Magazine article Opera Canada

The Final Take: Music Karina Cauvin Can't Live Without

Magazine article Opera Canada

The Final Take: Music Karina Cauvin Can't Live Without

Article excerpt

SOPRANO KARINA GAUVIN CONTINUES HER BUSY CAREER ON BOTH SIDES OF the Atlantic. This summer and fall, there's lots of Mozart, in Chicago (June) as well as at the Elora and Lanaudiere festivals in Canada (July). In between these, at the end of June, Gauvin opens the festival in Beaune, France, in the title role of Handel's Rodelinda. In the fall, she will be singing in Vancouver, Edmonton, Atlanta, Milwaukee, Belgium, Paris and Montreal. Very active in the recording studio, Gauvin will record a CD of Purcell songs for the ATMA label in July, working with Les Boreades on a program that they will perform together in France next winter. In September, she's recording the role of Seleuce in Handel's Tolomeo for Deutsche Grammophon, with Alan Curtis conducting II Complesso Barocco. Gauvin can also be heard on the acclaimed recent recording of Vivaldi's Tito Manlio (Naive), which she performs again in Brussels next January. In June 2007, she returns to the Boston Early Music Festival for Lully's Psyche. Her recording from that festival of Conradi's Ariadne was nominated for a Grammy Award this year.

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How can I choose seven recordings when there is so much great music out there? How do I make the final selection? What attracts me to the music? Is it the interpretation, the complexity of the score or the sheer joy that I experience when I am listening? The answer probably lies somewhere in all of these. Basically, all my senses need to be awakened. I know I have more than seven recordings here. Well, never mind. CDs are so small, they don't take up that much room. My concert gown protects them down there at the bottom of my suitcase!

Les nuits d'ete/Sheherazade

Berlioz/Ravel

Regine Crespin, various orchestras

London

Maurice Ravel was, along with Henry Purcell, my first musical love. I adored his exquisite orchestration and attention to every single detail. When I was doing post-graduate work at the Royal Scottish Academy in Glasgow, I remember reading his biography and weeping. Imagine having so much music in your head but with no way to communicate it to the outside world. He did, however, leave some of the most beautiful music to posterity. I danced to "La valse" and the famous "Bolero" when I was a small child. Among my recordings, I would want Sheherazade sung by Regine Crespin (an all-time favorite and great classic) and Louis Lortie playing the "Tombeau de Couperin" or "Pavane pour une infante defunte" (Chandos). …

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