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Humanity Will Continue to Live an Inferior Life Than What is Possible Until the Two Halves: All Individuals in Them: That Make It are Absolutely Fundamentally and Jubilantly Equal at Liberty


Year Gamma: London: Thursday: January 04: 2018
First Published: September 24: 2015

Change: Either Happens or Is Made: When It is Not Made It Happens Regardless in Which We Become Mere Logs and Get Washed Away in and by Utterly Mechanical Forces of Dehumanisation: When Made Change is Created by Our Conscious Choices, Efforts, Initiatives and Works: In the Former We Let Go Off Our Humanity So That Dehumanisation Determines and Dictates the Existence of Our Sheer Physiologies: But in the Later We Claim, Mark and Create Our Humanity as to the Change We Choose to Make and Create It Onto Reality: To Nurture, Foster, Support, Sustain, Maintain, Enhance, Expand, Empower and Enrich the Very Humanity That We Are:  As Individuals, As Families, As Communities and As Societies All of Which Now Exist in the Fabrics of Time-Space of What is Called Civic Society: One That Exists by Natural Justice and Functions by the Rule of Law: Ensuring Liberty and Equality, Along with Purpose and Meaning of Existence, Exist in Each and Every Soul Equally at All Times: The Humanion






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Stories Published in Music Section in September-December 2015














Nicola Benedetti is a Violinist Without a Second to Compare Her With

Many years ago as Nicola Benedetti had just started to make waves around the country with the magic of her bow and strings, on a summer's evening I was at the Barbican Centre where I sat and had a tea, looking out onto the sky spread over and spelling a brilliance over the high rise blocks when I found a programme leaflet in which were advertised Nicola Benedetti's various performances. That was when I came to hear of her name for the first time and I still remember that evening.

Since then I have consistently as the entire country followed her progress and development as an artist enjoyed her work immensely. She became more and more confident and grew to become more fluent, more conversant and fundamentally, more 'instrumental' to the very instrument, violin, she plays; instrumental in the sense when Nicola plays the violin, it seems, she is the instrument herself who has an extended exterior of it which is the violin so that she does not play the violin but she plays herself.

For when she plays, whether it's  Mendelssohn or Vaughn Williams, she makes one forget the violin, forget the artist, forget everything else except the state of the music that is brought to life with all its intricacies and that is all one is left with for one to be lost in. And for a complement as an artist for Nicola Benedetti, there are no higher words that I could muster to offer.

When one hears her play The Lark Ascending (Vaughn Williams) one finds oneself in the state that has been described in the above paragraph. In fact, one would feel, as one is lost in the joy, beauty and masterful performance of Nicola Benedetti in that beautiful piece of music that Vaughn Williams must have heard this piece exactly the way she plays and she does play it as if it was written for her to play.

I have always loved her work and been happy to see her passion not only in her music and playing but also in spreading the joy of music through education and inspire young people about music and playing musical instruments.

May she continue to bring magic out of the bow and strings of her violin that is half of what she is.

The Humanion

Posted: December 6, 2015


…it was thrilling to hear and watch Nicola Benedetti in a truly risk-taking performance that lived so much in the body and fused the sinews of the violin and the nerve-system of the player: Hilary Finch, The Times

Nicola Benedetti

Nicola Benedetti is one of the most sought after violinists of her generation. Her ability to captivate audiences with her innate musicianship and dynamic presence, coupled with her wide appeal as a high profile advocate for classical music, has made her one of the most influential classical artists of today.

With concerto performances at the heart of her career, Nicola is in much demand with major orchestras and conductors across the globe. Recent and future performances include engagements with the London Symphony Orchestra, London Philharmonic Orchestra, Frankfurt Radio Symphony, WDR Cologne, Camerata Salzburg, Orchestra del Teatro La Fenice, Mariinsky Orchestra, Danish National Symphony, Bergen Philharmonic, Strasbourg Philharmonic, BBC Scottish Symphony, Royal Scottish National Orchestra, Scottish Chamber Orchestra, Netherlands Radio Philharmonic, New York Philharmonic, Philadelphia Orchestra, San Francisco Symphony, National Symphony Orchestra of Washington D.C., Cincinnati Symphony, Pittsburgh Symphony, Vancouver Symphony, Melbourne Symphony and Hong Kong Philharmonic orchestras amongst others.

The 14/15 season will see Nicola further her passion for music of the Italian Baroque and historical performance realized in collaborations with Andrea Marcon and WDR Cologne, Venice Baroque Orchestra and a European tour with La Cetra Barokorchester Basel.

These international appearances have resulted in her working with a host of distinguished conductors including Vladimir Ashkenazy, Stéphane Denève, Christoph Eschenbach, James Gaffigan, Valery Gergiev, Alan Gilbert, Jakub Hrusa, Vladimir Jurowski, Louis Langrée, Andrew Litton, Jiří Bělohlávek, Sir Neville Marriner, Diego Matheuz, Kristjan Järvi, Neeme Jaarvi, Paavo Järvi, Donald Runnicles, Yan Pascal Tortelier, Pinchas Zukerman, and Jaap van Zweden.

With her regular duo partner, pianist Alexei Grynyuk, Nicola frequently performs in recital making appearances in in the world’s leading concert halls. Most recently she appeared in her capacity as Artist in Residence at this year’s Cheltenham International Music Festival, Dresden Musikfestipiele, the Sapienza in Romea and Maison Symphony in Montreal and prior to this has given recitals in London, Edinburgh, Glasgow, Hong Kong, Paris, Sacile, New York, Boston, and Washington D.C. Future recitals include performances at the Royal Albert Hall, Wigmore Hall, Symphony Hall Birmingham, Aix en Provence and Trieste Italy.

Nicola is a devoted chamber musician and collaborates with cellist Leonard Elschenbroich and pianist Alexei Grynyuk, who have been performing as a trio since 2008.   They recently undertook an extensive tour of Scotland including performances at the Edinburgh Usher Hall and Glasgow Royal Concert Hall. Recent and future highlights include concerts at LSO St. Luke’s, Frankfurt Alte Oper, Die Glocke Bremen, Hong Kong City Hall, two tours of South America South America and, at the Ravinia, Schloss Elmau, Istanbul and Cheltenham Festivals.

Fiercely committed to music education and to developing young talent, Nicola has formed associations with education establishments including schools, music colleges and local authorities. In 2010, she became Sistema Scotland’s official musical ‘Big Sister’ for the Big Noise project; a music initiative partnered with Venezuela’s El Sistema (Fundación Musical Simón Bolívar).  As a board member and teacher Nicola embraces her position of role model to encourage young people to take up music and work hard at it, and she continues to spread this message in school visits and masterclasses, not only in Scotland, but all around the world.

In addition, Nicola recently developed her own education and outreach initiative entitled The Benedetti Sessions. Piloted in March 2013 at Glasgow’s Royal Concert Hall, these sessions gave hundreds of aspiring young string players the opportunity to rehearse, undertake and observe masterclasses culminating in a performance alongside Nicola. She will present The Benedetti Sessions at the Royal Albert Hall in September 2013 and Nicola has plans to develop this exciting initiative on an international scale.

Winner of Best Female Artist at the 2013 Classical BRIT Awards, Nicola records exclusively for Decca (Universal Music). Her most recent recording, The Silver Violin, is particularly renowned for its success in reaching No. 30 in the UK pop charts simultaneously to topping the classical charts for months. Her past six recordings on Universal/Deutsche Grammophon include a varied catalogue of works including the Szymanowski Concerto (London Symphony Orchestra/Daniel Harding), newly commissioned works by Tavener and The Lark Ascending (London Philharmonic/Andrew Litton), a disc of virtuosic works (Royal Liverpool Philharmonic/Vasily Petrenko), Tchaikovsky and Bruch Concertos (Czech Philharmonic Orchestra/Jakub Hrusa) and most recently Vivaldi, Tartini and Veracini Concerti (Scottish Chamber Orchestra/Christian Curnyn).

Nicola was appointed as a Member of the Most Excellent Order of the British Empire (MBE) in the 2013 New Year Honours in recognition of both her international music career and for her work with musical charities throughout the UK. In addition, she has received eight honorary degrees to date.

Born in Scotland of Italian heritage, Nicola began violin lessons at the age of five with Brenda Smith.  In 1997, she entered the Yehudi Menuhin School, where she studied with Natasha Boyarskaya.  Upon leaving, she continued her studies with Maciej Rakowski and then Pavel Vernikov, and continues to work with multiple acclaimed teachers and performers.

Nicola plays the Gariel Stradivarius (1717), courtesy of Jonathan Moulds.


(This biography and photos are taken from Nicola Benedetti's Website )


Posted: December 6, 2015



Isabelle Boulay is a Voice of Liberty of the Open Spaces She Sings About


Hails from Canadian Sainte-Félicité, Quebec, Isabelle Boulay sings with joy and freedom in her voice that expresses a deep sense of wonder, passion and a something absolutely 'Isabelleque', so unique that as if it has prairie winds flowing through the open spaces, the air flowing through the lit white and hazy curtains of space, lit in unhurried light, to her voice that I have never heard in any other artist's voice.

She has a poignant and primal sense of being wounded with the wonders of life that comes out of her voice. And a sense of longing to respond and join with the wider, outer, greater entity that nature is to which she has a profound connection that we seem not to care much in these times but Isabelle's voice does.

First time I heard her it felt as if her voice opens the open spaces as she sings on as if they begin to roll, ripple and run like the clouds in the skies above them. Therefore, to listen to Isabelle is simply being taken to that state of being from which she is singing and one cannot but be moved as much as she did singing. A joy to listen to is her voice; such a voice that hundreds of millions of people across the globe should listen to it.

Isabelle Boulay is a Voice of Liberty of the Open Spaces She sings About and may she continue to sing all her life, as beautifully as she does if not better.

Isabelle Boulay

Le 6 juillet 1972, Isabelle voit le jour à Sainte-Félicité, en Gaspésie, un hameau situé à l'est de Matane. À deux ans et demi, la petite Isabelle connaît déjà ses premiers frissons d'interprète… juchée sur le juke-box du restaurant de ses parents. L'air choisi lui sied à ravir : Une rose pour Isabelle, de Roger Whittaker. « Ma grand-mère me chantait tout le temps une chanson western qui disait : "C'est l'histoire d'une jeune fille qui n'avait que ses seize ans/ Qui partit pour la grande ville malgré tous ses bons parents". Elle me disait : "Tu vas faire une actrice ou une chanteuse." »

De 7 à 11 ans, Isabelle chante tous les week-ends dans les bars avec un groupe. Déménagée à Matane au début de son adolescence, elle vit difficilement ce changement; elle cesse donc de chanter en public. En 1988, des amis qui apprécient son talent l'inscrivent à son insu à un concours qui se déroule à Matane. Elle y fait la rencontre de Josélito Michaud, alors membre du jury.

Au Festival en chanson de Petite-Vallée en 1990, elle remporte le prix d'interprétation et le prix du public avec la chanson Les gens de mon pays, de Gilles Vigneault. L'année suivante, au Festival international de la chanson de Granby, elle décroche le prix de la meilleure interprète grâce à son interprétation d'Amsterdam, de Jacques Brel, et de Naufrage, de Gilbert Langevin et Dan Bigras. La voilà lancée... Elle quitte Québec pour Montréal et devient choriste pour Dan Bigras. Josélito Michaud devient son agent en 1992 et ils fondent ensemble les Productions Sidéral deux ans plus tard. L'année 1995 est déterminante pour Isabelle, qui prête sa voix à la comédienne qui joue Alys Robi, dans une télésérie qui relate l'histoire de la chanteuse internationale. Elle y interprète fabuleusement quelques-uns de ses succès, comme Tico Tico, Amor Amor, Brésil. Puis, il y a cette importante rencontre avec Luc Plamondon. « Elle est venue chez moi pour auditionner pour le rôle de Marie-Jeanne… C'était tellement beau! Elle m'a dit sur la galerie, en sortant : "Donne-moi le rôle, je vais être bonne." Je lui ai fait confiance. » Isabelle devient alors la serveuse automate de Starmania. Jusqu'en 1998, elle interprète 350 fois Le monde est stone sur diverses scènes européennes.

Entièrement écrit et composé par Daniel DeShaime, son premier album sort en 1996 et il s'intitule Fallait pas. On y retrouve son premier succès : Et mon cœur en prend plein la gueule. Deux ans plus tard, elle lance États d'amour, réalisé par Olivier Bloch-Lainé. L'album fait une entrée très remarquée, autant au Québec, 240 000 disques vendus et un prix Félix pour l'interprète féminine de l'année en 1999, qu'en Europe, où l'album devient la clé qui lui ouvre toutes les portes. Fruit d'une collaboration entre Richard Cocciante et Luc Plamondon, la pièce Je t'oublierai, je t'oublierai tourne partout. Le PDG de V2 Music France à l'époque, Thierry Chassagne, tombe sous le charme de la chanteuse et décide de la mettre sous contrat. À la même époque, elle fait une autre rencontre déterminante, celle de Jean-Valère Albertini, alors directeur artistique de la maison de disques française.

En 1999, elle brise la glace de la scène musicale parisienne au théâtre Déjazet, « là où Ferré se sentait comme chez lui ». Au printemps, elle chante pour la première fois sur la scène de l'Oympia de Paris, à titre d'invitée de Serge Lama. À l'été, l'album Scènes d'amour, qui contient des duos avec Serge Lama, Francis Cabrel, Michel Rivard, Claude Léveillé et Éric Lapointe entre autres, est enregistré devant le public aux FrancoFolies de Montréal. En 1999, Isabelle obtient le Félix de l'interprète féminine de l'année et, en 2000, Scènes d'amour remporte le Félix de l'album de l'année - populaire.

De retour en France en 2000, Isabelle assure la première partie de Francis Cabrel dans tout l'Hexagone, puis en mars à l'Olympia. En mai, elle participe au spectacle de Patrick Bruel au Zénith. En août, elle lance son quatrième album, Mieux qu'ici-bas, réalisé par Benjamin Biolay. Il s'écoule à près de deux millions d'exemplaires… L'année suivante, portée par le raz-de-marée créé par l'album, Isabelle surfe de récompenses en triomphes : deux Victoires de la Musique, pour l'Album Découverte de l'Année et l'Artiste Découverte de l'Année, des prestations à l'Olympia et au Zénith et un détour par la Suisse et la Belgique… Au Québec, elle enchaîne une centaine de spectacles, s'arrêtant au Gala de l'ADISQ pour accepter deux nouveaux Félix, ceux pour l'album de l'année - populaire et le spectacle de l'année - interprète.


En 2002, Isabelle enregistre deux disques : la compilation Ses plus belles histoires et Au moment d'être à vous, un mariage de reprises de ses propres succès et de classiques de la chanson française, enregistrés en concert avec l'Orchestre symphonique de Montréal. Au moment d'être à vous remporte un succès énorme : plus de 600 000 exemplaires sont vendus en France et elle remporte le Félix de l'interprète féminine de l'année en 2002 et en 2003. Mais, la petite fille de Sainte-Félicité décide tout de même de s'accorder une pause, le temps de faire le point. « Pour, comme je le dis souvent, laisser l'eau remonter dans le puits », admet-elle. Cette année-là marque aussi la fin de son association professionnelle avec Josélito Michaud.

En 2003, elle enchaîne quatre prestations à l'Olympia, en version symphonique. Comme elle a pris une année sabbatique, Isabelle en profite pour rejoindre Johnny Hallyday sur scène chaque soir pour chanter avec lui J'oublierai ton nom. L'année suivante, elle sort son septième album, Tout un jour. Écrites entre autres par Francis Cabrel, Zachary Richard et Daniel Bélanger, les chansons portent des titres révélateurs comme J'irai jusqu'au bout, Telle que je suis et Je voudrais. « C'est un album très personnel et important pour moi, confie-t-elle. Il représente l'aube d'une nouvelle ère. Tout ce que j'ai traversé et vécu est dans Tout un jour. » S'ensuit une tournée dans la vaste francophonie pendant deux ans, avec une escale africaine à Carthage, en Tunisie, où 11 000 admirateurs entassés dans un amphithéâtre romain chantent en chœur ses chansons. En 2005, elle gagne le Félix de l'artiste québécois s'étant le plus illustré hors Québec et le spectacle de l'année – interprète.

Elle lance Du temps pour toi en 2006, un album live qui immortalise la tournée de Tout un jour. Elle sort de plus un premier DVD, tiré du même spectacle. À l'automne, les Productions Sidéral deviennent Chic Musique et Isabelle s'adjoint à Marc-André Chicoine, à titre d'agent et de producteur. Isabelle signe également un accord de licence avec Audiogram pour la distribution de ses disques. Désormais, c'est elle qui tient les rênes de sa carrière.

En février 2007, elle lance le bien nommé De retour à la source, un disque qu'elle porte en elle depuis toujours. Son son country fait écho aux musiques qui l'ont bercée depuis sa plus tendre enfance. Elle y raconte entre autres choses son coin de pays dans Entre Matane et Baton Rouge, sa jeunesse dans Un monde à refaire et elle rend hommage à une tante adorée dans Adrienne. Le public et la critique sont conquis : elle vend plus de 130 000 albums et elle remporte trois Félix au Gala de l'ADISQ de 2007, soit ceux de l'interprète féminine de l'année, de l'album de l'année – country et du spectacle de l'année – interprète.

L'année suivante, elle sort Nos lendemains, réalisé par Dominique Blanc-Francard, le complice de Camille, Raphaël, Françoise Hardy et Stephan Eicher. Le disque présente des chansons composées par Julien Clerc, Maxime Le Forestier, Jean-Louis Murat, Benjamin Biolay et Jacques Veneruso. C'est une chanson country de Ron Sexsmith, traduite en français, qui donne le titre à l'album. Elle fait sa rentrée montréalaise au Théâtre St-Denis avec le spectacle baptisé Ta route est ma route, où elle présente du matériel inédit et des grands succès. En mars, Isabelle donne rendez-vous à ses fans français à l'Olympia de Paris, après presque trois ans d'absence. Puis, elle fait une tournée en France, en Suisse, en Belgique et au Luxembourg. Un mois seulement après son arrivée sur le marché français, Nos lendemains est certifié disque d'or. Mais, ce qu'on ne sait pas encore, c'est qu'Isabelle a un petit secret qui l'émerveille, qui pousse et qui donne des coups... Le 20 octobre 2008, Marcus voit le jour. Deux semaines plus tard, Isabelle reçoit trois Félix au Gala de l'ADISQ, pour l'artiste québécois s'étant le plus illustré hors Québec, l'interprète féminine de l'année et le spectacle de l'année - interprète. Elle offre son dernier tour de chant dans la province en février 2009, conclut par la suite sa tournée européenne; puis, elle s'arrête durant quelques mois, question de préparer un autre album. Le 26 novembre, elle sort Chansons pour les mois d'hiver.

En 2011, Isabelle revient avec le disque Les grands espaces, réalisé par Benjamin Biolay. L'opus aux accents folk et country comprend des chansons inédites signées entre autres par Jean-Louis Murat, Benjamin Biolay, Michel Rivard et Steve Marin. L'interprète se fait également un plaisir de revisiter quelques classiques, comme ceux de Phil Spector, Daniel Lanois, Lee Hazlewood, Julien Clerc et Etta James. Soulignons de plus la participation exceptionnelle de la vedette country Dolly Parton, qui chante en duo avec elle la pièce True Blue, enregistrée à Nashville.

Taken from Isabelle Boulay's Website

Posted on: November 2, 2015


Sissel Kyrkjebo Norway's Beautiful Gift to the World

Photo Credit : Sissel Website

Those who have not heard Sissel sing would be infinitely enriched if they did for when she sings her heart and soul swim and fly in her voice with a fire and passion that no other singer can bring as she does. Passion and a jubilant, exuberant soul that you find in her voice. It is a voice that takes you to the height of the rainbow of humanity as well as to the depth of loss , despair, love and longing with equal command of humanity and grace. In short, Sissel is a beautiful gift of Norway to the World which is made infinitely richer by her passionate and soulful voice. May she continue to sing and enrich us.

Sissel Kyrkjebo was born in 1969 in Bergen, gateway to the fjords on Norway’s west coast. It’s a place where she has always found her muse. ¨ The Norwegian countryside is my inspiration .¨ She has performed in front of royalty and heads of state, shared the stage with superstars of every musical genre, classical stars, punks, folk, pop idols and rappers. Sissel's rich and varied career has spanned over 28 years. She has performed in front of royalty and heads of state, shared the stage with superstars of every musical genre ‐ classical stars, punks, pop idols and rappers.

Highlights include singing the Olympic hymn at the 1994 Winter Olympics in Lillehammer, representing Norway at the Nobel Peace Prize Gala Concert, and performing at the first Christmas concert in Moscow after the fall of the Soviet Union, invited by the great tenors Placido Domingo and José Carreras. However, this was not the first time they performed together.

Sissel and Domingo first met during the Olympic Games at Lillehammer where they sang the Olympic Theme song together. The recording took place in the TV crew's cafeteria right before the opening ceremony. As a result of that collaboration, Sissel was invited to Domingo's “Christmas in Vienna” together with Charles Aznavour.

Later in 2002, they went on to record 'Ave Maria' from Intermezzo by Mascagni (and « Bist du bei mir » by J.S.Bach). A year later she recorded another Ave Maria, this time by Schubert, with Welsh bass-baritone Bryn Terfel and a third Ave Maria, solo, for a Japanese car commercial.

Sissel has shared the stage with superstars including Celine Dion, Sting, Moby, Angelic Kidjo, Willie Nelson - she’s toured and sung at Carnegie Hall with The Chieftains and appeared twice on David Letterman’s talk show in New York, and performed on Good Morning America both alone and with Placido Domingo.

Other collaborators have included pop legend Neil Sedaka, jazz star Diana Krall, Jazz legend Dee Dee Bridgewater and crossover favourite Josh Groban, as well as duets with Danish punk band Sort Sol (Black Sun), Oslo Gopsel Choir and rapper Warren G ‐ the latter producing a hit single across Europe.

Sissel’s music has already touched millions. With a recording repertoire ranging from Schubert and Chopin to Lloyd-Webber and Morricone, Handel and Bach to ABBA and Lord (that’s Jon Lord of rockers Deep Purple), Sissel was a crossover artist long before marketing men invented the term.

Sissel Kyrkjebo was born in 1969 in Bergen, gateway to the fjords on Norway’s west coast. It’s a place where she has always found her muse. “The Norwegian countryside is my inspiration. I am very proud of Norway and its fantastic nature. All through my childhood we used to go hiking in the mountains every Sunday, whatever the weather.”

When she was only nine Sissel joined a children’s choir under a New Zealand-born conductor, Felicity Laurence, and stayed with them for seven years. “That was my musical education. We sang everything ‐ classical and jazz, folk and even Maori songs. People said we sounded like an angel choir because we had this very clean pure sound, almost like an English boys’ choir.”

At 14, a year after her television debut in a youth program, she joined in another choir on a ‘sing along’ program, and went on to become a popular TV performer. Sissel’s breakthrough came at the age of 16 when she was invited to sing during the intermission of the 1986 Eurovision Song Contest staged in her hometown of Bergen. Her first album was released the same year and made her a national star overnight. She is now a national institution in Norway and has sung all over the world, selling over six million solo albums since her recording debut.

In 1997, Sissel was asked by composer James Horner to contribute the haunting, ethereal vocal tracks for his soundtrack to ‘Titanic’. About that meeting she said, “I remember the first time I heard the simple lines when James played them for me on the piano. I got goose bumps. I loved it and felt that this music spoke directly to my heart”. That album went on to become the largest selling movie soundtrack in history.

Photo Credit : Sissel Website

Other movies Sissel has contributed her voice to are the soundtracks of “The Adventures of Pinocchio” (1996), including a duet with Brian May, the Irish drama “Evelyn” (2002), and “Vanity Fair” (2004). She has sung all over the world in Howard Shore’s “Lord of the Rings” Symphony concert tour. Mr. Shore wrote a special piece for her at the very last recording session of the extended version of the trilogy (2005).

When Norway celebrated its 100th anniversary of independence in 2005, Sissel was invited to represent Norway on the longest running program in history “Music and the Spoken Word” recorded with the Mormon Tabernacle Choir and Orchestra at the Temple Square.

They invited her back in 2006 as special guest to their annual Christmas show “The Spirit of the Season”. Sissel recalls the return engagement as a 'homecoming'. The recorded result was the concert CD, Spirit of the Season which raced up the Billboard Classical Charts to #1 within 5 weeks of its release. The concert was aired nationwide on PBS right before Christmas 2007 and released as a DVD.

Sissel's album, released Nov 6th 2007, “Northern Lights”, is a live recording of a concert at Bergstaden Ziir, a church from the 17th century in Røros, Norway. This spectacular concert is inspired by Norway’s winter and the ‘Blue Hour’ (an enchanting winter twilight) and the mystical ‘Northern Lights’, Aurora Borealis. As special guest star, the tenor José Carreras, makes this concert an even more tremendous evening. This concert was a collaboration with the PBS and aired at different PBS stations throughout USA.

In 2008 Sissel went into a collaboration with the popular Norwegian Folksinger and composer Odd Nordstoga. Their meeting turned into the Chritsmas album « Strålande Jul » wich sold more then 300 000 copies in Norway only.

The year after (2009) the album …til deg….  (« ….to you…. ») with Norwegian, Swedish and English lyrics was released. The music universe was more into the easy listening with a touch of country - Nashville meets Scandinavia.

After  til deg tour in Sweden, Norway and Denmark Sissel has had a 3 years break with focus on her family. She has however done some single concerts and recordings. For Christmas 2011 and 2012 she did a few Christmas curch concerts in Norway. This spring she sang as a special guest on Bryn Terfels newest album recorded with the Mormon Tabernacle Choir and Orchestra at the Temple Square entitled « The patriot » (due to be released during september).

This November and December Sissel will be touring with her Christmas Concert in Norway from Kristiansand in the south to Harstad in the North.

With her she has her great band and three brilliant singers (Capathia Jenkins, Vaneese Thomas and Darryl Tookes) from New York. Sissel has always been fond of mixing and melting different music styles together, and she promises that the audience will hear beautiful traditional Norwegian christmas carols as well as anglo/american gospel and sound - and a bit more.

This biography has been taken from Sissel's website.


Posted on : November 27, 2015


Patricia Kopatchinskaya a Soloist Soul with Magic in Her Hands

Photo: Marco Borggreve Patricia Kopatchinskaya Website

Patricia Kopatchinskaya was born in Moldovia, lives in Austria and she plays her violin as if her fingers and the violin strings are twin, parallel layers of her being and the passion that she feels about the piece of music she plays comes alive in which one is mesmerised by the beauty and joy she brings to being. You do not listen to Patricia; you breathe and burn with her as she brings the invisible, inaudible space of the music to life where the notes whirl, twirl, fly and float as autumn leaves, as clouds in the sky in a storm. Passion, connection and heart are what Patricia adds to her violin strings. She is a soloist with magic in her hands. And she ought to be heard in order for the listener to appreciate her gifts.

Her passion is fed by equally capable skills that is enhanced and enriched by the diversity in her repertoire so that one could see how versatile her arena is in terms of what and who she plays.


Violinist Patricia Kopatchinskaja‘s versatility shows itself in her diverse repertoire, ranging from baroque and classical often played on gut strings, to new commissions and re-interpretations of modern masterworks.

Highlights of the 2015/16 season include performances with Staatskapelle Berlin, a residency at the Laeiszhalle in Hamburg and a collaboration with Teodor Currentzis and Musica Aeterna with whom she will appear at Bremen Festspiele and tour across Europe. Kopatchinskaja will also tour with Camerata Salzburg under Langrée, La Chambre Philharmonique under Krivine, Chamber Orchestra of Europe, collaborate with Vladimir Jurowski and his State Academic Symphony Orchestra in Moscow and perform with the Houston Symphony and Seatle Symphony Orchestra.

In London, Kopatchinskaja appears with the London Philharmonic Orchestra under Jurowski and she is the central figure of the ‘Marin, Madness and Music’ weekend at the Southbank Centre – where she will perform with the Orchestra of the Age of Enlightment, Kafka Fragments with Anu Komsi and works by Ustvolskaja.

Kopatchinskaja performs a number of new commission premieres this season: Turnage’s new piece for Violin and Cello with Sol Gabetta; Mauricio Sotelo’s new composition for string orchestra, flamenco dance and percussion with The Saint Paul Chamber Orchestra – where she is an Artistic Partner – as well as a new piece by Michael Hersch and the French premiere of Michael van der Aa’s new Violin Concerto.

Last season’s highlights included her debut with the Berliner Philharmoniker performing Peter Eötvös’ DoReMi under the baton of the composer himself. She also performed at the closing concerts of Lincoln Center’s Mostly Mozart Festival, appeared with the London Philharmonic Orchestra at the Edinburgh International and Santander festivals and toured Switzerland with the Royal Stockholm Philharmonic Orchestra under Sakari Oramo.

Photo: Marco Borggreve Patricia Kopatchinskaya Website


Chamber music is immensely important to Kopatchinskaja and she performs regularly with artists such as Markus Hinterhäuser and Polina Leschenko as well as members of her own family. She is a founding member of the acclaimed quartet-lab – a string quartet with Isabelle van Keulen, Lilli Maijala and Pieter Wispelwey – with whom she undertakes a major European tour in autumn 2015.

A prolific recording artist, this 2015/2016 season will see three major releases, one with Gidon Kremer and the Kremerata Baltica a CD of Kancheli’s music, TAKE TWO on Outhere/Alpha and Tchaikovsky’s Violin Concerto with Teodor Currentzis and Musica Aeterna on the Sony label. Her release for Naïve Classique with concerti by Bartók, Ligeti and Peter Eötvös won Gramophone’s Recording of the Year Award in 2013, the ECHO Klassik Award and a 2014 Grammy nomination.

For more visit Patricia Kopatchinskaya Website

The biography has been taken from Patricia's website.

Posted on: November 12, 2015


Anne Maddji Heatta May Be a Doctor But She Sings Like Stars

By profession Anne Maddji Heatta is a doctor but she sings in her mother tongue Sami like stars in the Milky Way. Her voice is out of this world. If anyone wants to really feel what people mean by magic they should listen to Heatta sing because when she does, particularly, Iditguovssu, Dawn Light from the album Dobbelis, Beyond, you would simply lose yourself. The only complain you might make is that the song is too short. It is simply a magnificent voice.

We do not know how good a practising doctor Heatta, she must be good in order to qualify and practise medicine, is but it is possible for her to take off with her music alone and leave Medicine to the others who cannot sing as good as her! The album Dobbelis contains the songs: Cihkosis, Stállu, Dobbelis, Iditguovssu, Báru Luohti, Idjarávga, Guhkki, Nástealmmás, Ovllá Niillas.

The music and the uniqueness of her voice is such that one does not have to know Sami which is a beautiful, nature-cradled language, very spiritual, musical and soulful, in order to enjoy the album. It is a joyous experience to listen to the songs again and again.

Heatta was born in Norway. She has been very involved in sport as well as other extracurricular activities. She lives and practises medicine in her local area where she was born.

These days mostly people are bombarded with 'manufactured' music as if it is a matter of 'manipulation, brewing and marketing'; against this backdrop one comes to discover a voice like Heatta's and one realises that this is a genuine voice of a soul of an artist to whom music is nothing but the purest form of her being.

We hope she continues to sing for her voice adds significantly to the richness of humanity.

More on Anne Maddji Heatta






The Lake Eden Eye





The Window of the Heavens Always Open and Calling: All We Have to Do Is: To Choose to Be Open, Listen and Respond




Imagine a Rose-Boat

Imagine a rose floating like a tiny little boat on this ocean of infinity
And raise your soul-sail on this wee-little boat and go seeking out
All along feed on nothing but the light that you gather only light
Fear shall never fathom you nor greed can tempt nor illusion divert
For Love you are by name by deeds you are love's working-map



Only in the transparent pool of knowledge, chiselled out by the sharp incision of wisdom, is seen the true face of what truth is: That what  beauty paints, that what music sings, that what love makes into a magic. And it is life: a momentary magnificence, a-bloom like a bubble's miniscule exposition, against the spread of this awe-inspiring composition of the the Universe. Only through the path of seeking, learning, asking and developing, only through the vehicles and vesicles of knowledge, only through listening to the endless springs flowing beneath, outside, around and beyond our reach, of wisdom, we find the infinite ocean of love which is boundless, eternal, and being infinite, it makes us, shapes us and frees us onto the miracle of infinite liberty: without border, limitation or end. There is nothing better, larger or deeper that humanity can ever be than to simply be and do love. The Humanion


Poets' Letter Magazine Archive Poetry Pearl

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The Humanion Online Daily from the United Kingdom for the World: To Inspire Souls to Seek

At Home in the Universe : One Without Frontier. Editor: Munayem Mayenin

All copyrights @ The Humanion: London: England: United Kingdom: Contact Address: editor at thehumanion dot com

First Published: September 24: 2015