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The World So Wide

The World So Wide cover art

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

  • Brooklyn Academy of Music (BAM) Presents "Nonesuch Records at BAM" for Label's 50th Anniversary, With 23 Evenings of Music

    In honor of the 50th anniversary of Nonesuch Records, the Brooklyn Academy of Music (BAM) presents a wide-ranging series of concerts, September 9–28. Part of the 2014 Next Wave Festival, these diverse engagements—featuring 23 evenings of music—underscore the longstanding relationship between Nonesuch artists and BAM. Performs include Philip Glass, Steve Reich, Timo Andres, Brad Mehldau, Chris Thile, Dawn Upshaw, Alarm Will Sound performing works by John Adams, Youssou N'Dour, Rhiannon Giddens, Devendra Banhart, Stephin Merritt, Iron and Wine, Kronos Quartet, Natalie Merchant, Sam Amidon, Olivia Chaney, Laurie Anderson, Rokia Traoré, Toumani & Sidiki Diabaté, Caetano Veloso, and Robert Plant.

  • Music from Donnacha Dennehy's Nonesuch Album "Grá agus Bás" to Receive US, NY Premieres at Kennedy Center, Carnegie Hall

    The music of Donnacha Dennehy's 2011 Nonesuch debut album Grá agus Bás, which NPR called "a revelation," will be performed by the artists featured on the album—Crash Ensemble led by conductor Alan Pierson with vocalists Iarla O’Lionáird on the title piece and Dawn Upshaw on the song cycle That the Night Come—at The Kennedy Center this Tuesday and in Carnegie Hall's Zankel Hall on Friday. The concerts mark the US and New York premieres of That the Night 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.


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)

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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