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.
01 Jun 2005
GIORDANO: La Cena delle Beffe
The recording industry has recently been good for Umberto Giordano. We now at last have well recorded performances of Mala Vita (Bongiovanni), Siberia (Gala), Madame Sans-Gêne, Il Re and Mese Mariano (all on Dynamic). Still missing are recordings of his first opera Marina, of Regina Diaz, Marcella (Gigli recorded one aria) and Giove a Pompei. La Cena delle Beffe was somewhat better represented. There was a live performance on MRF-LP and in 1988 Bongiovanni recorded another performance (with Fabio Armiliato) in Piacenza. Both recordings however are no match for the RAI broadcast of the 14th of April 1956 (and not 1955 as the sleeve notes say). That recording was already issued several years ago by the same company (Myto 2MCD002.220). The big difference between both issues is that this first version included an Italian language-only libretto while this new issue doesn’t. That can make a difference for enjoying the recording though Sem Benelli’s Italian libretto is not exactly written in house and kitchen Italian.
Umberto Giordano: La Cena delle Beffe
Antonio Annoloro (Gianetto) ; Anselmo Colzani (Neri) ; Enzo Guagni (Gabriello and Trinca) ; Franco Calabrese (Tornaquinci) ; Arrigo Cattelani (Calandra) ; Antonio Sacchetti (Fazio) ; Aldo Corelli (Dottore) ; Walter Artoli (Lapo and Cantore) ; Gigliola Frazzoni (Ginevra) ; Mafalda Micheluzzi (Lisabetta) ; Liliano Pellegrino (Laldomine and Cintia) ; Pina Leo Tanco (Fiametta) .
Orchestra Sinfonica di Milano della RAI, Oliviero De Fabritiis (cond.)
Bonus: Gigliola Frazzoni in La Fanciulla del West (RAI Milano 1955) with Ken Neate and Mario Petri
Myto 052.H103 [2CDs]
The recording industry has recently been good for Umberto Giordano. We now at last have well recorded performances of Mala Vita (Bongiovanni), Siberia (Gala), Madame Sans-Gene, Il Re and Mese Mariano (all on Dynamic). Still missing are recordings of his first opera Marina, of Regina Diaz, Marcella (Gigli recorded one aria) and Giove a Pompei. La Cena delle Beffe was somewhat better represented. There was a live performance on MRF-LP and in 1988 Bongiovanni recorded another performance (with Fabio Armiliato) in Piacenza. Both recordings however are no match for the RAI broadcast of the 14th of April 1956 (and not 1955 as the sleeve notes say). That recording was already issued several years ago by the same company (Myto 2MCD002.220). The big difference between both issues is that this first version included an Italian language-only libretto while this new issue doesn't. That can make a difference for enjoying the recording though Sem Benelli's Italian libretto is not exactly written in house and kitchen Italian.
La Cena was created by Toscanini who clearly believed in the opera and cast it from strength with Lazaro and Melis (Tebaldi's teacher). When it reached the Met, Ruffo, Alda and Gigli sang it and one can easily agree with the tenor's fury at Gatti's decision to press such a strenuous role upon a lyric instrument. After its first rounds, La Cena gradually disappeared and one can understand why. Though the music is firmly tonal, Giordano, of course, knew the works of Zemlinsky and Strauss surely enough; and there is a lot of "meaningful" dissonance to be heard. What ultimately is lacking is the firm melodic touch the composer showed in his best work. The first part of the opera is taken in by a lot of Italian sprechgesang. From the second act on things are getting better though the melodies always sound a little laborious, a little too uninspired. And then there is that one moment of genius in the fourth act when the composer gives us a wonderful serenade (Tornato e maggio), which would be a hit in every tenor's repertoire if this had appeared in Chénier. Now there is only Alessandro Valente's recording and moreover in the opera the serenade is sung by the second tenor (one can hear Gigli sigh) and cut short in the second strophe (yes, like in Di rigori where Benelli and Giordano obviously got the idea).
The recording is a good mono one and the singers belong to that last generation that got their musical education when opera and the verismo traditions were still a living thing in Italy. Antonio Annoloro in the title role has a big, somewhat unrefined, spinto tenor that cuts easily through the thick orchestration and he is absolutely convincing as the vengeful Gianetto. He soon realized that with his less than beautiful voice there was a career to be made in unhackneyed operas and in the same RAI season he sang in the best version up to now of Franco Alfano's Sakuntala ( not on CD but well known in the collectors' circuit).
As Neri baritone Anselmo Colzani is perfect: sinister where necessary, raging when playing the madman. He too is badly underrepresented on recordings and moreover he was a good actor and he would have been terrific on the scene in this role. Tenor Walter Artioli sings the serenade quite well though one of course longs to hear a Ferruccio Tagliavini in this piece.
All comprimari combine individual sound and incisive singing and we even meet Corelli's older brother, Aldo, in a small role. Gigliola Frazzoli sings Ginevra with her big, round though not very individual voice and she, too, clearly believes in her role. In fact, the issue is somewhat centred around her as the second CD has only the short fourth act followed by Minnie's three big duets from Fanciulla, broadcast on the 13th of March 1956. Surprisingly for a radio recording, the sound is rather dull and not better than her well-known complete live recording at La Scala of the same year. As to be expected there are no great differences, either in singing or interpretation, between those two performances. Her radio tenor is Australian Ken Neate with a good solid voice, with gleaming high notes, rather rare for an Anglo-Saxon tenor, and a not very personal or Italian timbre. Though he sings well and stylishly he cannot compete with the thrilling sound of young Franco Corelli in the La Scala recording.