Paul Dukas’ Ariane et Barbe-Bleue, first heard in 1907, once seemed important. Arturo Toscanini conducted the Met premiere in 1911 with Farrar and later arranged some of its music for a 1947 recording with his NBC Symphony.
The economics of the recording companies dictate much that is not ideal. Wagner’s operas were not composed as they were in order to permit the extraction of bleeding chunks, even on those occasions when strophic song forms do occur.
Among the recent recordings of Mahler’s Eighth Symphony, Valery Gergiev’s release on the LSO Live label is an excellent addition to the discography of this work.
While not unknown, the songs of Alexander von Zemlinsky (1871-1942) deserve to be heard more frequently.
Recorded on 5 and 6 May 2008 and 17 and 18 January 2009 at the Lisztzentrum (Raiding, Austria), this recent Bridge release makes available the piano-vocal versions of three song cycles by Gustav Mahler, Lieder eines fahrenden Gesellen, Rückert-Lieder, and Kindertotenlieder performed by mezzo-soprano Hermine Haselböck, accompanied by Russell Ryan.
Contraltos rarely achieve the acclaim and renown of sopranos. Assigned few leading roles in opera, they are condemned to playing the villain or the grandmother, or to stealing the castrati’s trousers in en travesti roles.
Following their 2011 Decca recording of Striggio’s Mass in 40 Parts (1566), I Fagiolini continue their quest to unearth lost treasures of the High Renaissance and early Baroque, with this collection of world-premiere recordings, ‘reconstructions’ and ‘reconstitutions’ of music by Giovanni and Andrea Gabrieli, Monteverdi, Palestrina, and their less well-known compatriots Viadana, Barbarino and Soriano.
Eternal Echoes is an album of khazones [Jewish cantorial music] for cantorial soloist, solo violin and a blended instrumental ensemble comprising a small orchestra and the Klezmer Conservatory Band.
Michael Tilson Thomas’s recording of Mahler’s Third Symphony is an outstanding contribution to the composer’s discography.
Oliver Knussen burst into British music with an unprecedented flourish. In 1967, the London Symphony Orchestra premiered Knussen’s First Symphony, with István Kertész scheduled to conduct.
Based on performances given in Summer 2010 at the Lucerne Festival, this recording of Beethoven’s Fidelio is an admirable recording that captures the vitality of the work as conducted by Claudio Abbado.
Stanisław Moniuszko (1819-1872) was one of the most popular composers of his day in Poland, and of the many works he wrote for the stage, two are performed from time to time, Halka (1848) and Strazny dwór [The Haunted Manor] (1865).
The Polish alto Jadwiga Rappé is a familiar voice in various stage and concert works, and the recent release of a selection of songs by Stanisław Moniuszko (1819-1872) is an opportunity to hear her performing artsongs.
Originally released on multiple discs in 1981 this reissue on two CDs is a comprehensive collection of art songs by Italian and French composers from the nineteenth and early twentieth centuries.
An exciting contribution to the discography of this popular opera, the live performance of Richard Strauss’s Salome from the Festspielhaus at Baden-Baden is a compelling DVD.
Released in late 2011, Deutsche Grammophon’s DVD of the new staging of Berg’s Lulu at the Gran Teatro del Liceu, Barcelona is an excellent contribution to the discography of this fascinating opera.
A recent release by the Metropolitan Opera, this two-disc set makes available on DVD the famous performance of Berg’s Lulu that was broadcast on 20 December 1980 as part of the PBS series “Live from the Met.”
The novels of Sinclair Lewis once shot across the American literary skies like comets, alarming and fascinating readers of that era, but their tails didn’t extend far behind them.
Once the province of only the most dedicated opera fanatics, mid-20th century recordings of privately taped live performances have become more widely available.
Flute players in opera orchestra around the world must look forward to the frequent appearances of Donizetti’s Lucia di Lammermoor, knowing that while the stage spotlight in the mad scene will be on the soprano, the orchestral spotlight will be on their instrument.
The CD incarnation of this performance, reviewed earlier on Opera Today, faces the formidable competition of an earlier Philips set conducted by Lamberto Gardelli, with Jose Carreras, Montserrat Caballé, and Jessye Norman in the cast. As a recording, that set remains the best recommendation for this neglected (fairly or not) Verdi score.
Giuseppe Verdi: Il Corsaro
Zvetan Michailov (tenor), Renato Bruson (baritone),Michela Sburlati (soprano),Adriana Damato (soprano).
Orchestra e Coro del Teatro Regio di Parma, Renato Palumbo (cond.),Lamberto Puggelli (dir.)
Dynamic DVD 33468 [DVD]
The CD incarnation of this performance, reviewed earlier on Opera Today, faces the formidable competition of an earlier Philips set conducted by Lamberto Gardelli, with Jose Carreras, Montserrat Caballé, and Jessye Norman in the cast. As a recording, that set remains the best recommendation for this neglected (fairly or not) Verdi score.
However, the DVD release of the Parma performance offers enough reward for it to merit attention from more than just those with an affection for early Verdi. Some singers who were not favored by the microphones reveal much more to admire when seen as well as heard. And with a mostly imaginative, attractive production, this incoherent melodramatic folderol comes into focus as a more than interesting predecessor to its great successor, Il Trovatore.
In fact, not only does the plot bear some strong parallels to the later opera (as briefly described in the earlier review of the CD), but the music does as well. The first soprano aria, for the Corsair's beloved, has a sad, minor key feel that suggests Tacea la notte. The corsair himself opens the opera with an extended scene that musically resembles the great third act Manrico double-whammy of Ah, sì ben mio and Di quella pira, to the extent that the Corsair even ends his cabaletta, joined by chorus, with cries of "all'armi"!
And the nefarious baritone role, here a cruel Muslim warlord named Seid, has his Il balen del suo sorriso moment as well, as he laments his unreciprocated longing for a slave girl. And what a great aria name: Cento leggiadre vergini, translated on the DVD as "A hundred lissome virgins1..." And where on earth would one find a hundred of those?
After hearing the unprepossessing CD, the DVD performance comes as something of a revelation. The melodies grow on one, so that suddenly one sits forward and realizes that the score has sunk into one's subconscious. No, it is not Trovatore, but Corsair's music provides a very satisfying alternative.
The singers deserve further reevaluation as well. Bruson sounds only tired and strained on the CD. He still is on the DVD, but his dignified, even arrogant bearing fills in the outlines of this character sketch, and helps the listener to forgive the exhaustion of his voice.
The tenor, Zvetan Michailov, has been mauled by a vicious make-up artist, especially as regards his eyes. But his voice is strong and manly, although his acting leaves much to be desired.
Adriana Damato, however, really must be seen to be appreciated. Her middle range is not her glory, and that seems to be emphasized on the CD. Seen and heard live, Damato inhabits the slave girl role fully, with sensuality and pride, and offers some fine singing, especially in the top of her range. Hers is the most successful total performance of the cast.
Unfortunately, the other soprano, Michela Sburlati, does not improve when seen as well as heard. Her wayward intonation and struggle to maintain a line make her role, thankfully brief, rather a trial.
Conductor Palumbo appears to be a young man; on the basis of this performance, many houses should look to him for Verdi. His leadership is sensitive and dynamic as called for, and he gets tremendous playing from a youthful appearing Teatro Regio di Parma orchestra.
As mentioned before, the attractive production finds creative ways to suggest different locales with a minimum of changes, mostly due to effective lighting. Not all the costuming can be praised — Damato appears to be wearing jeans in her final scene, and the Corsair dons a hideous blue jacket. Bruson gets to stride through the performance, however, in some very elegant silks, the caftan equivalent of a white tux. Very nice.
Corsaro is a short opera, about 90 minutes, and the story telling makes Trovatore seem to be a naturalistic masterpiece. The music, however, for any Verdi lover, should not be dismissed. If one has the Philips set, return to it and rediscover some marvelous tunes. If not, take a chance on this DVD. It may be no classic performance, but despite the liability of one disappointing singer, the DVD provides enough pleasure to justify adding it to the collection.
Chris Mullins
Los Angeles Harbor College
1 More correctly translated as "One hundred fair virgins."