August 1, 2016 Heitor Villa-Lobos called Bach “…a kind of universal folkloric source, rich and profound.” He mined a particularly rich Bachian vein throughout his career, as have so many […]
August 1, 2016 Matt Haimovitz’s continuously-evolving and intense engagement with the Bach Cello Suites reaches a new zenith with Overtures to Bach, six new commissions that anticipate and reflect each […]
Cellist Matt Haimovitz and the vocal trio, “Voice,” have a devoted following. There was a surprisingly large audience at Hannaford Hall on Friday night, in spite of 10 inches of snow and icy roads. Most people stayed after the concert to meet the artists.
Haimovitz, one of today’s grand masters of the cello, is also known for his eccentric choices of repertoire and for performing in unusual venues. I saw him at the Odd Fellows Hall in Buckfield and at Jonathan’s in Ogunquit, where he played his own amazing version of Jimi Hendrix’s “Star Spangled Banner.”
Now he is collaborating with “Voice,” founded in 2006 by Emily Burn, Victoria Couper and Clemmie Franks. The problem, as Hamovitz explained, was that there was no repertoire for cello and vocal trio (…)
Haimovitz gives thoughtful and well-considered performances of these seminal works in resonant sound that captures his baroque cello and cello piccolo (Suite 6) in terrific sonics. I won’t harp yet again on the felicities of recording solo and small ensembles in surround sound—often more than the largest Mahler symphony, these sorts of settings benefit from the finest sound, allowing the most subtle of expressions to come across as if one was sitting directly in the presence of these artists in the most intimate of listening spaces.
Ms. Woolf’s gorgeous score is underlined by the use of traditional Hawaiian chants and her score utilized authentic instruments like the nose flute, Kala’au (percussive sticks), and Ili’ili (castanets), that are native to the island. Ms. Woolf’s score also uses Queen Lili`uokalani’s famous composition, “Aloha ‘Oe”, sung in gorgeous counterpoint by soprano Ariana Wehr.
This fascinating and heart wrenching story of Better Gods is a production worth seeing. The touches of Hawaiian authenticity, and the tremendous strength of the performers, make the new fascinating and heart-wrenching Better Gods from the Washington National Opera a powerful experience.
“In Matt Haimovitz’s impressive almost-two-and-a-half hour recording, we are taken on a journey through the dances most of us may have heard on separate occasions, one suite a a time, or programmed as stand-alone movements, but rarely had the opportunity to experience in such a neat unit. This rarity is a very special must-have for this reason. The album is full of Haimovitz’s personality, with distinctive expressive flourishes and quirks.”