When Björk’s album Vespertine was released in 2001, it came as a bombshell. The singer, who up to then could reliably be found in the Electronic & Dance section, had turned away from the usual Drum & âm bass, tiếng bass, bass sound and towards complex orchestral music. On Vespertine, choirs and violins murmured and Björk’s unique voice became the starting point for symphonic outbreaks and absences. So, it seemed to be only a matter of time until a classical âm nhạc genre would discover this particular jewel.
When the Nationaltheater Mannheim decided to work thêm closely with pop âm nhạc – the most vibrant...
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