A timely release with soprano Emma Matthews’ fantastic Mozart Arias album (481 0776) also released in June.
Aaron Copland described Dickinson’s work as “fresh, precise, utterly unique”. Eight Poems of Emily Dickinson are the perfect vehicle for Emma Matthews’ technical brilliance. In this recording there is a wonderful sense of the humane, of vulnerability and exquisite tenderness, her expressive genius delivering these one-way conversations most convincingly. The orchestration for the Eight Poems of Emily Dickinson is in a chamber style calling for small orchestral forces so Copland’s Appalachian Spring for 13 instruments proves the ideal coupling. This is a work that defines the essence of America in music: the wide open skies, the pioneering spirit, and the values of simplicity and directness.
Emma Matthews is one of Australia’s most acclaimed sopranos. She has performed with all the state opera companies and the major Australian symphony orchestras. Her roles include Papagena and Pamina (The Magic Flute), Cherubino (The Marriage of Figaro), Cleopatra (Julius Caesar), Violetta (La traviata), Gilda (Rigoletto), Sophie (Der Rosenkavalier) and in the title roles in Lulu, Lakmé, Lucia di Lammermoor and The Cunning Little Vixen, the latter performed at Covent Garden under Sir Charles Mackerras in 2010.
Conductor Benjamin Northey studied under Jorma Panula at the Sibleius Academy. He is a regular guest conductor with all major Australian symphony orchestras and Opera Australia. His international appearances include concerts with the London Philharmonic Orchestra, the Mozarteum Orchestra Salzburg, the Hong Kong Philharmonic, and New Zealand’s major orchestras.
The Melbourne Symphony Orchestra has a reputation for excellence, versatility and innovation and is Australia’s oldest orchestra. Its current Principal Conductor is Sir Andrew Davis. The MSO is an established recording orchestra having recently recorded for Chandos and ABC Classics.
‘Soprano Emma Matthews sang Copland’s Eight Poems of Emily Dickinson with technical care and a glowingly resonant low register…’ Sydney Morning Herald, June 2013
“Everything about this performance was perfect.” – Arts Hub