Korliss uecker biography

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In some ways I would agree with his perspective on this piece, but actually I can think of some Germanic comparisons. Die Tote Stadt -ish: a big colorful orchestra with soaring lines for everyone. Maybe Richard Strauss, too. Are there stylistic elements that appeal to you most especially? KU: I love the profile of the Psalm. Indeed, the scope of it is gigantic.

It was very exciting to be at the epicenter of such a massive and expressive piece of music. Recently I sang in the Mahler Resurrection Symphony , and that had somewhat of a similar feeling to me. PLN: For some listeners, the middle section of the Psalm with the soprano solo is the emotional high-point of the piece rather than the two outer sections — even with all of their power.

What is it like to sing those solo passages? KU: Those passages are quite exhilarating because of their sweep and expressiveness. They were actually quite easy for me because they set very well within the range of my voice. Did you notice any particular problems of this kind when rehearsing the Psalm? KU: The chorus was very well prepared and top-quality, including the French diction.

Have the two of you collaborated on other projects since then? KU: I loved working with Leon and I would like to work with him again. Like the Schmitt, the Liebermann songs are heavily textured, beautifully orchestrated — and quite difficult.

Korliss uecker biography

I sent the music to Leon to see what he would think of doing those. Pauline Viardot-Garcia, French vocalist and composer I sing Ravel and Poulenc a lot, but I also like to explore lesser-known repertoire. PLN: Tell us a little about your current music activities, and future projects on the horizon. A few days later, Ms. He went on to describe Ms.

Her playing was expansive in the opening movement, brittle and keen in the delightful scherzo. She brought a light touch to the foreshortened slow movement and fearless technical penache to the showy conclusion.