Evil Penguin TV

'𝗣𝗿𝗮𝘆. 𝗕𝘂𝘁 𝘁𝗼 𝘄𝗵𝗼𝗺.' 𝗜𝗻 𝗵𝗶𝘀 𝗲𝗿𝘂𝗱𝗶𝘁𝗲 𝗮𝗻𝗱 𝗵𝗮𝘂𝗻𝘁𝗶𝗻𝗴 𝗻𝗼𝘃𝗲𝗹 𝗧𝗵𝗲 𝗖𝗼𝗻𝘃𝗲𝗿𝘁, 𝗦𝘁𝗲𝗳𝗮𝗻 𝗛𝗲𝗿𝘁𝗺𝗮𝗻𝘀 𝗰𝗮𝗽𝘁𝘂𝗿𝗲𝘀 𝘁𝗵𝗲 𝗶𝗻𝗻𝗲𝗿 𝗰𝗼𝗻𝗳𝗹𝗶𝗰𝘁 𝗼𝗳 𝗵𝗶𝘀 𝘁𝗶𝘁𝘂𝗹𝗮𝗿 𝗵𝗲𝗿𝗼𝗶𝗻𝗲 𝘄𝗶𝘁𝗵 𝘁𝗵𝗲𝘀𝗲 𝗰𝗼𝗻𝗰𝗶𝘀𝗲 𝘄𝗼𝗿𝗱𝘀. 𝗧𝗵𝗲 𝗕𝗲𝗹𝗴𝗶𝗮𝗻 𝗰𝗼𝗺𝗽𝗼𝘀𝗲𝗿 𝗪𝗶𝗺 𝗛𝗲𝗻𝗱𝗲𝗿𝗶𝗰𝗸𝘅 𝗮𝗻𝗱 𝗹𝗶𝗯𝗿𝗲𝘁𝘁𝗶𝘀𝘁 𝗞𝗿𝘆𝘀𝘁𝗶𝗮𝗻 𝗟𝗮𝗱𝗮 𝘄𝗲𝗿𝗲 𝗶𝗻𝘀𝗽𝗶𝗿𝗲𝗱 𝗯𝘆 𝘁𝗵𝗲𝘀𝗲 𝘂𝗻𝗶𝘃𝗲𝗿𝘀𝗮𝗹 𝘁𝗵𝗲𝗺𝗲𝘀 𝗮𝗻𝗱 𝗰𝗿𝗲𝗮𝘁𝗲𝗱 𝗮 𝗿𝗶𝗰𝗵𝗹𝘆-𝗳𝗲𝗹𝘁 𝗼𝗽𝗲𝗿𝗮 𝗮𝗯𝗼𝘂𝘁 𝗶𝗱𝗲𝗻𝘁𝗶𝘁𝘆, 𝗶𝗺𝗽𝗼𝘀𝘀𝗶𝗯𝗹𝗲 𝗹𝗼𝘃𝗲, 𝗳𝗮𝗶𝘁𝗵 𝗮𝗻𝗱 𝗵𝘂𝗺𝗮𝗻 𝘀𝘁𝗿𝗲𝗻𝗴𝘁𝗵. With Vigdis Adelaïs, Hertmans has created a strong woman who, at the time of the First Crusade at the end of the 11th century, was torn between her Christian upbringing and the Jewish faith, to which she has converted for her beloved, taking the new name Hamoutal. The Convert tells the story of a young mother who, in times of religious violence, is the victim of a pogrom and tragically perishes in her search for her kidnapped children. Henderickx's compositions are unique in finding a bridge between musical languages. In his score, influences from Western early music, modernism and film music merge in a symbiotic way with both Jewish and Arab traditions to create a contemporary opera in which Vigdis' epic life story is told through sound. Koen Kessels conducts the Symphony Orchestra Opera Ballet Vlaanderen, soprano Lore Binon sings the title role and six singers from different vocal traditions perform the numerous other characters. In addition to members of the Opera Ballet Vlaanderen Chorus and Children's Chorus, an Antwerp community choir is also part of the line-up. Director and visual artist Hans Op de Beeck, who is also responsible for the scenography and costume design, creates a poetic visual world in which Vigdis' quest takes centre stage in a bygone world that is astonishingly similar to ours. 𝗧𝗘𝗔𝗠 Director | Steven Maes Assistant director & découpage | Hans Vercauteren Editor | Tom Brewaeys DOP & camera | Arthur Moelants Camera | Xin Van Damme, Arno De Facq, Flor Maeyens Music producer | Hans Vercauteren Music mixing | Steven Maes Music recording | Robin Breugelmans Chief engineer | Floren Van Stichel Composer | Wim Henderickx Musical direction | Koen Kessels Direction, scenography and costume design | Hans Op de Beeck Electronics | Jorrit Tamminga Lighting design | Peter Quasters Dramaturgy | Koen Bollen Choral conducting | Jan Schweiger Children’s choir conducting | Hendrik Derolez 𝗖𝗔𝗦𝗧 Lore Binon, Vincenzo Neri, Amel Brahim-Djelloul, Françoise Atlan, Daniel Arnaldos, Luvuyo Mbundu and Guido Jentjens Symphonic orchestra, choir and children’s choir of Opera Ballet Vlaanderen City choir, Madam Fortuna in collaboration with Meeting Centre Het Oude Badhuis

Collegium Vocale Gent presents Il quarto libro de madrigali a cinque voci of Monteverdi, recorded during the Crete Senesi Festival 2021 in the beautiful Tuscany. Claudio Monteverdi (1567-1643) wrote his first book of madrigals in 1587 when he was only 19 and returned to this secular genre throughout his career. He did this so regularly and so prolifically that his output of 161 madrigals, collected in eight books, serves today as a kind of musical diary: each book of madrigals reveals another stage in the composer’s development, tracing not only the evolution of his musical style but also the broader transition from the Renaissance to the Baroque period in music. At the time, ideas about the meaning and purpose of music were changing, and Monteverdi played a crucial role in this development. The increasing focus he placed on the madrigal's poetry and its meaning led him to prioritize emotional expression over strict adherence to the rules of counterpoint, especially the treatment of dissonance, that had long governed Renaissance polyphony. 𝗣𝗘𝗥𝗙𝗢𝗥𝗠𝗘𝗥𝗦 MIRIAM ALLAN soprano BARBORA KABÁTKOVÁ mezzo-soprano ALEX POTTER alto BENEDICT HYMAS tenor TORE TOM DENYS tenor JAMES HOLLIDAY bass MICHELE PASOTTI chitarrone PHILIPPE HERREWEGHE musical direction

On February 4th, Dionysos Now! released their second album Adriano 2 as part of the Adriaen Willaert Series. The album contains the 𝗠𝗶𝘀𝘀𝗮 𝗦𝗲𝘅 𝗩𝗼𝗰𝘂𝗺 𝗕𝗲𝗻𝗲𝗱𝗶𝗰𝘁𝗮 𝗘𝘀. As a wonderful extra, a concertfilm of the album was shot in the Sint-Jakobschurch, Ghent. The warm reception and the positive feedback Dionysos Now! received following the release of their debut album Adriano 1 have inspired them to dive further into the unexplored work of this Flemish master. The fascination with Adriaen Willaert’s almost infinitely radiant oeuvre led them to this beautiful, polyphonic monument of a Mass. The combination with the other works on this LP is not accidental: it illustrates how the composer was also very aware of what was happening musically in Venice outside the church walls of the St. Marco basilica. He turned popular songs, called Canzone Villanesche, into four-part gems that do not leave anyone unmoved to this day. In June 2021 Adriano 1 was released. To accompany Adriano 1 and 2, Dionysos Now! released The Adrianotes. This artbook pays homage to the great 16th-century composer Willaert with song texts, literature, poetry, philosophy, and 12 works of art. They also contain download links to the high-resolution audio of both albums. Even more, both were recorded as immersive (Dolby Atmos) audio - also available through the download links as of March 4th - to give you the ultimate listening experience. 𝗗𝗶𝗼𝗻𝘆𝘀𝗼𝘀 𝗡𝗼𝘄! Tenor | Tore Tom Denys Countertenor | Terry Wey Tenor | Bernd Oliver Fröhlich Tenor | Jan Petryka Tenor | Julian Podger Bass | Tim Scott Witeley Bass | Joachim Höchbauer

*𝘌𝘯𝘨𝘭𝘪𝘴𝘩 𝘣𝘦𝘭𝘰𝘸* Johannes Brahms is een icoon. Zeg Johannes, en je weet dat het om Brahms gaat. De opvolger van Beethoven, de sobere man die ernst hoog in het vaandel droeg, voorvechter van de klassieke tradities, innige vriend van de Schumanns. Maar hoe goed kennen we Brahms echt? Hoe dicht laat hij ons bij zich komen in zijn muziek? Wij gaan op zoek naar de mens Brahms, in zijn Requiem en in de muziek van zijn mentor en goede vriend Robert Schumann. De dood van zijn naasten tekende Brahms - maar zorgden ook voor één van zijn mooiste werken. Gebogen over zijn schrijftafel, vol verdriet om zijn verlies, wilde Brahms toch muziek schrijven die houvast zou bieden: hoop voor de nabestaanden, troost voor de levenden - en geen sombere treurmars voor de doden. Aanvankelijk titelde hij zijn compositie dan ook Ein menschliches Requiem. De monumentale compositie voor orkest en koor die Ein deutsches Requiem uiteindelijk werd, staat ver van dat intieme begin. Maar Brahms vergat zijn opzet niet: hij maakte zelf een versie voor 4-handig piano, soli en koor: transparant, intiem, kleurrijk en vooral heel persoonlijk. Op zoek naar de mens Brahms, weven we tussen de delen van het Requiem herinneringen aan zijn kindertijd en zijn goede vriend Schumann. Die laatste bundelde in Kinderszenen verschillende kleinere werkjes die hem nauw aan het hart lagen, en waarin hij zelf vol heimwee terugdacht aan zijn eigen kindertijd. *** Johannes Brahms is an icon. When you say Johannes, you know it refers to Brahms. The successor to Beethoven, the sober man who took seriousness very seriously, the chief protagonist of the classical tradition, an intimate friend of the Schumanns. But how well do we really know Brahms? How close does he let us come to him through his music? In search of the man who was Brahms, through his Requiem and the music of his good friend Robert Schumann. The death of his mother and his mentor Schumann, two people so close to him marked Brahms – but it also led to the creation of one of his finest works. Bent over his writing desk, full of sorrow over his loss, Brahms wanted to write music that would nevertheless offer some support: hope for those near him, comfort for the living – and not with a sombre funeral march. Initially, he gave his composition the title Ein menschliches Requiem (A Human Requiem). The monumental composition for orchestra and choir that would become Ein deutsches Requiem (A German Requiem) lies far from that intimate beginning. But Brahms did not forget his initial plan: he even transcribed a version for piano 4 hands, soloists and choir: transparent, intimate, colourful and, most importantly, very personal. In search of the man who was Brahms, we weave some childhood memories of his good friend Schumann in between the movements of the Requiem. In his Kinderszenen (Scenes from Childhood), Schumann in turn combined various short works that were close to his heart and through which he thought back, filled with nostalgia, to his own childhood. 𝗣𝗘𝗥𝗙𝗢𝗥𝗠𝗘𝗥𝗦 Vlaams Radiokoor | ensemble Bart Van Reyn | conductor Sarah Wegener | soprano Thomas Oliemans | baritone Jan Michiels & Inge Spinette | piano 𝗣𝗥𝗢𝗚𝗥𝗔𝗠 Johannes Brahms (1833-1897) Ein deutsches Requiem, op. 45 Robert Schumann (1810-1856) Kinderszenen, op. 15 (selection)