Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Recordings

Gluck: Orfeo ed Euridice

This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.

Die Entführung aus dem Serail @ Hangar-7

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: Notturno

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 Sings Mahler Lieder

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.

Gergiev’s Das Rheingold

Das Rheingold launches what is perhaps the single most ambitious project in opera, Richard Wagner’s Der Ring des Nibelungen

Hänsel und Gretel

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.

Magdalena Kožená: Love and Longing

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 Magdalena Kožená.

Once I was: Songs by Ricky Ian Gordon

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.

Amore e Tormento

Alfredo Kraus, one of the most astute artists in operatic history in terms of careful management of technique and vocal resources, once said in an interview that ‘you have to make a choice when you start to sing and decide whether you want to service the music, and be at the top of your art, or if you want to be a very popular tenor.’ 

Rivals—Arias for Farinelli & Co.

In generations past, an important singer’s first recording of Italian arias would almost invariably have included the music of Verdi. 

Verdi at the Old MET

With celebrations of the Verdi Bicentennial in full swing, there have been many grumblings about the precarious state of Verdi singing in the world’s major opera houses today.

Italo Montemezzi: L’amore dei tre re

In the thirty-five years immediately following its American première at the Metropolitan Opera in 1914, Italo Montemezzi’s ‘Tragic Poem in Three Acts’ L’amore dei tre re was performed in New York on sixty-six occasions. 

Così fan tutte from DG

Few operas inspire the kind of competing affection and controversy that have surrounded Mozart’s Così fan tutte almost since its first performance in Vienna in 1790. 

Heart’s Delight: The Songs of Richard Tauber

During his career in film, opera, and operetta, Richard Tauber (1891 - 1948) enjoyed the sort of global fame that eludes all but the tiniest handful of ‘serious’ singers today.

Adriana Lecouvreur from Decca

Known principally for its two concert show-pieces for the leading lady, the success of Francesco Cilea’s Adriana Lecouvreur relies upon finding a soprano willing to take on, and able to pull off, the eponymous role.

Lawrence Brownlee’s Spiritual Sketches

It would be condescending and perhaps even offensive to suggest that singing traditional Spirituals is a rite a passage for artists of color, but the musical heritage of the United States has been greatly enriched by the performances and recordings of Spirituals by important artists such as Paul Robeson, Marian Anderson, Leontyne Price, Martina Arroyo, Shirley Verrett, Grace Bumbry, Jessye Norman, Barbara Hendricks, Florence Quivar, Kathleen Battle, Harolyn Blackwell, and Denyce Graves.

Great Wagner Conductors from DG

As a companion to their excellent Great Wagner Singers boxed set compiled and released in celebration of the Wagner Bicentennial, Deutsche Grammophon have also released Great Wagner Conductors, a selection of orchestral music conducted by five of the most iconic Wagnerian conductors of the Twentieth Century, extracted from Deutsche Grammophon’s extensive archives.

Great Wagner Singers from DG

There could be no greater gift to the Wagnerian celebrating the Master’s Bicentennial than this compilation from Deutsche Grammophon, aptly entitled Great Wagner Singers.

Adding Movie Magic to The Magic Flute

What better way for Masonic brothers, Wolfgang Amadeus Mozart and Emmanuel Shikaneder to disseminate Masonic virtues, than through the most popular musical entertainment of their age, a happy ending folktale that features a dragon, enchanting flutes and bells, mixed-up parentage, and a beautiful young princess in distress?

L’Incoronazione di Poppea from Virgin Classics

Since its first performance at the Teatro Santi Giovanni e Paolo during Venice’s 1643 Carnevale, Monteverdi’s L’Incoronazione di Poppea has been one of the most important milestones in the genesis of modern opera despite its 250 years of unmerited obscurity. 

OPERA TODAY ARCHIVES »

Recordings

Joseph Schwarz Sings Arias by Verdi, Wagner, Leoncavallo and Meyerbeer
18 Apr 2005

Joseph Schwarz Sings Arias by Verdi, Wagner, Leoncavallo and Meyerbeer

For whom is this fine CD? It is published by Hänssler Verlag; a publishing house that specializes in Christian literature and that has a classical record branch as well.

Joseph Schwarz Sings Arias by Verdi, Wagner, Leoncavallo and Meyerbeer
Living Voices series. Recorded 1916-18

Joseph Schwarz, Bruno Seidler-Winkler (cond.)

Hänssler Classic CD 94507 [CD]

 

Still, the older collector will probably have the originals, the Preiser LP’s or the 2 Preiser CD’s with most of Schwarz’s output on Parlophone and Gramophone. As far as I know no one has ever put young Schwarz’s records on Zonophone (2), Edison (1) or Pathé (12) on CD. The CD under review gives us 18 tracks, all recorded for Gramophone and is very much duplicated by the Preiser CD’s. Therefore this is meant for either the new collector or for someone who doesn’t need to have the complete recorded output of a particular singer. Not that Schwarz doesn’t deserve to be remembered by every note he ever sang for the horn. In his magnum opus German critic Jürgen Kesting (Die Grossen Sänger, 3 vols., 2089 pp.) writes: “ though he never recorded electrically his recordings show us the best German baritone of the century.”1 High praise indeed though probably well-deserved. Kesting still tells us that Schwarz died at the early age of 46 due to kidney insufficiency. However the sleeve notes on this latest issue bluntly say the baritone was an alcoholic who by the time of his death had become a sad wreck. Therefore it was Schwarz’s own behaviour that caused the tragedy which resulted in us having no electric recordings.

Still, these acoustics give a formidable portrait of the singer and we can understand British publisher Victor Gollanz who put Schwarz’s Rigoletto on the same height as Caruso’s Duca. As Schwarz was Jewish, his records were not available in Germany for a whole generation and this may be one of the reasons he is less well remembered than he deserves.

All of the transfers on this CD were recorded during the baritone’s best years between 1916 and 1918. It strikes me that in those exceedingly lean years when elementary conditions of living had so badly deteriorated in Germany (due to the Allied blockade) singers still made records. It strikes me still more that Schwarz sang a few of them in the war’s last year in somewhat unidiomatic Italian, a language he probably didn’t know because everything was sung in German in those days and his brief international career didn’t start until three years later. I have an inkling that by 1918, when all international imports had long dried up and Germany was at war with Italy since 1915, there was some need for the international version.

These recordings are not among Schwarz’s best as he is clearly somewhat less incisive in Zaza than he is when singing in German and the recording of “Solenne in quest’ora” is severely handicapped by the pinched sounds of Jadlowker, lost in territory foreign to his voice. But all other records show Schwarz’s mastery of bel canto, which almost immediately makes you forget he is singing in translation. There is much to enjoy here. There is the easy top, common to many golden age baritones, easily sailing to G and even A. Then there is the rich and homogenous sound of the middle voice which he can colour at will. At the lower end there is some weakness, one of the reasons he probably avoided the later Wagner roles, which ask for more bottom. Schwarz’s legato is impeccable and the few sobs he introduces in “Cortigiani” are sung as a means of expression and not meant to break the line to take a breath. On top of all this is the imaginative phrasing from an artist who had carefully listened to Mattia Bastianini as can clearly be heard in both singers “Di Provenza”. Some of these recordings are pure magic, maybe the best being the “Scintille diamant” where he decorates the high G sharp and then finishes with a heavenly diminuendo on a long final E. Indeed he often uses pianissimo in places where the common baritone roars away like “Eri tu”; therefore impressing his listeners all the more with strong endings on high F.

The sound of these transfers is clear and I have no complaints with pitching decisions.

Jan Neckers


1 Translation by author.

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):