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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.
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.
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.