La Paloma y el Ruiseñor 3 BAJA-1

Are you looking for an excuse to have a little long-weekend-getaway two weeks before Thanksgiving? Come to Mazatlán and hear the premiere of my opera “La Paloma y el Ruiseñor” [The Dove and the Nightingale] at the Teatro Ángela Peralta. It is a wonderful city with terrific people, restaurants, culture, history and November temperatures that range from 70-90 degrees in early November. I love this city. Hotels get booked from the mid-November through the first week in January, so if you are tempted to attend, don’t delay getting a reservation: and the tickets for the opera are going fast.

Here are the details:

Composer: Roger Bourland
Libretto: Mitchell Morris
Spanish adaptation: Placido Domingo Jr.
Conductor: Scott Dunn

November 14, 15 2014: 8:00
[Open dress rehearsal: Nov.13, 2014]

CULTURA/MAZATLÁN
Producer: Raúl Rico González
Production assistant: Abril Márquez
Orchestra: Camarata Mazatlán; Percival Álvarez, Music Director
Chorus: Coro Guillermo Sarabia, Music Directors Enrique Patrón de Rueda and Martha Félix
Dance ensembles:
Delfos Danza Contemporánea, Víctor Manuel Ruiz, Director
Ballet Folklórico, Javier Arcadia, Director
Stage direction: Ramón Gómez Polo and Raúl Rico González
Stage design: Jorge González Nery
Costumes: Elisa Espinosa

CAST:
Jessica Loaiza Pérez/Ángela Peralta
Armando Piña López/ Julián
Penélope María Luna Núñez/Rosa
Emily Sánchez Osuna/ Young Ángela
Jessika Arevalo/La Zepilli
Adriana Romero Jesus Ramirez/La Saborini
Fernando Martinez/Captain Ybarra
Miguel Gonzalez/Maclovio Castellanos
Héctor Rosendo Valle Loera/Solomon Marsh, Juan Jacobo Valadés
Christopher Roldan, Ramón Ocampo
Eden Vega/Cecilio Ocón, Carlos Meneses
Esteban Baltazar/ Young Julián, Eraclio Bernal
Athenea Reyes/Hermana Josefina
Mariela Angulo/Beatriz Melani
Miguel Valenzuela/Prof Agustín Balderas
Irving Bonilla/Cristóbal, Jesús Caravantes
Flor Estrada/Madame L’Aiguille, Araceli
Karla Alvarez/Madame DiGrazia
Laura Martinez/La Venadita
Alba Cecilia Rivera/Young Rosa
––––––––––––––––––––––

Muchísimas gracias to my long-time friend and colleague, Scott Dunn who helped me with my setting of Placido’s gorgeous adaptation of Mitchell Morris’ terrific libretto. Scott reviewed every note of the orchestration, making sure it would not get in the way of our amazing singers. As this is my first grand opera, I am greatly appreciative for his help.

I am most indebted to Raúl Rico, who has encouraged me and supported me in this effort. Mitchell and I have dedicated the opera to Raúl and the amazing talent at Cultura/Mazatlán.

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An fun overview of the history of “Dies irae”––the Gregorian chant most associated with death.

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Perhaps we should add cymatics to our music curriculum.

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Released this week, a new CD of my complete songs featuring Juliana Gondek, soprano and William Lumpkin, piano: FOUR QUARTETS OF SONGS AND ARIAS.The YouTube clip above will give you a little preview. The album is available as an enhanced CD anywhere you buy CDs, and as a download anywhere you download music. You may need to search by title or Juliana Gondek for various reasons. I am very happy with this publication and hope you will take a listen.

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How fleeting, how empty

October 22, 2013

w06_bach_arie

In a retirement phase one looks around at all the stuff accumulated over the years and asks What am I going to do with all this stuff? After years of asking just this question, I’ve come up with a partial answer: throw away, recycle or give away stuff you don’t need, and take care of what you decide to keep and/or pass down to heirs.

By chance I put on a Bach cantata, “Ach wie flüchtig, ach wie nichtig” and the music drew me in (I was not paying attention to the words). But then I wondered what Bach was writing about that made me feel this way, and after reading the words (below) I realized that it was a work about not being attached to stuff, and if I had a gig in a church and had to musically sell this topic I would probably use Michael Frank’s text as Bach did:

Ach wie flüchtig, ach wie nichtig

1. Chorus

Ah, how fleeting, ah, how trifling
Is the life of man!
As a mist soon arises
And soon vanishes again,
So is our life, see!

2. Aria (T)

As swiftly as roaring water rushes by,
So hurry by the days of our life.
Time passes, the hours hurry by,
Just as the raindrops suddenly divide themselves,
When all rushes into the abyss.

3. Recitative (A)

Joy turns to sorrow,
Beauty falls like a flower,
The greatest strength is weakened,
Good fortune changes in time,
Soon honour and glory are over,
Knowledge and men’s creations
Are in the end brought to nothing by the grave.

4. Aria (B)

To hang one’s heart on earthly treasures
Is a seduction of the foolish world.
How easily arise devouring embers,
How the surging floods roar and tear away
Until everything is shattered and falls apart in ruins.

5. Recitative (S)

The highest majesty and spendour
Are shrouded at last by the night of death.
The person who sat on a throne like a god,
In no way escapes the dust and ashes,
And when the last hour strikes,
So that he is carried to the earth,
And the foundation of his highness is shattered,
He is completely forgotten.

6. Chorale [Verse 13]

Ah, how fleeting, ah, how trifling
Are mankind’s affairs!
All, all that we see,
Must fall and vanish.
The person who fears God stands firm forever.

[trans. Francis Browne]

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In a band

October 9, 2013

231121144_640What better way to launch my post UCLA reality than to play in a band, or at least part time. I was asked to sub for a couple of gigs for Megan Keely, a new talented singer songwriter from the Bay area, and I had a blast. I learned many of her songs very quickly, and then we did a variety of covers: Beatles, CSN, Johnny Cash, and more. I played bass, guitar (6 & 12 string), piano and sang harmonies and a few leads. So much fun and amazing that I still remember all those songs from the 60s.

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Cluster music, old and new

September 5, 2013

Jean-Féry Rebel (18 April 1666 – 2 January 1747) “Le Cahos”

An incredible piece of dissonance for the time by Jean-Féry Rebel (1666-1747). Here is the opening of his ballet Les élémens (1737), depicting chaos, performed by Christopher Hogwood and The Academy for Ancient Music. The crunchy chord at the beginning sounds like a vii dim7 played against a minor i chord [I don’t have the score.] A nice cluster chord way before Henry Cowell was born. And as long as we are talking about Henry Cowell cluster music, let’s listen to one now:

Henry Cowell (March 11, 1897 – December 10, 1965) “The Voice of Lir”

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My old LPs

August 29, 2013

LPs

I have an entire wall of old LPs. No, I’m not one of those that thinks the sound of LPs is superior: I grew up with the sound and am used to it, but the truth is just that I have a lot of LPs, or vinyl as we say nowadays, and inherited more from a few friends who died over the past 20 years.

I made a new project of trying to listen to them all again before I depart this world. As I store my records chronologically by composer I have started with Gregorian Chant and am now up to 17 century. I must admit I don’t know that I’ll make it through the various complete Beethoven symphonies collections I’ve inherited. We’ll see. I am finding that I especially am drawn to French composers. (Roger asks himself: could this be genetic? My DNA tests show that my ancient relatives made the Lascaut cave paintings in Southern France.) This morning I dreaded having to listen to an all harpsichord LP of Robert Edward Smith playing Couperin and Rameau. After finishing listening to it, in tears, I turned it over and played the whole thing again.

There is an odd kind of necrophilia going on in the project. Reading, handling and listening to these old publications is slightly eery. Many of the artists who made this records are dead. The publications themselves are dead, although some have been digitized and brought back to life. Many of the companies that made these publications are long gone, as are the artists who designed the covers and the people who wrote the program notes.

A lot of this music I’ve not listened to since I was an undergraduate in college. I’m much smarter now, maybe, and having all this musical input is doing amazing things to my musical brain—I’ve always had a constant radio station in my head, now it’s in 3D and I hear more detail.

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Rojélio de Los Altos

August 14, 2013

The blind 14C Italian composer Landini: The blind 14C Italian composer

Had I lived and been a composer in the 14th century people in the future might have referred to me as “Los Altos.” I bring this up as I was listening to music by Guillaume de Machaut this morning and after reading the useless notes on the Odyssey LP I realized I wanted to know more about Machaut.

Scholars originally thought Machaut was from a little town near Rheims, France called Machault. Nowadays scholars think he was most likely born in Rheims. So the composer today could very easily be known  as “Rheims” rather than Machaut or William from Machault.

Listening to this music, coupled on one side with five works each by Machaut and Landini I realized how engrained this music has been in my life but I had somehow forgotten. I listened to this LP many times as an undergraduate and haven’t listened to it since then. I know the music so well that I could notate all the 3 part compositions on that album by memory. I hear Machaut and Landini’s influence on my own counterpoint. I had no idea: I thought the influence was from Stravinsky.

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PTchYesterday Peter Tchaikovsky’s ghost was officially given political and sexual asylum in San Francisco. Composer Roger Bourland helped negotiate the arrangement. Bourland stated that “Although Peter had long loved New York and considered settling there, it was clear to him that the Bay Area composers were the most vital on the planet and that he like the men there the best. He also said that he prefers Michael Tilson Thomas’s performances of Russian composers over anyone else.” West Hollywood had fought hard to have him settle there stressing that the large Russian and LGBT population would make him feel comfortable and at home.

Tchaikovsky almost changed his mind to settle in Amsterdam when he learned of the peculiar attempt by American protesters to boycott Stolichnaya Vodka. “Don’t they know it’s an American vodka?” Bourland reported that after calming him down and promising it would blow over as a misunderstanding, Tchaikovsky signed the San Francisco asylum document. He promised the No-Ghosts-in-SF-League that he would never haunt anyone or be a public nuisance. Having heard his promise and knowing of his fame, the League gave the SF Planetary Overseers their approval. Tchaikovsky will be hovering in the Castro Street area.

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