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Evidently this is the only score that Dawn Upshaw ran out and bought after seeing the film. She plays it repeatedly. When given the opportunity with the Saint Paul Chamber Orchestra to have concert pieces composed for her beautiful voice, she turned to this film composer.
Tonight she premieres the work called "The Land of the Lemon Tree," by Iglesias.
Upshaw is possibly best known for her recording of the incredible Goreki Symphony of Sorrows, it seems no one can sing the role like she can, and it still brings one to a stand still. Its encouraging that there is now a film score composer cross over happening here. It still remains rare to find soundtracks played on Classic stations... other than the Usual Suspects.
Has any one heard the score to TALK TO HER? The only film I have seen that featured the composer is THE CONSTANT GARDNER, and don't remember the music.
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I would make a case that he is one of the 2-3 essential film composers working at the moment. TALK TO HER is part of my reason for that assessment, but equally his other films for Almodovar, Julio Medem, and THE DANCER UPSTAIRS are part of that. I'm not surprised Dawn was impressed.
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Posted: |
Nov 7, 2009 - 2:53 PM
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By: |
antipodean
(Member)
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Dawn is an amazing artist and also a very gracious person - I first met her when she guest-performed with my orchestra, and dropped by my office to borrow the use of my phone(!). Like some other classical artists, I know that Dawn listens to other things than just "classical music", and that's one reason why she is such a strong proponent as well as exponent of contemporary works (much more than many other classical artists.)
She was performing earlier this year here in Sydney, giving the Australian premiere of "Three Songs for Soprano and Orchestra" by another major contemporary composer, Oswaldo Golijov. The first of the three songs, Night of the Flying Horses, comes from a melody which Golijov composed for Sally Potter's "The Man Who Cried".
I have Iglesias's "Talk to Her" as well as "Volver" and "The Constant Gardener" (haven't gotten around to getting "Todo Sobre Mi Madre" yet), which are highly enjoyable works in themselves, even if you haven't seen the movies (Almodóvar isn't to everyone's tastes, I suppose.) And there's also a very good collection of songs from the Almodóvar films worth a look:
http://www.amazon.com/exec/obidos/ASIN/B00000C2NN/classicfromthesi
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TALK TO HER is an absolutely superb score, as is pretty much anything by Iglesias. TODO SOBRE MI MADRE, THE CONSTANT GARDENER, THE KITE RUNNER...all wonderful. For me, TALK TO HER is his crowining glory (so far...).
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http://minnesota.publicradio.org/display/web/2009/11/04/dawn_upshaw_iglesias_spco/?refid=0
Yes, they mentioned this link after she spoke about her connection to the film & the score, then followed with her singing the beautiful Songs of the Auvergne by Canteloube.
The 29 second bits from the tracks of TALK TO HER on Amazon intriqued me greatly. I wish they would more generous in their samplings. Nevertheless, this sounds like something very worthy. I look forward to seeing the film and LISTENING.
The Constant Gardner was a good film, very intense, with its lovely, albeit, heartbreaking conclusion. Quite possibly its story and visual style took me away from noticing the score.
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She was performing earlier this year here in Sydney, giving the Australian premiere of "Three Songs for Soprano and Orchestra" by another major contemporary composer, Oswaldo Golijov. The first of the three songs, Night of the Flying Horses, comes from a melody which Golijov composed for Sally Potter's "The Man Who Cried".
I was at the performance of that piece in Sydney. It was breathtaking. I danced home!
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Upshaw has a unique voice and lovely voice.
Would love for you to post photos of the dancing.
Word!
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word, word word....
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