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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.
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
versatility, musicianship and technical accomplishment of mezzo-soprano
Once I was: Songs by Ricky Ian Gordon features an assortment of
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.
With celebrations of the Verdi Bicentennial in full swing, there have been
many grumblings about the precarious state of Verdi singing in the world’s
major opera houses today.
In the thirty-five years immediately following its American première at the Metropolitan Opera in 1914, Italo Montemezzi’s ‘Tragic Poem in Three Acts’ L’amore dei tre re was performed in New York on sixty-six occasions.
Few operas inspire the kind of competing affection and controversy that have surrounded Mozart’s Così fan tutte almost since its first performance in Vienna in 1790.
During his career in film, opera, and operetta, Richard Tauber (1891 - 1948) enjoyed the sort of global fame that eludes all but the tiniest handful of ‘serious’ singers today.
Known principally for its two concert show-pieces for the leading lady, the success of Francesco Cilea’s Adriana Lecouvreur relies upon finding a soprano willing to take on, and able to pull off, the eponymous role.
It would be condescending and perhaps even offensive to suggest that singing
traditional Spirituals is a rite a passage for artists of color, but the musical heritage of the United States has been greatly enriched by the performances and recordings of Spirituals by important artists such as Paul Robeson, Marian Anderson, Leontyne Price, Martina Arroyo, Shirley Verrett, Grace Bumbry, Jessye Norman, Barbara Hendricks, Florence Quivar, Kathleen Battle, Harolyn Blackwell, and Denyce Graves.
As a companion to their excellent Great Wagner Singers boxed set
compiled and released in celebration of the Wagner Bicentennial, Deutsche
Grammophon have also released Great Wagner Conductors, a selection of
orchestral music conducted by five of the most iconic Wagnerian conductors of
the Twentieth Century, extracted from Deutsche Grammophon’s extensive
There could be no greater gift to the Wagnerian celebrating the Master’s
Bicentennial than this compilation from Deutsche Grammophon, aptly entitled
Great Wagner Singers.
What better way for Masonic brothers, Wolfgang Amadeus Mozart and Emmanuel Shikaneder to disseminate Masonic virtues, than through the most popular musical entertainment of their age, a happy ending folktale that features a dragon, enchanting flutes and bells, mixed-up parentage, and a beautiful young princess in distress?
Since its first performance at the Teatro Santi Giovanni e Paolo during Venice’s 1643 Carnevale, Monteverdi’s L’Incoronazione di Poppea has been one of the most important milestones in the genesis of modern opera despite its 250 years of unmerited obscurity.
Though 2013 is the bicentennial of the births of Giuseppe Verdi and Richard Wagner, the releases of Cecilia Bartoli’s recording of Bellini’s Norma on DECCA, a new studio recording of Donizetti’s Caterina Cornaro from Opera Rara, and this première recording of Saverio Mercadante’s forgotten I due Figaro, suggest that this is the start of a summer of bel canto.
Recording Richard Wagner’s Der Ring des Nibelungen is for a
record label equivalent to a climber reaching the summit of Mount Everest: it is the zenith from which a label surveys its position among its rivals and appreciates an achievement that can define its reputation for a generation.
Few people who love opera in general and bel canto in particular have never heard the comment made by Lilli Lehmann, veteran of the inaugural Ring at Bayreuth in 1876, that singing all three of Wagner’s Brünnhildes—in Die Walküre, Siegfried, and
Götterdämmerung, respectively, all of which she sang to great acclaim—pales in comparison with singing the title rôle in Bellini’s Norma.
Paul Dukas’ Ariane et Barbe-Bleue, first heard in 1907, once seemed important. Arturo Toscanini conducted the Met premiere in 1911 with Farrar and later arranged some of its music for a 1947 recording with his NBC Symphony.
22 Feb 2005
CAVALLI: Arias and Duets from 5 operas
Some years ago, those of us who are aficionados of pre-1750 repertory – and all the more so, those of us who are privileged to be able to teach it – were happy to have any recording of the music we hold so dear. We were happy to excuse wooden-ness or sloppiness of performance because, well, some idea of the sound of pre-Classical repertories was better than none at all. Over the last couple of decades, with the proliferation of phenomenal performers and ensembles who specialize in early music, this resignation faded: we now are spoiled by having our choice of many polished performances, and the privilege of comparing their relative merits.
Francesco Cavalli, Arias and Duets from 5 operas
Gloria Banditelli, mezzo-soprano; Rosita Frisani, soprano; Roberto Abbondanza, baritone; Gianluca Belfiori Doro, counter-tenor; Mario Cecchetti, tenor; Mediterraneo Concento, directed by Sergio Vartolo
NAXOS 8.557746 [CD]
Some years ago, those of us who are aficionados of pre-1750 repertory - and all the more so, those of us who are privileged to be able to teach it - were happy to have any recording of the music we hold so dear. We were happy to excuse wooden-ness or sloppiness of performance because, well, some idea of the sound of pre-Classical repertories was better than none at all. Over the last couple of decades, with the proliferation of phenomenal performers and ensembles who specialize in early music, this resignation faded: we now are spoiled by having our choice of many polished performances, and the privilege of comparing their relative merits.
This is, however, especially true of works by a specific subset of "greats" - Monteverdi Bach Handel Vivaldi. Less-renowned composers are not as reliably represented; and this is certainly the case for Monteverdi's younger colleague Francesco Cavalli, for whose works we have just a handful of modern recordings. This is why Sergio Vartolo's project of providing an anthology of "hits" from a cluster of early Cavalli operas is potentially very welcome...
... but alas, it reminds this reviewer of the (bad?) old days. As a teacher, I welcome the resource this collection provides. Cavalli's works are, indeed, representative of early Venetian opera in a way that Monteverdi's Coronation of Poppea, though wonderful music, is not; and the notes, though a little rhetorically flamboyant, are solid and even provide information about the manuscript from which the operas are edited (!).
As a musician and fan of seventeenth-century music, however, I am disappointed. One of the most inventive trends in recordings of the repertory of this era over the last decade has been the application of flexible continuo groups - not just harpsichord, but chitarrone, melodic bass-line instruments, harps, guitars. This recording, on the other hand, features an unbroken harpsichord sound - and further, the instrument is rather tinny, and played with little in the way of variety in articulation. The singers are not bad, but their diction is overall really sloppy (and these are all native Italians!) and the inflection of their phrases tends toward the monotonous. As a consequence, the dramatic energy that Vartolo describes as characteristic of Cavalli's scenes is hard to discern in this recording.
A bright aspect of this compilation are the performances by tenor Mario Cecchetti, far and away the most accomplished and dramatically effective of the singers. The women on the recording are reasonably good if not particularly memorable; baritone Roberto Abbondanza has a relatively generic resonance, and counter-tenor Gianluca Belfiori Doro is especially unconvincing (his voice compares favorably to developing counter-tenor technique of the 1970s and 80s, but pales in comparison to the refinement achieved by many recent virtuosi). The ensemble Mediterraneo Concento - the latest incarnation of an instrumental ensemble that Vartolo has been leading for a number of years - is skilled but a little pedestrian.
Had this recording been issued in 1980, I would have been enthusiastic; given its 2003 release, I am disappointed that Vartolo and his crew - who have put together some very convincing performances of music from the turn of the seventeenth century - didn't do better. The expressive bar in early music has been raised over the last few years, and this disc doesn't clear it. Still, I will make sure my university library acquires a copy of this recording, which does give sound to an important and interesting repertory that has been silent for almost four centuries. I'll just wait eagerly for someone to come along and perform it with a bit more panache.
The University of Texas at Austin