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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.
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.
29 Jun 2005
Teatro La Fenice: Gala Reopening
The liner notes dryly state that “This was a stringent programme for an opening-concert audience used to lighter fare at such events.” In the past this would surely have been true but together with “Das Regietheater,” there is now a firm tradition in European houses that the reason for their very existence is art, and preferably in its purest form. Audiences are not there to amuse themselves or even to enjoy the music but to ponder on whatever life’s questions may be at that exact moment. They are mightily helped in their endeavours by conductor Riccardo Muti who cannot be caught with a single smile on his face during more than an hour of music making. Therefore a house where five operas by Giuseppe Verdi were premièred cannot be expected to open with such banalaties as Ernani, Attila, Rigoletto, La Traviata or Simon Boccanegra. Even worse would have been a concert with some prominent singers performing well-known arias and duets from these operas. The danger of enjoyment would have been too great. A conductor who reopened La Scala one year later with that immortal masterpiece L’Europa riconosciuta can be expected to make more original choices. Muti preferred lesser known music by maestros who had some ties with the city itself, even with the opera house.
Teatro La Fenice: Gala Reopening
Works by Beethoven, Stravinsky, Caldera and Wagner.
Patrizia Ciofi (soprano), Sara Allegretta (soprano), Sonia Ganassi (mezzo-soprano), Sara Mingardo (alto), Roberto Saccà (tenor), Mirko Guadagnini (tenor), Michele Pertusi (bass) and Nicolas Rivenq (baritone).
Orchestra e Coro del Teatro La Fenice, Riccardo Muti (cond.).
Recorded Live at the Teatro La Fenice, Venice, 14 December 2003.
TDK DVW-CORLF [DVD]
The liner notes dryly state that "This was a stringent programme for an opening-concert audience used to lighter fare at such events." In the past this would surely have been true but together with "Das Regietheater," there is now a firm tradition in European houses that the reason for their very existence is art, and preferably in its purest form. Audiences are not there to amuse themselves or even to enjoy the music but to ponder on whatever life's questions may be at that exact moment. They are mightily helped in their endeavours by conductor Riccardo Muti who cannot be caught with a single smile on his face during more than an hour of music making. Therefore a house where five operas by Giuseppe Verdi were premièred cannot be expected to open with such banalaties as Ernani, Attila, Rigoletto, La Traviata or Simon Boccanegra. Even worse would have been a concert with some prominent singers performing well-known arias and duets from these operas. The danger of enjoyment would have been too great. A conductor who reopened La Scala one year later with that immortal masterpiece L'Europa riconosciuta can be expected to make more original choices. Muti preferred lesser known music by maestros who had some ties with the city itself, even with the opera house.
Muti starts with the Beethoven overture "Die Weihe des Hauses", op. 124 (The Consecration of the House) and he does it with vigour and 'schwung', actually making the music better than it probably is in the hands of a lesser maestro. Then it's time for Stravinsky's 20-minute Symphonie de psaumes with some excellent chorus singing. (The composer is buried on a Venetian island and his The Rake's Progress premièred at La Fenice.) A Venetian born composer should have his place in such a concert though not Antonio Vivaldi; that would have been too easy. The honour goes to Antonio Caldara with a not very interesting Te Deum. This has the advantage of introducing 8 soloists; most of them having only a few sentences to sing during this 10-minute piece. Even then Ciofi and Pertusi succeed in making some beautiful sounds while tenor Sacca and especially bass Rivenq with worn or wobbly voices make one wonder why they were chosen.
The concert ends with two fairly unknown pieces by Wagner (who died in Venice). The Kaisermarch is an interesting one. The former revolutionary clearly had an eye on the powers that could be. His protector, King Ludwig II of Bavaria, was in financial difficulties. Bavaria and some other South German states had been allies of Austria in their brief war with Prussia in 1866. Austria which had been the most prominent German state for hundreds of years in the First Reich (800-1806) was ousted out of Germany and in 1871 little Germany or the Second Reich (1871-1918) came into being with the Prussian king elevated to the rank of Emperor. (The Austrians would briefly rejoin the Third Reich 1933-1945 though as a junior instead of a senior partner). King Ludwig, definitely against the wishes of his subjects but bought out of his debts by the Prussians, convinced the other South German sovereigns to join the new empire and Wagner jumped upon the wagon. His Kaisermarch starts out well with some interesting melodic ideas and all at once the famous Luther chorale pops up. For a moment the listener thinks he is in Les Huguenots where that same device was so rejected by Wagner. The introduction is a sure fire political statement by the composer as it firmly connects the new empire with Protestantism; one of the reasons Bavarians loathed their new federal state which indeed would start a war with the Catholic Church a few years later and lose it miserably. After some 5 minutes, Wagner's usual tediousness takes over, his melodic inspiration flags and even Muti's drive and incisiveness isn't enough to make the second part more interesting. Wagner's Huldigungsmarch concludes the concert and is mercifully more brief.
Still even this concert reveals some time honoured Italian traditions. It may be a Gala Reopening of the House but this only means that all that's visible to an outsider is restored. In reality the stage and the technical equipment were still to be completed and it was only a year later that the opera house really opened with a not very successful La Traviata.
As a TV-producer I had some experience with RAI and I am happy to note that some endearing qualities, a certain sloppiness, have not disappeared. This is a live registration and then some things can happen nobody can control. As there is no shortage of panoramic views I would have thought that several ugly shots, where the view is obscured by someone's back or even by a lady's feathers, might be supplanted during the editing process for this DVD; but it was decided to keep these artistic touches.
A hilarious moment comes at the end of the DVD. Often in these programmes, subtitles run along with the last images giving credits to all important collaborators. This is serious business as some people (especially technicians) are very touchy to get their due credits. Either the person responsible for those titles starts them too late or Muti only allowed to have them started the moment he left the rostrum. Anyway, those titles run at breakneck speed along so that everyone gets his credit, though it is impossible to read one single name. For the rest this is a true professional registration with one camera along the orchestra to shoot Mr. Muti's artistic face. Either the director can read a score or he had help but he anticipates correctly and we get the appropriate player each time there is a solo moment. The sound is clear.