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Anthony Roth Costanzo Sings Berlioz – Concert – Operabase

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A Singer Brings His Authentic Self to the Philharmonic

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  • Summary: Articles about A Singer Brings His Authentic Self to the Philharmonic Anthony Roth Costanzo, a restless countertenor with a vast network … Singing more than two hours is not a great idea, because you’ll just …

  • Match the search results: Costanzo got the part, and the two have been friends ever since; Ivory was even involved with Costanzo’s undergraduate thesis project at Princeton University. There, instead of writing the typical paper, the young singer marshaled a team of prestige artists, including the dance-maker Karole Armitage…

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Concert En avant, la musique! – French Institute Alliance …

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  • Summary: Articles about Concert En avant, la musique! – French Institute Alliance … Performances by Anthony Roth Costanzo, Paul Beaubrun, Pauline Jean, … From the poetic work of Berlioz to the rhythm of Blues and Jazz, …

  • Match the search results: The evening will feature performances by Anthony Roth Costanzo and special guests including Roots/Blues artist Paul Beaubrun, Haitian-American songstress Pauline Jean, multi-cultural shape-shifting singer/composer/producer Malika Zarra, and a quartet from the New York Philharmonic. Costanzo will be …

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Anthony Roth Costanzo Named New York Philharmonic Artist …

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  • Summary: Articles about Anthony Roth Costanzo Named New York Philharmonic Artist … In the latter, Costanzo will sing Berlioz’s Les Nuit d’été song cycle and additional musicalizations of Smith’s work, this time from composer …

  • Match the search results: Anthony Roth Costanzo will be the New York Philharmonic’s artist-in-residence during the orchestra’s newly announced 2021–2022 season. His contributions will include the two-week exploration of identity, Authentic Selves: The Beauty Within, and the continuation of partnerships forged as part of the …

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Jaap van Zweden – Anthony Roth Costanzo Sings Berlioz

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In Fresh NY Phil Series, A Countertenor Brings Zest Of …

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  • Summary: Articles about In Fresh NY Phil Series, A Countertenor Brings Zest Of … NEW YORK – Anthony Roth Costanzo starred in a world premiere by … 3 and 5, will feature Costanzo singing Berlioz’s Les nuits d’été and a …

  • Match the search results: Cabaret took over the concert hall as the band struck up entrance music for the two stars, who entered amid flashing lights (designed by John Torres) to cheers and applause. Bond’s leggy, bouffant-blond glamour contrasted starkly with Costanzo’s compact, restrained appearance; both rocked rhinestone…

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Anthony Roth Costanzo Presents: Orphic Moments Day 2

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  • Summary: Articles about Anthony Roth Costanzo Presents: Orphic Moments Day 2 Anthony Roth Costanzo sings Orpheus, and Eurydice is given voice by the violin, played by Keir GoGwilt. Projections throughout will give the audience a …

  • Match the search results: Costanzo is passionate about interdisciplinary collaboration, and created a pasticcio about castrati in collaboration with choreographer Karole Armitage and filmmaker James Ivory. Documentarian Gerardo Puglia chronicled the process, and the subsequent film was selected for the Cannes Film Festival, …

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Anthony Roth Costanzo & Bryan Wagorn, countertenor & piano

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  • Summary: Articles about Anthony Roth Costanzo & Bryan Wagorn, countertenor & piano Program. CHRISTOPH WILLIBALD GLUCK (1714-1787). “Chiamo il mio ben” from Orfeo ed Euridice. HECTOR BERLIOZ (1803-1869). Les nuits d’été.

  • Match the search results: Countertenor Anthony Roth Costanzo began performing professionally at the age of 11 and has since appeared in opera, concert, recital, film, and on Broadway. He is a recipient of the 2020 Beverly Sills Award from the Metropolitan Opera, and a winner of the 2020 Opera News Aw…

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Jaap Van Zweden in New York – Feb 05, 2022 at Alice Tully …

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Review: At the Philharmonic, Enveloping and Harrowing …

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  • Summary: Articles about Review: At the Philharmonic, Enveloping and Harrowing … The countertenor Anthony Roth Costanzo sang works by Berlioz and Gregory Spears on Thursday at Alice Tully Hall, with the New York …

  • Match the search results: With the countertenor Anthony Roth Costanzo, the orchestra offered a sustained, serious reflection on love and its loss.

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Ravishing Orphic Moments with Gluck, Aucoin & Costanzo

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  • Summary: Articles about Ravishing Orphic Moments with Gluck, Aucoin & Costanzo First produced by the acclaimed countertenor, Anthony Roth Costanzo, who sings Orfeo, at Brooklyn’s National Sawdust, it moved on to the …

  • Match the search results: Kiera Duffy and Anthony Roth Costanzo in Orphic Moments, Rose Theater, Lincoln Center, 2018. Photo: Eric Baiano.

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New York Philharmonic: Jaap van Zweden | Fri Jan 28 2022

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  • Summary: Articles about New York Philharmonic: Jaap van Zweden | Fri Jan 28 2022 New York Philharmonic: Jaap van Zweden – Anthony Roth Costanzo & Justin Vivian Bond. Rose Theater at Lincoln Center, New York, NY, USA.

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Multi-read content anthony roth costanzo sings berlioz

This month, well-known oppositionist Anthony Roth Costanzo completed a busy curation/performance turn as artist-in-residence with the New York Philharmonic. After recreating his duet bar gigs with Mx. Justin Vivian Bond (a show currently available as a Decca release) performed with Phil conducted by music director Jaap van Zweden at Alice Tully Hall on February 5, concert two of two concerts according to “Authentic S yourself : The Beauty Within” section.

A spirited evening begins with Beethoven’s Leonore Overture

Berlioz songs were originally written for piano accompaniment and with four different voice types. Berlioz staged them at different times, directing performances with individual songs – or if more, with male and female soloists. Only since the avant-garde recordings of the late 20th century has the tradition of one soprano taking over all six recordings become somewhat established. Top counters including David Daniels and Philippe Jaroussky have sung them before, but not often in full during a live performance. Costanzo met the film’s challenges with remarkable artistry and musical and verbal expression, though the singing wasn’t always easily appropriate.

Within his comfort zone – including the impressive depth of his baritone range, a must on “Sur les lagunes” – Costanzo has delivered plenty of beautifully defined phrases, eye and delicate, soft dynamics. As a performer he also captures through the attitude and reflection on the changing character of the lyrics of lovers when it comes to the object of their love (female here), lost and found. His sensibility serves in particular to make the achingly beautiful film Le shadow de la rose – for many an echo of Laurie Lind’s 1991 short RSVP, one of New Queer Cinema’s most famous, seminal films about AIDS. But he also finds appeal and characterization for the ending ‘le ‘Nuits d’été’, which may not prove central to Costanzo’s extensive literature, but is worth listening to.

The ever-evolving work of New York-based Gregory Spears often explores aspects of the odd life, particularly in his wonderful operas Paul’s Case (2009, based on the story by Willa Cather) and 2016’s profoundly influenced Fellow Travelers Treatment of Thomas Mallon’s McCarthy novel “Pink Scare”. Written for the world premiere of Costanzo, Spears’ new song cycle unfolds a wonderful creative twist: his four compositional songs use different musical processes and arrangements and styles. However, the text remains the same: award winner Tracy K. Smith’s poem “A Love Story” refers to a lost love and his overwhelming present absence. (Think about it: Does a gay male composer presenting a straight woman’s verse to a gay male singer constitute “lyric bullshit”?) No break between the lines?Part and fourth section summarize the musical and instrumental gestures of the previous three. It makes the working time feel like an obsessive lover as they think back to their deceased lover with different feelings and emotions.

Clever and engaging in its own terms, the instrumental composition shifts from a post-Debussy timbre to an almost copper-fired Korngold-like tone in version three. As Spears and Costanzo have worked together in the past, the instrumental composition, word set and musical tempo reflect a clear awareness of the specific strengths and qualities of counterpoint in terms of range and loudness. One of the strengths that every first-rate Handel singer needs to hone: the ability to colorize repetitive sections of text in different ways. The pairing of “Love Story” goes well with “Nuits d’été” but will surely be rewarded if performed again, with or without Berlioz. It is worth noting that Spears and Smith wrote the opera Castor and Patience, which premieres this July at the Cincinnati Opera with an impressive cast: Talise Trevigne, Reginald Smith Jr., Jennifer Johnson Cano and Frederick Ballentine led by Kazem abdullah .

Creative gay composer Julius Eastman (1940-90).Marbeth

The Philharmoniker’s carefully planned concert ended with a strong and serious appeal to the special desires of gay men. It centers on Julius Eastman, a gay black New York composer who tragically died in 1990 after seven years without care. His last major work, Symphony No. II – A Loyal Friend: A Friend’s Love for a Beloved, evokes Eastman’s affection for the poet R. Nemo Hill, to whom he gave a handwritten score that is hardly as good as a farewell. Gift. With Eastman’s renewed interest in “Outsider” music comes an edition of this enigmatic, allegorical piece (the “Parsifal” theme comes at a time, as does the intimacy of orgasm) prepared by musicologist Luciano Chessa. Van Zweden’s troupe played their devastated sound well, with half a dozen timpani players providing good service on a variety of instruments. The mid-1980s proved to be a bleak time for the gay community; Certainly Eastman stands as one of his witnesses in this very personal piece alongside other artists such as David Wojnarowicz.

Costanzo’s marathon season is far from over. Between several international gigs and the star cast of the Boston baroque film “Händel’s rare Amadigi,”(21-4 April) with Daniela Mack and Amanda Forsythe he performed the two roles at the Metropolitan Opera. And true to his shapeshifting form, he’s helping launch a series of immersive, multidisciplinary Art Bath shows this weekend: February 26th at the Blue Building in Manhattan.

David Shengold ([email protected]) writes about operas for multiple venues.

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Hear world-class live performances while enjoying delectable dishes created to match the music — and drinks you can take to your seat. Metropolitan Opera star Anthony Roth Costanzo curates and hosts three unfettered fêtes celebrating opera in a whole new way.

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As part of “Authentic Selves: The Beauty Within” — the Philharmonic’s festival exploring the complexities of identity — 2021–22 Artist-in-Residence Anthony Roth Costanzo lives out a lifelong dream of singing the entire Berlioz song cycle “Les Nuits d’été,” February 3 and 5. Here he explains the story of one song in the cycle, “Le Spectre de la Rose,” which is from the dreamy perspective of the ghost of a rose.

In connection to the Philharmonic’s presentation of “Les Nuits d’été,” the French Institute Alliance Française in partnership with A Better Jamaica will present an event about how French language has influenced musical traditions. Anthony Roth Costanzo will host and perform, along with New York Philharmonic musicians and guests Pauline Jean, Paul Beaubrun, and Malika Zarra on January 19, 2022.

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Hear world-class live performances while enjoying delectable dishes created to match the music — and drinks you can take to your seat. Metropolitan Opera star Anthony Roth Costanzo curates and hosts three unfettered fêtes celebrating opera in a whole new way.

keywords: #NPRMusic, #NationalPublicRadio, #Live, #Performance

Sept. 21, 2018 | Tom Huizenga — Anthony Roth Costanzo is a feisty performer who knows a thing or two about busting down barriers in classical music. After all, opera singers don’t normally belt out arias behind office desks, and they don’t insist on lugging harpsichords with them. They also don’t routinely sing in Bronx middle school classrooms and get students talking about emotions. But Costanzo is fearless. (And after seeing this amazing Tiny Desk performance, watch him melt the hearts of distracted sixth-graders.)

A word about Costanzo’s voice. He is a countertenor, a man who sings in the range of a female alto. The roots of the tradition date way back to the 1500s, when young male singers, called “castrati,” were castrated in order to preserve their high, flexible voices.

“I’ve managed to do it without castration,” Costanzo joked to the audience of NPR staffers. These days, countertenors sing in falsetto, and while as recently as 30 years ago it was considered something of an androgynous novelty, now countertenors are part and parcel of the opera world. (We’ve even hosted a countertenor before at the Tiny Desk.)

Costanzo performs songs from his new album, which pairs music by George Frideric Handel with Philip Glass. Strange bedfellows perhaps, and born more than 250 years apart, but somehow Glass’ repetitive, staccato beats and Handel’s long, flowing melodies manage to shake hands across the centuries.

One obvious common thread is the arrangements, by Nicholas DeMaison, that Costanzo commissioned expressly for this performance, featuring harpsichordist Bryan Wagorn (playing a beautiful double-manual French-styled instrument built by Thomas and Barbara Wolf), along with flutist Alice Teyssier and bassoonist Rebekah Heller.

Glass’ “Liquid Days,” begins with a recitative introduction, similar to a Handel aria. But the lyrics, by David Byrne, depict love, in all its quotidian splendor, as a character who “could use a shave” and “watches TV.” “Pena tiranna,” from Handel’s undervalued Amadigi di Gaula, is a compelling example of how well the composer can spin a gorgeous melody to evoke the deepest anguish, while Glass’ “In the Arc of Your Mallet,” with a text by the 13th-century Persian poet Rumi, speaks of longing in sexy undertones.

Costanzo’s agile voice, with its polished tone and patrician phrasing, is a singular reminder that we live in a golden age of countertenors – guys who sing high in music both ancient and modern.

Set List

“Glass: Liquid Days”

“Handel: Pena tiranna (From ‘Amadigi di Gaula’)”

“Glass: In the Arc of Your Mallet (from ‘Monsters of Grace’)”

Credits

Producers: Tom Huizenga, Morgan Noelle Smith; Creative Director: Bob Boilen; Audio Engineer: Josh Rogosin; Videographers: Morgan Noelle Smith, Bronson Arcuri, Khun Minn Ohn; Production Assistants: Catherine Zhang, Téa Mottolese; Photo: Morgan Noelle Smith/NPR

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