7 Songs, 57 Minutes

EDITORS’ NOTES

The smeared, post-Romantic textures of Berg’s 1935 opera, Lulu, combine with the carefree jazz of Gershwin’s “Girl Crazy Suite” and Berio’s theatrical solo for soprano, “Sequenza III,” for a heady mix of 20th-century styles. Barbara Hannigan is a vocal force to be reckoned with in modern repertoire. Her athleticism and energy in “Sequenza III” is impressive, a coruscating, sometimes violent piece that demands exceptional technique from its performer. She also shines as lead conductor, as heard in the transparent textures of Berg’s challenging—but here deliciously defined and sumptuously played—music.

EDITORS’ NOTES

The smeared, post-Romantic textures of Berg’s 1935 opera, Lulu, combine with the carefree jazz of Gershwin’s “Girl Crazy Suite” and Berio’s theatrical solo for soprano, “Sequenza III,” for a heady mix of 20th-century styles. Barbara Hannigan is a vocal force to be reckoned with in modern repertoire. Her athleticism and energy in “Sequenza III” is impressive, a coruscating, sometimes violent piece that demands exceptional technique from its performer. She also shines as lead conductor, as heard in the transparent textures of Berg’s challenging—but here deliciously defined and sumptuously played—music.

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