Year: 2005

Iím told that, if an auditioning singerís repertoire includes a Verdi piece, the auditors will very likely choose to hear it, because singing Verdi well requires the full catalogue of skills: musical exactness, dynamic range, breath control, sensitive phrasing, the ability to provide a variety of colors in the voice, and, if possible, a large enough personality to truly fill out whichever character is being portrayed.

I have to admit it: this is the first time I ever listened to the complete version of this early Decca-issue of 1952 (though some sources say it was recorded one year earlier).

While I was listening to this recording of Krenekís song cycles Durch die Nacht (op. 67) and Ges‰nge des sp‰ten Jahres (op. 71), I started to think about art and memory.

I first became acquainted with Glassís music when Lyric Opera of Chicago staged his Satyagraha in the 1980s. Having grown up on a small-town Midwestern diet of Beethoven sonatas and Broadway musicals, I was blown away by his vision of Mahatma Gandhi.