“Carmina Burana” at the Uhlandshöhe
For the choir, Carl Orff is known to have built into his legendary work a whole series of “vocal-musical hurdles” that have to be jumped. Long sustained, “highest” registers in the sopranos and tenors, tricky rhythmic complications, many voice divisions (up to eight-part harmony), demanding male choruses, fast tempi, many tempo changes, lots of text for the choir and so much more. But the soloist parts are also “on the edge of the possible”. The baritone arias demand from the soloist a vocal range above any baritone bandwidth and a breadth of expression that demands the utmost. The same applies Read more…