 | Fantastic prices with ease & comfort of Amazon.com! (In-Stock) Michael Rabinowitz bassoon, Lisa Bielawa vocals, Sara Parkins violin, Nioka Workman celli, Joe Fonda bass, Michael Attias sax (alto), Gregor Kitzis violin and Concert Master, Martha Mooke viola, Patti Monson flute and piccolo, Tom Varner french horn, Peter Stewart vocals, Marshall Sealy french horn, Gino Robair percussion, Catherine Bent celli, Cory Wright clarinet, Perry Robinson clarinet, David Bindman sax (tenor), Chris Matthay trumpet, Steve Swell trombone, Chris Speed clarinet, Gwen Laster violin, Gregory Purnhagen vocals, Aaron Stewart sax (baritone), Amy Platt clarinet (Bass), Reggie Nicholson percussion, Brandon Evans clarinet (bass), Heather Paauwe violin, Ralph Farris violin, "So why is this so important? How can a guy like Braxton, who writes constantly, get a high mark on his first opera outing? Simple -- with the exception of Anthony Davis, who wrote +Malcolm X, no one from the jazz side of the fence has attempted such a complete attempt to embrace the world of Western classical music so thoroughly. (Yes, forget Blood on the Fields, it's a jazz oratorio according to its composer.) And it deems that Braxton is the only one who can be counted -- if this opera, the first of 36 by the year 2020 if the composer lives that long and lives up to his word (is there any doubt?), is any example -- to have his work be worthy of comparison to the works of Webern, Berg, and Schoenberg, not to mention Morton Feldman and John Cage. And after all, like all of Braxton's music, this opera, +Shala Fears for the Poor, is about language and how it mediates and transcends images. Braxton is trying to transcend the language of the opera while using it for his own purposes. If this is where the future of opera is headed, if this is where it's language will ultimately be decided, then someone please give me a grammar book -- I'm in!" - Thom Jurek, AMG | | SEE IT |
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