Lyrics : Find the Words To Your Favorite Songs

singing in car Lyrics : Find the Words To Your Favorite SongsHave you ever been singing along with the radio but you aren’t quite sure what words are being sung by the pop star or musical group? This happens to me all the time! I recently found a website that will find pretty much any song and it gives you the lyrics. , pretty straight forward website, huh? I have found it very useful over the past few months. Just type the artist or the song and POOF you will instantly know the words!


Another way to find lyrics to your favorite songs is through YouTube.

The “old school” way of finding lyrics to your favorite song is by buying the CD. Yes, the round thing that plays music. Usually the lyrics are in the inside of the case. And this way works just as well!


Posted in Music is my Life | Tagged as:

Dinosaurs, brainwashing and bunkum…

The other day I came across the expression "Music shouldn't be a Museum Culture" just once too often. I've got out my Amati Soapbox to explain why I think this clichéd phrase is a daft bit of pernicious brainwashing idiocy...
Posted in Classical Pit

Royal Opera House 2015-16: JDCMB’s top choices

Yesterday the Royal Opera House held its big press conference to announce the new season. And it's a goodie. There was so much to announce that chief executive Alex Beard gently told Antonio Pappano he had to wind up his speech so they could move on. "I'm a Sir, and don't you forget it!" laughed the irrepressible music director.

During the question session an American journalist asked about attendance figures. Some houses in the US have problems, he suggested, with actually getting people to go and see things. How are sales doing here? Kasper Holten, head of opera, told him that for the past season the operas have averaged around 94 per cent. Kevin O'Hare, artistic director of the Royal Ballet, modestly added that for ballet it's been more like 98-99%.

I get the feeling they are doing something right. A mixture of balancing old and new repertoire and productions, scheduling the right number of performances of each piece, setting the ticket prices at levels which - if still steep to many - still do a rather healthy trade. In the new season there are some ambitious and radical treats alongside a fair few war-horses with exciting singers. Eight new productions. A new full-scale opera commission from Georg Friedrich Haas. New ballets with new scores to be written for our top choreographers by Lowell Liebermann, for Liam Scarlett's first full-length ballet, Frankenstein, Mark-Anthony Turnage, for a new Christopher Wheeldon ballet; and Esa-Pekka Salonen for a new work by Wayne McGregor. An eagerness on Tony Pappano's part to get the orchestra out of the pit and playing in its own right on the stage - which would, of course, also give us the chance to hear the maestro exploring non-operatic repertoire, a treat that we don't hear often enough in London.

One name, amongst the very many being trumpeted, was missing. Oh dear, what is this - a Kaufmann-free season? A brand-new Cav'n'Pag starring...Aleksandrs Antonenko. Tosca starring...ooh, the excellent Franceso Meli, which is great in itself, but...? On the way out to the coffee and pastries, rumblings were going on: WHERE'S JONAS?

Well, I found him. Buried deep in the pages of the brochure, there he is, singing...two performances of what is tipped to be the last revival of Francesca Zambello's production of Carmen. Kaufmaniacs might like to put 14 and 16 November in their diaries.

Aside from that, here are my personal must-sees of the opera season.

1. The aforementioned new Cav'n'Pag - Cavalleria rusticana and Pagliacci, conducted by Pappano, directed by the exciting young Italian, Damiano Michieletto, and starring Eva-Maria Westbroek, Carmen Giannattassio and, in both tenor roles, Aleksandrs Antonenko. "There is another tenor besides Jonas Kaufmann," declared Pappano. "He's a great singer." Holten told us that the production will be set in southern Italy in the 1980s - "but it hasn't changed much since then." Pappano's presence in the pit would alone be enough to get me running to this.

2. A revival of Holten's Eugene Onegin. Yes, really. It got largely hideous reviews, but I rather loved it. It's apparently having something of an overhaul and there's a thrilling cast: as Tatyana, the young Australian soprano Nicole Car, with Dmitri Hvorostovsky as Onegin, Michael Fabiano as Lensky, Ferruccio Furlanetto as Prince Gremin and Semyon Bychkov conducting.

3. An actual staging of an opera by Chabrier. L'Etoile, a rare opéra bouffe by the sparkling French master, to be staged by Mariame Clément and conducted by Mark Elder. I can feel the fresh air zipping in already.

4. Rare repertoire, top that? Yes: here comes my pin-up hero Enescu (honest, guv, I've a big poster of him above my piano, brought from Bucharest), and his opera Oedipe, the latest in the ROH's splendid focus on early 20th-century operas that can use some attention. Fabulous cast includes Johan Reuter, John Tomlinson, Sophie Bevan, Sarah Connolly, Claudia Huckle, Marie-Nicole Lemieux, Alan Oke and more. Conductor: Leo Hussain, director Alex Ollé.

5. Gerald Barry's The Importance of Being Earnest is back, this time being performed at the Barbican. I couldn't get in last time and it sounds like a seriously hilarious must-see.

6. New commission, Morgen und Abend, from the composer Georg Friedrich Haas and librettist Jon Fosse, based on the latter's novel. Graham Vick directs. Apparently it begins with a huge monologue for the great German actor Klaus-Maria Brandauer. It's a co-commission with the Deutsche Oper Berlin.

7. At the ballet, besides all those brilliant pieces with brand-new scores, The Winter's Tale is being revived, as is Raven Girl, they're going to do Ashton's The Two Pigeons for the first time in 30 years, and there's a new Carmen (to Shchedrin's version) from Carlos Acosta. (See my interview with him in the latest edition of About the House Magazine. He is even more lovely than you think.)

That's just the very tip of a warm sort of iceberg that includes a new Lucia di Lammermoor, a Tannhauser revival complete with Gerhaher as Wolfram, an ambitious project based around Orpheus and featuring a new staging of Gluck's eponymous opera with John Eliot Gardiner bringing in his own orchestra (though many of us are sure the ROH's own orchestra would have done it just as splendidly) and being directed by both John Fulljames and the choreographer Hofesh Schechter, an all-dancing as well as all-singing job, and with no less than Juan Diego Flórez in the lead, with Lucy Crowe as his Eurydice. Other stars aplenty: Karita Mattila in Ariadne auf Naxos, Angela Gheorghiu as Tosca, Venera Gimadieva and Rolando Villazón in Traviata, Bryn Terfel singing Boris Godunov for the first time in a new production by Richard Jones.

The new website of Opera Europa will soon be making it easier for us all to see live-streamings from 15 different European opera houses in one website, the ROH included, and an increasing capacity for co-productions is beginning to feed Covent Garden's plans as it does ENO.

Posted in Classical Pit

A big step up for…

...the brilliant young British-Australian conductor, Jessica Cottis, who has just been signed up for general management by Inverne Price. This is a Very Good Thing. Official info below.

Jessica Cottis: equally at home with music old and new
If by their pedigree shall you judge a young conductor, Jessica Cottis is set to do great things. She has recently finished her tenure as Assistant Conductor at the Sydney Symphony Orchestra, first to Vladimir Ashkenazy and then to David Robertson, and previously she has assisted Donald Runnicles at the BBC Scottish Symphony Orchestra, Charles Dutoit with the Royal Philharmonic Orchestra and Michael Tilson Thomas with the San Francisco Symphony. Before all of which, the Royal Academy of Music graduate was taught by Sir Colin Davis. In the light of such undoubted talent and musical intelligence, Inverne Price Music Consultancy is delighted to announce that they have signed Jessica Cottis for general management.

Hailed as a "fast-rising star" by Jessica Duchen in the UK's Classical Music Magazine, "one of the big hopes for change" by the Sydney Morning Herald and as one of The Independent's "next generation" of five conductors making their mark in Britain (a list that put Cottis in the company of Robin Ticciati and Daniel Harding), the Scottish-Australian maestra is racking up the impressive credits expected from conductors of her calibre. She has given high-profile performances with the Sydney Symphony Orchestra, the Queensland Symphony (where she returns later this month with soloist Sarah Chang), BBC Scottish Symphony, London Philharmonic, BBC Philharmonic, New Zealand Symphony, Bit20 Ensemble, the BBC National Orchestra of Wales; Scottish Opera, the Edinburgh Festival, the Aldeburgh Festival and elsewhere. Yet amidst all of the Mozart and Beethoven and her beloved Richard Strauss, Cottis always looks to find time for her passion projects away from the well-trodden paths.

These include conducting an all female composers programme in Cardiff for International Women's Day and the Women Of The World Orchestra at London's Royal Festival Hall, founding London's Bloomsbury Opera, championing the music of her native Australia and bringing contemporary music into the spotlight. This last led to one of her career breakthroughs, the hugely successful premiere of James Dillon's Nine Rivers cycle with the BBC Scottish Symphony Orchestra and Les Percussions de Strasbourg - an event that The Guardian called "unquestionably the most significant new-music event in Britain this year." In 2014, she conducted a new work by Peter Maxwell Davies  for the opening of the restored organ at London's Royal Festival Hall. Most recently, Cottis was appointed Principal Conductor of the new Scotland-based ensemble, the Glasgow New Music Expedition.

"I am obsessed with great music, whether new or old, symphonic or opera," she says, "and as much as anything, conducting the music of our own time guides us to discover anew the relevance, excitement and sense of adventure of the music of the past. So that Mozart and Berlioz and Wagner and the rest become again the music of the present."

Cottis's talent as a communicator has been welcomed by broadcasters. She has  appeared on various programs, including as conducting mentor to presenter Jenni Murray on a Radio "Woman's Hour" special (BBC Radio 4) and in a similar capacity to DJ Trevor Nelson in BBC Two Television's series "Maestro at the Opera". She has broadcast on the subjects of Brahms and of Verdi, both for Radio 4.

Ahead of her coming engagement at the Queensland Symphony - other forthcoming engagements include the Royal Opera House, Covent Garden and a return to the Sydney Symphony Orchestra - she was asked to write a feature for Australia's Limelight magazine on today's "golden age" for Australian composers, which can be read here. And you can watch Cottis conduct the Sydney Symphony Orchestra at her new YouTube channel.
Posted in Classical Pit