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Michael Gordon: Acquanetta (Chamber Version)

Mikaela Bennett (voice), Matt Boehler (voice), Eliza Bagg (voice), Timur (voice), Amelia Watkins (voice)

The Choir of Trinity Wall Street, Daniela Candillari

Michael Gordon: Acquanetta (Chamber Version)

Awards:

This piece of music theater, about a B-movie star of the 1940s, was smartly staged as a film within an opera at the Prototype festival in 2018. It works nearly as well audio-only, thanks to...

Michael Gordon: Acquanetta (Chamber Version)

Mikaela Bennett (voice), Matt Boehler (voice), Eliza Bagg (voice), Timur (voice), Amelia Watkins (voice)

The Choir of Trinity Wall Street, Daniela Candillari

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96 kHz, 24 bit, FLAC/ALAC/WAV

$17.50

44.1 kHz, 16 bit, FLAC/ALAC/WAV

$13.00

320 kbps, MP3

$10.00

This release includes a digital booklet

Stream now Hi-RES 96 kHz, 24 bit

Awards:

This piece of music theater, about a B-movie star of the 1940s, was smartly staged as a film within an opera at the Prototype festival in 2018. It works nearly as well audio-only, thanks to...

About

Contents and tracklist

Acquanetta (Chamber Version): The Mood
Track length5:56
Acquanetta (Chamber Version): Conceal Me
Track length5:20
Acquanetta (Chamber Version): Introducing Acquanetta
Track length4:26
Acquanetta (Chamber Version): Who Am I Today? [Mad Scientist]
Track length5:32
Acquanetta (Chamber Version): Inside This Costume
Track length5:36
Acquanetta (Chamber Version): Gown, Gloves, Mask [The Experiment]
Track length6:05
Acquanetta (Chamber Version): Well Done! Let's Take Five [Shadows and Light]
Track length6:39
Acquanetta (Chamber Version): Please Don't Take My Brain [Brainy Woman]
Track length5:23
Acquanetta (Chamber Version): Celluloid World
Track length10:04
Acquanetta (Chamber Version): Beautiful Monster
Track length10:39

Awards and reviews

  • The New York Times
    Recordings of the Year 2019

The New York Times 12th December 2019

This piece of music theater, about a B-movie star of the 1940s, was smartly staged as a film within an opera at the Prototype festival in 2018. It works nearly as well audio-only, thanks to a strong cast, Deborah Artman’s crafty libretto and Mr. Gordon’s pummeling yet melodious brand of post-Minimalism.
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