NOVEMBER 8/9/2013 RASPUTIN (Opera in Two Acts, libretto by the composer) - Helikon Opera, Moscow
(495) 690-0971 (administration), fax: (495) 691-1323
JANUARY 24, 2014 MEMORY REFRAINS (String Quartet in One Movement)
Daedalus Quartet, Rose Recital Hall, Philadelphia
FEBRUARY 12, 2014 THE FLIGHT OF THE RED SEA SWALLOW
(Version for flute and harp) Mimi Stillman, flute; Elizabeth White Clark, harp, Arthur Ross Gallery, Philadelphia
MAY 19-29 THE FLIGHT OF THE RED SEA SWALLOW
(Version for flute and piano) - Arab States TourRead More
Rasputin Opera in Two Acts
(Moscow, 2011) "A challenging but entirely rewarding experience." - The World of Opera (The Opera Critic) Read the full article here.
(Massy, 2010) "The score is often beautiful, even flamboyant...a very fine show, which certainly deserves to experience a much wider international distribution." - ForumOpera.com
(NYC Opera world premiere, 1988) "The new opera is a spellbinding, challenging and profoundly beautiful creation." – The Washington Times Read the full review here.
(Moscow premiere, 2008) "Reise's score...serve[s] quite nicely to underline and reinforce the dramatic events on stage. Especially effective is Reise's use of traditional tonality -- including quotes from Pyotr Tchaikovsky's ballet "Swan Lake" and the Russian imperial hymn -- for the music of Nicholas and Alexandra, as well as atonal dissonance to conjure up what he calls, in a program note, 'the brutal and chaotic new world of the 20th century'." - Moscow Times
(NYC Opera world premiere, 1988) "…audaciously colorful opera" - Philadelphia City Paper
Lunahuaná "Typical of the Penn-based composer, his choice of notes was elegant and, more important with percussion, his ear for timbre was incredibly precise. This short, winning piece doesn't take easy ways out.” - Philadelphia Inquirer
“City in the clouds - The title of Jay Reise’s Lunahuaná refers to a Peruvian mountain city perched where the sky is permanently divided between threatening clouds and blue sunshine. Lunahuaná is composed for two percussionists, who mostly play the xylophone and the marimba, but the interactions are so complicated that Freeman had to conduct a work that looked like it should be a conductorless chamber piece. Reise’s music follows the general pattern suggested by the geographical reference, but this piece would beeffective even if you’d never heard of the extra-musical symbolism.” - Broad Street Review
Yellowstone Rhythms for Bassoon and 10 Players "..nature in its most songful state." - Philadelphia Inquirer
The River Within (Concerto for Violin and Orchestra) "... fluidity and mastery that creates an optimum showcase for his attractive thematic ideas." -Philadelphia Inquirer
The Devil in the Flesh and Other Pieces (Recording featuring Marc-André Hamelin) "Satori …with its starlit rotations and seemingly suspended atmosphere, makes a striking impression. Six Pictures from The Devil in the Flesh.. [is] a fine group of virtuoso pieces…[with] a riotously sizzling finale." - American Record Guide
Memory Refrains "One hesitates to burden any recent composition with the designation “masterpiece”, but Memory Refrains is surely music that deserves to be taken up by other major quartets so as to become a post-Romantic repertoire staple." - Philadelphia Music Makers
Powers That Be “… the kind of transcendence that lets you know you’re in the presence of greatness.” - Journal of the Scriabin Society of America
The Selfish Giant (Choreographic Tone Poem based on the story by Oscar Wilde) "It had epic quality. The full organ, the rolling timps and the squabbling brass at the start had weight. A clumsy giant's angry dissonances were peeled back to reveal strings pulling anguished chords." - Evening Standard (London)
Concerto for Horn and 7 Instruments “… what Richard Strauss might have written had he had the guts to be atonal..” - The Philadelphia Inquirer
Open Night - Poem-Caprice for Six Players "..magnetism was immediate in the heart- grabbing opening violin solo of the sextet… the piece unfolds with a reasoning that's hard to explain but great to feel. melodic lines of almost Wagnerian breadth… inflected with the kind of emotional eventfulness that doesn't require a slow buildup.." - The Philadelphia Inquirer
Transcription of Scriabin Etude Op. 2 No. 1 for left hand “Jay Reise’s skillful transcription was such that it lacked nothing of the original sounds. That took quite a bit of doing by Reise, and indeed a good deal more from pianist Gary Graffman. Yet it all worked out beautifully.” – The San Francisco Classical Voice
RASPUTIN HAS FRENCH PREMIERE Massy, France –- December 4, 2010 Rasputin, opera in two acts with music and libretto by the composer, had its French premiere December 4-5, 2010 to sold-out houses at the Opéra de Massy just outside Paris. The production was that of the Helikon Opera which staged the work in Moscow in 2008-09. The opera was sung in Russian with French surtitles.
The stage director was Dmitry Bertman and Konstantine Chudovsky conducted the Orchestra de l’Opéra de Massy. Nikolai Galin sang the title role, Natalya Zagorinskaya sang the role of the Empress Alexandra, Nicolai Dorozhkin was Nicholas II and Vasily Efimov sang the chameleonic role of Rasputin's supposedly bisexual assassin Prince Felix Yusupov.
Other leading cast members were Mikhail Seryshev as the monk Iliodor. Iliodor was Rasputin's theological rival who later emigrated to America, became a janitor in New York City and wrote an autobiography entitled "The Mad Monk of Russia". Mikhail Davydov played the Grand Duke Dmitry Pavlovich (who supposedly had affairs with both Yusupov and Coco Chanel). Doctor Sokolsky, sung by Dmitry Ponomarev, is a character of the librettist's creation, fusing the royal family's Doctor Botkin with one of the conspirators, Dr. Lazovert. The doctor's discrediting and suicide in the opera are fictional. Alexandra Kovalevich was Yusupov's wife Irina, Mikhail Verbitzky played General Zhevadov (modeled to a limited extent on the conspirator Pureshkevich), and Yury Ustyugov played the cabaret master of ceremonies. The sets were designed by Igor Nezhny an the costumes were the work of Tatiana Tulubieva. Lighting was directed by Damir Ismagilov. The choreographer was Edwald Smirnov and the choral director was Denis Kirpanev.
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