Recently in Recordings
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.
04 Apr 2005
Feodor Chaliapin sings Russian folk songs
This new release from Hänssler Classics presents an anthology of live and studio performances by the Russian bass Feodor Chaliapin (1873-1938), undoubtedly one of the greatest singers in recorded history. The title of the album, “Feodor Chaliapin sings Russian Folk Songs,” is somewhat misleading. Apart from traditional songs such as “Mashenka,” “Eh, Van’ka,” and “Down the Volga,” the recording includes arrangements of 19th-century popular songs such as “Dubinushka,” “Down the Peterskaya,” and the perennial Gypsy favorite “Black Eyes,” as well as a selection of salon romances, art songs, and ballads by Mikhail Glinka, Alexander Dargomïzhsky, Anton Rubinstein, and Modest Musorgsky, among others. Most of the selections on the new CD have been previously released on various labels, with the possible exception of “Dubinushka,” which I have not been able to find among the recordings currently available. Hence, avid Chaliapin collectors should be aware that the Hänssler release offers little if anything new to them. Those music lovers still unacquainted with Chaliapin’s art, however, or those whose exposure to this singer has been limited to his opera recordings, would find this album a great insight into a spectacular voice and a unique artistic persona.
Feodor Chaliapin sings Russian folk songs
Living Voices Series
Hänssler Classic 945040 [CD]
This new release from Hänssler Classics presents an anthology of live and studio performances by the Russian bass Feodor Chaliapin (1873-1938), undoubtedly one of the greatest singers in recorded history. The title of the album, "Feodor Chaliapin sings Russian Folk Songs," is somewhat misleading. Apart from traditional songs such as "Mashenka," "Eh, Van'ka," and "Down the Volga," the recording includes arrangements of 19th-century popular songs such as "Dubinushka," "Down the Peterskaya," and the perennial Gypsy favorite "Black Eyes," as well as a selection of salon romances, art songs, and ballads by Mikhail Glinka, Alexander Dargomïaut;zhsky, Anton Rubinstein, and Modest Musorgsky, among others. Most of the selections on the new CD have been previously released on various labels, with the possible exception of "Dubinushka," which I have not been able to find among the recordings currently available. Hence, avid Chaliapin collectors should be aware that the Hänssler release offers little if anything new to them. Those music lovers still unacquainted with Chaliapin's art, however, or those whose exposure to this singer has been limited to his opera recordings, would find this album a great insight into a spectacular voice and a unique artistic persona.
Feodor Chaliapin's 45-year career has been tied for the most part to the operatic stage. Born near Kazan on the Volga river, he first joined an operatic troupe in Tiflis (now Tbilisi, Georgia), and later performed on various stages in St Petersburg. In 1896, the 24-year-old singer made a decision that would change his life and catapult him to stardom: he agreed to join the troupe of the Moscow Private Opera created, sponsored, and directed by art patron and railway tycoon Savva Mamontov (1841-1918). At this company, Chaliapin developed the classic roles of his repertoire, including Susanin (Glinka, Life for the Tsar), Mephistopheles (Gounod, Faust), the Miller (Dargomïaut;zhsky, Rusalka), Prince Galitsky (Borodin, Prince Igor), Nilakantha (Delibes, Lakmé), the Varangian Guest (Rimsky-Korsakov, Sadko), Dosifey (Musorgsky, Khovanshchina), and Boris (Musorgsky, Boris Godunov). The singer befriended a group of modernist painters associated with the company who revolutionized his ideas on costume, props, make-up, facial expression, and stage movement. He was also exposed to Mamontov's own innovative vision of fusing opera and drama on stage — a vision that also influenced Konstantin Stanislavsky's concept of method acting. By the time Chaliapin entered the stage of the Imperial Bolshoi Theater in Moscow only three years later, he was already a fully formed, unique creative artist that the world came to know during the remainder of his international career.
In Russia, meanwhile, Feodor Chaliapin's reputation extended far beyond the walls of the opera houses in which he performed. He was known to people in the barracks and universities, factories and street markets - people of all walks of life, including those who had never in their lives attended an opera performance. During the revolutionary uprising of 1905-07, and later in the years following the 1917 Bolshevik Revolution, Chaliapin — a rich dandy known to enjoy the wealth that came with his stardom — was seen performing charity concerts in front of thousands of people in factories and shipyards. He sang folk lyrical songs like "Eh, Van'ka" and "Mashenka," traditional robber and Cossack ballads such as "Stenka Razin" and "The Legend of the Twelve Brigands," and revolutionary songs, including the ever-popular "Dubinushka," a frequent encore. A unique aspect of the singer's approach to his material was a natural, almost nonchalant, conversational manner of performance, with his voice casually traveling the gamut between singing and ordinary speech. Even while performing art songs, Chaliapin's sometimes controversial interpretations tend to stray away from the score to infuse the music with the unique dramatic power of his personality. Rare among classically trained singers, this approach proved particularly conducive to performing the folk and popular songs Chaliapin recorded throughout his career — a living tradition that thrives on improvisation and expressive freedom. A recording of Feodor Chaliapin singing this repertory is therefore a must in any opera lover's collection.
University of Missouri-Columbia