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This well-packed disc is a delight and a revelation. Until now, even the
most assiduous record collector had access to only a few of the nearly 100
songs published by Félicien David (1810-76), in recordings by such notable
artists as Huguette Tourangeau, Ursula Mayer-Reinach, Udo Reinemann, and Joan
Sutherland (the last-mentioned singing the duet “Les Hirondelles”
This new release of John Taverner’s virtuosic and florid Missa
Corona spinea (produced by Gimell Records) comes two years after The
Tallis Scholars’ critically esteemed recording of the composer’s
Missa Gloria tibi Trinitas, which topped the UK Specialist Classical
Album Chart for 6 weeks, and with which the ensemble celebrated their
40th anniversary. The recording also includes Taverner’s two
settings of Dum transisset Sabbatum.
Sounds swirl with an urgent emotionality and meandering virtuosity on Jonas Kaufmann’s new Puccini album—the “real one”, according
to Kaufmann, whose works were also released earlier this year on Decca records, allegedly without his approval.
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Stephen Paulus provided the musical world, and particularly the choral world, with music both provocative and pleasing through a combination of lyricism and a modern-Romantic tonal palette.
Richard Taruskin entitled his 1988 polemical critique of the notion of ‘authenticity’ in the context of historically informed performance, ‘The Pastness of the Present and the Presence of the Past’.
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Carolyn Sampson has long avoided the harsh glare of stardom but become a favourite singer for “those in the know” — and if you are not one of those it is about time you were.
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We see the characters first in two boxes at an opera house. The five singers share a box and stare at the stage. But Konstanze’s eye is caught by a man in a box opposite: Bassa Selim (actor Tobias Moretti), who stares steadily at her and broods in voiceover at having lost her, his inspiration.
Richard Strauss may be most closely associated with the soprano voice but
this recording of a selection of the composer’s lieder by baritone Thomas
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Bernarda Fink’s recording of Gustav Mahler’s Lieder is an important new release that includes outstanding performances of the composer’s well-known songs, along with compelling readings of some less-familiar ones.
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This live performance of Laurent Pelly’s Glyndebourne staging of
Humperdinck’s affectionately regarded fairy tale opera, was recorded at
Glyndebourne Opera House in July and August 2010, and the handsomely produced
disc set — the discs are presented in a hard-backed, glossy-leaved book and
supplemented by numerous production photographs and an informative article by
Julian Johnson — is certainly stylish and unquestionably recommendable.
Recorded at a live performance in 2012, this CD brings together an eclectic
selection of turn-of-the-century orchestral songs and affirms the extraordinary
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songs by Ricky Ian Gordon interpreted by soprano Stacey Tappan, a longtime
friend of the composer since their work on his opera Morning Star at
the Lyric Opera of Chicago.
Alfredo Kraus, one of the most astute artists in operatic history in terms of careful management of technique and vocal resources, once said in an interview that ‘you have to make a choice when you start to sing and decide whether you want to service the music, and be at the top of your art, or if you want to be a very popular tenor.’
In generations past, an important singer’s first recording of Italian arias would almost invariably have included the music of Verdi.
14 Nov 2004
Myto Releases Ernani
VERDI:Ernani with Giovanna d'Arco excerpts Georgio Merighi (Ernani), Piero Cappuccilli (Don Carlo), Augusto Ferrin (De Silva), Mara Zampieri (Elvira) Trieste Teatro Communale/ MolinariPradelli; Mara Zampieri (Giovanna), Renato Francesconi (Carlo), Ettore Nova (Giacomo) San Remo Symphony/ Buenza-Delil Myto 41288 [2CD] 148...
with Giovanna d'Arco excerpts
Georgio Merighi (Ernani), Piero Cappuccilli (Don Carlo), Augusto Ferrin (De Silva), Mara Zampieri (Elvira) Trieste Teatro Communale/ MolinariPradelli; Mara Zampieri (Giovanna), Renato Francesconi (Carlo), Ettore Nova (Giacomo) San Remo Symphony/ Buenza-Delil
Myto 41288 [2CD] 148 minutes
Presumably intended simply as a tribute to the soprano, this "complete" Ernani emerges as an exciting, worthwhile performance in its own right. The bonus-most of Giovanna's role-if not quite up to the same standard, is still enjoyable.
Zampieri's few commercial recordings were generally not well received, and one could only concur with the unfavorable critical opinions they evoked. Her work here reveals a vastly superior singer; the voice is in fine shape from a gleaming top to a telling lower register. Moreover, it has an immediately recognizable timbre and is used intelligently. Her opening recitative, taken softly with an air of inward retrospection, immediately establishes Elvira's character. The following aria, 'Ernani, Involami', goes exceptionally well; and if her trill in the cabaletta is not quite the equal of Ponselle's, it remains an exciting and accurate traversal of this "sewing machine" music.
Her Ernani is a worthy partner. Merighi may not be the subtlest of tenors, but his ringing, virile tones are appropriate and he sounds involved in a role that usually emerges as a mere cipher. Cappuccilli commences in slightly hectoring fashion but improves steadily as the opera proceeds. His 'O de' verd'anni miei' is a high point and the audience responds appropriately. Unfortunately, he is rather off-mike for the concerted 'O Sommo Carlo', which thereby loses some of its effect. As the true villain of the piece, Ferrin sounds uncannily like the great Tancredi Pasero and commences with an even more prominent vibrato, which, fortunately, speedily lessens. Perhaps wisely, the cabaletta to his aria, `Infelice, e tuo Credevi', is omitted.
Molinari-Pradelli conducts a cohesive, fastmoving performance but always appears keenly sympathetic to his soloist's idiosyncrasies. In the Giovanna d'Arco excerpts, Buenza-Delil also keeps things moving, but somewhat frenetically and often at the expense of his singers. Certainly Zampieri's Giovanna does not sound quite as relaxed as her Elvira. But this is one of Verdi's least inspired works, with a title role seemingly more suited to a soprano leggiera. Both tenor and baritone are perfectly adequate.
These excerpts and the opera were recorded in performance, with all the virtues and blemishes this implies. Voices are sometimes distant as singers move away from the recording source, there are many odd thumps, and the audience is sometimes over-enthusiastic with applause. Fortunately, there is no distortion even in concerted passages; and, given the blazing intensity of the performance, it is easy to ignore all these extraneous intrusions. Alas, no libretto and almost no notes; but four rather good photos of the soprano offer some compensation.
Vivian A Liff
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.