Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Recordings

From Darkness into Light: Antoine Brumel’s Complete Lamentations of Jeremiah for Good Friday

As a musicologist, particularly when working in the field of historical documents, one is always hoping to discover that unknown score, letter, household account book - even a shopping list or scribbled memo - which will reveal much about the composition, performance or context of a musical work which might otherwise remain embedded within or behind the inscrutable walls of the past.

Time and Space: Songs by Holst and Vaughan Williams

New from Albion, Time and Space: Songs by Holst and Vaughan Williams, with Mary Bevan, Roderick Williams, William Vann and Jack Liebeck, highlighting the close personal relationship between the two composers.

Puccini's Le Willis: a fine new recording from Opera Rara

The 23-year-old Giacomo Puccini was still three months from the end of his studies at the Conservatoire in Milan when, in April 1883, he spotted an announcement of a competition for a one-act opera in Il teatro illustrato, a journal was published by Edoardo Sonzogno, the Italian publisher of Bizet's Carmen.

Liszt: O lieb! – Lieder and Mélodie

O Lieb! presents the lieder of Franz Liszt with a distinctive spark from Cyrille Dubois and Tristan Raës, from Aparté. Though young, Dubois is very highly regarded. His voice has a luminous natural elegance, ideal for the Mélodie and French operatic repertoire he does so well. With these settings by Franz Liszt, Dubois brings out the refinement and sophistication of Liszt’s approach to song.

The Academy of Ancient Music's superb recording of Handel's Brockes-Passion

The Academy of Ancient Music’s new release of Handel’s Brockes-Passion - recorded around the AAM's live performance at the Barbican Hall on the 300th anniversary of the first performance in 1719 - combines serious musicological and historical scholarship with vibrant musicianship and artistry.

Vaughan Williams: The Song of Love

From Albion, The Song of Love featuring songs by Ralph Vaughan Williams, with Kitty Whately, Roderick Williams and pianist William Vann. Albion is unique, treasured by Vaughan Williams devotees for rarely heard repertoire from the composer’s vast output, so don’t expect mass market commercial product. Albion recordings often highlight new perspectives.

A new recording of Henze’s Das Floß der Medusa

Henze’s Das Floß der Medusa is in some ways a work with a troubled and turbulent history. It is defined by the time in which it was written – 1968 – a period of student protest throughout central Europe. Its first performance was abandoned because the Hamburg chorus refused to perform under the Red Flag which had been placed on stage; and Henze himself decided he wouldn’t conduct it at all after police stormed the concert hall to remove protesters, among them the librettist Ernst Schnabel.

Berthold Goldschmidt: Beatrice Cenci, Bregenzer Festspiele

Berthold Goldschmidt’s Beatrice Cenci at last on DVD, from the Bregenzer Festspiele in 2018, with Johannes Debus conducting the Wiener Symphoniker, directed by Johannes Erath, and sung in German translation.

Sandrine Piau: Si j’ai aimé

Sandrine Piau and Le Concert de la Loge (Julien Chauvin), Si j’ai aimé, an eclectic collection of mélodies demonstrating the riches of French orchestral song. Berlioz, Duparc and Massenet are included, but also Saint-Saëns, Charles Bordes, Gabriel Pierné, Théodore Dubois, Louis Vierne and Benjamin Godard.

The VOCES8 Foundation is launched at St Anne & St Agnes

Where might you hear medieval monophony by the late 12th-century French composer Pérotin, Renaissance polyphony by William Byrd, a vocal arrangement of the stirring theme from Sibelius’s tone poem Finlandia, alongside a newly commissioned work, ‘Vertue’ (2019) by Jonathan Dove, followed by an arrangement of the Irish folksong ‘Danny Boy’ and a snappy rendition of Antonio Carlos Jobim’s ‘One Note Samba’ arr. for eight voices by Naomi Crellin, all within 90 minutes?

Gerald Finzi Choral Works

From Hyperion, Gerald Finzi choral works with the Choir of Trinity College, Cambridge, conducted by Stephen Layton. An impressive Magnificat (1952) sets the tone.

Herbert Howells: Choir of King’s College, Cambridge

The Choir of King’s College, Cambridge has played a role in the evolution of British music. This recording honours this heritage and Stephen Cleobury’s contribution in particular by focusing on Herbert Howells, who transformed the British liturgical repertoire in the 20th century.

Mieczysław Weinberg: Symphony no. 21 (“Kaddish”)

Mieczysław Weinberg witnessed the Holocaust firsthand. He survived, though millions didn’t, including his family. His Symphony no. 21 “Kaddish” (Op. 152) is a deeply personal statement. Yet its musical qualities are such that they make it a milestone in modern repertoire.

Kenshiro Sakairi and the Tokyo Juventus Philharmonic in Mahler’s Eighth

Although some works by a number of composers have had to wait uncommonly lengthy periods of time to receive Japanese premieres - one thinks of both Mozart’s Jupiter and Beethoven’s Fifth (1918), Handel’s Messiah (1929), Wagner’s Parsifal (1967), Berlioz’s Roméo et Juliette (1966) and even Bruckner’s Eighth (1959, given its premiere by Herbert von Karajan) - Mahler might be considered to have fared somewhat better.

Lise Davidsen sings Wagner and Strauss

Superlatives to describe Lise Davidsen’s voice have been piling up since she won Placido Domingo’s 2015 Operalia competition, blowing everyone away. She has been called “a voice in a million” and “the new Kirsten Flagstad.”

Nicky Spence and Julius Drake record The Diary of One Who Disappeared

From Hyperion comes a particularly fine account of Leoš Janáček’s song cycle The Diary of One Who Disappeared. Handsome-voiced Nicky Spence is the young peasant who loses his head over an alluring gypsy and is never seen again.

Jean Sibelius: Kullervo

Why did Jean Sibelius suppress Kullervo (Op. 7, 1892)? There are many theories why he didn’t allow it to be heard after its initial performances, though he referred to it fondly in private. This new recording, from Hyperion with Thomas Dausgaard conducting the BBC Scottish Symphony Orchestra, soloists Helena Juntunen and Benjamin Appl and the Lund Male Chorus, is a good new addition to the ever-growing awareness of Kullervo, on recording and in live performance.

Mahler: Titan, Eine Tondichtung in Symphonieform – François-Xavier Roth, Les Siècles

Not the familiar version of Mahler's Symphony no 1, but the “real” Mahler Titan at last, as it might have sounded in Mahler's time! François-Xavier Roth and Les Siècles present the symphony in its second version, based on the Hamburg/Weimar performances of 1893-94. This score is edited by Reinhold Kubik and Stephen E.Hefling for Universal Edition AG. Wien.

Verdi: Messa da Requiem - Staatskapelle Dresden, Christian Thielemann (Profil)

It has often been the case that the destruction wrought by wars, especially the Second World War, has been treated unevenly by composers. Theodor Adorno’s often quoted remark, from his essay Prisms, that “to write poetry after Auschwitz would be barbaric” - if widely misinterpreted - is limited by its scope and in a somewhat profound way composers have looked on the events of World War II in the same way.

Matthias Goerne: Schumann – Liederkreis, op 24 & Kernerlieder

New from Harmonia Mundi, Matthias Goerne and Lief Ove Andsnes: Robert Schumann – Liederkreis, op 24 and Kernerlieder. Goerne and Andsnes have a partnership based on many years of working together, which makes this new release, originally recorded in late 2018, well worth hearing.

OPERA TODAY ARCHIVES »

Recordings

06 Jun 2005

VERDI: Il Corsaro

Alessandro Trovato’s admirably honest and forthright booklet essay (translated by Daniela Pilarz) for this Dynamic release of Verdi’s Il Corsaro goes a long way to explaining why this ranks as one of the master’s least-performed works.

Giuseppe Verdi: Il Corsaro.
Zvetan Michailov, Renato Bruson, Michela Sburlati, Adriana Damato
Orchestra e Coro del Teatro Regio di Parma Renato Palumbo (cond.)
Dynamic 468/1-2 [2CDs]

Alessandro Trovato's admirably honest and forthright booklet essay (translated by Daniela Pilarz) for this Dynamic release of Verdi's Il Corsaro goes a long way to explaining why this ranks as one of the master's least-performed works.

First, the opera fulfilled a contract that Verdi clearly wanted to bring to a close. Verdi had at one time found the story of passing interest, but in the end he set to work on a libretto he had deemed unworthy, without requesting any significant changes. Once the first performances passed, to a cool reception, Verdi apparently made no effort to revise the score. Instead, he went on to a new publisher and great, everlasting fame.

Il Trovatore would secure much of that fame, and Il Corsaro shares more than the definite article with that wild, garish melodramatic masterpiece. Although the plot of Il Corsaro may at first seem like the dramatic counter part to Mozart's Abduction from the Seraglio, with its harem and cruel pasha, in outline the future masterpiece of Trovatore can be seen — the hero outside the law, trying to rescue a damsel in distress from a nasty baritone, only to be captured himself, and with his beloved poisoning herself just before his own sudden demise (here a suicide).

Dynamic is a label that relishes such rare repertory, and so they set up their microphones for a performance at the Teatro Regio in June 2004, and the handsome photographs on cover and in booklet suggest a lively, colorful, very traditional production.

The recording, however, only offers the voices (although extraneous stage noises make intermittent intrusions). With one exception, the cast features younger, less well-known singers. The swashbuckling title role goes to Zvetan Michailov, who has a manly tenor to match a handsome appearance, as evidenced by the booklet cover. Neither strength nor weakness distinguishes his performance; perhaps in person he has more charisma.

The two sopranos offer even less. The corsair's true love, Medora, gets a wobbly portrayal from Michela Sburlati, and the tragic slave girl Gulnara offers not much respite. Adriana Damato, a stunning young woman in the photos, has a prematurely aged voice that makes one fully sympathetic with the corsair's decision to return to his other love — until she opens her mouth.

The veteran Renato Bruson has the role of the nasty Seid (a "vile Muslim," in the truly politically incorrect libretto). A man with a great career behind him, this recording sadly documents his decline. The intelligence that guided him through many successes is still there; the voice simply is not.

Renato Palumbo leads the Teatro's orchestra and chorus in an emotional yet disciplined performance; he is the true star of this recording.

Not easy to find, the Philips recording, part of a series devoted to early Verdi mostly conducted by Lamberto Gardelli, offers much too high a challenge to this Dynamic set. Caballé, Carreras, Norman — they make a much, much better case for this score, as does the Sied, Gian-Piero Mastromei. He may not have had the career of Bruson, but in this role, he emerges the superior singer.

The booklet offers a libretto in Italian and English along with the names of the orchestra and chorus members, but no biographies of the singers or conductor. Strangely, the synopsis in English omits the first scene.

If one wants a complete set of Verdi's operas and cannot find the Philips anywhere, this Dynamic set make an acceptable compromise, especially for those more able to forgive certain soprano weaknesses than your reviewer can. For anyone else, the wait for the Philips to reappear, or the cost of locating it at an overseas CD shop, should be worthwhile.

Chris Mullins
Harbor Teacher Preparation Academy

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):