Vocal Solo covered by Carolyn Lansom recorded at a live performance of Sugar Katty Cool in 2016

So This Is Love

Three years ago, the COVID-19 pandemic radically altered every aspect of our lives. I wanted to create a memorial to those who had lost their lives in the early days of the pandemic, and to try to find a way to make music with other people in a time when social contact was impossible. I had the idea to create a work for socially-distanced chorus. Friends and colleagues of mine recorded their vocal parts at home, and I painstakingly assembled them into the a choral tapestry. The lyrics are taken from the names of victims of the pandemic; each singer chose the names individually.
The contributing singers are: Emily Bell, Anna Elder, Emily Cook, Katie Palumbo, Suzanne Fatta, Guy Russo, Sam Theiner, David Gerard Matthews, and Erik Spangler.

Lacrymosa

Valerian Ruminski sings Wotan's Farewell from Die Walkure. Recorded Dec 2015. You guess the orchestra. 

Wotan's Farewell

The Chairman of this years National Opera Week, fashion designer Isaac Mizrahi, said "The more you know about opera, the more you know about life. It's as important as higher education...." To know more about opera, you can attend a musically illustrated talk, "Opera Liberata: Uncovering, Rediscovering and Reconstructing Lost Operas," featuring Suzanne Fatta, contralto, and Ivan Docenko, harpsichord, Saturday, October 29 at 10:30 a.m. in Room 124 of Rockwell Hall on the Buff State campus. Suzanne Fatta recently spoke with WNED's Peter Hall.

Suzanne Fatta re Opera Week 2016

music: Jean-Christophe Rosaz
piano 4 hands, cemballo and percussion
commissioned by CRR Versailles 
world premiere: 2016 December 12 
by students in Licence:
LEE Yebin, HA Yewon: piano
Solrun FRANZDOTTIR WECHNER: cemballo
SICK Benjamin: percussion
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I Rock and ice
II Gases and dust
III Immanence
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duration 6'30
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En prenant connaissance de l’alliage si spécifique du piano (ici 4 mains), du clavecin et de la percussion, je me suis souvenu de ma fascination pour l’infini de l’univers depuis l’enfance (ah les nuits passées allongé à même la terre à contempler le ciel étoilé ! – chose au demeurant de plus en plus rare, la cause en étant  la pollution lumineuse qui envahit l’espace nocturne.)
Pourquoi la comète Halley ? Parce qu’elle est - sans jeu de mot - une « star » dont le nom à lui seul suffit à évoquer l’espace dans toute sa magnificence ; le fait aussi qu’elle passe régulièrement à portée de vue depuis des siècles : nos ancêtres ont pu l’observer et nos descendants le feront encore longtemps, si tout va bien !
Ces trois couleurs instrumentales, où le métal n’est jamais très loin, sont pour moi  à même de rendre presque tangibles ces  « roche et glace » presque respirables ces « gaz et poussière », du moins je l’espère !
Quant à la troisième partie, elle évoque cette notion d’immanence, une chose qui est par elle-même, qui est là, éternelle ou presque et qui de ce fait nous rassure peut être sur notre condition humaine, nous donnant de la distance et nous faisant prendre de la hauteur. Cette qualité évoque pour moi le leitmotiv qui parcourt certaines partitions faisant émerger de l’ombre un personnage alors qu’il est loin de nous.
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By taking note of the alloy so specific of the piano (here 4 hands), harpsichord and percussion, I remembered my fascination for the infinity of the universe since childhood (ah the nights spent lying at even the earth to contemplate the starry sky - something more and more rare, because of the light pollution that invades the nocturnal space.
Why Comet Halley? Because it is - without a game of word - a "star" whose name alone is enough to evoke space in all its magnificence; the fact that it passes regularly within sight for centuries: our ancestors have been able to observe it and our descendants will do it for a long time, if all goes well!
These three instrumental colors, where the metal is never very far, are for me able to render almost tangible these "rock and ice" almost breathable these "gases and dust", at least I hope!
Regarding the third part, it evokes this notion of immanence, a thing which is by itself, which is there, eternal or almost and therefore reassures us on our human condition, giving us distance and rising us. This quality evokes for me the leitmotiv which traverses some scores bringing out a character from the shadow while it is far from us.
JC Rosaz

Trois états de la Comète Halley

Music:  Jean-Christophe Rosaz
Text:  Fernand Gregh, Horia Badescu
Citation: Eu mă duc codrul rămâne (Timotei Popovici)
Duration : circa 14’
Antonia Cosmina Stancu - mezzosoprano, 
Alina Pavalache - piano, 
Ansamblul Coral „Perpetuum”, cond. Consuela Radu-Țaga
sound recording: Radio Romania Iasi / Daniela VLAD 
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premiere in Romania: november 11 6PM, Aula de la Bibliothèque Centrale Universitaire, Journées de la Bibliothèque Centrale Universitaire "Mihai Eminescu" hommage au chef de choeur Ioan Pavalache / Iasi / 
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A tribute to George Enesco

Libretto
I L'ombre est bleue et la nuit palpite d'ors tremblants 
Dans l'azur, on croit voir flotter des voiles blancs 
Qui frémissent au souffle onduleux du mystère. 
Les longs voiles traînants des anges de la terre 
Qui montent vers les cieux, sans fin, sans bruit, en une 
Ascension dont l'essor tremble au clair de lune. 
Fernand Gregh (L' envol des anges)
II Eu mă duc, codrul rămâne,
Plânge frunza după mine,
Tra, la, la, la, la...
III Tels les yeux d’un jour sans passé
et la lumière d’une larme,
tel le sourire de la neige
ou le matin d’un cerisier
ainsi soient-elles vos âmes
Horia Badescu
IV După min’ nu plângă nime,
Că n-am făcut nici un bine,
Tra, la, la, la, la...

V Alors me penchant sur elle
je vis les étoiles dans ses prunelles 
et j’entendis l’eau remplir 
les profondeurs. 
Enveloppons-nous  
dans la divine lumière 
de la vie ! 
Horia Badescu 
in Apocryphes du roi Salomon
VI Iar deoi fi făcut vreun rău,
Mi loi trage singur eu,
Tra, la, la, la, la...
VII Loin, très loin… 
mais encore dans tes yeux 
la lumière de là-bas
encore dans tes yeux 
Horia Badescu 
in Un jour entier

Ombre et Lumière - Lumină și Umbră  for mezzo-soprano solo, choir SATB and piano

"Je ne t'aime pas" by Kurt Weill at my CD Release Party for 'Brucia La Terra' at the Colored Musician's Club

RiShon Odel - bass, keys, producer, arranger
Carl Flute Johnson - drums 
Joey Gonzalez - percussion
Mark Marinaccio - piano & keys
Sara Rogers - voice, trumpet & acoustic guitar

Je ne t'aime pas, Kurt Weill

Valerian Ruminski sings Stars from Les Miserables. Recorded by Kim Planert on Dec 20, 2018

Stars- Les Miserables- Valerian Ruminski

This off-the-cuff, improvised cover of Peter Gabriel's masterwork "In Your Eyes" was about as much fun as I've had one stage. This band was TIGHT - no rehearsals or planning, just musicianship, listening and passion for the song (photo by Silvana Denker)

The Colored Musician's Club
RiShon Odel - bass, keys, producer, arranger
Carl Flute Johnson - drums 
Joey Gonzalez - percussion
Mark Marinaccio - piano & keys
Sara Rogers - voice, trumpet & acoustic guitar

In Your Eyes (cover)

A quick collaboration with DjDubble8 who taught me the process of making beats on the Push controller in Ableton Live. We traded off with recording and sequencing different parts.

Flourite

Singing this classic "What a Wonderful World" 
Krista Seddon, Piano
Matt Harris, Saxophone
Mixed and edited by Jane Lincoln

What a Wonderful World (cover)

International Curve Model 'Carmina' Suzanne Fatta, the Opera Singer and Actress, adds another notch to her belt; Solo Recording Artist. She has become an icon in multiple fields of entertainment ranging from Early Music to Contemporary performance; now, the highly regarded Operatic Contralto with the rare low voice {singing as a Tenor, Baritone and Bass} has stepped out from the group and from behind the camera, to bring forth her new sound  --  mixing Jazz, Pop, World, Folk and Classical styles.

Je ne t'aime pas, Kurt Weill

'Carmina' Suzanne Fatta

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