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The Feast at Solhaug : Henrik Ibsen's play Gildet paa Solhaug (1856) inspired Wilhelm Stenhammer's opera Gillet på Solhaug. The world premiere recording is now available via Sterling CD, in a 3 disc set which includes full libretto and background history.
Honours yet again to Oehms Classics who understand the importance of excellence. A composer as good, and as individual, as Walter Braunfels deserves nothing less.
‘Can great music be inspired by the throw of the dice?’ asks Peter Phillips, director of The Tallis Scholars, in his liner notes to the ensemble’s new recording of Josquin’s Missa Di dadi (The Dice Mass). The fifteenth-century artist certainly had an abundant supply of devotional imagery. As one scholar has put it, during this age there was neither ‘an object nor an action, however trivial, that [was] not constantly correlated with Christ or salvation’.
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.
05 Mar 2005
Schoenberg for lovers. Sounds like an oxymoron, but in fact there is enough passion in the too seldom heard Gurrelieder to make even Valentine blush. We know Schoenberg largely from the atonal and dodecaphonic later works (and most listeners know of these mostly by inaccurate rumor). But we forget all too often the fact that Schoenberg had an early period, much of which is readily accessible to conservative tastes. Gurrelieder is the sort of diamond in the crown of this period, a long cantata-like adventure, some two hours in full. Scored for an enormous orchestra, four choirs, and speaker, and five soloists, the work is the logical conclusion of the nineteenth-century penchant for Texas-style excess when it comes to orchestration: you can’t get any bigger than this without havin’ to build a second story.
Arnold Schoenberg: Gurrelieder
David Wilson-Johnson (Bass), Stephen O'Mara (Tenor), Melanie Diener (Soprano), Jennifer Lane (Mezzo Soprano), Ernst Haefliger (Spoken Vocals), Martyn Hill (Tenor)
Philharmonia Orchestra, Simon Joly Chorus, Robert Craft (cond.)
NAXOS 8.557518-19 [2CDs]
Schoenberg for lovers. Sounds like an oxymoron, but in fact there is enough passion in the too seldom heard Gurrelieder to make even Valentine blush. We know Schoenberg largely from the atonal and dodecaphonic later works (and most listeners know of these mostly by inaccurate rumor). But we forget all too often the fact that Schoenberg had an early period, much of which is readily accessible to conservative tastes. Gurrelieder is the sort of diamond in the crown of this period, a long cantata-like adventure, some two hours in full. Scored for an enormous orchestra, four choirs, and speaker, and five soloists, the work is the logical conclusion of the nineteenth-century penchant for Texas-style excess when it comes to orchestration: you can't get any bigger than this without havin' to build a second story.
Fortunately the recording engineers were wide awake on this one, notably so for Naxos. The balance overall is quite good, and this gives the work a kind of live presence, especially with the choirs. They have managed to create a depth that under good headphones rivals $200 seats in leading auditoriums. The strings in particular have a good silky sound appropriate to the work, and the low winds bubble along nicely.
This recording is a side foray by Robert Craft, an adjunct to the Naxos-ticketed recording of the Stravinsky complete oeuvre (see my review of Oedipus and Les Noces elsewhere on this site). Curiously his performance is much stronger here. Perhaps he is more at home with deeply romantic works (which might explain some of the controversy over his recordings of post-romantic works during his controversial career), or perhaps he simply has an affinity for this score. The result rivals (in both quality and price) its nearest competitor, the Ozawa Boston Symphony recording, on Philips (464-040-2). The voices on the Ozawa (McCracken, Norman, Troyanos) are a cut above those here, but tenor Stephen O'Mara and soprano Melanie Diener have a lot to offer the work, and the Philharmonia, a familiar London band, identifies well with the score.
The German text to the work is available on the Naxos website, under the libretti folder, which is a bit of an inconvenience, but understandable since it does run on in length and might have bulked too large in the CD booklet. Unfortunately, only the German text is provided there, no English. A very literal translation of the text is available at http://www.recmusic.org/lieder/gettext.html?TextId=24028. It should be noted that this recording was previously released on the Koch International Classics label.
The text, by a Danish native-son poet Jens Peter Jacobsen, is a kind of death-and-transfiguration ode suitable to northern climates with long winters and sudden springs. Passion moves slowly but, like icebergs, runs deep. This massive emotion-in-large-chunks scenario suited the awakening expressionist in Schoenberg to a tee, and he rises to the occasion. Only in the readily comparable orchestral tone poem Pelleas und Mellisande do we see as clearly Schoenberg's apparently innate ability to squeeze the last drops out of an orchestra.
So, although its too late for Valentines, it's not too late to toss a log on the fire, crack open a bottle of finest, grab your squeeze, and head for the couch, saying, "Hey honey, let's kick back with a little Schoenberg." Just watch the eyes light up.
University of Ottawa