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Happy Friday! I’m filling in for Zachary Woolfe, who’s away in Milan for the premiere of “Fin de Partie,” Gyorgy Kurtag’s long-awaited operatic adaptation of Samuel Beckett’s “Endgame.” This opera — which Zachary stated is a “patiently, completely tailor-made work” that unfolds with the arrogance of Mr. Kurtag’s finest music — was 10 years within the making and acts as one thing of the 92-year-old composer’s farewell to a life, a wedding, a whole tradition:
Mr. Kurtag is among the final who stay of the technology of avant-garde composers that got here of age throughout World War II and in its wake: Boulez, Ligeti, Henze, Stockhausen, Schnittke. Even if the good last scene equivocates — modernism is at all times on the verge of leaving, it appears to say, but it is usually at all times right here to remain — the opera, drawn from a play that Mr. Kurtag noticed in Paris as a younger man, is really goodbye to all that.
Read the remainder of Zachary’s magisterial overview, then try our latest profile of Mr. Kurtag.
With one opening previous, it’s time to look ahead to others:
Kaija Saariaho’s “Only the Sound Remains,” directed by Peter Sellars, is coming to Lincoln Center this weekend. Ryan Ebright spoke with them about this Japanese Noh theater-inspired opera.
In California, a marathon of Fluxus music is on faucet on the Los Angeles Philharmonic on Saturday. I wrote concerning the orchestra’s Fluxus Festival throughout my go to there final week.
On Tuesday, the Mannes Orchestra will give the premiere of a brand new version of Julius Eastman’s long-lost Second Symphony. Seth Colter Walls interviewed the rating's editor, who will conduct the live performance.
And the Metropolitan Opera revives Puccini’s “Il Trittico” on Friday. Michael Cooper investigated the composer’s journeys to New York City within the early 1900s.
Finally, excellent news: Florence Price, the feminine African-American composer whose music languished in obscurity after her dying in 1953, lastly has a writer. So you’ll be able to anticipate her resurgence to achieve momentum as G. Schirmer promotes her music. Here is her Second Violin Concerto. Happy listening! JOSHUA BARONE
In maintaining with the theme of spirituality that defines the White Light Festival, the 24-voice Latvian Radio Choir on Tuesday introduced a program titled “The Distant Light,” largely dedicated to mystically non secular works by up to date Baltic composers. This acclaimed ensemble can be a form of choral laboratory that invitations composers to discover uncommon vocal results, together with whistling, ethereal overtones and, a particular of those singers, the dramatic use of lengthy, sustained tones, typically in extremes of excessive and low. The basses have been particularly spectacular on Tuesday as they extended eerily regular low bass notes, over which different voices would float and mingle.
Here, from a latest recording, is the choir singing one of many works they carried out this evening: Valentin Silvestrov’s “The Lord’s Prayer” (from his 1995 “Diptych”). Listen to these basses! And right here’s a compelling video of the choir performing Arvo Part’s “Salve Regina” with Sinfonietta Riga in 2011 at Riga Cathedral. ANTHONY TOMMASINI
I’ve had countertenors on the mind currently, and never simply because we’re approaching season for that almost all angelic of Christmas fachs. The voice kind, which skilled a form of renaissance within the 1990s, seems to be making one other comeback proper now, with new opera roles and appearing alternatives cropping up on the Metropolitan Opera and on Broadway. Yet whereas the earlier technology tended to drift on an ethereal cloud of early-music primness, this new technology feels a bit extra hip. Iestyn Davies is placing his high-flying stamp on a swathe of latest operas, most not too long ago Nico Muhly’s “Marnie.” John Holiday is equally at residence in Handel’s “Ombra mai fu” and “Fly Me to the Moon.”
And then there’s younger Jakub Jozef Orlinski, the good-looking Juilliard graduate who received large on the Met’s National Council Auditions in 2016. He is in advert campaigns for Levi’s and Nike, and — mic drop — additionally breakdances. Last month, Mr. Orlinski launched his Warner/Erato debut album, “Anima Sacra,” a set of sacred arias that includes interval orchestra Pomo d’Oro. It’s a beneficiant serving to of 23 songs, together with works by some Baroque regulars in addition to individuals I didn’t know fairly as effectively, just like the 18th-century Domènec Terradellas, whose dignified “Donec ponam” is sung with beautiful, twisting, legato line. New York admirers can have the prospect to catch the B-boy in motion in January, when he makes his Carnegie Hall solo live performance debut alongside members of New York Baroque Incorporated. JOEL ROZEN
Despite the snow and sleet on Thursday, most the seats at Alice Tully Hall have been full for the sold-out live performance by conductor William Christie and his excellent Les Arts Florissants refrain and orchestra, performing Haydn’s wonderful oratorio “The Creation.” True to his popularity, Mr. Christie led an brisk, richly characterised but detailed and purposeful efficiency of this difficult masterpiece. He has had an inconsistent document of tapping top-notch singers for his initiatives. But for this efficiency he has three wonderful solo artists. The famous French soprano Sandrine Piau was at her luminous finest. The two, less-known younger male soloists sang impressively and appeared to win many new followers on Thursday. The English tenor Hugo Hymas introduced poignant vocal colours and melting tenderness to his efficiency. Those qualities come by means of on this recording (with the English Baroque Soloists) of an aria from Bach’s “St. Matthew Passion.” And the California-born bass Alex Rosen sang with sturdy, deep sound, crisp German diction and instinctive authority. Here he’s sounding comparably in command singing one in all Schubert’s most intense songs, “Prometheus,” a pair years in the past at WQXR. ANTHONY TOMMASINI