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You've heard opera, and you've heard rock--but you've never heard opera rocked
like the East Village Opera Company. The East Village Opera Company--a
powerhouse five-piece band, a string quartet, and two outstanding
vocalists--brings the towering emotion and timeless musicality of opera into
the 21st century on its Decca/Universal Classics debut with its inventive,
hard-hitting arrangements of the music's "greatest hits"--including "La donna
?mobile" from Rigoletto, "Habanera" from Carmen, and "Nessun dorma" from
Turandot--performed at full length and in the original languages.
The concept of the East Village Opera Company is totally fresh, but not
unprecedented in pop. In 1985, for example, former punk-rock impresario
Malcolm McLaren released Fans, an album of "hip-hopera" that brought funky
beats and electronic programming to the works of Puccini and Bizet. But EVOC
is a whole new thing: an integrated, eleven-strong working band dedicated to
rocking the opera and electrifying the classics, as the ensemble has been
doing to spectacular effect ever since its New York stage debut in the spring
of 2004.
The East Village Opera Company was co-founded by lead singer Tyley Ross and
arranger/multi-instrumentalist Peter Kiesewalter. They assembled a full-on
rock band, adding two guitars, bass, and drums to Peter's keyboards, then
synched it to a string quartet. A second superb vocalist, AnnMarie Milazzo,
was recruited for impassioned duets with Tyley Ross (cf. "Au fond du temple
saint," from Bizet's The Pearl Fishers) and soaring solos like "Ebben?--Ne
andro lontana" (from La Wally by Alfredo Catalani).
EVOC's Decca/Universal Classics debut was produced and recorded in
April-July, 2005 by Neil Dorfsman, a three-time Grammy Award winner whose
credits include international bestsellers by Sting, Dire Straits, Paul
McCartney, and Bjork. The string arrangements were recorded in Prague by
the Czech Philharmonic Chamber Orchestra featuring lead violinist Pauline
Kim.
By embracing what Peter Kiesewalter calls "the pomposity of rock and the
pomposity of opera" without demeaning or satirizing either form, the East
Village Opera Company flies where countless other "classical-crossover"
efforts have failed.
"We have a profound love and respect for the opera," Peter insists. "But
it's so dramatic, so over the top by today's standards, that it cannot be
delivered with a straight face. You need a little bit of irreverence in
it."
"With modern recording technology and a wide variety of musical styles at
our disposal, our goal has been to approach these songs the way we feel the
composers would were they alive today," says
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