The Sixteen continues its exploration of Henry Purcell’s Welcome Songs for Charles II. As with Robert King’s pioneering Purcell series begun over thirty years ago for Hyperion, Harry Christophers is recording two Welcome Songs per disc.
In February this year, Albanian soprano Ermonela Jaho made a highly lauded debut recital at Wigmore Hall - a concert which both celebrated Opera Rara’s 50th anniversary and honoured the career of the Italian soprano Rosina Storchio (1872-1945), the star of verismo who created the title roles in Leoncavallo’s La bohème and Zazà, Mascagni’s Lodoletta and Puccini’s Madama Butterfly.
Collapsology. Or, perhaps we should use the French word ‘Collapsologie’ because this is a transdisciplinary idea pretty much advocated by a series of French theorists - and apparently, mostly French theorists. It in essence focuses on the imminent collapse of modern society and all its layers - a series of escalating crises on a global scale: environmental, economic, geopolitical, governmental; the list is extensive.
Amongst an avalanche of new Mahler recordings appearing at the moment (Das Lied von der Erde seems to be the most favoured, with three) this 1991 Mahler Second from the 2nd Kassel MahlerFest is one of the more interesting releases.
If there is one myth, it seems believed by some people today, that probably needs shattering it is that post-war recordings or performances of Wagner operas were always of exceptional quality. This 1949 Hamburg Tristan und Isolde is one of those recordings - though quite who is to blame for its many problems takes quite some unearthing.
The voices of six women composers are celebrated by baritone Jeremy Huw Williams and soprano Yunah Lee on this characteristically ambitious and valuable release by Lontano Records Ltd (Lorelt).
As Paul Spicer, conductor of the Royal Birmingham Conservatoire Chamber Choir, observes, the worship of the Blessed Virgin Mary is as ‘old as Christianity itself’, and programmes devoted to settings of texts which venerate the Virgin Mary are commonplace.
Ethel Smyth’s last large-scale work, written in 1930 by the then 72-year-old composer who was increasingly afflicted and depressed by her worsening deafness, was The Prison – a ‘symphony’ for soprano and bass-baritone soloists, chorus and orchestra.
‘Hamilton Harty is Irish to the core, but he is not a musical nationalist.’
‘After silence, that which comes closest to expressing the inexpressible is music.’ Aldous Huxley’s words have inspired VOCES8’s new disc, After Silence, a ‘double album in four chapters’ which marks the ensemble’s 15th anniversary.
A song-cycle is a narrative, a journey, not necessarily literal or linear, but one which carries performer and listener through time and across an emotional terrain. Through complement and contrast, poetry and music crystallise diverse sentiments and somehow cohere variability into an aesthetic unity.
One of the nicest things about being lucky enough to enjoy opera, music and theatre, week in week out, in London’s fringe theatres, music conservatoires, and international concert halls and opera houses, is the opportunity to encounter striking performances by young talented musicians and then watch with pleasure as they fulfil those sparks of promise.
“It’s forbidden, and where’s the art in that?”
Dublin-born John F. Larchet (1884-1967) might well be described as the father of post-Independence Irish music, given the immense influenced that he had upon Irish musical life during the first half of the 20th century - as a composer, musician, administrator and teacher.
The English Civil War is raging. The daughter of a Puritan aristocrat has fallen in love with the son of a Royalist supporter of the House of Stuart. Will love triumph over political expediency and religious dogma?
Beethoven Symphony no 9 (the Choral Symphony) in D minor, Op. 125, and the Choral Fantasy in C minor, Op. 80 with soloist Kristian Bezuidenhout, Pablo Heras-Casado conducting the Freiburger Barockorchester, new from Harmonia Mundi.
A Louise Brooks look-a-like, in bobbed black wig and floor-sweeping leather trench-coat, cheeks purple-rouged and eyes shadowed in black, Barbara Hannigan issues taut gestures which elicit fire-cracker punch from the Mahler Chamber Orchestra.
‘Signor Piatti in a fantasia on themes from Beatrice di Tenda had also his triumph. Difficulties, declared to be insuperable, were vanquished by him with consummate skill and precision. He certainly is amazing, his tone magnificent, and his style excellent. His resources appear to be inexhaustible; and altogether for variety, it is the greatest specimen of violoncello playing that has been heard in this country.’
Baritone Roderick Williams seems to have been a pretty constant ‘companion’, on my laptop screen and through my stereo speakers, during the past few ‘lock-down’ months.
Melodramas can be a difficult genre for composers. Before Richard Strauss’s Enoch Arden the concept of the melodrama was its compact size – Weber’s Wolf’s Glen scene in Der Freischütz, Georg Benda’s Ariadne auf Naxos and Medea or even Leonore’s grave scene in Beethoven’s Fidelio.
MERCADANTE: Emma d'Antiochia Nelly Miricioiu (Emma), Maria Costanza Nocentini (Adelia), Bruce Ford (Ruggiero), Roberto Servile (Corrado); Geoffrey Mitchell Choir, London Philharmonic/ David Parry Opera Rara 26 [3CD] 183 minutes I have long been on a campaign to revive the works...
MERCADANTE: Emma d'Antiochia
Nelly Miricioiu (Emma), Maria Costanza Nocentini (Adelia), Bruce Ford (Ruggiero), Roberto Servile (Corrado); Geoffrey Mitchell Choir, London Philharmonic/ David Parry
Opera Rara 26 [3CD] 183 minutes
I have long been on a campaign to revive the works of Saverio Mercadante. Eight of his operas and some of' his choral and orchestral works have been issued on CD from a variety of performance venues, good, bad, and indifferent. Bongiovanni has been the leader here. But only Opera Rara has published studio recordings of his music: Italian songs (Nov/Dec 1999), the complete opera Orazi e Curiazi (Jan/Feb 1996), and a quasi-introduction to Mercadante's music, Mercadante Rediscovered (Jan/Feb 2004), a compilation with selections drawn from several Opera Rara recital recordings. To begin its new series, "The Essential Opera Rara", selections from an opera that will give the "essence" of the work, they chose Mercadante's Zaira (July/Aug 2003). All have been favorably reviewed in these pages.
It is said that you cannot judge a book by its cover, but certainly the sheer luxurious elegance of Opera Rara's presentations goes far in establishing the credibility of the music. Most of all it establishes the feeling that Opera Rara has a strong belief in and support for the music. As usual there is an extensive performance history of the work, an examination of text and music, and a complete libretto with English translation. There is even information on Mercadante's use of the glicibarifono (a bass clarinet kind of instrument).
Although the opera was written at the height of Mercadante's career, had a libretto by the prolific Felice Romani, and was written specifically for super-diva Giuditta Pasta (along with almost-as-popular star Domenico Donzelli and the soon to be super-diva Eugenia Tadolini) Emma was a disaster at its premiere (La Fenice, March 8, 1834). Pasta was ill, but "graciously consented to appear" in a highly truncated version of the opera. But at the third performance Pasta was back in form and the opera was awarded a sensational reception. It was performed almost annually though the mid-1840s, disappeared briefly, had a few revivals and was last performed in Malta in 1861.
Thanks to Opera Rara for bringing Emma back to life. The music is packed with good, solid, sing-along tunes as effective as many of early Verdi, with many unusual touches of orchestration. Rhythmic devices are always ear-catching and pull the listener (and the singer) excitedly along. The melodramatic excesses of the plot can easily be ignored in favor of the music.
Conductor Parry seems to have an almost uncanny insight into music of the bel canto school, particularly in the selection of tempos. He is rhythmically propulsive, always supportive of the singers, but not subject to their whims. Indeed, this is (as is so often true of Parry-led operas) a true ensemble effort. Miricioiu is her own spectacular, gutsy self imperious, confident, supremely musical, emotionally restrained, no Italianate super-diva stunts, trusting in the music to deliver its own emotional impression. One has come to expect a similar performance from Ford, and he delivers it handsomely. Servile has a curious mushy pronunciation that is not intrusive and a voice darkly rich and handsome in tone. Nocentini's brighter, smaller soprano sound is an effective contrast to Miricioiu. The Geoffrev Mitchell Choir again are a strong lot.
Charles H Parsons
THIS REVIEW ORIGINALLY APPEARED IN THE NOVEMBER/DECEMBER 2004 ISSUE (VOL. 67 NO. 6) OF AMERICAN RECORD GUIDE (ARG). IT IS REPRINTED HERE WITH THE KIND PERMISSION OF ARG. FOR ADDITIONAL INFORMATION ON ARG, GO TO ITS WEBSITE AT www.americanrecordguide.com.