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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.
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.’
In generations past, an important singer’s first recording of Italian arias would almost invariably have included the music of Verdi.
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.
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.
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.
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.
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.
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.
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
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.
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?
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.
Though 2013 is the bicentennial of the births of Giuseppe Verdi and Richard Wagner, the releases of Cecilia Bartoli’s recording of Bellini’s Norma on DECCA, a new studio recording of Donizetti’s Caterina Cornaro from Opera Rara, and this première recording of Saverio Mercadante’s forgotten I due Figaro, suggest that this is the start of a summer of bel canto.
Recording Richard Wagner’s Der Ring des Nibelungen is for a
record label equivalent to a climber reaching the summit of Mount Everest: it is the zenith from which a label surveys its position among its rivals and appreciates an achievement that can define its reputation for a generation.
11 Apr 2005
SCHUBERT: Die Winterreise
When it comes to any new recordings of Schubert’s song cycle Winterreise, it is difficult not to think of the fine performances by Dietrich Fischer-Dieskau at various points in his career. While Fischer-Dieskau’s recordings can serve as points of reference, the recent CD by the baritone Andreas Schmidt adds to the many excellent recordings that already exist for this work. Schmidt brings to this cycle a personal and effective interpretation that emerges clearly in the recording, where the close ensemble with Rudolf Jansen results in a nuanced performance. By allowing themselves fluid tempos, the performers allow the text to serve the music well. At times they linger over a syllable or stretch a phrase to reinforce the meaning. These are subtle differences that are at the core of experienced and effective Lieder performance.
Franz Schubert: Die Winterreise, D. 911
Andreas Schmidt, baritone; Rudolf Jansen, piano
Hänssler Classic 98.3810 [CD]
When it comes to any new recordings of Schubert's song cycle Winterreise, it is difficult not to think of the fine performances by Dietrich Fischer-Dieskau at various points in his career. While Fischer-Dieskau's recordings can serve as points of reference, the recent CD by the baritone Andreas Schmidt adds to the many excellent recordings that already exist for this work. Schmidt brings to this cycle a personal and effective interpretation that emerges clearly in the recording, where the close ensemble with Rudolf Jansen results in a nuanced performance. By allowing themselves fluid tempos, the performers allow the text to serve the music well. At times they linger over a syllable or stretch a phrase to reinforce the meaning. These are subtle differences that are at the core of experienced and effective Lieder performance.
In "Der Lindenbaum," for example, the give-and-take of tempo helps to punctuate the text and enhance the meaning of the text. Such interpretive room extends to the dynamic levels, where Schmidt and Jansen match each other well in softening the volume of repeated phrases to reinforce the text, as occurs with the final phrase of that song. In other songs, like "Auf dem Flusse," the accompaniment is beautifully pointed to set off the vocal line that Schmidt delivers effortlessly. Likewise, the careful juxtaposition of half- and full-voice in "Frühlingstraum" creates a memorable effect that is served well by the sensitive recording levels. If this cycle is dramatic, it is in the carefully placed details that persuade the listener to pay attention to the text and its delivery in this well-conceived recording.
This is a solid interpretation by two accomplished performers who express themselves well in this work, which complements the other Hänssler recordings by Schmidt and Jansen of Schubert's songs, particularly the cycle Die schöne Müllerin and the collection Schwanengesang. For those interested in Schmidt's approach to the music the liner notes included with the CD contain Schmidt's thoughtful comments about the place of this music in his life. His openness to various interpretations of the music and text demonstrates the mature approach to Schubert's Winterreise.
James L. Zychowicz