Recently in Recordings
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.
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.
22 Apr 2005
WILLIAMS: Wagner and the Romantic Hero
There is no doubt that Richard Wagner as an artist, composer, and writer was the center of controversy both during and after his lifetime. Despite the overwhelming political, social, and psychological elements contained in his musical oeuvre, Wagner is one of the more enduring figures in the history of the arts. Based on lectures delivered at the Bayreuth Festival between 1998 and 2000, Simon Williams examines a topic that has generated much interest and scrutiny both within the arts and outside of it: Wagner’s treatment of the hero.
Simon Williams. Wagner and the Romantic Hero
Cambridge: Cambridge University Press, 2004. x, 193 pp.
There is no doubt that Richard Wagner as an artist, composer, and writer was the center of controversy both during and after his lifetime. Despite the overwhelming political, social, and psychological elements contained in his musical oeuvre, Wagner is one of the more enduring figures in the history of the arts. Based on lectures delivered at the Bayreuth Festival between 1998 and 2000, Simon Williams examines a topic that has generated much interest and scrutiny both within the arts and outside of it: Wagner's treatment of the hero.
The book is organized and structured around all thirteen of Wagner's stage works, exploring the concept of "hero" and "heroism" in each of these works. The author begins by defining "heroism" in the context of Wagner's time period and its implications for use by Wagner. The author then discusses each of Wagner's works in turn, and concludes with a discussion of modern interpretations of Wagner's works and how the Wagnerian hero and the idea of heroism are presented and realized in modern productions of his works.
In his introduction, Williams discusses the concept of heroism in the nineteenth and twentieth centuries, and quickly moves into a short summary of the book. Williams indicates that in his examination of the literary, theatrical and operatic culture of Wagner's works, he can identify three modes of heroism: romantic heroism, epic heroism, and messianic heroism. The author divides Wagner's oeuvre into three phases: 1) the apprentice works (Der fliegende Hollander, Tannhauser, and Lohengrin), which feature the alienated romantic or epic hero not accepted by society; 2) Wagner's central work (Der Ring des Nibelungen) where the concepts of romantic and epic heroism compete in a tragic universe; and 3) the third phase works (Tristan und Isolde, Die Meistersinger von Nurnberg, and Parsifal) where the concept of the messianic hero begins to emerge in Wagner's mindset (probably based upon his own life experience). What is interesting in Wagner's music dramas is that all three modes of heroism emerge only with male characters, but is often challenged by the female partner in the music drama.
The three modes of heroism identified by Williams are defined and discussed in chapter 1. The romantic hero, for example, has three qualities: a deep reverence for nature, a subjective viewpoint of the world, and a feeling rather than rational cognition towards the world. The epic hero, obviously, has the most admirable of human traits, immense strength and courage, and defines himself through action not thought. The messianic hero, finally, was based on Wagner's readings of Thomas Carlyle in the 1870's, and this hero has a tangible impact on everyday human life. He is "the Victorian self-made man writ huge," as Williams states on p. 18.
In chapter 2, the author discusses the early nineteenth-century theatre and its limitations in which Wagner had to work with in his Die Feen and Rienzi. Moving into Wagner's "isolated hero" early music-dramas in chapter 3, Williams provides subtitles for each of these that capture the drama succinctly: Flying Dutchman, vampire and wanderer; Tannhauser, sexual transgressor and artist; and Lohengrin, a glimpse of utopia. The Ring drama, examined in chapter 4, looks at the development of heroism and the concept of the hero in detail, both as romantic and epic figure, along with a short discussion of Brunnhilde. In chapter 5, Williams' subtitles for Wagner's music-dramas moving toward the messianic hero are: Tristan und Isolde, the endpoint of romanticism; Die Meistersinger von Nurnberg, artistic utopia; and Parsifal, utopia found.
In the final chapter, the author concludes with a discussion of how Wagner's music-dramas have been represented on the modern stage. He mentions that he can only comment on those productions that he has seen. There are short sections focusing on specific productions that emphasize certain aspects of Wagner: his influence on fascism and anti-Semitism, dramas that focus on the concepts of greed and power, symbolic representations, and imagist and absurdist productions.
This book is a well-written, scholarly examination of Wagner's music-dramas from the focal point of one aspect: the hero. The author weaves an elaborate yet understandable thread throughout the book, in support of his thesis of Wagner's three types of heroism, and how each type appears and grows throughout each of Wagner's works. A very interesting and thought-provoking essay on the whole of Wagner's oeuvre focusing on one important topic and its growth and change throughout Wagner's career and work.
Dr. Brad Eden
University of Nevada, Las Vegas