Thursday, October 23, 2008

Soprano Isabel Bayrakdarian in the news

Here is a collection of reviews, previews and CD reviews
from soprano Isabel Bayrakdarian's Remembrance Tour (including Boston, of
course) and new CD,
Gomidas Songs. If you missed her recital this past Sunday, well, you really missed something unique and wonderful (the CD is your last shot to get hip):


Reviews of Isabel Bayrakdarian's current recital tour



Boston Globe (Joel Brown), October 20:
Memorable Armenian folk songs carry the day



The New York Times (Steve Smith), October 21:
Summoning the Songs of Voices Stilled







Toronto Star (John Terauds), October 20:
Great talents, great music but something was missing



Toronto Star Letter to the Editor in response to above
review:
Concert a testament to survival









Los Angeles Times (Richard S. Ginell), October 6:
Review: Isabel Bayrakdarian and the Manitoba Chamber
Orchestra





OC Register (Timothy Mangan), October 7:
Soprano remembers genocide in song





Vancouver Sun (Lloyd Dykk), October 7:
Review: Isabel Bayrakdarian with the Manitoba Chamber
Orchestra at the Orpheum





San Francisco Chronicle (Joshua Kosman), October 6:
Music review: Isabel Bayrakdarian at Herbst



Previews from tour cities







Boston Globe (David Weininger), October 17:
Armenian tribute comes from her soul

The New York Times (Melanie Toumani), October 17:
Songs Lifted in Praise of an Armenian Hero

The Vancouver Province (Stuart Derdeyn), October 7:
It's Isabel's labour of love





 
Reviews of Gomidas Songs CD







Newark Star-Ledger (Bradley Bambarger), October 6



San Francisco Chronicle (Joshua Kosman), September 28





Ottawa Citizen (Richard Todd), September 27










As for my two cents (you couldn't leave this post without that, surely), Bayrakdarian's concert and her new CD, Gomidas Songs, were/are like listening to ghosts and
perhaps a bit like peering into an alternate version of the present in which
Gomidas, and by extension, the Armenian musical tradition, was able to carve out a
more prominent place for itself in the musical canon. Perhaps this music would
not seem so exotic or so unusual if not for the Armenian Genocide and diaspora. Even though this music is being performed and recorded, it is not prominent. Somehow, it is the sound of what might have been. A fact which, for me, magnifies its poignancy.

 



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