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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.
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.
15 Apr 2005
English Choral Music
One has to wonder if the number of recordings of English choirs singing English choral music will ever reach a saturation point. This Naxos double disc by the Choir of St. Johns College, Cambridge, may very well signify such a moment through its attempt to chronicle the succession of English choral music from the 19th century to the present. The choir of men and boys sings gloriously, nearly equaling their more famous sister choir at King’s College, yet the musical montage is rather unusual.
English Choral Music
Choir of St. Johns College, Cambridge
Naxos 8.557557-58 [2CDs]
One has to wonder if the number of recordings of English choirs singing English choral music will ever reach a saturation point. This Naxos double disc by the Choir of St. Johns College, Cambridge, may very well signify such a moment through its attempt to chronicle the succession of English choral music from the 19th century to the present. The choir of men and boys sings gloriously, nearly equaling their more famous sister choir at King's College, yet the musical montage is rather unusual.
The set progresses chronologically, from Charles Stanford through eleven of the greatest English composers of the last one hundred and fifty years. Selected from previous recordings devoted to each individual composer, the tracks are assembled haphazardly. The representative works do not follow a single unifying thread. Most are purely liturgical, reflecting the overwhelming majority of English choral music. However, mixed in with settings of the Magnificat and Nunc Dimittis by C. V. Stanford or the Coronation Te Deum of William Walton are famous anthems not intended for use in service. Benjamin Britten's monumental Hymn to St. Cecilia, a setting of W. H. Auden's surrealist poem, feels out of place. Herbert Howells' haunting elegy to the slain John F. Kennedy, Take Him Earth for Cherishing, also feels awkward following his settings of the Magnificat and Nunc Dimittis for the St. Paul's service.
Another peculiarity of this compilation is reflected in the type and frequency of works of certain composers. Ralph Vaughan Williams, who was instrumental in shaping the modern English choral sound, has only one piece included. "The Call," is not a true choral anthem but comes from the song cycle Five Mystical Songs. The baritone solo is sung by a boy treble creating a nice, albeit highly atypical, effect. The lesser-known composers Edmund Rubbra and Lennox Berkeley provide four and three pieces respectively. Their compositional voices are unique, but nonetheless less satisfying than their more famous counterparts. In addition, works by the contemporary composer John Tavener are included on the final disc. An argument can be made for including him because of the profound contribution he has made to western church music, but his presence seems nevertheless incongruous due to his break with Anglicanism and subsequent devout Eastern Orthodox faith.
Despite its programmatic peculiarities, this disc excels musically. The Choir of St. John's College, Cambridge sings with wonderful warmth often absent from many English choirs' stark and hollow sound. The boy trebles, led by the marvelous Oliver Lepage-Dean who is highlighted with several solos, sing with a strong ringing head voice, and also with a pleasant richness in their lower register. Director Christopher Robinson has fashioned a fabulous ensemble with brilliant clarity, precise intonation, and a striking pure tone. But if you're picky about the anthems on your disc, perhaps the choirs' individual recordings of works by these composers would be a better choice than this clumsy compilation.