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    For the love of god

    Sacred prayer or steamy love affair? Anniversary concert celebrates music inspired by kings & queens

    Naomi Galvez
    Naomi Galvez
    May 30, 2013 | 12:14 pm

    Some scholars say that The Song of Songs of Solomon focuses on the historic, secular love story between King Solomon and the Queen of Sheba. The book fills our minds with sumptuous, tender, loving and passionate words — the stuff that makes up a great romance novel.

    Yet a sacred reading of these steamy texts of dedication may symbolize something completely different. Some say that the words describe one's connection with God — but I'll leave that up to the reader to decide which fairs a better interpretation.

    During the Baroque era, there was a fascination with these poetic verses. Many composers set these allegorical passages to music, yielding variations as plentiful as the devotions they declare.

    Ars Lyrica Houston closes its 2012-13 season with "Divine Recreation," a program that offers a tempting treat: Musical settings of the Song of Songs of Solomon and other divinely inspired tunes interpreted by Baroque's famed composers such as Dieterich Buxtehude, Claudio Monteverdi and George Frideric Handel.

    Soprano Melissa Givens, who will be featured in the concert, explains that these excerpts celebrate the elements of a relationship, including the initial attraction, pursuit, sexual attraction and union.

    "There are about five stories in the universe that we keep retelling. How love can take you to the highest places or make do things you thought you'd never do."

    The performance will include an alluring duet from Monteverdi's opera The Coronation of Poppaea. The sultry love affair between Nero, Emperor of Rome, and a young girl, Poppea, isn't related to the text from Song of Songs, but connected to the theme of the evening.

    Givens has a personal connection to The Coronation of Poppaea. As a young music student at Rice University, she recalls not being fond of the title role. Years later, however, as she revisits the ambitious score, it has become her most beloved piece to execute. She thinks that's because of a correlation she noticed later in her career and through her work as a teacher.

    "There are about five stories in the universe that we keep retelling," Givens says. "How love can take you to the highest places or make do things you thought you'd never do. It's the basis of a lot of our greatest love stories — and you can trace that right back to the Song of Solomon."

    In alignment with the theme of devotion, the performance also marks Given's 10-year anniversary collaborating with Ars Lyrica. She affectionately describes her tenure with the group as a family environment teeming with amazing colleagues.

    "I've been blessed," she continues. "We're fortunate to be able to perform early music. We've gotten to the point where we get to experience the re-creation of art no matter the repertoire. We communicate this joy. Ars Lyrica was founded on our love for early music, so it's nice to have our next season focus on the subject of love."

    Ars Lyrica's desire to bring early music to a community that years ago didn't have a lot of exposure to the genre continues to inspire while growing in popularity.

    And just how breathtaking are the words between King Solomon and his Queen, or a Roman Emperor and his beloved when they're set to music? You're invited to find out.

    ___

    Ars Lyrica will perform "Divine Recreation" on Friday, 7:30 p.m., at the Hobby Center for the Performing Arts. Tickets start at $35, $22 for students, and can be purchased online or by calling 713-315-2525.

    The repertoire includes Monteverdi's Pulchra es, amica mea from Vespro della beata Vergine; Frescobaldi's Bergamasca from Fiori Musicali; Monteverdi's Pur ti miro from L'Incoronazione di Poppea; Monteverdi's Nigra sum from Vespro della beata Vergine; Marini's La Foscarina. Sonata a 3 con il tremolo; Schütz's Paratum cor meum, Deus, SWV 257; Buxtehude's Liebster, meine Seele saget, BuxWV 70 and excerpts from Handel's Solomon.

    Melissa Givens and the artists of Ars Lyrica Houston.

    Ars Lyrica Houston May 2013 musicians
    Photo by © Anthony Rathbun
    Melissa Givens and the artists of Ars Lyrica Houston.
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    Movie Review

    Shaun the Sheep welcomes spooky season with PG-scary new movie

    Alex Bentley
    Sep 18, 2026 | 2:30 pm
    Shaun the Sheep in Shaun the Sheep: The Beast of Mossy Bottom
    Photo courtesy of Aardman / Sky UK LTD / StudioCanal 2026
    Shaun the Sheep in Shaun the Sheep: The Beast of Mossy Bottom.

    Since his introduction over 30 years ago, the Aardman Animations character Shaun the Sheep has been almost as popular as the studio’s flagship characters, Wallace and Gromit. There is never a shortage of trouble Shaun can get into as he leads his flock and proves to be a thorn in the side of his farmer and Bitzer, the farmer’s loyal sheepdog.

    His antics lead everyone down some slightly spooky roads in the new film, Shaun the Sheep: The Beast of Mossy Bottom. At first, things are only slightly awry as Shaun and the flock are growing a secret pumpkin patch to have their own jack-o-lanterns. But when the farmer accidentally destroys the pumpkin patch, Shaun tries to regrow it quickly with a Frankenstein-esque experiment.

    However, disaster looms when Shaun uses an old bottle of Hair-Gro as the container for the serum he creates. Naturally, the balding farmer uses it on his head, and everyone soon discovers how truly successful it is, with pumpkins growing out of control and the farmer sprouting hair all over his body. Through a series of mishaps, the farmer becomes the titular beast, creating mayhem while Shaun and others try to stop him.

    Directed by Steve Cox and Matthew Walker, and written by Mark Burton and Giles Pilbrow, the film goes down just as easy as every other Aardman project has. They get the Halloween vibes started from the opening credits, with things like the sheep doing the “Thriller” dance, and continue the fun throughout, referencing everything from Psycho to Friday the 13th in a nice, PG way.

    With no script — every character is mute save for reaction noises — the movie relies on sight gags for its humor, and the Aardman team is endlessly inventive in that respect. Sometimes it’s small things like a sheep using toilet paper rolls as binoculars, and sometimes it’s something like forcing the Bigfoot-like farmer to be shaped into a rectangle as he escapes through a window. But there’s a never-ending stream of such moments, so even if one doesn’t tickle your funny bone, chances are the next one will.

    The biggest benefit of the characters not talking is that there’s no need for deep character development. The filmmakers do a great job of giving the basic traits of each character, and then use those attributes to color everyone’s actions for the rest of the film. Shaun is the troublemaker, the farmer is a bumbling fool, Bitzer is preternaturally smart, and the town’s vet is empathetic, and the combination of those characters and others makes for a highly entertaining blend.

    Like all Aardman creations, Shaun the Sheep: The Beast of Mossy Bottom is a fun lark that doesn’t make its audience think too hard. With just enough references to keep viewers engaged but not so many as to be overbearing, the film puts its well-worn characters to good use once again, delivering a Halloween season story that can be enjoyed by people of all ages.

    ---

    Shaun the Sheep: The Beast of Mossy Bottom is now playing in theaters.

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