ALERT: Today is Veterans Day. What piece of classical music should be played to mark the event? The Ear suggests the War Requiem by Benjamin Britten. Leave your choice in the COMMENT section.
By Jacob Stockinger
Today’s post features a guest review of Madison Opera’s “Romeo and Juliet” by Larry Wells. Wells has been enjoying opera since he was a youngster. He subscribed to the San Francisco Opera for nearly 20 years, where he last saw “Romeo and Juliet,” sung by Alfredo Kraus and Ruth Ann Swenson.
More recently he lived in Tokyo and attended many memorable performances there over nearly 20 years. These included Richard Strauss rarities such as “Die Ägyptische Helena” and “Die Liebe der Danae” as well as the world’s strangest Ring Cycle by Richard Wagner and a space-age production of Puccini’s “Turandot,” featuring Alessandra Marc singing “In questa reggia” while encased in an inverted cone.
By Larry Wells
Last Sunday’s matinee performance of Charles Gounod’s “Romeo and Juliet” by Madison Opera at the Overture Center was a feast for the eyes. The costumes, sets, lighting and staging were consistently arresting. (Performance photos are by James Gill.)
But we go to the opera for music and drama.
The tragedy of Romeo and Juliet is well known. Gounod’s opera substitutes the tragedy with melodrama, and therein lies one of the work’s flaws. Despite sword fights, posturings and threats as well as one of opera’s lengthiest death scenes, one leaves the theater thinking that a vast amount of theatrical resources have been squandered on something insubstantial.
However, despite its dramatic flaws, the opera’s music has somehow endured. And Sunday’s performance milked the most out of the music that could have been expected.
The star of the show was the Madison Symphony Orchestra under the expert direction of Maestro John DeMain (below). He knows how to pace a performance, how to build an exciting climax and how to highlight a solo instrument.
He is an incredibly intelligent conductor, and we are fortunate to have him in Madison. I want to make special mention of the beautiful harp playing, which, according to the program, was accomplished by Jenny DeRoche.
The second star on the stage was the Madison Opera Chorus (below). The chorus plays a significant part in many of the opera’s scenes, and the singing was stirring when it needed to be and tender when it was called for.
As for the soloists, highest praise must go to UW-Madison alumna soprano Emily Birsan (below right) for her portrayal of Juliet. Her solo arias, particularly her big number in the first act as well as her subsequent lament, were stunning.
Her Romeo, tenor John Irvin (below left), sounded a little forced during his forte moments, but he sang magnificently in his quiet farewell to Juliet after their balcony scene. (You can hear the famous balcony scene, sung by Roberto Alagna and Angela Gheorghiu in the YouTube video at the bottom.)
Their voices blended beautifully in the opera’s multiple duets. And the wedding quartet, where they were joined by Allisanne Apple’s nurse (below, rear right) and Liam Moran’s Friar Lawrence (below, middle center), was a highlight of the performance.
The opera abounds with minor characters, all of which were ably portrayed. Special mention should be made of Stephanie Lauricella (below, far right) for her fantastic moments as Romeo’s page; Madison’s Allisanne Apple for her amusing portrayal of Juliet’s nurse Gertrude; Sidney Outlaw (below, second from left) as a robust Mercutio; and Philip Skinner as a powerful Lord Capulet.
I have wondered why this opera is still performed. Its music is lovely but unmemorable, and its dramatic impact is tenuous.
I left the performance thinking that it had been a good afternoon at the theater – certainly more interesting than the Packers’ game – but wishing that one of a couple dozen more meaty operas had been performed in its place.
Since we are celebrating the 400th anniversary of the death of Shakespeare, how much more interesting would have been Benjamin Britten’s “Midsummer Night’s Dream”?
By Jacob Stockinger
This weekend, the acclaimed and predictably creative Fresco Opera Theatre will celebrate the Halloween season with the literary masterworks of horror short story writer Edgar Allan Poe (below top) accompanied by the world premiere of a score composed by local composer Clarisse Tobia (below).
The Poe Requiem is a unique theatrical experience that will be staged in the beautiful Masonic Center, located in downtown Madison at 301 Wisconsin Avenue, at 8 p.m. on this Friday and Saturday. (You can see a trailer for the Poe Requiem in the YouTube video at the bottom.)
This will be a complete environmental experience with singing, orchestra, artwork, dancers and other surprises along the way.
There will be a chorus with four vocal soloists. The chamber orchestra will include the Masonic Center organ, one of the oldest in the area. Kevin McMahon (below), music director and conductor of the Sheboygan Symphony Orchestra, is the conductor.
During the production, Raw Inspirations Dance Company (below) will be performing and will have plenty of other surprises to get audience members in the mood for Halloween.
General seating is $25; Saturday student rush tickets are $15.
The Costume Contest is on Saturday.
There is a Post-Show Historic Ghost Tour of The Masonic Temple.
TICKETS ARE ON SALE NOW at www.frescooperatheatre.com
Use the Password “Raven” to get $5 off each ticket
By Jacob Stockinger
The Ear has received the following announcement from UW Opera Props, the support organization for University Opera at the University of Wisconsin-Madison School of Music.
We invite you to attend a benefit concert showcasing the University of Wisconsin-Madison opera program’s talented students, along with special guest artist, distinguished alumna and mezzo-soprano, Lindsay Metzger (below top) who will be accompanied by pianist Daniel Fung (below bottom).
Please join us for a program of songs and arias, followed by a reception. Enjoy conversation with the singers, faculty and other musical friends, along with light refreshments including artisanal cheeses, fruit, wine, juices and chocolatier Gail Ambrosius’s delicious creations.
The concert is this Sunday, Sept. 18, at 3 p.m. followed by light refreshments and conversation. Sorry, no word about the composers or works to be sung.
The concert will take place in the Landmark Auditorium at the Frank Lloyd Wright-designed First Unitarian Society of Madison Meeting House, 900 University Bay Drive, Madison
Admission is a contribution of $25 in advance ($30 at the door), and $10 for students. All proceeds go to UW Opera student scholarships.
For more information, visit:
Lindsay Metzger (below) hails from Mundelein, Illinois. She spent two summers as an apprentice artist with Des Moines Metro Opera and was a studio artist in 2014-15 with Milwaukee’s Florentine Opera (Gannett in Donizetti’s L’elisir d’amore).
Among her other recent portrayals have been Daphne/Marc-Antoine Charpentier’s La descente d’Orphée aux enfers (Chicago’s Haymarket Opera Company), Cherubino in Mozart’s Le nozze di Figaro (La Musica Lirica in Novafeltria, Italy), Nella in Puccini’s Gianni Schicchi (DuPage Opera Theatre), the title role in Handel’s Ariodante, Béatrice in Berlioz’ Béatrice et Bénédict, and Beppe in Mascagni’s L’amico Fritz (all at the University of Wisconsin-Madison).
With Lyric Unlimited’s community-engagement program “Opera in the Neighborhoods,” Metzger was heard in the title role in Rossini’s La Cenerentola.
A soloist featured frequently in numerous Chicago-area venues, Metzger debuted with the Grant Park Symphony singing the soprano solo in Gabriel Fauré’s Requiem.
She was awarded the Paul Collins Fellowship from University of Wisconsin-Madison, the Virginia Cooper Meier Award from the Musicians’ Club of Women, and an Encouragement Award from the Metropolitan Opera National Council District Auditions.
Metzger is an alumna of the University of Wisconsin-Madison and DePaul University. Last season at Lyric she was featured in Mozart’s Le nozze di Figaro (debut) and Richard Strauss’ Der Rosenkavalier. In the 2016-17 season the mezzo-soprano will perform in Massenet’s Don Quichotte and Bizet’s Carmen.
By Jacob Stockinger
Today is the 15th anniversary of the terrorist attacks on Sept. 11, 2001.
A lot of classical music – requiems, symphonies, chamber music, solo works – could be used to commemorate the event. You can leave your own suggestions in the COMMENT section.
But The Ear wants to post something specific to the anniversary – something well known and something relatively unknown.
First the well known work:
Here is a slide show with the music “On the Transmigration of Souls,” by the American composer John Adams (below), who was commissioned by the New York Philharmonic to compose a work related to 9/11.
The composition mixes sounds from actual events with music, and it won the Pulitzer Prize.
When the Madison Symphony Orchestra performed it many seasons ago, it proved a deeply moving experience.
Here it is:
The events inspired other works too, including two by Kevin Puts (below), who was in Madison this summer for the premiere of a new song cycle and performances of his other instrumental works by the Bach Dancing and Dynamite Society.
The Ear sure wishes there was a YouTube performance of the 16-minute work “Falling Dream.”
Here is a description by the composer:
“The piece was written in the months immediately after 9/11. Its composition was initially inspired by news footage I saw in which a couple leaped from one of the burning towers (below) holding hands.
“For months I was incapable of getting the image out of my head. It was so poetic in both its horror and beauty that I almost couldn’t justify a musical reaction to it.
“However I eventually found a way to illustrate the experience in extreme slow motion by creating a counterpoint of two slowly descending melodies, heard first at the beginning of the work. Episodes fade in and out of this slow descent like memories, but the illusion I wanted to create is that the falling never really ceases.
“The last section of the piece is, by contrast, a slowly building ascent that has no programmatic relevance but whose majestic quality functions as a message of hope.”
And here is a performance of Kevin Puts’ Symphony No. 2, which The Ear first heard on Wisconsin Public Radio. It too was informed by the events of Sept. 11, 2001.
Here is what Puts, who was educated at Yale and the Eastman School of Music and who now teaches at the Peabody Institute of Music at Johns Hopkins University in Baltimore, says about it:
“In the September 24, 2001 issue of The New Yorker writer Jonathan Franzen wrote, “In the space of two hours we left behind a happy era of Game Boy economics and trophy houses and entered a world of fear and vengeance.”
“My second symphony, while by no means a memorial, makes reference to this sudden paradigmatic shift. During the first eight minutes of the work, a slow orchestral build describes the unsuspecting climate pre 9/11, a naïve world aptly described by my mother as a metaphorical island.
“After a brief passage for solo violin, an upheaval of sorts effectively obliterates this opening sentiment and initiates another gradual crescendo which makes use of the same material as the opening, cast this time in darker and more ambiguous harmonic colors.
“Once the entire orchestra reaches the climax of the work, the solo violin returns in a more extended passage than before and subdues the turbulent orchestra. This leads to a reflective epilogue in which a clock-like pulse creates a mood of expectancy and uncertainty, interlaced with hope.”
By Jacob Stockinger
The Isthmus Vocal Ensemble (below) will mark its 15th anniversary with two performances this coming weekend of the “German” Requiem by Johannes Brahms and the world premiere of a work by the contemporary American composer Andrew Rindfleisch.
These performances mark the first time the vocal group will be joined by an orchestra.
Performances are in Mills Hall on the UW-Madison campus this Friday, Aug. 5 at 7:30 p.m. and Sunday, Aug. 7 at 3 p.m.
Soloists are soprano Sarah Brailey (below top) and UW-Madison baritone Paul Rowe (below bottom).
Tickets are $20 for adults, $15 for seniors and $10 with a student ID. Children under 6 under should not attend. More information can be found at www.isthmusvocalensemble.org
The Ear asked Scott P MacPherson (below), formerly of the University of Wisconsin-Madison School of Music and now the director of choral activities at Kent State University in Ohio, to talk about the anniversary and concert. MacPherson is the founder and artistic director of the Isthmus Vocal Ensemble.
“We are excited to announce that the Isthmus Vocal Ensemble is celebrating it’s 15th Anniversary with two performances of Johannes Brahms’s Ein deutsches Requiem (A German Requiem) with soloists and professional musicians for the 45-piece orchestra.
“Additionally, IVE marks this significant milestone by presenting the world premiere of the Song of Jubilation, by Andrew Rindfliesch, the native Wisconsin composer’s first choral-orchestral piece.
“Started in 2002, the critically acclaimed Isthmus Vocal Ensemble is Madison’s “temporary” choir—it gathers some of the region’s finest singers every summer for two intensive weeks of rehearsal (below) culminating in two performances on the first weekend of August.
“IVE started up as a summer group of dedicated singers who wanted to perform great choral music together. Many charter members sang under the direction of Robert Fountain in the Concert Choir or with me and the UW Madrigal Singers or Chamber Singers when I was on the UW faculty in the 1980s and 1990s.
“The group has grown from about 35 in its first year to averaging over 60 singers each year. This summer, I have expanded the choir to 115 singers in order to meet the musical and vocal demands of the Brahms German Requiem. (You can hear one of the most popular movements, “How Lovely Is Thy Dwelling Place,” in a YouTube video at the bottom.)
“From the beginning, IVE has served the Madison choral community with excellent performances of a varied and demanding repertoire, from Renaissance and Baroque motets to part songs and motets of the 19th century to choral works either unaccompanied or with piano or organ accompaniment in the 20th century to music by living composers of our time.
“A few years ago, I suggested to the IVE board that we commemorate our 15th anniversary in 2016 by performing a completely different repertoire than our usual fare.
“The Brahms Ein deutsches Requiem immediately came to mind—there wasn’t a doubt in my mind that this would be the right piece to commemorate this milestone. A favorite for the singers and audiences alike, the music of Brahms has frequently been highlighted on IVE’s programs over the years.
“Also, IVE has never before collaborated with an orchestra for an entire concert, although in 2008 we prepared Coronation Anthem No. 2 by George Frideric Handel for Concerts on the Square with Andrew Sewell and the Wisconsin Chamber Orchestra). Performing the German Requiem, arguably Brahms’s finest work, symbolizes the “pinnacle achievement” for many choirs.
I also approached my dear friend composer Andrew Rindflebisch (below), a UW-Madison alumnus who now serves as professor of music and heads the composition program at Cleveland State University, about sharing in our celebration by writing a choral-orchestral piece especially for IVE.
I asked Andy for a brief piece to serve as an opener for the Brahms. Song of Jubilation is a fanfare, a short celebratory anthem of power and beauty. Since it specifically introduces the Brahms, Rindfleisch uses nearly the same instrumentation and even selected one of the texts from the Requiem for his new composition. We are honored and privileged to present the world premiere of this fine work.
Brahms (below) was likely inspired to write his Requiem by the death of his mother in 1865 and possibly also by losing his dear friend Robert Schumann a decade earlier.
In contrast to the Roman Catholic Requiem or Mass for the Dead, which places a great deal of emphasis on the hoped-for salvation of the deceased, Brahms chose a path unheard of in his time: he selected biblical texts in his native German language mostly with themes of consoling the living, comfort in the time of loss, hope, and even a sense of joy for the bereaved for his Requiem.
The resulting 7-movement work quickly became an enduring statement of universal consolation, a “Human” Requiem as Brahms once called it. We hope that not only our dedicated audience members over the years will come and be moved by this incredible music, but that many more new audience members will be there as well.
By Jacob Stockinger
It has been a week now.
A very long, hard and emotional week.
The Ear has heard some classical music dedicated to the victims — 49 killed, some 50 wounded and countless traumatized — of the mass shooting at Pulse, a gay night club in Orlando, Florida, that took place one week ago. (Below is a vigil in support of the LGBT community.)
Others might choose a standard like the famous “Adagio for Strings” by Samuel Barber. It is undeniably moving and perfectly appropriate.
The Ear hears tenderness, gentleness and even love in the music. But in it he also hears strength, resilience and pride as well as sorrow, acceptance and resignation.
Plus, he likes the idea of enigma that is attached to it, given all the issues and questions — terrorism, Islamic radicalization and extremism, homophobia, self-hatred, hate crimes, gun control, protests, mass grieving — that still surround the incident and remain to be solved.
But The Ear is also sure that there is a great deal of other music that would suit the purpose. They include:
The passions, oratorios and cantatas by Johann Sebastian Bach.
The masses of Haydn, Mozart, Beethoven and Schubert.
The songs of Schubert and arias and choruses from all kinds of operas, but especially those of Giacomo Puccini.
And on and on.
Leave your personal choice, with a YouTube link if possible, and your reason for choosing it in the COMMENT section.
The Ear wants to hear.
By Jacob Stockinger
He had forgotten quite how quietly and intimately sensual, even sexy, it is.
The Ear has never heard the work in a live performance because, unfortunately, it isn’t programmed often – a fate it shares with most of Fauré’s music save his Requiem. But Fauré also wrote beautiful chamber music, songs and solo piano music.
Just listen to the opening watery sounds of the piano and the luscious string sounds. Just listen to the melodies and harmonies. It is such seductive music, filled with yearning and softly stated passion.
See if you don’t agree when you listen to the first movement in the YouTube video at the bottom. (You can also find a complete performance of the work in YouTube.)
It offers more proof that Faure (1845-1924, below), who taught Maurice Ravel, is severely underestimated and underperformed in the non-French music world.
In The COMMENT section, tell The Ear if you agree and what other sexy pieces of chamber music you want others to listen to.
By Jacob Stockinger
Today is August 6, 2015 – the 70th anniversary of the United States dropping the world’s first atomic bomb on Hiroshima, Japan in the hope of ending World War II. (That took a second atomic bomb that was dropped on Nagasaki.)
Controversy still rages about whether it was the right decision to make.
The Ear has an opinion about that, but is keeping it to himself.
All he wants to do today is commemorate the historic event with music.
First, as background, here is a story from The Washington Post about what it was like to survive the bombing of Hiroshima:
I can’t think of a better piece of music to listen to this day than the sadly eloquent, heart-wrenching and poignant Adagio for Strings by Samuel Barber (below), which is at the bottom in a YouTube video and is performed by Leonard Bernstein conducting the Los Angeles Philharmonic. The moving music does not take sides, but simply expresses profound sorrow.
Perhaps you have other choices for this day. Maybe a chorale from a passion or cantata by Johann Sebastian Bach? Maybe an aria by George Frideric Handel? Perhaps a Requiem by Wolfgang Amadeus Mozart or Johannes Brahms, Giuseppe Verdi or Gabriel Faure? Maybe the Ninth Symphony “Ode to Joy” by Ludwig van Beethoven or the Symphony No. 2 “Resurrection” by Gustav Mahler? Maybe the opera “Doctor Atomic” by John Adams?
Leave your thoughts and choice in the COMMENT section.
The Ear wants to hear.
By Jacob Stockinger
Our friends at the National Summer Cello Institute have informed The Ear about the upcoming programs at the UW-Madison School of Music:
For complete information about “Your Body is Your Strad” Summer Program Events, under artistic director and UW cello professor Uri Vardi, visit www.yourbodyisyourstrad.com
Following the success of five previous seasons, the Your Body is Your Strad summer programs are open for auditors and concert-goers in 2015.
This includes events during the Feldenkrais for All Performers program (May 30-June 3) and the National Summer Cello Institute (May 30-June 12). The programs focus on the connection between body awareness and technical proficiency, artistic expression, effective teaching and injury prevention.
The workshops feature husband-and-wife musicians and Feldenkrais practitioners Uri Vardi and Hagit Vardi (below with a student), with other faculty including Paul Katz of the New England Conservatory and Tim Eddy of the Juilliard School and Mannes Conservatory.
There will also be featured presentations by specialists in Integrative Health, Authentic Performance, Mind-Eye Connection, Stage Anxiety and Improvisation.
All events will take place at the Humanities Building at 455 N. Park St. in Madison, Wisconsin unless noted otherwise.
The following presentations are open for auditors and audience members for a fee of $25:
Saturday, May 30, at 3:15 PM in Morphy Hall: “Master class: focused use of the body” presented by Artistic Director Uri Vardi (below), a performance-based class that focuses on enhancing body awareness through the Feldenkrais method
Sunday, May 31, at 4:30 PM in Morphy Hall: “Seminar with Dr. Deborah Zelinsky: ‘The mind-eye connection'” — presented by Dr. Zelinsky, a specialist of neuro-optometric rehabilitation and visual processing
Monday, June 1, at 2 PM in Morphy Hall: “Master class: focused use of the body” — the second presentation by Artistic Director Uri Vardi, a performance-based class that focuses on enhancing body awareness through the Feldenkrais method
Monday, June 1, at 4:30 PM in Mills Hall: “Seminar with Susan Sweeney: The Imaginative Voice” — presented by Susan Sweeney, Head Voice and Text Coach for the American Players Theatre with extensive coaching experience on an international scale
Tuesday, June 2, at 3:30 PM in Morphy Hall: “Presentation by Dr. Adam Rindfleisch, MD: The Art of Self Care” — presented by Dr. Adam Rindfleisch, MD in the Integrative Medicine Division of the UW Health system
Wednesday, June 3, at 3:30 PM in room 1321: “Seminar with Matt Turner on Improvisation” — presented by Matt Turner, one of the world’s leading improv cellists, who will lead participants in an improv session
Thursday, June 4, at 4 PM in Morphy Hall: “Master class with Paul Katz” — a performance-based master class for participants that will be led by Paul Katz, Professor of Cello at Boston’s New England Conservatory
Friday, June 5, at 2 PM at Capitol Lakes Retirement Center (FREE): “Outreach Concert” — a performance by the participants of the Your Body is Your Strad programs, selected on a national scale through audition
Friday, June 5, at 4:30 PM in Morphy Hall: “Master class: focused use of the body” — the third presentation by Artistic Director Uri Vardi, a performance-based class that focuses on enhancing body awareness through the Feldenkrais method (below is student Micah Cheng, on left, with Uri Vardi)
Friday, June 5, at 8 PM in Mills Hall: “Seminar with Paul Katz” — led by Paul Katz, Professor of Cello at New England Conservatory, who will cover topics of musicianship and wellness
Saturday, June 6, at 9 AM in Morphy Hall: “Master class with Paul Katz” — the second performance-based master class for participants that will be led by Paul Katz, Professor of Cello at Boston’s New England Conservatory
Sunday, June 7, at 2 PM in Morphy Hall: “Master class: focused use of the body” — the fourth presentation by Artistic Director Uri Vardi, a performance-based class that focuses on enhancing body awareness through the Feldenkrais method
Monday, June 8, at 10:15 AM in Morphy Hall: “Master class: focused use of the body” — the fifth and final presentation by Artistic Director Uri Vardi, a performance-based class that focuses on enhancing body awareness through the Feldenkrais method
Tuesday, June 9, at 4:30 PM in Morphy Hall: “Master Class with Tim Eddy” — a performance-based master class for participants that will be led by Tim Eddy (below), Professor of Cello at the Juilliard School and Mannes Conservatory
Wednesday, June 10, at 8 PM in Morphy Hall: “Master Class with Tim Eddy” — the second performance-based master class for participants that will be led by Tim Eddy, Professor of Cello at the Juilliard School and Mannes Conservatory
Thursday, June 11 at 2 PM at Fair Trade Coffee (FREE): “Outreach Concert” — a performance of cello ensembles at the Fair Trade Coffee Shop on State Street
Thursday, June 11 at 8 PM in Mills Hall: “Seminar with Tim Eddy” — led by Tim Eddy, Professor of Cello at the Juilliard School and Mannes Conservatory, who will cover topics related to musicianship and wellness
Friday, June 12 at 8 PM in Mills Hall (FREE): “Final Concert” — the culminating concert of the National Summer Cello Institute, featuring solo performances of the Institute’s talented participants and the NSCI Cello Choir led by Kyle Knox (below).
The program for the final concert is partially set: the first half will be solo performances by participants of the National Summer Cello Institute, and the after intermission will be pieces for the NSCI Cello Choir. The solos will be decided through audition next week, but the rep for the Cello Choir is decided.
The pieces to be included in the public concert (which The Ear heard and loved last year) are:
Johann Sebastian Bach/arr. Akira: Adagio from the C major Sonata for Violin
Astor Piazzolla/arr. Villarejo: “Oblivion” (see the YouTube video at the bottom)
David Popper: Requiem
Kyle Price*: Requiem (movements 4 and 5)
Klengel: Hymnus for 12 cellos
*Kyle Price is the student composer and a Collins Fellow at the UW-Madison School of Music, studying cello as a Masters student with Uri Vardi. He is also an avid composer, and runs a music festival in upstate New York called Caroga Lake. The Requiem to be performed was written in memory of his aunt, a cellist who had attended NSCI in previous summers.
By Jacob Stockinger
Today is Memorial Day 2015.
Try as I might, The Ear cannot think of better music to remember and memorialize the wounded and fallen than the “Nimrod” Variation from “Enigma” Variations by Sir Edward Elgar (below).
The holiday is much more complex and psychological than the usual funeral march permits.
It was, after all, the same music that the American documentary filmmaker Ken Burns used in “The War” — about World War II — played in a hauntingly wonderful solo piano arrangement that I simply cannot find on YouTube.
But the music’s meaning, and the way it affects you, can change in the instruments performing it.
So today I offer three ways or versions, arrangements or transcriptions.
First is the very popular YouTube video of the original orchestral version featuring Daniel Barenboim conducting in Carnegie Hall the Chicago Symphony Orchestra – with its great strings and brass — in memory of his predecessor, music director and conductor Georg Solti.
And the third version is an a cappella choral version using the Latin lyric “Lux Aeterna” (Eternal Light) from the Roman Catholic Mass for the Dead that was put together in England.
All versions are moving and attest to the emotional power of Elgar’s music.
But which version do you like best and why?
And is there other music you would play to commemorate Memorial Day?
The Ear wants to hear.