I have chosen to kick off my Music-Video Fridays series with Anne Sophie von Otter, from her live-in-Paris 2004 DVD Voices of Our Time—a Tribute to Korngold. (A photo of Miss von Otter is the image on the home page “Featured Content” tile for Music-Video Fridays.)
The daughter of the Swedish diplomat Baron Göran Fredrik von Otter, Anne Sophie von Otter studied at the Guildhall School of Music and Drama, and made her début as Alcina in Haydn’s Orlando paladino in Basel in 1983.
In addition to her notable successes in the oratorio and opera music of Bach, Bartok, Elgar, Handel, Monteverdi, and Mozart, von Otter’s art-song repertory encompasses Brahms, Grieg, Korngold, Mahler, and Sibelius. In 1993, her Grieg song-recital CD (with Bengt Forsberg) became the first song recording ever to win Gramophone magazine’s “Record of the Year” award. Were that not enough, she has also collaborated with Elvis Costello, and with Brad Mehldau.
Clifford Brown: Clifford Brown With Strings
CD Polygram 814 642-2
Clifford Brown—trumpet; Richie Powell—piano; Max Roach—drums; George Morrow—double bass; Barry Galbraith—guitar; Neal Hefti—arranger, conductor. Recorded New York, 1955.
J.S. Bach played the organ and the harpsichord; Beethoven played the piano. Therefore, Louis Armstrong (NB: nearly everything on this blog is “IMHO”) holds the distinction of being the only person to have revolutionized Western instrumental music while playing an instrument capable of sounding only one note at a time. Jazz historian Stanley Crouch claimed that one of Armstrong’s most important early musical influences was listening to phonograph records by Italian operatic tenor Enrico Caruso. How’s that for musical cross-pollination made possible by technology?
“The Tannhäuser Gate” is a throwaway reference from near the end of Ridley Scott’s 1982 film Blade Runner. “Tannhäuser” is a reference to Wagner’s opera dramatizing the life of the Medieval German singer of that name.
Blade Runner and Wagner—what’s not to like?
I think that Blade Runner is the greatest science-fiction movie of all time. I think that, because it creates a completely believable future world that is arrestingly foreign, but hauntingly familiar. At the same time, the story almost subliminally makes us uncomfortable about our collective past. Obviously, book author Philip K. Dick tapped into deep historical and cultural currents involving not only what it means to be human, but also, “how then should we live”—in the sense of act or behave. Ironically, in the end, it is a non-human who behaves heroically.