Caroline Shaw: Is a Rose & The Listeners (Live) Philharmonia Baroque Orchestra & Nicholas McGegan

Album info

Album-Release:
2020

HRA-Release:
03.04.2020

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  • Caroline Shaw (b. 1982): Is a Rose:
  • 1Is a Rose: No. 1, The Edge (Live)05:19
  • 2Is a Rose: No. 2, And So (Live)05:34
  • 3Is a Rose: No. 3, Red, Red Rose (Live)05:22
  • The Listeners:
  • 4The Listeners: No. 1, Prologue (Live)03:27
  • 5The Listeners: No. 2, Let Your Soul Stand Cool (Live)03:31
  • 6The Listeners: No. 3, Greeting (Live)04:33
  • 7The Listeners: No. 4, In World's Vast Frame (Live)05:12
  • 8The Listeners: No. 5, Of a Million Million (Live)01:50
  • 9The Listeners: No. 6, That's Us (Live)01:44
  • 10The Listeners: No. 7, Maps (Live)05:40
  • 11The Listeners: No. 8, Sail Through This to That (Live)02:35
  • 12The Listeners: No. 9, Pulsar (Live)02:05
  • 13The Listeners: No. 10, Epilogue (Live)04:33
  • Total Runtime51:25

Info for Caroline Shaw: Is a Rose & The Listeners (Live)



Philharmonia Baroque Orchestra & Chorale (PBO) breaks new ground as a pioneer in bridging new music with old instruments—as PBO announces a collection of commissioned works composed by GRAMMY- and Pulitzer Prize-winning composer Caroline Shaw. “PBO& Caroline Shaw”, the 12th release on the Philharmonia Baroque Productions label, coincides with the launch of the “PBO&” imprimatur, created to record and showcase vital contemporary composers who are committed to composing for the unique sounds of period instruments. The recording will be released on April 3 and reflects the range and versatility of Philharmonia’s programming with music spanning the 18th to the 21st centuries.

PBO has cultivated a fruitful partnership with Caroline Shaw that began in 2016 with the launch of the organization’s “New Music for Old Instruments” initiative—designed to demonstrate the influence of old music on new music, and to encourage Shaw and other contemporary composers to explore the possibilities of writing for an ensemble that plays on period instruments and applies the techniques of historical performance. Philharmonia was the very first orchestra in the Bay Area to commission Shaw. The album comprises the Is a Rose trilogy of three works written for mezzo-soprano Anne Sofie von Otter, the first of which, “Red, Red Rose”, premiered at Walt Disney Concert Hall with von Otter and toured the U.S. and Canada. The second work, “The Edge”, premiered in 2017, and the final work in the trilogy, “And So”, had its world premiere to a sold-out audience at Alice Tully Hall at Lincoln Center. “The Listeners”, Shaw’s first major work for chorus and period instrument orchestra, spotlights the low-register voices of Avery Amereau and bass-baritone Dashon Burton, and premiered in San Francisco in October 2019. The release of PBO& Caroline Shaw follows close on the heels of Shaw’s GRAMMY Award for Best Chamber Music/Small Ensemble Performance in 2019 for her recording of Orange, an album produced by the Attacca Quartet.

On composing for Philharmonia, Shaw says, “I had been in love with PBO and listened to their recordings for many years, and with the first we performed together [“Red, Red Rose”] I knew I’d found the group and the sound I could live in for a long time. Period instruments require a particular kind of musician. Writing for PBO is not just writing for the particular instruments. It’s also the sensibility and the training and the familiarity with certain repertoire.”

Shaw’s collective output for PBO sets texts spanning centuries, from the poetry of Robert Burns, Jacob Polley, and Shaw herself, to recordings from the Golden Record (the inspiration for The Listeners) and a speech by Carl Sagan. In discussing the creation of The Listeners, Shaw explains: “This concept of putting a record on the side of the Voyager spacecraft—the absurd notion that someone might someday play the record and this idea of something going out into the sky and not returning—wasn’t about what might happen. It’s the story we were telling about ourselves. I wanted to construct a journey, looking at the ways we see the sky and wonder about the universe and the ways that we also understand the earth and our planet.”

PBO& Caroline Shaw was recorded live at First Congregational Church in Berkeley, CA on March 9-10 and October 19-20, 2019.

Philharmonia Baroque Orchestra
Nicholas McGegan, conductor


Sherezade Panthaki
international success has been fueled by superbly honed musicianship; “shimmering sensitivity” (Cleveland Plain Dealer); a “radiant” voice (The Washington Post); and vividly passionate interpretations, “mining deep emotion from the subtle shaping of the lines” (The New York Times). An acknowledged star in the early-music field, Ms. Panthaki has ongoing collaborations with leading early music interpreters including Nicholas McGegan, Simon Carrington, the late John Scott, Matthew Halls, and Masaaki Suzuki, with whom she made her New York Philharmonic debut.

Panthaki’s recent performance with Philharmonia Baroque Orchestra and conductor Nicholas McGegan was named one of the “Top 10 Classical Music Events of 2015” and described as “a breathtaking combination of expressive ardor, tonal clarity, technical mastery and dramatic vividness” by The San Francisco Chronicle.

Ms. Panthaki’s 2017/18 season features performances of Vivaldi’s Gloria with the Los Angeles Philharmonic at the Hollywood Bowl and the St. Louis Symphony (Nicholas McGegan conducting), the Milwaukee Symphony, Philharmonia Baroque Orchestra, Music of the Baroque, her return to Ars Lyrica, Pasadena Symphony Orchestra, Orlando Philharmonic, and a United States Christmas Oratorio tour with Bach Collegium Japan.

Highlights of her past seasons include Messiah with Bach Collegium Japan, the National Symphony Orchestra, Calgary Philharmonic, and the Nashville and San Antonio Symphonies; Bach cantatas and oratorios and works by Handel and Purcell with Philharmonia Baroque Orchestra; Saul with the Tafelmusik Baroque Orchestra; Belinda in Dido and Aeneas and Galatea in Acis and Galatea with the Mark Morris Dance Group; Solomon with the Radio Kamer Filharmonie; Handel at Carnegie Hall with William Christie; Oregon Bach Festival; Berkeley Early Music Festival; Christmas Oratorio with the Orchestra of St. Luke’s; Mozart’s Exsultate jubilate and Requiem, with the Washington Bach Consort; and St. John Passion, St. Matthew Passion, and Brahms Requiem with St. Thomas Fifth Avenue.

Ms. Panthaki’s repertoire extends well beyond the music of the Renaissance and Baroque to Orff’s Carmina Burana with the Houston Symphony, John Tavener’s The Last Discourse with Orchestra of St. Luke’s, Beethoven’s Symphony No. 9 with American Classical Orchestra, Rachmaninoff’s Vocalise and Strauss lieder at the Bari International Music Festival, Britten’s War Requiem with Louisville Choral Arts Society, as well as solos in Stravinsky’s Les Noces, Poulenc’s Stabat Mater and Gloria.

Diana Moore
is being lauded on both sides of the Atlantic for her “emotional depth” (The Guardian), “thrilling” technical bravura (Gramophone), and “rich, evocative sound” (San Francisco Chronicle). She enjoys a varied and international career of opera, oratorio, and concert performances, and is a popular soloist at many major music festivals.

Ms. Moore’s tall and graceful stature has made her the ideal trouser-role performer. With conductor Nicholas McGegan and Philharmonia Baroque Orchestra, Moore performed the role of “Medoro” in Handel’s Orlando in an acclaimed American tour at the Ravinia Festival, Lincoln Center’s Alice Tully Hall, and Tanglewood Festival. Recent concert engagements of note include Beethoven’s Ninth Symphony along with selections from Mahler’s Des Knabun Wunderhorn with Royal Northern Sinfonia and Elgar’s The Dream of Gerontius at Royal Albert Hall and Winchester, Ely, Gloucester, and York Minster Cathedrals.

As a recording artist, Moore is a soloist on the premiere recording of Vivaldi’s La Gloria di Primavera released in 2016 with Philharmonia Baroque Orchestra which was selected as an “Editor’s Choice” recording in Gramophone. Her recording of Handel’s Parnasso in Festa with King’s Consort and conductor Matthew Halls was the winner of the Stanley Sadie Handel Recording Prize.

Ms. Moore’s charismatic vocal quality and training place her firmly within the fine heritage of English mezzo-sopranos. She is committed to celebrating the music and musicians of her homeland and has built a reputation as a leading exponent of English song. In 2007, she devised Kathleen Ferrier — Her Life, Letters & Music, to honor that legendary English singer, a program that has been endorsed by the Kathleen Ferrier Society.

Nicholas Phan
Praised by National Public Radio as ‘an artist who must be heard’, American tenor Nicholas Phan continues to distinguish himself as one of the most compelling tenors appearing on the prestigious concert and opera stages of the world today. An artist with an incredibly diverse repertoire that ranges from Claudio Monteverdi to Nico Muhly and beyond, Phan performs regularly with the world’s leading orchestras and opera companies. He is also an avid recitalist and a passionate advocate for art song and vocal chamber music: in 2010, Phan co-founded Collaborative Arts Institute of Chicago, an organization devoted to promoting this underserved corner of the classical music repertoire, where he serves as Artistic Director.

Highlights of Mr. Phan’s 2017/2018 season include his debuts with the Minnesota Orchestra for Bach’s Christmas Oratorio, and the Orquestra Sinfônica de São Paulo for Britten’s War Requiem with Marin Alsop; and returns to the Chamber Music Society of Lincoln Center, Philharmonia Baroque, the Philadelphia Orchestra, the Chicago Symphony for Schubert’s Mass in E-flat with Riccardo Muti, and the Toronto Symphony for performances as the title role in Bernstein’s Candide. He also will appear in recital at the Herbst Theater with San Francisco Performances, and serves as artistic director of two festivals this season: Collaborative Arts Institute of Chicago’s sixth annual Collaborative Works Festival, and as the first singer to be guest Artistic Director of the Laguna Beach Music Festival.

Mr. Phan is a regular guest soloist with many of the leading orchestras in the North America and Europe, including the Cleveland Orchestra, New York Philharmonic, Boston Symphony, Chicago Symphony, San Francisco Symphony, Los Angeles Philharmonic, Philadelphia Orchestra, National Symphony, Philharmonia Baroque, Boston Baroque, BBC Symphony, English Chamber Orchestra, Royal Philharmonic, Philharmonia Orchestra of London, and the Lucerne Symphony. He has also toured extensively throughout the major concert halls of Europe, and appeared with the Oregon Bach, Ravinia, Marlboro, Edinburgh, Rheingau, Saint-Denis, and Tanglewood festivals, as well as the BBC Proms.

An avid proponent of vocal chamber music, he has collaborated with many chamber musicians, including pianists Mitsuko Uchida, Richard Goode, Jeremy Denk, Graham Johnson, Roger Vignoles, Myra Huang and Alessio Bax; violinist James Ehnes; guitarist Eliot Fisk; harpist Sivan Magen; and horn players Jennifer Montone, Radovan Vlatkovic and Gail Williams. In recital, he has been presented by Carnegie Hall, London’s Wigmore Hall, the Metropolitan Museum of Art, the Philadelphia Chamber Music Society, Boston’s Celebrity Series, and the Library of Congress in Washington, DC. He is also currently an artist-in-residence with San Francisco Performances.

Mr. Phan’s many opera credits include appearances with the Los Angeles Opera, Houston Grand Opera, Glimmerglass Festival, Seattle Opera, Glyndebourne Opera, Maggio Musicale in Florence, Deutsche Oper am Rhein, and Frankfurt Opera. His growing repertoire includes the title roles in Bernstein’s Candide, Stravinsky’s Oedipus Rex and Handel’s Acis and Galatea, Almaviva in Il barbiere di Siviglia, Nemorino in L’elisir d’amore, Fenton in Falstaff, Tamino in Die Zauberflöte, Don Ottavio in Don Giovanni, and Lurcanio in Ariodante.

Phan’s most recent solo album, Gods and Monsters, was released in January 2017. His first three solo albums, A Painted Tale, Still Fall the Rain and Winter Words, made many “best of” lists, including those of the New York Times, New Yorker, Chicago Tribune and Boston Globe. Phan’s growing discography also includes a Grammy-nominated recording of Stravinsky’s Pulcinella with Pierre Boulez and the Chicago Symphony, Scarlatti’s La gloria di Primavera with Philharmonia Baroque, Bach’s St. John Passion with Apollo’s Fire, and the world premiere recordings of two orchestral song cycles: The Old Burying Ground by Evan Chambers and Elliott Carter’s A Sunbeam’s Architecture.

Philip Cutlip
has garnered consistent critical acclaim for his performances across North America and Europe. His stylistic palette ranges from early Baroque through Romantic to contemporary musical genres, on both concert and opera stages. He has performed with a distinguished list of conductors during his career that includes Patrick Summers, Miguel Harth-Bedoya, Gerard Schwarz, and Donald Runnicles, among many others. His appearance as Joseph De Rocher in Heggie’s Dead Man Walking, with Joyce DiDonato and Frederica von Stade for Houston Grand Opera, has been released on Virgin Records.

During the 2016-17 season, Philip sang Messiah with Minnesota Orchestra, then went on to sing his first Don Alfonso in Mozart’s Cosí Fan Tutte, to great acclaim. This was followed by another role debut in Eugene, Oregon, singing Méphistophélé in Berlioz’s La Damnation du Faust, under the baton of Danail Rachev. The Eugene Weekly described him “As Mephisto, Cutlip was quick, engaging and theatrical, a perfect foil to Plenk’s straight-man Faust.”

Philip has appeared with many of the leading orchestras of North America, including the Chicago Symphony, New York Philharmonic, Philadelphia Orchestra, Boston Symphony, St. Paul Chamber Orchestra, and many others. His 2014-15 season engagements included the title role in Mozart’s Le Nozze di Figaro in a return to Sarasota Opera, several roles in Weill’s The Road of Promise with New York’s Collegiate Chorale, and soloist in Messiah with the Winston-Salem Symphony.

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