Julia Bullock headlines the complete classical Grammys
NewsThe American soprano, who cancelled London last week, is top of the pops today with a Grammy for best classical solo vocal album (and the only London orchestra on the winners’ board).
Here are the complete classical Grammys, with Yuja, Yannick, Dude among a host of mostly inevitables:
Best orchestral performance:
Adès: Dante,” Gustavo Dudamel, conductor (Los Angeles Philharmonic)
Best opera recording:
“Blanchard: Champion,” Yannick Nézet-Séguin, conductor; Ryan Speedo Green, Latonia Moore and Eric Owens; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)
Best choral performance:
“Saariaho: Reconnaissance,” Nils Schweckendiek, conductor (Uusinta Ensemble; Helsinki Chamber Choir)
Best chamber music:
“Rough Magic,” Roomful of Teeth
Best instrumental solo:
“The American Project,” Yuja Wang; Teddy Abrams, conductor (Louisville Orchestra)
Best solo vocal:
“Walking in the Dark,” Julia Bullock, soloist; Christian Reif, conductor (Philharmonia Orchestra)
Best compendium:
“Passion for Bach and Coltrane,” Alex Brown, Harlem Quartet, Imani Winds, Edward Perez, Neal Smith and A.B. Spellman; Silas Brown and Mark Dover, producers
Best instrumental composition: “Helena’s Theme,” John Williams, composer (John Williams)
Best contemporary composition:
“Montgomery: Rounds,” Jessie Montgomery, composer (Awadagin Pratt, A Far Cry and Roomful of Teeth)
Best movie soundtrack:
“Oppenheimer,” Ludwig Göransson, composer
Producer of the year:
Elaine Martone
Best engineered album:
“Contemporary American Composers,” David Frost & Charlie Post, engineers; Silas Brown, mastering engineer (Riccardo Muti and Chicago Symphony Orchestra)
Julia Bullock says: Middle of the night news here in Munich All smiles and excitement about the #Grammys! — will share more later (tomorrow!?), cause still feeding kiddo. But wow! Thank you thank you thank you to everyone involved in “WALKING IN THE DARK”
Partner in love + life Christian Reif, the ENTIRE team Nonesuch Records, Jeremy Siskind for beautiful song arrangements/collaborations, our producers Dave and Matthew, the Philharmonia Orchestra!!!! my dream support team 21C Media Group and Askonas Holt, and my family for sharing so much classic music with me over the years, which found a presence onto this particular album…
Taylor Swift won something, too.
Does anyone give a flying fig about this celeb-fest? Whenever I hear the word ‘album’ in connection with classical music, I switch off. In my day albums were for filing stamps and photographs.
Goodness. You must have missed half the twentieth century. You’re such a snob – other people had hobbies, too, and one was popular music. “Album” was a collection of songs, as opposed to a “single.” I suppose your only knowledge of THAT word refers to one’s marital state.
I suppose these award shows use it in some way related to the industry. My only knowledge of the Grammys comes from here, or in some artist’s c.v.
“Inevitables”? Seems a mix of very popular names and some obscure ones, which may mean some people have been listening.
Surprised about Oppenheimer. I have no memory of the music whatsoever.
You are lucky to have “no memory” of it. For me as a musician, the music was the most annoying part of that otherwise rather good movie. Musically, the quality of the score was quite mediocre, it was much too loud most of the time and there was way too much of it. Those rare moments when the music stopped, such as during the few minutes of the first nuclear test episode, were the best parts of the movie. The composer will probably win the Best Score Oscar anyway, because there was far more minutes of music in that three-hour-long movie than in any other contender.
Was it just me, or did anyone else think that the original score for Oppenheimer was actually awful? I thought it was some of the worst movie music I’ve ever heard.
See my comment just above yours here.