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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.
The economics of the recording companies dictate much that is not ideal.
Wagner’s operas were not composed as they were in order to permit the
extraction of bleeding chunks, even on those occasions when strophic song forms
Among the recent recordings of Mahler’s Eighth Symphony, Valery Gergiev’s release on the LSO Live label is an excellent addition to the discography of this work.
While not unknown, the songs of Alexander von Zemlinsky (1871-1942) deserve to be heard more frequently.
Recorded on 5 and 6 May 2008 and 17 and 18 January 2009 at the Lisztzentrum (Raiding, Austria), this recent Bridge release makes available the piano-vocal versions of three song cycles by Gustav Mahler, Lieder eines fahrenden Gesellen, Rückert-Lieder, and Kindertotenlieder performed by mezzo-soprano Hermine Haselböck, accompanied by Russell Ryan.
Contraltos rarely achieve the acclaim and renown of sopranos. Assigned few leading roles in opera, they are condemned to playing the villain or the grandmother, or to stealing the castrati’s trousers in en travesti roles.
Following their 2011 Decca recording of Striggio’s Mass in 40 Parts (1566), I Fagiolini continue their quest to unearth lost treasures of the High Renaissance and early Baroque, with this collection of world-premiere recordings, ‘reconstructions’ and ‘reconstitutions’ of music by Giovanni and Andrea Gabrieli, Monteverdi, Palestrina, and their less well-known compatriots Viadana, Barbarino and Soriano.
Eternal Echoes is an album of khazones [Jewish cantorial music] for cantorial soloist, solo violin and a blended instrumental ensemble comprising a small orchestra and the Klezmer Conservatory Band.
Michael Tilson Thomas’s recording of Mahler’s Third Symphony is an outstanding contribution to the composer’s discography.
Oliver Knussen burst into British music with an unprecedented flourish. In 1967, the London Symphony Orchestra premiered Knussen’s First Symphony, with István Kertész scheduled to conduct.
Based on performances given in Summer 2010 at the Lucerne Festival, this recording of Beethoven’s Fidelio is an admirable recording that captures the vitality of the work as conducted by Claudio Abbado.
Stanisław Moniuszko (1819-1872) was one of the most popular composers of his day in Poland, and of the many works he wrote for the stage, two are performed from time to time, Halka (1848) and Strazny dwór [The Haunted Manor] (1865).
The Polish alto Jadwiga Rappé is a familiar voice in various stage and concert works, and the recent release of a selection of songs by Stanisław Moniuszko (1819-1872) is an opportunity to hear her performing artsongs.
Originally released on multiple discs in 1981 this reissue on two CDs is a comprehensive collection of art songs by Italian and French composers from the nineteenth and early twentieth centuries.
An exciting contribution to the discography of this popular opera, the live performance of Richard Strauss’s Salome from the Festspielhaus at Baden-Baden is a compelling DVD.
Released in late 2011, Deutsche Grammophon’s DVD of the new staging of Berg’s Lulu at the Gran Teatro del Liceu, Barcelona is an excellent contribution to the discography of this fascinating opera.
A recent release by the Metropolitan Opera, this two-disc set makes available on DVD the famous performance of Berg’s Lulu that was broadcast on 20 December 1980 as part of the PBS series “Live from the Met.”
The novels of Sinclair Lewis once shot across the American literary skies like comets, alarming and fascinating readers of that era, but their tails didn’t extend far behind them.
Once the province of only the most dedicated opera fanatics, mid-20th century recordings of privately taped live performances have become more widely available.
Flute players in opera orchestra around the world must look forward to the frequent appearances of Donizetti’s Lucia di Lammermoor, knowing that while the stage spotlight in the mad scene will be on the soprano, the orchestral spotlight will be on their instrument.
15 Sep 2005
WEBBER: Phantasia; The Woman in White
Probably the best thing that can be said about Sir Andrew Lloyd Webber, Richard Stilgoe, and Charles Hart’s The Phantom of the Opera becoming the longest running Broadway musical, which it almost certainly will, is that it will take that honor away from Cats. (I am reminded of David Letterman’s comment, made with mock horror, “What if it really is ‘now and forever’?”) Phantom, as it is known both with and without affection, is perhaps Lloyd Webber’s most “traditional” show: it has far more book scenes than his earlier, concept-album-as-musical shows, although the latter, including Jesus Christ Superstar and Evita, are tremendously and, arguably, more effective; it recalls operetta despite its pop-heavy score; and it is based on a novel that is already known through incarnations on stage and screen. Its unabashed romanticism, despite its occasional descent into bathos, has endeared it to millions, many of who see it again and again and continue to be moved by it. So I suppose it was only a matter of time until an arranger came up with an orchestral version of the score to satisfy pop concert audiences and other aficionados of the score.
Geoffrey Alexander, building on an idea of Sir Lloyd Webber and his brother, renowned cellist Julian Lloyd Webber, and drawing from the original score as well as from new material written for the only moderately successful film version, has arranged the work for orchestra and two soloists. The violin solo represents Christine, the soprano heroine, and the cello represents the Phantom, and both Sarah Chang and Lloyd Webber play beautifully. Indeed, Chang’s violin is a far more expressive Christine than Sarah Brightman ever was. Passages of lyricism contrast with virtuosic passages, as is customary in such concert pieces, and the bravura sections are well written for the instruments. But in a work this long – the selection clocks in somewhere between thirty minutes and eternity – repetition is inevitable, and, by the end, only devotees will fail to grow antsy for the final cadence. The cheese factor is not as prevalent or pronounced as it could have been, given the material, although there are some modulations that would cause a first-year music theory student to blush. And Alexander’s orchestration is reminiscent of his film scoring, which means the whole thing is a bit overblown, but it is professional and colorful.
In arranging a suite from the recent musical The Woman in White, Laurence Roman was faced with the old sow’s ear-silk purse conundrum: how can a largely tuneless score be turned into an orchestral suite of any interest? The answer: don’t expect a silk purse. While we occasionally hear snippets that recall earlier scores – a little Evita here, a little Phantom there – for the most part this is, at least based on the tunes used in this suite, probably Lloyd Webber’s least interesting score. Even gussied up in the once more overblown arrangements (Andrew Stewart’s booklet notes calls them “full-blooded”), the score never catches fire. Actually, it never even smolders. This is definitely what would once have been called “B-side material.”
The Phantasia will delight fans of the show and will probably have a long shelf life as a pops concert staple. After all, there is no denying the music’s popularity, and soloists will find it rewarding. Fans of the show will treasure the medley, and many will find the virtuosic fancies a highbrow treatment of melodies they could, and perhaps do, sing in their sleep. And in all fairness, the whole thing could have been much worse. For its intended audience, this should find much success.
The recording quality is superb, as is the orchestra’s playing under Simon Lee. (Lee conducted the film version of Phantom as well as the stage production of The Woman in White and other Lloyd Webber creations, so he definitely knows what he’s doing here.) As mentioned above, the solo playing is exemplary and perhaps does more with the material than is warranted. Still, this is a work for the listener who is already a Lloyd Webber and, in particular, a Phantom fan. The rest of us will continue to prefer our Puccini straight up.
Jim Lovensheimer, Ph.D.
Blair School of Music, Vanderbilt University