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The World So Wide

The World So Wide cover art
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Track Listing

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1Laurie's Song (Aaron Copland / Horace Everett)4:01
2This Is Prophetic (John Adams / Alice Goodman)7:30
3What a Movie (Leonard Bernstein)5:07
4Oh Yemanja (Mother's Prayer) (Tania León / Wole Soyinka)6:13
5Willow Song (Douglas Stuart Moore / John Latouche)3:43
6Lonely House (Kurt Weill / Langston Hughes)3:45
7Give Me Some Music (Samuel Barber / Franco Zeffirelli)9:17
8Ain't It a Pretty Night (Carlisle Floyd)5:46

News & Reviews

  • Carnegie Hall Announces 2012–2013 Season, Featuring Performances, Works by Several Nonesuch Artists

    Carnegie Hall has announced its 2012–13 season, and featured among the performers taking the esteemed hall's stages are a number of artists familiar to readers of the Nonesuch Journal, including Kronos Quartet, Richard Goode, Dawn Upshaw, and Alarm Will Sound, as well as world and New York premiere performances of works by Steve Reich, Timothy Andres, and Donnacha Dennehy. In addition, John Adams will lead a Professional Training Workshop for emerging talents through Carnegie Hall's Weill Music Institute.

  • Donnacha Dennehy's "Grá agus Bás" One of NPR Music's 25 Favorite Albums of 2011, "A Revelation"

    Donnacha Dennehy's Nonesuch debut album, Grá agus Bás, has been named one of NPR Music's 25 Favorite Albums of the 2011 (So Far). NPR's Anastasia Tsioulcas calls it "a revelation." She describes the title piece as "haunting and utterly bracing"; the second piece, That the Night Come, was set for "Upshaw and her silvery, glistening voice in bracing, rich, complex and just plain gorgeous displays." Tsioulcas will "be listening to this for a long time to come."

About this Album

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

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