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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.
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.
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.
1 Translation by author.