The Seattle Choral Company will perform the Fauré Requiem on Saturday, April 19, 2008, 2 PM, at Benaroya Hall in the Mark Taper Auditorium. We will also perform Eric Whitacre's "Five Hebrew Love Songs," Abbie Betinis' “From Behind the Caravan: Songs of Hâfez,” and Maurice Duruflé’s ethereal “Messe cum jubilo.”
Seating is reserved: $40, $30, $25 & $20
Buy online at Brown Paper Tickets or call Brown Paper Tickets at 1-800-838-3006.
You can also contact the SCC ticket line at 206-363-1100, or email the SCC at tickets@seattlechoralcompany.org.
For more information, visit: http://www.seattlechoralcompany.org/Concerts/FaureRequiem.aspx.
The Seattle Choral Company returns to Benaroya Hall on April 19, 2008, to present a rich worldwide tapestry of sacred and secular choral works.
Gabriel Fauré’s “Requiem” is luminous and shimmering, suffused by warmth and consolation. It is a rare gem in the French repertoire, performed and loved the world over. For this April performance of Faure’s masterpiece, the magnificent Watjen Concert Organ will receive centerpiece attention, as played by Seattle organist, Clint Kraus.
Eric Whitacre (b. 1970), is one of the bright young stars in contemporary concert music, and has quickly become a much commissioned, published, and performed choral and symphonic composer. As a student at the Juilliard School of Music, he studied with eminent composers John Corigliano and David Diamond. His “Five Hebrew Love Songs” were dedicated to his wife, the Jerusalem-born soprano, Hila Plitmann. The lyrics, written by Plitmann in Hebrew, are delicately beautiful love poems, each capturing a moment shared between author and composer while on vacation in the Swiss Alps.
Accompanied by the ancient Vielle and Persian hand drums, the women of the Seattle Choral Company will present the first Seattle performance of “From Behind the Caravan: Songs of Hâfez,” composed by St. Paul resident, Abbie Betinis (b. 1980). This seductive suite is based on the 14th century poems of Hâfez, and brings to fruition the love, mysticism, and Sufi themes that have long pervaded Persian poetry.
The men’s voices of the Seattle Choral Company will be spotlighted in Maurice Duruflé’s ethereal “Messe cum jubilo” (Mass ‘with rejoicing’) a Latin mass setting based the Gregorian Mass IX. Completed as recently as 1966, Duruflé’s mass recalls monastic plainchant. It is as restrained as Faure’s earlier setting of the requiem, and the results are both subtle and sublime
