Robert Breault News
American opera singer
- tenor
- United States of America
- opera singer, music teacher
Last update
2024-04-23
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2021-06-12 04:56:00
Classical Music News of the Week, June 12, 2021
[…] Yoo's PBS series “Now Hear This.” The screening will take place Sunday, July 25th at 7:30pm at the Fremont Theater and includes a Q&A with Mr. Yoo and the show's creator/director/producer Harry Lynch.For details, visit https://www.festivalmozaic.org/packagelisting.php--Festival MozaicConcert Dialogues: from one flute to anotherThe Société de musique contemporaine du Québec (SMCQ) concludes its hybrid season (in theatres and on the web) on June 17, with the Dialogues concert at the Cocathédrale Saint-Antoine-de-Padoue in Longueuil.Initiated by Marie-Hélène Breault around works by composer Katia Makdissi-Warren, the program will explore the flute repertoire with works highlighted by serenity. Presented in a magnificent church in Longueuil, the pieces will illustrate the spellbinding power of this instrument, one of the oldest and most played world-wide. Works for harp and voice complete this invitation to contemplation.Navigating between the written and the improvised, Dialogues leads listeners into a complex and mysterious sound universe, where the modern flute is […]
2021-05-26 07:11:13
Introducing the music of Katia Makdissi-Warren
[…] the modern flute is imbued with the colours of the nay (a reed flute played in Arab, Turkish and Persian music), bringing together a dozen musicians in a skilful blend of western and eastern influences ' The music will include six works by Makdissi-Warren, Dialogue du silence (2003), Jetstream (2007), Ô Virtus (2018), Chants du prophète (2012, 21), La dame du Nil (2011), and the premiere of Dialogue de l'écho (2003, 2021) performed by Marie-Hélène Breault, artistic director, arrangements, flutes ; Guy Pelletier, flutes; Geneviève Déraspe, flutes; Jeffrey Stonehouse, flutes ; Ghislaine Deschambault, mezzo-soprano; Vincent Ranallo, baritone; Catherine Meunier, percussions ; Pamela Reimer, piano ; Antoine Malette-Chénier, harp. The concert's artistic director Marie-Hélène Breault has been working with the composer for 15 years, and describes Makdissi-Warren's music has having a dialogue between cultures, so that several pieces on the programme are inspired by taqasim, a form of improvisation found in […]
2021-05-22 04:56:00
Classical Music News of the Week, May 22, 2021
[…] MusicIn connection with his best-selling Audible Original, “Unquiet: My Life with Beethoven,” pianist Jonathan Biss is the featured guest on the newest episode of Arianna Huffington’s Audible podcast called “What I’ve Learned,” now available.Listen here: https://www.audible.com/pd/What-Ive-Learned-with-Arianna-Huffington-Podcast/B08JJMYVWP--Shuman AssociatesConcert Dialogues: From One Flute to AnotherThe Société de musique contemporaine du Québec (SMCQ) concludes its hybrid season (in theatres and on the web) on June 17, with the Dialogues concert at the Cocathédrale Saint-Antoine-de-Padoue in Longueuil.Initiated by Marie-Hélène Breault around works by composer Katia Makdissi-Warren, the program will explore the flute repertoire with works highlighted by serenity. Presented in a magnificent church in Longueuil, the pieces will illustrate the spellbinding power of this instrument, one of the oldest and most played world-wide. Works for harp and voice complete this invitation to contemplation.Navigating between the written and the improvised, Dialogues leads listeners into a complex and mysterious sound universe, where the modern flute is […]
The Boston Musical Intelligencer
2015-07-04 02:58:04
Baroque Orchestra Conquers Tanglewood
[…] the audience something that many no doubt knew but was worth calling to the attention of those who didn’t, that in the first movement the harpsichord gradually moves from being a continuo accompaniment to joining with the other soloists, and finally taking off in a dramatic cadenza of astonishing virtuosity, metaphorically leaving the rest of the ensemble standing with their mouths open. For this most dramatic of the Brandenburg concertos, the soloists were again Olivier Breault as violin and Kathie Stewart flute as well as Jeanette Sorrell on harpsichord. The cadenza was indeed hair-raising and brilliantly played to such a point that the audience gave a rousing ovation at the end of the first movement. Later on someone commented, “I’d be surprised if she could’ve played that standing up.” Two pieces closed formal program, both based on a chaconne pattern, that is to say, a repeated bass line over which […]
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