Word: vivaldi
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Dates: during 2000-2009
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...until Bartoli began singing Vivaldi that she hit her stride. Clothed in an opulent gown of Venetian-red silk, Bartoli became animated as she launched into her first Vivaldi work. She began with "Il Povero Mio Core," singing a heavy, soulful aria, followed by a quick, assertive Recitativo and then a frighteningly fast aria. It was in the last aria that Bartoli truly claimed the stage as her own-her anger was perceptible in the furthest balcony, and the her energy was palpable. Bartoli personified the words "Disperato, Confuso, Agiato" with all of the painful anguish of a scorned lover...
Elsewhere this season, classical-ballet whiz Christopher Wheeldon has choreographed Vivaldi's ever popular The Four Seasons for the Boston Ballet (Sept. 28). The Kennedy Center in Washington presents The Legacy of Paul Taylor, a mini-festival featuring Taylor's latest, Fiends Angelical (Sept. 29-Oct. 8). And the Carolina Ballet, America's most promising young company, based in Raleigh, N.C., premieres a staging of Coppelia...
...gambler's instrument. It lures musicians with its gaudy array of textures and noises, but it can also deaden their performances. Sometimes, only sometimes, the gamble pays off. William Orbit's Pieces in a Modern Style, a collection of synthesizer arrangements of pieces by classical greats ranging from Vivaldi to Satie, is a case in point. When Orbit, Madonna's producer, sticks close to the composers' arrangements and instrumentation, as he does on Barber's "Adagio for Strings," the songs don't profit from the synthesizer's virtues and still suffer its vices. "Adagio" sounds like the work...