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The Wild Rose Opera Project connects four composers inspired by Alberta s landscape and mental health

The Wild Rose Opera Project connects four composers inspired by Alberta s landscape and mental health
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The Wild Rose Opera Project connects four composers inspired by Alberta s landscape and mental health

The Wild Rose Opera Project connects four composers inspired by Alberta s landscape and mental health
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The Wild Rose Opera Project connects four composers inspired by Alberta s landscape and mental health

Author of the article: Mark Morris Publishing date: Mar 04, 2021  •  March 4, 2021  •  4 minute read  •  Alberta-born Brooklyn-based librettist Royce Vavrek is contributing an operatic short to the Edmonton Opera s new Wild Rose project. Photo by Ricardo Beas /Supplied Reviews and recommendations are unbiased and products are independently selected. Postmedia may earn an affiliate commission from purchases made through links on this page. Article content On March 13 the Jubilee Auditorium should have been resounding with Anne Boleyn going mad as she’s about to be executed on orders from her husband, King Henry VIII, in Donizetti’s searing opera Anna Bolena. Instead, the stage will be empty and the hall dark. Up in the industrial stretches of 128 Street, where Edmonton Opera builds its sets, the power tools are silent, the rehearsal halls deserted.

The Wild Rose Opera Project connects four composers inspired by Alberta s landscape and mental health

The Wild Rose Opera Project connects four composers inspired by Alberta s landscape and mental health
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Soloist, orchestra excel through highs and lows

Photograph By Murray Mitchell/The Daily News Eclectic and edifying sum up Kamloops Symphony s twin concerts in Kamloops and Salmon Arm over the weekend. From musically obscure to popular, from sad lament to uplifting dance, the orchestra proved its mettle with a richly varied program in sharp contrast with September s Clearly Classical, the last KSO concert. Eastern Echoes opened and closed with works by Czech-French-American composer Bohuslav Martinu and Hungarian composer Zoltan Kodaly, yet also drew upon Canadian content and a spectacular violin concerto featuring soloist Erika Raum. The latter piece - Violin Concerto No. 1 by German composer Max Bruch - gave Raum ample opportunity to demonstrate her lyrical playing and range of tone colours. Bruch once drew high praise from none other than Mozart, who called him the father of classical music. He certainly knew how to hold an audience in rapture with a remarkable flow. Raum s per

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