Heading
”Oboist Sanja Romić is musically very profound and has beautiful tone which transcends the whole orchestra and inspires her colleagues”
MUSIC STORIES
Bridging Art of Music with Art of Life through Music Stories
Music can be experienced in many ways and forms. Deeply interested in stories behind music, personal growth and themes that intersperse between art and life, I create conceptual classical music concerts with aim to translate and share Art of Music to the wider audiences. Which deeper meanings is music revealing to us? How can we learn to hear it by understanding language of music without words? What ideas, beliefs, social, historical and personal circumstances are hidden behind music and are connected composer, performer and listener?
Concerts and stories are curated around different topics with variety of chamber music ensembles available on demand.
Can one love a murderer? In the chamber opera “Madame Landru” by Italian composer Roberto Hazon (1930-2006), Alex certainly loves Cynzia. And Hazon noticeably sympathises with his “villain”, a woman who takes her life into her own hands! How wonderful! Madame Landru appears to be a kindred spirit of Shostakovich’s “Lady Macbeth of Mzensk”, a female Duke Bluebeard of sorts: yearning for love, capable of deep feelings, but also energetic and self-determined. Cynzia kills with a light touch, disappointed the trust she places in men is habitually abused. One of these men furthers his career at her expense, another exploits her as a campaign aid for his public speeches, the third seeks a cosy place to drink, while the last makes her pay for his countless affairs. Finally, she meets someone who truly loves her, someone who is not after her money. But he’s a lawyer. What is a lawyer supposed to do with the exalted, temperamental confession of a murderer? In 1962, Hazon devised a sound for his murderer, brimming with all that’s successful about opera: Sometimes, the singer luxuriates in smouldering Puccini cantilenas, sometimes, she giggles about her latest deed in a crude operetta style. Then, the pianos thunder and clatter like a song play by Kurt Weill, only to engage in a sophisticated interplay reminiscent of Claude Debussy’s “Jeux”. And most of the time and between the lines, the notes exude the deadly serious comedy of a Charlie Chaplin who, in turn, took inspiration from a real murderer called Landru for his “Monsieur Verdoux”. “… and dies, … and dies, … and dies!“ Viennese comedian Georg Kreisler’s “Opera Boogie” pinpoints the gist of most musical theatre history. At the same time, all that opera does is hold up a relentless mirror to human society. Whether Adam, Adonai, Gennaro or Pierre Marie – Cynzia and Alex easily leave them all behind. And unlike the kind of opera invoked by Kreisler, Hazon’s chamber opera can be staged anytime. Two pianos played by a masterfully Duo Jatekok, a passionate singer like the soprano Ina Kancheva and a besotted lawyer who asks the right questions – that’s all it takes!To this music concept of Dangerous Liaisons, we would add an extracts arrangement of Kurt Weill’s play “Marie Gallant”, as well as several pieces from Bizet, Chausson and Schönberg for an exciting full evening program.
”Oboist Sanja Romić is musically very profound and has beautiful tone which transcends the whole orchestra and inspires her colleagues”
MUSIC STORIES
Bridging Art of Music with Art of Life through Music Stories
Music can be experienced in many ways and forms. Deeply interested in stories behind music, personal growth and themes that intersperse between art and life, I create conceptual classical music concerts with aim to translate and share Art of Music to the wider audiences. Which deeper meanings is music revealing to us? How can we learn to hear it by understanding language of music without words? What ideas, beliefs, social, historical and personal circumstances are hidden behind music and are connected composer, performer and listener?
Concerts and stories are curated around different topics with variety of chamber music ensembles available on demand.
Can one love a murderer? In the chamber opera “Madame Landru” by Italian composer Roberto Hazon (1930-2006), Alex certainly loves Cynzia. And Hazon noticeably sympathises with his “villain”, a woman who takes her life into her own hands! How wonderful! Madame Landru appears to be a kindred spirit of Shostakovich’s “Lady Macbeth of Mzensk”, a female Duke Bluebeard of sorts: yearning for love, capable of deep feelings, but also energetic and self-determined. Cynzia kills with a light touch, disappointed the trust she places in men is habitually abused. One of these men furthers his career at her expense, another exploits her as a campaign aid for his public speeches, the third seeks a cosy place to drink, while the last makes her pay for his countless affairs. Finally, she meets someone who truly loves her, someone who is not after her money. But he’s a lawyer. What is a lawyer supposed to do with the exalted, temperamental confession of a murderer? In 1962, Hazon devised a sound for his murderer, brimming with all that’s successful about opera: Sometimes, the singer luxuriates in smouldering Puccini cantilenas, sometimes, she giggles about her latest deed in a crude operetta style. Then, the pianos thunder and clatter like a song play by Kurt Weill, only to engage in a sophisticated interplay reminiscent of Claude Debussy’s “Jeux”. And most of the time and between the lines, the notes exude the deadly serious comedy of a Charlie Chaplin who, in turn, took inspiration from a real murderer called Landru for his “Monsieur Verdoux”. “… and dies, … and dies, … and dies!“ Viennese comedian Georg Kreisler’s “Opera Boogie” pinpoints the gist of most musical theatre history. At the same time, all that opera does is hold up a relentless mirror to human society. Whether Adam, Adonai, Gennaro or Pierre Marie – Cynzia and Alex easily leave them all behind. And unlike the kind of opera invoked by Kreisler, Hazon’s chamber opera can be staged anytime. Two pianos played by a masterfully Duo Jatekok, a passionate singer like the soprano Ina Kancheva and a besotted lawyer who asks the right questions – that’s all it takes!To this music concept of Dangerous Liaisons, we would add an extracts arrangement of Kurt Weill’s play “Marie Gallant”, as well as several pieces from Bizet, Chausson and Schönberg for an exciting full evening program.
MUSIC STORIES
Bridging Art of Music with Art of Life through Music Stories
Music can be experienced in many ways and forms. Deeply interested in stories behind music, personal growth and themes that intersperse between art and life, I create conceptual classical music concerts with aim to translate and share Art of Music to the wider audiences. Which deeper meanings is music revealing to us? How can we learn to hear it by understanding language of music without words? What ideas, beliefs, social, historical and personal circumstances are hidden behind music and are connected composer, performer and listener?
Concerts and stories are curated around different topics with variety of chamber music ensembles available on demand.
Can one love a murderer? In the chamber opera “Madame Landru” by Italian composer Roberto Hazon (1930-2006), Alex certainly loves Cynzia. And Hazon noticeably sympathises with his “villain”, a woman who takes her life into her own hands! How wonderful! Madame Landru appears to be a kindred spirit of Shostakovich’s “Lady Macbeth of Mzensk”, a female Duke Bluebeard of sorts: yearning for love, capable of deep feelings, but also energetic and self-determined. Cynzia kills with a light touch, disappointed the trust she places in men is habitually abused. One of these men furthers his career at her expense, another exploits her as a campaign aid for his public speeches, the third seeks a cosy place to drink, while the last makes her pay for his countless affairs. Finally, she meets someone who truly loves her, someone who is not after her money. But he’s a lawyer. What is a lawyer supposed to do with the exalted, temperamental confession of a murderer? In 1962, Hazon devised a sound for his murderer, brimming with all that’s successful about opera: Sometimes, the singer luxuriates in smouldering Puccini cantilenas, sometimes, she giggles about her latest deed in a crude operetta style. Then, the pianos thunder and clatter like a song play by Kurt Weill, only to engage in a sophisticated interplay reminiscent of Claude Debussy’s “Jeux”. And most of the time and between the lines, the notes exude the deadly serious comedy of a Charlie Chaplin who, in turn, took inspiration from a real murderer called Landru for his “Monsieur Verdoux”. “… and dies, … and dies, … and dies!“ Viennese comedian Georg Kreisler’s “Opera Boogie” pinpoints the gist of most musical theatre history. At the same time, all that opera does is hold up a relentless mirror to human society. Whether Adam, Adonai, Gennaro or Pierre Marie – Cynzia and Alex easily leave them all behind. And unlike the kind of opera invoked by Kreisler, Hazon’s chamber opera can be staged anytime. Two pianos played by a masterfully Duo Jatekok, a passionate singer like the soprano Ina Kancheva and a besotted lawyer who asks the right questions – that’s all it takes!To this music concept of Dangerous Liaisons, we would add an extracts arrangement of Kurt Weill’s play “Marie Gallant”, as well as several pieces from Bizet, Chausson and Schönberg for an exciting full evening program.
“Creating is movement of Life!”
While listening to classical music concerts, you will learn about stories behind music, get in touch with musicians and other audience, awaken senses on deeper level and connect with Art within yourself.