POETRY into SONG
Contemporary music commissioned by L'ENSEMBLE ,
recorded in 2012 and released in 2013
Music to poetry of Robert Frost, composed by ALLEN SHAWN
and Julia Alvarez, composed by HEIDI JACOB
All 13 audio tracks
download the full CD-Booklet (pdf file)
(1874 – 1963)
was an American poet. His work was initially published in England before it was published in America. He is highly regarded for his realistic depictions of rural life and his command of American colloquial speech.
IDA FAIELLA, Soprano & Executive Producer
BARRY FINCLAIR, Violin
CHARLES ABRAMOVIC, Piano
Dale Stuckenbruck, Music Producer
Joe Sears, Recording Engineer
Hal Winer, Studio Owner/Engineer
Stephanie Engeln, Art Director
Recorded at Bi-Coastal Studios, Ossining, NY
is a Dominican-American poet, novelist, and essayist. Born in New York of Dominican descent, she spent the first ten years of her childhood in the Dominican Republic, until her father’s involvement in a political rebellion forced her family to flee the country.
You can also find our "Poetry Into Song" CD at many college and university libraries including
Harvard University, Columbia University, Juilliard School, Hartt College of Music, SUNY Stony Brook University, Temple University, Haverford College, Bryn Mawr College, Yale University, Williams College , Bennington College, Oberlin Cllege, Curtis College and more.
Rosina Abramson, David Barnert, Ellen Perry Berkely,Patricia Binzer, Henry Binzer,Dorice Brickman & Ellen Brickman,
Robert Crawford, Maria Faiella-Cunningham,Jack and Susan Edmonds,Mary D’Alessandro - Gilmore,Eitan & Maika Evan, Keith Edwards,Laurie and Stanley Feingold ,Cristina Faiella-Simpson, Frank Gilmore,Jeffrey Glen, Helen S. Greaney,Robert & Cora Mae Howe, Heidi Jacob,Cheryl Johnson, Constance Kheel,Stanley & Josephine Kivort,Patricia Lamb , Frank Laskey, Jonathan Mills,Benjamin and Ruth Mendel, Muriel Palmer, Allen Shawn, Timothy D. Smith,Barbara Thompson,Susan Thompson, Natalie Tinkelman,Beverly Wittner Traa, Margaret & John Underwood,
as well as The Glen Family Foundation, Haverford College,The Jacob Family Trust, The Mary N. Geanellis Trust and Bennington College.
Not Your Ordinary Soprano
Music by Leonard Bernstein
Lyrics by Betty Comden & Adolph Green
Arrangements by Lincoln Mayorga
Music & Lyrics by Frank Loesser
Arrangement by Abba Bogin
"Louisiana", 1927 by Randy Newman
Ida Faiella, soprano
Lincoln Mayorga, piano
Barry Finclair, violin
Jonathan Dincklage, violin
Semyon Friedman, cello
JuLian Barber, viola
David Finck, bass
Jim Murray, engineer
Recorded at the EDISON STUDIOS, New York City
"The score required Faiella to sing, speak, chant, shout, croon and act! She was outrageously wonderful."
The Albany Times Union
Review by Steven Bach
Ida Faiella is a classically trained singer who can sing opera, theater songs, cabaret, and - I suspect - anything else that appeals to the full, warm richness of the personality behind her remarkable voice. To give you an idea, I first heard her sing Sondheim in her justly praised one-woman show in which she sang (or was it lived?) the wide ranging gallery of Sondheim's female characters from "Broadway Baby" to "The Ladies Who Lunch." Next I heard her sing a saucy, wisecracking, hip-swinging Eve in Allen Shawn and Derek Walcott's comic version of the Garden of Eden in a mini-opera Joseph Papp commissioned shortly before he died. And just this spring I was enthralled as she soared with and in a song cycle by Ricky Ian Gordon, one of the celebrated "new Generation" of American theater composers.
I know she can sing Monteverdi; I suppose she could sing Madonna or even the Mouseketeers if she took a mind to. And maybe she will. Stay tuned.
I have no idea what Ida Faiella thinks her best mode is, but for me it is the songs of the Golden Age of American Theatre, those outpourings of feeling and wit that Sondheim's predecessors - Frank Loesser and Leonard Bernstein, to name just two - made part of a precious cultural language that sounds as fresh, funny, or moving as the day those songs were written and first floated into our general consciousness to stay.
There's a reason for that. They are songs written by grown-ups for grown-ups, and listening to Ida sing, say, "Some Other Time" from On The Town reminds you how deeply satisfying the emotional underpinnings of a song can be and how seldom we hear them along with the melody or the beat. She can turn "When I Was Seventeen" into a little memory play, full of aspiration, longing, and hope that's not quite dimmed, in spite of knowing better. Call it experience, that quality that spells the difference between a great singer - the kind you come back to again and again - and a technician.
The beat in Ida's singing comes, of course, from the heart, a heart that's lived and laughed and come back for more, warmed by the rare ability to transmit life's lasting melodies and our best music's lasting jewels with almost no barrier between singer and audience, unless you consider artistry a barrier. I don't, and as you listen to her sing, I suspect you won't either.
Steven Bach was a theatrical and film producer before heading worldwide production at United Artists, where he was involved in such films as "Raging Bull," "Manhattan," "The French Lieutenant's Woman," La Cage aux Folles," and "Heaven's Gate," about which he wrote the brilliant bestseller Final Cut. He is also author of Marlene Dietrich: Life and Legend and Dazzler: The Life and Times of Moss Hart.