Christine brewer soprano biography of mahatma gandhi

  • As a dramatic soprano who

    • Priti Gandhi Makes Transition From Center Stage To Behind Scenes

    "For soprano Priti Gandhi, the past two months have had all the melodramatic highs and lows of grand opera. But fortunately, her story is ending more happily than those of the tragic divas she’ll play Saturday in a North County opera recital. Gandhi is one of five singers who will join the Center Chorale and Festival Orchestra for 'Opera's Greatest Moments' at the California Center for the Arts, Escondido. The longtime Del Mar resident gave up her full-time singing career last fall for a desk job with the San Diego Opera. Then in March, she and her co-workers were stunned when the opera’s ex-leadership announced it would shut down the struggling 49-year-old company this spring. Since then, a groundswell of support from repentant board members, employees and the opera-going public have rescued the company — and Gandhi’s job — from extinction. 'I’m so grateful, so humbled and so overjoyed,' said Gandhi, 41. 'I feel renewed by the faith that San Diego has shown us.' Over the past 19 years, San Diego Opera fans have watched Gandhi grow up on the Civic Theatre stage. Fresh out of UCSD in 1995, she joined the company’s chorus, then spent two years each with the touring vocal ensemble and as a resident artist. In 2000, she made her solo debut in the company’s A Streetcar Named Desire. The Mumbai-born singer spent the next 13 years performing internationally with opera companies in France, England, the Czech Republic, Mexico and throughout the U.S. But the peripatetic life of a starving artist grew stale and she was grateful when an opportunity came along last September to apprentice with Marianne Flettner, the company’s 30-year artistic administrator. When Flettner retires next month, Gandhi will assume her position." [Source] Watch several videos after the jump of Ms. Ghandi discussing the San Diego Opera and her career as a singer.




      Christine brewer soprano biography of mahatma gandhi


    LA Phil’s Tristan Project, an Immersive but Flawed Experiment

    The Tristan Project was first presented in Los Angeles in 2004, with conductor Esa-Pekka Salonen, Clifton Forbis (Tristan) and Christine Brewer (Isolde).  Eighteen years hence, the enfant terrible of opera Peter Sellars is back at it – not so enfant anymore, but still terrible.  This time around, there were no companion works preceding each act of the opera, just three acts performed over a period of three evenings, Ring Cycle-style, so that eager Wagnerites could congregate for a two-week mini-festival of two Tristan ‘cycles’ (December 9,10,11 and 15,16,17), happily paying three times to see the Meister’s Gesumtkunstwerk love-tragedy in its entirety.

    And they would not be disappointed, at least in the musical performance.  It was Gustavo Dudamel’s first Wagnerian outing at the Disney Hall and he conducted like a pro, unleashing stunning intensity and incandescent beauty from the L.A. Phil musicians who played like gods.  One shall not soon forget the utter precision of strings in the three preludes, the gorgeous brass announcing Tristan’s entrance in Act I, or the cataclysmic tsunami of sounds at the height of the love duet and Liebestod.   The softer moments were just as memorable – a solo viola quietly singing the desire motif during Tristan and Isolde’s first meeting, the poignant oboe in their love duet and, last but not least, the soaring violin solo accompanying the dying Tristan in Act III, seemingly representing a departing soul.

  • In an essay soprano
    • The legacy of Benjamin Britten and Peter Pears lives on in Aldeburgh with the Britten-Pears Foundation. At the Maltings, Snape, in the concert hall Britten and Pears loved so dearly, Oliver Knussen conducted the keynote concert of the Aldeburgh Music weekend marking Britten's 100th birthday. Given the significance of the occasion, some conductors might have opted for safe and solemn, but Knussen's interpretation was innovative, even dangerous, reaching into the maelstrom of Britten's visionary darkness.  Yet it was also exceptionally beautiful, suggesting the majesty of Nature, and the skies and seas around Aldeburgh. Those who deride Britten because he didn't write formal, conventional symphonies need to hear Knussen transform the piece. The Four Sea Interludes and Passacagliamay derive from Peter Grimes but this is no mere suite based on an opera. Knussen shows how it becomes a pure (five movement) symphonic masterpiece on its own terms.

    The.opening chords of "Dawn" shine with almost preternatural brightness. It feels cosmic, more than a picture of the sun breaking through clouds. We feel the gravitational pull of currents stronger than the tides of the sea. "Sunday Morning" didn't feel religious (and the pious of the Borough don't practise Christian values). When the lively upwards passages shimmered, I thought of Apollo, and Tadzio dancing on the beach, images much more central to Britten's inspiration than the grizzled Peter Grimes. The viola solo in "Moonlight" was exquisite, its mystery undercut by the tense, brisk brass and scurrying strings. Oddly enough, I thought I heard echoes of the Rite of Spring, which isn't inappropriate, as the sacrifical "Storm" is about to break loose.When the viola returns, it feels achingly poignant. The surging tensions were well judged, so the woodwind figures emerged all the brighter. Knussen is a master of contemporary repertoire: he shaped the jagged edges of the Storm so the music exploded in wild dissonance
  • "Satyagraha" revolves around Mohandas

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