He is allegedly among the entire cast singing the "yes we know what it is" bit at the end of "The Unlikely Duet," but, no, I can't actually make out his voice.charliestumpy wrote:Can anyone please discern if Costello voice is on any other than the 2 'Troublemaker' and 'Despair' tracks please? Thanks.
Welcome To The Voice: Elvis in Steve's opera, Paris, nov '08
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And No Coffee Table
- Posts: 3541
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Re: Welcome To The Voice: Elvis in Steve's opera, Paris, nov '08
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charliestumpy
- Posts: 710
- Joined: Thu Jan 06, 2005 7:33 am
Re: Welcome To The Voice: Elvis in Steve's opera, Paris, nov '08
Thanks - now that you have pointed it out, I can hear Costello vocal stage centre-ish in the 'yes we know what it is' ...And No Coffee Table wrote:He is allegedly among the entire cast singing the "yes we know what it is" bit at the end of "The Unlikely Duet," but, no, I can't actually make out his voice.charliestumpy wrote:Can anyone please discern if Costello voice is on any other than the 2 'Troublemaker' and 'Despair' tracks please? Thanks.
Re: Welcome To The Voice: Elvis in Steve's opera, Paris, nov '08
Work 'n play 'n a computer crash mean I've only today got a chance to post some photos from my trip to Paris.
Here's the WTTV venue -
Me getting excited at the poster out front -
A Metro poster for the show -
Elvis 'n Sting 'n co. accepting applause -
I maintain my view of the show. It was a absurd version of a good album. The adulation from the crowds each night can only be explained by a cheerful wish to be entertained. Good for them .
Here's the WTTV venue -
Me getting excited at the poster out front -
A Metro poster for the show -
Elvis 'n Sting 'n co. accepting applause -
I maintain my view of the show. It was a absurd version of a good album. The adulation from the crowds each night can only be explained by a cheerful wish to be entertained. Good for them .
Re: Welcome To The Voice: Elvis in Steve's opera, Paris, nov '08
John in Co.Meath, Ireland ( no, not me - honest) blogs -
http://counago-and-spaves.blogspot.com/ ... point.html
Tuesday, February 10, 2009
At What Point . . .
do rock stars become a parody of themselves?
Some empty seats at the November 20 premiere of Steve Nieve's Welcome to the Voice showed that lightweight musical programming does not necessarily guarantee success in the Théâtre du Châtelet's quest for popularity. Welcome to the Voice, originally recorded as a concept album for rock superstars Sting and Elvis Costello and classical soprano Barbara Bonney, is an engagingly simple story of operatic obsession: a Greek foundry worker finally achieves a duet with the diva of his dreams. For this stage premiere, Nieve — a frequent keyboard collaborator of Costello's — expanded his original scoring for string quartet and added an overture, while Muriel Teodori (Nieve's wife) adjusted her libretto. The show was conducted by Wolfgang Doerner. Sting and Costello sang their roles from the concept album, joined by Sylvia Schwartz in Bonney's old role of the Diva. The Ensemble Orchestral de Paris was in the pit.
The show suffered from a serious lack of dramatic rhythm, not helped by Teodori's libretto and its pretentious mix of platitudes: any opera beginning with the repeated word "transcendence" starts at a disadvantage in this respect. The foundry-worker character, sung by Sting, has the portentously classical name of Dionysos, an appellation that promises a complexity of motivation entirely absent from the stage — even though Bernard Arnould's mix of factory and opera-house backstage was handsomely realized. Nieve's score, fluently conducted by Doerner, begins with an overture of moody intensity; his interpolation of opera themes is achieved with some technical skill. When the sleeping Dionysos is visited by three operatic "ghosts"— Carmen, Butterfly and Norma, well sung by Marie-Ange Todorovitch, Sonya Yoncheva and Anna Gabler, respectively — the composer avoids quoting bleeding chunks of each opera but evokes their eternally fascinating heroines by incorporating memorable turns of phrase. Elsewhere, the score reflects a wide range of rock, pop and opera influences with a dash of Sondheim thrown in for good measure, but in the end, rock fans were left hungry for hard-core musical thrills and opera fans were shortchanged by Nieve's lack of vocal sophistication.
The problem of matching the levels of the cast's classically trained voices and the voices of rock performers was addressed via amplification. In general, too much amplification was used for the trained voices, not quite enough for Sting, or for his sound-alike real-life son, Joe Sumner, who played the hero's friend. Fortunately, Sting is a compelling stage presence: despite moments in the score that asked for more than he could manage comfortably, his rough-hewn sincerity and physical charisma carried the show through its ninety long minutes. The major disappointment was Elvis Costello, whose interpretation of the Police Chief was handicapped by inaudibility and a complete lack of vocal muscle on the first night. The best voice belonged to Schwartz. As Lily the diva, the soprano sounded worthy of obsession, even if the use of amplification inevitably muddies any definitive judgment on her vocal gifts. A rock fan remarked as she left the theater that she would like to hear this particular diva in a "real" opera: perhaps some doors were opened by this hybrid experience.
http://counago-and-spaves.blogspot.com/ ... point.html
Tuesday, February 10, 2009
At What Point . . .
do rock stars become a parody of themselves?
Some empty seats at the November 20 premiere of Steve Nieve's Welcome to the Voice showed that lightweight musical programming does not necessarily guarantee success in the Théâtre du Châtelet's quest for popularity. Welcome to the Voice, originally recorded as a concept album for rock superstars Sting and Elvis Costello and classical soprano Barbara Bonney, is an engagingly simple story of operatic obsession: a Greek foundry worker finally achieves a duet with the diva of his dreams. For this stage premiere, Nieve — a frequent keyboard collaborator of Costello's — expanded his original scoring for string quartet and added an overture, while Muriel Teodori (Nieve's wife) adjusted her libretto. The show was conducted by Wolfgang Doerner. Sting and Costello sang their roles from the concept album, joined by Sylvia Schwartz in Bonney's old role of the Diva. The Ensemble Orchestral de Paris was in the pit.
The show suffered from a serious lack of dramatic rhythm, not helped by Teodori's libretto and its pretentious mix of platitudes: any opera beginning with the repeated word "transcendence" starts at a disadvantage in this respect. The foundry-worker character, sung by Sting, has the portentously classical name of Dionysos, an appellation that promises a complexity of motivation entirely absent from the stage — even though Bernard Arnould's mix of factory and opera-house backstage was handsomely realized. Nieve's score, fluently conducted by Doerner, begins with an overture of moody intensity; his interpolation of opera themes is achieved with some technical skill. When the sleeping Dionysos is visited by three operatic "ghosts"— Carmen, Butterfly and Norma, well sung by Marie-Ange Todorovitch, Sonya Yoncheva and Anna Gabler, respectively — the composer avoids quoting bleeding chunks of each opera but evokes their eternally fascinating heroines by incorporating memorable turns of phrase. Elsewhere, the score reflects a wide range of rock, pop and opera influences with a dash of Sondheim thrown in for good measure, but in the end, rock fans were left hungry for hard-core musical thrills and opera fans were shortchanged by Nieve's lack of vocal sophistication.
The problem of matching the levels of the cast's classically trained voices and the voices of rock performers was addressed via amplification. In general, too much amplification was used for the trained voices, not quite enough for Sting, or for his sound-alike real-life son, Joe Sumner, who played the hero's friend. Fortunately, Sting is a compelling stage presence: despite moments in the score that asked for more than he could manage comfortably, his rough-hewn sincerity and physical charisma carried the show through its ninety long minutes. The major disappointment was Elvis Costello, whose interpretation of the Police Chief was handicapped by inaudibility and a complete lack of vocal muscle on the first night. The best voice belonged to Schwartz. As Lily the diva, the soprano sounded worthy of obsession, even if the use of amplification inevitably muddies any definitive judgment on her vocal gifts. A rock fan remarked as she left the theater that she would like to hear this particular diva in a "real" opera: perhaps some doors were opened by this hybrid experience.
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Man out of Time
- Posts: 1855
- Joined: Fri Jul 06, 2007 8:15 am
- Location: just off the coast of Europe
- Contact:
Re: Welcome To The Voice: Elvis in Steve's opera, Paris, nov
Juliette BUCH in Forum Opera (Le Magazine de la opera et du monde lyrique), reviewed this sympathetically alongside other operas in the 2008/09 season:
"STEVE NIEVE (Né en 1958)
WELCOME TO THE VOICE (2008)
L’amour d’une voix
Opéra contemporain sur les rencontres improbables, livret de Muriel Teodori
UN HYMNE A LA VOIX…
« The true salvation is the human voice »
Après un début de saison consacré – une fois n’est pas coutume – à la danse, tout d’abord avec un spectacle de tango Tanguera puis deux intéressants programmes du Ballet Australien et un bouleversant Edward aux mains d’argent, le Théâtre du Châtelet propose son premier spectacle lyrique de l’année.
Spectacle lyrique, vraiment ? Eh oui, car il s’agit bien d’un opéra, même si, a priori, cette création semble sortir des sentiers battus en alliant de vrais chanteurs lyriques à des stars du rock comme Sting et Elvis Costello.
Après tout, Sting ne nous avait-t-il pas gratifiés en 2006 d’un admirable disque Dowland Songs from the Labyrinth encensé par toute la critique « classique » justement, qui n’en croyait pas ses oreilles d’entendre un « rocker » rendre justice de manière aussi subtile et sensible à une musique aussi « savante » ? Quant à Elvis Costello et Steve Nieve n’avaient-ils pas travaillé, ensemble ou séparément, avec des artistes aussi divers et prestigieux que Michael Chance, le Quatuor Brodsky, Anne-Sofie von Otter et Barbara Bonney ? Preuve qu’après tout, au royaume de la voix, tout finit par être possible …
L’aventure n’est cependant pas, sur le plan musical du moins, une totale nouveauté, car un enregistrement de l’œuvre avait été publié en 2007 chez DG avec déjà Sting et Costello, mais aussi rien moins que Barbara Bonney, Nathalie Manfrino (eh oui !), Robert Wyatt et le quatuor Brodsky.
C’est d’ailleurs à l’occasion de la sortie de ce disque que le Théâtre du Châtelet proposa de monter le spectacle, toujours avec Sting et Costello, mais avec d’autres chanteurs pour le reste de la distribution : Joe Sumner, Sylvia Schwartz en Diva et Marie-Ange Todorovitch, Sonya Yoncheva et Anna Gabler pour les rôles des fantômes de Carmen, Butterfly et Norma.
Pour cette création mondiale à Paris, Steve Nieve a revu sa partition, prévue au départ pour un quatuor à cordes, en l’étoffant pour une formation plus importante, et Muriel Teodori, qui réalise également la mise en scène, a retravaillé son livret.
"Rencontre improbable " entre l’opéra et le rock, Welcome to the Voice raconte aussi une autre rencontre improbable, celle d’un ouvrier d’origine grecque au prénom prophétique de Dyonisos (Sting) avec une diva dont il tombe amoureux (Sylvia Schwartz). Après bien des déboires et des hésitations, et grâce aux fantômes de Carmen, Butterfly et Norma, parques bienveillantes, ils finiront par s’unir, "pour le meilleur et pour le pire" comme on dit…
Il faut bien l’avouer, n’en déplaise aux esprits chagrins un tantinet "intégristes" qui n’apprécient guère les "passerelles ", cet "objet musical étrange " fut bien agréable à voir et à entendre, gage d’une bonne soirée…
Belle mise en scène, à la fois simple, intelligente et efficace, avec une judicieuse utilisation de la vidéo : magnifiques images de métal en fusion du début (Dyonisios est ouvrier dans une fonderie) ; éclairages judicieux et inspirés, décors minimalistes, mais très bien utilisés, symbolisant de manière saisissante la confrontation des deux mondes, celui de l’opéra et celui de l’usine. Costumes réussis et seyants..
Musique agréable, intéressante, qui rappelle parfois celle de Michel Legrand et de Phil Glass, ce qui n’a rien de déshonorant, bien au contraire. Livret certes un peu naïf parfois, auquel on pourrait reprocher aussi de faire un peu trop dans le « politiquement correct ». Mais du moins possède-t-il la qualité de ne pas verser dans le genre « donneur de leçon », et d’exprimer une joie et une poésie simples et directes. Après tout, par les temps qui courent, un peu de fraîcheur et de spontanéité « fleur bleue » ne font pas de mal, cela change même agréablement des masturbations torturées de nombres de metteurs en scènes et compositeurs en vogue…
L’atout majeur du spectacle réside indiscutablement en ses interprètes, tous formidables. On retrouve avec plaisir le charisme de Sting, sa voix rauque et cassée, son charme, sa présence scénique intense. Costello est aussi remarquable dans le rôle du policier vindicatif qui a du vague à l’âme, tout comme Joe Sumner dont la voix n’est pas sans rappeler celle de Sting. Côté opéra, la jeune et jolie soprano Sylvia Schwarz remporte la palme : timbre pur et clair, très séduisant , voix précise et bien projetée.
Ses collègues ne sont cependant pas en reste, avec une mention spéciale pour Anna Gabler, voix ample et sombre qui, par ailleurs, chante quand même Elsa, Agathe du Freischütz, Freia et Gutrune.…. Et les chœurs du Châtelet ne déméritent pas, loin de là, tout comme l’Ensemble Orchestral de Paris et le chef Wolfgang Doerner, ainsi que les formidables solistes instrumentaux qui viennent faire des « impros » sur scène. Quant aux figurants voltigeant dans les cintres, ils ajoutent à la magie et à la poésie de l’ensemble.
Seul petit bémol quand même, la sono un peu forte parfois, (problème de réglage ?) mais il faut bien en passer par là, car Sting, Costello et Joe Sumner n’ont pas des voix leur permettant de chanter sans micro et, sans lui, Sting aurait été mis en difficulté lors de son duo avec la diva Lily. Ce problème ne se présente pas au disque et pour cause, mais, sur scène, c’est une toute autre histoire.
En conclusion, « rencontre improbable », peut-être, plaisante, certainement.
Et au bout du compte, n’est ce pas des unions improbables que naissent souvent les plus beaux enfants ?"
Body of the review in "English" via Google Translate:
"After an early season spent - once will not hurt - dance, first with a tango show Tanguera then two interesting programs the Australian Ballet and upsetting Edward Scissorhands, the Théâtre du Châtelet offers her first operatic performance of the year.
Lyric show, really? Yes, because it is indeed an opera, even if, a priori, this creation seems off the beaten combining real opera singers to rock stars like Sting and Elvis Costello trails.
After all, had we not rewarded Sting in 2006 with an admirable record Dowland Songs from the Labyrinth praised by all "classical" critical precisely who could not believe his ears to hear a " rocker "do justice to as subtle and sensitive music as "learned" ? As for Elvis Costello and Steve Nieve had they not worked together or separately , with artists as diverse and prestigious Michael Chance, the Brodsky Quartet , Anne Sofie von Otter and Barbara Bonney ? Evidence , after all, in the realm of voice, everything ends up being possible ...
The adventure is not, however , musically at least, a total novelty, because a recording of the work was published in 2007 by DG already with Sting and Costello, but also nothing less than Barbara Bonney, Nathalie Manfrino ( yes! ), Robert Wyatt and the Brodsky quartet .
This is also the occasion of the release of this disc the Théâtre du Châtelet proposed to mount the show, always with Sting and Costello, but with other singers for the rest of the cast : Joe Sumner, Sylvia Schwartz Diva and Marie-Ange Todorovitch , Sonya Yoncheva and Anna Gabler for the roles of ghosts Carmen, Butterfly and Norma .
For this world premiere in Paris , Steve Nieve has revised its partition, originally scheduled for a string quartet , by fleshing for more training , and Muriel Teodori , which also carries the staging , reworked his book .
" Unlikely encounter " between opera and rock , Welcome to the Voice also tells another improbable encounter between a Greek worker prophetic name of Dionysus ( Sting ) with whom he falls in love diva (Sylvia Schwartz ) . After many setbacks and doubts , and thanks to ghosts Carmen, Butterfly and Norma , parks benevolent , they will eventually unite, "for better or for worse " as they say ...
It must be admitted , whatever the naysayers a " fundamentalist " tad who do not like the "bridge" , this " strange musical object " was nice to see and hear , guaranteeing a good evening ...
Beautiful staging , both simple, smart and efficient, with a judicious use of the video: beautiful images of molten metal from the beginning (Dyonisios is a worker in a foundry ) ; lighting and sound inspired , minimalist decor , but very well used , symbolizing vividly the confrontation of the two worlds of opera and that of the plant. Successful and flattering suits ..
Nice music , interesting , sometimes reminiscent of Michel Legrand and Phil Glass , which has nothing dishonorable , quite the contrary. Booklet certainly a bit naive sometimes , which could also be blamed too much in the "politically correct" . But at least he has the quality not to pay in kind " preachy " and express joy and straightforward poetry. After all, in these days , a bit of freshness and spontaneity " blue flower " does not hurt , it changes even pleasantly disheveled masturbation numbers of stage directors and composers in vogue ...
The highlight of the show lies undoubtedly in its performers , all wonderful. We find pleasure with the charisma of Sting, his hoarse and broken voice, his charm, his intense stage presence . Costello is also remarkable in the role of vindictive police officer who the melancholy , as Joe Sumner , whose voice is reminiscent of Sting . Next opera, the beautiful young soprano Sylvia Schwarz won the prize : pure and clear tone , very attractive, accurate and well designed voice.
His colleagues are not, however, rest with a special mention for Anna Gabler , full and dark voice , moreover, still sings Elsa , Agathe Freischütz , Freia and Gutrune ..... And choirs du Châtelet not demerit , far from it , as the Ensemble Orchestral de Paris and the chef Wolfgang Doerner , and great instrumental soloists who come to the " improvisation " on stage. As for extras flying in the hangers, they add to the magic and poetry of the whole.
Only small downside though, the sound a little strong sometimes ( problem setting ?) But we must go through it , because Sting, Costello and Joe Sumner did not vote for them to sing without a microphone and without he Sting have been in trouble during his duet with diva Lily. This problem does not occur because the disc , but on stage it's a different story.
In conclusion, "meet improbable", perhaps joking, of course.
And ultimately , is it not unlikely unions that often produce the most beautiful children?"
MOOT
"STEVE NIEVE (Né en 1958)
WELCOME TO THE VOICE (2008)
L’amour d’une voix
Opéra contemporain sur les rencontres improbables, livret de Muriel Teodori
- Mise en scène Muriel Teodori
Décors Bernard Arnould
Costumes Caroline de Vivaise
Lumières Jacques Rouveyrollis
Conseil gestuel Daniel Larrieu
Collaborateur aux images et régie images Olivier Roset
- Dionysos Sting
Le Commissaire de Police Elvis Costello
Lily Sylvia Schwartz
Le fantôme de Carmen Marie-Ange Todorovitch
Le fantôme de Butterfly Sonia Yoncheva
Le Fantôme de Norma Anna Gabler
L’ami de Dyonisos Joe Sumner
- Piano, synthétiseur, Moog et Theremin Steve Nieve
Violoncelle et violoncelle électrique, percussion Vincent Segal
Trompette, clarinettes, flûte alto et shakuhachi japonais Ibrahim Maalouf
Saxophones Ned Rothenberg
- Ensemble orchestral de Paris
Direction Wolfgang Dorner
Chœur du Châtelet, Chef de Chœur Frédéric Rouillon
UN HYMNE A LA VOIX…
« The true salvation is the human voice »
Après un début de saison consacré – une fois n’est pas coutume – à la danse, tout d’abord avec un spectacle de tango Tanguera puis deux intéressants programmes du Ballet Australien et un bouleversant Edward aux mains d’argent, le Théâtre du Châtelet propose son premier spectacle lyrique de l’année.
Spectacle lyrique, vraiment ? Eh oui, car il s’agit bien d’un opéra, même si, a priori, cette création semble sortir des sentiers battus en alliant de vrais chanteurs lyriques à des stars du rock comme Sting et Elvis Costello.
Après tout, Sting ne nous avait-t-il pas gratifiés en 2006 d’un admirable disque Dowland Songs from the Labyrinth encensé par toute la critique « classique » justement, qui n’en croyait pas ses oreilles d’entendre un « rocker » rendre justice de manière aussi subtile et sensible à une musique aussi « savante » ? Quant à Elvis Costello et Steve Nieve n’avaient-ils pas travaillé, ensemble ou séparément, avec des artistes aussi divers et prestigieux que Michael Chance, le Quatuor Brodsky, Anne-Sofie von Otter et Barbara Bonney ? Preuve qu’après tout, au royaume de la voix, tout finit par être possible …
L’aventure n’est cependant pas, sur le plan musical du moins, une totale nouveauté, car un enregistrement de l’œuvre avait été publié en 2007 chez DG avec déjà Sting et Costello, mais aussi rien moins que Barbara Bonney, Nathalie Manfrino (eh oui !), Robert Wyatt et le quatuor Brodsky.
C’est d’ailleurs à l’occasion de la sortie de ce disque que le Théâtre du Châtelet proposa de monter le spectacle, toujours avec Sting et Costello, mais avec d’autres chanteurs pour le reste de la distribution : Joe Sumner, Sylvia Schwartz en Diva et Marie-Ange Todorovitch, Sonya Yoncheva et Anna Gabler pour les rôles des fantômes de Carmen, Butterfly et Norma.
Pour cette création mondiale à Paris, Steve Nieve a revu sa partition, prévue au départ pour un quatuor à cordes, en l’étoffant pour une formation plus importante, et Muriel Teodori, qui réalise également la mise en scène, a retravaillé son livret.
"Rencontre improbable " entre l’opéra et le rock, Welcome to the Voice raconte aussi une autre rencontre improbable, celle d’un ouvrier d’origine grecque au prénom prophétique de Dyonisos (Sting) avec une diva dont il tombe amoureux (Sylvia Schwartz). Après bien des déboires et des hésitations, et grâce aux fantômes de Carmen, Butterfly et Norma, parques bienveillantes, ils finiront par s’unir, "pour le meilleur et pour le pire" comme on dit…
Il faut bien l’avouer, n’en déplaise aux esprits chagrins un tantinet "intégristes" qui n’apprécient guère les "passerelles ", cet "objet musical étrange " fut bien agréable à voir et à entendre, gage d’une bonne soirée…
Belle mise en scène, à la fois simple, intelligente et efficace, avec une judicieuse utilisation de la vidéo : magnifiques images de métal en fusion du début (Dyonisios est ouvrier dans une fonderie) ; éclairages judicieux et inspirés, décors minimalistes, mais très bien utilisés, symbolisant de manière saisissante la confrontation des deux mondes, celui de l’opéra et celui de l’usine. Costumes réussis et seyants..
Musique agréable, intéressante, qui rappelle parfois celle de Michel Legrand et de Phil Glass, ce qui n’a rien de déshonorant, bien au contraire. Livret certes un peu naïf parfois, auquel on pourrait reprocher aussi de faire un peu trop dans le « politiquement correct ». Mais du moins possède-t-il la qualité de ne pas verser dans le genre « donneur de leçon », et d’exprimer une joie et une poésie simples et directes. Après tout, par les temps qui courent, un peu de fraîcheur et de spontanéité « fleur bleue » ne font pas de mal, cela change même agréablement des masturbations torturées de nombres de metteurs en scènes et compositeurs en vogue…
L’atout majeur du spectacle réside indiscutablement en ses interprètes, tous formidables. On retrouve avec plaisir le charisme de Sting, sa voix rauque et cassée, son charme, sa présence scénique intense. Costello est aussi remarquable dans le rôle du policier vindicatif qui a du vague à l’âme, tout comme Joe Sumner dont la voix n’est pas sans rappeler celle de Sting. Côté opéra, la jeune et jolie soprano Sylvia Schwarz remporte la palme : timbre pur et clair, très séduisant , voix précise et bien projetée.
Ses collègues ne sont cependant pas en reste, avec une mention spéciale pour Anna Gabler, voix ample et sombre qui, par ailleurs, chante quand même Elsa, Agathe du Freischütz, Freia et Gutrune.…. Et les chœurs du Châtelet ne déméritent pas, loin de là, tout comme l’Ensemble Orchestral de Paris et le chef Wolfgang Doerner, ainsi que les formidables solistes instrumentaux qui viennent faire des « impros » sur scène. Quant aux figurants voltigeant dans les cintres, ils ajoutent à la magie et à la poésie de l’ensemble.
Seul petit bémol quand même, la sono un peu forte parfois, (problème de réglage ?) mais il faut bien en passer par là, car Sting, Costello et Joe Sumner n’ont pas des voix leur permettant de chanter sans micro et, sans lui, Sting aurait été mis en difficulté lors de son duo avec la diva Lily. Ce problème ne se présente pas au disque et pour cause, mais, sur scène, c’est une toute autre histoire.
En conclusion, « rencontre improbable », peut-être, plaisante, certainement.
Et au bout du compte, n’est ce pas des unions improbables que naissent souvent les plus beaux enfants ?"
Body of the review in "English" via Google Translate:
"After an early season spent - once will not hurt - dance, first with a tango show Tanguera then two interesting programs the Australian Ballet and upsetting Edward Scissorhands, the Théâtre du Châtelet offers her first operatic performance of the year.
Lyric show, really? Yes, because it is indeed an opera, even if, a priori, this creation seems off the beaten combining real opera singers to rock stars like Sting and Elvis Costello trails.
After all, had we not rewarded Sting in 2006 with an admirable record Dowland Songs from the Labyrinth praised by all "classical" critical precisely who could not believe his ears to hear a " rocker "do justice to as subtle and sensitive music as "learned" ? As for Elvis Costello and Steve Nieve had they not worked together or separately , with artists as diverse and prestigious Michael Chance, the Brodsky Quartet , Anne Sofie von Otter and Barbara Bonney ? Evidence , after all, in the realm of voice, everything ends up being possible ...
The adventure is not, however , musically at least, a total novelty, because a recording of the work was published in 2007 by DG already with Sting and Costello, but also nothing less than Barbara Bonney, Nathalie Manfrino ( yes! ), Robert Wyatt and the Brodsky quartet .
This is also the occasion of the release of this disc the Théâtre du Châtelet proposed to mount the show, always with Sting and Costello, but with other singers for the rest of the cast : Joe Sumner, Sylvia Schwartz Diva and Marie-Ange Todorovitch , Sonya Yoncheva and Anna Gabler for the roles of ghosts Carmen, Butterfly and Norma .
For this world premiere in Paris , Steve Nieve has revised its partition, originally scheduled for a string quartet , by fleshing for more training , and Muriel Teodori , which also carries the staging , reworked his book .
" Unlikely encounter " between opera and rock , Welcome to the Voice also tells another improbable encounter between a Greek worker prophetic name of Dionysus ( Sting ) with whom he falls in love diva (Sylvia Schwartz ) . After many setbacks and doubts , and thanks to ghosts Carmen, Butterfly and Norma , parks benevolent , they will eventually unite, "for better or for worse " as they say ...
It must be admitted , whatever the naysayers a " fundamentalist " tad who do not like the "bridge" , this " strange musical object " was nice to see and hear , guaranteeing a good evening ...
Beautiful staging , both simple, smart and efficient, with a judicious use of the video: beautiful images of molten metal from the beginning (Dyonisios is a worker in a foundry ) ; lighting and sound inspired , minimalist decor , but very well used , symbolizing vividly the confrontation of the two worlds of opera and that of the plant. Successful and flattering suits ..
Nice music , interesting , sometimes reminiscent of Michel Legrand and Phil Glass , which has nothing dishonorable , quite the contrary. Booklet certainly a bit naive sometimes , which could also be blamed too much in the "politically correct" . But at least he has the quality not to pay in kind " preachy " and express joy and straightforward poetry. After all, in these days , a bit of freshness and spontaneity " blue flower " does not hurt , it changes even pleasantly disheveled masturbation numbers of stage directors and composers in vogue ...
The highlight of the show lies undoubtedly in its performers , all wonderful. We find pleasure with the charisma of Sting, his hoarse and broken voice, his charm, his intense stage presence . Costello is also remarkable in the role of vindictive police officer who the melancholy , as Joe Sumner , whose voice is reminiscent of Sting . Next opera, the beautiful young soprano Sylvia Schwarz won the prize : pure and clear tone , very attractive, accurate and well designed voice.
His colleagues are not, however, rest with a special mention for Anna Gabler , full and dark voice , moreover, still sings Elsa , Agathe Freischütz , Freia and Gutrune ..... And choirs du Châtelet not demerit , far from it , as the Ensemble Orchestral de Paris and the chef Wolfgang Doerner , and great instrumental soloists who come to the " improvisation " on stage. As for extras flying in the hangers, they add to the magic and poetry of the whole.
Only small downside though, the sound a little strong sometimes ( problem setting ?) But we must go through it , because Sting, Costello and Joe Sumner did not vote for them to sing without a microphone and without he Sting have been in trouble during his duet with diva Lily. This problem does not occur because the disc , but on stage it's a different story.
In conclusion, "meet improbable", perhaps joking, of course.
And ultimately , is it not unlikely unions that often produce the most beautiful children?"
MOOT
Last edited by Man out of Time on Sun Aug 24, 2014 5:59 am, edited 1 time in total.
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Man out of Time
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Re: Welcome To The Voice: Elvis in Steve's opera, Paris, nov
To underline what attention this Opera received at the time, here is a positive review of the first night from the Spanish Newspaper - El País. It was published on November 21, 2008 and is written by Iker Seisdedos.
"París escribe una ópera del futuro
- Sting, Elvis Costello y la española Sylvia Schwartz interpretan un montaje sobre el poder de la música - 'Welcome to the voice' colgó el 'no hay billetes'
Se pretendía una noche de abrazos y a punto estuvo de acabar a empujones. Sobre las tablas del teatro Châtelet de París, en el estreno mundial de Welcome to the voice, ópera jazz pop en un solo acto para dos leyendas del rock adulto -Sting y Elvis Costello- y orquesta, se citaron ayer los opuestos para una gran aunque desigual celebración de la diferencia.
Allí, resguardados de un viento aceptablemente desapacible llegado del Sena, se vieron las caras la alta y la baja cultura (también conocida como pop), los fans de Police y los estudiantes de violín, el bel canto y los tres acordes rock de toda la vida. "El blanco y negro de la clásica y el color del azar y los accidentes felices de la música improvisada", según Steve Nieve y Muriel Teodori, marido, mujer y autores de la música y el libreto de la obra.
Como era de esperar, la voz de Sting fue bien recibida en París. Welcome to the voice es, no resulta difícil de creer, uno de los tickets de la temporada en la ciudad (donde se representa hasta el 25 de noviembre), por más que muy cerca de aquí la actriz Juliette Binoche ofreciera un espectáculo de danza. No todos los días contempla uno a Sting proclamarse, bien metido en su papel de Dionisio, obrero de ascendencia griega e ínfulas líricas, un "operario llegado del agujero del mundo" que siente a "los dioses y los diablos en paro".
Así que cuando tal cosa sucedió, en los primeros compases de la velada y tras una algo incomprensible introducción en vídeo, se extendió el cosquilleo de las ocasiones únicas, aunque el pelo perfectamente teñido y el buen color de piel del británico (¿recién llegado de su villa de la Toscana?) le restase alguna que otra credencial proletaria.
A partir de ahí, el público, que agotó las entradas hace semanas, se acomodó en sus butacas para asistir al recital del líder de The Police, protagonista absoluto del montaje, y las peripecias que le deparaba una historia "sencilla" sobre el poder de la música en general y la ópera en particular, según proclamaba el programa de mano. A saber, chico, obrero metalúrgico, encuentra a chica, diva de la ópera. Chico cae rendido ante la chica, todo lo que ella representa y él nunca será, y se planta a esperarla cada noche a la salida del teatro. Chico recibe las apariciones de los fantasmas líricos de "Butterfly, Norma y Toscana" y el aguijón de la ópera le pica sin remedio. Y sí, el amor triunfa pese al desgraciado del jefe de policía, un Elvis Costello dramático, emocionante y emocionado.
La escenografía sombría, industrial y algo parca, de Bernard Arnould, era para la pareja de autores (él, inglés, músico de la banda de Costello desde los setenta; ella, escritora y psicoanalista) la culminación de un sueño que acarician desde aquel día de 2003 en que convencieron a Sting de que participase en el proyecto.
La cosa ya tomó forma el año pasado con un disco en el que participaron el genio del pop confesional Robert Wyatt, el cuarteto Brodsky o la célebre soprano Barbara Bonney, además, claro, de las estrellas que ayer sí se subieron al escenario de Châtelet.
El montaje llega tras una década de trabajo y en un momento propicio; este invierno del descontento, cuando asuntos como la lucha de clases recobran la actualidad perdida. No sólo eso, al verle penar por las tablas del Châtelet no costaba imaginar a Sting construir los mohines de Dionisos con un espejo en una mano y un periódico económico cuajado de malas noticias sobre el paro en la otra. ¿Cuál es la receta de la obra para la refundación del capitalismo?: "La voz humana, la verdadera salvación del hombre", como dijo Sting al prinpio.
Unos y otros (incluida Sylvia Schwartz, la desconocida y sin embargo aclamada soprano española, la amada en cuestión, que ni hizo olvidar a Bonney y, esto le honra, ni tan siquiera lo intentó) se movieron sobre un fondo musical con algo de jazz, mucho de autorreferencia, su punto de disonancia y algún momento pop memorable. Una mezcla que por encima de a los musicales góticos o a las óperas rock con sus interludios interminables, recordaba a Kurt Weill y a los olvidados discos de Michael Mantler y Carla Bley de los setenta. Y podría contar, como algún crítico ha señalado, como un posible camino para la ópera del futuro. Al menos la que se encuadra en la categoría de "la fusión" que proclaman sus autores. Del abrazo. O de empujón, como a ratos sucedió a noche, cuando la cosa no funcionaba a la manera de las primeras citas."
Or in "English" via Google Translate:
" Paris composing an opera of the future
- Sting, Elvis Costello and Spaniard Sylvia Schwartz interpret a performance on the power of music - 'Welcome To The Voice' is sold out.
Hugs overnight intended end and nearly pushed. On stage at the Châtelet Theater in Paris, at the world premiere of Welcome to the voice,a jazz pop opera in one act for two adult rock legends - Sting and Elvis Costello - and orchestra, was quoted yesterday opposites for a large but uneven celebration of difference.
There, sheltered from wind reached an acceptably unpleasant Seine, the high sides and low culture (aka pop), Police fans and students of violin, bel canto and the three-chord rock were all lifetime. "The classical black and color of chance and happy accidents of improvised music and white," according to Steve Nieve and Muriel Teodori, husband, wife and authors of the music and the libretto of the work.
As expected, Sting's voice was well received in Paris. Welcome to the voice is not difficult to believe, one of the tickets of the season in the city (where it runs up to 25 November), though very nearby actress Juliette Binoche offered a dance. Not everyday one contemplates Sting proclaimed, well into his role of Dionysus, Greek descent worker and lyrical airs a "hole operator reached world" feels "the gods and devils unemployed."
So when such a thing happened in the early stages of the evening and after an incomprehensible something video introduction, the tickle of the only times extended, although the hair perfectly dyed and good skin colour of the British (newly arrived from his villa in Tuscany?) refutes his occasional proletarian credentials.
From there, the public, which sold out weeks ago, settled into their seats to attend the recital of the leader of The Police, absolute protagonist of the assembly, and the adventures they had in store "simple" story about the power of music in general and opera in particular, as the playbill proclaimed. Namely, boy, metalworker, find a girl, opera diva. Chico falls, given to the girl, everything she represents and he never will be, and plan to wait every night outside the theater. Chico receives the apparitions of lyric ghosts "Butterfly, Norma and Tuscany" and the sting opera hopelessly itchy. And yes, love triumphs despite the miserable police chief, adramatic Elvis, exciting and excited Costello.
The dark, industrial and somewhat sparse scenery, Bernard Arnould, was for the pair of authors (him English musician Costello band from the seventies, she, writer and psychoanalyst) the culmination of a dream cherished since that day 2003 when they convinced that Sting participate in the project.
The thing already took shape last year with an album in the confessional pop genius Robert Wyatt, the Brodsky Quartet and the famous soprano Barbara Bonney, besides, of course, the stars themselves yesterday took to the stage of Châtelet and participated.
The assembly comes after a decade of work and at a propitious time; this winter of discontent, when issues such as class struggle regain lost today. Not only that, to punish him for tables Châtelet not hard to imagine Sting build grimaces of Dionysus with a mirror in one hand and a business newspaper studded bad news about unemployment on the other. What is the recipe book for the refounding of ?: "The human voice, true salvation of man" capitalism as the principal Sting said.
Everyone (including Sylvia Schwartz, the unknown and yet acclaimed Spanish soprano, beloved in question, nor did forget Bonney and this is honoured, or even tried) moved over a musical background with jazz , a lot of self-reference, point of dissonance and pop some memorable time. A mixture above the Gothic music or rock operas with their endless interludes, Kurt Weill remembered and forgotten discs Michael Mantler and Carla Bley seventies. And I could tell, as one critic noted, as a possible way for future opera. At least that falls in the category of "fusion" that proclaim their authors. Embrace. Or push, and at times succeeded night when it did not work the way the first few dates."
I like the fact that the critic found space to comment on Sting's suntan.
MOOT
"París escribe una ópera del futuro
- Sting, Elvis Costello y la española Sylvia Schwartz interpretan un montaje sobre el poder de la música - 'Welcome to the voice' colgó el 'no hay billetes'
Se pretendía una noche de abrazos y a punto estuvo de acabar a empujones. Sobre las tablas del teatro Châtelet de París, en el estreno mundial de Welcome to the voice, ópera jazz pop en un solo acto para dos leyendas del rock adulto -Sting y Elvis Costello- y orquesta, se citaron ayer los opuestos para una gran aunque desigual celebración de la diferencia.
Allí, resguardados de un viento aceptablemente desapacible llegado del Sena, se vieron las caras la alta y la baja cultura (también conocida como pop), los fans de Police y los estudiantes de violín, el bel canto y los tres acordes rock de toda la vida. "El blanco y negro de la clásica y el color del azar y los accidentes felices de la música improvisada", según Steve Nieve y Muriel Teodori, marido, mujer y autores de la música y el libreto de la obra.
Como era de esperar, la voz de Sting fue bien recibida en París. Welcome to the voice es, no resulta difícil de creer, uno de los tickets de la temporada en la ciudad (donde se representa hasta el 25 de noviembre), por más que muy cerca de aquí la actriz Juliette Binoche ofreciera un espectáculo de danza. No todos los días contempla uno a Sting proclamarse, bien metido en su papel de Dionisio, obrero de ascendencia griega e ínfulas líricas, un "operario llegado del agujero del mundo" que siente a "los dioses y los diablos en paro".
Así que cuando tal cosa sucedió, en los primeros compases de la velada y tras una algo incomprensible introducción en vídeo, se extendió el cosquilleo de las ocasiones únicas, aunque el pelo perfectamente teñido y el buen color de piel del británico (¿recién llegado de su villa de la Toscana?) le restase alguna que otra credencial proletaria.
A partir de ahí, el público, que agotó las entradas hace semanas, se acomodó en sus butacas para asistir al recital del líder de The Police, protagonista absoluto del montaje, y las peripecias que le deparaba una historia "sencilla" sobre el poder de la música en general y la ópera en particular, según proclamaba el programa de mano. A saber, chico, obrero metalúrgico, encuentra a chica, diva de la ópera. Chico cae rendido ante la chica, todo lo que ella representa y él nunca será, y se planta a esperarla cada noche a la salida del teatro. Chico recibe las apariciones de los fantasmas líricos de "Butterfly, Norma y Toscana" y el aguijón de la ópera le pica sin remedio. Y sí, el amor triunfa pese al desgraciado del jefe de policía, un Elvis Costello dramático, emocionante y emocionado.
La escenografía sombría, industrial y algo parca, de Bernard Arnould, era para la pareja de autores (él, inglés, músico de la banda de Costello desde los setenta; ella, escritora y psicoanalista) la culminación de un sueño que acarician desde aquel día de 2003 en que convencieron a Sting de que participase en el proyecto.
La cosa ya tomó forma el año pasado con un disco en el que participaron el genio del pop confesional Robert Wyatt, el cuarteto Brodsky o la célebre soprano Barbara Bonney, además, claro, de las estrellas que ayer sí se subieron al escenario de Châtelet.
El montaje llega tras una década de trabajo y en un momento propicio; este invierno del descontento, cuando asuntos como la lucha de clases recobran la actualidad perdida. No sólo eso, al verle penar por las tablas del Châtelet no costaba imaginar a Sting construir los mohines de Dionisos con un espejo en una mano y un periódico económico cuajado de malas noticias sobre el paro en la otra. ¿Cuál es la receta de la obra para la refundación del capitalismo?: "La voz humana, la verdadera salvación del hombre", como dijo Sting al prinpio.
Unos y otros (incluida Sylvia Schwartz, la desconocida y sin embargo aclamada soprano española, la amada en cuestión, que ni hizo olvidar a Bonney y, esto le honra, ni tan siquiera lo intentó) se movieron sobre un fondo musical con algo de jazz, mucho de autorreferencia, su punto de disonancia y algún momento pop memorable. Una mezcla que por encima de a los musicales góticos o a las óperas rock con sus interludios interminables, recordaba a Kurt Weill y a los olvidados discos de Michael Mantler y Carla Bley de los setenta. Y podría contar, como algún crítico ha señalado, como un posible camino para la ópera del futuro. Al menos la que se encuadra en la categoría de "la fusión" que proclaman sus autores. Del abrazo. O de empujón, como a ratos sucedió a noche, cuando la cosa no funcionaba a la manera de las primeras citas."
Or in "English" via Google Translate:
" Paris composing an opera of the future
- Sting, Elvis Costello and Spaniard Sylvia Schwartz interpret a performance on the power of music - 'Welcome To The Voice' is sold out.
Hugs overnight intended end and nearly pushed. On stage at the Châtelet Theater in Paris, at the world premiere of Welcome to the voice,a jazz pop opera in one act for two adult rock legends - Sting and Elvis Costello - and orchestra, was quoted yesterday opposites for a large but uneven celebration of difference.
There, sheltered from wind reached an acceptably unpleasant Seine, the high sides and low culture (aka pop), Police fans and students of violin, bel canto and the three-chord rock were all lifetime. "The classical black and color of chance and happy accidents of improvised music and white," according to Steve Nieve and Muriel Teodori, husband, wife and authors of the music and the libretto of the work.
As expected, Sting's voice was well received in Paris. Welcome to the voice is not difficult to believe, one of the tickets of the season in the city (where it runs up to 25 November), though very nearby actress Juliette Binoche offered a dance. Not everyday one contemplates Sting proclaimed, well into his role of Dionysus, Greek descent worker and lyrical airs a "hole operator reached world" feels "the gods and devils unemployed."
So when such a thing happened in the early stages of the evening and after an incomprehensible something video introduction, the tickle of the only times extended, although the hair perfectly dyed and good skin colour of the British (newly arrived from his villa in Tuscany?) refutes his occasional proletarian credentials.
From there, the public, which sold out weeks ago, settled into their seats to attend the recital of the leader of The Police, absolute protagonist of the assembly, and the adventures they had in store "simple" story about the power of music in general and opera in particular, as the playbill proclaimed. Namely, boy, metalworker, find a girl, opera diva. Chico falls, given to the girl, everything she represents and he never will be, and plan to wait every night outside the theater. Chico receives the apparitions of lyric ghosts "Butterfly, Norma and Tuscany" and the sting opera hopelessly itchy. And yes, love triumphs despite the miserable police chief, adramatic Elvis, exciting and excited Costello.
The dark, industrial and somewhat sparse scenery, Bernard Arnould, was for the pair of authors (him English musician Costello band from the seventies, she, writer and psychoanalyst) the culmination of a dream cherished since that day 2003 when they convinced that Sting participate in the project.
The thing already took shape last year with an album in the confessional pop genius Robert Wyatt, the Brodsky Quartet and the famous soprano Barbara Bonney, besides, of course, the stars themselves yesterday took to the stage of Châtelet and participated.
The assembly comes after a decade of work and at a propitious time; this winter of discontent, when issues such as class struggle regain lost today. Not only that, to punish him for tables Châtelet not hard to imagine Sting build grimaces of Dionysus with a mirror in one hand and a business newspaper studded bad news about unemployment on the other. What is the recipe book for the refounding of ?: "The human voice, true salvation of man" capitalism as the principal Sting said.
Everyone (including Sylvia Schwartz, the unknown and yet acclaimed Spanish soprano, beloved in question, nor did forget Bonney and this is honoured, or even tried) moved over a musical background with jazz , a lot of self-reference, point of dissonance and pop some memorable time. A mixture above the Gothic music or rock operas with their endless interludes, Kurt Weill remembered and forgotten discs Michael Mantler and Carla Bley seventies. And I could tell, as one critic noted, as a possible way for future opera. At least that falls in the category of "fusion" that proclaim their authors. Embrace. Or push, and at times succeeded night when it did not work the way the first few dates."
I like the fact that the critic found space to comment on Sting's suntan.
MOOT
Re: Welcome To The Voice: Elvis in Steve's opera, Paris, nov
Great photo from a newly archived review
http://www.elviscostello.info/wiki/inde ... oto_04.jpg
Funnily enough I had lunch during the week with the friend who accompanied me to Paris for the show. He's a busy man between family & work so we only catch up every now and then. He disliked the show even more than me and still uses it as a comparison point when ever I suggest seeing a gig , as in ' Will it be as awful as that show in Paris ?' etc. I told him about my plans to go see Steve in Germany in November and he could only shake his head in disbelief!
http://www.elviscostello.info/wiki/inde ... oto_04.jpg
Funnily enough I had lunch during the week with the friend who accompanied me to Paris for the show. He's a busy man between family & work so we only catch up every now and then. He disliked the show even more than me and still uses it as a comparison point when ever I suggest seeing a gig , as in ' Will it be as awful as that show in Paris ?' etc. I told him about my plans to go see Steve in Germany in November and he could only shake his head in disbelief!
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sweetest punch
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Re: Welcome To The Voice: Elvis in Steve's opera, Paris, nov
We Are The Workers: http://www.youtube.com/watch?v=vQXeJ_z7lJE
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.
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Man out of Time
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Re: Welcome To The Voice: Elvis in Steve's opera, Paris, nov
Extract from an interview with Muriel Teodori archived here at the site of Les Academies et L'Institut de France:
Canal Academie
In French. The whole thing will cost you 23 Euros, which may be more than you want to pay. If so, here is a preview from L'Express, from 19 November 2008 in which Elvis and Sting talk to Paola Genone about performing Welcome To The Voice on stage:
EC Wiki
MOOT
Canal Academie
In French. The whole thing will cost you 23 Euros, which may be more than you want to pay. If so, here is a preview from L'Express, from 19 November 2008 in which Elvis and Sting talk to Paola Genone about performing Welcome To The Voice on stage:
EC Wiki
- Sting in WTTV
- 2008-11-19_L'Express_photo_01.jpg (20.74 KiB) Viewed 8654 times
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Man out of Time
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Re: Welcome To The Voice: Elvis in Steve's opera, Paris, nov '08
These keep turning up:
Review of the first night of WTTV by Eleonora Bagarotti in the Italian Jam Magazine.
"Welcome To The Voice
Parigi, Théâtre du Châtelet, 20 novembre 2008
Sting (e figlio) impegnato con Elvis Costello nell’opera di Steve Nieve
È sempre rischioso, per un idolo del pop, mettersi in gioco in ambito classico. È una sfida allettante, quella colta da Sting, Elvis Costello e Steve Nieve – quest’ultimo autore delle musiche – a Parigi nell’opera Welcome To The Voice, su libretto della regista Muriel Teodori. La prima mondiale cade nel giorno in cui Parigi accende le luminarie sugli Champs-Élysées ed è ospitata al Théâtre du Châtelet. Proust vi si recò per assistere al balletto Parade, per il quale Cocteau scrisse il soggetto e Picasso disegnò le scene e i costumi. Basta questo a rendere tutti emozionati. Fuori dal teatro, alcuni fan senza biglietto attendono Sting e Costello per una foto o un autografo. È soprattutto la loro notorietà che spinge il pubblico ai 15 minuti d’applausi finali. Poco importa se Nieve, autore di un’opera (già uscita per la Deutsche Grammophon, vedi articolo su JAM 139), la cui architettura armonica gli è costata 10 anni di lavoro, è oscurato dalla fama degli altri due. E poco importa se qualche critico non apprezza la regia della sua compagna Teodori. La curiosità è nell’aria. L’opera è impegnativa, scontato intravedervi l’impronta di Bizet e Wagner, Piazzolla e Bartók, tra armonie d’Oriente e spruzzate jazz. Un mix di storia e modernità. Ottima la prova delle cantanti Sylvia Schwartz, Marie-Ange Todorovitch, Sonya Yoncheva e Anna Gabler. Apprezzato Sting, rilassato nella parte di Dioniso (e in effetti bello come un Dio greco), nei panni di un operaio innamorato di una voce femminile, a differenza di Costello, poco a suo agio come perfido ispettore di polizia. Poi c’è Joe Sumner, convincente anche se figlio di cotanto padre. Si sente un po’ la mancanza di Robert Wyatt, presente nell’album, e del Brodsky Quartet. Spiega Nieve, già spalla negli Attractions con Costello: «La regia minimalista è a misura dello Châtelet. Questa non è una rock opera, vi sono vari stili di ogni epoca. L’accompagnamento non è elettrico ma dell’Orchestra di Parigi diretta da Wolfgang Doerner». Per uno che ha mosso i suoi primi passi con Ian Dury è una bella scommessa. Sulla sua interpretazione, sintetizza: «Non ho mai pensato di essere un cantante, a volte interpreto brani e funziono». Meno ottimista Costello. È conscio di non essere perfettamente in parte anche se «lieto di partecipare al grande progetto di un caro, vecchio amico». L’Elvis autore ha invece brillato nel balletto A Midsummer Night’s Dream e ha in cantiere un’altra opera classica. Quando lo avviciniamo, è ancora in forse la possibilità che Hillary Clinton diventi segretario di stato degli Stati Uniti. «Speriamo sia così» commenta Costello, che ha suonato a New York al suo 60esimo compleanno. «Lei e Obama sono un bel duo».
Sting è reduce dal trionfale tour dei Police e dall’ambizioso, raffinato album con le musiche di John Dowland. Ha in agenda concerti come solista e la sua interpretazione operistica è inconsueta e sensibile. Sarà che, usciti dal teatro, ci avvolge una Parigi dorata che non cede il passo al pessimismo."
Or in "English" via Google Translate:
Sting (and son) engaged with Elvis Costello in the work of Steve Nieve
It is always risky, for a pop idol, get involved in the classical realm. It is a tempting challenge, that cultured by Sting, Elvis Costello and Steve Nieve - the latter composed the music - in Paris in the work Welcome To The Voice , with a libretto by the director Muriel Teodori . The world premiere falls on the day when Paris turns on the lights on the Champs-Elysees and is hosted at the Chatelet Theatre. Proust went there to attend the ballet Parade, for which Cocteau wrote the subject and Picasso designed the sets and costumes. This is enough to make everyone excited. Outside the theater, some fans without tickets waiting for Sting and Costello for a photo or an autograph. It is primarily their reputation that pushes the public to the 15-minute final applause. Who cares if Nieve, author of a work (already out for the Deutsche Grammophon, see article on JAM 139), whose architecture harmonic cost him 10 years of work, is overshadowed by the fame of the other two. Who cares if some critics do not appreciate the direction of his partner Teodori. Curiosity is in the air. The work is challenging, granted intravedervi footprint Bizet and Wagner, Bartok and Piazzolla, among harmonies of the East and sprayed jazz. A mix of history and modernity. Excellent proof of singers Sylvia Schwartz , Marie-Ange Todorovitch , Sonya Yoncheva and Anna Gabler. Sting appreciated, relaxed in the role of Dionysus (and in fact as good as a greek God), in the role of a worker in love with a female voice, unlike Costello, just at ease as perfidious police inspector. Then there's Joe Sumner , convincing even though the son of such a father. He feels a little 'lack of Robert Wyatt , in the album, and the Brodsky Quartet . Nieve says, already in the shoulder Attractions with Costello: "The direction is minimalist to measure the Châtelet. This is not a rock opera, there are various styles of each era. The accompaniment is not electric but the Orchestre de Paris conducted by Wolfgang Doerner. " For one who has taken his first steps with Ian Dury is a good bet. Its interpretation, summarizes: "I never thought of being a singer, sometimes I play tunes and I run." Less optimistic Costello. It is conscious of not being perfectly in part although "happy to participate in the great project of a dear, old friend." The Elvis author has instead shone in ballet A Midsummer Night's Dream and is working on another opera classic. When you get closer, it is still in doubt the possibility that Hillary Clinton becomes secretary of state of the United States. "We hope this is so," said Costello, who played in New York to its 60th birthday. "She and Obama are quite a duo."
Sting is fresh from triumphant tour of the Police and the ambitious, refined album with music by John Dowland. It agenda solo concerts and its interpretation opera is unusual and sensitive. Will that come out of the theater, there wraps a Paris golden not give way to pessimism."
Eleonora Bagarotti had previously written a book on Elvis.
Elvis Costello, Roma, Editori Riuniti, 2006, ISBN 88-359-5806-7.
MOOT
Review of the first night of WTTV by Eleonora Bagarotti in the Italian Jam Magazine.
"Welcome To The Voice
Parigi, Théâtre du Châtelet, 20 novembre 2008
Sting (e figlio) impegnato con Elvis Costello nell’opera di Steve Nieve
È sempre rischioso, per un idolo del pop, mettersi in gioco in ambito classico. È una sfida allettante, quella colta da Sting, Elvis Costello e Steve Nieve – quest’ultimo autore delle musiche – a Parigi nell’opera Welcome To The Voice, su libretto della regista Muriel Teodori. La prima mondiale cade nel giorno in cui Parigi accende le luminarie sugli Champs-Élysées ed è ospitata al Théâtre du Châtelet. Proust vi si recò per assistere al balletto Parade, per il quale Cocteau scrisse il soggetto e Picasso disegnò le scene e i costumi. Basta questo a rendere tutti emozionati. Fuori dal teatro, alcuni fan senza biglietto attendono Sting e Costello per una foto o un autografo. È soprattutto la loro notorietà che spinge il pubblico ai 15 minuti d’applausi finali. Poco importa se Nieve, autore di un’opera (già uscita per la Deutsche Grammophon, vedi articolo su JAM 139), la cui architettura armonica gli è costata 10 anni di lavoro, è oscurato dalla fama degli altri due. E poco importa se qualche critico non apprezza la regia della sua compagna Teodori. La curiosità è nell’aria. L’opera è impegnativa, scontato intravedervi l’impronta di Bizet e Wagner, Piazzolla e Bartók, tra armonie d’Oriente e spruzzate jazz. Un mix di storia e modernità. Ottima la prova delle cantanti Sylvia Schwartz, Marie-Ange Todorovitch, Sonya Yoncheva e Anna Gabler. Apprezzato Sting, rilassato nella parte di Dioniso (e in effetti bello come un Dio greco), nei panni di un operaio innamorato di una voce femminile, a differenza di Costello, poco a suo agio come perfido ispettore di polizia. Poi c’è Joe Sumner, convincente anche se figlio di cotanto padre. Si sente un po’ la mancanza di Robert Wyatt, presente nell’album, e del Brodsky Quartet. Spiega Nieve, già spalla negli Attractions con Costello: «La regia minimalista è a misura dello Châtelet. Questa non è una rock opera, vi sono vari stili di ogni epoca. L’accompagnamento non è elettrico ma dell’Orchestra di Parigi diretta da Wolfgang Doerner». Per uno che ha mosso i suoi primi passi con Ian Dury è una bella scommessa. Sulla sua interpretazione, sintetizza: «Non ho mai pensato di essere un cantante, a volte interpreto brani e funziono». Meno ottimista Costello. È conscio di non essere perfettamente in parte anche se «lieto di partecipare al grande progetto di un caro, vecchio amico». L’Elvis autore ha invece brillato nel balletto A Midsummer Night’s Dream e ha in cantiere un’altra opera classica. Quando lo avviciniamo, è ancora in forse la possibilità che Hillary Clinton diventi segretario di stato degli Stati Uniti. «Speriamo sia così» commenta Costello, che ha suonato a New York al suo 60esimo compleanno. «Lei e Obama sono un bel duo».
Sting è reduce dal trionfale tour dei Police e dall’ambizioso, raffinato album con le musiche di John Dowland. Ha in agenda concerti come solista e la sua interpretazione operistica è inconsueta e sensibile. Sarà che, usciti dal teatro, ci avvolge una Parigi dorata che non cede il passo al pessimismo."
Or in "English" via Google Translate:
Sting (and son) engaged with Elvis Costello in the work of Steve Nieve
It is always risky, for a pop idol, get involved in the classical realm. It is a tempting challenge, that cultured by Sting, Elvis Costello and Steve Nieve - the latter composed the music - in Paris in the work Welcome To The Voice , with a libretto by the director Muriel Teodori . The world premiere falls on the day when Paris turns on the lights on the Champs-Elysees and is hosted at the Chatelet Theatre. Proust went there to attend the ballet Parade, for which Cocteau wrote the subject and Picasso designed the sets and costumes. This is enough to make everyone excited. Outside the theater, some fans without tickets waiting for Sting and Costello for a photo or an autograph. It is primarily their reputation that pushes the public to the 15-minute final applause. Who cares if Nieve, author of a work (already out for the Deutsche Grammophon, see article on JAM 139), whose architecture harmonic cost him 10 years of work, is overshadowed by the fame of the other two. Who cares if some critics do not appreciate the direction of his partner Teodori. Curiosity is in the air. The work is challenging, granted intravedervi footprint Bizet and Wagner, Bartok and Piazzolla, among harmonies of the East and sprayed jazz. A mix of history and modernity. Excellent proof of singers Sylvia Schwartz , Marie-Ange Todorovitch , Sonya Yoncheva and Anna Gabler. Sting appreciated, relaxed in the role of Dionysus (and in fact as good as a greek God), in the role of a worker in love with a female voice, unlike Costello, just at ease as perfidious police inspector. Then there's Joe Sumner , convincing even though the son of such a father. He feels a little 'lack of Robert Wyatt , in the album, and the Brodsky Quartet . Nieve says, already in the shoulder Attractions with Costello: "The direction is minimalist to measure the Châtelet. This is not a rock opera, there are various styles of each era. The accompaniment is not electric but the Orchestre de Paris conducted by Wolfgang Doerner. " For one who has taken his first steps with Ian Dury is a good bet. Its interpretation, summarizes: "I never thought of being a singer, sometimes I play tunes and I run." Less optimistic Costello. It is conscious of not being perfectly in part although "happy to participate in the great project of a dear, old friend." The Elvis author has instead shone in ballet A Midsummer Night's Dream and is working on another opera classic. When you get closer, it is still in doubt the possibility that Hillary Clinton becomes secretary of state of the United States. "We hope this is so," said Costello, who played in New York to its 60th birthday. "She and Obama are quite a duo."
Sting is fresh from triumphant tour of the Police and the ambitious, refined album with music by John Dowland. It agenda solo concerts and its interpretation opera is unusual and sensitive. Will that come out of the theater, there wraps a Paris golden not give way to pessimism."
Eleonora Bagarotti had previously written a book on Elvis.
Elvis Costello, Roma, Editori Riuniti, 2006, ISBN 88-359-5806-7.
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bronxapostle
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Re: Welcome To The Voice: Elvis in Steve's opera, Paris, nov '08
I said it before, let me say it again...it is a plain shame that the NYC Town Hall performance was apparently not filmed. What a fantastic night THAT was. Review fans...why not post MY only fanzine contribution EVER from that night here too??? Bombastic ba at his best. 