Synonyms for esswood or Related words with esswood

equiluz              kletzki              ablinger              lincke              patzak              graener              wranitzky              pintscher              ridderbusch              bruhin              hawlata              hofhaimer              rivinius              rabitsch              borowskikarl              holzmair              kurmann              greindl              tscherrig              strakosch              legley              mennin              schabl              zeisl              zellikoff              oelze              tromlitz              brauss              hubschmid              susemihl              rettke              jelden              biensfeldt              simonischek              mamlok              ginsborg              riessler              cykman              schmeckenbecher              poeschke              marthaler              lackerschmid              pintavalle              hengelbrock              goldsteiner              wiesinger              tschackert              gottowt              wallfisch              gwisdek             

Examples of "esswood"
Esswood has participated in over 150 recordings, including the alto parts of many Bach cantatas in the complete Teldec series by conductors Nikolaus Harnoncourt and Gustav Leonhardt. He has recorded "Messiah" four times, as well as extended works by Henry Purcell, Claudio Monteverdi, Francesco Cavalli, Marc-Antoine Charpentier and others. Among the roles in contemporary works written for Esswood are the title role in Philip Glass's "Akhnaten" and Death in Penderecki's "Paradise Lost". He also sang in the première of Schnittke's Second Symphony.
Paul Esswood is a co-founder of Pro Cantione Antiqua, an all-male a cappella group specializing in early music. He is also establishing a reputation as a conductor of Baroque opera.
The novel, a modern Gothic, concerns an American professor, William Standish, who is researching the poems of his grandmother Isobel Standish at an English manor, Esswood House, home and estate of the Seneschal family, aristocratic patrons of the literary arts for well over a hundred years. D. H. Lawrence, T. S. Eliot, Ford Madox Ford, and Henry James were amongst those privileged to call themselves guests and Esswood Fellows. We learn that Isobel Standish found in Esswood a respite from the outer world, and in its refined atmosphere an inspiration for her work. There was always talk of a hidden secret in Esswoods past, and the Seneschal children were often pale and sickly. For Prof William Standish, fleeing the unfaithfulness of his wife and her previous abortion, and her second pregnancy, which he believes is the result of an affair she had with an academic rival, Esswood offers him the chance to study Isobel's private manuscripts at close hand, which thrills him beyond his wildest ambitions.
Paul Esswood was born in West Bridgford, England. He studied at the Royal College of Music in London from 1961 to 1964 after which he sang in the choir of Westminster Abbey. His professional debut was in a performance of Handel's "Messiah" for the BBC (1971).
Patrick Van Goethem was born in Aalst, East Flanders, and began his education in the boys choir Schola Cantorum Cantate Domino under direction of Michaël Ghijs. He studied with Marie-Thérèse Maesen and Zeger Vandersteene, and later with Paul Esswood, Julia Hamari and Andreas Scholl.
Paul Esswood (born 6 June 1942) is an English countertenor and conductor. He is best known for his performance of Bach cantatas and the operas of Handel and Monteverdi. Along with his countrymen Alfred Deller and James Bowman, he led the revival of countertenor singing in modern times.
Notable singers in the alto range recorded the cantata, male (as in Bach's time, also called altus or countertenor) and female (contralto or mezzo-soprano), including Alfred Deller, Maureen Forrester, René Jacobs, Julia Hamari, Paul Esswood, Jochen Kowalski, Nathalie Stutzmann, Andreas Scholl, Michael Chance, Guillemette Laurens, Magdalena Kožená and Robin Blaze.
At the same time, he finds himself at sea in England with its different customs, and especially at Esswood, a grand Gothic pile, with its meals served by invisible servants, its rococo library, its hidden basements containing bones and giant dollhouses. Drawn into a nightmarish landscape where he is pursued by dead babies, or births of various kinds (one of Isobel's manuscripts is titled 'B.P.' which he interprets as 'Birth of the Past'), he hears faint laughter in the halls, the pitter-pattering of small feet in the night; strange faces appear in the windows of the library. Standish is increasingly unable to distinguish fact from reality as, caught in a vortex of hallucinatory images, he is subject to the unfolding of the dark secrets of Esswood.
Jester R, one of the Six Stars (the six most powerful of the Gate Guardians), does not appear much (or at all, after the first level). During the introduction, he is seen with Chief Esswood, and is the only possessor of the rare Purple Majesty. He teaches Ark and Ivy the meaning of being a Gate Guardian, and the responsibility of protection. (25 years old)
Pro Cantione Antiqua of London (PCA) is a British choral group which was founded in 1968 by tenor James Griffett, counter-tenor Paul Esswood, and conductor and producer Mark Brown. Their first concert was at St Bartholomew's, Smithfield with Brian Brockless conducting but, from an early stage, they were closely associated with conductor and musicologist Bruno Turner. Arguably, they were the leading British performers of a cappella music, especially early music, prior to the founding of the Tallis Scholars.
Nikolaus Harnoncourt recorded "Christ lag in Todes Banden" in 1971 in a historically informed performance with original instruments and male singers (the upper two parts are sung by boys and the countertenor Paul Esswood). This was at the start of the first project to record all Bach's sacred cantatas, "J. S. Bach – Das Kantatenwerk" on Teldec. "Christ lag in Todes Banden" has since been included in the other "complete sets", conducted by Rilling, Gardiner, Koopman, Leusink, and Suzuki (details of these recordings are given in the table below).
Akhnaten is an opera in three acts based on the life and religious convictions of the pharaoh Akhenaten (Amenhotep IV), written by the American minimalist composer Philip Glass in 1983. "Akhnaten" had its world premiere on March 24, 1984, at the Stuttgart State Theatre, under the German title "Echnaton". Paul Esswood sang the title role, German director Achim Freyer staged the opera in an abstract style with highly ritualistic movements. The American premiere was held on October 12, 1984, at the Houston Grand Opera, where Glass's opera "The Making of the Representative for Planet 8" also premiered.
Hansmann was a singer in recordings by Nikolaus Harnoncourt, pioneering historically informed performances. She appeared in Monteverdi's operas, as La Musica and Euridice in "L'Orfeo", alongside Lajos Kozma as Orfeo. A reviewer noted: "Rotraud Hansmann as Euridice sings beautifully with crisp diction and much attention to inflection." She performed the parts of Amore and Minerva in "Il ritorno d'Ulisse in patria", with in the title role, and as Virtù and Drusilla in "L'incoronazione di Poppea", alongside Helen Donath as Poppea, Elisabeth Söderström as Nerone, Cathy Berberian as Ottavia and Paul Esswood as Ottone. In 1968 Hansmann recorded the first soprano part of Bach's Mass in B minor.
Scholl was 17 when the extent of his ability was recognised by the voice coach of the "Chorbuben" from the Darmstadt Music Academy. Scholl then sang for the tenor/countertenor Herbert Klein, who advised him that there were only two places he should study: in London or at the early music conservatoire in Basel, the Schola Cantorum Basiliensis. Since an uncle had introduced Scholl to the voices of Paul Esswood and James Bowman, the leading European countertenors of the day, Scholl chose Bowman as a role model. Scholl sent a demo tape to René Jacobs to evaluate his talent. This resulted in Jacobs inviting Scholl to visit the Schola Cantorum Basiliensis. Although the Schola Cantorum Basiliensis only offered post-graduate courses, and Scholl had no first degree, he was offered a place on the strength and quality of his voice after singing a Schubert song for the admissions board, which included René Jacobs.
Gregoire studied at the Ecole Nationale De Musique - Charleville Mezieres, where he won 1st Prize in the class of Mme Josette Barreaud. He also studied under James Bowman, Paul Esswood, Henri Ledroit, Margreet Honig and Hubert Weller. At the suggestion of Henri Ledroit he auditioned as a singer in "Le Bourgeois Gentilhomme" by Molière and Lully at Comédie Francaise. He went on to sing in over 350 performances of the work. He then came to the attention of conductors such as Jean-Claude Malgoire, Christophe Rousset, Jonathan Darlington, and Marc Minkowski. Under Minkowski he has sung the title role in Alessandro Stradella's oratorio "San Giovanni Battista", performed in Handel's "Dixit Dominus" and Monteverdi's "L'incoronazione di Poppea" as well as singing the role of Coryphée in Minkowski's 1999 recording of Gluck's "Armide".
His professional career as a countertenor commenced in 1964, while he taught English at what is now the Purcell School. He sang for Henry Washington at Brompton Oratory, and took singing lessons privately from Roy Hickman, a professor at the Guildhall School of Music and Drama, whose students included the tenor Ian Partridge, the contralto Ruth Little, and the countertenor Kevin Smith. From 1965 to 1969, he played an important role in the management of the pioneering early music group Musica Reservata, founded by Michael Morrow and John S. Beckett. He was responsible for the first ever large-scale concert at the Queen Elizabeth Hall involving an orchestra of authentic instruments in July 1967, as a result of which Musica Reservata was contracted to make a number of recordings with Philips Records. Between 1966 and 1970, he was the one countertenor in the choir of Westminster Cathedral (where the boy choristers also provide an alto line). He was a founder member alongside Paul Esswood, James Griffett and James Bowman of the men's voice vocal ensemble Pro Cantione Antiqua, making a series of recordings in 1970 for German radio stations conducted by Bruno Turner. Also in 1970 he made his professional opera debut at the Landestheater Darmstadt as Ottone in "L'incoronazione di Poppea" in a production by the Harro Dicks, conducted by Hans Drewanz using a new edition by Nikolaus Harnoncourt. In 1969 and 1970, he sang with the Concentus Musicus Wien, first as alto soloist in the Christmas Oratorio in Bremen, and then at the Vienna Festival in a Konzerthaus performance of two Bach alto cantatas. He also recorded the Machault "Messe de Nostre Dame" with James Bowman, and was a soloist in the first period instrument recording of the "St Matthew Passion", conducted by Nikolaus Harnoncourt.