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OD, as it's called, constituted the "bookends" for my first visit to Sweden for the month of April in 1989: when I first arrived, Eric was doing a short tour with them, so I was invited along-they put me up in the same hotels, I ate meals with the choir, attended their rehearsals and concerts, etc.
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That evening we went to Uppsala to hear a rehearsal of Orphei Drängar, the truly wonderful male choir. But the survival of the Chamber Choir once Eric is gone is not a given, and something for real concern. They also are the resident choir at the Stockholm Philharmonic's concert hall, not only giving some of their own performances there, but providing the choir for major works-we'll he ar a Brahms Requiem with an expanded version of them there next week. They already have fairly regular guest conductors with the choir-Fredrik will do a production of French baroque music with them later this year, and the Dutch conductor Daniel Reuss (who was conductor for several years of Berlin's RIAS Chamber Choir) will do a performance of Stravinsky's Les Noces.
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It's a challenge to maintain such a professional choir as a free-lance ensemble and the board is dealing with the eventual transition, post-Eric. Thomas has also long been associated with Eric's Chamber Choir, first as a singer (he is a fine baritone) and then as the choir's President. Thomas has written some wonderful choral music (many will remember his dramatic 'O Domine') and it was good to catch up with him on his latest activities. Tuesday morning I had a lovely meeting with composer Thomas Jennefelt. Kathryn isn't attending many of these rehearsals, but writing, drawing and doing her own exploring of Stockholm during this time. After the break, the rest of the time was spent on Luciano Berio's 'Cries of London.' This is an immensely challenging piece, with many sections being done by either solo singers or part of the choir (first written for the King's Singers, it was revised in an 8-voice version and performed by the London version of the Swingle Singers, who did quite a bit of Berio's music), so it's the most complicated to rehearse. Certainly those of you who know the Swedish choirs have heard their fantastic intonation-this isn't the only reason it's so good (superb matching of vowels and control of vibrato are a huge part), but a willingness to patiently work at slow tempi and softly (so one can hear!) to lock tuning is another important part. For those who don't know this set, these are challenging and the entire time was spent rehearsing slowly and softly to lock in tuning. This rehearsal was more focused, the first hour and a half being spent on the Petrassi Nonsense songs. Monday was another rehearsal with Fredrik Malmberg and RK.