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REVIEWS

American Record Guild

March / April 2012

on Confession CD

"(...) Some will undoubtedly be upset that this 'predecessor' opera flies in the face of Puccini's intent with Suor Angelica (and the rest of Il Trittico): a single defining act being the entire raison d'être. That aside, Lucas' musicis a good complement to Puccini's; it doesn't sound like his, but there are iintentional connections. Lucas' style is lush, but he doesn't act like the 20th century didn't happen. There are shifting harmonies, spooky orchestrations and an elegant tension between darkness and beauty. Lucas doesn't over-write or descend into hyperactive, slobbering melodrama. The opera is in English and sung well (...) and each of the young singers has a strong, lovely voice. The orchestra is quite good, and the sound is very clear (...)."



Opera News

February 2012

on Confession CD

"(...) Lucas, a product of Purchase's graduate composition program, has fashioned an idiom suggesting an extension of Puccini's modal writing. The cantabilewriting for the soloists generally follows a cosmopolitan, sometimes Bernsteinish style (...) "



www.clofo.com - Crock's Newsletter

January 2012

"(...) The composer then gives us a powerfully written, dramatically orchestrated exchange between the two women, in which Sophie tells her about the child. The Aunt assumes that it was fathered by her philandering husband, and Sophie wishing to protect Francis, says nothing. The Princess informs Sophie she’ll be sent away to have the baby elsewhere, thereby avoiding scandal. She then leaves her alone, setting the stage for another one of those great operatic letter scenes. In this exquisitely moving one, Sophie writes her sister about the child, asking her to care for it. She puts the letter in Anna’s bible, and places it at the feet of a nearby statue of the Virgin Mary. A shaft of light illuminates Sophie and the Madonna figure. She sings a haunting, disembodied “Hail Mary” to shimmering violin octaves. In the first scene of the opera sopranos Catherine Webber (Sophie) and Molly Davey (Anna Viola) imbue their roles with an endearing sense of girlish charm. Webber delivers an emotionally filled portrayal of Sophie, made all the more intense in contrast to soprano Diana Wangerin’s aloof characterization as the icy Princess. Bass-baritone Robert Balonek as Father Francis gives a convincing portrayal of a man torn between religious convictions and desires of the flesh. Tenor Joshua Benevento sings the role of the Uncle with a self-indulgence quite in keeping with the character he’s portraying. All of the soloists receive superb support from the Purchase Symphony Orchestra under conductor Hugh Murphy. 

A Purchase Opera production, the Confession recording was made at the SUNY Purchase Conservatory of Music Recital Hall. The soloists are well placed and balanced against the orchestra across a generous soundstage in an ideal acoustic. They are captured with exceptional clarity, making it easy to understand every line. The orchestral timbre is quite natural."



Gunther Schuller

on opera Confession

"obviously a very talented and considerably experienced composer, excellent craft, skill, a remarkable melodic gift (...) That was quite an achievement to write like Puccini, yet not plagiarize Puccini, to still make it relatively distinctive and personal. I don’t know many composers who can do that so skilfully, beautifully and authentically. His “own” music is also quite good, again excellent technique, excellent use of orchestra / instruments (...) He is obviously a major talent (...)"

Raphaël Lucas

COMPOSER



© 2012 by Raphaël Lucas. All Rights Reserved.

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