J.S. Bach: St. John Passion
Leading up to Easter, redemption rises from despair in Bach’s towering choral masterpiece retelling the Crucifixion.
Set to a libretto by Roxie Perkins and developed by Beth Morrison Projects, the work has been recognized with both the Music Critics Association of North America’s “Best New Opera Award” and the 2019 Pulitzer Prize in Music. As at its LA Opera and PROTOTYPE Festival premieres last year, the Kennedy Center’s production is by “gifted young American director” James Darrah (Chicago Tribune) with musical direction by Grammy®-nominated conductor Julian Wachner, choreography by No One Art House co-founder Chris Emile, and performances from sopranos Anna Schubert and Rebecca Jo Loeb, who reprise the starring roles they created and “perfectly carried off” (Boston Globe) in Los Angeles and New York, with support from the Grammy®-nominated Choir of Trinity Wall Street and the contemporary music specialists of Trinity Church Wall Street’s NOVUS NY orchestra.
Set to a libretto by Roxie Perkins and developed by Beth Morrison Projects, the work has been recognized with both the Music Critics Association of North America’s “Best New Opera Award” and the 2019 Pulitzer Prize in Music. As at its LA Opera and PROTOTYPE Festival premieres last year, the Kennedy Center’s production is by “gifted young American director” James Darrah (Chicago Tribune) with musical direction by Grammy®-nominated conductor Julian Wachner, choreography by No One Art House co-founder Chris Emile, and performances from sopranos Anna Schubert and Rebecca Jo Loeb, who reprise the starring roles they created and “perfectly carried off” (Boston Globe) in Los Angeles and New York, with support from the Grammy®-nominated Choir of Trinity Wall Street and the contemporary music specialists of Trinity Church Wall Street’s NOVUS NY orchestra.
Vanitas, still life in one act (1981) for mezzo voice, cello, and piano. Taking its name from the Northern European art form of the 16th and 17th centuries, Sciarrino set the music to a variety of poetic texts suggesting common ideas within the painting style, namely impermanence. Although the composition took its influence from art that conjures the passing of time and the inevitability of death, the ensemble’s performance poignantly illustrated its own human perspective; that is, the steadfast refusal to acknowledge such things.
Vanitas, still life in one act (1981) for mezzo voice, cello, and piano. Taking its name from the Northern European art form of the 16th and 17th centuries, Sciarrino set the music to a variety of poetic texts suggesting common ideas within the painting style, namely impermanence. Although the composition took its influence from art that conjures the passing of time and the inevitability of death, the ensemble’s performance poignantly illustrated its own human perspective; that is, the steadfast refusal to acknowledge such things.
Vanitas, still life in one act (1981) for mezzo voice, cello, and piano. Taking its name from the Northern European art form of the 16th and 17th centuries, Sciarrino set the music to a variety of poetic texts suggesting common ideas within the painting style, namely impermanence. Although the composition took its influence from art that conjures the passing of time and the inevitability of death, the ensemble’s performance poignantly illustrated its own human perspective; that is, the steadfast refusal to acknowledge such things.
Vanitas, still life in one act (1981) for mezzo voice, cello, and piano. Taking its name from the Northern European art form of the 16th and 17th centuries, Sciarrino set the music to a variety of poetic texts suggesting common ideas within the painting style, namely impermanence. Although the composition took its influence from art that conjures the passing of time and the inevitability of death, the ensemble’s performance poignantly illustrated its own human perspective; that is, the steadfast refusal to acknowledge such things.
Vanitas, still life in one act (1981) for mezzo voice, cello, and piano. Taking its name from the Northern European art form of the 16th and 17th centuries, Sciarrino set the music to a variety of poetic texts suggesting common ideas within the painting style, namely impermanence. Although the composition took its influence from art that conjures the passing of time and the inevitability of death, the ensemble’s performance poignantly illustrated its own human perspective; that is, the steadfast refusal to acknowledge such things.
