Recently in Recordings
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 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.
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.
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.
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.
‘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’.
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.
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.
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.
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.
04 Oct 2005
PROKOFIEV: Romeo and Juliet
RESPHIGHI: Pini di Roma
The biographies of the two composers whose works are represented on this disc, Sergei Prokofiev and Ottorino Respighi, share many common threads. In addition to moving in similar circles early in their lives (for example, both studied with Rimsky-Korsakov and both were later connected with Diaghilev), they similarly composed in totalitarian regimes at the end of their careers.
Prokofiev and Respighi, moreover, sought to develop a populist musical style in many of their compositions and in this vein produced works of enduring appeal, two examples of which are offered on this recording.
Respighi’s Pines of Rome [Pini di Roma], which was completed in 1924, is perhaps the best known and most often performed of the composer’s works. Respighi conceived the piece as forming a trilogy together with his two other Rome-inspired orchestral compositions, Fountains of Rome and Roman Festivals. All three vividly evoke various aspects of Respighi’s beloved city; each of the four movements of Pines of Rome aurally depicts a different Roman locale, from the yells of children at the Villa Borghese to the somber sounds of the Roman catacombs to the triumphant march of the Roman army along the Appian Way. Much of the work’s popularity can be attributed to the fact that it is a pure orchestral showpiece, requiring a large orchestra (complete with recorded bird song at the conclusion of the third movement). The sheer orchestral force and vivid imagery of Respighi’s score (not to mention its unabashed celebration of Rome) even attracted the admiration of Mussolini.
Prokofiev finished the first version of his ballet Romeo and Juliet in 1936—a fateful year in many respects: in January, the composer made a permanent return to Soviet Russia just as the official denunciation of Shostakovich’s opera Lady Macbeth was published in Soviet newspapers, marking the beginning of an exceptionally oppressive period for Soviet composers. Prokofiev quickly learned much of the vagaries of the new Soviet system when he could not secure performances of Romeo and Juliet in Moscow or Leningrad (the official reason being that the music was too complex for the dancers to deal with.) The always-enterprising Prokofiev did not let this hurdle stand in his way and extracted two suites of music from the ballet score, both of which are featured in this recording (unfortunately, the fourth and sixth numbers of second suite are not included). Although the ballet version did finally receive its premiere in Brno in 1938, it was not performed in the USSR until 1940, only after Prokofiev had consented to significant revisions. Romeo and Juliet is one of the culminating works of Prokofiev’s efforts during the 1930s to develop a simpler and more direct musical language without compromising the quality of his compositions. In this respect, the ballet and the suites extracted from it are a stunning success, and today they rank among the composer’s most beloved works.
The performances on this disc—both reissues—date from the earlier days of Riccardo Muti’s tenure with The Philadelphia Orchestra (the Prokofiev was recorded in 1981 and the Respighi in 1984). As might be expected from such a venerable orchestra and director, the playing is first-rate. Muti’s interpretation, however, is not for the faint of heart: He draws massive sound from the orchestra, and both pieces are marked with dramatic dynamic contrasts. While always exciting, some may find Muti’s approach to these pieces (most notably in the Prokofiev) rather extroverted for their tastes. The recording is crystal-clear and generous on the bass end, but at times suffers from balance problems, with some of the brass sounding particularly distant while others are quite up-close and live. These, however, are minor detractions, and considering this is another release from EMI’s inexpensive “encore” label, the disc is a great option for those wanting to add these two classic works to their CD collection.
Kevin Michael Bartig
The University of North Carolina at Chapel Hill