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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.
03 Oct 2005
CONRADI: Die schöne und getreue Ariadne
Since its inception in 1980, the biennial Boston Early Music Festival has grown to international stature of the first rank, and while its programming is diverse in scale and repertory, its focus in recent years has been on full-scale productions of baroque opera, including Monteverdi’s L’Orfeo, Rossi’s Orfeo, Cavalli’s Ercole Amante, Lully’s Thésée, and this past summer, Mattheson’s Boris Goudenouw.
Amply underscoring the internationalism of the Festival, the opera for 2003, Johann Georg Conradi’s Ariadne, was later recorded in Bremen in a collaboration between BEMF, Westdeutscher Rundfunk Köln, and Radio Bremen.
Conradi’s Ariadne (1691) is the earliest surviving opera from the Theater am Gänsemarkt in Hamburg, and its own diversity of national influences suggests a symbolic precursor of the modern collaborative sponsorship. George Buelow brought the score of Ariadne to light in the 1970s, and describes it as a “highly expressive and cosmopolitan mixture of Venetian, German, and French styles.” The Lullian echoes here are easily heard in the overture, the dance movements, and the divertissements—Act I concludes, for instance, with a scene for dancing and singing scissors grinders; Act III concludes with a lengthy Passacaille for Venus, the Graces, Bacchus, and a Satyr; both scenes recall the entertainments of tragedies en musique. (The dancing scissors grinders, as Terpsichorean tradesmen, seem “cousins,” as well, to the dancing tailors of Lully’s Le Bourgeois Gentilhomme.) The Lullian influence derives in part from Conradi’s time as Kapellmeister at Ansbach in the 1680’s, where French opera was frequently performed and the orchestra included Johann Fischer, Lully’s one-time copyist.
Italian accents are clear in the airs and recitatives, but also in the comic character of Pamphilius, sung with imaginative flair here by Jan Kobow. Pamphilius has a philosophizing bent and a capacity for deflating the elevated feelings of his “betters” that one recognizes immediately in Monteverdi’s Iro from Il Ritorno Ulisse or later in Handel’s Elviro from Serse.
Conradi’s Ariadne, though a long work at around three hours, gives the impression of being fast-paced, with its many arias moving ahead without tarrying in lengthy development. And Christian Heinrich Postel’s libretto places the story of Ariadne in a rich weave of characters and circumstance that also helps propel things forward with interest. In the end, Ariadne’s emotionally textured third-act lament underscores that it is indeed her story that is the central one, but the love of her sister Phaedra for Theseus, the shame of their mother Pasiphæ in having conceived the monstrous Minotaur, and the love of Evanthes (Bacchus) for Ariadne are all compelling story-lines in their own right, and are given due attention in the opera. Through the modern prominence of works like Monteverdi’s “Lamento d’Arianna” we have come to see Arianna as something of a poster girl for abandonment. Significantly, in Conradi’s opera, the abandonment is given appropriate weight in Ariadne’s moving lament, but she in turn rather quickly abandons her lamentative state to unite happily with Bacchus. In the end, if she is to be a poster girl, it is in the cause of love’s ultimate fulfillment.
The performance is an unflaggingly gratifying one, sung by a uniformly accomplished cast. And significantly, the singers, though cohesive in ensemble, maintain an interesting interplay of vocal individuality that itself underscores the number of story-lines in the libretto. For example, Karina Gauvin brings to her Ariadne a vibrant sound and rhetorical flair, but also, especially in Act II’s “Ihr Augen die der Himmel zieret,” a strikingly flexible lightness. Barbara Borden’s lithe tone, contoured phrasing, and impressive articulation on rapid passage work are much to be savored in her Phaedra. And Ellen Hargis’ Pasiphæ gives wonderful evidence of both the elegance and power of her singing and the rare beauty of her finely controlled sound. The individuality of voice brings the richness of character to the fore, and it is one of the most gratifying aspects of this sterling performance. Surely the BEMF Ariadne is one that no one will want to abandon.