Recently in Recordings
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. In recent days,
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.
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.’
05 May 2005
The Very Best of Beverly Sills
EMI Classics’ release of The Very Best of Bevery Sills is a mixed bag. Unlike similar EMI compilations of Maria Callas, Mirella Freni, or Lucia Popp, who all present an array of signature arias or art songs, this release should be re-titled Some of Beverly Sills’ Opera Scenes and a Few Arias. Though Sills performs with an impressive cast, including Alfredo Kraus, Nicolai Gedda, Sherrill Milnes, and Samuel Ramey, this recording would be much more satisfying if is showcased more of signature Sills.
The Very Best of Beverly Sills
Beverly Sills (soprano) sings arias from Rossini's Il barbiere di Siviglia; Verdi's Rigoletto; Donizetti's Don Pasquale; Lehar's Merry Widow; Massenet's Thais; Rossini's L'assedio di Corinto; Verdi's La traviata.
The Very Best of the Singers series.
EMI Classics 863172 [2CDs]
EMI Classics' release of The Very Best of Bevery Sills is a mixed bag. Unlike similar EMI compilations of Maria Callas, Mirella Freni, or Lucia Popp, who all present an array of signature arias or art songs, this release should be re-titled Some of Beverly Sills' Opera Scenes and a Few Arias. Though Sills performs with an impressive cast, including Alfredo Kraus, Nicolai Gedda, Sherrill Milnes, and Samuel Ramey, this recording would be much more satisfying if is showcased more of signature Sills.
The CD is divided into a few of her famous roles, featuring an aria or two from each role as well as several pivotal scenes from the opera. Highlighted roles include Rosina of Il barbiere di Siviglia, Gilda of Rigoletto, Norina of Don Pasquale, and Violetta of La traviata. A few arias are randomly included on the second CD, such as "Vilia", "Dis-moi que je suis belle", and "Cielo! Che diverro?... Ah! Che spiegar."
If this recording's intention was to focus on bel canto repertoire, it has made a grave mistake forgetting Sill's premier roles in Lucia Di Lammermoor, Anna Bolena, Maria Stuarda and Roberto Devereux. What about her excellent interpretation of French repertoire — Manon, Faust, La Fille Du Regiment, or The Tales of Hoffman? What about her world premier role Baby Doe? This is hardly The Best of Beverly Sills.
Despite faults in recording choices, Sills still exhibits vocal mastery and sensitive musicianship. The recordings span from 1972-1979, from the height of her career toward retirement. Changes in suppleness of her voice are apparent throughout the disc. Her Rosina and Violetta, recorded in 1975 and 1972 respectively, reveal a silvery line, crystalline tone, appropriate weight of the voice, and masterful phrasing. Her coloratura in "Una voce poco fa" is very impressive, especially when executing scalar runs from a well-endowed chest voice to the stratosphere. Everything from her La traviata excerpts is magnificent, from the buoyant line in "Sempre libre" to her audible distraught phrasing in "Ah! Dite alla giovine."
Recordings from the end of her career reveal reasons why the end was coming. Excerpts from Rigoletto expose a more brittle sound, wider vibrato, and a less brilliant top. However, her "Caro Nome" still stuns the listener with virtuosic trilling, masterful messa di voce, silky lyricism, and impeccable staccato. The vocal weight in this aria brings back memories of an earlier, more youthful Sills, and is entirely appropriate for the role of Gilda. Only in the final cadenza does she punch the coloratura and add too much weight.
There are many compilations of Beverly Sill's best recordings, and this is not one of them. Fortunately, EMI has a previous release entitled The Art of Beverly Sills which features all of her signature arias from the height of her career.