The superb projection of Hannigan’s voice and the rainbow of colours in Chamayou’s piano lay bare the sexual desire and religious fervour prevalent in Messiaen’s early works
Nicholas Capozzoli is appointed director of music for Christ Church Cathedral, Montréal, Québec, Canada, where he will work with a team of two assistant organists, a semi-professional choir, and music committee. Capozzoli holds a Doctor of Music degree in performance studies from McGill University, Montréal, as well as degrees in historical performance and organ from Oberlin Conservatory of Music, Oberlin, Ohio.
Last modified on Wed 3 Mar 2021 11.08 EST
In autumn, the soprano Gweneth Ann Rand and pianist Simon Lepperperformed Messiaenâs mammoth song cycle Harawi in the Wigmore Hall, with a small, spread-out audience physically present in front of them. This week they returned with more Messiaen, his Poèmes pour Mi. The nine movements of this 1936 song cycle â named for Messiaenâs wife Claire Delbos, whose nickname was Mi and who is personified in the central song, The Bride â were framed by two works of five songs each: Wagnerâs Wesendonck Lieder and Barberâs Despite and Still. Messiaen would have loved the symmetry.