Recently in Recordings
Two new recordings from highly acclaimed specialists Opera Rara -
Gounod La Colombe and Donizetti Le Duc d'Albe.
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.
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.
28 Sep 2005
The Very Best of Thomas Hampson
The Very Best of Thomas Hampson is an excellent selection on CD of Hampson’s recordings from various points in his career. The American baritone is one of the international stars of classical music for both his roles on the opera stage and his work as a recitalist.
His recordings with EMI include both studio recordings and live performances, and this CD represents him well through the depth and variety of repertoire it contains.
Of the two CDs in this set, the first CD is devoted primarily Italian and French composers, with the focus mainly on opera, while the second has mostly German composers, with many of the selections being Lieder. There are some exceptions on both CDs, with some songs by Rossini augmenting the Italian repertoire on the first one; similarly, some songs by American composers like Griffes and Foster round out the Lieder on the second.
Hampson’s work in opera includes a number of prominent Italian roles, like the character of Figaro in Rossini’s Il barbiere di Siviglia, and his performance of “Largo al factotum” is characteristic of his clear and straightforward delivery of the text. A parallel piece not usually associated with baritones is “Von der Schönheit,” from Mahler’s Das Lied von der Erde, which requires a comparable approach to diction that must also preserve the musicality implicit in the title of the piece. The latter is an excerpt from the recording of the less familiar version of Das Lied that involves two male singers (tenor and baritone), which Hampson made with Peter Seiffert and conducted by Simon Rattle.
Likewise, Hampson is part of some excellent recordings of French opera, such as Gounod’s Faust, and his interpretation of Valentin’s aria “Avant de quitter des lieux” is among the finest from recent decades. His intelligent approach to French repertoire is also represented from a selection from Massenet’s Hérodiade, another fine recording, which also calls to mind his memorable performance several years ago in the new production of the same composer’s Thaïs at the Lyric Opera of Chicago. In addition, Hampson has performed some of the French versions of Verdi’s operas, and he made an exceptional contribution in Don Carlos, which is represented here with two excerpts. For those not familiar with the recording, the selections should give an idea of its merits, not only for Hampson’s contribution, but the other performers, as well.
When it comes to the German repertoire, the selection from Weber’s Euryanthe represents Hampson’s fine diction and nuanced phrasing. Likewise the excerpt from Korngold’s Die tote Stadt is an excellent choice, and the aria “O du mein holder Abendstern” from Wagner’s Tannhaüser conveys some of the power of Hampson’s voice. Yet the baritone’s performances of Lieder are critical for an understanding of his contribution to this repertoire. Hampson’s fine, resonant tone is well suited to Lieder, and his interpretations of Schumann are outstanding, as is shown in the selection from his recording of the Dichterliebe as well as several of Mahler’s Rückert Lieder. As a Mahler interpreter, Hampson is highly respected, and those who enjoy the music included on this CD may wish to explore the singer’s interpretations of Mahler’s settings from Des Knaben Wunderhorn.
As difficult as it sometimes may be to find a representative sampling in any CD entitled “The Very Best,” this selection meets the challenge. Yet it would have been convenient to have the texts and translations of the works included. A discography would be of some assistance for this retrospective CD set and others like it, rather than the selective listings of recordings that were apparently made with EMI alone. These are minor quibbles, however, and should by no means suggest any reservations about this fine collection.
James L. Zychwoicz