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One difference is that, as the music develops and progresses, Dean uses stronger, more propulsive rhythms than Britten. This creates a more “ghostly” ambience.įor the most part, Dean’s vocal music seems to be a combination of modern-atonal parlando style with some elements (but not many) of Benjamin Britten.
#Hamlet met opera review full#
Summer’s full (and sometimes quite loud) orchestration is replaced here with light textures, seldom using the full orchestra. Unlike Summer’s Hamlet, which followed the play in a fairly straightforward manner (with scene deletions and contractions, of course), Dean’s Hamlet “shifts the words around.” (Hamlet’s entrance music, for instance, is set to words from “To be or not to be” as well as other monologues by Hamlet.) Also, whereas Summer’s Hamlet used modern harmonies but continually shifted in and out of tonality, Dean’s score is consistently non-tonal. There’s a long list of his compositions on his Wikipedia page. Returning to Australia, he worked as both a violist and musical curator, eventually working his way into conducting and composition, having dabbled in the latter since 1988. In 2000, Dean decided to pursue an independent career. Dean started playing violin at age eight, later switching to the viola after graduating with the highest honors, he got a position as violist with the Berlin Philharmonic Orchestra, starting under Herbert von Karajan in 1985 and continuing in that position until 1999. Having already reviewed Jonathan Summer’s extraordinary operatic treatment of Hamlet, I was curious to hear its competitor, this version of the play set to music by Australian composer Brett Dean (b. Nicholas Carter, conductor / live: New York, June 4, 2022
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Photo from YouTube video of highlights from “Hamlet,” tenor Allan Clayton on the right.ĭEAN: Hamlet / Allan Clayton, tenor (Hamlet) Rod Gilfry, baritone (Claudius) David Butt Philip, tenor (Laertes) Brenda Rae, soprano (Ophelia) William Burden, tenor (Polonius) John Relyea, bass-baritone (Ghost/Gravedigger) Sarah Connolly, mezzo-soprano (Gertrude) Aryeh Nussbaum Cohen, countertenor (Rosencrantz) Christopher Lowrey, countertenor (Guildenstern) Relyea, Manase Latu ( tenor), Chad Shelton ( tenor) Justin Austin ( baritone) (Players) Monica Dewey, Chanáe Curtis, Tesla Kwarteng, Megan Moore, John Matthew Myers, Christian Mark Gibbs, Benjamin Sleverding, William Clay Thompson, offstage voices Metropolitan Opera Orch. The Art Music Lounge on Ormandy’s 1935 Mahler Second R… The Art Music Lounge on Exploring Robert Lloyd’s “Bori… Nancy Spada on Exploring Robert Lloyd’s “Bori… Turkey: Monica Pearce’s “Textile Fantasies”ĭe Niese’s Brilliant… on De Niese’s Brilliant “La Voix….