Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Recordings

Color and Drama in Two Choral Requiems from Post-Napoleonic France

The Requiem text has brought out the best in many composers. Requiem settings by Mozart, Verdi, and Fauré are among the most beloved works among singers and listeners alike, and there are equally wondrous settings by Berlioz and Duruflé, as well as composers from before 1750, notably Jean Gilles.

Kathleen Ferrier - "new" recordings

Kathleen Ferrier Remembered, from SOMM Recordings, makes available on CD archive broadcasts of British and German song. All come from BBC broadcasts made between 1947 and 1952. Of the 26 tracks in this collection, 19 are "new", not having been commercially released. The remaining seven have been remastered by sound restoration engineer Ted Kendall. Something here even for those who already own the complete recordings.

Matthias Goerne - late Schumann songs, revealed

Matthias Goerne Schumann Lieder, with Markus Hinterhäuser, a new recording from Harmonia Mundi. Singers, especially baritones, often come into their prime as they approach 50, and Goerne, who has been a star since his 20's is now formidably impressive. The colours in his voice have matured, with even greater richness and depth than before.

LALO and COQUARD: La Jacquerie

La Jacquerie—here recorded for the first time—proves to be a wonderful opera, bringing delight upon delight.

Urania Remasters Marriage of Figaro

Good news for lovers of Mozart’s Marriage of Figaro: the famous Living Stereo recording, a co-production of RCA Victor and English Decca, is now available again, well remastered, on Urania.

Opera Rara: new recording of Bellini's Adelson e Salvini

In May 2016, Opera Rara gave Bellini aficionados a treat when they gave a concert performance of Vincenzo Bellini’s first opera, Adelson e Salvini, at the Barbican Hall. The preceding week had been spent in the BBC’s Maida Vale Studios, and this recording, released last month, is a very welcome addition to Opera Rara’s bel canto catalogue.

Jonas Kaufmann : Mahler Das Lied von der Erde

Jonas Kaufmann Mahler Das Lied von der Erde is utterly unique but also works surprisingly well as a musical experience. This won't appeal to superficial listeners, but will reward those who take Mahler seriously enough to value the challenge of new perspectives.

The "Lost" Songs of Morfydd Owen

A new recording, made late last year, Morfydd Owen : Portrait of a Lost Icon, from Tŷ Cerdd, specialists in Welsh music, reveals Owen as one of the more distinctive voices in British music of her era : a grand claim but not without foundation. To this day, Owen's tally of prizes awarded by the Royal Academy of Music remains unrivalled.

Early Swedish opera - Stenhammer world premiere

The Feast at Solhaug : Henrik Ibsen's play Gildet paa Solhaug (1856) inspired Wilhelm Stenhammer's opera Gillet på Solhaug. The world premiere recording is now available via Sterling CD, in a 3 disc set which includes full libretto and background history.

Walter Braunfels Orchestral Songs Vol 2

Honours yet again to Oehms Classics who understand the importance of excellence. A composer as good, and as individual, as Walter Braunfels deserves nothing less.

The Tallis Scholars: Josquin's Missa Di dadi

‘Can great music be inspired by the throw of the dice?’ asks Peter Phillips, director of The Tallis Scholars, in his liner notes to the ensemble’s new recording of Josquin’s Missa Di dadi (The Dice Mass). The fifteenth-century artist certainly had an abundant supply of devotional imagery. As one scholar has put it, during this age there was neither ‘an object nor an action, however trivial, that [was] not constantly correlated with Christ or salvation’.

A Venetian Double: English Touring Opera

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.

Walter Braunfels : Orchestral Songs Vol 1

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.

Lalo: Complete Songs

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.

New from Opera Rara : Gounod La Colombe and Donizetti Le Duc d'Albe

Two new recordings from highly acclaimed specialists Opera Rara - Gounod La Colombe and Donizetti Le Duc d'Albe.

Félicien David: Herculanum

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.

Samuel Barber: Choral Music

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.

A Prize-Winning Rediscovery from 1840s Paris (and 1830s Egypt)

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.

Félicien David: Songs for voice and piano

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” with herself!).

John Taverner: Missa Corona spinea

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.

OPERA TODAY ARCHIVES »

Recordings

Charles Gounod: Musica Sacra
19 Sep 2005

GOUNOD: Musica Sacra

The 19th Century French composer Charles Gounod is best known for his lyric dramas / operas Faust (1859) and Roméo et Juliette (1867), and the very popular Méditation sur le 1er prélude de piano de J. S. Bach (1852), arranged as an Ave Maria in 1859. Yet the dominant portion of Gounod’s creative output was church music, the amount of which surpassed that of any other composer of the 19th Century. In spite of this, the church music of Gounod remains an obscure portion of his oeuvre.

Charles Gounod: Musica Sacra.

Raphaela Mayhaus, Soprano; Christa Bonhoff, Alto; Tobias Götting, Organ; Kammerchor “I Vocalisti,” Hans-Joachim Lustig.

Carus Verlag 83.161/00 [CD]

 

Among the 21 Masses and 4 Requiems of Charles Gounod, his most memorable and popular work is the Messe solennelle de Ste Cécile (1855), a large-scale setting for soloists, orchestra and organ, filled with marvellous melodies. This composition is the concluding work of that group of Masses referred to as the “first collection.” The two Masses featured on this CD, are from the “second collection” or those composed during the last years of his life: Messe brève no. 5 in C aux séminaires (soli TBB, Choir TBB, and organ) first published in 1871 and re-issued in 1892 with the phrase séminaires; and Messe brève no. 7 in C aux chapelles (soli TB, Choir SATB, and organ), first published for two equal voices and organ in 1877, re-worked and re-issued in 1890 with the phrase aux chapelles and arranged for soli and mixed choir. Both works are atypical settings as they omit the Credo, which the congregation sang. Further, in Messe no. 7, Gounod takes a liturgical liberty by replacing the text of the Benedictus, the second half of the Sanctus, which is often treated as a solo or even a separate movement, with the first verse of O salutaris hostia (O Saving Victim). This hymn commonly sung at Benediction, is composed of the last two verses of Verbum supernum, one of the five Eucharistic hymns written by Thomas Aquinas (1225-1274) at the request of Pope Urban IV (1261-1264) for the newly instituted Feast of Corpus Christi in 1264. Given its liturgical history and use, the substitution of this Eucharistic text for the Benedictus makes sense only if its performance occurs during the consecration, which would have required impeccable timing. Even then, it is a deviation that borders on personal piety rather than corporate worship, the latter of which is the purpose of the Mass.

The delightful and lyrical Noël (1866), a Christmas song for equal voices, soli and chorus, received some notoriety in 1948, when sung by the Robert Mitchell Boy Choir in the MGM classic The Bishop’s Wife. This rendition by the women of I Vocalisti has potential but is compromised by the tense, piercing sound of the soprano soloist and the soprano section. In addition, the French is difficult to understand even when utilizing the booklet.

One of the redeeming selections on this CD is Les sept paroles du Christ sur la croix (1855, a capella, soli SATB, Choir SATB / SATB). Profoundly influenced by the music of Palestrina during his years in Rome (1840-1842), the close connection between text and music characterizes this period of Gounod’s compositions and this work. Predominantly homophonic in texture, Gounod’s descriptive musical figures, which ornament and illustrate the texts, are effectively rendered vocally, e.g., in No.4, the cascading phrase Eli, lama sabachtahni (“My God, why have you forsaken me?”) and in No. 5, the biting chromaticism on the word Sitio . . . “I thirst.”

Perhaps the best performance on this CD is Béthléem (1882-1884), a Christmas choral work (SATB) of three verses with organ interludes. Its simplicity is its joy; the obvious goal when one conducts and composes for amateur choirs.

I Vocalisti presents itself as performers of “demanding sacred and secular choral music on a professional level.” The selections presented here, highlights of Gounod’s affiliation with and affection for amateur choirs, seem at odds with the stated mission. While the general ensemble of the choir is good, there are vocal problems not worthy of “professionals”. Diction is less than desirable; pronunciation problems affect intonation, most noticeably with the tenors; placement of open vowels, particularly with the tenors and sopranos, is harsh and unpleasant; and there are actual intonation concerns. The lack of melodic contour by the choir, principally in the Mass settings, burdens the music unnecessarily. The over riding fault however, is the sound engineering (Tritonus Musikproduktion, Stuttgart, Stephan Schellmann, sound engineer). Volume levels are irritating, particularly when the soli, choir, and organ are in dialogue. In general, performance of the choir suffers at the hands of the engineers.

Even among his admirers, Gounod is known for his predictable rhythms, ordinary chromatic harmonies, particularly at the frequent cadences that illustrate what Gounod defined as avoiding “disproportion long windedness,” and what Martin Cooper terms “short-breathed” melodies. While this recording serves musicological and historical interests—demonstrating national and stylistic differences—aesthetically, it is bland.

Geraldine M. Rohling

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):