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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.
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.
14 Jun 2005
Dame Gwyneth Jones sings Wagner
This CD is a digital remastering of an original 1991 recording of Gwyneth Jones in selections from Tannhäuser, Lohengrin, Tristan und Isolde and Götterdämmerung. Jones was (and is) one of the great interpreters of Wagner, and the release of this CD is a welcome event, not only to her many friends, but all of us who are fascinated by the interpretation of Wagner’s works. The recording is clearly meant to serve as a recorded monument to her artistry. Unfortunately, the CD is marred by many problems that make it less than satisfactory.
Dame Gwyneth Jones sings Wagner
Westdeutsche Rundfunk Orchestra of Cologne, Roberto Paternostro (cond.)
Chandos CHAN 10286 X [CD]
This CD is a digital remastering of an original 1991 recording of Gwyneth Jones in selections from Tannhäuser, Lohengrin, Tristan und Isolde and Götterdämmerung. Jones was (and is) one of the great interpreters of Wagner, and the release of this CD is a welcome event, not only to her many friends, but all of us who are fascinated by the interpretation of Wagner's works. The recording is clearly meant to serve as a recorded monument to her artistry. Unfortunately, the CD is marred by many problems that make it less than satisfactory.
As we might expect, the sound engineers for this CD elected to foreground Jones's voice. But they also chose to "iron out" the dynamics, so that the fortes are attenuated and the pianos are amplified. Forte and piano, we might say, are no longer indicators of volume, but rather of color. This has the effect of diminishing the differences between Jones's interpretations of the individual heroines: Elsa and Isolde sound quite similar. Only in a few passages, such as the beginning of Elizabeth's prayer or the end of Brünnhilde's immolation scene, do we get a clear sense of Jones's distinctive approach to these characters.
Sound engineers might also be responsible for the quality of the orchestral sound, which is generally cold, thin, and overly bright. Part of this, however, must be laid at the door of the conductor. Paternostro goes a long way toward making Wagner's music sound banal. This reviewer found Paternostro's interpretation of the Tristan prelude (paired, as we might expect, with the Liebestod) to be the low point of the entire CD. His rather metronomic approach to the score deprives the performance of the sense of large-scale development that is so essential in Wagner. The tempi are rather quick, but somehow the performances seem too long.
One of the most distinctive things about Dame Gwyneth's voice is her approach to vibrato. She often begins a long note without any vibrato at all, adding it quickly in what we might think of as an idiomatic version of the classic mezza di voce. This can be a thrilling effect, but too often, the initial attack is under pitch. Jones's approach sometimes sounds mannered, particularly in the upper part of her range. In other sections, however, the effect is absolutely magical. The opening and the final passages of the Liebestod, for instance, are ravishing. Jones sings the final note in a bell-like pianissimo, without any trace of vibrato at all, producing what can only be called a sonic emblem of transfiguration.
The total time of this CD is only a bit over 55 minutes, and a few of the Wagnerian soprano chestnuts are missing. I would have particularly enjoyed hearing Dame Gwyneth sing Senta's ballad from Der fliegende Holländer and "Der Männer Sippe" from Die Walküre (they are absent from this CD). Despite its inadequacies, this recording is an important document of what is surely one of the great Wagnerian voices of the late twentieth century.
Dr. Stephen Meyer