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Flutist Marina Piccinini’s Chicago residency includes 3 World Premieres, highlighted by a concerto Christopher Theofanidis wrote for her, with the Grant Park Orchestra and conductor Carlos Kalmar, along with works by Harbison, Monnakgotla and Kernis.
Fanfare magazine reviewed Pierre Jalbert’s latest Album String Theory and hailed it as “thrilling, enjoyable music. The works for string orchestra are some of the best ones here—string ensembles, keep these in mind for programming!”
Opera News on A Standing Witness; “the provocative new song cycle for mezzo-soprano and chamber ensemble, with music by Richard Danielpour and poems by Rita Dove. Written for the luminous Susan Graham, who gave the Washington premiere at the Kennedy Center and the excellent group Music from Copland House…songs America…needs to hear.”
“Slatkin deserves kudos for bringing it back in its uncut length for its first performance in decades. Equal praise is owed to the soprano Hila Plitmann for pulling off a work that has her onstage, alternately speaking, singing at stratospheric heights and screaming into a bullhorn for more than an hour. She has a wonderful speaking voice, sings like an angel (Del Tredici’s arias are like hyper bel canto; his main theme echoes an ornament from “Caro ome” in Verdi’s “Rigoletto”) and squeals like a guinea pig when the text compels her to do so.”
“Plitmann is soft and seductive as she tells of music’s power to “unravel the clouds… moments later, she snaps into a maniacal presence, leaping up to a high B…the soprano relishes Benjamin’s colorful word-painting.”
“Hila Plitmann makes a secure, soaring protagonist,” according to Music Web International, she “makes a tremendous job of what is clearly a hugely demanding solo part.”
