Rufus Wainwright: Prima Donna (DVD)

A documentary film by George Scott.

Rufus Wainwright is a unique singer-songwriter and is one of the few pop musicians with the artistic credentials to be taken seriously in the classical world

Decca will release a comprehensive 90-minute documentary exploring Rufus Wainwright’s life-long interest in opera, the composition of his first opera, Prima Donna, and following rehearsals of the work up to the opening night on 10 July 2009 at the Manchester International Festival

The opera narrates the story of Régine Saint Laurent (Janis Kelly), once the world’s most revered operatic soprano, who is preparing for her return to the stage after six years of silence. But in doing so, Régine is forced to confront the ghosts of her past. Can she defeat the demons that destroyed her career, and emerge triumphantly once more into the spotlight?

The opera was received extremely well by press: ‘A love song to opera’ (The Times), ‘Disarmingly beautiful’ (New York Times), ‘Thrilling’ (Manchester Evening News) and ‘Breathtaking design’, found The Guardian.

The DVD is an extended version of the BBC’s Imagine… documentary, first broadcast on BBC One in the summer of 2009 and will include extensive interview footage with Rufus, his parents, sister, boyfriend, Prima Donna’s conductor and director, plus endorsements from Renée Fleming. The extra footage includes Wainwright singing the final Prima Donna aria at the piano and him singing Shakespeare’s Sonnet no.20.

Read a review in Financial Times here.

Rufus Wainwright "All Days Are Nights: Songs for Lulu" (CD)

“Eerie,” is how Rufus Wainwright describes his sixth studio album. “Essentially my mourning for my mother while she was still alive.” His mother, Canadian folk singer Kate McGarrigle, was diagnosed with cancer in 2006 and died this January, with her musical family harmonising around her.

But here Wainwright sounds very alone with his grief. The orchestral arrangements on his previous five albums had grown increasingly extravagant, and he scored his 2009 opera, Prima Donna, for 70 musicians. All that opulence has been stripped away here, to leave the 36-year-old singer with only his piano and his swooping, soaring, sighing emotions. All the stages of bereavement pour out as Wainwright moves from Martha, in which he asks his singer-songwriter sister to pick up the phone, to come back home, through the melodramatic French libretto of the Prima Donna aria “Les Feux D’Artifice T’Appellent”, to the Shakespearean sonnets he set to music for a theatrical production in Berlin last year.

The musical tone sways between the corseted discipline of 19th-century classical, the looser swinging cuts of Gershwin and Sondheim and 20th-century pop. His production really fetishises the piano’s physicality. You can almost hear the dark, reflective gloss of the ebony veneer, the smooth action of the keys and the spring steel tension in the strings. You can feel Wainwright curling in quietly then arching back, foot braced against the sustain pedal as he hits those big, bombastic crescendos.

Read the full review in the Telegraph here.

‘Pop Music’ vs. ‘Classical Music’, Part One

Written by Ronnie Rocket, Classical 2.0 (www.classical20.com)

The recent debate on the influence of classical music on indie rock and vice versa, originally initiated with this post in the excellent Flavorwire (cultural news from the übercool, digital cityguide Flavorpill) and later commented in The Guardian here, seems to have touched an interesting nerve among music buffs. It is always interesting, when artists crossover or show new, surprising sides of their talent. Sometimes, they create a whole new genre, like Rufus Wainwright in recent times with ‘popera’.

For more than 30 years I have followed the developments and firsthanded experienced some defining moments, that are examples of meetings or outright clashes between genres. Karlheinz Stockhausen live with punkrockers in the audience, Balanescu Quartet playing Kraftwerk and releasing records on the esoteric electro-label Mute Records, Elvis Costello performing live in a concert hall with the Brodsky Quartet, Glenn Branca with 100 electric guitars in an auditorium in Rome, and many more.

Inspired by the current discussions, I have put together a list of 20 important events, where the popular music genres of the day, be it jazz, pop or rock meets the established world of classical music. They have since, in their own right, changed the future of music, no less.

1. Miles Davis playing Manuel De Falla on “Sketches of Spain” (1960)

The jazz trumpeter studied at Julliard School of Music (his father let him drop out to pursue a career in jazz). Davis was frustrated about the focus on white, European composers. Later in his career, working with arranger Gil Evans, he went back to the European tradition and quoted references on the landmark ‘Sketches of Spain’ album. Read a review of the album here. He was a big fan of Karlheinz Stockhausen, an important inspiration for his late electric period.

2. The Beatles putting Stockhausen on the cover of “Sgt. Pepper…” (1967)

Everybody knows that the most famous songwriting couple in the world, Paul McCartney and John Lennon, had their differences. They even could not agree on who discovered the music of Karlheinz Stockhausen first. You can see the archived correspondance about the inclusion of Stockhausen’s face on the Beatles’ album cover here and here and  a christmas card John Lennon sent to Stockhausen here and here. Stockhausen himself hated pop music.

3. Walter/Wendy Carlos releases “Switched-On Bach” (1968)

Wendy Carlos not only introduced (and collaborated with Robert Moog) the Moog synthesizer, but did it with music written by the Godfather of classical music, Johan Sebastian Bach. Later, she worked closely with movie director Stanley Kubrick, creating futuristic sounds for the innovative cinematic experiences that would later be regarded as some of the most important movies ever made. However, several of the recordings were rejected by Kubrick. Carlos later released some of these out-takes on two CD’s (1, 2). The introduction of the synthesizer, the adaption of classical music and the soundtrack work for Kubrick were very early experiments connecting popular culture with the classical music world.

4. Stanley Kubrick introducing György Ligeti on the “2001: A Space Odyssey” soundtrack (1968)

The film introduced the avantgarde composer György Ligeti to a wide public. Ligeti’s Requiem (the Kyrie section) and Atmosphères act as recurring leitmotifs in the film’s storyline. Other music used is Ligeti’s Lux Aeterna and an electronically altered form of his Aventures, the last of which was so used without Ligeti’s permission.

5. Ornette Coleman writing “Skies of America” for orchestra (1972)

Skies of America is a third-stream composition, meaning that it encompasses parts of traditional classical music and parts of contemporary jazz. This work was meant to be a collaboration of a full orchestra, in this case the London Symphony Orchestra (conducted by David Measham) with Coleman’s quartet, but conflicts with the musicians’ union in Britain forced the quartet players from the recording. Skies of America is Coleman’s epic “harmolodic manifesto.” Read a review of the reissue here.

6. Electric Light Orchestra’s first single (1972)

“10538 Overture”, released in 1972, was the first single by Electric Light Orchestra. 15 overdubbed, cheap Chinese cellos played by the legendary Roy Woods creates a new sound, that became part glam rock, part symphonic rock.




7. Brian Eno & Obscure Records (1975)

Ex-Roxy Music glamrocker was instrumental in introducing classical music to the rock world. The 10-album series issued on the Obscure Records label introduced an unsuspecting audience to Gavin Bryars, John Adams, Michael Nyman and more. Not since the Beatles album have a single act had such an influence on exposing classical composers to a ‘rock’ audience.

8. Manfred Eicher from ECM Records releasing Steve Reich’s “Music For 18 Musicians” (1976/1978)

The Bavarian record producer Manfred Eicher had already established one of the most innovative records companies ECM Records, releasing records with Keith Jarrett and Art Ensemble of Chicago among many others. Early on, he began expanding into and focusing on so-called classical music and released several records with Steve Reich reaching a new, more mainstream audience. These releases eventually became the platform for the ECM New Series, a sub-label and a ‘market leader’ in contemporary music today.

9. The soundtrack for Stanley Kubrick’s “The Shining” (1980)

György Ligeti (again) and Krzysztof Penderecki‘s music introduced to a massive audience in a soundtrack to a popular horror movie earning almost 100 million dollars was a major breakthrough for contemporary classical music into pop culture and the hard-to-find soundtrack is still a favourite in the indie crowd today.


10. Glenn Branca writing symphonies for electric guitars, like “Symphony No. 1”, and releasing them on underground cassette tape labels! (1981)

Music from the pioneering no-wave artist, Mr. Glenn Branca – here making a modern classical masterpiece with four guitar parts, including axe-man Lee Ranaldo from Sonic Youth:

Here is a clip from the Rome performance of “Hallucination City: A Symphony for 100 electric guitars”:

Part Two of this article will be posted here next week – stay tuned for 10 more groundbreaking moments in the grey area of popular and classical music!


On a personal note, I would like to add that I am promoting a chamber music concert in Copenhagen next week, where the programme goes from baroque, impressionism and modern to contemporary 20th century and completely new music including a version of Kraftwerk’s “Die Roboter” arranged for treated piano and amplified cello thrown in for good measure. The music is performed by Eriko Makimura & Co. More information about this special event here
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