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Two new recordings from highly acclaimed specialists Opera Rara -
Gounod La Colombe and Donizetti Le Duc d'Albe.
It is not often that a major work by a forgotten composer gets rediscovered
and makes an enormously favorable impression on today’s listeners. That has
happened, unexpectedly, with Herculanum, a four-act grand opera by
Félicien David, which in 2014 was recorded for the first time.
This recording, made in the Adrian Boult Hall at the Birmingham Conservatoire of Music in June 2014, is the fourth disc in SOMM’s series of recordings with Paul Spicer and the Birmingham Conservatoire Chamber Choir.
Félicien David’s intriguing Le désert, for vocal and orchestral forces plus narrator, was widely performed in its own day, then disappeared from the performing repertory for nearly a century.
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.
Marion Cotillard and Marc Soustrot bring the drama to the sweeping score of Arthur Honegger’s Jeanne d’Arc au
bûcher, an adaptation of the Trial of Joan of Arc
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’.
As the editor of Opera magazine, John Allison, notes in his editorial in the June issue, Donizetti fans are currently spoilt for choice, enjoying a ‘Donizetti revival’ with productions of several of the composer’s lesser known works cropping up in houses around the world.
Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and
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.
This Winterreise is the final instalment of Matthias Goerne’s series of Schubert lieder for Harmonia Mundi and it brings the Matthias Goerne Schubert Edition, begun in 2008, to a dark, harrowing close.
This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.
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
Hampson is a welcome reminder that the rapt lyricism of Strauss’s settings
can be rendered with equal beauty and character by the low male voice.
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.
Das Rheingold launches what is perhaps the single most ambitious project in opera, Richard Wagner’s Der Ring des Nibelungen.
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.
10 Feb 2005
BUSNOIS: Missa O Crux lignum, Motets, Chansons
The most recent recording by England’s premier performers of Renaissance vocal music, the Orlando Consort, features a selection of works by the renowned fifteenth-century composer Antoine Busnois, works that represent the major genres of music composition of the time — mass, motet, and chanson. The performances are what we have come to expect from the fine singers of the Orlando Consort: warm, vibrant, and precise.
Antoine Busnois: Missa O Crux lignum, Motets, Chansons
harmonia mundi — HMU 907333
The most recent recording by England's premier performers of Renaissance vocal music, the Orlando Consort, features a selection of works by the renowned fifteenth-century composer Antoine Busnois, works that represent the major genres of music composition of the time -- mass, motet, and chanson. The performances are what we have come to expect from the fine singers of the Orlando Consort: warm, vibrant, and precise.
A relatively few facts are known about Busnois' biography. Because he was famous enough during his lifetime for the date to have been recorded, we know when he died: November 6, 1492. The circumstances of his birth are less certain; he was probably born around the year 1430, in or near the small town of Busne (hence, "Busnois") in north-eastern France. From pay records -- and from the text of his famous motet In hydraulis -- we know that Busnois was a musician in the court of Charles the Bold. Busnois' reputation as a composer among his contemporaries was exceeded only by that of Ockeghem, with whom Busnois may have studied. Contemporary composers and poets honored Busnois by including his name in a number of texts and poems, among which is Loyset Compère's motet Omnium bonorum plena, in which Busnois is praised as one of the "masters of song."
Indeed it is Busnois' songs that are probably his most original works, despite their adherence to the poetic formes fixes that were cultivated widely during the fifteenth century: rondeau, bergerette, and ballade. Each type of poem features strict patterns of rhyme and syllabic structure that are reflected musically in the alternation and repetition of two principal sections of music. The songs presented by the Orlando Consort represent all three of the major formes fixes and display the subtleness of Busnois' melodies and the perfection of his counterpoint. Among the chansons included on the recording is a bergerette whose text reveals something about Busnois' personal life: Ja que li ne s'i attende. This is one of four songs by Busnois whose texts refer directly to Jacqueline d'Hacqueville, the wife of a Parisian councilor, with whom Busnois apparently had a romantic dalliance. In the case of Ja que li ne s'i attende, the first four words of the first line of text (Ja que li ne) together make up the first name of Busnois' beloved.
The centerpiece of the recording is Busnois' Missa O Crux lignum, one of only two masses that can be securely attributed to the composer. Busnois' setting of the five major items of the Catholic mass Ordinary -- Kyrie, Gloria, Credo, Sanctus (with a separate track for the Benedictus section), and Agnus -- is constructed as a typical cantus firmus mass of the time: The melody of the hymn O Crux lignum is placed in the tenor voice in drawn-out notes, while the other voices weave polyphony around it. The polyphonic mass is truly the most elaborate musical form of the period, with a changing variety of meters, voice pairings, and tempo changes, which enliven the complex polyphonic interaction of the four voices. Busnois' mass stands out from its contemporaries in its subtle use of imitation to organize the strands of polyphony, and his frequent passages of parallel thirds and sixths to soften its severity.
The fine performances of the Orlando Consort bring to life Busnois' exquisite music, which has been underrepresented in recent recordings. The close blend of voices in the ensemble is well-suited to Busnois' complex and subtle pieces.
University of Northern Colorado