Where Corals Lie, A Journey through Songs by Sir Edward Elgar Julia Sitkovetsky & Christopher Glynn

• Edward Elgar (1857 - 1934): Sea Pictures, Op. 37:
• 1 Elgar: Sea Pictures, Op. 37: I. Sea Slumber Song 04:35
• 2 Elgar: Sea Pictures, Op. 37: II. In Haven (Capri) 01:45
• 3 Elgar: Sea Pictures, Op. 37: III. Sabbath Morning at Sea 05:01
• 4 Elgar: Sea Pictures, Op. 37: IV. Where Corals Lie 03:32
• 5 Elgar: Sea Pictures, Op. 37: V. The Swimmer 05:16
• Sieben Lieder:
• 6 Elgar: Sieben Lieder: VII. The Shepherd's Song 02:43
• 7 Elgar: Sieben Lieder: I. Like to the damask rose 03:08
• 8 Elgar: Sieben Lieder: II. Queen Mary's Song (The Lute Song) 03:25
• 9 Elgar: Sieben Lieder: III. A Song of Autumn 02:42
• 10 Elgar: Sieben Lieder: VI. Rondel 01:37
• Two Songs:
• 11 Elgar: Two Songs, Op. 60: 1, The Torch 01:42
• 12 Elgar: Two Songs, Op. 61: 2, The River 03:22
• Edward Elgar:
• 13 Elgar: Pleading, Op.48 02:32
• 14 Elgar: The Muleteer's Serenade 02:28
• 15 Elgar: The Self Banished 04:00
• 16 Elgar: Speak, Music, Op. 41 No. 2 02:52
• 17 Elgar: After, Op. 31 No. 1 02:42
• 18 Elgar: In Moonlight 02:07
• 19 Elgar: When the spring comes round 04:56
• 20 Elgar: Pansies 03:13
• Total Runtime 01:03:38

Info for Where Corals Lie, A Journey through Songs by Sir Edward Elgar

Working in an era before Arts Council grants, public sponsorship, recording royalties, and long-term publishing deals, Elgar had to write for the public demand as much as personal satisfaction. The effort required for his large-scale works was rarely reflected in profitable income, so writing songs could be a useful way to earn money. The England of Elgar’s time favoured popular ballads, sung by well-known singers. These were then sold as sheet music, the singer’s name emblazoned on the cover, for performances given in middle-class homes. There was little demand for lengthy song cycles, or song recitals consisting entirely of ‘serious’ repertoire in the German tradition. As a result, Elgar’s songs are often individual works, sometimes adapting instrumental works into songs (such as ‘Land of Hope and Glory’) when the commercial opportunities arose. Elgar also chose poetry that was popular and straightforward, rather than drawing on the established classical masterpieces. These songs were then transposed into numerous keys to allow performance by any voice type, designed for mass appeal and profitable sales. Making her Chandos début, Julia Sitkovetsky is a British-American lyric-dramatic coloratura soprano with a flourishing, exciting international career. Having trained at the Guildhall School of Music and Drama, she made her professional operatic début at the age of sixteen, at Glyndebourne Festival Opera and English National Opera. Since then, she has appeared all over Europe. In the 2021 / 2022 season, she will return to Semperoper Dresden with her signature role, Queen of the Night, with which she will also make her house début at Komische Oper Berlin. With Roger Vignoles, Julia Sitkovetsky has given recitals at Wigmore Hall and Snape Maltings. In the summer of 2021, with her father, Dmitry Sitkovetsky, she performed songs by Shostakovich at the Internationale Schostakowitsch Tage Gohrisch in Dresden.

Julia Sitkovetsky, soprano
hristopher Glynn, piano

Julia Sitkovetsky
British/American Julia Sitkovetsky is a lyric-dramatic coloratura soprano with a flourishing, exciting international career.

In the 2021/22 season, Julia will return to the Semperoper Dresden and Deutsche Oper am Rhein in their productions of Die Zauberflöte as ‘The Queen of the Night’, and will perform this role at the Komische Oper Berlin (house debut) and the Deutsche Oper am Rhein. She will release her album of songs by Edward Elgar with pianist Christopher Glynn and Chandos Records in Autumn 2021, and she will perform Shostakovich songs with her father Dmitry Sitkovetsky at the Internationale Shostakovich Festival in Dresden in summer 2021 and the Petworth Festival in the UK in July 2022.

In the 2020/2021 season, Julia performed her signature role of’ The Queen of the Night’ in Die Zauberflöte at the Semperoper Dresden. She would have debuted the roles of ‘Elvira’ in Bellini’s I Puritani and ‘Morgana’ in Handel’s Alcina at Deutsche Oper am Rhein, and should have sung ‘The Queen of the Night’ in Barrie Kosky’s production of Mozart’s Die Zauberflöte and ‘Waldvogel’ in Wagner’s Siegfried at Deutsche Oper am Rhein, but they were cancelled due to Covid-19.

In the 2019/20 season, Julia made her house debut at the Semperoper Dresden with the role of ‘The Queen of the Night’ in Mozart’s Die Zauberflöte.

She returned to Deutsche Oper am Rhein to reprise her roles of Le Feu/La Princesse/Le Rossignol’ in Ravel’s L’enfant et les sortilèges and ‘Waldvogel’ in Siegfried in Wagner’s Der Ring des Nibelungen.

She gave recitals with Roger Vignoles at the Wigmore Hall and Snape Maltings, as well as celebrated the release of their CD of Rachmaninov songs with Hyperion Records in May 2020.

In the 2018/19 season, Julia made her role and house debut as ‘Le Feu/La Princesse/Le Rossignol’ in Ravel’s L’enfant et les sortilèges, and later ‘Waldovgel’ in Wagner’s Siegfried at Deutsche Oper am Rhein; she returned to Staatsoper Hannover with the role of ‘Maria’ in Manfred Trojahn’s Was ihr wollt; and made her role and house debut as ‘The Queen of the Night’ in Mozart’s Die Zauberflöte at Scottish Opera.

In the 2017/18 season, Julia made her role and house debut as ‘Gilda’ in Verdi’s Rigoletto at the Landestheater Linz, Austria, and to the Staatsoper Hannover with the role of ‘Ida’ in Henze’s Der Junge Lord. She also performed the role of ‘Fernando Cortez’ in Vivaldi’s Motezuma at Theater Ulm.

Julia was a 2019 Paris Opera Competition finalist, she won the Prix Spécial du Centre Lyrique Clermont-Auvergne at the International Clermont Ferrand Competition 2017; First Prize in the 2014 Dean and Chadlington Competition; a 2018 Susan Chilcott Award Finalist; a Semifinalist in the Hans Gabor Belvedere Competition 2018 and a 2014 Young Classical Artists Trust Finalist at the Wigmore Hall.

Julia made her professional operatic debut at the age of 16 at Glyndebourne and English National Opera, understudying ‘Flora’ in Britten’s The Turn of the Screw. She trained at the Guildhall School of Music and Drama and continues her studies with Marie McLaughlin and Susan Roberts.

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