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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.
Alfredo Kraus, one of the most astute artists in operatic history in terms of careful management of technique and vocal resources, once said in an interview that ‘you have to make a choice when you start to sing and decide whether you want to service the music, and be at the top of your art, or if you want to be a very popular tenor.’
In generations past, an important singer’s first recording of Italian arias would almost invariably have included the music of Verdi.
16 Jul 2005
FAURÉ: Requiem and Other Works
The Requiem mass of Gabriel Fauré is often unfairly overshadowed by other 19th century settings of the mass. The monumental works of Giuseppe Verdi and Hector Berlioz achieve moments of extreme drama by stretching the limits of soloists, chorus, and orchestra. Fauré’s Requiem, in contrast, is an intimate vision of heavenly peace in the afterlife. The soaring melodic lines and compact harmonic progressions evoke profundity through beauty and simplicity.
The Requiem mass of Gabriel Fauré is often unfairly overshadowed by other 19th century settings of the mass. The monumental works of Giuseppe Verdi and Hector Berlioz achieve moments of extreme drama by stretching the limits of soloists, chorus, and orchestra. Fauré's Requiem, in contrast, is an intimate vision of heavenly peace in the afterlife. The soaring melodic lines and compact harmonic progressions evoke profundity through beauty and simplicity.
This recording by Ed Spanjaard, the Netherlands Chamber Choir, and the Limburg Symphony Orchestra, Maastricht achieves the dramatic restraint in Fauré's music. The strings, in particular, play with both intensity and sensitivity. The Introit has a fervent trembling in the vibrato, and the violas' majestic melody in the Agnus Dei spins with a sumptuous warmth. Their superb musicianship combined with the inherent musical drama captures a hopeful longing for eternal rest.
The chorus carries most of the dramatic weight in the work. In the Introit, the chant-like intonation grows from a haunting pure unison to a full blossoming of light. The following melodic line of "Requiem aeternam" is sung by a warm, unified tenor section. Their sensitive flexibility establishes a gentle restrained optimism for eternal rest. In the "Sanctus" the sopranos equal the tenors as they exchange beautifully tapered arching lines. Both sections' clear spinning tone creates an ethereal halo. The sopranos also evoke heaven in the final movement, "In Paradisum." Again, they sing their unison solo line with a pure warm clarity. At the brief moment of terror in Fauré's work, in the "Libera me", the Netherlands Chamber Choir reaches a full open forte, singing with strength and force. Perhaps the most beautiful choral moment comes at the "Amen" at the end of the "Offertorium" with the soaring sopranos and precisely in tune a cappella singing.
The soloists also bring drama to the music. Baritone Harry Peeters sings his first entrance, "Hostias," with warm, open tone carried vibrantly through each phrase. He conveys a solid assurance that appropriate sacrifices will bring redemption for the dead. Peeters' best singing though, comes with the opening line of the "Libera me." His strength transforms into a fervent longing for peace and safety. Soprano Christiane Oelze's singing portrays the opposite dramatic mood. Her clear ringing tone in the Pie Jesu is sweet and cherubic. Her pure tone and soft expression emulates a child's plea for rest.
Included with the Requiem on this CD are several of Fauré's lesser known smaller choral works. Most notable is a late edition of the orchestral Pavane to which Fauré has set a poetic text. Also included is the beautiful anthem Cantique de Jean Racine, performed here with orchestral accompaniment. Packaged with this excellent performance of the Requiem, this recording is a wonderful collection of Fauré's choral music.