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Stewart Copeland

Stewart Copeland - Ben hur is back !

Mark your calendars: March 6th, 2017 at the Vienna Konzerthaus.
Stewart Copeland, the cutting-edge film, TV, symphonic (and yes, rock) music composer, is bringing his original orchestral score for the 1925 black and white silent film, “Ben-Hur: A Tale of the Christ,” to the hallowed Austrian venue, home to some of classical music’s most storied performances.

The epic 1925 MGM film, “Ben-Hur: A Tale of the Christ,” was the single most expensive and elaborate production of any made during the silent film era. Copeland and manager Derek Power spent three and a half years tracking down the original film, now owned by Warner Bros. After finally acquiring the rights for restoration, and then scanning and editing the film itself, Copeland began composing an original soundtrack to synchronize with the once-silent film.
Copeland, percussionist extraordinaire, performs his orchestral Ben-Hur with a live orchestra, while the newly edited black and white film is projected behind the musicians. The historic, images of the chariot race, the Pirate battle and the moving scenes between actors, led by cast lead Ramon Novarro (Ben Hur) are vividly brought to live through Copeland’s timely and dramatic usage of innovative and complex tonalities.
On March 6, 2017, Copeland is returning to the European stage, performing with the ORF Vienna Radio Symphony Orchestra. In addition, the ORF will be offering a radio simulcast for Austrian audiences. The Vienna Konzerthaus first opened its doors in 1913 and has continuously supported both traditional, and innovative music styles and performances.

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Brad the Robot’s jokes with Stewart Copeland’s rim shots

Stewart Copeland is a good sport for helping out our very own joke telling robot.
But he's really here to promote a new show.

Chicago Opera Theater presents The Invention of Morel
Feb. 18, 24 & 26

“The Invention of Morel,” a world premiere of the co-commissioned opera composed by Stewart Copeland, co-founder and drummer of The Police. Based on Argentinian author Adolfo Bioy Casares’ 1940 novel “La invención de Morel,” Copeland’s new adaptation examines the triumph of time-bending love over convention in a story of adoration and desire. “The Invention of Morel” features London-based actor, director and writer Jonathan Moore as Stage Director/Librettist together with COT’s Artistic Director Andreas Mitisek as Conductor.

Stewart Copeland - The Invention of Morel

When a man has no hope, he has nothing left to lose. Time-bending love triumphs over convention in this futuristic story of love and desire. On a lonely island this sci-fi story redefines the limits of human connection and the power of love. Stewart Copeland, co-founder and drummer of The Police, sets this fantastical tale of the human heart to thrilling music for this co-world premiere with Long Beach Opera. 

About the Opera
This world premiere opera is based on "La invención de Morel," a 1940 novel by the influential Argentine author, Adolfo Bioy Casares. The story for this opera does not live within the classic constructs of time and space, but instead explores powerful driving forces of human emotion: love, desire, and sacrifice. Composer Copeland jokes: "I've got a pretty clear idea of how music can drive emotion, which is why I'm so keen on opera — it's the most fun a composer can have with his clothes on."

An escaped fugitive arrives on an isolated, strange island. While exploring his surroundings, he observes a group of tourists and quickly realizes something is not quite right in this paradise. Intrigued yet wary of these eccentric visitors, he begins to fall in love with one--a strikingly beautiful woman. He discovers these visitors are here at the invitation of Morel, a mad scientific genius, for the unveiling of his latest mysterious invention. When his heart pulls him helplessly toward this beautiful woman he must ask himself how much he is willing to sacrifice to be with her.

Chicago opera Theater
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February 18, 24 & 26 • 2017
Approx. 90 minutes, performed in English

A new year with you all is always a good year !

A new year with you all is always a good year !
2016 was full of joy with this new album.
2017 will bring us a world tour, and surely tons of surprises from Sting, Andy Summers, Stewart Copeland, Joe Sumner, Henry Padovani, Eliot Sumner, Dominic Miller, Jo Lawry,...
2017 will see LiSting growing as a team. We'll soon introduce the new editors, who'll keep you informed each day !

Many exclusive contests and interviews are sheduled within the next few months

May the music bring peace on Earth...

A new year with you all is always a good year !

San Antonio Symphony rocks out with score by Stewart Copeland

Stewart Copeland is still best known as the dynamic drummer of rock band The Police, which he founded in 1977. But Copeland walked away from his fame as an international rocker in the mid-1980s to pursue a career of a different sort: composer. He’s since composed for ballets, operas, TV and film, including Rumble Fish for which he won a Golden Globe. In 2015, he debuted an orchestral work, The Tyrant’s Crush, which was commissioned by the Pittsburgh Symphony and features classical instruments as well as Copeland’s drums. After hearing it live, he updated the work and now is taking it on the road, including to the Alamo City where he’ll partner with the San Antonio Symphony on Nov. 4-5. It’s not Mozart, he admits, but it’s lots of fun. “If they are season ticket holders, I hope they enjoy the different use to which I put their orchestra. If they are rock ‘n rollers, I hope they enjoy seeing what a big, bad orchestra can do,” Copeland says. “There’s no reason why 60 guys can’t burn down the building.”

San Antonio Symphony rocks out with score by Stewart Copeland

Does The Tyrant’s Crush vary from city to city?
As a result of Pittsburgh, I did go back into the score. Living composers can’t get enough stage time to hear the results of their piece. Every time it’s performed, you hear ways that it can be improved. I did a lot of cleanup. Now, what I do (on the drums) can differ from night to night. What the orchestra does is play it from the page—that’s their whole ethos. That guy in the second violin chair, it’s his status in life to play the music as it’s written. The way he connects with the other 60 people on stage is by getting it right because he knows that cello player or bassist has a line that only works if he does his thing.

Was composing a concerto a lot different than a movie score?
The techniques overlap. Scoring a film is a craft—you serve the director and his very specific orchestral needs—so you’re serving someone else’s artistic vision. Composing a symphony or concerto is totally different but I use the skills that I picked up as a hired composer—how you communicate on the page, how you use the orchestra—all of those chops came from 20 years of film composing.

This isn’t your typical concerto though?
The greater purpose of an orchestra is to keep the great masterpieces alive—Mozart, Mendelson and others. It’s important that the music survives. But, it’s also important to get a new audience every generation and to do that you’ve got to introduce new music. That’s where I come in. My music hasn’t proven itself with centuries of time passing but the orchestras have to get new blood in there. I don’t come from a conservatory. I come from a different place and a different form so my concerto is written with my sensibilities as a rock ‘n’ roll musician.

And you’ve been in San Antonio before?
Yes, I’ve hung with those cats. We’re down. They nailed a piece of mine that they performed with a percussion ensemble out of Dallas last year. This will be the first time I’ll be on stage with them with my drums. I can’t wait.

Fact File
The Tyrant’s Crush

Nov. 4-5, with an open rehearsal on Nov. 4

Tobin Center for the Performing Arts 

Source: by Kathleen Petty

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