The economics of the recording companies dictate much that is not ideal. Wagner’s operas were not composed as they were in order to permit the extraction of bleeding chunks, even on those occasions when strophic song forms do occur.
Among the recent recordings of Mahler’s Eighth Symphony, Valery Gergiev’s release on the LSO Live label is an excellent addition to the discography of this work.
While not unknown, the songs of Alexander von Zemlinsky (1871-1942) deserve to be heard more frequently.
Recorded on 5 and 6 May 2008 and 17 and 18 January 2009 at the Lisztzentrum (Raiding, Austria), this recent Bridge release makes available the piano-vocal versions of three song cycles by Gustav Mahler, Lieder eines fahrenden Gesellen, Rückert-Lieder, and Kindertotenlieder performed by mezzo-soprano Hermine Haselböck, accompanied by Russell Ryan.
Contraltos rarely achieve the acclaim and renown of sopranos. Assigned few leading roles in opera, they are condemned to playing the villain or the grandmother, or to stealing the castrati’s trousers in en travesti roles.
Following their 2011 Decca recording of Striggio’s Mass in 40 Parts (1566), I Fagiolini continue their quest to unearth lost treasures of the High Renaissance and early Baroque, with this collection of world-premiere recordings, ‘reconstructions’ and ‘reconstitutions’ of music by Giovanni and Andrea Gabrieli, Monteverdi, Palestrina, and their less well-known compatriots Viadana, Barbarino and Soriano.
Eternal Echoes is an album of khazones [Jewish cantorial music] for cantorial soloist, solo violin and a blended instrumental ensemble comprising a small orchestra and the Klezmer Conservatory Band.
Michael Tilson Thomas’s recording of Mahler’s Third Symphony is an outstanding contribution to the composer’s discography.
Oliver Knussen burst into British music with an unprecedented flourish. In 1967, the London Symphony Orchestra premiered Knussen’s First Symphony, with István Kertész scheduled to conduct.
Based on performances given in Summer 2010 at the Lucerne Festival, this recording of Beethoven’s Fidelio is an admirable recording that captures the vitality of the work as conducted by Claudio Abbado.
Stanisław Moniuszko (1819-1872) was one of the most popular composers of his day in Poland, and of the many works he wrote for the stage, two are performed from time to time, Halka (1848) and Strazny dwór [The Haunted Manor] (1865).
The Polish alto Jadwiga Rappé is a familiar voice in various stage and concert works, and the recent release of a selection of songs by Stanisław Moniuszko (1819-1872) is an opportunity to hear her performing artsongs.
Originally released on multiple discs in 1981 this reissue on two CDs is a comprehensive collection of art songs by Italian and French composers from the nineteenth and early twentieth centuries.
An exciting contribution to the discography of this popular opera, the live performance of Richard Strauss’s Salome from the Festspielhaus at Baden-Baden is a compelling DVD.
Released in late 2011, Deutsche Grammophon’s DVD of the new staging of Berg’s Lulu at the Gran Teatro del Liceu, Barcelona is an excellent contribution to the discography of this fascinating opera.
A recent release by the Metropolitan Opera, this two-disc set makes available on DVD the famous performance of Berg’s Lulu that was broadcast on 20 December 1980 as part of the PBS series “Live from the Met.”
The novels of Sinclair Lewis once shot across the American literary skies like comets, alarming and fascinating readers of that era, but their tails didn’t extend far behind them.
Once the province of only the most dedicated opera fanatics, mid-20th century recordings of privately taped live performances have become more widely available.
Flute players in opera orchestra around the world must look forward to the frequent appearances of Donizetti’s Lucia di Lammermoor, knowing that while the stage spotlight in the mad scene will be on the soprano, the orchestral spotlight will be on their instrument.
Since his debut at the Metropolitan Opera in 1971, conductor James Levine has come to represent the house’s commitment to artistic excellence — reliable, professional, and immaculately presented.
The Brilliant Classics label has been releasing budget priced recordings on CD for some time now, many to high praise. Complete symphony cycles (for example, of Shostakovich and Bruckner) have been favorably compared in some publications to those from major labels featuring star conductors and top orchestras.
Lamentations
The Choir of Clare College, Cambridge
Timothy Brown, conductor
Brilliant Classics 92099 [DVD]
George Frederic Handel: Messiah
Lynne Dawson, Hillary Summers, John Mark Ainsley, Alastair Miles; The Choir of King's College Cambridge; Brandenburg Consort, Stephen Cleobury, conductor
Brilliant Classics DVD 92520 [DVD]
The Brilliant Classics label has been releasing budget priced recordings on CD for some time now, many to high praise. Complete symphony cycles (for example, of Shostakovich and Bruckner) have been favorably compared in some publications to those from major labels featuring star conductors and top orchestras.
Now the company appears ready to venture into the growing DVD market, and among the first releases are two DVDs featuring British choirs. The Lamentations disc features choral masterpieces from Palestrina's Stabat Mater to George Kirbye's Vox in Rama. The program reveals itself to be two separate groups of performances; the first filmed at Jesus College Chapel and the second, which gives its title to the entire program, filmed at All Saint's Church. Both come from 1996.
The Choir of Clare College is composed of fresh young souls with pure, sweet voices, and anyone with an appreciation for this music should find the performances enjoyable. Tallis, Byrd, Gesualdo — many of the great composers of choral music receive clean, disciplined performances under Timothy Brown's leadership.
Exactly what benefit the visual element brings to that enjoyment remains a question. The camerawork here is rudimentary. For your reviewer, a claustrophobic feeling grew, as the camera remains resolutely within the chapel with the choir, panning over the choir members' faces and then returning to a position behind Brown for group shots. Occasionally, the walls are panned. Devotees of British church drywall techniques may find that fascinating. Others may find something to focus on in the hair of one male choir member in the second section, who seems to be wearing a beret but in close up is revealed to have a mushroom-shaped coiffure of tight curls.
The review copy came with a booklet offering texts in English only, but very little other information. There are no subtitles.
Nor are there any on the Messiah disc, and here the review copy came without any booklet whatsoever. The performance was recorded in the Netherlands in 1991, and from the look of things, was quite a formal occasion: full dress for the men and tasteful gowns for the women, and an audience, albeit one that never breaks into applause, even at the end.
Cleobury leads the Brandenburg Consort in a historically-informed performance, and though many — well, at least your reviewer — may wish to run for the classic Beecham set to be reminded of the passion and excitement this music can evoke, others will surely find the intimacy and naturalness very appealing.
Every soloist offers fine singing, although the alto Hillary Summers may be an acquired taste, as she has a rather plumy sound that becomes monochromatic in extended singing. He was despised especially became rather tiresome. Dawson, Ainsley, and Miles, however, sing with great control and much beauty.
Once again, the visuals don't add much if anything to the performance's success. To break up the monotony, the director has inserted from time to time some etches of scenes corresponding to the story. Whether these enlighten the viewer or distract will be an individual response.
Presumably these DVDs will be offered at the same sort of budget price that Brilliant Classics offers for its CDs. If so, those with a special love for British choirs may find these two discs worth the expenditure. For others, surely the best performances on CD would be preferable.
Chris Mullins
Harbor Teacher Preparation Academy