Category: Music

This song is so incredibly chill. Like sitting in a calm oasis in the middle of the woods type of chill. It literally feels like meditation at some points, especially in the beginning before the lyrics enter. Iris Temple has this deep, soothing voice that lingers in space, caressing your ears. Relatively unknown at the moment, but I can see that changing- hopefully not too soon though, because I want him all to myself (and you guys). You can download this track free on Soundcloud, just click the little down-pointing arrow in the song widget below.

 

So this one’s personal. Well actually not really but it feels that way. Pierce is my friend Addie’s older brother, and “Borrowed Lives” is his single off his upcoming EP Borrowed Lives out tomorrow.  Pierce has been off the map for a while due to personal circumstances, but he’s come back better than ever.  Don’t expect this to sound like what you’re used to from Pierce; he’s truly taken a radically different turn away from his heavier, more intense electronic music with this, and I’m heavily, heavily into it. “Borrowed Lives” is an indie-electronic dance track, and it’s got the kind of sound that drags me to my feet. Pierce is calling Borrowed Lives “his favorite music he’s ever made”, and I’m in no place to disagree. Check this shit out.

 

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This past spring, Korean violinist Hyung Joon Won visited several college campuses across the Northeast, including Columbia, Harvard, and Princeton, to speak about the Lindenbaum Project. While at Columbia, Won met with students from Columbia’s chapter of Liberty in North Korea as well as students from various campus music groups.

Won began the project in 2009, with the goal of easing tensions and bringing harmony to North-South Korean relations through classical music. Based on precedents such as the West-East Divan Orchestra between Israel and Palestine and El Sistema in Venezuela, the project’s goal is to harness the power of classical music for social change.

Won has long been recognized for combining musicianship and activism. As a soloist he has toured worldwide in collaboration with orchestras such as the Hong Kong Pan Asia Philharmonic, Massapequa Philharmonic, and the Marrowstone Festival Orchestra. In 1990, Won performed at the World Economic Forum (WEF) in Switzerland, celebrating the reunification of East and West Germany. In 1996, he performed at the UN General Assembly Hall under the theme World Peace.

A collection of musicians, students, and activists has joined Won in reaching his goal. Notably, Maestro Charles Dutoit of the Royal Philharmonic Orchestra and the Philadelphia Orchestra has backed the project.

Columbia’s own Gary Kim (SEAS ‘18) has spearheaded a new technology-based project that will feature an international collaboration of musicians in a recording of Beethoven’s 9th Symphony. Between 2011 and 2015, Won made several attempts to organize a joint live concert between North and South Korean musicians. However, each time one of the governments rescinded permission to do so at the last minute, due to a sudden rise in political or military tensions. Kim’s technology-based solution allows for remote recordings of each part in the symphony, temporarily eliminating the need for organizing logistics across the border. Won’s hope is that the technology-based project will be a first step to displaying the peacemaking power of music.  

In April, students from Columbia and Harvard helped Won and Kim submit a proposal for the 2016 Google Impact Challenge. If awarded, funding from this challenge will help spread awareness of the Lindenbaum Project and garner more international support.

Won will be returning to New York this July to give talks at the Waterfall Gallery.

Earlier this week, the Bacchanal Committee officially announced that Rae Sremmurd, Marian Hill, and Bibi Bourelly will be performing at this year’s Bacchanal.

Tickets to Bacchanal 2016 are available for the performance on April 2nd. As previously announced, EVELINE will also be featured during this year’s show.

We will update this post with more information as it becomes available.

 

 

Nearly a fifth of the operas appearing onstage this year at the Met were written by the 19th century Italian composer Gaetano Donizetti, and together, they all provide the opportunity to experience the broad range of his artistic mastery. Already audiences have been treated to two of three operas of the “Tudor Trilogy,” dramas depicting the trials of British royalty and this season starring Sondra Radvanovksy. This season in March, two of his mirthful comedies share the stage. L’elisir d’amore (“The Elixir of Love”) opens at the end of this week, while Donizzetti’s outlandish farce Don Pasquale returned last Friday in a revival of an exuberant production by director Otto Schenk.

Beneath an evening of hilarious shenanigans lies a fairly simple plot. The old bachelor Don Pasquale has promised to bequeath a small fortune to his pouty nephew Ernesto as long as he agrees to marry the woman Pasquale has selected. Ernesto refuses, and Pasquale, with the aid of the wily Doctor Malatesta, decides to cast out Ernesto and find himself a young wife instead.

Pasquale is beside himself when Malatesta offers him the hand of his docile sister Sophronia, but little does he know that this delicate bride is none other than Norina, Ernesto’s beloved, in disguise. Before the ink can dry on their false marriage contract, Norina turns into a demanding shrew and terrorizes Pasquale unceasingly until he abandons any hope of marital bliss. Eventually, the young lovers are ultimately reunited, everyone is reconciled, and all join in proclaiming the opera’s wry moral: Only trouble awaits the old man who weds a young wife.

As the curmudgeonly Pasquale, rotund Italian baritone Ambrogio Maestri returned to the Met after past triumphs as the scheming Doctor Dulcamara in “L’elisir d’amore” and the buffoonish title character in Verdi’s “Falstaff.” A “maestro” of farce, Maestri brings impeccable timing and telling facial expressions to every outsized character he plays and excels at patter singing, a hallmark of Italian comic opera during which long lines of text are declaimed at great speed.

Making an exciting Met debut, soprano Eleonora Buratto conveyed Norina’s dual sweetness and cunning with lustrous timbre and dynamic physicality. Early on, the top of her range tended to get away from her, but as the evening progressed, she focused her tone and offered pure, creamy singing. Hers is a voice that will undoubtedly become rounded and more secure with time, but even on this occasion, she managed to blend nicely with her colleagues.

Rising Mexican tenor Javier Camarena played Ernesto, lending his supple instrument to yet another successful interpretation of beloved Bel Canto character. In this repertoire, there is often a risk that a tenor’s bright tone can grate on the ear, but Camarena’s warm, heartfelt voice and masterfully fluid phrasing always ensure great lyricism. The prolonged applause he received after his Act 2 aria “Povero Ernesto” was well deserved.

Rounding out the ensemble, Levente Molnár brought spirited panache to his portrayal of Malatesta, not only matching his colleagues’ winning stage presence and rapid-fire singing, but also bringing a rich depth to more expressive moments. On the podium, conductor Marizio Bennini evoked spirited color and Italianate style from the orchestra and chorus, though his pacing often got ahead of the action onstage, forcing the singers to struggle to keep up with the accelerated tempi.

While we await the end of winter’s chill, the lovable antics of “Don Pasquale” should warm the hearts of Columbia students desperately seeking an escape from impending midterms.

Performances of Donizetti’s Don Pasquale continue through March 18, with this Saturday’s matinee performance being broadcast live on WQXR 105.9FM. More information can be found online at metopera.org