The music of Reiko Füting is far from being easily accessible. If anything, his self-declared aim to “explore the psychological nature of memory” makes the music seem more cryptic or, conversely, less ascribable to a given style or even school. There are in fact a lot of isms: punctualism, serialism, minimalism, etc. which fit under the postmodernist umbrella. Each describe {…}
There is no doubt Jonathan Tetelman’s “Arias” is one of the most sensational solo debuts in past months, as it combines the infinitely rich and malleable voice of a dark tenore lirico with a level of artistic maturity that is nothing short of exceptional. A Magisterial Debut Produced for Deutsche Grammophon the album offers a selection of French and mostly {…}
The recording of “Pepito,” a comedic opera in one act with music by Nicolas Lell Benavides and libretto by Marella Martin Koch, is set to release on May 1, 2020 and it is an amusing, quick-hit of delightful opera worth a listen. This compact, 20-minute chamber opera tells the story of Pepito, a shelter dog meeting a husband and wife who {…}
I’ve been listening to Renée Fleming and thinking about the recently deceased Montserrat Caballé. To my ears, Fleming is the only active soprano whose voice can match the ravishing beauty of the Spanish diva’s. Neither singer is beyond criticism, but if voices were tactile, these are the kinds that would be behind thick glass in museums. Fleming, though, is unique {…}