Transfiguration, for voice, flute, harp & percussion
The two works for soprano and chamber ensemble recorded here were written to be staged, Pope Joan as a dance opera and Transfiguration as a ritualistic drama. Pope Joan is set to texts by Enid Schomer that imagine the meditations of the ninth century woman, who, disguised as a man, served as Bishop of Rome. The five movements have a narrative connection that reveals Joan's thoughts, primarily centering on her lover and the imminent birth of their child. Here LeBaron's style is eclectic, incorporating chant, recitative, ...
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The two works for soprano and chamber ensemble recorded here were written to be staged, Pope Joan as a dance opera and Transfiguration as a ritualistic drama. Pope Joan is set to texts by Enid Schomer that imagine the meditations of the ninth century woman, who, disguised as a man, served as Bishop of Rome. The five movements have a narrative connection that reveals Joan's thoughts, primarily centering on her lover and the imminent birth of their child. Here LeBaron's style is eclectic, incorporating chant, recitative, arioso, and a number of idioms, including traditional tonality, minimalism, and Medieval conventions. Kristin Norderval brings a clear, bell-like soprano to the demanding vocal part. Transfiguration, which primarily consists of a text by Djuna Barnes, is a more mysterious and less straightforwardly narrative piece. It resembles Peter Maxwell Davies' Eight Songs for a Mad King in the extreme virtuosic demands placed on the soloist, who's asked to use a number of extended vocal techniques,...
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