MEMETERIA by Thomas May

Music & the Arts

RIP Sofia Gubaidulina (1931-2025)

“I am a religious Russian Orthodox person and I understand ‘religion’ in the literal meaning of the word, as ‘re-ligio’, that is to say the restoration of connections, the restoration of the ‘legato’ of life. There is no more serious task for music than this.”  – Sofia Gubaidulina

The great Sofia Gubaidulina has died at the age of 93. She passed away on 13 March at her home in Appen, Germany.

From her publisher, Boosey & Hawkes: “Sofia Gubaidulina, the grande dame of new music, has passed away on 13 March 2025, aged 93, at her home in Appen, near Hamburg in Germany. She was considered the most important Russian composer of the present day and a person who drew inspiration from a deep faith. Her interest in the world, in people and in the spiritual touched everyone who met and worked with her. In her work, she always focussed on the elementary, on human existence and the transformative power of music.

She is like a ‘flying hermit’, said conductor Simon Rattle, because she is always “in orbit and only occasionally visits terra firma. Now and then she comes to us on the earth and brings us light and then goes back into her orbit.” Conductor Andris Nelsons has noted that “Sofia Gubaidulina’s music – its intellect and its profound spirituality – is deeply touching. It really gets under your skin”.

According to NPR: “In a 2017 interview with the BBVA Foundation, Gubaidulina talked about the power of music in sweeping terms. ‘The art of music is consistent with the task of expanding the higher dimension of our lives,’ she said. A deeply religious artist, she once described her writing process as speaking with God.” She also said: “The art of music is capable of touching and approaching mysteries and laws existing in the cosmos and in the world.”


Filed under: Gubaidulina, music news, , , , ,

The Spasms of History: Inside William Kentridge’s “The Great Yes, The Great No”

Here’s my feature on the new project from William Kentridge, which will be presented this weekend in Berkeley by Cal Performances:

A new production by William Kentridge is always a major event. Few other artists at work today span so many media while at the same time reimagining them: drawing, painting, sculpture, printmaking, animated film, and musical-theater performance are all encompassed within his practice. But what makes Kentridge especially resonant for a global audience is how his innovations push beyond merely aesthetic considerations to pose big, open-ended questions about history and identity.
continue

Filed under: Cal Performances, William Kentridge, ,

Rediscovering French Composer Fernande Decruck

Fernande Decruck

Here’s my recent interview for The Strad with conductor Matthew Aubin on his mission to reclaim attention for Fernande Decruck’s music:

For decades, French composer Fernande Decruck (1896–1954) was known only for her Sonata in C-sharp for alto saxophone, a staple of the classical saxophone repertoire. Many of her compositions were left unpublished at her untimely death at the age of 57 and sank into oblivion. 

continue

Filed under: music news, recommended listening, The Strad

Cellist Abel Selaocoe Continues to Redefine His Approach to the Instrument 

Abel Selaocoe, © Christina Ebenezer

I had the privilege of speaking with the unclassifiable musical phenomenon Abel Selaocoe for this month’s Strings magazine cover story.

Any attempt to label Abel Selaocoe’s artistry is bound to fall short. While many of today’s young musicians defy easy categorization, Selaocoe ventures even further into uncharted realms. His expansive philosophy of communication views the cello as the extension of a larger voice—a storytelling device to navigate multiple dimensions of identity and community. Selaocoe uses his cello in tandem with singing, improvisation, body percussion, and ensemble energy to amplify a fundamental impulse to express, to connect, to belong.
continue

Filed under: cellists, Strings

“Canon for Racial Reconciliation”

This weekend brings another of my picks for the first few months of 2025: Cappella Romana presents the world premiere of the complete Canon for Racial Reconciliation, a collaboration between composers Isaac Cates and Nicholas Reeves that fuses the sound worlds of Orthodox and Gospel church music.

Cates and Reeves have set a remarkable poem in the form of an ancient Byzantine canon written by Dr. Carla Thomas, one of the leaders of the Fellowship of St. Moses the Black, whose mission is “to share the Orthodox Christian faith with African Americans and people of color.”

Combining two choirs – each coming from Orthodox and Gospel traditions, respectively – Canon also calls for violin, trumpet, guitar, piano, a Hammond B-3 organ, and pre-recorded sound samples of sermons and related material.

James Bash has written an excellent preview for Oregon.live here, which includes this observation from co-composer Nicholas Reeves: “This piece was not a response to anything specific that is happening at the moment. It touches on issues that have been part of America for a long, long time. There are no political positions in the piece. The Canon of Racial Reconciliation comes from a compassionate and reconciliatory perspective. It recognizes misdeeds and violence and justice and tries to find a way forward that moves everyone ahead. The goal is healing in America. We move ahead even when there is no forgiveness or justice present. The music is an expression of mutual and peaceful co-existence.”

Performances are Friday 28 February at 7.30pm at Town Hall in Seattle and Saturday 1 March at 7.30pm at First United Methodist Church in Portland. Go here for tickets or call 503-236-8202 (use the code CANON for a 20% discount in advance). There will be a conversation with the composers and conductors right before the performances (free with registration).

Filed under: Cappella Romana, music news, , , , ,

“The Magic Flute” at Seattle Opera

Brandie Sutton as Pamina, In Sung Sim as Sarastro and Duke Kim as Tamino with members of the Seattle Opera Chorus in “The Magic Flute” at Seattle Opera. (David Jaewon Oh)

My Seattle Times review of opening night of the popular production of Mozart’s final opera by Barrie Kosky and 1927 Theatre:

A remarkable synergy of musical and visual storytelling enlivens Seattle Opera’s current production of “The Magic Flute,” running through March 9….

continue

Filed under: Mozart, review, Seattle Opera

Adès Conducts Adès

Here’s the essay I wrote for the Cleveland Orchestra’s program this week featuring guest conductor and composer Thomas Adès:

Among the preeminent composers of our era, Thomas Adès has likened the practice of creating art — whether music, literature, or painting — to fashioning “a simulacrum of the real world, a reflection”…

continue

Filed under: Charles Ives, conductors, program notes, Saariaho, Sibelius, Thomas Adès

Upcoming at Seattle Opera: Barrie Kosky’s “Magic Flute” Production

Image from Barrie Kosky’s production of Mozart’s “The Magic Flute,” taken from a revival of the original production at Komische Oper Berlin in November 2023. Seattle Opera presents this “Magic Flute,” which mixes live performance with projected animations and references to the world of silent film, Feb. 22-March 9. (Jaro Suffner)

Here’s my Seattle Times preview of the well-traveled production of Mozart’s opera that arrives in Seattle for the first time this weekend:

The Magic Flute has enchanted audiences ever since it opened in 1791, just months before Mozart’s untimely death. 

On the surface, Flute is a fairy tale about a prince who sets out to rescue a supposedly kidnapped princess — only to discover that both are destined for a journey of enlightenment. Along the way, the Queen of the Night loses her struggle to topple the high priest Sarastro, who is revealed to be a benevolent ruler….

continue

Filed under: directors, Mozart, Seattle Opera

Seattle Opera Announces 2025-26 Season

Today Seattle Opera announced the lineup for the company’s first full season with General and Artistic Director James Robinson at the helm.

I’m especially pleased to see Gregory Spears’s Fellow Travelers – more timely than ever – among the three company premieres. Last summer’s Santa Fe Opera season included The Righteous, a collaboration between Spears and poet Tracey K. Smith, and the production knocked me out. Fellow Travelers is set during the McCarthy era and is based on the Thomas Mallon novel about the “Lavender Scare” that affected workers in the federal government.

Budget tightening obviously plays a big role here, but the rest of the season is quite a mixed bag:  Seattle Opera’s first venture into Gilbert & Sullivan territory with The Pirates of Penzance; a Richard Strauss rarity, Daphne, but in concert format, which will star Heidi Stober as the mythic protagonist and with David Afkham conducting; and the perennial Carmen, which will star Sasha Cooke in her role debut (alternating with J’Nai Bridges in one of her signature parts). Another plus: Ludovic Morlot will conduct.

So we’re now done to just four mainstage productions, one of them in concert format, and no more season opener in August – when the Ring used to be the center of attention, so long ago.

Here’s the complete program:

Performance Information (see full cast lists at seattleopera.org)

The Pirates of Penzance
Music by Arthur Sullivan

Libretto by W.S. Gilbert
Conducted by David Charles Abell
Directed and Choreographed by Seán Curran
October 18, 19, 24, 26, 28, 29, November 1, 2025
McCaw Hall (321 Mercer St, Seattle, WA 98109)
seattleopera.org/pirates

Gay Apparel: A Holiday Show

December 12 & 13, 2025
The Opera Center (363 Mercer St, Seattle, WA 98109)
seattleopera.org/gayapparel

Daphne in Concert
Music by Richard Strauss
Libretto by Joseph Gregor
January 16 & 18, 2026
McCaw Hall (321 Mercer St, Seattle, WA 98109)
seattleopera.org/daphne

Fellow Travelers

Music by Gregory Spears
Libretto by Greg Pierce

Conducted by Patrick Summers
Directed by Kevin Newbury

February 21, 22, 25, 27, 28, & March 1, 2026
The Opera Center (363 Mercer St, Seattle, WA 98109)
seattleopera.org/fellowtravelers

Carmen
Music by George Bizet

Libretto by Henri Meilhac and Ludovic Halévy
Conducted by Ludovic Morlot
Directed and Choreographed by Paul Curran
May 2, 3, 8, 9, 10, 13, 16, & 17, 2026
McCaw Hall (321 Mercer St, Seattle, WA 98109)
seattleopera.org/carmen

Filed under: music news, Seattle Opera, , , , ,

Mozart and the Fortepiano

replica of a Viennese fortepiano built by Rodney Regier that will be used for the Mozart concertos

A week after its sold-out immersion in Winterreise with baritone Charles Robert Stephens (on Schubert’s birthday), Seattle Chamber Orchestra presents a program exploring the fortepiano – the kind of keyboard Mozart knew.

Mozart had to carve out his own path as a freelance artist in Vienna during the final decade of his career. He relied on his reputation as a celebrity virtuoso to cultivate a core audience, largely through his dazzlingly inventive series of piano concertos (as we call them), which he typically premiered in subscription concerts that doubled as crucial fundraising opportunities.

Conductor and pianist Lorenzo Marasso, SCO’s founder and music director, has curated a program around two of these concertos, which will be performed using a fortepiano: K. 449 in E-flat major and K. 488 in A major, with Tamara Friedman and Marasso as the soloists. He will also conduct SCO in Mozart’s Divertimento in D major, K133, and the great G minor Symphony, K. 550.

“A fortepiano is an early piano,” Marasso explains. “In principle, the word fortepiano can designate any piano dating from the invention of the instrument by Bartolomeo Cristofori in 1698 up to the early 19th century. Most typically, however, it is used to refer to the mid-18th- to early-19th-century Viennese instruments, for which composers of the Classical era, especially Haydn, Mozart, and Beethoven, wrote their piano music.”

The concertos will be performed on a replica of just such a Viennese fortepiano, which was built by Rod Regier and is borrowed from the collection of historical keyboards of Prof. George Bozarth and Tamara Friedman. 

The concert will be held on 7 February 2025 at Plymouth United Church of Christ in downtown Seattle (1217 6th Ave). A pre-concert talk will take place at 7:15pm; the performance begins at 8pm. Admission includes the pre-concert talk and the performance, accompanied by drinks and appetizers. Tickets here.

PROGRAM:

Wolfgang Amadeus MOZART 

Divertimento in D major K133

Piano Concerto No. 14 in E-flat major K449

Piano Concerto No. 23 in A major K488

Symphony No. 40 in G minor K550

Tamara Friedman fortepiano
Lorenzo Marasso fortepiano & conductor
Seattle Chamber Orchestra

Seattle Chamber Orchestra provides this bio:

The newly formed SCO is rooted in our cherished Pacific Northwest’s casual and open culture and brings together the region’s top instrumentalists to create an all-sensory experience of music where you are invited to be part of the experience rather than merely witnessing it. Founded in 2021, the Seattle Chamber Orchestra seeks to bring music lovers tantalizing combinations of the traditional and contemporary repertoire, performed by world-class professional musicians. Brought to life through thoughtful programming that educates as much as it inspires, SCO seeks to reinvigorate live classical music by providing opportunities for musicians and audiences to explore traditional and new music and challenge established boundaries.

Filed under: Mozart, music news, piano, Seattle Chamber Orchestra, , , , ,

Archive

Enter your email address to follow this blog and receive notifications of new posts by email.