Jørgen Leth can squeeze poetry from a stone and wit from dust, and he can find love where the milk of human kindness runs dry. In a series of tableaux of Life in Denmark, he carries absurdism to a happy extreme. To act out his minuscule non-dramas, he uses a motley crew of professional actors like Ghita Nørby and Claus Nissen, writer Dan Turéll plus a snake charmer, a bicycle racer and a circus queen.
This is the second leader-session by the acclaimed Norwegian composer and bassist Eivind Opsvik for Fresh Sound New Talent. Since moving to New York in 1998 Eivind has been working on his own compositions and concepts and, in early 2002, he assembled some of his favourite musicians in the city, some of whom he's played with for years and some who are more recent acquaintances, with the intention of doing gigs around the city and to record a CD. In selecting musicians for his band Eivind favoured open-mindedness, individuality and musicians with experience from the free music scene who would give his music a certain edge and energy.
Following the premiere performance of Handel's opera "Sosarme, re di Media" on 15 February 1732, Viscount Percival remarked that, the work is well received in the city, and quite rightly so, for it is one of the best I have ever heard. The intrigue-laced plot goes back to 14th century historical events, when a dispute about succession broke out between King Dionysius (Denis), his son Alfonso and King Ferdinand IV of Castile. Following the last performance of Sosarme in 1734, the work slumbered for some two hundred years until British composer, conductor and musicologist Anthony Lewis revived Handel's composition in 1954. This recording, featuring the St. Anthony Singers and St. Cecilia Orchestra and conducted by Lewis, vouches for historical authenticity last but not least thanks to an ensemble of singers well-versed in Handel's works, including counter-tenor Alfred Deller and contralto Helen Watts.