Apparently I’ve been busy, because I haven’t written for almost a month. But of course I’ve still been listening to lots of music — what else am I going to do while I cook meals for five and then eat the entire pot in one night?
Side note: any of you ever make a whole loaf of bread and then finish it in 24 hours? I’m down to a heel of the focaccia I made yesterday. Note to self: solo quarantine is terrible for the waistline.
Anyway, here are a few memorable bits of music from the past couple weeks.
David Lang: “penance and remorse” from the little match girl passion
Theatre of Voices; Paul Hillier, conductor
Dieterich Buxtehude: O clemens, o mitis, o coelestis pater
Julie Roset, soprano; Ensemble Clematis
Meredith Monk: “Wa-Lie-Oh” from Songs from the Hill
Marc Mauillon, baritone
Richard Strauss: the last five minutes of Ein Heldenleben
Gothenburg Symphony; Kent Nagano, conductor
Marin Marais: “La Polonoise” from Suite in d minor (Second Book of Pieces for Viol)
François Joubert-Caillet; L’Achéron
Gaetano Donizetti: “Chacun le sait” from La fille du régiment
Erin Morley, soprano and piano; from the Metropolitan Opera’s livestreamed gala
I go on a lot of walks in the only New Haven neighborhood with living rooms that big, I wonder if I’ve walked by Erin Morley’s house? (also, what a performance holy crap) (also also, bel canto usually gives me hives but for some reason yesterday I only wanted to listen to music I don’t usually like? I think quarantine broke me)
Anaïs Mitchell: Way Down Hadestown
From the original 2010 concept album
There’s something so comforting about this original version — no pomp, no circumstance, no huge swing-band dance number. With the call-and-response, it’s almost campfire-y in a way. Intimate, muted, warm, fuzzy.
|My first day at Kinhaven, circa 2010|
Thomas Ford: Since First I Saw Your Face