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Waiting for Miss Monroe
Robin de Raaff

Dutch National Opera / Netherlands Chamber Orchestra / Marc Albrecht

Waiting for Miss Monroe

Price: € 17.95 12.57
Format: SACD hybrid
Label: Challenge Classics
UPC: 0608917268522
Catnr: CC 72685
Release date: 05 September 2015
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Label
Challenge Classics
UPC
0608917268522
Catalogue number
CC 72685
Release date
05 September 2015

""(Laura) Aikin makes de Raaffs technically demanding music sound like childs play, mastered with a uncomparable naturalness and impressive ease.""

klassik.com, 25-1-2016
Album
Artist(s)
Composer(s)
Press
EN
NL
DE

About the album

Act I – Work day
Spring 1962. The day’s shoot at the Fox Film Studio is being held up because the star, Marilyn Monroe, has not shown up for work. The entire pro- duction crew is on hold and Fox, the influential film producer, seethes at the thought of the financial consequences. Fox suspects that Marilyn’s drama coach Paula Strasberg and her make- up artist Whitey know more about her absence than they let on, and he takes out his anger and frustration on them. When he learns that Marilyn has called in sick without him being notified, he is infuriated even more, and demands to speak to her personally, by telephone at least. Meanwhile Marilyn, unperturbed, poses for the young photographer Eve. The mood is amiable and professional, the two women taking the occasional champagne break. Marilyn is fascinated by Eve’s pregnancy; she is worried she will never have a baby herself. Marilyn is clearly enamoured with the photo- grapher’s camera, in sharp contrast to her acute fear of the film camera. Eve cannot understand Marilyn’s anxiety. Their conversations are dotted with moments in which Marilyn suddenly withdraws into herself, speaking into a tape recorder. She explains that this is how she communicates with her psy- chiatrist, being unable to talk to him directly. These sessions with the tape recorder are her escape from reality. An attendant repeatedly appears with the message that Marilyn is wanted on the telephone. When she finally answers, Fox informs her of his plan to resume shooting with a stand-in; she hastens to the studio in order to prevent this. The entire studio crew springs into action with Marilyn’s arrival. The stand- in vanishes discreetly. Marilyn is ready for her scene, but her co-actors, two children, are absent as their legally allotted studio time has been taken up with waiting for her. When the director calls for a different scene, this one with a dog, Marilyn is unsure of herself, not having prepared her lines. After some commotion with the dog, who is not as well trained as expected, the take goes well. Even the scene with the children can be shot after all. Everyone is relieved, but to Fox’s chagrin Marilyn leaves again, flying to New York to sing at President Kennedy’s birthday party.
Act II – Birthday
In a Madison Square Garden dressing room, Paula and Whitey attempt to get Marilyn dressed and made up for her performance at the president’s birthday celebration. Having tried to suppress her panic with alcohol and pills on her way to New York, Marilyn is now nearly paralytic. In lucid moments she demands that the president come to her dressing room. She claims he has promised to marry her. Paula and Whitey find it nearly impossible to make her presentable, and time is running out. Marilyn reads a telegram and col- lapses. It is not from the president, but from Fox: Marilyn has been fired for jetting off to New York without permission. The shock of the telegram causes Marilyn to lose her grip on reality. She calls out for her father, and two father figures promptly appear: film idol Clark Gable and her ex-husband, the baseball star Joe DiMaggio. They both come to her aid. Gable assures her she was not the cause of his death, and Joe swears she will always be the only woman for him. They accompany her backstage, but before she is to make her entrance they disappear and are replaced by John and Robert Kennedy. At first they too admire Marilyn and amuse her with their boyish wit and rivalry. But then the atmosphere takes a turn for the worse: they mistreat her and call her a whore. Gable and DiMaggio likewise turn against her. Marilyn somehow manages to pull herself together enough to reach the microphone and perform her legendary rendition of ‘Happy Birthday’. During the applause she has a premo- nition of death.
Act III – Death day
Fox is waiting in his office for Marilyn. He has been forced to rehire her, as there were no suitable replacements with her star status. Marilyn, meanwhile, has started her own production company, and Fox has had to engage her through her own business. When she appears – late, as usual – he tries to win her over, first with flattery and then, when that fails, with intimidation. Marilyn says she never felt appreciated by him and sticks to her guns, albeit with the crutch of alcohol and drugs. She wins the confrontation, but pays for the victory in emotional strain. At home alone, Marilyn is plagued by insomnia and loneliness. She tries to contact the Kennedys, but they rebuff her. The snub upsets her already shaky mental balance. She has no support or companionship. After yet more alcohol and pills she again sinks into a different reality: she is confronted with her younger self, Norma Jeane, who is prepared to do whatever it takes to enjoy a successful Hollywood career. She is surrounded by men who had once admired her. She sees Marilyn as a pathetic has-been, and abandons her to her own fate. Marilyn cracks. From death, she observes the events surrounding her demise with amazement and distance.
De eerste opname van Waiting for Miss Monroe van Robin de Raaff
Dit album bevat de eerste opname van de opera Waiting for Miss Monroe, van de prominente Nederlandse componist Robin de Raaff. Het werk wordt uitgevoerd door De Nationale Opera en het Nederlands Kamerorkest. De rol van Marylin Monroe wordt gespeeld door stersopraan Laura Aikin.

In 1962 werd de westerse wereld opgeschrikt door de plotselinge dood van Marylin Monroe. Nu is ze nog steeds bekend, maar er is weinig bekend over haar persoonlijkheid. In de opera Waiting for Miss Monroe, door componist Robin de Raaff en librettist Janine Brogt, worden de laatste maanden van het leven van het idool beschreven.

De opera is gebaseerd op de tapes waaraan Marylin Monroe haar diepste geheimen toevertrouwde. Ze nam haar geheimen liever op, dan dat ze ermee naar de psychiater ging. De opera bestaat uit drie aktes en duurt in totaal 90 minuten; het klassieke Hollywood-filmformaat. Het is geen biografie, maar meer een ‘overdenking van het personage’. Het werk toont het innerlijk van Monroe: haar eenzaamheid, haar angsten, haar triomfen, en haar demonen.

De New York Times schreef over de opera: 'A mixture of fact and fiction, Ms. Brogt’s well-structured libretto draws inspiration from the supposed tape recordings Marilyn made for her psychiatrist because of her purported difficulty in expressing herself face-to-face; imagined monologues spice action rooted in actual events.'
Psychologische Studie einer Diva

Marilyn Monroe - Die Ikone, das Sexsymbol. Nicht für den führenden niederländischen Komponisten Robin Raaf und die Librettistin Janine Brogt. Sie schufen eine Oper, die sich zwar formal mit der Hollywood-Glitzer-Welt auseinandersetzt (das Stück hat - wie ein Spielfikm - eine Dauer von 90 Minuten und besteht aus drei Akten), jedoch inhaltlich nicht den üblichen Biopics entspricht. "Waiting for Miss Monroe" ist eine Art psychologische Studie der berühmten Schauspielerin. Inspiration hierfür waren die Tonbandaufnahmen, die Marilyn Monroe machte, statt sich bei ihrem Therapeuten auf die Couch zu legen. Sie zeigen das Innerste der Diva: Ihre Einsamkeit, ihre Ängste, ihre Triumphe und ihre Dämonen. Mit Laura Aikin hat De Nationale Opera Marilyn ein perfektes Gesicht und eine wundervolle Stimme gegeben.

"Brogt und de Raaff haben mit bemerkenswertem handwerklichen Geschick eine neue Opéra comique vorgelegt," nmz

"A mixture of fact and fiction, Ms. Brogt’s well-structured libretto draws inspiration from the supposed tape recordings Marilyn made for her psychiatrist because of her purported difficulty in expressing herself face-to-face; imagined monologues spice action rooted in actual events." NY Times

Artist(s)

The Netherlands Chamber Orchestra

The Netherlands Chamber Orchestra was formed in 1955, since when it has proved itself an exceptional ensemble with a long history of notable achievements. Although it merged with the Netherlands Philharmonic Orchestra in 1985, the orchestra has never lost its own identity. In fact, the Netherlands Chamber Orchestra has consistently surprised its symphonic ‘big brother’.   Particularly notable is the dynamic between the members of the orchestra, which rarely performs under a conductor. The musicians have complete confidence in each other and their chemistry is obvious to all. “It’s a state of mind in which everything comes together. You can rise above yourself. Everyone goes to a own special place where we all meet each other. Call it a common feeling, a...
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The Netherlands Chamber Orchestra was formed in 1955, since when it has proved itself an exceptional ensemble with a long history of notable achievements. Although it merged with the Netherlands Philharmonic Orchestra in 1985, the orchestra has never lost its own identity. In fact, the Netherlands Chamber Orchestra has consistently surprised its symphonic ‘big brother’. Particularly notable is the dynamic between the members of the orchestra, which rarely performs under a conductor. The musicians have complete confidence in each other and their chemistry is obvious to all. “It’s a state of mind in which everything comes together. You can rise above yourself. Everyone goes to a own special place where we all meet each other. Call it a common feeling, a certain mythology, a scent, poetry, whatever. The Netherlands Chamber Orchestra can do that,” states concertmaster Gordan Nikolitch with verve. Gordan Nikolitch was appointed concertmaster in 2004. Through his passion and commitment, the Serbian-born violinist has spurred the orchestra to ever greater artistic heights. Nikolitch is aware that he is the custodian of a rich artistic heritage. The Netherlands Chamber Orchestra rose to international fame under violinist and conductor Szymon Goldberg, who founded the ensemble in 1955 and continued in the role of concertmaster until 1979. Goldberg took the orchestra on several international tours. On one occasion, the music critic of the New York Times wrote, “If ever a concert merited the epithet ‘perfect’, it was the one given by Szymon Goldberg and his Netherlands Chamber Orchestra at Carnegie Hall.” The Netherlands Chamber Orchestra gives dozens of concerts every year. It can regularly be heard in Amsterdam’s Royal Concertgebouw and the Muziekgebouw aan ’t IJ, as well as other major concert halls throughout the Netherlands and beyond. The orchestra also plays in venues that are not so readily associated with classical music, such as Amsterdam’s Paradiso where an enthusiastic capacity audience enjoyed a programme of works by Stravinsky and Ravel. Like the Netherlands Philharmonic Orchestra, the Netherlands Chamber Orchestra often takes part in productions of the Dutch National Opera.
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Dutch National Opera

De Nationale Opera (DNO) is the Netherlands’ largest opera company and is based in the Nationale Opera & Ballet in Amsterdam (formerly known as The Amsterdam Music Theatre). DNO has grown into one of Europe’s most prominent and progressive opera companies. Until February 17, 2014 the company operated under the name De Nederlandse Opera. To start at 2013 Els van der Plas is the general director of De Nederlandse Opera, Dutch National Ballet and the music theatre. In 1998 Pierre Audi became artistic director of the company, who formed a successful team together with administrative director Truze Lodder. Since January 1, 2013, Audi is director of De Nationale Opera. In September 2018 he will be succeeded by Sophie de Lint. DNO produces...
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De Nationale Opera (DNO) is the Netherlands’ largest opera company and is based in the Nationale Opera & Ballet in Amsterdam (formerly known as The Amsterdam Music Theatre). DNO has grown into one of Europe’s most prominent and progressive opera companies. Until February 17, 2014 the company operated under the name De Nederlandse Opera. To start at 2013 Els van der Plas is the general director of De Nederlandse Opera, Dutch National Ballet and the music theatre.
In 1998 Pierre Audi became artistic director of the company, who formed a successful team together with administrative director Truze Lodder. Since January 1, 2013, Audi is director of De Nationale Opera. In September 2018 he will be succeeded by Sophie de Lint.
DNO produces music theatre productions at the highest international level, with a clear focus on artistic quality, diversity and innovation. The sixty member Koor van De Nederlandse Opera contributes significantly to this success.
Examples of DNO’s audacious programming include the first Dutch staging of Wagner’s Der Ring des Nibelungen and the operas of Claudio Monteverdi. The majority of the performances are given in The Amsterdam Music Theatre, but operas are occasionally staged in other venues, including the Stadsschouwburg Amsterdam, Koninklijk Theater Carré, on the grounds of the Westergasfabriek and in the Muziekgebouw aan ‘t IJ.
DNO typically realizes eleven opera productions each season, with an average attendance of 96% capacity. In order to reach a wider audience, most productions are broadcast live on radio and several productions per year are televised. DNO also regularly organizes supplemental activities at other venues and via new media. In addition, many of DNO’s opera productions have been issued on DVD.
DNO performs regularly in opera houses and on festivals abroad. For instance, the company was a guest at the Brooklyn Academy of Music, on the Lincoln Festival in New York, the Adelaide Festival in Australia, the Salzburger Festspiele and in Luxembourg, Tokio and Valencia as well.

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Steven Sloane (conductor)

The American conductor STEVEN SLOANE has been chief conductor of the Bochum Symphony Orchestra since 1994. From 2007 to 2013, he was also principal conductor of the Stavanger Symphony Orchestra. He has performed as a guest conductor with San Francisco Symphony Orchestra, Israel Philharmonic, Sydney Symphony, Tokyo Metropolitan Orchestra, Hessischer Rundfunk Symphony, Philharmonia Orchestra London, City of Birmingham Symphony Orchestra, Orchestre Philharmonique de Radio France and Chicago Symphony Orchestra. Steven Sloane is a much sought-after opera conductor, whose repertoire includes works that are seldom performed, such as Shostakovich’s Cheryomushki and Schumann’s Genoveva, as well as more traditional works like Tosca, Falstaff  and Tristan und Isolde. Recent highlights include a new production of L’amour des trois oranges (Robert Carsen - Berlin), the...
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The American conductor STEVEN SLOANE has been chief conductor of the Bochum Symphony Orchestra since 1994. From 2007 to 2013, he was also principal conductor of the Stavanger Symphony Orchestra. He has performed as a guest conductor with San Francisco Symphony Orchestra, Israel Philharmonic, Sydney Symphony, Tokyo Metropolitan Orchestra, Hessischer Rundfunk Symphony, Philharmonia Orchestra London, City of Birmingham Symphony Orchestra, Orchestre Philharmonique de Radio France and Chicago Symphony Orchestra. Steven Sloane is a much sought-after opera conductor, whose repertoire includes works that are seldom performed, such as Shostakovich’s Cheryomushki and Schumann’s Genoveva, as well as more traditional works like Tosca, Falstaff and Tristan und Isolde. Recent highlights include a new production of L’amour des trois oranges (Robert Carsen - Berlin), the American premiere of Mark-Anthony Turnage’s opera Anna Nicole (New York) and Madama Butterfly (Copenhagen), as well as Bluebeard’s Castle and Dido and Aeneas (Barrie Kosky – Frankfurt), both of which were performed again in Los Angeles in 2014. Sloane has directed the Spoleto Festival and was artistic director of Opera North and Ruhr2010. In September 2010, at Ruhr2010, he conducted the world premiere of Hans Werner Henze’s Gisela!, directed by Pierre Audi, and led a choir of 65,000 people. He has received the Deutscher Musikverlegerverband award for best concert programme on two occasions
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Composer(s)

Robin de Raaff

Robin de Raaff (Breda, 1968) discovered his own diverse musical world through playing classical piano as well as bass guitar from a very early age. After being introduced to the legend and legacy of Jaco Pastorius, De Raaff’s musical world expanded explosively as an instrumentalist. Parallel with this early development he created his own music and lyrics for his Band where instrumental sections grew in significance, ultimately in to completely scored instrumental works. These instrumental compositions led him to enrol as a student of composition. De Raaff is of the generation of Dutch composers emerging in the nineties. He first studied composition with Geert van Keulen at the Amsterdam Conservatory and later with Theo Loevendie, graduating cum laude in 1997. Still...
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Robin de Raaff (Breda, 1968) discovered his own diverse musical world through playing classical piano as well as bass guitar from a very early age. After being introduced to the legend and legacy of Jaco Pastorius, De Raaff’s musical world expanded explosively as an instrumentalist. Parallel with this early development he created his own music and lyrics for his Band where instrumental sections grew in significance, ultimately in to completely scored instrumental works. These instrumental compositions led him to enrol as a student of composition.
De Raaff is of the generation of Dutch composers emerging in the nineties. He first studied composition with Geert van Keulen at the Amsterdam Conservatory and later with Theo Loevendie, graduating cum laude in 1997. Still being a student in 1995 he encountered Pierre Boulez in a Masterclass who praised his String Quartet No. 1 “Athomus” creating a whole new momentum to his development and career. In 1999 De Raaff had the privilege of being invited to work as George Benjamin’s only composition student at the Royal College of Music in London where he also studied with Julian Anderson.
In 2000 De Raaff was invited to the renowned Tanglewood Music Center as the ‘Senior Composition Fellow’ which was the beginning of an ongoing relationship resulting in a series of commissions and performances (Piano Concerto No. 1 for the Festival of Contemporary Music and Entangled Tales for the Boston Symphony Orchestra) and performances of his septet Ennea’s Domein and Un Visage d’Emprunt. For 2015 De Raaff was commissioned to compose a Fanfare dedicated to the 75th Anniversary of the Tanglewood Music Center. His residency at Tanglewood in 2000 was the beginning of a bigger exposure with performances and residencies in North America through festivals and theaters such as: The Aspen Music Festival, Cabrillo Festival (Santa Cruz), State of the Union Festival (London), ISCM World Music Days, The Banff Center, CBC Parry Sound Festival (Ontario), Takefu International Chamber Music Festival, Huddersfield Contemporary Music Festival, Ultima Contemporary Music Festival, Carnegie Hall, Lincoln Center (New York), Betty Oliphant Theatre and Glenn Gould Studio (Toronto).
After a creative period of nearly 10 years, De Raaff finished his first opera RAAFF in 2004, which was commissioned by the Dutch National Opera in a co-production with the Holland Festival. The birth of this opera started with De Raaff’s success at a master class for young composers with Pierre Boulez organised by DNO in 1995.His second opera, also commissioned by DNO, resulted in Waiting for Miss Monroe (2012), which was received with much acclaim by the international press including The New York Times, Der Tagesspiegel and Der Süddeutsche Zeitung.
De Raaff’s Violin Concerto No. 1 “Angelic echoes” (2008, written for Tasmin Little and Jaap van Zweden) was selected as the Best Orchestral Work of the year 2008 in the Dutch composition competition Toonzetters. His special interest in this genre led him to compose many Concertos of which his Percussion Concerto (2014 commissioned by The New Juilliard Ensemble and premiered in Lincoln Center), is the most recent one.
In September 2016, his Oratorio “Atlantis”, an In Memoriam Pierre Boulez, was successfully premiered in Vredenburg, Utrecht (the Netherlands), to date De Raaff’s largest work for the concert stage. Early in 2017, his Symphony No. 4 “Melodies unheard” was premiered during a concert tour with the Arnhem Philharmonic Orchestra as part of his term as Composer in Residence.
The 2nd Sonata for Violin and Piano “North Atlantic Light” was given its world premiere in the Kurt Weill Hall at Carnegie Hall on the 4th of June 2018. It is based on the famous painting by Willem de Kooning, a fellow countryman of De Raaff. The larger vision on this painting, Violin Concerto No. 2 “North Atlantic Light”, was premiered in the Concertgebouw of Amsterdam, both versions were written for Tosca Opdam.
With the recent world premiere of Sfera for large orchestra in the esteemed ZaterdagMatinee, De Raaff finished his Symphony No 5 “Allegory of Time, of which Sfera is movement I and Unisono for large orchestra movement II.
Commissioned by the Holland Festival for their 75th Anniversary De Raaff composed his Piano Concerto No. 2 “Circulus”, premiered by Ralph van Raat, Matthias Pintscher conducting the Radio Filharmonic Oerchestra.
For 22 successive years, De Raaff has been Professor of Composition and Instrumentation at the Composition Department of the University for the Arts in Rotterdam, Codarts.


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Press

"(Laura) Aikin makes de Raaffs technically demanding music sound like childs play, mastered with a uncomparable naturalness and impressive ease."
klassik.com, 25-1-2016

" (...) It is an intelligent if not entirely successful attempt on a tempting but, perhaps in the end, a dramatically intractable subject. (...) "
The Guardian, 16-12-2015

["] .. The recording was quite successful, especially in 'surround' which brings the listener closer to the live experience."
Opusklassiek, 01-12-2015

"One of the focal points of the Holland Festival 2012 was Robin de Raaffs Marilyn Monroe-opera in a libretto of Janine Brogt. Challenge put this work on a perfectly catered double album."
De Volkskrant, 07-10-2015

Three stars ***
NRC Handelsblad, 14-9-2015

Play album Play album
Disc #1
01.
Act I (Workday): Opening
03:02
(Robin de Raaff) Netherlands Chamber Orchestra
02.
Act I (Workday): Action delayed
03:45
(Robin de Raaff) Dale Duesing, Netherlands Chamber Orchestra
03.
Act I (Workday): Don’t give in to your fear
07:06
(Robin de Raaff) Helena Rasker, David DQ Lee, Dale Duesing, Netherlands Chamber Orchestra
04.
Act I (Workday): Interlude I
00:18
(Robin de Raaff) Netherlands Chamber Orchestra
05.
Act I (Workday): Yes?
03:55
(Robin de Raaff) Laura Aikin, Maria Kowan, Netherlands Chamber Orchestra
06.
Act I (Workday): I must tell you this, Doctor
01:16
(Robin de Raaff) Laura Aikin, Netherlands Chamber Orchestra
07.
Act I (Workday): Goddess, well
05:28
(Robin de Raaff) Laura Aikin, Maria Kowan, Netherlands Chamber Orchestra
08.
Act I (Workday): I had this dream last night
02:30
(Robin de Raaff) Laura Aikin, Netherlands Chamber Orchestra
09.
Act I (Workday): I feel wonderful today
00:47
(Robin de Raaff) Laura Aikin, Maria Kowan, Netherlands Chamber Orchestra
10.
Act I (Workday): Show them attention and they treat you like dirt
02:16
(Robin de Raaff) Laura Aikin, Netherlands Chamber Orchestra
11.
Act I (Workday): Interlude II
00:27
(Robin de Raaff) Netherlands Chamber Orchestra
12.
Act I (Workday): No Marilyn
03:39
(Robin de Raaff) Dale Duesing, Laura Aikin, Netherlands Chamber Orchestra
13.
Act I (Workday): Can I speak to Paula for a moment, please?
04:59
(Robin de Raaff) Laura Aikin, Dale Duesing, Helena Rasker, David DQ Lee, Netherlands Chamber Orchestra
14.
Act I (Workday): Action!
03:19
(Robin de Raaff) Laura Aikin, Dale Duesing, David DQ Lee, Netherlands Chamber Orchestra
15.
Act I (Workday): Cut!
04:25
(Robin de Raaff) Laura Aikin, Dale Duesing, Helena Rasker, David DQ Lee, Netherlands Chamber Orchestra

Disc #2
01.
Act II (Birthday): Introduction
02:57
(Robin de Raaff) Netherlands Chamber Orchestra
02.
Act II (Birthday): Can’t do her b-b-back like this
02:58
(Robin de Raaff) Helena Rasker, David DQ Lee, Netherlands Chamber Orchestra
03.
Act II (Birthday): Is the President here?
06:17
(Robin de Raaff) Laura Aikin, Helena Rasker, David DQ Lee, Netherlands Chamber Orchestra
04.
Act II (Birthday): Maybe in another world
04:32
(Robin de Raaff) Laura Aikin, Helena Rasker, David DQ Lee, Netherlands Chamber Orchestra
05.
Act II (Birthday): I’m here baby
07:08
(Robin de Raaff) Laura Aikin, Tom Randle, Alain Coulombe, Netherlands Chamber Orchestra
06.
Act II (Birthday): Ladies and gentlemen
02:38
(Robin de Raaff) Laura Aikin, Tom Randle, Alain Coulombe, Netherlands Chamber Orchestra
07.
Act II (Birthday): You’re fired!
01:14
(Robin de Raaff) Laura Aikin, Tom Randle, Alain Coulombe, Netherlands Chamber Orchestra
08.
Act II (Birthday): To the gorgeous blonde
05:54
(Robin de Raaff) Laura Aikin, Tom Randle, Alain Coulombe, John Tessier, Daniel Belcher, Netherlands Chamber Orchestra
09.
Act II (Birthday): Happy birthday
01:48
(Robin de Raaff) Laura Aikin, Tom Randle, Alain Coulombe, John Tessier, Daniel Belcher, Netherlands Chamber Orchestra
10.
Act II (Birthday): Paula, when I die
01:58
(Robin de Raaff) Laura Aikin, Helena Rasker, David DQ Lee, Netherlands Chamber Orchestra
11.
Act III (Deathday): Introduction
02:09
(Robin de Raaff) Netherlands Chamber Orchestra
12.
Act III (Deathday): Will Miss Monroe’s services henceforth
04:36
(Robin de Raaff) Dale Duesing, Netherlands Chamber Orchestra
13.
Act III (Deathday): Interlude I
01:22
(Robin de Raaff) Netherlands Chamber Orchestra
14.
Act III (Deathday): I’m here, Foxy dear
03:25
(Robin de Raaff) Dale Duesing, Laura Aikin, Netherlands Chamber Orchestra
15.
Act III (Deathday): Marilyn, I want you to come back to my studio
04:31
(Robin de Raaff) Dale Duesing, Laura Aikin, Netherlands Chamber Orchestra
16.
Act III (Deathday): Interlude II
00:51
(Robin de Raaff) Netherlands Chamber Orchestra
17.
Act III (Deathday): Who’s speaking?
02:20
(Robin de Raaff) Laura Aikin, Netherlands Chamber Orchestra
18.
Act III (Deathday): Eve, tell me I’m a great woman
01:23
(Robin de Raaff) Laura Aikin, Netherlands Chamber Orchestra
19.
Act III (Deathday): Interlude II
00:34
(Robin de Raaff) Netherlands Chamber Orchestra
20.
Act III (Deathday): What are nights for, I wonder
06:21
(Robin de Raaff) Laura Aikin, Hendrickje Van Kerckhove, Netherlands Chamber Orchestra
21.
Act III (Deathday): There shall not be one minute in an hour
01:46
(Robin de Raaff) Laura Aikin, Hendrickje Van Kerckhove, Netherlands Chamber Orchestra
22.
Act III (Deathday): Interlude IV
00:28
(Robin de Raaff) Netherlands Chamber Orchestra
23.
Act III (Deathday): Was it goodbye?
02:58
(Robin de Raaff) Laura Aikin, Netherlands Chamber Orchestra
show all tracks

Often bought together with..

Robin de Raaff
Atlantis
Netherlands Radio Philharmonic Orchestra / Netherlands Radio Choir / Markus Stenz / Robin de Raaff
Robin de Raaff
Melodies Unheard
Radio Kamer Filharmonie / Orchestre de Picardie / Het Gelders Orkest / Robin de Raaff
Robin de Raaff
Entangled Tales
Rotterdam Philharmonic Orchestra / Het Gelders Orkest / Residentie Orkest The Hague
Mieczysław Weinberg, Karl Amadeus Hartmann, Dmitri Shostakovich
Wartime Consolations
Linus Roth / Württemberg Chamber Orchestra Heilbronn / José Gallardo
James MacMillan
Work for chamber orchestra with soloists
James MacMillan / Netherlands Radio Chamber Philharmonic
James MacMillan
Magnificat - MacMillan series vol. 2
James MacMillan / Netherlands Radio Chamber Philharmonic / Netherlands Radio Choir

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