Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Recordings

A Baroque Christmas from Harmonia Mundi

A baroque Christmas from Harmonia Mundi, this year’s offering in their acclaimed Christmas series. Great value for money - four CDs of music so good that it shouldn’t be saved just for Christmas. The prize here, though is the Pastorale de Noël by Marc-Antoine Charpentier with Ensemble Correspondances, with Sébastien Daucé, highly acclaimed on its first release just a few years ago.

Christmas at St George’s Windsor

Christmas at St George’s Chapel, Windsor, with the Choir of St. George’s Chapel, Windsor Castle, James Vivian, organist and conductor. New from Hyperion, this continues their series of previous recordings with this Choir. The College of St George, founded in 1348, is unusual in that it is a Royal Peculiar, a parish under the direct jurisdiction of the monarch, rather than the diocese.

From Darkness into Light: Antoine Brumel’s Complete Lamentations of Jeremiah for Good Friday

As a musicologist, particularly when working in the field of historical documents, one is always hoping to discover that unknown score, letter, household account book - even a shopping list or scribbled memo - which will reveal much about the composition, performance or context of a musical work which might otherwise remain embedded within or behind the inscrutable walls of the past.

Time and Space: Songs by Holst and Vaughan Williams

New from Albion, Time and Space: Songs by Holst and Vaughan Williams, with Mary Bevan, Roderick Williams, William Vann and Jack Liebeck, highlighting the close personal relationship between the two composers.

Puccini's Le Willis: a fine new recording from Opera Rara

The 23-year-old Giacomo Puccini was still three months from the end of his studies at the Conservatoire in Milan when, in April 1883, he spotted an announcement of a competition for a one-act opera in Il teatro illustrato, a journal was published by Edoardo Sonzogno, the Italian publisher of Bizet's Carmen.

Liszt: O lieb! – Lieder and Mélodie

O Lieb! presents the lieder of Franz Liszt with a distinctive spark from Cyrille Dubois and Tristan Raës, from Aparté. Though young, Dubois is very highly regarded. His voice has a luminous natural elegance, ideal for the Mélodie and French operatic repertoire he does so well. With these settings by Franz Liszt, Dubois brings out the refinement and sophistication of Liszt’s approach to song.

The Academy of Ancient Music's superb recording of Handel's Brockes-Passion

The Academy of Ancient Music’s new release of Handel’s Brockes-Passion - recorded around the AAM's live performance at the Barbican Hall on the 300th anniversary of the first performance in 1719 - combines serious musicological and historical scholarship with vibrant musicianship and artistry.

Vaughan Williams: The Song of Love

From Albion, The Song of Love featuring songs by Ralph Vaughan Williams, with Kitty Whately, Roderick Williams and pianist William Vann. Albion is unique, treasured by Vaughan Williams devotees for rarely heard repertoire from the composer’s vast output, so don’t expect mass market commercial product. Albion recordings often highlight new perspectives.

A new recording of Henze’s Das Floß der Medusa

Henze’s Das Floß der Medusa is in some ways a work with a troubled and turbulent history. It is defined by the time in which it was written – 1968 – a period of student protest throughout central Europe. Its first performance was abandoned because the Hamburg chorus refused to perform under the Red Flag which had been placed on stage; and Henze himself decided he wouldn’t conduct it at all after police stormed the concert hall to remove protesters, among them the librettist Ernst Schnabel.

Berthold Goldschmidt: Beatrice Cenci, Bregenzer Festspiele

Berthold Goldschmidt’s Beatrice Cenci at last on DVD, from the Bregenzer Festspiele in 2018, with Johannes Debus conducting the Wiener Symphoniker, directed by Johannes Erath, and sung in German translation.

Sandrine Piau: Si j’ai aimé

Sandrine Piau and Le Concert de la Loge (Julien Chauvin), Si j’ai aimé, an eclectic collection of mélodies demonstrating the riches of French orchestral song. Berlioz, Duparc and Massenet are included, but also Saint-Saëns, Charles Bordes, Gabriel Pierné, Théodore Dubois, Louis Vierne and Benjamin Godard.

The VOCES8 Foundation is launched at St Anne & St Agnes

Where might you hear medieval monophony by the late 12th-century French composer Pérotin, Renaissance polyphony by William Byrd, a vocal arrangement of the stirring theme from Sibelius’s tone poem Finlandia, alongside a newly commissioned work, ‘Vertue’ (2019) by Jonathan Dove, followed by an arrangement of the Irish folksong ‘Danny Boy’ and a snappy rendition of Antonio Carlos Jobim’s ‘One Note Samba’ arr. for eight voices by Naomi Crellin, all within 90 minutes?

Gerald Finzi Choral Works

From Hyperion, Gerald Finzi choral works with the Choir of Trinity College, Cambridge, conducted by Stephen Layton. An impressive Magnificat (1952) sets the tone.

Herbert Howells: Choir of King’s College, Cambridge

The Choir of King’s College, Cambridge has played a role in the evolution of British music. This recording honours this heritage and Stephen Cleobury’s contribution in particular by focusing on Herbert Howells, who transformed the British liturgical repertoire in the 20th century.

Mieczysław Weinberg: Symphony no. 21 (“Kaddish”)

Mieczysław Weinberg witnessed the Holocaust firsthand. He survived, though millions didn’t, including his family. His Symphony no. 21 “Kaddish” (Op. 152) is a deeply personal statement. Yet its musical qualities are such that they make it a milestone in modern repertoire.

Kenshiro Sakairi and the Tokyo Juventus Philharmonic in Mahler’s Eighth

Although some works by a number of composers have had to wait uncommonly lengthy periods of time to receive Japanese premieres - one thinks of both Mozart’s Jupiter and Beethoven’s Fifth (1918), Handel’s Messiah (1929), Wagner’s Parsifal (1967), Berlioz’s Roméo et Juliette (1966) and even Bruckner’s Eighth (1959, given its premiere by Herbert von Karajan) - Mahler might be considered to have fared somewhat better.

Lise Davidsen sings Wagner and Strauss

Superlatives to describe Lise Davidsen’s voice have been piling up since she won Placido Domingo’s 2015 Operalia competition, blowing everyone away. She has been called “a voice in a million” and “the new Kirsten Flagstad.”

Nicky Spence and Julius Drake record The Diary of One Who Disappeared

From Hyperion comes a particularly fine account of Leoš Janáček’s song cycle The Diary of One Who Disappeared. Handsome-voiced Nicky Spence is the young peasant who loses his head over an alluring gypsy and is never seen again.

Jean Sibelius: Kullervo

Why did Jean Sibelius suppress Kullervo (Op. 7, 1892)? There are many theories why he didn’t allow it to be heard after its initial performances, though he referred to it fondly in private. This new recording, from Hyperion with Thomas Dausgaard conducting the BBC Scottish Symphony Orchestra, soloists Helena Juntunen and Benjamin Appl and the Lund Male Chorus, is a good new addition to the ever-growing awareness of Kullervo, on recording and in live performance.

Mahler: Titan, Eine Tondichtung in Symphonieform – François-Xavier Roth, Les Siècles

Not the familiar version of Mahler's Symphony no 1, but the “real” Mahler Titan at last, as it might have sounded in Mahler's time! François-Xavier Roth and Les Siècles present the symphony in its second version, based on the Hamburg/Weimar performances of 1893-94. This score is edited by Reinhold Kubik and Stephen E.Hefling for Universal Edition AG. Wien.

OPERA TODAY ARCHIVES »

Recordings

Maurice Ravel: Shéhérezade; Duparc: Mélodies
04 Oct 2005

RAVEL: Shéhérezade
DUPARC: Mélodies

Konrad Jarnot is a young baritone who brings a wonderful vitality to the music he has recorded. He also has another Oehms release, a selection of Lieder by Gustav Mahler, which is engaging for the strong sense of line he brings to that repertoire, which is precisely what he brings to this collection of French vocal music.

Maurice Ravel: Shéhérezade
Duparc: Mélodies

Konrad Jarnot, baritone; Helmut Deutsch, piano.

Oehms Classics OC 355 [CD]

 

It is ambitious for a male singer to take on Maurice Ravel’s Shéhérazade, a cycle usually performed by a female singer. In fact, a number of fine recordings by women already exist to question the need for a male version of the piece. Yet Jarnot executes the music convincingly in what is listed as the “world premiere recording” of this piece performed by a baritone. The three songs that comprise Shéhérazade, “Asie!”, “La flute enchantée,” and “L’indifférent,” are sustained pieces that require the clear presentation that Jarnot and Helmut Deutsch offer. Jarnot’s subtle execution of “Indifférent” bears attention for its extended lines and fine phrasing of the text.

The pianist Helmut Deutsch offers just the proper level of accompaniment, which supports Jarnot well with its discreet entrances and genuinely soft tone. Deutsch’s deft touch sets an appropriate tone for Ravel’s music, especially in some of the more subtle passages. When he faces more extroverted music, as in the previous song, “La flute enchantée,” Deutsch is equally convincing as he reinforces Jarnot’s careful phrasing. Yet it is the opening piece that shows the pair at their best. Jarnot’s exposed lines are full and strong, as he gives Tristan Klingsor’s texts meaningful expression. The repeated cries of “Asie!” suggest the wonder and yearning that the poet attempts to express in this celebration of all those exotic things that make up this powerful song. This is a song that requires sensitivity to work well in a recital, and even more to come off well in a recording like this. It is the remote, the other in us, that makes “Asia” so evocative and Jarnot expresses this well, not only in his inflection of the text, but his nuanced tones.

Similarly, the twelve Mélodies by Henri Duparc are the ones usually performed by a male singer, and Jarnot offers a fine interpretation of these quintessentially French songs. Baudelaire’s text for the final song, “La vie antérieure” offers a fine parallel with Ravel’s “Asie,” the song which opens this recording. In fact, some lines of Baudelaire’s poem are an apt comment on the performance:

. . . Mêlaient d’une façon solennelle et mystique
Les tout puissants accords de leur riche musique . . . .

. . . in a solemn and mystical way, mingled
the powerful chords of their rich music . . .

The performers succeed in conveying the unique sense of each of Duparc’s songs. Through the tempos he has chosen, Jarnot is able to express the text effectively, which is crucial to the settings of verse by such poets as Gautier, Baudelaire, and others. The familiar “L’invitation au voyage” is a fine collaboration between Jarnot and Deutsch, with its sinuous lines evoking the seduction described in the text. In contrast, the more emotionally direct “La vague et la cloche” is masterfully performed, with its almost raucous evocation of the waves that almost overwhelm the song’s protagonist. Between these somewhat extreme expressions of emotion, Duparc’s Mélodies involve a variety of situations that demand much from the performers. Jarnot gives these songs with insight and precision, elements that Deutsch reinforces in his meticulous accompanying. This is music for mature singers, musicians whose expressiveness goes beyond the words on the page to unearth the deeper meanings of the text and the subtleties of the musical lines.

Jarnot delivers the Duparc Mélodies consistently well, which makes this recording noteworthy for anyone interested in this music. The sound of this Oehms recording solidly conveys the nuances of expression for both the voice and piano. Unlike some other Oehms recordings, like Jarnot’s collection of Mahler’s Lieder, there is no question in this CD of French music about the placement of the microphones, which seem too close in that earlier recording. In the present one, the ambiance is appropriate to the music and performers.

As to the CD itself, the booklet includes the original texts for all the pieces on it, along with translations in German and English. With such relatively unfamiliar music, having the texts available is preferable to having listeners find them on their own. Oehms may want to provide consistently texts for fine recordings of vocal music, like this one. Overall, this is an impressive recording that bodes well for future recordings by this promising baritone.

James L. Zychowicz
Madison, Wisconsin

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):