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The World So Wide

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    Dawn Upshaw has emerged as one of the foremost interpreters of contemporary opera. Through her acclaimed performances in the world’s finest opera houses, she has become identified with the signature operas of our time, including those of Stravinsky, Poulenc, and Messiaen. Upshaw’s affinity for 20th-century repertoire is showcased in The World So Wide, a diverse collection of American opera arias that includes works by John Adams, Samuel Barber, Leonard Bernstein, Aaron Copland, and Kurt Weill, among others. Her imagination and range are highlighted in this new set—from the humor of Bernstein’s “What a Movie!” to the yearning romanticism of Copland’s “Laurie’s Song,” to the modern idiom of Tania León’s “Oh Yemanja.”

    A favored partner of many of today’s leading musicians and stage directors including Richard Goode, Robert Wilson, Kronos Quartet, James Levine, and Peter Sellars, she is known not only as an interpreter of eclectic and modern works, as in Górecki's Symphony No. 3—a seminal modern work that is the biggest-selling record ever by a living composer—but as a primary proponent and seeker of those works. Her Grammy-winning disc, The Girl with Orange Lips, furthered her identification as an artist of this nature.

    Upshaw’s talent for interpreting American song has been recognized through her Grammy Award–winning collection Knoxville: Summer of 1915, the Gramophone Award winning I Wish It So, and the top-selling Rodgers & Hart and Leonard Bernstein’s New York, the latter of which received the Deutsche Schallplattenpreis for 1996.

    Having culled such an eclectic catalog, Dawn Upshaw now has an expansive audience which is captive to her unique talents, rather than to a specific genre. The Sunday Telegraph (UK) said about Upshaw, “It is some singer who can cast equal spells in Handel’s Theodora and Rodgers & Hart. She brings integral artistry to everything she undertakes.” The World So Wide offers Upshaw performing works of some of the 20th century’s most respected composers, and serves to showcase her in a role for which she is perfectly suited.

    Credits

    MUSICIANS
    Dawn Upshaw, soprano
    The Orchestra of St. Luke’s
    David Zinman, conductor
    Violin: Krista Bennion Feeney, concertmaster; Mitsuru Tsubota, Robin Bushman, Ellen Payne, Marilyn Reynolds, Robert Shaw, Susan Shumway, Mineko Yajima, Martin Agee, Serena Canin, Christoph Franzgrote, Aloysia Friedmann, Hanne-Berit Hahnemann, Naomi Katz, Elizabeth Lim, Rebecca Muir, Leonid Yanovsky
    Viola: Louise Shulman, Maureen Gallagher, Ronald Carbone, Stephanie Fricker, Katherine Murdock, Ann Roggen 
    Cello: Myron Lutzke; Daire Fitzgerald, solo (4); Rosalyn Clarke, Karl Bennion, Loretta O’Sullivan, Lutz Rath
    Bass: John Feeney, Lewis Paer, Melanie Punter, John Carbone
    Flute: Elizabeth Mann, Sheryl Henze, Timothy Malosh
    Oboe: Stephen Taylor, Melanie Feld, David Kossoff
    Clarinet: William Blount, Gerhardt Koch—B-flat and bass clarinet, Monte Morgenstern
    Saxophone: Lawrence Feldman, soprano; Ted Nash, alto; Chuck Wilson, alto
    Bassoon: Marc Goldberg, Kim Laskowski
    Contrabassoon: Gil DeJean
    Horn: Joseph Anderer, Stewart Rose, Chris Komer, Leise Paer, Russell Rizner, David Wakefield
    Trumpet: Chris Gekker, Carl Albach, Susan Radcliff
    Trombone: Michael Powell, Kenneth Finn, Thomas Hutchinson, John Rojak
    Tuba: Kyle Turner
    Timpani: Maya Gunji
    Percussion: Barry Centanni, Norman Freeman, John Kennedy, Raymond Marchica
    Harp: Sara Cutler
    Piano/Keyboards: Margaret Kampmeier, piano, celeste, piano solo (4); Elizabeth DiFelice, piano; Mark Soskin, Yamaha IIX-1 Electone
    Back-up Vocals: Georgia Osborne, soprano (3); James Bassi, tenor (3); Joseph Neal, baritone (3)

    PRODUCTION CREDITS
    Produced by Philip Waldway
    Recorded December 1995 at Hit Factory, New York City
    Engineered by John Newton
    Assistant Engineers: Andy Grassi, Carl Nappa, Paul Falcone
    Edited by Jeff Baust
    Mixed by Bill Winn
    Mastered by John Newton
    All post-production work done at Sound/mirror, Boston, MA

    Design: Barbara deWilde
    Photography by Joel Meyerowitz

    Executive Producer: Robert Hurwitz

on May 29, 2008 - 7:14pm
Release Date: 
Friday, May 22, 1998 (All day)
Cover Art: 
Nonesuch Selection Number: 

79245

Number of Discs in Set: 
1disc
115
303
Friday, May 1, 1998 (All day)
0
0
Artist Name: 
Dawn Upshaw
Album Status: 
UPC/Price: 
UPC: 
075597945829BUN
Price: 
0.00
Label: 
CD+MP3
UPC: 
603497076369
Price: 
8.00
Label: 
MP3
Description: 

Dawn Upshaw has emerged as one of the foremost interpreters of contemporary opera. Through her acclaimed performances in the world’s finest opera houses, she has become identified with the signature operas of our time, including those of Stravinsky, Poulenc, and Messiaen. Upshaw’s affinity for 20th-century repertoire is showcased in The World So Wide, a diverse collection of American opera arias that includes works by John Adams, Samuel Barber, Leonard Bernstein, Aaron Copland, and Kurt Weill, among others. Her imagination and range are highlighted in this new set—from the humor of Bernstein’s “What a Movie!” to the yearning romanticism of Copland’s “Laurie’s Song,” to the modern idiom of Tania León’s “Oh Yemanja.”

A favored partner of many of today’s leading musicians and stage directors including Richard Goode, Robert Wilson, Kronos Quartet, James Levine, and Peter Sellars, she is known not only as an interpreter of eclectic and modern works, as in Górecki's Symphony No. 3—a seminal modern work that is the biggest-selling record ever by a living composer—but as a primary proponent and seeker of those works. Her Grammy-winning disc, The Girl with Orange Lips, furthered her identification as an artist of this nature.

Upshaw’s talent for interpreting American song has been recognized through her Grammy Award–winning collection Knoxville: Summer of 1915, the Gramophone Award winning I Wish It So, and the top-selling Rodgers & Hart and Leonard Bernstein’s New York, the latter of which received the Deutsche Schallplattenpreis for 1996.

Having culled such an eclectic catalog, Dawn Upshaw now has an expansive audience which is captive to her unique talents, rather than to a specific genre. The Sunday Telegraph (UK) said about Upshaw, “It is some singer who can cast equal spells in Handel’s Theodora and Rodgers & Hart. She brings integral artistry to everything she undertakes.” The World So Wide offers Upshaw performing works of some of the 20th century’s most respected composers, and serves to showcase her in a role for which she is perfectly suited.

DescriptionExcerpt: 

Upshaw presents a program of 20th-century American operatic arias as impressively wide-ranging in its emotional content as in its repertoire choices. The New York Times declared, "The singer's personal magnetism combines with the material to form an irresistible mixture."

ProductionCredits: 

MUSICIANS
Dawn Upshaw, soprano
The Orchestra of St. Luke’s
David Zinman, conductor
Violin: Krista Bennion Feeney, concertmaster; Mitsuru Tsubota, Robin Bushman, Ellen Payne, Marilyn Reynolds, Robert Shaw, Susan Shumway, Mineko Yajima, Martin Agee, Serena Canin, Christoph Franzgrote, Aloysia Friedmann, Hanne-Berit Hahnemann, Naomi Katz, Elizabeth Lim, Rebecca Muir, Leonid Yanovsky
Viola: Louise Shulman, Maureen Gallagher, Ronald Carbone, Stephanie Fricker, Katherine Murdock, Ann Roggen 
Cello: Myron Lutzke; Daire Fitzgerald, solo (4); Rosalyn Clarke, Karl Bennion, Loretta O’Sullivan, Lutz Rath
Bass: John Feeney, Lewis Paer, Melanie Punter, John Carbone
Flute: Elizabeth Mann, Sheryl Henze, Timothy Malosh
Oboe: Stephen Taylor, Melanie Feld, David Kossoff
Clarinet: William Blount, Gerhardt Koch—B-flat and bass clarinet, Monte Morgenstern
Saxophone: Lawrence Feldman, soprano; Ted Nash, alto; Chuck Wilson, alto
Bassoon: Marc Goldberg, Kim Laskowski
Contrabassoon: Gil DeJean
Horn: Joseph Anderer, Stewart Rose, Chris Komer, Leise Paer, Russell Rizner, David Wakefield
Trumpet: Chris Gekker, Carl Albach, Susan Radcliff
Trombone: Michael Powell, Kenneth Finn, Thomas Hutchinson, John Rojak
Tuba: Kyle Turner
Timpani: Maya Gunji
Percussion: Barry Centanni, Norman Freeman, John Kennedy, Raymond Marchica
Harp: Sara Cutler
Piano/Keyboards: Margaret Kampmeier, piano, celeste, piano solo (4); Elizabeth DiFelice, piano; Mark Soskin, Yamaha IIX-1 Electone
Back-up Vocals: Georgia Osborne, soprano (3); James Bassi, tenor (3); Joseph Neal, baritone (3)

PRODUCTION CREDITS
Produced by Philip Waldway
Recorded December 1995 at Hit Factory, New York City
Engineered by John Newton
Assistant Engineers: Andy Grassi, Carl Nappa, Paul Falcone
Edited by Jeff Baust
Mixed by Bill Winn
Mastered by John Newton
All post-production work done at Sound/mirror, Boston, MA

Design: Barbara deWilde
Photography by Joel Meyerowitz

Executive Producer: Robert Hurwitz