I’m a sucker for an invite. If a PR sends me an invitation to something I hadn’t previously considered considering, I’ll jump at the opportunity to a) attend and b) wax lyrical about the product/event/idea they’re looking to get coverage of.
Why? Because I’m grateful to have been considered. Touched to have been invited. Overwhelmed to have been seduced.
Is that fair to be so transparent where the launch of Rosenblatt Recitals on label Opus Arte is concerned? Am I in fact doing producer Ian Rosenblatt a huge disservice by being so transparent? Am I cheapening the brand he and his team are creating, not to mention the many talented artists he’s recording and distributing?
Now I come to think of it .. no, I don’t think I am. Why? Because an invite to attend an event, signals the need to do a spot of research. And research means (probably) listening to something you’ve not listened to before. It is in effect, the equivalent of switching on the radio and hearing something you’ve never heard before. And as any classical music lover will know, listening to something you’re familiar with isn’t always as enjoyable as the thrill of hearing something for the first time.
So it is this evening as I listen to unfamiliar works by Stanford and Vaughan-Williams in advance of the launch of three recordings (available as CD and digital download) as part of a new series Rosenblatt Recitals distributed by production company Opus Arte.
There are three CDs launching in April include: Ailyn Pérez – Poème d’un jour with Iain Burnside on piano, Lawrence Brownlee – The heart that flutters (featuring songs by American composer Ben Moore, live recordings of arias by Donizetti and Rossini, and Liszt’s Petrarch Sonnets) also with Burnside on piano, and Anthony Michaels-Moore – Songs of the Sea (hence me listening to Stanford’s songs now, which I hasten to add, are gorgeous.)
But before the CDs and downloads and wotnot are made available, there’s an event to get excited about. And attend on 18 March. And write about.
I can’t wait.