Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Recordings

A Falstaff Opera in Shakespeare’s Words: Sir John in Love

Only one Shakespeare play has resulted in three operas that get performed today (whether internationally or primarily in one language-region). Perhaps surprisingly, the play in question is a comedy that is sometimes considered a lesser work by the Bard: The Merry Wives of Windsor.

A Resplendent Régine Crespin in Tosca

There have to be special reasons to release a monophonic live recording of a much-recorded opera. Often it can give us the opportunity to hear a singer in a major role that he or she never recorded commercially—or did record on some later occasion, when the voice was no longer fresh. Often a live recording catches the dramatic flow better than certain studio recordings that may be more perfect technically.

Karine Deshayes’s Astonishing New Rossini Recording

Critic and scholar John Barker has several times complained, in the pages of American Record Guide, about Baroque vocal recitals that add instrumental works or movements as supposed relief or (as he nicely calls them) “spacers.”

Knappertsbusch’s Only Recording of Lohengrin Released for the First Time

Hans Knappertsbusch was one of the most renowned Wagner conductors who ever lived. His recordings of Parsifal, especially, are near-legendary among confirmed Wagnerians.

Kathleen Ferrier Remembered

Kathleen Ferrier Remembered, from SOMM Recordings, makes available on CD archive broadcasts of British and German song. All come from BBC broadcasts made between 1947 and 1952. Of the 26 tracks in this collection, 19 are "new", not having been commercially released. The remaining seven have been remastered by sound restoration engineer Ted Kendall. Something here even for those who already own the complete recordings.

Color and Drama in Two Choral Requiems from Post-Napoleonic France

The Requiem text has brought out the best in many composers. Requiem settings by Mozart, Verdi, and Fauré are among the most beloved works among singers and listeners alike, and there are equally wondrous settings by Berlioz and Duruflé, as well as composers from before 1750, notably Jean Gilles.

Matthias Goerne - late Schumann songs, revealed

Matthias Goerne Schumann Lieder, with Markus Hinterhäuser, a new recording from Harmonia Mundi. Singers, especially baritones, often come into their prime as they approach 50, and Goerne, who has been a star since his 20's is now formidably impressive. The colours in his voice have matured, with even greater richness and depth than before.

LALO and COQUARD: La Jacquerie

La Jacquerie—here recorded for the first time—proves to be a wonderful opera, bringing delight upon delight.

Urania Remasters Marriage of Figaro

Good news for lovers of Mozart’s Marriage of Figaro: the famous Living Stereo recording, a co-production of RCA Victor and English Decca, is now available again, well remastered, on Urania.

Opera Rara: new recording of Bellini's Adelson e Salvini

In May 2016, Opera Rara gave Bellini aficionados a treat when they gave a concert performance of Vincenzo Bellini’s first opera, Adelson e Salvini, at the Barbican Hall. The preceding week had been spent in the BBC’s Maida Vale Studios, and this recording, released last month, is a very welcome addition to Opera Rara’s bel canto catalogue.

Jonas Kaufmann : Mahler Das Lied von der Erde

Jonas Kaufmann Mahler Das Lied von der Erde is utterly unique but also works surprisingly well as a musical experience. This won't appeal to superficial listeners, but will reward those who take Mahler seriously enough to value the challenge of new perspectives.

The "Lost" Songs of Morfydd Owen

A new recording, made late last year, Morfydd Owen : Portrait of a Lost Icon, from Tŷ Cerdd, specialists in Welsh music, reveals Owen as one of the more distinctive voices in British music of her era : a grand claim but not without foundation. To this day, Owen's tally of prizes awarded by the Royal Academy of Music remains unrivalled.

Early Swedish opera - Stenhammer world premiere

The Feast at Solhaug : Henrik Ibsen's play Gildet paa Solhaug (1856) inspired Wilhelm Stenhammer's opera Gillet på Solhaug. The world premiere recording is now available via Sterling CD, in a 3 disc set which includes full libretto and background history.

Walter Braunfels Orchestral Songs Vol 2

Honours yet again to Oehms Classics who understand the importance of excellence. A composer as good, and as individual, as Walter Braunfels deserves nothing less.

The Tallis Scholars: Josquin's Missa Di dadi

‘Can great music be inspired by the throw of the dice?’ asks Peter Phillips, director of The Tallis Scholars, in his liner notes to the ensemble’s new recording of Josquin’s Missa Di dadi (The Dice Mass). The fifteenth-century artist certainly had an abundant supply of devotional imagery. As one scholar has put it, during this age there was neither ‘an object nor an action, however trivial, that [was] not constantly correlated with Christ or salvation’.

A Venetian Double: English Touring Opera

Francesco Cavalli’s La Calisto was the composer’s fifteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651). First performed at the Teatro Sant’Apollinaire in Venice on 28th November 1651, the opera by might have been sub-titled ‘Gods Behaving Badly’, so debauched are the deities’ dalliances and deviations, so egotistical their deceptions.

Walter Braunfels : Orchestral Songs Vol 1

New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.

Lalo: Complete Songs

Edouard Lalo (1823-92) is best known today for his instrumental works: the Symphonie espagnole (which is, despite the title, a five-movement violin concerto), the Symphony in G Minor, and perhaps some movements from his ballet Namouna, a scintillating work that the young Debussy adored.

New from Opera Rara : Gounod La Colombe and Donizetti Le Duc d'Albe

Two new recordings from highly acclaimed specialists Opera Rara - Gounod La Colombe and Donizetti Le Duc d'Albe.

Félicien David: Herculanum

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.

OPERA TODAY ARCHIVES »

Recordings

George Frideric Handel: Teseo
10 Oct 2005

HANDEL: Teseo

“Teseo” is one of those “might have been” Handel operas that for one reason or another has never quite made the big time in a high profile, major house performance during our current period of baroque revival. However, this is not something that worries the enterprising likes of the Lautten Compagney Berlin and its Music Director Wolfgang Katschner nor the countertenor-turned-stage director Axel Kohler: for them this rather rare oddity of Handel’s genius is simply too good a chance to miss.

George Frideric Handel: Teseo

Medea: Maria Riccarda Wesseling, mezzo-soprano; Teseo: Jacek Laszczkowski, soprano; Agilea: Sharon Rostorf-Zamir, soprano; Egeo: Martin Wolfel, countertenor; Arcane: Thomas Diestler, countertenor; Clizia: Miriam Meyer, soprano. Vocalists from the Martin-Luther-University Halle-Wittenberg, Department of Musical Education. Orchestra: Lautten Compagney Berlin (on period instruments). Music Director: Wolfgang Katschner. Stage Director: Axel Köhler. TV Direction: Ute Feudel. Filmed at the Schlosstheater Neues Palais at Potsdam, 2004.

Arthaus Musik 100 708 (PAL) / 100 709 (NTSC) [DVD]

 

Why odd? Well, for one thing it is something of a throwback to an earlier French dramatic form, having a full five Acts (rather than the more usual three) wherein the major characters often sing arias or ariosi back to back. Also unusual is the complete lack of a significant bass-baritone or tenor role: all six protagonists are within the range of countertenor, mezzo-soprano or soprano — both male and female varieties. A single lower male voice appears in the very last scene as the convenient “deus ex machina” to neatly solve the lovers’ tangled situations — although the singer doesn’t appear to get a credit on this DVD recording.

This is a televised version of the original performances at the Halle festival in 2003, and of a later tour to the UK in 2004, although the singers are, with two exceptions, from the later performances. Having seen the London performance last year, this DVD certainly enhanced many aspects of the production that had failed to engage at the time — notably the acting of male soprano Jacek Laszczkowski in the title role and the production dynamic of the “Furies” scenes — both very much lacking that evening.

Overall though, the production for the camera is frustratingly mediocre — too many chances missed by the director to enhance the viewer’s sense of the drama going on before their eyes, too many meaningless close ups and sometimes it’s almost “cutaways by numbers” — someone sings about their hands, you get a shot of their hands….and so on. However, more successful are the low-key but efficient sets, (sliding panels, reflective materials) and colourful “textbook mythic Greece with added camp” costumes which help to create and maintain an atmosphere of rising passions and threatening danger from the Underworld.

Here the “wicked witch” figure of Medea is ravishingly played by Maria Riccarda Wesseling who certainly takes the honours for full-on acting and, together with Laszczkowski and Sharon Rostorf-Zamir as the woman that, in true Handel/Haym style, two men love, dominates in vocal distinction too. Unfortunately, there is a wide gap in quality between the high male voices: the Polish male soprano is here very secure and effective, sounding amazingly clear-toned even up at his highest reaches (and he sings remarkably high), and he does it all with admirable dramatic commitment. However, young Thomas Diestler’s alto (as Arcane) suffers until the latest Acts with that unfortunate, but all too common, affliction of the nervous or inexperienced CT: the “yodelling” tone that barely hides the root baritone below. Interestingly, this almost disappears, and you hear what he could sound like, in a faster, more assertive aria in Act Four, “Benche tuonie l’etra avvampi” so perhaps there is better to come. In London we had Johnny Maldonado as the weedy King Egeo, but here it is the less successful Martin Wolfel — a pale and rather unmemorable CT voice and a singer who looks uncomfortable on the stage. If Wesseling shows her vocal and dramatic experience as the conniving Medea, relishing the coloratura throughout, then she is matched in vocal dexterity and appeal by Rostorf-Zamir singing the role of the heroine Agilea. The role of second female lover, Clizia, is accurately and sweetly sung by a young Miriam Meyer.

Despite the vocal unevenness, and occasionally exasperating TV direction, this production is still one to recommend to all Handel enthusiasts: one feels that everyone is batting for the same side, the music is paramount (in spite of the almost de rigueur current European delight in adding superfluous sex scenes) and the composer is well served by an excellent period band under Katschner. It may not convince anyone that “Teseo” is the next “Rodelinda”, “Rinaldo” or “Guilio Cesare”, but at least we have another Handelian opera safely into the modern visual catalogue.

© Sue Loder 2005

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):