Michael Arne Podcasts
British composer
- harpsichord, voice
- opera
- Kingdom of Great Britain
- composer, singer
Last update
2024-05-14
Refresh
CMD Paris Philharmonic and Chorus of OrleansConducted by Dominique BeaulieuThe story tells how Hulda seeks revenge on Aslak and his clan, who killed her family. The subject depicts a young woman as a victim, her faith in nature, her destiny, and women's suffering at the hands of men.PrologueAfter a prelude depicting the wind and sea, Hulda and her mother, singing a prayer duet, await the return of their menfolk from hunting. After an off-stage chorus of fishermen (accompanied by four saxophones), the Aslak men celebrate their murder of the Hustawicks, and Gudleik declares his lust for Hulda, who responds with a curse (an oath motif), and vows revenge on his family. A chorus of victory for the Aslaks contains a three-chord death motif that will recur when they themselves meet their deaths.Act 1Two years on, Hulda is to be married to Gudleik, and Gunnard is to marry Thordis. After a haunting A minor women's chorus and the brighter entrance of Swanhilde, Gudleik and his brothers are heard arguing over Hulda until Gudrun forces them – in an aria with typically Franckian chromatic harmonies – to show more respect. Hulda has seen Eiolf, an emissary of the Norwegian king (who has rejected Swanhilde), and is infatuated with him. The wedding party assembles but soon Eiolf arrives and during a traditional show of manliness and courage by the men, Eiolf and Gudleik fight, resulting in the death of Gudleik in a Verdian-style finale.Act 2After a pastoral prelude, Aslak and Gudrun are seen grieving for Gudleik. In the evening time Hulda in a wide-ranging soliloquy, awaits Eiolf, who she sees as a god-sent avenger who has released her from the Aslaks and the duty of her vengeance. After a passionate duet in which Hulda makes Eiolf promise to return with her to her homeland, he leaves her for the night and Arne, one of Aslak's sons enters and declares his love for Hulda. Old Aslak sees a man making love to Hulda, and kills him – only discovering after that he has killed his own son, and Hulda's curse has claimed a second victim.Act 3After the long Arctic winter, celebrations and the selection of a May queen are set to a waltz-like movement. Swanhilde is still upset by her betrayal by Eiolf, but her friend Thordis promises to reunite them. When Eiolf enters Swanhilde is cold and cannot conceal her jealousy of Hulda; Eiolf embraces her. Hulda, close at hand, sees his betrayal of her, and she gets the remaining Aslak brothers to help murder Eiolf. They agree to meet the following day. The celebrations of spring resume, in contrast to Hulda's despair.EpilogueAfter an entr'acte based on the stark music from the beginning of the opera, there follows an evening chorus. The passion of Swanhilde and Eiolf's reconciliation contrasts sharply with Hulda's pain. She prepares for revenge: the Aslaks return and Eiolf is struck down. When the brothers then turn on her, she welcomes death and when the men turn away in fear, Hulda throws herself into the fjord.
Preceded by Arne's arrangement of the English National Anthem | Gillian Fisher | Nancy Argenta | Bronwen Mills | John Potter | Simon Davies | Andrew Knight | Parley of Instruments Baroque Orchestra | Conductor: Roy Goodman | 23 July 1986 | Broadcast
Today’s guest deejay is Riz Maslen. Alisú included Riz Maslen in her mix for Soundwave last fall, which led to me spending hours re-visiting the music Riz recorded as Neotropic, as well as her work with 4hero and The Future Sound of London. I invited Riz to share a mix with us, and it’s something else. Riz mix begins with a piece by Freddie Philips, a British composer known for his work on television music, particularly the theme for Camberwick Green. It’s what I imagine a mix from Wes Anderson might sound like, and I would have been completely satisfied if Riz stayed within that genre. But Riz pivots to Egyptian jazz-inspired psychedelic rock, shifts to trip-hop, and never looks back. And yet, Riz’s mix never feels incongruous. Each track seamlessly blends into the next. You’re in for quite the journey. Each mix shared on Soundwave is special. When I say that, I’m not equivocating; they are unique. But some resonate with me more than others, and Riz’s mix is one of those mixes. As the pandemic continues to disrupt our lives, I’ve found Riz’s mix to sometimes act as a balm and other times a needed distraction. I envy you. I wish I could hear Riz’s mix again for the first time. Join us next week when our guest deejay will be Robocat. See you then. Freddie Philips “Opening Music from Camberwick Green” Peter Schickele “The Space Fleet” John Berberiam and The Missile Eastern Ensemble “The Oud and the Fuzz” Digital Bled “Jo” Daniele Principato Arne Hiorth “Cuckoo Clock” Mike Lazarev “Where You Are” Alieno de Bootes “Sending the Clouds” Pole “Weit” Anne GArner & Mike Lazarev “Dust Devil (Mike Lazarev Pent Up Rework)” D Rothon & O Cherer “Silver Haze Dusk” Mark Beazley “Four Thirty Six” Alfred Deller & Elizabeth Harwood & Choirs Of Downside And Emanuel Schools & London Symphony Orchestra & Benjamin Britten “A Midsummer Night’s Dream / Act 2 - A Midsummer Night's Dream, Act 2: ‘On The Ground, Sleep Sound’”
Today’s guest deejay is Riz Maslen. Alisú included Riz Maslen in her mix for Soundwave last fall, which led to me spending hours re-visiting the music Riz recorded as Neotropic, as well as her work with 4hero and The Future Sound of London. I invited Riz to share a mix with us, and it’s something else. Riz mix begins with a piece by Freddie Philips, a British composer known for his work on television music, particularly the theme for Camberwick Green. It’s what I imagine a mix from Wes Anderson might sound like, and I would have been completely satisfied if Riz stayed within that genre. But Riz pivots to Egyptian jazz-inspired psychedelic rock, shifts to trip-hop, and never looks back. And yet, Riz’s mix never feels incongruous. Each track seamlessly blends into the next. You’re in for quite the journey. Each mix shared on Soundwave is special. When I say that, I’m not equivocating; they are unique. But some resonate with me more than others, and Riz’s mix is one of those mixes. As the pandemic continues to disrupt our lives, I’ve found Riz’s mix to sometimes act as a balm and other times a needed distraction. I envy you. I wish I could hear Riz’s mix again for the first time. Join us next week when our guest deejay will be Robocat. See you then. Freddie Philips “Opening Music from Camberwick Green” Peter Schickele “The Space Fleet” John Berberiam and The Missile Eastern Ensemble “The Oud and the Fuzz” Digital Bled “Jo” Daniele Principato Arne Hiorth “Cuckoo Clock” Mike Lazarev “Where You Are” Alieno de Bootes “Sending the Clouds” Pole “Weit” Anne GArner & Mike Lazarev “Dust Devil (Mike Lazarev Pent Up Rework)” D Rothon & O Cherer “Silver Haze Dusk” Mark Beazley “Four Thirty Six” Alfred Deller & Elizabeth Harwood & Choirs Of Downside And Emanuel Schools & London Symphony Orchestra & Benjamin Britten “A Midsummer Night’s Dream / Act 2 - A Midsummer Night's Dream, Act 2: ‘On The Ground, Sleep Sound’”
or
- timeline: Composers (Europe). Lyrical singers (Europe).
- Indexes (by alphabetical order): A...