Xenia Xenia

Xênia França (Candeias, 27 de fevereiro de 1986) é uma cantora e compositora brasileira.Nascida no Recôncavo Baiano, passou a adolescência em Camaçari e mudou-se para São Paulo em 2004. Trabalhou como modelo até 2008, quando começou a cantar em bares. Conheceu Emicida, que a convidou para participar das gravações do EP Sua Mina Ouve Meu Rep Tamém e do álbum Emicídio, ambos de 2010. No ano seguinte, entrou para a banda Aláfia, com Pipo Pegoraro e Lucas Cirillo.

Strangers in their own birthplace, 16-year-old Danny and 18-year-old Odysseus cross the entire country in search of their Greek father, after their Albanian mother passes away. Determined to force him to acknowledge paternity, little do they know that the road to the much-coveted Greek citizenship is paved with ghosts from the past, adult savagery and a dream that needs to come true, no matter what. Reaching the end of this initiatory journey they eventually come of age even if Greece refuses to follow.

The Akademie für Alte Musik Berlin launches a series of Mozart symphonies to appear on Pentatone, starting with the composer’s “Paris” and “Haffner” symphonies. On this first album, the works are coupled with his enchanting Oboe Concerto – performed by the ensemble’s first oboeist Xenia Löffler – and the bold overture to Die Entführung aus dem Serail in Mozart’s own woodwind arrangement. Taken together, these pieces demon-strate the rich palette and expressive power of Mozart’s music in the period between 1777 and 1783, during which he finally managed to spread his wings and leave his hometown of Salzburg.

This disc is an invitation to explore one of the great attractions of Venice in the Baroque era, the famous ospedali. Among the inmates of the Pietà was a girl named ‘Pellegrina’, for whom Vivaldi wrote many of his oboe concertos. With her Berlin colleagues, Xenia Löffler breathes new life into these concerti soli, concerti ripieni and sinfonie by the ‘Red-haired Priest’ – but also by his emulators, among them a composer of today, no less fervent in his admiration: Uri Rom.

Brothers Johann Gottlieb and Carl Heinrich Graun were highly influential and popular figures in 18th Century Berlin. As musicians of the court of Frederick the Great, Carl Heinrich became an important figure at the new Berlin Court Opera, while Johann Gottlieb strongly influenced early classicism in general as a violinist and composer. The name Graun was like a seal of approval in those days for zestful music rich in ideas, displayed perfectly by this collection of concertos. Oboist Xenia Löffler, a member of the Akademie fu"r Alte Musik Berlin, has distinguished herself as a specialist for the North German repertoire of this period.

While not many listeners in the present day may remember the name Julius Klengel, his name was virtually synonymous with the cello less than 100 years ago. The majority of Klengel's career centered around either performing – as principal cellist of the Gewandhaus Orchestra, as a chamber musician, or as a soloist – or pedagogy. In fact, he was one of the most sought-after teachers of his time, and his numerous students include the likes of Feuermann and Piatigorsky. Klengel also composed a great deal of music for the cello, especially pedagogical works. His performance works, including the three concertos heard on this disc, are infrequently played. Compositionally, they are generally enjoyable works but not terribly original or moving.

The Berlin public of the mid-Eighteenth Century was fascinated by the ‘original genius’ of C. P. E. Bach and never tired of listening to his concertos. These works call for a talented soloist capable of mastering the multiple facets of an original and finely worked musical texture: a challenge taken up with panache (and on a period instrument) by the oboist Xenia Löffler, surrounded by her distinguished colleagues of the Akademie für Alte Musik Berlin.