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CANADIAN ARTISTS RELEASE RICHARD STRAUSS LIEDER RECORDING ON ITUNES

8/8/2016

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Ulysses Arts is delighted to announce the launch today of Canadian mezzo-soprano Wallis Giunta and pianist Carson Becke's debut recording of Richard Strauss Lieder. An  iTunes and Apple Music exclusive, it can be downloaded at https://itunes.apple.com/gb/album/richard-strauss-lieder/id1140917604 and corresponding sites worldwide.

The Lieder were all recorded in the beautiful rural venue of Venturing Hills Concert Studio, north of Ottawa. They are some of Strauss earliest mature songs, written between 1885 and 1887, when in his early 20s - his Opus 10, 15 and 17. They include all-time favourites 'Zueignung' and 'Allerseelen', both from Opus 10, amongst a treasury of impassioned songs.

Lyric mezzo Wallis Giunta is a company soloist at Oper Leipzig, singing roles including Cenerentola, Cherubino and Siébel. In 2016/17, she will debut with Opera North, performing the title role in Rossini’s La Cenerentola, concerts with Munich Radio Orchestra, Symphony Nova Scotia and the Real Orquesta Sinfónica de Sevilla, and will make her recital debut in Vancouver. Wallis will also return to Toronto’s Opera Atelier to debut the title role in Purcell’s Dido and Aeneas and to the Toronto Symphony for a new production of Weill’s The Seven Deadly Sins.

Pianist Carson Becke performs as a soloist and chamber musicians, including in Canada, where he is Artistic Director of the Festival Pontiac Enchanté, the UK, Ireland, Germany, Switzerland (Verbier Festival), Poland, Latvia, Malta and the Caribbean. He has lived in the UK since 2005, studying at The Purcell School, Royal Academy of Music (Tatiana Sarkissova) and Oxford University, writing a D.Phil on the music of Richard Strauss. This recording is the first of a multi-album project to record Strauss's early piano, chamber and vocal music, including some works for the first time.
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Featured on Apple Music's The A-List: Classical playlist
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DE-COMPOSED

3/8/2016

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Breaking News: COMPOSED, the classical streaming service promoting recordings by Universal-owned Deutsche Grammophon and Decca in partnership with Classic FM, is closing abruptly on 31 August 2016.

What went wrong? Did a 'tied pub' business model lead COMPOSED to lack critical independence, sufficient musical range and lack of distinctive content needed to attract paid subscribers, and distract them from the huge free access repertoires of YouTube, IDAGIO or Spotify? Did Classic FM have insufficient in-depth musical knowledge and critical judgement to provide the right editorial content, and was a more integrated broadcasting and live performance strategy with artistic partners needed? Where was the growth model beyond music streaming, and aspiration to become a wider classical music and affiliate platform?

These are questions other classical streaming services need to answer quickly to survive and succeed.


https://www.composed.com/

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