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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.
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.
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