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Francesco Cavalli’s La Calisto was the composer’s ﬁfteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651). First performed at the Teatro Sant’Apollinaire in Venice on 28th November 1651, the opera by might have been sub-titled ‘Gods Behaving Badly’, so debauched are the deities’ dalliances and deviations, so egotistical their deceptions.
New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.
Edouard Lalo (1823-92) is best known today for his instrumental works: the
Symphonie espagnole (which is, despite the title, a five-movement
violin concerto), the Symphony in G Minor, and perhaps some movements from his
ballet Namouna, a scintillating work that the young Debussy adored.
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.
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