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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.
With celebrations of the Verdi Bicentennial in full swing, there have been
many grumblings about the precarious state of Verdi singing in the world’s
major opera houses today.
In the thirty-five years immediately following its American première at the Metropolitan Opera in 1914, Italo Montemezzi’s ‘Tragic Poem in Three Acts’ L’amore dei tre re was performed in New York on sixty-six occasions.
Few operas inspire the kind of competing affection and controversy that have surrounded Mozart’s Così fan tutte almost since its first performance in Vienna in 1790.
During his career in film, opera, and operetta, Richard Tauber (1891 - 1948) enjoyed the sort of global fame that eludes all but the tiniest handful of ‘serious’ singers today.
Known principally for its two concert show-pieces for the leading lady, the success of Francesco Cilea’s Adriana Lecouvreur relies upon finding a soprano willing to take on, and able to pull off, the eponymous role.
It would be condescending and perhaps even offensive to suggest that singing
traditional Spirituals is a rite a passage for artists of color, but the musical heritage of the United States has been greatly enriched by the performances and recordings of Spirituals by important artists such as Paul Robeson, Marian Anderson, Leontyne Price, Martina Arroyo, Shirley Verrett, Grace Bumbry, Jessye Norman, Barbara Hendricks, Florence Quivar, Kathleen Battle, Harolyn Blackwell, and Denyce Graves.
As a companion to their excellent Great Wagner Singers boxed set
compiled and released in celebration of the Wagner Bicentennial, Deutsche
Grammophon have also released Great Wagner Conductors, a selection of
orchestral music conducted by five of the most iconic Wagnerian conductors of
the Twentieth Century, extracted from Deutsche Grammophon’s extensive
There could be no greater gift to the Wagnerian celebrating the Master’s
Bicentennial than this compilation from Deutsche Grammophon, aptly entitled
Great Wagner Singers.
What better way for Masonic brothers, Wolfgang Amadeus Mozart and Emmanuel Shikaneder to disseminate Masonic virtues, than through the most popular musical entertainment of their age, a happy ending folktale that features a dragon, enchanting flutes and bells, mixed-up parentage, and a beautiful young princess in distress?
Since its first performance at the Teatro Santi Giovanni e Paolo during Venice’s 1643 Carnevale, Monteverdi’s L’Incoronazione di Poppea has been one of the most important milestones in the genesis of modern opera despite its 250 years of unmerited obscurity.
Though 2013 is the bicentennial of the births of Giuseppe Verdi and Richard Wagner, the releases of Cecilia Bartoli’s recording of Bellini’s Norma on DECCA, a new studio recording of Donizetti’s Caterina Cornaro from Opera Rara, and this première recording of Saverio Mercadante’s forgotten I due Figaro, suggest that this is the start of a summer of bel canto.
Recording Richard Wagner’s Der Ring des Nibelungen is for a
record label equivalent to a climber reaching the summit of Mount Everest: it is the zenith from which a label surveys its position among its rivals and appreciates an achievement that can define its reputation for a generation.
Few people who love opera in general and bel canto in particular have never heard the comment made by Lilli Lehmann, veteran of the inaugural Ring at Bayreuth in 1876, that singing all three of Wagner’s Brünnhildes—in Die Walküre, Siegfried, and
Götterdämmerung, respectively, all of which she sang to great acclaim—pales in comparison with singing the title rôle in Bellini’s Norma.
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.
15 Sep 2005
THEILE: Arias; Canzonettas
Johann Theile is best known for his significant body of church music and his reputation as “the father of contrapuntists.” It is easy to summon the image of a learned graybeard, well-practiced in contrapuntal art (especially invertible counterpoint, it would seem). This recent recording from Ludger Rémy, however, shows us a less well-known and very congenial side of Theile: the composer of student love songs.
As a young man, Theile began law studies at the University of Leipzig in 1666, and while a student he was a member of the Collegium Musicum, the same ensemble that J. S. Bach would lead in the eighteenth century. Anthologies of student song must have been common enough in Leipzig—there are surviving collections by Adam Krieger, Sebastian Knüpfer, and Johann Pezel—and in 1667, Theile published his own: Weltlichen Arien und Canzonetten.
The songs are strophic airs for one or two voices with basso continuo and instrumental ritornelli, and their texts unsurprisingly treat the themes of unrequited love, the pain of departure and separation, the pleasures of the bed, and the difficulties of malicious women. One song even offers a philosophy of student life: “It’s good to wake up with the Muses/ and consult one’s books for their uses./ But one also has to have some fun/ instead of studying from early to late./ Frequent kisses and a little reading:/ it offers a fine change of pace.” The songs are naturally varied in their tone and mood, but throughout they are the fruits of a careful and inventive hand. Where the text leads, the music can be rollicking or serious, even poignant, in response, but in any event, these seem “student” works in venue and chronology only.
The performances are unflaggingly first-rate. All four singers command period style with notable ease, and with their lithe and flexible voices imbue the songs with ornamental grace and character. The instrumentalists of Les Amis Philippe make a substantial contribution here with richly textured, contoured playing. Though relegated largely to ritornelli, these are not ancilliary “throw aways.” Rather, they occasion some of the most expressive music making on the disc, and powerfully add dimensionality to the strophic forms.
Rémy has sought to maximize the flexibility of seventeenth-century music making in his approach to his program. The continuo ensemble is a varied one and the ritornelli similarly employ a range of instrumental color. Duets are rendered in various ways: both parts sung or one part sung, the other one played, following the lead of Theile’s teacher, Heinrich Schütz. And, unsurprisingly, the singers employ ornamentation as one way of keeping the strophic forms alive and in motion. In only one instance did I find the variability unsuccessful. The performance of the aria “Gehab dich wohl, o Schönste” divided the stanzas between tenor and soprano. Inevitably the octave disposition invites us to hear this as a gendered dialogue—the man sings, now the woman—and yet, the text is continuously one voice, not a dialogue. In other instances where the stanzas are divided between two singers, it is a division between soprano and alto in the same octave, and thus a more unified sense is maintained.
There is great delight in these songs and in these very accomplished performances. That in itself might be a sufficient conclusion here. But it is important to note, as well, that in bringing these songs to life, Rémy and his colleagues have also substantially enlarged our sense of student music-making--both its quality and its nature. And ultimately, given the roots of these songs in Leipzig’s Collegium Musicum, they have helped us better to understand the world of J.S Bach, too.