Michael Nyman

News


MN Records releases the opera "Facing Goya"

Facing Goya is a taut thriller that follows one woman’s passionate search for the 18th Century Spanish artist Goya’s missing skull. Her journey takes us into the dangerous world of racial stereotyping, gene therapy, cloning and humankind’s follies as seen through Goya’s paintings, etchings and captions. The idea for the opera arose from Michael Nyman’s fascination with the insidious study of craniometry that developed in the 1870s.

Goya was regarded as one of the greatest painters of his time. Buried in Bordeaux, legend has it that he asked friends to ensure his head was removed prior to burial to prevent the early craniometrists and researchers of eugenics from getting hold of his brain.

Box Set includes Full Libretto and extensive booklet notes.

Contains FREE BONUS CD of highlights of Michael Nyman’s two previously released operas on MN Records.

Release date: 26 April 2011

Order: http://www.mnrecords.com/product3.html?cd=MNRCD121-122

Nyman to perform soundtrack music for İstanbul concertgoers

By HATICE AHSEN UTKU | Today’s Zaman

Michael Nyman is a living musical legend: a pioneer in minimalist music, famous for his operas, such as “The Man Who Mistook His Wife for a Hat” and “Facing Goya,” and for scoring many films, most notably for director Peter Greenaway and for Jane Campion’s “The Piano.” Now, the British composer-pianist-librettist-musicologist and his eponymously named band are taking to the Cemal Reşit Rey Concert Hall stage on Friday.

Ravenhill and Nyman - Take your seats for jazzed-up Monteverdi

By Nicola Christie | The Independent

Playwright Mark Ravenhill and composer Michael Nyman have given a new spin to a classic opera, discovers Nicola Christie.

On the surface they don’t have much in common: Michael Nyman, composer of the “killingly popular” – his words – soundtrack to The Piano, grandee of the UK music world now trying to get his operas onto serious UK stages, and Mark Ravenhill, risqué playwright who brought Shopping and Fucking to our stages in 1996 and has continued to challenge audiences’ tolerance levels ever since. But Monteverdi’s Coronation of Poppea has unleashed in the two artists a rather extraordinary new venture that, if cared for properly, could fuel a surge in opera-going, and opera-writing, that could be very exciting.

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