <em>Ch’i Energy</em>, <em>American Indian: Song of Sitting Bull</em> and <em>Inspiration from a Vietnamese Lullaby</em>. Motian composed all six tracks on <em>Conception Vessel</em>.</p> <div class="wp-block-image"> <figure class="alignleft size-thumbnail"><img loading="lazy" decoding="async" width="150" height="150" src="https://culturalattache.co/wp-content/uploads/2023/07/En-Medio-150x150.jpg" alt="" class="wp-image-18895" srcset="https://culturalattache.co/wp-content/uploads/2023/07/En-Medio-150x150.jpg 150w, https://culturalattache.co/wp-content/uploads/2023/07/En-Medio-300x300.jpg 300w, https://culturalattache.co/wp-content/uploads/2023/07/En-Medio-1024x1024.jpg 1024w, https://culturalattache.co/wp-content/uploads/2023/07/En-Medio-768x768.jpg 768w, https://culturalattache.co/wp-content/uploads/2023/07/En-Medio-696x696.jpg 696w, https://culturalattache.co/wp-content/uploads/2023/07/En-Medio-1068x1068.jpg 1068w, https://culturalattache.co/wp-content/uploads/2023/07/En-Medio-420x420.jpg 420w, https://culturalattache.co/wp-content/uploads/2023/07/En-Medio.jpg 1080w" sizes="auto, (max-width: 150px) 100vw, 150px" /></figure></div> <p>JAZZ/FUNK: <strong><em>EN MEDIO – Garrett Saracho</em></strong> (Impulse! Records/Ume)</p> <p>If you don’t know this album from 1973, don’t be surprised. In spite of tremendous critical response and the support of artists from Herbie Hancock and Wayne Shorter, Saracho’s album failed to get the attention it deserved.</p> <p>For the album’s 50<sup>th</sup> anniversary the album is getting a wide vinyl release (it’s also available digitally.) When you hear the work of the then 23-year-old Saracho, you’ll be amazed at the fusion of styles and how prescient his work actually was.</p> <div class="wp-block-image"> <figure class="alignleft size-thumbnail"><img loading="lazy" decoding="async" width="150" height="150" src="https://culturalattache.co/wp-content/uploads/2023/07/Colours-of-Chloe-1-150x150.jpg" alt="" class="wp-image-18893" srcset="https://culturalattache.co/wp-content/uploads/2023/07/Colours-of-Chloe-1-150x150.jpg 150w, https://culturalattache.co/wp-content/uploads/2023/07/Colours-of-Chloe-1-300x300.jpg 300w, https://culturalattache.co/wp-content/uploads/2023/07/Colours-of-Chloe-1-1024x1024.jpg 1024w, https://culturalattache.co/wp-content/uploads/2023/07/Colours-of-Chloe-1-768x768.jpg 768w, https://culturalattache.co/wp-content/uploads/2023/07/Colours-of-Chloe-1-696x696.jpg 696w, https://culturalattache.co/wp-content/uploads/2023/07/Colours-of-Chloe-1-1068x1068.jpg 1068w, https://culturalattache.co/wp-content/uploads/2023/07/Colours-of-Chloe-1-420x420.jpg 420w, https://culturalattache.co/wp-content/uploads/2023/07/Colours-of-Chloe-1.jpg 1080w" sizes="auto, (max-width: 150px) 100vw, 150px" /></figure></div> <p>JAZZ: <strong><em>THE COLOURS OF CHLOË</em> – Eberhard Weber</strong> (ECM Records Digital Release)</p> <p>This was the first record by double bassist and composer Weber. The album was released in 1974. There are four tracks on this album which is Weber’s best known: <em>More Colours</em>, <em>The Colours of Chloë</em>, <em>An Evening with Vincent Van Ritz</em> and the epic <em>No Motion Picture</em>.</p> <p>Is it true jazz? Symphonic jazz? Is this album a product of its time or a truly ambitious work that stands the test of time? There’s only way to find out. Listen to it!</p> <div class="wp-block-image"> <figure class="alignleft size-thumbnail"><img loading="lazy" decoding="async" width="150" height="150" src="https://culturalattache.co/wp-content/uploads/2023/07/In-a-Broadway-Bag-150x150.jpg" alt="" class="wp-image-18894" srcset="https://culturalattache.co/wp-content/uploads/2023/07/In-a-Broadway-Bag-150x150.jpg 150w, https://culturalattache.co/wp-content/uploads/2023/07/In-a-Broadway-Bag-300x300.jpg 300w, https://culturalattache.co/wp-content/uploads/2023/07/In-a-Broadway-Bag-1024x1024.jpg 1024w, https://culturalattache.co/wp-content/uploads/2023/07/In-a-Broadway-Bag-768x768.jpg 768w, https://culturalattache.co/wp-content/uploads/2023/07/In-a-Broadway-Bag-696x696.jpg 696w, https://culturalattache.co/wp-content/uploads/2023/07/In-a-Broadway-Bag-1068x1068.jpg 1068w, https://culturalattache.co/wp-content/uploads/2023/07/In-a-Broadway-Bag-420x420.jpg 420w, https://culturalattache.co/wp-content/uploads/2023/07/In-a-Broadway-Bag.jpg 1080w" sizes="auto, (max-width: 150px) 100vw, 150px" /></figure></div> <p>VOCALS: <strong><em>IN A BROADWAY BAG </em>– Bobby Darin </strong>(Direction Records)</p> <p>The Bobby Darin estate has released five albums from his Bespoke Label. This album from 1966 finds Darin singing some of Broadway’s best-known songs including <em>Mame</em>, <em>Don’t Rain on My Parade</em> and <em>Feeling Good</em>.</p> <p>Darin’s style is a throwback to a different time, but his passion for the material is present in this recording.</p> <p>Those are our picks of the best of What’s New In Music This Week: July 21st.</p> <p>Enjoy the music and enjoy your weekend.</p> <p>Main Photo: Extraction from the cover for <em>In a Grove</em></p> <p>The post <a href="https://culturalattache.co/2023/07/21/new-in-music-this-week-july-21st/">New In Music This Week: July 21st</a> appeared first on <a href="https://culturalattache.co">Cultural Attaché</a>.</p> ]]></content:encoded> <wfw:commentRss>https://culturalattache.co/2023/07/21/new-in-music-this-week-july-21st/feed/</wfw:commentRss> <slash:comments>0</slash:comments> </item> <item> <title>The New Opera “In a Grove” May Seem Familiar</title> <link>https://culturalattache.co/2022/02/17/the-new-opera-in-a-grove-may-seem-familiar/</link> <comments>https://culturalattache.co/2022/02/17/the-new-opera-in-a-grove-may-seem-familiar/#respond</comments> <dc:creator><![CDATA[Craig Byrd]]></dc:creator> <pubDate>Thu, 17 Feb 2022 21:22:00 +0000</pubDate> <category><![CDATA[Featured]]></category> <category><![CDATA[Opera: Bravo]]></category> <category><![CDATA[What's Hot]]></category> <category><![CDATA[Akira Kurosawa]]></category> <category><![CDATA[Christopher Cerrone]]></category> <category><![CDATA[In a Grove]]></category> <category><![CDATA[interview]]></category> <category><![CDATA[Mary Birnbaum]]></category> <category><![CDATA[opera]]></category> <category><![CDATA[Pittsburgh Opera]]></category> <category><![CDATA[Rashomon]]></category> <category><![CDATA[Ryūnosuke Akutagawa]]></category> <category><![CDATA[Stephanie Fleischmann]]></category> <guid isPermaLink="false">https://culturalattache.co/?p=15867</guid> <description><![CDATA[<p>"Not only is this work a masterpiece, but it's also adapted into a film that is also separately a masterpiece. I don't think it's necessary to do a straight telling of the story. "</p> <p>The post <a href="https://culturalattache.co/2022/02/17/the-new-opera-in-a-grove-may-seem-familiar/">The New Opera “In a Grove” May Seem Familiar</a> appeared first on <a href="https://culturalattache.co">Cultural Attaché</a>.</p> ]]></description> <content:encoded><![CDATA[ <p>Ryūnosuke Akutagawa may not be a household name. But if you know the classic film <em>Rashomon</em> by legendary filmmaker Akira Kurosawa, you know at least one of Akutagawa’s stories. It’s a story about shifting perspectives on a single criminal act. It’s also a story that can be told by more than one or two storytellers. Enter composer Christopher Cerrone and librettist Stephanie Fleischmann. They were inspired by this same story to create a new opera, <em><a href="https://www.pittsburghopera.org/season/in-a-grove/" target="_blank" rel="noreferrer noopener">In a Grove</a></em>, that has its world premiere this weekend at Pittsburgh Opera. The production is directed by Mary Birnbaum.</p> <figure class="wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio"><div class="wp-block-embed__wrapper"> <iframe loading="lazy" title="Pittsburgh Opera - "In a Grove" trailer" width="696" height="392" src="https://www.youtube.com/embed/MHpya9f6Us0?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe> </div></figure> <p>Cerrone was a Pulitzer Prize finalist for his opera, <em>Invisible Cities</em>, which was performed in Los Angeles by The Industry and directed by <a href="https://culturalattache.co/2013/10/30/an-invisible-opera-in-the-very-visible-union-station/" target="_blank" rel="noreferrer noopener">Yuval Sharon</a>. He’s composed works that have been performed by the opera singer Sasha Cooke, violinist Jennifer Koh, the Los Angeles Philharmonic, Wild Up and more.</p> <p>Fleischmann has written libretti for <em>The Long Walk</em>, <em>After the Storm</em> and <em>The Property</em>. She has multiple new projects in the works including collaborations with <a href="https://culturalattache.co/2021/12/02/composer-julia-adolphe-writes-the-colors-of-the-violin/" target="_blank" rel="noreferrer noopener">Julia Adolphe</a>, Anna Clyne and Dawn Upshaw. She’s also a playwright and dramaturg whose work has been seen in venues around the world.</p> <p>Adapting Akutagawa’s short story (also titled <em>In a Grove</em>) is the first collaboration between the two. A few weeks ago, as rehearsals were about to get under way, I spoke via Zoom with Cerrone and Fleischman. What follows are excerpts from that conversation that have been edited for length and clarity. </p> <p>Let’s start where conversations about new operas usually do and that is with the lyrics of Don Henley of The Eagles. He wrote, “There’s three sides to every story baby: yours, mine and the cold hard truth.” What is your definition of the truth and how does that find its way into <em>In a Grove</em>?</p> <p><span style="text-decoration: underline;">Fleischmann</span>: <strong>It’s a great question. When we started we were really very much in the Trump era and that was informing our work at the time. That kind of reality has shifted somewhat. So even though there are huge questions about truth in our culture, I think that the piece became a sort of response to that shift and became more about personal and subjective truths as opposed to manipulation of facts to some extent.</strong></p> <div class="wp-block-image"><figure class="alignleft size-medium"><img loading="lazy" decoding="async" width="300" height="169" src="https://culturalattache.co/wp-content/uploads/2022/02/Christopher-Cerrone-Photo-by-Jacob-Blickenstaff-Courtesy-Pittsburg-Opera-300x169.jpg" alt="" class="wp-image-15874" srcset="https://culturalattache.co/wp-content/uploads/2022/02/Christopher-Cerrone-Photo-by-Jacob-Blickenstaff-Courtesy-Pittsburg-Opera-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2022/02/Christopher-Cerrone-Photo-by-Jacob-Blickenstaff-Courtesy-Pittsburg-Opera-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2022/02/Christopher-Cerrone-Photo-by-Jacob-Blickenstaff-Courtesy-Pittsburg-Opera-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2022/02/Christopher-Cerrone-Photo-by-Jacob-Blickenstaff-Courtesy-Pittsburg-Opera-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2022/02/Christopher-Cerrone-Photo-by-Jacob-Blickenstaff-Courtesy-Pittsburg-Opera-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2022/02/Christopher-Cerrone-Photo-by-Jacob-Blickenstaff-Courtesy-Pittsburg-Opera-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2022/02/Christopher-Cerrone-Photo-by-Jacob-Blickenstaff-Courtesy-Pittsburg-Opera-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2022/02/Christopher-Cerrone-Photo-by-Jacob-Blickenstaff-Courtesy-Pittsburg-Opera.jpg 1920w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption>Composer Christopher Cerrone (Photo by Jacob Blickenstaff/Courtesy Pittsburg Opera)</figcaption></figure></div> <p><span style="text-decoration: underline;">Cerrone</span>: <strong>I’m really hesitant to tie it to any kind of specific political figure because I think that’s a simplified narrative. I actually think that the whole point of the piece is to avoid simplified narratives. So what I would say is that it appealed to me early on because I was originally interested in doing a piece where multiple perspectives were brought in because a lot of my favorite literature all stems really from this story.</strong></p> <p><strong>In my opinion, society has shifted away from simpler uncomplicated truths in favor of simple dishonest truths and I think that is not something that can be reduced to any kind of political party ideology.</strong><em> </em><strong>I think most people are asked to make an innumerable number of extremely exponentially more complicated moral decisions in our world. Therefore, I’m not surprised that there’s a tendency towards some kind of simplification urge. I think that is very directly related to that fact that it can be very easily exploited. And I think that that is sort of where we are now. </strong></p> <p>The short story is only seven pages long. What inspired the changes from the original story to what you present in <em>In a Grove</em>?</p> <div class="wp-block-image"><figure class="alignleft size-medium"><img loading="lazy" decoding="async" width="300" height="169" src="https://culturalattache.co/wp-content/uploads/2022/02/Stephanie-Fleischmann-Photo-by-John-Cleater-Courtesy-Pittsburgh-Opera-300x169.jpg" alt="" class="wp-image-15877" srcset="https://culturalattache.co/wp-content/uploads/2022/02/Stephanie-Fleischmann-Photo-by-John-Cleater-Courtesy-Pittsburgh-Opera-300x169.jpg 300w, https://culturalattache.co/wp-content/uploads/2022/02/Stephanie-Fleischmann-Photo-by-John-Cleater-Courtesy-Pittsburgh-Opera-1024x576.jpg 1024w, https://culturalattache.co/wp-content/uploads/2022/02/Stephanie-Fleischmann-Photo-by-John-Cleater-Courtesy-Pittsburgh-Opera-768x432.jpg 768w, https://culturalattache.co/wp-content/uploads/2022/02/Stephanie-Fleischmann-Photo-by-John-Cleater-Courtesy-Pittsburgh-Opera-1536x864.jpg 1536w, https://culturalattache.co/wp-content/uploads/2022/02/Stephanie-Fleischmann-Photo-by-John-Cleater-Courtesy-Pittsburgh-Opera-696x392.jpg 696w, https://culturalattache.co/wp-content/uploads/2022/02/Stephanie-Fleischmann-Photo-by-John-Cleater-Courtesy-Pittsburgh-Opera-1068x601.jpg 1068w, https://culturalattache.co/wp-content/uploads/2022/02/Stephanie-Fleischmann-Photo-by-John-Cleater-Courtesy-Pittsburgh-Opera-747x420.jpg 747w, https://culturalattache.co/wp-content/uploads/2022/02/Stephanie-Fleischmann-Photo-by-John-Cleater-Courtesy-Pittsburgh-Opera.jpg 1920w" sizes="auto, (max-width: 300px) 100vw, 300px" /><figcaption>Librettist Stephanie Fleischmann (Photo by John Cleater/Courtesy Pittsburgh Opera)</figcaption></figure></div> <p><span style="text-decoration: underline;">Fleischmann</span>: <strong>We started talking about the fact that this was a Japanese story and the three creative forces behind it were not Japanese. What would happen if we took it out of Japan and set it somewhere that was more culturally resonant to us? Especially in terms of the issues of what happens to the woman and the relationship between the man and the woman. And the notion of shame which is really very embedded in Japanese culture in a way that I couldn’t begin to understand or none of us could really. So we started thinking about where we might set it and when. We were interested in the year that Akutagawa wrote the story which was 1921 as a possible moment in time. Which, ironically, is soon after the influenza pandemic.</strong></p> <p><span style="text-decoration: underline;">Cerrone</span>: <strong>Not only is this work a masterpiece, but it’s also adapted into a film that is also separately a masterpiece. I don’t think it’s necessary to do a straight telling of the story. <strong>We’re not Japanese, so it’s not going to be in Japan.</strong> We wanted to keep the connection to Japan, but also bring it to America.<em> </em><strong>And the other question was do we need another opera centering around rape?</strong> I think what the story really became at that moment was this idea of a story not about literal truth. <strong>T</strong>hat was already a sign that the story was going to shift based on just who we are as artists. </strong></p> <p><span style="text-decoration: underline;">Fleischmann</span>: <strong>I think that just choosing to set it in 1921 as opposed to today says a lot. What we were really interested in were these people and how these people struggle to communicate or not communicate or manipulate each other and what the repercussions are of human flaws. Taking it away from now allows us to focus on that.</strong></p> <p>Given that multiple perspectives are presented in this story, does the music became a kind of variations on a theme?</p> <p><span style="text-decoration: underline;">Cerrone</span>:<strong> Very much so. I remember Beckett talking about this and also Martin Feldman talking about this idea of deliberately trying to forget and then rewriting something so that you don’t consult the original material. It’s just in your memory and then you try to reconstruct it. I tried to use the memory process itself as a form of variation. So there are these elements that are quite prominent that do come back, but they’re rewritten without consulting the earlier material. I tried to remember what it was and sort of allowed the fallibility my memory to just sort of guide a lot of that.</strong></p> <p><span style="text-decoration: underline;">Fleischmann</span>: <strong>We also structured the libretto that way,</strong> <strong>too. First there was a draft or four drafts and then the fifth draft. We were really working hard at making those moments that were somewhat repeating something that happened before, but they were slightly different.<em> </em></strong></p> <p>This is your first collaboration with each other. What have you learned from this process that will inform what you do either separately or together in the future?</p> <p><span style="text-decoration: underline;">Cerrone</span>: <strong>Be nice to your collaborators because sometimes it’s really hard<em>.</em></strong></p> <p><span style="text-decoration: underline;">Fleischmann</span>: <strong>I think that the process of evolving what we were making we did so collaboratively. I think that is incredibly valuable. I hope that it shows in the cohesiveness and organic-ness of of the work. It takes an incredible amount of patience and pliability, but also rigor and respect and and what happens is we all have different strengths. So if we can be open to those different strengths then we’re really building something incredibly strong. That’s the goal.</strong></p> <p><span style="text-decoration: underline;">Cerrone</span>: <strong>Someone said, your first opera why did you not work with a librettist? And I said I wasn’t emotionally mature enough because it’s really hard to collaborate. And I give Stephanie a lot of credit for her clever person skills. I think it involves an enormous amount of trust in the process and that can be really, really hard sometimes. It’s taught me that real collaboration is possible and I know for a fact that this work, to me feels, like greater than the sum of its parts as a result.</strong></p> <p>To see the full interview with Cerrone and Fleischmann, please go to our YouTube channel <a href="https://www.youtube.com/watch?v=39NziF_qjNU" target="_blank" rel="noreferrer noopener">here</a>.</p> <p><em>In a Grove</em> will be performed at Pittsburgh Opera on Feb. 19th, 22nd, 25th, 27th & March 1st and 3rd. For tickets go <a href="https://opera.culturaldistrict.org/production/77613/list_performances?_ga=2.43832613.1096182118.1645053857-808705679.1645053857" target="_blank" rel="noreferrer noopener">here</a>.</p> <p>Cerrone did reveal that there were plans to livestream <em>In a Grove</em> after its premiere. We’ll update you with details.</p> <p>Photo: Madeline Ehlinger, Andrew Turner and Yazid Gray in <em>In a Grove</em> (Photo by David Bachman Photography for Pittsburgh Opera)</p> <p>The post <a href="https://culturalattache.co/2022/02/17/the-new-opera-in-a-grove-may-seem-familiar/">The New Opera “In a Grove” May Seem Familiar</a> appeared first on <a href="https://culturalattache.co">Cultural Attaché</a>.</p> ]]></content:encoded> <wfw:commentRss>https://culturalattache.co/2022/02/17/the-new-opera-in-a-grove-may-seem-familiar/feed/</wfw:commentRss> <slash:comments>0</slash:comments> </item> </channel> </rss>