Thursday, September 29, 2011

Tori Amos: Night of Hunters


I neither make bones about nor apologies for my love of Tori Amos. I’ve been fascinated with her ever since “Little Earthquakes,” though like most favorite artists, have been sometimes as disappointed with her work as I’ve been pleased by it. I thoroughly loved her last big album “The Bee Keeper” and when I heard about her project for Deutsche Grammophon thought “it’s about time!” For Night of Hunters Amos created what’s being billed as “a 21st Century Song Cycle based on classical themes.” Indeed, Amos mined the classics – Bach, Schubert, Satie, Alkan, Schumann, et al. but the great masters are not merely quoted (most of the time anyway) but rather integrated as part of a whole package. It works brilliantly and beautifully.

Amos (like Streisand unlike Ronstadt) forgoes any attempt at trying to sound like a classically trained singer which, juxtaposed with the (mostly) “classical” style writing, adds an intriguing complexity to Hunters. With a chamber orchestra of strings, woodwinds, percussion and brass, Amos and her Bosendorfer wander through the sometimes artfully pretentious story she’s set to this music with far more finesse and assurance than most classical artists do when “slumming” it in the world of pop. The opening of the work, “Shattering Sea” (based on an Alkan prelude) invokes Prokofiev and Bartok as the piano duels violently with the orchestra. This combination aids in making Amos remarkably fresh sounding voice (at 48) sound at once both womanly yet perpetually waifish.

Taking place during the course of a single night Hunters bears a slight resemblance to Arnold Schoenberg’s Ewartung – thematically if not musically, though Amos’ text is a bit less obtuse though no less “arty” than the Schoenberg.

Natashya Hawley, Amos’s 11 year old daughter, does nice work on four of the numbers holding her own and every inch in sound at least, very much Mama’s girl.

Some of Amos’ strongest fans have been the most critical of this, but so far, critical reviews have been more than favorable. Not going unnoticed is a certain theatricality in all of this, which bodes well since Amos is in the midst of finishing her first musical theatre piece, “The Light Princess” (based on a 19th century folk tale about a flying princess) which is set to open in London early next year. Should be interesting!

p.

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4 Comments:

Blogger Charles Kaufmann said...

Dear P.

Just to let you know, our complete Golden Legend performance in Portland from last February 27 (2011) is available as a 9-part playlist video on YouTube:

http://www.youtube.com/playlist?list=PL5D90FFE31E598315

Some great stuff there. Please join us for our March 3, 4 and 5, 2012, Longfellow Choral Festival: "Ole Bull, Longfellow and Elgar: Scenes from the Saga of King Olaf" :

http://www.longfellowchorus.com/2012_Longfellow_Choral_Festival.html

Charles Kaufmann, Artistic Director
The Longfellow Chorus
Portland, Maine

October 25, 2011 at 9:19 PM  
Anonymous Heather said...

Such a nice article, features Tori Amos which is one of my favorite artist. In which her songs has a complete orchestra , what a nice songs.

December 8, 2011 at 1:39 PM  
Anonymous Sandy said...

She is so remarkable, with beauty, talent and her gracefulness when she plays piano could make me appreciate such great talent. She also an inspiration for many of her fans and viewers as well.

December 8, 2011 at 11:54 PM  
Anonymous Stephen Mead said...

I loved your latest post on Tori Amos and review in Opera News as well. I was wondering if you would be interested in listening to my song cycle "Whispers of Arias". You can read about it via StephenMeadArt on SoundCloud.com, http://soundcloud.com/stephenmeadart and http://stephenmeadmusic.weebly.com Please let me know at your convenience. Thank you and be well!

February 23, 2012 at 9:55 AM  

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