Hughes, E D: When The Flame Dies

Metier: MSV77203

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Hughes, E D: When The Flame Dies

Label:

Metier

Catalogue No:

MSV77203

Discs:

1

Release date:

4th Nov 2013

Barcode:

0809730720390

Length:

57 minutes

Medium:

CD (download also available)

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Hughes, E D: When The Flame Dies


Edward Grint (Poet), Lucy Williams (Princess Death), Julian Podger (Orpheus), Emily Philips (Eurydice), Andrew Radley (Raymond)

New Music Players, Carlos del Cueto

CD

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“When The Flame Dies” is an opera by Ed Hughes which draws upon the relationship between Jean Cocteau and poet Raymond Radiguet.

In addition the audio recording, this set features a live concert performance from the Canterbury Festival in 2012 complete with the visual projections and subtitled libretto. The DVD also includes the short film ‘The Symptoms Of His Madness Were As Follows:’, which uses the Ed Hughes track ‘Chamber Concerto I’ from the Metier CD Dark Formations MSV 28530. The film was created by the animator and filmmaker Sheryl Jenkins, whose work includes collaborative projects with artists, schools, community groups, and education and arts organisations, as well as independent film productions and residencies.

Edward Dudley Hughes: When the Flame Dies

Can't write (Poet)

My love is dead (Poet)

If only (Princess, Poet)

Before you pull the trigger (Princess, Poet)

Eternal Orpheus (Poet)

Interlude 1

I am Orpheus (Orpheus, Poet)

I am forever the singer (Orpheus, Eurydice, Princess)

You wanted her dead! (Poet, Orpheus)

Interlude 2 … I am the killer in the poet's mask (Poet, Eurydice, Princess)

Our perfect hours (Princess)

Aren't you going to answer it? (Princess, Poet)

There are no memories (Princess, Poet)

The rising of the sap (Raymond, Princess, Poet)

Killer in the poet's mask (Eurydice, Orpheus, Princess, Raymond, Poet)

The candle is burnt out (Princess, Raymond, Poet)

Gramophone Magazine

May 2014

“Beware: this opera may take you hostage with its ability to get under your skin...The 12-member Pierrot-ish ensemble reveals much effective compositional strategy...The question is not if you like it but if you can tear yourself away from it.”

International Record Review

March 2014

“his idiom is broadly that of a post-war modernism which is personal enough to resonate with the listener. The cast here is a persuasive one - dominated by Edward Grint's emotive and increasingly self-regarding Poet...this release enables one to get to grips with one of the more arresting and distinctive chamber operas to have emerged in the UK over recent years.”

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