Fiona - Mezzoforte - Rising (CD, Album)

While the rest of the band decided to stay in the UK, Kristinn went back to Iceland in the summer ofhaving spent one year on the road while his family was living in London.

So now Mezzoforte was a four piece band. They had recorded five albums, made the charts in most European countries and played at more concerts and TV shows than anyone can remember. With their families back home in Iceland, the band was still living in England between tours. During the late summer and fallthe band recorded Rising in three different studios. This is the only album Mezzoforte made as a quartet, relying on just two other musicians to complete the musical picture on a couple of songs.

The band was also taking more responsibility for producing the songs with Geoff Fiona - Mezzoforte - Rising (CD behind the mixing console. For concerts the four Icelanders added musicians of several other nationalities performing as six or even seven-piece band during late and During that period they took a step into another musical direction adding lead vocals to the lineup.

On this album made intwo long time touring partners took part in the recordings. On this album Mezzoforte changes their musical course, recording three tracks with lead singer Noel McCalla. This album was produced by Nigel Wright who also wrote lyrics to a couple of songs.

Mezzoforte started working on building their own recording studio in Iceland and this was the last time they went to England to make an album. A recording deal with BMG Ariola had secured the release of Mezzoforte albums in the USA and early the band started to make an album aimed at this new market. Enjoying the luxury of having their own studio available at all times the band spent endless time in the studio. A lot of time went into programming synthesizers and sequencers and in fact the band did not play much together or rehearse the songs before going into the studio.

The only song on the album that the band recorded as a group is In a Word and that took only few hours to complete. For additional producers they looked in two opposite directions. They were members of the group Lava a well known group in Norway, frequently backing Randy Crawford on her tours outside the US.

The other producer Eric Phersing came from the United States. Most of the recordings were done in Iceland but when it came to putting the finishing touches to the album the band went to Los Angeles where Ernie Watts and Steve Tavaglione added some saxophone lines to the songs.

The Seawind horns played on three songs and Efrain Toro added some percussion. After two years of more or less continous work the album was finally released in It did not do as well as expected in the US market and the reaction in other parts of the world were disappointing for the band as well. Both these acts toured around Scandinavia in under various names. The band had begun writing for a new album in early when they received an invitation to go to SE Asia to play at two jazz festivals in Indonesia and Malaysia in September Coming straight off the tour, the band went to Puk Studios in Denmark to record a new album, before returning home to Iceland.

Commissioned by the London Symphony Orchestra who perform an orchestral version next month and NOW, it sets five poems by Charles Hamilton Sorley, a Scottish poet shot and killed inaged 20, at the battle of Loos. Two conductors were required: MacMillan and Eamonn Dougan, associate conductor of the Sixteen guest artists at the Tryst. Yet the music rose up in spatial grandeur, now ethereal and floating, now raucous and martial.

A mix of old and young, they make a magnificent sound. Who brings us home again? After the massive, ferocious, tam-tam-heavy chords of the finale died away, the audience was on its feet applauding.

What did she think? Our parents would have been so proud. Fiona Maddocks, The Guardian, 13 October Ken Walton, The Scotsman, 8 October He has explored the work diligently and…his obsession with the work is reflected in the strength of this new reading… Bostridge shows unsurpassed attention to the textual nuances and sings with pristine articulation and vocal agility. From the vocal angle, this is a Winterreise of precise rhythm and diction, but also of personality and tonal subtlety.

Jonathon Blumhofer, Arts Fuse, 18 August Robert Cummings, Music Web International. If any audience is present here, they leave no audible sign. Lower notes suddenly plunge us into pits of darkness; top notes may occasionally have ragged edges; some fortissimos are decidedly ungainly.

Part of me Fiona - Mezzoforte - Rising (CD the end felt absolutely miserable. For the rest, exhilaration; superb artistry brings its own joys. Geoff Brown, The Times, 30 August Certainly, I remember, as a student, attending his first solo recital at Wigmore Hall in Februaryand I have enjoyed countless lieder recitals by the tenor in the subsequent 23 years. This performance of Winterreise was a remarkable symbiosis of the familiar and the revelatory.

Perhaps the expressive diversities and differences between those two performances, just six months apart, should have prepared me for the invention and spontaneity of this recital at Wigmore Hall.

It was an enactment of human desolation which was strange, terrifying and captivating in equal measure, and which held me spellbound. There was a terrible, unhinged quality to the anger. At the close of the song, Bostridge turned his back on the audience, gazing into the belly of the piano, lost in terrifying absurdity and unease. The proverbial hopelessness of trying to argue with a madman was palpable. The silence — both relief and horror — which engulfed the traveller was absolute.

Claire Seymour, Opera Today, 18 September Or so you might think. Bostridge unashamedly went for the jugular. For those who hang on the seemingly age-proof depth and clarity at the centre of his voice, Album) distortions and deliberate ugliness would have come as a shock, although there was no sparing the vocal beauty when it mattered. Moreover, anyone hoping to be on the receiving end of an arc of clearly plotted emotional disintegration might have been caught short by the explicit and unpredictable vagaries and misery of his account.

Whether they were grateful is another matter. If one song went to the heart of pathos, then the next would be like an encounter with a dodgy ancient mariner. Bostridge was brutal, intimate, tender and confiding, and any mannerisms justified by the unsparing honesty of this chilliest of Winterreisen. Peter Reed, Classical Source, 17 September There are many different Fiona - Mezzoforte - Rising (CD than you are used to. Even those who hear Bostridge and his Schubert interpretations again and again, are usually surprised by other creative accents, dynamic variants, expressive refinements.

But his approach always shows deep Schubert love and great reverence for his work, but also from intellectual penetration to the last phrase — always quite Bostridge and all Schubert. The fact that the voice has become darker and fuller Fiona - Mezzoforte - Rising (CD the years does only well for his presentation.

With all his strength and charisma both musically and spiritually he immersed himself in the fateful journey, often meticulously but not always in the details, effectively tastful crescendi, as confident in piano as in conjuring large, dramatic bows.

And, of course, both of them know after so long a time, where the expressed and the more imaginary, creative as well as musical intentions of the other lie. Drake was a particularly flexible partner to hear — gripping, with a sense for multi-layered timbres, but also soft and driving forward accents. It fit together, as you could not have imagined otherwise. In the conversation afterwards Ian Bostridge and Julius Drake were very impressed by the audience and their reactions.

At the Musikverein Festival he sang songs by Hugo Wolf. At the same time, he brings them to light with theatrical passion. In the encores he sang the same texts in settings of Schubert, Brahms, Schumann. Kronen Zeitung, 7 June Schubert song changed my life. Schubert kept me interested in singing; he turned a shy academic child into a teenager and then an adult who wanted to perform on stage and ended up working in the theatre.

None of the greatest of the great Lieder composers Schubert, Schumann, Brahms, Wolf were successful opera composers.

Alfonso und Estrella and Fierrabras are revived from time to time, but they have never been enthusiastically received into the repertoire, despite being full of wonderful tunes. Schubert is a song composer of undoubted dramatic power. The form of the Lied can be deeply interior, which may be what draws shy teenagers towards it.

However, once hooked, there is plenty of grand gesture to be found. My experience of singing Schubert has been a process of discovering the imaginative theatre which lies at the core of his song-world. Growing up as a singer is partly a process of realising that drama and theatricality do not necessarily pull in a different direction from the authenticity of expression which the Lied demands.

These four concerts at the Wigmore were repeats of programmes I had compiled over the past twenty years, and performed all over the place with Julius.

They were part of a process of learning how to build a programme; and one reason for re-recording new versions of songs was to show the songs in the setting of a programme.

For me, a programme is a dramatic and emotional arc, mediated by words and music. Never a literal narrative, and with connections between the songs that are metaphorical and poetic on the one hand, and yet equally musico-dramatic. Not a matter of tight thematic connections or harmonic structures, but of juxtaposition, of alternations of melting transition and rude shock. And so, in these four discs you have a record of a twenty-year journey with Schubert. As live recordings they have a certain rawness, very different from the perfectionism which one tries to realise in the studio.

These recordings are more like audio snapshots of how it felt on one night, with one particular audience and with all the business of the drama of the Lied present through the sound but at the same time absent these are only sound recordings.

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