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for Countertenor, 2 tenors, baritone, soprano, mixed chorus, chamber orchestra (oboe, clarinet, bass clarinet, bassoon, C trumpet, trombone, electric guitar, electric bass, 2 percussion)  

with libretto by Anne Michaels 

In William Shakespeare’s blood-soaked revenge tragedy Titus Andronicus, we get to know very little about Lavinia, Titus’s only daughter, even though it is on her that the plot turns. Because of an atrocious crime committed against her, she spends most of her time on stage unable to speak, leaving much of her character and her inner world to be imagined by the audience. Daniel’s oratorio is an exploration of that unknown Lavinia. The solo vocal groups, consisting of soprano and four male singers (countertenor, two tenors, and baritone), collectively speak with Lavinia’s internal “voice” while the chorus provides external commentary and acts as the voices of those around her. These exchanges between soloists and chorus, combined with an unconventional ensemble accompaniment, create a unique sound world that invites the listener to imagine a new dimension to the tragic figure at the centre of one of Shakespeare’s most harrowing plays.

Performed by: The Hilliard Ensemble
Tafelmusik Chamber Choir
Encounters Chamber Orchestra
Ivars Taurins, conductor