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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.
28 Feb 2005
STRAVINSKY: Oedipus Rex; Les Noces
Robert Craft has begun an ambitious project of recording Stravinsky’s oeuvre with two of the best dramatic works, Oedipus Rex — a sort of melodrama in a fever — and Les Noces (The Wedding), which simply defies any generic classification. The two make an ideal pairing, Rex as high drama told at a breakneck crawl, Noces as a kind of musical Polaroid camera that churns through frozen snapshots with a mind numbing velocity. Craft was a close confidant and collaborator with Stravinsky, and was responsible for many premiers and other definitive statements. For better or worse this fact brought down upon his head a certain amount of critical skepticism on the part of academics. This can be set to one side in these recordings, which are certainly reliable in a workaday sense, if a little tepid in terms of insight and energy.
Igor Stravinsky: Oedipus Rex; Les Noces
Martyn Hill, Susan Bickley, Edward Fox, Robert Craft, Alison Wells, Jennifer Lane, Andrew Greenan, David Wilson-Johnson, Joseph Cornwell, Alan Ewing
Philharmonia Orchestra, Simon Joly Chorus, Tristan Fry Percussion Ensemble, International Piano Quartet
Robert Craft, cond.
NAXOS 8.557499 [CD]
Robert Craft has begun an ambitious project of recording Stravinsky's oeuvre with two of the best dramatic works, Oedipus Rex -- a sort of melodrama in a fever -- and Les Noces (The Wedding), which simply defies any generic classification. The two make an ideal pairing, Rex as high drama told at a breakneck crawl, Noces as a kind of musical Polaroid camera that churns through frozen snapshots with a mind numbing velocity. Craft was a close confidant and collaborator with Stravinsky, and was responsible for many premiers and other definitive statements. For better or worse this fact brought down upon his head a certain amount of critical skepticism on the part of academics. This can be set to one side in these recordings, which are certainly reliable in a workaday sense, if a little tepid in terms of insight and energy.
I like my Stravinsky recordings crisp -- lines well separated, with a good sense of presence and definition in all the parts -- which is why I find this Naxos recording sufficient (as most Naxos products are), but only sufficient. Recorded at the Abbey Road Studios in London, they have a certain "live" presence, an indefiniteness in the mix, where I would have appreciated more precision. In all fairness to the recording engineers, Noces is a fatally flawed recording proposition to begin with: scored for four pianos, a small army of percussion instruments, chorus, and vocal soloists, it will never be recorded in anything like its live imprint. The effect of the four pianos in concert is not to be replicated, but we might hope to get something of the percussion at appropriate moments, and this is usually the case here, with the exception of the all important bells, too often obscured and kept from playing their role as a kind of place marker in the music. Oedipus is another matter. Its drama allows for a recording engineer to create a drama in the mix, bringing essential dramatic persons and instruments forward, while letting the inessentials recede into the background. On some tracks this is done with astonishing accuracy, but on others it seems hit or miss. Here is where an engineer should come into their own, but only if they can compound craft with a really good sense of the music. Intuition seems slightly lacking on this recording.
The artists involved, singers and instrumentalists alike, are all adequate, again in the normal Naxos fashion, but no individual performance stands out. While this would set the music forward, were it any other composer, Stravinsky -- to remain crisp -- requires a fine sense of artistic individuality, a humor like his own, to bring the best out. You can't simply play Stravinsky, as you might Shostakovitch, and leave the drama to the score. Stravinsky's music is a cult of the personality, like the man, above musical logic. Lose sight of that fact and the result is tepid at best. While there are moments of individual genius here, for the most part the work is simply workmanlike.
Caveat emptor: these recordings were released previously on the Koch International Label. The apparently anonymous translation of Rex is a serviceable, albeit liberal synopsis of the Latin text. Latin-deprived souls will have to extrapolate from the English gloss. The transliteration from the Cyrillic and English translation of Les Noces by Philip Taylor, on the other hand, shows considerable care and fidelity.
University of Ottawa