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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.
12 Jun 2005
SCHUMANN: Dichterliebe & Kerner-Lieder
Ulf Bästlein’s recent compilation of Lieder by Schumann presents fine performances of the works listed in the title, the cycle Dichterliebe (to texts by Heinrich Heine) and the Liederreihe usually referred to as the Kerner-Lieder for the twelve settings of poetry by author Justinus Kerner. It also contains some songs that may be less familiar, including several other settings of Heine: “Der arme Peter,” op. 53, no. 3, “Die beiden Grenadiere,” op. 49, no 1, and the late work “Dein Angesicht,” op. 127, no. 2. This is a rich and focused program that offers some of Schumann’s finest Lieder on a single disc.
Robert Schumann: Dichterliebe & Kerner-Lieder.
Ulf Bästlein, baritone, Stefan Laux, piano.
Hänssler Classic 98.452 [CD]
Ulf Bästlein's recent compilation of Lieder by Schumann presents fine performances of the works listed in the title, the cycle Dichterliebe (to texts by Heinrich Heine) and the Liederreihe usually referred to as the Kerner-Lieder for the twelve settings of poetry by author Justinus Kerner. It also contains some songs that may be less familiar, including several other settings of Heine: "Der arme Peter," op. 53, no. 3, "Die beiden Grenadiere," op. 49, no 1, and the late work "Dein Angesicht," op. 127, no. 2. This is a rich and focused program that offers some of Schumann's finest Lieder on a single disc.
The bass-baritone Bästlein is well known for his work with Lieder, since he has explored the repertoire widely in his own performances, as well as in his teaching. He is involved with the Lieder Festival in the city of Husom, and other efforts to further the genre. It is rare to find such an informed musician, whose interests span the gamut of the Lied, from its origins in the eighteenth century to modern expressions of German song in the twentieth century. In fact, Bästlein's accompanist, Stefan Laux, may be regarded as a kindred spirit because of his own broad interest in Lieder, which also spans a similar range of music in this genre and, especially, pieces by composers of the New Viennese School. Thus, a recording by these two gifted and informed individuals is very welcome.
The performances are, in general, thoughtful and sensitive. Both musicians let the music speak for itself and refrain from affections that bespeak an individual approach that is calculated to make a mark. Rather, the tempos fit the sense of text, and this aspect of performances emerges clearly in all the Lieder, from the pensive "Im wunderschönen Monat Mai" that opens the Dichterliebe to lighter pieces, like "Die beiden Grenadiere," with its Teutonic evocation of the Marsellaise. Dynamics reflect the score well and, again, nothing is excessive such that the text is ever obscured or, worse, misrepresented by the performers. A telling point is "Ich grolle nicht," the crucial song at the center of Schumann's Dichterliebe, which Bästlein presents with admirable intensity and accuracy. The evenness of his vocal tone is evident in this familiar piece. Likewise, the song that follows it in the cycle, "Und wüssten's die Blumen" requires a deft pianist, whose facility must not obscure the voice, but rather support it with his own musicianship, and Laux does this well. The outburst of virtuosity at the song's conclusion is appropriate and wholly in the spirit the work as a whole.
While most of the Lieder recorded here are settings of Heinrich Heine's poetry, the Kerner-Lieder are notable because these well-written pieces are sometimes overshadowed by Schumann's other song collections. In his notes to this recording, Joachim Draheim mentions how closely Schumann's settings of these poems recalls in some ways Schubert's music, and this becomes apparent in the subtle way the two performers execute the songs. Songs like "Wanderlied" and "Wanderung" make use of triadic figures that recollect some aspects of Schubert's style and also anticipate some the style Mahler would use for some of his settings from Des Knaben Wunderhorn. At the same time some of the Kerner-Lieder anticipate the elegiac character that Schumann would refine in some of his later vocal music. "Alte Laute," the last of the set, anticipates in some ways the reflective quality that makes the Dichterliebe memorable. One does not have to look for far to hear such connections, since the performers make them elegantly clear in this recording.
James L. Zychowicz