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But it's much more of a challenge in the Schoenberg and Satie - though in the case of the Satie, which goes in for the kind of schmaltzy melodic richness that only the French can do, it's just fine by me if people say 'Oh, will you just listen to that! Many of his songs were written for his wife, Joan Morris, who would almost certainly describe herself as an actress who sings.
That's an important distinction for Measha: It's catching the sly mix of the casual and the formal in these songs that is their particular challenge. Because what's so amazing about them is that they are not even really stories but rather snapshots from stories with so much of the action happening outside of the frame. And yet you know exactly what happened before the song began and what will probably happen after it finishes.
There really aren't many who can achieve that in song. Hugo Wolf is one, Poulenc another, and Stephen Sondheim, definitely. But they are few and far between. Like Irving Berlin, he and his late writing partner Arnold Weinstein could find a song for every eventuality. The cabaret songs orchestrated for Measha by Bolcom himself are peopled by characters mostly real, not imagined, but all of them larger than life itself.
Well, that's a surprise. Because nobody sleeps while Measha Brueggergosman's on. Dans le cas de Measha Brueggergosman, beaucoup de choses! C'est une distinction importante pour Measha: Bien peu de compositeurs y parviennent. Hugo Wolf en est un, Poulenc un autre, et Stephen Sondheim, certainement.
Mais ils sont rares. Car personne ne dort pendant que Measha Brueggergosman chante.
Site may not work as expected! Artists Discover Series Archiv. Liste de titres William Bolcom -. The Total Stranger in the Garden. Arnold Schoenberg - Aus dem Spiegel von Arkadien. Erik Satie - La diva de l'empire. Measha Brueggergosman, William Bolcom. Je te veux orchestrated by William Bolcom. English German French On "Surprise," her recent debut recording for Deutsche Grammophon, the Canadian soprano Measha Brueggergosman sings amusing works by Schoenberg, Satie and William Bolcom with such presence, power and humor that she almost seems to fly out of the speakers.
The in-demand Canadian soprano busts all the stuffy opera-singing diva stereotypes with her new disc, "Surprise". While her buttery voice is unquestionably well-suited for performances of "Turandot", it's equally at home performing standards like this one.
This debut album is eclectic, visceral, fun-filled, and all Measha. Her opulent, warm middle register, not to mention her sly sense of humor and razor-sharp comic timing are a joy. Hearing this disc for the first time, Brueggergosman's luscious timbre and her way with words remind one of the young Jessye Norman, who used to make these songs her own. I dare say the Canadian is a worthy successor.
The nicely produced booklet contains. The Canadian soprano Measha Brueggergosman couldn't have picked a better title for her first major label recording than "Surprise" Deutsche Grammophon. That's the name of the opening song on the disc, yet it also speaks to the many unconventional ways that Brueggergosman is pursuing an international singing career.
Brueggergosman's voice is grand in scale and lively in character.
Aids in wound [ Many of his songs were written for his wife, Joan Morris, who would almost certainly describe herself as an actress who sings. In the case of Measha Brueggergosman, plenty. The young Canadian soprano has been turning heads and confounding expectations since the turn of the new millennium. The cabaret songs orchestrated for Measha by Bolcom himself are peopled by characters mostly real, not imagined, but all of them larger than life itself.
It's an inviting and thoroughly entertaining disc. For her first release on Deutsche Grammophon, the fascinating Canadian soprano Measha Brueggergosman opts for a program of high-end cabaret songs -- a surprising and interesting choice. This repertoire underscores some of her most beguiling gifts, including an earthy charisma, a sense of theatricality and keen attention to words. The disc's real gem is at the end, with a set of Satie songs -- the best ever written in this genre -- with Bolcom at the piano and Brueggergosman working the music for every bit of tenderness and wry sentiment.
It's all fun listening, with fabulously expressive singing and first-rate accompaniment thanks to the BBC Symphony led by David Robertson. Soprano Measha Brueggergosman says she's "on fire" for classical music. Listen to the intensity she brings to her performances and it's easy to agree. She's just 30, but the British magazine Gramophone has already hailed the Canadian singer as "Jessye Norman's heir". Measha Brueggergosman has a way with words.
It's not just her marvelous diction, which makes the words hit the ear as clearly as if they were spoken. The connection with human speech is even more vital; her singing seems to spring from the same impulse as conversation. We hear not just what is being said but who is saying it. Her lush lyric soprano is clearly suited to the concert platform and opera stage, but she has the strengths of a musical-theater singer.
The nature of her gifts makes the program of her major-label recital debut especially apt. Surprise assembles cabaret songs by three "serious" composers -- material that benefits from her classical training along with her lively response to text. The big classical labels are looking to reach new listeners, and if year-old Measha Brueggergosman can't do that, no one can.
She has a big, lively smile, wild hair, and a bright, well-trained lyric soprano voice with a hint of Jessye Norman-like grandeur under the surface. She is arriving in a big way. With Brueggergosman's bright, arching, lyric sound, she brings out an unforeseen melodic beauty in Schoenberg's "Brettl-Lieder". Brueggergosman sings them with energy and flair, and you don't miss a word.
The Satie songs are the prize.
She sings these gems, generally neglected in favor of his piano works, in easy French and a cool, elegant vocal style that suits their sly wit.